Bella Bella

B

Harvey Fierstein (La Cage aux Folles, Kinky Boots) has written an affectionate tribute to larger-than-life New York politician Bella Abzug, whose many breakthroughs for women and efforts for the marginalized are not often spoken of today. Set on the night of the 1976 NY Democratic senatorial primary, pitting her against five opponents including Daniel Moynihan, this solo piece at Manhattan Theatre Club's Stage I shows Bella locked in the bathroom of a guest room (not a suite, she complains!) at the Summit Hotel, where she awaits the election results. The bathtub is piled high with campaign signs. On the other side of the door are her family, campaign staff and close friends. Downstairs in the ballroom hundreds are waiting for her to appear. What follows is an entertaining, informative look at highlights of her career and life story. I had thought I was generally familiar with her career, but I learned several things. I didn’t know that she defended a black man accused of raping a white woman in Mississippi. Nor did I know that New York Times publisher Arthur Sulzberger overruled his editorial board and withdrew their Abzug endorsement in the senatorial primary. The material includes lots of enjoyable anecdotes and several very funny one-liners. So far, so good. My problem with the show is Fierstein’s decision to play the role of Bella. It seems ironic that a play about female empowerment casts a man as Bella. From what I have read, several actresses (if one is allowed to use that word these days) turned down the role because of schedule conflicts. The producers were eager to do the show now to get a jump on a forthcoming documentary about Bella. Fierstein (Hairspray, Torch Song Trilogy) wisely does not try to impersonate Abzug. He wears a black shirt and slacks, but no makeup or wig. Only the big red hat he wears at the beginning and end of the play and the nail polish on his toes signal female. Harvey also has a big personality and a rough charm, so his version of Bella essentially works, but I found myself wishing that they had waited for a worthy actress to play the role. The production is first-rate with a set by John Lee Beatty (Doubt, Proof) that surrounds the playing area with the facade of the hotel and performs a clever transformation. Rita Ryack (Casa Valentina) did not have much of a costuming challenge. Kimberly Senior’s (Disgraced), direction is assured, never letting the pace lag. I wish the Playbill had included a few notes on her career and a Yiddish glossary. All in all, it’s an enjoyable production that might have been even better with a different Bella. Running time: 90 minutes; no intermission.

Torch Song

A-

I was worried about seeing Second Stage’s revival of Harvey Fierstein’s award winning play for a  couple of reasons. First, I was afraid that a script that seemed so fresh and daring in 1982 might seem merely tired and dated today. Secondly, I feared that Fierstein's indelible performance in the original might prevent me from appreciating Michael Urie. Fortunately I needn’t have worried on either count. I had forgotten how ahead of his time Fierstein was in his treatment of long-term gay relationships and gay adoption and how forcefully he dealt with the importance of living an authentic life. As to Urie (Buyer and Cellar; The Government Inspector), he has made Arnold Beckoff, the Jewish drag queen from Brooklyn,  his own. It’s a different Arnold from Fierstein’s, but an equally valid one. He knows how to get the laughs without straining for them. It helps that he is supported by an excellent cast: Ward Horton as Ed, the bisexual teacher Arnold has an off-and-on affair with; Roxanna Hope Radja as Laurel, Ed’s long-suffering girlfriend; Michael Rosen (On the Town) as Alan, the young model Arnold takes up with after Ed; Jack DiFalco (Marvin’s Room) as David, the gay teenager Arnold is foster parenting; and Mercedes Ruehl (Lost in Yonkers, Other People’s Money) as Arnold’s mother [a role originated by Estelle Getty]. The first act, “International Stud,” set in 1971, is named after a Village gay bar with a notorious backroom where a key scene takes place. The second act “Fugue in a Nursery,” set three years later, is formally clever but lacks emotional punch. The final act “Widows and Children First,” set in 1980, is the longest and most dramatic. In my opinion, it could use a bit of a trim. The direction by Moises Kaufman has many grace notes throughout. The scenic design by David Zinn captures the period, as do the costumes by Clint Ramos. I was happy to find the play alive and kicking and still able to provide an entertaining evening. Running time: two hours 45 mintues including intermission.

