Downstate

 A-

Once again Playwrights Horizons is presenting an important work by Pulitzer Prize winner Bruce Norris (The Pain and the Itch, Clybourne Park, The Qualms), who reminds us why he is one of our most provocative playwrights. This time out, Norris tackles a thorny issue that gets little attention – our system for isolating sex offenders who have served their time but are placed on a registry that severely limits their life options, often forever. Because of residency restrictions designed to restrict their contact with children, they often end up in group homes in areas that don’t want them with neighbors who demonstrate their opposition by harassing them in a variety of ways, some violent. We meet four such men in a church-sponsored home in downstate Illinois. Fred (Francis Guinan), a seemingly kindly man in his seventies confined to a mobility scooter, is a former piano teacher who molested two young male students. Dee (K. Todd Freeman), a former dancer, had a two-year relationship with a 14-year-old Lost Boy in a touring version of Peter Pan. The religious Felix (Eddie Torres), who molested his young daughter, avoids the others and prays a lot. Gio (Glenn Davis), a younger man whose crime was “merely” statutory rape of a girl who lied about her age, is a Level One offender, whose name will be removed from the registry in a matter of months. He resents being thrown together with Level Three offenders whose registration will be permanent. Ivy (Susanna Guzman) is the tough overworked parole officer who checks on them weekly. On the day the action takes place, Fred is visited by Andy (Tim Hopper), one of the boys he molested 30 years ago, and Andy’s wife Em (Sally Murphy). Andy is there to confront Fred and get him to sign a document listing all his crimes against Andy, including one he denies. Their visit does not yield the results he wants. Ivy has bad news for the four – the local jurisdiction has expanded their no-go zone, which will eliminate access to their supermarket and bus stop. She has worse news for Felix, who has been caught going to the library and using the internet. We also meet Effie (Gabi Samels), Gio’s young co-worker at Staples, a character whose inclusion in the play seems unwarranted to me. Andy has conveniently left his cellphone behind, which gives him an excuse to return without his wife. The second meeting between Andy and Fred becomes explosive. In addition, there is a tragic development which I thought had been telegraphed rather clumsily. The play raises many uncomfortable questions about punishment, forgiveness and victimhood that we are left to ponder. The production’s greatest strength is the high level of the acting. The entire ensemble is outstanding. Todd Rosenthal’s set is appropriately grim and Clint Ramos’s costumes are apt. Pam MacKinnon, who has directed other Norris successes, seems to have a special affinity for his work. If you seek a thought-provoking evening, look no further. Running time: two hours 30 minutes including intermission.

Toni Stone

C+

It’s an interesting coincidence that “Toni Stone” and “A Strange Loop” have arrived in New York within a few weeks of each other because in some ways they form a pair of bookends. Both shows have a talented all-black ensemble that includes one woman and several men, with the men playing a variety of characters of diverse age, race and gender. Both have protagonists who are surrounded by unsupportive people. Both shows are enhanced by first-rate choreography. Both have lead actors who are giving a memorable performance. However, while the hero of “A Strange Loop” has trouble finding a clear goal, the title character in “Toni Stone,” a Roundabout commission, knows exactly what she wants — to be a professional baseball player. Based on a biography by Martha Ackmann, the show depicts moments in her interesting life from childhood in the Twin Cities to her years with the Indianapolis Clowns, the Negro League team where she replaced Hank Aaron. Playwright Lydia R. Diamond (Smart People, Stick Fly) tells Stone’s story out of sequence. At the beginning, she is already with the Clowns. The backward and forward movement from that point does not always make clear what period we are observing. The other actors play her teammates as well as her priest, a racist coach, a friendly prostitute and her much older suitor, among others. The play vividly captures what it was like to be a Negro League ballplayer in the racist 1950’s when the league was struggling to hold onto an audience as its best players were hired away by major league teams. Its biggest flaw is that there is far more telling than showing. There are many long monologues, particularly in the first act, that slow the momentum. Fortunately, after intermission the pace picks up and the anecdotes, while sometimes only loosely connected, are more interesting. The impressive April Matthis (Fairview, Antlia Pneumatica) makes Stone a sympathetic character. The supporting cast — Eric Berryman (The B-Side), Harry Blanks (Jitney), Phillip James Brannon (JUNK, Log Cabin), Daniel J. Bryant, Jonathan Burke (Choir Boy), Toney Goins, Kenn E. Head and Ezra Knight (Mean Girls) — is uniformly strong. A stylized baseball scene choreographed by Camille A. Brown (Choir Boy, Once on This Island) is a knockout. The set by Riccardo Hernandez (Frankie & Johnny…, Indecent) is dominated by five banks of stadium lights that extend into the auditorium and three sections of bleacher seats. Dede Ayite’s (By the Way, Meet Vera Stark; BLKS) costumes are apt. The lighting design by Allen Lee Hughes (Intimate Apparel, Who’s Afraid of Virginia Wolff) was a bit hyperactive. Pam MacKinnon’s (Who’s Afraid of Virginia Wolff, Clybourne Park) direction is assured. As social history, I found the play informative; as theater, it was less than compelling. If you are a baseball fan or a history buff, you are more likely to enjoy it. Running time: two hours 15 minutes including intermission.

