The Perplexed

D+

Let me begin with quotes from two previous reviews:

“No one knows how to pander to a Manhattan Theatre Club audience better than Richard Greenberg. String together some witty one-liners, throw in a Jewish matron, add a few Yiddish words, mention Great Neck at least once and, voila, MTC awaits with open arms.” (Our Mother’s Brief Affair)

“There seems to be something about Manhattan Theatre Club’s Stage I at City Center that inspires scenic designers. Some of the finest set designs I have seen in New York have been at that theater. … Unfortunately, the “magic” effect of MTC’s Stage I on set designers does not seem to apply to playwrights. I have seen too many clunkers with great sets here, including this one.” (Long Lost)

Alas, both of these observations could apply just as well to Greenberg’s latest effort, now in previews at MTC. While the mention of Great Neck may be missing this time, we get not one but two Jewish matrons. Lest he ignore any segment of the typical MTC audience, he includes a gay character as well.

Once again, Santo Loquasto is the true star of the evening. I thought his set of a grand CPW apartment for The Assembled Parties could not be topped, but this set of a library off the ballroom of a Fifth Avenue apartment comes very close. If only what took place on the set were as impressive as the set itself!

The ten characters are all attending a wedding which, for some reason, starts with a reception and dancing and concludes with vows at midnight. The apartment belongs to the unseen Berland Stahl, a much-hated real estate bigwig, and grandfather of the bride Isabelle (Tess Frazer; Mary Page Marlowe). Her parents are Joseph (Frank Wood; Side Man, Network) and Evy (Margaret Colin; Jackie, Defiance), who is a NYC councilwoman. Her brother Micah (Zane Pais; Dead Poets Society) has just been involved in a scandal. Her uncle James (Patrick Breen; The New Englanders, Next Fall) is an author whose popularity has passed. We learn that Isabelle’s family have been disinherited by Berland after some messy lawsuits.

The groom is Caleb Resnick (JD Taylor; Apologia, The Last Match), a do-gooder, whose parents Ted (Gregg Edelman; City of Angels, Passion) and Natalie (Ilana Levine; You’re a Good Man, Charlie Brown) had a falling-out with the Stahls 20 years ago. The officiant is Cyrus Bloom (Eric Williams Morris; King Kong, Coram Boy), a long-time family friend whose career path led from Wall Street to the rabbinate to teaching. Patricia (Anna Itty; India Pale Ale) is Berlind’s Guyanan home aide.

Different combinations of characters enter the library and talk and talk and talk. Occasionally there is a witty line to remember. What little plot there is hardly piqued my interest. While it was a pleasure to see a few actors I always enjoy (Breen, Colin and Wood), it was not pleasure enough to make the dreary proceedings more bearable. While I admire MTC director Lynne Meadows’s dogged support of Greenberg over the years even though he has never produced a hit for them, I wish she would try harder to find new talent. Much as I enjoy their excellent sets, I wish they would spend less on sets and more on play development. Running time: two hours 30 minutes including intermission.

         

Gary: A Sequel to Titus Andronicus

D

The amount of talent behind this new Broadway comedy is almost breathtaking. Playwright Taylor Mac (Hir) is a MacArthur Fellow and Pulitzer finalist. The stars are multiple Tony winner Nathan Lane (Angels in America, The Producers) , Tony nominee Kristine Nielsen (Vanya and Sonia and Masha and Spike) and Tony winner Julie White (The Little Dog Laughed). The director George C. Wolfe (Angels in America), set designer Santo Loquasto (Cafe Crown) and costume designer Ann Roth (The Nance) are all Tony winners. The original music is by Grammy and Emmy winner Danny Elfman and the movement consultant is Bill Irwin (Old Hats). With this array of talent, what could possibly go wrong? Just about everything, as it turns out. The script is a lumpy mixture of jokes about farts, bodily fluids and corpses, rhymed couplets, nods to sociopolitical significance and a ballet for oversized synchronized prosthetic penises. The title character is a former clown who aspires to be a fool. He and Janice (Nielsen) are charged with the Herculean task of cleaning the banquet hall piled high with corpses from the final scene of Titus Andronicus in time for the new emperor’s inauguration. (Some familiarity with Shakespeare’s tragedy is helpful but not really essential.) This involves pumping out the gas and bodily fluids from the corpses, a task played for laughs. The two cleaners are soon joined by Carol, the court nurse who emerges from the pile of corpses, erroneously thought to be dead. Carol is racked by guilt for not preventing the murder of the infant in her care. Gary and Janice philosophize about how the little people have to clean up after their leaders’ dirty deeds. Gary and Janice decide to put on a show, a production number that briefly enlivens the proceedings. The role of Gary does not show Lane to best advantage. The ever-watchable Nielsen is fine, but, surprisingly, it is White who steals the show. While I had heard reports that many people walked out of early previews, I did not see anyone leave. On the contrary, most of the people around me seemed to be thoroughly enjoying themselves. At the risk of being branded a Philistine, I must confess that I have thus far been unable to acquire a taste for Taylor Mac. Running time: 95 minutes, no intermission.

