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‘The Great Society,’ by Robert Schenkkan, Starring Brian Cox, Richard Thomas, A Triumphant Reminder of an Adult President
Brian Cox in ‘The Great Society,’ by Robert Schenkkan, directed by Bill Rauch (Evan Zimmerman for MurphyMade)
Lyndon Baines Johnson became president in a landslide vote in 1964. The wheeler dealer of the senate as Democratic Majority leader who could count votes and get bills passed, came from a hard scrabble childhood. He witnessed his father devastated by broken dreams. But President Johnson despite his crude ways, ferocious wit and uber competitiveness had the people of the nation at heart. Cramped and curtained as President Kennedy’s poor ‘ole boy, shunt ’em to the side Vice President, taking the reins of power after Kennedy’s death in 1963, President Johnson accomplished the impossible. He did what Kennedy hoped to do but couldn’t; he got the Civil Rights Act of 1964 passed.
In Robert Schenkkan’s Tony Award winning All The Way, LBJ is a man of destiny and reckoning. Played by Bryan Cranston who won the Tony Award for Best Actor in a Play, we follow the 36th president through passage of that iconic Civil Rights Act to his election campaigning. It was an amazing journey considering the obstacles of bigotry, racism and the obstructions by the Southern Democrats. Schenkkan’s play concludes with Johnson riding high on his success of the Civil Rights Triumph and his election win as the full term 36th president of the United States.
Directed by Bill Rauch who helmed All the Way, Schenkkan’s sequel, The Great Society is equally majestic in its revelations about Johnson as one who greatly desired to bring Franklin Roosevelt’s ideas of a more prosperous nation into being. With Johnson this was an obsession which Brian Cox realizes authoritatively and sensitively. As Cox’s Johnson lays out the policies of “the great society,” Schenkkan includes quotes from Johnson’s speeches where he affirms the principles of the constitution regarding economic equality, voting rights and other essential American freedoms.
(L to R): Marc Kudisch, Brian Cox in ‘The Great Society,’ by Richard Schenkkan, directed by Bill Rauch (Evan Zimmerman for MurphyMade)
What a joy to hear Cox’s superb delivery of Johnson’s own words. This is especially so in our time when the current president has laid siege to our election freedoms, demeaned freedoms guaranteed by the Bill of Rights and abrogated checks and balances with monarchic pronouncements and behaviors that as president, he can do “anything he wants,” and lift “presidential” criminality to new heights with impunity and the assistance of William Barr head of the Department of Justice. In The Great Society, the portrayal of Cox’ Johnson is a poignant reminder that there was a time in our history, when consensus between Republicans and Democrats could be reached. The play reminds us that Johnson knew how to compromise and work toward legislation that would improve the lives of American citizens. Above all he was an adult, he cared about those who were economically disadvantaged, he loathed racism, yet understood how to get his opponents on his side.
The arc of the play’s development chronicles Johnson’s four year term during which the country roiled with upheavals and protests that represented the raging tide of times. Schenkkan unfolds events from the mountaintop of Johnson’s win to his struggles through passage and implementation of the Voting Rights Act. Schenkkan reveals Johnson’s relationships with Civil Rights leaders from Ralph Abernathy to Stokley Carmichael to Martin Luther King Jr. to conflicts with Robert Kennedy and Governor George Wallace.
The actors who portray these celebrated individuals do an excellent job. Most acute and colorful in the development of their relationships with Cox’s Johnson are Grantham Coleman as Reverend Martin Luther King Jr. and Marchant Davis as Stokely Carmichael. Some of the most dynamic segments of the play are Johnson’s confrontations with Martin Luther King Jr. and the other iconic black activists to insure that blacks would be able to register and vote without being lynched or beaten. Dynamic arguments with all the important high stakes players move like a riptide as Johnson negotiates and spars with Martin Luther King Jr. (Grantham Coleman) Stokely Carmichael (Marchant Davis) Governor George Wallace (David Garrison) Robert Kennedy (Bryce Pinkham) Senator Everett Dirksen (Frank Wood) Richard J. Daley-Mayor of Chicago (Marc Kudisch )and others. Often at his side is Hubert Humphrey (the fine Richard Thomas) who serves as a counsel to him and could be looked upon loosely as his friend, a generosity not given to Johnson by the Kennedys when he was Vice President.
(L to R): Brian Cox, Bryce Pinkham in ‘The Great Society,’ by Richard Schenkkan, directed by Bill Rauch (Evan Zimmerman for MurphyMade)
Identifying searing events, (via video projections and archived photos, the “Bloody Sunday” march on Selma, Alabama, “Turnaround Tuesday” march, the march from Selma to Montgomery, Alabama, the Chicago protests, the Watts riots, etc.) Schenkkan reveals how Johnson attempted to balance all the invested players and handle the black – white unrest. With the Watts riots, he eventually brought in the California National Guard.
Brian Cox demonstrates Johnson’s forcefulness, vigor, passion and rationality with regard to his positions on civil rights and with regard to bringing in key influencers for other programs, like Dr. James Z. Appel (Marc Kudisch) head of the American Medical Association. Under Johnson’s term, medicare and medicaid were created and passed into law.
Interesting are his exchanges with Robert Kennedy portrayed with privileged aloofness and irony by Bryce Pinkham. The tensions between them are obvious and stem back from Johnson’s Vice Presidency. When Johnson is not surprised that Kennedy is looking to run in 1968, we understand his humorous reaction to that news. Kennedy uses Johnson as his bête noire on the war to gather support for his platform and candidacy. It is an ironic moment considering his brother was the first to send troops over to Viet Nam. The irony of this and horror of the Robert Kennedy assassination is shown representational style; Johnson’s reaction is telling.
If Johnson’s greatness as a president was in the passage of forward legislation to improve all of the citizens’ lives, Schennkan reveals the greatness is undone by his “Waterloo,” the Viet Nam War. Based on reports from Secretary of Defense Robert McNamara (Matthew Rauch) and head of U.S. forces in Viet Nam General William Westmoreland (Bryan Dykstra) Cox as Johnson shows the president’s mettle as he wrangles with the notion that the war will stop the spread of communism. Listening to them, he escalates troop deployments and engages in the bombing of North Viet Nam. These are steps on the road to the nation’s infamy.
Grantham Coleman and company in ‘The Great Society,’ by Robert Schenkkan, directed by Bill Rauch (Evan Zimmerman for MurphyMade)
On a backdrop projection periodically listed are the ever increasing numbers of American dead and wounded. Indeed, as Johnson battles the two main issues of the day, civil rights and the war, we note that he, himself, is fighting his own war with himself whether more bloodshed will be useful or a travesty. We hear the rationale for escalation as we note the figures expand and rise up as protestors march and individual protestors represented by Quaker minister Norman Morrison (David Garrison) immolate themselves. (Buddhist monks also set themselves on fire to protest the war).
For those unfamiliar with this time in history, Schenkkan relays events with meticulous and accurate detail. Clearly, he identifies the seminal themes and concepts from which we still feel the impact today evidenced by the numbers of homeless Vets and suicides from that generation. We shudder as we witness Cox as Johnson be persuaded by Secretary of Defense Robert McNamara and General William Westmoreland knowing the numbers will continue to rise and behind each number is a family in mourning. Letters Johnson writes to families in condolence become a devastating scene. Schenkkan evidences Johnson’s turmoil which ironically reflects the growing divisiveness in the country. Money spent on the war and defense contractors could have been spent on his social programs which must be curtailed to make the budget. Johnson is stuck between a rock and a hard place with nowhere to go but the abyss, Schenkkan reveals.
(L to R): Angela Pierce, Richard Thomas Frank Wood, Robyn Kerr, Brian Cox, Marc Kudisch, Brian Dykstra in ‘The Great Society,’ by Robert Schenkkan, directed by Bill Rauch (Evan Zimmerman for MurphyMade)
An important feature of this production is in how the playwright and the director and ensemble coalesce our history with salient, acute representational actions that become a mentorship in what an adult president can be like. This reminds us of what we do not have today. Cox’s Johnson reveals a president who had the temerity not to seek re-election but wanted to extract himself from the rat wheel of the killing fields of Southeast Asia during a horror that fomented protests, divided his country and party. And it was particularly grating for him to hear college students’ chants, “Hey, Johnson what do ya say, how many kids did you kill today?”The words hit home because he knew they were true. He bore up under it badly remembering a time when he was popular and not despised.
Rather that to be elected for four more years, which he would have won, he stops and hands the opportunity to Hubert Humphrey. We laugh at his humor and the irony of what happened next: Richard Nixon (played by David Garrison). A key point in this production, look for it, reveals Nixon’s hunger for the presidency so that he put himself before the country and our soldiers. Treasonously, deceitfully Nixon upended the ongoing negotiations for peace with North Viet Nam by making an arrangement that peace would be accomplished after he got in office. Cox’s Johnson ironically nails him for this when Nixon comes in to assert himself in the Oval Office, even before he is inaugurated. The parallel to today in how the Trumpists were making quid pro quo deals even before they took the reins of power is clear.
When Johnson stated he would not run again and posed the reasons, what many believed would be better for the country, actually was worse, especially since Nixon stalled the peace negotiations with North Viet Nam, something that Johnson had believed in throughout his bombing policy. But a worse than Johnson took office and the implication in the play is that Johnson knew this as Cox portrays ironically when Nixon comes to visit before the transfer of power. In one of the most dramatic scenes Cox pulls out all stops to deliver Johnson’s ringing words: “I do not believe that I should devote an hour or a day of my time to any personal partisan causes. . . . Accordingly, I shall not seek, and I will not accept, the nomination of my party for another term as your President.” The ramifications of this in Nixon getting in, the country has paid for ever since.
Interestingly, Schekkan, Rauch, Cox and the ensemble reinforce American values, exemplified by what Johnson attempted in his plan for “the great society.” These values which Johnson fought hard to uphold against those like Governor George Wallace, Southern Democrats and Southern law enforcement whose bigotry Johnson understood, countermanded, and decried, become reinforced as the gold standard of the nation. Johnson was capable of dialogue with those who disagreed with him. And he was capable of bringing them to his side to realize and bring us closer to the tenets of the constitution and a “more perfect union,” if even for a time until the war upended the fullness of his efforts. The production uplifts these characteristics of Johnson as a patriotic American. And it indelibly reinforces this greatness as that which we must embrace if we are to define ourselves as a nation of equal opportunity for all.
Barbara Garrick, Brian Cox, ‘The Great Society,’ by Robert Schenkkan, directed by Bill Rauch (Evan Zimmerman for MurphyMade)
Finally, The Great Society has special import for us because what Johnson attempted was actually supported in a bi-partisan effort. Johnson not only looked out for the well being of the poor and the uneducated regardless of race or creed, he had the negotiating power and skill to bring his dreams into reality. He understood congress, and with his landslide victory, was able to bring many liberal Democrats with him to establish a foundation by which his social programs could be instituted and funded. He declared a “war on poverty” and attempted to eliminate institutional racial injustice. If not for the vicissitudes of the Viet Nam War, who knows what else may have been accomplished?
With passion, ingeniousness determination and sociability, Johnson attempted the impossible and managed to push through the most sweeping civil rights legislation and other legislation that benefited whole swaths of the nation which are still in practice today though Republican white supremacists continue to erode the Voting Rights Act with gerrymandering and strictures at polling places.
Cox authentically portrays Johnson with grace, humor, vitality and power. His masterful performance is an illumination which we need especially now.
The sum total of the benefits the 36th president brought to this nation (including the 25th Amendment) is laudatory. He also was driven into a war from which it has been impossible to recover. For that and other reasons he did not want to continue as president. Again, admirable. Importantly, the play reminds us that presidents and politicians do have the ability to stand for all of the people and to push for equal opportunity for the betterment of the general good. That used to be a value of this nation, a sign of patriotism, Americanism, something to strive for. How this current administration has strayed from those values with the help of the Trumpists and big money is earth-shattering. Schenkkan’s The Great Society is a warning we must not allow this erosion of democracy to continue.
The theme of this production is an imperative, and uplifting for us in these times. For this reason, the portrayals, the historical details and the crafting of events, Schenkkan’s portrayal of Johnson, beautifully delivered by Cox as a president of cultural hope and justice is a must see.
