Broadway After Dark

Subscribe to the Broadway After Dark weekly newsletter

Interviews with Ward | About Ward | Contact Ward

"ANOTHER PART OF THE FOREST"

Lillian Hellman's 1946 play "Another Part of the Forest" tells the story of the scandalous Hubbard family, living in the deep South in the 1880s. The play's characters are mostly divided between manipulative, unscrupulous sorts, and daffy, endearing, slightly clueless folks. Add to that one plucky girl from the wrong side of the tracks, who brings comedy to what is otherwise mostly drama.

On a beautiful sweeping set designed by Joseph Spirito, Hellman's characters play out their intrigues, mostly guided by greed. The Hubbards have made their fortune taking advantage of the desperation of poor Southerners. The patriarch of the family, Marcus Hubbard, elegantly played by Sherman Howard, is blustery and arrogant, and a frightening figure toward his scared wife Lavinia (Elizabeth Norment). Lavinia handles her dread of her husband and the sinister interactions of the family by drowning herself in Bible quotes and speaking proudly about how she "always go[es] to the colored church. I got my reasons for doing it." A performance displaying the character's nervousness and resolve makes Norment a standout in what is already a strong cast.

Meanwhile, pretty and promiscuous daughter Regina (Stephanie Wright Thompson) is in love with former Confederate officer John Bagtry, of whom her family does not approve. Her brother tries to talk her out of Mr. Bagtry by suggesting another suitor: "He's rich. Good solid rich. And you'd like him. You know, lots of people get married and don't like each other. Then they get to know each other, and they still don't like each other."

John's daffy sister Birdy pays a visit, and when she explains how destitute she is, the very slimy son Benjamin offers her a bad deal loan on her family's land. Added to the picture, younger son Oscar has the hots for local whore Laurette Sincee, who gets to deliver some gems. When Oscar and Laurette are discussing their future, Laurette tells him, "I would love to go to New Orleans. I know a girl who runs an embroidery shop. I have always wanted to do embroidery instead of whoring."

Other smart lines include, "I don't like this punch. It doesn't mean anything." And, "I am unable to finance the first few months of the rose colored brothel of your dreams."

Ultimately there is so much discontent in these characters, the shown by Lavinia, who just wants to escape. The only person who actually looks happy is Laurette, who seems to just be viewing this family with a brash, uncensored bemusement. Ryah Nixon's performance is bubbly and likeable, and her scenes liven up the otherwise tragic elements of this messy family.

Kudos to costume designer Amy C. Bradshaw for Regina's red sparkling dress, which, even from the distant seat I took for this show, was visually stunning.

Another Part of the Forest
Presented by The Peccadillo Theater Company
Theatre at St. Clement's
423 West 46th Street
www.thepeccadillo.com or call 212-352-3101
Runs through July 3
Running time: Two Hours and Forty Minutes, Including Intermission

#

"Banana Shpeel"

Reviewed by Lisa Ferber

Cirque du Soleil's Banana Shpeel is an absolute fun-time spectacle. Granted, I sat in the third row, which, for something so well choreographed, is not optimal. There is so much to see in this sparkling and humorous production that a person would do well to sit a few rows back, in order to catch the overall shape of each piece, as there is much to be seen. Because in Cirque du Soleil, it's not just the one beautiful acrobat spinning sequined fabric on both her feet while she balances in a handstand (Vanessa Alvarez), it's this plus the three ladies behind her holding giant fans in both hands and a man playing guitar to the side while a live, hidden band plays music at the same time, of course.

Every scene in this show deserves its own photograph. Sets, by Patricia Ruel, and costumes, by Dominique Lemieux, display strong color and sequins, making this absolutely delicious eye candy. Now, it's a shticky show, with a definite homage to Vaudeville. The host, "Marty Schmelky" (Danny Rutigliano) speaks like a sideshow ringmaster and wears a loud green suit. From the get-go we know this show will do everything possible to entertain us.

A piece like this is very kid friendly, and then there are the jokes for grownups. For example at the start, one performer asks the other, "Help lift me up!" and the reply he gets is, "I can't! I'm union!" A few of the jokes for grownups were a tad saltier than I might have felt comfortable having to explain to a child, but nevertheless the show maintained a balance so the whole family could enjoy it.

My only real problem was when a "member of the audience" was called up (translation: a planted performer) and he is dressed up as an old man, and the joke is that he has trouble using his walker and trips while going up the stairs. Then he announces to the audience, "I have short term memory loss and arthritis," and it's somehow supposed to be hilarious. Just kind of low brow and a cheap shot, in my humble opinion.

Otherwise, however, the show is a visual extravaganza: There are a whole lot of sequins, color and sparkle, and much smiling coming from the performers, who seem genuinely jazzed and are going to work as hard as they can to maintain the show's high energy level. The list of acrobatic displays is incredible: awe-inspiring splits, balances, and backbends to keep the viewers mind expanding. And that's really what a show like this does; it makes a viewer feel energized and as though anything as possible. Or, as the lady sitting next to me said to her companion, "I can't imagine leaving this show not happy."

