33 Variations

photo: Joan Marcus

Moises Kaufman's play is the sort that gives "middlebrow" a bad name, a superficial modern-day disease drama which has been given the stink of pretentiousness thanks to its historical scenes of Beethoven. Jane Fonda certainly holds the stage despite being absent from it for four and a half decades, but her magnetism can't hide that she's playing an underwritten character whose primary conflict (with her daughter, played by Samantha Mathis) is dramatically inert.

A Little Night Music

Reviewed for Theatermania.

Miscast

Photo: Aubrey Reuben

Over the years, I've heard wonderful stories about Miscast, the yearly benefit for MCC Theatre in which people perform songs they'd usually never get to sing. Highlights I heard about included Kristin Chenoweth and Harvey Fierstein playing Tevye (her) and Golde (him); Cheyenne Jackson singing "Can't Help Loving That Man of Mine"; and Kelli O'Hara, Brian d'Arcy James, and Steven Pasquale doing "Totally Fucked." Miscast has become the thing of legend. Unfortunately, this year's version will not add to the mystique, partially due to the painfully unbalanced miking, which was both unclear and too loud--a deadly combination.

Some of the performances: Kelli O'Hara sang a semi-operatic "This Nearly Was Mine" that I can't judge fairly since her high notes were so overamplified as to be hypersonic. Beth Leavel did a version of "I Am What I Am" in which no form of overacting was neglected. Norbert Leo Butz and Aaron Tveit competed in a "butt off" to see who looked better in their costume from the part in Wicked they both played, years apart. Alice Ripley sang "Epiphany" from Sweeney Todd. Raul Esparza provided a pretty impressive "Man Who Got Away." Steven Pasquale unleashed his amazing voice on "Free at Last" from Big River and "Maybe" from Annie (which he sang as an adult song of longing). Daniel Breaker was charming and funny doing "So Much Better" from Legally Blonde. Everything would have landed better with decent sound.

Disco Inferno

Photo: Vincent DiSalvio, The Journal News

Disco Inferno is a deeply silly jukebox musical that manages to thoroughly entertain with its wisecracks, vintage disco ("I Will Survive," "Don't Give Up On Us Baby"), ridiculous fashions (platform shoes!), and energetic dances. At Nyack High School this past weekend, the dozens of wonderful teens on stage gave it their all, and a great time was had by pretty much everyone. (Full disclosure: my nephew has a fairly large role in the show, and when people told me how incredible he was, I saw no reason to argue.)

I love community theatre. To me it's like sherbert to clear my palate of the gossip and stunt casting and overpriced tickets and sometimes tremendous letdown of professional (particularly Broadway) theatre, allowing me a clear, clean enjoyment of the energy and immediacy of live performance. I enjoy watching people on stage working their butts off for the love of it. I appreciate the surprisingly large amount of talent in the world, and I admire the bravery of people who perform without any talent at all. There's a purity to community theatre that is refreshing and touching. I would hate to go a year without seeing at least one amateur (as in, from the Latin to love) show.

Tartuffe

Photo: Erica Parise

Tartuffe is a play for our time, wherever and whenever one sets it; judging from his new Great Depression adaptation, Jeff Cohen, Artistic Director of Dog Run Rep and director of this production, understands this. His verse is primarily conversational, but it is elevated where it needs to be -- elevated, however, not into self-conscious poetics, but into the tones and rhythms of high comedy, especially the American line that runs from vaudeville through the great TV sitcoms of the 1950s. To "fund" his vision of the play, Mr. Cohen has at hand an embarrassment of riches in the form of a superb cast, including Christina DeCicco (Glinda in the Wicked national tour), Tom Ford (By Jeeves on Broadway), and a somewhat underused Brian Linden, who was so wickedly foppish in The Country Wife two years ago. It's almost criminal that you only have to pay off-off-Broadway prices for the level of talent on display here. Go quickly, there are too few performances and not many seats at each.

Read the full review.

Figaro/Figaro

(re:) Directions Theatre Company's extended Figar-anza with music is an exercise in extremes and an interesting concept. Unfortunately, half is also an ordeal. In German-language playwright Ödön von Horváth's rather dark sequel to The Marriage of Figaro, Figaro Gets a Divorce, a time-transposed Count and Countess, the steward Figaro, and his wife Susanna have fled a 20th century Communist revolution into an unnamed neighboring country. While the fallen Count enters a downward spiral of gambling and depression, Figaro returns to barbering in a small town. But marital issues and conflicting ideals push the barber and Susanna apart, and she ends up alone, waitressing in a cafe. Exploring what happens to the fallen nobility and examining how the various servant characters at home and abroad might retain or transfer their loyalties is an interesting idea. But either von Horváth's play is very bad, or it has been adapted very badly.

Fortunately, at off-off-Broadway prices, you can get your money's worth just from the first half, a clever, cheery, mostly well-played, compressed telling of Beaumarchais' original late 18th century play, adorned with musical themes from Mozart's famous opera. It's a small tour de force of distilled, manic storytelling, expertly directed and nicely played. Gillian Wiggin's Susanna is especially delightful; in this telling she bears the greatest dramatic weight, along with her share of the comic, and does it wonderfully well. She alone makes the dreadful second half faintly bearable.

Read the full review.