‘Stranger Things: The First Shadow,’ Stunning, Thrilling, High Wired
Stranger Things: The First Shadow
The ordinary and extraordinary contrast in this theatrical prequel set around 27 years before the Duffer Brothers’ Netflix series Stranger Things begins. Kate Trefry wrote the two-act supernatural, sci-fi-thriller origin story of fearsome Henry Creel’s genesis of terror. The story was originated by the Duffer Brothers, Jack Thorne (Harry Potter and the Cursed Child), along with Kate Trefry. For those familiar with the series, no introduction is needed to the theatrical presentation currently at the Marquis Theatre. The production transferred from the West End in London to Broadway where it opened on April 22nd. For an example of some of what you’ll see on Broadway, albeit with a West End cast, except for the superb Louis McCartney who reprises his role as Henry Creel, check out the 2024 West End Trailer.
For those unfamiliar with the series, the production can stand alone, though audience members must remain quick-witted to follow the rapidly paced, brief, myriad scenes directed by Stephen Daldry and co-directed by Justin Martin to catch onto the macabre identities of the wicked paranormals that struggle to inhabit the otherwise hapless Henry Creel, a victim of being in the wrong place at the wrong time. The plot development of Stranger Things: The First Shadow riffs off Season 4 of the Netflix series, which is set in 1986, and features the nefarious Vecna, the “evolved” Henry we are introduced to as a struggling victim in this Broadway production set in 1959.
However, there is another layer and flashback to WWII which is the phenomenally brilliant opening of this production. This event illuminates how all of the series’ horrific, paranormal folly began.
Trefry and the gobsmacking creative technical team take us back to a weird rumble in the space time continuum that happened in 1943 that we see live on the stage and surrounding us as photographers circle up and down the aisles of the theater to film an incalculable experiment. Trying to gain an advantage over Nazi Germany, scientists attempt to make a US battleship invisible as a new weapon to evade the German submarines patrolling the waters, yet have it capable of firing at and destroying German U boats. In the process the “invisibility” experiment fails and there is a devastating explosion which breaks into the multiverse fabric of time’s layers and results in the extraordinary and the unexplainable of “Stranger Things.”
It would seem all men onboard the U.S.S. Eldridge are lost. Hold that thought for later in Act II. One of them is alive and “the government” via mercenary scientist (conspiracy theorists will love this), Dr. Brenner (the frigid, android-like Alex Breaux), takes advantage of what happens to the body of the only remaining naval officer who survived the catastrophe. (Well, after all, the officer volunteered for the experiment-no liability lawsuits by “family” possible.)
This astounding feat of technical illusion at the top of the production is breathtaking and prepares the audience for more of the same at the directors’ fever-pitch pacing throughout. Awards will certainly go to the teams that create the supernatural horror-illusions. The visual-effects design is by Jamie Harrison and Chris Fisher (“Harry Potter and the Cursed Child”). The video design and visual effects are by the 59 company. Additionally, with Paul Arditti’s sound design and Jon Clark’s lighting, the production becomes an animated, frightening, “telekinetic” wonder.
After this terrifying, immersively staged flashback, we step forward to 1959 in boring, mundane Hawkins, Indiana, a contrasting setting and hopeful place of refuge. There, Henry moves with his parents Victor (T.R. Knight), Virginia (Rosie Benton) and younger sister Alice (Azalea Wolfe on Saturday evenings). Henry’s paranormal talents, apparently unwelcome yet alluring, have allowed him to harm someone in his previous high school during a macabre event. This prompted the “perfect” family to leave and seek peace elsewhere. However, the circumstance involving Henry upset his mother, Virginia. She counsels Henry to repeat when he becomes anxious, “It’s not real. I’m normal. I’m Henry Creel.”
Part of the enjoyment of the uncanny horribleness of it all is how Henry attempts to be “normal,” but founders miserably at it. He is so, so creepy and preternatural. McCartney is just too good as an embattled, “terrified of himself” Henry.
As an isolated and lonely individual who only feels comfortable playing his radio, Henry fortunately does meet someone in his current high school with whom he can share a bond. Patty Newby (Gabrielle Nevaeh), is adopted and is emotionally abused by her father, and insulted by the high school students. As an obvious outsider, she and Henry (McCartney’s shy, weird, strange, pale, electrically-wired persona is incredibly effected), find solace in one another. Henry uses his powers to help her imagine and then “dream-manifest” her mother, who she discovers is alive. On the other hand, Patty helps deter Henry from submitting to the encroaching evil forces by inspiring him with her affection and attention.
In a tie-in to the plot as pets are being killed and students become involved in investigating the “whodunit,” the play includes the youthful versions of the older TV characters familiar to fans of the series. Patty’s brother, Bob (Juan Carlos), is the pudgy brainiac and the founder of the Hawkins High A.V. Club, instrumental in locating the source energy where “something is going on,” and turns out to be Henry’s house where indeed, more than something is going on. The police chief’s son, James Hopper Jr. (the endearing, funny Burke Swanson), and the high-pitched, theatrical Joyce Maldonado (a frenetic Alison Jaye), also form a bond. Joyce is the director of the play that brings Henry and Patty together. Joyce and Hopper, Jr. join efforts with Bob to find the pet killer to get a $100 reward (a lot of money back in the day).
Additionally, the three help Patty discover what happened to her father, Principal Newby, after he went with Victor Creel to confirm his daughter Patty and Henry were “hanging out” (a “no-no”), at the Creel house. When Principal Newby grabs daughter Patty to take her home, the wicked being attempting to overtake Henry rises up and Vecna (what Henry evolves to later in the 4th series), thunders loudly, “She’s ours.”
As Henry struggles to reject the evil, the scene culminates with a bloody attack. Though Bob, Hopper, Jr. and Joyce believe that Victor Creel is the animal killer, we anticipate the growing malevolence is overtaking Henry, and Patty, who says she is not afraid, is in danger. This becomes especially so when the others and Patty discover her father, Principal Newby, has been savaged and no one knows quite what happened. However, after he is given “mouth-to-mouth” he proclaims, “Find the boy. Save the boy.” as his bloodied, vacant eyes stare out of blackened, emptied sockets. Like blind, prophet Tiresias out of Greek mythology, Principal Newby prophesies save Henry or doom them all. But save him from what? From whom?
Aware that her son needs help, her husband can’t deal with his PTSD from WWII traumas and a terrible murderous event he caused, Virginia calls up specialist Dr. Brenner. He will be the one to help Henry as the good doctor takes Henry away into his care and where he conducts interesting lab tests and experiments to divine his preternatural behavior. Little does Virginia realize what Dr Brenner’s help entails and how she just made the worst decision of what is left of her life, her daughter’s life and her family’s sanctity and safety. With Dr. Brenner’s introduction, the intermission comes and the audience is stunned and exhausted wondering how Act II can be whipped up with an even greater accelerent into chaos and frightfulness.
No need to wonder. The creative team pulls out all the stops for Act II to explode and technically materialize the creatures and the themes that grace the series. By then we understand that Henry no longer exists. Like many we see today in our culture and society, he has been completely subsumed by another identity altogether. And it isn’t kind, decent, loving or generous. It is a horrible, paranormal, deplorable.
This is an incredible production which resounds visually and aurally long after you have left the Marquis Theatre. Louis McCartney steals the show as Henry. You can’t take your eyes off him expecting the best or the worst. His performance is brilliantly conceived. Gabrielle Nevaeh as his second, for a time, is empathetic and we are happy to see that she makes it through to the end. The ensemble does a fine job of tossing the ball back and forth to the one with the greatest scenes to steal. And the effects are more than breathtaking, along with the superb set design (Miriam Buether), period costume design (Brigitte Reiffenstuel), and Daldry and Martin’s staging and direction. You will be wondering how the effects were achieved, but then you also wondered in the same way when you saw Harry Potter and the Cursed Child.
Stranger Things: The First Shadow is a spectacle and in every way a credit to the series with a budget to prove it. It runs 2 hours 45 minutes with one intermission at the Marquis Theater on 46th St. between 7th and 8th. If you love the franchise don’t miss it. If you are not one for the macabre, the chill-thrill-shocker ride to hell and nightmares, see it anyway. It is a phenomenon for the technical skill displayed. As such productions like this don’t come around very often and should be appreciated for the artistry and skill to employ digital wizardry more easily accomplished in the film and TV medium than in its conversion to theatrical stagecraft. strangerthingsonstage.com.
‘Old Friends’ the Fabulous Sondheim Revue with Bernadette Peters and Lea Salonga
Who doesn’t adore Stephen Sondheim’s mastery of the Broadway musical, mentored to him by lyricist and playwright Oscar Hammerstein II? I am loathe to admit I am late to the Sondheim party, not being familiar with all of his musicals. However, the marvelous Old Friends revue, currently running at Manhattan Theatre Club’s Samuel J. Friedman Theatre is a superb opportunity for fans old and new to celebrate Stephen Sondheim’s genius and rediscover some of his greatest songs. But don’t wait too long to get down to the Friedman. Old Friends is in a limited engagement which ends June 15th unless it receives an extension.
Who better to give tribute to Sondheim’s genius than friends who starred in Sondheim’s productions? In the current revue these include some of the cast who were most recently in the Los Angeles production of Old Friends in its North American premiere (February 13 through March 9, 2025). They reprized their roles in the Broadway transfer in March which opened on April 8th. Additionally, Peters and Salonga reprized their roles from London’s West End where Stephen Sondheim’s Old Friends played in a limited engagement at the Gielgud Theater until January 6, 2024. The history of how this production evolved is fascinating. See below snippets from the West End production to get an idea of what you’ll be seeing on Broadway.