Avow
Presented by Cirque Du Soleil
Beacon Theatre
2124 Broadway between West 74th and 75th.
www. BeaconTheatre.com or by phone at (866) 858-0008
Runs through August 29
Running time: Two Hours and 20 Minutes, Including Intermission

Contortion
Photo: OSA Images/Costumes Dominque Lemieux

Daniel Passer, Danny Rutigliano and Wayne Wilson
Photo: OSA Images/Costumes Dominque Lemieux

A scene from BANANA SHPEEL
Photo: OSA Images/Costumes Dominque Lemieux

Tuan Le in a scene from BANANA SHPEEL
Photo: OSA Images/Costumes Dominque Lemieux

Dmitry Bulkin in BANANA SHPEEL
Photo: OSA Images/Costumes Dominque Lemieux

Vanessa Alvarez in a scene from BANANA SHPEEL
Photo: OSA Images/Costumes Dominque Lemieux

#

"SIN"

Reviewed by Lisa Ferber

Mark Altman's new comedy Sin, based on Isaac Bashevis Singer's short story "The Unseen," is a terrific tale of what happens when a loving married couple is tested by Satan and his cohorts.

Nosn (Paul Collins) and Rayze Temerl (Suzanne Toren) are a happily married couple. Okay, so she can not bear children, but it's not as though she he's been looking for another woman. That is, until the maids appear. The maids include one sweet but unskilled "innocent" named Dvoyre Leye (Jessiee Datino) and a sexy smug temptress named Shifre Sirl (Sarah Grace Wilson) who immediately starts insulting the couple's home by saying she's worked in better places, as well as flirting with Nosn. She informs them, "The garbage of my last master is more valuable than your whole wealth." Still, she gets the job because she can cook, and she can flirt, even though Rayze Temerl doesn't quite like her. The second maid will come into play later in the story. When alone with Nosn, Shifre not only promises him pleasures of the flesh if he will marry her, but that ten years from now she will have given him ten children.

Turns out these two are plants by the devil, Leybish (Grant James Varjas), masquerading as a local coachman. The devil and his cohorts have desceded upon the town of Frampol on Yom Kippur, the holiest day of the year. The plan is to tempt the couple into ruining their marriage and show them that their morals are what keep them unhappy, so they will give up everything they believe in. There is also a hilarious and dedicated performance by Pierre Epstein as neighbor Moyshe Mekheles, who eventually gets taken in with the whole meshugas. Epstein and Toren in particular perform in such a classic Yiddish style that is refreshing to see. I personally always cringe when I see performers try to do Yiddish style and they can't pronounce the "ch" in challah or don't get the singsong manner of speaking just right. These two are top notch.

This play is so deep in its knowledge of Yiddishkeit (the Jewish essence and way of life) that I was not surprised to read of Mr. Altman's former position as the associate artistic director of the National Yiddish Theatre: Folksbiene, nor that he is a former Talmudic scholar and a native Yiddish speaker. The dialogue is hilarious: Lines such as, "If my bubby had wheels, she'd be a wagon." Or, when discussing tearing down Royze's parents' shack, Royze says, "You know, it's all I have left of my saintly parents!" Nosn replies, "Now they're saints�" Royze says, "You'd speak ill of the dead? They were saints." Nosn declares, "It's easy to be a saint when you're so poor. What other choice is there?"

The play runs 2 hours and 20 minutes, which feels too long for this kind of piece. This is basically a parable, and while the ending did not suit my taste nor did I feel I learned anything from the way things were tied up in the final moments, still this sort of story should feel more like a fairy tale or a lesson. There was definitely room for some editing in the script, clever as it was.

Presented by Tish and Benk Productions
Baruch Performing Arts Center's Rose Nagelberg Theatre
55 Lexington Avenue
www.ovationtix.com or by phone at (212) 352-3101
Runs through April 11
Running time: Two Hours and 20 Minutes, Including Intermission

Jessiee Datino, Grant James Varjas, Sarah Grace Wilson
Photo by Aaron Epstein

#

"Good Ol' Girls"

Reviewed by Lisa Ferber

Good Ol' Girls is a warm, spirited and joyful show celebrating life with all its occasional hardships included. This is a musical revue written and adapted by Paul Ferguson, based on the stories of Lee Smith and Jill McCorkle, conceived by Matraca Berg, with songs by Berg and Marshall Chapman. It stars -- and I do mean stars -- Lauren Kennedy, Sally Mayes, Teri Ralston, Gina Stewart, and Liza Vann.

The women in this show invite us into their lives as they sing humorous songs such as "Down to My Last Guardian Angel," the bluesy "Booze in Your Blood," and the fun and sexy "Back in the Saddle." Occasional serious tunes fare just as well, such as "Happy Childhood" and "Back When We Were Beautiful." Chapman and Berg boast some fancy credits: Chapman has written for artists including Jimmy Buffett, Emmylou Harris, and Joe Cocker. Berg has created works for Patty Loveless, Martina McBride, The Dixie Chicks and more. These women write songs that speak truths, interspersed with dialogue that is funny, honest, and sassy. For example: "Books that affected me when I was little: Little Women, especially the part where Beth dies. Gone With the Wind, especially when Melanie dies. I long hoped for a slowly debilitating disease to test my mettle." And this: "The truth is, a person can live anything down. Look at me, I used to be a scandal. But now, I'm an institution." Plus this one that got a huge laugh, including my own: "Not that I don't value my life, because I do, but sometimes I wish I could spread it all onto a piece of paper and take some whiteout to it." And, one more, "Momma always said, 'Talk real sweet and you can get whatever you want.' This is true. But it doesn't hurt to have a nice bust either."

The couple serious scenes about growing old, one of them in a nursing home and one of them involving a hair and makeup artist doing her deceased mother's styling, led me to tears. I wasn't expecting it, and I appreciated the writers and performers for bringing the show to that place.

