Days to Come

Days to Come

Mint Theater Company

Theatre Row

Photo courtesy of Mint Theater Company

Lillian Hellman’s 1936 drama, Days to Come, is receiving a high quality Off-Broadway revival by Mint Theater Company.  The play contains strong social themes that were powerful to the time period in which it was written, and relevant to our present day political climate.  As quoted in the dramaturgical notes in the program: In Days to Come Lillian Hellman “attempted to develop a theme common to all her plays, that the world we live in is the sum total of the acts of each individual in it.  Ignorance, dishonesty, and cowardice in personal live affect social events.”  This production, directed by J. R. Sullivan, keeps the audience actively engaged, while successfully portraying Ms. Hellman’s compelling theme.

When his factory workers go on strike, Andrew Rodman (played by Larry Bull) under the advice of his lawyer and friend, Henry Ellicott (played by Ted Deasy), hire a group of strike breakers lead by Sam Wilke (played by Dan Daily) to resolve the growing problem.  Andrew is unaware of the violence these men normally use to achieve their objective, but Henry is knowledgeable about the service they are paying for.  Leo Whalen, the strike organizer (played by Roderick Hill), coaches the leader of the factory workers, Thomas Firth (played by Chris Henry Coffey), to keep the men calm and not fight back when instigated.  When Andrew’s wife, Julia (played by Janie Brookshire), ventures where she does not belong, the violence erupts to the point of no return.

Larry Bull & Chris Henry Coffey
Photo courtesy of Mint Theater Company

The cast fully embodies the style and pace of the time period.  The social norms and protocols are clearly set in place at the top of the show, so when the group of outsiders comes in to break the strike, the disruption is visceral.  The cast of eleven is exceptional.  They play off one another very well, allowing Lillian Hellman’s dialogue to flow naturally.  Janie Brookshire, Larry Bull, Chris Henry Coffey, Dan Daily, Ted Deasy, and Roderick Hill create strong-willed characters driven by clear objectives.  Mary Beacon, Betsy Hogg, Kim Martin-Cotton, Geoffrey Allen Murphy, and Evan Zes add fuel to the fire, building the conflict in the action, while adding some well needed humor.

Photo courtesy of Mint Theater Company

This is my first experience with Mint Theater Company, and I intend to return for future productions.  Mint Theater's mission is to find and produce “worthwhile plays from the past that have been lost or forgotten… (and) create new life for these plays through research, dramaturgy, production, publication, readings, and a variety of enrichment programs.”  Days to Come is playing at Theatre Row through October 6.  Be sure to see it.

Domenick Danza

Straight White Men

Straight White Men

Second Stage Theater

The Helen Hayes Theater

Photo courtesy of Second Stage Theater

In Straight White Men Playwright Young Jean Lee takes an honest and severe look at the demographic in the title.  The Second Stage Theater production, now running on Broadway with an all-star cast, brings the humor and bravado to the surface so that when the cold truth hits, it packs a powerful punch.  Director Anna D. Shapiro allows the strength of the relationships to build the underlying conflict of each scene until it cannot be contained any longer.  When the harsh reality lies stark and hurtful in front of us, we are left with a deep feeling of compassion.

Jake (played by Josh Charles) and Drew (played by Armie Hammer) are home for the Christmas holiday.  Their older brother Matt (played by Paul Schneider) is living with their father, Ed (played by Stephen Payne).  The three brothers relive their competitive youth, teasing, bullying, wrestling, and quickly moving onto the next point of contention.  They reminisce about the lessons in social justice they were taught by their late mother.  The four men are all enjoying their holiday reunion until Matt breaks down crying during dinner.  Drew tries to address it.  Jake gives him space.  Ed denies it.  They finally join forces to help their sullen family member, and end up causing more harm than good.

