Unexpected Joy

No doubt: the York Theatre Company is on a roll. Its last show, Desperate Measures, received a bouquet of nominations for best musical (Drama Desk, Lucille Lortel, etc.) and will soon open at New World Stages. And now the York is presenting the lovely Unexpected Joy.

The fabulous Courtney Balan, Celeste Rose,
Luba Mason, and Allyson Kaye Daniel
Photo: Carol Rosegg

Joy is a singer best known as half of the successful duo Jump and Joy. Jump died a year ago, and Joy is organizing a concert in his memory. She hopes to get her daughter, Rachel, and granddaughter, Tamara, to participate. Joy is a committed hippie (when someone is asked if Joy still smokes weed, she answers, "Only when she's awake") for whom protest is as important as breathing. Rachel has gone completely in the other direction; she is married to a TV preacher and lives a rule-bound life. Tamara is more like her grandmother, chaffing against restrictions and boundaries. The three women try to use this occasion to make peace. As you might imagine, it doesn't exactly go smoothly.

Chess

I have identified the problem with the musical Chess. It's bad.

You've got Florence, who loves bad boy chess player Freddie and has probably been his lover in the past. Does the show do anything--and I mean anything--to show their connection or give us one reason why anyone would like Freddie? No.

Florence then falls in love with Freddie's opponent Anatoly.* Does the show do anything to show their growing connection? Nope. (At least Anatoly isn't as thoroughly obnoxious as Freddie, so it's a little easier to buy Florence's love for him.)

The Metromaniacs

So, I could rave about the writing (joyfully wonderful and silly rhymes by David Ives) or the acting (from a strong, talented, attractive ensemble) or the design (charming) or the direction (calibrated perfectly by Michael Kahn). But what I want to say is this: If you're looking for a thoroughly entertaining and satisfying evening in the theater, go see The Metromaniacs at the Red Bull Theater (currently housed at the Duke on 42nd St).

Amelia Pedlow, Dina Thomas
Photo: Carol Rosegg

The plot: A thinks B is C, who thinks B is X, or something. And there's a mystery poetess. And, oh, who cares? The plot is a fun-delivery system--and it delivers! Also, Ives is smart enough to provide clear road signs and recaps along the way, so we know what we need to know. The time: 18th century, with a soupçon of meta and a smattering of zany anachronisms. The source: La Metromanie (it means "The Poetry Craze"), a French comedy by Alexis Piron. The presentation: excellent, and every performer enunciates beautifully so you can actually hear all those wonderful rhymes.

Adam Green, Dina Thomas, Adam LaFevre,
Christian Conn, Amelia Pedlow, Noah Averbach-Katz
Photo: Carol Rosegg

What else do you need to know? Nothing, really, except that The Metromaniacs is a total treat, start to finish.

(The cast comprises Noah Averbach-Katz, Christian Conn, Adam Green, Peter Kybart,  Adam LeFevre, Amelia Pedlow, and Dina Thomas. Scenic design by James Noone, costume design by Murell Horton, lighting design by Betsy Adams, music composed by  Adam Wernick, sound design by Matt Stine. Runs through May 26. For more information, click here.)

Wendy Caster
(press ticket; third row)

Carousel

Among the many ways Rodgers and Hammerstein helped innovate the American stage musical was through depth of character. Their musicals, after all, featured some particularly memorable ones, many of them women, with nuanced inner lives that they expressed to audiences through increasingly sophisticated song, dance, and dialogue. The anxious Laurie manipulated her suitors and then had psychosexual nightmares about them in the form of a lengthy, absorbing, and downright creepy ballet. Nellie Forbush casually tossed off some lame excuses about her own racism, but then struggled to overcome it so that she could live happily ever after with Emile DeBecque. Maria, a terrible nun with no direction in her life, slowly realized her potential as a governess, music educator, mom, and Nazi-evader once she ended up getting saddled with a bunch of neglected, unruly kids.

But depth of character somehow evades poor Julie Jordan, which is a problem because her paramour, Billy Bigelow, is a hot mess who also just happens to be endlessly fascinating: smarter, deeper, and more philosophical than he seems at the outset, with a restless mean streak and oceans of bitter agita beneath his easy charm. Bigelow is fire and brimstone; Jordan is merely a "queer one" (not remotely in the contemporary sense of the word), at least as she's described by her way better-developed and more interesting friend, Carrie Pipperidge. I've long struggled with Carousel in this particular respect, because the imbalance disrupts a show that might otherwise be perfect: dazzling to look at, ravishing to listen to, so far ahead of its time in particular ways, so extraordinarily weird as a piece.

The dark midcentury musical adaptation of an even darker early-20th-century play (Liliom by Ferenc Molnar), Carousel touches on themes that certainly weren't considered musical theater-fodder at the time, and that still come off as reasonably edgy today: "Hey, Oscar! How about we adapt that Hungarian flop into a musical about America's cruel and random class system, maybe with a side-serving of spiritual nihilism?" "I like what I'm hearing, Richard. But can there be a botched robbery that becomes a messy suicide and some domestic abuse? Also--stay with me--a clambake? If so, you got yourself a deal!"

