Name: Maya Jacobson

Hometown: Clearwater, Florida

Education: BFA from The Boston Conservatory

Select Credits: Woman 1 in Amerike The Golden Land, Carrie Pipperidge in Carousel, Brenda Strong in Catch Me if You Can

Why theater?: I love that theater is an art form based in relationship and human connection. I freaking love people. Discovering and exploring different types of people by embodying them, collaborating with the people involved in the project(s), and then of course having the privilege of sharing that work with an audience. Also, the kind of people the theater community draws in are the people I want to spend my life working with.

Who do you play in Fiddler on the Roof?: Bielke

Tell us about Fiddler on the Roof: Fiddler on the Roof is one of the most beloved shows in the musical theater cannon. It centers around a milkman, Tevye, and his family living in the town of Anatevka. Our production, directed by Joel Grey, choreographed by Staś Kmieć, and music directed by Zalmen Mlotek brings the human relationships of the show to the forefront. The simplicity of the set and the richness of the yiddish language, as well as the superb direction of the show allow those relationships, and the heartbreak and joys of the story to flourish.

What is it like being a part of Fiddler on the Roof?:  It is magic. I am blown away by the dedication, professionalism, and kindness of the cast and crew. On top of that, it is such a gift to speak and sing in yiddish, which is the language that my great-grandparents spoke after escaping Germany during WWII. They felt so betrayed by Germany that the German language felt violent, whereas yiddish connected them with other Jewish immigrants. To tell the story of Fiddler in the language that so many Jewish immigrants spoke/speak is such a privilege. Not to mention that I share a toilet with the infamous Jackie Hoffman. (Joking-she absolutely rocks).

What kind of theater speaks to you? What or who inspires you as an artist?: Theater that can answer the questions “Why this play? Why now?” speaks to me most. I am most inspired by theater that is daring, exposed, and simple. There is nothing more beautiful or exhilarating to me than watching actors live and breathe in real time, exposing their flaws and asking the most difficult questions. Some theater artists I am inspired by are Sarah Ruhl, Lynn Nottage, David Yazbek, Paula Vogel, Jeanine Tesori Mark Rylance, Kelli O’Hara, Laura Benanti, Jessie Mueller, Katrina Lenk and truly so many others. This community inspires me.

Any roles you’re dying to play?: Dot in Sunday in the Park with George, Fanny Brice in Funny Girl, and woman who says “and in a bed” in Les Miserables

What’s your favorite showtune?: "Sunday in the Park with George" from Sunday in the Park with George and everything in “Waitress.”

If you could work with anyone you’ve yet to work with, who would it be?: Mark Rylance. I saw him as Olivia in “Twelfth Night,” and that performance shifted the trajectory of my career goals and ambitions. He is breathtaking.

Who would play you in a movie about yourself and what would it be called?: I would want to cast Meryl Streep because I think one should always cast Meryl in biopics. It would either be called “Hand Me My Bra, I’m Going to Bushwick” or “Funnier Girl” or “Quirky With a Capital Q”

If you could go back in time and see any play or musical you missed, what would it be?: I would want to see Bernadette and Mandy in “Sunday in the Park with George.”

What show have you recommended to your friends?: Come From Away

What’s your biggest guilty pleasure?: Expensive lattes with oat milk or Bachelor in Paradise

What’s up next?: Hopefully a manicure and some very cool theater/film projects

For more on Maya, visit www.mayajacobson.net

Name: Drew Seigla

Hometown: Richmond, VA

Education: B.M. in Voice Performance from The Juilliard School & attended Elon University two years prior towards a B.F.A. in Music Theatre.

Select NYC Credits: Off Broadway: The Fantasticks (Matt;The Mute), Sweeney Todd (Swing for Anthony/Tobias/Beadle), and Fidler afn Dakh (Pertshik)

Why theater?: Theatre has always captured my imagination, and has given me an outlet to express and expand my inner truth. This therapeutic search of self discovery has allowed me to access emotions that would have otherwise been suppressed by standard social norms. Having this emotional availability has increased my empathy for all people, and for that I couldn’t be more grateful. Most importantly, theatre has the power to teach, to transform, to entertain, and to challenge the minds and hearts of audiences so that social progress can continue growing.

Who do you play in Fiddler on the Roof?: I play Pertshik, a socialist rebel student from Kiev.  He is an outspoken, educated, and passionate leader of men who will take a stand for the justice and fair treatment of all mankind.  He is a progressive scholar who’s life purpose is based on changing the world into a just, utopian society.  One day, he stumbles upon the small village of Anatevka, and makes a deal with Tevye to teach lessons about the Torah to his daughters in exchange for shelter and food.  Of all Tevye’s five daughters,  Pertshik is curiously challenged mentally and emotionally by his second eldest daughter, Hodl.  Hodl is strong willed, smart, and able to express her beliefs with a conviction that Pertshik hasn’t observed from anyone else in Anatevka.  He finds his equal in Hodl, eventually falls in love, and proposes to her.  However, he’s caught in a predicament and feels he must leave Hodl and Anatevka in order to fight for the revolutionary cause against the Russian Empire.  He is sadly captured in Kiev, and exiled to the wilderness of Siberia.

Tell us about Fiddler on the Roof: Fiddler on the Roof is a musical based on the writings of Sholem Aleichem’s “Tevye the Dairyman and the Railroad Stories,” surrounding Tevye, a Bible-quoting milkman from a Jewish, fictional village called Anatevka. Ultimately, the story follows Tevye’s journey as his religious traditions and customs are challenged one by one through the different suitors that court his beloved daughters. The play is set during the eve of the Russian Revolution of 1905, and danger lurks innocent Anatevka as tensions rise between Socialistic revolts and the Russian Empire.

What is it like being a part of Fiddler on the Roof?: It is a rich, truly one of a kind experience. It is my first Fiddler on the Roof which alone makes it special to me, but to have it told in Yiddish, the language that these characters would have spoken, perfectly captures the essence of the story telling. It radiates in an authentic gesture that I’ve never seen portrayed in any show...it’s as real as it gets. The warmth of family tradition and stability juxtaposed against an inevitably changing world is a theme that anyone can grasp, especially in today’s times. The cast, creative team, and theatre all support the common goal of honestly expressing the beauty of the Jewish people as well as the cruel injustices inflicted on them during this time in the beginning of the 20th century Russian Empire.

What kind of theater speaks to you? What or who inspires you as an artist?: I really enjoy all forms of entertainment. There’s a time and a place for it all to exist. Truth and beauty told in an honest dramatic format will always speak to me and to my heart. The value of remembering our humanity through dramatic works is indeed a powerful tool. However, I grew up with a funny bone and I do love being goofy. Nothing is more satisfying than a belly laugh from a ridiculous comedy to remind you that life can and should be taken lightly. It’s a balance of the mysterious and the hilarious that speaks to me. Many different artists, living and dead inspire me. My first idol was Michael Jackson. I listened to all of his albums and still know most lyrics to all of his songs. His singing, dancing, and stage presence is unmatched and inspired me to standout. When it comes to film actors, I have to credit Marlon Brando and Robin Williams. They were titans of their craft and there is so much to be learned by following their examples on screen. Currently, my muse is Seth MacFarlane. He is basically doing what I’ve always wanted: he created a famous cartoon with Family Guy (I also love to draw), he has an incredible sense of humor that he unapologetically exploits, and he can sing like a dream...what a mentsh!

Any roles you’re dying to play?: Yes, a few. I really want to be Quasimodo in Disney’s The Hunchback of Notre Dame, Jamie in The Last Five Years, Raul in Phantom of the Opera, Joe in Damn Yankees, Georg in She Loves Me, Bobby in Company, and George in Sunday in the Park with George.

