Author Archives: caroleditosti
‘Gloria: A Life,’ Starring Christine Lahti, directed by Diane Paulus, Off Broadway
(L to R): Joanna Glushak, Christine Lahti, Fedna Jacquet and Francesca Fernandez McKenzie in ‘Gloria: A Life,’ by Emily Mann, directed by Diane Paulus at the Daryl Roth Theatre (Joan Marcus)
An older Irish white woman cabbie driving Gloria Steinem and Flo Kennedy to an event in Boston after overhearing their discussion about abortion said, “Honey, if men could get pregnant, abortion would be a sacrament!” Since then you may have seen that quote on cups, t-shirts, and other memorabilia. That priceless comment/story and countless others, plus witticisms, jokes, truths, and historical facts spill out in Gloria: A Life, written by Emily Mann and directed by Diane Paulus, currently at the Daryl Roth Theatre.
This exceptional production about the life and times of Gloria Steinem moved me to laughter and tears. Writing with extraordinarily seamless beauty, Mann trenchantly underscores how and why Gloria Steinem moved from bondage to freedom in her own life. And this account of how her transformation helped/helps countless women and men move toward freedom from destructive gender folkways resounds with power and reveals why Steinem has become a living legend
Steinem’s development and experiences, and her own influences from so many other women, serve as the backbone of this superb production. With archived photos, videos, voiceovers, and more, the director and writer form a mosaic of the unique perspectives of men and women who have taken part in and still embrace the women’s movement. We discover a key point: that Gloria’s continuing evolution has strode in tandem with the movement’s multiple stages.
(L to R): Joanna Glushak as Gloria’s mom, Christine Lahti as Gloria in ‘Gloria: A Life,’ by Emily Mann, directed by Diane Paulus (Joan Marcus)
Adroitly, director Diane Paulus employs an ingenious, comfortable, interactive approach. She intersperses details, facts, stories, and themes about how women transformed the culture, through Christine Lahti’s portrayal of Gloria. Steinem’s development spins out from the stereotyping oppression and laws against women of her youth, to the legal revolution in support of women, in her 30s, to the current legal assault on women’s rights, in her later years. (As a reminder, our country has yet to pass an Equal Rights Amendment.) The actors take on multiple roles to reveal examples of the nullifying attitudes Gloria encountered early on. Lahti’s humorous portrayal sprinkled with good will reveals how Gloria eventually dealt with such attitudes as her eyes opened and she evolved.
As Lahti’s Steinem sanguinely points out, anti-feminist groups (represented by Phyllis Schlafly in the past) ultimately have the bottom line as their motive. Profits, not people’s concerns, fuel the hate rhetoric against feminists. Attempting to understand the logical truths behind what women are saying puts a downer on money making. Better for companies to stir people’s emotions with propaganda that makes them avid consumers. As such they buy products they don’t need to momentarily salve their soul sickness, stimulated by advertisements that browbeat them for not being perfect. The convenient, vacuous, catchy, divisive memes and gender-perfect advertisements perennially harm.
As she references such truths, Christine Lahti inhabits Gloria Steinem with joie de vivre and humility. Joanna Glushak, Fedna Jacquet, Francesa Fernandez McKenzie, Patrena Murray DeLanna Studi, and Liz Wisan portray the towering women who impacted Gloria. These include major influencers like her mom (a journalist who left her work to join her husband), Dorothy Pitman Hughes (who created the first non–sexist, multi-racial childcare centers), the feisty, no-nonsense Flo Kennedy, and lawyer, activist, and U.S. Representative Bella Abzug.
Christine Lahti as Gloria Steinem in ‘Gloria: A Life,’ by Emily Mann, directed by Diane Paulus (Joan Marcus)
Mann took from Gloria’s 2015 autobiography My Life on the Road the feminist icon’s early experiences and her trials as a journalist. Ironically, when she wrote the book, Steinem most probably didn’t imagine she would be speaking at the greatest global Women’s March ever in 2016. The production includes photographs and video clips of Steinem speaking in Washington, D.C. Though the women’s movement, like Gloria, has evolved, so much more work must be done in the Trump era. The inspiration to get us to move and participate in this work activates the
Particularly startling, Paulus includes video clips of the demeaning, acid attitudes of interviewers like Harry Reasoner, who later apologized when Ms Magazine sold out in eight days. For those too young to realize how far women have come, we see archived photos of memes showing with women whose only functions are as housewives and sex objects. Photos of such advertisements in the 1950s and 1960s prompts Lahti’s Gloria to quip, “Is this what some Americans are nostalgic for?”
I particularly appreciated the historical facts about the movement revealed in archived material. The production cleverly projects video and photographs over two back walls on opposite sides. The entire production seats with benches and colorful pillows for the audience in the round. On the stage in the squarish round, red Persian rugs and pillows suggest discussion circles.
Indeed the discussion circle is an important part of the production. In Act II a special guest each night opens the circle. Audience members may remain or leave. This theme also abides throughout: The discussion and integration of ideas happen in a circle where everyone sits equally. For the hierarchy (the pyramid) to diminish, we must hear, see, listen to, and interact with each other as comfortably as our Native American forebears chose to do. Steinem points out that Native American democracy included such discussion circles and caucuses. Women were integral parts of these, a fact that stunned (and inspired) Benjamin Franklin when he learned about culture of the Iroquois Confederation
(L to R): Christine Lahti as Gloria Steinem, Fedna Jaquet as Dorothy Pitman Hughes in ‘Gloria: A Life’ (Joan Marcus)
Gloria credits her ideas and actions to the mighty courage and determination of black women, Hispanic women, and Native American women. In underscoring who remained instrumental in spearheading second-wave feminism, she presents a list with photographs of black women who were crucial to the movement. Paulus projects their pictures with inspirational quotes on two screens. The list includes Dorothy Pitman Hughes, Flo Kennedy, Pauli Murray, Aileen Hernandez, Fannie Lou Hamer, Shirley Chisholm, Margaret Sloan, and Alice Walker. Wikipedia doesn’t recognize some of these women, but Gloria credits them for their prodigious efforts.
Finally, wonderful milestones are noted. For example we see acutely how our culture changed. Yet more change is needed with regard to the artificial gender images fostered by corporate agendas. As Lahti inhabits Steinem, Mann’s brilliant encapsulation of Gloria’s words through Paulus’ sterling direction opens our eyes. What we may have thought we knew bears hearing and seeing again and again. Indeed, this all-female production stirs us as an amazing, uplifting experience. Most importantly, it has the earthiness, historical universality, and erudition to appeal to all genders, races, and religions.
Would even evangelicals appreciate this production? Of course. Don’t women make up more than half of their numbers? Indeed, sharing stories about men’s personal habits always resonates. For example the actors include humorous stories about non-partnership minded men who leave their underwear on the floor, expecting their wives to pick it up. Such stories of personal lives are integrated beautifully to illustrate the importance of discussion among women. The more women talk to each other, the more healing comes, the more solutions to problems may be found.
At the heart of what is called the women’s movement, Gloria’s life’s work promotes freedom for men. Indeed, women and men both need freedom from the nullifying, dis-empowering macho and female roles of domination and passivity. These roles deny personality, growth, evolution, partnership, friendship, companionship, and the integration of the family unit beyond commands and orders.
(L to R): Christine Lahti as Gloria Steinem, Joanna Glushak as Bella Abzug in ‘Gloria: A Life,’ directed by Diane Paulus, written by Emily Mann (Joan Marcus)
Gloria: A Life suggests that women and men should have equal opportunities for medical care, financial wellbeing, family care, and prosperity. That the privileged wealthy minority will use gender division to cloud our eyes and misdirect our pursuit for human rights for all is a given. Noted, and stopped, say Gloria and millions of others. We must work to bridge the divide and jettison such roles, which crucify all genders and destroy the social good.
By looking at the past, though we may not have been alive at the time, we understand the value of what women globally endured then and now. Also, by understanding the past, we appreciate and value the hard-won freedoms (Roe v Wade, LBGTQ marriage equality, a woman’s right to use her own name, etc.) that women in democracies enjoy. Still, throughout these moments of progress highlighted by the actors and visuals in the production, concerns about the present political climate whisper.
Christine Lahti (center) as Gloria Steinem with cast of ‘Gloria: A Life,’ by Emily Mann, directed by Diane Paulus at the Daryl Roth Theatre (Joan Marcus)
Understanding becomes crucial to our growth. The production fosters understanding. And from this understanding we realize that the current political partisanship has pushed us to a precipice. All the more noxious are the agendas right-wing organizations like the Federalist Society and conservative think tanks use to consolidate power on the right. For these uber-conservative organizations, women’s rights must be overthrown and diminished as a political initiative. The prize to be gained includes corporate hegemony. The power and money behind these groups are used to maintain supremacy over puppet leaders. And they intend to employ “unbeatable” partisan, conservative voting blocks of nativists, anti-feminist groups (Neo-Nazis, white supremacists), and evangelicals (anti-abortionists, etc.) to maintain or usurp power by any means necessary.
For what it encourages – to understand ourselves today through viewing the past – Gloria: A Life is a must-see. Additionally, you will enjoy its humanity, good will, and uplifting remembrance of history, as well as Christine Lahti as Gloria, the sterling ensemble performances, the active staging, and Mann’s integrated writing of Gloria’s perspectives. All of this enthralls and contributes to making the production soar.