Stephen Payne, Josh Charles, Armie Hammer, & Paul Schneider
Photo courtesy of Second Stage Theater

The skill level and chemistry of this cast is truly amazing.  Josh Charles and Armie Hammer have a tight connection as middle and younger brothers.  They are constantly calling each other “assholes” and eagerly live up to that title every minute.  Their cajoling, no matter how out of hand it gets, is always filled with love and respect.  As the family patriarch, Stephen Payne keeps his boys in check.  He is filled with warmth and admiration for all three of his sons.  Paul Schneider reveals the dark and pensive side of his character, but has no trouble joining in with the “asshole” antics of his younger brothers.  The tables turn on the fun when it is revealed how the competitive values engrained in these men can also cause them to turn their backs on one another in time of need.  Josh Charles, Armie Hammer, and Stephen Payne play these moments with powerful conviction.  They sincerely believe their words and actions come from a deep care and devotion toward their family member.  Paul Schneider creates a strikingly genuine moment of hurt and confusion as the reality of his abandonment sinks in.  This is the startling moment where playwright young Jean Lee shows the price of being raised as “straight white men.”  Director Anna D. Shapiro brilliantly leads us to this impactful understanding with every instant and action of the production.

Kate Bornstein, Armie Hammer, and Ty Defoe
Photo courtesy of Second Stage Theater

Kate Bornstein and Ty Defoe play “Person in Charge 1” and “Person in Charge 2.”  They have a curtain speech at the top of the show that is not part of the original script.  It clearly frames the action of the play and sets the audience up in the proper perspective.  They also move the actors into place during the scene changes with an omniscient presence.  This well-crafted concept is pushed even further with the actual frame around the proscenium that includes a brass name plate stating the title of the play.  This design, by Todd Rosenthal, clearly sets the audience up as observers of something in a museum art exhibit, as if we are watching something from the past, classic and outdated.  These are brilliant devices that pop the themes of Young Jean Lee’s potent writing.

Straight White Men is playing at the newly renovated Helen Hayes Theater through September 9.  It is a powerful production, boldly written, beautifully directed and expertly preformed.

Domenick Danza

SpongeBob SquarePants, The Broadway Musical

SpongeBob SquarePants

The Broadway Musical

Palace Theatre

Photo courtesy of SpongeBob SquarePants, the Broadway Musical

Tina Landau has taken the one-dimensional characters and elementary humor of a popular Nickelodeon cartoon and transformed it into a Broadway spectacular.  SpongeBob SquarePants, the Broadway Musical is over the top fun!  Book writer Kyle Jarrow creates story arcs for each character as they hilariously struggle to achieve their goal.  The phenomenal cast personifies these under water creatures with strong physical and visual support by costume designer David Zinn and hair and wig designer Charles G. LaPointe.  The set, by David Zinn, explodes off the stage of the Place Theatre with imaginative shapes and vibrant color.

Danny Skinner, Ethan Slater, & Christina Sajous
Photo courtesy of SpongeBob SquarePants, the Broadway Musical

SpongeBob (played by Ethan Slater) starts his day at Bikini Bottom like any other.  We meet his friend Patrick Star (played by Danny Skinner), the cranky Squidward (played by Gavin Lee), Sandy Cheeks, the squirrel (played by Christina Sajous), Eugene Krabs, owner of the Krusty Krab where SpongeBob works (played by Brian Ray Norris), and his daughter Pearl (played by Jai’ Len Christine Li Josey).  They are all happy to face the day ahead, except Squidward of course.  Suddenly the ground shakes and there is a special report that a large and dangerous volcano, Mount Humungous, is ready to erupt and inevitably destroy Bikini Bottom.  Everyone goes into hysterics and is ready to follow the diabolical scheme of Sheldon Plankton (played by Wesley Taylor) and Karen the Computer (played by Catherine Ricafort) to flee for their lives, while unknowingly become hypnotized and under their power.  It is up to SpongeBob, Sandy, and Patrick to save the day.

Gavin Lee as Squidward
Photo courtesy of SpongeBob SquarePants, the Broadway Musical

The outstanding vocal characterizations and physical timing of the cast is fascinating.  It keeps the audience engaged throughout the show.  Ethan Slater is a phenomenon.  His amazing vocal range is only surpassed by his physical strength and dexterity.  Gavin Lee skillfully embodies the curmudgeonly Squidward.  He masterfully becomes one with his four-legged costume.  You can’t help but love and root for this downtrodden creature.  Danny Skinner is loveable as Patrick.  Christina Sajous is energetic and sharp as Sandy.  These four performers have a strong connection and genuine chemistry that builds as they face their outlandish and believable challenges.