Special kudos to the design team. The projections, the archived photos and videos were well done. the scenic design melded well with the lighting. As for the costume design, yes, that is really how folks dressed! Notice, no red ties. Calling out: David Korins (scenic design) Linda Cho (costume design) David Weiner (lighting design) Victoria Sagady (projection design) Paul James Prendergast and Marc Salzbert (sound design) Paul James Prendergast (music).
The Great Society runs with one intermission at the Vivian Beaumont Theater Lincoln Center until 30th of November. For tickets and times CLICK HERE.
‘Scotland, PA.’ a Smashing Musical Adaptation of the Titular Film-Spoof of ‘Macbeth’
The Company of Scotland, PA, directed by Lonny Price, book by Michael Mitnick, music & lyrics by Adam Gwon, adapted from the titular film by Billy Morrissette, based on William Shakespeare’s ‘Macbeth’ (Nina Goodheart)
Scotland, Pa directed by Lonny Price, with book by Michael Mitnick and music and lyrics by Adam Gwon is a rollicking musical with clever twists, sardonic comedy and a morality tale tucked somewhere in between the all beef patties, special sauce, lettuce, cheese, pickles, onions on three sumptuous brioche buns. Well, perhaps I got carried away with the bun concept. Adapted from the film of the same title by Billy Morrissette which was produced by Richard Shepard, Jon Stern and Abandon Pictures, Scotland, Pa the musical, currently running at Laura Pels Theatre Harold and Miriam Steinberg Center for Theatre is a take-off of William Shakespeare’s Macbeth. There are even three stoner witches whose marijuana-toking hallucinations serve as the powder-keg to turn sweet protagonist Mac into a reprobate rapscallion.
Like the film the musical loosely reconfigures the “Scottish Play’s” key characterizations, plot and themes against the backdrop of a sleepy town Scotland, Pennsylvania hamburger joint. Nothing ever happens there, and no one anticipates that in a decade outsourcing and Reganomics will destroy unions, winnow high paying factory jobs and attenuate American workers’ pay checks making the situation in Scotland, PA even worse.
(L to R): Kaleb Wells, Wonu Ogunfowora, Alysha Umphress, Ryan McCartan, Scotland, PA, adapted from the titular film written by Billy Morrissette, based loosely on William Shakespeare’s Macbeth (Nina Goodheart)
For in this backwater of Pennsylvania, the economy is already rust belt before outsourcing vanishes the nation’s industries. There is little opportunity for high school graduates except working at fast food hamburger joint Duncan’s owned by Duncan (a humorously overweening Jeb Brown). Duncan (unlike King Duncan in Shakespeare’s Macbeth) is a horrible boss, penurious, abusive and greedy. He shortchanges and mistreats his workers, just like the corporate CEOs today. That is about the most forward thinking thinking that Duncan accomplishes for his business where he is slothfully satisfied to dump on Mac (Ryan MCartan) Pat (Taylor Iman Jones) and their friend Banko (Jay Armstrong Johnson) and keep any and all profits for himself. A poor businessman, he will not reinvest or motivate his workers to help his business expand.
Mac who is electrified by the business angle of fast food restaurants presents amazing ideas to Duncan who rejects them out of hand deeming Mac’s ideas dumb. Humorously, the ideas are famously brilliant having been implemented in Ray Kroc’s McDonald’s years later. Duncan’s arrogant stomping out Mac’s intellectual smarts, ambition and concern to accelerate Duncan’s bottom line reveals the “CEO’s” vapid bone lazy idiocy.
Taylor Iman Jones, Ryan McCartan in ‘Scotland, PA,’ directed by Lonny Price, adapted from the titular film by Billy Morrissette, based on William Shakespeare’s ‘Macbeth,’ book by Michael Mitnick, music & lyrics by Adam Gwon, choreographed by Josh Rhodes, music direction by Vadim Feichtner (Nina Goodheart)
Beyond frustrated, Mac spurred on by ambitious Pat comes up with an incredible idea and presents it to Duncan who once again demeans and tortures Mac with insults. As a final “hurrah of hope” Mac proves that the manager is stealing, believing that Duncan will reward him with a raise and the managerial position. Instead, Duncan gives his uninterested son Malcolm (Will Meyers brings down the house in his song “reveal”) the manager’s position. Malcolm who would rather play football rejects his father’s offer and leaves when Duncan tries to teach him the business.
Throughout, hippie stoners Jessie (Alysha Umphress) Stacey (Wonu Ogunfowora) and Hector (Kaleb Wells) sing about the town and Mac’s situation and effect the wicked transition in Mac and Pat’s destiny toward doom. In an argument with Mac, Duncan ends up falling head first into the hot oil of the fryer, an incident which just skirts manslaughter. What prompted this? Duncan catches Mac and Pat stealing and their guilt prompts them to struggle against Duncan though his death is largely accidental. But crime begets crime: in the commission of their theft, Duncan dies, they pin Duncan’s death on someone else and use Duncan’s money to buy out Duncan’s from his son. As Mac and Pat step deeper and deeper into the evil foretold and instigated by the witches, the musical progresses toward more twists, an investigation and scramble to hide the truth in an ironic, black comedy conclusion which is also poignant.
Jay Armstrong Johnson in ‘Scotland, PA,’ directed by Lonny Price, adapted from the titular film by Billy Morrissette, based on William Shakespeare’s ‘Macbeth,’ book by Michael Mitnick, music & lyrics by Adam Gwon, choreographed by Josh Rhodes, music direction by Vadim Feichtner (Nina Goodheart)
The surprises are many and the jokes are uproarious. The musical numbers are well staged and equally riotous and energetic. As Mac, Ryan McCartan is not only an adorable innocent turned miscreant, his vocals are smashing and his authenticity is spot-on in a role that one could make ineffectively campy which would have been a mistake. McCartan shines and we find ourselves empathizing with him as he stands up to detective Peg McDuff (the suspicious, inquisitive Megan Lawrence) and deflects her investigatory skills. Likewise, Taylor Iman Jones portrays wife Pat with sincerity and her voice is gorgeous. How can he not be loyal to her dreams and wishes though they include malfeasance?
Driven to seek a better life upward from their poverty, Pat motivates Mac toward with conniving subtly. The witches’ provocations spin and contort so that benign dreams morph into the nefarious and damaging, first with stealing the cash in Duncan’s safe then with manslaughter, then a cover-up murder. The crime dominoes fall and Pat is always there to “screw Mac’s courage to the sticking place,” as they enjoyably couple to commit even more dastardly deeds.
How Mitnik and Gwon transform a well-meaning, average, lower middle class husband and wife into thieves and murderers is humorous with all the stops removed. On the one hand, Jeb Brown’s Duncan is so loathsome, we are not surprised at the comeuppance he gets. His mistreatment of his workers, abuse of his son and arrogant insults and rotten demeanor drain all our sympathy upon his death. However, the black comedy deepens when investigator Peg McDuff comes upon the scene. Fear of discovery and the need to cover-up become the linchpins that send the “well-meaning” capitalists Mac and Pat right into hell with betrayal, murder and suicide.
Taylor Iman Jones, Ryan McCartan in ‘Scotland, PA,’ directed by Lonny Price, adapted from the titular film by Billy Morrissette, based on William Shakespeare’s ‘Macbeth,’ book by Michael Mitnick, music & lyrics by Adam Gwon, choreographed by Josh Rhodes, music direction by Vadim Feichtner (Nina Goodheart)
As their friend and foil Banko, Jay Armstrong Johnson is flat out marvelous in the role of the lame-brained, stoned out hippie who can’t get out of his own way. And Armstrong can do more than carry a tune; he has a show stopper number to boot. As with the others in the ensemble, his vocal power is prime. The surprise in his characterization occurs when he reveals he is more sentient than we imagine and actually is a threat to his two friends in blowing apart their alibi.
The arc of development moves toward a swift conclusion and the “bedazzled by wickedness” Mac fulfills the prophecy of the witches, despite himself. We are left with the themes: “the love of money is the root of evil,” “crime begets cover-up and more crime,” “overweening, unrestrained ambition destroys.” Each are their own moral lessons. At least in this bucolic town, ethics still abide and “crime doesn’t pay,” after all. Of course that is because Peg McDuff believes in serving justice, not serving herself or any corrupt cronies, unlike our present times. In this the play’s small town folkways and ethics are charming reminders of the past. Oh how long ago and far away this America was!
The Company of ‘Scotland, PA,’ directed by Lonny Price, book by Michael Mitnick, music & lyrics by Adam Gwon, adapted from the titular film by Billy Morrissette, based on William Shakespeare’s ‘Macbeth’ (Nina Goodheart)
Scotland, PA remains a lovable, smash hit worthy of seeing a few times for its sardonic humor and the ensembles’ masterful delivery of clever humor and pacing to full effect. The songs are not earth-shattering in meaning, but they are tuneful and effervescent. Everyone in the cast from the three stoner witches to Peg McDuff are focused. Their portrayals have been well shepherded by Lonny Price’s incisive, thoughtful direction.
Set design elements thanks to Anna Louizos are funny in the transformation between the Duncan’s of Act I to the spoofing of the real Ray Kroc and McDonald’s in Act II. From the thunderous lightning cracks to additional lighting elements created by Jeanette Oi-Suk Yew and accompanying sound design elements by Jon Weston, Scotland, PA’s tenor, mood and irony shift and change providing a fabulous medium to stir the actors to hit their marks! Likewise, costume design by Tracy Christensen and hair, wig & make-up design by J. Jared Janas combine elements of the modern and throwbacks to the 1970s. I loved the look of the witches. And the restaurant outfits in Act 2 are a hoot!
Music Direction by Vadim Feichtner, orchestrations by Frank Galgano & Matt Castle and choreography by Josh Rhodes help to make this a great entertainment. Bravo once and bravo twice for good measure to the creative team, Lonny Price and the ensemble of Scotland, PA.
The production runs with one intermission until 8th December at Roundabout, Laura Pels Theatre Harold and Miriam Steinberg Center for Theatre (111 West 46th St). For tickets and times CLICK HERE.
‘Macbeth,’ by William Shakespeare, Starring Corey Stoll, Nadia Bowers at CSC
Nadia Bowers, Corey Stoll in Shakespeare’s ‘Macbeth’ directed by John Doyle at CSC (Joan Marcus)
Macbeth directed by John Doyle currently runs at Classic Stage Company. The production is minimalistic. It is stylized toward removing any extraneous feature that would slow down the race toward the conclusion of one of the most performed of Shakespeare’s plays. The production clocks in at a slim 90 minutes with no intermission, few props, the barest scenic design, no bulky Byzantine elements or interpretations. It eschews the spectacle, sturm und drang of previous maverick, heavy-handed iterations of Macbeth that have come to New York- Broadway, Lincoln Center or Off Broadway stages in recent years or have been presented at the Armory. Only the costumes whisper Scotland with each of the actors sporting a plaid tartan shawl and appropriate dress.
For those very familiar with the “Scottish Play,” this spare production will be fascinating. Its emphasis resides in the fine performances of Corey Stoll as Macbeth, his partner Nadia Bowers as Lady Macbeth, Eric Lochtefeld as Banquo and the adroit ensemble. For those unfamiliar with Macbeth who are looking to become more acquainted with the play, that has superstitious actors refusing to speak the title anywhere near a theater stage, this is not the production to see. Better to see a film version to get a handle on the plot, characterizations and themes before you stop in to see the CSC production. Then you will be able to understand and appreciate Doyle’s direction that concentrates on the grist of Shakespeare’s arc of development and characterizations, especially of Macbeth and Lady Macbeth.
Mary Beth Peil in ‘Macbeth’ by William Shakespeare directed by John Doyle, CSC (Joan Marcus)
There are many fine films of Macbeth; one directed by and starring Orsen Welles (1948); Roman Polanski’s Macbeth (1971), and most recently an incredibly visual and cinematic Macbeth starring Michael Fassbender directed by Justin Kurzel (2015). There is even a sardonic, comedic take-off on Macbeth (Scotland, PA, a film-2001), and the Off Broadway comedic musical adapted from the 2001 film currently running at the Laura Pels Theatre, Harold and Miriam Steinberg Center for Theatre.