Gloria: A Life runs until 31 March 2019 at the Daryl Roth Theatre in NYC. Stay for the discussion circle in Act II and raise questions with the cast, audience, and special guest. Or just listen. Tickets are available online
‘The Lifespan of a Fact,’ Starring Daniel Radcliffe, Cherry Jones, Bobby Cannavale
(L to R): Daniel Radcliffe, Cherry Jones, Bobby Cannavale in ‘The Lifespan of a Fact,’ directed by Leigh Silverman (Peter Cunningham)
What are facts? What is truth? Can you state truth without a factual basis? These questions debated for centuries have been redefined in every age. Playwrights Jeremy Kareken, David Murrell and Gordon Farrell refine the debate in an intriguing and humorous go-around between a fact-checker and his essayist in The Lifespan of a Fact. The play incisively directed by Leigh Silverman is comically paced for its light side. And its darker side leads to questions about how information, “facts” may be misused in the wrong hands. The production suits in our time of “alternative facts,” and truths skewed to make a larger point about the human condition.
Based on the titular book/essay written by John D’Agata and Jim Fingal, the “true” story tells what happened when Jim Fingal fact-checked John D’Agata’s poignant essay about a teen’s suicide at a Las Vegas resort. The play explores their individual perspectives about the importance of writing for impact despite the inaccuracy of ancillary background details. But more importantly, it explores personality types and the very funny heightened alerts that sound when an obsessive compulsive, detail-driven nerdy researcher clashes with a loosey-goosey, poetic, symbolic, “going meta” writer with panache.
The conflict generates when Emily Penrose accomplished, saavy editor of a magazine chooses John D’Agata’s piece because of its social import. In hoping to get the article turned around for publication in less than five days, Emily appoints Jim Fingal. As the fact-checker he will ground the details of D’Agata’s piece for consonance and coherence to reality.
Bobby Cannavale, Cherry Jones, ‘The Lifespan of a Fact,’ directed by Leigh Silverman (Peter Cunningham)
Cherry Jones portrays editor Emily Penrose with humor, good will, yet stern determination. Strong-willed and no nonsense, yet measured, she selects her new hire, Jim, quickly assessing him and asking all the right questions. Happy with his reasonable answers, she sets him spinning off on his journey. Indeed, her expectation rides on Jim’s assurances that he will make the deadline. Ironically, the opposite occurs. Not because the fact-checker is incompetent. But because his magnificent competence strains the credulity of time and patience.
As Jim, Daniel Radliffe reveals his gifts for timing. He employs the right amount of deadpan edginess. And his ironic delivery isn’t quite over the top, but appears organic with his researcher ethos. Though he exasperates Emily, he does so out of ego pride of meticulousness. Indeed, she does not fault him for doing a fine job. And despite Radcliffe’s history with owls and wands, we appreciate his portrayal of Jim’s excellence, however a tad outrageous. When you see this too good to miss production, consider the traffic map which Jim uses to prove John’s inaccuracy on the day of the teen’s suicide.
Bobby Cannavale stands on the opposite continuum of Radcliffe’s Jim and pushes back with parries, jibes and wordy counter punches. Cannavale’s portrayal has John D’Agata’s indignation finely tuned. And we respond with riotous laughter. His initial attitude toward the fact-checking assaulter of his exquisite prose reveals a huge ego. Despite all the word talk, these male egos can barely be in the room together. What a pleasure to watch Radcliffe and Cannavale go head to head.
Indeed, after the two meet, we note their reactions pair beautifully with their physical types. Jim, fits the researcher twerp type, diminutive in stature and voice but a giant in intellect and research skills. By comparison John D’Agata’s muscular presence and bruising confident carriage signals macho. The irony that he is a romantic and goes for the meta sources the humor between them. However, the fact-checker holds sway. And D’Agata becomes affronted by the miscalculations Jim tells Emily that John has made. How dare this guy attempt to restrain and retrain his ineffable, high-minded prose?
Daniel Radcliffe in ‘The Lifespan of a Fact,’ directed by Leigh Silverman (Peter Cunningham)
Of course the humor explodes every time Jim attempts to toggle John. And the exceptional Bobby Cannavale’s bite challenges worse than his roar. Indeed, only Emily can straighten out the warfare between the two. How this evolves and resolves remains as the meat of the play. Indeed, she exquisitely maneuvers the two male egos, forces them to recede and calls upon “their better angels” to emerge.
This ensemble piece moves quickly. It arrives at its non resolution resolution with delectable, sometimes rolling in the aisles comedy. The philosophical arguments hold worthwhile import. Emily as the arbiter explains why responsibility for accuracy must be taken with extreme seriousness for publications. And yet, the vitality of striking the readers’ emotions with well-written prose that sings also must be taken seriously. Thus, the two perspectives must combine with equanimity. One must not submerge the other. Indeed, John’s intimation at truth is not enough. Facts secure it and make our feelings about an essay indelible and irrevocable.
Silverman’s direction and staging works well. The emails written among Emily, John and Jim provide the opening salvos of humor. Through screen projections we get to read and appreciate the writing styles of both the researcher and the essayist. Of course, the humor and explosions escalate during their live interactions as the notorious Jim investigates the scene of the suicide and visits the uber frustrated John. How Emily arrives at the scene to stem these two embattled paces with LMAO humor.
You will enjoy the superb cast who Silverman has brimming with fast-paced quips that slide down easily. Their finest scenes take place in John’s Las Vegas home when each faces off against the other. How they negotiate their own ire, frustration, and need to harangue mentors us with the silence of their inner thoughts and the power of their words. With intellect, logic and rationality they persuade. How refreshing!
Kudos go to Mimi Lien for Scenic Design, Linda Cho for Costume Design and Jen Schriever for Lighting Design. For Original Music and Sound Design we have Palmer Hefferan and for Projection Design, Lucy MacKinnon. For Hair and Wig Design, kudos to Charles G. Lapointe.
The Lifespan of a Fact currently runs at Studio 54 (254 W 54th) with no intermission until 13 January. You can purchase tickets at their website.
‘FABULATION, OR THE RE-EDUCATION OF UNDINE,’ by Lynn Nottage, Review
Cherise Boothe in FABULATION, OR THE RE-EDUCATION OF UNDINE by Lynn Nottage, directed by Lileana Blain-Cruz (Monique Carboni)
First, Lynn Nottage is a master story teller. Secondly, she is a master playwright, an avid spinner of profound characterizations and themes. With an antic zeal for weaving humor throughout organic dialogue that establishes her unique characters, Nottage continually lays bare the most exasperating and trenchant aspects of the human condition. If one is color blind, which Nottage mightily encourages, you see yourself in the arc of her characters’ inevitable development. For growth is the sum total of where we all are going, is it not?
FABULATION, OR THE RE-EDUCATION OF UNDINE, wonderfully directed by Lileana Blain-Cruz, is typical Nottage in its maverick brilliance and marvelous exploration of the complexities of black culture and identity. Essentially, with sardonic humor and LOL comedic fun, Nottage spirals out the larger-than life evolution, devolution and reaffirmation of the fabulous Undine. This hybrid genre two-act play (satire, “narrative of the life,” comedy-with threads of the macabre fantastic) strikes with irony and hyperbolic authenticity, turning every stereotype on its head to arrive at a satisfying resolution.
Currently at The Pershing Square Signature Center, the production is a must-see for its LMAO wit and profound revelations about class and culture. And tucked carefully away between the guffaws and belly laughs is this universal wisdom. When pursuing wealth and status, sidestep the alluring predations and pitfalls by remaining real. One way or another during your life’s journey, you’re going to get to the end of yourself. So you might as well avoid all the heartache and space shuttle gyrations and keep it soul local! Hyper money and status don’t bring truth unless you pivot, plummet and fall. When you reach bottom, if you’re still alive, you “get it,” and will then appreciate what you’ve learned.
MaYaa Boateng, Marcus Callender, Cherise Boothe, Dashielle Eaves in ‘FABULATION, OR THE RE-EDUCATION OF UNDINE by Lynn Nottage, directed by Lileana Blain-Cruz (Monique Carboni)
Importantly, in FABULATION, OR THE-RE-EDUCATION OF UNDINE, Nottage’s protagonist bounces off the most reprehensible and meretricious elements of the nouveau riche who “seduce” the black bourgeoisie into internalizing their corrupted values. Chief among these include the canard that money and celebrity bring personal power and satisfaction. Undine comes across this truth through a divergent, fantastic, incredulous sequence of events that can only be likened to divine comedy. As we follow her on the ride, if our eyes are open, our mouths eventually breathe out a sigh of relief for it will be well for her. But at various twists and egregious turns downward, we believe Undine to be heading to hell with no one to pull her back except Nottage’s deft story telling.
At the outset of the play, we identify an apparently successful Undine. Portrayed with a piquant and vibrant drama queen personality, Cherise Boothe continually astonishes with engaging humor and likability. Her Undine hits all the emotional high notes of comedy with a range of authenticity that keeps the audience laughing. Yet intriguingly we are aware of the seriousness of her wise commentary beneath all of the humorous riot.
Cherise Boothe, Nikiya Mathis, Heather Alicia Simms in FABULATION, OR THE RE-EDUCATION OF UNDINE, by Lynn Nottage, directed by Lileana Blain-Cruz (Monique Carboni)
From her demeanor and treatment of underlings, we note that Undine’s rabid and rapacious ambition and power has steered her to the top of her game. We discover she owns and manages a PR firm catering to the needs of the black bourgeoisie. Humorously, we learn this after her accountant and an FBI agent inform her she’s “got some issues to deal with.” Ironically, her success and the lifestyle it precipitates ends up placing her in a situation that she is ill equipped to handle. This noxious situation moves in the form of Hervé (the smooth Ian Lassiter), a slick Argentinian whose fabulous tango moves, hot kisses and an ingenious sleight of hand where her bank account is concerned sweep her up into a two-year marriage. When Hervé absconds with her money and life’s work, this ending initiates Undine’s journey and the dynamic momentum of the play.
