The Hole

* (out of five stars)

The Theater At St. Clements

Circa 2002 the police were more apt to turn a blind eye to seedy East Village joints like The Hole, The Cock and Fat Cock with their hidden sex rooms, porn screens, and naked coke-head strippers. Cherished memories. Sadly, THE HOLE, a messy, poorly conceived musical, currently playing in the basement of a church (a church!), fails to capture the vibe or energy of this long lost hardcore scene. Granted, intermittently there is a low, sexy thumping beat piped in over the dialogue, however, when it is time to sing, we get a full score of corny, poppy showtunes that are less sexy/edgy and more silly/ridiculous. In its attempts to be as naughty and filthy as they can get, the whole evening becomes a numbing hodge-podge of cliche' one liners, and confusing romantic entanglements. And when you have a fully grown man cast as a baby in diapers and rolled around in a wagon, you know that the desperation for the laugh is unmistakable.

The River Crosses Rivers: Series B

The core of drama is someone desperately wanting something. In The River Crosses Rivers (Series B) the strong evening of one-act plays by women of color at the Ensemble Studio Theatre, people want--and need--to be loved, to be safe, and to be heard. Despite their similar desires, however, these people run the gamut from a woman whose husband of decades is a cheat (in the excellent Hot Mehuselah by J.e. Franklin) to a Middle-East journalist who risks her life to tell the truth (in the powerful Truth Be Told by Melody Cooper) to a wife and husband who just want to love each other (in the funny and moving Jesse by P.J. Gibon) to a couple of gay men who wish they could bring their son back (in the heart-breaking His Daddy by Cori Thomas) to a tech genius who wants to be loved for who he really is (the entertaining Sloppy Second Chances by Mrinalini Kamath). Of the generally high-level performers, standouts include Vinie Burrows, Shetal Shah, Maya Lynne Robinson, Christopher Burris, Matthew Montelongo, and the very likeable Vedant Gokhale. The Ensemble Studio Theatre and Going to the River work together to make sure that the voices of women of color are heard. By doing so, they make the theatre world a better place for all of us.

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.