Ohio State Murders

 B-

At the age of 91, Adrienne Kennedy is having her Broadway debut with this one-act play from the early 1990s, now at the James Earl Jones Theatre (formerly the Cort). Since I did not respond favorably to the only other work of hers that I had seen, “Funnyhouse of a Negro,” I had some misgivings about whether to attend. Since I never miss a chance to see Audra McDonald on stage, I overcame my reluctance and bought a ticket. Although my reaction was much less negative than my previous experience, I decided that her aesthetic is just not one for which I have an affinity. While the story itself is riveting, the fragmented, elliptic, impressionistic, time-bending narrative-heavy manner of the storytelling is at times confusing, frustrating and flat. Her depiction of the deep racism pervading the college experience at Ohio State in 1950 is disheartening and, in this instance, leads to violent consequences. While McDonald is fine as Suzanne Alexander, the famous author who returns to campus 40 years later to discuss the violence in her work, it is not a role that reveals her enormous range. Bryce Pinkham, known mainly for Gentleman’s Guide to Love and Murder, makes a strong impression as her freshman English professor. The other roles are small ones. Abigail Stephenson plays her roommate, Iris Ann. Lizan Mitchell plays her landlady, her dorm manager and her aunt. Mister Fitzgerald plays her future husband and a boyfriend who pops up out of nowhere near the end of the play. Beowulf Boritt’s abstract set features an array of legal bookcases, some floating in air, and lots of snow. Dede Ayite’s costumes suit their characters well. Kenny Leon’s direction seemed flat, but that may have been in the spirit of the piece. Go if you’re an Audra McDonald completist or an Adrienne Kennedy fan. Running time: 75 minutes, no intermission.

Flying Over Sunset

C

When I first read that James Lapine (Falsettos, Into the Woods, Sunday in the Park with George) had written the book for a Broadway musical about an LSD trip shared by Aldous Huxley (Harry Hadden-Payton; My Fair Lady), Clare Booth Luce (Carmen Cusack; Bright Star, Carrie) and Cary Grant (Tony Yazbeck; On the Town, Prince of Broadway), I thought it was a joke. When I learned that it was really true, I didn’t know whether to admire the producers for their bravery or pity them for their foolishness. I was encouraged that Lapine engaged Tom Kitt (Next to Normal, If/Then) to write the music and Michael Korie (Grey Gardens, War Paint) to write the lyrics. Regular readers of this blog know that, as a rule, I don’t think people should direct their own material because they are too close to it to be objective. Therefore, an alarm went off when I read that Lapine would also direct. It was with a mixture of curiosity and apprehension that I arrived at the theater today. I really hoped that something so far outside the box might succeed. Alas, it does not. Although there is much to admire —some fine performances, some glorious singing, a few satisfying scenes, clever choreography that incorporates tap, and spectacular sets and projections, its elements do not cohere and it ultimately adds up to very little. Nothing we learn about the three celebrities is that interesting. The back story of their LSD guide Gerald Heard (Robert Sella; Sylvia, Verité) is virtually ignored. The music and lyrics were disappointing. When it finally ended after 2 3/4 hours, I had to wonder what was the point. The four leads strive mightily to create full-blown characters. The other six cast members (Kanisha Marie Feliciano, Nepal Joshi, Emily Pynenburg, Michele Ragusa, Laura Shop and Atticus Ware) are all strong. At only 13, Ware has the presence of a Broadway veteran; his tap dance number with Yazbeck is one of the show’s highlights. Unfortunately, it is also one of the numbers that, while entertaining by themselves, do not advance the book or develop the characters. If I had to pick the people who come off best, it would be Beowulf Boritt (Act One, Sunday in the Park with George) for his amazing sets, 59 Productions (Oslo, An American in Paris) for their beautiful projections, and Michelle Dorrance, in her Broadway debut, for her innovative percussive choreography. I am not sorry that I saw it and salute Lincoln Center Theater for taking a chance on something so unconventional. However, my prevailing reaction is disappointment.

