Just wanted to say hi and check in with you all. Between being so busy at work and, now, the lull that always follows the openings of Christmas shows, there's not much to blog about. It will be a light month here at Jersey Stages, but I'm looking forward to 2008, which promises to be full of top actors and, of course, the excitement of a new Edward Albee play at Princeton.
Speaking of Albee, I'm sadly going to have to skip the media meet with him on Friday, but I thought I would share the press release, which is kind of amusing. It follows at the end of this posting.
This weekend, I'll be working on my annual end-of-the-year awards, which won't be published untl Dec. 30. But some of the awards may leak out before that. Keep reading, because this is where the leak drips.
For those of you who don't plan to spend your Christmas break reading blogs, let me throw out an advance Merry Christmas and Happy Holiday to you all.
And to all a good night.
Read on, Albee-philes:
McCarter Theatre will be hosting a MEDIA MORNING
with America's premier living playwright EDWARD ALBEE
on Friday, December 21 from 11:30 to Noon
Mr. Albee is in Princeton for rehearsals of his newest play Me, Myself & I, which will have its world premiere from January 11 through February 17. Directed by McCarter Artistic Director Emily Mann, the production features Tyne Daly, Brian Murray, Colin Donnell, Michael Esper, Charlotte Parry and Stephen Payne.
This new play, commissioned by McCarter Theatre Center and Princeton University, is part of "The Albee Season," celebrating Mr. Albee's 80th birthday, and includes Peter and Jerry at Second Stage; The Sandbox and The American Dream at Cherry Lane Theatre and Occupant at Signature Theatre.
If you are interested in speaking with Ms. Mann or any cast members prior to 11:30 please let me know and I will do my best to arrange.
For background, please read Emily Mann's interview with Mr. Albee, which can be found at the McCarter blog http://www.mccarter.org/ under
Me, Myself & I. It's in four parts.
About the play
When identical twin brothers are both named Otto, how’s a mother (Tyne Daly) supposed to keep them straight? Master playwright Edward Albee is in top form with this dark, funny and moving play that takes sibling rivalry to existential heights.
To arrange an interview with Ms. Mann or cast members, please contact me ASAP at (contacts deleted) Also, please let me know if you plan to join Mr. Albee at 11:30 so that I can plan accordingly.
Thanks, Dan
Please note, Mr. Albee will not talk about what the play is about. Below, is a letter that will appear in the playbill for Me, Myself & I:
A Letter To An Audience I tend to become uncooperative—and occasionally downright hostile—when people ask me what my plays “are about”, especially the new ones, about which I’ve usually not assembled a provocative yet vague enough short paragraph to avoid answering the question, yet seeming to. What is Me, Myself & I about? Oh, about 2 hours, including intermission. Will that do? No; I guess not, though I do like it as an answer, for any play that can be explained (or properly described) in the desired sentence or two should be no longer than its description. A play is, after all, about everything that happens to the characters from the beginning of the play to the end and (unless the author has killed them all off by curtain) the characters’ lives before the play begins and after it ends. This means, as I see it, that a play is fully described (or explained) by the experience of seeing it. My plays are infrequently opaque, only occasionally complicated (though now and again complex) and can be enjoyed to their full, unless you bring to the theatre with you the baggage of predetermination—“a play must go like this!” So....pretend you’re at the first play you’ve ever seen—have that experience—and I think “what the play is about” will reveal itself quite readily. And, if you care to, let me know what you’ve experienced. Best wishes, Edward Albee
Thursday, December 20, 2007
Monday, December 10, 2007
Review Preview: Doubt
So me and the missus took the Porsche to New Brunswick Saturday night to see "Doubt" at George Street Playhouse, and, wouldn't you know it, the valet parking was full and closed.
Don't you hate when that happens?
True story, but allow me to clarify: I've got a Porsche Cayenne on loan for a week to do a story on this four-wheeled, 400-horsepower high-roller suite.
No, I cannot afford a Porsche on a blogger's salary.
Anyway, here's a review of "Doubt" from a 10-year altar boy who, for the record, was never abused on or off the job. The only thing I worry about is the long-term effects of beathing in all that incense.
Theater review
If you want to go:
What: “Doubt”
When: through Dec. 23
Where: George Street Playhouse, 9 Livingston Ave., New Brunswick
How much: $28 to $64
Info: (732) 246-7717; www.gsponline.org
By WILLIAM WESTHOVEN
Staff Writer
Having conquered Broadway, the most celebrated new play of the millennium is now on the regional theater circuit. Having made its way to New Brunswick, there’s no doubt that “Doubt” is having a similar impact in New Jersey.
John Patrick Shanley’s powerhouse drama touts the aura of an Ali-Frazier fight at the Garden. In a single 90-minute act, some clever wordplay precedes a few rounds of bobbing and weaving before two heavyweights trade life-changing blows.
But instead of athletes in boxer shorts, Shanley matches soldiers of the cloth. In this corner, Sister Aloysius (Ann Dowd) is a no-nonsense principal of a Catholic School in the Bronx. In the other corner, charming Father Flynn (Dylan Chalfy), who may be engaging in some inappropriate nonsense with an adolescent male student.
In any era, the pairing puts Aloysius at a disadvantage, but particularly so in 1964, when the diocesan order would all but forbid even a principal nun to reprimand a priest.
“There’s no man I can go to, and the men run everything,” Aloysius tells her reluctant confidant, the brittle Sister James (Meghan Andrews). But full of righteous indignation, Aloysius mounts a crusade to force a confession out of the charismatic priest, who denies it all.
The sensitive subject matter adds a keen focus to the drama, but is secondary to the psychological conflict. The play’s opening lines, spoken by Flynn while preaching a sermon to the audience, put the author’s goal out front.
“What do you do when you’re not sure?” he asks. “Doubt can be a bond as powerful as certainty. When you have doubt, you are not alone.”
Aloysuis, though, has no doubts, despite her lack of evidence or witnesses. All she needed to see was one child pull his hand back when brushed by Flynn’s, and she knew what was going on.
“How can you be so sure?” James asks. “Experience,” Alyosius says, confident enough to lie and break vows to protect the children in her charge.
The quietly powerful conclusion measures justice for all, but some suffer more for their crimes than others. If you leave with doubt that everyone got what they deserved, you, too, will not be alone.
“Doubt” certainly won’t be mistaken for the feel-good holiday show of the season, but for people who crave a challenging night of theater regardless of the calendar, this production stands in a crowd of stocking-stuffer competition. Shanley, whose resume includes the screenplays for both the wonderful “Moonstruck” and the painfully bad “Joe vs. the Volcano,” has crafted a taught thriller that’s part mystery and part morality tale, a sledgehammer of conflict tempered with a delicate complement of humor and nostalgia.
Baby boomer graduates of Catholic school will laugh—and possibly wince—at early scenes in which Aloysius instructs James to curb her enthusiasm and deliver her lessons with a cold discipline. Dowd is an intimidating force of nature, dispensing her precise direction with syncopated diction. Still, you can’t help but laugh when she rails about the pagan heresy of “Frosty the Snowman,” or how ball-point pens lead to lazy children who “write like monkeys.”
Andrews is easy to identify and sympathize with, as she smoothly evolves from an eager novitiate to a conflicted educator who can’t understand how doing the right thing may require her to distance herself from God.
Chalfy also is convincing as the handsome priest whose charm works on everyone except Aloysius, while Rosalyn Coleman is slightly chilling in her single scene, as the mother of an abused child who is willing to look the other way as long as the boy graduates.
Director Anders Cato makes good use of the theater’s rotating stage. There’s only two sets—the principal’s Spartan office (set designer Hugh Landwehr nails the time and place, right down to the multicolored cinder blocks) and a weathered courtyard—but we experience the courtyard from different angles as different sides of the story are explored.
Now an essential part of the American theater landscape, there surely will be many future opportunities to see a production of this Pulitzer and Tony-winning treasure. But with the Broadway-level standard of this “Doubt,” there’s no reason to wait until next time.
Don't you hate when that happens?
True story, but allow me to clarify: I've got a Porsche Cayenne on loan for a week to do a story on this four-wheeled, 400-horsepower high-roller suite.
No, I cannot afford a Porsche on a blogger's salary.
Anyway, here's a review of "Doubt" from a 10-year altar boy who, for the record, was never abused on or off the job. The only thing I worry about is the long-term effects of beathing in all that incense.
Theater review
If you want to go:
What: “Doubt”
When: through Dec. 23
Where: George Street Playhouse, 9 Livingston Ave., New Brunswick
How much: $28 to $64
Info: (732) 246-7717; www.gsponline.org
By WILLIAM WESTHOVEN
Staff Writer
Having conquered Broadway, the most celebrated new play of the millennium is now on the regional theater circuit. Having made its way to New Brunswick, there’s no doubt that “Doubt” is having a similar impact in New Jersey.
John Patrick Shanley’s powerhouse drama touts the aura of an Ali-Frazier fight at the Garden. In a single 90-minute act, some clever wordplay precedes a few rounds of bobbing and weaving before two heavyweights trade life-changing blows.
But instead of athletes in boxer shorts, Shanley matches soldiers of the cloth. In this corner, Sister Aloysius (Ann Dowd) is a no-nonsense principal of a Catholic School in the Bronx. In the other corner, charming Father Flynn (Dylan Chalfy), who may be engaging in some inappropriate nonsense with an adolescent male student.
In any era, the pairing puts Aloysius at a disadvantage, but particularly so in 1964, when the diocesan order would all but forbid even a principal nun to reprimand a priest.
“There’s no man I can go to, and the men run everything,” Aloysius tells her reluctant confidant, the brittle Sister James (Meghan Andrews). But full of righteous indignation, Aloysius mounts a crusade to force a confession out of the charismatic priest, who denies it all.
The sensitive subject matter adds a keen focus to the drama, but is secondary to the psychological conflict. The play’s opening lines, spoken by Flynn while preaching a sermon to the audience, put the author’s goal out front.
“What do you do when you’re not sure?” he asks. “Doubt can be a bond as powerful as certainty. When you have doubt, you are not alone.”
Aloysuis, though, has no doubts, despite her lack of evidence or witnesses. All she needed to see was one child pull his hand back when brushed by Flynn’s, and she knew what was going on.
“How can you be so sure?” James asks. “Experience,” Alyosius says, confident enough to lie and break vows to protect the children in her charge.
The quietly powerful conclusion measures justice for all, but some suffer more for their crimes than others. If you leave with doubt that everyone got what they deserved, you, too, will not be alone.
“Doubt” certainly won’t be mistaken for the feel-good holiday show of the season, but for people who crave a challenging night of theater regardless of the calendar, this production stands in a crowd of stocking-stuffer competition. Shanley, whose resume includes the screenplays for both the wonderful “Moonstruck” and the painfully bad “Joe vs. the Volcano,” has crafted a taught thriller that’s part mystery and part morality tale, a sledgehammer of conflict tempered with a delicate complement of humor and nostalgia.
Baby boomer graduates of Catholic school will laugh—and possibly wince—at early scenes in which Aloysius instructs James to curb her enthusiasm and deliver her lessons with a cold discipline. Dowd is an intimidating force of nature, dispensing her precise direction with syncopated diction. Still, you can’t help but laugh when she rails about the pagan heresy of “Frosty the Snowman,” or how ball-point pens lead to lazy children who “write like monkeys.”
Andrews is easy to identify and sympathize with, as she smoothly evolves from an eager novitiate to a conflicted educator who can’t understand how doing the right thing may require her to distance herself from God.
Chalfy also is convincing as the handsome priest whose charm works on everyone except Aloysius, while Rosalyn Coleman is slightly chilling in her single scene, as the mother of an abused child who is willing to look the other way as long as the boy graduates.
