Hot L Baltimore

The T. Schreiber Studio and Theatre is one of the undersung jewels of New York City theatre. Year after year, T. Schreiber presents solid productions, often featuring long-time director-teacher Terry Schreiber's students in some of the roles. For a tiny sliver of the price of a Broadway ticket, you can see top-notch productions of important plays with excellent casts.

In front: Stephanie Seward, Anna Holbrook, Alexandra Hellquist
 In back: Philip Rosen, Peter Judd
Photo: Bob Degus

Even more underappreciated is playwright Lanford Wilson. He tends to be ignored when people assemble lists of "great American playwrights," yet his body of work is superb. His four-decade career includes Balm in Gilead, The Rimers of Eldritch, Fifth of July, Talley's Folly, and Book of Days. He was recognized during his lifetime, with three Tony Award nominations, the Pulitzer Prize, the Drama Desk Vernon Rice Award, a New York Drama Critics' Circle Award, an Obie Award, the PEN/Laura Pels International Foundation for Theater Award for a Master American Dramatist, and the Artistic Achievement Award from the New York Innovative Theatre Awards. So why doesn't he make top 10 or even top 50 lists? I've been trying to come up with a theory, and I've had no luck. But I do know this: it is an unacceptable oversight to leave him out. He is a major American playwright, and indeed one of the greats.

Songbird

Songbird, the new musical by Michael Kimmel (book) and Lauren Pritchard (music and lyrics), directed by JV Mercanti, brings The Seagull to Nashville in the 21st century. The book is effective and the songs soar.

Erin Dilly, Kate Baldwin
Photo: Jenny Anderson Photography

There's just one problem: they don't add up to a musical. The entire score is diegetic, which doesn't have to be a negative, but in this case it is. Unlike Dreamgirls, where the diegetic songs act almost as character songs by matching the mood and situation of each person, Songbird metes its music out almost at random. There are few songs that could be sung only by that character at that moment. The result is a country version of The Seagull featuring people who happen to sing a lot. The whole becomes less than the sum of its parts.

But the parts are good enough that Songbird is still worth seeing, particularly with its excellent cast. Kate Baldwin, fine as the endlessly bitchy mother who cannot relinquish even one watt of the spotlight, sounds the best I've ever heard her. Considering that she is always wonderful, that is saying something. Baldwin nails the country sound, and I would gladly listen to her sing all night. Erin Dilly is also at her impressive best. Adam Cochran is heart-breaking as the son who would die for his mother's attention. Kacie Sheik nicely shows the cost of compromise as the Masha equivalent Missy. Bob Stillman is excellent as the diva's brother, trying to bring peace to the family, and it's fun to see him cast against type. The rest of the cast also shines: Ephie Aardema, Don Guillory, Drew McVety, Eric William Morris, and Andy Taylor.

The more I think about it, the more I would prefer to see an evening just of Lauren Pritchard's work, sung by those terrific singers. The Seagull plot kinda got in the way.

Wendy Caster
(8th row, press ticket)

William Finn: Broadway Close Up

William Finn, lyricist-composer of Falsettos, Elegies, and Little Miss Sunshine, writes at the corner of idiosyncratic and heartfelt. His topics range far and wide: e.g., a baseball game, trying to recover from a stroke, and having sex with a Republican. And, yes, he also tackles the biggies, like family and romantic love. Sometimes Finn's music is cozily melodic; other times, not so much. Sometimes his lyrics are tight and perfect; other times, they feel jammed together with almost random rhymes that somehow work. His songs dazzle, entertain, reveal people's secrets, make you laugh, and break your heart.

William Finn

As seen in the Broadway Close Up evening of his songs, Finn is also a fabulous interviewee, gravel-voiced, dry, funny, and deeply grateful for what life has given him. (He can also truly sell a song, as when he did "Stupid Things," from The Royal Family of Broadway, somewhat in the style of Elaine Stritch, who originated the number.)

Finn clearly had a great time all evening, as did the audience. The highlights for me included Sally Wilfert's three numbers: "Anytime," from Elegies; "Something Better Better Happen," from Little Miss Sunshine; and "Raise Up Big Please This Umbrella," from What You Think When You Can't Sleep (music by Deborah Abramson). The songs required three distinct moods and styles, and she did each with subtlety and verve.

