HotelMotel

Gershwin Hotel

After watching the Amoralist production of HotelMotel, a pair of one-acts on site at the Gershwin Hotel, I was left with two questions. For Pink Knees on Pale Skin, written and directed by Amoralist Derek Ahonen, the question was: When does theatre tip over into voyeurism and porn? For Animals and Plants, written and directed by Adam Rapp, the question was: Will male playwrights ever get bored of writing about stupid men doing stupid things? 

[spoilers abound] 

Pink Knees is the story of two couples seeking "orgy therapy" to save their marriages. The Wyatts' problem is the husband's infidelity. The Williams' problem is the wife's anorgasmia. The therapist's problem is, "Thereʼs this huge empty part of me that I donʼt know how to fill." The play's problem is that neither the characters nor the situation nor the denouement are convincing.

James Kautz, Sarah Lemp
(photo: Monica Simoes)

I assume that Pink Knees is at least partially satire, but Ahonen doesn't understand sexuality sufficiently to pull it off. For example, the therapist provides the anorgasmic woman with an instant cure, and all the characters are unaware that there are other forms of foreplay than oral sex. The show raises all sorts of issues and then drops them: homosexuality, homophobia, racism, sadomasochism, incest, etc. Many lines are awkward requests for laughs--for example, "I don't teach chimps to have orgies, that's Jane Goodall's job," which is wrong in so many ways that I wouldn't know where to begin.

Perhaps the most surprising fault of the show is that it cops out. For all its bluster, it is ultimately conservative in its values. The promised orgy never occurs, and the happy endings are all monogamous. When one couple does make love, there is an odd combination of purience--in the small hotel-room setting, the audience is practically in bed with them--and modesty, as the therapist circles the bed, making sure the sheet always completely covers them. And it's weird that the only character who is completely nude in the show is the black man--while I'm sure Ahonen et al had no intention of being racist, there is an uncomfortable history of black men being used as beefcake.

This being an Amoralist production, it is not without its strong points. The acting is excellent, and there are funny and even wise lines. I particularly liked this exchange:

Robert (who has been cheating on his wife for a long time):  Iʼll never make the same mistake twice.

Dr. Sarah: You did make the same mistake twice, Robert. You made it hundreds of times over three years.

Robert: I meant… with someone else.

William Apps
(photo: Monica Simoes)

For Animals and Plants, the hotel room of Pink Knees becomes a cheap motel room decorated with taxidermied animals and strewn with empty pizza boxes. Our two main characters are Dantly, who sits quietly on the bed, almost unmoving, almost unblinking, and tries to puzzle out life, and his partner-in-crime-of-ten-years, Burris, who is frenetic, constantly exercising and jumping around, and full of answers. They are in Boone, NC, for a drug deal. We know that things will not go well.

Unfortunately, the way in which things do not go well is undeveloped. The characters are partners and friends, but they're not. Burris has a great vocabularly (some of his definitions are pretty wonderful) until the play needs him not to. And the magic realism moments seem grafted on to add significance to a story that is ultimately a little too familiar and a little too underwritten. When the ending comes, it tries to claim a significance it hasn't earned.

On the other hand, Animals and Plants is frequently entertaining. The conversations about Tiger Lily vs Wendy and the advantages of putting Right Guard on your balls are funny, Dantly has a charming woebegone air, and Burris's hyperactivity amuses. The contrast between the characters works, and Dantly's identification with plants is well supported by his almost total lack of movement.  And William Apps (Dantly) and Matthew Pilleci (Burris) are both wonderful.

For both shows, sitting in such a small audience in such a small performance space was fun, and it certainly afforded a deep (if not always welcome) sense of intimacy. It is not every day that you have to hold your breath in a theatre because the Right Guard that someone is spraying on his balls is coming right at you. But the setting, like both of the plays, ultimately comes across as arbitrary.

I remain a fan of the Amoralists. I still plan to see all of their shows. But HotelMotel is not their shining hour.

(press ticket, in the hotel/motel room with the characters)

One Night Stand (Movie Review)

Jesse Tyler Ferguson, Cheyenne Jackson
Photo: Kerry Long

If you are at all interested in musical theatre you must see One Night Stand, a documentary about four short musicals that are written, rehearsed, and performed in 24 hours. Both a record of an insane challenge and a microcosm of the creative process, One Night Stand is fascinating, elucidating, suspenseful, and very very funny.

The movie starts with the creative teams being assembled. Composers, lyricists, and book writers who have never worked together (or even met) go from saying hi straight into deadline hell (or deadline heck; while some people take the pressure hard, others seem unruffled). We get to watch each team struggle to come up with a plot and three songs in a matter of hours. Then the shows are handed over to the casts, who also have only hours to learn dialogue and songs and maybe even make sense of what they are doing. The directors help as much as they can, but the goal isn't art--it's survival. All too soon, it's curtain time, and damned if these amazingly talented people haven't come up with four amusing, clever shows!