What’s your favorite showtune?: “Soliloquy” from Carousel

If you could work with anyone you’ve yet to work with, who would it be?: I really want the opportunity to work with either Adam Sandler, Jim Carrey, or Stephen Sondheim. That would be a dream come true!

Who would play you in a movie about yourself and what would it be called?: Andy Samberg in “Where’s my wallet?!”

If you could go back in time and see any play or musical you missed, what would it be?: The original cast of The Secret Garden.

What show have you recommended to your friends?: Fidler afn Dakh! Not because I’m in it, but because it’s truly a beautiful rendition of the classic, and feels completely relevant to our cultural/political climate.

What’s your biggest guilty pleasure?: Junk food! It’s a toss up between either Utz Cheese Balls or Slim Jims Original flavor.

What’s up next?: Not exactly sure. Only the universe knows, but I anticipate nothing less than something amazing.

For more on Drew, visit drewseigla.com

By Michael Block 

Carousel is probably best known for its revered scores, but since its inception into the history of musical theater, the world has drastically changed causing the story to strike a different chord. The Rodgers and Hammerstein smash is a classic musical marred by a controversial plot line in our current landscape, and yet it has been revised on the Great White Way today. The daring revival is a fine production with no bells and whistles that still manages to dazzle despite some choice decisions.
Helmed by Jack O’Brien with choreography by Justin Peck, Carousel is the story of a late 19th century Maine town and the budding romance of Julie Jordon, a young millworker, and Billy Bigelow, a carnival barker. As love turns to marriage turns to family, conflict and tragedy arise causing Billy to act out in an uncouth manner. What may not have been considered too taboo at the time of story and production, the relationship between Julie and Billy is an abusive one. While there were certainly cuts made in this revival, it’s impossible to eliminate this plot point so the moral of this revival is how director Jack O’Brien handled the situation. You hear the physical abuse plot line differently with a modern ear, and yet the impact is not necessarily reflected in this production. Lindsey Mendez steers the ship in her response to Julie’s declaration that Billy has hit her, yet while we desire a different reaction, one of more anger and repulsion, Mendez’s Carrie stays true to the time and reacts in a blasé manner. So why is this singular beat in a musical that hits nearly three hours important? The overall picture of this particular revival. Billy Bigelow, even when given his second chance in life, cannot change his angry self. When the Starkeeper sends Billy back to earth and has an interaction with his daughter Louise, he too, strikes her and instantly regrets it. Thusly, Billy’s redemption arc is unchanged. With how this revival is cast, does it also make Carousel the story of an “angry black man.” It’s very possible. Joshua Henry is poised and delivers an exceptional performance as Billy. He has all the tools and depths to capture the seduction of the barker. But with the show still being a period piece, attention to this narrative is inherently called despite Henry’s boisterous tone and impeccable voice. Jack O’Brien infuses a charm into the world. Even with darker themes, their production of Carousel has a light aura and a splash of whimsey allowing the truth to be glossed over. And that seems truth with some of the cuts made to the text.
When it comes to the vision of the piece, O’Brien put the focus on the movement rather than the aesthetic. In a totem pole of priority, you have to imagine that choreography was on top. Justin Peck was given a stunning canvas of bodies in which to work with, and thusly expand the tuner “Blow High, Blow Low.” His balletic choreography tugs at the heart. Some of the musical staging doesn’t quite match the gusto in which he brings in the previously mentioned number and “Ballet.” With often a blank space to play in, the imbalance of styles comes across, at times, as incomplete. If choreography was on top, you can likely say that scenic design got the shaft. There was little grandeur in Santo Loquasto’s design. Imagination in theater today goes a long way, but sometimes you just want to see a damn carousel at the carnival! Peck was given the chance to make up for the architecture Loquasto was missing. In pictures, the seascape with the boats floating in the distance provided a nice visual, but up close and personal, it came across as a cheap diorama. Further, the boardwalk sculptures seemed out of place for this style of theater. Watching the actors attempt to maneuver as they walked on them was an acting challenge in itself. The costumes from Ann Roth were stylistically accurate with a flurry of patterns and textures. And yet they had little impact on the overall visual.
Whether it was O’Brien’s approach on the material or the magnitude of the actors, this revival of Carousel had a strong focus on Billy Bigelow. As mentioned, Joshua Henry gave a solid performance. Billy makes mistake after mistake, and yet Henry manages to allow Billy to get away with it. His impassioned “Soliloquy” closed Act I with great fervor. Henry’s biggest flaw in the show was during his unfortunate death scene, choreographed by fight director Steve Rankin. If ever there was a death scene that lacked stakes, this was it. Jessie Mueller’s Julie has been pushed to the backburner of focus in this revival. Mueller had an opportunity to tackle the classic score and succeeded. But her characterization of Julie was minute in comparison. She attempted to show depth as a strong woman, but it never quite made an impact. Lindsay Mendez as Carrie Pipperidge was a light in the darkness with impeccable comedic delivery. She wasn’t the soft and dainty optimist of usual Carries, as she opted for something a tad more jovial. Nettie is a saving grace for Julie in this story. And in a way, Renee Fleming was a saving grace for this production. Her voice soared in this score. Whether it was the forever infamous “June is Bustin’ Out All Over” or the anthem known as “You’ll Never Walk Alone,” Fleming provided enough emotion for all. Consistency is key for a successful musical. For the most part, O’Brien instructed his cast to adopt the New England dialect. It’s a unique one, for if someone doesn’t have it, it surely stands out. Perhaps being a dancer first, actor second is to blame, but Amar Ramasar’s Jigger failed in his portrayal. Some can excuse a botched dialect when the dancing is so strong. When he wasn’t showcasing his talents through dance, Ramasar was simply out of place.
After this revival of Carousel, can the story have a redemption arc for a modern audience or has the #MeToo movement influenced our culture to the point where Carousel has become obsolete? This Carousel is fine, it has a cherished history to fall back on. Dare I say, it just needed a little more time and a firmer vision to be what Jack O’Brien and his team desired it to be.

By Michael Block

Angels in America is a masterpiece. The script that is. Tony Kushner has crafted a Pulitzer Prize winning text that some would categorize as a Shakespeare of our generation. It's almost certain that every theater student has at some point read and studied in their career. Kushner's text is straight forward, yet has the ability to be interpreted openly when translating from page to stage. In the National Theatre's production of the revival is triumphant, but also features some curious choices that carry through from top to bottom.
Directed by Marianne Elliott, this revival of Angels in America packs a powerful punch. Elliott takes great care and consideration when it comes to exploring Kushner's story. Her staging is swift and smart, which allows the focus to remain solely on the text. Throughout the design, from marketing to production, the revival has a totally tubular lighting element. The neon tube lights, incorporated in Paule Constable's lighting design brings a bright spot to the darkness of the saga. The scenic design from Ian MacNeil has a very industrial feel to it. It's quite stark and cold. But the star of the design is those turntables, predominantly featured in Millennium Approaches, and the various other surprise elements. Kushner's preamble before the text states his desire to see the theatrical mechanics. As theater technology evolves, those mechanics don't necessarily need to be physical bodies changing the set. But this changes once the Angel shadows are introduced. Scenic shifts can be made technically. Between the neon tubes, the placement of the various locales on the turntables and scenic elements, and the mechanics of how the scenes shift, Elliott does not care about consistency. You would imagine each character or pairing would match a specific color in the tubes, it does not. There are moments that Elliott places the same scene in different locations on the stage. For example, Roy's hospital room is stage right and then suddenly it's placed inside the rising platform. Prior's rooms experience the same treatment. You could make the case that perhaps they were moved around in the hospital, but for the case of storytelling, it's important to be consistent for the audience. The music from Adrian Sutton has a very melodramatic tone to it. It is a gay fantasia, and Sutton brings the drama. When it comes to the costuming, Nicky Gillibrand's design features exactly what you expect. Except the Angel. Gillibrand and Elliott have decided to expose the frailty of the Angel through her appearance, rather than a more glorious creation. Through this version of the Angel, Elliott and puppetry director Finn Caldwell incorporated an ensemble of able bodies to serve as the movers of the wings and Angel. For those seeking a flying Angel, Elliott does no deliver. With the grandiose of Kushner's exuberant epic drama, the most lavish element of the entire text is feeble. But kudos to Elliott for at least committing to this aspect of the production. At the end of the day, Angels in America is a period piece and should be treated as such. Perhaps it's simply assumption, but it seems very unlikely that a Mormon woman in the 1980s would have a hairstyle resembling modern day Katy Perry.

