We're Only Alive for a Short Amount of Time

B

Don’t let the lengthy and unhelpful title of David Cale’s latest performance piece at The Public Theater deter you from seeing it. Cale (The Total Bent, Harry Clarke) serves as playwright, lyricist, co-composer (with Matthew Dean Marsh), and performer of this autobiographical monologue interspersed with songs that retells moments from his formative years in Luton, “the ugliest city in England.” His alcoholic father and thwarted mother constantly fought, leading the young David to take refuge in breeding tropical birds and listening to pop music, while his younger brother Simon mostly stayed in his room building model airplanes. Their shady grandfather did business with the notorious Kray twins. Cale dreamed of escaping to America to become a singer before he reached 21. A shocking event when he was 16 changed all their lives. Without any change of costume, Cale convincingly transforms into each family member. Despite the sensational nature of some of the material, Cale, rather remarkably, maintains his calm demeanor. He is a masterful storyteller. His songs impressed me less; they sometimes did not seem to arise organically from the moment and the lyrics were often annoyingly repetitive. The music was well-played by an ensemble of six behind a scrim. The set by Kevin Depinet is a black square with a stool and a mic, unadorned except for antique birdcages that disappear into the ceiling and, during an episode about Simon, are briefly replaced by model airplanes. Director Robert Falls (The Jacksonian, Shining City) shows a talent for this material. For me, the piece was most affecting as a touching love letter to Cale’s late mother. I was surprised that the Anspacher Theater was far from full for the performance I attended. Running time: 90 minutes, no intermission.

The Jacksonian ***

(Please click on the title to see the complete review.)
Beth Henley's bizarre Southern gothic mystery set in the Mississippi of 1964 is so over the top that it flirts dangerously with parody. Without superb acting, it might be virtually unwatchable. But what a cast The New Group has assembled! For the opportunity to see Ed Harris, Glenne Headly, Bill Pullman and Amy Madigan together on the same stage, I'll put up with a lot. They are joined by newcomer Juliet Brett. The plot revolves around the Perch family -- Bill (Harris), a dentist exiled from the family home, his difficult wife Susan (Madigan), and their troubled 16-year-old daughter Rosy (Brett). Bill is staying at the titular motel whose staff include the memorably creepy bartender Fred (Pullman) and the lusciously overripe maid Eva (Headly). We learn early on there will be a murder. The lurid action moves back and forth in time over a 7-month period. The casual racism of the time and place is never far from the surface. Walt Spangler's evocative set makes good use of the awkwardly wide stage. Ana Kuzmanic's costumes are perfection. Director Robert Falls skillfully keeps the grotesquerie within bounds. It is a puzzling play that will probably displease many, but I thought it was redeemed by the outstanding acting and high production values. Running time: 90 minutes, no intermission.