Author Archives: caroleditosti
‘The Cradle Will Rock’ at CSC, Directed by John Doyle
(Visible): Sally Ann Triplett, Ian Lowe,Lara Pulver (center) Kara Mikula in ‘The Cradle Will Rock,’ directed by John Doyle, CSC (Joan Marcus)
Once the insidious and malevolent corrupt buy their way into the halls of power, it seems impossible to oust or destroy them. However, The Cradle Will Rock by Marc Blitzstein, directed and designed by John Doyle currently at CSC, reminds us that all is not hopeless. Indeed, corruption and those who revel in the money and preeminence it fosters must irrevocably crash to their doom as their sphere of influence which propagates great harm eventually is overthrown by the just. Indeed, there are always a glorious few who face great risk for the greater public good.
This sleek version of The Cradle Will Rock, Director Doyle fashions using the template of the original production which employed no elaborate spectacle (see this article about the original production). The actors are staged so that they move in toward the piano and outward and in the round (the CSC playing area which is actually a square surrounded by the audience). The pianists (I was impressed by their talent and the number of the cast some who play with exquisite grace.) also do double duty and sing beautifully as members of the ensemble.
(L to R): Ken Barnett, David Garrison in ‘The Cradle Will Rock,’ at CSC, directed by John Doyle (Joan Marcus)
The entire play is sung as a quasi opera, in a Bertolt Brecht style with ferocity and near didacticism. The subject matter of how dirty money is used to fuel predation and victimize the culture is worthy for this stylization. Cradle’s themes are mythic; its protagonists and antagonists timeless. The arc of development elevates the plot to the spiritual warfare of good vs. evil. We watch how the uncorrupted-awoke fight to bring truth and majestical courage to the souls of the unenlightened. This is done in the hope of empowering and freeing them of their subservience to power domination and demeaning cult worship of the “leader.”
The Brechtian music effected by the pianists and ensemble pounds out the plot and themes which clearly resonate for us today. In every corner of the world, we note representative Mr. Misters (the warlord of Steeltown) akin to dictators, autocrats, warlords.
(L to R): Rema Webb, Sally Ann Triplett, Ian Lowe in ‘The Cradle Will Rock,’ directed by John Doyle, CSC (Joan Marcus)
In the setting of Steeltown, USA, the 1930s during the height of the depression, Mr. Mister, we learn from those whom he’s battered and destroyed (Harry the druggist-Tony Yazbeck) gained power and control through devious means. The action takes place over one night in a Steeltown jail during an action to unionize. When Moll (Lara Pulver) is thrown in jail rather than to give her favors to a corrupt cop (Eddie Cooper), she is befriended by Harry the druggist. In flashback scenes the ensemble enacts, we learn how Mr. Mister (David Garrison) surreptitiously grabbed power. Harry explains Mr. Mister’s machinations to the mistakenly jailed Liberty Committee (the ensemble). They are Mr. Mister’s fandom anti-union support group, who wait for Mr. Mister to bail them out; they are not as police thought part of the pro-union protest.
Lara Pulver in ‘The Cradle Will Rock,’ directed by John Doyle, CSC (Joan Marcus)
The flashbacks identify how any corrupt power broker operates…surreptitiously, without the light of truth being shined on their oppressive, coercive, fraudulent actions. Thus, the ensemble reveals the events of how Mr. Mister’s wife (Sally Ann Triplett) buys support and influence to solidify his power network corralling important institutions like the press (Editor Daily-Ken Barnett), the church (Reverend Salvation-Benjamin Eakeley) the factory and social organizations.
Harry points up the ruthlessness of Mr. Mister who killed a newly elected union leader and his family in a fire bombing and caused Harry to lose his business and drop into hopelessness and despair. Of course the irony is in not blowing the whistle on Mr. Mister and risking death for his testimony, Harry ends up being destroyed in a living death by Mr. Mister who coerces him into his own mewling self-destruction. Indeed, the revelatory theme is better to die a martyr in the hope of bringing down evil than sustain a living death while the corrupt grow and evolve like monsters engulfing all in their path to get what they want which never includes the public good.
David Garrison in ‘The Cradle Will Rock,’ directed by John Doyle, CSC (Joan Marcus)
Eventually, all of the prominent and influential members of Steeltown join Mr. Mister’s fandom Liberty Committee and this entrenched power structure runs roughshod over the “little people.” We learn for example that Mr. Mister bullies and commands others like President Prexey (Ken Barnett) to adhere to and foment his political policies. We also learn of cover-ups of accidents despite witnesses (Rema Webb) because of Mr. Mister’s negligence. His lack of accountability is legend which he keeps in the shadows buying off the press and threatening others with harm if they “spill the beans.”
The heroes of Cradle, Moll who is a conduit and listener of truth, Harry who knows the truth but waits too late to reveal it, Ella Hammer who witnessed a death and cover-up and courageous union leader Larry Foreman (Tony Yazbeck in an ironic choice for he also plays the devastated Harry). The union leader activist is arrested and brought to the jail for distributing leaflets. All of these individuals stand against the Liberty Committee whom they try to persuade against Mr. Mister.
(L to R): Lara Pulver, Kara Mikula, Benjamin Eakeley, Tony Yazbeck (foreground), Ian Lowe in ‘The Cradle Will Rock,’ directed by John Doyle, CSC (Joan Marcus)
However, when Mr. Mister comes to free the committee from jail, we understand that his fan base has neither the intelligence, the spiritual will, the courage, nor the understanding to recognize that a nefarious, demoralizing, psychotic sociopath is a danger to their own well being and freedom. The title of the Liberty Committee is a sardonic Orwellian touch for they are too blind to be free. Blitzstein’s work is one sardonic trope after another. As for the duped committee, they live trapped in their outer material selves, not in their souls or extended consciousness, mind, will.
Meanwhile, Mr. Mister also offers to bail out Larry Foreman. Accepting the bail money has a price: join Mr. Mister’s extended perfidious enterprise and work against the union, a work to enslave the community, not free it. Foreman rejects Mr. Mister’s offer. The Liberty Committee excoriates/ridicules him for his courage which they interpret as stupidity. But Foreman who takes the high road and remains in jail makes a sterling prophecy to himself and to us. With defiance he predicts that Mr. Mister’s oppressive, corrupt power over Steeltown will end.
Eddie Cooper, Kara Mikula in ‘The Cradle Will Rock,’ directed by John Doyle, CSC (Joan Marcus)
Indeed, the implication is clear in every century, in every time and place. The warning for such infantile autocrats who must control all at their own whim like a petulant child is “The Cradle Will Rock!” And as surely as the wind blows with increasing strength, that cradle inevitably, will fall bringing down dictator baby.
This production certainly speaks for our time and we may take heart, if we wish, that Larry Foreman’s prophecy is an inevitability. I enjoyed the minimalism of props which the actors use seamlessly. And I enjoyed the use of greenbacks which dominate the scenes to illustrate how Mr. Mister’s wife, et. al buys his influence from those equally corrupt who take the money and support his rise in exchange for their freedom of choice to stop him.