The writers of these musicals include Brian Crawley, Gina Gionfriddo, Rinne Groff, and Jonathan Marc Sherman. The composers include Robin Goldwasser and Julia Greenberg, Lance Horne, Gabe Kahane, and Benj Pasek and Justin Paul. The directors include Trip Cullman, Sam Gold, Maria Mileaf, and Ted Sperling. And the performers include Roger Bart, Rachel Dratch, Jesse Tyler Ferguson, Mandy Gonzalez, Cheyenne Jackson, Capathia Jenkins, Richard Kind, Michael Longoria, Theresa McCarthy, Nellie McKay, Scarlet Strallen, Marnie Schulenburg, Tracie Thoms, Tamara Tunie, and Alicia Witt.

As for the documentary itself, directors Elisabeth Sperling and Trish Dalton do a nice job of showing us the process and its results, and they allow us to get a sense of the different participants' characters. I wish the movie were longer (how often does one say that?) and that all four musicals were shown in their entirety (DVD extras, maybe? Pretty please?). But all in all, this movie is a gift to anyone who loves musical theatre.

(DVD screener.)

The Pretty Trap

Katharine Houghton, Loren Dunn, Robert Eli
Photo: Ben Hider

On YouTube you can find faux coming attractions that morph famous films into different genres. The Dark Knight becomes a Pixar cartoon and the Shining becomes a romantic comedy. Watching these recuts is entertaining and disorienting and an excellent reminder of the importance of context and point-of-view. Watching Tennessee Williams' short play the Pretty Trap has a similar effect.

The Pretty Trap is an early version of what would turn out to be the Glass Menagerie. Amanda, Tom, and Laura are there; the Gentleman Caller comes to visit; and familiar lines whiz by--but the one-act is just different enough to be, strangely enough, a comedy.

Amanda is somewhat likeable instead of soul-stealing, though she still sells those magazine subscriptions. Laura has no limp and is merely painfully shy, though she still drops out of business school. Tom has a relatively small role to play, though he is still a writer with the nickname "Shakespeare." Most importantly, the Gentleman Caller is not engaged to be married, leaving room for a happy ending. And, yes, there is a glass unicorn.

The Pretty Trap is not a great work of art, but it's a must-see for any Williams fan. And it is entertaining in its own right, particularly as directed by Antony Marsellis and acted by Katherine Houghton, Robert Eli, Loren Dunn, and Nisi Sturgis.

How odd and wonderful that this lightweight one-act could grow into the brilliant Glass Menagerie.

(Press tickets, 3rd row center)

The Silver Tassie

Image: Robert Day

Seán O’Casey once described his play The Silver Tassie (1927-28) as “a generous handful of stones, aimed indiscriminately, with the aim of breaking a few windows.” I love this description, which fits the Druid Theatre Company’s gorgeous production of the piece (running through July 31 at the Gerald W. Lynch Theater at John Jay College), not only because it nails the play’s scattershot approach to character, narrative, and plot, but also because it so clearly evokes the Impressionist style in which the play was written. Less a straightforward drama about Irish men serving during World War I, the play is sort of an absurdist-Brechtian-Beckettian-vaudvillian-music hall hodgepodge. Significant scenes take place completely off-stage while characters onstage chat about religion, domesticity, food, and politics; characters appear where they shouldn’t, or suddenly stop doing what one expects of them for no clear reason; characters frequently dance, clown, burst into song, find or lose God at their convenience, and randomly begin to speechify woodenly; characters strike poses (Christ figures galore!) or fixate on props that are thunderingly obvious (like the cup of the title, which is celebrated, revered, sipped from, and inevitably crushed); characters quickly become as abstract and as slippery as the scenes in which they appear.

The problem here is not the production, which is first-rate. It’s the play, which certainly remains compelling throughout, but does not always work. The big picture O'Casey is working with is, after all, nothing new, even if the materials he used in creating it were relatively innovative: war is hell; we all know that. It has the power to crush the strong as well as the weak, to destroy relationships, to make mincemeat of the body and to annihilate the spirit. But the medium remains cool throughout: the reaction is intellectual, but always emotionally distant. At least for me, the play evokes the same reaction as looking at something by Monet: one appreciates the beauty of the thing, and is even occasionally struck breathless by the mastery of the art form, but is likely less moved to empathize, or laugh, or weep, as to distance oneself for further contemplation. This is a brilliant production, and I am happy to have seen it; yet in having seen it, I understand why The Silver Tassie is not nearly as well-known as O'Casey's Juno and the Paycock or The Plough and the Stars.

