Theater Online: This Is Who I Am

I was not planning to review this, but I fear that the rather negative review in the New York Times might prevent you from enjoying a worthwhile experience. This two-character play by Amir Nizar Zuabi is a hybrid — what you are watching online at a specific time is an actual live performance. The two characters are a father (Ramsey Faragallah) in Ramallah and a son (Yousof Sultan) in New York City who are on a video call trying to recreate the recipe for fteer, a triangular pastry filled with vegetables and spices, that was a specialty of their late wife and mother. Since they both have been unsuccessful in their separate attempts, they think that they might get it right if they combine forces. The format of a video call is the perfect setup for a 70-minute conversation, deeply moving at times, that reveals deep fractures in their relationship, misunderstandings that have divided them, as well as the trauma of living under occupation. Both actors are excellent and the direction by Evren Okcikin is smooth. I am not sure why it took five theater companies — PlayCo and Woolly Mammoth Theatre Company in association with American Repertory Theater, Guthrie Theater and Oregon Shakespeare Festival — to produce it, but the result is very satisfying. The fteer looked delicious too. 

 For tickets, go to woollymammoth.net. Runs through January 3.

Theater News: 100th Anniversary of "The Dybbuk"

I am sharing this press release which I hope may be of interest: Dear Colleague:   This month marks the 100th anniversary of THE DYBBUK, the world’s most famous Jewish play, by S. Ansky. The Congress for Jewish Culture is celebrating this historically significant milestone with a virtual presentation of the play featuring an all-star international cast including Los Angeles-based Mike Burstyn (Barnum, The Rothschilds, Shane Baker (New York), Mendy Cahan (Tel Aviv), Refoyel Goldwasser (Buenos Aires), Daniel Kahn (Berlin), Amitai Kedar (Tel Aviv), Yelena Shmulenson (New York), Suzanne Toren (New York), and Michael Wex (Toronto). Under the direction of Allen Lewis Rickman, who also provides English narration, the online production of THE DYBBUK will premiere this evening (Monday) at 7 p.m. EST on the Congress for Jewish Culture’s YouTube channel. The production will remain on YouTube indefinitely. It will be performed in Yiddish featuring English subtitles, with a script adapted by Allen Lewis Rickman (from an adaptation by Dina Halperin, who appeared in the 1937 film version). The link, for your consideration, is www.youtube.com/channel/UCImhbhZ0JyMyEG1_KPnOXYQ.   Playwright S. Ansky wrote THE DYBBUK from late 1913 through 1915 in Russian and it was later translated into Yiddish by Ansky himself. The play had its world premiere in that language, performed by the Vilna Troupe in Warsaw on December 9, 1920, 30 days after the playwright’s death. Legendary impresario Max Reinhardt, upon seeing the Vilna production, famously declared “This is not a play, this is a religious rite!”   THE DYBBUK was subsequently translated into over 25 languages and performed thousands of times all over the world. On September 1, 1921, the play had its American premiere at the grand opening of Maurice Schwartz’ Yiddish Art Theatre in New York, starring Schwartz and Celia Adler. The play was an important artistic and commercial hit. Along with numerous Broadway productions, the film adaptation of THE DYBBUK was released in 1937 directed by Michał Waszyński. It is still being produced in countless adaptations, as well as operas, ballets and symphonic suites. The play is considered the jewel of the Jewish theatre.    Based on years of research by S. Ansky, who traveled between Jewish shtetls in Russia and Ukraine, documenting folk beliefs and stories of the Hassidic Jews, THE DYBBUK relates the story of a young bride possessed by a dybbuk – a malicious possessing spirit, believed to be the dislocated soul of a dead person – on the eve of her wedding.   This virtual presentation serves as a particularly personal way to honor THE DYBBUK as two members of the company had close relationships with notable figures from the play’s initial premieres. As a young teen, Mike Burstyn appeared in three plays with Maurice Schwartz and the two families became lifelong friends. Shane Baker’s mentor, Luba Kadison, had a small role in the original production and she went on to star as Leah, a role she would reprise throughout her years onstage. Her father Leib Kadison founded the Vilna Troupe during World War I.   Best regards,   Jim Randolph     Jim Randolph Media Relations