Superhero

B-

This new musical at Second Stage comes with an impressive pedigree — music and lyrics by Pulitzer winner Tom Kitt (Next to Normal) and book by Tony winner John Logan (Red). Two years ago, Charlotte’s husband and Simon’s father was killed in an accident witnessed by Simon. Both mother and son have had trouble dealing with their grief. Simon (Kyle McArthur) refuses to talk about his father and spends most of his time drawing comic books about superheroes. Charlotte (Kate Baldwin; Hello, Dolly!, Big Fish, Giant) can’t break through Simon’s defensive posture or finish a book she has been trying to write. Simon gets it into his head that Jim (Bryce Pinkham; A Gentleman’s Guide to Love and Murder, The Heidi Chronicles) the reclusive man who lives in Apartment 4-B, is really a superhero in disguise. That’s all I will say so I won’t spoil the story. The downbeat book is intelligent and the songs are well-integrated into it. The first act is quite polished, the second act less so. Nevertheless, the show is still emotionally satisfying. The performances by the three principals are very strong. The  four secondary characters are all underdeveloped. The attractive scenic design by Beowulf Boritt (The Scottsboro Boys, Hand to God) has a series of frames gradually receding to a Manhattan skyline. Tal Yarden’s (Network) projections add an important element. Sarah Laux’s (The Band’s Visit) costumes are unobtrusive. Jason Moore’s (The Cher Show, Avenue Q) direction is a bit sluggish on occasion. At times, I was reminded of another recent musical about a troubled teenager and his depressed mother. If you liked Dear Evan Hansen, you might like this too. Just don't go expecting another Next to Normal. Running time: two hours ten minutes including intermission.

Bernhardt/Hamlet

C

Roundabout Theatre Company is to be congratulated for commissioning a new play for Broadway by an established playwright starring a superb actor in a lavish production. That being said, I only wish the results had turned out better. Theresa Rebeck (Seminar, Mauritius) has taken a critical moment from the long career of the famous Sarah Bernhardt, added a fashionable dash of female empowerment, and embroidered actual events with a few liberties to pique interest. This would be fine if the play were more involving and coherent. Perhaps if I were a student of theatrical history and/or an avid Shakespearean, I might have found it more gripping. At the age of 55, Bernhardt (the charismatic Janet McTeer; Les Liaisons Dangereuses, God of Carnage) was tired of playing dying courtesans and thought taking on Hamlet might be the box office success she needed to fill her expensive new theater. Her last play, by the promising Edmond Rostand (Jason Butler Harner; The Crucible, Cock), although a critical success, had been a commercial disaster. Constant Coquelin (a droll Dylan Baker; The Front Page, Mauritius) is a veteran member of her company. Louis — for some reason, he doesn’t get a last name — (Tony Carlin; Pygmalion, Junk) is a pompous critic. Alphonse Mucha (Matthew Saldivar; Saint Joan, Junk) is the artist who created posters for all Bernhardt’s plays. We also meet three members of Bernhardt’s company, played by Brittany Bradford, Triney Sandoval and Aaron Costa Ganis. Rebeck’s conceit is that Rostand, although over 20 years her junior and married with young children, is her current lover. Furthermore, she asks him to rewrite Hamlet to remove the poetry and make Hamlet a more dynamic character. (She actually did commission a revision to her specifications, but not by Rostand.) Unable to say no to her, Rostand accepts the job, which requires him to neglect his own play in progress. Her request is the curtain line of the long, turgid first act. In the livelier but unfocused second act, we meet Bernhardt’s adult son Maurice (Nick Westrate; Casa Valentina, Tribes), who returns home from university suddenly to see what is rotten in Paris, and Rostand’s clever wife Rosamond (Ito Aghayere; Junk, Mlima’s Tale) who confronts Bernhardt over the affair. The Hamlet production seems to get lost. Instead of seeing Bernhardt’s Hamlet, we instead get a scene from the play Rostand had suspended work on, Cyrano de Bergerac, with Coquelin playing the career-making title role. The final scene has a clever coup de théatre that unfortunately offers too little too late. McTeer makes a convincing Bernhardt, but when she portrays Hamlet, her speech becomes too quiet and rapid. The impressive revolving set by Beowulf Boritt (Act One, Come from Away) captures the theater’s backstage, Bernhardt’s ornate dressing room and a few other locations. Toni-Leslie James’s (Come from Away, Jitney) period costumes are excellent. The pace set by Moritz von Stuelpnagel’s (Hand to God, Verité) direction often seems rushed. All in all, it was a disappointment. Running time: two hours 30 minutes including intermission.

