God Bless You, Mr. Rosewater

God Bless You, Mr. Rosewater

New York City Center Encores! Off-Center

July 29, 2016

Photo courtesy of New York City Center Encores

Kurt Vonnegut’s God Bless You, Mr. Rosewater, with book and lyrics by Howard Ashman and music by Alan Menken, is receiving a short, but well deserved concert staging with New York City Center Encores.  Kurt Vonnegut’s satirical tale is very relevant to a present day audience.  Its themes of philanthropic focus, greed, and giving respect to those in most need are strong and meaningful.  The production itself is simple and cleverly staged, placing the focus on the content and quality of the book and score.

When Eliot Rosewater (played by Santino Fontana) the President of the multi-million dollar philanthropic Rosewater Foundation, appears to be going off the deep end, he escapes to Rosewater County, Indiana.  This does not sit well with his father, Senator Rosewater (played by Clark Johnson), who believes his son’s problems are caused by drinking irresponsibly.  Eliot’s wife, Sylvia (played by Brynn O’Malley), follows him to support him in his commitment to help the downtrodden and forgotten population of the section of the United States named for his family.  Throughout his journey, Eliot is inspired by the philosophy in a series of fiction novels written by unsung hero Kilgore Trout (played by James Earl Jones).  Norman Mushari, a self-centered lawyer for the Rosewater Foundation (played by Skylar Astin), finds a document stating that if the President of the Foundations is declared legally insane, the control of the millions goes to the next family member.  Since Eliot and his wife have no children, Norman goes on a quest to seek out the lesser known Rosewaters and gain a cut of the wealth for himself. 

Santino Fontana as Eliot Rosewater
Photo courtesy of New York City Center Encores

“Since You Came to This Town” is sung at the end of Act I bringing the action together in a powerful and sentimental manner in which the people of Rosewater County express their appreciation for Eliot’s efforts.  This puts his level of “sanity’ in the proper perspective.  The tempo and pacing of Act II is heightened as Norman finds Rosewater relatives to claim the fortune and Sylvia has a breakdown, runs off to Europe, and then decides to divorce Eliot.  Other highlights in the score are “Dear Ophelia” in Act I, and “Eliot/Sylvia” in Act II.  These two songs are private moments between Eliot and Sylvia that reveal their sincere emotion for one another despite the craziness that is constantly going on around them.  “A Firestorm Consuming Indianapolis” is a view into Eliot’s experience during the war, which gives a deep insight into the motivations of the character’s behavior.

Photo courtesy of City Center Encores

From the Encores program notes:  “The original production of Kurt Vonnegut’s God Bless You, Mr. Rosewater opened on May 17, 1979 at WPA Theater.  After a 12-performance “showcase” run, it transferred to the Entermedia Theater, where it opened on October 14, 1979 and ran for 49 performances.”  The book and score have heart and humor that can be revisited and possibly well received if fully produced.  Kurt Vonnegut’s satirical humor is beautifully reflected in Howard Ashman’s witty lyrics and book.  Alan Menken’s score is charming and spirited.  The revisiting of this lighthearted, enjoyable, and rarely seen musical is a valuable endeavor by New York City Center Encores.

Domenick Danza

The Merchant of Venice - Shakespeare’s Globe

The Merchant of Venice - Shakespeare’s Globe

Lincoln Center Festival

Rose Theater

July 22, 2016

Phoebe Pryce & Jonathan Pryce
Photo courtesy of Shakespeare's Globe

The Shakespeare’s Globe production of The Merchant of Venice played at the Rose Theater on July 20 – 24 as part of the Lincoln Center Festival.  Directed by Jonathan Munby, this production was thought provoking and emotionally riveting.  The play contains Shakespeare’s classic comic elements (gender disguises, foolish servants, love winning out in the end), yet also contains a downfall for the Shylock character that is probably more heightened and tragic than any ever written.  This particular interpretation brings that contrast sharply into focus through its design, direction, and superb performances.

Jolyon Coy, Dorothea Myer-Bennet, Rachel Pickup,
& Dan Fredenburgh
Photo courtesy of Shaskepeare's Globe

When Shylock (played by Jonathan Pryce) demands the agreed upon pound of flesh from Antonio (played by Dominic Mafham) as payment on a default loan, he is viewed as unjust and unmerciful.  Portia (played by Rachel Pickup) and Nerissa (played by Dorothea Myer-Bennet) disguise themselves and a lawyer and clerk to enter the court and save Antonio from his fate.  Their cunning trick succeeds and wins them both a deeper loyalty from their husbands Bossanio (played by Dan Fredenburgh) and Gratiano (played by Jolyon Coy).  It is a happy ending for all until Shylock is forced to give up half his riches and, more painfully, relinquish his faith and become a Christian.  The cries of his daughter, Jessica (played by Phoebe Pryce) reveals the true horror of her father’s fate.  That response bleeds into an even more devastating moment when we witness Shylock being baptized and led off the stage a destroyed man. 

