The Hairy Ape

The Hairy Ape

The Park Avenue Armory

March 25, 2017

Photo courtesy of The Hairy Ape at the Park Avenue Armory

The production of Eugene O’Neil’s The Hairy Ape, now playing at the Park Avenue Armory and produced in partnership with The Old Vic in London, is a larger than life experience.  Director Richard Jones’ vision is titanic.  Designer Stuart Laing uses the vastness of the Armory space in ways that make your jaw drop.  His design gels with lighting by Mimi Jordan Sherin and sound by Sarah Angliss to magnify the power of the characters, make them feel small when encountering the larger world, and then encage them in isolation and loneliness.  Bobby Cannavale is riveting in the title role, leading an ensemble cast of brilliant actors in Eugene O’Neill’s classic, naturalistic tale.

Bobby Cannavale in rehearsal for The Hairy Ape
Photo courtesy of The Park Avenue Armory

Yank (played by Bobby Cannavale) is the fiercest of Stokers, keeping the coal fires burning in the bowels of a massive ocean liner.  He claims it is his strength and endurance that keeps the tons of steel moving in the open waters.  When Mildred Douglas (played by Catherine Combs), daughter of millionaire steel magnate, faints at the sight of him stoking coal, she calls him a hairy ape.  This sets Yank on a journey through the streets of New York City to find her.  Whether motivated by love, lust, or revenge, he is lead to the realization that he does not fit in anywhere in the class system of the day.

Photo courtesy of The Hairy Ape at The Park Avenue Armory

The themes of Eugene O’Neil’s play are viscerally understood as every element of this production comes together.  The audience, sitting in bright “yellow” seats, becomes a part of the rendition of Mr. O’Neil’s class system.  You identify with Yank as his physical strength leads the other Stokers to succeed at their backbreaking work, then struggles to redeem his lost sense of purpose.  Choreography by Aletta Collins is crisp and sharp.  The physicality of this production has a vitality that serves to establish the setting and tone of the experience and drives the action forward.

The Hairy Ape is playing at the Park Avenue Armory through April 22.  You have to experience the magnitude of this production.  It is a true testament to the potency of Eugene O’Neil’s writing.  

Domenick Danza

The Light Years

The Light Years

Playwrights Horizons

March 18, 2017

Photo courtesy of Playwrights Horizons

The Light Years, now running at Playwrights Horizons, is a story of inspiration and ingenuity.  The story covers forty years, and takes place during the 1893 and 1933 Chicago World’s Fairs.  Playwrights Hannah Bos and Paul Thureen weave fact and fiction into a heartfelt story of struggle, loss, and persistence.  Director Oliver Butler chooses a distinctive style for the production that captures the spirit of the time period.

Rocco Sisto, Aya Cash, & Erik Lochtefeld
Photo courtesy of Playwrights Horizons

Steele MacKaye (played by Rocco Sisto) has a vision for the grandest theatre ever built.  In it he will mount his most spectacular production, telling the story of Christopher Columbus’ journey across the Atlantic Ocean.  Around the proscenium the audience will see the constellations that guided Columbus.  This might be a small technological feat for present day theatre, yet this vision was to be constructed for the 1893 Chicago World’s Fair, when electric light was first being introduced.  Hillary (played by Erik Lochtefeld) and Hong Sling (played by Brian Lee Huynh) are the inventors of the mechanical contraptions envisioned by Mr. MacKaye.  Is the vision too great to be achieved?  What keeps these ideas alive for forty years, connecting them to the Chicago World's Fair of 1933?

Aya Cash & Erik Lochtefeld
Photo courtesy of Playwrights Horizons

The production does an amazing job of traveling forward and back over time.  The actors create a clear illusion that makes it easy and enjoyable to follow.  Aya Cash plays two roles.  First we see her as Adeline, Hillary’s wife in 1893, then as Ruth, the wife a musician in 1933.  Ms. Cash skillfully creates the emotional connection that links the two stories over the forty year span of the play.  The entire cast does an amazing job with this well written and constructed script, yet the stylistic concept of the characterizations does not allow for a personalized connection to the audience.