Director Anders Cato makes good use of the theater’s rotating stage. There’s only two sets—the principal’s Spartan office (set designer Hugh Landwehr nails the time and place, right down to the multicolored cinder blocks) and a weathered courtyard—but we experience the courtyard from different angles as different sides of the story are explored.
Now an essential part of the American theater landscape, there surely will be many future opportunities to see a production of this Pulitzer and Tony-winning treasure. But with the Broadway-level standard of this “Doubt,” there’s no reason to wait until next time.
Monday, December 3, 2007
'That Girl' coming to George St. Playhouse
Wow, Elaine May and Marlo Thomas. Two good gets for George Street Playhouse. Marlo's a first crush for many of us who came of age in the 1960s, although that sort of thing really didn't kick in for me until Marcia Brady. Marlo continues to rival Kathleen Turner for sexiest voice in the business.
Short on time, so I'll let the press release, copied below, fll you in.
Two Great Ladies of Comedy – Elaine May and Marlo Thomas
Come to George Street Playhouse This Spring
The World Premiere of Roger is Dead, Written and to be Directed by
Two-Time Academy Award Nominee Elaine May,
Starring Ms. Thomas, at George Street Playhouse April 8 – May 11
New Brunswick, NJ – George Street Playhouse announced today the final play of its current season: Roger is Dead, written and directed by two-time Academy Award nominee Elaine May. Heading the cast will be another great lady of comedy – Marlo Thomas, of That Girl and Free to Be…You and Me fame. Roger is Dead will make it’s world premiere in New Brunswick beginning April 8 and run through May 11, with opening night set for Friday, April 11.
“It is only fitting that, as we began the season with two great men of comedy – Jack Klugman and Paul Dooley – that we end the season with two great ladies of comedy: the brilliantly talented writer/director and comedienne Elaine May and That Girl Marlo Thomas,” said George Street Playhouse Artistic Director David Saint. “I have long been a fan of Elaine May, beginning with her hilarious partnership with Mike Nichols. In addition, I had the huge honor of directing her and Gene Saks — actors — years ago at Williamstown Theatre Festival. Marlo Thomas in addition to being an amazing actress, is an amazing human being, and I am so pleased she will be coming to George Street. I am thrilled to welcome Ms. May and Ms. Thomas to the George Street family.”
Individual tickets, priced $28-$64, as well as two- and three-play and flexible admission packages are available through the George Street Playhouse Box Office 732-246-7717. In addition, groups of ten or more are eligible for discounted admission – call the GSP Group Sales office at 732-846-2895, ext. 134 or email mbergamo@georgestplayhouse.org for further information. George Street Playhouse is located at 9 Livingston Avenue in the heart of New Brunswick’s dining and entertainment district, within walking distance of numerous dining establishments ranging from fast food to fine dining. It is located three blocks from the New Brunswick train station and is easily reachable by car, bus or train. For directions, parking tips and dining suggestions, visit the Playhouse website: www.GSPonline.org.
In Roger is Dead Marlo Thomas stars as Doreen, a vapid Manhattan socialite who has just lost her husband. She has no one to turn to except Carla, the daughter of Doreen’s favorite nanny. It’s not that Doreen and Carla are friends – it’s just that Doreen doesn’t have any real friends, so she turns to the most real person she knows. Politics, death, love and classes collide in this boisterous comedy from the pen of this two-time Academy Award nominee.
Like her early improvisational comedy sketches, Elaine May’s career continues to take fresh twists and adventurous turns. A comedian, actor, writer and director for both stage and screen, May got her start as an undergraduate at the University of Chicago. While there, she became a member of the improvisational theatre group The Compass Players, founded by Paul Sills and David Shepherd, which later became The Second City. During her membership, she met Mike Nichols, who was then starring in one of Sills’ plays, and began a successful partnership with him. From performances in college and cabaret clubs, Nichols and May went on to become one of the most successful comedy duos of the day, appearing on all the major TV entertainment shows and on Broadway for a year-long sold-out engagement. After splitting with Nichols in the early 60’s, she put her multiple acting, writing and directing talents to use. Among her early memorable projects was a one-act play, Adaptation (Drama Desk Award), which she wrote and directed in an off-Broadway double-bill with Terrence McNally’s Next. In addition, she wrote and performed for radio and recorded several comedy albums. She formed and directed an improvisational company called The Third Ear in New York that included Reni Santori, Peter Boyle, Renee Taylor and Louise Lasser. She also wrote several plays during this period – in addition to Adaptation, other stage plays she has written include Not Enough Rope, Mr. Gogol and Mr. Preen, Hot Line, After the Night and the Music, Power Plays, Taller Than a Dwarf and Adult Entertainment.
Ms. May was one of the first women to pioneer an inroad into Hollywood’s bastion of male directors. Her first credited film was A New Leaf, co-starring Walter Matthau – and Elaine May. A year later, she directed The Heartbreak Kid wich she co-wrote with Neil Simon. In 1978 she teamed with star Warren Beatty to write Heaven Can Wait, a remake of the 1941 film Here Comes Mr. Jordon, which earned May her first Academy Award nomination. In uncredited rewrites, she left her distinctive mark on Reds and Tootsie. For such work, she has earned a reputation as one of the legendary script doctors in the business. Ms. May reunited with her former comic partner Mike Nichols with The Birdcage, which was a retelling of the classic French farce La Cage aux Folles. She received her second Academy Award nomination when she again worked with Nichols on Primary Colors. Other recent films include Down to Earth and Small Time Crooks.
Marlo Thomas the daughter of the late Danny Thomas, first achieved fame on the television series That Girl in the 1960’s. She grew up in Beverly Hills, attending Marymount High School and the University of Southern California (earning a teaching degree). After finishing college, she appeared as a regular on The Joey Bishop Show. She followed that with guest shots on Ben Casey, My Favorite Martian and Bonanza, but it was not until 1966 that she hit her stride as aspiring actress Ann Marie on the ABC sitcom That Girl. The series ran until 1971, garnering her a Golden Globe Award and four Emmy nominations. Equally adept at drama, she proved herself in the television movies It Happened One Christmas (a remake of It’s a Wonderful Life, with Ms. Thomas in the Jimmy Stewart role), Nobody’s Child and The Lost Honor of Kathryn Beck, while she starred in Jenny and Thieves on the big screen. In recent years, she has appeared in guest shots on Ally McBeal, Friends (as Rachel’s mother), and made several guest appearances on Law & Order: Special Victims Unit, playing attorney and former judge Mary Conway Clark. She also appeared in the 2000 comedy Playing Mona Lisa with Alicia Witt and Harvey Fierstein.
Ms. Thomas is also known for her children’s books and the recordings and television specials created in conjunction with them: Free to Be…You and Me and Free to Be…A Family, which were born out an attempt to teach her then-young niece Dionne about life. All proceeds from her 2004 book Thanks & Giving: All Year Long, as well as The Right Words at the Right Time and The Right Words at the Right Time Volume 2 (both books are collections of essays written by celebrities and fans, explaining when a friend, family member or perfect stranger said the right thing in the author’s time of need), are donated to her charity, the St. Jude Children’s Research Hospital in Memphis, Tennessee. Started by her late father, the organization helps young children suffering from disease, especially cancer and leukemia.
Under the leadership of Artistic Director David Saint, George Street Playhouse has become a nationally recognized theatre, presenting an acclaimed mainstage season while providing an artistic home for established and emerging theatre artists. Managing Director Todd Schmidt was appointed in October 2007. Founded in 1974, the Playhouse has been well represented by numerous productions both on and off-Broadway – recent productions include Anne Meara’s Down the Garden Paths, the Outer Critics Circle, Drama Desk and Drama League nominated production of The Spitfire Grill and the recent Broadway hit and Tony® and Pulitzer Prize winning play Proof by David Auburn, which was developed at GSP during the 1999 Next Stage Series of new plays. In addition to its mainstage season, GSP’s Touring Theatre features five issue-oriented productions that tours to more than 250 schools in the tri-state area, and are seen by more than 75,000 students annually.
George Street Playhouse programming is made possible in part by funds from the New Jersey State Council on the Arts/Department of State, a partner agency of the National Endowment for the Arts, and by funds from the National Endowment for the Arts. George Street Playhouse gratefully acknowledges the Media Sponsorship of the 2007-2008 Season by our Community Arts Partner, New York Public Radio WNYC 93.9 FM/ 820 AM and Greater Media Newspapers.
# # # #
Roger is Dead
Written and directed by Elaine May
Starring Marlo Thomas
April 8 – May 11
George Street Playhouse
9 Livingston Avenue • New Brunswick, NJ
Box Office 732-246-7717 • www.GSPonline.org
Short on time, so I'll let the press release, copied below, fll you in.
Two Great Ladies of Comedy – Elaine May and Marlo Thomas
Come to George Street Playhouse This Spring
The World Premiere of Roger is Dead, Written and to be Directed by
Two-Time Academy Award Nominee Elaine May,
Starring Ms. Thomas, at George Street Playhouse April 8 – May 11
New Brunswick, NJ – George Street Playhouse announced today the final play of its current season: Roger is Dead, written and directed by two-time Academy Award nominee Elaine May. Heading the cast will be another great lady of comedy – Marlo Thomas, of That Girl and Free to Be…You and Me fame. Roger is Dead will make it’s world premiere in New Brunswick beginning April 8 and run through May 11, with opening night set for Friday, April 11.
“It is only fitting that, as we began the season with two great men of comedy – Jack Klugman and Paul Dooley – that we end the season with two great ladies of comedy: the brilliantly talented writer/director and comedienne Elaine May and That Girl Marlo Thomas,” said George Street Playhouse Artistic Director David Saint. “I have long been a fan of Elaine May, beginning with her hilarious partnership with Mike Nichols. In addition, I had the huge honor of directing her and Gene Saks — actors — years ago at Williamstown Theatre Festival. Marlo Thomas in addition to being an amazing actress, is an amazing human being, and I am so pleased she will be coming to George Street. I am thrilled to welcome Ms. May and Ms. Thomas to the George Street family.”
Individual tickets, priced $28-$64, as well as two- and three-play and flexible admission packages are available through the George Street Playhouse Box Office 732-246-7717. In addition, groups of ten or more are eligible for discounted admission – call the GSP Group Sales office at 732-846-2895, ext. 134 or email mbergamo@georgestplayhouse.org for further information. George Street Playhouse is located at 9 Livingston Avenue in the heart of New Brunswick’s dining and entertainment district, within walking distance of numerous dining establishments ranging from fast food to fine dining. It is located three blocks from the New Brunswick train station and is easily reachable by car, bus or train. For directions, parking tips and dining suggestions, visit the Playhouse website: www.GSPonline.org.
In Roger is Dead Marlo Thomas stars as Doreen, a vapid Manhattan socialite who has just lost her husband. She has no one to turn to except Carla, the daughter of Doreen’s favorite nanny. It’s not that Doreen and Carla are friends – it’s just that Doreen doesn’t have any real friends, so she turns to the most real person she knows. Politics, death, love and classes collide in this boisterous comedy from the pen of this two-time Academy Award nominee.
