The conditions under which I saw Conor McPherson’s (The Weir, The Seafarer) play with songs by Bob Dylan were not ideal. First, I am not and have never been a follower of Dylan’s oeuvre, so I was unfamiliar with the lyrics and not in a position to appreciate the nuances of subjecting the songs to new arrangements and contexts. Second, I was a victim of excessive expectations. Almost all the reviews from London were raves and a knowledgeable friend said it was right up there with Hamilton. I respectfully disagree. McPherson has written a play about the denizens of a Duluth boarding house during the Great Depression and interspersed it with 20 Dylan songs, both familiar and obscure, written between 1965 and 2012. We meet the Laines — Nick (Stephen Bogardus; Falsettos, Passion), the beat-down, deeply in debt owner of the boarding house; his demented wife Elizabeth (the magnificent Mare Winningham who turns out to have a gorgeous voice; Casa Valentina, Tribes), their boozy unemployed son Gene (Colton Ryan; Dear Evan Hansen) and their black adoptive daughter Marianne (Kimber Sprawl; A Bronx Tale) who is mysteriously pregnant. Then there are the Burkes, who have fallen on hard times — Mr. Burke (Marc Kudisch; 9 to 5, Hand to God), Mrs. Burke (Luba Mason; Jekyll & Hyde) and their son Elias (Todd Almond; The Tempest, Stage Kiss) who has the body of a strapping man but the mind of a child. Another boarder is Mrs. Neilsen (Jeannette Bayardelle; The Color Purple) , who appears to be in a very close relationship with Nick Laine. Two guests arrive in the middle of the night — Joe Scott (the superb Sydney James Harcourt; Hamilton), a black boxer who has been unjustly imprisoned, and Reverend Marlowe (David Pittu; Stuff Happens, The Front Page), a slimy itinerant bible salesman. We briefly meet Kate Draper (Caitlin Houlahan; Waitress), Gene’s ex-girlfriend; Mr. Perry (Tom Nelis; Road Show, Indecent), the elderly shoemaker who would like to marry Marianne; and the opioid-friendly Dr. Walker (Robert Joy; Head of Passes, Side Show), who acts as narrator. The abundance of characters and the necessity to make room for songs limits the ability to develop any character in depth and rushes the exposition, particularly in the first act. Many of the plot threads seem overly familiar while others are abruptly dropped without resolution. The songs, while beautifully performed, rarely seemed closely linked to particular events or characters. While it was a pleasure to see so many fine actors on stage, I was sorry that they did not have more opportunity to act. The fluidly transforming set design and costumes by Rae Smith (War Horse, The Seafarer) are evocative of the period. The playwright’s restless direction keeps the play in almost constant motion. While I realize that this will probably be one of the biggest hits of the season, I left the Public Theater frustrated and disappointed. Running time: two hours 20 minutes including intermission.
Showing posts with label David Pittu. Show all posts
Showing posts with label David Pittu. Show all posts
Sunday, September 30, 2018
Tuesday, April 22, 2014
The Heir Apparent ***
I wish I had been able to approach the CSC production of David Ives's "translaptation" (his neologism) of Jean-François Regnard's 1708 comedy unburdened by expectations. Unfortunately, I could not drive away the memory of CSC's brilliant 2011 production of "The School for Lies." Ives's riff on Moliere's "The Misanthrope," which I thought was one of the best plays of that year. The problem with this work is that Regnard is no Moliere. The humor is broader, less witty and more scatological. Although it makes for an enjoyable evening, the play doesn't reach the heights of Ives's best adaptations or original work. The plot is an old standby -- scheming to win the inheritance of an allegedly dying miser. The major source of the fun is in Ives' delightful rhyming couplets in iambic pentameter. His verses are filled with delightful anachronisms and modern cultural references, e.g. soccer moms, the 99%, CPR. The entire cast is excellent, first among them the always hilarious Carson Elrod ("The Explorers Club," "All in the Timing") as the servant whose crazy plans drive most of the action. Suzanne Bertish, Paxton Whitehead and David Pittu, ever the reliable actors, shine in their roles. Dave Quay, Amelia Pedlow and Claire Karpen are all fine too. John Lee Beatty's set is marvelously cluttered and David C. Woolard's costumes are appealing. Director John Rando keeps things moving along briskly, but I didn't like the choice to have an actor break character and address the audience a few times. I liked the play, but I would have liked it more if I had not seen other better work from Ives. Running time: 2 hours including intermission.
Wednesday, June 5, 2013
3 Kinds of Exile **
(Please click on the title to see the complete review.)
John Guare's strange hodgepodge for the Atlantic Theater Company throws together three pieces loosely connected by the theme of exile. The first piece "Karel" is an extended anecdote about a man with a seemingly incurable rash, who, at the age of 12, had been sent to England with the Kindertransport and had remained there. Martin Moran tells the slight but interesting tale well.
The second piece "Elzbieta Erased" is a reworking of a one-act play Guare wrote for Atlantic's 25x10 series a few years ago about famous Polish actress Elzbieta Czyzewska. The author, playing himself, and charismatic actor Omar Sangare, portraying several characters including the actress, give us the highlights of her life -- a successful career in Poland, following by expulsion after her marriage to David Halberstam and her years in America, repeatedly dogged by bad luck. Her story is fascinating, but the telling is a bit too long.