The greenbacks which eventually end up in a big pile (the symbol of velvet destruction) in the center of the playing space, are left by the head of the Steelworker’s Union, Larry Foreman. He cannot be bought. The money is an appropriate symbol of what can make human beings like Mr. Mister and his minions in Steeltown pernicious, callous, hardened and wicked.
(L to R): Tony Yazbeck, Lara Pulver, Rema Webb in ‘The Cradle Will Rock,’ directed by John Doyle, CSC (Joan Marcus)
“Apparently” fewer in number, there are those like Moll, Harry the druggist, Ella Hammer and Larry Foreman who eschew the “love of money” to kill/defraud/lie/steal for it or be complicit with those who do. How many have the strength of purpose, unction and anointing to do follow their heroic example and create a better world? Many, though it appears to be easier to go the way of Mr. Mister’s Liberty Committee. By the conclusion it is to the unseen “many” of like minded individuals that Larry Foreman makes his prophecies. In them lies the hope of the fierce wind that will rock the cradle.
Blitzstein’s work initiated as a result of the debacle of The Great Depression, then and now highlights how economic inequality was and is a by-product of power elites who purchase institutions (religious, press, law enforcement, industry, social networks) to hold sway. In a time of economic prosperity it is impossible to corral people to do one’s bidding. Thus, the push for economic equality, the production reveals, encourages a strong and stable social system which discourages autocracy, plutocracy, dictatorship, “one-man rule.” Indeed, who pushes the culture in order to exacerbate economic inequality which is the lifeblood of instability and divisiveness? Who indeed!
This is a fine production thanks to these talented actors: Ken Barnett, Eddie Cooper, Benjamin Eakeley, David Garrison, Ian Lowe, Kara Mikula, Lara Pulver, Sally Ann Triplett, Rema Webb, Tony Yazbec. Doyle’s direction/staging/design is spot-on. And kudos go those creatives responsible for Costume Design (Ann Hould-Ward) Lighting (Jane Cox, Tesse James) Music Supervisor (Gregg Jarrett) Associate Scenic Design (David L. Arsenault) Associate Costume Design (Amy Price).
Here is a caveat for this production. The lyrics to the songs are gems. The voices of the actors, the gemcutters. The more precisely enunciated with authenticity, the more beautiful the overall piece of jewelry (the song). Indeed, we long for exquisite, priceless pieces. At times, the gemcutters in the production, were imprecise; the song lyrics were garbled. When the cutters were precision sharp and clear, the songs soared and thrilled. This is a potentially stunning production which fell a bit short for that reason and that alone.
Nevertheless, it is a must-see as a trenchant allegory for our time. The Cradle Will Rock runs with no intermission about 90 minutes. The show closes on 19 May. You can purchase tickets at their website by CLICKING HERE.
‘The Tragedy of Julius Caesar,’ a Thrilling Re-imagining of Shakespeare’s History/Tragedy
The Company of ‘The Tragedy of Julius Caesar,’ directed by Shana Cooper (Henry Grossman)
A few years ago the Public Theatre did a sardonic version of Julius Caesar using directed ridicule to lay bare some parallels between Caesar’s power grab with that of the new Trump administration. In that iteration blonde, pompous Caesar wore a dark suit and long, red tie and Calpurnia flounced around in designer clothing. The allusions were clear as were the themes. Overweening power unchecked in a representative government leads to civil strife, chaos and future oppression. Though Theatre for a New Audience’s rendition of Julius Caesar offers no such national twists, the production’s finely tuned staging, set design, incisive acting by the principals and superb use of the ensemble ratchet the themes of political intrigue and civil strife to a much more nuanced and foreboding level.
Ensemble of ‘The Tragedy of Julius Caesar,’ directed by Shana Cooper, Theatre for a New Audience (Gerry Goodstein)
This version is novel in costume design, sound design and scenic design with sterling efforts by Raquel Barreto (costumes) Sibyl Wickersheimer (set) Paul James Prendergast (sound). Though the costumes are predominately in modern dress, the impact of the characters’ roles is inherent in their design. The masks and wigs headgear of the ensemble are dramatic and eye-catching in the opening scene with the crowds celebrating the Feast of Lupercal. The same occurs later during Brutus’ and Mark Antony’s funeral orations.
The director Shana Cooper brilliantly employs the ensemble during the mob scenes and crowd scenes in Act I and Act III and then in the battle scenes in the last acts. The staging is riveting and in the first half of the play, the ensemble enacts the lower class plebeians with acute meaning and power. The mob action is a vital aspect not only of the arc of development in the action of Julius Caesar, but also as emblematic of Shakespeare’s themes about governance, leadership and control of the public will.
Brandon J. Dirden as Brutus in ‘The Tragedy of Julius Caesar,’ Theatre for a New Audience, directed by Shana Cooper (Henry Grossman)
For example Caesar (an appropriately arrogant Rocco Sisto) is a master manipulator of the crowd which he plays upon like “the actors in the theater” according to the humorous Caska (the ironic, churlish Stephen Michael Spencer). Of course their will is Caesar’s command and it is how and why he will be “crowned” by the senators who understand the extent to which Caesar has gained the people’s trust and love. Shana Cooper conveys this theme of crowd manipulation trenchantly. For the first time in the numerous productions I have seen of Caesar, she most coherently understands Shakespeare’s portrayal of the crowd as a preeminent character.
How the crowd/rag-tag people are manipulated by Caesar, Brutus and Antony recalls how every charismatic leader gains and maintains power: he/she infuses the will of the people with the direction of his/her own desires, neatly disguised. Though Brutus (Brandon J. Dirden is superb as the high-minded, conflicted betrayer of his friend), launches himself into the pulpit at Caesar’s funeral, his honesty doesn’t allow him to use the clever, ironic rhetorical strategies of Mark Antony (Jordan Barbour is super as the passionate rogue who stirs the emotions of the mob). Antony’s duplicity as he turns the crowd away from praising the “honorable” Brutus to damning him is a masterwork of leadership genius.
Brandon J. Dirden, Rocco Sisto in ‘The Tragedy of Julius Caesar,’ Theatre for a New Audience (Henry Grossman)
Mark Antony enrages the crowd into seething, blind violence for his self-dealing purposes. The speech is one of Shakespeare’s greats and Barbour does it justice. As counterpoints to each other in this Act III climax of Caesar’s funeral, Dirden’s Brutus and Barbour’s Antony reveal exceptional talents in voice and in their living moment-to-moment in the skins of these admirable and incredible Romans, whom we come to appreciate as leaders of that time, far occluding current politicians of our time.
Jordan Barbour, ‘The Tragedy of Julius Caesar,’ Theatre for a New Audience, directed by Shana Cooper (Henry Grossman)
The contrasting scenes which feature the wives of the leaders, Calphurnia (Tiffany Rachelle Stewart) and Portia (Merritt Janson) indicate the human side of Caesar and Brutus away from their roles as leaders of the people. In their importuning their husbands, both Stewart and Janson are sensitive and heartfelt.
