A Strange Loop

A Strange Loop
Playwrights Horizons

May 26, 2019

Photo courtesy of Playwrights Horizons

Michael R. Jackson’s A Strange Loop is having its world premiere at Playwrights Horizons.  It is a bold and unique work, exploring the way individuals looks at themselves through the reflection of other, continually repeating and “looping” for an infinite period of time.  It is a spiritual, psychological, and emotional journey that spirals deeply into the core of the main character’s understanding of himself.

The full cast of A Strange Loop
Photo courtesy of Playwrights Horizons

Usher (played by Larry Owens) is an NYU graduate struggling to write his musical, the one he is presently performing in.  The voices in his head (the six members of the ensemble) are continually keeping him from focusing on his main goal.  They are reverberating words of his low self-worth, his sexual identity, his gay-black self, his inner white girl… the list goes on.  These voices continually cycle him through repeated distraction until he realizes that in order to finish writing his musical, the one his is presently performing in, he must face himself head on.

Larry Ownes & Michael R. Jackson
Photo courtesy of Playwrights Horizons

Larry Owens does not leave the stage for one hour and forty-five minutes.  He is a powerhouse of vocal strength.  His character has an open heart that makes you feel for him, and a strong will that makes you believe in him.  The six voices in his head (Antwayne Hopper, James Jackson, Jr., L Morgan Lee, John-Michael Lyles, John-Andrew Morison, and Jason Veasey) play numerous roles.  They are a skillful and mighty ensemble, who create distinct, truthful, and over the top characters that keep you engaged and make you laugh out loud.

Director Stephen Brackett keeps the pace of the show moving.  The choreography by Raja Feather Kelly is sharp, boisterous, and spirited.  Michael R. Jackson has written the book, lyrics, and music.  He has a powerful voice and a straightforward style.  A Strange Loop is playing at Playwrights Horizons through July 7.

Domenick Danza

Long Lost

Long Lost

Manhattan Theatre Club

New York City Center Stage I

May 25, 2019

Photo courtesy of Manhattan Theatre Club

Long Lost, Donald Margulies’ new play at Manhattan Theatre Club, tells a compelling story of the complex relationship between two brothers.  Director Daniel Sullivan finds the rhythm that connects the characters, allowing the deep-rooted conflicts and dark secrets that both unite and divide them to be revealed.  All the characters face their innermost fears, no matter how hard they work to side-step them.

Lee Tergesen & Kelly Aucoin
Photo courtesy of Manhattan Theatre Club

David (played by Kelly Aucoin) is not at all happy when his brother, Billy (played by Lee Tergesen), drops in for a surprise holiday visit.  In an effort to keep him from staying with his family, David tells Billy his marriage is “going through a rough patch.”  To manipulate his brother, which is Billy’s greatest talent, he tells David he is dying of cancer.  David’s wife Molly (played by Annie Parisse) is uncomfortable with Billy staying with them, so places a limit on the length of his stay.  Their son Jeremy (played by Alex Wolff), who is home from school for Christmas break, does not know what to make of his “black sheep uncle.”  When Billy stirs up old, unresolved feelings and reveals a few skeletons hidden deep within the family closet, they are all forced to face truths they can no longer avoid.

Lee Tergesen & Alex Wolff
Photo courtesy of Manhattan Theatre Club

Kelly Aucoin and Lee Tergesen have a great chemistry and create a truthful brother relationship.  Their family history is evident in the subtext that drives their interactions.  The tension created between Annie Parisse and Lee Tergesen is palpable.  They skillfully sustain it, control it, and build it until the point of no return.  Alex Wolff portrays Jeremy’s growth from secluded innocence to having to face harsh realities.  His transformation is realistic and gradual.

Playwright Donald Margulies does not hold back in showing the hard-edged realities of the effects of manipulation and lies in the family dynamic.  Long Lost is playing at the New York City Center Stage I through June 30.

Domenick Danza

To Kill a Mockingbird

To Kill a Mockingbird

Shubert Theatre

May 18, 2019

Photo courtesy of To Kill a Mockingbird

Experiencing the Broadway production of To Kill a Mockingbird far exceeds any of the expectations you might have from the praise it continually receives.  Aaron Sorkin’s adaptation preserves the heart of Harper Lee’s coming of age classic.  He gives voice to the racial injustice portrayed in the story in a more direct manner so it becomes relatable to a present-day audience.  He develops numerous minor characters, which magnifies Atticus Finch’s continually telling the children that you will never truly know a person until you “live in their skin.”  This is a slight glimpse into how Mr. Sorkin creates a visceral experience with his adaptation that deepens the connection to an already engaging, touching, and well-known story.  Combine that with phenomenal direction by Bartlett Sher and an amazing cast, lead by Jeff Daniels and Celia Keenan-Bolger, and the theatre rings with an energy that heals and uplifts your soul.