Gently Down the Stream

B

It has been far too long since we have had a play by Martin Sherman (Bent, When She Danced) on a New York stage. Thanks to the Public Theater, the drought is over. Even better, it has Gabriel Ebert (4,000 Miles, Matilda, Preludes) as one of its two leads. As Rufus, a bipolar Brit with a penchant for older men, Ebert once again proves that he is one of the finest actors of his generation. Beau, the expat cocktail pianist who is the object of his attention, is played by Harvey Fierstein (Torch Song Trilogy, Hairspray), which, depending on your point of view, is either the best or worst thing about the play. Listening to Fierstein’s raspy voice for an extended period has always been a problem for me. In this case, the problem is compounded by the New Orleans accent by way of Brooklyn that he adopts. That's a lot to get through to appreciate the subtle acting beneath. Christopher Spears (The Harvest) is fine in the third, smaller role of Harry. His rendition of “The Man I Love” is not one you’ll soon forget, even if no match for the snippets of Mabel Mercer songs that punctuate the play. The importance of oral history to preserve the lives of marginalized people that society prefers to disregard is one of the play’s themes. Illustrating how relationships change over time is another. There are several monologues for Beau that eventually explain why he has become so mistrustful of the possibility of happiness for gay men. What he reveals about the gay history of the last 50 years contains little that will be unfamiliar to a New York audience. Sherman’s dialogue sparkles with wit, but his structure is a bit lumpy and the final scene seems pasted on. Derek McClane’s (Noises Off, I Am My Own Wife) set presents a London flat guaranteed to inspire real estate envy. The costumes by Michael Krass (Noises Off, Machinal) are apt. Director Sean Mathias (Waiting for Godot, No Man’s Land) manages to minimize the play’s structural problems. While the play doesn’t represent Sherman at his best, it still provides an entertaining and occasionally moving evening. Running time: one hour 45 minutes; no intermission.

Casa Valentina (revisited) ***

When the opportunity to attend opening night arose unexpectedly, I decided to pay a return visit to see how the play had changed since I saw an early preview 2 1/2 weeks ago. Here's what I had to say the first time around:

For Harvey Fierstein to have three plays running on Broadway simultaneously is quite an achievement, but in this instance the third time is not a charm. His first non-musical (I dare not say "straight" play) in decades, now in previews at Manhattan Theatre Club, has a lot going for it, especially an outstanding cast and an intriguing fact-inspired premise. In the early 60's there was a resort colony in the Catskills that catered to the needs of married heterosexual transvestites. To see such New York theater stalwarts as Patrick Page (George/Valentina), Reed Birney (Charlotte), John Cullum (Terry) and Larry Pine (The Judge/Amy) in full drag is an experience not soon to be forgotten. (Birney's Charlotte bears an uncanny resemblance to both Bette Davis and Tallulah Bankhead.) Gabriel Ebert (Jonathon/Miranda) plays a younger first-time visitor and Nick Westrate (Gloria) is the friend who encouraged his visit. Tom McGowan is hilarious as Bessie, an overweight ex-sergeant who has a Wilde quotation for every occasion. Mare Winningham is George's devoted wife Rita. Lisa Emery has a short but important role as Eleanor, the daughter of one of the guests. The play has some comic moments, but ends up in much darker territory. The lengthy first act sags (I resisted the urge to say "drags") in the middle for a long stretch. Although the play addresses many interesting themes such as heterosexual transvestites' hatred of homosexuals, governmental intrusion and manipulation, budding activism and the collateral damage caused by people's life choices, I could not fathom what it was the playwright wanted the audience to take away from it. David Zinn's set and Kaye Voyce's costumes are effective. Director Joe Mantello makes the best of what is there, but cannot overcome the play's lack of focus. I'm sure things will be tightened up a bit during the two weeks of previews that remain, but I doubt that tinkering can solve the play's problems. Running time: 2 hours 25 minutes including intermission.

This time around, I was even more impressed by the excellence of the cast. They have deepened their performances and grown as an ensemble. The pace of the first act has improved and the arguments at the "sorority" meeting better reflect the individuality of the characters without seeming as pedantic as I first found them. Unfortunately, the problems of the second act have not gone away. What had seemed a sensitive group character study turns melodramatic. While I did not expect the ending to tie everything up with a neat bow, I still felt frustrated that the abrupt ending left too many issues unresolved. I wish the play had been given more time for workshops or an out-of-town tryout, because I think there is still a better play hiding somewhere inside. Nevertheless, because of the deeply affecting performances of the outstanding cast, I have changed my rating from two stars to three.