Dominic Mafham as Antonio
Photo courtesy of Shakespeare's Globe

This is a powerful production that lends itself to intense discourse of the effect that such an ending had on an audience when it was first presented (400 years ago) compared to that of a present day audience.  Every performance of this brilliant cast takes the audience deeper into the social and political intolerance of the time period.  Set in the Elizabethan era, the play allows audience members to view and experience the acceptably harsh treatment of those of a different culture or religion  Viewed from a present day lense, we can see how centuries of hate and ignorance strengthen and build in societies and can readily lend themselves to irreversible atrocities.

Photo courtesy of Lincoln Center Festival

Unfortunately, this production had a very limited number of performances in the Lincoln Center Festival.  The Drilling Company Shakespeare in the Parking Lot will be presenting The Merchant of Venice from July 28 through August 14.  These performances are FREE.  The Parking Lot is located at 114 Norfolk Street (east side of Norfolk Street between Delancey and Rivington Streets), behind The Clemente Soto Velez Cultural and Educational Center.  If you missed the Shakespeare Globe’s outstanding production, be sure to attend The Drilling Company’s.  It will be interesting to compare these two interpretations of this powerful Shakespeare play. I welcome your comments.

Domenick Danza

A Midsummer Night’s Dream

A Midsummer Night’s Dream

Shakespeare in the Parking Lot

The Drilling Company

July 15, 2016

Photo courtesy of The Drilling Company

The Drilling Company’s Shakespeare in the Parking Lot production of A Midsummer Night’s Dream is an updated, fast paced, Lower East Side experience that you MUST see.  Director and designer Kathy Curtiss keeps the action moving and building for a full two hours and twenty minutes without an intermission.  She unifies this relatively large cast with a coherent style and edginess that strikes a chord in the imagination.  Every moment is alive, and Shakespeare’s words ring loud and clear in the expansive outdoor space.

Photo courtesy of The Drilling Company

Mary Linehan is charming and feisty as Hermia.  She steals your heart and holds her own against Kathleen Simmonds’ fiery Helena.  Eddie Shields and Brad Frost are daring as Lysander and Demetrius.  These four actors light up the stage.  Their physical antics are keenly staged and skillfully executed.  Warren Jackson and Serena E. Miller are bold and earthy as Oberon and Titania.  Their chemistry is palpable and true.  Drew Valins is mischievous and sly as Puck.  His energy is high and focused.  He takes full advantage of his six foot stature to create a Puck that is unique, genuine, and engaging.  Michael Bernstein’s Egeus is authentic and endearing. 

  

Photo courtesy of The Drilling Company

The rustics are a strong ensemble of skilled and funny actors who make the most of every moment.  Their tale of Pyramus and Thisbe takes place in outer space.  The chink in the wall is an opening in a force field.  The lion is a fierce space beast.  Director Kathy Curtiss’ concept works amazingly well.  The scripted adjustments and spontaneous adlibs are witty and entertaining.  Jarrod Bates takes command as Peter Quince, and Jordan Felter amazes as Bottom.  He is honest, bawdy, sensitive, and hilarious.

This is The Drilling Company’s 22^nd season producing Shakespeare in the Parking Lot, and they keep getting better every year.  Don’t miss this exciting and unique interpretation of A Midsummer Night‘s Dream.  There is one more weekend of performances: Thursday, Friday, and Saturday, July 21, 22, and 23 at 8:00 PM.  The Parking Lot is located at 114 Norfolk Street (east side of Norfolk Street between Delancey and Rivington Streets), behind The Clemente Soto Velez Cultural and Educational Center.  Their next production, The Merchant of Venice, performs in the same location July 28 through August 14.  It is also sure to be great. 

Domenick Danza

A Class Act

A Class Act

New World Stages

July 9, 2016

Photo courtesy of A Class Act

A Class Act, a new play by Norman Shabel, reveals the behind the scenes strategies, secrets, and scheming that take place when a large American chemical company is facing a class action suit worth tens of billions of dollars.  The plot includes blackmail, dirty secrets, fast paced legal jargon, decisions made with integrity, and heated and foulmouthed conference table negotiations.  It is the plot twist at the end that makes the story unique and worth watching.  Director Christopher Scott savors the moment of this unexpected punch and allows the audience to piece together what actually motivated the characters to take action.