Meet Me in St. Louis: A Holiday Special in Song and on Screen

A-

Just in time for the holidays, Irish Repertory Theatre brings us this delightful treat. It's an abridged online version of the 1989 Broadway musical based on the beloved 1944 Judy Garland film. Through the magic of technology, the actors, each filmed in a different location, have their performances blended together into the production so skillfully that, except for a couple of awkward moments during the ball scene, it is easy to forget that they are not actually performing together. Director Charlotte Moore has done an amazing joy of supporting the illusion. The musical itself, with songs by Hugh Martin and Ralph Blaine and a book by Hugh Wheeler, is a modest affair depicting the life of an upper-middle class St Louis family during the period leading up to the 1904 World's Fair. The best known songs are "The Trolley Song," "The Boy Next Door," "Have Yourself a Merry Little Christmas" and the title song. The appealing cast includes recognizable names such as Melissa Errico as the mother and Max von Essen as the boy next door. Shereen Ahmed is lovely as Esther (the Garland role). The other members of the diverse cast -- William Bellamy, Rufus Collins, Kerry Conte, Ali Ewooldt, Kathy Fitzgerald, Ian Holcomb, Austyn Johnson,  Jay Aubrey Jones, Kylie Kuioka and Ashley Robinson -- perform well as an ensemble, even though they were never on the same set. Kudos to the creative staff -- Charlie Corcoran, scenic design; Meridith Sommers, video editing; M. Florian Staab, sound design and mix; Michael Gottlieb, lighting; Tracy Christensen, costumes; John Bell, musical direction -- for bringing off a unique experiment so successfully. It will be running until January 2. Go to irishrep.org for tickets. $25 is the suggested contribution.

Theater Recommendation: "Conflict" at the Mint Theater Company Online through November 8

I enjoyed this 1925 play by Miles Malleson when I saw it at the Mint two years ago.

Here's a link to my review

Here's a link to view the play.

A Theater Recommendation: Steppenwolf Now

In this theater-deprived season, here's a ray of sunshine. Steppenwolf Theatre, Chicago's esteemed ensemble theater that has brought us such works as "August: Osage County" and "Linda Vista," is presenting a season of online plays starting in November. And at $75 for six plays, it is a real bargain. You can read the details by following this link:

https://www.steppenwolf.org/now

What Do We Need To Talk About?

A-

Little did I imagine when I penned my last review exactly two months ago that it might well be the final one. Fortunately, I’m still here but live theater in New York isn’t. When it will return and which theaters will survive are questions that will probably not be answered for a long time. As March and April slipped by, the list of theatrical evenings I had looked forward to in vain grew longer and longer: Company, The Minutes, The Siblings, Sanctuary City, 72 Miles To Go, Nollywood Dreams, Caroline or Change, Intimate Apparel, Selling Kabul, Flying over Sunset, The Visitor, Take Me Out and How I Learned To Drive. Although several worthwhile filmed productions were made available either on television or online, they were not live theater. Leave it to Richard Nelson to come up with something original that bridges the gap between recorded and live. Tonight the Public Theater presented on their website the premiere and sole performance of Nelson's timely postscript to his four plays about the Apple family of Rhinebeck, What Do We Need To Talk About? When we meet the four Apple siblings — Barbara (Maryann Plunkett), Richard (Jay O. Sanders), Marian (Laila Robins), Jane (Sally Murphy) and Jane’s partner Tim (Stephen Kunken) — they are just starting a Zoom session. Richard is temporarily living with Barbara who has just returned from a near-fatal hospital stay. Tim is in isolation in the guest bedroom of the home he shares with Jane, who is too frightened to go shopping for groceries. Marian has dressed up for the call. For the next 70 minutes, we watch and listen as they talk about life today and tell each other stories. It is very much like observing them sitting around the kitchen table in the previous plays, but with the major advantage that you don’t have to struggle to hear them. If you haven’t seen the earlier plays, the details of their conversations will probably mean less to you, but I think the work can stand on its own merits. What a pleasure it is to be reunited with these sympathetic characters. Watching it sliced two ways, reminding us of what we are missing while holding out hope for what might lie ahead. It will only be available until May 4, so don’t delay.

The Perplexed

D+

Let me begin with quotes from two previous reviews:

“No one knows how to pander to a Manhattan Theatre Club audience better than Richard Greenberg. String together some witty one-liners, throw in a Jewish matron, add a few Yiddish words, mention Great Neck at least once and, voila, MTC awaits with open arms.” (Our Mother’s Brief Affair)

“There seems to be something about Manhattan Theatre Club’s Stage I at City Center that inspires scenic designers. Some of the finest set designs I have seen in New York have been at that theater. … Unfortunately, the “magic” effect of MTC’s Stage I on set designers does not seem to apply to playwrights. I have seen too many clunkers with great sets here, including this one.” (Long Lost)

Alas, both of these observations could apply just as well to Greenberg’s latest effort, now in previews at MTC. While the mention of Great Neck may be missing this time, we get not one but two Jewish matrons. Lest he ignore any segment of the typical MTC audience, he includes a gay character as well.