Log Cabin

B-

Jordan Harrison’s (Marjorie Prime; The Amateurs) new comedy of manners at Playwrights Horizons is quite entertaining, but not all that coherent. The title, which led me to expect a play about LGBT Republicans, is misleading. While the two privileged couples, one lesbian and the other gay, at the center of the play may have become too comfortable with their recently won gains, I doubt that any of them is a card-carrying Log Cabin member. When we first meet them, the acerbic Jules, as in Julia, (Dolly Wells; The Whirligig) and the laconic Pam (Cindy Cheung; Iowa, Middletown) are entertaining their gay friends, the wise-cracking, overbearing Ezra (Jesse Tyler Ferguson; On the Town, Fully Committed), who is never without a quip, and his African-American husband Chris (Phillip James Brannon; Bootycandy, The City of Conversation). Jules and Pam decide to have a child. Chris wants one, but Ezra does not. A year after their son Hartley is born, the lesbians are once again entertaining in their spacious Brooklyn brownstone apartment. The two couples are joined by Ezra’s old friend Henry f/k/a Helen (Ian Harvie (“Transparent”), who 20 years before was Ezra's prom date, and Henry’s young hippy-dippy girlfriend Myna (Talene Monahon; Bobbie Clearly), who prefers dating trans men. After a few mojitos, the fractures among those present rise to the surface. Henry is upset that privileged LGBT people can be hurtful to marginalized trans people. As a black man, Chris argues that he often feels marginalized. Myna is appalled at everyone’s materialism. A conversation overheard on Hartley’s baby monitor fans the flames. We rejoin the group on Hartley’s birthday party over the next few years. The plot takes a turn that I found totally preposterous which I will not spoil for you. Nor will I say more about an amusing surrealist development that comes as a delightful surprise. While some of the many issues touched upon are specific to LGBT people, others — the difficulty of maintaining long-term relationships, adjusting to parenthood, being accepting of differences — are universal. The entire cast is very good. While I always enjoy seeing Jesse Tyler Ferguson, I would like to see him in a role that is not so completely within his comfort zone; I fear he is becoming stereotyped. The set by Allen Moyer (Grey Gardens, The Lyons) is a revolving wonder. Jessica Pabst’s (The Profane, Marvin’s Room) costumes are just right for each character. Pam MacKinnon (Who’s Afraid of Virginia Woolf, Clybourne Park) directs with her usual assurance. I enjoyed the play, but I felt it skimmed the surface of too many topics without going very deeply into any of them. Running time: one hour 35 minutes; no intermission.

The Parisian Woman

B-

Uma Thurman makes her Broadway debut in the lead role of Chloe in Beau Willimon’s (Farragut North, “House of Cards”) political drama set in contemporary Washington. The play was inspired by La Parisienne, an 1885 French play by Henry Becque. Chloe is married to Tom (Josh Lucas; Corpus Christi, “Sweet Home Alabama”), a prominent tax lawyer who is hoping for an appointment to the federal bench. Peter (Marton Csokas; The Little Foxes at NYTW) is an influential businessman who is besotted with Chloe. Jeanette (Blair Brown; Copenhagen, James Joyce's The Dead) is about to become chair of the Federal Reserve Board. Her daughter Rebecca (Phillipa Soo; Hamilton, Amelie), fresh out of Harvard Law, has ambitions for a career in politics. Chloe may not have a career, but pulling the strings of the other four characters is a full-time job. Deep character portrayal is not the play’s strength. Playing out a somewhat intricate plot while springing an occasional surprise is where the pleasure lies. There are scattered references to life under the Trump administration that go for an easy laugh. The actors are well-cast. Ms. Thurman seems perfectly comfortable onstage; that her character does not come across as more charismatic is probably a problem in the writing. Mr. Csokas’s Peter is a hoot. Blair Brown never disappoints. Mr. Lucas and Ms Soo are fine, but don’t get that much opportunity to show their mettle. The scenic design by Derek McLane (Beautiful, The Price) features three different attractive sets. A high-tech electronic curtain descends between scenes. Jane Greenwood’s (The Little Foxes) costumes suit their characters well. Pam MacKinnon (Amelie, The Qualms) directs with assurance. Running time: one hour 40 minutes; no intermission.