Casa Valentina **

For Harvey Fierstein to have three plays running on Broadway simultaneously is quite an achievement, but in this instance the third time is not a charm. His first non-musical (I dare not say "straight" play) in decades, now in previews at Manhattan Theatre Club, has a lot going for it, especially an outstanding cast and an intriguing fact-inspired premise. In the early 60's there was a resort colony in the Catskills that catered to the needs of married heterosexual transvestites. To see such New York theater stalwarts as Patrick Page (George/Valentina), Reed Birney (Charlotte), John Cullum (Terry) and Larry Pine (The Judge/Amy) in full drag is an experience not soon to be forgotten. (Birney's Charlotte bears an uncanny resemblance to both Bette Davis and Tallulah Bankhead.) Gabriel Ebert (Jonathon/Miranda) plays a younger first-time visitor and Nick Westrate (Gloria) is the friend who encouraged his visit. Tom McGowan is hilarious as Bessie, an overweight ex-sergeant who has a Wilde quotation for every occasion. Mare Winningham is George's devoted wife Rita. Lisa Emery has a short but important role as Eleanor, the daughter of one of the guests. The play has some comic moments, but ends up in much darker territory. The lengthy first act sags (I resisted the urge to say "drags") in the middle for a long stretch. Although the play addresses many interesting themes such as heterosexual transvestites' hatred of homosexuals, governmental intrusion and manipulation, budding activism and the collateral damage caused by people's life choices, I could not fathom what it was the playwright wanted the audience to take away from it. David Zinn's set and Kaye Voyce's costumes are effective. Director Joe Mantello makes the best of what is there, but cannot overcome the play's lack of focus. I'm sure things will be tightened up a bit during the two weeks of previews that remain, but I doubt that tinkering can solve the play's problems. Running time: 2 hours 25 minutes including intermission.

Kinky Boots ****

(Please click on the title to see the complete review.)
The industrial decline of Britain has been a promising topic for movies that were then turned into musicals. In 1997 we got "The Full Monty," in 2000 along came "Billy Elliot." In 2005 a lesser known film, "Kinky Boots," developed mainly as a vehicle for the talented Chiwetel Ejiofor, arrived on the screen. Despite a mixed reception from American critics, it became a cult film in some circles. Now, with music and lyrics by Cyndi Lauper, a book by Harvey Fierstein and direction and choreography by Jerry Mitchell, "Kinky Boots" has arrived on Broadway. The reputation of its creators and the buzz from the sold-out Chicago run have raised expectations very high, perhaps too high. Although I enjoyed the show thoroughly, I will confess that it did not quite live up to all the hype. The fine cast is led by Stark Sands as Charlie Price, the young man who is suddenly burdened with responsibility for the family's moribund shoe factory, and Billy Porter as Lola (a/k/a Simon), the black drag queen who inspires him to replace the factory's men's dress shoe line with a niche product -- glamorous boots for transvestites. There are problems along the way with Charlie's unsupportive fiancee, homophobic employees, financial difficulties and the self-doubt that Charlie and Lola share. In addition to a strong cast that includes The Angels, Lola's six back-up drag performers, there is a terrific factory set by David Rockwell and marvelous costumes by Gregg Barnes. The book is witty, but the score is merely serviceable and the lyrics rarely rise above the banal. There is one touching number "I'm Not My Father's Son," during which Charlie and Lola/Simon bond. The choreography of the first act finale is wonderfully inventive, with clever use of conveyer belts  and other factory equipment. The show's closing number is also a winner, with everyone donning the kinky boots for a blowout finale. Although not everything was as fantastic as I had hoped, these two numbers went a long way to winning me over. I left with a big smile. Running time: 2 hours, 20 minutes including intermission.

Newsies ***

(Please click on the title to see the full review.)
What I should have been more aware of about Newsies is that it is a Disney production, with all that implies -- family-friendly, squeaky clean, lavishly produced, slick, inoffensive, bland. The audience was filled with busloads of teenaged girls who wildly cheered just about everything when they weren't texting. Jeremy Jordan shines as Jack Kelly, leader of the 1899 NYC newsboys' strike. Kara Lindsay is perky as Katherine, the love interest that has been added in Harvey Fierstein's adaptation of the Disney film. The music and lyrics by Alan Menken and Jack Feldman, respectively, are unmemorably efficient. The athletic choreography by Christopher Gattelli is performed with brio by a prodigiously talented ensemble. The huge metal multilevel set by Tobin Ost calls too much attention to itself: it moves back and forth, spins and reconfigures itself restlessly. Jess Goldstein's period costumes are fine. Jeff Calhoun directed. If you go expecting something on the level of The Lion King or Beauty and the Beast, you will be disappointed, but, if you have a young person in your life, by all means take him or her to Newsies -- it's the perfect starter musical. Running time: 2 hours, 30 minutes including intermission.