photo by Sara Krulwich

Speaking of said Mormon woman, Denise Gough's performance was quite monotonous. She lacked some of the quirky nature of Harper's earlier moments. By beginning Harper's journey at high mania, there truly wasn't much of an arc for the character to go. Following suit in monotony was James McArdle as Louis. His Louis lacked anything but whininess. Everything was the end of the world for him. Some of Louis' monologues make him utterly detestable, but McArdle ensures there's little redeemable about him. On the positive side of the acting company, Susan Brown in the Hannah Pitt track was sensational. From her Rabbit to her Bolshevik, from Ethel Rosenberg to Hanna Pitt, Brown's diversity was undeniable. In the Hannah Pitt track, one of the most difficult tracks in all of theater, Brown never took a wrong step. She brought a plethora of life to the stage. Like Brown, Amanda Lawrence found variety in her performance playing an array of roles including the Angel. Nathan Lane was bitingly funny as Roy. He brought a bit of a charismatic side to the character. As Joe Pitt, Lee Pace gave a heartfelt performance as the torn husband. While he was occasionally lost behind the bolder acts from a few of his scene partners, Pace's take on Joe was raw. Nathan Stewart-Jarrett brought a whole lot of flirt and sass as Belize. Stewart-Jarrett allowed Belize to use  the power of words as his strength. Last but certainly not least, Andrew Garfield took flight as Prior by Perestroika. While I worry for his voice with all the screaming, when Garfield was given room to play in "prophet" mode, he was at his finest.
The National Theatre's production isn't the first revival in New York City in the new millennium. In 2010, Angels in America was given a starry Off-Broadway production at The Signature Theatre. There was an intimacy that that production had that this production lacks. Theater space may be a major factor, but the lack of intimacy means the grand nature of Tony Kushner's epic is in full force. And this production was felt in epic proportions. Was this the greatest version of Angels in America? Probably not. It was certainly grand, but when you have a perfect script, it's easy to scrutinize the tiny choices.

By Ed Malin

Time Stands Still, the 2009 play by Pulitzer Prize winner Donald Margulies, is being given a thoughtful revival by Ego Actus and Lung Tree Productions at Theater for the New City. Joan Kane directs this story of a photographer and a journalist, a couple who find their thrills in keeping the greater public aware of the plight of people living in war zones in the Middle East and Africa.  In a year where "The Last Men of Aleppo"-a documentary about brave Syrian volunteers who rescue their compatriots from bombed buildings-was nominated for an Academy Award, this touching play is still relevant and raises all sorts of questions about people's abilities to connect.  In any case, whether or not you work in a high-risk area, you may leave the theater asking yourself "is love war?" 10% of ticket sales will be donated to Physicians for Human Rights.
As our story opens on a spacious New York apartment, James (Timothy Weinert) is helping the injured Sarah (Maggie Alexander) up a flight of stairs and safely back into their home.  We see a sweeping view of the Williamsburg Bridge; our story takes place in the formerly outré waterfront area of Brooklyn.  James and Sarah, however, seem to spend most of their time on assignment overseas. After college, James walked away from a stable future and went to Somalia as a reporter.  He met Sarah in East Jerusalem and the pair have since had many adventures together.   In between scenes, photos of Syria by Simon S. Safieh are projected on the walls. Right now, Sarah still has bruises on her face (makeup excellently applied by and a knee brace and crutches to remind her of her last near-death experience in Mosul. Many of these details about Sarah and James are only disclosed as part of conversations with their publisher friend Richard (Malcolm Stephenson) and his new "mid-life crisis" girlfriend Mandy (Connie Castanzo), who visit the couple to welcome them back and help publish their findings.
You might expect Sarah to have a short fuse, and that side surely comes out when she speaks with Mandy, who has not seen much of the world and seems sincerely in love with Richard after four months together. Richard, who once dated intelligent women his own age (even Sarah dated him 20 years ago, as we later discover) admits to a great sense of relief at his current, simpler love. With his last ex, everything had to be discussed; choosing a place for dinner "was like arbitration." We might be asking ourselves if shallow love can be true love.  But then we hear of Sarah's translator ("fixer") during her assignment in Iraq. This man, Tariq, was gentle, barely spoke English according to James (Sarah says he taught himself English by reading Hemingway over and over again) and yet inspired trust and more.
While James writes a subtle book on the meaning of horror films (observe the Red Scare themes in the 1950s "Invasion of the Body Snatchers"), Sarah drifts away from the relationship. They have dated for eight years but never married. Mandy, who is having Richard's baby, inspired James to propose to Sarah.  James didn't have any rights regarding Sarah's hospital care, and is ready for matrimony and fatherhood. Sadly, the publishing world is not ready for the couple's work.  James feels that he risks his life to show the peaceful public what is really going on.  Mandy counters that we should all try to see the joy in life, otherwise what's the point?
There are many ways to have a relationship.  Sarah has always been an adrenaline-fueled adventure seeker.  Why should James, a vital, muscular young guy, suddenly want to settle down and lose all the freedom he has always had?  How did James figure out that Sarah and Tariq (who was blown up by a roadside bomb) were more than friends?  We are referred to the classic film "Days of Wine and Roses", a story about two amorous alcoholics and what transpires when one drunk wants to try a sober lifestyle.
This play is more than a play.  It speaks of films and ideas and asks why people want to have certain jobs and read (or don't read the news).   As the truth is slowly revealed, we see characters struggling to hold in more information than they care to share. All of this is a triumph for director Joan Kane.  Since the action covers several months and the characters rarely leave Marc Marcante's spacious set, we rely on Bruce A! Kraemer's lighting to cover up some things, reveal other things, and keep us moving forward in time.  For a play called "Time Stands Still", that is quite tricky.  Sarah can't get over the deceased Tariq.  It seems that the more time passes, the more humane and enobled Tariq seems.  Maggie Alexander as Sarah does an exquisite job of showing us what's it's like for a real mover to have to sit still and heal her wounds.   Tim Weinert as James has been on the go since Sarah was injured, and shows us the agony of his own inertia.  The perkiness of Connie Costanzo as Mandy and the grandfatherly joy of Malcolm Stephenson as Richard must be seen to be believed.  The theater is a great place to examine the comic side of the generation gap, especially in relationships.  Cat Fisher's costumes are the perfect way to feel at home, even if you're not sure what that is.