Once again, Santo Loquasto is the true star of the evening. I thought his set of a grand CPW apartment for The Assembled Parties could not be topped, but this set of a library off the ballroom of a Fifth Avenue apartment comes very close. If only what took place on the set were as impressive as the set itself!

The ten characters are all attending a wedding which, for some reason, starts with a reception and dancing and concludes with vows at midnight. The apartment belongs to the unseen Berland Stahl, a much-hated real estate bigwig, and grandfather of the bride Isabelle (Tess Frazer; Mary Page Marlowe). Her parents are Joseph (Frank Wood; Side Man, Network) and Evy (Margaret Colin; Jackie, Defiance), who is a NYC councilwoman. Her brother Micah (Zane Pais; Dead Poets Society) has just been involved in a scandal. Her uncle James (Patrick Breen; The New Englanders, Next Fall) is an author whose popularity has passed. We learn that Isabelle’s family have been disinherited by Berland after some messy lawsuits.

The groom is Caleb Resnick (JD Taylor; Apologia, The Last Match), a do-gooder, whose parents Ted (Gregg Edelman; City of Angels, Passion) and Natalie (Ilana Levine; You’re a Good Man, Charlie Brown) had a falling-out with the Stahls 20 years ago. The officiant is Cyrus Bloom (Eric Williams Morris; King Kong, Coram Boy), a long-time family friend whose career path led from Wall Street to the rabbinate to teaching. Patricia (Anna Itty; India Pale Ale) is Berlind’s Guyanan home aide.

Different combinations of characters enter the library and talk and talk and talk. Occasionally there is a witty line to remember. What little plot there is hardly piqued my interest. While it was a pleasure to see a few actors I always enjoy (Breen, Colin and Wood), it was not pleasure enough to make the dreary proceedings more bearable. While I admire MTC director Lynne Meadows’s dogged support of Greenberg over the years even though he has never produced a hit for them, I wish she would try harder to find new talent. Much as I enjoy their excellent sets, I wish they would spend less on sets and more on play development. Running time: two hours 30 minutes including intermission.

         

Unknown Soldier

A-

Inspired by the story of an amnesiac French WWI soldier, Daniel Goldstein (dir. Godspell) and the late Michael Friedman (Bloody Bloody Andrew Jackson, The Fortress of Solitude) worked on this musical off and on for almost a decade before it finally had a brief but successful production directed by Trip Cullman (The Pain of My Belligerence, Lobby Hero) at Williamstown in 2015. The three intended to develop it further but, busy with other commitments, did not get around to it. Then, in 2017, Friedman tragically died at the age of 41. Fortunately for us, Goldstein and Cullman decided to work on it again and brought it to Playwrights Horizons, where it is now in previews. The intriguing story, spanning four generations, is told in a manner that is sophisticated and complex. Friedman’s music ranges all the way from ballad to vaudeville and his lyrics go from conversational to poetic. He had a special knack of making the transition from speech to song sound natural. Goldstein’s book is like a satisfying puzzle and his lyrics are also fine. Cullman’s direction handles all the elements skillfully. We meet Ellen Rabinowitz, first as young girl (Zoe Glick; Frozen) being raised by her grandmother Lucy (Estelle Parsons; August: Osage County) in her Troy, NY home after the death of her mother in childbirth, then as a 40-ish Manhattan obstetrician (Margo Seibert; The Thanksgiving Play, Octet) in a troubled marriage. While closing up her grandmother’s home after her death, Ellen runs across an Ithaca newspaper clipping of her grandmother Lucy as a young woman (Kerstin Anderson; My Fair Lady) and an amnesiac soldier (Perry Sherman; Fun Home) who had been found wandering through Grand Central Terminal without any identification. Via email, Ellen enlists the aid of Andrew Hoffman (Eric Lochtefeld; The Light Years, Small Mouth Sounds), a middle-aged Cornell research librarian, to learn more about the photograph. As he gets more involved in the research, their exchanges become flirty and Andrew wants to meet Ellen. Meanwhile we see flashbacks to scenes of the young Lucy trying to adjust to the apparent death of her husband in the war and the amnesiac soldier trying to deal with his own loss. He is sent to an asylum where the doctor (Thomas Sesma; Nick & Nora, La Cage) names him Francis Grand. When they publish his photograph, hundreds of people, including Lucy, visit the asylum, hoping to find that he is their lost loved one. He responds to Lucy so she begins visiting daily in the hope that he will remember her. The photo in the newspaper was taken on a picnic she arranged at the asylum. The research breaks off here and Ellen does not know what happened next. When Ellen and Andrew finally meet, their meeting does not conform to our expectations. An undelivered letter from Lucy to Francis that Andrew gives to Ellen finally provides answers and allows her to get on with her life. The seven lead actors, all fine, are supplemented by an ensemble of five (James Crichton, Emilie Kouatchou, Jay McKenzie, Jessica Naimy, Mr. Sesma) who play a variety of roles. The five musicians do justice to the excellent arrangements. The monochrome gray set by Mark Wendland (The Pain of My Belligerence) shows five workstations in the basement of the Cornell Library surrounded by stacks of banker’s boxes. Hidden in some of these are miniatures of typical Troy houses and other buildings. In one corner there is a dinette set. Projections by Lucy Mackinnon (The Treasurer) are used sparingly. The costumes by Clint Ramos (Mankind, Slave Play) and Jacob A. Climer (Kid Victory) make it clear during what time period each scene takes place. The occasional choreography by Patrick McCollum (The Band’s Visit) is low-key. I have a few quibbles. A story told by Andrew is quite moving, but does not really seem to fit in. An abrupt shift to a vaudeville number is rather jolting. Overall, the story is emotionally satisfying and well-told. It illuminates the importance of the stories we tell ourselves. Sadly, it reminds us of what a loss to musical theater the untimely death of Michael Friedman was. I highly recommend seeing it to everyone who appreciates serious musicals. Running time: 90 minutes, no intermission.