Knowing the play as well as I do, I had little difficulty in appreciating the singularity of the performances and the rapid pacing of the events which fall in on themselves from scene to scene like dominoes. The pacing is important thematically and reveals much as an expression which manifests characterization. We, like Macbeth, are often hurled into a whirlwind of rapidly cascading events that occur around us, forged by those in power. Indeed, we barely have time to consider what is happening to take stock of circumstances. Instead, we must make quick deliberations and because of the speed, often make bad choices. This conceptualization pertains to this pared down production in the characters of Lady Macbeth and Macbeth.
Erik Lochtefeld in ‘Macbeth’ by William Shakespeare, directed by John Doyle, CSC (Joan Marcus)
In Doyle’s version we note Macbeth, a Scottish general who is driven on a course of loyalty to king Duncan to be valorous in battle. Stirred up by the voices of the culture (represented by a chorus of players who recite the dialogue of the three witches), to extend his ambitions in competition with Banquo, both generals receive a prophecy. Each encourages the other to believe what the chorus of witches speaks in their incantations. The prophecy concerns Macbeth becoming king and Banquo’s heirs becoming kings and ruling the kingdom for generations. Banquo’s and Macbeth’s imaginations ripen without prayer or meditation to become obsessed with their futures. Macbeth, rather than to consider that the chorus of witches may be evil, shares the “news” with Lady Macbeth who leaps to the assassination plot of killing Duncan who will stay at their castle.
The events pick up speed, unhindered by Macbeth’s doubt or unsettled nervousness because Lady Macbeth moves without delay to influence him to kill Duncan and murder the guards in retribution, laying blame on Duncan’s sons who flee. Macbeth assumes the throne without question, then with growing fear and paranoia betrays his friend Banquo and has him killed. When Macbeth attempts to be a proper statesman and ruler holding a banquet for his Lords to ingratiate himself to them, Banquo’s ghost appears upending Macbeth’s peace of mind, rest and attempted diplomacy. Afterward, confusion and mania escalates into psychotic paranoia and guilt. Macbeth’s seemingly unstoppable reign of tyranny and civil war grows in ferocity and wickedness toward an inevitable and swift conclusion.
Indeed, Doyle reveals an aspect of Macbeth not typically focused upon. Events unfold like a storm for which no preparation can be made. Macbeth and Lady Macbeth are largely transactional. Their motivations overwhelm them without thoughtful consideration. These upend them so quickly they leave no time to check themselves and consider what the consequences of their dishonorable actions will foment. Rationality leaks into insanity. It is as if Macbeth has allowed himself to be submerged underwater and is drowning in his own bloody imagination and frenzied blood-letting. This happens so rapidly and so smothers him and Lady Macbeth in guilt, he cannot breathe or rest easily once they’ve murdered their king and usurped his power. After the regicide, they are incapable of ruling wisely or well. They are consumed with maintaining the power they don’t understand and cannot keep because they are illegitimate and unfit.
Nadia Bowers, Corey Stoll in ‘Macbeth’ by William Shakespeare, directed by John Doyle, CSC (Joan Marcus)
Regicide drives Macbeth and Lady Macbeth to devastating guilt. But they are incapable of seeking redemption from an ocean of blood that stains their minds and hearts and propels them toward masochistic betrayals of themselves and each other in infamous deaths. For Lady Macbeth it is suicide which Macbeth does not have the time to mourn. For Macbeth it is arrogance that leads to his downfall in not making the proper alignments to keep the throne or recognize that he is not immortal as the chorus of witches have duped him to believing. The vortex does not stop spinning until Macbeth comes up for air, as it were, and dies. He is killed by Macduff who was “untimely ripped from his mother’s womb” a fulfillment of the prophecy that Macbeth will be killed by one “not born of woman.”
The pared down version eliminates various characters and scenes, some comedic, some ironic and foreshadowing. The platform stage acting area allows for the audience to sit on three sides. Toward the back of the playing area is the focal point of the production, the throne and seat of power. The rustic, wooden throne’s placement at the end of the platform allows for a “theater in the round” effect.”
Corey Stoll in ‘Macbeth’ by William Shakespeare, CSC, directed by John Doyle (Joan Marcus)
The audience becomes immediately engaged with the heightened action of Macbeth’s obsession with the throne and what that means for himself and the country. The only way to gain the modest-looking, oversized wooden chair is by usurping power illegitimately through regicide. That is easy. But to maintain his illegitimacy, he must use the weapons of tyranny, brutality, murderous betrayal of Banquo and destruction of his country. His guilt knowing he is not a true king makes his paranoia and psychosis all the more explosive. Thus, against the country he wishes to govern, ironically, he instigates civil war to protect what he never deserved and was never truly his, the throne of Scotland. What Macbeth and many leaders who lust for power never understand is that powerful men serve others first. Power means acute responsibility to govern over all the people, not just the sycophants and toadies. To be powerful, one must be, like Duncan revealed beneficent and just. Macbeth proves what a king isn’t. His lust for the throne is a tragedy.
One of the themes of the minimalistic design and vibrant staging is that whomever sits in the throne chair takes the power of the position. Whether they realize it or not, it is assumed they understand power. Initially, we see Duncan (Mary Beth Peil) resting easily in this power as the King gives commands and bestows honors with legitimate authority and probity. It is a dangerous “game for the throne” which Macbeth initiates stirred by the cultural “witchy” voices of the time that emphasize ambition and position without achievement, without grace and without ethics and honor to perform the hard work to deservedly wait for the possibility of becoming king through divine means. Macbeth cannot wait. Lady Macbeth will not wait. They lift their will above Scotland and God and reap the requisite fate.
Raffi Barsoumian in ‘Macbeth’ by William Shakespeare, directed by John Doyle, CSC (Joan Marcus)
Duncan’s success in war indicates his wisdom. When the treasonous Thane of Cawdor, (the title position Duncan awards Macbeth for his valor) repents his treachery to Duncan and is forgiven, but must suffer the consequences, we understand Duncan’s worthiness and justice as a beneficent ruler. Macbeth’s hasty leap to steal what he can never fulfill is all the more wicked and horrifying for Scotland. Sadly, Macbeth, instead of learning from the Thane of Cawdor’s behavior and repentance, thinks nothing of it. Too much the transactional man of action, imbalanced and not given to thoughtful consideration, his end is manifest the moment he takes on the mantle of Thane of Cawdor. Unlike the Thane, Macbeth never humbly repents and admits what he has done.
This production is revelatory and acute. The performances by Stoll, Bowers, Lochtefeld and Peil are resonant. They and Doyle’s direction elucidate important themes for our times about power, leadership, justice, illegitimacy, unfitness, accountability. The ensemble work is seasoned. Macbeth runs at CSC (East 13th Street between 3rd and Madison) until 15th December. For tickets and times CLICK HERE.
‘The Sound Inside,’ by Adam Rapp, Starring Mary-Louise Parker
Mary-Louise Parker, Will Hochman, ‘The Sound Inside,’ by Adam Rapp,directed by David Cromer (Jeremy Daniel)
How well do we know ourselves? If we don’t, then how can we truly discern others to help them, and get them to help us? Of course, that is if we indeed admit we need help! Adam Rapp (Pultizer Prize finalist for Red Light Winter 2006) touches upon themes of self-knowing, being, consciousness and the perception of others in The Sound Inside. Commissioned by Lincoln Center Theatre the play premiered at the Williamston Theatre Festival and now is at Studio 54 until 12th January.
Directed by David Cromer (Tony Award Winner for The Band’s Visit) and starring Tony® and Emmy® Award winner Mary-Louise Parker, with Will Hochman in his Broadway debut, the 90-minute production is spare and ironically humorous. Opaque, wisps of the mysterious slip into the arc of the play’s development. By the conclusion uncertainty is king; we must admit circumstances of character are unknowable as our understanding intrudes with imprecise interpretations about what the events may mean. Rapp strikes unusual timbers in this work and suggests the sounds we listen to inside of our minds and hearts remain elusive.
Mary-Louise Parker, Will Hochman, ‘The Sound Inside,’ by Adam Rapp,directed by David Cromer (Jeremy Daniel)
Rapp’s characterizations are drawn to entice. They loop around us and double in on themselves pinging our empathy. Despite their austere headiness and sometimes aloof demeanor, Rapp does allow Bella’s (Parker) and Christopher’s (Hochman) sensibilities to shine and soften as their relationship appears to deepen. With their responses to each other’s questions they attempt to connect and dissolve their gritty isolation. Parker and Hochman effect intriguing encounters with stirring, nuanced authenticity and exceptional feeling
The play begins and ends as a one-person narration, specifically with Bella’s direct address to the audience, a matter-of-fact revelation of her life up to and including her experience with a prodigy, a freshman in her writing class. Yale professor and writer, she initially elicits our attention speaking in complete darkness then gradually emerging from the shade as the spotlight grows brighter to finally make her visible. When she steps down front toward the audience, director David Cromer leaves the rest of the stage in darkness and shadow. It is as if she begins speaking from a vacuum, or a dark space somewhere in her own being and then seeks an audience of readers/listeners who will appreciate her story and remain with her while she tells her tale of self-discovery, healing and the uncertain apprehension of an individual who brings meaning into her life.
Mary-Louise Parker, Will Hochman, ‘The Sound Inside,’ by Adam Rapp,directed by David Cromer (Jeremy Daniel)
Cromer’s direction is pointed, symbolic and acute. With a minimalism of sets, he suggests Bella’s apartment, office and a local bar without distracting us from the most curious of relationships and events which occur between Bella and Christopher. The spareness and the directed lighting help to reinforce the dynamic tension between the teacher and her student.
Throughout, the director uses light and surrounding darkness interpretively. The symbolism of light and darkness assisted by Heather Gilbert’s excellent design suggests the intimacy of their conversation and undergirds the theme about never really knowing/ understanding the thoughts, consciousness and souls of others. Indeed, the lighting implies a possible theme, that we see others “through a glass darkly,” if they allow us to “see.” And if they do, it is merely bits and pieces of their larger unseen whole.
The lighting prepares us to be receptive to the personal stories that Bella and Christopher tell us as we watch their relationship move in a direction we cannot anticipate. We only know what they relate; we have no outside knowledge of the accuracy of what they express. Thus we must trust Bella and Christopher as narrators. However, Rapp twits us. We must also doubt them as he characterizes with vast indefiniteness, almost with a dream-like quality, though Bella appears more solid than Christopher.
Therein lies the rub! To what extent are Bella and Christopher reliable narrators? Both of them address the audience and discuss their perceptions of each other without particular effusion of feeling. Actually, we receive more from their interactions and the stories they have written.
Mary-Louise Parker, Will Hochman, ‘The Sound Inside,’ by Adam Rapp,directed by David Cromer (Jeremy Daniel)
However, that too ends in an opaque blind because their stories which have autobiographical and symbolic components, are indeed, fiction. Yet, they are metaphorical and may even parallel their real lives and their portentous deaths.
Christopher details a synopsis of Bella’s novel whose character’s last name is the same as hers and who dies proving a point about the culture and human nature. Christopher relates the synopsis of his novel in which one of his protagonists (Shane) dies. The other character whose name is the same as Christopher’s takes Shane’s place and cares for his son whose name is the same as Bella’s protagonist who dies (Billy). In both Bella’s and Christopher’s novels, deaths occur and these complicate our understanding of Bella and Christopher because they are related to Bella’s narration of events about Christopher and her interactions with him.
In a further complication and twist, Christopher’s novel contains allusions to particular novels he’s read in Bella’s class: Crime and Punishment by Fyodor Dostoevsky, Catcher in the Rye by J. D. Salinger, etc., as well as a references to Christopher’s favorite book, Old Yeller by Fred Gipson. The reference to Wild Palms by William Faulkner a favorite of Bella’s and Christopher’s, Rapp uses as an allusion to The Sound Inside. In Rapp’s play the lives of Bella and Christopher are narratives of isolated individuals. These individuals are momentarily arrested from their aloneness on the venerable college campus where they connect, energize, impact one another then move on having made an indelible and irrevocable exchange which Rapp alludes to at the conclusion. You will just have to see The Sound Inside to find out what that is; no spoiler alert is coming to reveal the final impact of this play, shimmering with the ineffable, the uncertain, the intangible.