Jai'Len Christine Li Josey as Pearl
Photo courtesy of SpongeBob SquarePants, the Broadway Musical

Jai’ Len Christine Li Josey is outstanding as Pearl.  She has a strong presence and powerful singing voice.  Brian Ray Taylor is a bold Eugene Krab, creating conflict and thankfully seeing the error of his ways in the end.  Wesley Taylor and Catherine Ricafort are positively evil.  Due to their amazing teamwork, their self-serving plan is raucously carried out with wicked detail and credible precision.   

SpongeBob SquarePants, the Broadway Musical is scheduled to close on September 16.  With choreography by Christopher Gattelli and a score composed by a long list of famous musicians, Tina Landau has created a wild and crazy fun night of imaginative theatre.  You have only a few weeks left to experience it.  Don’t miss out!

Domenick Danza

Swan Song

Swan Song

New York Theater Festival

Summerfest

Hudson Guild Theater

August 6, 8, 11, 2018

Photo courtesy of Swan Song

Swan Song, a new play by Dan Kavulish, is part of the New York Theater Festival’s Summerfest.  The play tackles the highly emotional task of caring for an aging parent in the later years of their life.  As Stage Manager, I have been watching this piece grow over the rehearsal period.  Mr. Kavulish’s writing is full of inner conflict and rich subtext.  Director Justin Bennett’s thorough approach and clear vision are infusing the performance with layers of detail and emotion.

Philip (played by Steve Humphreys) faces unresolved conflicts in the relationship with his mother (played by Rebecca Hoodwin) while she transitions from her assisted living situation to one of skilled nursing, where she will receive round the clock care.  Memories of his deceased brother, the seventeen year estrangement from his family, and his mother’s denial of his homosexuality flood in as he gives his mother the time and attentions she needs and deserves in her final months.

Steve Humphreys and Rebecca Hoodwin rise up together in these roles as their characters’ bond supersedes their conflicts.  They create genuine moments together, fueled by pain and devotion. 

Swan Song is playing a Hudson Guild Theater (441 W. 26 St., between 9^th & 10^th Ave.) on Monday, August 6 and Wednesday, August 8 at 9:00 PM and Saturday, August 11 at 6:00 PM.  To purchase tickets go to newyorktheaterfestival.com/swan-song/.  Tickets will also be available at the door before the performances.  See you there!

Domenick Danza

Hamlet

Hamlet

The Drilling Company

Shakespeare in the Parking Lot

July 28, 2018

Photo courtesy of The Drilling Company

Celebrating their 24^th year of presenting free Shakespeare on the Lower East Side, The Drilling Company’s Shakespeare in the Parking Lot production of Hamlet rings fresh, truthful, and alive.  Director Karla Hendrick trimmed down Shakespeare’s book, kept the action flowing, and guided the actors to dive deeply into the characters to deliver genuine performances.  Ms. Hendrick makes some bold and brilliant choices, especially in casting women in roles written for men, adding levels of humor and social commentary not normally seen in Hamlet.

Jane Bradley & Una Clancy
Photo courtesy of The Drilling Company

Hamlet (played by Jane Bradley) is visited by the ghost of his father, King Hamlet (played by Bill Green).  He asks Hamlet to avenge his death.  The King was murdered by his brother, Claudius (played by Robert Arcaro), who then married the anguished Queen, Gertrude (played by Una Clancy).  Claudius now wears the crown and plots to get rid of Hamlet.  Hamlet feigns madness in order to prove the ghost’s message and plan his revenge.  

Jane Bradley is remarkable as Hamlet.  Her melancholy is heartfelt and her madness is cunning.  She takes the audience deeply into Hamlet’s inner thoughts during the soliloquies, bringing nuance and clarity to every word.  Gracie Winchester is charming and coy as Ophelia.  The audience feels for her when she is rejected by Hamlet.  She and Ms. Bradley develop a warm, tender, and truthful connection.  When Hamlet arrives at Ophelia’s burial, Ms. Bradley creates a genuine moment of sorrow and heartache.  