After the General Corporation loses a class action suit in California, they face a national class action suit for the same wrong doings.  Toxic waste has poisoned the water and caused cancer and death to millions of innocent victims.  Yes, the premise is the same as what won Julia Roberts her Academy Award in Erin Brockovich, but in this play the line between the good guys and the bad guys is constantly blurred.  There are indications of themes that drove Ibsen’s An Enemy of the People that keep the tensions building to the end. 

Photo courtesy of A Class Act

David Marantz (as Edward Duchamp) delivers an impassioned monologue about the risks that large corporations take in developing products that improve the quality of lives of people around the world.  This moment levels the playing field by making the high profit bad guy into a valuable player in the progress of civilization  Mr. Marantz’s zeal lands this monologue with a genuine belief that brings the issue into an unrealized light.  Lou Liberatore (as Ben Donaldson) and Matthew DeCapua (as Frank Warsaw) have very strong scenes where the integrity of their characters is on the line, and they rise above the threat.  They both create honest moments with grit and determination that raise the stakes for the plot.  The fiery scenes between Andrew Ramcharan Guilarte (as Ignatio Perez) and Jenny Strassburg (as Dorothy Pilsner) keep the action moving.  Even though they are lawyers on the same side, their opposing tactical perspectives create conflict and quicken the pace of the play.  Their comradery strengthens through their differences and carries the action through to the conclusion.

The cast of A Class Act
Photo courtesy of A Class Act

The script is not structurally sound, yet it does a great job of dramatizing legal details in direct and understandable language.  Its authenticity is unquestionable, since playwright Norman Shabel is himself a lawyer.  If you like stories about high stakes legal proceedings, this is the play for you.  A Class Act will be playing at New World Stages through September 4.

Domenick Danza

Small Mouth Sounds

Small Mouth Sounds

The Pershing Square Signature Center

July 3, 2016

Photo courtesy of Small Mouth Sounds

Small Mouth Sounds, written by Beth Wohl, follows six people during a week-long, silent retreat.  Each character’s story is revealed with little to no speaking.  They each sign up for the retreat for different reasons, ranging from seeking enlightenment or inner peace to grieving over a loss or conquering a serious illness.  Each is changed by their silent experience, though not necessarily the change they signed up for.  Director Rachel Chavkin skillfully weaves subtle detail with bold gesture, allowing this fearless ensemble to create truthful moments and achieve a dramatic arc with very few words.

Photo courtesy of Small Mouth Sounds

The set design, by Laura Jellineck, seats the audience on two sides of a long rectangular playing area.  Seated in the same folding chairs as the characters and enveloped by video (designed by Andrew Schneider) and sound (designed by Stowe Nelson), audience members become additional participants in the retreat.  The beauty of this design is that the Teacher’s lessons, humor, and disorganization are experienced directly, as well as through the bonding with the characters.  This effect heightens the emotional connection to the journey of the characters by personalizing the content of the teachings through the individual point of view of audience members.  

Small Mouth Sounds is a unique and daring concept that delivers an unexpected outcome.  This Ars Nova production showcases very strong performances by Max Baker, Babak Tafti, Brad Heberlee, Marcia DeBonis, Quincy Tyler Bernstine, Zoe Winters, and  Jojo Gonzalez.  Bess Wohl’s script is bold, funny, and daring.  The show runs through September 25 at the Pershing Square Signature Center.  If you are in the mood for something totally different, check it out. 

  

Domenick Danza

Himself & Nora

Himself & Nora

Minetta Lane Theatre

June 26, 2016

Photo Courtesy of Himself & Nora

Himself &Nora is a new musical about the love affair between James Joyce and Nora Barnacle.  With book, music, and lyrics written by Jonathan Brielle, the show poetically portrays the romance, passion, commitment, and emotional abuse in the long term relationship between these two individuals.  The two main actors are extraordinary.  The ensemble of three fills the stage with the presence and vocal power of a cast of twenty.  Director Michael Bush finds just the right the pace to create a seamless story that engages all the senses.  He allows this brilliant cast to develop their characters and build relationships that tells a story of longing, fervor, and devotion.

Matt Bogart as James Joyce
Photo courtesy of Himself & Nora

Matt Bogart embodies the character of James Joyce with commanding physicality.  He grows from an adolescent dreamer into a confident artist with astounding awareness of detail.  Whitney Bashor is powerful and bold as Nora.  Her presence demands attention when she enters in scene one, and keeps you riveted throughout the show.  It takes a strong actor to portray the woman who inspired James Joyce, was his true love, and tolerated his emotional distance and inflated sense of “himself.”  Ms. Bashor is perfectly cast to bring this amazing woman to the stage and match Mr. Bogart’s visceral interpretation.  Her singing is superb, as is Mr. Bogart’s.  These two actors ignite one another’s passion and yearning.  The story follows the characters’ exile from Ireland in hopes of escaping the restrictive weight of the Irish Catholic Church.  Together their journey takes them to Italy and Paris, where Joyce painstakingly develops his authentic writing style.