With their voices, power and humor Bernadette Peters and Lea Salonga are perfect celebrants of the Sondheim cannon. Cameron Mackintosh wasn’t the first to come up with a revue of Sondheim’s songs. That was Hal Prince’s “Side by Side by Sondheim” in 1976. Then Cameron Mackintosh convinced Stephen Sondheim an update of his music was needed and created “Putting It Together” in 1993. “Stephen Sondheim’s Old Friends” is the third revue and the first one in over 30 years in the US after its run in London.
Following the typical format of revues Old Friends doesn’t stray too far, and for some, that will be a joy. However, what makes this production special is not the selection of songs (41), but who brings out new interpretations amidst a backdrop of various suggestive sets alluding to the shows, i.e. Sweeney Todd, West Side Story, Into the Woods, Sundays in the Park With George, Follies (thanks to Matt Kinley’s scenic design) and George Reeve’s projection design. Vitally, there is a segue into clips of “the man” himself and photographs which strike the heart and make one want to read everything that’s out there about Stephen Sondheim.
Jill Parker’s costume design is clever and thoughtful. For example she features Bernadette Peters in a red cape, ready to fend off Jacob Dickey’s wolf with perky ears, giving both performers the fuel to be humorous and endearing in “Hello LIttle Girl” from Into the Woods. Peters makes the most of her comedic funny bone when warranted. She is imminently watchable and mesmerizing. Though the production features Parker’s sleek and front slit gowns-a-glitter, silk jackets and tuxedos, whether show-inspired costumes or concert level TV variety show type costumes, they give off a sheen and a comfort level of old-fashioned nostalgic glamour that is soothing in these rough times heading for what many fear will be a tariff-created depression.
The production holds the emphasis on songs from “Sweeney Todd,” “Company,” “Follies” and “Into the Woods.” Actually ‘”Sweeney Todd” has the largest song selection and the most elaborate looking set design even down to the pies, oven, and barber’s chair where Sweeney slits a fellow’s throat. Stefan Musch’s wig, hair, and make-up design along with Parker’s costumes for Sweeney Todd are appropriately period grotesque making Jeremy Secomb a scary Sweeney and Lea Salonga a crazily macabre Mrs. Lovett. They do a bang up job albeit with a malevolent twist and accent on horror in “A Little Priest” that is less comical than I’ve seen performed in the latest revival in 2023, starring Josh Groban. However, considering the song is without the context, it works well by itself.
With direction and musical staging by Matthew Bourne the segues between songs run smoothly and the numbers in front of an elaborate show curtain with arches of light and lighted graduated steps when the curtain opens to see the 14-piece orchestra, provide the set for Bourne and choreographer Stephen Mear to stage the glamorous portion of the revue. With original orchestrations by Jonathan Tunick, Stephen Metcalfe’s musical arrangements soar with harmonic lyricism. Warren Letton’s lighting design and Mick Potter’s sound design are near perfect enhancing the overall technical aspect of the production.
Performing with song and dance in front of the curtain provides the time for set changes. Songs from Company, and Merrily We Roll Along are featured simply with the highlights on the performer. For example Peters and Salonga sing “Side by Side,” as the show opener with a quick segue to full stage as the curtain opens for “Comedy Tonight” by the two stars, Jason Peycooke, Gavin Lee and the Company wearing shimmering Roman-style drapes over gowns and tuxedos.
Particularly strong numbers involve the 17 cast members singing and dancing the songs “Company,” “Into the Woods,” “Comedy Tonight,” and of course “Sunday” from Sundays in the Park with George, whose scrim of the painting appears as the set piece to close Act I before the intermission. Seeing Georges Seurat’s painting is always a stunning visual effect.
Wonderful interpretations of “Send in the Clowns” by Peters,”Ladies Who Lunch,” by Beth Leavel, “I’m Still Here,” by Bonnie Langford (who does an amazing split to conclude the kick line number), and “Everything’s Coming Up Roses,” by Salonga prove the power of the music in the specific instrument and personality of the performer. “Being Alive,” then “Side by Side” as the finale are superb capstones to conclude the joyous and heartfelt evening that is a tribute to the greatness of Stephen Sondheim. Now I’m going online to order his biography by Meryle Secrest.
Old Friends runs at The Samuel J. Friedman, 2 hours and 45 minutes, including a 15-minute intermission. https://sondheimoldfriends.com/
Caryl Churchill Strikes Again in a Provocative Suite of Metaphoric One-acts: Glass. Kill. What If If Only. Imp.
Glass. Kill. What If If Only. Imp.
Metaphor rides high in the four one-act offerings thematically threaded by British playwright Caryl Churchill. The suite is currently playing at The Public Theater until May 11th. Directed by James Macdonald, Churchill’s most recent collection integrates poetry, surrealism and “mundane reality” with a twist to represent the precariousness of our psyches in an incomprehensible world that populates the humorous and the horrible simultaneously.
“GLASS” is a fairy-tale-like playlet that opens onto a lighted platform amidst darkness (scenic design by Miriam Buether), which we discover is a mantlepiece that holds objects. The protagonist is a girl of transparent glass (AyanaWorkman). According to the stage directions, “There should be no attempt to make the glass girl look as if she is made of glass. She looks like people look.” We meet her with others who are her jealous rivals, (an antique clock, a plastic red dog, a vase). Though the “glass girl” doesn’t seem to care to compete, the others humorously swipe at each other about who is the most useful, beautiful or valuable.
All look like people, suggesting a conceit. One interpretation might be that objectified humans come to believe in their own “grand” objectification. Other humans, aware of themselves, are transparently fragile, which can result in tragedy. Though Churchill’s meaning is opaque, the playwright adds layers. When Ayana Workman’s character is with schoolgirls, who persecute her and make her cry, her pain is visible both inside and out. Her vulnerability attracts a boy (Japhet Balaban), who becomes her friend and confidante. He whispers a story of his life with his father since he was seven. Though his whispers are not audible, we imagine the worst. Yet, we are shocked when the glass girl explains what happens to him which has a devastating impact on her.
The theme of fragility suggested in “GLASS,” is continued as an ironic reversal in “GODS,” after circus performer Junru Wang, presents stunning acrobatic maneuvers on handstand canes. The interlude with lyrical music provides time to reflect about aspects of life which require balance that only comes with training and practice as Junru Wang exhibits.
In “GODS,” Churchill casts the Gods of Greek and Roman mythology as the vulnerable ones. They unleashed the Furies to punish brutal humankind to no avail, then recalled them because humans never tire of bloodthirsty murders, wars, rampages. Deirdre O’Connell embodies all of the Gods. She sits suspended mid stage on a fluffy, white cloud surrounded by darkness, haranguing the audience in a stream of consciousness rant about the bloodletting, familial murders, intrigues, wars and cannibalism.
In a summary of bloody acts, O’Connell’s Gods admit they encouraged the brutality with curses and liked watching the results. But now in a humorous and ironic twist, they don’t like it. Furthermore, they wash their hands of the killing, because they don’t even exist. That is to say humans attribute their own monstrous behavior to the Gods instead of accepting responsibility for their own heinous acts. By the conclusion O’Connell’s Gods scream and plead, “He kills his son for the gods to eat and we say no don’t do that it’s enough we don’t like it now don’t do it we say stop please.” The Gods’ point is made. The audience agrees. The maniacal being, a human creation, haplessly protests its creators, knowing the bloodshed and murders will continue. If the gods had ultimate control would humanity be peaceable? Churchill’s irony is devastating.
Circus performer Maddox Morfit-Tighe creates the second interlude as he juggles with clubs and performs acrobatic movements. Macdonald positions both circus performers in the “pit” in front of proscenium using Isabella Byrd’s lighting design for dramatic effect. Churchill’s irony about humankind as performers who juggle and balance themselves in the tragicomical circle of life continues the thematic thread of vulnerability and fragility.
In “WHAT IF IF ONLY” a husband’s (Sathya Sridharan) grief over his wife’s death is so intense that his desire touches the spiritual realm, and the possibility of her return seems imminent when a “being” shows up. However, his suffering has evoked a ghost of “the dead future.” The being brings the horrific understanding that his wife is forever gone, subject to her vulnerable mortality. What is left are the illimitable future possibilities. But when the being suggests that he tries to make a possibility happen, he claims he doesn’t know how. His grief has cut off his ability to even conceive of a future without his wife.
No matter, a child of the future (Ruby Blaut), shows up. Though he ignores the child, she affirms she is going to happen. As we daily ignore our vulnerable, mortal flesh to live, the future will happen, until we die. Churchill frames life as hope with possibility that we must let happen.
After the intermission Macdonald presents Churchill’s uncharacteristic, humorously domestic one-act “IMP.” The last play continues the thematic threads but buries them in the ordinary and humorous. The significance of the title manifests well into the play development after we learn the back story of two cousins who live together, Dot (O’Connell), and Jimmy (John Ellison Conlee), and their two visitors, niece Niamh (Adelind Horan), from Ireland, and local homeless man Rob (Japhet Balaban). During Rob’s visit with Jimmy, since Rob doesn’t want to discuss any personal details about himself or the possibility of a relationship forming between himself and Niamh, Jimmy decides to share a family secret. Dot believes she captured an imp that is in a wine bottle capped with a cork.