All the Natalie Portmans

C-

MCC Theater is presenting the world premiere of this depressing family drama by C.A. Johnson (Thirst). Keyonna (Kara Young; The New Englanders) is an unhappy black lesbian high school student in D.C. who seeks escape from her bleak reality by covering her wall with photos of movie stars. Her particular favorite is Natalie Portman (Elise Kibler; Napoli, Brooklyn), who becomes her imaginary friend. Her loving older brother Samuel (Joshua Boone; Network, Actually) is having sex with their mutual friend Chantel (Renika Williams; The Climb), with whom Keyonna once shared a kiss. Samuel works in a bar once frequented by their late father, the circumstances of whose death are never explained. Their mother Ovetta (Montego Glover; Memphis) is an alcoholic who spends her hotel salary on booze and gambling rather than on the rent. She placates their landlord with sexual favors. Samuel gets into trouble with the law and Keyonna stops attending classes. Eviction looms on the horizon. A series of mother-son and mother-daughter conversations provides a showcase for Ms. Montego’s talents. The fantasy interludes in which Natalie Portman appears dressed for one of her movie roles are amusing at first, but do not really lead anywhere. The set by Donyale Werle (The Legend of Georgia McBride) is appropriately dreary. Jennifer Moeller’s (Sweat, Aubergine) costumes seemed apt. Kate Whoriskey (Sweat. Ruined) is a fine director, but not even she can work magic with this material. All in all, it made for a dispiriting afternoon. Running time: two hours, including intermission.

The Hot Wing King

B-

For the third and final play of her Signature Theatre residency, Katori Hall (Hurt Village, Our Lady of Kibeho) has gone in a surprising direction: she has written a play about six black men in Memphis, of whom four are gay. It’s not often that we get a look at a loving relationship between black gay men and all the more surprising that it took a woman to provide it. The action is set in the cozy home of Dwayne (Korey Jackson; Far from Heaven), manager of a Memphis hotel. His lover Cordell (Toussaint Jeanlouis; but i cd only whisper) and their friends Isom (Sheldon Best; Sugar in Our Wounds) and Big Charles (Nicco Annan) are the other members of the New Wing Order team, who are competing in the annual hot wing contest. Cordell is the genius whose exotic wings recipes the others love to taste. We learn that Cordell is in the process of divorcing his wife who lives in St. Louis with their two college-age sons. He only moved in with Dwayne a few months ago. Big Charles owns the barber shop where Dwayne and Cordell met. I never did figure out how the flamboyant Isom fit into the group. We also meet Dwayne’s brother-in-law TJ (Eric B. Robinson Jr.), a petty crook who is doing a poor job of raising his teenage son EJ (Cecil Blutcher; Showtime Blues) after his wife’s death. Dwayne would like to take EJ in, but Cordell, guilty over abandoning his own sons, doesn’t want to raise someone else’s. Although there are serious moments, humor prevails. I was frustrated that many lines that drew laughs from black members of the audience sailed right by me. The actors work well together, especially in a couple of slapstick scenes. The resolution of the hot wing contest is a bit anticlimactic, but as a group portrait, this lively play succeeds. Michael Canahan’s (Skeleton Crew, The Piano Lesson) set, which consists of a cross-section of Dwayne’s house, looks lived in. Emilio Sosa’s (On Your Feet!, Make Believe) costumes befit their characters. Steve H. Broadnax III’s (Travisville) direction is assured. Running time: two hours 30 minutes including intermission.