The New One

A-

First the good news: comedian Mike Birbiglia is back in town with a new solo performance piece at the Cherry Lane Theatre. Ever since seeing Sleepwalk with Me in 2009, I have been hooked on his brand of humor: good-natured, self-deprecating, unflinchingly honest and thoroughly grounded in life. To reveal too much about the story behind the present piece would spoil some of the pleasure, so I will merely say that the unifying theme is a look at Birbiglia’s experience of married life, couched in the story of his sofa (sorry for the pun; sometimes I just can’t resist.) The long opening sequence is virtually a love letter to his favorite sofa for all the pleasure it has given him. As Birbiglia is wont to do, he will return to the sofa motif more than once as he shares his ups and downs en route to a satisfying climax. To consider him merely a stand-up comedian would be to shortchange his enormous skill as a storyteller. Beowulf Boritt (Act One, The Scottsboro Boys) has designed a simple set of slat wood panels over brick that extend through the auditorium. The stage is bare except for a stool and a Persian rug, but there is a startling transformation about an hour in. Aaron Copp’s (My Girlfriend's Boyfriend, Thank God for Jokes) lighting is effective. His usual director Seth Barrish (My Girlfriend's Boyfriend, Thank God for Jokes) once again shows his flair for the material. Each time I see a new Birbiglia show, I am fearful that it could not possibly be as good as the previous one. Each time I am happy to find that my worries were groundless. My only quibble is that I think trimming out five or ten minutes would have improved the piece. Running time: 85 minutes, no intermission.

So what’s the bad news? Apparently, Birbiglia has developed quite a following. Despite the absence of any advertising that I could see, the entire run was virtually sold out before previews began. I heard about it only by chance. As I write this, there are a few scattered seats available until the end of July. Check the website (https://web.ovationtix.com/trs/pr/991581/1530417600000) for possible changes. If you are not lucky enough to snag a seat, treat yourself to a consolation prize and watch one of his previous pieces on Netflix.

20th Century Blues

C

Add another play to the list of this season’s productions featuring female ensembles (although this one does have a small part for a man). This dramedy, by playwright Susan Miller, winner of two Obies, a Blackburn Prize and a Guggenheim fellowship, introduces us to four 60-something friends who bonded 40 years ago when they spent a night in jail together after a protest. Since then, they have had an annual reunion to schmooze and pose for a group photograph taken by Danny (Polly Draper; Closer, Brooklyn Boy). Danny is the only one who is coming into her own at this stage of life; she has been chosen for a retrospective at MoMA with an associated TED talk. Mac (Franchelle Stewart Dorn; 'Tis Pity She's a Whore) is an investigative journalist who has just been bought out by her newspaper and feels adrift in the world of new media. She is also an African-American lesbian with a drinking problem. Gabby (Kathryn Grody; Fishing, A Model Apartment) is a veterinarian from Boston and breast cancer survivor, who is so terrified of being unable to function independently as a widow that she secretly rehearses even though her husband is in perfect health. Sil (Ellen Parker; Aunt Dan and Lemon, House and Garden) is a real estate broker who was left in dire straits by her ex and is about to have a facelift so she will not offend her clients with the appearance of age. When Danny tells her friends that she wants to use their pictures taken over 40 years in her retrospective, they do not rush to sign the necessary releases. We also meet Danny’s mother Bess (Beth Dixon; Major Barbara) who suffers from dementia and her adoptive son Simon (Charles Socarides; Sons of the Prophet) who is trying to summon the courage to meet his biological mother. I personally felt that the play would have been stronger without Simon and, perhaps, even without Bess. The interaction of the four friends could easily have provided enough material to hold our interest. The level of the writing is uneven, incisive one moment and clunky the next. Something that may sound silly but bothered me is that the group pictures did not include Danny, which seemed to undercut the idea of their bond. The topic of feelings of invisibility and obsolescence for mature women is one worthy of our attention. The treatment it gets from Ms. Miller is just good enough that I was left wishing it had been better. The actors work well together. Ms. Parker seemed a bit lethargic, but that may have been how the role was written. Beowulf Boritt (Act One) has given Danny a studio spacious enough to inspire real estate envy. Jennifer von Mayrhauser’s (Disgraced, Linda) costumes make an important contribution to defining the characters. Emily Mann, artistic director of McCarter Theatre, directed. The play is at Signature Center, but is not a Signature Theatre production. Running time: one hour 40 minutes; no intermission.