Like her early improvisational comedy sketches, Elaine May’s career continues to take fresh twists and adventurous turns. A comedian, actor, writer and director for both stage and screen, May got her start as an undergraduate at the University of Chicago. While there, she became a member of the improvisational theatre group The Compass Players, founded by Paul Sills and David Shepherd, which later became The Second City. During her membership, she met Mike Nichols, who was then starring in one of Sills’ plays, and began a successful partnership with him. From performances in college and cabaret clubs, Nichols and May went on to become one of the most successful comedy duos of the day, appearing on all the major TV entertainment shows and on Broadway for a year-long sold-out engagement. After splitting with Nichols in the early 60’s, she put her multiple acting, writing and directing talents to use. Among her early memorable projects was a one-act play, Adaptation (Drama Desk Award), which she wrote and directed in an off-Broadway double-bill with Terrence McNally’s Next. In addition, she wrote and performed for radio and recorded several comedy albums. She formed and directed an improvisational company called The Third Ear in New York that included Reni Santori, Peter Boyle, Renee Taylor and Louise Lasser. She also wrote several plays during this period – in addition to Adaptation, other stage plays she has written include Not Enough Rope, Mr. Gogol and Mr. Preen, Hot Line, After the Night and the Music, Power Plays, Taller Than a Dwarf and Adult Entertainment.
Ms. May was one of the first women to pioneer an inroad into Hollywood’s bastion of male directors. Her first credited film was A New Leaf, co-starring Walter Matthau – and Elaine May. A year later, she directed The Heartbreak Kid wich she co-wrote with Neil Simon. In 1978 she teamed with star Warren Beatty to write Heaven Can Wait, a remake of the 1941 film Here Comes Mr. Jordon, which earned May her first Academy Award nomination. In uncredited rewrites, she left her distinctive mark on Reds and Tootsie. For such work, she has earned a reputation as one of the legendary script doctors in the business. Ms. May reunited with her former comic partner Mike Nichols with The Birdcage, which was a retelling of the classic French farce La Cage aux Folles. She received her second Academy Award nomination when she again worked with Nichols on Primary Colors. Other recent films include Down to Earth and Small Time Crooks.
Marlo Thomas the daughter of the late Danny Thomas, first achieved fame on the television series That Girl in the 1960’s. She grew up in Beverly Hills, attending Marymount High School and the University of Southern California (earning a teaching degree). After finishing college, she appeared as a regular on The Joey Bishop Show. She followed that with guest shots on Ben Casey, My Favorite Martian and Bonanza, but it was not until 1966 that she hit her stride as aspiring actress Ann Marie on the ABC sitcom That Girl. The series ran until 1971, garnering her a Golden Globe Award and four Emmy nominations. Equally adept at drama, she proved herself in the television movies It Happened One Christmas (a remake of It’s a Wonderful Life, with Ms. Thomas in the Jimmy Stewart role), Nobody’s Child and The Lost Honor of Kathryn Beck, while she starred in Jenny and Thieves on the big screen. In recent years, she has appeared in guest shots on Ally McBeal, Friends (as Rachel’s mother), and made several guest appearances on Law & Order: Special Victims Unit, playing attorney and former judge Mary Conway Clark. She also appeared in the 2000 comedy Playing Mona Lisa with Alicia Witt and Harvey Fierstein.
Ms. Thomas is also known for her children’s books and the recordings and television specials created in conjunction with them: Free to Be…You and Me and Free to Be…A Family, which were born out an attempt to teach her then-young niece Dionne about life. All proceeds from her 2004 book Thanks & Giving: All Year Long, as well as The Right Words at the Right Time and The Right Words at the Right Time Volume 2 (both books are collections of essays written by celebrities and fans, explaining when a friend, family member or perfect stranger said the right thing in the author’s time of need), are donated to her charity, the St. Jude Children’s Research Hospital in Memphis, Tennessee. Started by her late father, the organization helps young children suffering from disease, especially cancer and leukemia.
Under the leadership of Artistic Director David Saint, George Street Playhouse has become a nationally recognized theatre, presenting an acclaimed mainstage season while providing an artistic home for established and emerging theatre artists. Managing Director Todd Schmidt was appointed in October 2007. Founded in 1974, the Playhouse has been well represented by numerous productions both on and off-Broadway – recent productions include Anne Meara’s Down the Garden Paths, the Outer Critics Circle, Drama Desk and Drama League nominated production of The Spitfire Grill and the recent Broadway hit and Tony® and Pulitzer Prize winning play Proof by David Auburn, which was developed at GSP during the 1999 Next Stage Series of new plays. In addition to its mainstage season, GSP’s Touring Theatre features five issue-oriented productions that tours to more than 250 schools in the tri-state area, and are seen by more than 75,000 students annually.
George Street Playhouse programming is made possible in part by funds from the New Jersey State Council on the Arts/Department of State, a partner agency of the National Endowment for the Arts, and by funds from the National Endowment for the Arts. George Street Playhouse gratefully acknowledges the Media Sponsorship of the 2007-2008 Season by our Community Arts Partner, New York Public Radio WNYC 93.9 FM/ 820 AM and Greater Media Newspapers.
# # # #
Roger is Dead
Written and directed by Elaine May
Starring Marlo Thomas
April 8 – May 11
George Street Playhouse
9 Livingston Avenue • New Brunswick, NJ
Box Office 732-246-7717 • www.GSPonline.org
Sunday, December 2, 2007
Review Preview: "A Christmas Carol"
Got my leaves raked up just before the snow, saw a great show last night and got my review done before noon.
Life is good, and now I get to watch football all afternoon.
I hope that doesn't make anyone think less of me.
Here's the draft. Abstract: very good, very different without messing too much with a good thing. And I LOVED the lighting design. Keep your eyes open for that.
If you want to go:
What: “A Christmas Carol”
When: through Dec. 31
Where: Shakespeare Theatre of New Jersey, F.M. Kirby Shakespeare Theatre, 36 Madison Ave. (Route 124), Drew University, Madison
How much: $28-$52
Info: (973) 408-5600; www.shakespearenj.org
By WILLIAM WESTHOVEN
Staff Writer
The volume and variety of holiday shows in New Jersey are at record highs in 2007. But nowhere will you find a richer blend of traditional warmth and contemporary style than the imaginative impression of “A Christmas Carol” at the Shakespeare Theatre of New Jersey.
Artistic director Bonnie J. Monte’s sprightly handling of British playwright Neil Bartlett’s fresh adaptation somehow manages to be respectful to Dickens’ iconic Victorian prose while whisking the audience off on a trippy, Technicolor journey. The adapter and the director remain grounded thoughout the evening with inspiration from the author’s playful spirit.
The words you’ll hear are all Dickens, but many are singled out for their onomatopoeic value—“tick, tick, tick” is chanted small groups of actors imitating a clock; “scratch, scratch” is chanted by Bob Cratchit and the other clerks working on their ledgers. When the two chants are combined—“scratch scratch, tick, tick”—it’s understood that the clerks are counting the minutes until Christmas.
We also hear “scrunch, scrunch” as the nine-member ensemble, which plays more than 50 characters in Bartlett’s unusual staging, trudges through a fresh-fallen snow. When not playing specific characters, the ensemble frequently convenes for a capella songs sung with striking grace and harmony. They also harmonize as dramatic clock bells chiming the hours of arrival for the ghosts we all know are coming.
Only one actor stays in single character. Sherman Howard, one of the company’s most respected and popular leading men, is a magnificently spiteful Scrooge. Younger than many actors who play the original Grinch, Howard’s bitter-lemon scowl makes his character seem not quite elderly so much as old before his time. When he shoos the businessmen soliciting a seasonal donation for the poor, he does so with the malevolent energy of a man who thrives on misogyny.
Howard’s initial strength makes the terror of the humbling hauntings, and his joyous transformation, that much more profound. It’s a powerful performance, which he accomplishes without the scene-chewing that many Scrooges can’t help but succumb to.
The ensemble complements Howard’s focus with impressive versatility. You can start with praise of the delicate harmonies that alone are worth the price of admission (save some praise for music director Rick Knutsen). From there, you can single out the talents of the five men and three women. Ames Adamson contributes an array of colorful accents and is a dashing Ghost of Christmas Past. Greg Jackson, whose has had a busy year on this stage, dials down his comic edge to give us the sensitive Bob Cratchit and jolly Fezziwig we’ve come to love. Erin Partin puts a lot of body language into both male and female roles, while Steve Wilson is dashing in gentlemanly parts, including Freddy and a younger Ebenezer. Wilson is unrecognizable and considerably taller playing the Ghost of Christmas Yet to Come, while David Andew MacDonald, who played Marc Antony here in “Julius Caesar,” is the Ghost of Christmas Present.
Tina Stafford handles the matronly roles, while Betsy Jilka sings sweetly as Martha. Young Seamus Mulchahy, a veteran of roles both here and at Paper Mill Playhouse, is a tall but earnest Tiny Tim. He’s also convincingly disabled: His braced leg never once touches the ground.
Equally valuable is the imaginative ensemble of technical contributors. James Wolk’s set of doors, windows and storefronts slide into position as set changes are orchestrated with seamless and silent precision. All the props are handled, frequently with humor, by the cast, which rips through a warehouse of authentic Victorian wardrobe from costume designer Karen Ledger.
Sound designer Richard M. Dionne ups the haunting quotient with chilling echoes and rattling chains. But top honors among the backstage artists goes to lighting designer Matthew E. Adelson, who might have taken some inspiration from the last Pink Floyd tour and gives this “Christmas Carol” an eerie visual edge that few of the many preceding can claim.
That’s quite a lot of people doing quite a lot of admirable work. Enjoy it while you can, because the show ends Dec. 31 and this marvelous company, which continues to be the crown jewel of performance art in Morris County, darkens its main stage until spring.
Life is good, and now I get to watch football all afternoon.
I hope that doesn't make anyone think less of me.
Here's the draft. Abstract: very good, very different without messing too much with a good thing. And I LOVED the lighting design. Keep your eyes open for that.
If you want to go:
What: “A Christmas Carol”
When: through Dec. 31
Where: Shakespeare Theatre of New Jersey, F.M. Kirby Shakespeare Theatre, 36 Madison Ave. (Route 124), Drew University, Madison
How much: $28-$52
Info: (973) 408-5600; www.shakespearenj.org
By WILLIAM WESTHOVEN
Staff Writer
The volume and variety of holiday shows in New Jersey are at record highs in 2007. But nowhere will you find a richer blend of traditional warmth and contemporary style than the imaginative impression of “A Christmas Carol” at the Shakespeare Theatre of New Jersey.
Artistic director Bonnie J. Monte’s sprightly handling of British playwright Neil Bartlett’s fresh adaptation somehow manages to be respectful to Dickens’ iconic Victorian prose while whisking the audience off on a trippy, Technicolor journey. The adapter and the director remain grounded thoughout the evening with inspiration from the author’s playful spirit.
The words you’ll hear are all Dickens, but many are singled out for their onomatopoeic value—“tick, tick, tick” is chanted small groups of actors imitating a clock; “scratch, scratch” is chanted by Bob Cratchit and the other clerks working on their ledgers. When the two chants are combined—“scratch scratch, tick, tick”—it’s understood that the clerks are counting the minutes until Christmas.
We also hear “scrunch, scrunch” as the nine-member ensemble, which plays more than 50 characters in Bartlett’s unusual staging, trudges through a fresh-fallen snow. When not playing specific characters, the ensemble frequently convenes for a capella songs sung with striking grace and harmony. They also harmonize as dramatic clock bells chiming the hours of arrival for the ghosts we all know are coming.
Only one actor stays in single character. Sherman Howard, one of the company’s most respected and popular leading men, is a magnificently spiteful Scrooge. Younger than many actors who play the original Grinch, Howard’s bitter-lemon scowl makes his character seem not quite elderly so much as old before his time. When he shoos the businessmen soliciting a seasonal donation for the poor, he does so with the malevolent energy of a man who thrives on misogyny.