The Headlands

B

The folks at LCT3 are doing playwright Christopher Chen (Caught) a disservice by describing his likable new play as “contemporary noir.” While the setting is San Francisco and there is an unexplained death to be solved, the play does not really recall the world of classic noir films. Our amiable but unreliable narrator is Henry (Aaron Yoo; Where Do We Live?), a 30-ish Chinese-American Google engineer who, with the assistance of his girlfriend Jess (Mahira Kakkar; Miss Witherspoon), enjoys trying to solve cold cases. He often breaks the fourth wall to address the audience. The case he is currently investigating is about the shooting of a man ten years prior. While it was called a home burglary gone awry, there are some loose ends that suggest otherwise. We soon learn that the man shot was Henry’s father. Henry’s investigation leads him to discover a series of increasingly upsetting family secrets that call into question almost everything he thought he knew about his family. Along the way, his increasing obsession with solving the mystery alienates his girlfriend. The story is told mainly in flashback and makes heavy use of projections to set the scene. The unreliability of memory is a recurring theme. Bits and pieces of Henry’s memories change their significance with each discovery. Laura Kai Chen (Dan Cody’s Yacht) and Johnny Wu (Chinglish) are effective as Henry’s parents. Mia Katigbak (Awake and Sing) plays an older version of Henry’s mother as well as her no-nonsense best friend. Henry Stram (JUNK, Network) doubles as Henry’s father’s business partner Walter and as the detective who investigated the crime. Edward Chin-Lyn (Veil Window Conspiracy) is Tom, whose connection I shall not reveal. The set by Kimie Nishikawa (The Light) is a virtually bare gray space that is often covered with Ruey Horng Sun’s (King Kong) projected photographs and film clips. Tilly Grimes’s (Underground Railroad Game) costumes are apt. Knud Adams (Paris) direction is fluid. It’s an intriguing story which one wishes went a little deeper. The subplot about Henry’s relationship with his girlfriend is a definite weak spot. Nevertheless, I thought the play showed promise and was worth seeing. Also, it was good to see Asian-American actors have an opportunity. Running time: 90 minutes; no intermission.

Cambodian Rock Band

B+

Lauren Yee’s (The Great Leap) residency at Signature Theatre is off to an auspicious start with the New York premiere of this ambitious play with music. The play moves back and forth between 2008 and the 1970s. Neary (Courtney Reed; Aladdin), the American-born daughter of Cambodian refugees, has been in Phnom Penh working alongside her Canadian boyfriend Ted (Moses Villarama; Fast Company) for the tribunal trying to bring long overdue justice to Duch (Francis Jue; Soft Power, Wild Goose Dreams), head of the notorious S21 Prison where thousands were tortured and killed, who had been arrested after 30 years of hiding in plain sight. Neary’s father Chum (Joe Ngo), who had previously shown little interest in her work, suddenly shows up at her hotel unannounced. Before long we learn the reason for his visit and the connection between him and Duch. Back in 1975, Chum and his friends Sothea (Reed) and Leng (Villarama) were members of a rock band, Cyclo, who were recording their first album. Chum put his entire family at risk by postponing their flight from Cambodia a week to finish the album. All the members of the talented cast double as the musicians. The play is interspersed with Cambodian rock numbers from the seventies as well as contemporary numbers by Dengue Fever. It was frustrating that the lyrics were not translated. A Dylan song also plays an important role in the story. The first act, which describes the father-daughter meeting in 2008 and the events of 1975, contains the bulk of the music. The grimmer second act is mostly set in an S21 Prison cell in 1975. During intermission the playwright greeted a large contingent from a Bronx organization for Cambodian refugees and begged the audience to be understanding if the play triggered unexpected behavior from them. The brutality we witness is brief but chilling. The return to the father-daughter story in 2008 seems a bit anticlimactic. While the drama and the music do not always cohere as well as one might like, the concept of combining them mostly works. The production is greatly enhanced by an excellent cast which also includes Abraham Kim and Jane Lui. The inimitable Francis Jue is alway a treat to watch. Takeshi Kata's (Gloria, Office Hour) set efficiently captures both the bustle of Phnom Penh and the bleakness of a prison cell. Linda Cho’s (Grand Horizons) costumes and wigs for Cyclo band members vividly recall the 70s. Chay Yew’s (Mojada, My Mañana Comes) direction is assured. While there are a few rough spots, I admired the overall effort. Running time: two hours 45 minutes including intermission. NOTE; There is a very helpful timeline hidden deep within the Playbill after the cast biographies. I suggest reading it before the play.