Lyrics for the songs include bluesy stuff such as "It's two o'clock in the morning/the band is slowing down/let me throw back, throw back this round�.I've got a double date with the blues." And, "Well, you got a lot of talent and a whole lot of love/but you're as mean as a snake when you got the booze in your blood." Also, "I want somebody with some backbone/I mean a man with a plan and a place of his own."

These are very talented women. In particular to the sparkling Teri Ralston who communicates these songs, in a beautiful voice, as though the audience is her family. Ralston's confidence and the subtle smile she maintains throughout bring a personal quality to her performance that enrich each moment.

Good Ol' Girls is a crowd pleasing, energetic, laugh and tear inducing good ol' time.

Presented by White Sand Entertainment
The Black Box Theatre at the Harold and Miriam Steinberg Center for Theatre
111 West 46th Street
www.theatermania.com or (212) 352-3101
For additional information, visit www.goodolgirls.com
Runs through April 11, 2010
90 minutes

#

"DO NOT GO GENTLE"

Reviewed by Lisa Ferber

�In my craft or sullen art
Exercised in the still night
When only the moon rages
And the lovers lie abed
With all their griefs in their arms
I labour by singing light�

So begins Do Not Go Gentle, a very well written and very well performed monologue about the life of poet Dylan Thomas. Thomas, played by the gifted Geraint Wyn Davies, is in purgatory and reflecting on the reasons he ended up there.

Purgatory for the poet, who struggled with alcohol and other challenges, is set on a stage involving a solid wood desk and three bottles of whiskey.

Dylan Thomas, born in 1914, was a celebrity poet, incomparable to the fame of any poets in today�s time. His first volume of writing, 18 Poems, was published in 1934 when Thomas was just 20, and brought him sudden fame. Around this time, Thomas began abusing alcohol. He married his sweetheart, dancer Caitlin Macnamara, and the two reportedly had a tumultuous relationship with many affairs on Thomas�s side. Thomas was both poet and performer, and known for reading his work with force and passion. He died in 1953 after collapsing at the Chelsea Hotel in New York after a long night of drinking at the White Horse Tavern.

It might be expected that a one man show about such a figure could become heavy handed, yet both script and performer manage to keep the show light enough to be thoroughly pleasant, even while making it clear that the poet suffered many demons. After Thomas recites the text of �In My Craft or Sullen Art,� he tells the audience, �Some time after I wrote that...I died.�

He continues, �I thought I spoke it rather well, though. That has been an advantage, always. To speak well....If you�re a bad poet, learn to act. And of course, if you�re a bad actor, learn to be a poet.�

Thomas starts drinking the scotch and tells us, �This stuff�s a killer, you know. I beg your pardon, one may kill oneself with this stuff.�

There is humor throughout this masterful script, even though the poetry and life of Dylan Thomas were not particularly humorous. One of the great things about being a reviewer is that when I see a show with a particularly fine script, I can request to see it in order to quote accurately. The more I read author Leon Pownall�s writing, the more it feels like poetry itself. Sentences flow freely into each other, which, combined with Davies� easy and natural performance, made this show feel like listening to your most interesting friend speak instead of a documentary or forced biography: �Oh when I was a young man...When I walked down the streets of London in my terribly early, terribly eyes-straight-ahead and hand-in-pocket days, when a youth�s peripheral vision scanned, arrogantly and historically, 360 days of sheer electric audacity, I heard them say: �There�s that writer...What�s his name?��

We are treated to readings of Thomas�s own writing here, such as �Fern Hill,� �A Child�s Christmas in Wales,� �Do Not Go Gentle Into That Good Night,� and more. Thomas also speaks of his rivalry with William Shakespeare, �I bet I could drink the son of a bitch under the table. Probably sipped sweet sherry with his pinky in the air. Precious little English bastard!�

Thomas confesses what a hit he was with the ladies, due to his being a sensitive poet, and how he took advantage of them. He delivers this with an unapologetic degree of self pity, very much an �aren�t I a pathetic and lucky fellow� attitude. He says, �The matrons of America housed me and aroused me, fed me and led me...I could calm their hysteria with the passing of my wind, change their collective mind by leaving open my fly, call them to my love in the honey of my words.�

This is the story of a tortured and self-destructive man, yet it is written and performed in such a way as to make it an easy and enjoyable piece of theater.

DO NOT GO GENTLE
Presented by MRK Productions, LLC
The Clurman Theatre
410 West 42nd Street
www.ticketcentral.com or (212) 279-4200
For additional information, visit www.do-not-go-gentle.com
Runs through January 10, 2010
Running time: 90 minutes including one intermission

#

"RED SEA FISH"

Reviewed by Lisa Ferber

Red Sea Fish is the newest offering from playwright Matt Wilkinson, directed by Wilkinson and Franklyn McCabe, as part of the Brits Off Broadway festival. It is an intense and almost claustrophobic drama about two people who are trapped, and one who is lost, and what happens when they come together.

Ray (Tim Blissett), a former crook, has a rare skin condition preventing him from going out in daylight, and is cared for by his adult live-in son, Terry (Matthew Houghton), who is a small-time crook. These are not happy people. The play opens with Ray yelling while his face is coated in thick white cream, �Tell you what I�m gonna do. I�m gonna sit down in a minute. You hear that? I said I�m gonna sit down.� From the get go the dialogue is terse, strange, and to the point. When Terry asks him to repeat himself, he says, �I�m gonna park my arse in that chair, have a f*****� nice relax�� This quickly turns into an argument with his son, who reminds him not to move because his face cream will crack.