Shepherded by the adept directing skills of Blain-Cruz, we watch Undine who Nottage moves from the interaction of this opening scene to an Undine “confidential. Upon the arrival of Agent Duva, Undine breaks the fourth wall and elicits our confidence to explain how she became “Undine.” Eschewing her Brooklyn ways, Undine confabulated herself. Undine is her new identity which she created when she bravely struck out on her own, as many of her race did before she moved “up from slavery.”
(L to R): Cherise Boothe, J. Bernard Calloway, Nikiya Mathis, Marcus Callender in FABULATION, OR THE RE-EDUCATION OF UNDINE,’ by Lynn Nottage, directed by Lileana Blain-Cruz (Monique Carboni)
Of course since the play takes place in the present, this metaphor of identity and race improvement stretches to a wonderful and sardonic breadth and length that only Nottage can evoke with clever dialogue and allusions. It seems Undine at thirteen left home on scholarship and morphed herself by attending an Ivy League school. Transformed into a player, Undine internalized upper crust values and negotiated/networked with the upper classes to become an entrepreneur. She achieved success externally.
However, Undine has not done the work internally. And it is this which snares her in the Hervé trap and sets her on a downward momentum externally and inner enlightenment. As life/fate/consciousness would have it, this all begins when Undine comes to a pivot with a mild physical breakdown at the critical moment. The FBI agent tells her Undine shows up on no records; they cannot find out who Undine is. (The irony is wonderful.)
With us as her confidantes, Undine shepherds us through her story that evolves with flashback scenes. From hospital to moving out of her office, the scenes quickly pace as Undine steps from the realm of the fantastic Undine “fabulation” closer to the authenticity of self. Ironically, the fantastic follows her and apparently is an integral part of who she is. She seeks a Yoruba priest who tells her she must placate the spirits who are angry with her. To ameliorate their ire it will take a bottle of rum and the last of Undine’s money. The priest informs her there is something she must do to straighten out her life. Of course it is the last thing Undine wants to hear. As if that weren’t extraordinary enough, Undine’s journey takes her to additional and amazing adventures in the “real.”
Nikiya Mathis, Cherise Boothe, Mayaa Boateng in FABULATION, OR THE RE-EDUCATION OF UNDINE, by Lynn Nottage, directed by Lileana Blain-Cruz (Monique Carboni)
Nottage shifts the dynamism alternating the action between Undine’s ironic story telling breaks to flashbacks of illustrative scenes relating her journey back to the fantastic real of Brooklyn. The director beautifully shepherds this ebb and flow and maintains the pace of comedy. We connect with Undine’s ironic comments and eagerly follow the rhythms of development in Undine’s “re-education” to discover who she is. For extreme fun, as fate and the spirits would have it, Undine is forced to confront every situation of Brooklyn street life she attempted to avoid when she ran away to her Ivy League education and “Undine” identity and lifestyle. Nottage’s sardonic situational humor is precious.
Ian Lassiter, Cherise Boothe in FABULATION, OR THE RE-EDUCATION OF UNDINE, by Lynn Nottage, directed by Lileana Blain-Cruz (Monique Carboni)
FABULATION, OR THE RE-EDUCATION OF UNDINE is just great for its comedy, complexity, questions about identity and culture, examination of issues about growth, and themes which all of us can take to heart. The superb ensemble who portray various roles in conveying Undine’s journey include Mayaa Boateng, Dashiell Eaves, Heather Alicia Simms, Ian Lassiter, Nikiya Mathis, J. Bernard Calloway, Marcus Callender.
The director deserves much credit with the actors for breathing life into this enjoyable and shimmering comedy. The staging is excellent, the pacing never drops the humor. Look for the little stereotypic bits which I dare not reveal for fear of spoiling the surprises.
Final kudos go to Adam Rigg (Scenic Design), Montana Levi Blanco (Costume Design), Yi Zhao (Lighting Design), Palmer Hefferan (Sound Design), Cookie Jordan (Hair and Wig Design).
FABULATION, OR THE RE-EDUCATION OF UNDINE runs with one intermission at The Pershing Square Signature Center until 13 January. You may purchase tickets at their website.
‘The Hard Problem’ by Tom Stoppard at Lincoln Center Theater, Reviewing a Profound Work
Chris O’Shea, Adelaide Clemens in ‘The Hard Problem,’ by Tom Stoppard, directed by Jack O’Brien, Lincoln Center Theater (Paul Kolnik)
The Hard Problem by Tom Stoppard initially premiered at London’s National Theatre in 2015. Since then, Stoppard tweaked the play. Director Jack O’Brien has given it another rendering for its New York presentation at the Lincoln Center Theater’s Mitzi E. Newhouse. The production intrigues, heavy with scientific and philosophical intent. When the epiphany arrives at the conclusion, heartfelt emotions stir us. Then we marvel at how Stoppard threaded the interplay of scenes and characterizations into a lovely fabric of hope and the culmination of faith’s efficacy.
As with all Stoppard’s plays, The Hard Problem deals with questions. These include questions about existence, faith, fate vs. coincidence, goodness vs. evil and divinity. He shores up these questions against the backdrop of current scientific debates about the brain vs. consciousness which encompasses what characters refer to as “The Hard Problem.” Indeed, neuroscientists suggest the brain creates consciousness. On the other hand some believe that existence may be characterized by the reverse, that consciousness creates humanity. This latter theory borders on intelligent design, that a greater consciousness formulated the universe and all that it encompasses in its beautifully coherent, complex and infinite display..
Of course much of science opposes the notion of Intelligent Design. And Stoppard presents the thesis antitheses continuum not only in the central questions of the play, but in his extrapolation of themes which playfully present various characters’ “take” on “the hard problem.”
As a result we are led to consider the possibilities of our existence through Stoppard’s sly, humorous perspective. For example one concept posited is that a human being is just a mechanism, a machine whose every cell function can be recorded via empirical data. Thus, after millennia, the evolution of the carbon life forms that currently exist, results from self-dealing and self-interest. Evolution and the idea of machine body survival relies on evolutionary instinct and egocentric action to preserve oneself and one’s species.
Adelaide Clemens (foreground) with Eshan Bajpay (left) and Robert Petkoff, in’The Hard Problem,’ by Tom Stoppard, directed by Jack O’Brien, Linclon Center Theater (Paul Kolnik)
The response to the computer model of existence can easily be breached by the aspect of consciousness. For example where does feeling and emotion come from, our thoughts brewing in the “mind”? Those do not show up on any brain scan or measurement. Science has no answer for what “the mind” and “consciousness” are. It cannot be measured on brain scans when folks in a coma or death states show no brain activity. Yet, if they have come back from that state (and many have) with incredible stories to tell about what happened “over there,” neuroscientists cannot adequately answer with proof. (For a further discussion of this check out the author Eben Alexander.) Looped into these arguments are discussions of ethics and morality, the desire to be good versus the impulse to trod on others to advance In consciousness, where do the impulses toward “ethics” and “morality” generate from when they do appear in human behavior? Do any of us act with altruism? Or is self-benefit the sum total of our “machine” behaviors?
The questions are heady. But Stoppard humorously frames them with events which illustrate the arguments as the characters’ behaviors and actions set them in motion.
As the play opens graduate student Hilary (Adelaide Clemens), and her maths tutor, Spike (Chris O’Shea), debate the impulses of egoism versus altruism, as a preamble to her receiving math help. Hilary has applied for a research slot with The Krohl Institute for Brain Science. Spike reviews the maths on the model she plans to submit in her application. After they have sex, Spike notes that Hilary prays. As a scientist and atheist, he remains shocked that she believes in God. Quips fly back and forth with a brief debate of His existence.
Robert Petkoff (foreground) and Adelaide Clemens in ‘The Hard Problem,’ written by Tom Stoppard, directed by Jack O’Brien, Lincoln Center Theater (Paul Kolnik)
Then Hilary raises “the hard problem” of consciousness. Unable to counter argue adequately, Spike diverts the conversation to helping her with her math. However, they continue to quip about morality, goodness, parenting, mother-love as Spike responds to her presentments with scientific Darwinian explanations for each. She leaves Spike with two comments which slide over him, but we remember for future reference. One thing she prays to God for is forgiveness and her prayers help her. Also, she affirms that to get this plum research position at The Krohl Institute, she needs a miracle.
In these initial scenes reside the conflicts and themes of The Hard Problem. As the intriguing events develop, we note how the characters highlight aspects of Spike and Hilary’s arguments. And as situations spool throughout the play, Stoppard demonstrates the callow, self-serving ethics of the scientific set, loosed from morality, ethics and concerns about divinity or consciousness. Indeed, as they unleash themselves upon the culture, we understand the value of their scientific perspective not “looking for” proof or adequate explication of consciousness. For the utility of humans as machine-like forgoes any measure of dealing with them in a way which is “consciously” kind, decent, moral, ethical, etc.
On the other hand, Hilary and those who believe in being good and evolving toward altruistic behavior, act with noble intentions and equanimity toward others. Of course some of the characters appear to manifest both altruistic and egoistic behaviors in a strange schizoid pattern. An acute example of this is in Stoppard’s characterization of Jerry Krohl, the owner of Krohl Capital and the chief founder of non-profit Krohl Institute for Brain Science.