Anatomy of a Suicide

B

After an acclaimed run at the Royal Court and a Blackburn Prize, British playwright Alice Birch’s ambitious experimental play is now in previews at Atlantic Theater Company. Birch (Revolt. She Said. Revolt Again) certainly does not make things easy for the audience. There are three different scenes, each from a different time period, being performed simultaneously onstage. Occasionally scenes coalesce with the same dialogue occurring in all three. To further complicate things, five of the ten actors play multiple roles. In addition, two of the characters are played by more than one actor. The links between the characters in the simultaneous scenes only gradually become clear. I don’t want to give too much away here. The three leading characters, Carol (Carla Gugino; After the Fall, A Kid Like Jake), Anna (Celeste Arias; Uncle Vanya at Hunter) and Bonnie (Gabby Beans; Marys Seacole), all suffer from emotional problems. The author seems to be suggesting that depression and a tendency to attempt suicide can be inherited. While I certainly give her credit for ambition, I sometimes found it difficult to divide my attention three ways. Attempting to tell three stories involving 22 characters does not allow much time to develop a character in any depth. The fine cast also included Jason Babinsky (Network), Ava Briglia (School of Rock), Julian Elijah Martinez (Network), Jo Mei (The World of Extreme Happiness), Vince Nappo (The Jew of Malta), Miriam Silverman (Junk, A Delicate Ship) and Richard Topol (Indecent, Fish in the Dark). The sparse set by Mariana Sanchez (Marys Seacole) includes scattered plants and bushes of varying size that seemed a bit incongruous. Kaye Voyce’s (True West, After the Blast) costumes are a great help in creating the characters. Director Lileana Blain-Cruz (Red Speedo, The House That Will Not Stand) deserves much credit for making the multiple components run like clockwork. While I was initially fascinated by the play’s challenges, I was rarely moved. While I admired it, I didn’t find it truly satisfying. Running time: one hour 45 minutes, no intermission.

NOTE: Avoid seats in Row B at the Linda Gross Theater; there is no rise between Rows A and B.

Dana H.

B

Following LA and Chicago productions, Lucas Hnath’s (A Doll's House, Part 2; Hillary and Clinton, Red Speedo) fact-based one-woman drama has reached New York, where it is now in previews at Vineyard Theatre. In a sense, Hnath did not actually write the play. Almost all the words we hear are those of his mother, Dana Higginbotham, recorded in a series of interviews conducted by Steve Cosson, artistic director of the investigative theater group, The Civilians. Late in 1997 Ms. Higginbotham, a hospital chaplain, was abducted and held in captivity for five months by an ex-patient who was raised in the Aryan Brotherhood. When she suggested that her son write a play about her experience, Hnath resisted for years, fearing that he was too close to the material. Finally he found a way to approach the story: having a disinterested party, Cosson, interview her. Hnath then edited and shaped transcripts of these interviews into the work we see. To preserve his mother’s voice to keep the result authentic, he found an ingenious solution: he cast an actress to lip-sync her words. Since that actress is the magnificent Deirdre O’Connell (Fulfillment Center, By the Water, Circle Mirror Transformation), his solution works brilliantly. What sounds like a stunt turns out to be very effective; without uttering a sound, Ms. O’Connell brilliantly brings Dana’s words to life. Seated in a chair in the middle of Andrew Boyce’s set suggesting a generic motel room like the ones she stayed in during her captivity, O’Connell/Dana H. answers Cosson’s questions, occasionally referring to the dog-eared manuscript in her lap. Her memory is often muddled, but she provides enough harrowing details to make the audience squirm. She raises many issues, including the reluctance of the police to go against a member of the Aryan Brotherhood to help her, the propensity of someone who was physically abused by her parents to think that she deserves the punishment she is getting, the thought that her abductor is the incarnation of her spiritual condition, and the long-term PTSD that the incident left. At one point the interview format is interrupted by a flashy, noisy interlude that I found questionable and unnecessary. The ending provides some uplift as she describes her work as a hospice chaplain easing the transition from life to death. Les Waters (In the Next Room, Big Love) directs with a sure hand. Kudos to the lip-sync consultant Steve Cuiffo. There are many unanswered questions, including how her son, even though away at college, could have been ignorant of her plight for so long a period. While I have some reservations about the play, I was thrilled to witness Deirdre O’Connell’s amazing performance. Running time: 75 minutes, no intermission.