Mary-Louise Parker, Will Hochman, ‘The Sound Inside,’ by Adam Rapp,directed by David Cromer (Jeremy Daniel)
Rapp teases us with the references to celebrated novels and their tie-ins as well as the mystery of the final events of Bella’s narration about her relationship with Christopher: the help she needs from him and the help her gives her. All are under the penumbra of Bella’s story-telling which spins outward into a cloudy firmament. Indeed, as she importunes Christopher toward the end, she has “reached into a dark room for something.” Christopher helps her with her fateful request with an even more fateful response.
Parker’s Bella concludes with us emerging from her flashback into the present in her last address to the audience. She stands in the spotlight, the darkness of the park behind her. This is where she solicited us and sparked our curiosity at the top of the play, so we are back at a beginning. Throughout we remained rapt, engaged and constantly questioning. However, at the last in the park with Bella, we finally must accept what she has told us is both a reflection of her own consciousness and meaning and ours, in a meld of fiction, imagination and faith.
Parker and Hochman take us on this incredible journey toward connection reminding us of the impact we do have on others despite our assumptions to the contrary. Ironically, however, we cannot always state with certainty what that impact is or might be. In Rapp’s thrilling play, opacity and its companion uncertainty about human nature, knowing and consciousness are paramount.
That Rapp breaks the third wall to tell Bella’s then conjointly Christopher’s stories is vital. As we tell our own stories or write them, we constantly intrude to watch ourselves in the telling. Objectivity is a canard as is connection. Our consciousness is ours alone, a key theme of Rapp’s work. We can move parallel with others, but we move alone. After we come to the end of ourselves, the journey may be great fun. But along the way, as it is for Bella (until after she meets Christopher) and for Christopher, the pain of discovering identity, and settling comfortably into our consciousness tears us like a cancer which must be healed.
Kudos to Alexander Woodward (scenic design) David Hyman (costume design) Heather Gilbert (lighting design) Daniel Kluger (music and sound). The Sound Inside runs with no intermission at Studio 54 (West 54th Street between 7th and 8th). For tickets and times CLICK HERE.
‘The Rose Tattoo,’ Marisa Tomei Is Tennessee Williams’ Fiery, Sensual Serafina, in a Stellar Performance
Marisa Tomei in ‘The Rose Tattoo,’ by Tennessee Williams, presented by Roundabout Theatre Company (Joan Marcus)
Atmosphere, heat, the heavy scent of roses, candles, mysticism, undulating waves, torpid rhythms, steamy melodies, fantastical rows of pink flamingos, a resonant altar of the Catholic Madonna. These elements combine to form the symbolic backdrop and evocative wistful earthiness that characterize Roundabout Theatre Company’s The Rose Tattoo at American Airlines Theatre.
Tennessee Williams playful, emotionally effusive tragic-comic love story written as a nod to Williams own Sicilian lover Frank Merlo, is in its third revival on Broadway in a limited engagement until 8th December (the Catholic date of the Feast of the Immaculate Conception). Reflecting upon Marisa Tomei’s portrayal of Serafina in The Rose Tattoo, this is an ironic, humorous conclusion in keeping with the evolution of her character which Tomei embraces as she exudes verve, sensuality, fury, heartbreak and breathtaking, joyful authenticity in the part.
If any role was made for Tomei, divinity and Tennessee Williams have placed it in her lap and she has run with it broadening the character Serafina Delle Rosa with astute sensitivity and intuition. Tomei pulls out all the stops growing her character’s nuanced insight. She slips into Serafina’s sensual skin and leaps into her expanding emotional range as she morphs in the first act from grandiose and joyful boastfulness to gut-wrenching impassioned sorrow and in the second act to ferocity, an explosion of suppressed sexual desire and its release. All of these hot points she elucidates with a fluidity of movement, hands, limbs, head tosses, eye rolls which express Serafina’s wanton luxury of indulgent feeling and effervescent life.
The contradictions of Serafina’s character move toward a hyperbolic excess of extremes. When speaking of her husband Rosario and their relationship, their bed is a sanctum of religion where they express their torpid love each night. She effuses to Assunta (the excellent Carolyn Mignini) how she mysteriously felt the conception of her second child the moment it happened. A rose tattoo like the one her husband Rosario wore on his chest appeared like religious stigmata without the dripping blood. And it burned over her heart, a heavenly sign, like others she receives as she talks to the statue of the Madonna, and remains a worshipful adherent to Mother Mary, praying and receiving the anointed wisdom whenever necessary.
Marisa Tomei, Emun Elliott in ‘The Rose Tattoo,’ by Tennessee Williams, presented by Roundabout Theatre Company (Joan Marcus)
Rosario’s family is that of a “baron,” though Sicily is the “low” country of Italy and an area fogged over with undesirables, thieves and questionable heritages as the crossroads of Europe. We know this “baron-baroness” is an uppity exaggeration from the looks on the faces of her gossipy neighbors and particularly La Strega (translated as witch) who is scrawny, crone-like and insulting. Constance Shulman is convincing as the conveyor of Ill Malocchio-the evil eye. Her presence manifests the bad-luck wind that Assunta refers to at the top of the play and to which Serafina superstitiously attributes the wicked event that upends her life forever.
Williams’s characterization of Serafina is brilliant and complex. Director Trip Cullman and Tomei have effected her intriguing possibilities and deep yearnings beyond the stereotypical Italian barefoot and pregnant woman of virginal morals like Our Lady. It is obvious that Tomei has considered the contradictions, the restraints of Serafina’s culture and her neighbors as well as her potential to be a maverick who will break through the chains and bondages of her religion and old world folkways after her eyes are opened.
We are proud that Serafina disdains the gossiping neighbors with the exception of Assunta and perhaps her priest. Though Serafina’s world does not extend beyond her home, the environs of the beach, her daughter Rosa (Ella Rubin) and Rosario, a truck driver who transports illegal drugs under his produce, she is a fine seamstress. And in her business interactions with her neighbors and acquaintances, we note that she has money, is industrious, resourceful and a canny negotiator.
It makes sense that Rosario (whom we never see because he is a fantasy-Williams point out) treats her like a baroness filling their home with roses at various times to reassure her of her grandness. And the poetic symbol of the rose as a sign of their love and the romance of their relationship is an endearing touch, reminiscent of the rose tattoo on his chest signifying his commitment to her. At the outset of the play, a rose is in Serafina’s hair which she wears waiting for Rosario to come home. As she does, we believe she is fulfilled in their love and the happy status of their lives in a home on the shores of paradise, the Gulf Coast of Mississippi.
What is not manifest and what lurks beneath becomes the revelation that all is not well, that her Rosario is not real, but is an illusion. Typical of Williams’ work are the undercurrents, the sub rosa meanings. The rose is also a symbol of martyrdom, Christ’s martyrdom. And it is this martyrdom that Serafina must endure when word comes back that Rosario has been killed, burned in a fiery crash which warrants his body be cremated. Unfortunately, the miraculous son of the burning rose on her chest that appeared and disappeared, she aborted caused by the extreme trauma of Rosario’s death.
Marisa Tomei, Emun Elliott in ‘The Rose Tattoo,’ by Tennessee Williams, presented by Roundabout Theatre Company (Joan Marcus)
The rose as Williams’ choice symbol is superbly complex. For Rosario’s rose tattoo also represents his amorous lust for women, one of whom is Estelle Hohengarten (Tina Benko) who asks Serafina to make a gorgeous, rose-colored silk shirt for “her man.” When Estelle steals Rosario’s picture behind Serafina’s back, we know that Rosario led a double life and we are annoyed at Estelle’s arrogance and presumption to ask his wife to make such a gift shirt. But in William’s depth of characterization for Estelle, most probably Rosario is also philandering on Estelle who, to try to keep him close, gives him expensive gifts like hand-made silk shirts.
Williams clues us in that her faith and passion for Rosario has blinded her judgment and overcome her sharp intellect and wisdom. In fact it is an idolatry. Her religion stipulates that no human being should be worshiped or sacrificed for. Serafina’s excessive personality has doomed her to tragedy, betrayal and duplicity with Rosario. Ironically, his death is her freedom, but she must suffer his and her son’s loss ,a burden almost too great to bear, even for one as strong as Serafina who does become distracted, unkempt and uninterested in life.
Because Rosario, the wild rose with thorns is not worthy of Serafina’s love, after his death there is only pity for the cuckholded Serafina and a finality to her exuberant life until the truth of who Rosario really was lifts her into a healthy reality. Tomei’s breakdown is striking and Williams creates the tension that in weeping for the “love” of her life who indeed has betrayed her, she will be wasting herself. He also affirms the huge gulf between her ability to live again and her lugubrious state which continues for three years as she mourns an illusion.
The question remains. Will she come to the end of herself? The romantic fantasy held together with the glue of her faith and the enforced, manic chastity of her old world Italian mores must be vanquished. But how? It is in the form of the charismatic and humorous Alvaro Mangiacavallo. But until then Serafina withers. Isolating herself, she implodes with regret, doubt, sorrow and dolorous grief, as well as anger at her daughter Rosa who wants to live and find her own love like her mother’s.
The mother-daughter tensions are realistically expressed as are the scenes between Tomei and Jack (Burke Swanson) Rosa’s boyfriend, which are humorous. Altogether, the second act is brighter; it is companionable comedy to the tragedy of the first act.
When she meets Alvaro, in spite of herself, she responds with her whole being to his attractiveness. As they become acquainted, she accepts his interest in her for what she may represent; a new beginning in his life. It is a new beginning that he tries to thread into her life to resurrect her sexual passions and emotions of love. Thus, he pulls out all the stops for this opportunity to win her, even having a rose tattooed upon his chest in the hope of taking Rosario’s place in her heart.
Marisa Tomei, Emun Elliott in ‘The Rose Tattoo,’ by Tennessee Williams, presented by Roundabout Theatre Company (Joan Marcus)
Emun Elliott is spectacular as the clownish, emotionally appealing, lovable suitor who sees Serafina’s worth and beauty and attempts to endear himself to her with the tattoo. Along with Serafina’s discovering Rosario’s betrayal, Elliott’s portrayal of Alvaro solidifies and justifies why Serafina jumps at the opportunity to be with him. He is cute. He is real. He is as emotional and simpatico as she is. He is Sicilian and above all, he is available and interested in her. It is not only his steamy body that reminds her of Rosario’s, but she is attracted to his humor, sensibility and sensitivity of feeling which mirrors hers.
After discovering Rosario’s duplicity, understanding Alvaro’s concern and care for three women dependents and his honesty in admitting he is a buffoon disarms Serafina. Alvaro’s strength and lack of ego in commenting that his father was considered the village idiot is an important revelation for her as well. Indeed, as she views who he is, she senses that his humility and humorous self-effacement is worth more than all of Rosario’s boastfulness that he was a baron which he wasn’t.
As the truth enlightens her, Tomei’s Serafina evolves and sheds the displacement and her sense of confusion and loss which was also a loss of her own imagined “secure” identity as Rosario’s “wife.” Wife, indeed! Rosario’s mendacity made her into a cuckhold and a brokenhearted fool over a man who was not real. At least Alvaro is real. The comparison between the men reinforced with Rosario’s unfaithfulness, which she can now admit to herself, prompts her to reject the religion that kept her blinded and the antiquated mores that made her a fool and kept her alone and in darkness.
Shepherded by Cullman, Elliott and Tomei create an uproarious, lively and fun interplay between these two characters who belong together, like “two peas in a pod” and have only to realize it, which, of course, Alvaro does before Serafina. Tomei’s and Elliott’s scenes together soar, strike sparks of passion and move with the speed of light. The comedy arises from spot-on authenticity. The symbolic poetry, the shattering of the urn, the ashes disappearing, the light rising on the ocean waves (I loved this background projection) shine a new day. All represent elements of hope and joy and a realistic sense of believing, grounded in truth for both protagonists.