(L to R) Jon Tenney and Katie Beth Hall in ‘The Hard Problem,’ by Tom Stoppard, directed by Jack O’Brien at Lincoln Center Theater, Mitzi E. Newhouse (Paul Kolnik)
Those in agreement with the machine aspect of existence are Amal (Eshan Bajpay), a mathematician, who adheres to Spike’s scientific perspective as does Urusla (Tara Summers). Each shows more than a share of egoism and a lack of fulfillment within. Leo (Robert Petkoff), who selects Hilary for the research position, Bo (Karoline XL), Julia (Nina Grollman) and Cathy (Katie Beth Hall), manifest finer behaviors. Jerry Krohl (Jon Tenney), compartmentalizes both perspectives related to the situation. He remains the perfect example of a moral relativist. When it “is required” for him to be cruel and self-serving to make money, he is. When the occasion requires he be loving, he is. Of course Stoppard reveals by the end of the play why Jerry Krohl has spent oodles of money on his non-profit in addition to the tax deductions his tax accountants most probably set up for him.
Throughout the play, Stoppard develops how Hilary’s perspective and her beliefs eventually lead her to develop as a person who evolves productively toward the moral, social good. We discover why she prays for forgiveness each night. And her ending up for a season to do research at The Krohl Institute for Brain Science leads to a revelation that exceeds coincidence. In a beautiful and satisfying culmination, Stoppard validates Hilary’s assertions about consciousness. Indeed, these manifest in a realm of divine goodness that Hilary seeks. In summation the miraculous finds sway in her life to bring comfort and peace.
That she receives what she prays for appears indeed miraculous against the backdrop of the machine perspectives of science that dismiss a deep understanding of the mind and consciousness. This is no spoiler alert. You will just have to see the production to engage with Stoppards’s humor amidst the profound, the philosophical, the divine.
(L to R): Karoline Xu and Adelaide Clemens in ‘The Hard Problem,’ written by Tom Stoppard, directed by Jack O’Brien, Lincoln Center Theater (Paul Kolnik)
In portraying Hilary, Adelaide Clemens reveals an iron vulnerability and truthful innocence. She smacks down Spike’s manipulations with assurance. She portrays Stoppard’s characterization of Hilary’s strength of will, her openness to the universe, her belief without religious dogma spilling out obtrusively. Clemens’ Hilary is becoming what she intends to be, an empathetic, good individual. We root for Clemens’ Hilary throughout the production. When the blessings come to Hilary, we celebrate with her and are deeply moved.
The ensemble adroitly shepherded by director Jack O’Brien work admirably as Hilary’s foils. O’Shea’s Spike and Bajpay’s Amal remain as the ballast for the arguments and actions presented.
Tenney’s Krohl intrigues with his perfect admixture of kindness with his daughter and cruelty with his underlings. He epitomizes the dark money forces as the ultimate operator of Krohl Capital whose billions come at the expense of others. As a symbol he represents most of the uber wealthy in our culture and reveals how they function. They compartmentalize morality, ethics, love, family. Finely tuning their rapacious greed and harmful, sweeping policies that impair and destroy the lives of many, they turn a blind eye to the results of their behaviors. Like fascism everywhere, they negotiate their own vacuous logic and get others to “buy in.”
Ironically, the scientific culture absent morality, ethics, goodness, absent the nod of assent toward the greater search for a comprehension of “mind,” and “consciousness” can be used as the very “irrational rationale” which justifies harmful sweeping policies set in motion by the uber wealthy and in the processes they employ to accumulate wealth. The perspective of the “machine” view of humanity nullifies the search for the divine in our lives and the acknowledgement that we can be self-less and evolving toward altruism. Instead, that perspective gives a green light for abuse and every attenuating impulse that foments human rights violations.
Stoppard, once again posits this conundrum of consciousness vs. the machine-body model in a pleasing way. The questions his characters raise manifest “the hard problem,” and exemplify, though some have suggested this is too “talky.” However, Stoppard offsets this by revealing the moral implications of the debate while we watch the characters follow their own journeys. Ultimately, we “get” where the dominoes fall for all for the principals, and we rally for those whose humanity and reliance on the “ethereal” compels us. As Stoppard uplifts us away from mechanical, how can we not empathize with Hilary and embrace her noble impulses. Hers is an affirmation of the soul’s flight toward the divine.
The play is one of Stoppard’s most lucid (I know many may disagree with me on this) and most uplifting. Especially in its final culmination, the power of Hilary’s revelation allows us to soar with her on the wings of joy. Our feelings release into the substance of what we seek with her. And it suits for the season.
Kudos to David Rockwell (Sets), Catherine Zuber (Costumes), Japhy Weideman (Lighting), Marc Salzberg (Sound), Bob James (Original Music).
The Hard Problem runs with no intermission at Lincoln Center Theater Mitzi E. Newhouse Theater, until 6 January. Especially if you appreciate Stoppard, do not miss this revelatory new work. You can purchase tickets at their website.
‘Network’ on Broadway, Starring Bryan Cranston
Bryan Cranston and cast in ‘Network,’ adapted by Lee Hall based on the Paddy Chayefsky film, directed by Ivo Van Hove (Jan Versweyveld)
Paddy Chayefsky’s gobsmacking 1976 film satire Network (directed by Sidney Lumet), provides a searing example of the noxious morphing of Broadcast News toward lurid entertainment. Also, its timeless themes about the ubiquity of corruption even in the banal news delivery business cauterize with laser-like precision. In transferring this amazing work to Broadway, only a devilishly adroit director could improve upon an already ingenious rendering of the nullification of the free press by corporate greed. It takes genius to tackle the already fantastic. Unsurprisingly, Ivo Van Hove has applied his brilliance to bring Network to Broadway after its London run last year.
The innovative Van Hove and the inestimably formidable Bryan Cranston as Howard Beale, the uncanny, knight-errant, news anchor of fictional UBS make Network a mind-blaster. Cranston’s performance leaves one speechless. With humanity and ferocity, Cranston believably renders Beale’s epiphany about his own life. As a result he elicits our compassion and captivates us into astonishment. We watch open-mouthed as he steps into Beale’s cavernous soul-depth. And we feel the emotional pull of Cranston’s Everyman and journey with him to the Beale abyss. Cranston achieves an immediacy and truth that coheres with our own empathetic understanding. We’ve been there! Truly, even if we remain complacent with every privilege in the world, we feel “mad as hell and refuse to take it anymore!”
Exhilarated with wonder after seeing the production, I recall the profound themes Van Hove’s exalted direction and Lee Hall’s succinctly adapted script present. Indeed, these resound for us today in the fake news Trumposphere. Increasingly, the news spills out “shock and awe” entertainment. For the sake of profits, facts, information and sourced material shift to the back burner. Judgment and reason become sacrificed to the audience lust for titillation. The difficulties of divining the differences between truth, reality, lies, obfuscations increase. Content appears subject to media company editors who must carefully negotiate around the mission of profit and not upset advertisers. The confounded viewer eventually stops seeking to be informed as a civil obligation. Notably, viewers have been overwhelmed by the cacophony of lies from the media nexus which depends on advertising dollars.
Sadly, as Network illustrates, if truth and a truth deliverer do somehow break through the confusion of white noise and find a following as Howard Beale seemingly does, he and his opinions, “the truth” are commoditized. Finally, when the truth is hijacked for its profitability, the service of one whose opinions authoritatively voice society’s zeitgeist will be undermined. Truth can never be commoditized, regardless of how much its seekers long to hear it. The once noble concepts of a free press and information sharing to keep the public informed and knowledgeable disintegrate in CEOs bank accounts.
Van Hove and Hall have reconfigured the already brilliant Paddy Chayefsky script to another level of currency with a few modifications. Though the time period and characters appear similar, in the case of Max Schumacher (the fine Tony Goldwyn), and Diana Christensen (Tatiana Maslany distills all we dislike about the rapacious female executive), their self-destruction appears to be more trenchant.
The ironies of Network’s plot development are still precious. The fired Howard Beale whose ratings slump cannot be overcome states on the air that he intends to kill himself on next week’s program. His unauthorized announcement creates a furor and a ratings spike. Indeed, competitor news media make Howard Beale front page headlines. From this point on Beale’s inner unraveling moves to center stage. Beale becomes the stuff of media legend. As the journey of his personal enlightenment grows with power and truth, he and it are commoditized. Enabled by his friend Max Schumacher (Tony Goldwyn), and ambitious up-and-comer Diana Christensen (Tatiana Maslany), who usurps Max Schumacher’s job with seductive abandon, Beale ends up becoming the superlative ratings darling of UBS.
Tony Goldwyn, Tatiana Maslany in ‘Network,’ directed by Ivo Van Hove, adaptation by Lee Hall based on the Paddy Chayefsky film (Jan Versweyveld)
Essentially the dynamic twists of Hall’s adaptation follow Chayefsky’s sardonic overload brought to an absurdist conclusion. Beale’s breakdown drives him to the edge of sanity and a fool’s genius. Notably, as Cranston negotiates Beale’s travels from the hackneyed to sublime revelation, he leaves us spellbound. His “mad as hell” rant arises from Cranston’s core of understanding the human condition. As he explodes with humanity and inner beauty, we align ourselves with his emotion. We marvel at what he has made us feel.
Despite Max’s plea for decency to take Howard off the air and stop exploiting his breakdown, Diana Christensen promotes Beale as the angry “prophet” of the airwaves. As spokesperson for millions of individuals, Beale enamors his fans with unscripted “truths.” On “The Howard Beale Show,” converted into something akin to a game show with us as the live audience, Beale’s ravings resound with passion.