Happy Birthday Doug

C-

Drew Droege’s previous one-man show, Bright Colors and Bold Patterns, was a very funny look at the perils of gay assimilation seen through the eyes of a guest at a same-sex wedding in Palm Springs. Its humor was not just funny but anchored in social commentary, which might explain how it became a New York Times Critic’s Pick. Unfortunately, his new show, now at SoHo Playhouse, is totally devoid of any social significance, consisting solely of a series of impersonations of guests at a 41st birthday party held in the private room of a Los Angeles wine bar. The guests all seem to be related to the entertainment industry so there are “in” jokes aplenty. A guest named Christopher refers to his absent partner Don, suggesting a tie to Isherwood and Bachardy which was confusing because Isherwood died in 1986. Another guest is the ghost of Oscar Wilde, whose presence does not add wit. While Droege is a talented performer, the writing lacks focus here. The only overarching theme seems to be bitchiness. Tom Detrinis directed. Most of the audience seemed to be having a wonderful time. I was not. Running time: 55 minutes.

West Side Story

B

I will confess that I groaned when I heard that hotshot European director Ivo van Hove was going to direct this much-beloved musical. Having disliked his videocentric versions of The Damned and Network, I shuddered to think what he would do when he got his hands on this Laurents-Bernstein-Sondheim classic. When I further learned that he would not be using the iconic Robbins choreography so critical to the show’s success, I grew even more fearful. Judging from today’s preview at the Broadway Theatre, most of my fears turned out to be unwarranted. True, this production depends even more on video than the two shows I mentioned, but the video projections are generally better integrated into the production. While Anne Teresa de Keersmaeker’s choreography is no match for Robbins’s work, it has lots of energy and suits the production well. The omissions (e.g. “I Feel Pretty”) and reinterpretations may offend those who are devoted to the original versions, but they serve the director’s darker and grittier vision of the show. The young, diverse cast are excellent dancers, good actors and at least adequate singers. The two female leads, Shereen Pimentel as Maria and Yesenia Ayala as Anita had strong voices. Two of the male leads, Isaac Powell as Tony and Dharon E. Jones as Riff were out for the performance I attended, but their understudies, Jordan Dobson and Ahmad Simmons respectively, were fine. Amar Ramasar was strong as Bernardo. The costumes by An D’Huys were eclectic and not much help in distinguishing the Jets from the Sharks. The excellent lighting by Jan Versweyveld, who also designed the set, was important in that regard. The tattoos by Andrew Sotomayor are excessive and mostly unattractive. The set consists mainly of a video screen that covered the entire back wall that opened partially to reveal the drugstore and the bridal shop. The video design by Luke Halls is at the heart of the production. At times, it is used to amplify what the actors are doing. It was initially difficult for me to know where to look but I soon adjusted. At other times, the projection shows street scenes that, for some reason, move slowly forward. Elsewhere, it illustrates the current song, e.g. Puerto Rican hurricanes for “America” and abuse by police for “Gee, Officer Krupke.” Occasionally, it provides commentary on the present, such as a view of the border wall with Mexico. Most usefully, it shows the action in the drugstore and bridal shop which are basically too small and too far away to see properly. There are a couple of pandering gestures to the audience: the gang members gratuitously strip to the waist for the rumble and one of the gangs includes a same-sex couple. The show has been streamlined to 105 minutes, which allows less time for character development. I suspect that the less devoted you are to earlier productions, the more likely you are to enjoy this one. I think a younger audience will find it very appealing. Running time: one hour 45 minutes; no intermission.

The Confession of Lily Dare

B+

If you have a low tolerance for high camp and Charles Busch’s (The Divine Sister, Vampire Lesbians of Sodom, The Tale of the Allergist’s Wife) brand of female impersonation, you can skip this play and the rest of this review. If, on the other hand, you are a Busch devotee, you will want to hurry to the Cherry Lane Theatre for his newest play's Primary Stages premiere. My fears that Busch’s usual shtick might have gone stale by now proved unfounded. As both performer and playwright, he is in good form. In the words of the program, the title character, played by Busch of course, goes “from convent girl to cabaret chanteuse to infamous madame.” Busch has been very generous to the rest of the cast, particularly to Jennifer van Dyck (The Divine Sister, Two Shakespearean Actors) and Christopher Borg (Too Much Light Makes the Baby Go Blind), both of whom get ample time to shine in multiple juicy roles. The other three actors only have a single role to fill. Nancy Anderson (Wonderful Town, A Class Act) and Kendal Sparks (Judith of Bethulia, Where’s Charley) are both fine as Lily’s longtime friends. The final cast member is none other than Howard McGillin (The Phantom of the Opera, Anything Goes), who fits right in as Lily’s suave nemesis. As in any Busch work, there is no shortage of laugh lines. Lily’s cabaret rendition of “Pirate Joe” is worth the price of admission. The action does lag occasionally; a slight trim would be beneficial. The costumes by Rachel Townsend and wigs by Katherine Carr are a show all by themselves. The set by Brian T. Whitehill (You Should Be So Lucky) is not at the same level, but good enough. Carl Andress (The Divine Sister, Die Mommie Die!) once again shows his talent for directing Busch’s work. Depending on your comfort level for camp, you will either be delighted or miserable. Running time: two hours including intermission.