Carousel

B-

Whether or not to see Carousel was a close call for me. Much as I admire the gorgeous score, I hate the book with its treatment of violence toward women. Curiosity to see whether an infusion of talent from New York City Ballet would matter and whether the book could be made more palatable for the #MeToo era tipped the balance so, when the show turned up on TDF, I decided to take the plunge. For me, the answer to the first question is a resounding yes. While choreographer Justin Peck has done a lot of fine work and NYCB soloist Brittany Pollack makes a fine Louise, the real revelation for me was NYCB principal Amar Ramasar, whose Jigger is a magnetic presence who commands attention. The sailors’ dance he leads to “Blow High, Blow Low” is one of the show’s highlights. He probably doesn’t have the voice for it, but I found myself wishing that he had been cast as Billy because he is far more charismatic than Joshua Henry (Violet, The Scotsboro Boys), whose Billy I found competent but unmemorable. As to the book, this production did nothing to make the element of domestic abuse less distasteful, at least for me. Nevertheless, there is much to admire. The glorious voices of Jessie Mueller (Waitress, Beautiful) as Julie Jordan and Renée Fleming (Living on Love) as her cousin Nettie Fowler do full justice to the wonderful songs and Ms. Fleming also exudes a welcome warmth. Lindsay Mendez (Significant Other, Dogfight) and Alexander Gemignani (Violet, Assassins) are wonderful as Carrie Pipperidge and Enoch Snow. Margaret Colin (Jackie: An American Life) is fierce as Mrs. Mullin. As the Starcatcher, John Douglas Thompson (Satchmo at the Waldorf, Jitney) has little chance to demonstrate his considerable talent; his silent appearances throughout the play seem a pointless distraction. The heavenly scene with the human gates is a bit kitschy. With an orchestra of 25, the music sounds lush, although I wish the volume had been reduced during the soliloquy. I was quite disappointed in Santo Loquasto’s (Hello, Dolly!) scenic design. A Carousel without a carousel is a letdown. One horse at the side of the stage doesn’t do it for me. Later we do get the top of a carousel that pops down from above like a huge inverted umbrella, but even that doesn’t revolve. Except for the elaborate background for the celestial scenes, the sets looked cheaper than what I would expect on Broadway. Ann Roth’s (Three Tall Women) costumes are rather bland. Director Jack O’Brien’s (The Coast of Utopia, Hairspray) concept of the play seems a bit muddled. To sum up, there are many strengths and many weaknesses in this Rodgers and Hammerstein revival. The bottom line is that, although I have many reservations about it, I am glad I didn’t miss it. Running time: two hours 40 minutes.

Hello, Dolly!

A

Rankled by the relentless hype that placed Bette Midler’s return to Broadway musicals after 50 years right up there with the Second Coming, I resisted getting a ticket for the current revival of this warhorse. Could a show that I remembered as little more than a trite vehicle for superannuated divas possibly be worth the huge chunk of change a ticket cost? The answer is an emphatic “yes.” First of all, the role of Dolly Gallagher Levi fits Ms. Midler like a glove. She captures Dolly’s energy, determination, vulnerability and humor effortlessly. Her voice is still a pleasure to hear and her dancing ain’t bad either. At her first appearance, which brought the house down, I was surprised how tiny she is. Despite her size, she is a towering figure. With her name on the marquee, the producers probably could have gotten by with an otherwise unexceptional production. Fortunately, they did not. They cast the show profligately, splurged on lavish costumes and sets, excellent choreography, a large orchestra, and a topnotch director (Jerry Zaks.) David Hyde Pierce is delightful as Horace Vandergelder. In the ingenue roles, Gavin Creel is an outstanding Cornelius Hackl and Kate Baldwin is a lovely Irene Molloy. Taylor Trensch and Beanie Feldstein are charming as second bananas Barnaby Tucker and Minnie Fay. Melanie Moore is appropriately annoying as Horace’s niece Ermengarde and Will Burton is fine as her suitor Ambrose Kemper. Jennifer Simard is hilarious as Ernestina. Designer Santo Loquasto has outdone himself: the many backdrops resemble beautiful hand-tinted 19th-century prints, the tram and train are wonderful, and the costumes are a show all by themselves. Warren Carlyle’s choreography pays homage to Gower Champion’s without slavishly following it. Michael Stewart’s book is much tighter and funnier than I remembered. The millinery shop scene and the Harmonia Gardens scenes are real knee-slappers. Jerry Herman’s sturdy songs hold up very well. They don’t make shows like this anymore. For sheer entertainment, it is hard to beat. Running time: 2 hours 40 minutes including intermission.