Though Jimmy claims not to believe the imp exists, at Bob’s suggestion, he uncorks the bottle. In the next six scenes we watch to see if anything changes in the lives of these individuals and are especially appalled when Dot wishes evil on Rob via the imp when she discovers that Niamh and Rob split up. We discover the imp’s power by the conclusion. However, the act of Dot’s powerlessness and vulnerability in projecting her own malevolent wishes through a mythic creation to avenge a loved one is pure Churchill. This is especially so because in this homely environment where nothing unusual happens, there is the understanding that people activate myths. Indeed, our beliefs may comfort, but on another level may entrap and even destroy.
Glass. Kill. What If If Only. Imp.
Running time is 2 hours15 minutes with one intermission, through May 11th at the Public Theater publictheater.org.
‘Irishtown,’ a Rip-Roaring Farce Starring Kate Burton
Irishtown
In the hilarious, briskly paced Irishtown, written by Ciara Elizabeth Smyth, and directed for maximum laughs by Nicola Murphy Dubey, the audience is treated to the antics of the successful Dublin-based theatre company, Irishtown Plasyers, as they prepare for their upcoming Broadway opening. According to director Nicola Murphy Dubey, the play “deals with the commodification of culture, consent and the growing pains that come with change.”
Irishhtown is also a send up of theatre-making and how “political correctness” constrains it, as it satirizes the sexual relationships that occur without restraint, in spite of it. This LOL production twits itself and raises some vital questions about theater processes. Presented as a world premiere at Irish Repertory Theatre, Irishtown runs until May 25, 2025. Because it is that good, and a must-see, it should receive an extension.
The luminous Kate Burton heads up the cast
Tony and Emmy-nominated Kate Burton heads up the cast as Constance. Burton is luminous and funny as the understated diva, who has years of experience and knows the inside gossip about the play’s director, Poppy (the excellent Angela Reed). Apparently, Poppy was banned from the Royal Shakespeare Company for untoward sexual behavior with actors. Burton, who is smashing throughout, has some of the funniest lines which she delivers in a spot-on, authentic, full throttle performance. She is particularly riotous when Constance takes umbrage with Poppy, who in one instance, addresses the cast as “lads,” trying to corral her actors to “be quiet” and return to the business of writing a play.
What? Since when do actors write their own play days before their New York City debut? Since they have no choice but to soldier on and just do it.
The Irishtown Players become upended by roiling undercurrents among the cast, the playwright, and director. Sexual liaisons have formed. Political correctness didn’t stop the nervous, stressed-out playwright Aisling (the versatile Brenda Meaney), from sexually partnering up with beautiful lead actress Síofra (the excellent Saoirse-Monica Jackson). We learn about this intrigue when Síofra guiltily defends her relationship with the playwright, bragging to Constance about her acting chops. As the actor with the most experience about how these “things” work in the industry, Constance ironically assures Síofra that she obviously is a good actress and was selected for that reason alone and not for her willingness to have an affair with Aisling.
Eventually, the truth clarifies and the situation worsens
Eventually, the whole truth clarifies. The rehearsals become prickly as the actors discuss whether Aisling’s play needs rewrites, something which Quin (the fine Kevin Oliver Lynch), encourages, especially after Aisling says the play’s setting is Hertfordshire. As the tensions increase between Quinn and Aisling over the incongruities of how an Irish play can take place in England, Constance stumbles upon another sexual intrigue when no one is supposed to be in the rehearsal room. Constance witnesses Síofra’s “acting chops,” as she lustily makes out with Poppy. This unwanted complication of Síofra cheating on Aisling eventually explodes into an imbroglio. To save face from Síofra’s betrayal and remove herself from the cast’s issues with the play’s questionable “Irishness,” Aisling quits.
Enraged, the playwright tells Síofra to find other living arrangements. Then, she tells the cast and director she is pulling the play from the performance schedule. This is an acute problem because the producers expect the play to go on in two weeks. The company’s hotel accommodation has been arranged, and they are scheduled to leave on their flight to New York City in one week. They’re screwed. Aisling is not receptive to apologies.
What is in a typical Irish play: dead babies? incest? ghosts?
Ingeniously, the actors try to solve the problem of performing no play by writing their own. Meanwhile, Poppy answers phone calls from American producer McCabe (voice over by Roger Clark). Poppy cheerily strings along McCabe, affirming that Aisling’s play rehearsals are going well. Play? With “stream of consciousness” discussions and a white board to write down their ideas, they attempt to create a play to substitute for Aisling’s, a pure, Irish play, based on all the elements found in Irish plays from time immemorial to the present. As a playwright twitting herself about her own play, Smyth’s concept is riotous.
The actors discover writing an Irish play is easier said than done. They are not playwrights. Regardless of how exceptional a playwright may be, it’s impossible to write a winning play in two days. And there’s another conundrum. Typical Irish plays have no happy endings. Unfortunately, the producers like Aisling’s play because it has a happy ending. What to do?
Perfect Irish storylines
In some of the most hilarious dialogue and direction of the play, we enjoy how Constance, Síofra and Quin devise their “perfect Irish storylines,” beginning with initial stock characters and dialogue, adding costumes and props taken from the back room. Their three attempts allude to other plays they’ve done. One hysterical attempt uses the flour scene from Dancing at Lughnasa. Each attempt turns into funny scenes that are near parodies of moments in the plays referenced. However, they fail because in one particular aspect, their plots touch upon the subject of Aisling’s play. This could result in an accusation of plagiarism. But without a play, they will have to renege on the contract they signed, leaving them liable to refund the advance of $250,000.
As their problems augment, the wild-eyed Aisling returns to attempt violence and revenge. During the chaotic upheaval, a mystery becomes exposed that explains the antipathy and rivalry between Quin and Aisling. The revelation is ironic, and surprising with an exceptional twist.
Irishtown is not to be missed
Irishtown is a breath of fresh air with laughs galore. It reveals the other side of theater, and shows how producing original, new work is “darn difficult,” especially when commercial risks must be borne with a grin and a grimace. As director Nicola Murphy Dubey suggests, “Creative processes can be fragile spaces.” With humor the playwright champions this concept throughout her funny, dark, ironic comedy that also is profound.
Kudos to the cracker-jack ensemble work of the actors. Praise goes to the creatives Colm McNally (scenic & lighting design), Orla Long (costume design), Caroline Eng (sound design).
Irishtown runs 90 minutes with no intermission at Irish Repertory Theatre, 132 West 22nd St. It closes May 25, 2025. https://irishrep.org/tickets/
‘Smash,’ Fabulous Send up of a Musical Comedy About Marilyn Monroe
Smash
Chatting with two theater critics beforehand, who referenced the 2012 NBC television series also called “Smash,” I was initially distracted. The TV series set in the present revolved around two aspiring actresses who compete for the role of Marilyn Monroe in a Broadway-bound musical called “Bombshell,” about Marilyn Monroe. Apparently, the TV series which devolved into a musical soap opera, lasted two seasons then was cancelled. Since I never saw the series, I tried to ignore the critics’ comments. I fastened my seat belt and settled in to watch the revamped production in its current run at the Imperial Theatre with tickets on sale through January 4, 2026.
I had no reason to”fasten my seat belt.” Smash is a winner. Superbly directed by Susan Stroman, a master of comedic pacing and the quick flip of one-liners, Smash is a resounding must see, retaining little of the TV show with the same title. I adored it and belly-laughed my way through the end of Act I and throughout Act II.
Into the first act when Ivy Lynn (the grand Robyn Hurder), introduces her Method Acting coach, Susan Proctor (the wonderfully funny Kristine Nielsen channeling Actors Studio Paula Strasberg), I embraced the sharp, ironic and often hysterical, theater-referenced send-ups. The book by Bob Martin & Rick Elice is clever and riotous, pushing the true angst of putting on a big Broadway musical and spending millions to make it a success. Martin and Elice’s jokes and the characterizations of Nielsen’s Susan Proctor and director Nigel, the LOL on point Brooks Ashmanskas (The Prom), who tweaks the gay tropes with aplomb, work. Both actors’ portrayals lift the arc of the musical’s development with irresistible comedic riffs shepherded by Stroman’s precise timing.
The music had me at the opening with the vibrant fantasy number, “Let Me Be Your Star,” sung by Robyn Hurder, whose lustrous voice introduces Marilyn and her fandom which the creators attempt to envision with fully costumed performers singing for their musical, “Bombshell,” the Marilyn Monroe story. Then, the scene shifts to the rehearsal room where we meet the creative team who imagined the previous number and scene. Ashmanskas’ director/choreographer Nigel humorously bumps heads with writer/lyricist/composer-husband and wife team Tracy (Krysta Rodriguez) and Jerry (John Behlmann).
Also present, is his associate director and Nigel’s right arm, the golden voiced Chloe (Bella Coppola). She runs interference and puts out fires, even covering for Ivy Lynn and understudy Karen (Caroline Bowman), during an audience invited presentation. Why Ivy Lynn and Karen can’t go on is hysterical.