Tomei, Elliott, Cullman and the ensemble have resurrected Williams’ The Rose Tattoo keeping the themes current and the timeless elements real. Duplicity, lies, unfaithfulness, love and the freedom to unshackle oneself from destructive folkways that lead one into darkness and away from light and love are paramount themes in this production. And they especially resonate for our time.
I can’t recommend this production enough for its memorable, indelible performances especially by Elliott and Tomei shepherded with sensitivity by Cullman. The evocativeness and beauty of the staging, design elements and music add to the thematic understanding of Williams’ work and characters. Kudos goes to the creative team: Mark Wendland (set design) Clint Ramos (costume design) Ben Stanton (lighting design) Lucy Mackinnon (projection design) Tom Watson (hair and wig design) Joe Dulude II (make-up design). Bravo to Fiz Patton for the lovely original music & sound design.
The Rose Tattoo runs with one intermission at American Airlines Theatre (42nd between 7th and 8th) until 8th December. Don’t miss it. For tickets and times CLICK HERE.
‘The Lightning Thief-The Percy Jackson Musical,’ a Stirring Adaptation of the Titular Rick Riordan Novel
(L to R): Kristin Stokes, Chris McCarrell, Jorrel Javier in ‘The Lightning Thief-The Percy Jackson Musical,’ book by Joe Tracz, Music & Lyrics by Rob Rokicki, adapted from the book by Rick Riordan, directed by Stephen Brackett at the Longacre Theatre (Jeremy Daniel)
It’s even in the Bible. Gods hung around with humans and children were born to them. Of course this caused issues for the children and the parent who was human, just like in real life single parent homes. But in mythology the god often went about his or her business coupling with other humans and abandoning each family he or she created. The parent who was a “god” was too busy to care for the “demi-god” who grew up feeling unwanted, confused, unloved. Thus, a whole race of weird “demi-gods” wandered among humanity and caused chaos because they had been damaged by their “god” parent and had the DNA (magic) to realize that they were “different” and could take it out on humanity when they were “pissed” off.
Chris McCarrell in ‘The Lightning Thief-The Percy Jackson Musical,’ Book by Joe Tracz, Music & Lyrics by Rob Rokicki, adapted from the book by Rick Riordan, directed by Stephen Brackett, Longacre Theatre (Jeffrey Daniel)
Some of these elements are the basis of Rick Riordan’s popular Percy Jackson and the Olympians series of books of which The Lightning Thief is the first novel and launching pad for the fun characters in the remaining Riordan books. Many of them are tied in to Greek Mythology. Riordan’s fantasy-adventure novels gave rise to two films with the titular Percy Jackson identifying as the demi-god protagonist: Percy Jackson and The Olympians, The Lightning Thief (2010) and Percy Jackson, Sea of Monsters (2013). When word got out that a theatrical production was being considered and TheaterworksUSA was involved, the rest is history.
Collaborators Joe Tracz who wrote the book and Rob Rokicki who wrote the music & lyrics, fashioned an already successful story-line to titillate and enthrall theatergoers. Their initial hour show evolved with more songs and extended book which morphed into the current production on Broadway at the Longacre Theatre, The Lightning Thief, The Percy Jackson Musical.
James Hayden Rodriguez, Sarah Beth Pfeifer and the Company in ‘The Lightning Thief-The Percy Jackson Musical,’ Book by Joe Tracz, Music & Lyrics by Rob Rokicki, adapted from the book by Rick Riordan, directed by Stephen Brackett, Longacre Theatre (Jeffrey Daniel)
If you and your children are fans of Riordan’s work, you must see this Broadway show whose adaptation of Riordan’s novel parallels many of the book’s elements. The production reinforces vital themes about life, purpose, goodness and evil working to create soul strength and character, ethics, and personal accountability. Indeed, the characters learn that they may have been left with a flawed creation warped by even more flawed gods when they war with each other. However, all is well because the demi-gods, have the talent and ability to rise above the chaos, and with determination, correct and perfect the world and themselves, teaching the gods a lesson or two.
(L to R): Sarah Beth Pfeifer, Chris McCarrell (top) Kristin Stokes, Jorrel Javier, Ryan Knowles, Jalynn Steele, and James Hayden Rodriguez (bottom, left to right) in ‘The Lightning Thief-The Percy Jackson Musical,’ book by Joe Tracz, Music & Lyrics by Rob Rokicki, adapted from the book by Rick Riordan, directed by Stephen Brackett at the Longacre Theatre (Jeremy Daniel)
Tracz and Rokicki evolve these notions to an uplifting conclusion in The Lightning Thief, The Percy Jackson Musical which emphasizes that the principal characters and all of us must leave safety and security to face the unknown. Then, exercising their inner spiritual/magical powers, they must fearlessly overcome the real monsters that are out in the world. In the final song that the Company sings, “Bring on the Monsters,” never were truer words spoken for us today about the “monsters’ in human form roiling social currents and effecting chaos. That it is up to all of us to stand against wickedness and with hope, courage and wisdom thwart evil intentions wherever they may be, remains the mission for young and old, now and forever.
Chris McCarrell in ‘The Lightning Thief-The Percy Jackson Musical,’, Book by Joe Tracz, Music & Lyrics by Rob Rokicki, adapted from the book by Rick Riordan, directed by Stephen Brackett Longacre Theatre (Jeffrey Daniel)
The production’s adaptation is a fine one with segments of theatrical spectacle (i.e. lighting design by David Lander and hair wig & makeup design by Dave Bova, costumes by Sydney Maresca) brilliantly effected. The show is choreographed by Patrick McCollum’s who uses his talents to generate excitement. With joy and exuberance Stephen Brackett’s direction steers the production to emphasize valuable lessons to comfort, to uplift.
Magnificent is the energy and vibrance of the ensemble who don various wigs and costumes, accents and upper or lower register “voices” to portray gods, monsters, enemies and friends. The cast appears to be a multitude, however, only seven actors take on key parts. These include Jorel Javier, Ryan Knowles, Chris McCarrell, Sarah Beth Pfeifer, James Hayden Rodriguez, Sam Leicht, Jalynn Steele, Kristin Stokes, and the understudies whom I saw on Sunday evening, 20 October, T. Shyvonne Stewart and Izzy Figueroa.
Jorrel Javier, Chris McCarrell (top),Kristin Stokes, and James Hayden Rodriguez in ‘The Lightning Thief-The Percy Jackson Musical,’ book by Joe Tracz, Music & Lyrics by Rob Rokicki, adapted from the book by Rick Riordan, directed by Stephen Brackett at the Longacre Theatre (Jeremy Daniel)
The actors’ versatility is just grand and some are particular standouts investing their will and being to apply their full-throated vocal talents. One standout is Jorrell Javier who portrays both the hell-raising god of the Half-Breed Summer Camp (god of wine- Dionysus) and the friend and protector satyr-Grover, a character who is both lovable and self-effacing. For example Grover endearingly talks to squirrels in a segment during the protagonists’ hero quest. Since squirrels are ubiquitous, Grover’s talent proves invaluable as he, Percy and Annabeth move on their journey to discover the lightning thief, find where he has hidden the lightning BOLT and save Percy’s mother Sally from Hades and the underworld.
(L to R): Jorrel Javier, Chris McCarrell, Ryan Knowles (top), and Kristin Stokes in ‘The Lightning Thief-The Percy Jackson Musical,’ book by Joe Tracz, Music & Lyrics by Rob Rokicki, adapted from the book by Rick Riordan, directed by Stephen Brackett at the Longacre Theatre
(Jeremy Daniel)
The male and female leads played by Chris McCarrell (Percy Jackson) and Kristin Stokes (Annabeth) have powerful, sonorous voices, though sometimes their enunciation is wanting. For those adults unfamiliar with Riordan’s books and the films they spawned, this may be problematic. Indeed, the fans will breeze through the familiar humor, fun mythological modernization, and melodies sung with joy and verve by the actors. For those unfamiliar with the plot, themes and characters, clarity is crucial. To receive the greatest enjoyment and a resounding response from the audience, all of the words must be clearly sung as they were clearly spoken.
McCarrell’s Percy Jackson is wistful searcher, investigator, educational ner-do-well, sometime whiner. He’s upset that he is always expelled from school, initially for his challenging condition (he’s ADHD and Dyslexic) and secondarily for being in the “wrong place at the wrong time.” However, his mother (Jalynn Steele, u/s T. Shyvonne Stewart) encourages his furtive yearnings and he and she sing the uplifting “Strong,” keying in the theme that undergirds Percy throughout the play.
(L to R): Kristin Stokes, Chris McCarrell, and Jorrel Javier’The Lightning Thief-The Percy Jackson Musical,’ book by Joe Tracz, Music & Lyrics by Rob Rokicki, adapted from the book by Rick Riordan, directed by Stephen Brackett at the Longacre Theatre
(Jeremy Daniel)
As events steer Percy to his destiny (“The Minotaur/The Weirdest Dream”) and growing self-revelation, he learns that his trouble-maker status is caused by Poseidon’s enemies who scape-goat him and create havoc precisely because he is his father Poseidon’s son. His growing realization of the evil undercurrents around him augments throughout the production until he steps into his hero mantle in “Son of Poseidon,” confronts the real “lightning thief” and does battle in the present “The Last Day of Summer.”
The quest teaches Percy, Grover and Annabeth that life is filled with trials, but attitude and how you confront obstacles makes the difference so you are not the victim but are the hero. He and the effervescent Kristin Stokes as Annabeth (Athena’s daughter) go to battle with courage, grace and strength. They elicit the power to confront whatever the gods/monsters throw their way. The production concludes with the excellent “Bring on the Monsters.” Percy, Annabeth, Grover and the Company have matured to understand their true purpose on earth: confront the powers of evil that inhabit human nature and thwart their actions.
Chris McCarrell in ‘The Lightning Thief-The Percy Jackson Musical,’, Book by Joe Tracz, Music & Lyrics by Rob Rokicki, adapted from the book by Rick Riordan, directed by Stephen Brackett Longacre Theatre (Jeffrey Daniel)
The plot twists are intriguing, born on the wings of the music and lyrics. Especially strong are “The Oracle,” “Good Kid” and “Killer Quest!” which are sung by Percy and the Company and in the last number of the first act, (“Killer Quest”) by Percy, Annabeth, Grover and the Company. The themes of betrayal, true friendship, loyalty and the importance of the journey revealing one’s nature and identity are ripe and relate to all ages. Kudos to Tracz and Rokicki for touching upon the timeless verities of Riordan’s work as well as adding salient concepts that especially resonate today in our world of real human monsters.
The creative team deserves recognition for their designs. These coalesce around the lighthearted fantastic tenor of the production which reflects and symbolizes “the roadshow” genre in its rough sets, puppetry and effects in the realm of rustic illusory suggestion. Do not expect the wild, technical phantasmagoria of Beetlejuice. The show’s simplicity is charming and intentionally not “over the top” Broadway. It keeps one foot on the ground and melds the concepts of gods and monsters evocatively, not believably. Creatives are Lee Savage (scenic design) Sydney Maresca (costume design) David Lander (lighting design) Ryan Rumery (sound design) Achesonwalsh Studios (puppetry) Dave Bova (hair, wig & makeup design).
The Lightning Thief The Percy Jackson Musical runs with one intermission at the Longacre Theatre (220 West 48th Street). It closes on 5 January and tickets will be hard to come by as we near the holidays. For tickets and times CLICK HERE.
‘Games’ by Henry Naylor, Winner of the 2019 Adelaide’s Critic Circle Award
(L to R): Renita Lewis, Lindsay Ryan in ‘Games,’ written by Henry Naylor, directed by Darren Lee Cole (courtesy of the production)
Games the multi-award winning play by Henry Naylor directed by Darren Lee Cole codifies a time in history that resonates with us today. The play exposes the noxious practices of discrimination, racism, injustice and inequity during the backdrop of the 1936 Berlin Olympics held in Germany.
At that time Hitler was in power and was establishing his Aryan race laws against Jews who were being discriminated against in every aspect of society and government, from civil service positions to university jobs and private businesses. Hitler’s destructive social policies led to untold misery and horrific genocide. The ultimate tragedy was in the loss of human talent, brilliance and genius that most probably would have added to music, culture, the arts, sports and scientific advancements for the betterment of the world.