By Michael Block

In its first major revival on Broadway, Once on This Island makes a triumphant return. With an atmospheric staging at the Circle in the Square Theater, the focus here is the importance of stories during devastation as stories, at the end of the day, are universal to us all. With the visionary direction of Michael Arden, Once on This Island is the production we needed today.
Written by prolific songwriting team Lynn Ahrens and Stephen Flaherty, Once on This Island follows a group of storytellers who share the story of Ti Moune, a peasant girl who falls in love with an upper class boy as she tries to navigate the battles of class and the four gods who rule the French Antilles, Asaka, Mother of the Earth, Agwe, god of Water, Erzuile, goddess of Love, and Papa Ge, demon of death. Inspired by Rosa Guy’s “My Love, My Love; of The Peasant Girl,” Once on This Island is a beautiful story with a lively score with a tropical flair. This revival is a showcase of the ability of storytelling. Michael Arden’s direction is nothing short of breathtaking. The transformation of the theater by Dane Laffrey brings the Caribbean to Manhattan. It’s a sandbox of ingenuity. Just the simple inclusion of live animals, a chicken and a goat to be specific, brought things over the top. Arden takes the idea of found object storytelling as the central theme of his own storytelling. Clint Ramos dresses the characters, both in and out of story, in attire reminiscent of the island life. Items the audience sees on stage during the preshow are brought in to create some of the gods’ wardrobe, playing into the idea of reality and imagination. The orchestrations from Annmarie Milazzo and Michael Starobin is stunning, especially through the addition of the found instrument design by John Bertles and Bash the Trash. Why use a storm sound cue when you can use instruments! There are challenges in staging when performing in the round, but lighting designers certainly have their work cut out for them. Jules Fisher and Peggy Eisenhauer made it look easy. Arden needed to ensure that the movement in this piece was genuine. Choreographer Camille A. Brown did her homework and aced it from start to finish.
Once on This Island showcased one of the most infectious ensembles on Broadway today. There was not a single weak link in the cast, as each person blended into one cohesive unit. Its original production put its young star, LaChanze, on the map. Similarly, this revival is doing the same for the young woman in the same role. Haley Kilgore gives a delightful debut performance laced with heart and promise. Ahrens and Flaherty have a killer score, but “Mama Will Provide” is certainly a showstopper, thanks in part to Alex Newell’s vocal dexterity. Newell’s tone is pure with moments of growl and whistle tone. Newell’s effervescent performance as Asaka is easily tops of the season. On the other side of the spectrum, Lea Salonga gives a strikingly contained performance as Erzulie. Salonga’s take on “The Human Heart” gives shivers.
No, this production is not revolutionary, but it is unequivocally refreshing. If you don’t walk out of the venue with a smile, you heart may be a few sizes too small. The score will remain with you for days. If you are aware of your surroundings, you can see how the world today was infused in the production. It may feel hammered in, but Arden and his talented company have captured hearts and remind us not only why we tell stories, but why we dance.

By Michael Block 

Horton Foote is a master of depicting life naturally. With a wealth of plays, audiences seem to be drawn to his work. Foote’s The Traveling Lady returns to the stage in a briefer production at the Cherry Lane Theatre. Directed by Austin Pendleton, The Traveling Lady is simply put, fine.
The Traveling Lady tells the story of Georgette Thomas who travels to a small Texas town upon the release of her husband from prison. When she arrives, she learns that the truth she believed is not quite reality as her husband, Henry, a man of notorious reputation, has already been released for some time. Learning about the kindness of strangers, Georgette must make a decision about her future for herself and her young daughter. Set in the backyard of an upstanding woman of town, The Traveling Lady shows the ways of life in 1950s Texas. Running a little over ninety minutes, if you sat questioning if you missed some crucial information, you’re not wrong. Originally written as a play in three acts, this is an updated script from Foote. To make the play a modest length, information has been sliced and diced. The most noticeable plot hole is the speed in which Slim Murray, the brother of backyard’s owner, Clara Breedlove, falls for Georgette. Love at first sight is a thing but this was the least believable element in this realistic play. There are some other minor characters and their arcs that do not seem completely fleshed out, but it doesn’t alter the overall picture. Austin Pendleton directs this production unobtrusively.  It’s simply stated. The characters are kindhearted. Pendleton doesn’t do anything out of the ordinary but honor Foote’s play. The stakes are generally minimal. Even in the moments of danger, with Henry and Mrs. Mavis’ disappearance, there was never a sense that it wouldn’t get resolved. To bring the world to life, scenic and lighting designer Harry Feiner used atmospheric lighting and an array of furniture to tell the story. The pleasant design did its job well for the tight stage. The only trouble was Pendleton’s use of the fourth wall. To add an extra entrance, he utilized the aisle in the audience. The rules of the stage were defined a bit strangely as there were moments were characters would conveniently not hear the conversation mere feet away. Kudos to those who saw the lightning bugs Feiner placed during the dusk scenes. With a play like this, atmosphere is essential. Sound designer Ryan Rumery’s soundscape allowed the silences to be filled naturally. When it came to styling the company, Theresa Squire allowed the garments to match the decade.

photo by Carol Rosegg

The charm of Horton Foote’s play is the kindness and authenticity of his characters. When the company found the hints of humor in Foote’s text, the play was alive. Leading the batch was Lynn Cohen and Karen Ziemba as mother-daughter combo Mrs. Mavis and Sitter Mavis respectively. Both Cohen and Ziemba were absolutely delightful. You almost wished the pair could have their own spin-off. Supporting characters often have more freedom to be the comic reliefs of the story. The Mavises were those here. Georgette Thomas is a highly emotional character. Jean Lichty played right into the emotions. And it often was unvaried. Then again, Georgette is quite high-strung throughout. As Slim, Larry Bull’s allure was subtle yet affective. The Slim and Georgette plot line is a defining force in this play and Bull defined why it was prominent.
From a modern lens, there are some interesting takeaways in Horton Foote’s The Traveling Lady. You can look at it as a period piece about a strong woman’s independence. It would help explain why this play now. The Traveling Lady is a safe production where you know exactly what you’re getting. And sometimes, that’s just fine.

By Michael Block 

Some people would pay to watch Bette Midler eat. Well, here's your chance! Hello, Dolly! has made a glorious return to the Great White Way in a delightful production. Directed by Jerry Zaks with music and lyrics by Jerry Herman and book by Michael Stewart, Hello, Dolly! is a cheery production that brings back nostalgia for classic musical comedy.
Based on Thornton Wilder's The Merchant of Yonkers, Hello, Dolly! follows Dolly Gallagher Levi, a widow who makes a living through meddling. As a premiere matchmaker, Dolly is seeking a wife for grumpy Horace Vanderelder, but it’s really she who plans to marry him herself. Meanwhile, Horace’s niece, Ermengarde, is being courted by Ambrose Kemper while his clerks, Cornelius Hackl and Barnaby Tucker, take a trip to New York City and find an adventure alongside Irene Molloy, a hat shop owner, and her shop assistant Minnie Fay. With an abundance of old-fashioned charm, Hello, Dolly! gleefully embraces the whimsy of romance. It’s hard to do this show wrong. The story is silly. But we forgive it simply because of the nostalgia attached to it. Rather than reinvent the show, Jerry Zaks and his team don’t rely on spectacle to tell the story like some of their neighbors do. They allow the show to sing for itself. Scenic designer Santo Loquasto provides some moving parts to the design, (and one offbeat court room scenic piece) but the intrigue for most of the crowd are the painted drops. No other show in today’s theatrical landscape could ever get away with a painted drop. But this show can. Playing double duty with costumes, Loquasto provides beautiful period fashion alongside some iconic looks. Nothing quite beats the hat parade as the cavalcade marches on in all its glory.