Shuffle Along or The Making of the Musical Sensation of 1921 and All That Followed ****

There is an embarrassment of riches onstage at The Music Box in this tribute to the first all-black musical to reach Broadway. Brian Stokes Mitchell plays the genteel F.E. Miller and Billy Porter is Aubrey Lyles, his abrasive partner in a blackface vaudeville team who suggested expanding one of their skits into a musical. Joshua Henry is lyricist Noble Sissle and Brandon Victor Dixon is composer-pianist Eubie Blake, the pair who join them in this enterprise. Audra McDonald is Lottie Gee, star of the new show. In addition to their usual talents of acting and singing, the five leads join the fantastic dancers in performing Savion Glover’s brilliant tap choreography. Mitchell, whom I have found overbearing in recent years, manages to submerge his ego into the role with fine results. McDonald, as always, is a phenomenon; it is inconceivable that she was not Tony-nominated. Dixon and Porter are both fine. Adrienne Warren is a knockout both as the show’s second female Gertrude Saunders and as her successor Florence Mills. Brooks Ashmanskas, the sole Caucasian onstage, is a delight playing several of the men who placed obstacles in the production’s path. The abundant talent of the performers is equalled by the superb sets by Santo Loquasto, the riotous costumes by Ann Roth, the evocative lighting by Jules Fisher & Peggy Eisenhower and the wonderful arrangements and orchestrations by Daryl Waters. Director George C. Wolfe keeps the show moving energetically. It is the book, also by Wolfe, that I found wanting. The story of mounting a show against all obstacles seems cliched, even with racial prejudice added to the list of problems. With five main protagonists, there is too little time to develop any of them very deeply. Perhaps the book should have focused on Lottie, especially her long affair with the married Blake and her sacrifice of career advancement for him. I don’t see how the show could possibly have been considered a revival because Wolfe tosses out virtually the entire book of the 1921 show. Only one song “(I’m Just) Wild about Harry” is presented in its original context. The second act, which chronicles the fading fortunes of those involved with the show and the show itself is more told than shown. At times I felt I was watching an illustrated history lesson. Nevertheless, you won’t find more talent on one stage anywhere else on Broadway. With all the book’s flaws, the story represents an important piece of theater history and black history that should not be forgotten. Sadly the audience was practically all-white. Running time: 2 hours 40 minutes. NOTE: Avoid seats in the first few rows if you want to see the dancers’ feet.