Happy Birthday, Wanda June

If there is an afterlife, I hope Kurt Vonnegut, Jr., has had the opportunity to look down and watch the Wheelhouse Theater Company's excellent production of his hilarious, incisive farce, Happy Birthday, Wanda June (directed by Jeff Wise with vitality, creativity, and respect). I'm sure Vonnegut would be thrilled with the show, although he would likely also be depressed at how timely it remains.

Kareem Lucas, Matt Harrington,
Kate MacCluggage, Jason O'Connell,
Craig Wesley Divino, Finn Faulconer
(not pictured: Charlotte Wise)
Photo: Jeremy Daniel 

Harold Ryan, a man's-man's man's-man, has been missing for eight years. His wife, Penelope, and son, Paul, have kept the living room the way he left it--full of animal heads and jungle rot. (The fabulous set was designed by Brittany Vasta). Harold has been declared dead, and Penelope has finally moved on. She is engaged to a pacifist obstetrician named Norbert. Paul still believes Harold is alive, even though Penelope tells him, "Not even Mutual of Omaha thinks so anymore." However, Paul is right.

Harold comes home, full of bravado and raging masculinity, bragging of all the humans and "other animals" he has killed and all the women he has bedded. ("If I'd ever been to the South Pole," he says, "there'd be a hell of a lot of penguins who look like me.") He's horrified to find that Penelope not only doesn't want him, but that she is engaged to Norbert, about whom he says, "I could carve a better man out of a banana."

The plot is not the thing in Wanda June; it's all about the characters and their interactions. Other characters include Colonel Looseleaf Harper, the pilot who dropped the bomb on Nagasaki,  missing with Harold for those long eight years; he is overwhelmed by life and constantly uncertain. Herb Shuttle, another beau of Penelope's, is a vacuum cleaner salesman thrilled to meet Harold, who he sees as a mythic hero. Major Siegfried von Konigswald, a Nazi killed by Harold during the war, brags that he killed ten times as many people as Harold did. He acknowledges that Looseleaf killed many more but says, "Harold and me--we was doing it the hard way."

Harold is a gigantic-er-than-life character and a horrible man. In order for Wanda June to work, he also has to be charming and sexually attractive. Jason O'Connell manages all of Harold's dimensions in a tour de force performance that would merit a Tony if the show happened to be on Broadway. Kate MacCluggage as Penelope, in a less showy role, is every bit as good. Both actors do that fabulous juggling act of being farcical while also inhabiting three-dimensional humans with real dreams and feelings.

It helps that Vonnegut, whose life was permanently marked by his experiences in WWII, wrote such an open-hearted, textured farce. Every character is ridiculous; every character is sympathetic; no one is a complete hero or villain. Wanda June is a delayed-release show, where you laugh nonstop while watching it yet remain genuinely moved by it afterward.

Wendy Caster
(press ticket; 4th row center)

Three Tall Women

Edward Albee was not exactly fond of his mother. The headmaster of a boarding school Albee attended was quoted in the New Yorker as saying, “[He] dislikes his mother with a cordial and eloquent dislike which I consider entirely justifiable .... I can think of no other boy who ...  has been so fully the victim of an unsympathetic home background ...” Albee's feelings about his mother show up in many of his plays, nowhere more overtly than in Three Tall Women. 

In the first act, character A, based on Albee's mother, is an old infirm woman with control of neither her mind or her bladder. B is her aide; C is her lawyer. In the second act, A, B, and C are all character A, at different ages. 

In the current, elegant Broadway production, directed by Joe Montello, the three women are played--superbly--by Glenda Jackson (A), Laurie Metcalf (B), and Alison Pill (C). Their costumes, by Ann Roth, add texture to the characterizations and are often beautiful (I particularly love Glenda Jackson's dress in Act 2). The scenery, designed by Miriam Buether, is both attractive and fascinating, using a mirror (or mirrors?) to give a sense of a full but split milieu, perhaps representing A's mind as well as her location. The lighting, by Brian MacDevitt, embraces and enhances the play and design elements.

Being an Albee play, Three Tall Women is both devastating and funny as it examines love, motherhood, marriage, life, and death. The show is surprisingly compassionate. Three Tall Women could easily have been Albee's revenge on his mother, yet he takes a kinder, more complex approach. I believe it is this compassion that makes the play as hard-hitting and excellent as it is.

(For an amazingly different take of Three Tall Women, check out Hilton Als' review in the New Yorker. It's hard to believe that he saw the same play I saw, but I guess, ultimately, he didn't.)

Wendy Caster
(full price $49 ticket, second-to-last row in the mezzanine)