 See it if You're up for a fine example of what theatre does best. A moving, transporting, absolutely truthful study of the human costs of racism. Don’t see it if You expect a fluffy evening or don't want to feel, think or be moved by issues & truths that continue to affect us even here, especially now. Master Harold has lost none of its searing, brutal, literally breathtaking dramatic punch or lyricism since its 1982 NY debut, and though this production, directed by its playwright Athol Fugard, seems to take its time getting there, it’s well worth the journey. A subtle and amazingly well-crafted script that quietly draws in its audience to reveal the corrosive and ugly realities of apartheid and racism, the action in Master Harold is deceptive, mainly the talk and memories of its characters. A rainy afternoon in 1950, a tea shop somewhere in South Africa — or anywhere, really, anytime; two black waiters setting up tables and practicing for the local ballroom dance contest; the owners’ son, a young teen they’ve watched grow up; and a telephone — what range and worlds are spun from these simple elements. Noah Robbins is energetic and sharp as the callow Master Harold, visibly turning ashen at play’s end as the reality of what he's done sets in; Sahr Ngaujah is warm, spirited and funny as Willie, the porter who aspires to dance; and Leon Addison Brown just amazes as the older Sam, in a deeply moving, touching performance that resonated in the air long after the ovations. An especially timely play with strong and memorable performances, Master Harold should be seen and discussed at length by as wide an audience as possible. In these days of Black Lives Matter, it’s good to remember that when some lives are treated as less than others, all lives suffer. |
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 See it if you're up for a sharply performed, lively and compelling evening of Shaw that succeeds in going beyond epigram, argument or lecture Don't See it if you can't sit through a 3 hour drama, no matter how fast-paced, or if you don't like Discussion plays, no matter how conversational & funny. Physical production values are pretty thin, understandable being the inaugural show of a new small & independent company, but this production blows right past any such shortcomings. This is Shaw made fresh & relevant by force of a strong, well balanced & capable ensemble that attacks Shaw’s language with verve & commitment. And clarity. What might have been a dry disquisition of opposing arguments sprinkled with epigrams & aphorisms is instead a living thing, empathy making both sides understandable & plausible. Anastassiou as Barbara is self-posessed, with humor & warmth beneath her cool surface & intellect; Emerson’s Adolphus is appropriately bohemian, erudite & irresponsible; & Martello as patriarch Undershaft, whose armaments drive the moral & ethical questions that drive the action, is sympathetic, complicated & commanding. However, though the actors are well directed, they're not well placed, needlessly made to use all of the difficult space at the audience's expense & discomfort. The actors carry on seamlessly, but there’s no reason for them to be pacing extreme left to right and back again, or for the audience to have to span that distance. It’s a not small complaint in an otherwise fine production.  See it if you're up for a refreshingly silly fast paced romp by a sharp ensemble in a too-long Commedia update marred by too many cheap election jokes. Don't See it if you've lost all sense of wonder or childhood, hate farce, buffoonery (at least onstage) or earthy humor that's universal and timeless. There's more than a bit of magic in this production — the wonder that comes of simple but well-crafted bits of stagecraft that can transport an audience — light and dark, flickering lights, the rhythms of speech and motion, the easy joy of play. And there is a lot of play here as well: the actors, with each other, with the audience and perhaps a bit, with the content and form of traditional Commedia dell'arte. Not at all an update or modernization, this Servant strives instead to make the form relevant and present by being current; so that while the costumes and screwball form and plot are traditional and 18th Century, ad libs and references are contemporary. All too contemporary, in fact, and therein lies the problem with this otherwise extremely polished and executed show. The references, unexpected and funny at first, become pretty easy and obvious, the post-election one liners increasingly cheap shots we tire of hearing. Epp and company are truly fine, with amazing touch and technique that begin like clockwork with rapid-fire call-and-response timing that show the possibilities of true ensemble work. This unfortunately devolves as the evening and Act II drag on, into a one-man show with ever more unnecessary modern references. One might say that there’s many more than one “gurrrl” too many here. It's a shame, too, that in a season that’s seen fresh air and life breathed into so many classics —Lisa Wolpe’s Macbeth; The Wheelhouse's Romeo & Juliet; The Torn Out Theatre’s al-female, all-nude outdoor Tempest in NY’s parks; May Violets Spring, whose iambics sounded like easy street conversation — this Servant With Two Masters just misses the mark with its overindulgence. Still, it’s worth seeing; too long by half and a bit much at times, it’s very funny and often quite beautiful — and the women’s vocal trio in the second act shouldn’t be missed.  