You Can't Take It With You

Photo/Rod Goodman

Farce is hard, especially when it's bottled up with specific period-piece rhythms. Peter Jensen can't plead ignorance: he uses the era's music to choreograph interludes (which also miss the mark), but he doesn't get that rhythm into the whole play (the more successful second act hints at what's missing overall). As a result, these characters only have sparks of firecracker mirth, and like the fireworks in the show, they're not timed correctly. (Even then, they're derivative, not spontaneous.) This unevenness only exaggerates how the pieces are not fitting together. With the Sycamore clan, their quirks are complemented by the love they all share: but take away that necessary emotion, as in this production, and all that's left is unnecessary emoting.

[Read on] [Also blogged by: Patrick]

Eurydice

photo: Joan Marcus

Sarah Ruhl's quirky, boldly inventive reimagining of the enduring Orpheus and Eurydice myth focuses not so much on the story's lovers but on the girl and her father, who reunite in the underworld where only one remembers the other. Ruhl's variation on the story still honors what may be the myth's most powerful truth, that love is both strong enough to conquer death and delicate enough to turn on a single backward glance, and the writing is a fascinating mix of the fantastic and the simple. The play's been given an evocative, visually striking production which carefully balances the play's whimsy and poignancy: there's an appropriate, almost Alice In Wonderland feel to Eurydice's interactions with the Lord of the Underworld when he circles her on his bright red tricycle, and there's an elegant sensuality when Eurydice's father builds a house out of string to shelter her. The play is finally a bit too cutesy-wutesy, and its final plot points momentarily reduce the myth to a simple example of bad timing, but that doesn't seriously diminish the play's freshness and its capacity to seep into the subconscious. Recommended.

Romeo and Juliet

photo: Michal Daniel

This summer's first Shakespeare In The Park has only been up for a few nights as yet, so there's every reason to believe that the acting will improve during its five-week run. With more time, maybe Lauren Ambrose (as Juliet) will convince that she has fallen under first love's intoxicating spell, and maybe Oscar Isaac (as Romeo) will be able to convey the anguish of losing her. Maybe Austin Pendleton (Friar Laurence) will no longer have trouble with his lines, and maybe Christopher Evan Welch (Mercutio) will settle down and not push so hard. With purposefulness, maybe director Michael Greif can guide all the performances so these actors feel like an ensemble, and with luck, perhaps the set (a metal structure that rotates in a pool of shallow water and makes you think of a giant protractor) won't be noisy and distracting anymore. That's a lot of maybe's.

Wonderland; Free Fall

When I first mentioned the Wonderland one-act festival to all of you ten days ago, I spoke about the potential of a competition like this, and about the power of a showcase to surprise you. Having just come from the finale, a true show showdown between three playwrights and their assembled directors and actors, I can tell you that the potential is still there, and that at least for Jessamyn Fiore, it's been fully realized. If her darkly comic gem, Sandwich doesn't win tomorrow, I'm going to be terribly disappointed in what this representative portion of America thinks is "good" theater. Thanks to a note-perfect director, Kimberlea Kressal, and a well-ranged cast (the superb Karly Maurer and Dechelle Damien), Fiore has managed to launch lunch (or at least its mundane preparation) into a high metaphor for the entrapment of married life, and the difficult moral ground of adultery. The other two shows hit the far reaches of theater: Farewell Evenbrook is far too normal and forgettable a play, and Indigenous People is so far over the top that it's nothing more than a hideous sketch. Okay, so not every play's a winner: but there's good stuff (like actor Jeremy Ellison-Gladstone or actress Nicole Heriot) to be found in all of them, and yes . . . there's still great potential.

[Read on]

Xanadu

No Krakowski? No out-of-town try-out? Based on a notoriously bad movie? Summer opening? We were convinced this was going to tank! Though the look and vibe of this spoofy romp has much more of an off-Broadway feel to it, this $51-$111 a ticket Broadway mounting is pretty much worth it thanks to Douglas Carter Beane's crispy, tipsy, joyfully sassy book and a cast of hilarious actors who are in on the joke. From the second Kerry Butler delivered her first breathy Olivia Newton John-esqe vocal flourish she completely won over the gays (93.5% of the audience). She was a BLAST! As were Mary Testa and Jackie Hoffman but that's a given. The beauty of this show is that no one is making fun of it more than itself and when the penultimate junction of all art is considered a roller disco there's tons of the-current-state-of-Broadway jokes to be mined. One complaint: You've got one of the hottest guys on Broadway in the gayest show on Broadway- Is it too much to ask to have him take his shirt off at least once?! 93.5% of your audience was counting on it!

The Return Of The Prodigal

photo: Richard Termine

The mission of the Mint is to revive "worthy but neglected" plays and they've this time dug up a particularly lively one, by St. John Hankin, never before seen in New York. An Oscar Wilde-ish comedy that wrings its laughs (and its social observations) out of some of the hypocrisies and class-conscious expectations of Edwardian England, the Mint's production retains the text but re-sets the action in modern times. The result often makes for fun stage business - the layabout, ne'er do well prodigal son of the title wastes his privileged-class time sunbathing in board shorts, one of the daughters entertains guests by playing the guitar, and no one speaks with a British accent, which makes the snooty, voice-of-snobbery character named Lady Faringford seem like something out of Dynasty. But the concept too often hits a wall when the modern-dressed characters behave according to social codes unique to England a hundred years ago. The production is entertaining, but in the end less effective than if it had remained in period, with the audience allowed to find the play's modern relevancy. The members of the ensemble range from very good to exceptional, with the sensational lead performance by Roderick Hill at the very top of the spectrum.