The design (sets by Laura Jellinek, lighting by Russell H. Champa, and sound by Lee Kinney) give a clear insight into the size and scope of Mr. MacKaye’s visionary theatrical production and the challenges faced by the characters due to the technological limitations of the day.  This makes the story well worth seeing.  The Light Years runs at playwrights Horizons through April 2.

Domenick Danza

The Skin of Our Teeth

The Skin of Our Teeth

Theater for a New Audience

Polonsky Shakespeare Center

March 4, 2017

Photo courtesy of Theatre for a New Audience

The Theatre for a New Audience production of Thornton Wilder’s The Skin of Our Teeth is life affirming.  This American Classic, written seventy-five years ago, is fresh and alive.  Thornton Wilder’s themes and messages are as pertinent to our lives today as they were in 1942, when he won the Pulitzer Prize for writing it.  Arin Arbus’ direction is spot on and clear.  She opens the action of the play in a way that pulls every audience member into the story.  The production rings with vim and vigor due to original music by Cesar Alvarez and choreography by Sonya Tayeh.  The cast of thirty-six unite to create an engaging experience that encourages deep contemplation.

Kecia Lewis, Kimber Monroe, & David Rasche
Photo courtesy of Theatre for a New Audience

Act I opens on Sabina (played by Mary Wiseman), the housekeeper to the Antrobus family, preparing for Mr. Antrobus (played by David Rasche) to return from work.  We meet Mrs. Antrobus (played by Kecia Lewis) and their two children, Gladys (played by Kimber Monroe) and Henry (played by Reynaldo Piniella).  They are the perfect family, except for the alarming secrets they keep hidden and their deep seeded resentment toward one another.  Their existence is threatened by the ice coming from the north, moving everything in its path.  They reluctantly open their home to a large number of refugees in need of shelter and warmth.  It is the ice age, and the world as they know it will soon come to an end. 

Mary Wiseman as Sabina
Photo courtesy of Theatre for a New Audience

Act II find the Antrobus family in Atlantic City among mayhem and merriment.  “Enjoy yourself” is the message of the day, yet a Fortune Teller (played by Mary Lou Rosato) predicts destruction by a great storm.  As the rain begins, the Antrobus family boards a huge boat with two of each animal species in order to start all over again.

Act III is dark.  The great war has ended.  The Antrobus family and Sabina have survived, and Gladys has a baby.  It is time to rebuild, yet Mr. Antrobus is tired and disheartened.  He tells of the three thoughts that got him through the war: the voice of the people, his home and family, and his books.  It takes community effort to restore the safety of their home and, as in Act I and Act II, mankind endures.

Photo courtesy of Theatre for a New Audience

Every member of the cast and ensemble is skillfully precise.  Mary Wiseman is vivacious as Sabina.  Her comic timing is superb.  Her Sabina plays amazingly well when juxtaposed against Kecia Lewis’ Mrs. Antrobus.  Their rivalry is fierce and superseded by their bond of understanding.  David Rasche grounds the action and keeps it moving as Mr. Antrobus.  Reynaldo Piniella creates a multi-dimensional Henry who is plagued by anger and driven by need.  Kimber Monroe’s Gladys grows and matures in the course of the three acts.  Mary Lou Rosato’s Fortune Teller is wild, crazy, and truthful.

Photo courtesy of Theatre for a New Audience

The hordes of refugees in Act I and rounding up of the animals in Act II harkens to the political challenges we face today.  There is a seductive conversation between Mr. Antrobus and Sabina in Act II about wealth and power that could easily be viewed as a (fictional) discussion between Donald and Melania Trump.  With scenic design by Riccardo Hernandez and costume and puppet design by Cait O’Connor, the production is astounding.  The Skin of Our Teeth is running at the Polonsky Shakespeare Center in Downtown Brooklyn through March 19.  It is a mammoth play with timeless themes and a stellar cast. 