Howard’s initial strength makes the terror of the humbling hauntings, and his joyous transformation, that much more profound. It’s a powerful performance, which he accomplishes without the scene-chewing that many Scrooges can’t help but succumb to.
The ensemble complements Howard’s focus with impressive versatility. You can start with praise of the delicate harmonies that alone are worth the price of admission (save some praise for music director Rick Knutsen). From there, you can single out the talents of the five men and three women. Ames Adamson contributes an array of colorful accents and is a dashing Ghost of Christmas Past. Greg Jackson, whose has had a busy year on this stage, dials down his comic edge to give us the sensitive Bob Cratchit and jolly Fezziwig we’ve come to love. Erin Partin puts a lot of body language into both male and female roles, while Steve Wilson is dashing in gentlemanly parts, including Freddy and a younger Ebenezer. Wilson is unrecognizable and considerably taller playing the Ghost of Christmas Yet to Come, while David Andew MacDonald, who played Marc Antony here in “Julius Caesar,” is the Ghost of Christmas Present.
Tina Stafford handles the matronly roles, while Betsy Jilka sings sweetly as Martha. Young Seamus Mulchahy, a veteran of roles both here and at Paper Mill Playhouse, is a tall but earnest Tiny Tim. He’s also convincingly disabled: His braced leg never once touches the ground.
Equally valuable is the imaginative ensemble of technical contributors. James Wolk’s set of doors, windows and storefronts slide into position as set changes are orchestrated with seamless and silent precision. All the props are handled, frequently with humor, by the cast, which rips through a warehouse of authentic Victorian wardrobe from costume designer Karen Ledger.
Sound designer Richard M. Dionne ups the haunting quotient with chilling echoes and rattling chains. But top honors among the backstage artists goes to lighting designer Matthew E. Adelson, who might have taken some inspiration from the last Pink Floyd tour and gives this “Christmas Carol” an eerie visual edge that few of the many preceding can claim.
That’s quite a lot of people doing quite a lot of admirable work. Enjoy it while you can, because the show ends Dec. 31 and this marvelous company, which continues to be the crown jewel of performance art in Morris County, darkens its main stage until spring.
Thursday, November 29, 2007
Strike is over!
Normally we don't report much about New York theater, but the strike did have some impact on the Jersey Stage community.
Or did it?
Since Paper Mill seemed the most likely of NJ theaters to benefit, and were most in need of a break, out of curiosity last Saturday, I made some online ticket requests for "Meet Me in St. Louis." I was shocked to be offered 2 seats, front row center, for that night's performance! Continued inquiries offered good seats in most price ranges (I stuck mainly to better or best available, so for all I know the cheap seats are filled) to the Sunday matinee and evening shows the next day.
So it can be safely said that the strike was not enough to fill Paper Mill. I hope and expect they got some extra business, but certainly we're back to business as usual now, and watchful waiting, as they say in the medical business, to see what develops.
Or did it?
Since Paper Mill seemed the most likely of NJ theaters to benefit, and were most in need of a break, out of curiosity last Saturday, I made some online ticket requests for "Meet Me in St. Louis." I was shocked to be offered 2 seats, front row center, for that night's performance! Continued inquiries offered good seats in most price ranges (I stuck mainly to better or best available, so for all I know the cheap seats are filled) to the Sunday matinee and evening shows the next day.
So it can be safely said that the strike was not enough to fill Paper Mill. I hope and expect they got some extra business, but certainly we're back to business as usual now, and watchful waiting, as they say in the medical business, to see what develops.
New play reading in Parsippany
Dec. 2 at 3 p.m., the Women’s Theater Company will present a staged reading of a new work by Kathrynne Forsbrey of Flanders.
“Just When I Thought It Was Safe to Wear Mascara” is Forsbey’s deeply personal memoir of a mother who loses a child. It will be read by two veteran actresses, Judy Stone and Carol Caton. Stone is a member of Actors Equity who has played starring roles in the company’s productions of “Wit” and “Painting Churches.” Caton recently appeared at the Shakespeare Theatre of New Jersey in “The Time of Your Life.”
Forsbrey is producing manager of The Women’s Theater Company. Company founder Barbara Krajkowski directs.
Admission is free to the reading, which will take place at the Parsippany Community Center, 1130 Knoll Road, Lake Hiawatha. Reservations are suggested. For information, call (973) 316-3033.
“Just When I Thought It Was Safe to Wear Mascara” is Forsbey’s deeply personal memoir of a mother who loses a child. It will be read by two veteran actresses, Judy Stone and Carol Caton. Stone is a member of Actors Equity who has played starring roles in the company’s productions of “Wit” and “Painting Churches.” Caton recently appeared at the Shakespeare Theatre of New Jersey in “The Time of Your Life.”
Forsbrey is producing manager of The Women’s Theater Company. Company founder Barbara Krajkowski directs.
Admission is free to the reading, which will take place at the Parsippany Community Center, 1130 Knoll Road, Lake Hiawatha. Reservations are suggested. For information, call (973) 316-3033.
Holiday roundup
Trying to get into the Christmas spirit. Work keeps getting in the way, although some of that work is going to see holiday shows, so I won't complain (any more).
Of course, there's plenty of holiday shows to see. Here's a link to a nice North Jersey roundup of holiday shows Lorraine Ash did for the Daily Record.
http://www.dailyrecord.com/apps/pbcs.dll/article?AID=/20071123/ENT07/711230301/1082/ENT
Expanding on her geographic and deadline constraints, I'll point out a few more.
r The Theatre Project, the professional theater in residence at Union County College, will recreate the 1947 Lux Radio Theatre presentation of “It’s a Wonderful Life” Dec. 2 at 3 p.m.
This popular stage production features 12 actors and one musician, supported by an overworked, stressed-out sound-effects technician, in a unique and humorous take on the Frank Capra holiday classic. Liz Zazzi adapts.
Admission is by donation ($10 suggested) with children admitted free of charge. The theater is at 1033 Springfield Ave. For information, call (973) 659-5189.
r 12 Miles West Theatre Company is now in residence at Playwrights Theatre, 33 Green Village road, Madison, an is bringing their annual holiday radio play with them. Liz Zazzi also did this adaptation of "Miracle on 34th St.," which, unlike some 12 Miles stuff, is family friendly.
Friday @ 8pm, Saturday @ 3 & 8pmTickets are $21 Adults / $16 Students & Seniors.
My guess is Madison is an even 30 miles from 34th St.
Other notes:
Let's hope that James A. Stephens is an improvement on last year's Scrooge in McCarter Theatre's "A Christmas Carol." Paul Benedict, a fine actor (remembered from "The Jeffersons" on TV, but a veteran stage actor) seemed overwhelmed by the role.
Another reviewer was appalled by a recent production of Christopher Durang's "Mrs. Bob Cratchit's Wild Christmas Binge." I have not seen the show, but I love Durang, so I'm hoping to find time to see the community theater production at Brundage Park Playhouse in Randolph.
If you're looking for something different for Christmas, but Durang sounds like a bit much, let me once again recommend "My Three Angels" at Centenary (review above). Lots of fun.
I'll be at the Shakespeare Theatre of NJ Saturday night. See you there.
PS: Since TNT already is broadcasting "A Christmas Story," remind me to blog about author Jean Shepherd, who I grew up listening to on the radio and knew the short stories comprising the movie by heart 15 years before they were filmed. Late in his life, I got to meet him, interview him and even spend a bit of time with him. Fascinating guy.
Of course, there's plenty of holiday shows to see. Here's a link to a nice North Jersey roundup of holiday shows Lorraine Ash did for the Daily Record.
http://www.dailyrecord.com/apps/pbcs.dll/article?AID=/20071123/ENT07/711230301/1082/ENT
Expanding on her geographic and deadline constraints, I'll point out a few more.
r The Theatre Project, the professional theater in residence at Union County College, will recreate the 1947 Lux Radio Theatre presentation of “It’s a Wonderful Life” Dec. 2 at 3 p.m.
This popular stage production features 12 actors and one musician, supported by an overworked, stressed-out sound-effects technician, in a unique and humorous take on the Frank Capra holiday classic. Liz Zazzi adapts.
Admission is by donation ($10 suggested) with children admitted free of charge. The theater is at 1033 Springfield Ave. For information, call (973) 659-5189.
r 12 Miles West Theatre Company is now in residence at Playwrights Theatre, 33 Green Village road, Madison, an is bringing their annual holiday radio play with them. Liz Zazzi also did this adaptation of "Miracle on 34th St.," which, unlike some 12 Miles stuff, is family friendly.
Friday @ 8pm, Saturday @ 3 & 8pmTickets are $21 Adults / $16 Students & Seniors.
My guess is Madison is an even 30 miles from 34th St.
Other notes:
Let's hope that James A. Stephens is an improvement on last year's Scrooge in McCarter Theatre's "A Christmas Carol." Paul Benedict, a fine actor (remembered from "The Jeffersons" on TV, but a veteran stage actor) seemed overwhelmed by the role.
Another reviewer was appalled by a recent production of Christopher Durang's "Mrs. Bob Cratchit's Wild Christmas Binge." I have not seen the show, but I love Durang, so I'm hoping to find time to see the community theater production at Brundage Park Playhouse in Randolph.
If you're looking for something different for Christmas, but Durang sounds like a bit much, let me once again recommend "My Three Angels" at Centenary (review above). Lots of fun.
I'll be at the Shakespeare Theatre of NJ Saturday night. See you there.
PS: Since TNT already is broadcasting "A Christmas Story," remind me to blog about author Jean Shepherd, who I grew up listening to on the radio and knew the short stories comprising the movie by heart 15 years before they were filmed. Late in his life, I got to meet him, interview him and even spend a bit of time with him. Fascinating guy.
Tuesday, November 27, 2007
Review Preview: My Three Angels
Here's the subjective word from Centenary College in Hackettstown
Abstract: worth the trip, for a good production of a very enjoyable play most of us have not seen. Allen Lewis Rickman was particularly good; hope to see much more of him.
If you want to go:
What: “My Three Angels”
When: through Dec. 9
Where: Centenary Stage Company, Centenary College, 400 Jefferson St., Hackettstown
How much: $17.50 to $22.50
Info: (908) 979-0900; www.centenarystageco.org
By WILLIAM WESTHOVEN
Staff Writer
Murder seems to be catching on as a holiday-show hook in North Jersey. Scrooge was no choir boy, but at least he never committed a capital crime.
A week after the Bickford Theatre amused us with “The Musical Comedy Murders of 1940,” Centenary Stage Company regifts us “We’re No Angels,” which boasts not one, but two violent offenders.
And a week later, we’re still laughing.
Based on a French play, “La Cuisine Des Anges,” by Albert Husson, Bella and Sam Spewack, the husband-and-wife team best known for writing the book for “Kiss Me, Kate,” brought this charming—if slightly twisted—story to the London stage in 1955.
But Husson’s tale of Devil’s Island convicts who come to the aid of a kindly shop owner is best known for the Hollywood adaptation, “We’re No Angels,” a 1955 film starring Humphrey Bogart (directed by his “Casablanca” director Michael Curtiz). It was remade once again as a 1989 film with Robert De Niro and Sean Penn.
The films’ unlikely protagonists were escaped convicts tying to avoid the authorities, but the stage adaptation returns them to their original status as convicts essentially stranded on Devil’s Island in 1910. Security is light because there’s nowhere to go, so some of the criminals supplement their existence as slave-like labor for the legal residents of the tropical isle in French Guiana.
Joseph (Allen Lewis Rickman), Jules (David Volin) and Alfred (Jeremy Hall) are three such convicts, the former a white-collar crook, the latter two admitting to crime-of-passion murders. They seem remarkably well-adjusted to their fates, happy to have found a measure of brotherhood and happy to have work fixing the roof of a shop run by Felix Ducotel (Roland Johnson).