Merritt Janson, Brandon J. Dirden in ‘The Tragedy of Julius Caesar,’ directed by Shana Cooper, Theatre for a New Audience (Gerry Goodstein)
The power and beauty of Portia’s pleas to get Brutus to tell her his secrets lest she only be his “harlet” and not his “true wife” is a standout. Cooper’s astute direction of Portia who reaches behind Brutus to take his knife and give herself the wound which convinces him to “tell all,” is cogent and precise. Merritt Janson and Brandon J. Dirden rock the house in this poignant, well-wrought scene which reveals their love and concern for each other and which also gives credence to why Portia kills herself violently after Brutus flees Rome.
Tiffany Rachelle Stewart, Rocco Sisto in ‘The Tragedy of Julius Caesar,’ directed by Shana Cooper (Henry Grossman)
Likewise, the love and concern expressed in the bath scene between Calphurnia and Caesar is well thought out and delivered. We are heartened that Calphurnia has discovered a “face-saving” way to convince Caesar not to go to the senate. But all ends in the exchange between proud Caesar and Calphurnia after she is foiled by the clever Decius (an exceptional Barret O’Brien who is on point throughout this high energy scene as well as before and after the assassination). She wilts like a dead flower as Caesar chides her for his caving in to her fears; and at that moment, Caesar is a dead man unless he accepts the truth of warnings of the Soothsayer and Artemidorus.
Calphurnia’s angry cry after Caesar’s death in waving the bloody scarf at her husband’s corpse is the perfect acting choice. Indeed, how many times do wives correctly advise their husbands who ignore them only to be proven right after it is too late? If Caesar had only listened to her, she would not be staring down at his mangled body, mourning him.
Jordan Barbour, Tiffany Rachelle Stewart, Rocco Sisto, ‘Tragedy of Julius Caesar,’ directed by Shana Cooper, Theatre for a New Audience (Gerry Goodstein)
Cooper’s staging of the conspirators around Caesar before and during the assassination is enlightened and sizzles with power. A brilliant touch which may rankle traditionalists is that Antony brings Calphurnia to Caesar’s funeral so she may respond, with anger, remorse and tears. It is the epitome of logic that reveals Antony’s character and foreshadows the future. She is one more prop that Antony uses to manipulate the crowd to such mutiny that in the next scene they beat to death a poor innocent poet (Armando McClain) in an amazingly choreographed scene.
The direction of the ensemble and principals throughout the first part of the play creates tension and engagement with great purpose in elucidating themes. For example as Antony works his mischief to stir the crowd to bloodshed so “mothers will but smile when they see their sons quartered…” Cooper has Caesar rise with the help of Calphurnia and walk off. This is prodigious direction/staging. Symbolically, we understand that Caesar’s spirit has been evoked/resurrected by Antony to roam the land seeking vengeance in the capture or death of the conspirators and all those in concert with them. This ghost of Caesar threads through to the final Acts and foreshadows Caesar’s haunting Brutus at various times and finally when he appears in Brutus’ tent and embraces him before the disastrous battle of Philippi.
Rocco Sisto, Brandon J. Dirden in ‘The Tragedy of Julius Caear,’ Theatre for a New Audience (Henry Grossman)
The last acts of Julius Caesar have been characterized as throw-away. Not so in this production which has streamlined and strengthened them. The argument between Brutus and his once close friend now “enemy” Cassius, Matthew Amendt (Cassius) and Dirden (Brutus) deliver with power. As Cassius, Matthew Amendt’s portrayal is spot-on, though at times I felt he could project more. This is not the conniving Cassius we witnessed in the first act. Amendt’s Cassius is hurting, disturbed, humanized. On the other hand, Brutus has become a bellicose emotional lightening rod. As the two quarrel, we empathize with Cassius and then we discover why brutish Brutus is attacking his former close friend, now fellow soldier.
(L to R): Matthew Amendt, Brandon J. Dirden, ‘The Tragedy of Julius Caesar,’ Theatre for a New Audience (Henry Grossman)
Cooper avoids the problems with the last acts also by consolidating characters to keep the character list leaner than the original play. She also exemplifies and symbolizes how the spirit of vengeance and war range against each other in stylized battle scenes which are exceptionally choreographed by Erika Chong Shuch with the ensemble in modern army camouflage and make-up.
These scenes especially heighten the excitement, tension and energy. Also, they manifest and represent the sheer adrenaline expended during wartime. The fact that Cooper uses no blood or physical violence is symbolic more of the spirit of war that seems eternally present in every era. In their actions the ensemble steps in unison, in their arm, hand, leg movements and gestures in military fashion without weapons.
Stephen Michael Spencer, Matthew Amendt (prone) in The Tragedy of Julius Caesar,’ (Henry Grossman)
The overall effect is frightening in what it suggests, the fierce will and hot determination to war against one’s countrymen who were once brothers/colleagues. The lighting effects are exceptional thanks to Christopher Akerlind especially in these scenes. The music and sound are portentous.
The bloody assassination scene is contrasted with the stylized battle scenes which have no direct physical contact or blood. The pivotal character is Caesar, a god. Stabbed thirty-three times, he bleeds; no other character does. Symbolic parallels are drawn between animals sacrificed to predict the future, or gain favor with the gods or heal a nation. The contrasts and irony emphasized in this Tragedy of Julius Caesar are dire; the republic is not healed, but destroyed with his bloodletting. And the bloodless fighting of the ensemble indicates that the spirit of power domination, and war as an effective tool of “dominion” is integral to human society and must be checked through wise governance.
Julian Remulla, Brandon J. Dirden in ‘The Tragedy of Julius Caesar,’ Theatre for a New Audience (Henry Grossman)
Caesar is the sacrifice. By the time his spirit of vengeance has consumed all who would stand in the way of peace, 100 senators are dead, even the most rational and erudite Cicero. And his vengeance won’t be finished until Octavius (the martial Benjamin Bonenfant) purges his enemies and becomes Caesar Augustus. (Emperor Augustus decreed August 15 should be celebrated as his festival Ferragosto. From that time to this, all Italy closes down to celebrate.)
The company of ‘The Tragedy of Julius Caesar’ (Gerry Goodstein)
The production concludes with the stylized choreography and the comments that Brutus killed for the good of Rome. But Cooper’s staging makes clear that the killing will continue. Thematically, we acknowledge that the spirit of war, political intrigue and vengeance will carry through Augustus’ reign and beyond.
Cooper’s production best highlights Shakespeare’s inherent prophecy that war and assassination as political exigencies are perhaps inevitable. The show which runs until April 28th is a must-see for its daring risks that shake tradition, elucidate new concepts and provide exciting, vibrant theater. You can purchase tickets to The Tragedy of Julius Caesar which runs with one intermission at the Polonsky Shakespeare Center (Ashland Place Brooklyn, NY) by CLICKING HERE.
‘Ain’t Too Proud, The Life and Times of the Temptations’ is Just WOW!
Ephraim Sykes (kneeling) and the cast of ‘Ain’t Too Proud’ (Matthew Murphy)
At the Imperial Theatre for 2 and 1/2 hours, there are musical numbers and dance moves that will so send you into the realms of the fabulous, I doubt you will want to come down to earth. The magic, history, poignance and joy displayed by the production company creatives of Ain’t Too Proud, are bar none. The show is one of the best on Broadway.