Ambitious Relevant Refreshing Authentic Slightly off See it if you're up for a flawed if fresh take on Chekov that harks back to his original, pumping air, contemporaneity & modern relevance into it. Don't See it if you're expecting the usual serious often tragic, dry-witted very Russian Chekov, lacking farce or comedy; don't like fresh takes on classics. This production has been almost universally panned as a stylistic mish-mosh or mess, lacking focus or direction; & while it ultimately falls short, not quite succeeding in creating an emotional catharsis, everything else about it, its humor, farce, interracial casting & atemporal aspect, are true to its spirit & original intent. The weird magic tricks, ventriloquism, slapstick & even circus bits & musicians are there in the original script; slaves too, which makes this rumination on Change & Time all the more relevant with its mixed cast. Its politics, too, speak to our current moment: Change indeed marches on. Lane, Glover & Perrineau are terrific, as are Gevinson, Cooper & Keenan-Bolger; the sets are spare & effective, as is the music; costumes are lush across subtle time periods. While the all-too modern exchanges & Brando-like tramp in Scene II may stretch things a bit far, it's a relief to finally see an Orchard Chekhov would recognize as closer to the farcical comedy he intended.  See it if You've an open mind & patience: like an artichoke, this show is a slow reveal leading to surprising rewards & striking visuals and humor. Don't See it if A funny, well acted & well cast rumination on art & existence isn't enough to sit through 3 acts that ripple by as fast as a Zen garden. Clocking in now at a surprisingly quick 3:05, this play certainly isn't for everyone. No fast paced, obvious situational drama here, rather a subtlety scathing, well observed, slowly revealing study of character and culture. There's more than a bit of Beckett here, the absurd bleak existential landscape this time transported to an upscale suburban community, numbing in its sameness. Some of the air and stillness in David Hockney's California paintings come to mind. It could be argued that Rancho Viejo takes a very long route to consider its themes of art, the why's of existence, the ifs of happiness and the meaning, if any, of it all and the wanting of more; but its considered structure and purely theatrical visuals – things unexpected and/or not quite seen before – are worth it, and worth the wait. The cast is pitch perfect – at times annoyingly so, especially Blum; Winningham wears her doleful longing well and Ethan Dubin's silent, enigmatic, funny and menacing Tater stands out.  See it if you like Salsa & Latin music. Richer and funnier if you're Latino or know Spanish but it's not necessary for this fun, joyously performed show. Don't See it if you dislike Salsa, Latin music, Puerto Rican culture, New York in the 70's or the rare chance of seeing this fun and hugely talented cast and amazing band. A show celebrating the rich history of NYC's el Barrio and the Salsa music that originated there is long overdue, as is note of the Puerto Rican contribution to New York’s music and culture; and while this show may not be the ultimate crossover vehicle, it’s a terrific start. Both a jukebox musical and warm family drama that showcases the talents of its remarkable cast, I Like It Like That certainly plays to its base, but reaches out to include all and transcends language with its universal warmth. Although the show's thin book may seem to have the heft and depth of an episode of The Jeffersons set to music, with many at times similar feel-good family characters and moments, there’s a darker and political undertone here. New York in the 1970’s was a very different and dangerous place than its present Disney, gentrified version, large sections of the city neglected and ignored by its government, as were its minorities. A different show might have dealt with those issues head-on, but here that history is simply the factual backdrop that drives the plot, showcasing instead the sort of music that for some made living through that period bearable, possible, and often fun. With the Fania label turning out the records of Eddie Palmieri, Johnny Pacheco, Tito Puente, Celia Cruz, Ruben Blades, Larry Harlow and the rest of the Fania All-Stars, a danceable history began that’s still relevant, still infectious and still great fun. The Mambo might have been Cuba, but Salsa was definitely New York. Veteran salsa singer Tito Nieves does well in his theatrical debut as the family patriarch, a solid presence whose strong voice fills and engages the house, and Angel López has several increasingly endearing and complicated vocal turns, but it's the women that steal and shine here. Comedian Rosemary Almonte, is the quintessential Tita, whose very funny singing and dancing is a highpoint; the striking Caridad de la Luz is the political older sister whose remarkable acting and alto voice could lead any movement; understudy Sofia Klimovsky as the younger sister Paula embodied the gawky energy and joy of a 16 year old segueing into young womanhood; and the lovely Chachi Del Valle amazes as the sultry sexy girlfriend; the typically nosy aged aunt; and a hilarious, over-the-top but credible interpretation of the singer La Lupe, performed with a voice and incredible energy that needs to be seen. I Like It Like That isn't a deep theatrical event, by any means, but it's a very fun evening that transcends language and would make even the stiffest among us want to dance; catch it while you can.  