If only there were an intermission at this point, one could escape "Funiage," a biographical sketch about absurdist novelist and playwright Witold Gombrowicz, who spent much of his adult life in Argentinian exile. Guare has chosen to emulate his subject's style with an absurdist approach incorporating Brechtian touches. It's hard to sit through. Against all odds, David Pittu as Gombrowicz acquits himself honorably. The rest of the ensemble shall remain nameless. Neil Pepe directed. The talent the playwright once exhibited with House of Blue Leaves, Six Degrees of Separation and Lydie Breeze is not apparent here. Running time: 90 minutes, no intermission.
John Guare's strange hodgepodge for the Atlantic Theater Company throws together three pieces loosely connected by the theme of exile. The first piece "Karel" is an extended anecdote about a man with a seemingly incurable rash, who, at the age of 12, had been sent to England with the Kindertransport and had remained there. Martin Moran tells the slight but interesting tale well.
The second piece "Elzbieta Erased" is a reworking of a one-act play Guare wrote for Atlantic's 25x10 series a few years ago about famous Polish actress Elzbieta Czyzewska. The author, playing himself, and charismatic actor Omar Sangare, portraying several characters including the actress, give us the highlights of her life -- a successful career in Poland, following by expulsion after her marriage to David Halberstam and her years in America, repeatedly dogged by bad luck. Her story is fascinating, but the telling is a bit too long.
If only there were an intermission at this point, one could escape "Funiage," a biographical sketch about absurdist novelist and playwright Witold Gombrowicz, who spent much of his adult life in Argentinian exile. Guare has chosen to emulate his subject's style with an absurdist approach incorporating Brechtian touches. It's hard to sit through. Against all odds, David Pittu as Gombrowicz acquits himself honorably. The rest of the ensemble shall remain nameless. Neil Pepe directed. The talent the playwright once exhibited with House of Blue Leaves, Six Degrees of Separation and Lydie Breeze is not apparent here. Running time: 90 minutes, no intermission.
Friday, February 3, 2012
CQ/CX **
(Please click on the title to see the full review.)
First, the title: it's a newsroom symbol for "fact verified" and "fact corrected." Not exactly a grabber.
Alas, neither is this new play, by former Times news assistant Gabe McKinley, now in an Atlantic Theater Company production at the Peter Norton Space. The Atlantic is billing it as a "docudrama," which is a very tricky genre. What is the value of reanimating a decade-old scandal, unless it is to provide new insight, clarify the context and motivation or make it more coherent dramatically? Alas, CQ/CX does not really succeed at any of these things. It presents real-life identifiable New York Times figures under slightly altered names, along with characters who may or may not be fictionalized. The imagined conversations and monologues of Times honchos as played by David Pittu, Arliss Howard, Peter Jay Fernandez and Tim Hopper deliberately include several remarks that, colored by the wisdom of hindsight, now sound either foolish or ironic and allow the audience to feel superior. The relations among the three interns in the Times diversity program - a black man, an Hispanic woman and a Jew, respectively played by Kobi Libii, Sheila Tapia and Steve Rosen -- are ploddingly depicted. The old editor played by Larry Bryggman adds a note of pathos, but has little to do with the main action. The biggest flaw is the version of Jayson Blair written by McKinley and played by Libii. Either the role is poorly written or his acting is not up to snuff or both. We leave the theater with no deeper understanding of why he did what he did, which makes the whole proceeding rather pointless. David Levaux directed. The production values are all first-rate, but for me that only emphasized that the play isn't. Running time: 2 hours, 20 minutes including an intermission.
First, the title: it's a newsroom symbol for "fact verified" and "fact corrected." Not exactly a grabber.
Alas, neither is this new play, by former Times news assistant Gabe McKinley, now in an Atlantic Theater Company production at the Peter Norton Space. The Atlantic is billing it as a "docudrama," which is a very tricky genre. What is the value of reanimating a decade-old scandal, unless it is to provide new insight, clarify the context and motivation or make it more coherent dramatically? Alas, CQ/CX does not really succeed at any of these things. It presents real-life identifiable New York Times figures under slightly altered names, along with characters who may or may not be fictionalized. The imagined conversations and monologues of Times honchos as played by David Pittu, Arliss Howard, Peter Jay Fernandez and Tim Hopper deliberately include several remarks that, colored by the wisdom of hindsight, now sound either foolish or ironic and allow the audience to feel superior. The relations among the three interns in the Times diversity program - a black man, an Hispanic woman and a Jew, respectively played by Kobi Libii, Sheila Tapia and Steve Rosen -- are ploddingly depicted. The old editor played by Larry Bryggman adds a note of pathos, but has little to do with the main action. The biggest flaw is the version of Jayson Blair written by McKinley and played by Libii. Either the role is poorly written or his acting is not up to snuff or both. We leave the theater with no deeper understanding of why he did what he did, which makes the whole proceeding rather pointless. David Levaux directed. The production values are all first-rate, but for me that only emphasized that the play isn't. Running time: 2 hours, 20 minutes including an intermission.
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