The feeling of being stuck is evident from the start. Ray can�t go out in the light because of his skin and Terry can�t have lady friends because he lives with his dad. The one time he does have a girl over he is awkward and shy, played very well by Houghton who finds ways to hold his face to convey subtle emotions. So these two men are stuck with each other and it�s hard to know whether there�s any actual familial love involved or just resentment.

When Terry tells Ray he�d like to have a girl over, Ray teases him in a way that is infantlizing and emasculating. The girl in question is Karen (Janna Fox), a runaway who is a friend bordering on becoming more than a friend. Karen has a world-weary rockstar swagger combined with the wide eyes of youth. She tries to make things romantic with Terry, but it doesn�t take off. After she toasts a drink, Terry says, �It�s just�my dad�he�s quite funny about things. I mean there�s nothing wrong�� This scene offered some of the rare comedy found in Red Sea Fish, with Karen saying, to fill the awkwardness, �These ice cubes are quality. How do you get such good ones? Me nan�s are always melting, man. Not like proper ones, in bars of clubs. Your ice cubes are like them. Hold together. Satisfying.�

Ray shows up and starts flirting with Karen, asking her what color her eyes are and remarking on how fit she must be. This evolves into some kind of affair, with Ray impressing Karen with his criminal exploits.

The thing about this piece is that while it�s interesting enough to watch, nothing actually seems to change. There is a lot of talk, a lot of misery, but basically no hope for these characters. I would have preferred some greater dramatic arc, but appreciated the fine and intense performances of the cast throughout the duration of the show.

Red Sea Fish
Presented by Two Bins, Brighton
Brits Off Broadway Festival
59E59 Theaters
59 East 59th Street
www.ticketcentral.com and 212-279-4200
Runs through November 22
Running time: 2 hours 10 minutes including one intermission

"Good Bobby"

Reviewed by Lisa Ferber

This glance into the life of Robert F Kennedy might not satisfy the quest for a traditional evening of theater complete with storyline, climax and resolution, however it is a well made and smart look inside what it was like to be a C student born into America�s famous Kennedy family. It covers RFK�s life from his early to his late 30s, including his relationship with his parents and the important men who came into his office.

Robert F Kennedy was an adviser to brother John F Kennedy during the latter�s presidency, and then served as US Attorney General, from 1961-1964. He resigned to seek a US Senate seat, which he landed in November 1964. He sought the US presidency, and shortly after delivering his June 5 speech celebrating his victory over Eugene McCarthy in the California primaries, he was shot by Sirhan Sirhan, and died on June 6.

This is a ten-character play with every performance elegant. It�s actually hard to even think of standout performances but one must bring special notice to Dan Lauria as Jimmy Hoffa, radiating a palpable confidence and swagger my companion and I could not help but comment on as �scene-stealing,� and Brian Lee Franklin, the author and the actor in the title role.

The show is much more a character study than a story-driven play, and really focuses on the ambivalence of a man thrust into public limelight and responsibility. This is clearly a labor of love. To start with, Franklin bears a pretty striking physical resemblance to RFK, and his impression of RFK�s speech pattern with the soft almost-stutter and the particular cadence of his style is terrific. There is also a distinct nonchalance about the way Franklin portrays Mr. Kennedy, conveying that blas� manner often found in the offspring of a family where the basic means of existence are more than guaranteed. At one point in the show RFK says, �I was a C student. I am an average man, and I�m okay with that. It�s the other people who aren�t.�

There is a moment where RFK is with his mom, Rose Kennedy (Lisa Richards), where he leans in and says to her, �Rub my head.� Sweet and natural, it underlines the overall respect for family that the Kennedys clearly valued. There is another bit where RFK�s dad, Joe (Steve Mendillo) sees an attractive woman and says, �If I were just 20 years younger,� only to hear his son reply, �If you were 20 years younger, you�d still be married to mom.�

Naila Aladdin Sanders� costumes are perfectly of the period, down to the sweater guards, and very flattering to the two stylishly dressed women, Rose Kennedy and Angie Novello, RFK�s personal secretary (Sile Bermingham). The men are dressed elegantly as befitting their status in the political world they inhabit.

All in all, while the show does not provide the standard amount of tension one might wish for in a piece of theater, it is an interesting look inside the mind of a man thrust into a position of great power and responsibility, whether he would have chosen that position or not.

Good Bobby
Presented by Greenway Arts Alliance
59E59 Theaters
59 East 59th Street
www.ticketcentral.com and 212-279-4200
Runs through November 8
Running time: 2 hours 30 minutes including one intermission

"Still Life"

Reviewed by Lisa Ferber

Still Life, written by Alexander Denelaris, is a well-written piece of theater balancing comedy and tragedy. It is directed by film and theater director Will Frears in a quick, low-key style that makes the characters seem like real life friends. The premise, made clear from the start, is that eventually we all pass away.

The central relationship in Still Life is between independent and spirited photographer Carrie Ann (Sarah Paulson, communicating the character as fun, strong, and vulnerable), and a trend analyst named Jeff (Frederick Weller), who has never fallen for a woman the way he has fallen for the challenging Carrie Ann. The thing is, Carrie Ann is going through her own internal crisis, and Jeff has just found out he might be seriously ill.