The Qualms ****

With this comedy, now in previews at Playwrights Horizons, Bruce Norris (The Pain and the Itch, Clybourne Park, Domesticated) once again demonstrates that he is one of our most consistently entertaining playwrights. His depiction of a swingers’ party that goes awry is hysterically funny, occasionally touching, and uncomfortably perceptive about the foibles of human sexuality and other social behavior. For reasons that are a bit implausible, investment banker Chris (the always reliable Jeremy Shamos) has accepted an invitation to attend a swingers’ party with his attractive wife Kristy (Sarah Goldberg) at the home of Gary (John Procaccino) and his sexy but slightly dim partner Teri (the superb Kate Arrington), whom they had met on vacation. Gary argues at length about the unnaturalness of monogamy. They are joined by the plus-size Deb (the delightful Donna Lynn Champlin) and her younger black lover Ken (Andy Lucien) who combines an ultra-buff body with  a touch of swish. Last to arrive are Regine (Chinasa Ogbuagu), a sultry beauty from Martinique, and Roger (the fine Noah Emmerich), an ex-military libertarian. There’s also a delivery guy (Julian Leong) who earns laughs without saying a word. Chris quickly develops misgivings about being at the party and provokes the others by expressing unfashionably conservative views. His increasingly obnoxious behavior is a buzz-kill for the evening’s anticipated amorous adventures. Norris skillfully uses both overlapping dialog and the absence of dialog. A long silent scene near the end of the play is powerful in its impact. There's a momentary breach of the fourth wall that is very effective too. Director Pam MacKinnon manages all the action with aplomb. Todd Rosenthal has designed a condo living room that looks authentic and lived in. Jessica Pabst’s costumes are spot-on. Some may dismiss the play as lightweight, but I think there are some thought-provoking ideas lurking behind the humor. Besides, it was so funny that I wasn’t really looking for gravitas. Running time: 95 minutes, no intermission.

The Heidi Chronicles **

I wish I had stuck with my memories of enjoying the original production of Wendy Wasserstein’s landmark play instead of trying to relive them by seeing the current Broadway production. Her whirlwind tour of 25 years in the changing life of educated, affluent Americans, particularly women, was a breath of fresh air when it first appeared. While several of the play’s 11 scenes retain some of their impact, many others seemed stale --either too long or too broadly satirical or both. Elisabeth Moss is a creditable Heidi. While Bryce Pinkham is believable as Peter, Jason Biggs lacks the charm so essential to the role of Scoop. None of them compares favorably with the wonderful original cast. The supporting cast (Tracee Chimo, Ali Ahn, Andy Truschinski, Leighton Bryan and Elise Kibler) is quite good. The revolving set by John Lee Beatty and the projections by Peter Nigrini are excellent, as are Jessica Pabst’s costumes. Director Pam MacKinnon keeps things moving well through the first act, but the second act seemed interminable. If you’ve seen the play before, I suggest passing on this version. Running time: 2 hours, 40 minutes including intermission.

