When Carl Reiner’s semi-autobiographical novel was adapted for the stage by Joseph Stein in 1963, it ran for a year. Stein (Fiddler on the Roof) also wrote the book when the play was turned into a musical in 1976 with music and lyrics by Stan Daniels (Same Time Next Year) under the title So Long, 174th Street. Surprisingly, the musical flopped, closing after only 16 performances. Fortunately York Theatre Company revived it with a new title and some additional material by Stuart Ross (Forever Plaid) in a production that was such a hit they revived it twice more. The current production, their fourth, kicks off York’s 50th anniversary season with a bang. As with many York musicals, it makes up for very modest production values with lots of enthusiasm, flair, and excellent casting. As David Kolowitz, Chris Dwan (The Old Boy) is hilarious. His version of the title scene had me laughing so hard I thought I would injure myself. David Schramm (Other People’s Money), looking like late Orson Welles, is perfection as Marlowe, the head of the theater company, and Farah Alvin (It Shoulda Been You) is wonderful as his amorous daughter Angela. Dana Costello (Finding Neverland) and Allie Trimm (13: The Musical) are fine as Miss B and Wanda respectively, the other two women in David’s life. Alison Fraser (The Secret Garden) and Robert Picardo (Gemini) are fine as David’s parents, as are Ray DeMattis (Little Shop of Horrors) as his boss and Joe Veale (Altar Boys) as his pal Marvin. As Pike, Marlowe’s assistant, Raji Ahsan (My Heart Is in the East) moves props with balletic grace. The actor playing the small role of Harry Hamburger is listed as Magnes Jarmo, which turns out to be an anagram for James Morgan, York’s artistic director. Jennifer Paulson-Lee (You’re a Good Man, Charlie Brown) manages to create some clever dance numbers that fit York’s tiny stage. The set, by Morgan, makes good use of vintage commercial signs to suggest The Bronx in the 1930s. The period costumes by Tyler M. Holland (Christmas in Hell) are a visual treat. Stuart Ross’s direction rarely lets the pace flag. The trio of piano, bass and drums is fine for the relatively small York space. Some of the songs are quite clever; I especially liked “It’s Like,” “Boy, Oh Boy” and “The Butler’s Song.” If you are looking for an enjoyable escape from the world’s cares, you will find it here. Running time: two hours 25 minutes including intermission.
Showing posts with label Chris Dwan. Show all posts
Showing posts with label Chris Dwan. Show all posts
Wednesday, May 15, 2019
Sunday, March 3, 2013
The Old Boy ***
(Please click on the title to see the complete review.)
The Keen Company's revival of A.R. Gurney's 1991 play proves once again that no other playwright does the world of WASPs as well as he. Sam (Peter Rini), a politician and diplomat who is considering a run for governor, has returned to his prestigious boarding school to give the commencement speech against the advice of his political aide Bud (Cary Donaldson). Dexter (Tom Riis Farrell), the Anglican clergyman who is second in command at the school, also asks Sam to announce the donation of an indoor tennis court by Harriet (the wonderful Laura Esterman) in memory of her son Perry (Chris Dwan), for whom Sam acted as old boy (mentor) during his first year. Perry's widow Alison (Marsha Dietlein Bennett). whom Sam had dated before Perry, is there for the occasion. The ever-cautious Bud has Perry's demise investigated and reveals to Sam that he died of AIDS. There are several flashbacks to Sam and Perry's years at school, during which Rini and Esterman continue to play their respective characters. Sam's speech at commencement is the play's climax. The play is topical and some of the action seems more driven by political correctness than dramatic impulse. Nevertheless, the characters are well-delineated and the dialogue is sharp. Even second-drawer Gurney is better than most people's top drawer. Rini looks a little too Mediterranean to be plausible as a WASP, but he captures Sam's callow charm. The rest of the cast is fine too. Jonathan Silverstein's direction is unobtrusive. Jennifer Paar's costumes are very good. The wide set by Stephen C. Kemp looked a bit underfurnished. Running time: 75 minutes; no intermission.
The Keen Company's revival of A.R. Gurney's 1991 play proves once again that no other playwright does the world of WASPs as well as he. Sam (Peter Rini), a politician and diplomat who is considering a run for governor, has returned to his prestigious boarding school to give the commencement speech against the advice of his political aide Bud (Cary Donaldson). Dexter (Tom Riis Farrell), the Anglican clergyman who is second in command at the school, also asks Sam to announce the donation of an indoor tennis court by Harriet (the wonderful Laura Esterman) in memory of her son Perry (Chris Dwan), for whom Sam acted as old boy (mentor) during his first year. Perry's widow Alison (Marsha Dietlein Bennett). whom Sam had dated before Perry, is there for the occasion. The ever-cautious Bud has Perry's demise investigated and reveals to Sam that he died of AIDS. There are several flashbacks to Sam and Perry's years at school, during which Rini and Esterman continue to play their respective characters. Sam's speech at commencement is the play's climax. The play is topical and some of the action seems more driven by political correctness than dramatic impulse. Nevertheless, the characters are well-delineated and the dialogue is sharp. Even second-drawer Gurney is better than most people's top drawer. Rini looks a little too Mediterranean to be plausible as a WASP, but he captures Sam's callow charm. The rest of the cast is fine too. Jonathan Silverstein's direction is unobtrusive. Jennifer Paar's costumes are very good. The wide set by Stephen C. Kemp looked a bit underfurnished. Running time: 75 minutes; no intermission.
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