To explore how the initial race laws could impact a particular arena, Naylor highlights the world of sports and the Third Reich in the early stages of Hitler’s rise before the conceptualization of the Final Solution (the organized conspiracy to exterminate “undesirables,” specifically Jews, Gypsies, communists, etc.). Naylor indicates how the race laws destroyed the careers of two Jewish women who were incredible athletes and deserved the glory they should have gotten if not for Hitler’s wickedness.
Lindsay Ryan in ‘Games,’ written by Henry Naylor, directed by Darren Lee Cole (courtesy of the production)
The play, currently running at the Soho Playhouse, explores the true story about world class athletes, one in fencing, Helene Mayer, and the other in the high jump, Gretel Bergmann. The fascinating production, through interchanging direct address narratives, familiarizes the audience with another example of how Nazism not only harmed others but nearly annihilated the once venerable German culture and society.
The minimalistic production briefly chronicles the exceptionalism of Mayer and Bergmann and reveals how they worked with assiduous effort to achieve a greatness in their chosen sports. Mayer portrayed by Lindsay Ryan and Bergmann depicted by Renita Lewis take turns sharing their stories engaging the audience as their confidantes. Each woman discusses how she endeavored to become the best. Both share salient details about their struggles to excel at a level not achieved before by women in their respective fields.
Lindsay Ryan in ‘Games,’ Soho Playhouse, directed by Darren Lee Cole, written by Henry Naylor (photo courtesy of the production)
Helene Mayer, a German Jew was a phenomenon at 10-years-old. She sparred with male fencing partners after she sneaked into an all-male fencing class and convinced the teacher that she could best whomever she went up against. Encouraged by her father who was a doctor, Mayer achieved such a mastery in her skills that she won awards in competitions across Germany. Eventually, she won an Olympic gold medal at 17 at the 1928 Summer Olympics in Amsterdam, representing Germany. She won 18 bouts and lost only 2, bringing glory to Germany and receiving accolades from President Hindenburg.
Mayer’s story dovetails with Bergmann’s who was younger and who looked up to Mayer as her hero and inspiration. Indeed, she had a Mayer doll and was overwhelmed when she had the opportunity to meet with Mayer at her school where Mayer encouraged her to continue to excel as a track and field athlete.
During her segments of the play, Mayer discusses how she is ready to secure the Olympic gold medal a second time. However, when she receives disturbing news, her dedication and focus blows up and she doesn’t fulfill get the Gold. Sadly, by the time she worked to compete in the 1936 Olympics, she was banned from being on the German team because she was Jewish. The only team the Third Reich allowed her to be on was the equivalent Jewish team. She could not mingle with the “Christian” team, though she was well liked and spoke to everyone.
During the Bergmann exchange in the production, we discover that the same happened with Bergmann. Encouraged by her parents, as Bergmann, Lewis declaims enthusiastically that she eventually went to London and studied at London Polytechnic, where she became the British high jump champion. She also discusses how she was brought back to Germany to compete in the Olympics and save face with the Western World who received condemnation for discriminating against Jews. It is when she was preparing for the 1936 Olympics that the climax of the production occurs, Bergmann meets Ryan once more. They hadn’t seen each other since Bergmann’s high school years and Mayer’s visit.
Renita Lewis in ‘Games,’ directed by Darren Lee Cole, written by Henry Naylor (courtesy of the production)
At the last minute, in fact two weeks before the Olympics, Bergmann was prevented from competing because of her religion, though it was given out that she had physical ailments that prevented her from competing. The irony is that the Third Reich was so rabid in its annihilating policies, the Nazi party gave up the advantage of a good chance to win a medal only in order not to have to accept a Jew onto their team. For the Third Reich, it would have been more of a disgrace to have a “Jew” be recognized as a great star athlete, a fact that would have disproved the Nazi FALSE FACT that Jews were an “inferior race.”
Things fared differently for Mayer. As a token gesture to mollify the United States, German authorities allowed the half-Jewish fencer to represent Germany in Berlin primarily because she was on record as having won an Olympic medal in 1928 and was venerated nationally. She had been studying at Mills College in California and returned for the games. No other athletes of Jewish ancestry competed for Germany, except Mayer who was forced to compromise and give the Nazi salute as did the other athletes. Interestingly, in the play, Naylor has Mayer affirm that she is apolitical and cannot be branded. Above all she swears that she is a fencer not supporting or working against Hitler. However, fact checking reveals that she was used by Hitler and that is why she saluted, a compromise for her to compete in her love of fencing.
Games is largely expositional with character actions of fencing moves and graceful running moves threaded in by the very fit actors. It may also be viewed as two largely solo performances for there is little interaction between Mayer and Bergmann which is why their meet up in Bergmann’s high school and at the Olympics preparation was dynamic. Ryan and Lewis do a fine job in relaying the angst that Mayer and Bergmann went through in their emotional trials to shore up their determination against the Third Reich and in their struggle to compete and be the best.
Lindsay Ryan, Renita Lewis in ‘Games,’ written by Henry Naylor, directed by Darren Lee Cole (courtesy of the production)
The themes are exceptional. And Naylor rings out a siren call for us today in regard to holding on to the following tenets so as not to fall into the abyss that Germany fell into under Hitler’s Third Reich. We must strongly affirm our democratic values by upholding a free press, and upholding what makes our government strong- checks and balances. This is especially so against a current failing White House executive that smells of fascist-type dictatorship and one-man rule of the nightmare that led to Germany’s downfall, and can lead to the dissolution of our nation if allowed to go unchecked. Finally, Naylor decries that ultimately the discrimination meant to hurt the group discriminated against, ultimately destroys the discriminators.
Kudos goes to the actors, director and writer for capturing history for us and translating it into a vital remembrance that resonates for us today. Kudos also goes to the creative team of Jared Kirby (fight choreographer) Carter Ford (lighting design) Hayley Procacci (sound design) that helped bring Mayer’s and Bergmann’s stories into the present.
Games is a must-see if you enjoy learning about incredible world class athletes largely unknown today, but who should be recognized for their pluck, drive and accomplishments. Games runs at the Soho Playhouse (15 Van Dam Street) with no intermission. For tickets and times CLICK HERE.
‘Linda Vista’ by Tracy Letts, a Sharp, Edgy Romp Through Sex, Love and Male Menopause
(L to R): Caroline Neff, Ian Barford, Troy West in ‘Linda Vista,’ written by Tracy Letts, directed by Dexter Bullard (Joan Marcus)
Steppenwolf’s production of Linda Vista by Pulitzer Prize and Tony Award® winner Tracy Letts is a wild ride through aging masculinity receding in a “heady” pattern like one found in male baldness. Once it begins, the decline is precipitous and unwieldy if not ragingly unattractive. Letts takes the “older” concept for a separated, licentious boy-man and runs with it to its hysterical, one-liners climax of symphonic madness. Then he concludes with a searingly poignant, light-shining breakthrough of hope for the protagonist who at the last shot becomes appealing and sensitively human.
Letts’ Linda Vista, with well time and paced direction by Dexter Bullard sports exceptionally crisp, crackling dialogue. Letts’ characters are mundane and real. However, Letts engages us by giving them sardonic, self-effacing, humorous lines and ripping authenticity. The protagonist, the soon-to-be-divorced philanderer Wheeler (Ian Barford builds warmth and humanity with evolving emotional grist) is just this side of the sad-sack in the titular film Marty (1955) about a guy who is single, alone and has high expectations of hooking up with a beauteous gal. What diverts Wheeler from the more empathetic Marty-type is his arrogance and his self-depricating humor which reveals he doesn’t think he isn’t “all that.” In fact he believes himself brilliant and quite the “ladies man,” though he avers the opposite.
Wheeler’s humor is a double-edged sword. It prevents him from blowing his brains out during the holidays or becoming a psychotic and isolated Incel. On the other hand it also prevents him from self-revelation and self-intimacy. He does not reflect on the source of his inner devastation and self-loathing which leads him to repeat destructive patterns and crash and burn up relationships.
Cora Vander Broek, Ian Barford, ‘Linda Vista’ by Tracy Letts, directed by Dexter Bullard (Joan Marcus)
Letts’s characterization of this self-enfeebled boy-man who refuses to grow up pings of all the isms (ageism, sexism, chauvinism, etc.) which Wheeler buys into surreptitiously though he would be loathe to admit it up front. As a Caucasian male from a middle class background adhering to his demographic mores, he is manipulative and macho; empathizing with women is not “his thing.” Understanding is only to be exhibited to get somewhere with a woman. It never goes beyond skin deep!
Letts clues us into Wheeler’s basic flaws and male-privileged machismo attitudes at the top of the play as he comes on to his co-worker Anita (the excellent Caroline Neff). After she rebuffs him by stating she is trying to get herself together and can’t be involved with a “mess,” he quips manipulatively, “Thanks for saying ‘mess’ instead of ‘hot mess,’ which is a phrase I can’t stand.” Then Wheeler further adds, after thanking her for her honesty, “And he was humiliated.” Regardless of how forward and inappropriate his “come on” to a co-worker is, his humor endears and propels him into a seeming humanity. This is a blind as Letts adroitly underscores throughout the play.
Wheeler’s and Anita’s boss, Michael (the fine Troy West) is a foil to whom we compare Wheeler. Indeed, there are men who are so much worse than Wheeler. An unattractive and uber gross lecher, Michael ogles Anita’s breasts and makes demeaning, scurrilous comments about having sex with her. Thus, Wheeler’s light interaction and lunch invite shows him to be the proper angel with Anita. On the other hand Wheeler doesn’t chide or reprimand Michael for his salacious, untoward comments and indeed, is his sounding board and encourager behind Anita’s back. He has to learn better. In these scenes the LOL quips are proportionate to the EWW of West’s soul crippled Michael. Letts’ dialogue is masterful.
Chantal Thuy, Ian Barford, ‘Linda Vista,’ written by Tracy Letts, directed by Dexter Bullard (Joan Marcus)
Even though Wheeler tosses out sardonic replies that Michael accepts as good-natured ribbing put-downs, he doesn’t bother to call Michael out for his snide and self-damaging ridiculousness. Wheeler’s silence is agreement. It indicates that what Michael expresses, Wheeler thinks. Objectifying women doesn’t make for healthy male-female relationships. Indeed, it reflects an uncontrolled sickness of the soul. Boys will be boys turns into sick men will become sicker men. By the end of Linda Vista, Letts clarifies this theme roundly.
It is this graceful attempt at “being real” to avoid being honest and sincere that entrances Jules, a date/friend that Wheeler’s friends, couple Paul (Jim True-Frost) and Margaret (Sally Murphy) set him up with. Initially, Wheeler and Jules (the superb Cora Vander Broek) get along swimmingly and, naturally, after her own “hot mess” breakup, Jules falls hard for Wheeler and is intimate with him almost immediately. Their sex scene is hysterical (Vander Broek in particular) and surprisingly on point as they both try to complete their satisfaction. It is also revealing. Wheeler apparently as a fifty-something doesn’t need Viagra. But Jules in her thirties (a peak age for women’s sexuality) “needs something” because of her emotional issues.
(L to R): Cora Vander Broek, Ian Barford, Chantal Thuy in ‘Linda Vista’ written by Tracy Letts, directed by Dexter Bullard (Joan Marcus)
The twist is humorous and we begin to understand that underneath Wheeler’s “unrestrained libido” which brought him to betray his wife during an affair is a lurking fear. He needs to go deep but remains shallow and sex is an easy diversion. On the other hand Jules is authentic as she attempts her own “thing.” Clearly, they need to talk, but they don’t.
Letts’ Wheeler progresses toward some moment of epiphany by way of an episodic journey through women which he underestimates and relates to only as those he bounces across his intelligence and couples with sexually. He does not seem to perceive women as an opportunity, a ready and understanding help-meet with whom to learn and grow. Though the possibility for this occurs with Jules who encourages his photographic artistry, he eschews her attempt to go for the complicated. Conveniently, around the time that his relationship with Jules is about to take a turn into the profound, he throws her over for a twenty-something whose boyfriend dumped her and who initially needs a place to stay.