Special accolades go to Des McAnuff for his seminal direction and staging and Sergio Trujillo for choreography. But the rising glory must land on the actors and ensemble responsible for the breathtaking portrayals of the “Classic 5 Temptations,” Derrick Baskin (as Otis Williams) James Harkness (as Paul Williams) Jawan M. Jackson (as Melvin Franklin) Jeremy Pope (as Eddie Kendricks) and Ephraim Sykes (as David Ruffin), not the least of which include those portraying the additional Temps. These are just fantastic, the “stuff that dreams are made of.”
By the conclusion of Ain’t Too Proud, I felt like I had spent time with loving family who passed, but for a moment were returned to me by an act of grace so I might delight in the music of a pivotal time in the tumultuous 1960s. Brought back to life by the astute genius and prodigious talents of the performers, one more uniquely magnificent than the other, each manifested the perfection of golden-voices and harmonies synced to fluid gestures.
Christian Thompson, Saint Aubyn, Ephraim Sykes, Jeremy Pope, Derrick Baskin, and Jawan M. Jackson in ‘Ain’t Too Proud, directed by Des McAnuff (Matthew Murphy)
The story of The Temptations in Ain’t Too Proud (book by Dominique Morisseau based on the The Temptations by Otis Williams with Patricia Romanowski) is crucial to understanding our country’s vitality in progress through grinding work and sacrifice. And it is a reminder of how the human spirit can strive in the face of prejudice and discrimination to overcome and burgeon into greatness. The production highlights the personal sacrifice it took to be world renown, as Otis (Derrick Baskin) reveals very poignantly at the conclusion what happened in his life and in the lives of each of the “Classic 5.” And it is a story of possibilities, forgiveness and reconciliation.
Most importantly, Ain’t Too Proud is the chronicle of two individuals who united in a vision to transform The Elgins into The Temptations and ultimately crossover artists who would be play in London and other cities off US shores. Founder/organizer/creative genius in his own right, Otis Williams was the “engine who could.” He is still going strong as the last of the “Classic 5.” He is still creating and has established the 24th iteration of The Temptations whose name he owns. The other individual is Berry Gordy. He is the maverick, genius promoter, visionary of the Motown label who had more hits and strategies up his sleeve than Houdini (one of them was songwriter Smokey Robinson of The Miracles) coupled with an acute sense of the historical and cultural timing to create his own brand of
When Williams and Gordy met in the men’s room of a place where Gordy was scouting talent, Williams introduced himself and lightening struck. R & B, and the future of soul was indelibly made and both men’s destiny as well as the destiny of black people in our nation was shaped forever by these two future Rock and Roll Hall of Famers: Gordy in 1988, Williams in 1989 as a Temptation.
The cast of Broadway’s ‘Ain’t Too Proud (Matthew Murphy)
Motivated by money and the example of Civil Rights leaders like Martin Luther King Jr., Gordy understood that one way to best racism was through music. He helped to make those who sported the Motown label (The Supremes, The Miracles, The Temptations, The Commodores, Marvin Gaye, and so many more) ambassadors of good will. This was during a time when there was little good will to be had because of racial divisions and bigotry especially from those who embraced generational hatreds fomented by the Southern planter class. Jim Crow had even filtered to the North with redlining neighborhoods separating communities into wholly white or wholly black.
The planter class who lost their lucrative “peculiar institution” along with their place of gentrified greatness after the Civil War, whipped up the discriminatory sentiments of economically impoverished or working class whites. These wealthy brainwashed whites to believe they shared a common heritage in being “white.” The irony was, none of the wealthy ever sat down to eat with the economically challenged whites or associated with them in the same society or culture. They were kept far away in the “low rent districts” on the other side of the railroad tracks near the town dumps or sewage treatment plants.
When Gordy has the Temptations tour parts of the South and their bus is shot at and nearly stopped (if it had been they wouldn’t have made it to the next day) we see the extent of the Jim Crow hatreds. These echoes from the past unfortunately have currency for us today. The show reminds us that we have progressed, but must remain steadfast with what has been accomplished, which certainly The Temptations and Berry Gordy’s incredible vision helped to achieve.
Jeremy Pope and Candice Marie Woods (center) and the cast of ‘Ain’t Too Proud,’ directed by Des McAnuff (Matthew Murphy)
Ain’t Too Proud’s book by Dominique Morrisseau is based on the book The Temptations by Otis Williams with Patricia Romanowski. The show features the music and lyrics from “the legendary Motown Catalog.” These elements plus the grist and hard work to bring them together in one ineffable, miraculous meld make this a sensational production. As I walked out after the standing ovations, I saw folks still sitting in the audience either chatting excitedly or just staring off in delighted appreciation in awe at what they had just experienced.
What makes this such a sterling production is that the incredible performances of the “Classic 5” (Baskin, Harkness, Jackson, Pope, Sykes) are brought to life singing favorites in the chronological order of their growth and evolution. Otis Williams (Baskin) narrates this development, and we follow him as he leads us through the arc of their glory to become the #1 stars of the Motown label. The songs are recognizable. Some favorites include “Baby Love,” “Ball of Confusion” “For Once in My Life,” “Get Ready,” “If You Don’t Know Me by Now,” “My Girl.” As Otis (Baskin is just gobsmacking as he weaves the threads through to the present day) relays each event in their various lives, we see the parallels with the appropriate songs.
Ephraim Sykes, Jeremy Pope, Derrick Baskin (forground) Jawan M. Jackson, and James Harkness in ‘Ain’t Too Proud,’ directed by Des McAnuff, book by Dominique Morisseau, based on the book ‘The Temptations’ by Otis Williams with Patricia Romanowski (Matthew Murphy)
So special is this song selection that pegs the songs to the emotional resonance of the group’s life situations! When we hear the backstory or see the dynamic of their personal relationships, the songs vibrate with energy and transcendence. This is powerfully effected with “Cloud Nine,” “I Wish It Would Rain,” “What Becomes of the Brokenhearted,” and “War.”
Another thrilling element of the production is its retrospective of the 1960s, and how through the reflection of music, our culture and history changed forever. Music and transformation was mirrored during the 1960s movements, The Civil Rights and Peace Movements, as well as the Cultural and Sexual/Gender Revolution. The songs parallel, symbolize and manifest that time. Their lyrics and beauty, however, are for all time.
(L-R) Derrick Baskin, Jawan M. Jackson, Jeremy Pope, James Harkness, and Ephraim Sykes (front) in ‘Ain’t Too Proud,’ directed by Des Manuff (Matthew Murphy)
The director Des McAnuff folds in The Temptations’ viewpoints about Detroit’s unrest, Martin Luther King’s assassination and the rise of drugs which were flooding college campuses and spreading like a flood in all parts of the music scene. The film clips and projections of the Detroit riots, the marches, the King Jr. assassination are integral to the story of the Temptations.