photo by Julieta Cervantes

Dolly Levi is an iconic role. It’s synonymous with a handful of actresses, most notably Carol Channing and Barbra Streisand. But ladies, watch out. Bette Midler is coming for your glory. There’s only one way to describe her: divine. You can say she put herself into the role, but isn’t that what we wanted? Midler knows how to hit the comedic beat without batting an eye. It comes naturally. But it’s when she tackles Michael Stewart’s soliloquies that Midler radiates heart. Infusing just a tinge of color, the tenderness in which she delivers the text layers her Dolly. As the man she drives crazy, David Hyde Pierce’s Horace is assertively funny. With a lip quiver that rattles his moustache, Pierce plays into the caricature elements of Horace. With an profusion of subplots to explore, this ensemble of supporting players was more than capable of helping carry the show. Gavin Creel and Kate Baldwin as Cornelius and Irene were delightful. But the real scene-stealers were Taylor Trensch as Barnaby and Beanie Feldstein as Minnie. Taking on the more comedic sidekick parts, Trensch and Feldstein played into the grand youthfulness of the duo, yet they were some of the more honest portrayals on stage. Taylor Trensch is truly the unsung hero of this production. It takes a special performer to make a minor ensemble character come to life and steal the show. Jennifer Simard as Ernestina did what very few can. Simard’s brash and unashamed Ernestina kept the audience on their toes. You never knew what antics were coming from her next the moment the booth curtain opened.
Between the show itself and the superstar taking on the title role, this production was going to find itself getting uproarious applause. I’m sure it happens every night, but the audience applauded for everything. The overture starts: applause. The curtain rises: applause. Bette Midler steps on stage: applause. David Hyde Pierce steps on stage: applause. The costumes are revealed for “Put on Your Sunday Clothes”: applause. See a trend? But it’s incredibly rare to find a standing ovation occur in the middle of the show. And that happened at the conclusion of the titular song. As they say in sports, “and the crowd went wild.” Like the commercial says, there will be people who saw Hello, Dolly! and people who did not. Hello, Dolly! is a sweet production that stays inbounds. If anything, it brought Bette Midler back to musical theater. And that’s a triumph right there.

By Michael Block

Filling the classical quota of the season, Noel Coward’s Present Laughter is the surefire show that won't upset the status quo. But this isn't just another production of a Coward play, it's a hit simply thanks to its star, Kevin Kline. Directed by Moritz Von Stuelpnagel, Present Laughter is a night of bawdy laughter and high-class comedy.
Following the days in the life of egomaniacal playboy Garry Essendine as he’s set to embark on an African theatrical tour, Present Laughter follows the madcap adventures of the people that populate Garry’s flat and the women who desperately want him. The almost farcical light comedy is a Coward classic that is an easy audience pleaser. Moritz Von Stuelpnagel directs the play a bit safely, but fills it with hilarity. And that’s thanks to Kevin Kline as Garry Essendine. Kline is a natural comedian. He knows how to land a joke. His physical comedy is effortless. And no matter who his scene partner is, his ability to take and give the moment proves his strengths as a performer. Put anyone else in this role and Present Laughter would be a blip on the map of the Broadway season. Kevin Kline makes the production worthy of recognition. Alongside him was a strong supporting ensemble of women, including the delightful as always Kristine Nielsen as Monica, Garry’s secretary, Kate Burton as the sly Liz Essendine, Garry’s former wife, and extraordinarily whimsical Tedra Millan, making her Broadway debut as Daphne Stillington. The other leading lady in Garry’s life was Joanna, played by Cobie Smulders. Smulders was strong in her characterization, but she was unfortunately a bit rigid and robotic in her take on the debonair wife of his producer Harry and mistress of his manager Morris. With the rest of the cast taking big leaps in comedy, Smulders approach seemed to place her in a different play. Von Stuelpnagel didn’t seem to have the tools to bring her into the same world as the other characters.

photo by Joan Marcus

As a period piece set in 1939 London, Von Stuelpnagel and his team honored the time, and Garry’s personality, through the entirety of the design. The scenic design by David Zinn featured a stylish home that was a bit chaotic. With books lining every inch of every shelf and artwork strewn about the walls, even creeping down on the shelves, there were no details left out. The color scheme was classic and soothing. The only downside was no matter the seat, you’re likely to miss something. The layout of the apartment was specific and called attention to the necessity of Von Stuelpnagel’s comedic staging. Doors were placed in certain areas to cause quick-timed reveals. A mirror was cleverly placed near the hallway, where Kline’s Garry did double takes to check his appearance. And then there is said hallway where the audience often gets glances of who’s ringing the bell often before the characters. But depending on where you were seated, you likely missed some of these comedic beats. Personally, I lucked out and only missed the entrances from the main door, but while I was cackling every time Kline looked in the mirror, my neighbors to my left were left in the dark. The costumes designed by Susan Hilferty were first-rate. Matching the personas of each character through color, cut, and fit, Hilferty honored the period while maintaining the high status of this world.
Present Laughter was a great vehicle for a triumphant Broadway return for Kevin Kline. Sometimes you just need to go to the theater for a laugh, and this production fulfills that. There’s no need to reinvent the wheel when it comes to Noel Coward.

By Michael Block

First it was Shakespeare. Ibsen and Chekhov followed after. Even Miller has been reinvented. Now's the time for Tennessee Williams to be redefined on stage. In the latest revival of The Glass Menagerie, the memory play finds itself in modern times. Purists, stay far away. Helmed by Sam Gold, this reinvention brings some incredible new insights into the text, yet also veers, at times, unrecognizably too far.
The Glass Menagerie is regarded highly as one of the greatest American plays. And it is. It’s a family drama told through the perspective of Tom Wingfield. It should be remembered that The Glass Menagerie is in fact a memory play. And a memory play can be interpreted as one sees fit. There is wiggle room. But how much until it's no longer the same play? The production has a modern perspective with a nearly blank stage, featuring a basic folding table, chairs, and prop shelf curated by scenic designer Andrew Lieberman. To walk into a Broadway house and encounter this minimal set, it’s jarring. There’s nothing lavish about it. You wonder why not stage this production in a more intimate theater. But with nearly nothing, it allows Williams’ text to take center stage. You hear the words in a new way. And at times, Gold blatantly defies the text. From Amanda yelling at Laura to sit on a non-existent couch in a different room to her distinctly stating it’s time for the lace tablecloth when it’s anything but. Gold interprets the text in a manner that may be confusing, but he goes all-in with it. There are some haphazard inconsistencies when it came to staging and defining the rules of his world. It may have taken some time to get into this version of the play, but when it's stripped down to candlelight and Williams' exquisite text, The Glass Menagerie was at its best. Jim and Laura's scene was extraordinary. But it lived in another world from the rest of the play. It’s so stripped down that when something fantastical is introduced, like the waterworks creating the misty rain of the St. Louis night, it causes confusion. Lighting designer Adam Silverman shined brightest with the usage of the neon sign. In a production of bold moves, the insanely slow fade down of the house lights needed to be deliberate. Times when the house was fully out felt arbitrary. If this is a memory play designed by Tom, shouldn’t he be the one manipulating the world? Wojciech Dziedzic’s costume design was comfy modern, but Dziedzic’s moment of courage was the loud pink dress Amanda puts on. It was a statement piece to say the least. It caused a laugh from the crowd, but was that truly the intent?

photo by Julieta Cervantes

This production was essentially a showcase for Sally Field as Amanda Wingfield. And boy does she know how to work her magic. Despite the flaws of the production, Field gave a dynamic performance. With this casting, Gold highlighted the ladies of the play to create a true examination of the relationship between Amanda and Laura. Rather than living a life vicariously through her daughter, this Amanda was a biting, bitter woman jaded by living a life of care for her handicapped daughter. It was a lens that was beautifully unique. And it’s a shame that the production got the best of it. As Jim, Finn Wittrock is a captivating charmer. He has a genuine goodness that makes his rejection of Laura even more heart shattering. Madison Ferris as Laura held her own amongst her starry scene partners, though with the lack of stage business, Ferris got stuck when forced out of the main part of the scene. Joe Mantello as Tom was subtle, and shockingly faded into the back. With the focus mostly on Amanda and Laura, Tom’s outburst didn’t land as it should.
The Glass Menagerie is a play that has been done to death, and yet there will always be something to explore. Sam Gold’s rendition is so stripped down, that if it’s not to your taste, the lack of intermission can make this play hard to sit through. Gold made a noble risk that unfortunately didn’t pay off this time.

