Or,

Aphra Behn

A beautiful woman sits writing in a debtor's prison in 1660. A masked man enters. Rather than being frightened, the beautiful woman is intrigued. And why not? This particular beautiful woman is Aphra Behn, who, as depicted in Liz Duffy Adams's energetic sex farce Or, (no, it's not a typo, the title really is Or,), is completely unflappable. Indeed, what other sort of woman could have achieved success as both a spy and a playwright in the seventeenth century, as the real Aphra Behn did? While Or, is funny, fast, and well-written, and the three actors (Kelly Hutchinson, Andy Paris, and Maggie Siff) are skilled and entertaining, I wanted more for--and about--Aphra Behn. Adams said in an interview with Adam Szymkowicz that she didn't want "to write a straightforward bio-play/period piece," but I think she went too far in the other direction. Aphra Behn pretty much invented the idea of a woman making her living as a writer, and while it's a fun concept to have her involved with both royalty and a famous performer, focusing on her sex life doesn't do her justice. Also, the supposed parallels to the 1960s didn't add much for me, and having tried fruitlessly to Google the play, I think the title Or, is not a great idea. Overall, the period dialogue convinces, the plot amuses, and the characters engage, and the doors slam frequently and farcically, just as they should. I just wanted more.

The Lesser Seductions of History

photo: Tyler Griffin Hicks-Wright

Succinctly moving multiple characters through concurrent storylines under a strong overarching socio-political theme, August Schulenburg's new play often recalls quintessential Robert Altman films in its dynamic narrative focus and cohering thematic purposefulness. Between stretches of pointed narration that is simultaneously seductive and dangerous in tone, we see ten characters move through the turbulence of the 1960's. Although some find themselves propelled to extraordinary action - one joins the Black Panthers, another joins a religious cult - the play conveys the feeling of ordinary people whose lives are re-shaped by the promise of the times. The characters, succinctly written and brought to vivid life by this ensemble under Heather Cohn's direction, are easy to relate to, making the play's message all the more unsettling. The ambitious, intellectually provocative and beautifully realized play does what theatre too rarely does - it leaves you thinking about your life, your times, your choices.

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.