The music by Marc Shaiman, lyrics by Scott Wittman and Marc Shaiman, and the choreography by Joshua Bergasse are upgraded from the TV series with a curated selection of songs to align with the comedic flourishes. The musical numbers and dances cohere perfectly because the performers rehearse for their show “Bombshell.” With music supervision by Stephen Oremus, an 18-piece orchestra charges the score with vibrant dynamism. Featured are some of Shaiman’s brassiest tunes, orchestrated by Doug Besterman. Lyricist Wittman seals the humor and advances the plot. All provide grist for Bergasse’s choreography. Hurder manages this seamlessly as she sings, breathes heartily and dances while the male dancers whip and flip Ivy as Marilyn around. Of course, all smile with effortless abandon despite their exertions.
Importantly, Martin and Elice’s book sports farcical, riotous moments. These build to a wonderful crescendo by the conclusion. By then we realize we’ve come full circle and have been delighted by this send up of the wild ride these creatives went through to induce the belly-laughing “flop,” we’re standing, cheering and applauding. It’s the perfect ironic twist.
Indeed, once the audience understands the difference in tone from the TV series, largely due to Nielsen’s Proctor (she’s dressed in black mourning {Marilyn?} from head to foot), and Ashmanskas’ Nigel, Smash becomes a runaway train of hilarity. This comedy about unintentionally making a musical flop (unlike the willful intent in The Producers), smartly walks the balance beam by giving the insider’s scoop why “Bombshell” probably never finds a home on Broadway. One of the reasons involves too many chefs trying to make a Michelin starred dish without really understanding how the ingredients meld.
Nielsen’s Proctor dominates Ivy Lynn to the point of transforming the sweet, beloved actress into the “difficult,” “tortured soul” of diva Marilyn. The extremes this conceit reaches is beyond funny and grounded in truth which makes it even more humorous. Without giving too much away, there is a marvelous unity of the book, music and Hurder’s performance encouraged by Nielsen’s Marilyn-obsessed Proctor. We see before our eyes the gradual fulfillment (Proctor’s intention), of “Marilyn,” from superficial, bubbly, sparkly “sex bomb,” to soulful, deep, living woman produced by “the Method.” Of course to accomplish this, the entire production as a comedy is upended. This drives Nigel, Tracy and Jerry into sustained panic mode, exasperation and further LOL behavior especially in their self-soothing coping behaviors.
Furthermore, Producer Anita (Jacqueline B. Arnold), forced to hire Gen Z internet influencer publicist Scott (Nicholas Matos), to get $1 million of the $20 million needed to fund the show, mistakenly allows him to get out of hand, inviting over 100 influencers to Chloe’s serendipitous cover performance. The influencers create tremendous controversy which is what Broadway musical producers usually give their “eye teeth” for. Publicity sells tickets. But this controversy “backfires” and creates such an updraft, even Chloe can’t put the conflagration out. The hullabaloo is uproarious.
The arguments created by the influencers and their followers (in a very funny segment thanks to S. Katy Tucker’s video and projection design), cause huge problems among the actresses and forward momentum of “Bombshell.” Karen, Ivy Lynn’s friend and long time understudy, who has been waiting for a break for six years, watches Chloe become famous overnight for her cover. Diva Ivy Lynn who IS Marilyn is so “over the moon” jealous and threatened, she breaks up her close friendship with Karen and turns on cast and creatives, prompted by Nielsen’s Proctor who keeps up Ivy Lynn’s energy with a weird combination of mysterious white pills and even weirder “Method” tips.
Thus, the musical “Bombshell” becomes exactly what the creatives swore it would never become and someone must be sacrificed. Who stays and who leaves and what happens turns into some of the finest comedy about how not to put on a Broadway flop. Just great!
Smash is too much fun not to see. What makes it a hit are the superb singing, acting and dancing by an expert ensemble, phenomenal direction and the coherence of every element from book to music, to the choreography to the technical aspects. Finally, the show’s nonsensical sensible is brilliant.
Praise goes to those not mentioned before with Beowulf Boritt’s flexible, appropriate set design, Ken Billington’s “smashing” lighting design, Brian Ronan’s sound design, Charles G. LaPointe’s hair and wig design, and John Delude II’s makeup design.
Smash runs 2 hours, 30 minutes, including one intermission at the Imperial Theatre (249 West 45th street). https://smashbroadway.com/
‘Boop! The Musical’ is a Dazzling Spectacle. I’m a Fan!
Boop! The Musical
If you need an uplift and who doesn’t listening to the news these days, Boop! The Musical is your vehicle of delight. Currently running at the Broadhurst Theatre, Boop! is pure joyous spectacle, a Broadway extravaganza with clever twists, and a wink to the best of the past, and a thematic nod to the present.
The cast sings and dances to a variety of song genres (from jazz, to pop, to blues), and Jerry Mitchell shows his razzle dazzle choreography and staging with abandon. There is just too much to praise. The glittering kick line is bar none. The nine principals are spot on with their humorous portrayals and exquisite vocals. Boop! is a welcome send up of the fanciful, historical cartooning of yesteryear, in a mesmerizing update that shines talented brilliance at every artistic level of this blazing production
What’s not to love if you enjoy an adorable story and salient themes reinforcing “girl power,” with the additional intention to pay homage to old Hollywood, and the Jazz-age, and depression era cartoons of Fleischer Studios? Importantly, the production is a throwback to old-fashioned Broadway musicals, where most songs are memorable with a beginning, middle and end. In its song variety and hot, superlatively executed dance numbers Boop! delivers.
Directed and choreographed by Tony Award®–winner Jerry Mitchell (Kinky Boots), Boop! features music by 16-time Grammy®-winning composer David Foster and lyrics by Tony-nominated Susan Birkenhead.
The cartoony, “tongue-in-cheek” book by Bob Martin (The Prom), brings to life the iconic, historic cartoon character and current meme Betty Boop (the sensational Jasmine Amy Rogers in her Broadway debut). Betty has been a symbol of charm and empowerment for almost a century, and Rogers channels her believably to the minutest gesture, giggle and batting of her eye lashes. Importantly, Betty has an identifiable problem to solve in her personal life. As the reluctant super-star, she eventually must choose between two worlds, fiction and reality. Mustn’t we all? The show is incredibly, ironically, thematically current.
Martin presents the thrust of Boop! as fun, family fare. Going deeper as one should, the irony in Boop! as a farce, emphasizes that this is a cartoon within a cartoon, with the simplicity of a fairy-tale.
Thus, the plot develops as follows. Betty works so very hard for Fleischer Studios, portraying women’s greatness in every job imaginable (“A Little Versatility”), which actually is maverick considering her original 1930s context. And there are vicissitudes and annoyances: the publicity grind and the slimy men who harass her for her “favors and charms.” Exhausted by overwork and untoward publicity, Betty has a moment of self-reflection, something more of us need to practice. She realizes she needs a vacation from her life as a cute, celebrity cartoon with no “real” identity to discover for herself. Above all, she wishes her life was less celebrated (“Ordinary Day), so a respite from cartoonland in a venue where she won’t be recognized and judged would be just fine.
Grampy, (the lovable, powerfully voice Stephen DeRosa), her guardian and roommate, reminds her the current “world” she lives in can’t qualify because she’s a globally recognized star. However, he does suggest a tenable place to go since he went there years before, fell in love, then left. Grampy tells her reality is the place for a grand vacation. It’s much more adventurous, unscripted and serendipitous than cartoonland. (I love the irony.) Of course, this is a family show with no untoward or frightening elements like ICE (Triple Canopy) agents kidnapping folks. So when the winning, charismatic Betty lands in the present at the Javitz Center’s funscape Comic Con, having been jettisoned there by Grampy’s DIY time machine, all works out swimmingly.
In this magical atmosphere and vibrant New York City fantasia, Betty fits right in with a host of rainbow-hued fans dressed as their favorite characters from comic books. Though she is recognizable, she tries to hide her cartoon identity. Nevertheless, she is gobsmacked by reality’s wild beauty (“Color”). At Comic Con, she meets her destiny which becomes tied up with two individuals. First, is her future love interest, dreamy, blue-eyed, politically correct to a fault Dwayne (the boyish Ainsley Melham who sports an amazing voice). Along with Dwayne, she befriends the cute, clever Trisha, a forever Boop fan, who she can’t fool when she tells Tricia her name is Betsy. As Tricia, Angelica Hale is the perfect sidekick teen with an exceptional voice.
Meanwhile, Grampy discovers Betty is gone when her bosses drop by looking for her. He divines she left for reality. The key conflict, of course, is to get her to return (“Get Her Back”). But to do that Grampy must take Betty’s cutie, white dog Pudgy, a marionette operated by the wonderful puppeteer Phillip Huber. The imperative is to jump in his time machine, set it for reality and find her. With energetic multi-tasking Grampy will locate her without GPS, while reuniting with his former love Valentina (the stalwart Faith Prince), for comfort and companionship during his quest. The quaint Grampy hero, love story, sub-plot with astrophysicist Valentina gives an extra pop of reality to the fantastic.
As Betty goes home with Tricia to stay, she meets Tricia’s family, her brother, the blue-eyed Dwayne, and her Aunt Carol (the terrific Anastacia McCleskey). She discovers that Dwayne’s love of jazz (“I Speak Jazz”), dovetails with her strengths singing and dancing. Finally feeling comfortable, Betty confides her real identity to Tricia, who breaks through the cartoon character’s confusion about herself with the upbeat “Portrait of Betty.”