Felix is a sweet, aging man who we learn was swindled out of a better business by his nasty cousin, Henri (Patrick Cogan). His wife, Emile (Maria Brodeur) worries that he is too easy with customer credit in what appears to be a last-chance job. But Emile and their daughter, Marie Louise (Kate Billard), love him and are happily preparing for Christmas dinner, even if it is 105 degrees in the shade.
The audience, along with the eavesdropping convicts, share the family’s concern when Henri arrives to audit the books and review Felix’s job performance. Henri is accompanied by his nephew, Paul (Morgan Nichols), who Marie Louise worships, but who is now betrothed to a rich man’s daughter.
Floating through the turmoil with Zen-master serenity, the three convicts evolve into guardian angels, bringing the young lovers together and scheming to thwart Henri’s Scrooge-like mission to emasculate Felix, a Bob Cratchit if there ever was one.
But Henri is sharp and suspicious, and the convicts don’t have ghostly powers, so they draw on their checkered pasts to accomplish the mission.
“We’re No Angels” may be short on scruples compared to most holiday shows, but if for one night you accept that the end justify the means, it’s a delightful holiday treat. If not, just leave your holiday spirit home and go have a good laugh.
Whichever approach you choose, you will certainly appreciate the cast.
Equity pros Rickman and Volin have a nice chemistry with Hall as the cheerful trio of hard-timers, dressed in nearly white jumpsuits (their prison stripes are bleached by the sun and, presumably, their quasi-angelic deeds). Hall balances a tranquil calm and dark temper, while Volin, an accomplished comic actor frequently seen in the area, focuses on Jules’ never-to-be requited crush on Emile with sweet subtlety. But Rickman steals the show as Joseph, the smooth-talking con man who cooks company books with the same talent and passion that Emeril pours into a crème brule.
Johnson is perfect as the cherubic Felix, while Brodeur is convincing as the strong, yet vulnerable, wife and mother who wonders if she made the right life choices.
Brian Flynn’s cottage setting accurately suggests the home of a family clinging to Victorian values in a sweaty foreign land.
Call it devil’s food for the soul — and indulge in “We’re No Angels” as an early dessert before your traditional holiday dinner.
Abstract: worth the trip, for a good production of a very enjoyable play most of us have not seen. Allen Lewis Rickman was particularly good; hope to see much more of him.
If you want to go:
What: “My Three Angels”
When: through Dec. 9
Where: Centenary Stage Company, Centenary College, 400 Jefferson St., Hackettstown
How much: $17.50 to $22.50
Info: (908) 979-0900; www.centenarystageco.org
By WILLIAM WESTHOVEN
Staff Writer
Murder seems to be catching on as a holiday-show hook in North Jersey. Scrooge was no choir boy, but at least he never committed a capital crime.
A week after the Bickford Theatre amused us with “The Musical Comedy Murders of 1940,” Centenary Stage Company regifts us “We’re No Angels,” which boasts not one, but two violent offenders.
And a week later, we’re still laughing.
Based on a French play, “La Cuisine Des Anges,” by Albert Husson, Bella and Sam Spewack, the husband-and-wife team best known for writing the book for “Kiss Me, Kate,” brought this charming—if slightly twisted—story to the London stage in 1955.
But Husson’s tale of Devil’s Island convicts who come to the aid of a kindly shop owner is best known for the Hollywood adaptation, “We’re No Angels,” a 1955 film starring Humphrey Bogart (directed by his “Casablanca” director Michael Curtiz). It was remade once again as a 1989 film with Robert De Niro and Sean Penn.
The films’ unlikely protagonists were escaped convicts tying to avoid the authorities, but the stage adaptation returns them to their original status as convicts essentially stranded on Devil’s Island in 1910. Security is light because there’s nowhere to go, so some of the criminals supplement their existence as slave-like labor for the legal residents of the tropical isle in French Guiana.
Joseph (Allen Lewis Rickman), Jules (David Volin) and Alfred (Jeremy Hall) are three such convicts, the former a white-collar crook, the latter two admitting to crime-of-passion murders. They seem remarkably well-adjusted to their fates, happy to have found a measure of brotherhood and happy to have work fixing the roof of a shop run by Felix Ducotel (Roland Johnson).
Felix is a sweet, aging man who we learn was swindled out of a better business by his nasty cousin, Henri (Patrick Cogan). His wife, Emile (Maria Brodeur) worries that he is too easy with customer credit in what appears to be a last-chance job. But Emile and their daughter, Marie Louise (Kate Billard), love him and are happily preparing for Christmas dinner, even if it is 105 degrees in the shade.
The audience, along with the eavesdropping convicts, share the family’s concern when Henri arrives to audit the books and review Felix’s job performance. Henri is accompanied by his nephew, Paul (Morgan Nichols), who Marie Louise worships, but who is now betrothed to a rich man’s daughter.
Floating through the turmoil with Zen-master serenity, the three convicts evolve into guardian angels, bringing the young lovers together and scheming to thwart Henri’s Scrooge-like mission to emasculate Felix, a Bob Cratchit if there ever was one.
But Henri is sharp and suspicious, and the convicts don’t have ghostly powers, so they draw on their checkered pasts to accomplish the mission.
“We’re No Angels” may be short on scruples compared to most holiday shows, but if for one night you accept that the end justify the means, it’s a delightful holiday treat. If not, just leave your holiday spirit home and go have a good laugh.
Whichever approach you choose, you will certainly appreciate the cast.
Equity pros Rickman and Volin have a nice chemistry with Hall as the cheerful trio of hard-timers, dressed in nearly white jumpsuits (their prison stripes are bleached by the sun and, presumably, their quasi-angelic deeds). Hall balances a tranquil calm and dark temper, while Volin, an accomplished comic actor frequently seen in the area, focuses on Jules’ never-to-be requited crush on Emile with sweet subtlety. But Rickman steals the show as Joseph, the smooth-talking con man who cooks company books with the same talent and passion that Emeril pours into a crème brule.
Johnson is perfect as the cherubic Felix, while Brodeur is convincing as the strong, yet vulnerable, wife and mother who wonders if she made the right life choices.
Brian Flynn’s cottage setting accurately suggests the home of a family clinging to Victorian values in a sweaty foreign land.
Call it devil’s food for the soul — and indulge in “We’re No Angels” as an early dessert before your traditional holiday dinner.
Rosemary Harris coming to George St.
Big news from New Brunswick, where a change has been made to the mainstage season for good reasons. The press release follows below.
Award-Winning Actress ROSEMARY HARRIS
Comes to George Street Playhouse in
East Coast Premiere of Oscar and the Pink Lady
Jan 15 - Feb 10
Tony Award Winner (And Seven-Time Nominee) Known to Spiderman Fans as
Aunt May, Will Be Directed by the Acclaimed Frank Dunlop, Founder of England’s Young Vic Theatre
Oscar and the Pink Lady replaces Donald Marguilies’ Sight Unseen, Which Will be Rescheduled for 2008-09 Season
New Brunswick – George Street Playhouse announced today that Academy Award nominee, Tony, Emmy and Golden Globe Award-winner Rosemary Harris will star in the East Coast premiere of a new play by Eric-Emmanuel Schmitt titled Oscar and the Pink Lady. Returning to the Playhouse to helm the play will be the acclaimed Frank Dunlop, whose work was last seen in New Brunswick in Kressman Taylor’s Address Unknown. Oscar and the Pink Lady replaces the previously-announced Sight Unseen by Donald Marguilies. This one-woman tour de force will play in New Brunswick from January 15 through February 10, 2008, with opening night set for Friday, January 18.
“I am thrilled and honored to be welcoming Rosemary Harris to George Street Playhouse,” said Artistic Director David Saint, “it is amazing to me to have this great lady of the theatre on our stage. I am doubly thrilled to welcome back Frank Dunlop, the founder of England’s Young Vic Company as well as the Brooklyn Academy of Music’s theatre company. He magnificently directed Address Unknown a few seasons ago, and we are so pleased to be able to work with him again. I am equally committed to producing Sight Unseen, as I believe it to be an amazing play, but when this opportunity, with this caliber of talent presented itself, I simply couldn’t say no. Sight Unseen will be produced next season.”
From internationally-acclaimed writer Eric-Emmanuel Schmitt comes a beautiful and surprisingly funny story of a young patient and his uplifting relationship with a kindly volunteer “Pink Lady,” whose daily visits provide him with inspiration and hope. Starring the celebrated Ms. Harris, Oscar and the Pink Lady is sensitive, heartbreaking, amusing, and ultimately life-affirming.
Originally produced at San Diego’s Old Globe Theatre, the production team consists of many of the veterans of that production, including scenic designer Michael Vaughn Sims, costume designer Jane Greenwood and sound designer Lindsay Jones.
Individual tickets priced $28 - $62, as well as flexible admission and dinner/theatre packages are available by contacting the George Street Playhouse Box Office at 732-246-7717, or shop online at www.GSPonline,org. Groups of ten or more are entitled to a discounted rate; for further information call the GSP Group Sales Office at 732-846-2895, ext. 134. George Street Playhouse is located in the heart of New Brunswick’s Dining and Entertainment District, and is easily reached by public transportation.
Tickets issued for the previously announced Sight Unseen will be honored for Oscar and the Pink Lady.
Internationally-renowned actress Rosemary Harris starred in the original Broadway productions of Old Times, A Streetcar Named Desire, the Royal Family, Heartbreak House, Pack of Lies, Hay Fever, A Delicate Balance, Waiting in the Wings, An Inspector Calls and The Lion in Winter, for which she won a Tony Award. She spent six years with Association of Producing Artists (which her husband Ellis Rabb founded), appearing in works by Shakespeare, Shaw, Sheridan, Chekhov, Ibsen, Wilde, Pirandello and Kaufman and Hart at the Lyceum Theatre on Broadway. At the Royal National Theatre she appeared in Women of Troy, The Petition, Hamlet and Uncle Vanya. She has appeared in many films including Spiderman 1,2 and 3, Sunshine, and Tom & Viv (Academy Award nomination). Her numerous television credits include Notorious Woman (Emmy Award), Holocaust (Golden Globe), To the Lighthouse, and Death of a Salesman. She remains one of the most beloved and esteemed performers of stage and screen.
Within a decade, Eric-Emmanuel Schmitt has become one of the most read and acted French-language authors in the world. Schmitt first made a name for himself in the theatre with The Visitor, a play that posits a meeting between Freud and – possibly – God. Further successes quickly followed, including Enigma Variations, The Libertine, Between Worlds, Partners in Crime, My Gospels and Sentimental Tectonics. His plays have won several Molières and the French Academy’s Grand Prix du Théâtre. More recently, the four novellas that make up his Cycle de l’Invisible, a series of tales dealing with childhood and spirituality have met with huge success both on stage and in the bookshops. Other works include When I Was a Work of Art, a whimsical and contemporary version of the Faustus myth, and My Life With Mozart, a compilation of the composer’s private correspondence. A keen music lover, Schmitt has also translated into French The Marriage of Figaro and Don Giovanni from the original Italian.
Acclaimed director Frank Dunlop returns to George Street Playhouse after directing Kressmann Taylor’s Address Unknown during the 2004-05 season. He is best known for his direction of the Broadway productions of Camelot and Scapino. He was the founder and director England’s Young Vic Theatre, and has served as resident director at the Bristol Old Vic Theatre, associate director at England’s National Theatre as well as a director at the Piccolo Theatre in Manchester, England, the Nottingham Playhouse and the Edinburgh International Festival. He also founded the Brooklyn Academy of Music’s Theatre Company in 1978. He holds honorary degrees from the Philadelphia College of Performing Arts, Heriot-Watt University and the Shakespeare Institute, and is an honorary fellow at the University of London.