The play opens with Joanne (Adriane Lenox) introducing Carrie Ann to a group of students, and Carrie Ann losing her composure in front of them. She interrupts her own speech to gaze at the students and mutter, �You are all so fucking young.� She then babbles some more, and finally states in an accepting and casual tone, �We are all going to die.�

Shortly thereafter, we meet Jeff and his sleazy friend Terry (excellently played by Matthew Rauch) whose conversation includes: �We all want to live, we just need permission, because we all know the truth.� �Which is?� �We are all going to die.�

We learn that Carrie Ann�s dad just died, and that it was not exactly a peaceful relationship. Something that could have been explored further was the inherent competition between them. Joanne, who dated Carrie Ann�s dad and is responsible for Carrie Ann being discovered as a photographer, tells Carrie Ann that her dad was not a great photographer, but she is and she needs to know that. One might wonder if Carrie Ann actually knew that growing up and if it affected who she is now, or why that was important enough to have been mentioned.

Terry, the slimy friend whose evil only seems more serious later in the play, delivers a memorably funny scene in which he tries to convince a local girl to come home with him. I have to say this was one of the absolute most humorous moments in the show, due to Rauch�s relentless performance and the combination of truth and ridiculousness of his case.

The ending of the piece is not a given from the start, because of how well the whole thing is done. There is thought here about when it�s good to fight and when it�s right to just give in. And the surprise choices a person can make.

I also have to give special mention to the lighting design by David Weiner. Though natural and unobtrusive through most of the play, as it should be, there is one scene here in which the lighting is dazzling. There is a point at which Weiner�s lighting is done in just such a way as to communicate eternity and renewal and peace, and in doing so it is perfect.

Still Life
Lucille Lortel Theatre
121 Christopher Street
Tickets: (212) 279-4200 or www.mcctheater.org
Presented by MCC Theater
Running Time: Two Hours including intermission
Closes: November 1, 2009

(l-r) Frederick Weller and Sarah Paulson in a scene from MCC Theater�s Still Life

(l-r) Matthew Rauch and Halley Feiffer in a scene from MCC Theater�s Still Life

(l-r) Kelly McAndrew, Sarah Paulson, Frederick Weller and Ian Kahn in a scene from MCC Theater�s Still Life

(l-r) Sarah Paulson and Frederick Weller in a scene from MCC Theater�s Still Life

(l-r) Frederick Weller and Matthew Rauch in a scene from MCC Theater�s Still Life

All photos � 2009 Robert J. Saferstein

#

"His Greatness"

Reviewed by Lisa Ferber

His Greatness is a �potentially true story� about three days in a hotel room with a playwright implied to be Tennessee Williams, as well as his trusted assistant, and a young street hustler.

The character known as The Playwright (Peter Goldfarb) comes to Vancouver for the opening of his production. He is aided by The Assistant (Dan Domingues), who maintains an air of bemusement throughout, until later in the story when his patience has been tested too much. Domingues, who was terrific in this past season�s Night Sky, gives a well timed and snappy performance. The Assistant administers The Playwright�s medicine and takes care of him in various ways, including supplying a male prostitute (played by Michael Bussilo) who is told he might be asked to read the Bible to the playwright at some point during the evening.

After a short and tender opening speech by The Playwright, we join him and The Assistant in the bedroom where clever dialogue abounds. When The Assistant mentions fellow playwright Arthur Miller, The Playwright asks, �Is that sonofabitch still alive? I mean, really, that play about the witches�too easy!� The Playwright refers to the hotel�s decorations by asking, �Does this bed make me look fat?� When The Playwright and The Assistant are discussing The Playwright�s plays, The Playwright inquires, �What would you fix?� and receives the answer, �A few more happy endings.�

On this particular night, The Young Man is a flirtatious, arrogant drifter who is lacking in education but bursting with enthusiasm. He makes a pass at The Assistant, who turns him down. After the trio has gone out to see the play and have returned to the hotel room, the now drunk Assistant returns the pass, only to get rejected by The Young Man. The Young Man has clearly realized he has more to gain by starting a loyal relationship with the successful and depressed playwright than by being available to both men.

His Greatness touches on a theme often present in Williams�s plays, the value of youthful beauty and the tragedy of being past one�s prime. Here, The Playwright is willing to pay for evenings with rough trade and then stare at The Young Man and tell him how beautiful he is, to the point where The Young Man is told he has become The Playwright�s muse. In this case, The Young Man is a wannabe actor who starts out wanting to do pornographic films. After meeting The Playwright he is offered stage acting roles and decides perhaps theater will be his career�reminiscent of the story in Williams�s Sweet Bird of Youth, where a drifter keeps time with a faded movie star in the hopes that she will help his career.

What follows is a relationship between The Young Man and The Playwright that pushes The Assistant too far. The viewer can get the impression this is not the first time it has happened, rather that the dependence and almost marital squabbling between the two are what keep them together. When it looks as though The Assistant might be gone for good, it seems a strong possibility that he may in fact come back and continue to get frustrated with The Playwright for as long as they have together.

All in all, fine performances, though I would have enjoyed watching the dynamics go even further. There is a triangle here, with one sexual relationship and one thwarted sexual relationship, and then one relationship that is not sexual but possibly even more intimate. I think more dramatic possibility might have been found, though the play is a terrific piece as is.