A Delicate Balance **

Let me confess that this play, despite its Pulitzer Prize, has never seemed to me on a par with Albee’s “Who’s Afraid of Virginia Woolf” or “Three Tall Women.” Based on Pam MacKinnon’s superb direction of the former play and the promising cast she assembled for this one, I hoped that this production might change my mind. It didn’t. I found the first half of the play listless and lacking any sense of ensemble. Things improved with the second scene of Act II and cohered even more for Act III. By then it was almost too late, because a solid foundation had not been built. The quality of the acting was below my expectations. Glenn Close, in the key role of Agnes, projected poorly, stumbled over her lines more than once and seemed generally distracted. Lindsay Duncan, as her drunk sister Claire, underplayed her role; Martha Plimpton, as much-married daughter Julia, overplayed hers. Of the four main characters, only John Lithgow, as Agnes’s husband Tobias, seemed to fully inhabit his role. Claire Higgins and Bob Balaban, as the terrified neighbors Edna and Harry, who move in, are very good. However, if it’s Harry and Edna that grab the most attention, something is wrong with the play’s delicate balance. The lavish living room designed by Santo Loquasto is imposing, but Ann Roth’s color-coordinated costumes were a bit much. I should mention that the conditions for enjoying the play were less than ideal. Legroom in the Golden Theatre’s mezzanine was minimal. The audience was annoying, laughing at inappropriate moments such as during Tobias’ impassioned monologue. Not a great evening for theater, alas. Running time: two hours, forty minutes, including two intermissions.

The Lying Lesson *

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The publicity for Craig Lucas's new play at the Atlantic Theater bills it as a "comic thriller." Alas, it is neither amusing nor thrilling. This strange two-character play imagines an 1981 episode in which Bette Davis, in her early 70's, returns to a coastal Maine town where she had summered in her teens to buy a house and rekindle her acquaintance with her former heartthrob. Shortly after her arrival, she meets a young local woman who attempts to make herself indispensable. Carol Kane looks amazingly like Davis, especially in Ilona Somogyi's great costumes, but, when she opens her mouth, the illusion is shattered. I am sure there are still bars in Manhattan where any patron picked at random can do a more convincing Bette Davis. Mickey Sumner, lean and lanky, is convincing as the mysterious young woman, except when her down-East accent slips. The plot, such as it is, revolves around discovering her identity and motivation. Neil Patel seems off his stride with a set in drab shades of beige. Even director Pam MacKinnon, who did so well with "Who's Afraid of Virginia Woolf" and "Clybourne Park,"can't make a silk purse out of this. Running time: two hours, ten minutes including intermission.

Who's Afraid of Virginia Woolf *****

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Edward Albee could not have hoped for a better way to celebrate his landmark play's 50th anniversary than opening night for a sensational Broadway revival that demonstrates the play's continuing power. This production at the Booth has been imported intact from Chicago's Steppenwolf Theatre with two Tony winners in tow. Amy Morton, who was so impressive in August: Osage County, gives a nuanced performance as Martha, showing the human behind the harridan. Tracy Letts, who won for writing August: Osage County, is no less impressive as actor than he was as playwright. His riveting characterization of George is the revelation of the evening. The supporting actors, Madison Dirks and Carrie Coon as Nick and Honey, are both fine. I had forgotten how hilarious much of the dialogue is. The big third act reveal still doesn't work for me and the play is a bit longer than it needs to be, but these are mere quibbles compared to all that is so right about this production. Todd Rosenthal's set looks exactly like a professor's house should and Nan Cibula-Jenkins' costumes are just right. Pam MacKinnon's assured direction is flawless. Running time: 3 hours, 10 minutes including two intermissions.

Note: For a very interesting essay on this production, see www.bsonarts.com.

Harrison, TX ***

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This evening of three short plays by Horton Foote, now in previews at Primary Stages, is not on the same high level as The Orphans' Home Cycle or Dividing the Estate, but it does offer moments of pleasure. Only the location -- the fictionalized version of Foote's hometown where most of his works take place -- unites the three plays. The first, Blind Date, is an affectionately satirical sketch about an aunt trying to teach her visiting niece a lesson in charm before an arranged date. Although the sketch eventually runs out of steam, it is the most satisfying of the trio. The One-Armed Man, a short but brutal confrontation between an injured man and the boss he blames. presents a jarring and unpleasant contrast. The longest and most ambitious play, The Midnight Caller, vividly portrays the soul-sucking, circumscribed life of the residents of a boarding house and the disruption caused by the arrival of two newcomers. The cast of nine (Devon Abner, Mary Bacon, Jeremy Bobb, Alexander Cendese, Hallie Foote, Andrea Lynn Green, Jayne Houdyshell, Evan Jonigkeit, and Jenny Dare Paulin) are all excellent. Kaye Voyce's costumes clearly evoke the time and place. Marion Williams' set is also evocative, but falters a bit in the third play when a corner of the stage suddenly has to represent a bedroom. Pam MacKinnon's direction is smooth and direct. Running time: 1 hour, 50 minutes without an intermission.