By Michael Block 

Blood is thick. Family is forever. Cliches are real. And they're the center of Arthur Miller's The Price. Receiving a starry revival at Roundabout Theatre Company, this production honors Miller's text readily, proving this antique will never go out of fashion.
With a singular set comprised of an attic filled with furniture in a soon-to-be demolished building, The Price follows Victor Franz as he brings an eccentric furniture dealer in to sell his parents' estate. But this sale is not so easy. While Victor has hopes of selling quickly, he soon comes to grips with the past. His brother, Walter, unexpectedly returns and opens up a dialogue about sacrifice and mutual resentment centered around the manipulative patriarch of the family. But the truths from the past only seem to be convenient in the present. The Price is a play that talks in circles with a purpose. It's a captivating character study, which heightens the familiar relationships that Arthur Miller is known for. Directed by Terry Kinney, The Price has a resounding relevance. Kinney keeps the play in period, yet sprinkles hints of a modern sensibility. The Price is an emotionally gripping play, especially felt in the second act, but when you have Danny DeVito, a profound sense of humor is inherently infused. By grounding the Franz family in deep desolation, Kinney easily allowed Solomon to break up the tension with hilarity. The heaviness of the situation in turns feels even more raw. DeVito as Solomon chewed the scenery, metaphorically speaking, as he gnawed on his hard-boiled egg, spewing bits as he spoke. As the laughs cascaded, the tone shifted, yet the sincerity remained. Even in our darkest moments, we can laugh at the little things. Kinney helped find those gems to ensure that this play would feel emotionally taxing for character and audience alike. Miller wrote this play with four characters, but the presence of the father is especially felt. And Kinney ensured he was there by exploring the power of his chair. It began subtly, but by the end, the acknowledgment was profound. The play ends with Solomon in the chair laughing, mirroring what the father was likely doing internally. It's these key moments that defined how in tune Kinney was with Miller's narrative.

photo by Joan Marcus

Rather than stripping the piece down, Kinney and his team went big. Perhaps a little too big. It was all in the atmosphere. The attic of the building was an antique hoarder's dream. Designed by Derek McLane, an array of furniture filled the stage: cupboards and cabinets and chairs hung from the ceiling. Without walls, McLane didn't give us skyline, but instead opted for water tanks on the building tops against a cloud-lined sky. With the exposed sky, we were gifted a passage of time from day to night. Lighting designer David Weiner's passage wasn't sweeping, but barely noticeable to the unobservant eye. It begged to be a bit grander. With the sunset being the most theatrical element in the piece, Weiner could have afforded to do more. When it comes to attire, costume designer Sarah J. Holden played with status. This night was Victor and Esther's night out, so Esther was dressed to the nines, given her aspirations. Victor's police attire was lived in to say the least. Solomon's three-piece suit was brazen. When it came to Walter, the way his suit shined matched his persona to a T.
No doubt about it, this was an immensely talented company. As Victor, Mark Ruffalo gave an admirable performance. Ruffalo's take on the venerable man of honor and pride who carried the weight of the world on his shoulders, wavered when it came to morals, and finally found the moment to break out of his despair. This play found one brother plagued with betrayal and another by guilt. The latter, played with ease by Tony Shalhoub, may have been a doctor by profession, but he may be Miller's best salesman. Walter found himself in a position where he had no contemporaneous party to corroborate his story, so discerning when he was telling the truth was the name of the game. And Shalhoub made you believe every word he sold. Jessica Hecht's tenacity as the faithful wife was delectable. Even when she was told to leave it to the boys, she put up a glorious fight. Her power had no bounds. How do make you Arthur Miller funny? Cast Danny DeVito. DeVito is naturally hilarious. And even in his absurdity, his Solomon was tangible. This production will be remembered for DeVito’s pristine performance.
When you lie so much to yourself, you almost believe it; and perhaps that's the biggest take away from The Price. The revival was steeped in naturalism and rarely strayed. It may not have been the most remarkable piece of theater, but it was riveting.

By Michael Block 

Sunset Boulevard's return marks the fourth Andrew Lloyd Weber musical currently running. But the headline here is not just the triumphant and stunning return of Glenn Close as the iconic Norma Desmond. The real story is the unique (and recently rare) opportunity to hear the score performed by a forty piece orchestra on a Broadway stage. Set against a backdrop of the Hollywood Golden Age, Sunset Boulevard is a production you'll wish would never say goodbye.

photo by Joan Marcus

With music by Andrew Lloyd Webber and book and lyrics by Don Black and Christopher Hampton, Sunset Boulevard is the musical dramatization of the Billy Wilder film of the same name. After a dizzying opening, the stage is set for a Hollywood romantic thriller as Joe Gillis' murdered body hangs, looming from the rafters. Joe Gillis is a screenwriter looking to catch a break. He's in a bit of trouble running from some moneymen and finds himself in the garage of famed screen star Norma Desmond. Upon learning his profession, Norma convinces Joe to assist her on a script, all while she begins to fall for him in an unusual way. As he attempts to distance himself from Norma and her love stronghold, he falls for another woman, Betty Schaeffer, and causes Norma to fall deeper into despair. The staging by Lonny Price is sensational. Price uses the simple, yet grand set by James Noone to its full potential. Price and his team insured that the brilliant orchestra was a centerpiece of this production. To capture the mystery and intrigue of Hollywood, lighting designer Mark Henderson's evocative design brought the right marriage of light and shadow. But the subtle inclusion of bringing the house chandeliers into Norma's mansion was a glorious touch.
It's fitting that Sunset Boulevard gets a revival at the Palace, as Glenn Close is theatrical royalty. Close gives a master class in performance as the maddened, fading star. Mystifying is an understatement. Close went full tilt to bring Norma to life by incorporating the exquisite costumes (originally designed by Anthony Powell) into her physicality. Most actors just wear a costume as clothing. Glenn Close makes it part of her character. It's easy to get lost with everything that this production brings, but Michael Xavier was an incredible leading man. With Xavier's essence of old school charm, it's no wonder it captivated Norma. As the nice girl, equally captivated by Joe, Siobhan Dillon's Betty Schaeffer was a bright light. Dillon brought a modern sensibility into Betty, and broke her out of the typical ingénue role. It was a strong choice that paid off. With a deep voice and an unwavering loyalty, Fred Johanson found the complexity of Max. Johanson's rich characterization was beautifully understated yet perfectly powerful.
Sunset Boulevard is the show you've been eagerly anticipating. Between Glenn Close and the breathtaking orchestra, you'll never want to say goodbye to this perfect production. It should be noted that the performance I attended was the one where Hillary Clinton was in attendance. She received the first standing ovation of the night before the show. Believe me, I think the audience was willing to give a standing ovation in the middle of the show after "As If We Never Said Goodbye." But fear not, this show earned a round of ovations during the curtain call.