Domenick Danza

Escaped Alone

Escaped Alone

BAM Harvey Theater

The Royal Court Theatre

February 23, 2017

Photo courtesy of Escaped Alone

Mind boggling.  Thought provoking.  Confusing.  Serious.  Metaphorical.  Abstract.  These are a few words that come to mind after seeing the Royal Court Theatre’s production of Caryl Churchill’s Escaped Alone at BAM Harvey Theater.  The rhythm and images in Ms. Churchill’s dialogue are riveting.  James Macdonald’s direction creates captivating moments for the four women in the cast.  The design team (Miriam Buether, scenic design; Peter Mumford, lighting design, and Christopher Shutt, sound design) juxtapose numerous technical elements that blur the line between the characters’ realities and fantasies within the world of the play.

Mrs. Jarrett (played by Linda Bassett) notices three women having tea through an open garden gate.  When invited in, she engages in light afternoon conversation that leads to darker revelations of the three women’s experiences.  None is darker than Mrs. Jarrett’s recollection of apocalyptic horror.

Photo courtesy of Escaped Alone

Linda Bassett is calm and matter of fact when she tells of the tales of human catastrophe.  Her demeanor and presence have an interesting blend of humor and terror.  June Watson grabs attention as Vi.  Her cordial tone smoothly transitions into a recollection of how she “accidentally” killed her husband with a kitchen knife.  Deborah Findlay portrays Sally as a socially pleasant woman, until her deep fear of cats dominates the conversation.  Kiki Markham plays Lena with equal duality.  These women are masters at creating realistic characters who have subliminally contrasting inner lives.

Photo courtesy of Escaped Alone

Escaped Alone communicates the strong sense of loneliness and fear that can lie beneath the façade of social pleasantry.  The complex layers of Caryl Churchill’s writing take time to digest and ponder.  It is certainly a well-produced play, which evokes deep thought in our present day reality.  This Royal Court Theatre production is playing at BAM Harvey Theater for a limited time (Feb. 15 – 26). 

Domenick Danza

Wakey, Wakey

Wakey, Wakey

Signature Theatre

The Pershing Square Signature Center

February 22, 2017

Photo courtesy of Signature Theatre

Will Eno’s new play Wakey, Wakey is a touching look at the moments in life that create change and lasting value.  Mr. Eno has chosen to direct this production himself.  It is well done and has a very personal and sensitive effect.  The design team of David Lander (lighting), Nevin Steinberg (sound), and Peter Nigrini (projections) are clearly in sync with Mr. Eno, connecting the themes of his work to the audience on a visceral level.

Michael Emerson plays Guy, who directly addresses the audience throughout the piece.  He discusses the small moments in his daily life that matter to him, and takes the audience through visualizations to help them connect to theirs.  When Lisa (played by January LaVoy) enters, Guy’s physical stamina diminishes.  It becomes clear that she is there to care for him as his life draws to a close.  Suddenly, all of what he spoke about earlier has a significant weight and value.  He delivers on his word even after the play ends.

Michael Emerson
Photo courtesy of Signature Theatre

Michael Emerson is captivating as Guy.  He is gentle and humorous.  He puts the audience at ease in a way that allows the poignant message to be felt.  January LaVoy is calming as Lisa.  Her purpose is strong and vital, yet her demeanor is effectively underplayed and touching.

Wakey, Wakey successfully breaks away form a formal structure, allowing the audience to ease into the experience.  The Signature Theatre production runs through March 26 at the Pershing Square Signature Center.  See it with an open mind and allow yourself to connect with the moment.

Domenick Danza

Significant Other

Significant Other

Booth Theatre

February 19, 2017

Photo courtesy of Significant Other

Joshua Harmon’s Significant Other is witty, charming and packs a surprising punch.  Directed by Trip Cullman, the Broadway production flows seamlessly through the obsessions and experiences of the main character and his close circle of friends.  The cast is tightly connected by honest relationships and crisp timing that keeps the audience entertained and engaged on the journey.

