The Bereaved

Photo/Louis Changchien

Look, as long as you're fine with surface-level laughs, The Bereaved satisfies. But is that all that Thomas Bradshaw's after? I mean, it's one thing to shock us into seeing slavery and alcoholism--two things we've all got pretty strong opinions about--in a new light. But we already know that American families are increasingly callous and disconnected. What's the point of Bradshaw's 80-minute bit of shocksploitation, save to let May Adrales show off her lack of inhibition as a director? Without giving away any surprises (since that's all the show has up its sleeve), just know that things quickly elevate from Michael (Andrew Garman) and Carol (McKenna Kerrigan) arguing over chores and their son's semen soiled underwear; Carol has an adverse reaction to some of Michael's casual cocaine, and their son, Teddy (Vincent Madero) is soon playing Nintendo DS by her deathbed, barely listening as she advises Michael to marry her best friend, Katy (KK Moggie), so that they can continue to support their upper-middle-class lifestyle. (And Teddy hasn't even gotten his schoolmate Melissa [Jenny Seastone Stern] pregnant yet!) The speedy delivery of plot- and comic-heavy scenes is somewhat refreshing--who needs subtext?--and the lack of hidden facets doesn't diminish the surprising effect of seeing the characters actually doing what they're talking about (like a rape scene in blackface). It's just a shame there's nothing to actually mourn in the play, let alone to feel the smallest shred of sorrow for.

Emily

Photo: Firebone Theatre

This modestly diverting play partially succeeds in bringing Emily Dickinson to life, but less through the script's conception or realization than through the lead performance, a finely calibrated, unsentimental yet touching portrayal of the poet by Elizabeth A. Davis, and the poetry itself. In spite of the graceful cast and their lush costumes, director Steve Day doesn't develop much of interest to look at on stage; the slow pace sometimes sinks into ennui rather than expanding into stateliness. I can't deny, though, that Chris Cragin's script and Ms. Davis's sweet recitations of some of the poet's well-known works succeeded in sending me home to crack open my copy of Emily Dickinson's Collected Poems. Read the full review.

Broadway on Broadway 2009

photo: Matthew Arnold

The Broadway season officially began a few months ago but for many strong-legged tri-state area fans the real kick-off is this annual Times Square concert where most if not all of the currently running musicals are represented. As always there were numbers by new cast members in long-running shows - of these, Beth Leavel scored with "The Winner Takes It All" from Mamma Mia! and Laura Osnes did well by "I'm In Love With A Wonderful Guy" from South Pacific - and there were songs from productions that haven't opened yet. This year that meant the originals Fela! and Memphis and the revivals of Bye Bye Birdie, Ragtime and Finian's Rainbow. While "One Boy", the number from Birdie, was charming and well-sung, and the crowd very clearly responded to the title song from Ragtime, it was "Ol' Devil Moon" from Finian's Rainbow that did it for me. I can't think of two musical theatre performers I'd rather see in those lead roles than Cheyenne Jackson and Kate Baldwin, and their old-school musical comedy chemistry helped to make their rendition of that ol' showtune standard the concert's most transporting delight.

Lizzie Borden

Photo: Carl Skutsch

The songs in this new rock musical are set in heavy-metal modes, but little about the score screams "genre." It's loud, but never painfully or confusingly so, and it's edgy, with some gloomy imagery, but in essence it's comprised of simply wonderful tunes, with satisfying crunch, engaging and well-crafted lyrics, and bright (okay, dark) pop hooks. Fortunately the sound designer (Jamie McElhinney) keeps the levels sensible, mics the singers well, and mixes everything properly, so one seldom misses a lyric. Even more fortunately, the four-woman cast is absolutely stellar, wonderful actors with clear, powerful voices that cut through the tight band's rock bombast without trouble. There are no characters but the four women: Lizzie herself (a supremely confident and perfectly fetching Jenny Fellner); her older sister Emma Borden (a sharp and funny Lisa Birnbaum, who has a powerful alto); her regally coiffed but passionate friend Alice (a radiant Marie-France Arcilla); and the maid, Bridget (a fierce, punked-out Carrie Cimma). The choice to leave out the elder Bordens seems a little odd at first, but its wisdom quickly becomes apparent as we're plunged into the closed, claustrophobic world of the sisters' half of the divided household. An early song between Lizzie and Alice takes place in the barn, where Lizzie escapes her hellish home life to tend her beloved pigeons. Artfully lit and shadowed by lighting designer Christian DeAngelis, it is beautifully, movingly performed, as is most everything in this sharp-as-an-axe show. Read the full review.

Lizzie Borden

Photo: Carl Skutsch

Can murdering one's parents with an axe be a woman's path to empowerment? In the excellent rock musical Lizzie Borden, it certainly can. Lizzie, abused, in danger of being disinherited, and lacking options, finally decides that freedom lies in ridding herself of her incestuous father and her horrid stepmother. After an attempt at poisoning them fails, she grabs an ax and, well, takes matters into her own hands. Lizzie Borden (with book, lyrics, music, concept, direction, and musical direction by Steven Cheslik-DeMeyer, Tim Maner, and Alan Stevens Hewitt) beautifully combines a kick-ass score, strong lyrics, surprising humor, sweet sexiness, cheerful anachronisms, and an eerie atmosphere. The multitalented designers Caleb Levengood (scenery), Christian DeAngelis (lighting), Jamie McElhinney (sound), Bobby Frederick Tilley (costume), Carrie Lynn Rohm (hair and makeup), and Zoë Woodworth (video) manage to evoke a vivid, attractive, and affectingly creepy time and place in a small space on what must have been a small budget. And the four actress-singers--Marie-France Arcilla, Lisa Birnbaum, Carrie Cimma, and Jenny Fellner--are heartbreaking, satirical, funny, sexy, real, and larger-than-life, sometimes all at the same time. And can they rock! Special notice must be paid to the superb Jenny Fellner as Lizzie. Fellner's transition from repressed to explosive is calibrated perfectly, and she performs with her heart, body, and soul--and with great intelligence. (A few small quibbles: the lyrics were occasionally difficult to hear; both acts end with whimpers rather than bangs; playing unrelated rock music during intermission hurt the mood.) At The Living Theatre at 21 Clinton Street in the Lower East Side.

Our Town

Having always believed that Thornton Wilder's Our Town is one of the few irreproachable works in the American dramatic canon, and always lamenting the fact that I'd never seen a truly terrific production of it, I attended David Cromer's ridiculously acclaimed production at the Barrow Street Theatre with something greater than the highest hopes that I, too, would be mesmerized by it. And, well...I wasn't. The magic of this particular play is two-fold: the language is beautifully simple but also theatrical, and the play itself, which premiered in 1938, is unapologetically progressive, meta-theatrical before the term existed. That's the idea that Cromer seems to be pursuing with his deconstruction here, but I couldn't help but feeling that three-quarters of this production felt no different than any community theatre mounting of the play. It isn't until the coup-de-theatre in Act Three--which I won't reveal, but which happens to be the most un-Wilderian aspect of the production--that the audience somewhat understands the feeling Cromer was trying to achieve. It doesn't help that Emily Webb (Jennifer Grace, dreadful) speaks her lines as if she were a mental patient, or that her suitor, George Gibbs (James McMenamin) acts like he's in the slow class at Grovers Corners High. Thankfully, two pitch-perfect performances stand out: Jason Butler Harner, the first Stage Manager I've seen who is neither glib nor overly earnest; and Lori Myers, simply heartbreaking as Mrs. Gibbs.