Under the leadership of Artistic Director David Saint, George Street Playhouse has become a nationally recognized theatre, presenting an acclaimed mainstage season while providing an artistic home for established and emerging theatre artists. Managing Director Todd Schmidt was appointed in October 2007. Founded in 1974, the Playhouse has been well represented by numerous productions both on and off-Broadway – recent productions include Anne Meara’s Down the Garden Paths, the Outer Critics Circle, Drama Desk and Drama League nominated production of The Spitfire Grill and the recent Broadway hit and Tony® and Pulitzer Prize winning play Proof by David Auburn, which was developed at GSP during the 1999 Next Stage Series of new plays. In addition to its mainstage season, GSP’s Touring Theatre features five issue-oriented productions that tours to more than 250 schools in the tri-state area, and are seen by more than 75,000 students annually.
George Street Playhouse programming is made possible in part by funds from the New Jersey State Council on the Arts/Department of State, a partner agency of the National Endowment for the Arts, and by funds from the National Endowment for the Arts. George Street Playhouse gratefully acknowledges the Media Sponsorship of the 2007-2008 Season by our Community Arts Partner, New York Public Radio WNYC 93.9 FM/ 820 AM and Greater Media Newspapers.
Award-Winning Actress ROSEMARY HARRIS
Comes to George Street Playhouse in
East Coast Premiere of Oscar and the Pink Lady
Jan 15 - Feb 10
Tony Award Winner (And Seven-Time Nominee) Known to Spiderman Fans as
Aunt May, Will Be Directed by the Acclaimed Frank Dunlop, Founder of England’s Young Vic Theatre
Oscar and the Pink Lady replaces Donald Marguilies’ Sight Unseen, Which Will be Rescheduled for 2008-09 Season
New Brunswick – George Street Playhouse announced today that Academy Award nominee, Tony, Emmy and Golden Globe Award-winner Rosemary Harris will star in the East Coast premiere of a new play by Eric-Emmanuel Schmitt titled Oscar and the Pink Lady. Returning to the Playhouse to helm the play will be the acclaimed Frank Dunlop, whose work was last seen in New Brunswick in Kressman Taylor’s Address Unknown. Oscar and the Pink Lady replaces the previously-announced Sight Unseen by Donald Marguilies. This one-woman tour de force will play in New Brunswick from January 15 through February 10, 2008, with opening night set for Friday, January 18.
“I am thrilled and honored to be welcoming Rosemary Harris to George Street Playhouse,” said Artistic Director David Saint, “it is amazing to me to have this great lady of the theatre on our stage. I am doubly thrilled to welcome back Frank Dunlop, the founder of England’s Young Vic Company as well as the Brooklyn Academy of Music’s theatre company. He magnificently directed Address Unknown a few seasons ago, and we are so pleased to be able to work with him again. I am equally committed to producing Sight Unseen, as I believe it to be an amazing play, but when this opportunity, with this caliber of talent presented itself, I simply couldn’t say no. Sight Unseen will be produced next season.”
From internationally-acclaimed writer Eric-Emmanuel Schmitt comes a beautiful and surprisingly funny story of a young patient and his uplifting relationship with a kindly volunteer “Pink Lady,” whose daily visits provide him with inspiration and hope. Starring the celebrated Ms. Harris, Oscar and the Pink Lady is sensitive, heartbreaking, amusing, and ultimately life-affirming.
Originally produced at San Diego’s Old Globe Theatre, the production team consists of many of the veterans of that production, including scenic designer Michael Vaughn Sims, costume designer Jane Greenwood and sound designer Lindsay Jones.
Individual tickets priced $28 - $62, as well as flexible admission and dinner/theatre packages are available by contacting the George Street Playhouse Box Office at 732-246-7717, or shop online at www.GSPonline,org. Groups of ten or more are entitled to a discounted rate; for further information call the GSP Group Sales Office at 732-846-2895, ext. 134. George Street Playhouse is located in the heart of New Brunswick’s Dining and Entertainment District, and is easily reached by public transportation.
Tickets issued for the previously announced Sight Unseen will be honored for Oscar and the Pink Lady.
Internationally-renowned actress Rosemary Harris starred in the original Broadway productions of Old Times, A Streetcar Named Desire, the Royal Family, Heartbreak House, Pack of Lies, Hay Fever, A Delicate Balance, Waiting in the Wings, An Inspector Calls and The Lion in Winter, for which she won a Tony Award. She spent six years with Association of Producing Artists (which her husband Ellis Rabb founded), appearing in works by Shakespeare, Shaw, Sheridan, Chekhov, Ibsen, Wilde, Pirandello and Kaufman and Hart at the Lyceum Theatre on Broadway. At the Royal National Theatre she appeared in Women of Troy, The Petition, Hamlet and Uncle Vanya. She has appeared in many films including Spiderman 1,2 and 3, Sunshine, and Tom & Viv (Academy Award nomination). Her numerous television credits include Notorious Woman (Emmy Award), Holocaust (Golden Globe), To the Lighthouse, and Death of a Salesman. She remains one of the most beloved and esteemed performers of stage and screen.
Within a decade, Eric-Emmanuel Schmitt has become one of the most read and acted French-language authors in the world. Schmitt first made a name for himself in the theatre with The Visitor, a play that posits a meeting between Freud and – possibly – God. Further successes quickly followed, including Enigma Variations, The Libertine, Between Worlds, Partners in Crime, My Gospels and Sentimental Tectonics. His plays have won several Molières and the French Academy’s Grand Prix du Théâtre. More recently, the four novellas that make up his Cycle de l’Invisible, a series of tales dealing with childhood and spirituality have met with huge success both on stage and in the bookshops. Other works include When I Was a Work of Art, a whimsical and contemporary version of the Faustus myth, and My Life With Mozart, a compilation of the composer’s private correspondence. A keen music lover, Schmitt has also translated into French The Marriage of Figaro and Don Giovanni from the original Italian.
Acclaimed director Frank Dunlop returns to George Street Playhouse after directing Kressmann Taylor’s Address Unknown during the 2004-05 season. He is best known for his direction of the Broadway productions of Camelot and Scapino. He was the founder and director England’s Young Vic Theatre, and has served as resident director at the Bristol Old Vic Theatre, associate director at England’s National Theatre as well as a director at the Piccolo Theatre in Manchester, England, the Nottingham Playhouse and the Edinburgh International Festival. He also founded the Brooklyn Academy of Music’s Theatre Company in 1978. He holds honorary degrees from the Philadelphia College of Performing Arts, Heriot-Watt University and the Shakespeare Institute, and is an honorary fellow at the University of London.
Under the leadership of Artistic Director David Saint, George Street Playhouse has become a nationally recognized theatre, presenting an acclaimed mainstage season while providing an artistic home for established and emerging theatre artists. Managing Director Todd Schmidt was appointed in October 2007. Founded in 1974, the Playhouse has been well represented by numerous productions both on and off-Broadway – recent productions include Anne Meara’s Down the Garden Paths, the Outer Critics Circle, Drama Desk and Drama League nominated production of The Spitfire Grill and the recent Broadway hit and Tony® and Pulitzer Prize winning play Proof by David Auburn, which was developed at GSP during the 1999 Next Stage Series of new plays. In addition to its mainstage season, GSP’s Touring Theatre features five issue-oriented productions that tours to more than 250 schools in the tri-state area, and are seen by more than 75,000 students annually.
George Street Playhouse programming is made possible in part by funds from the New Jersey State Council on the Arts/Department of State, a partner agency of the National Endowment for the Arts, and by funds from the National Endowment for the Arts. George Street Playhouse gratefully acknowledges the Media Sponsorship of the 2007-2008 Season by our Community Arts Partner, New York Public Radio WNYC 93.9 FM/ 820 AM and Greater Media Newspapers.
Sunday, November 25, 2007
North Plainfield H.S. grad at Centenary
Still trying to adjust to new schedules (I'm moonlighting on the copy desk at night these days) but I was in Hackettstown last night for "We're No Angels" at Centenary College's Equity professional company, Centenary Stage company.
Casts there typically include a handful of Equity pros and Centenary students, and I thought my Central Jersey readers would like to know that Kate Billard, a 2007 grad of North Plainfield High School, plays a featured role.
You'll get the review preview withing 24 hours, but I'll say now she does fine and the show is pretty good. That's 2 in a row for Centenary, which is having a pretty good year in my estimation.
Leaf raking this morning, football this afternoon, turkey leftovers tonight. And some theater the night before. A new professional challenge continues on Monday--much to be thankful for this Thanksgiving, although I wouldn't mind regifting the leaves.
Casts there typically include a handful of Equity pros and Centenary students, and I thought my Central Jersey readers would like to know that Kate Billard, a 2007 grad of North Plainfield High School, plays a featured role.
You'll get the review preview withing 24 hours, but I'll say now she does fine and the show is pretty good. That's 2 in a row for Centenary, which is having a pretty good year in my estimation.
Leaf raking this morning, football this afternoon, turkey leftovers tonight. And some theater the night before. A new professional challenge continues on Monday--much to be thankful for this Thanksgiving, although I wouldn't mind regifting the leaves.
Tuesday, November 20, 2007
Review Preview: "The Musical Comedy Murders of 1940"
Here you go, fresh and fun, just as I promised,.
Theater review
If you want to go:
What: “The Musical Comedy Murders of 1940”
When: through Dec. 9
Where: Bickford Theatre, Morris Museum, 6 Normandy Heights Road, Morris Township
How much: $30l $27 members, $15 students
Info: (973) 971-3706; www.morrismuseum.org
By WILLIAM WESTHOVEN
Staff Writer
With variations of “A Christmas Carol” as common as sidewalk Santas this time of year, the stage door is wide open for counterprogramming. The folks at the Bickford Theatre not only have found a way to avoid what everyone else is doing, they’re doing almost everything else with a single show.
Slapstick comedy, satire, mystery, murder, romance and even a little music make “The Musical Comedy Murders of 1940” something of a buffet for humbugs who have had their fill of Tiny Tim. By the time it’s over, you can even cheer a victory over the Nazis.
Even better, John Bishop’s lively tribute to the golden age of pulp cinema is so rarely seen that most people can enjoy the whodunit portion of the show, which often is a problem with the recycled choices made by other revival houses.
Artistic director Eric Hafen has a knack for finding out-of-circulation mysteries such as “Dead Certain” and “Catch Me if You Can,” both produced here in recent years. Now, he delivers another refreshing mystery, although he’s turned the director’s chair over to Deirdre Yates, who has earned raves for past productions with the Women’s Theater Company and the Celtic Theatre Company, and she’s done another good job with this tricky show.
Patrons also will be hard-pressed to find a weak link among the 10-member cast (five Equity professionals), one of the larger and more talented ensembles the Bickford has recruited in years.
They assemble at the elegant Westchester County estate of Elsa Von Grossenkneuten (Angela Della Ventura), a wealthy patron of the theater. A big-shot producer, Ken De La Maize (Bill Timoney), has organized a backer’s audition of his latest show. The writers, Roger (John Correll) and Bernice (Georgette Reilly Timoney) and the hired cast arrive just as a blizzard conveniently snows them in.
This troubles Roger, who notes the creative team is the same as a fated production shut down by the unsolved serial murders of three showgirls. But there’s no coincidence: Elsa is working with a police detective (Shaka Malik) to trap the killer.
The masked murderer, however, is one step ahead of everyone. He commits his first murder within seconds of the opening curtain, and the body count rises as quickly as Bernice’s blood-alcohol level.