Celia Keenan-Bolger & Jeff Daniels
Photo courtesy of To Kill a Mockingbird

The story goes back and forth in time, starting with Scout Finch (played by Celia Keenan-Bolger), her brother Jem Finch (played by Will Pullen), and their friend Dill Harris (played by Gideon Glick) questioning how someone can die from falling on their knife.  This debate takes them back and forces a close review of the events that took place the summer of 1934 in Maycomb, Alabama, when their father, Atticus Finch (played by Jeff Daniels) was appointed by Judge Taylor (played by Dakin Matthews) to defend Tom Robbins (played by Gbenga Akinnagbe) for the rape and beating of Mayella Ewell (played by Erin Wilhelmi).  The trial is interspersed throughout the telling of the story while the close relationships of the Finch family are revealed.  The outraged community response to Atticus’ defense strategies are threatening to the family’s safety.

Jeff Daniels & Gbenga Akkinnagbe
Photo courtesy of To Kill a Mockingbird

Celia Keenan-Bolger, Will Pullen, and Gideon Glick narrate the transitions of the story.  Their chemistry and timing are flawless.  They are genuine and truthful.  Their growth from innocence toward adulthood is clear and endearing.  Jeff Daniel’s makes the iconic role of Atticus Finch authentically his own.  He creates a multi-dimensional father whose primary focus is to instill a sense of decency and integrity in his children.  His character is real, human, flawed, and straightforward.

There are numerous reasons why Harper Lee’s To Kill a Mockingbird won a Pulitzer Prize in 1960 and has become one of the most well-known and well-loved American classics.  This production not only captures all of those reasons, but deepens the level of understanding in Ms. Lee’s themes and compassionate point of view.

Domenick Danza

Octet

Octet

Signature Theatre

The Pershing Square Signature Center

May 4, 2019

Photo courtesy of Signature Theatre

Eight people come together every week to share their stories of internet addiction.  This is the premise for playwright, compose, lyricist Dave Malloy’s Octet.  The Signature Theatre production leads you on an extremely personal journey into your own mind and obsessions, and makes you question the purpose of your repetitive behaviors.  At the end of the show one character asks, “Why always eight people?”  It must be for the acapella singing, which they do to perfection. 

Photo courtesy of Signature Theatre

Dave Malloy has written eight characters that on the surface seem ordinary, until they dive deep into how the internet has taken control of them.  Whether it is games, dating apps, chat rooms, porn, or tarot, each character reveals their inner yearning and how it is satisfied when they are on the internet.  What is most remarkable is how their vocalization unites them on their journey of self-discovery and assessment.  Music Direction by Or Matias is detailed and flawless.  The phenomenal ensemble cast blends to make one sound, then above it all is heard the lead singer telling their story.  Director Annie Trippe’s staging builds the action and intensity of the one hour and forty-five minute experience to profound levels of revelation and unification. 

The full cast of Octet
Photo courtesy of Signature Theatre

Dave Malloy is Signature Theatre’s first musical theatre writer in their Residency 5 program.  He is a truly gifted story teller with a unique voice and a style all his own.  It is going to be a joy to follow his work at Signature.  Octet is playing at The Pershing Square Signature Center through June 16.

Domenick Danza

Hillary and Clinton

Hillary and Clinton

Golden Theatre

April 27, 2019

Photo courtesy of Hillary and Clinton

It is 2008 in New Hampshire and Hillary Clinton (played by Laurie Metcalf) is losing in the primary to Barack Obama (played by Peter Francis James).  She calls her husband, Bill (played by John Lithgow), to help her.  Her campaign manager, Mark (played by Zak Orth), is dead set against Bill Clinton’s help in the campaign.  Barack offers Hillary the position of running mate if she drops out of the race.  She wins New Hampshire, and makes the same offer to Barack.

In Hillary and Clinton Playwright Lucas Hnath has written a fictional account of these conversations in a highly successful effort to deliver a strong message.  By writing these well known, true characters, Mr. Hnath engages his audience on an emotional level right from the start.  He frames the play with an opening and closing monologue that broadens the magnitude of the spectrum already established by these characters, and puts into perspective his themes of winning vs. losing, personality vs. professional accomplishments, and right time vs. wrong time.

Laurie Metcalf as Hillary Clinton
Photo courtesy of Hillary and Clinton

If you think, as I did, that any production starring Laurie Metcalf and John Lithgow that is directed by Joe Mantello has got to be good, this show proves that point.  Joe Mantello shapes the action and layers in moments of honesty, humor, and irony.  Ms. Metcalf is riveting, as always.  Mr. Lithgow is simply remarkable.  Neither of them attempts an imitation of the people they portray.  They both create individual and genuine characters facing personal challenges while juggling monumental reality.  Equally strong performances are also delivered by Zak Orth and Peter Francis James.