Our Mother's Brief Affair *

Noone knows how to pander to a Manhattan Theatre Club audience better than Richard Greenberg. String together some witty one-liners, throw in a Jewish matron, add a few Yiddish words, mention Great Neck at least once and, voila, MTC awaits with open arms. If you can get Linda Lavin to play the matron, all the better. And so we now have this strange lumpy play occupying the stage of the Friedman Theater. Anna (Lavin), on her deathbed for the umpteenth time and not fully of sound mind, confides to her son Seth (Gregg Keller), a gay solitary obit writer, that she had an affair when he was a teenager. Having trouble processing this information on his own, he summons his twin sister Abby (Kate Arrington) back from Southern California, leaving her wife and infant behind. Anna claims that while Seth was taking unwanted viola lessons at Juilliard, she was carrying on with a man (John Procaccino) she met on a park bench in Central Park who said his name was Fred Weintraub. SPOILER ALERT: Read no further if you don’t want to know an important plot point. Fred later reveals that he is actually David Greenglass, the man largely responsible for sending his sister Ether Rosenberg to the electric chair. (I confess that I find it distasteful when a playwright drags in a well-known historical moment, be it 9/11 or the Rosenberg case, to prop up his play.) To remind the audience who Greenglass was, director Lynn Meadow turns up the house lights so Seth can give us a short lecture, thereby destroying whatever mood had been established. David's confession is not a turnoff for Anna who responds with a confession of her own, recalling a shameful incident from her early adulthood. Time passes, Anna worsens, moves to assisted living and the family home is sold. Seth and Abby have their doubts about the truthfulness of Anna’s story. Unfortunately, Anna is so unsympathetic and her adult children so emotionally stunted that it is hard to develop much concern for them. The exposition involves long scenes of Anna and Phil/David reenacting her story while Seth and Abby are reduced to standing around and injecting an occasional sarcastic remark. Keller and Arrington make the best of their underwritten roles. Procaccino is fine and Lavin is Lavin. She looks smashing in her Burberry coat and still has great legs. That seemed enough to satisfy the audience. Santo Loquasto's understated set is a far cry from MTC's typically lavish set designs. Running time: two hours including intermission.

Of Good Stock **

When Richard Greenberg’s scheduled play wasn’t ready on time, Manhattan Theatre Club replaced it with this piece by Melissa Ross that premiered at South Coast Repertory earlier this year. In it we meet the Stockton sisters — Jess (Jennifer Mudge), Amy (Alicia Silverstone) and Celia (Heather Lind) — the adult daughters of a long deceased famous author, Mick Stockton, an inveterate womanizer whose wandering ways did not even slow down when his wife was dying of cancer. The family is gathered for a long Summer weekend at their Cape Cod home, which Mick left to Jess, along with his literary estate. Jess’s husband Fred (Kelly AuCoin) is a food writer who met Jess when he was Mick’s assistant. The occasion for the get-together is Jess’s 41st birthday, which is significant because it marks the year that she outlives her mother. Amy, a simpering narcissist engaged to the equally vapid Josh (Gregg Keller), is preoccupied by her upcoming destination wedding. Celia, a hippy do-gooder with commitment issues, has invited her current interest Hunter (Nate Miller), whom she met while building houses for Habitat for Humanity in Missoula. If the sisters are accomplished or lead interesting lives, you wouldn't know it from the play. During the course of the weekend, we learn more about all their relationships, usually at a high decibel level. The playwright could not have asked for a better production. Santo Loquasto’s evocative revolving set made me want to head for Cape Cod as soon as possible. Tom Broecker’s costumes suit the characters well. The cast is fine, especially AuCoin and Mudge. The direction, by MTC artistic director Lynne Meadow, does not hide the play’s shortcomings. The three-sister play has a long honorable tradition that includes works by Shakespeare, Chekhov, Henley, Wasserstein and Letts. I wish I could say that this play was a welcome addition to the canon, but after more than two hours of bickering and shouting, the only thing I welcomed was the end. One of the characters makes an exit before intermission. Lucky him. Running time: 2 hours, 5 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.

Bullets over Broadway ***

Woody Allen's musicalization of his 1994 film, now in previews at the St. James Theatre, provides a consistently entertaining, if not inspired, evening. Susan Stroman's choreography and direction add significantly to the show's strengths, but her collaboration with Allen does not lead to the giddy heights of her work with Mel Brooks. The decision to use popular songs of the 20's instead of an original score works out surprisingly well, with many songs fitting into the plot in clever unexpected ways. Best of all is the strong cast, particularly Marin Mazzie as Helen Sinclair, Nick Cordero as Cheech, Helene Yorke as Olive Neal and Brooks Ashmanskas as Walter Purcell. Zach Braff was out, so I got his understudy Andy Jones as David Shayne. Jones was fine in a vanilla way, but unfortunately looked at least 10 years younger than Betsy Wolfe, his love interest Ellen. Karen Ziemba makes the most of her one number. Santo Loquasto's sets and William Ivey Long's costumes are the best that money can buy. The show moves along at a rapid clip and rarely sags. I was a bit disappointed in the finale, which somehow seemed less than the rousing conclusion the show needed, but I had a good time. Running time: 2 hours, 25 minutes including intermission.

