The Fortune Teller

Photo: Adam Forgasch

Halloween may be over, but luckily Phantom Limb's spookily entertaining, creepily evocative piece of marionette theatre, The Fortune Teller, is running at HERE through December 4th. With horripilating music by Danny Elfman and Erik Sanko, elegant design by a large and talented team, and smart direction by Erik Sanko (who also made the wonderful marionettes) and Jessica Grindstaff, The Fortune Teller is the tale of seven strangers gathered on a dark night for the reading of a will. As it happens, each has a secret . . .

Woyzeck

Toy Box Theatre's production provides sufficient proof that this work, which poet Alison Croggon has called the "ur-play of modern theatre," was a lot more than an experiment. The same company, with Jonathan Barsness at the helm then as now, also brought us last year's 'Tis Pity She's a Whore, and clearly they're just as comfortable with modern material as they are with the 17th century, for Woyzeck, though it dates from the 1830's, is nothing if not modern. They've whittled down the character list, as they did with the previous production, but retained what's important and presented it feelingly, cuttingly, and in thoroughly Büchnerian spirit. This production is almost sure to leave you thinking—and nodding in appreciation at the talent Barsness has applied and gathered.

Excerpted from Theater Review (NYC): Woyzeck on Blogcritics.
Photo by Teresa Olson.

Next to Normal

Seeing Next to Normal with the new cast is, at least at first, a reverse "invasion of the body snatchers" experience. These people are saying the same words, singing the same songs, and following the same blocking, but they are not the Goodmans we've known for years. Aiii! And then there's the challenge of seeing anyone other than Alice Ripley as Diana; Ripley owns that role. However, really good writing thrives on different interpretations, and Next to Normal is really good writing. Alice Ripley's Diana was crazy, a needle stuck in the manic groove. Marin Mazzie's Diana is depressed, slow-moving, sadly aware of what she's missing and what her illness has cost her family. With Ripley, Next to Normal was the story of a woman unhinged. With Mazzie, Next to Normal is the story of a family trying to survive ("what doesn't kill me doesn't kill me"). Both interpretations are legitimate, both are compelling, both are heart-breaking. I still think that no one can touch Ripley's performance--it's a perfect melding of actor and role. But Mazzie comes in a close second, with a mature, thoughtful performance. And while Ripley's ravaged voice fit her interpretation of the role, Mazzie's gorgeous voice is a pleasure and a gift.

Brian d'Arcy James remains far and away the best Dan, although Jason Daniely's performance has improved quite a bit over time. Meghann Fahy does an unconvincing imitation of the excellent Jennifer Damiano as Natalie; however, her understudy MacKenzie Mauzy provides a unique and interesting take on the role (though she needs to be careful about her tendency toward overacting). Kyle Dean Massey is good as the brother, although not great, and original cast members Adam Chanler-Berat and Louis Hobson remain fresh and excellent. Hobson's character is often interrupted by bits of song, and he needs to seem as though he's just pausing to think. It's a particular skill and one he does well, which is important since he almost never gets to say two sentences straight through. And I appreciate the book, lyrics, and music even more every time I see the show (12 or 13 times at this point).

OPA! The Musical

After an award-winning stint at the Midtown International Theatre Festival in 2008 and a sold-out run at Queens Theatre in the Park last year, this good-natured celebration of Greek culture is back for a five-week run at the Hellenic Cultural Center in Astoria, Queens, which any New Yorker knows is a huge and thriving Greek-American neighborhood. The story is simple and old-fashioned and gets pretty silly, but that's all part of its lighthearted spirit. The Greek palace guard, arriving on a fictional Greek island looking for recruits, breaks up a love triangle; off goes manly Manos to the mainland, with shy, good-hearted Costa trailing along. When Sophia turns up in Athens only to be jilted by her hometown lover, she settles for second best. Big mistake? Act II will tell. The primary key to the show's success is the music, by the late Hollywood composer Nicholas Carras and musical director/pianist Elise Morris. A harmonious mix of light-modern staccato rhythms, big Broadway-style harmonies, and Mediterranean flavors, it is well matched by concise, clever lyrics.

Excerpted from Theater Review (NYC): OPA! The Musical on Blogcritics.

The Language Archive

If I had to review The Language Archive in one word, it would be lackluster. Julia Cho's story of a linguist who cannot communicate with the woman he loves also examines what it means--pragmatically, emotionally, metaphysically--when a language dies. While the ideas are interesting, the exploration is predictable, and the minimal plotline is on the boring side. There is little reason to care who ends up with whom, as the three main characters never gel, and the performers fail to inject them with dimensional humanity. The Language Archive is ostensibly a comedy, but much of the humor is as cheap as the curse words used by the older couple who are the last two speakers of their native tongue. ("Oh, isn't it cute--the old folk in the funny costumes are saying 'fuck.')

I Wish I Had a Sylvia Plath

Photo: Stephen Stoneberg

I believe that no topic is off-limits to the artist, yet I found myself uncomfortable watching Edward Anthony's play I Wish I Had a Sylvia Plath, which imagines the thoughts and images in Plath's mind in the moments before she died. I thought it presumptuous, even exploitive, to co-opt Plath's creations, life, and fame and tacky to use her suicide as a object of humor. That being said, on its own terms I Wish I Had a Sylvia Plath (the title is from a Ryan Adams' song) is an intriguing exploration of Plath's life, relationships, and talent, and it certainly doesn't lack creativity. I particularly liked the "Better Tomes and Garden" TV show and the "51-liar lasagna" recipe that Plath "cooks." Elisabeth Gray is impressive as the sole live performer in the show, compelling both as Plath (here called Esther Greenwood, the name of the protagonist in Plath's largely autobiographical novel The Bell Jar) and as the voices of a number of family members.