The Ferryman

A

I was going to skip this London import by Jez Butterworth because I did not care for his much-praised 2011 play Jerusalem at all (https://gotham-playgoer.blogspot.com/2011/04/jerusalem.html). However, the reports from London were so enthusiastic that I relented and bought a ticket. I’m very glad I did. I found it so compelling that its three-plus hours absolutely flew by. The seamless blend of the personal with the political, the comic with the dramatic, the leisurely storytelling with the sudden shocks give it almost Shakespearean proportions. After a brief prologue set in Derry a day or two before the rest of the play, the action takes place in the oversized farmhouse kitchen of the Carney family in rural Northern Ireland. In addition to Quinn (Paddy Considine), Mary (Genevieve O’Reilly) and their seven children — JJ (Niall Wright), Michael (Fra Fee), Sheena (Carla Langley), Nunu (Brooklyn Shuck), Honor (Matilda Lawler), Mercy (Willow McCarthy) and infant Bobby (Annie Scarfuto). the household includes Quinn’s two aunts — acerbic Aunt Pat (Dearbhla Molloy) and befogged Aunt Maggie Far Away (Fionnula Flanagan) — and tippling Uncle Pat  (Mark Lambert) as well as Quinn’s sister-in-law Caitlin (Laura Donnelly) who moved in with her young son Oisin (Rob Malone) when her husband Seamus mysteriously disappeared ten years before. Tom Kettle (Justin Edwards), a developmentally challenged English foundling, lives in a cottage on the farm. We also meet Quinn’s cousins, the three Corcoran brothers — Shane (Tom Glynn-Carney), Diarmaid (Conor MacNeill) and Declan (Michael Quinton McArthur) —who are helping with the harvest, the parish priest Father Horrigan (Charles Dale) and an IRA bigwig Muldoon (Stuart Graham) with two henchmen (Dean Ashton and Glenn Spears). There are also a live goose and a rabbit. It is one of Butterworth’s great achievements that he makes almost every character a vivid, memorable presence. The plot revolves around the sudden appearance of Seamus’s body and the IRA’s ruthless attempt to assure that the Carney family does not publicly lay blame for his death on them. Fortunately for us, the playwright never hesitates to pause for a good tale, a dance or a song. The mostly British cast is so universally strong that I hesitate to single any one out for special mention. The scenic and costume design by Rob Howell is topnotch. Director Sam Mendes never lets our attention lag. The play is one of the major events of the season thus far. Running time: three hours 15 minutes including an intermission and a brief pause.

Groundhog Day

B-

Andy Karl is such a charming, likable performer that he is reason enough to see this Broadway musical based on the 1993 film about an obnoxious weatherman caught in a time loop in Punxsutawney, PA on February 2nd. His ownership of the role of Phil Connors is enough to make you forget Bill Murray. The book, by the film’s screenwriter, Danny Rubin, follows the movie quite closely. The problem of including loads of repetition without inducing boredom is solved with some success, particularly in the second act. The music and lyrics by Tim Minchin (Matilda) are workmanlike. My main complaint about the show is that it is overproduced. The set by Rob Howell is overcomplicated and hyperactive to the point of distraction. The busyness onstage is frenetic to the point of exhaustion. Clearly no one involved with the production, including director Matthew Warchus (Matilda, God of Carnage) believes that less is more. I was also annoyed by the gratuitous profanity; dropping an F-bomb serves no purpose other than titillation. Peter Darling (Billy Elliott) has choreographed some lively numbers. [Unfortunately the star sustained an injury during “Philanthropy,” a big number near the end of the show, and will miss at least two performances.] Andrzey Goulding designed two attractive video collages that replace the curtain before each act. Barrett Doss, as love interest Rita Hanson, is pleasant but no Andie McDowell. Both Karl and the show just won Oliviers. The audience last night loved it. Running time: two hours 35 minutes.

Matilda the Musical ***

Except for “Oliver” and “A Christmas Story,” I have not cared for musicals with lots of children in them. That plus high ticket prices kept me away from this hit from London for a year and a half. However, when orchestra seats for under $100 became available, I decided to give it a try. The production values are top of the line. Rob Howell’s set design is one of the cleverest I have seen in several years; his costumes are fine too. Peter Darling’s choreography is spirited and often ingenious. The direction by Matthew Warchus is seamless and assured. The producers have kept the show in fine shape despite multiple cast changes. The current cast is quite good. Christopher Sieber is a hoot as Miss Trunchbull, Alison Luff makes a sympathetic Miss Honey, and Matt Harrington and Lesli Margherita are delightfully over the top as Mr. and Mrs. Wormwood. Matilda was played at my performance by Eliza Holland Madore, a tiny powerhouse. The other children and the secondary adult roles are well cast too. The curtain call number was among the best I have seen. So why did I admire the show more than I liked it? Roald Dahl’s story didn’t really engage me, at least not as presented in Dennis Kelly’s book, and Tim MInchin’s music and lyrics seemed merely serviceable. I liked it better than I expected to, but found it a bit chilly at its heart. Running time: 2 hours, 35 minutes.