The Lesser Seductions of History

In August Schulenburg's ambitious, scintillating new play, eleven precisely drawn characters swirl year by year through the 1960s, illustrating through a quick succession of mostly short scenes their own messy dreams and devastations, while shouldering the zeitgeist they are also asked to embody. Camelot, the counterculture, drugs, the sexual revolution, Apollo, Vietnam, the Civil Rights movement (nonviolent and otherwise) – it's all here in one evening of theater. And damned if Schulenburg, director Heather Cohn, and their excellent cast don't pull it off. The characters become real to us while representing movements and ideas at the same time. It's a heavy load but Schulenburg's writing is pointed enough, and the players deft enough, to carry it with seeming ease, and they rivet our attention for two-plus hours. As precisely as the play is structured, the lives it depicts are anything but neat. Therein lies the real accomplishment. Read the full review.

Kiss Me On The Mouth

photo: Michael Millard

The premise of this new naturalistic comedy-drama by Melanie Angelina Maras seems like sitcom material - we follow two NYC gal pals as they embark on new relationships with guys - but the writing digs a bit deeper than you might assume and the play often strikes truthful chords of recognition about friendship. Initially, the characters seem more like comic types than people - when we meet Amy (Megan Hart) she's not-too-believably considering nunhood, and at first glance Christina (Aubyn Philabaum) seems as thin as any overprivileged urban rich girl - but the playwright peels back layers and gradually reveals the characters' vulnerabilities and contradictions. The four-person cast, under Stephen Adly Guirgis' direction, fit snugly together and put the play over with conviction and wit.

The Lesser Seductions of History

Photo: Tyler Griffin Hicks-Wright

Why are we here? Can we make the world a better place? At what cost? Can we connect with one another? At what cost? Can we maintain our sense of hope? At what cost? In the excellent Flux Theatre Ensemble production of August Schulenburg's beautiful and ambitious play, The Lesser Seductions of History, ten people wrestle with these questions--enthusiastically, awkwardly, humbly, pompously, heartbreakingly--over the years 1960 to 1969.

Schulenberg, director Heather Cohn, and a superb cast present a believable, compelling version of the 60s with none of the judgment or condescension often pointed at that confusing, wonderful, and awful decade. Cohn balances the intertwining storylines with a sure hand and guides the actors to distinctive, emotionally clear performances. Of the top-notch performers, Christina Shipp, as a woman running from her pain, Jake Alexander, as a poet who doesn't necessarily deserve all the love he receives, IsaiahTanenbaum, as a brilliant nerd who mourns the life he'll never lead, and Jason Paradine, as a doctor determined to save lives to atone for a past misdeed, are particularly impressive.

If the theatre gods deserve their divinity, The Lesser Seductions of History will end up with a long run and multiple awards off or on Broadway. (Oh, and did I mention that it's funny and sexy too?)

The Understudy

photo: Carol Rosegg

Theresa Rebeck has authored some dogs in her day, but none compare to her latest play (at Roundabout's Laura Pels Theatre), a saccharinely sanitized attempt at a backstage farce. When a seasoned actor (Justin Kirk) is hired to understudy a movie star making his Broadway debut (Mark-Paul Gosselaar, a television star making his theatre debut)--who in turn is understudying the other (never-seen) bigger movie star in the show--he gets a lot more than he bargained for, when he discovers that his ex-fiancee (Julie White) is the production stage manager. That is the entire plot. Rebeck has managed to stretch this out into eighty humorless minutes, throwing in cheap jokes about Jeremy Piven and actorly platitudes about the grandness of life in the theatre. It doesn't help that two of the three actors are woefully miscast: the cerebral Kirk valiantly tries (and fails) to convey comic relief, while White's gifts as a natural comedienne are wasted in the straight woman role. Gosselaar is fine, but he's saddled with one of the most one-note characters in recent memory. Rebeck probably wanted to allow the audience to watch a slice of what goes on backstage, but what they'll really end up doing is that other great theatrical tradition: watching their watch.

The Understudy

photo: Carol Rosegg

Although slight and weakly dependent on contrivances (you'll nearly use up fingers counting how many times the characters forget that their "private" conversations are being heard over the loudspeaker) this backstage comedy has the potential to be more diverting and fun than this production allows. The premise is tasty - we're at a put-in rehearsal where a legit actor has been hired to understudy a movie star - and there are fun if predictable barbs at how today's celeb-crazed culture has trickled down to the theatre biz. But the production is a non-starter with the actors steered toward choices that slow the show to a crawl. Justin Kirk seems the wrong variety of actor to play the understudy - he's busy mining it for the real when what is needed is a full-out ham, the kind of childish self-involved flibbertigibbet who could jilt a finance without a word with the explanation that he's "crazy". (Reg Rogers played the role at Williamstown.) Mark Paul Gosselaar (of "Saved By The Bell" fame) proves to be stageworthy and game, but some of his choices are contradictory, as if it was not firmly decided whether the movie star is a hot dumb fool or an intellectual trapped by his career. Julie White knows better than just about anyone else in the world how to throw a line in the air so that it flies but after a while you wish she had been given more to catch.

The 39 Steps

Scheduled to close January 10 after a two-year run on Broadway, this lark of a production remains funny and fresh. Maria Aitken directs a versatile, bustling cast of four who play dozens of characters in a frequently hilarious yet loving sendup of Hitchcock's famous 1935 thriller, paced like an extended Monty Python skit and delivered in a series of not very serious accents and silly walks. The cast is small but the business is booming; the quick character and setting changes are a nonstop delight, the Tony Awards for lighting and sound well deserved. Jolly good show.