His Greatness
Presented by Adam Blanshay and Lyric Productions, in association with The Present Company
Cherry Lane Theatre
38 Commerce Street
www.fringenyc.org or by phone at 866-468-7619
Runs through August 29
Running time: 1 hour 30 minutes plus 10 minute intermission

(l-r) Dan Domingues as The Assistant; Peter Goldfarb as The Playwright; and Michael Busillo as the Young Man in the U.S. premiere of Daniel MacIvor's HIS GREATNESS as part of the 13th Annual New York International Fringe Festival at the Cherry Lane Theatre (38 Commerce Street).
Photo Credit: Neilson Barnard

#

"UPCOMING POINT SUITE ART BALL CELEBRATES BLOSSOMING NEW ARTISTS"

Reviewed by Lisa Ferber

Active Ideas Productions' Point Suite Art Ball September 24th promises to be among New York City's exciting events of the season.

Point Suite Art Ball is a fundraiser geared toward publishing the Point Suite Art Book, a compilation showcasing the work of 40 on-the-rise artists. The evening includes an open bar, passed hors d'oeuvres, a silent auction, gift bags for all guests, and an exclusive afterparty. The guest list is a who's who of New York City's hottest trendsetters, including Ms. Connor, whose art and flair for fashion has been featured in the New York Times, Women's Wear Daily, Guest of a Guest, New York Social Diary, New York Cool, and on New York Insider TV.

Connor, who supports herself through her own artwork, states: "Rather than viewing this project as a manifesto for a new generation, I see it as a platform for new perspectives to be presented." She adds, "I think in general artists are very self-reliant. Only hard work, time, and dedication to a vision can bring my paintings to life. So setting up the book to work that way was a natural step for me."

The ball, geared toward raising the funding to cover the printing cost of the book, takes place at 7 p.m. on September 24, 2009, in the Studio 450 Penthouse, located at 450 West 31st Street. At the stroke of midnight guests will leave the posh surroundings to head downtown and dance at Mr. West where the exclusive post gala afterparty will be held.

Apart from Mr. West and Active Ideas Productions, corporate sponsors for the night include Fractured Atlas, ALS Designs, and many more. A smattering of jewels will be on display in the silent auction with beautiful creations by sponsors Kara Ackerman, Tarra Rosenbaum, Jessica Fields, and Astary. The night of the event, Ms. Connor will be wearing a gold and diamond necklace from Astary's Cleopatra collection.

Active Ideas Productions was founded by Connor to serve the artistic community by facilitating the presence of emerging artists and educating the public about their work.
The Point Suite title arose from a brainstorming session with Connor's partner and fellow artist, Nick Papadakis. Connor says, "I like words that when read suggest one thing but when heard out loud imply another. I thought 'suite' was great as it gives the viewers a location to go to in their imagination while simultaneously playing off the sincerity of this idealistic artist-run project."

Connor selected all the artists in the book on an invitation basis and was guided to them by the combination of an advisory panel, curatorial team, artists suggestions, and by seeking out new artists individually during her travels abroad.

The decision to self publish the book was made so that AI Productions could maintain creative control of the project. Funds for the project are raised by a combination of efforts including donations through Fractured Atlas, the fiscal sponsor for the book project, and in part by Connor's own paintings sales.

She equates starting a business with learning a new art medium. She asserts that when the Point Suite project was first conceived, she was simply an artist with an idea: "But I had recently read the T.S. Elliot quote: 'Only those who will risk going too far can possibly find out how far one can go.' I was inspired by this notion, and thus I began the long journey of educating myself on how I could turn this idea into a reality."

While it is very well understood that the art industry faces challenges during these economic times, Connor also knows that devoted artists operate with a need to create no matter what the situation. She explains that artists in general believe in a future audience and the knowledge that some day their ideas will have impact. "Maybe it is good that we are putting a little beauty out there when everyone else is seeing only darkness. After all, isn't it the artist's job to light the path and highlight a new perspective?"

When asked what she hopes her guests come away with at the end of the September 24th event, she says, "A fabulous New York night and the feeling that they had a very real impact in helping a group of young artist actualize a big idea."

With Patrick McMullan, Fame Game, Charity Happenings, and the New York Insider already agreeing to cover the red carpet, this will be a night for all guests to put a little beauty out there and let their stars shine bright.

Purchase tickets at: pointsuiteartball.eventbrite.com/

To donate directly to the Point Suite Art Book go to:
www.fracturedatlas.org/donate/883
When making an online donation, please make sure Point Suite is checked in the Behalf of listing.

For a full list of artists featured in the book please visit www.pointsuiteartbook.com or go to www.aiproductions.org for more details about the ball and the benefits.

"NIGHT SKY"

Reviewed by Lisa Ferber

Night Sky, written by Susan Yankowitz, is a well-intentioned effort that could benefit from going deeper into its subject. It tells the story of a smart, determined, happily married astronomer, played by the excellent Jordan Baker, who gets hit by a car and suffers a bout with aphasia. This disease attacks the left side of the brain, impairing a person's ability to access their language skills properly, resulting in slurred speech, choosing the wrong word, and leaving out articles such as "the" and various other words.

Something about the piece felt distanced. On the one hand, there were philosophical moments, due in part to interjections made by Tuck Mulligan, who also played Ana's friend Bill. A sweet touch is that Mulligan wears ties displaying the solar system on them when he is giving these speeches. We were encouraged to wonder how a person with aphasia processes things, if they don't have words. Bill asks Ana's husband Daniel (Jim Stanek), "Can she think? Without words, does she think in pictures? You think in music, maybe she thinks in star charts." We also witness Ana's frustration as she struggles to communicate, and her attempt to return to daily living and provide counsel to her adorably restless teenage daughter Jennifer (Lauren Ashley Carter) about boy-stuff.

