Laowang

The title Laowang: A Chinatown King Lear (written by Alex Lin; directed by Joshua Kahan Brody) is immediately intriguing. Unfortunately, the play does not live up to the title. Yes, there is a family head (in this case, a matriarch). Yes, she is deciding what to do with her fortune and property (a Chinese restaurant and its valuable building). And, yes, there are ungrateful progeny (two granddaughters and one grandson). 

Wai Ching Ho, Cindy Cheung,
Jon Norman Schneider, Amy Keum
Photo: James Leynse

Unfortunately, there are also scenes of manipulative seduction, as if from a different play, that are totally cringe. There are many generic tropes, including tight-ass lawyer, effeminate gay man, belittling grandmother, and predictable inter-sibling arguments. There are thin characters with about a trait and a half each. 

What isn't there is tragedy. That the matriarch is losing her hold on reality evokes little sorrow because we barely know her. Her hallucinations come across as carefully placed exposition dumps. In terms of plot, what should be deeply meaningful comes across as trivial.

Some cast members are effective, some aren't. Some of the direction is interesting. Some of the writing is good. But the negatives far overshadow the positives, and the 90 minutes feel much, much longer. The biggest disappointment is the waste of a fascinating concept.

Wendy Caster

Quick Takes

Some quick thoughts on shows I didn't review:

Gruesome Playground Injuries: Known theatrical truism: If you get a chance to see Kara Young, see Kara Young.

Gruesome Playground Injuries
Nicholas Braun, Kara Young
Photo: Emilio Madrid

Caroline: Estranged daughter in her mid-20s goes home with her own daughter, Caroline, seeking money, a place to stay, and maybe even some support and affection. After many years with no contact, the mother/grandmother isn't exactly thrilled to see them. This elegantly written three-hander is subtle and moving, with no villains and no heroes. Amy Landecker as the grandmother, Chloë Grace Moretz as the mother, and River Lipe-Smith as the daughter were all excellent. Written by Preston Max Allen and directed by David Cromer. (Closed.)

Caroline
Chloë Grace Moretz, River Lipe-Smith
Photo: Emilio Madrid

Let's Love: This fun series of short plays about sex by Ethan Coen featured Aubrey Plaza (raising emotional meanness to an art form), Nellie McKay (bringing her unique ineffable fabulousness), and other wonderful performers. Fluff, but really good fluff. (Closed.)

Let's Love
From Second Stage Website

The Long Christmas Dinner: For Thornton Wilder, life and death aren't two sides of the same coin; they're mixed together in the very atoms of the coin. The Long Christmas Dinner is an odd, charming one-act that takes place over the course of 90 years, with characters dying left and right. Done as a one-night reading at Symphony Space, it featured a fascinating array of performers including actors Becky Ann Baker, Renée Elise Goldsberry, Jim Parsons, and Roslyn Ruff; award–winning playwrights James Ijames and Sarah Ruhl; writer and poet Jacqueline Woodson; commentator Chris Hayes; and Wilder’s nephew Tappan Wilder, who had some fascinating insights in the discussion after the reading.

Rodeo: Rodeo, choreographed by Agnes DeMille, is a pure delight (if you can ignore some sexual assumptions that are, uh, "of their time.") It's full-out theatre, with a beginning, a middle, and an end and character arcs and such. At a recent performance at ABT, it was well-acted and beautifully danced, with great colorful costumes. It's just so satisfying. 

Queen of Versailles: A waste of time, money, and Kristin Chenoweth. 

Queen of Versailles
Kristin Chenoweth, F. Murray Abraham
Photo: Emilio Madrid

A New Brain: A New Brain has never quite worked for me. I end up seeing it every few years, and I tend to go through the same experience. In the first hour or so, I think, what is my problem with this show? It's excellent, with beautiful music, unique rhymes, interesting characters, a strong story. And then it goes on. And on. And on. Unimportant characters get solos, and it's hard to care. By the end, parts are actually boring, which I hate to say about a Finn work. The St. Bart's Players did a nice job all and all, with Jordan Cooke terrific as Schwinn. (Closed)

Triplicity: This lovely play with music focuses on three New Yorkers, with glimpses into their lives and hearts. It's quirky and warm and witty and very much its own thing. Written and composed by Ellen Maddow, directed by Paul Zimet, and starring El Beh, Amara Granderson, Lizzie Olesker, and Steven Rattazzi. Presented by Talking Band in association with Mabou Mines. Choreography by Sean Donovan and Brandon Washington; Set Design by Anna Kiraly; Lighting Design by Mary Ellen Stebbins; Costume Design by Olivera Gajic. (Closed.)

Meet the Cartozians: I don't know what other people saw in this well-received play. It's described on the website as follows: 

Talene Monahon’s Meet the Cartozians pulls back the curtain on a startling chapter of American history you may never have heard. This ... new play follows two sets of Armenian Americans: one man fighting for legal recognition in the 1920s, while a century later, his descendant fights for followers and a competent glam team. ... Meet the Cartozians asks who gets to belong — and at what cost?

The Times calls it "captivating, wildly funny, pure entertainment." Word of mouth is positive. 

For me, the show wobbles between exposition and essay without ever quite achieving theatre. It tries to be Stoppardian; it isn't. (Through December 14.)

Wendy Caster

Gotta Dance!

The immensely entertaining Gotta Dance!, a creation of American Dance Machine presented by the York Theatre, includes some 17 dance numbers from such classic musicals as A Chorus Line, Sweet Charity, Pippin, West Side Story, Singin' in the Rain, and An American in Paris. With evocative and attractive projections (designed by Brian C. Station); costumes reflecting or recreating the originals (Marlene Olson Hamm); and a seven-person band, the show is handsome and well presented.

But of course it is the dances and the dancers that matter most. They array of dances is wonderful. Gotta Dance! uses original choreography staged for this production by a variety of people, many of whom were in the original shows. For example, Donna McKenchnie stages "The Music and the Mirror and  Baayork Lee stages "One," both from A Chorus Line, and Pamela Sousa stages the "Manson Trio" from Pippin. What a treat it is to see these wonderful numbers again, one after the other after the other. 

Photo: Shawn Salley

The dancers range from solid to excellent. What they lack in star power they make up for with enthusiasm, energy, and charm. They are Brandon Burks, Anthony Cannarella, Barton Cowperthwaite, Deanna Doyle, Paloma Garcia-Lee, Jessica Lee Goldyn, Afra Hines, Jess Leprotto, Kendall Leshanti, Drew Minard, Georgina Pazcoguin, Samantha Siegel, Taylor Stanley, and Blake Zelesnikar.

It is rare that you get to see a show that is all highlights; Gotta Dance! is one of them.

Wendy Caster