Come from Away

B+

This Canadian musical with book, music and lyrics by Irene Sankoff and David Hein could not have arrived on Broadway at a better time. With our national psyche bruised by angst, doubt, resentment and divisiveness, it is comforting to be reminded that people can behave with kindness, charity, openness and unity. The show tells the story of what occurred in Gander, Newfoundland where 38 flights were forced to land after U.S. airspace was closed on 9/11. 7,000 passengers and crew — and a few animals — were housed, fed, comforted and entertained by the residents of a town whose population barely exceeded the number of unexpected guests. An excellent ensemble of twelve play both the residents and the guests, changing roles faster than you can blink. The book is based on actual interviews the creators conducted during the tenth anniversary observance of the event. The locals include the mayor (Joel Hatch), a teacher, the librarian (Astrid Van Wieren), the head of the striking bus drivers union, an animal welfare lady (Petrina Bromley) and a newly arrived television reporter (Kendra Kassebaum). The passengers include a woman (Q. Smith) whose son is a NYC fireman, a gay couple both named Kevin (Chad Kimball and Caesar Samayoa), a rabbi (Geno Carr), an Egyptian chef, an African family who speak no English, a young African-American man (Rodney Hicks) and an unlikely couple —a middle aged Texas divorcee (Sharon Wheatley) and a shy Englishman (Lee MacDougall) who take a fancy to each other. If a character can be singled out as the lead, it would be Beverley (Jenn Colella of High Fidelity and Closer Than Ever), a pilot, who gets the show’s only solo. The style of the music is mainly Celtic folk. Many of the songs sounded alike to my untrained ear. There is one lovely number where several passengers pray, each according to his or her custom. There’s  a rousing foot-stomping number set in a bar when some of the “come-from-aways” are initiated as honorary Newfoundlanders. The set by Beowulf Boritt features a forest of tree trunks on either side of the stage behind which the musicians are seated, a slatted back wall suitable for projections, a dozen or so mismatched wooden chairs and a turntable. Near the center of the back wall stand two damaged tree trunks possibly symbolizing the twin towers. The costumes by Toni-Leslie James help distinguish the characters. Kelly Devine is credited for “musical staging,” rather than as choreographer. Christopher Ashley’s direction keeps things flowing smoothly. The musicians get a well-deserved chance to show off during the curtain call. Judging from the audience’s enthusiasm, Broadway will welcome this feel-good musical. Running time: one hour 45 minutes; no intermission.

Thank God for Jokes ****

Ever since catching his first off-Broadway show, Sleepwalk with Me, seven years ago, I have been a fan of comedian Mike Birbiglia. His ingratiating, slightly self-deprecating persona, his skillful ability to seamlessly incorporate the audience into his monologue and the effortlessness with which he picks up motifs from earlier in the show and deftly weaves them into the performance make time spent with him a thoroughly rewarding experience. His 2011 show My Girlfriend’s Boyfriend was equally enjoyable and his new show, now at the Lynn Redgrave Theater, is, if anything, even better. Loosely organized around his anxiety preparing to host the Gotham Awards, the current monologue digresses in many amusing directions. At a more serious level, he addresses the power of jokes to offend as illustrated most brutally by the Charlie Hebdo murders. The 85 minutes flew by with very few moments that did not grab my attention. Beowulf Boritt’s simple set features a round wood platform backed by a wall with a few stained glass windows. Seth Barrish, his usual director, is back. Birbiglia’s plaid shirt and jeans suit the image he wants to project. He is a master of the monologue and we are lucky to have him back onstage. Running time: 85 minutes, no intermission.

Therese Raquin **

The best reason to see this Roundabout production, an uneven adaptation of Zola’s 1867 novel by British playwright Helen Edmundson, is the spectacular set design by Beowulf Boritt. From the simple suggestion of a village cottage to a fully detailed sepulchral Paris apartment that falls from above as if to crush the characters to a skylit attic suspended in the night sky to a riverbank complete with water and rowboat, he sets the right note for this tale of limited choices, adultery, murder and guilt. His sets at least give you a focus for your attention during the glacially paced first act. As the title character, Keira Knightley doesn’t get to do much except stare soulfully during the first half hour. The always watchable Judith Light is fine as her aunt and soon-to-be mother-in-law. It is easy to understand why Therese is repelled by her sickly, spoiled cousin-then-husband Camille (Gabriel Ebert) and even easier to understand why she is magnetically attracted to his childhood chum Laurent (Matt Ryan) whom Camille runs into in Paris and, unfortunately for him, brings home to meet the family. Their sex scenes are brief and brutish.The habitués of Madame Raquin’s Thursday domino sessions — Monsieur Grivet (Jeff Still), Superintendent Michaud (David Patrick Kelly) snd his niece Suzanne (Mary Wiseman) — do not get much development. The pace picks up from late in the first act to midway through the second act. The subsequent descent into guilt and madness seemed anticlimactic. The use of many brief scenes seemed more suitable for film than the stage. Jane Greenwood’s costumes are appropriate. Keith Parham’s lighting is excellent. I did not care for the sound design and music by Josh Schmidt. The suggestions of Camille’s continued presence seemed out of a B movie. Director Evan Cabnet really should have picked up the pace a bit during the play’s early scenes. My interest lagged, but I really liked the sets. Running time: 2 hours 30 minutes including intermission. On the afternoon I attended, the performance was followed by a 25-minute Q&A with five of the actors which I enjoyed more than the play.