Usually the rule is if it ain't broke don't fix it but Deaf West Theatre's Spring Awakening is a rule breaker. And thankfully so. Deaf West, Michael Arden, and their extraordinary team reinvented this ravishing musical by Duncan Sheik and Steven Sater and created something truly mesmerizing.
Keying into the importance of the text with a focus on storytelling, this revival of Spring Awakening is completely transformative. Adapted from the play by Frank Wedekind, the musical chronicles the youth of 1890s Germany and their journey to sexual awakening. Melchior, a wise-beyond-his-years boy, tempts friend and classmate Moritz with the truth that the adult authority figures seem to shield them from. On a seemingly innocent afternoon, Melchior and Wendla, a curious girl, engage in sexual intercourse, something only one party truly understood. Melchior’s influence shatters both his friends' lives, leaving him to be punished by the very adults who indirectly caused it all. When Spring Awakening first came onto the theater scene, it seemed to revolutionize musical theater. This revival has not only continued the revolution, it has revitalized it. Deaf West is well known for their invigorating productions blending the deaf and hearing worlds to tell stories. This production is no different. This production is not only important, it deserves to be seen by an even wider audience.
Rather than playing safe and recreating the musical beat by beat, director Michael Arden molded it into something stunning. Elements of the script and score that seemed small in the original now become even more important. For example, "Mirror Blue Night" in the original production was merely a transition song that allowed the company to prepare the stage for the climatic Act I finale, now had a meaning and purpose. What was once a cover for the platform hoist became a finger light show that allowed the lyrics to be actually heard. And this was just one of the many moments of brilliance. By incorporating a mix of voice, American Sign Language, and projection, Arden smartly put emphasis on Sater's words. How they were presented called attention to word choice. By allowing the audience the focus on the text, a strong and captivating narrative evolved. This permitted a newfound sense of vulnerability in the characters to be exposed. By having some of the characters played by deaf actors, showcased the universality in the story. These children can truly be anyone.

photo by Kevin Parry

Many people add their two cents when it comes to the Tony Awards and what accolades should be added. While it’s no secret that the award for Best Sound design is a mandatory reinstatement, perhaps a new award should be presented after. And that’s for Best Ensemble. I think it’s safe to say the ensemble of Spring Awakening would easily walk away with it. Unity, trust, and faith all come to mind when watching this spirited cast perform. There is not a single weak link in the bunch. Much of the success of the original production was due to the bright-eyed ensemble, many of whom turned into stars. Watching this cast was like watching Jonathan Groff, Lea Michele, and John Gallagher Jr. The show that catapulted young talent to stardom is about to do it again. It’s safe to say there’s a new Melchior in town. Austin P. McKenzie exploded in his gave a star-making performance. The audience believed every single word that McKenzie said. His take on Melchior was rich with fervor and grit. McKenzie has a long career ahead of him. While Melchior remained a single role, Wendla and Moritz were broken into two, one taking on the character and one providing the spoken voice. Sandra Mae Frank's honestly and purity as Wendla was greatly matched by the vocals from Katie Boeck. They had beautiful chemistry as the naïve girl. Boeck’s folk-rooted vocal was a fresh and inviting sound. Taking on Moritz, Daniel N. Durant as the character and Alex Boniello as the voice were simply breathtaking. Durant took Moritz on a slightly reserved journey. He kept the character internal allowing for a brilliant juxtaposition with Boniello’s rock star vocals. The company happened to feature two Spring Awakening alum in the ensemble with Andy Mientus taking on Hanschen and Krysta Rodriguez playing Ilse. While they may be veterans, they still found fresh nuances to the characters. Mientus’ Hanschen maintained his self-confidence, but it came naturally. Rodriguez brought extraordinary vulnerability to Ilse, especially in Act II. As the first performer in a wheelchair on Broadway, Ali Stroker seemed to be having the time of her life. While Anna may be one of the smaller girl parts, Stroker’s little cameo as the girl of Otto’s dreams in “The Bitch of Living” stole the show. Taking on Georg, the score fit Alex Wyse’s voice stunningly. The pureness of his vocals was music to the ears. While they may not have been the focus on stage at times, many of the voice ensemble captured hearts including Sean Grandillo and Daniel David Steward. Not only did they excel, they also showcased their musicianship. Rather than relegating a single man and woman to play the adult characters, the revival brought in a hearing and deaf counterpart for each. Taking on the various male roles, Russell Harvard and Patrick Page brought fright to the stage. Page is wonderfully terrifying with his deep bass tone. The way it reverberated struck fear. The women were divided between Camryn Manheim and Marlee Matlin, two brilliant actresses. Their maternal instincts were on par, but when Manheim served as Matlin’s voice, it was something special. But nothing is more rewarding than watching Marlee Matlin rocking out on electric guitar during “Totally Fucked”.
Arden’s direction included variety when it came to how the deaf actors and their match interacted. When it came to Wendla, Arden kept Boeck close to Frank. And it was a strong choice. And this was the case with many of the others but when it came to Moritz, Boniello was often left in the dark. Literally. Boniello’s voice was ever-present but it was a shame you didn’t see him as much. With the nature of the Deaf West production, Arden capitalized on the intimacy of silence. There were moments that scenes were performed strictly with ASL and they happened to be some of the most touching scenes. You may not have known what each sign was but you understood the dialogue. Arden and choreographer Spencer Liff allowed the sign language to become a driving force into the movement of the musical. And it was courageous and rewarding. Dane Laffrey’s scenic design was barebones yet quite intricate. And chairs happened to be a central focus. The set moved fluidly from scene to scene, utilizing an assortment of elements on wheels. With more items than in the previous production, there was a little less left to the imagination. And somehow, it paid off. Particularly when it came to the bed. The use of the bed in “Dark I Know Well” added a new fire to the song. And then there’s that final image when the children go off into the forest. It’s powerful to see. Lighting designer Ben Stanton, sound designer Gareth Owen, and projection designer Lucy MacKinnon played such integral roles in this production. One of the most striking moments of the entire production was the end of Act I. With a spectacular white-out paired with a ferocious thunderclap, new meaning was given to the moment. While it’s bound to divide opinions, it was bold. While projections are occasionally a happy extra touch, MacKinnon's projections were a masterful part of the show. Some people pay little attention to font, but MacKinnon's choices added a great layer to the atmosphere.
It’s only September and it seems that two Tony Awards are pretty much locked up in the musical category. Between Hamilton and Spring Awakening, it seems silly to open another musical this season. Deaf West Theatre’s Spring Awakening is one that will go down in the history books. It’s quite extraordinary when you can improve upon perfection. Dare I say, it's better than the original.

by Michael Block

To kick off Masterworks Theater Company's inaugural season, the company picked a classic from master scribe Tennessee Williams, The Glass Menagerie. Putting their twist on the drama, Masterworks plays with casting.
A multicultural take on the Williams classic is filled with its own risks. Would it resonate? Does it fit the world of the play? Does it weaken the story? Fortunately for Masterworks, and the script, the ethnically diverse casting worked wonders for this new lens into The Glass Menagerie. While the story should need no introduction, to refresh, the play follows Tom Wingfield through his memory as he takes the audience on a journey into his family’s St. Louis dwelling during a pinnacle moment in their history. Amanda, the matriarch, is a former Southern Belle who makes it her mission to find her daughter Laura a gentleman caller who will whisk her away into normalcy. As a whole, the quartet was quite wonderful. Richard Prioleau brings a stunning fresh nuance to Williams language. As the narrator of the memory play, Prioleau's booming vocal is flavorful and rich, wonderfully enunciating and articulating as the narrator. Though his scenes were not as strong, Prioleau’s presence is the backbone of the production. Olivia Washington as delicate Laura is subtle. She starts off meek and a bit staggering but as soon as Jim arrives and the electricity disappears, she finds her stride. As Jim, Doug Harris was absolutely charming. You couldn’t help but fall in love with Harris’ Jim. Harris and Washington brought new life to their scene of doomed romance, serving as the strongest moment in the entire production. The scene is already beautiful and touching, but the chemistry between the pair was exquisite. Saundra Santiago as Amanda, despite struggling for lines, seemed to take a Greek tragedy approach to the role. Everything is heightened beyond belief. Her presentational tactic was not in line with the other three. In Williams’ terms, she may have channeled a little too much Blanche DuBois.