Meanwhile, confounded by his own immorality and dissipation, Max leaves his wife Louise. I love what Alyssa Bresnahan does with Louise’s aria. Going against his own best interests, Max has an affair with the obscenely ambitious Christensen. As their relationship begins to crumble, the climax of the cacophony of chaos peaks. Cannily, Beale crosses a line that must never be crossed. He mucks with the corporate restructuring of debt. And Arthur Jensen, the CEO of CCA, the parent company, gets mightily pissed. Nick Wyman’s subtle, grinning malevolence as Jensen is just great.
Largely due to Bryan Cranston’s fantastic performance as Howard Beale, Network echos in our remembrance. As Howard Beale communicates truth to his television audience, Cranston brings our consciousness into the greater understanding of who we are as human beings. In Beale’s realization of who he can be, he reminds us of our value and our spirit and soul worth. When Cranston’s Beale expresses the anger which is more than anger and rage that is more than rage, it is as if he grasps our being, and we tie in with him forming a collective consciousness.
Indeed, Beale takes us to a level of human sanctity that was unimaginable at the top of the production. When at one point Cranston’s Beale joins the audience and sits next to two individuals for a confidential moment (he’s incredible in delivering the irrevocable ineffability of live theater), Van Hove turns the cameras on us. We see ourselves projected on television. It is impossible to ignore the truths of what we experience in the shadow of Beale’s soul light. Irrevocably, we awake and feel intensely because Cranston trusts Beale’s heart and conjoins himself and us with it.
(L to R): Bryan Cranston, Tony Goldwyn and the cast of ‘Network,’ directed by Ivo Van Hove, adaptation by Lee Hall based on the Paddy Chayefsky film (Jan Versweyveld)
For his part Van Hove has rendered the dynamism, artificiality and hyperbolic humming chaos of the TV production newsroom with seamless facility. We watch the recreated TV Studio live! Thus, we see the news projected on the big screen as camera operators live-capture Cranston’s Beale. And we note his various pilot fish (make-up, hair and clothing assistants, etc.), fussing over him. The immediacy of their actions powers up to build suspense about watching the “TV show.” Of course it is a show within a show. And we all become players!
Interestingly, the authenticity and the boardroom scenes reinforce the theme that “profit-motives propel television content” (we think of social media), to addict and brainwash. Media folks need us to appreciate sensationalism over rationality. And their obsession with the bottom line strips and devours the decency of all who work for the CCA company. Most importantly, we note the downward trend away from kindness, generosity and concern for others in Christensen, Frank Hackett (Joshua Boone), Harry Hunter (Julian Elijah Martinez) and others. In fact all who create such entertainment news reflect a craven amorality.
Additionally, Van Hove’s striking re-imagining of a TV studio and news room as a live play by play brings the action into our laps. We serve a dual function. With sardonic humor, Van Hove makes us a live and interactive, participatory audience as we applaud to “Applause” signs. Yet simultaneously, we watch the action on smaller screens featuring various channels which morph to the large screen for Beale’s news program. We participate, yet we distance ourselves as the voyeurs of TV’s “non-participatory experience.”
Interestingly, this meld of the two roles we play as audience members during “The Howard Beale Show” creates dissonance. For ultimately, we “get” that as the media audience (especially social media), we choose/control the content which is as good as our viewing tastes.
This production and all who create its fever, furor and fabulousness from actors to scene and technical designers impart a momentum that runs like an electric wave which ignites all it touches. The encounter provokes. It is as if by watching the downfall of Howard Beale, UBS, CCA and everything that was once moral and decent in the news business, we watch our own participation/contribution to it.
Chayefsky’s and Hall’s Network is the harbinger of the current social media devolution. “The news” has been atomized to fit every opinion or position based on skewed information and ear tickling “facts.” And it is these statements “of fact” that force us to a site like Snopes for fact-checking. Ironically, the site speaks more credibly of its being relied upon by non-readers and non-researchers than for its accuracy.
Bryan Cranston and the cast of ‘Network,’ directed by Ivo Van Hove, adaptation by Lee Hall based on the Paddy Chayefsky film (Jan Versweyveld)
The greatness of this production is in its expression as an immersive consciousness-raising satire/comedy/drama. For it compels us to interact with cognition and emotion in a weird connect/disconnect. On one level, Network, especially in its addendum video clips (no spoiler alert-you’ll just have to see it), becomes an intriguing call to action. We can be better if we demand better and do not settle for less. On the other hand, Van Hove shepherds Cranston, the excellent ensemble and the artistic designers to provide an incredible one-of-a-kind entertainment that makes us think long after we’ve left the Belasco Theatre.
Special kudos to Jan Versweyveld (Scenic & Lighting Design), Tal Yarden (Video Design), An D’Huys (Costume Design), Eric Sleichim (Sound & Music).
Don’t miss this one. You will regret not seeing Bryan Cranston and this fiery re-imagining of Network at the Belasco Theatre. The production runs with no intermission at the Belasco Theatre (111 44th Street), through 17 March. You can pick up tickets at their website.
Tulis McCall in ‘At Your Service,’ Directed by Austin Pendleton
Tulis McCall at Pangea, ‘At Your Service: Advice From a Woman Who Knows Better,’ directed by Austin Pendleton (Betsyann Faiella)
Whenever Tulis McCall performs I make it a point to stop by and catch her show if I can. I primarily do this for the laughs and the uplift. Watching her top off her crowd work with original riffs and exquisite pacing and delivery, I receive a healing. I completely identify with her wisdom about sex, male machismo, the mirror, hating the “shocking” physicality of aging, and the irresponsibility and obliviousness of youth concerning aging. Her humor about the terrifying impact of being referred to as a “woman of a certain age” stings with truthful riot.
There should be more Tulis McCalls around. Indeed, let’s get real: Boomer women outnumber most generational female groups. And of course, the more hysteria (as in LMAO) we have to assist us with the aging process, the easier the medicinal truth goes down.
Tulis’ latest edition from the consciousness-raising joke-sphere is entitled At Your Service: Advice From a Woman Who Knows Better. It shone, as do all of her performances. On Monday, 3 December, Tulis came out with a drink in her hand and advised all of us to join her. And so we did. Pangea’s back-room features a Cabaret/Dinner Club. It serves a nifty menu and most everything alcoholic your heart may desire. So there we sat and laughed with Tulis about ourselves as once more she “let it rip!”
Tulis’ humor strikes with sublime prickliness. About getting older she quipped and questioned. What happened? Like all of us, first she did a few things here – and then she made some statements there. Then came a few other things over there. Then, all of a sudden, ARGH! She’s facing a number once deemed an impossibility!
Time and age don’t work in tandem. Mental oblivion and time work in tandem. And when something, some pressure, some stress, some blip crosses our path, the revelation of age comes upon us like a tree trunk crashing on our heads. We can never return to our youth. This reality, enough to send folks off a cliff or into a bottle of Wellbutrin, becomes the hammer in Tulis’ toolkit of life-bending hilarity. Better to watch a Tulis performance. The only side effect you’ll sustain is laughter, which is good for your well-being. Especially if you are a thirty-something with “the darkness” of aging approaching.
Austin Pendleton, noted actor, director, playwright, and teacher, directed the show. Under his guidance Tulis’ moments of annoyance at life’s regrets prickled with authenticity. Her emotions of hating what she sees in the mirror seemed more pronounced. And her steely deadpan delivery appeared measured, cool.
The bits throughout were great. Some stood out for me. She shared a story from her teenage years about taking a break from life, and the vitality of doing this often. A shattering moment occurred when she was a teenager. She left school one day with one of the “cool” ones, a teen whose enviable insouciance made her popular and well-liked. When they went to a hamburger joint and ordered, the teen shocked Tulis by ordering “fries and a Coke.” She took a break from the routine, the regular, the sacrosanct marriage of meat and potatoes. In going to the irregular, she refreshed herself. The amazed Tulis didn’t know the possibilities of such a “transgression” until her adventure with the cool girl. Then and there she learned the importance of stepping outside the routine and beyond the box.
Indeed, the idea enthralls. Take a break from running around. What can be gained from the accumulation of anything, including educational degrees (how many lawyers have found this out when they discover they hate their jobs?). Take a break from ambition if you can. Don’t go out and buy something when stressed. And those activities on to-do lists should be thrown out, she quipped, especially if one has yet to do them. They will always be present and turn up on another list. This entire segment wowed us because of its wisdom and the stupidity of us not “breaking away.”
Her sound advice resonates in New York City where everyone’s a climber. The fact remains that the just-around-the-corner prize may be snatched away at any moment by an irrefutable fact that no one easily acknowledges: Immortality isn’t the inevitability we think it is.
Tulis McCall at Pangea, ‘At Your Service: Advice From a Woman Who Knows Better,’ directed by Austin Pendleton (Betsyann Faiella)
This became funnier when she asked the lifted hands of those who knew they would die. Of course all hands went up. When she asked how many of us believed it, really? Well, there wasn’t an overwhelming response. For those who fear truth, Tulis has a knack of helping one wrap one’s mind around the ridiculousness of one’s own self-deceptions.
Death is a fascist despot. There is no countermanding him. Thus one must confront one’s own conceptualizations of this despot with courage. So when Tulis cha-chinged this on her subject list to riff about, her funny approach brought miles of laughter. Twerking a blip in pacing, and timing, Tulis walked Death into our consciousness. Then she personified him/her/it with drink in hand, pulling up a a beach chair and sitting next to her. It may be my faulty memory, but Death should come calling with champagne or a martini. However, perhaps it was because I reached the end of my drink that I thought Tulis imagined him with one, too.
