The Last Smoker in America

Photo: Robert Saferstein

At a recent appearance, the creators of Next to Normal said that, between the good Off-Broadway version of their show and the excellent Broadway version, their producers had asked them what exactly they wanted the show to be about. The creators of Last Smoker in America (book and lyrics, Bill Russell; music, Peter Melnick) need to ask themselves that same question. The story of, well, the last smoker in America, the show wobbles between political satire and dysfunctional family comedy, with strengths--and weaknesses--in both arenas. In brief, as anti-smoking laws get more and more draconian, effigies of smokers are thrown into bonfires and a group called NAT-C is born; the very funny "If It Feels This Good" nicely summarizes a world--not that different from our own--where feeling good is perceived as a warning sign; and the line between virtual and real gunplay becomes blurred. Meanwhile, Pam (the last smoker) and Ernie sadly reminesce about their enjoyably vice-filled past ("Hangin' Out in a Smoky Bar") while failing to connect in the present, and their son Jimmy (the talented Alex Wyse) forgets to take his medication for ADHD, thrives on playing violent video games, and decides he is black ("Gangsta"). The fourth character, their neighbor Phyllis, is an aggressively smiling, holier-than-thou, anti-smoking crusader who barely keeps her inner monster in check. These characters all display the beginnings of three-dimensional people with aspirations and the ability to grow, but they are not there yet. I look forward to seeing the next incarnation of this show.

My Life in a Nutshell

A loves C.

B loves C.

C is tired of being involved with both A and B.

D loves E.

Death loves D, who does not reciprocate.

A, B, C, D, and E are lifesized, faceless marionettes made of burlap bags.

Death is two long poles.

This is My Life in a Nutshell in a nutshell. Created and performed (with assistance) by the multi-award-winning Hanne Tierney, the show also features charming projections by Hannah Wassileski and wonderful music written, sung, and played (bass fiddle and toy piano) by Jane Wang. A commentary on people's relationships with one another and with death, My Life in a Nutshell offers a combination of evocative, even magical, moments and impressive technical prowess (the mechanics of manipulating the marionettes and the music-making are in full view). The text/narration, nicely delivered by Tierney, is affectless and wryly amusing, with much of it as simple and straightforward as the first two lines of this review, which are direct quotations. While everything in this show is top-notch, and much of it is amazing--I particularly enjoyed the lovingly satirical performance art presentation of work by Gertrude Stein--the whole is somewhat less than the sum of its parts. The affectless narration, the facelessness of the marionettes, and the slowness of the presentation limit the transmission of emotion, and the overall impression is of watching from a distance.

Wishful Drinking

photo: Joan Marcus

In her entertaining solo show, essentially a stand-up routine with theatrical elements (including an intermission), Carrie Fisher reveals a thing or two about her parents Debbie Reynolds and Eddie Fisher, her ex-husband Paul Simon, and her "Star Wars" director George Lucas. The material wouldn't be more than sarcastic navel-gazing were it not for Fisher's sharp wit and self-effacing personality: her one-liners sometimes recall vintage Fran Lebowitz, and she delivers them judiciously for maximum acidity. The show isn't intimate even on the occasions when intimate information is shared - there's never a point when the lights dim and we're told a "meaningful" life lesson. Nonetheless the clear message emerges that the most valuable thing to have in life is a sense of humor about it.

Seeing Stars

Reviewed for Theatermania.

Der Rosenkavalier

photo: Sara Krulwich

A touchstone of the Metropolitan Opera repertoire for over forty years, Nathaniel Merrill's staging of Strauss's Der Rosenkavalier returned to the house last night after a five year absence. Conductor Edo de Waart--a last-minute replacement for the injured James Levine--led the orchestra in a brisk, intuitive reading of the score, drawing lush sounds from the string section during sustained passages. The evening featured star soprano Renee Fleming singing one of her signature roles, The Marschallin, at her home company for the first time in over a decade; she looked and sounded splendid, and invested much energy into forming a credible character. Susan Graham's Octavian hit on all cylinders: exceedingly well-sung; appropriately boyish and love-struck. The night's real find, however, was debutante Miah Persson, whose Sophie charmed the audience with beautiful singing and undeniable stage presence. Her voice is perfect for Mozart, and I wouldn't be surprised if, in the next few years, she was singing many of his major heroines (Pamina, Susanna, Fiordiligi) with the company. All in all, a most worthwhile evening for any music lover.

My Life in a Nutshell

The use of actual human figures, even in the form of puppets, is new in Hanne Tierney's work. This short production features very cool life-sized burlap marionettes, deftly quickened from the side of the stage by Ms. Tierney and two other string-pulling operators. While the human characters get puppet representation, they are granted only letters for names, one of many abstract and abstract-tending ideas threading through this story (the concept of the "love triangle" gets new meaning here). Unfortunately the story unfolds ponderously and fails to grip. It feels as though two opposing forces are pulling the piece into a confused state: partially abstract, partially human, it is not fully anything. The characters and ideas represented by abstractions seem to have more interesting personalities than the people played by puppets. They make us want to observe them more closely, to understand what they mean or at least sense something of what drives them. The vision that drives Ms. Tierney and her co-conspirators has numerous fascinating conceptual facets, but has here resulted in something only intermittently interesting, and ultimately unsatisfying.