See it if you're a veteran or know someone who is, in this evening of often raw argument dealing with family, health & political disillusionment. Don't See it if You expect a fleshed out play rather than a series of positions however well performed, in this therapeutic discourse on family, vets and duty. More a set of positioned arguments than a tightly centered drama, this well intentioned platform isn't for everyone, but will be cathartic to some, addressing long neglected issues important to veterans and families. At times raw & graphic, Shades deals with the distance, secrets & destructive silence that can fill the void when trauma overtakes communication, understanding & sometimes even love among families and individuals. However therapeutically effective, argument isn’t dramatic conflict and so the play is unfocused, stretched thin by its ambition. It becomes a list of issues: the governmental lies of WW II, Viet Nam & agent orange, Japanese internment camps, the poor medical care of the VA, issues of women in the military, the loneliness of the disabled, sex and the limits of friendship and compassion, the ethics of suicide — all against the pull of duty and honor. The actors are well cast and very committed, Holly Walker’s disabled June the quiet strength, anchor & humor of the night.  See it if you liked Lord of the Flies or post-apocalyptic philosophical plays in a modern setting, well cast and performed in an imposing room. Don't see it if you don't like mildly interactive theatre, or need plays to have clarity in plot and premise, however well-intentioned, directed or acted. Orphans & Outsiders is a curious thing; it's well cast and with young, mostly solid actors, some still gaining experience, but all of which have found their characters; the set is well-designed & lit; it's well directed; the choreography is fine, with well-composed occasional music, and even the graphic design (uncredited) of the artwork is effective. All of this, however, supports a script which is essentially a treatise on Otherness; certainly pertinent to this moment, but sounding as if rushed & not completely thought out. Aside from references to the Decaying and the Crisis, we're never quite sure of when or where we are (the given date is way too soon), what apocalyptic event got us here, or what sort of Morlocks and Eloi we're dealing with in this Lord of the Flies world. Later inconsistencies aside–electricity? — the writing in the earliest part is simply tedious: the arguments circular, repeated by too many characters. There may be a play here, but it's not there yet.  See it if you've never seen a live version and/or enjoy community theatre, offbeat theatre locales or have never been inside St Bart's Church. Don't see it if you're expecting a full-blown production, have trouble hearing or don't like echoing church acoustics or concert vesrsions of shows In all fairness, any review of a first preview or final dress is tricky, especially when tech problems kick in, as they did at this performance: face mics not working, percussion miscues. Add in the echo effect inside this gorgeous church and the acoustics were uneven at best. The St Bart's Players are the longest-running community theatre in New York; now in their 89th season, its members a talented, serious and committed group of amateurs – that, in the best sense of the word, as ones that love the craft. That said, the singing in this Company is uneven, sometimes even timid; they should just attack it. The staging, in a difficult space, is inventive, the choreography making good use of it. Strongest was the Tick Tock number, the girl playing Kathy terrific (no program so no idea of cast). Also of note were this production's rapidly articulating Amy and striking Joanne. This Company may not be for everyone, but it's an honest attempt with some spirit of the original.  Entertaining, Funny, Great music & band, Quirky, Fun See it if you're Latino and/or love the Buena Vista Social Club-era of Latin music & performers; well-performed in a pretty silly narrative setup. Don't See it if you're expecting a straight concert or cabaret, don't like puppets or things bilingual; no Spanish ok, but you'll miss much humor & flavor In front of a bandstand set that could well be Ricky Ricardo’s Tropicana, a caped, over-the-top Archangel (the very funny Manuel Morán) meets, greets & interacts with the new “arrivals” that have been shepherded into the comfortable bleacher seats in front of him, after bell chimes & "now boarding" announcements have made it clear that the present locale is a heavenly if glitzy limbo. La Gloria — or the Glory — refers not just to fame, but to the Divine, and it's soon explained that God, bored & often grumpy in His celestial eternity, is only soothed by music, specifically the boleros, rhumbas & mambos of Puerto Rico & Cuba, but most especially of the Sonora Matancera era. The souls (and strangely, puppets) of Myrta Silva & Daniel Santos by turns bicker, entertain & annoy the offstage Almighty, until Celia Cruz arrives from the ether to remind all that to sing is to be alive. The veteran singers Jeannie Sol, Mario Mattei and Lina Sarello are fine, but the good-looking dancers Daniel Fetecua and Milteri Tucker are sadly disappointing, the weakest link in this otherwise energetic tribute. Though La Gloria may have problems, it’s hard to knock much about the Teatro SEA (Society of Educational Arts), whose educational outreach in the Latino community and work with children and Latino children's Theatre is so vital and important, and should be supported, so go: good music, a great band, weird puppets, over-the-top costumes, a wine bar with Cuban tapas, audience dancing onstage after — and two fine art gallery exhibits; fun. |
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February 2019
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