Everyone’s a suspect, from the German maid, Helsa (Ruth Darey) who may also be a victim, to the sultry actress, Nikki (Diana Cherkas), who clearly has fudged her resume. The actors, meanwhile, are eyeing the ladies. Eddie (Chris Barber), a bad comedian just hoping for a job, adds Nikki to his wish list, while hunky Irishman Patrick (Christopher Yates) is focused on Helsa.
Scenic designer Jim Bazewicz is another key member of the production. His expansive drawing-room set, framed by tall walls of rich, paneled wood, is as attractive as it is functional. Hidden doors, spinning bookcases and false fireplaces allow the murderer easy ingress and egress to and from his prey.
Costume designer Fran Harrison also gets to take a bow the authentic 1940s fashions that add to the considerable visual appeal of this spirited romp.
Of course, a comedy can’t settle for merely looking good, leaving most of the responsibility to the cast to pull off this complex caper. But Yates has her crew well-prepared and hitting all of their marks, no easy feat as the potential victims scurry from one hidden passage to another in search of their hunter.
Some of the jokes fall victim to the pace, as some punchlines are lost in the confusion. But there’s plenty of humor to go around and the opening-night audience certainly got its share of laughs.
Barber generated most of the snickers, channeling Bob Hope as the jittery comic who somehow summons the courage to fight back and win the gal. Georgette Reilly Timoney is a lovely lush, while Correll gets the best of Bishop’s pen as the jaded music writer.
Fresh and fun are two words not often associated with 20-year-old comedy, but here they, just in time for the holidays. What better time of year to indulge yourself?
Theater review
If you want to go:
What: “The Musical Comedy Murders of 1940”
When: through Dec. 9
Where: Bickford Theatre, Morris Museum, 6 Normandy Heights Road, Morris Township
How much: $30l $27 members, $15 students
Info: (973) 971-3706; www.morrismuseum.org
By WILLIAM WESTHOVEN
Staff Writer
With variations of “A Christmas Carol” as common as sidewalk Santas this time of year, the stage door is wide open for counterprogramming. The folks at the Bickford Theatre not only have found a way to avoid what everyone else is doing, they’re doing almost everything else with a single show.
Slapstick comedy, satire, mystery, murder, romance and even a little music make “The Musical Comedy Murders of 1940” something of a buffet for humbugs who have had their fill of Tiny Tim. By the time it’s over, you can even cheer a victory over the Nazis.
Even better, John Bishop’s lively tribute to the golden age of pulp cinema is so rarely seen that most people can enjoy the whodunit portion of the show, which often is a problem with the recycled choices made by other revival houses.
Artistic director Eric Hafen has a knack for finding out-of-circulation mysteries such as “Dead Certain” and “Catch Me if You Can,” both produced here in recent years. Now, he delivers another refreshing mystery, although he’s turned the director’s chair over to Deirdre Yates, who has earned raves for past productions with the Women’s Theater Company and the Celtic Theatre Company, and she’s done another good job with this tricky show.
Patrons also will be hard-pressed to find a weak link among the 10-member cast (five Equity professionals), one of the larger and more talented ensembles the Bickford has recruited in years.
They assemble at the elegant Westchester County estate of Elsa Von Grossenkneuten (Angela Della Ventura), a wealthy patron of the theater. A big-shot producer, Ken De La Maize (Bill Timoney), has organized a backer’s audition of his latest show. The writers, Roger (John Correll) and Bernice (Georgette Reilly Timoney) and the hired cast arrive just as a blizzard conveniently snows them in.
This troubles Roger, who notes the creative team is the same as a fated production shut down by the unsolved serial murders of three showgirls. But there’s no coincidence: Elsa is working with a police detective (Shaka Malik) to trap the killer.
The masked murderer, however, is one step ahead of everyone. He commits his first murder within seconds of the opening curtain, and the body count rises as quickly as Bernice’s blood-alcohol level.
Everyone’s a suspect, from the German maid, Helsa (Ruth Darey) who may also be a victim, to the sultry actress, Nikki (Diana Cherkas), who clearly has fudged her resume. The actors, meanwhile, are eyeing the ladies. Eddie (Chris Barber), a bad comedian just hoping for a job, adds Nikki to his wish list, while hunky Irishman Patrick (Christopher Yates) is focused on Helsa.
Scenic designer Jim Bazewicz is another key member of the production. His expansive drawing-room set, framed by tall walls of rich, paneled wood, is as attractive as it is functional. Hidden doors, spinning bookcases and false fireplaces allow the murderer easy ingress and egress to and from his prey.
Costume designer Fran Harrison also gets to take a bow the authentic 1940s fashions that add to the considerable visual appeal of this spirited romp.
Of course, a comedy can’t settle for merely looking good, leaving most of the responsibility to the cast to pull off this complex caper. But Yates has her crew well-prepared and hitting all of their marks, no easy feat as the potential victims scurry from one hidden passage to another in search of their hunter.
Some of the jokes fall victim to the pace, as some punchlines are lost in the confusion. But there’s plenty of humor to go around and the opening-night audience certainly got its share of laughs.
Barber generated most of the snickers, channeling Bob Hope as the jittery comic who somehow summons the courage to fight back and win the gal. Georgette Reilly Timoney is a lovely lush, while Correll gets the best of Bishop’s pen as the jaded music writer.
Fresh and fun are two words not often associated with 20-year-old comedy, but here they, just in time for the holidays. What better time of year to indulge yourself?
Saturday, November 17, 2007
Last night at the Bickford
A quick note to check in, say hi and promise to increase my posts in the near future. Working a lot of hours, but it's all good. Transition is going well. But sometimes, just getting to the shows is tough. I started work at 8:30 a.m. yesterday to try and wrap everything up for the weekend and still get to the Bickford by 8 p.m., but it still wasn't enough; had to go back after the show.
Anyway, a Review Preview will soon follow for "The musical Comedy Murders of 1940." For those who can't wait, here's the abstract: you probably haven't seen it, so it's fresh and a lot of fun. But it's a tricky show to pull off. Good cast and good direction, but some of the jokes fly by too fast, or too soft, to register with the crowd. Fortunately, there's a lot of them, so it's worth a look. I suspect most people will be entertained.
More importantly, I wanted to comment on the new lobby/entrance to the Morris Museum and the Bickford. They should be terribly excited and proud because the facility, a well-kept secret in some circles, really makes an impression. With the recent and dramatic improvements to the Museum and the Community Theatre, Morris County really has become a legitimate cultural destination to be reckoned with.
I loved the $78,000 music box they have for sale in the gift shop. A critic can dream, can't he? And the lady promised to come down on the price, so I showed it to Mrs. Willie, who keeps asking what I want for Christmas.
I'll keep you updated on that little campaign. It would great next to my jukebox. Or the gong.
Also, chatted with actors and Morristown residents J.C. Hoyt ("Mass Appeal," "Roar of the Greasepaint") and Katrina Ferguson ("The Poetry of Pizza," "Quatermaine's Terms"), often seen on professional stages in North Jersey. They and a few others are headed for Germany to do a production of "A Christmas Carol."
Check them out if you get to Deutschland. Otherwise, you'll have to settle for the half-dozen or so "Carols" to be found in North and Central Jersey in the coming weeks.
Go R.U. Talk to you soon.
Anyway, a Review Preview will soon follow for "The musical Comedy Murders of 1940." For those who can't wait, here's the abstract: you probably haven't seen it, so it's fresh and a lot of fun. But it's a tricky show to pull off. Good cast and good direction, but some of the jokes fly by too fast, or too soft, to register with the crowd. Fortunately, there's a lot of them, so it's worth a look. I suspect most people will be entertained.
More importantly, I wanted to comment on the new lobby/entrance to the Morris Museum and the Bickford. They should be terribly excited and proud because the facility, a well-kept secret in some circles, really makes an impression. With the recent and dramatic improvements to the Museum and the Community Theatre, Morris County really has become a legitimate cultural destination to be reckoned with.
I loved the $78,000 music box they have for sale in the gift shop. A critic can dream, can't he? And the lady promised to come down on the price, so I showed it to Mrs. Willie, who keeps asking what I want for Christmas.
I'll keep you updated on that little campaign. It would great next to my jukebox. Or the gong.
Also, chatted with actors and Morristown residents J.C. Hoyt ("Mass Appeal," "Roar of the Greasepaint") and Katrina Ferguson ("The Poetry of Pizza," "Quatermaine's Terms"), often seen on professional stages in North Jersey. They and a few others are headed for Germany to do a production of "A Christmas Carol."
Check them out if you get to Deutschland. Otherwise, you'll have to settle for the half-dozen or so "Carols" to be found in North and Central Jersey in the coming weeks.
Go R.U. Talk to you soon.
Tuesday, November 13, 2007
Review Preview: Meet Me in St. Louis
Sunday night at the press opening, I got a chance to meet and chat with Mark Jones, the new executive director at Paper Mill. Seems to be an upbeat guy with a clear understanding of the challenges.
He told me in effect, without being prompted by a specific question, that (to paraphrase) the board of trustees must get more actively involved and that being on the board is more than coming to a few meetings and shaking hands.
That's a good place to start, although he's going to have to accomplish that without antagonizing them, since they have some say about whether he gets to keep the job.
Of course, given the current state of affairs, if this executive director doesn't get the job done, there may not be a next executive director. So let's wish him good luck and good reviews.
"Meet me in St. Louis" is a mixed bag, very nicely done but not terribly exciting or engrossing. The draft of my review, to publish Friday, follows. Let me know what you think.
If you want to go:
What: “Meet n St. Louis”
When: through Dec. 16
Where: Paper Mill Playhouse, Brookside Drive, Millburn
How much: $25-92
Info: (973) 376-4343; www.papermill.org
By WILLIAM WESTHOVEN
Staff Writer
The New Jersey holiday theater season officially began last week with the premiere of “Meet Me in St. Louis” at the Paper Mill Playhouse in Millburn. Based on the popular 1944 MGM musical, this revival of the 1987 musical may not be a holiday show in the truest sense, but it does generate the appropriate warmth and happiness we hope to receive form the season.
And, while Halloween gets as much stage time as Christmas, “Meet Me in St. Louis is the source of one of our most beloved holiday songs, “Have Yourself a Merry Little Christmas,” one of many melodies that will stick with you long after the final curtain.
Certainly, the music carries the night, as 20 minutes of plot is stretched beyond natural limits. The time is the year before the St. Louis World’s Fair (known accurately as the Louisiana Purchase Exposition), and the town is buzzing in anticipation. The Smith family children are excited about the coming fair, but there’s more important work for the time-being. Eldest daughter Rose (Julia Osborne) is busy putting up token resistance with her Ivy League boyfriend, Warren (Patrick Cummings), while Esther (Brynn O’Malley), a junior in high school, is trying to catch the eye of John (Brian Hissong), her handsome new neighbor.
Two younger daughters, Tootie (Sophie Rudin) and Agnes (Roni Caggiano), stir up some innocent trouble, while Lon (Christian Deacroix), the only son, is preparing for college at Princeton.
Throw in some flirting, a few dances and you’ve got the whole story. Alonso (Gregg Edelman), the stuffy dad, startles the family with a pending move to New York City, but the drama is as thin as the rest of the plot.
The pleasures of “Meet Me in St. Louis” lay more in spending a few easy hours in an easier time and place. Perhaps we spend too much time in the family’s home (scenic designer has fashioned a colorful and functional Victorian that opens and closes like a blooming flower), relegating an energetic ensemble to the wings for 90 percent of the night.