Lianne Marie Doss & Michael McCormick
Photo courtesy of Himself & Nora

The ensemble plays numerous roles including James Joyce’s parents, children, and publisher.  Zachary Prince is remarkable as the hometown Irish Priest, who is ever present, creating the inner conflict that haunts Joyce throughout his life.  Mr. Prince also delivers a touching portrayal of Joyce’s son, Giorgio.  Lianne Marie Dobbs is heartbreaking as Joyce’s daughter, Lucia, comical as Harriet Weaver, and energetic as determined publisher, Sylvia Beach.  Her range is phenomenal.  Michael McCormick is endearing and rough as Joyce’s father, and, just when the audience needs a laugh, is riotous as Ezra Pound.  These three actors physically and vocally create distinct, engaging characters and relationships.  They are skillfully versatile and keep the action of the play moving forward with tremendous verve.

Whitney Bashor & Matt Bogart
Photo courtesy of Himself & Nora

Scenic design, by Paul Tate dePoo III, is a unit set with moveable window frames, tables, chairs, and benches that serve numerous purposes.  Director Michael Bush utilizes these pieces to keep the flow of action seamless.  The design is simple, solid, and effective, and depicts the settings of Ireland, Italy, and Paris during the time period.  Lighting designer Jason Lyons skillfully enhances the setting with depth, warmth, and humor.

Himself & Nora is an amazing telling of “the greatest love story never told.”  It is playing at the Minetta Lane Theatre through September.  Go see it!  The cast is remarkable.  The score is unique and breathtaking.  The production is moving and inspiring.  It will make you want to read (or reread) Ulysses and give you a deeper understanding of The Portrait of the Artist as a Young Man.   

Domenick Danza

Fiddler on the Roof

Fiddler on the Roof

The Broadway Theatre

June 11, 2016

Photo courtesy of Fiddler on the Roof

The revival of Fiddler on the Roof currently running at The Broadway Theater is magnificent!  How can one of the most profound musicals ever written interpreted by visionary director Bartlett Sher be anything less?  I can’t be, so when it is peppered with the lustful choreography of Hofesh Shechter and performed by a phenomenal cast, it becomes an exceptional work of theatre that should not be missed.  Every moment in this production is genuine and full of hope and humanity.

Danny Burstein makes the role of Tevye his own.  His timing and vocal qualities are like no other interpretation.  His Tevye is an everyman - simple, hardworking, flawed, struggling to live with dignity, and balancing his beliefs in a changing world.  Every one of his gestures reveals his deeper needs.  His vocal intonations expose his exasperation and softer side.  He proficiently connect one moment to the next to create an identifiable character who is both respectful and respected.  Jessica Hecht does the same with the role of Golda.  She forcefully plays a stern wife and mother with a tender understanding and soft heart.  She falls to the floor with grief, then stands strong to complete her daily chores.  Together they portray how a traditional lifestyle is built, which includes a significant amount of flexibility, persistence, and foolery.

Melanie Moore, Alexandra Silber, & Samantha Massell
Photo courtesy of Fiddler on the Roof

Alexandra Silber (as Tzeitel) and Adam Kantor (as Motel) are magical together.  Samantha Massell (as Hodel) and Ben Rappaport (as Perchik) set the stage on fire.  Melanie Moore (as Chava) and Nick Rehberger (as Fyedka) are idealistic, willful, intelligent, and passionate.

Director Bartlett Sher delivers a production where everyone on stage viscerally understands the needs of the villagers of Anatevka.  They address one another directly and austerely, with no sense of apology.  They literally clutch and cling to one another, as they do to their beliefs.  That is truly all they have and what they know to value.  Hofesh Shechter’s choreography is the true highlight of the show.  Every stomp and footstep connects to and comes deeply from the earth.  Every shoulder shake and arm raise reaches longingly to God.  The zest for life of the characters is expressed and portrayed through the way they gesticulate, spin and pulsate.  Even as they depart Anatevka, they stomp and reach, signifying the longevity of their existence.

Danny Burstein as Tevye
Photo courtesy of Fiddler on the Roof

At the start of the prologue, the image of the fiddler rises up from the floor of the stage and disappears into the fly space.  At the end of the prologue, he floats through the air wearing a purple coat, depicting the images from the well-known Chagall paintings.  This is an inspired production that must be experienced.  It will re-inforce your value of life.  L’Chaim!

Domenick Danza