Primarily, the show is a loving encomium for the “Classic 5” Temptations who were the founders of the original chart-busting group. It is also a reveal about how the genius of Motown and the transcendent talents of these five prodigiously hard-working performers shaped cultural attitudes against racism and prejudice at a time when the South was still lynching blacks, and when assassinations of Malcolm X, the Kennedys and Martin Luther King Jr. rocked the nation, fomenting profound sadness and hopelessness.
Through all of it, is the ineffable sound of this group and its add-ins as some left and others came back. After a decade out on their own, Kendricks (Pope) and Ruffin (Sykes) returned to perform. All the while The Temptations soared to Top 100 charts and even bested The Supremes’ position at Motown. Their music was the golden thread that transformed national attitudes toward race and reinforced that as citizens we can be decent. The Temptations drew opposing sides away from polar extremes. They encouraged that the shared love of R & B can take us beyond division and hatred.
Special kudos go to Orchestrations by Harold Wheeler and Music Direction and Arrangements by Kenny Seymour. Recognition also goes to Robert Brill (Scenic Design) Paul Tazewell (Costume Design) Howell Binkley (Lighting Design) Steve Canyon Kennedy (Sound Design) Peter Nigrini (Projection Design) and other creatives whose collaborations make the production a smash hit out of the park.
Ain’t Too Proud is at The Imperial Theatre (249 West 45th Street). This must-see show runs with one intermission. For tickets go to their website by CLICKING HERE.
Tribeca Film Festival Documentary World Premiere: ‘Our Time Machine’
‘Our Time Machine,’Maleonn working on bird sculpture. Courtesy Maleonn Studio.
OUR TIME MACHINE
Directed by Yang Sun & S. Leo Chiang
Executive Produced by Jean Tsien, Sally Jo Fifer, & Nick Fraser
World Premiere – Documentary Competition – 2019 Tribeca Film Festival
Official Selection – 2019 Hot Docs Film Festival
Pre-Festival 2019 Tribeca Film Festival Screening:
Tuesday, April 16th at 6:00 PM at Tribeca Screening Room (375 Greenwich St.)
To RSVP – Email Vince Johnson at VJohnson@tcdm-associates.com
2019 Tribeca Film Festival Screenings:
Sunday, April 28th at 5:30 PM at Village East Cinema – World Premiere
Monday, April 29th at 4:00 PM at Village East Cinemas – Press/Industry Screening 1
Tuesday, April 30th at 7:00 PM at Regal Cinemas Battery Park
Wednesday, May 1st at 1:30 PM at Village East Cinemas – Press/Industry Screening 2
Friday, May 3rd at 7:00 PM at Regal Cinemas Battery Park
About the film OUR TIME MACHINE
43-year-old Maleonn is one of China’s most influential conceptual artists today. His father, Ma Ke, was the artistic director of the Shanghai Chinese Opera Theater. After being humiliated and forbidden from working for a decade during the Cultural Revolution, Ma Ke immersed himself in theater. The mysterious excitement of Ma Ke’s creative world inspired the young Maleonn, but his father’s absences stoked early feelings of resentment.
When Ma Ke is diagnosed with Alzheimer’s, Maleonn pours everything into an ambitious new theater project: “Papa’s Time Machine,” a visually stunning time-travel adventure told with human-sized puppets. At the play’s heart are autobiographical scenes inspired by Maleonn’s memories with his father. He hopes this will bring the them together artistically and personally.
With enthusiasm both domestically and from abroad, the play shows signs of a promising future. But Ma Ke’s condition deteriorates. Maleonn is torn between the original goal to honor his father and the pressure towards commercial success. Ma Ke struggles to contribute to the play, and barely recognizes the play when it is completed.
Facing his father’s painful decline, Maleonn becomes more aware of life’s complexities. There are no effortless masterpieces or simple solutions. And there’s no traveling back in time to retrieve what has been lost. There, is however, the relationship that has developed with co-director Tianyi. He proposes to her, ready to become a partner and a father, and to carry on forward with a new outlook on his art and life.
About Filmmakers Yang Sun & S. Leo Chiang
Yang Sun is a documentary director and cameraman based in Beijing. He was on staff at China’s Central Newsreel and Documentary Film Studio, making documentaries for broadcasters including CCTV, Youku and the Travel Channel. He has directed several short and mid-length documentaries, including THE SECOND ALBUM, AKEN, BACKPACKERS FOR 10 YEARS, AFTER HE ROSE TO FAME, as well as the ten-part series TAKE ME TO TRAVEL. He worked as a director of photography on A CENTURY WITH NANJING, CENTURY MASTER, and SOUTH OF THE OCEAN. Sun Yang holds a Master’s degree from the School of Television and Film Art at the Communication University of China. OUR TIME MACHINE will be his first feature-length documentary.
S. Leo Chiang is a Taiwanese-American filmmaker based in San Francisco and Taipei. His documentary, MR. CAO GOES TO WASHINGTON, won the Inspiration Award at the 2012 Full Frame Documentary Festival. His previous film, Emmy® Award-nominated A VILLAGE CALLED VERSAILLES, picked up eight awards and aired on the American PBS series, Independent Lens. Leo’s work has received funding support from the Sundance Documentary Fund, the Tribeca Film Institute, and ITVS. He also collaborates with other documentarians as editor and a cameraman. Leo received a MFA in film production from University of Southern California. He is the co-founder of A-Doc, the Asian American Documentary Network, and a documentary branch member of the Academy of Motion Pictures and Sciences.
IN ATTENDANCE AT TRIBECA 2019: S. Leo Chiang (Director), Sun Yang (Director), Jean Tsien (Executive Producer), Bob Lee (Editor), Ma Liang (Subject)
YEAR 2019 | COUNTRY U.S.A., CHINA | RUN TIME 80 mins
Group photo of puppets and puppeteers in a gallery. Courtesy Maleonn Studio.
‘Our Time Machine,’ Close up of Son puppet. Courtesy Maleonn Studio.
www.timemachinefilm.com
www.facebook.com/timemachinefilm
Instagram @timemachinefilm
Twitter #timemachinefilm
Tribeca Film Festival Screening: ‘Meeting Gorbechev’
Tribeca Film Festival Documentary Premiere: ‘Scheme Birds’
World Premiere Documentary
at the 2019 Tribeca Film Festival
SCHEME BIRDS
Directed and Written by: Ellen Fiske, Ellinor Hallin
Produced by: Mario Adamson, Ruth Reid
As her childhood turns into motherhood, teenage troublemaker Gemma comes of age in her fading Scottish steel town. But in a place where “you either get knocked up or locked up,” innocent games can easily turn into serious crime.