Hand to God (revisited) ****

Curiosity and a ticket purchased with Audience Rewards points led me to the Booth Theatre to see how well Robert Askins’s dark comedy weathered the trip from Christopher Street to 45th Street. When I heard that the producers planned to move it to Broadway, I thought it was a bad mistake. It seemed much too edgy for Broadway. I assumed that the production would be toned down considerably for the move uptown. I am happy to report that I was wrong on both counts. The show has been running since March to enthusiastic audiences that include large numbers of young people all too rarely seen on Broadway. If anything, the Broadway audience seemed more attuned to the show’s vibe than the downtown audience. Furthermore, the production has not been toned down in the slightest; it’s just as raw as it was off-Broadway. 

Here’s what I said when I gave the MCC production three stars in March 2014:

This very dark comedy by Robert Askins was both a sell-out and an Obie winner when it appeared at Ensemble Studio Theatre a couple of years ago, so it is easy to understand why MCC has brought it back in a new production at the Lucille Lortel Theatre. A Texas church includes a puppet ministry among its programs. Margery (Geneva Carr) is a recent widow who tries valiantly to interest three teenagers in her puppetry class. Pastor Greg (Marc Kudisch) has a yen for Margery, as does Timothy (Michael Oberholtzer), one of her students. Her other students are the nerdy Jessica (Sarah Stiles) and Margery's shy son Jason (Steven Boyer) whose attachment to his demonic hand puppet Tyrone is, to put it mildly, extreme. Is the foul-mouthed violent Tyrone the devil or just an expression of Jason's (or humanity's) dark side? When Jason and Tyrone end up in hand to hand combat, who will win? There is much to admire here -- a lively script, a fine cast (especially Boyer), smooth direction by Moritz von Stuelpnagel, the spot-on set design by Beowulf Boritt and costumes by Sydney Maresca. At times the playwright tries too hard to shock. The coarseness of the language and the bloodiness of the action go further than necessary to make their point. There are some extremely entertaining scenes along the way, but I'm not sure where it all leads. Running time: 1 hour 50 minutes, including intermission.

The play seemed more intense this time. The funny scenes were funnier and the tragic moments were sadder. The excellent cast seemed energized and fresh. Boyer remains absolutely amazing. I still find some of it over the top and a bit muddled, but it is performed with such style and conviction that I have given it another star. 

Lives of the Saints ***

When Primary Stages offered a near-perfect production of “All in the Timing,” David Ives’s collection of six hilarious short plays, two years ago, I awarded it five stars. Now they are back with an evening of six more Ives playlets. Those expecting a reprise of Ives’s delicious word-play based sketches will be disappointed. The current collection is more substantive, but less stylistically successful. Most of the six plays (a seventh listed in the program was dropped to shorten the evening) are loosely tied together by the theme of goodness. “The Goodness of Your Heart” examines what one can expect from a good friend. “Soap Opera,” a pun-filled extended sketch about a repairman (think Maytag) who falls in love with a washing machine, shows the downside of perfection. “Enigma Variations” did not seem to fit the evening’s theme. With doubled characters and reversing roles, it was more frenetic than coherent. My favorite was “Life Signs,” in which a newly deceased mother thought to have lived an upright life suddenly begins talking to her grieving son and vividly disabusing him of that notion. “It’s All Good” shows a successful New York writer the life he might have had if he had never left southside Chicago. The title play, which closes the evening, demonstrates the simple goodness of two older Polish Catholic women preparing a funeral breakfast. Although the evening does not reach the delirious heights of “All in the Timing,” there are still lots of laughs. Returning from the previous production are director John Rando, set designer Beowulf Boritt, costume designer Anita Yavich and actors Carson Elrod (a comic genius) and Liv Rooth. They are joined by Arnie Burton, Rick Holmes and Kelly Hutchinson, who are just as adept at animating Ives’s characters. Although a bit disappointed that lightning did not strike twice, I had a good time. Running time: 2 hours, 5 minutes, including intermission.