In any case that witty personification slays the fear and terror of death’s association. Maybe it’s because I am chilled by the horrors of Death characterized as skulls, gruesome Scream masks, and animated skeletons. So imagining Death in a beach chair suited me fine. And what I loved even more was that Tulis gave Death marching orders. Not ready to go, yet!!! Neither am I. And neither is anyone else, I imagine. The next time fears of Death poke their heads around the corner and try to dominate, I will throw a beach ball at them and picture Tulis’ absurdist personification of Death sipping a gin and tonic.
For a humorous wit and wag, Tulis is no joke, serious about her comedy as all fine comedians should be. She’s won awards including the 2016 Best Standup Award for Are You Serious? – A Woman of a Certain Age Inquires and the 2015 Best Storytelling Script Award from United Solo.
There are only three times the word “awesome” can be used, she told us. Having multiple orgasms is one. She discussed how young people refer to “women of a certain age” as “dear,” like an epithet. She has the perfect solution for correcting the gun problems in our country. I absolutely doubled over with belly laughs as she “took us to the visuals.” Her riffs about mirrors add up to a time in the funhouse. Her observations about our lives being a numbers game ring with wisdom. Indeed, she has become my expert about how to do a Walkabout in our culture as “a woman of a certain age.” This includes an addendum about how we didn’t get there, though everyone else thinks we’re past it.
Tulis McCall’s show at Pangea directed by Austin Pendleton ended the same evening it began, after about an hour and one-half. She will be performing at various venues. Watch out for notifications. In this time of raging White House infirmities, take a Tulis McCall break. You’ll be happy you did.
‘Clueless, The Musical,’ Presented by The New Group
center L-R: Zurin Villanueva, Dove Cameron and cast in “Clueless, The Musical,” a world premiere Off-Broadway production, from The New Group, at The Pershing Square Signature Center. (Monique Carboni)
Clueless, The Musical is a “blast from the past.” The opening projections flash photographs of people we associate with the 1990s (Bill Clinton, the Baldwins, etc.). A voice-over and vocals by Cher (Dove Cameron), her maid and others sing the song (Beautiful Life) from Ace of Base’s The Sign. The sweet, gorgeous teenage Cher, sums up her privilege, happiness and the fun of her “Beautiful Life,” with enthusiasm and hopefulness. Heckerling wrote and directed the beloved film Clueless, the basis for this Off-Broadway musical presented by The New Group and directed by Kristin Hanggi. Heckerling also contributed with lyrics.
The production in its world premiere is splendid! Especially if you love the film Clueless, you must see Clueless, The Musical. Truly, the music, dancing and spot-on singing by the principals adds to the exuberance, excitement and energy of the original story and characters.
The film Clueless was a smash comedy hit which still stands today because of the superb acting, tight screenplay and Heckerling’s clever, tongue-in-cheek direction. At the time of the film we enjoyed ranking on the Beverly Hills lifestyles of the rich and not so famous kids. Gritty New Yorkers riffed about their asinine assumptions, expectations and privileged boorishness. Clueless’s protagonist Cher (Alicia Silverstone was wonderful in the part), is an airhead, but her saving grace is her loving, generous nature and her ability to admit fault and reform.
Sounds familiar? The plot is an update of Jane Austin’s Sense and Sensibility. Heckerling performed a yeowoman’s effort in morphing times and settings and nailing with humor and irony Austin’s characters and their romances. In her adaptation, the modern events she selects to illuminate the growth of the characters are grand. The same applies for the musical.
L-R: Dove Cameron, Zurin Villanueva in “Clueless, The Musical,” a world premiere Off-Broadway production, from The New Group, at The Pershing Square Signature Center. (Monique Carboni)
Taking her successful film Clueless and transposing it into a musical, using 1990s music hits and adapting the lyrics to sync with the characters and situations, may seem a risky venture. Why? Many of us are up to our eyeballs in presumptuous rich folks, whose sense of privilege is nauseating. However, those who know Clueless appreciate the arc of Cher’s development, her foibles, her ridiculousness and her sparkling intelligence. As a character ripe for development and shaping, Heckerling has crafted a modern teen with whom women can identify and like, and men can find appealing.
Furthermore, Cher’s goodness is the antithesis of the privileged, ungenerous social set currently in political power in this nation, you know, those who would put children in cages at the border. Cher probably would be working with Miss Geist to do fund raisers to collect donations for the ACLU to help asylum seekers. Indeed, in seeing the safer, purer time of the 1990s, Clueless, The Musical is a relief, especially since our eyes have been opened and we are reeling from Trumpism in a divided country. This production is just what we need to ESCAPE from the present turmoil and chaos, sit back and have some much deserved fun being entertained without thinking about anything politically earth-shattering.
Center L-R: Gilbert L. Bailey II, Danielle Marie Gonzalez and cast in “Clueless, The Musical,” a world premiere Off-Broadway production, from The New Group, at The Pershing Square Signature Center. (Monique Carboni)
The production jets us back in time when the culture was carefree, the economy was hopping and Bill Clinton was the light-hearted, saxophone-playing president on The Late Show. Newt Gingrich and Monica Lewinsky are nowhere in sight. The setting is a time before Y2K, the Dot.com meltdown and horrors of 9/11. A funny joke from the 1990s? “What is Forrest Gump’s password?” Answer: 1Forrest1.
From the outset Cher assures us in song that her situation is beautiful. We understand that though she is from the upper class, she has suffered the loss of her mom. Well, to liposuction. (This gets a laugh.) Continually, Cher tries to get her Dad (Chris Hoch portrays all the adult males in her life, including her DMV Instructor, and speech teacher Mr. Hall) to eat right so she won’t lose another parent. Also, part of the family is her X-step brother Josh (David Thomas Brown). During Cher’s song, we become acquainted with the important people in her life, her schoolmates, best friend Dionne (Zurin Villanueva), her Dad and Josh. We also meet the various school cliques and learn that Cher is a member of the cool, happening crowd.
L-R: Talya Groves, Tessa Grady, Ephie Aardema, Dove Cameron, Zurin Villanueva in “Clueless, The Musical,” a world premiere Off-Broadway production, from The New Group, at The Pershing Square Signature Center. (Monique Carboni)
If you love the film Clueless, you will enjoy Clueless, The Musical. Essentially, the scenes and conflicts are similar with the same funny characters: the vacant Tai (Ephie Aardema), the snooty Amber (Danielle Marie Gonzalez) who we despise because she is like THOSE folks who are arrogant, privileged and presumptuous. Travis (Will Connolly), Miss Geist (Megan Sikora), Elton (Brett Thiele) Mr. Hall (Chris Hoch), Christian (Justin Mortelliti) round out the cast. A word about the ensemble. They are fantastic. Dove Cameron’s voice, movement and portrayal of Cher shines with adorableness and ingenuousness.
Cher’s friends Dionne and Tai are deftly rendered by Zurin Villanueva and Ephie Aardema, both of whom have fine voices. Tai is the new girl who Cher and Dionne take under their wing. They give her pointers like keeping away from the “grassy knoll” where the stoners like Travis (whom Tai likes), hang out.
The situations rock on. And the events follow in sequence humorously like in the film. Some of these include Cher negotiating an upswing in her grades, the party scene when Tai becomes interested in Elton, Cher’s mugging in the parking lot, the school dance when Josh watches over Cher and Christian, and the hysterical scene when Dionne mistakenly ends up on the Freeway. There is even Cher’s Driving Test.
The Driving Test is a turning point. After Cher fails she is insulted by Tai. But then she has a moment of realization. She must stop being “clueless,” must work toward the social good and turn herself around to be less narcissistic. At the bottom of her attempting to be match maker for Tai, she eventually acknowledges she yearns to make her own match. Finally, her match-making “prowess” pays off. By the time the students celebrate the wedding of Mr. Hall and Ms Geist she’s caught someone. Thankfully, happy endings do occur.
L-R (center): Dave Thomas Brown, Dove Cameron and cast in “Clueless, The Musical,” a world premiere Off-Broadway production, from The New Group, at The Pershing Square Signature Center. (Monique Carboni)
Each of these events are heightened with the music the energetic dance numbers and Heckerling’s dialogue interspersed with the songs to elucidate the action and feelings of the characters. Many 1990s music groups are featured as well as solo artists: Jill Souble (“Supermodel”), Acqua (“Valley Girls”), Deee’Lite (“Groove is in The Heart”), Natalie Imbruglia (“Torn”), En Vogue (“My Lovin'”), Spin Doctors (“Little Miss Cant’ Be Wrong”), Joan Osbourne (“One of Us”), N’SYNC (“Bye, Bye, Bye”) and more. The dialogue overlaps with the songs as some are reprised.
One noted change which clearly is an update occurs as Heckerling deepens the character of Christian. Indeed, Christian confides in Cher about being gay. He intimates it in one song and then confirms it in another song and they become friends. Justin Mortelliti does a fine job with his acting, singing and dancing in these scenes. Likewise, the songs which infer Cher’s and Josh’s growing feelings for each other engage us. The music heightens the ebullient atmosphere. The dancing, vibrant costumes and complementary scenic design cohere to make Clueless, The Musical a delight.
Mention must be made to the following musicians in the orchestra: Matthew Smedal, Charles Santoro, Marc Malsegna, David Lina-Burg, Amanda Ruzza, Adam Wolfe. And Kudos to Kelly Devine for choreography, Beowulf Boritt for scenic design, Amy Clark for costume design, Jason Lyons for lighting design, Gareth Owen for sound design, Darrel Maloney for projection design and Matthew Smedal for music direction. Music supervision, arrangement and orchestration is by Ethan Popp.
Clueless, The Musical presented by The New Group runs with one intermission at The Pershing Square Signature Center, 42nd Street between Ninth and Tenth Avenues. The production closes on 12 January 2019. You may pick up tickets at their website.