photo courtesy of Russ Rowland

Director Christopher Scott had the challenge of innovation. What could make his approach to The Glass Menagerie stand out? Scott seemed to take great care and consideration in diving into the relationships between the characters. And it certainly shined in the scene between Jim and Laura. From a staging standpoint, Scott made some choices that did not land. It was a very distracting decision to mime the eating with every other prop existing in this world. While it may have been a budgetary thing, fake eating rarely works. The fire escape conceit did not read well. While space on stage was sacred, the strip of light and inconsistent exit caused more problems then not. That being said, the aura of the era is stunningly displayed on stage through simplicity. The scenic design by Campbell Baird was beautifully executed. Thankfully the architecture of the space worked to its advantage. The brick walls looked almost intentional. The lighting by Joyce Liao was simple. While the blackout scenes could have used a little more light at the start since practically speaking there was bound to be light seeping through the window, what Liao did bring to the Jim/Laura scene was striking. Dustin Cross clothed the actors fittingly. They worked in the period and worked for the characters. However, Tom’s opening costume was near identical to the recent revival which has now become iconic through image. Brett Macias, who served as sound designer and composer of original music had quite a presence in the production. Since Williams calls for the occasional incidental music, its placement needed to be specific. Sadly, the underscoring felt sporadic and unintentional. Dramaturgically, instrument choice played a big factor into the world of the play. The occasional electronic music in the transitions was unfortunate. It felt far too modern for the period.
The Glass Menagerie is an American classic. While it may be overdone, a solid production can reignite the beauty of the text. Though it’s not perfect, it has some incredible moments. For a first production, Masterworks has done a pretty solid job.

The struggle to make ends meet and survive in any economic crisis is sadly a universal theme of the past, present, and future. What gets us through the hardship is the real story. In Clifford Odets classic Awake and Sing, the Berger family attempts to live together in harmony while barely making ends meet. The play is a staple in the classic American play canon, so reviving it takes great care. In NuAnce Theatre's immersive production, the Berger household is literally recreated allowing you to be a fly on the wall as Berger and friends attempt to maintain life.
What makes this production of Awake and Sing special is the atmosphere. Though not a site-specific production, this version transports the Berger apartment and drops it right into the black box studio. With a concept by John DeSotelle and scenic designer Brian McManimon, the tenement-style apartment that the Bergers may have actually lived in is recreated, skeleton walls and all, with the audience sitting all around it. The spirit of the time and class was present in grand fashion. Attention to detail was paid which is appreciated. On stage, the set truly captured the definitive no-escape feeling of Odets’ play. With so many bodies with very few places to be alone, the scenic concept worked wonders. The voyeuristic idea also allowed the audience to find new discoveries within the script, something a generic production may not allow you to do. With an extremely ambitious scenic design, let's be real, you may not be able to see everything from your vantage point. Having to poke your head around corners is not necessarily ideal for an audience, especially in a three-act play. The nuances in the various rooms may have been lost in certain seating sections. Perhaps if the set was pushed to the far wall and the audience was set up more in a proscenium or two sided setting, all would not be lost.
With the set being a newfound character, the ensemble had a new set of challenges to physically overcome. As a whole, each actor seemed to tap into a singular emotion of their respective character and play that the whole way through. Margo Singaliese as Bessie brought an always overwhelmed and overworked victim to the matriarch. Michael Citriniti as Myron played up the lackadaisical elements of the father. Spencer Carter as Ralph offered a very youthful performance, seemingly heightened and whiney at all times. Charles Dinstuhl as Jacob filled the room with wisdom. Bobby Kruger as tenant Moe Axelrod seemed to evoke an element of defeat within Moe at the start with the subtext of “I told you so” that translated into great strength by Act III.
Director John DeSotelle took great care and time into developing his concept for the play. While this was significantly important, it fell a bit short in his staging. As inevitable with a three-quarter set up, some audience members may lose action dependent on their placement in the theater. Despite knowing the script, there were some key moments that were completely lost due to actor blocking. While DeSotelle did do his best in minimizing this, it inevitably happened. Costume designer Jude Hinojosa blended the classic period into the costumes quite well. With the nice light versus shadow design by lighting designer Brian McManimon, the atmosphere of the time was present. Sound designer Annie R. Such created a wonderful musical and ambiance soundscape but it was quite difficult to establish the difference between door buzzer and phone ring.
For a small revival, NuAnce Theatre’s Awake and Sing was quite grand. There were flaws but overall it was a strong revival. John DeSotelle’s vision was clear and perhaps with a little more work on the acting side, this production could be something special.

Though not the best kept secret as previously rumored for months, Hollywood superstar Bradley Cooper will return to Broadway in a revival of The Elephant Man. Cooper will be joined by Patricia Clarkson and Alessandro Nivola, all of whom appeared in the Williamstown Theater Festival production of the show. The production will open at a Shubert theater to be announced in the Fall. This will mark Cooper's return to Broadway having previously starred in the 2006 production of Three Days of Rain alongside Julia Roberts and Paul Rudd. Are you excited to see People's Most Beautiful Man play someone not so pretty?

It was a busy day of announcements of some new productions joining the Broadway circuit this year. First up, Harry Potter himself Daniel Radcliffe will return to Broadway in the Michael Grandage production of Martin McDonagh's The Cripple of Inishmaan. The transfer of the sold out run will play the Cort Theater beginning April 12 with many of the original cast returning. Radcliffe, who seems to have been bitten by the Broadway bug, will make this third appearance on the Great White Way having previously appeared in revivals of Equus and How to Succeed in Business Without Really Trying. Next up is a revival of the Maury Yeston and Peter Stone musical, Titanic. Though no Broadway house has been named as it's home, Titanic will have a pre-Broadway tryout in Toronto this summer. Finally, Roundabout announced a revival of the hit comedy Noises Off will return to Broadway in the winter of 2015 at the American Airlines Theater. Though no casting has been announced yet, the revival will be directed by Jeremy Herrin. So which show are you most looking forward to?

If you know anything about me, you know my mild, crush, fascination, whatever you would like to call it with the blue eyed, blonde beauty that is Hunter Parrish. Now the hottest boy on television will be appearing as Jesus in the upcoming revival of Godspell. Did I want to see it before? No. Will I see it now? Most definetly! Will I be waiting for him every night? There's a very good possibility...cue the wedding bells!

Reports are flying all over that place that it will be Lauren Ambrose, not Princess Lea Michele, who will be playing the coveted role of Fanny Brice in the revival of Funny Girl. Girl has pipes, but is this a shocking choice? I would say yes.
Does the redhead have what it takes to carry this massive show? Here's hoping!

Now that the 2010-2011 Tony season has come to a close, it's that time of the year to announce plans for new pieces coming to the Great White Way. And of course what's disappearing to make way. Today, we got announcements that Emily Mann will direct Blair Underwood in the 9th revival of A Streetcar Named Desire.
Also coming is the Kathleen Marhsall helmed Nice Work If You Can Get It starring Matthew Broderick. And finally the Lincoln Center smash Other Desert Cities will be finding a home at the Booth Theater, sans Linda Lavin. And disappearing on June 25th is the Ben Stiller, Edie Falco revival of House of Blue Leaves.

So a "new" musical, a stylized revival, and a transfer from Off-Broadway. How do we feel? Excited? Unimpressed? Personally, I'm ready for the next batch of announcements. Maybe within there'll be something fresh.