Act One ***

It's a bit ironic that this play about the storied theatrical collaboration of Moss Hart and George S. Kaufman was written and directed by James Lapine, who is noted for his own collaborative work but this time is working solo. Maybe that's the problem. Perhaps he needed another voice to rein him in from the play's excesses, particularly its excessive length. Maybe he was too smitten with Moss Hart's memoir to pare it down to a more manageable size. Nevertheless, this bioplay, now in previews at the Vivian Beaumont Theater, offers much to enjoy -- many will say too much. Any play that puts Santino Fontana, Tony Shalhoub and Andrea Martin on a stage together won't get too many complaints from me. Fontana is irresistibly charming as always and we get to enjoy Shalhoub and Martin in three roles each. The other 19 cast members are fine too. Yes, the play is old-fashioned and a bit sentimental, but it has many delightful moments. Only a nonprofit like Lincoln Center Theater is likely to take on such an expensive production. With some judicious trimming, it would be much improved. Beowulf Boritt's set works overtime to revolve between the play's many locales. Jane Greenwood's costumes are terrific. In general, I do not think it is a good idea for a playwright to direct his own work. There are exceptions, but this is not one of them. Running time: 2 hours, 45 minutes including intermission.

Hand to God ***

This very dark comedy by Robert Askins was both a sell-out and an Obie winner when it appeared at Ensemble Studio Theatre a couple of years ago, so it is easy to understand why MCC has brought it back in a new production at the Lucille Lortel Theatre. A Texas church includes a puppet ministry among its programs. Margery (Geneva Carr) is a recent widow who tries valiantly to interest three teenagers in her puppetry class. Pastor Greg (Marc Kudisch) has a yen for Margery, as does Timothy (Michael Oberholtzer), one of her students. Her other students are the nerdy Jessica (Sarah Stiles) and Margery's shy son Jason (Steven Boyer) whose attachment to his demonic hand puppet Tyrone is, to put it mildly, extreme. Is the foul-mouthed violent Tyrone the devil or just an expression of Jason's (or humanity's) dark side? When Jason and Tyrone end up in hand to hand combat, who will win? There is much to admire here -- a lively script, a fine cast (especially Boyer), smooth direction by Moritz von Stuelpnagel, the spot-on set design by Beowulf Boritt and costumes by Sydney Maresca. At times the playwright tries too hard to shock. The coarseness of the language and the bloodiness of the action go further than necessary to make their point. There are some extremely entertaining scenes along the way, but I'm not sure where it all leads. Running time: 1 hour 50 minutes, including intermission.

Little Miss Sunshine ***

(Please click on the title to see the complete review.)
William Finn and James Lapine, whose previous collaborations include "Falsettos" and "25th Annual Putnam County Spelling Bee," have turned this quirky 2006 indie film into a musical now in previews at Second Stage. To take on a film that owed so much of its success to its perfect casting and one that has become somewhat of a cult classic, was an act of bravery. To their credit, they have captured both the satire and the pathos in this story of a really dysfunctional family from Albuquerque for whom the American dream has turned sour.  Frazzled wife Sheryl (Stephanie J. Block), feckless husband Richard (Will Erat, for Will Swenson), silent son Dwayne (Logan Rowland), 7-year-old daughter and would-be beauty contestant Olive (Hannah Nordberg), Sheryl's suicidal brother Frank (Rory O'Malley) and Grandpa (a surprisingly delightful David Rasche) are all vividly portrayed. (Understudy Erat is so unlike Swenson in appearance that it put a different spin on the character.) To my surprise, the characters in the musical seemed less cartoonish and more sympathetic than in the film. Finn's music, while not memorable, is easy on the ear and Lapine's book has some nice touches. Beowulf Boritt's unit set extends a map of the southwestern U.S. over most of the theater ceiling. Michele Lynch's choreography is clever. Jennifer Caprio's costumes are a treat. Lapine also directed. Running time: 1 hour, 40 minutes; no intermission.