The 27th New York Botanical Garden Holiday Train Show Splendors
Replica of Enid A. Haupt Conservatory, NYBG, 27th NYBG Holiday Train Show, Applied Imagination (Carole Di Tosti)
27th Holiday Train Show, 3000 ft. 360 degree extension, New York Botanical Garden, Applied Imagination (Carole Di Tosti)
Once a year The New York Botanical Garden gets dressed up in the reds, greens, whites, sparkles, golds and silvers that echo all that is bright for the wintry weather and coming cold and snow. Though some dislike all the fuss of the holidays, I enjoy it, because I visit family and friends. Thankfully, I don’t have a tree and pets to wreck it.
27th New York Botanical Garden Holiday Train Show, Applied Imagination (Carole Di Tosti)
27th NYBG Holiday Train Show, Metro North, Applied Imagination (Carole Di Tosti)
I help decorate my family’s trees and enjoy the celebration of present giving especially with my young nephews and nieces. For folks like me who tangentially celebrate with friends and family, but don’t do a lot of decorating at home, the New York Botanical Garden is the place to go to feel festive. And what makes the Garden especially celebratory during the holidays is their annual train show.
St. Patrick’s Cathedral, NYBG Holiday Train Show 2018, Applied Imagination (Carole Di Tosti)
A vista of Bridges, NYBG Holiday Train Show 2018, Applied Imagination (Carole Di Tosti)
Each year various innovations are made. Displays change. Sometimes, I find I lose whole areas of New York City replicas (Coney Island, Central Park, Museum Row,) that normally are featured together. When I don’t see them, I wonder if they have been saved and stored for next year. But then I find them again in a different section of the Enid A. Haupt Conservatory than they were the previous year. Indeed, there appears to be an infinite variety of placements of the over 175 replicas that compromise the permanent Holiday Train Show collection that collaborators Applied Imagination and NYBG create for one of the most well attended events the Garden offers.
Elephantine Colossus, Luna Park Gate, Coney Island, 27th NYBG Holiday Train Show, Applied Imagination (Carole Di Tosti)
Thousands of first-time tourists, visitors and members attend each year, participating in Bar Car Nights, the Holiday Tree and Minorah Lighting Ceremony, the Annual Bird Count and much more. However, the central themes of winter reside in trains as a throwback of the past. Ironically, they are the most mechanized feature of the train show along with the colorful lights interspersed throughout. For Founder Paul Busse eschewed using the plastic villages that came with model trains. When he decided to make his architectural “villages” of organic plant parts to husband the environment and throw down the “fake,” it was a boon. For every model, ever bridge, every house, gate, feature he and later others on his staff designed, use as their building blocks plants: twigs, bark, acorns, gourds, fruits, seeds, leaves, ferns, fungus, moss, nuts, nut shells, plant fiber and much more.
Palms of the World Gallery and Reflecting Pool, One World Trade Center and Maritime buildings NYBG Holiday Train Show 2018 (Carole Di Tosti)
Detail of the Oculus, One World Trade Center, Palms of the World Gallery and Reflecting Pool, NYBG Holiday Train Show 2018, Applied Imagination (Carole Di Tosti)
The Oculus at the foot of One World Trade Center, Palms of the World Gallery and Reflecting Pool, NYBG Holiday Train Show 2018 (Carole Di Tosti)
Both Applied Imagination who creates the stupendous replicas of iconic New York City buildings and the New York Botanical Garden team work like Santa’s elves for two weeks. During that time they set up the more than 25 HG model trains that skip and breeze over 1/2 mile of track non-stop during the daytime when the Garden is open through 6 pm when it shuts down. Then the trains glide from 7-10:30 pm on select Bar Car Nights, their headlights glinting through the dark mystery of the Garden’s dense, exotic evening atmosphere.
Lower Manhattan Display, Bronx ferry and buildings, Palms of the World Gallery and Reflecting Pool, NYBG Holiday Train Show 2018 (Carole Di Tosti)
What those who have been attending the show for a while and certainly the newcomers do not realize in this 27th year of the Holiday Train Show is its evolution. Each year buildings have been added to the collection. Paul Busse always strives to forge out and tackle the different and unique, so he and his creators in Applied Imagination’s Alexandria, Kentucky Studio plan ahead with conceptualizations. After decisions in collaboration with the NYBG team, then the drawings are finalized. Then the construction begins and all is completed around the time the Garden staff strikes down the fall exhibits in the Enid A. Haupt Conservatory, the soil is regraded and plants chosen and prepared to feature the Holiday Train Show’s old and newly fabricated models.
Exquisite detail of the seeds, flower petals and twigs that comprise the stained glass windows of St. Patrick’s Cathedral replica, NYBG Holiday Train Show 2018 (Carole Di Tosti)
Laura Busse Dolan, owner of Applied Imagination (Carole Di Tosti)
The journey from start to finish is a prodigious one, but the Applied Imagination team headed up by owner Laura Busse Dolan are practiced artisans. Clearly, they enjoy giving children and adults pleasure which one can easily assess just walking from one end of the conservatory to the other listening to the kids screams (daytime exhibit) and seeing adults relaxed amble with drink in hand through sections of the conservatory during Bar Car Nights. Those nights or Member Days are a great time to reconnect with friends, lovers and partners while enjoying the splendors of the Garden’s wintertime loveliness.
New York Public Library replica, NYBG Holiday Train Show 2018, Applied Imagination (Carole Di Tosti)
The festive and popular Bar Car Nights on select Fridays and Saturdays from 7-10:30 pm, December 15, 21, 22, 28, 29, January 5, 12. for adults over 21. Have a bite to eat fro the Bronx Night Market Holiday Pop-up, There are fire pits in the Leon Levy Visitor enter. Watch live ice-sculpting demonstrations, sing along to favorite tunes with dueling pianos in the Pine Tree Cafe and listen to roving a cappella groups as they guide you through the Garden.
Join former U.S. Poet Laureate Billy Collins for a special reading of poems on December 16 at 2 pm. New this year as part of the Kids’ Poetry Contest and in partnership with the Poetry Society of America, Collins will select 12 winning poems to be displayed at NYBG during the Holiday Train Show. And the student authors will share their work during the special reading.
For special programming during the Holiday Train Show 2018, go to the New York Botanical Garden website.
‘Wild Goose Dreams,’ at The Public Theater
Peter Kim, Michelle Krusiec in ‘Wild Goose Dreams,’ by Hansol Jung, directed by Leigh Silverman, Public Theatre (Joan Marcus)
Wild Goose Dreams by Hansol Jung, the captivating and uniquely relevant production currently at the Public Theatre, promises no hackneyed storytelling. Its settings of South Korea, North Korea, social media platforms, and individual consciousness meld irreverently and ingeniously. Directed by Leigh Silverman, Jung’s characterizations and plot receive the clever staging and conceptualizations they deserve. Coupled with sensitive performances by lead actors Peter Kim, Francis Jue, and Michelle Krusiec, this innovative work is vibrant and exciting.
Intriguingly, the production accomplishes this while striking into hot themes about virtual dependency. Traveling through disparate settings, we avidly follow the characters, empathizing with their loves, aspirations, and dashed dreams and hopes.
Michelle Krusiec, Francis Jue in ‘Wild Goose Dreams’ by Hansol Jung, directed by Leigh Silverman at the Public Theatre (Joan Marcus)
The production’s dramatization of the ever-presence of virtual reality in our lives becomes one of the annoying yet graceful saving impulses that ping the characters throughout. For Guk Minsung, virtual reality becomes a way, however ineffective, to try to acquaint himself with his daughter, separated from him by time and distance. For Yoo Nanhee it remains the way through which she attempts to deal with her guilt after leaving family, boyfriend, and friends to escape from North Korea to South Korea. And for Minsung and Nanhee it is the medium through which they, like countless others, attempt to ameliorate gnawing loneliness and the pain of grappling with their own inner struggles, regrets, and self-flagellating failures.
The rhythmic propulsion of the internet intrudes on our consciousness like an addiction. Jung and Silverman convey this with the ensemble’s kraks, “beeps,” and 111001s, evoking in rhythmic poetry the allure of connecting with others across social media. The effect achieved is astounding and grindingly inescapable. As a thematic metaphor the humor and “randomness” conveyed simultaneously made me laugh and threatened like a monster.
Michelle Krusiec and Peter Kim in ‘Wild Goose Dreams’ by Hansol Jung, directed by Leigh Silverman (Joan Marcus)
But before this sensory assault, the Father (a wonderful, emotionally varied portrayal by Francis Jue) recalls an ancient process of communication: oral bedtime storytelling. The fable he relates to Nanhee tells of an angel who flies to earth with fellow angels. Her flight robe stolen by a woodcutter, she is forced to remain earthbound. Despite the woodcutter’s love, his care for her, their marriage, children, and growing old together, when the angel finds her buried robe, she flies away. The Father reinforces the theme: If one has a choice between family and flying away, fly!
The myth becomes Nanhee’s haunting reality. And the theme of selecting flight over family threads throughout the entire play. Not only is it acute for Nanhee, whose physical flight from North Korea floods her soul with guilt, fear, nightmares, and regrets. This flight from family also abides as a central theme in the life of Minsung, who remains in South Korea. Separated from his wife and daughter, he financially supports them, living “small” while they create a better life in America against a time he can join them.
Yoo Nanhee, whose Father told her the story as a child, becomes plagued by it. The nightmare myth worsens in her imagination even after her “successful” integration into South Korean culture. Should she return to family? Has her flight put family in danger? To stem the tide of anxiety when a conversation with her Father provokes her sense of failure in her new life, she goes online. A “love” platform invites her to seek a man, so the next time she speaks to her Father she won’t lie to him anymore about being married with sons.