Rosencrantz and Guildenstern Are Dead

Jessica Delbridge and Allison Hirschlag
(Photo: Eli Sands)

In Tom Stoppard’s Rosencrantz and Guildenstern Are Dead, Shakespeare meets Beckett and a good time is had by all--except Rosencrantz and Guildenstern. In Stoppard's absurdist tragicomedy, R&G are brought to the kingdom of Denmark at the order of the king and queen, who are concerned by Prince Hamlet's behavior. As they wait to speak to Hamlet, R&G try to suss out what is going on, play games to pass the time, are visited by The Player and his troupe of Tragedians, and ponder life, death, and other imponderables. This being a Stoppard play, there is word play and mathematical theory and tremendously funny set pieces.

Panicked Productions has chosen to present R&G Are Dead with an all-female cast. Explains director Glenn De Kler, "There are tons of talented and funny ladies out there [and] they wouldn’t ordinarily get a chance to sink their teeth into these great roles." The strong cast does indeed sink their teeth in, and their being women brings some interesting texture to the show. Although the characters are still referred to as male, there is a different meaning when a female Rosencrantz cries than when a male Rosencrantz cries. And the female Player's independence, command, and panache feel hard-won while a male Player can take these traits for granted.

More important than the cast's gender is their skills. Allison Hirschlag as Rosencrantz and Jessica Delbridge as Guildenstern are entertaining and touching. Whitney Kimball Long steals the show as The Player, as a good Player always does. The rest of the performers do well with multiple roles, and their acrobatics are great fun. I do wish the cast had been larger.

The show is well-directed by Glenn De Kler and movement director Chie Morita. De Kler and Morita make good use of the small space, using simple clever touches to provide visual variety and a sense of place; the scene at sea is so effective that I found myself swaying with the boat. In addition, virtually every line of dialogue is clear and comprehensible, something that one can no longer take for granted, as shown by the recent Arcadia on Broadway, where great swaths of dialogue went past like so much noise.

Rosencrantz and Guildenstern Are Dead is at the Dorothy Strelsin Theatre only through July 29th. If you are a Stoppard fan in search of a solid, enjoyable production, get thee to 36th St.

(Press tix; first row.)

Death Takes a Holiday

Death Takes a Holiday is a lovely, old-fashioned musical, with an inviting score by Maury Yeston (which sounds somewhat like his Titanic). The frequently charming book by Thomas Meehan and Peter Stone offers few surprises but many pleasures. The female lead, Jill Paice, disappointing in Chess, is sweet, pretty, and likeable here and sings beautifully. Julian Ovenden as Death is everything he needs to be. His joy at discovering sensations is endearing and touching, and he too sings beautifully. (However, it would behoove director Doug Hughes to move Ovenden upstage a bit, as watching him spit on the first row is quite distracting.)

The supporting cast includes the underutilized Linda Balgord, the delightful Alexandra Socha, the ever-reliable Michael Siberry, and the I-have-no-idea-why-people-keep-casting-him Matt Cavenaugh, whose voice is as harsh and nasal as ever. The direction is largely solid, though the blocking makes Death's first song invisible to much of the left-hand-side of the audience. Also, Hughes and Meehan allow some of the relationships and plot points to remain murky. I can't help but wonder what the late and much-missed Peter Stone would have done with the show had he lived; clearly, the man who wrote the brilliant book for 1776 was a master at lucid exposition. The set design by Derek McLane is attractive and enhances the mood from the gauzy white show curtain through the twinkling night ski--though a few more set pieces (missing due to budgetary concerns?) might have better differentiated the grotto from the bedroom.

Kudos to the Roundabout for putting this show in the charming Laura Pels theatre, where every seat is at least reasonably close to the stage and no ticket costs more than $86. (Yes, these days $86 is a ticket price worth commending. Sigh.) Kudos too to designer Scott McKowen for yet another wonderful, evocative poster.

[spoilers below]

Having never before seen any version of Death Takes a Holiday, I enjoyed watching the plot unfold. However, at the end, when Grazia chooses to die to remain with Death, I found it a cruel decision. Her parents have already lost a child; her friends will miss her terribly. But then it occurred to me that this sort of decision was made millions of times by real people in the days before telephones and easy international travel. When Hodel sings "Far From the Home I Love" in Fiddler, she too is leaving her loved ones forever--and she too is willing to die for the man she loves. Yet her decision to leave never struck me as cruel to her family, but just as terribly sad.

Also, do you suppose there is divorce in dead-people land? If not, I sure hope Grazia and Death remain besotted with one another forever. As in, FOREVER.

(Despite my lack of romance here, I cried at the end when Death took Grazia's hand and they died happily ever after.)

(tdf ticket, $30something, first row, last seat on audience left, preview performance)