Public Screenings:
***Limited Tickets Available***
Friday April 26th at 5:45PM at Village East Cinema 03
Saturday April 27th 11:30AM at Regal Battery Park 06
Wednesday May 1st at 5:00PM at Village East Cinema 02
Friday May 3rd at 8:00PM at Regal Battery Park 06 (no tickets available)
RT: 90 Minutes
TRIBECA FILM FESTIVAL at the Beacon Theater: The Line-up
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‘Kiss Me Kate,’ Kelli O’Hara is a Lustrous, Assertive Kate in Roundabout’s 2019 Revival
Kelli O’Hara and the company of ‘Kiss Me Kate,’ 2019 Roundabout Revival music by Cole Porter, book by Sam and Bella Spewack, directed by Scott Ellis, choreography Warren Carlyle, music direction by Paul Gemignani (Joan Marcus)
Keeping in mind the importance of women’s progress during our current retrograde throw-down of conservative political churlishness, Roundabout’s Kiss Me Kate revamps misogyny and turns it on its head in this ingenious 2019 Broadway revival that leaves audiences cheering and wanting more.
Specifically, that is more of the gorgeously orchestrated Cole Porter music/songs interpreted with soulfulness, energy and vibrance by multi-talented artisan-actors; more of Choreographer Warren Carlyle’s physically pyrotechnical, gravity-defying dance numbers with a few finger-snapping, staccato tapping jazz bits slid in-between; more of the stylized old-style musical tenor and atmosphere that relaxes and massages us into a pleasant two hour reverie, especially after a few logical tweaks to enhance plot relevance; just more!
This is an exhilarating production that soars, reaches to the heavens and by the conclusion, sets us back down with the fun of its whimsical, good will and twerking tidbits of political grist in the form of a general and allusions to the Truman/Dewey presidential race. Cast principals and ensemble, good shepherd-director Scott Ellis, and Paul Gemignani’s music direction have all found their synergy together in a delightful meld. The production does not promise to be anything but what it is, entertainment joy with dollops of well-placed wisdom and irony with currency (the joke about guns). Wisely, dare you ask for “anything more” in a time of chaotic political imbroglios? Hardly.
The Company of ‘Kiss Me Kate,’ 2019 Roundabout Revival directed by Scott Ellis, Music by Cole Porter, Book by sam and Bella Spewack (Joan Marcus)
The book has been lightly delivered from its gender awkwardness by Amanda Green’s added material, but the ironic, farce in substance remains. Sam and Bella Spewack’s play within a play structure features the Bard of Avon’s notorious satire of Italian machismo and subversive “femininity” framed by a divorced theatrical couple’s real-life story parallel. Indeed, truth is stranger than fiction when the zany hi-jinks of actress Lilli Vanessi and her ex-husband producer Fred Graham attempt to tame each other’s egos while staging their theater come-backs in a Baltimore production of Taming of the Shrew.
Drawn to each other like moths to flames, they know how to allure and provoke their best and worst aspects in the name of “the show must go on” until it can’t, then does at the point of a gun. In this both Kelli O’Hara and Will Chase find a superb stride together, especially during the reminiscences of their former relationship in “Wunderbar” and the remembrance of love which dies hard for Lilli in “So in Love,” which Kelli O’Hara sings with poignance, grace and open-throated, sonorous glory.
It is one of the high points of O’Hara’s portrayal as Lilli, echoed by the refrain sung by Will Chase’s Fred when Lilli leaves him and the show to marry General Howell (a fine Terence Archie). She claims she wants to end her theater career to be General Howell’s demure, passive hausfrau as he campaigns for Vice-president on the Republican Dewey ticket. However, once a Diva, never a hausfrau!
Kelli O’Hara, Will Chase in ‘Kiss Me Kate,’ 2019 Roundabout Revival, directed by Scott Ellis (Joan Marcus)
There are role upheavals and flipped switches. Lilli discovers Fred’s mistress machinations in a misunderstanding which turns into another betrayal of her abiding love for him. But where she may have once played the victim during their divorce, she steps into empowerment during the production of Shrew. And this prompts Lilli to become his equal while giving Fred his comeuppance during a very physical and hysterical tit-for-tat, kick-for-slap sequence as they enact the wooing scene between Katharine and Petruchio in Shrew before an unwitting, live, Baltimore audience. (us)
The ironies of the play within a play structure are just great. For example in the “violent” wooing scene which turns very real between Lilli and Fred, their “in-the-moment” spontaneity with loads of improvisation is an actors’ dream come true. Lilli and Fred are keeping their portrayals of Katharine and Petruchio fresh and alive which helps to make the Baltimore production of Shrew a hit that even thugs enjoy. The New York audience doing double-duty as the 1940s Baltimore audience cracks up being in on the humorous uptake between Lilli and Fred who pummel each other as Kate and Petruchio.
Chase and O’Hara’s acting skills explode causing a LOL laugh riot. The scene is marvelous and deeper than one might imagine for the double-take on reality and acting. O’Hara and Chase act Lilli and Fred, acting Katharine’s and Petruchio’s spontaneous, improvised reactions to each other as they go off script. They must “act” spontaneous and “moment-to-moment” and of course O’Hara and Chase do, manifesting their character’s anger from within, without pushing for laughs. This is exceptional work made to appear “easy.” It is not! Coupled with their unparalleled vocal instruments, their songs together are superb.
Kelli O’Hara, Will Chase, 2019 Roundabout Revival ‘Kiss Me Kate,’ music by Cole Porter, Sam and Bella Spewack (book) directed by Scott Ellis (Joan Marcus)
Altogether, the song and dance numbers are fabulous Cole Porter. Act I musical numbers which are standouts include the scenes from Shrew particularly those that take place in The Market Square in Padua. “Tom, Dick, or Harry” is a sexual dance romp with suggestive moves that are hysterically ingenious emphasizing “grinds” on the word “Dick.” Singing and dancing are just super with Stephanie Styles, Corbin Bleu, Will Burton and Rick Faugno. Their use of a bench as a dance prop over which they become airborne, absolutely astounds. Their balletic leaps mirror Olympic- style athleticism. Just gobsmacking choreography which Styles, Bleu, Burton and Faugno sail through. I was exhausted watching them.
Kelli-Lilli-Katharine’s “I Hate Men” resonates as does Will-Fred-Petruchio’s “Were Thine That Special Face.” As Lilli, who portrays Katharine, gradually confronts the mistakes she made with Fred, she expresses this learning in Katharine’s “I Hate Men.” Meanwhile, Fred notes this new Lilli and once more is entranced with her which he evidences through Petruchio’s “Were Thine That Special Face.” Chase and O’Hara reveal how their Shrew roles impact the evolution of Lilli’s and Fred’s characters on a deeper level which will eventually bring them closer by the conclusion. Their development is subtle character change; look for it. Loved it!
(Clockwise from the bottom): Rick Faugno, Will Burton, Stephanie Styles, Corbin Bleu in ‘Kiss Me Kate,’ 2019 Roundabout Revival, directed by Scott Ellis (Joan Marcus)
Meanwhile, the show must go on, but which show? The one in front of the curtain or the more fascinating one behind the curtain? Then, BAM! There is no curtain/separation between the principals acting Shrew and their real lives, a hazard of the theatrical profession. Making “all the world a stage” even sweeps up the thugs (the excellent John Pankow and Lance Coadie Williams) who come to collect a gambling debt that Bill Calhoun (the wonderful Corbin Bleu who is triple-threat incredible) pawns off on Fred.