Peter Kim and ensemble of ‘Wild Goose Dreams’ by Hansol Jung, directed by Leigh Silverman (Joan Marcus)
Likewise, Minsung goes online because he is lonely for his wife and daughter. He cannot fly to them or “fly from them” to a new life until he finds someone to fly with.
Continually intruding on this couple is the allure of virtuality, where one can connect with family and friends, especially if one is estranged from them. Also, the chance at meeting someone on a dating platform enthralls and addicts. Both take the plunge. The effusion of noises signifying the devices humming to retrieve information we need and our comments and responses to what we read or search for online puts us on overload.
Nevertheless, Minsung and Nanhee meet online. From that they move even more quickly to have sex, converse, know a bit of each other, then separate. This attempt at bonding becomes as ephemeral as digital 10110s. But the impact they have on one another remains unmistakable. The reality of their live, physical meet-up, coupling, and conversation becomes irrevocable. Jung’s argument for supporting the virtual as a meld with live exchange titillates.
Ironically, their head-on, live, intimate interaction also exacerbates their personal struggles and issues. With their power of dynamic confrontation, living interactions have a way of forcing growth. Eventually, both enter a crossroads. Though they meet only one more time, the exchange motivates each to act almost in a parallel reversal. One indeed returns to family. The other flies away. These decisions lead to fascinating, unexpected results.
Peter Kim, Michelle Krusiec in ‘Wild Goose Dreams’ by Hansol Jung, directed by Leigh Silverman, Public Theatre (Joan Marcus)
This brief description cannot intimate the profound themes of Jung’s drama, which is both humorous and tragic. Nor will I define the fantastic dreamscape of Nanhee’s imagination, wonderfully evoked by Silverman’s interpretation of Jung’s story using surreal characters. I will state that Jung effectively employs clever, striking symbols and metaphors that the production chillingly brings to life. The match symbol is particularly revelatory and poetic. You will just have to get to the Public Theatre to witness for yourself the surprise, the production’s danger, beauty, pathos, and uplifting poignancy.
Peter Kim’s performance as Guk Minsung builds, turns surprisingly, and blossoms with his versatility. He remains touching and heartfelt at the conclusion. Michelle Krusiec’s Yoo Nanhee reveals a subtle range of emotion. She moves from shock to anger, numbness, and cool indifference. Indeed, her aloofness masks the turmoil underneath. And the dominant, sinister, mythic Father portrayed with precision by Francis Jue charges and gives grist to the other portrayals.
I particularly enjoyed the adroit costumes, lighting, and scenic and sound design, which cohered with the themes, characterizations, and story development. Special kudos are due Clint Ramos (Scenic Design), Linda Cho (Costume Design), Keith Parham (Lighting Design), Palmer Hefferan (Sound Design), Paul Castles (Composer), Jongbin Jung (Korean Music Composer), Charity Wicks (Music Supervisor), Lillis Meeh (Special Effects Designer), and Yasmine Lee (Movement Director). Finally, I liked the water effects and the recreations of club settings. The projections used to convey these coupled with the lighting provided colorful interest.
And to the ensemble, who effectively evoke the technological platforms and digital thrumming that have sorrowfully yet vitally become our lifeblood, more kudos. The ensemble includes Dan Domingues, Lulu Fall, Kendyl Ito, Jaygee Macpugay, Joel Perez, Jamar Williams, and Katrina Yaukey.
Wild Goose Dreams is at The Public Theatre, until 16 December. Tickets are available online.
‘Thom Pain (Based on Nothing),’ Starring Michael C. Hall, an Existential Crisis With Humor
Michael C. Hall in ‘Thom Pain (Based on Nothing),’ by Will Eno, directed by Oliver Butler (Joan Marcus)
Playwright Will Eno’s one-man show Thom Pain (based on nothing) flies any way you like it. Surely, this depends upon that day’s audience’s intellect and responses. Indeed, one focus of the production entails the shared consciousness between Thom Pain and his listeners. Layered, multi-dimensional, this ethereal communication blossoms in the world created between the audience and Michael C. Hall as Thom. Reflecting upon this daunting effort comes a startling idea. This consciousness creation captivates beyond knowing every performance is different because it is live.
The portrayal of Thom Pain in the hands of Hall shepherded by Oliver Butler makes this production live theater on steroids. Hall’s very present performance magnifies each moment. The impact is powerful. Indeed, Hall’s Pain with subtle humor plows into the sardonic and tragic-comic furrows of our own humanity. He does this through contradictory impulses. On the one hand, as Thom he attempts to suppress his feelings and “manage them.” On the other hand he feels compelled to express/expurgate what makes him and all of us human: feelings of hurt. We understand the tense conflict between the compulsion to reveal and the desire to suppress. Daily, we accomplish this with friends, acquaintances, and ourselves, whether we admit it or not.
Michael C. Hall in ‘Thom Pain (Based on Nothing),’ by Will Eno, directed by Oliver Butler (Joan Marcus)
By extension these apparent contradictions in Thom create the tautness we feel when he pauses or pointedly addresses us by the royal “you.” Hence, we identify with his inner conflict to express and repress. Also, the tension helps to create immediacy. For Thom tells us whatever he wishes with urgent authenticity. And his suppressed pain guides his childhood revelations. Is he conscious of his suppressed pain? Certainly, it evidences in his demeanor, hesitations, attempts at humor, and need to talk to us.
Directed with a stark relevance and clever re-imagining, Oliver Butler spins out Eno’s irreverent, perplexing, Beckett-like piece. Thom’s ramblings move into places that settle on topics with uncertain happenstance, like the flight and landing of a wary sparrow. And then Eno, Hall, and Butler spiral the piece in a completely different direction. This is a superlative plot twist, as if a sparrow startled itself unexpectedly, then rapidly skedaddled.
Notably, Thom often redirects back to us. He puts us “on the line” for examination and a silent or vocal refrain as he confesses his observations about his life. At one point during this audience-participatory moment, an individual did respond orally when Hall’s Thom asked for a volunteer. The individual commented about a time he volunteered to go on stage during a Spalding Gray production. Hall responded as one would imagine Thom Pain as Hall would respond (not the other way around). The audience chortled and guffawed.
Michael C. Hall in ‘Thom Pain (Based on Nothing),’ by Will Eno, directed by Oliver Butler (Joan Marcus)
That exact moment with that particular audience and that gentleman remains the quintessential element of theater. It was classic, alive, and immediate. And it will never be duplicated, not even if all the same individuals returned to try to repeat it. Great theater should be about the unrecapturable, spontaneous life evoked by actors. That life spiritually refreshes. It’s priceless and breathtaking.
Likewise, Hall’s performance enlivens, refreshes, rejuvenates throughout. Ironically, the content, the playwright states, is based on “nothing.” So process rather than content activates the audience. But, sans the content conveyed by the consciousness between Hall and his audience, no “life” would be possible. Hall’s Thom and Eno’s words and Butler’s direction find their perfect union in receptive ready minds.
Such production artistry occurs when the key players open themselves to the universe. Whatever Hall’s Thom appears to seek from us at each moment carries us all to the next string of moments in the show. This immediacy, made possible through Hall’s many superlative talents, strikes humor and wariness into the audience’s hearts.
For his part when Hall ventures into the audience and/or asks for a volunteer, we turn on high alert. Hall’s relaxed graceful performance as Thom, never moves to result. He breathes with the rhythms of Eno’s Everyman clown stuck in a consciousness of others. Subsequently, his attempt at movement continually displaces him back to his key hurtful childhood incident. And it sends him to other highpoints in his life from which he attempts to make particular sense. Ironically, these efforts turn into a weird null. But he, Thom, Michael C. Hall so captivates, we stay with him curious about where he goes.
Michael C. Hall in ‘Thom Pain (Based on Nothing),’ by Will Eno, directed by Oliver Butler (Joan Marcus)
The ironic parenthetical in the title “based on nothing,” implies that Thom Pain’s musings before the audience lead no where and come from “not much,” in his perspective. Not so! The very profound themes of existence, consciousness, life purpose, memory caught up among the ordinary, off-handed remarks lead us to questioning joy. With the incredible acting instrument that Hall employs, we become enthralled from beginning when darkness engulfs the entire theater, to ending, when Hall asks the audience the ultimate question. And I of course in my mind as other audience members did made a choice. We answered or ruminated without answering or sat shocked or took on a myriad of audience mental responses to his question.
By the outburst of applause afterward, Eno, Hall and Butler hit their target. Strangely, I felt not only uplifted but cleansed of the last year and one half of angst-ridden and confounding “breaking news” stresses. What a pleasure to communicate mentally, silently with Hall as Thom Pain.
Any day, give me the existential crisis of attempting to make sense of the uncertainty of consciousness, of shifting memory, felt emotional loss, pain and the clown struggle of existence. At least my mind wasn’t being assaulted with the president’s narcissistic pronouncements in a time, place and space which daily confounds him and menaces a majority of the citizenry. After seeing Thom Pain, I am reminded to laugh. If our body politic is at a critical mass of mess, so? My answer to the last question of the play suffices with my laughter!
Hall’s performance will be up for nominations as will Butler’s direction, most probably. The actor’s sincerity and the moment to moment life he breathes through Eno’s words washes over one like a beautiful, clear river. Just wow!
Thom Pain (Based on Nothing) slides through your viewing appreciation without an intermission at The Pershing Square Signature Center in NYC. The production has been extended through 9 December.
CAROLE DI TOSTI 