Betty’s adventures in reality continue when Tricia and Dwayne take her on a tour of the city and to Times Square, where the dancers join them for the continuous party that goes on there in a great number, “My New York.” Whether in cartoonland or New York City’s reality, Betty is light, laughter and healing. In an interesting counterpoint, Dwayne sings about her in realityland in contrast with Betty’s studio bosses who sing about missing her (“Sunlight”). Thus, the conflict about which world she will select to live in intensifies, for both realms will certainly draw her with those who give her love and appreciation.
If Boop! is too ridiculously fantastic and purposeless for some, they are missing the point of depression-era entertainment and entertainment today. Even in the most despairing of places and times, the imagination takes flight and the fictional fantastic gets one though the horrors that life can bring.
Though the underbelly of darkness is rarely seen in the production, it does shows up. And the enemy is a modern one. The dark villain comes in the form of a grinning, perfectly coiffed, narcissistic politician, Raymond Demarest, who is running for the office of New York City mayor. Erich Bergen is terrific in a hysterical, nuanced, full-of-himself portrayal. The corrupt, money-hungry, and exploitive Demarest is offset by his hard-working, clever, organized campaign manager, Tricia’s Aunt Carol. Carol efficiently, competently runs his campaign and life. And eventually, her efforts pay off where Demarest’s dereliction and corruption receive its due reward.
As Act One sets forth the problem. Act Two answers it for Betty, her friends and family. Boop! even justly disposes of the villain in the process of ironing out all difficulties. Would the same occur in “real” real life USA with a certain criminal felon, as happens to Demarest. The riotous Bergen makes the most of the villain’s just comeuppance, intuiting the audience’s real wishes as they watch him tripping away, all smiles in his orange jump suit. Just great!
The shimmery white and grey-toned two-dimensional Boop world is cleverly created by David Rockwell to represent Boop’s artificial universe in a snazzy scenic design that contrasts perfectly with the real world of living color. Rockwell’s suggested black, and white, multi-patterned lines and squiggly designs reflect the Boop cartoon. Other cartoon characters peek out from the curtain following the same design. Betty’s materialization in the beautifully eye-popping, gloriously colorful, real world of New York City with the accompanying song and dance numbers seal the deal.
Whether in cartoonland or reality, the costumes by Gregg Barnes are ingenious and gorgeously appropriate. The costume design in a set of two-sided costumes which reveal the contrast of the alternating grey vs. color worlds, shows maximum creative brilliance. The same must be said for the other designers whose collaborative efforts contribute to the show’s gobsmacking effect. These include Philip S. Rosenberg (lighting design), Gareth Owen (sound design), Finn Ross (projection design), Sabana Majeed (hair & wig design), Michael Clifton (make-up design), Skylar Fox (illusions design).
Mitchell and the creatives have outdone themselves. “Professional” is a partially accurate descriptor. Amazing, phenomenal, superlative, genius seems more INCLUSIVE and PRECISE. In every aspect the designs cohere with the director’s vision. Above all Daryl Waters’ music supervision (with additional arrangements), is integral to making this extraordinary production what it is. And the cast? Beyond!
See Boop! two or three times to escape for the purpose of rejuvenation. Then go right back out there and work, march, resist, protest the current villainy, taking the wisdom manifest in this production, having learned persistence from a silly, ridiculous, cartoon character with a century of staying power.
Boop! the Musical runs 2 hours 30 minutes with one intermission at the Broadhurst Theatre (235 West 44th Street). https://boopthemusical.com/?gad_source=1
‘Purpose’ Brandon Jacobs-Jenkins’ Riotous Play, Directed by Phylicia Rashad
In Purpose, Brandon Jacobs-Jenkins’ satiric family expose directed by Phylicia Rashad, we meet a patriarchal Black American civil rights icon, Solomon “Sonny Jasper (Harry Lennix), who is forced to confront his disappointments and foibles as his family gathers to celebrate the homecoming of his eldest son and namesake, Solomon “Junior” Jasper (Glenn Davis). Navigating the audience through treacherous familial waters with asides and intermittent, pointed narration, the youngest son Nazareth “Naz” Jasper (Jon Michael Hill), explores his family’s complicated legacy as he attempts to confront issues about his own identity and future.
Currently running at the Hayes Theater until July 6th, this ferocious, edgy and sardonic send up of Black American political and religious hypocrisy resonates with dramatic power. Its superlative performances and Rashad’s fine direction, make it a must-see. Importantly, in typical Brandon Jacobs-Jenkins style, the tour de force with jokes-a-plenty raises questions. It prompts us to reflect upon our own life intentions, as we examine the Jasper family’s dynamic through the acute perspective of the endearing, sensitive, vulnerable and authentic Naz. Hill is just terrific in a role which requires heavy lifting throughout.
As the play opens we note the subject matter and foundation upon which Jacobs-Jenkins’ moralistically satiric drama rests, namely the Jaspers (think along the lines of Jesse Jackson), whose heritage boasts of leaders in civil rights, congress and the protestant church. Todd Rosenthal’s lovely, well-appointed, Jasper family home represents prosperity, upward mobility and the success of the celebrated Black political elite. Solomon Jasper was Martin Luther King, Jr.’s heir apparent in the civil rights movement.
However, among other questions the play asks is, what happened to the substance and efficacy of the movement, considering the current “state of the union” under MAGA Party president Donald Trump, whose cabinet has no Black American member? What are the legacies of the Jasper’s faith? What is the heritage of their former Black radicalism, which Naz calls into question throughout the play, as the evening explodes into tragicomedy in front of unintended witness Aziza Houston (Kara Young)? As a result of the evening with the Jaspes, Aziza is horrified to see her civil rights icons, Solomon and Claudine, smashing her respect for them to smithereens during the family imbroglio in Act I.
Via an intriguing flashback/flashpresent device, Naz exposes and illustrates how the family’s shining history becomes obliterated by circumstances in the present “state of the family union,” which has not lived up to their patriarch’s illustrious expectations. Ultimately, Solomon Jasper, too, may be counted as not living up to his own personal expectations, a fact revealed by the conclusion of the second act, which further adds to his hypocrisy for giving Naz a hard time about his sexually, abstemious, personal choices..
With increasing intensity, the upheavals occur by the end of the first act and augment into further revelations and complications well into the second, until the wounds exposed are too great to ignore. Naz’s final synopsis and soulful, poignant comments solidify at the conclusion bringing this family retrospective together. His questioning wisdom leaves us as he is left, wondering what is the trajectory of this once august Jasper legacy, which Naz has chosen not to perpetuate. Not going into politics or the church, Naz selected a career in photography where he communes with nature’s beauty and peace.
Jacobs-Jenkins’ work is filled with contrasts: truth and lies, health and sickness, moral uprightness and moral turpitude. In fact the contrast of the outer image of the Jasper calm and sanctity versus the inner corruption and turmoil becomes evident with Jacobs-Jenkins’ character interactions throughout, heightened by Naz’s confidential asides.
Additionally, this contrast of superficial versus soul depth is superbly factored in by Rashad and Todd Rosenthal’s collaboration on set design. Initially, all is peaceful in their gorgeous home set up by matriarch Claudine Jasper (the excellent Latanya Richardson Jackson). The home’s beauty belies any roiling undercurrents beneath the family’s solid, upright probity. Perfection is their manufactured brand, which Aziza has bought hook, line and sinker as a Jasper fan.
To continue with the Jaspers’ “brand,” the inviting great room boasts a comfortable and lovely open layout-living room and dining room-backed by a curved staircase to the second level of bedrooms off the landing. The dark peach-colored walls are beautifully emphasized with white trim molding. The cherry wood furniture and cream colored sofa color-coordinate with the walls. The sofa is accented with appropriate pillows. Interspersed among furniture pieces are obvious antique heirlooms. Indeed, all is perfect with matching table runners and dining room tablecloth and napkins and dinnerware tastefully selected for its enhancing effect.
Prominently featured is the Jasper family heritage and legacy, a large portrait of Dr. Martin Luther King, Jr. proudly displayed on the first level, and a lesser portrait of political/cultural heir apparent, Solomon “Sonny” Jasper on the second floor landing. Surrounding the Sonny Jasper portrait are framed photos chronicling the civil rights warriors and family, shining their historical significance. When Aziza first arrives and is welcomed desperately by Claudine who fears Naz’s not bringing any woman home means he is gay, Aziza is gobsmacked by the house. Seeing the portraits and Solomon Jasper, she realizes who Naz really is. She is over the moon slathering blandishments to Sonny. Thrilled, she can’t help but take selfies with the Jaspers to send to her mom, a mutual fan. Naz is beyond humiliated and surreptitiously pleads with her to leave.
What does Naz know about his family that he fears Aziza will discover? If Aziza doesn’t leave quickly, his mother’s hospitality to divine who Aziza is will make sure she stays. Indeed, Jackson’s Claudine never fails in her intentions.
Against the storied backdrop of their illustrious past that Aziza worships, the garish present unfolds at dinner. It is the celebration of Junior’s homecoming and reunion with the family since his thirty month prison stay for embezzling campaign funds. Junior’s behavior is one of the gravest disappointments that Sonny holds against his son. For him it is unforgivable that his namesake who was to take his place has tarnished the Jasper name with corruption.
Thus, when Junior presents a birthday gift to Claudine, of the letters she wrote to him in prison in a lovely book, Sonny scoffs, especially after reading a particularly mundane letter. (Lennix’s reading of a sample letter is hysterical). Then, Sonny questions Junior who wants to exploit their family name and go on tour with the book of Claudine’s letters, and Claudine, lifting up the hellishness of his imprisonment like a martyr.