Jordan (played by Gideon Glick) is happy when his friend Kiki (played by Sas Goldberg) gets married.  She sets up their other close friend Vanessa (played by Rebecca Naomi Jones) at her wedding, and then she gets engaged.  Jordan’s friends continue to find time for him to work through his search for love and attraction with a workmate (played by John Behlmann).  It is when his BFF Laura (played by Lindsay Mendez) finds her soulmate, that Jordan realizes he is alone.  Only his grandmother (played by Barbara Barrie) gives him the advice that makes sense.

Photo courtesy of Significant Other

Gideon Glick is charming and quirky as Jordan.  His portrayal is just neurotic enough to be likable and funny… and identifiable.  He builds very different relationship with the three female friend characters.  Sas Goldberg is boisterous as Kiki.  Rebecca Naomi Jones is edgy as Vanessa.  Lindsay Mendez is heartwarming as Laura, the character who Jordan is closest with.  Barbara Barrie anchors the action of the play as Jordan’s grandmother.  Her timing is impeccable.  Her presence is grounded and strong.  The relationship she develops with Mr. Glick is tender, caring, and honest.

Barbara Barrie & Gideon Glick
Photo courtesy of Significant Other

Significant Other explores the realizations that occur when the lives of close friends change around us, leaving us feeling isolated and left out.  Although the characters are in their late twenties, there are identifiable realities in the play that ring true for all.

Domenick Danza

Everybody

Everybody

Signature Theatre

The Pershing Square Signature Center

February 18, 2017

Photo courtesy of Signature Theatre

Branden Jacobs-Jenkins’ new Play, Everybody, is based on the 15th century morality play Everyman.  Lila Neugebauer’s direction has truly raised the bar.  Her broad strokes are only exceeded by her eye for effective detail.  The passionate and remarkable partnership between her and Mr. Jacob-Jenkins has created a brilliant and clear present day mortality experience.  The concept successfully breaks the fourth wall in surprising ways that absorb each audience member, creating a true journey for everybody. 

Photo courtesy of Signature Theatre

God (played by Jocelyn Bioh) calls on Death (Marylouise Burke) to request a presentation from Everybody, holding them accountable for their experiences during their time on Earth.  When Everybody asks Death if they can bring along a companion to assist in making a successful presentation, Death agrees.  Who will accompany Everybody on this journey of no return?  What evidence can Everybody collect for the presentation that has value, weight, and meaning?

The Playwright, Director, and Cast in Rehearsal
Photo courtesy of Signature Theatre

The ensemble cast (Brooke Bloom, Michael Braun, Louis Cancelmi, David Patrick Kelly, and Lakisha Michelle May) play numerous roles that vary each night of the performance.  Their roles are assigned by a lottery at the beginning of the show.  The playwright and director’s intention in this is to have “some element of chance to be essential to the fabric of how this event functions, how the evening makes meaning.”  By doing this the “Everyman” character is not assigned to “a single actor, who necessarily has an age, a gender, a race, a sexual orientation.  Also the notion that death could strike any one of us at any moment” rings clear and true.  This skillful ensemble exceeds any expectation of this wild concept.  They create a relatable environment with honest moments and true relationships.  The timing of their dialogue and the depth of their connections are masterful, especially given the fact that they have each memorized practically the entire script.

Playwright Branden Jacobs-Jenkins
Photo courtesy of Signature Theatre

Scenic design by Laura Jellinek, lighting design by Matt Frey, and sound and original music by Brandon Wolcott meld seamlessly to place the audience in the center of the action.  Signature Theatre’s production of Everybody runs at The Pershing Square Theatre Center through March 19.  It is unique and profound, and brilliantly achieves the purpose of the historic morality play for a modern day audience.

Domenick Danza