The Great Society

C

If you saw Robert Schenkkan’s (The Kentucky Cycle) earlier play about the LBJ years, All the Way, I suspect that, for a multitude of reasons, you will be disappointed in the sequel, now at Lincoln Center Theater, which picks up the story at LBJ’s inauguration in 1965 and ends with Nixon’s in 1969. The play is overstuffed with episodes that cover the fight to pass a voting rights bill and other Great Society legislation, the ongoing struggle for civil rights complicated by fractures in the leadership and recalcitrance of Democratic politicians both in the South and North, the developing war in Vietnam and the protests it provoked, and examples of LBJ’s skilled arm-twisting techniques. No wonder there is little room for any depth of characterization. It’s a bit like a live Cliff Notes version of the era. I wished that the author had opted for less breadth and greater depth. With 22 actors, most of whom play multiple roles, it is occasionally hard to tell who’s who. Then there’s the matter of casting. While Brian Cox (That Championship Season) is a fine actor whose work I have often admired, the role of LBJ does not fit him like a glove; if you saw Bryan Cranston’s LBJ, you may have trouble adjusting to Cox’s. In addition, his attempt to find the right accent made the first few moments of the play almost unintelligible. Gordon Clapp (Glengarry Glen Ross) is believable as J.Edgar Hoover, but, as written by Schenkkan, the role is one-note. Barbara Garrick (The City of Conversation) has the thankless task of playing a colorless version of Lady Bird. David Garrison (Hollywood/Ukraine) is livelier both as Gov. Wallace and as Nixon. The ever-reliable Marc Kudisch (Girl from the North Country) is fine as Mayor Daley. Bryce Pinkham (A Gentleman’s Guide to Love and Murder), always eminently watchable, is a convincing Robert Kennedy. Richard Thomas (The Little Foxes) is rather stolid as Humphrey, but that seems suitable for the role as written. The usually fine Frank Wood (Side Man) is unconvincing as Sen. Dirksen. As MLK Jr., Grantham Coleman (Buzzer) lacks sufficient fire. David Korins (Hamilton) has designed an austere circular set with bleacher-like seating at the rear and dugout-like seating on the sides. The selection of which actors sit in these seats during various scenes seemed rather arbitrary. Props appear as needed. Projections by Victoria Sagady (All the Way) help set the scene. Linda Cho’s (A Gentleman’s Guide to Love and Murder) costumes seem appropriate to the period. Director Bill Rauch (The Clean House) keeps things moving, but to little cumulative effect. While the earlier play dug deeper into its characters, this one skims the surface. All in all, it was quite disappointing. Running time: two hours 40 minutes including intermission.

Jerry Springer -- The Opera

B-

It is easier for me to understand why it took 15 years for a fully staged production of this controversial Olivier-winning musical to reach New York (a concert version ran for two nights at Carnegie Hall in 2009) than to grasp how it won several best musical awards in London in 2003. In this thru-sung piece with music and lyrics by Richard Thomas (Anna Nicole) and book and additional lyrics by Stewart Lee, we visit the set of Springer’s notorious tabloid talk show, with side trips to Purgatory and Hell. It is hard to satirize a TV show that is essentially its own parody. The authors go for shock value, throwing in large doses of the profane, the salacious, the scatological and the blasphemous. For me, the novelty of hearing four-letter words sung from the stage faded quickly. The first act, though a bit long, was entertaining, but after intermission things headed south. The thinness of the material is almost counterbalanced by the quality of the performances. The cast, led by Terrence Mann (Pippin, Assassins) as Springer and Will Swenson (Waitress, 110 in the Shade) in the dual role of Warm-Up Man and Satan, is first-rate. Several have operatic voices that are thrilling to hear. Tiffany Mann and Luke Grooms are especially strong. Sean Patrick Doyle (Wig Out!) is notable in the transgender role of Tremont. The rather simple scenic design by Derek McLane (Sweet Charity, Noises Off) features a thrust stage with the audience seated on three sides. The costumes by Sarah Laux (The Band's Visit) are wickedly funny. The choreography by Chris Bailey is unremarkable and the direction by John Rando (On the Town, Urinetown) is a bit sluggish. The New Group deserves commendation for bringing a neglected work to New York and casting it with superb singers. It’s not for everyone, but if you place a high value on great singing and are not turned off by offensive language and themes, you might enjoy it. The rather young audience tonight responded with enthusiasm. Running time: two hours 15 minutes including interimssion.

An Enemy of the People *

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

The years have not been kind to Ibsen's 1882 landmark play. What must have seemed daring and original at the time can easily come across as both overheated and shopworn now. Perhaps a strong case can still be made for this play, but the production now in previews at Manhattan Theatre Club does not make it. First of all, there is far too much shouting. Director Doug Hughes seems to think that increasing the volume will improve the dialog; he is wrong. Richard Thomas, whose performances usually disappoint me, does so once again here as Mayor Stockmann. Even Boyd Gaines, whose performaces never disappoint me, seems a bit off his game here as the protagonist, Dr. Stockmann. The other actors perform their stereotypical roles enthusiastically. John Lee Beatty's attractive revolving set creates four different locations effectively. Catherine Zuber's costumes do not distract. If only the play were not so leaden and self-righteous and had at least a smidgen of nuance. The best thing I can say about Rebecca Lenkiewicz's adaptation is that it makes the play a bit shorter. Running time: 2 hours, 15 minutes including intermission.