Ironically, bitterly, humorously, Sonny airs his disgust that Junior would present himself as a Nelson Mandella, as if Junior’s prison experience was in any way equivalent to the horrors of imprisonment used as a tool of oppression and racism throughout US history. Sonny is especially livid because Junior’s crimes ripped off his father and Blacks who supported him. Additionally, the time Junior did was easy because Sonny used his influence to get Junior into “a minimum security playground.” Though it is revealed that Junior has bi-polar disorder, (the scene when Glenn Davis manifests this is superb), Sonny lacks empathy for Junior. He dismisses his illness and says he got caught where other politicians don’t get caught because Junior is stupid.
At dinner the dour Morgan (Alana Arenas), Junior’s wife, sits quietly at first. After Junior uplifts Claudine, Morgan claims neither he nor the Jaspers helped her through Junior’s mental breakdown. Nor does he acknowledge her visiting him through the prison experience with a present. Morgan rips into him and the family. They are “hucksters,” who don’t care about her and “have no sense of responsibility or remorse.” Listening to the Jasper’s accountants, Morgan signed their joint tax returns that implicated her in tax fraud with Junior. She has lost her career and will have to do time in prison for an error that she was ignorant about, trusting the family to not mislead her.
Thus, the artifice gradually peels away, shaped by the characters’ ever increasing digs at each other and Naz’s humorous perspective. To top it off, despite her promise to Naz that she will keep quiet, Aziza reveals how she trusts Naz to be the sperm donor for their child. This piece of information is a stick of dynamite for this religious family who chaffs at unmarried young people sleeping together. Then, when Claudine and Morgan go head to head and Morgan calls the family’s “honesty” into question and accuses Sonny of having “his fiftyleven other kids scattered all over this damn country,” Claudine loses it and gets violent.
Ironically, the act ends with the patriarch blaming Claudine, “I have let you build this house on a foundation of self-deceit.” Sonny loudly declares the time is now for “redemption” and a “new era in this family – a new era of truth! Truth!”
Act II indicates how that “truth” is to come about, as Naz and Aziza argue about why she broke her promise to him. Abashedly, Naz disavows the violence that spilled out between his mother and Morgan. Meanwhile, the verbal and emotional violence has always been an undercurrent in the family that has never confronted their issues. In other words, the dissembling, the lies and the deceit have augmented until “enough is enough.” Aziza, caught up in the fray rethinks what she has seen and no longer has any wish to have Naz’s child from their “illustrious” DNA. Additionally, she has learned not to lionize any other civil rights icon or celebrity easily, again. Celebrities, like the Jaspers, are not saviors or worthy to be made into icons. They have clay feet if you see them up close and personal.
Though the first act sails smoothly, the second act digresses in part with Naz’s extensive dialogue and explanations, which might have been slimmed down. Nevertheless, as we learn about each family member’s complications, the intensity shifts. Though there is less humor, there is incredible poignancy and each of the actors have their moments to shine. Not only do we note the profound aspects of character complexity, we understand the difficulty of attempting to maintain an oversized legacy of greatness when one is an imperfect human being. Indeed, the one who comes out best appears to be Naz, until the conclusion. It is then we understand how the family has impacted him and in response, he has sent himself spinning into his own chaos, which he will have to unravel for himself. So do we all as we deal with our own legacy, heritage and family dysfunction.
Purpose is brilliant, if a tad unwieldy. However, the ensemble cracks sharply like lightening. Rashad has a deep understanding of Jacobs-Jenkins’ themes, dynamic characters, prickly relationships and the sub rosa levels of meaning in the interactions. The pace is lively despite the playwright’s wordiness and keeps the audience engaged.
Kudos to the creative team including those not already mentioned: Dede Ayite (costume design), Amith Chandrashaker (lighting design), Nikiya Mathis (hair & wig design), and Bob Milburn & Michael Bodeen (sound design). Purpose runs two hours fifty minutes with one intermission at the Helen Hayes Theater on 44th between 7th and 8th. https://purposeonbroadway.com/
‘Glengarry Glen Ross’ Starring Kieran Culkin, Bob Odenkirk, Bill Burr
Glengarry Glen Ross
Glengarry Glen Ross, David Mamet’s Pulitzer-prize winning treatise on rapacious, capitalist indecency is currently in its third revival at the spacious Palace Theatre on Broadway. Because of audience enthusiasm for a celebrity bro-fest, starring Kieran Culkin (Succession), Bob Odenkirk (Better Call Saul), comedian Bill Burr, who is making his Broadway debut, and clever ironist Michael McKean of the cult hit This is Spinal Tap, Glengarry Glenn Ross has been extended two weeks until June 28th. Judging by the jeers and raucous laughter at the characters’ non-stop, insulting, verbal sword play, the production directed by Patrick Marber (Closer) is a success.
With scenic design by Scott Pask, Mamet’s timeless, horrifically current, two-act drama divides between an unbusy Chinese restaurant in the first act, and in the second act, the robbery-devastated, real estate office where the characters attempt unsuccessfully to make “a living” and deliver their finalized sales contracts. The brief, first act is the set up for the second act where the emotional explosion occurs and the revelations stun because of Mamet’s clever misdirection throughout.
The Chinese restaurant represents the off-site, safe place where furtive deals might be made between the real estate salesmen and others. The three two-hander scenes, taking place one after the other, reveal the salesmen who succeed or fail under the oppression of a “dog-eat-dog” system that values money and material wealth as the only measure of human success, a pathetic blind they’ve fallen for.
Thus, thematically, as these individuals get ground up, drained of their identity and humanity in a process that de-masculinizes them, we note they become more aggressive, desperate and verbally explosive, as they confront failure by the play’s conclusion.
First, we meet Shelley Levene (Bob Odenkirk), who gaslights his office manager boss John Williamson (Donald Webber, Jr.), about his poor sales performance. Shelley hopes to mitigate the inevitable, being canned. So, he persuades John to give him the great leads that sell themselves. Despite Shelley’s oily patter and insistence to be “heard,” as he recalls his past glory days as ‘The Machine,” John directly tells Shelley that he hasn’t had a recent successful sale. He is at the bottom and ripe for firing because he is nowhere near being put on the board to compete to win the Cadillac offered as a gift to incentivize the men’s sales productivity.
Failing to convince John to “have a heart” about his losing streak that he claims is ending, Odenkirk’s Shelley suggests a quid pro quo. In exchange for a few premium leads, he will cut in John on a kickback of his sales. Not only does John “take the bait,” he calls Shelley’s bluff. He demands more money and payment up front which Shelley, of course, can’t afford. Interestingly, we note the sliminess of the exchanges and the abuse each man takes from the other in a devaluation of their humanity and decency in their struggle for the “all mighty dollar,” whose pursuit enslaves them and destroys their souls.
Webber, Jr. and Odenkirk are terrific in their focus, direction and pacing as they reveal these archetypes who are caught in a battle of wills where there is no ultimate winner.
The irony is that Williamson’s desk job is lower paying and requires little risk and a different skill set than Levene’s, who must sell worthless property to unsuspecting buyers. Both are on different levels entirely and they are blind to it. Without empathy for each other, they allow themselves to be overlorded by the unseen master entrepreneurs “Mitch and Murray,” who are the god-like downtown owners of the slime pit, real estate enterprise.
The overlords keep their charges in line through division, making sure all understand that performance is everything and competition against one another is the best way to shine. Those who can’t keep closing are fired, nothing personal. In spite of the vapid callousness his position requires, John makes sure the “operational daily grinding up of the men into mincemeat” continues smoothly. He is his owner’s loyal employee. Thus, he dead-ends Shelley’s kick-back offer and their conversation.
From this dead-end conversation between Levene and Williamson, Mamet moves to the next staccato dialogue between disgruntled, carping Dave Moss (Bill Burr), and laconic George Aaronow (Michael McKean). Both are terrific in humorous performances which reveal their mastery at their craft. Moss attempts to engage George to steal the premium leads that sell themselves which we’ve heard about in the previous scene. After their theft, Moss plans to sell them to a competitor of “Mitch and Murray” and give half the proceeds to George. Thus, on another level it’s “every man for himself” and the competition that Mitch and Murray stuff down their charges’ throats, Moss, who has had enough, plans to stuff down Mitch and Murray’s. Karma is a bitch in this world of anger, aggression and money.
Interestingly, with matter-of-fact irony, the “innocent” Moss anticipates that confiding in George about his gambit as a co-conspirator will be accepted by the laid back, stolid George. However, because the deal is a shady crime, Moss could be double crossing George about the amount of money he gets from the competitor. Not only would George not be able to countermand any cheating, he could end up “going up the river” if Moss decides to turn him over and disavow any participation in the theft. Moss’ proposition is a desperate one. Mamet indirectly suggests that the oppressive system, corrupt in itself, then provokes men to commit crimes to circumvent the inequitable set up rigged against them. If McKean’s George doesn’t pay attention to divine all the ramifications, he will trap himself, like Moss has been trapped.
When George realizes what Moss is after, none of the risk and half of the reward, which surely Moss will skim to his liking, McKean’s George avers. Moss, with dead seriousness that is also funny, implies that now, George is forced to steal the leads; he has no choice. By listening, he is an accomplice after the fact. Ironically, Moss uses his skills of persuasion to dupe a colleague in a contorted competitive strategem to get to the top.
