The Overwhelming

***
Roundabout- Laura Pels

This is most definitely a political play. Its agenda is exposing the volatile and oppressive political atmosphere in Rwanda just months before the 1994 genocide of the Tutsi's by the rival extremist Hutus. To this extent the play succeeds tremendously as human rights violations are revealed and the looming sense of impending evil is firmly established. Theatricality and depth of character, however, have become less of a priority as much of the dialogue has been earmarked for didactic explanation and relationships don't quite evolve in a dramatically satiating manner. And though it is billed as a thriller, the fact that the biggest twist is revealed in an interview with the playwright J.T. Rogers in the Playbill suggests that the twist is not vital to the intended M.O. of the play. In spite of the aforementioned and some clumsy stabs at comedy, we do indeed have fascinating, often shocking subject matter well presented by almighty Roundabout's top notch production machine. I have been educated, and for that I am glad I went.

The Children of Vonderly

Photo/Matt Zugale

The cheesy tag line I came up with for this is that I Can't Believe It's Not Butter should contact Ma-Yi about doing some cross-promotional copy: that's how smooth yet tasty Lloyd Suh's new play, The Children of Vonderly, is. What rough bumps there are with the few repetitious scenes are smoothed over with the knife-sharp sense of the fantastic cast (led by William Jackson Harper, whom I raved about in Neglect), and the whole production has an elegant finish thanks to director Ralph B. Pena, who tastefully inserts silent interludes that establish the good times alluded to in the midst of the play's chaos. You forget that everyone in this adopted family has a disability on account of how spry and enabling the play is: and that's a reward in of itself.

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Iphigenia 2.0

*****

Signature Theater Company

photo by Carol Rosegg

This up to the minute re-imagining of the Greek tragedy, Iphigenia in Aulis was electrifying! Director Tina Landau and playwright Charles Mee have collaborated in creating a vibrant theatrical world exploding with rage, joy, tears and dance. Shockingly relevant and wholly accessible, this compact play was about a military leader who must sacrifice his daughter in order to gain the respect of his troops. I was reminded of Michael Moore in Farenheit 9/11 encouraging politicians to send their own children over to Iraq. The meticulously directed cast is pretty perfect featuring a scene-chomping growling Kate Mulgrew inhabiting the role of Clytemnestra, the pissed off matriarch. This production runs until October 15th. There is a discounted ticket waiting list you can sign up for one hour prior to curtain. I did this and got in. You can too. GO!! HGA!

Also blogged by: [Aaron] and [Patrick]

The Family Fiorelli

I didn't stay for the second act of this NYMF musical, but that isn't a thumbs-down on the show: I liked a lot of what I saw, especially because I honestly had no idea where the story (which begins with a marital breakup) was going to go. The performance started late, the first act ran long, and by the time intermission ended I only had half an hour to get uptown to the Passing Strange concert. A pity, because The Family Fiorelli had several things going for it: its Finn-like score was pleasing and the songs were well-placed in the story, the characters were vibrant and each at least a little offbeat (the hottie priest, the lesbian in-laws, the crippled teenage son, etc.), and the musical was clearly written for grown-ups, which was something of a relief after too many NYMF shows this year leaned toward the silly and adolescent.

True Genius

I don't mind that David Holstein's True Genius isn't a Mensa-level play, but I wish it were truer. There are some acting issues that suspend our belief of the imaginary people Scooter is dreaming up, but the plot is more disconnected than the actors. Holstein's problem may be easier to solve, however, than Jill Sierchio's challenge with her cast: his writing is already funny, and two of his characters leap off the page (Dr. Foyer, the alternative therapist, and Lila, the fantastic fabulist). But the play is stretched between father issues, psychotic breaks, absent mothers, shy first loves, and some question about who the true genius is, which seems included only as a nod to the title. There are great moments (most involving shaving cream), but they are brief spurts of energy in an otherwise dulling play.

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Enter Laughing

This Musicals in Mufti version of the Broadway flop So Long 174th Street (retitled here for its straight play source material) turned out to be one of the happiest surprises I've had at the theatre in months. The simplicity of this on-book, one-piano "staged concert" production showed the material to advantage and was a pleasure from start to finish: I'm led to wonder if the show tanked on Broadway because of some deficiencies with that production, because there's nothing out of working order here with the book or the score. The Depression-era story follows an endearing daydreamer whose fantasies of stardom lead him to audition for a small part in a play; once he gets the job his problem is amusingly obvious: he hasn't a lick of talent. On his way to a hilariously inept performance on opening night, he gets goo-goo eyed over the glamour of acting (trying the patience of his parents, who want him to become a druggist) and over the glamourous leading lady (trying the patience of his girlfriend, who loves him whether he's a somebody or not). The role requires someone with an extraordinary amount of charisma, and luckily Josh Grisetti has it to spare. There isn't a weak link anywhere in the ensemble: Emily Shoolin is engaging and nails a nifty number called "Men", Kaitlin Hopkins is delicious as the stage actress, George S. Irving turns a fantasy number in the second act into the show's highlight, Robb Sapp makes some fun choices as our hero's confidante and best friend. In addition to all that, L.A. Law's Jill Eikenberry and Michael Tucker slip right into the goings-on with class and ease. I'm not a frequent Musicals In Mufti-goer, but this is easily the most entertaining one I've seen yet.