The thing is, the piece does not seem to give enough information as to what the general prognosis is in this situation, nor whether Ana fully recovers. The play was commissioned by Joseph Chaikin, founder of the Open Theatre, who fell victim to aphasia after a stroke. Chaikin recovered enough to continue writing, directing, and performing, but in Night Sky we are not left knowing if Ana has reached the final stage in her recovery, or if there is more to come.

The piece does a fine job of showing the effects of the disease on the people around Ana. It almost destroys her marriage, and her daughter feels embarrassed of and frustrated with her mom, who she needs during this adolescent time in her life. It is unclear how long Ana has spent in the hospital and why the decision was made that she is ok to come home. When she returns home after having received speech therapy, her husband prepares a romantic evening for them and says, "We'll be fine, nothing has changed," to which she replies, in slurred words, chosen with clear difficulty, "Big changes. Like earth cakes. Disaster." When Jennifer comes in to announce, "I got an 87 on my test, Mom! An 87!" Ana replies, "Whoa! Elevator!"

I would have liked to see a clearer cut ending, where I could get a sense of how much recovery is ultimately possible and how a person with the disease might look back and describe what the earlier stages were like for them, once they have recovered a certain amount of their facilities.

Night Sky
Presented by Stan Raiff/Power Productions in association with the National Aphasia Association
Baruch Performing Arts Center
55 Lexington Avenue
www.nightskytheplay.com and 212-352-3010
Runs through June 20
Running time: 2 hours 10 minutes including intermission

#

"FIFTH OF JULY"

Reviewed by Lisa Ferber

T. Schreiber Studio Company's Revival of Lanford Wilson's 1977 play Fifth of July is a well done piece of theater. With Peter Jensen's smooth, natural direction the audience watches the first play in Wilson's Talley trilogy as though we are there in the family's home as opposed to observing them on a stage.

The play focuses on characters dealing with the effects of the Vietnam War and their own personal disappointments with the way the world is going. Now, the piece definitely feels of its time, and not just because of the smartly placed details like a bottle of Tab and a Seventies-style slim orange desk lamp on a set (designed by Matt Brogan) featuring wicker and wood panels. The feeling of national letdown demonstrated here smacks of a different flavor from today's pieces about frustration with the Iraq war�one more tragic, more grand, and distinctly more linked to crushed dreams.

The story revolves around Ken (David Villalobos), a paraplegic Vietnam vet, who lives with his boyfriend Jed (Edward Campbell) in rural Missouri. Ken is trying to renew his life as a teacher in the small town of Lebanon, but feels tempted to sell the family home and start fresh. Meanwhile, his colorful family descends upon the home, including his aunt Sally (Lucy Avery Brooke), who has been carrying around her late husband's ashes in a candy box for a full year and has come here to scatter them. As in so many pieces of this structure, Ken and Jed are the most low-key of the bunch, with the visitors provided the eccentricity.

The overall feeling of this play is about the group dynamics and the personal dreams and struggles of the characters; the plot itself is not particularly fast moving. Standout lines include the moment precocious pre-adolescent Shirley (a very talented Lily DePaula), who prances around in a long theatrical gown and wearing a sparkling feathered flapper headband, declares to the sullen group, "I have just seen something that will warp my young mind forever, and all you can think of is death and ashes." Also, when Shirley announces proudly, "I am going to be an artist, and an artist has no age and must force themselves to see everything, no matter how disgusting and how low."

Ken's sister June (Ellen Reilly), a solid character who seems the most fallen from the way the country has turned out, observes, "Men and women aren't strong enough to have children. Trees should have children."

Jamie Neumann provides a stellar performance as Gwen, using every aspect of her physicality to keep things interesting. Neumann is constantly moving, either a subtle smile or a shake of the hips or a turn of a knee, and she brings a full dedication to this role as the high-spirited, capricious, and lost rich girl. Gwen delivers one of the smartest lines in the play: "You really don't tell someone that they aren't what they think they are. What's the profit." The role of Gwen was previously played by Parker Posey, so one can imagine that sort of callousness mixed with vulnerability. The character's depth gets balanced out by this remark, uttered only moments later: "I couldn't march, because I never had a pair of shoes that were really comfortable."

There is a particularly charming scene where Shirley discusses with Jed what kind of flower she will be. In every possible way, Shirley is excited and serious about this decision. And Jed lets her know, with a bemused playfulness, that ultimately her choice is very important to the whole family.

Fifth of July
Presented by T. Schreiber Studio
151 West 26th Street
www.ovationtix.com and 866-811-4111
Runs through June 21
Running time: 2 hours 30 minutes including intermission

#

"ANDREA MARCOVICCI 60TH BIRTHDAY CONCERT"

Reviewed by Lisa Ferber

Andrea Marcovicci's 60th Birthday Concert on May 16, 2009, at Town Hall was an event to remember. Ms. Marcovicci entered wearing a sparkling gown and greeting her excited audience with the line, "Well it can't be a funeral, I'm standing here," and then filled the room with an evening of cabaret at its finest, including performances by special guests.