With this sleight-of-hand, Mamet leaves the conversation “up in the air.” Will the exhausted, deadened George do what Moss wants him to, or will he assert his own will and avoid the trap, thus most probably losing his job, because he, too, hasn’t been on a winning streak and has no sales to stop the inevitable.
In the last exchange the dialogue shifts to the smooth, unadulterated, force and charm of the Ricky Roma (Kieran Culkin) sales pitch on his mark James Lingk (John Pirruccello). If the two previous scenes reveal desperate salesmen at the edge of the cliff of their humanity and identity, believing in the values of the system which cast them as suckers, failures and losers, Ricky Roma (Kiernan Culkin), proves to be the opposite.
In contrast Mamet shows why Roma succeeds as a salesman who the others resent. Additionally, he reveals why the premium leads that the others crave will only go to Roma as a closer and Cadillac winner. His approach with his mark is obvious. With Lingk he has identified a vulnerable, emasculated male who life has kicked around so furiously he wears as his cloak of apology and embarrassment as his outward demeanor. The real estate he sells, Roma cleverly converts to a concept, an experience of hope, a wonderful opportunity Lingk may have been waiting for his entire life. Roma presents the property as a salve that will soothe Lingk’s life humiliations.
However, to prep Lingk to receive this life turning experience, Roma frees Pirruccello’s Lingk from the obvious middle class morality that appears to have held him in. He absolves him of his deepest, darkest amoral longings only known to him.
Roma’s approach is gobsmacking. Here’s a winner to be reckoned with whose skills are exceptional and admirable. We would easily, willingly be duped by him. Yes, unlike the other whiners and weak-willed complainers, Roma is a closer who deserves the Cadillac. Along with Lingk, Mamet’s Roma has hooked us. We normalize the perverse values of this indecent unholy enterprise that is the backbone of the real estate industry as well as any industry that introduces a fabulous product but falls short of its promises.
Roma’s monologue is brilliantly written and I found it difficult to get Al Pacino’s portrayal in the titular 1992 film out of my mind. There’s an intimate intensity that must be conveyed, a confessional nature that engages Lingk so that he finds Roma’s sincerity and the hope he sells irresistible. The intensity, intimacy and sly seduction necessary for the sale was missing in Caulkin’s Roma. I do think that Caulkin might have been better served if the director positioned him seated in the same banquette as Pirruccello’s Lingk from the outset. Instead, Calkin’s Roma leans over the banquette and the intimacy that should exist between them falters.
In the first act Mamet sets up the stakes. The second act presents the payoff settling this masterpiece into a tragicomedy. The results of what the system has wrought in promoting the misery, torment and criminal behavior upturns the office. John’s “perfectly seamless environment” explodes. There is mess everywhere, and everyone loses, most of all Mitch and Murray. The power dynamic heightens between Caulkin’s Roma and Webber, Jr.’s John, as well as the dynamic between Shelley and John. In these scenes the actors are superlative.
Criminality has run amuck, starting from the top of the system on down, and all are its victims, even the detective (Howard W. Overshown), who must find the perpetrator to make himself relevant. As the gloves come off, Mamet ties in the humanity behind the desperation in the life of the one who stole the leads. The horror is that money has become the arbiter of life and death in this system where to get ahead, one must dupe, deceive, harm, then be inured to one’s own egregious actions, as if they are justified because you need money to live and a ton of money to prosper and live well. (Think of the CEO Brian Thompson of UnitedHealthcare.) Roma goes off to the restaurant after telling John that he and Shelley are teaming up and he is taking a part of Shelley’s commissions. Of course, John says nothing, allowing Roma’s greed to trap him as Roma is ignorant of Shelley’s circumstances.
Glengarry Glenn Ross works in this revival because its overarching themes are timeless. The acting and direction superbly emphasizes the authenticity of the characters’ desperation, exhaustion, and zombie-rat state, running in their own wheels, unable to stop themselves. Yes, even the shining Roma by the conclusion has been done in by the situation and his overconfidence in his skills.
Mamet emphasizes that in the system, whether you project that it is capitalism or economic totalitarianism, pity is a weakness and empathy is for chumps, not for closers. This is the perfect world that has birthed the current miasma that Donald Trump as a symbolic Mitch and Murray embraces and would foster, making all into his slavish subjects.
Of course, such a world doesn’t work seamlessly nor successfully, and if anything, nothing works in it much of the time. That the play concludes with all the players wiping dreck off their faces, including Mitch and Murray, who have lost their profits in a breach of security to their competitor, should be a lesson all the characters learn. But they don’t because they don’t reflect on their lives. They are too busy whining, being oppressed and making money to recognize they are going nowhere having been nowhere valuable or worthwhile when all is said and done.
Kudos to lighting designer Jen Schriever and the creative team already mentioned. Glengarry Glenn Ross is a must-see for the performances and to appreciate this early Mamet work. Apparently, he has since come to embrace the Mitch and Murrays of the world in what may only be intimated as Stockholm Syndrome.
Glengarry Glenn Ross runs 1 hour 45 minutes with a 15-minute intermission at the Palace Theatre on 47th Street. https://www.glengarryonbroadway.com/?gclsrc=aw.ds&gad_source=1
‘The Orchid Show: Mexican Modernism’ at New York Botanical Garden
ORCHID SHOW: MEXICAN MODERNISM-FEBRUARY 15TH THROUGH APRIL 27TH
The New York Botanical Garden Orchid Show: Mexican Modernism has exploded onto the New York City scene in eye-popping color.
The NYBG exhibit is so welcome at this time of year. Many New Yorkers and Garden members having been waiting with high anticipation for the annual orchid show to brighten up this period of winter’s doldrums.
The show is superlative. In displays of orchids, one showier than the next, the exhibition, inspired by the vibrant, multi-hued designs of Mexican architect Luis Barragán (1902-1988), leaves one with a treasured emotional uplift.
It is just great knowing one may now walk through the galleries of the Enid A. Haupt Conservatory’s beauties taking in the breathtaking orchids in fabulous displays while the winter cold and potential snowfalls remain outside.
There’s no place better to be than in the comforting warmth of orchid pageantry, as one saunters through the conservatory’s splendid galleries.
This is NYBG 22nd Orchid Show
Moving through the various galleries beginning with the Palms of the World gallery, visitors will note the myriad orchid species from the family Orchidaceae. According to Marc Hachadourian, Director of Glasshouse Horticulture & Senior Curator of Orchids at NYBG, orchids grow in every continent on the planet except Antarctica.
The orchid exhibit features rare orchids in the glass case just before you go into the rain forest gallery. Importantly, in color and variety, NYBG staff arranged thousands of orchids. Many from Mexico are featured on the Luis Barragán inspired yellow lattice fence designs that are perfect for growing the particular displays.
The exhibit is so utterly beautiful because it brings Luis Barragán’s renown, minimalist, architectural style to NYBG. According to those who elected to have Barragán as this year’s featured artist of the orchid show, Barragán was highly influential in defining Mexican modernist architecture. He adapted international trends using what was at hand in Mexico, suffusing Mexican culture and style with international ideas. His achitecture employed organic textures, vibrant cultural hues and native Mexican plants like cactus, agave and other succulents.
Look for the accompanying signage to understand how Luis Barragán’s designs meld with the unique orchids chosen for the yellow lattice fences (Carole Di Tosti)
In the rotunda, magic and contrast
Barragán was able to master balancing contrasting elements: splashes of color pop against neutrals. Geometric shapes cast dramatic shadows across starkly hued vibrant walls. Clean lines emerge and strike against the circular shapes of lava rocks and prickly desert plants.
Check out the succulents which provide a curious and striking contrast to the exotic, luxuriant orchids attached to various walled structures, and lattice fences. The effect of the plantings encourages otherworldly, mesmerizing visuals.
It is vital to remember that Mexico has a wide range of ecosystems that contain 10-12 percent of the world’s botanical species and their accompanying animal species. Mexico is one of the largest biodiversity hotspots on Earth. Additionally, it includes more than 1,300 orchid species, about 40 percent of which are endemic. In other words, they are not found anywhere else on the planet.
Walking through the galleries, note these native plants from Mexico and the surrounding plantings that feature the stunning orchids that are companion pieces to the walls and the fantasy blue tree in the rotunda. It is a multi-faceted display which is non pareil. Also, check out the water features which are reminiscent of the cooling fountains throughout Mexico City and smaller cities in Barragán’s beloved homeland.
Numerous designs include a predominance of Moth orchids (phalaenopsis) in the large Barragán inspired structures. These are present especially in the Palms of the World Gallery, the rotunda and the walkway gallery, whose distance perspective is absolutely stunning.
The walkway gallery with stunning perspectives
On your visit, make sure to stand with your back to the exit door of the Palms of the World Gallery and look toward the rotunda. As you look through the vistas of the diminishing rectangular walls of orchids, the combined effect will take your breath away.
One reason why you will see phalaenopsis in the large, spectacular displays is because they are hardier and last longer, looking vital and robust. Phalaenopsis maintain their blooms with proper care for more than a few weeks until they get dreary and droopy. NYBG staff continually replace orchids that have moved past their prime. Indeed, when I visited during the press preview, Marc Hachadourin was speaking with staff to insure that orchids and their plantings looked fresh and vibrant. He suggested that staff check places here and there which needed some attention.