A question: What was the last musical you saw that was not based on a film or book?

Murder for Two **

(Please click on the title to see the complete review.)
So soon after being disappointed by Murder Ballad, I was not looking forward to seeing another off-Broadway murder musical  This new show at Second Stage Uptown with music by Joe Kinosian, lyrics by Kellen Blair and a book by both, however, bears no resemblance to that overheated drama. It is more like an extended vaudeville act for two than a murder mystery whose solution is of primary importance. (If you remember who did it five minutes after the show ends, you're better than I am.) Fortunately, the two actors are the multi-talented Jeff Blumenkrantz and Brett Ryback. These two energetic performers act, sing, dance and play a mean piano, both separately and together. Ryback plays Marcus, a young police officer out to make detective by solving the murder of a famous novelist. The rubber-faced Blumenkrantz plays all the suspects, who include the victim's wife, his mistress, his niece, an unscrupulous psychiatrist and members of a boys choir. The proceedings too often rely on frenetic activity rather than wit. There is less music than I would have expected. Beowulf Boritt's clever set promises more than the play delivers. Scott Schwartz's direction keeps up a lively pace. It's not a terrible way to spend a summer evening, but it's not as much fun as I hoped for. Running time: 90 minutes, no intermission.

The Unavoidable Disappearance of Tom Durnin *

It is admirable that Roundabout Theatre Company is trying to encourage young talent by giving playwrights who have had a success in their Underground space a chance to move upstairs to the Laura Pels. On the basis of his 2008 play "The Language of Trees," Roundabout has given that chance to Steven Levenson. Unfortunately, at least to me, his new work did not seem ready for prime time. Tom Durnin (David Morse) has just finished a five-year sentence for perpetrating a Ponzi scheme that wiped out the fortunes of his family and friends. His adult son James (Christopher Denham), who was forced to drop out of Yale when the money vanished, has been particularly traumatized, to the point that he become an emotional cipher. Tom bullies his son into letting him sleep on his couch for a month and blackmails his son-in-law Chris (Rich Sommer of "Mad Men") into putting him in contact with wife Karen (Lisa Emery). James cautiously begins a relationship with Katie (Sarah Goldberg), a woman he meets in writing class. The premise is intriguing, but the play mostly spins its wheels aimlessly. The tone moves uneasily between comedy (such as the wretched writing samples we are forced to hear) to drama that mostly fizzles. The character of Katie is so annoyingly vapid that I cringed whenever she appeared. The always interesting Morse mostly underplays the part of a manipulative liar. The usually fine Emery does not get much opportunity to shine. Sommer's character verges on the cartoonish. Denham was convincing as someone with crippling depression. Beowulf Boritt's revolving set concentrates too much of the action on the right half of the stage. Jeff Mahsie's costumes did not call attention to themselves. Scott Ellis directed. Running time: 1 hour, 40 minutes, no intermission.

Venice **

(Please click on the title to see the complete review.)

After productions in Kansas City and Los Angeles, this hip-hop musical “inspired by” Othello has arrived at the Public Theater. Shakespeare’s plot has been so substantially reworked that you would do well to forget that connection. Shakespeare did not give us a dystopian society, chemical warfare, government by corporation enforced by mercenaries, revolution, half-brothers, a Lady Gaga-type singer or a bomb at a public occasion (too soon after Boston, in my opinion). The book by Eric Rosen, who also directed, is cluttered and overcomplicated. The music is by Matt Sax, who collaborated with Rosen on the lyrics. There is also a frustratingly vague credit for additional music by Curtis Moore. Sax, who appears as the play’s MC, bears an uncanny resemblance to Lin Manuel Miranda. So do his lyrics (maybe all hip-hop just sounds alike to my uneducated ear.) The cast is generally strong. For me the standouts were Leslie Odom Jr. (Sam on “Smash”) in the Iago-like role and Victoria Platt as Emilia, his wife. Haaz Sleiman (“Nurse Jackie”) and Jennifer Damiano (“Next to Normal”) are fine as the central couple, Venice and Willow. Jonathan-David (“A Civil War Christmas”) and Claybourne Elder (“One Arm”) make the most of their parts. While I found hip-hop appropriate for “In the Heights”, it seemed monotonous and alien here. Some of the musical numbers that break away from sing-song are quite moving, particularly a duet for Willow and Emilia in Act Two. The ending with the MC’s reminder that it’s just a play, followed by an upbeat song, struck a false note. Since this is a Lab production, the set and costumes, by Beowulf Boritt and Clint Ramos respectively, are simple but effective. The audience was wildly appreciative. I would not be surprised if it moves to an extended run at another venue. Running time: 2 hours, 25 minutes with intermission.