Ms. Marcovicci, known as the Queen of Cabaret, treated the audience to a variety of inspiring quotes on age. From French actress Jeanne Moreau, "Age does not protect us from love, but love protects us from age." From Agatha Christie, "We should all marry archaeologists so our husbands will become more interested in us as we grow older." And from Ralph Waldo Emerson, "The most beautiful music is played on the oldest of fiddles." She also informed the audience, "In the movie of my life, you all get up and dance."

What followed was an evening of music in an elegant cabaret style, with the dramatic acting and finely tuned vocals that make Ms. Marcovicci a star. Pieces in the first half included a variety of classics: Rodgers and Hart's "Everything I've Got Belongs to You," Irving Berlin's "Say It Isn't So," and Cole Porter's "Let's Not Talk About Love." She also gave the audience to a triple-song performance by her mother, Helen Marcovicci, who was celebrating her 90th birthday. Andrea introduced her mother by saying, "My mother was a torch singer in the '40s. She gave it up to raise my brother and myself. But that didn't prevent her from singing miserably sad songs around the house." Helen, with her rich alto voice, sang Norton and Burnett's "Melancholy Baby," Cole Porter's "In the Still of the Night," and "I'm Glad I'm Not Young Anymore." After Helen's first song, an audience member called out, "Helen rocks!" to which Helen dryly replied, after a perfectly timed pause, "Hardly."

The show's second half involved performances by songwriters of today, including the adorably funny Christine Lavin, who sang "It's a Good Thing He Can't Read My Mind," as well as Julie Gold's heartfelt "Goodnight New York" and Babbie Green's sweet "At the Pound."

Ms. Marcovicci remained majestic and vibrant for the almost 3-hour performance, and I look forward to attending her 70th birthday party as well.

Presented by The Town Hall
The Town Hall
123 West 43rd Street
Closed, One Night Only
Running time: 2 hours 45 minutes, including intermission

#

"THE ALGONQUIN SALON"

Reviewed by Lisa Ferber

The Algonquin Salon, a weekly musical event hosted and created by Mark Janas and produced by Peter Napolitano, is keeping the hotel's legendary creative history alive and blooming.

Every Sunday evening from 7 till approximately 10pm, performers come out to the lobby of the hotel famous for hosting the literary wits of the Round Table from 1919 till roughly 1929. Dorothy Parker, Robert Benchley, Edna Ferber and a host of other notables gathered here for their luncheons. Now, the crowd gathered includes veteran Broadway stars, and absolute newcomers.

The Salon, with varying co-hosts weekly, is such a hit that it was just nominated for a MAC Award, the honor given by the Manhattan Association of Cabarets and Clubs, to be presented May 18. The event is nominated for Best Open Mic, with Janas and Napolitano themselves nominated for Best Song, "Come Home," performed by MAC nominee for female vocalist Julie Reyburn (who dazzled the crowd the night I was there).

Napolitano explained the show's organic beginning and return to the Algonquin. "It all began in 2005. This is very much Mark's vision, he created it and has kept it going and it's a lot of fun working with him on it. Mark was the musical director of� Talk of the Town, produced in the Algonquin's Oak Room. After the show, Mark and the cast members would hang out in the lobby, and one night Mark played the entire 'Rhapsody in Blue' on the grand piano. People in the lobby burst into applause, and cast members started getting up and singing, it was all very impromptu." When Talk of the Town closed, Janas and pals took their show to the Paris Commune in the West Village for a year and a half. Then Napolitano and Janas met through the BMI Lehman Engel Musical Theatre Workshop when seeking musical writing partners. "We started looking for a different venue for the show, and we contacted the Algonquin, and worked things out by March of 2008."�

The show has optional themes, such as "Sex, Drugs, and Rock and Roll," "Merry Solstice," and "Classically Classy," so it's not just musical theater. The night I went the theme was "Frank and Frank," offering a bevy of Sinatra and Loesser, with some original tunes as well.

Veteran performer and lyricist Bobbie Horowitz was one of the vocalists on the night I checked out the show. She performed her song "Entourage," with lyrics by Ms. Horowitz and Sharon Spector, and music by Judith Richman Sanger. Says Horowitz, "I enjoy just being at the Salon in the Algonquin. It's magical. Being in that lobby brings me back to my childhood and going to the Algonquin with my Dad and Mom. Surely, I want to get my songs out there to talented performers, but even if I were just in the audience I'd love being there. At the Salon I also get to hear and to befriend incredible talent. I love that everyone roots for everyone. It's an ideal situation. The participants and originators are the kindest, most talented people one could want to meet."

While technically the show is an open mic, the crowd here definitely includes big names as well. Says Napolitano, "We've had Sarah Rice, the original Johanna in Sweeney Todd with Angela Lansbury. We've had Janice Hall from the NYC Opera."

And of course there are the surprise newcomers. "A lot of people staying at the hotel just walk in and say, can I come and sing? We had a 15-year-old girl who was visiting from Minnesota. She had not sung in public except in high school. She didn't have her music but she knew 'Someone Like You,' from Jekyll and Hyde, and she asks Mark if she can sing it." Janas agreed. Says Napolitano, "And she sang at the Algonquin Hotel at age 15 and got a standing ovation."

Napolitano explains, "You're in a living room setting so there is an impromptu thing that happens. It's very much a part of the charm of the place.� The Algonquin has a wonderful tradition and we are really continuing it into the 21^st century."

Performers are given a 4-minute time limit on their piece and the only rule is no profanity. There is no drink minimum and no cover.

For updates on weekly themes and cohosts, interested parties can sign up for the newsletter: algonquinsalon@aol.com �