Jane Bradley as Hamlet
Photo courtesy of The Drilling Company

Robert Arcaro and Una Clancy both have a strong presence as Claudius and Gertrude.  Their relationship and position are real, and the tensions between them and Hamlet is tangible.  Elowyn Castle is powerful as Laertes and Ophelia’s mother, Polonia.  The famous advice to Laertes speech is touching and heartfelt.  She then transitions into a political manipulator when playing scenes with Claudius and Gertrude.  John Caliendo delivers an honest performance as Laertes.  The relationship he and Ms. Winchester create as brother and sister is playful and caring.

Aly Byatt and Lulu Fairclough-Stewart bring a humorous aspect to Rosencrantz and Guildenstern, Hamlets friends from school.  Together the three women have the timing, humor, and bite of set of mean girls.  Strong performances are also delivered by Bill Green, Dan Teachout, Kendra Lee Oberhauser, Niamh Ryan, Colleen Cosgrove, and Margo Tillstrom.

The final performance of Hamlet was July 28.  If you missed it, don’t dismay.  There is one more show in The Drilling Company’s Summer Shakespeare Season.  Macbeth will be performed at Bryant Park on Fridays and Saturdays at 7:00 PM from August 24 through September 8.  It is sure to be a great production.  Yes, it is FREE, so don’t miss it!

Domenick Danza

Don’t Bother Me, I Can’t Cope

Don’t Bother Me, I Can’t Cope

New York City Center

Encores! Off-Center

July 26, 2018

Photo courtesy of New York City Center Encores! Off-Center

The New York City Center Encores! Off-Center production of Don’t Bother Me, I Can’t Cope brings new life to Micki Grant’s music and lyrics.  Savion Glover’s staging and direction are concise and engaging.  His choreography merges the precision and energy of the time period with his unique style and rhythm.  His vision for the show is skillfully achieved by the strong singing voices and powerful stage presence of a vibrant ensemble cast.

Originally on Broadway in 1972, Don’t Bother Me I Can’t Cope was conceived by Vinnette Carroll.  The story is told entirely through Micki Grant’s music, which includes a range of compositions from blues and jazz to gospel and Reggae.  From the New York City Center Encores! Off-Center program:  “Don’t Bother Me has always been powered by the energy of the cast and music, along with its story being built on the African American experience.  Even more, Vinnette Carroll and Micki Grant’s presence on Broadway with this show came on the heels of Lorraine Hansberry, the first African American woman to present work on Broadway.”  There are strong and emotionally driven performances by Rheaume Crenshaw, Dayna Dantzler, Aisha de Haas, James T. Lane, and Wayne Pretlow.  

Photo courtesy of New York City Center Encores! Off-Center

Don’t Bother Me, I Can’t Cope remains a relevant piece of musical theatre.  It frames the social voice and point of view of the time period in which it was written, and genuinely rings true today.  The show runs for a very limited time at New York City Center through July 28. 

Domenick Danza

Sleep No More

Sleep No More

The McKittrick Hotel

July 21, 2018

Photo courtesy of Sleep No More

If you have not heard about or seen Sleep No More, you need to go on line, read more about it, and get a ticket.  This site specific work takes place at the McKittrick Hotel in Chelsea.  Created by Punchdrunk, a British theatre company, the production first premiered on March 7, 2011.  Sleep No More adapts the story of Shakespeare’s Macbeth and combines it with the styling of noir films to create an immersive, environmental masterpiece told through movement and dance.

Photo courtesy of Sleep No More

When you enter into the hotel, you are immediately transported to a different time period.  You walk through room after room of the four story building on your own.  You are encouraged to explore.  You are not allowed to speak.  Characters appear and slowly and meticulously act out their drama, then disappear.  You follow them into other rooms where they encounter different characters and continue their story.  The action begins to intertwine.  The scenes are dimly lit, emotionally driven, precisely timed, and intensely choreographed.  Your mind connects the images to the story of Macbeth.  All your senses are engaged as the mystery and suspense builds to a stunning climax.   

Photo courtesy of Sleep No More

This was my first immersive theatre experience, and I intend to return to Sleep No More very soon.  Since it takes place on numerous floors and rooms simultaneously, you cannot take in the entire experience at one time.  There were certain characters and plot lines that I did not get to see.  I recommend you refresh your knowledge of the characters and plot from Macbeth before attending.   

Domenick Danza