All in the Timing *****

It was with some apprehension that I attended a preview of Primary Stages' 20th anniversary revival of David Ives's early hit. I remembered these zany sketches so fondly that I feared I could not possibly enjoy them as much a second time. I need not have worried. Under John Rando's flawless direction, Ives's six playlets are fresh as ever. The excellent cast (Eric Clem, Carson Elrod, Jenn Harris, Liv Rooth and Matthew Saldivar) are up to the high standards set by the original actors. Beowulf Boritt's set and Anita Yavich's costumes add greatly to the fun. Ives' delightful wordplay and comic social observations stand the test of time. "Sure Thing" and "The Universal Language" remain my personal favorites, although "Words, Words, Words" and "Philip Glass Buys a Loaf of Bread" are not far behind. "The Philadelphia" is amusing, but runs on a bit too long. Only "Variations of the Death of Trotsky" disappointed, lacking the inventiveness of the other plays; unfortunately, it concludes the evening. Even the scene changes are amusing. If your funny bone needs a tickle, hurry to 59E59. You won't regret it. Running time: one hour, 45 minutes including intermission.

Grace ***

(Please click on the title to see the full review.)
If you want to see four fine actors in a satisfyingly complex play, don't wait too long to get a ticket for this limited run comedy/drama by Craig Wright, now in previews at the Cort Theatre. Steve and Sara (Paul Rudd and Kate Arrington) have recently moved to central Florida to open the first of a projected chain of biblically-themed hotels. Sam (Michael Shannon), their neighbor in the adjacent condo, is recovering from an auto accident that left him disfigured and his fiancée dead. Karl (Ed Asner), the crusty German immigrant who is the exterminator for the condo complex, has a dark episode in his past. Steve can't resist the opportunity to deliver a sales pitch, whether it is for God or for real estate. Stay-at-home housewife Sara is lonely and neglected. The play starts with a bang and, after a freeze frame, flashes back to describe how events reached this point. The ties between the occupants of the two apartments are intensified by Beowulf Boritt's clever, elegantly simple set that uses the same space to represent both condos simultaneously. (I now forgive him for the set that overpowers "If There Is I Haven't Found It Yet.") Dexter Bullard's direction is excellent. At times I thought the play had more style than substance, but that didn't diminish my enjoyment. Running time: 1 hour, 40 minutes without intermission.

If There Is I Haven't Found It Yet *

The title of this new play by the award-winning young British playwright Nick Payne could easily be my answer to the question "Is there a unifying theme that holds this play together?" The consequences of neglecting family for career is central, but the parents are both so emotionally constipated that it is unclear whether they are withholding affection for their daughter or simply have none to give. Brian F. O'Byrne plays George, a self-absorbed academic out to save the world from global warming with a book on carbon footprints. Michelle Gomez plays his wife Fiona, an unpopular teacher at the school where their overweight teenaged daughter Anna, played by Annie Funke, is regularly bullied. Jake Gyllenhaal plays George's prodigal brother Terry, a free spirit just returned from a long trip he took to get over a love affair that ended badly, who forms a bond with Anna. O'Byrne and Funke are excellent. I am no judge of British dialects, but Gyllenhaal's often impenetrable accent had no traces of American. At least every third word of his dialog is the F word. Gomez's character is underwritten, so she doesn't have a lot to work with. In this Roundabout production, directed by Michael Longhurst, now in previews at the Laura Pels, the scenic design by Beowulf Boritt literally upstages the play. Before the play begins, a curtain of rain separates the stage from the audience and center stage is occupied by a pile of household furnishings. As the play progresses, the actors grab the furnishings they need for the next scene. At scene's end they toss them into the trough. Is this a metaphor for the wastefulness of our way of life? About 2/3 of the way through the play, an onstage bathtub overflows and the stage is inundated in 3 or 4 inches of water. The actors pay no heed as they slosh around in it for the play's final 30 minutes. Does this represent our heedlessness to the rising sea levels that global warming will bring or is it just a distraction to hide the play's thinness? Decide for yourself. Running time: 1 hour, 35 minutes without intermission.