The Commons of Pensacola **

(Please click on the title to see the complete review.)
Few first-time playwrights are lucky enough to have their debut effort presented by a major New York theater company, Manhattan Theater Club, directed by its artistic director, Lynne Meadow, starring two esteemed actresses, Blythe Danner and Sarah Jessica Parker. Amanda Peet, an actress known for "Studio 60 on the Sunset Strip"  and "The Good Wife," is that lucky person. Her play imagines the post-scandal life of Judith, a Ruth Madoff-like character (Danner), forced to live in straitened circumstances in a Florida condo, and the collateral damage to her family. Daughter Becca (Parker), an unsuccessful 43-year-old actress and her 29-year-old boyfriend Gabe (Michael Stahl-David), a self-styled "guerilla journalist," have arrived for a Thanksgiving visit. They are joined by teenaged granddaughter Lizzy (Zoe Levin), whose mother Ali (Ali Marsh) has broken off contact with Judith for reasons unknown. We also meet Judith's capable part-time homemaker-health aide Lorena (Nilaja Sun). What Judith knew about her husband's criminal activities is at issue. The troubled relationship between Judith and Becca is another focus. The play contains several interesting touches and the dialogue is actor-friendlly, but it doesn't add up to much. Although less than a rousing success, it at least provides the pleasure of seeing Danner and Parker on a New York stage again. I attended an early preview, so chances are it might improve before it opens. Santo Loquasto's set is appropriately nondescript. Running time: 1 hour, 20 minutes; no intermission.

The Assembled Parties **

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Richard Greenberg's family chronicle, now in previews at MTC's Friedman Theatre, introduces us to a highly assimilated Jewish family comfortably ensconced in their 14-room Central Park West apartment on Christmas Day 1980. Julie (Jessica Hecht), her husband Ben (Jonathan Walker) and their two sons, Scotty, 24, (Jake Silbermann) and Timmy, 4, (Alex Dreier) are joined for the holiday dinner by Ben's sister Faye (Judith Light), her husband Mort (Mark Blum) and their 30-year old daughter Shelley (Lauren Blumenfeld). The only non-family member present is Jeff (Jeremy Shamos), Scotty's college friend, visiting for the first time. Julie was a movie actress before marriage. Faye married downward after getting pregnant. Her daughter appears to be at the low end of the IQ range. Julie and Ben joke that Scotty will be president some day. Jeff falls in love with their life. A necklace of possibly genuine rubies owned by Faye and Ben's mother plays an important role in the plot. Act Two takes place 20 years later. Reality has intervened. The survivors gather for a smaller, sadder Christmas dinner. On the plus side, there are juicy roles for three fine actors: Hecht, Light and Shamos. They all shine, although I found Hecht a little too mannered at times. There are many witty lines for them to deliver. Another big plus is Santo Loquasto's amazing revolving set which includes most of the rooms in the apartment. Jane Greenwood's costumes are first-rate too. The play's negatives include a few plot points that make very little sense, a sluggish pace in the first act and a few roles that are underwritten. As I write this, there are over 3 weeks left before opening night. Perhaps director Lynne Meadow will tighten things up by then. As it stands now, there are many entertaining moments and a few touching ones, but it doesn't add up to a lot. Running time: 2 hours, 25 minutes, including intermission.

Golden Age **

(Please click on the title to see the complete review.)
Terrence McNally's love of opera has yielded such notable plays as The Lisbon Traviata and Master Class, so there was reason for high hopes for his Bellini biodrama now in previews at Manhattan Theatre Club. All the action takes place backstage during the premiere of I Puritani in 1835 Paris. Were I an avid opera buff,  the operatic shoptalk, musical and romantic rivalries and musical in-jokes might have been more involving. That not being the case, the proceedings quickly grew tiresome. When, at the 2 hour 15 minute mark, a character says "I thought it would never end," he expressed my thoughts perfectly. Unfortunately another 30 minutes remained. The cast features Lee Pace as Bellini, Bebe Neuwirth as Maria Malibran, his ex-flame and muse, and Will Rogers as Francesco Florimo, his patron, companion and, possibly, lover. The four leading singers, Giulia Grisi, Giovanni Battista Rubini, Antonio Tamburini and Luigi Lablanche, are played by Dierdre Friel, Eddie Kaye Thomas, Lorenzo Pisoni and Ethan Philips, respectively. F. Murray Abraham has a brief but memorable appearance as Rossini. The set by Santo Loquasto and costumes by Jane Greenwood are excellent. Walter Bobbie's direction does not disguise the flatness of the material. It's a disappointment.