Grand Horizons

B+

Of the three Bess Wohl plays to make it to New York this season (the other two were Continuity and Make Believe), this new play, which marks Wohl’s Broadway debut. is far and away the funniest and slickest. While it lacks the innovation of Make Believe or Wohl’s earlier play Small Mouth Sounds, and has a few minor problems, it is irresistibly entertaining. Furthermore, it provides a marvelous showcase for two fine actors, Jane Alexander (The Sisters Rosensweig, First Monday in October) and James Cromwell (“Babe,” The Invention of Love), as well as juicy roles for the other five actors. Shortly after Nancy and Bill move into the titular senior community after their 50th anniversary, Nancy suddenly announces that she wants a divorce. Bill does not object. Their two adult sons, the practical, unemotional Ben (Ben McKenzie; “The Report”) and the overemotional Brian (Michael Urie; Torch Song, Buyer & Cellar), arrive, along with Ben’s very pregnant wife Jess (Ashley Park; Mean Girls), to attempt to talk them out of divorce. There are two additional characters, Tommy (Maulik Pancholy; It’s Only a Play, “30 Rock”) and Carla (Priscilla Lopez; In the Heights, Pippin), each of whom has a marvelous scene that probably should have been cut despite its entertainment value. The dialogue is very funny and often witty but occasionally stoops to sitcom level. Amidst the hilarity, there are moments that raise thought-provoking issues of identity, parenthood, female empowerment, and the difficulty of clear, honest communication. Most of the time, the mix works well. The production levels are very high. Instead of a curtain, there is a gigantic projection by Bryce Cutler (Soft Power) of an aerial view of row after row of identical attached houses. The set by Clint Ramos (Torch Song, Once on This Island) shows the first floor of one of the units, blandly neutral, accented by safety grab bars in peculiar places. The costumes by Linda Cho (The Lifespan of a Fact) befit the characters well. Leigh Silverman’s (The Lifespan of a Fact, Chinglish) direction is assured. While it may not be the best play I have seen recently, it certainly is the funniest. The audience loved it. Running time: two hours ten minutes including intermission.

NOTE: Did Second Stage learn nothing from the mistakes made at the Tony Kiser Theater when they renovated the Helen Hayes Theater? Once again, the cramped seats are unstaggered with very narrow armrests and little legroom.

A Soldier's Play

A-

It has taken almost 40 years for Charles Fuller’s Pulitzer Prize-winning 1981 drama about the corrosiveness of racism to reach Broadway, but it is finally here, in previews at Roundabout’s American Airlines Theatre, in a riveting production directed by Kenny Leon (American Son, Raisin in the Sun). Although it is technically a murder mystery, the issue of who is responsible for the death of a black sergeant at a Louisiana army base in 1944 is hardly the main point. Fuller paints a shameful picture of the status of black American troops, particularly in the Deep South, during WWII. The unit we meet is made of former Negro League baseball players, who are tasked with the most menial chores when they are not playing ball for the base’s glory. Their sergeant (David Alan Grier; Dreamgirls, Race, Porgy and Bess), whose duties include coaching the team, is a hard man to please. When he ends up with two bullets in him, the suspects include the local klan, racist white officers and disaffected members of his unit. A black JAG captain (Blair Underwood; A Trip to Bountiful, Paradise Blue) with a law degree is brought in to conduct an investigation of the murder, to the consternation of the unit’s white captain (Jerry O’Connell; “Jerry McGuire,” “ Mission to Mars”), who does not want to make waves. The story is told largely in flashbacks narrated by each man being interrogated. While the play is occasionally creaky, for the vast majority of the time, it is absolutely gripping. The entire ensemble (Nnamdi Asomugha, Good Grief; McKinley Belcher III, The Royale; Rob Demery, Jared Grimes, Billy Eugene Jones, The Jammer; Nate Mann, Warner Miller, By the Way, Meet Vera Stark; J. Alphonse Nicholson, Paradise Blue; Lee Aaron Rosen, Indian Ink) is superb. The performances by Grier and Underwood are sensational; O’Connell’s, not quite as strong. Leon has interpolated moments involving singing and stylized movement, some of which work better than others. Derek McLane’s set, composed mainly of wooden planks, is appropriately stark. If you are uncomfortable with racial epithets, be forewarned that there are plenty. The play’s final moments are quietly devastating. Although circumstances specific to the military have changed a lot since WWII, as a society it is depressing to see how far we have yet to go to overcome racism. Running time: one hour 55 minutes, including intermission.