The 22nd orchid show, as previous shows have done, showcases diverse ecosystems where orchids make their home. Even in the desert gallery with the cacti and succulents featured in this show because of their relationship to Mexican environs, you will see that NYBG has an orchid that lives in the dry terrain of the desert. However, that orchid may not be blooming for you to see during this time in the season.
In one of the galleries where there were benches, I noted that visitors on Members Day crowded to sit and take in the glorious sights. They so enjoyed the serene and peaceful setting of the dazzling orchids, hanging vines, fountain splashing water and tropical beauty that created a magical world. They were loathe to leave and move on to the other galleries. As happens with the annual orchid show, members made sure to take their time to appreciate the exotic, ethereal orchid wonders.
ORCHID NIGHTS
This magic can be experienced all throughout the exhibition various days and night and in different venues in a marvelous celebration of Mexico’s extensive botanical history. For example, on select evenings, Orchid Nights bring the happy beats of cumbia music, with cumbia sonidea dance parties led by a DJ and professional dancers.
Come to experience the party atmosphere of traditional tracks and modern influences that create an immersive dance experience. DJ hellotones, “El Hijo de PueblaYork,”is Bronx-born and at the forefront of a cultural renaissance that uplifts the Mexican diaspora in New York City.
Uplifted is the cumbia genre. Mark Saldana, a.k.a. Coolmarx, born and raised in Queens and based in Brooklyn, embraces variations of cumbia in his community-based dance lessons. These include cumbia colombiana, ecuatoriana, peruana, and mexicana.
Orchid Nights feature music and dancing, cash bars and food (lite bites) for purchase for adults 21 and over. Experience the energy and exuberance carried from the exhibit to the appreciation of all things Mexican. Select evenings are February 22; March 8, 25, 22 and 29; April 5, 12, 18, 19, 25, 26.
Photography Exhibit by Mexican-American Visual Artist Martirene Alcantara.
Check out the LuEsther T. Mertz Library to see how the artist captures the essence of Luis Barragán’s vibrantly colorful and geometrical works.
For additional programming go to https://www.nybg.org/event/the-orchid-show-mexican-modernism/
‘Babe,’ Theater Review: Marisa Tomei, Rocking Through to the Next Phase
Babe
Can people change? Or do they just flip their perspectives and deceive themselves to believe they’re “evolving?” In the New Group presentation of Babe, written by Jessica Goldberg, directed by Scott Elliott, Abigail (Marisa Tomei), is Gus’ (Arliss Howard), invaluable collaborator in the music industry. The comedy/drama focuses on a number of current issues using Abby and Gus’ relationship as a focal point to explore the landscape of shifting political correctness, power dynamics, generational conflicts, delayed self-actualization, and more. With original music by the trio BETTY, Babe runs approximately 85 minutes with no intermission at the Signature Center until December 22nd.
Treading lightly on Gus’ rocky ground, Abby has been instrumental in maintaining their successful, collegial relationship for thirty-two years, though at a steep, personal price. She hasn’t acknowledged the sacrifice to herself or been inspired to make a change until the confident, twenty-nine year old, Katherine, interviews with Gus, while Abby monitors their conversation and tries to give him clues when to end his political incorrectness. Katherine’s poise and forward attitude develops during the play as the catalyst which ignites a fire that turns into a conflagration between Gus, Abby and Katherine by the conclusion.
Tomei’s astute Abby is sensitive and insightful
Tomei’s astute Abby provides the sensitivity and insight into the zeitgeist that electrifies fans and brings in the gold records, a number of which hang on the walls of Gus’s chic office (sleek, versatile set design by Derek McLane). The producing legend now in his 60s, but fronting his hip, “with-it” ethos in his tight, black pants, chains, stylized beret, and black leather jacket (Jeff Mahshie, costume design), is at “the top of his game,”and on a down-hill slide, indicated by the sensitivity-training Abby references he has had to withstand. We learn it has been ordered by patriarchal, music company head Bob, who also needs to correct himself, but is powerful enough not to. The hope is with Abby’s continual guidance, and the training, Gus’ boorish, self-absorbed, toxic maleness and unrestrained egotism, encouraged at the company by the other men in the past, will refine. Not a chance, as old dogs refuse to learn new tricks.
As groundbreaking, protective and vital as Abby has been to Gus, the two A & R reps, who have discovered and fashioned some of the most successful solo artists in the business, are not equal in stature, success or monetary rewards. Abby’s discovery of Kat Wonder epitomizes these disparities between her boss Gus, and her, as his second. The only woman in the company for years, Abby suffered through the vulgar and abusive patriarchy, a fact she admits late in the play. To her credit, she managed to gain Gus and the others’ respect and esteem. They keep her around because, as Gus suggests, they think she is like them. We learn by degrees that this is because she is silent and as apparently sedate as her bland, grey pants, white top and black jacket. She is unobtrusive and remains professional, the perfect “Girl Friday,” who allows them to “let it all hang out,” without judging their behavior or making them feel like pigs.
Abby is shut out of receiving credit for her sterling efforts
For her pains to participate, Abby didn’t receive credit on any of the Kat Wonder albums, an “invisible” co-producer. Nor did she share in the spoils as Gus did with global residences and a townhouse he forces the staff to meet in at his convenience, instead of the conference room.
However, ignoring Gus as “all that,” Katherine conflicts with his philosophy, his pronouncements, his ideas. If opposites attract, these two are an exception. Gus sees Katherine’s cultural approaches as pretentious and immaterial (vegan he is not). Katherine is gently oppositional as she pitches herself, her education and background. Interestingly, Katherine sees Abby as a hero to admire. In the initial meet-up, Katherine recognizes Abby from a photo Abby appears in with phenom of the time, “Kat Wonder” at CBGB.Admiring Abby and fawning over her after the interview, Katherine tells Abby that she has been her inspiration to get into the business and wanted to be her.
As obnoxious as Katherine’s forward presumptuousness is, her confidence and appearance remind Abby of Kat Wonder, whose wild grace and energy haunts her throughout the play. Kat appears in her imagination in flashbacks at varying, crucial turning points, with Gracie McGraw doubling for Kat Wonder. These memories of their time together direct Abby toward self-realization and an eventual confrontation with Gus about his unjust treatment of her. This is obviously a painful realization which Abby eventually allows, despite acknowledging Gus’ platonic love, and respect. His concern for her is apparent when he sits with her during a very uncomfortable chemo treatment for her breast cancer.
Katherine visits Abby in an unusual get-together
After Katherine again attempts to rise in the company in another interaction with Gus, she visits Abby at her apartment (McLane’s set design again shines in the transition from Gus’ office to Abby’s apartment and back). They listen to music and Katherine asks Abby probing questions. Then they rock out to music and she dances with Abby, at which point Katherine pushes herself on Abby. Abby is forced to rebuff her because any relationship between them is inappropriate. Nevertheless, this trigger, Goldberg implies, impacts Abby. Abby’s remembrance of her relationship with Kat brings her into a deepening realization of herself because of her experiences, including feeling responsible for Kat Wonder’s death, and being shut out of the glory of notoriety as producer who discovered grunge-rocker Kat.
Abby’s realizations about what she has allowed emotionally, which may have contributed to her physical illness and stress, coupled with a twist that Katherine generates, bring about a surprising conclusion. However, Abby’s response to the final events is the most crucial and important. Maybe it is possible in one’s middle age to forge a new path and become one’s own self-proclaimed star.
The ensemble melds with authenticity and flair
The actors convey their characters with spot-on authenticity, aptly shepherded by Elliot’s direction. Arliss Howard manages to break through Gus’ character with a winning charm and matter-of-factness, which throws dust in the audience’s eyes, even after Katherine corrects his back-handed compliment of her as a “smart girl.” Marisa Tomei as Abby is imminently watchable and versatile as she moves from quiet restraint, to the throes of physical and emotional suffering. The development and culmination of her rage and satisfying expression of it in rocking-out with Kat Wonder is powerful especially at the conclusion. As always Tomei gives it the fullness of her talent, rounding out the Abby’s humanity despite Goldberg’s thin characterization.
Gracie McGraw’s portrayal of Kat Wonder, the 1990s grunge rocker who embodied “centuries of female rage,” before she self-destructed is too brief, perhaps. Much is suggested in Kat’s and Abby’s relationship, but remains opaque. However, we do get to see McGraw’s Kat cut loose. And the memory is so alive and vibrant, it encourages Tomei’s Abby to be her own rock-star, wailing out her repressed rage by the conclusion of Babe. And the women in the audience wail with her, especially now, after the election.
Babe covers many interesting points. To what extent has music been egregiously shaped by the current technologies? What damage has been done as the music and entertainment industry, hypocritically shaped by cultural politics, only creates artificial boundaries on the surface that don’t penetrate the noxious back room parties and behaviors which have given rise to worse abuses? Another issue defines the difficulties of compromise and corruption which spans every institution, every industry. To be a part, one has to be complicit, and then be satisfied with less of a reward because others hold the power and money and make up the rules. Babe scratches the surface and leaves food for thought. The performances are noteworthy and should be seen.
Kudos to the creatives not mentioned before which include Cha See (lighting design), Jessica Paz (sound design), Matthew Armentrout (hair and wig design), and not enough of BETTY’S original music.
Babe runs 85 minutes with no intermission at the Signature Center.
CAROLE DI TOSTI 