In a clever twist to keep the thugs at bay and Lilli from leaving the production, Fred has them don Shrew costumes and accompany Lilli everywhere on stage in the hope the show will go on and the thugs will take the Box Office in payment for the gambling losses. When they and the entire cast conclude Act I with the rousing and funny “Kiss Me Kate,” (O’Hara’s solo aria and the shooting of piccolo-bird are adorable) they too get in on the act, gun-a-blazing, feathers flying as the curtain falls
Though Act II begins with the incongruous “Too Darn Hot,” (when it is hot, no one wants to move) the dance/song number is so spectacular that the realm of the fantastic takes over. Corbin Bleu leads the dance team and then taps down the house with his unparalleled energy and brilliance. The Porter music is sultry, the acrobatic dance and tap number so sweep up the audience, beauty arrives. It is this ensemble’s highpoint number in the play, among the many sterling numbers. Despite the heat/movement incongruity, the singers/dancers’ investment in strutting their wares with every fiber of their physical and emotional well being, just overwhelms. Sensory enjoyment evaporates one kind of “heat” and supplants it with another, excitement.
The company of ‘Kiss Me Kate,’ 2019 Roundabout Revival (Joan Marcus)
In Act II, Fred/Petruchio’s “Where Is the Life That Late I Led” reveals the duality inherent in Fred’s change-over to eventually accept that he loves Lilli and regrets their break-up and her leaving forever. This becomes clear when Fred takes advantage of the General’s stereotyping of women by demeaning Lilli behind her back in a last ditch attempt to keep her near him in the show.
We dislike the General’s misogyny and his referral to the future Mrs. General Howell as “the little woman.” Of course Fred already sees the handwriting on the wall for Lilli’s upcoming disastrous marriage to the General. Indeed, Lilli is her “own person” which the General will force her to reorient to himself as his career will overshadow hers. He, not she, is the star of the country. The scenes between the General and Lilli point up the dichotomy between the theatrical life and the “helpmeet” life the General requires.
(L to R): John Pankow, Will Chase, Lance Coadie Williams in ‘Kiss Me Kate,’ directed by Scott Ellis (Joan Marcus)
The fabulous “From This Moment On,” is performed by Lilli and the General with energetic, almost frenetic confidence. Lilli sings with determination that she is leaving the theater to be the wifely ambassador for the General’s campaign. Fred looks on with skepticism. O’Hara’s interpretation belies that she isn’t convinced that marrying the General is the right move, though the General is completely clueless, a harbinger of their relationship. Does she or doesn’t she? You’ll just have to see the production if you are unfamiliar with Kiss Me Kate.
Special mention must be given to the following numbers which were audience favorites: “Bianca” featuring the memorable talents of Corbin Bleu as Bill with the ensemble beautifully supporting him, and “Brush Up Your Shakespeare” with the erudite thugs played by John Pankow and Lance Coadie Williams instructing the Baltimore/NYC audience about what a boon Shakespeare’s works/words/poetry is to impress. Both songs are crowd pleasers, choreographed, staged, performed exceptionally.
The scenic design by David Rockwell featuring the backstage brick wall leading to the dressing rooms, quaint warmly glowing lighting (Donald Holder’s varied Lighting Design is super) and back alley all lead to ready identification with the dancers and actors who become family by the end of the show. The dressing rooms are attractive and functional and the sets for Taming of the Shrew are painted in light pastel whimsy which contrasts with the dark backstage brick alley of Baltimore theater reality. Even the Shrew curtain including the credits designed by producerGraham is well thought out.
Kelli O’Hara in ‘Kiss Me Kate,’ 2019 Roundabout Revival, directed by Scott Ellis (Joan Marcus)
There is a savvy alignment with the wittiness of the show, as well as the divergences in the lives of the ensemble, the principals and the fantasies they create as artists. The costumes (Jeff Mahshie) likewise, are gorgeous, appropriate, piquantly colorful, from star dressing gowns to Italian city-state fashions of the wealthy Baptista and friends, and wooing Petruchio. The Hair and Wig Design is no less masterful.
Finally, one number “Always True to You in my Fashion” by Stephanie Styles (with a dumb blonde, Judy Holiday, upper register voice) as Lois Lane, I thought slipped past the gender update. The song “boasts” stereotypical tropes of the gold-digger, the girl with lucre on her mind and in her heart. Lois Lane is an opportunist who makes her way from wealthy men to pursue acting. She has an affair with Fred to land a part in the show and is his occasional plaything that upsets Lilli.
Will Chase in ‘Kiss Me Kate,’ 2019 Roundabout Revival, directed by Scott Ellis (Joan Marcus)
Lois Lane (the antithesis of Superman’s reporter love interest) finally ends up with Bill Calhoun (Corbin Bleu) who manages to love her despite her roaming ways (“Why Can’t You Behave,” “Bianca.”). Initially, I found this nymphet sex kitten character who sniffs after money, jewels and wealth, rankling. Then I realized that she uses sex to empower herself and the duped men fall weakly for it every time, it seems, except for Bill who’s poor. Even presidents have fallen prey to such clever women and embarrassed themselves. Indeed, she is integral to this revival and is perhaps the longest living female character type in the history of womankind.
This 2019 revival of Kiss Me Kate runs with one intermission and is just “too damn good” to miss, especially if you adore the voices of the principals Kelli O’Hara and Will Chase and the breathtaking dance talent of Corbin Bleu. The updates make sense and are appreciated as is the reaffirmation that farce and the fantastic are good like a medicine. The production runs until 2nd June.
Tribeca Film Festival NOTIFICATIONS
FILMS AT TRIBECA FF
Sabrina Carpenter,’Short History of the Long Road,’ Tribeca Film Festival (photo courtesy of the film and TFF)
THE SHORT HISTORY OF THE LONG ROAD
*World Premiere Screening at the 2019 Tribeca Film Festival in the U.S. Narrative Competition*
Written & Directed by: Ani Simon-Kennedy
Starring: Sabrina Carpenter, Steven Ogg, Maggie Siff, Danny Trejo
For teenage Nola, home is the open road with her self-reliant father and their trusty van, two nomads against the world. When Nola’s rootless existence is turned upside-down, she realizes that life as an outsider might not be her only choice.
Public Screenings:
Saturday, April 27th at 2:30 PM at Village East Cinema 07 (World Premiere)
Sunday, April 28th at 5:00 PM at Regal Battery Park 06
Wednesday, May 1st at 5:45 PM at Village East Cinema 03
Saturday, May 4th at 9:00 PM at Regal Battery Park
Purchase tickets by going to Tribeca Film Festival website. See the film guide at the top of the website page. TRIBECA WEBSITE: CLICK HERE
FRAMING JOHN DELOREAN
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‘The Cake’ Directed by Lynne Meadow, at Manhattan Theatre Club
Debra Jo Rupp in ‘The Cake,’ directed by Lynne Meadow, written by Bekah Brunstetter at MTC (Joan Marcus)
The Cake written by Bekah Brunstetter is a deliciously humorous look at love and prejudice with twists that harken back to the Supreme Court ruling which sided in favor of Masterpiece Cakeshop which refused to to bake a cake for a gay couple. The setting is not Colorado, however, it is North Carolina, and there is a similar response about baking for a gay couple.