Betty Buckley was lovely on "Only One" and "14 Dwight Avenue, Natick, Massachusetts" (ably assisted by Finn's student Matthew Krob).

Big Apple Circus: The Grand Tour

For its 38th season, the Big Apple Circus presents an frequently charming, often thrilling new show called The Grand Tour. Using large travel posters and appropriate scenery and costumes, the Big Apple's clowns, Joel Jeske and Brent McBeth, take us around the world on various modes of transport, including the Orient Express and a (fake) camel. (I'm not a big fan of clowns, but Jeske and McBeth had me laughing out loud on more than one occasion.)

The Dominguez Brothers 

on the Wheel of Wonder

Photo © maike schulz: Big Apple Circus

Along the way, we are treated to truly amazing wonders of the world:

• Chiara Anastasini, a 9th-generation circus performer, is, I would imagine, the world's foremost hula hoop artiste. Her act is both kinda silly and completely impressive. 
• Alexander Koblikov juggles with more balls than I could even count, but for me the highlight of his act was when he balanced one ball across his arms and shoulders with preternatural grace. 
• Want to see beautiful, lithe men with zero body fat do acts requiring 1,000% strength and agility? The Chinese hand balancers, The Energy Trio, are for you.
• One of my favorite acts of the show, the Dominguez Brothers, are both thrilling and terrifying on the Wheel of Wonder. They are talented, dexterous, athletic, and seriously brave.
• The African acrobatic troupe Zuma Zuma provide a jolt of beauty and energy and fun.
• And my other favorite act of the show, the Dosov Troupe, soars off the teeterboard, landing on each other's shoulders and on extremely high chairs. Their finale is one of the coolest things I have ever seen at a circus.

And at the Big Apple Circus, you get to see all of these wonderful acts up front and personal. As advertised, no seat is further than 50 feet from the stage, and that level of intimacy ups the oohs and aahs.

My one complaint is that the Big Apple Circus still has animal acts. Those dogs and horses just don't look happy, with the smaller dogs quivering and one horse clearly not wanting to do as told. I think the day of the animal act has passed...

On a whole, however, the Big Apple Circus is both a great deal of fun and a testament to how wonderful human beings can be. Listening to the news, I sometimes forget the human race's good points, but the Big Apple Circus is a marvelous reminder.

(around 6th row, press ticket)

The Humans

In The Humans, Stephen Karam's funny, sad, squirmily accurate play about family dynamics in troubling times, the supernatural is repeatedly implied. The newly rented, ground-floor New York apartment the play is set in--creepy enough as it is in its whitewashed, prewar emptiness--makes all kinds of strange creaks and groans, is subject to frequent and random power outages, and is regularly stomped upon by a never-seen upstairs neighbor who is, even by New York standards, excessively noisy. Family members talk over dinner about the unknown: scary comic book creatures, brushes with death, strange and unsettling dreams. And while the ending of The Humans builds toward a climax befitting the kind of terrifying surprise one expects of a horror flick, the eerie vibe infusing this smart, affecting play ultimately has little, if anything, to do with the otherworldly. People, it turns out--especially the ones you love and trust the most--can burrow into and fuck with your head way better than any ghost can. Especially when they, like you, are preoccupied with the most terrifying of human anxieties: rejection, poverty, sickness, age, death.

Joan Marcus

Barbecue

Photo: Joan Marcus

My colleagues Wendy and Liz generally offered praise for Robert O'Hara's Barbecue, which runs through next Sunday at The Public's Newman Theater (read their thoughts here and here). In keeping with their earlier reviews, mine will be somewhat cagey, as I agree that knowing too much about this play before going in may spoil the experience. However, unlike my co-writers, I am not going to enthusiastically recommend this play, which too often feels like a Tyler Perry movie without the Christian subtext. O'Hara may have set out to skewer the ways in which Hollywood/Broadway/the memoir industry prey on the sad, drug-addled lives of the downtrodden, but the finished product is neither profound nor particularly interesting. The large cast work their butts off but can't overcome the fact that the play isn't as funny the author thinks -- and I had a hard time believing that many of the actors, playing siblings, were family. (Most of them seemed like they'd just met moments before taking the stage.) Kent Gash's production is, oddly, too slow and too short. I wanted to like Barbecue, but like a burger that stays on the grill a few minutes too long, it left an odd and unsatisfying taste in my mouth. -- by Cameron Kelsall

[Member tickets, mid-orchestra]