Hillary and Clinton is playing at the Golden Theatre.  Go see this show!  You will be engaged on numerous levels and propelled into deep thought on more than just the subject matter.

Domenick Danza

Curse of the Starving Class

Curse of the Starving Class

Signature Theatre

The Pershing Square Signature Center

April 26, 2019

Photo courtesy of Signature Theatre

The Signature Theatre production of Sam Shepard’s Curse of the Starving Class packs a powerful punch.  Terry Kinney directs a stark and brutal rendition of this 1976 play that is highly relevant today.  Scenic design by Julian Crouch is creative and unique.  It is highly reflective of the inner turmoil of the characters.  The atmosphere is enhanced through lighting by Natasha Katz and sound design and original music by Rob Milburn and Michael Bodeen. 

Emma (played by Lizzy Declement) figured a way to sell her house and property without the signature of her husband, Weston (played by David Warshofsky).  Her son Wesley (played by Gilles Geary) and daughter Ella (played by Maggie Siff) are very upset about this decision, but they are desperate and starving.  There is no food in the refrigerator.  Neither of them trusts Taylor (played by Andrew Rothenberg), the lawyer that has hooked up with Emma.  When they find out their father has already sold the property to Ellis (played by Esau Pritchett) for an extremely low amount of money to pay off his debts, Ella goes on a violent rampage and Wesley fights to get it back.  There is nothing this family can do to escape the curse that has been handed down to them for generations.

The cast of Curse of the Starving Class
Photo courtesy of Signature Theatre

The actions of the play are viciously over the top, and this cast convincingly plays them as realistically as possible.  The second act has a few turns that build to a visceral explosion of events and emotions.  These characters are trapped, and Mr. Shepard’s message forcefully hits home.

Curse of the Starving Class has been extended at the Pershing Square Signature Center through June 2.

Domenick Danza

King Lear

King Lear

Cort Theatre

April 23, 2019

Photo courtesy of King Lear

I spent Shakespeare’s birthday watching Glenda Jackson perform the role of King Lear on Broadway.  It could not have been a better celebration.  Director Sam Gold brings the text to the forefront as he guides each actor to a deep understanding of what drives their character’s actions.  His casting is impeccable.  His grasp of effective timing is flawless.  The original music by Philip Glass enhances the build of action and calms the conflict, intensifying the emotional impact and pace of the production.  Glenda Jackson is majestic in her complex portrayal of the King. 

King Lear (played by Glenda Jackson) decides to split his kingdom among his three daughters.  Before he does, he asks each one to profess their love for him.  Goneril, the eldest (played by Elizabeth Marvel), is gracious and respectful.  Regan, the second daughter (played by Aisling O’Sullivan), poetically exceeds her sister’s pronouncements.  The youngest and favorite daughter, Cordelia (played by Ruth Wilson), is appalled by the insincere performances of her sisters, and answers truthfully and glibly.  This hurts and infuriates the King.  He disowns Cordelia and splits his kingdom in two among his ostensibly loyal and loving daughters.  The Earl of Kent (played by John Douglas Thompson) comes to Cordelia’s defense, and is immediately banished by the King.  Meanwhile, Edgar (played by Sean Carvajal) is planning on betraying his illegitimate brother, Edmond (played by Pedro Pascal) to remove him from the graces of their father, the Earl of Gloucester (played by Jayne Houdyshell).  The power struggle accelerates to full out war within the family, ending in devastating tragedy.

Glenda Jackson as King Lear
Photo courtesy of King Lear

The most dramatic and powerful scene is the blinding of the Earl of Gloucester by the Duke of Cornwall, Regan’s husband.  Aisling O’Sullivan drives this scene with fear and desperation, as her husband, played by Russell Harvard, pushes the action forward.  The scene is brutal and viscerally engaging.

One brilliant decision in double casting is that Ruth Wilson is playing both Cordelia and King Lear’s Fool.  Her vocal and physical characterizations in the contrasting roles are distinct and strong.  At one point she removes the wig she wears as the Fool.  It’s as if Cordelia is there with the King in his time of need when his other two daughters abandon and betray him.  This simple gesture speaks volumes to Shakespeare’s multi-layered theme of complicated family dynamic.

Ruth Wilson & Glenda Jackson
Photo courtesy of King Lear

The love triangle between Regan, Edgar, and Goneril is physically and sexually driven.  It feeds on the hunger for power these characters possess, which propels their action to their devastating downfall.  The battle that takes place between France and Albany as a result is simply and effectively staged.

King Lear is playing at the Cort Theatre through July 7.  Sam Gold has done an amazing job bringing Shakespeare’s themes to significant impact.  The entire cast is brilliant and powerful.  Glenda Jackson is magnificent.  Jayne Houdyshell is outstanding.  Get a ticket and see it for yourself.  

Domenick Danza