Indeed, one of the themes of The Cake touches upon the current backlash by religious groups against the LGBTQ community and gay marriage. However, by the conclusion the playwright reinforces that love and decency can drive out divisiveness and bigotry, leading to mutual respect among groups with divergent orientations and beliefs.
Della (Debra Jo Rupp) owns her own bakeshop and is a fabulous baker of confections, specialty cakes, cupcakes, cookies and other desserts, all of which she bakes from scratch in her shop in Winston-Salem, North Carolina. As she introduces herself with her sunny, sociable and sweet personality, we recognize why she selected this particular business to showcase herself.
Dessert baking is fun. Cakes and confections are feel good, comfort foods in a state that is less concerned about waist-lines and more concerned about family gatherings and get togethers. A cake will satisfy as the crowning glory of any party and Della’s recipes are unique and fabulous.
(L to R): Debra Jo Rupp, Genevieve Angelson, Marinda Anderson in ‘The Cake,’written by Bekah Brunstetter, directed by Lynne Meadow for MTC (Joan Marcus)
Furthermore, Della is not timorous about sharing her recipes because most people who ask for them don’t follow them to the exact drop of liquid or sift of dry ingredients. Della affirms that’s why her cakes are so delectable. When she bakes the cakes that she has crafted for greatness, she follows the recipe directions and comes out with beauty every time. She further endears us in this opening sequence when she tells a customer that she is going to be a contestant and compete with others on The Great American Baking Show, the most watched baking show on CBS.
Debra Jo Rupp is a joy to watch, as she takes every line in this opening sequence and makes it her own with spontaneity, authenticity and sincerity, so that we long to taste a piece of her wonderful cake and feel the love vibrating from her. If mom baked and cooked with love, surely Della does the same. She is so affable and winning, we are completely taken in by her hospitality. We forget that she lives in the south, has lived there her whole life and most probably and at the least harbors residual racism and bigotry or at best is in a state of confusion like a good part of the southern United States regarding the LGBTQ community which cannot be reconciled with their religious beliefs.
Debra Jo Rupp, Dan Daily in ‘The Cake,’ directed by Lynne Meadow, written by Bekah Brunstetter for MTC (Joan Marcus)
However, the worm turns soon enough when Northerner Macy, a lovely black journalist enters the shop. During the course of the conversation, Macy turns down a taste of Della’s cake and goes into a rant about the food industry putting sugar in everything to addict consumers who are getting so fat that childhood obesity and diabetes are at the highest rates ever in the history of the nation. Immediately, we understand that beneath the lovely bakery confections there is an underlying toxicity and harm to one’s health. Macy has shaken us awake and alerted us that perhaps Della is a bit too sugary for our Northern sensibilities.
When the conversation continues and Della claims she is not concerned about politics but just concerned with her cakes, Macy comments: “Isn’t ambivalence as evil as violence?” Bam! We get the alarming picture. As a typical Southern woman who votes as her husband tells her and doesn’t think about the hypocritical values of Christianity rejecting a woman’s right to choose while obviating all responsibility toward children beyond the fetus stage, Della’s love charms appear to ring hollow. We wonder, where does she stand with her love if not in support of children and her baking?
Macy’s loaded, thematic-laden remark ratchets their communication into an embarrassing stalemate: Della leaves to check on her pineapple upside down cake and Macy oogles the piece of cake Della cut for her to try, but doesn’t touch it. Clearly, Della and Macy are at opposite ends of the political and religious spectrum and never the twain shall meet. Then Jen enters with a wedding binder to visit her mother’s old friend Della and the play launches off into a number of fascinating, complicated directions that stretch Della’s patience and religion, and hurt Jen’s feelings almost to a breaking point.
(L to R): Debra Jo Rupp, Genevieve Angelson in ‘The Cake,’ written by Bekah Brunstetter, directed by Lynne Meadow (Joan Marcus)
However, clarity, understanding and growth come when Jen discusses why she is who she is and how she has come to make the decision to marry Macy and live with her, despite Macy’s father’s censure and opprobrium. When Jen and Macy ask Della to bake their wedding cake for them and attend their party, Della’s husband, in typical “good ole boy” fashion, puts his foot down as the man of the house.
Though Della attempts to get around him, he remains steadfast. Taking her cues from her deep conversation with Jen about being a woman, Della attempts to ignite the fires that once burned in Tim’s heart. Indeed, it is obvious that Jen’s and Macy’s conversations with Della have touched a growth nerve and this in uncovers the flaws in her marriage with Tim.
Della is forced to sift herself and reconfigure a new recipe of care and concern with her husband and her daughter’s friend Jen. It is in her desire to be a good, decent person that we discover where Della’s love and heart is as she works things out with her husband and reconsiders her religious beliefs. Her love which is rooted deep grows toward becoming more open-minded.
The Cake is a compact, well-written, beautifully acted, sensitive play that resonates with vitality for our time. Marinda Anderson as Macy portrays the lucid, flexible and mature womanly partner of the equally sensitive and hopeful, upbeat Jen. As Jen Genevieve Angelson, measures beat for beat Anderson’s well-thought-out depiction.
Marinda Anderson, Genevieve Angelson in ‘The Cake,’ written by Bekah Brunstetter, directed by Lynne Meadow (Joan Marcus
Dan Daily as Tim, Della’s husband, is both jarring in his domineering attitude, then later loving and humorous in his sensitivity toward his wife. The section where he reveals the issue that has been undermining his confidence in their relationship is excellent. Debra Jo Rupp’s Della is particularly poignant when she tries to engage with Tim and he is incapable of responding and tells her so. This is a wonderful lay up to the surprisingly humorous event which occurs between them later in the play.
Lynne Meadow’s sterling direction keeps the pacing and the humor alternating in time with the quiet, thoughtful powerful moments. These moments underscore the themes about how to bridge the gaps in our viewpoints when friendships are at stake. The artistic elements and revolving set design serve the importantly intimate scenes between Tim and Della and Jen and Macy. Allowing us to view their relationships, we note there isn’t much difference regarding the couples as they attempt to further their understanding and love of each other. I was particularly heartened by the portrayal of Tim and his love for Della. Whether in straight or gay hearts, love abides with need. And this results in the uplifting and satisfying conclusion of The Cake.
Special kudos to John Lee Beatty for his superb scenic design (too bad there were no real cakes there, but at the bar the night I saw the production, there was a vanilla cake). And kudos to Tom Broecker for Costume Design (the wedding outfits are perfect), Philip S. Rosenberg for Lighting Design, John Gromada for Original Music and Sound Design and Tommy Kurzman for Hair, Wig & Makeup Design.
This is a winning production that you will enjoy. It runs with no intermission for 90 minutes at the Manhattan Theatre Club’s New York City Center Stage 1 (131 West 55th Street between 6th and 7th). For tickets CLICK HERE.
CAROLE DI TOSTI 