The scene where Wheeler breaks up with Jules is a cut-out of the “ending a relationship” break up scenes: the male blames himself for not being good enough for the female. This in itself is an ironic send up of the lies that human beings groove themselves into without thought or introspection. Naturally, the return cut-out appears. Jules confronts Wheeler with her suspicion that there is “another woman.” We understand that Wheeler most probably has repeated this scenario again and again before his marriage and during it. And perhaps Jules has repeated such a scene during her previous break-up. For the male, there is never another woman! However, with Wheeler (the irony of his name becomes more pronounced as Letts propels his character driven by his own blindnesses as a typical wheeler dealer in his relationships) as with other men, of course there is that other woman!
(L to R): Jim True-Frost, Cora Vander Broek, In Barford, Caroline Neff in ‘Linda Vista,’ directed by Dexter Bullard, written by Tracy Letts (Joan Marcus)
The “other woman” and unfaithfulness are the macho lines that men roll down. They must be unfaithful and encourage each other to do so. This is their ancient more, birthright, legacy, folkway; they can’t “leave home without it.” Then, what would “being male” turn into? The unthinkable, the impossible. Letts’ characterization of Wheeler slams all the tropes and to the seeing audience member, the sardonic quips that Wheeler employs schmooze him past any redemptive efforts to do the work to self-correct.
His friend Paul senses Wheeler’s avoidance and though Wheeler affirms at the top of the play he shouldn’t get involved with any woman as his divorce is being settled and he has been cut up about it, Paul ignores Wheeler. He understands his friend’s “needs” and more importantly, understands his machismo is at stake. What??? Is Wheeler going to join an Ashram and meditate to heal himself? Heaven forbid. He’ll move into the next relationship as unwhole, unhealthy and flawed as he is to once more be bowed and bloodied afterward. Perhaps Paul isn’t Wheeler’s true friend after all. Perhaps he too, like Wheeler, is blind.
(L to R): Jim True-Frost, Sally Murphy, ‘Linda Vista,’ directed by Dexter Bullard, written by Tracy Letts (Joan Marcus)
Obsessed with Minnie who is pregnant and lives with him, Wheeler throws himself into her youth and off-beat, exotic, defensive curtness. Also, with hysterical “cool cat” aplomb, he gets a tattoo, wears leather and chains and limps a lot because of the “amazing” sex (too funny). Paul, without encouraging or dissuading him has massaged him with the middle age, male menopausal meme to “enjoy” your life, “you only live once,” yada yada, which is precisely what Wheeler shouldn’t embrace. His life is within and why he is placing himself in situations which will result in further self-recrimination and self-loathing makes little sense. But Letts has chosen this as Wheeler’s path, for he is the American white “everyman.” God help him!
What Wheeler seeks is not in Minnie who is the apotheosis of a “hot mess.” Nevertheless, Wheeler becomes the convenient lump of clay she molds with sex and no strings attached. What is attached becomes heightened obfuscation, confusion and depression. Minnie is the perfect object, for with her Wheeler will batter his soul to oblivion which Minnie helps him do in a particularly poignant scene. On his knees Wheeler worships his idol like an oblivious and scorned mendicant.
Ian Barford pulls out all stops emotionally in the climactic scenes with Jules and Minnie who are equally superb. Indeed, after Jules delivers a spurning I am “strong” speech to Wheeler, women in the audience applauded and cheered. That scene in particular resonated as the actors hit the emotional notes beautifully. During these scenes for the first time, we understand Wheeler’s desperation. He is not seeking forgiveness from Jules or the need to be with Minnie or any woman. In his pleadings, Wheeler is looking for the last vestiges of escape and distraction from himself. But both women close their doors. Wheeler will have to confront his aloneness and ask the hard questions without his wall of humor to hide behind. Will he be able to do the work? It’s a completely different cycle for him.
Cora Vander Broek, Ian Barford, in ‘Linda Vista,’ written by Tracy Letts, directed by Dexter Bullard (Joan Marcus)
Letts has crafted a brilliant, hysterical and ironic expose of the male-female dynamic and social ethos engineered by our culture. The play hot buttons the seminal issues of the gender divide. Fear guides talented men and women toward using sex or gender as a distraction away from their core understanding of themselves. It is the key way human beings use humans as shiny objects to displace the looming inner abyss of misery and sadness. But eventually the morass of emotions rears its horrific head if individuals do not heed the storm warnings.
With memorable humor (the one liners are so incredibly, rhythmically honed to needle points that fly to their mark) nuanced characterizations and a refined episodic arc of development, the audience remains clear-eyed and engaged to note the varied themes. Letts’ good will evolves and reminds us to what is the salvation for many souls: employing the artist within each of us. Affirming that vital theme as true, I wholly applaud Linda Vista, the director-Dexter Bullard, and the moment-to-moment skills of the ensemble who have rendered this comedic, thought-provoking play into a meaningful evening of delight.
Kudos to Todd Rosenthal for his utilitarian scenic design, Laura Bauer for her costume design, Marcus Doshi for lighting design and Richard Woodbury for sound design (the irony of the jet fly-over was pointed and humorous). Linda Vista runs with one intermission at the Helen Hayes Theater on 44th Street between 7th and 8th until 10th November unless it is extended. For tickets and times CLICK HERE.
‘Slave Play’ by Jeremy O. Harris, An Explosive, Archetypal Look at Power, Sadomasochism and Oppression Through the Mythic Lens of “Black” and “White”
(L to R): Ato Blankson-Wood, Chalia La Tour, Joaquina Kalukango (kneeling), Irene Sofia Lucio, Sullivan Jones, Annie McNamara, Paul Alexander Nolan, and James Cusati-Moyer. in ‘Slave Play’ by Jeremy O. Harris, directed by Robert O’Hara (Matthew Murphy)
Slave Play by Jeremy O. Harris is a mind-bending, brain-slamming earthquake which will strike your soul and disturb you emotionally. Despite your desire to remain unaffected, you will react. Good live productions stir us. The finest plays rock us off our complacency and shatter our intellectual stasis. Slave Play, directed by Robert O’Hara, currently at the Golden Theatre, does that and more. Memorable and profound, it is the epitome of its sardonic genre. And in its ancient modernism, it rises to a level that melds tragedy and comedy.
The searing truths that run through Harris’ themes confound to a new clarity, especially if you see yourself as color blind and gender blind. Harris gouges out our assumptions and parades them in front of our unwillingness to perceive our hidden feelings about race, sex and power, teasing us in the process. By gaming his audience, Harris is all about stopping the games and taking off the masks. And he achieves this through the gyrations of his characters, three mixed-race couples who have sought therapy for their anhedonism (inability to feel pleasure-a symptom of depression and other ailments) with their partners.
The three couples sign up for “Antebelleum Sexual Performance Therapy” in order to expurgate their conflicts concerning race and sex that are ancient unconscious impulses or lesions borne from centuries of oppression in America from before the Civil War. It is an oppression that is in “black” and “white” unconsciousness that transcends skin color because the current society has historical remnants of the degradation of the “peculiar institution” which deformed the psyches of both masters and their slaves, the oppressors and the oppressed. Each couple suffers from these hidden twisted notions that they have ingested from living in American society. It has impacted them and they want a release from their suffering which manifests as alienation from their long-term partners.
This is a spoiler alert!
Joaquina Kalukango, Paul Alexander Nolan in ‘Slave Play,’ by Jeremy O. Harris, directed by Robert O’Hara (Matthew Murphy)
Only, you don’t know that at first. Indeed, initially as the play opens, we believe we are watching a scene from the antebellum South involving the abuses of the master slave relationships via sexual sadomasochism. With these scenes highlighting the sexual “play” of the marriage partners, Harris hits us between the eyes and in the core of our presumptions in the hope of laying bare the psycho-sexual racial myths that lurk in our souls.
Thus, everpresent in the scenic design by Clint Ramos is the plantation mentality: the desire to oppress and degrade employing the vehicles of sex. Using mirrors Ramos reflects the white southern archetype of the white antebellum plantation of Master MacGregor’s mansion that encircles the proscenium. Throughout most of the production, the projection of the white plantation remains in the background, symbolizing that we may think we have been released from our history, but it resides just below the surface of consciousness in our relationships and especially in our relationships with members of another race concerning issues of true intimacy and honesty.
It is in this plantation setting that the characters dig in to expose their sadomasochistic impulses from a racist past that they have unconsciously internalized and must expiate to heal their marriage relationships. Harris humorously twits the audience’s assumptions about black sexual prowess and sensuality in the opening scene with each mixed race couple as they play out their fantasies to free themselves of the bondages that hamper reaching a satisfying closeness with their partners.
Gary (Ato Blankson-Wood) and Dustin (James Cusati-Moyer) portray the gay couple who cannot please each other. They engage in the fantasy of master/slave verbal abuse donning fictional characters, Dustin as an indentured servant and Gary as a slave who has been put in charge of him. Through the play acting, Gary reaches fulfillment but in his response to this, he upsets Dustin. There is only a partial breakthrough, tenuous at best. They have not exorcised the notions that harm them.
(L to R): James Cusati-Moyer and Ato Blankson-Wood in ‘Slave Play,’ written by Jeremy O. Harris, directed by Robert O’Hara (photo by Matthew Murphy)
Phillip (Sullivan Jones) and Alana (Annie McNamara) portray a married couple who cannot achieve a hot intimacy until they enact their antebellum sex play. In their fantasy Alana is Master MacGregor’s wife and Phillip is her house slave who does what she wants. What pleases her is to take over the masculine role while he takes on the feminine role during a sexual encounter, something which makes her freer for intimacy with her partner. However, they too have issues because of Phillip’s race identity problems which he is loathe to admit and which to him are invisible.
The couple Kaneisha (Joaquina Kalukango) and Jim (Paul Alexander Nolan do not progress on this fourth day of the sexual fantastic. Jim finds the therapy ridiculous and demeaning. Ironically, it is Kaneisha who has engineered the roles and takes the lead in their improvisation. She portrays the slave and Jim (who has a British colonial accent-another irony) is the overseer who commands her unjustly, then sexually uses her as she uses him. But Jim finds her fantasy an impossibility and will not subject himself to it. Is this not a case of subliminal control and domination over his wife Kaneisha?
With each of the couples’ fantasies, there are strong elements of sadomasochism which are supposedly exorcised in the service of removing blocking psychic layers that impede the couples’ pleasure with each other. Unfortunately, Jim has stopped the process for all the couples. A condition of the therapy they have all agreed to is that if one cannot continue, all must not continue. When the couples meet to discuss and analyze what they felt during their fantastic sexual exploits exposing their sub rosa “plantation” mentality, the conflict is on. And Harris’s characterizations continue on a profound and humorous track as problems arise. Each couple ends up confronting their partner with results that are both humorous and poignant.
At this juncture social scientists and therapy guides Patricia (Irene Sofia Lucio) and Tea (Chalia La Tour) attempt to analyze and reaffirm their subjects’ positive changes as a result of the antebellum sexual play therapy. That the researchers do this in a controlled, manipulative way is an irony considering that all seek freedom from their internalized racial oppressions (the predator/prey elements of human behavior). Harris sardonically reveals these individuals, including the scientists, may be duping themselves into believing they’re getting closer to a “clear,” when what they seek cannot be achieved in a week-long process, regardless of how extreme the interventions. Perhaps, what has been internalized must be overthrown with individual introspection on the part of both partners after a long period of time. There is no quick fix except sustained love, growth, patience, understanding and the will to be close which eventually, through loving practice, will manifest. Maybe.
Annie McNamara and Sullivan Jones in ‘Slave Play,’ written by Jeremy O. Harris, directed by Robert O’Hara (Matthew Murphy)
The “liberal” posture which infects the “white” characters who are coupled up with their “darker” equally infected counterparts Harris explodes by the play’s end, as he disintegrates the notion that racism’s complexities may be dealt with through extreme interventions and quickie therapies. Especially for couple Kaneisha and Jim there has been a break through in their relationship at great cost to Jim who upon facing himself, dislikes what he perceives himself to be. Whether they continue together after this turning point doesn’t matter. Each have understood a soul revelation and will never be the same again.
Harris’ Slave Play instructs us about our perceptions, our attitudes and our willingness to go to that place that is uncomfortable to shed the pretense and stop pandering to faux racial equanimity and justice. That is why the curtain mirror that reflects the audience’s faces effected by Clint Ramos’s superb scenic design is a clever touch in keeping with Harris’ themes. The more visible reflections are for the audience members who are down front in the expensive seats.
Shouldn’t we examine our own proclivities and assumptions about sex, race and power dynamics? Or should we just ignore that there is a confluence of currents roiling in the subterranean waters of our souls about race? How do we overthrow our past and live freely without internalized cultural oppressions: misogyny, paternalism, institutional racism, body objectification, appearance fascism, sexism, chauvinism, reverse racism and impulses of white supremacy which move along a continuum from faint to furious? All of these oppressions impact our intimacy with ourselves and others, whether we are in mixed race relationships or not. Harris suggest we investigate these tantalizing questions which are not for the faint of heart.
As Americans steeped in a social history of racial power dynamics that continue today, though many are loathe to admit it, one cannot view this play as a light observer. To have the themes resonate, one should follow the characters to the most profound levels and then consider the myths, the conceptualizations about being black, white and gradations of both culturally. One must see with new eyes what has not been seen before at this crucial time when leaders speak to and embrace racist hate groups (KKK, Neo Nazis, etc.) curry favor with the likes of David Duke and Richard Spencer, and give political advisors like Steven Miller great power and moment over US Immigration policy with the precise intent to discriminate, promote fear and abuse for political purposes.
(On Ground L to R): Ato Blankson-Wood, James Cusati-Moyer, Sullivan Jones, Annie McNamara, Joaquina Kalukango, Paul Alexander Nolan. (In red boxes L to R): Irene Sofia Lucio and Chalia La Tour, ‘Slave Play,’ directed by Robert O’Hara, written by Jeremy O. Harris (Matthew Murphy)
Harris intends to shock us into a dialogue to confront our own assumptions on whatever level we can, so we might grow as Americans who recognize their rich yet horrific social, political and cultural history. As Harris’ characters recognize they are stymied and self-harmed by their own misconceptions, depressions and failures to deal with the historical, ancestral folkways and noxious human behaviors they’ve internalized, at least they attempt to overthrow them. Shouldn’t we, Harris suggests? But are we up for this? We should be! Look at the gun shootings at synagogues and black churches.
Until there are conversations about such controversial topics as Slave Play raises, the country’s divisiveness may be exploited by pernicious leaders and malevolent foreign intelligence services who foment racial hatreds to satisfy their own personal agendas. Our culture’s current divides are toxic. To mitigate them requires a complexity of understanding and introspection on a personal level. Harris indicates dealing with this on an interracial, mixed couple level may be the way to get there if there is love, patience, understanding and will. The issues are hyper complex and are not adequately answered by quick fixes and exotic hyperbolic interventions which themselves represent the internalized predator/prey, oppressor/oppressed remnants of racism.
The ensemble is wonderful and acts seamlessly together with a comfortability at behaviors which appear impossibly raw. The therapy session is particularly acute, funny, authentic and smashing. All the actors are standouts as is required with such an amazing play. Kudos to the director who shepherded them. Each couple ends up confronting their partner with results that are both humorous and poignant.
The design team also shines: Dede Ayite (costume design) Jiyoun Chang (lighting design) Lindsay Jones (sound design & original music) Cookie Jordan (hair & wig design). Conceived at New York Theatre Workshop where it ran in from November 2018 to January 2019, Slave Play has come to Broadway where it is provoking consternation, confusion and revelation. It runs with no intermission until 19 January. There are too many reasons why you should see this play if you are an American, and especially if you have a bit of residual racism within and are adult enough to laugh at yourself. For tickets and times CLICK HERE.
‘Sunday’ by Jack Thorne, Directed and Choreographed by Lee Sunday Evans
(L to R): Christian Strange, Sadie Scott, Ruby Frankel, Zane Pais, Juliana Canfield in ‘Sunday,’ written by Jack Thorne, directed by Sunday Lee Evans (Monique Carboni)
Sunday by Jack Thorne, directed and choreographed by Lee Sunday Evans is a striking look at youth in its misery and glory. Thorne, best known for his success with Harry Potter and the Cursed Child, doesn’t take the easy road in this play which melds narrative, action and dance sequences to reflect all that we need to know to understand Thorne’s characters and the events that happen one Sunday evening to impact their lives. The dance sequences representative of the energy and vitality of the characters provide a much needed contrast throughout thanks to Lee Sunday Evans (Dance Nation-Obie, Lortel awards) who also directed.
Maurice Jones, Sadie Scott in ‘Sunday,’ written by Jack Thorne, directed by Sunday Lee Evans (Monique Carboni)
The active narrative by Alice (Ruby Frankel) summarizes a catch up history of the characters in the opening scene and particularly focuses on protagonist Marie (Sadie Scott shines in the second half of the play) an outlier and self-conscious, introvert. Alice comments on choice tidbits during the extended evening of drinking, talking books and sniping sub rosa insults, prefacing her commentary to shore up the audience’s attention about a character’s particular “defining moment.” She concludes her narrative with an epilogue reviewing how each character “turned out” decades later as a fascinating exclamation point.
Christian Strange, Juliana Canfield, Ruby Frankel, Sadie Scott, Zane Pais in ‘Sunday,’ written by Jack Thorne, directed by Sunday Lee Evans (Monique Carboni)
As we reflect on their interactions in present time, we have a superficial glimpse into how they may have evolved to their final result in the future. But this is in retrospect; hindsight is an exact science. We learn what they “have become” at the play’s conclusion.
The only character who has substance so we may empathize with her is Marie. But between the past and the future which Alice relates is the shadow of present time, a Sunday evening party among “friends.” As we watch the “major” event unfold, Thorne relates an important theme of the play. Human beings rarely live in the present moment to understand how that moment has a particularity all its own. Nor do they understand how it leads to the next and next in the series of the rest of the moments of their lives. Only when there is acute pain and a shattering soul earthquake do they turn on an axis to remember the jump off point into another development in their life’s journey.
Maurice Jones, Sadie Scott in ‘Sunday,’ written by Jack Thorne, directed by Lee Sunday Evans (Monique Carboni)
On this particular Sunday evening, Marie experiences an event and responds to create a sea change in her life which she propels in one direction, a return to home for solace and comfort. Thorne shows us the how and why of it. Meanwhile, the other characters, especially Bill are the backdrop against which Marie batters herself into an awakening to change the direction of her life.
(R to L): Juliana Canfield, Christian Strange, Sadie Scott in ‘Sunday,’ by Jack Thorne, directed by Lee Sunday Evans (Monique Carboni)
Evans has staged Alice above the fray to comment on the action and characters as she sits with a lone spotlight in the dark on piles of books, then comes down to join the others for the party. The books are a quasi dividing wall in Marie’s and Jill’s apartment n New York City where they live and work and have their book sessions. Perhaps the book wall is an intellectual symbol to keep others out. It is an intriguing set piece. On this evening right before they gather, Bill (the excellent, Maurice Jones whose vibrance carries the second part of the play) the neighbor stops by and tells Marie he can’t join her for the party since he works the next day. He also asks Marie if she can keep the music down.
(L to R): Ruby Frankel, Juliana Canfield, Zane Pais, Sadie Scott, ‘Sunday’, directed by Lee Sunday Evans, written by Jack Thorne (Monique Carboni)
From the time the others join in and have their discussions about the book of the evening and more, we learn salient pieces of information about each of them. The conversation is not earth shattering, the wisdom is not in abundance and the self-indulgence is obvious. Jill and Milo are an item and express their affection. Marie doesn’t appear comfortable. As she recently lost her job because she doesn’t “fit in,” it seems that she now carries this mantle into the party. Though her strong friendship with Jill (Juliana Canfield) is a boon, Milo (Zane Pais) appears to be jealous and resentful, especially toward the end of the evening as he insults Marie. Keith (Christian Strange) rounds out the group of drinkers adding his opinions.
(L to R): Christian Strange, Sadie Scott, Ruby Frankel, Zane Pais in ‘Sunday,’ directed by Lee Sunday Evans, written by Jack Thorne (Monique Carboni)
The most pleasant session of the first segment of the production is the dance sequence. A few times the group break into a dance to express their inner emotions, yearning to escape from their lives of boredom and sameness. The actors have convinced us outright of the stasis and purposelessness of their lives. Thus, the dances are a breath of fresh air. Indeed, more could be added to break up the monotony of talking heads who slide past each other without really looking for the uniqueness or resonance of each other’s humanity.
(L to R): Sadie Scott, Zane Pais, Ruby Frankel, Juliana Canfield, ‘Sunday’, Jack Thorne, Lee Sunday Evans (Monique Carboni)
As the evening comes to a close and the others leave, Marie falls apart and weeps for her miserable self. Her self-recriminations spiral her into an emotional refuse pile of self-loathing. For solace she calls Jill to come back and spend the night with her away from Milo. When the knock comes at the door, we are relieved to see it is the interesting Bill who makes his way into her apartment stating he couldn’t sleep.
The scene between them evolves with humor (Maurice Jones’ timing is spot-on). And there is a sensual tension that holds promise stoked by Marie who is desperate to make human contact so that she won’t feel so alone. Ironically, it is she who is the one who pushes the sex on Bill. And it is he who avers and attempts to slow the situation down to get to know her better. A writer, he eventually shares his novel’s plot. Indeed, he is one with whom she could, if she is ready, establish a lasting, sensitive relationship with. Thorne gives us this clue when Bill responds to her question what is it that he likes about her. Bill’s answers are poetic, profound, lovely. However, Marie in loss and confusion pushes the sex, demeaning Bill’s ethos and being. Clearly, her devastation and emptiness cannot recognize who Bill is and the soul clarity he can offer her.
Sadie Scott, Juliana Canfield, ‘Sunday,’ written by Jack Thorne, directed by Lee Sunday Evans (Monique Carboni)
The ending and the epilogue follow fast and we are disappointed. We understand that the human factor takes over. Marie fails to seize the opportunity for love that stands in front of her. Allowing the morass of self-loathing to overwhelm her, she chooses a path of retreat. In the epilogue that April matter-of-factly delivers, we discover how she lives the rest of her life from then on, materially. Whether her soul spark resurrects, April does not delineate. The sense of loss of human creativity and opportunity for something marvelous in the lives of these characters, regardless of their bank accounts, overwhelms.
(L to R): Zane Pais, Christian Strange, Ruby Frankel, ‘Sunday’, directed by Sunday Lee Evans, written by Jack Thorne (Monique Carboni)
Thorne’s play is about so much more than youth grappling with identity in a chaotic world. It is about the soul and the spirit missing the tremendous chances offered which are not taken up or recognized. Fear and self-restriction in the protagonist Marie as everywoman looms in everyone’s lives. To break beyond self-loathing, purposelessness, misery and disappointment takes courage and persistence. It is easy to return to a place of comfort which neither challenges nor stimulates us to be different. Thorne’s themes resonate not only for this age group, but for every stage every age group. Boredom is not an option, nor is self-loathing as long as there is life. As Thorne suggests, we define the moments in our lives when we control the narrative. It is when we allow others to define who and what we are that we become lost.
The ensemble of ‘Sunday,’ written by Jack Thorne, directed by Lee Sunday Evans (Monique Carboni)
The play is slow moving in the beginning to exact Thorne’s themes and for the dance scenes to represent the great contrast in the inner souls of the characters who find dance their purpose and form of expression. Also, the contrast between the younger characters’ callowness and Bill’s wisdom, likeability, sensitivity and grace (so beautifully rendered by Maurie Jones) pops because the ensemble is by nature invisible emotionally with the exception of Marie. The scene between Jones’ Bill and Scott’s Marie is smashing and worth a look see for the acting, writing and direction.
Sunday features scenic design by Brett J. Banakis, costume design by Ntokozo Fuzunina Kunene, lighting design by Masha Tsimring, sound design by Lee Kinney, original compositions by Daniel Kluger
Sunday runs with no intermission at Atlantic Theatre Company (West 20th Street between 8th and 9th) until 13th October. See it before it closes. For tickets and times CLICK HERE.
CAROLE DI TOSTI 