What: “Meet n St. Louis”
When: through Dec. 16
Where: Paper Mill Playhouse, Brookside Drive, Millburn
How much: $25-92
Info: (973) 376-4343; www.papermill.org
By WILLIAM WESTHOVEN
Staff Writer
The New Jersey holiday theater season officially began last week with the premiere of “Meet Me in St. Louis” at the Paper Mill Playhouse in Millburn. Based on the popular 1944 MGM musical, this revival of the 1987 musical may not be a holiday show in the truest sense, but it does generate the appropriate warmth and happiness we hope to receive form the season.
And, while Halloween gets as much stage time as Christmas, “Meet Me in St. Louis is the source of one of our most beloved holiday songs, “Have Yourself a Merry Little Christmas,” one of many melodies that will stick with you long after the final curtain.
Certainly, the music carries the night, as 20 minutes of plot is stretched beyond natural limits. The time is the year before the St. Louis World’s Fair (known accurately as the Louisiana Purchase Exposition), and the town is buzzing in anticipation. The Smith family children are excited about the coming fair, but there’s more important work for the time-being. Eldest daughter Rose (Julia Osborne) is busy putting up token resistance with her Ivy League boyfriend, Warren (Patrick Cummings), while Esther (Brynn O’Malley), a junior in high school, is trying to catch the eye of John (Brian Hissong), her handsome new neighbor.
Two younger daughters, Tootie (Sophie Rudin) and Agnes (Roni Caggiano), stir up some innocent trouble, while Lon (Christian Deacroix), the only son, is preparing for college at Princeton.
Throw in some flirting, a few dances and you’ve got the whole story. Alonso (Gregg Edelman), the stuffy dad, startles the family with a pending move to New York City, but the drama is as thin as the rest of the plot.
The pleasures of “Meet Me in St. Louis” lay more in spending a few easy hours in an easier time and place. Perhaps we spend too much time in the family’s home (scenic designer has fashioned a colorful and functional Victorian that opens and closes like a blooming flower), relegating an energetic ensemble to the wings for 90 percent of the night.
Thursday, November 8, 2007
One-off best bets in Morris County
I haven't had a lot of time to blog lately, but I'm burning a lot of hours on the new job. But while writing my Sunday column, two special events caught my eye.
The first is Elaine Bromka's solo show, "Tea for Three: Lady Bird, Pat and Betty," in which she portrays three of America's most notable first ladies. I've seen it and she's very, very good. Even better, it's a free performance Nov. 14 at the Washington township Public Library. but you'll want to call ahead, because they will give priority seating to township residents.
Press release follows. Seriously, very good show.
The other best bet is even more unusual, in part because the circumstances. John Shelby Spong, the former and controversial Episcopal bishop of Newark, also a resident of Morristown, will attend two performances of a show based on his life, written and produced by a professional touring company from Los Angeles. First time the show will be seen in his home town after crossing the country for a few years. I'm only now learning about this guy, and there's a lot to learn. If you agree, the Bickford would be a good place to start your studies.
Both press releases follow. I'll be at Paper Mill Sunday night for the press opening of "Meet Me in St. Louis." You can meet me in Millburn.
A PEBBLE IN MY SHOE
Following the sellout of a first show today at 3 p.m., a second performance of “A Pebble in My Shoe” was added for 8 p.m. tonight at the Bickford Theatre.
This special production is based on the life of John Shelby Spong, former Episcopal bishop of Newark and a resident of Morristown. Spong, who will attend both performances, was a controversial figure who antagonized fundamentalist Christians, religious fanatics and those who cling to tradition, even in the Episcopal church.
“A Pebble in My Show” was written and directed by Colin Cox, artistic director of Will and Company, a Los Angeles-based theater troupe that is taking the play to colleges and churches throughout the country. For information, call the Bickford box office at (973) 971-3706.
This special production is based on the life of John Shelby Spong, former Episcopal bishop of Newark and a resident of Morristown. Spong, who will attend both performances, was a controversial figure who antagonized fundamentalist Christians, religious fanatics and those who cling to tradition, even in the Episcopal church.
“A Pebble in My Show” was written and directed by Colin Cox, artistic director of Will and Company, a Los Angeles-based theater troupe that is taking the play to colleges and churches throughout the country. For information, call the Bickford box office at (973) 971-3706.
TEA FOR THREE
Washington Twp. Public Library, 37 E. Springtown Rd., Long Valley.
908-876-3596
"Tea for Three: Lady Bird, Pat & Betty” on November 14th at 7p.m.
"Tea for Three: Lady BIrd, Pat & Betty" reveals a gallery of intimate portraits of three remarkable First Ladies with Emmy Award-winning New York actress, Elaine Bromka. We discover each at a threshold moment in her life, and learn the personal cost of what Pat Nixon called the hardest unpaid job in the world.
ELAINE BROMKA (The First Ladies, Co-author) has been a professional actress for over thirty years. Film: Cindy, the mom in Uncle Buck; Without a Trace. T.V.: E.R., The Sopranos, Providence, Dharma & Greg, Sisters, L.A. Law, Law and Order, Law and Order: Special Victims’ Unit, Law and Order: Criminal Intent, Stella Lombard on Days of Our Lives, the Emmy Award–winning Playing for Time with Vanessa Redgrave and Catch a Rainbow, for which Ms. Bromka herself won an Emmy. She has appeared on Broadway (The Rose Tattoo, I’m Not Rappaport, Macbeth) and off-Broadway (Cloud 9 at the Lucille Lortel, Roundabout’s Inadmissible Evidence with Nicol Williamson, the world premiere of Michael Weller’s Split at E.S.T. and Candide with the National Theatre of the Deaf.) She has played leads at regional theaters across the country, including Long Wharf, Hartford Stage, Center Stage, Actors Theatre of Louisville, ACT/Seattle, O’Neill Playwrights Conference, Shakespeare and Company, McCarter Theatre, Pittsburgh Public Theater, George Street Playhouse, and the Folger Theatre Group, in roles ranging from Much Ado About Nothing's Beatrice to Shirley Valentine, cited as the outstanding solo performance in New Jersey in 1997 by the Star Ledger. Starring opposite Rich Little in The Presidents for P.B.S., she impersonated the last eight First Ladies. A member of the Actors Studio and a Phi Beta Kappa graduate of Smith College, she returned to Smith in 2003 as a faculty member to teach “Acting for the Media”. As a guest artist, Ms. Bromka has taught her one-day workshop, “Acting for the Camera”, at more than thirty colleges and prep schools across the country.
Call the Library at 908-876-3596 or go to http://www.wtpl.org/ under Adult Activities to sign up!Sorry
908-876-3596
"Tea for Three: Lady Bird, Pat & Betty” on November 14th at 7p.m.
"Tea for Three: Lady BIrd, Pat & Betty" reveals a gallery of intimate portraits of three remarkable First Ladies with Emmy Award-winning New York actress, Elaine Bromka. We discover each at a threshold moment in her life, and learn the personal cost of what Pat Nixon called the hardest unpaid job in the world.
ELAINE BROMKA (The First Ladies, Co-author) has been a professional actress for over thirty years. Film: Cindy, the mom in Uncle Buck; Without a Trace. T.V.: E.R., The Sopranos, Providence, Dharma & Greg, Sisters, L.A. Law, Law and Order, Law and Order: Special Victims’ Unit, Law and Order: Criminal Intent, Stella Lombard on Days of Our Lives, the Emmy Award–winning Playing for Time with Vanessa Redgrave and Catch a Rainbow, for which Ms. Bromka herself won an Emmy. She has appeared on Broadway (The Rose Tattoo, I’m Not Rappaport, Macbeth) and off-Broadway (Cloud 9 at the Lucille Lortel, Roundabout’s Inadmissible Evidence with Nicol Williamson, the world premiere of Michael Weller’s Split at E.S.T. and Candide with the National Theatre of the Deaf.) She has played leads at regional theaters across the country, including Long Wharf, Hartford Stage, Center Stage, Actors Theatre of Louisville, ACT/Seattle, O’Neill Playwrights Conference, Shakespeare and Company, McCarter Theatre, Pittsburgh Public Theater, George Street Playhouse, and the Folger Theatre Group, in roles ranging from Much Ado About Nothing's Beatrice to Shirley Valentine, cited as the outstanding solo performance in New Jersey in 1997 by the Star Ledger. Starring opposite Rich Little in The Presidents for P.B.S., she impersonated the last eight First Ladies. A member of the Actors Studio and a Phi Beta Kappa graduate of Smith College, she returned to Smith in 2003 as a faculty member to teach “Acting for the Media”. As a guest artist, Ms. Bromka has taught her one-day workshop, “Acting for the Camera”, at more than thirty colleges and prep schools across the country.
Call the Library at 908-876-3596 or go to http://www.wtpl.org/ under Adult Activities to sign up!Sorry
Thursday, November 1, 2007
Ticket Twofer at Shakespeare Theatre
If Shakespeare's your bag but your funds are low, take not of the ticket twofer being offered by the Shakespeare Theatre of New Jersey for the remaining run of "Henry VI: Blood and Roses."
Great, exciting show (review posted in here somewhere) and you can't beat the price, so get thee hence. (973) 408-5600. Phone orders only.
You want bang for your buck? Bang zoom, as Jackie Gleason would say.
Great, exciting show (review posted in here somewhere) and you can't beat the price, so get thee hence. (973) 408-5600. Phone orders only.
You want bang for your buck? Bang zoom, as Jackie Gleason would say.
Wednesday, October 31, 2007
Review Preview: "The Sunshine Boys"
Sorry to be silent for more than a week, but was transitioning from one Gannett newspaper (Jersey Stages blog host The Courier News) to the Daily Record. But got to New Brunswick Saturday night to catch up with Jack Klugman and Paul Dooley in "The Sunshine Boys."
Nice night out for yours truly and Mrs. Willie, although the town was in a bit of a funk following the ugly Rutgers football loss. By dinner time, though, the streets were full of people. Nice to see downtown N.B. so alive when it's easy to remember when it wasn't a very good idea to be walking down George Street after dark.
Lovely dinner at Soho, just around the corner from George Street Playhouse. Good food, good service and prices were a notch below some of the wonderful, but incredibly expensive Hub City restaurants. Of course, Jersey Stages always reminds readers to budget time for a nice dinner before a show in New Brunswick. The choices are myriad, especially if you're willing to drop $100 on dinner and a bottle of wine.
Oh, yeah, and the show was good too. Here's the Review Preview:
Theater review
If you want to go:
What: “The Sunshine Boys”
When: through Nov.11
Where: George Street Playhouse, 9 Livingston Ave., New Brunswick
How much: $28 to $64
Info: (73) 246-7717; www.gsponline.org
By WILLIAM WESTHOVEN
Staff Writer
Did you hear the one about Lewis and Clark discovering New Brunswick and marking it on their new map as Exit 9?
The famous explorers also inspired the name of the fictional vaudeville team, Lewis and Clark, aka “The Sunshine Boys,” who are packing them in at George Street Playhouse, N.J. Turnpike Exit 9, in the Hub City of Middlesex County.
Neil Simon’s hilarious and sentimental comedy has its own timeless quality, but Artistic Director David Saint has figuratively tossed the clock out the window, teaming one ageless acting legend with another familiar and respected veteran in the title roles.
Jack Klugman, who starred here last fall in “The Value of Names,” continues to explore his roots as a stage actor, with results that are a privilege to witness. The spry 85-year-old, who once played opposite Ethel Merman in “Gypsy,” makes it look almost too easy, as though comic timing was as natural as breathing.
Paul Dooley, one of the most recognizable actors most of us can’t name, is the perfect straight man, calmly serving as the target of Klugman’s comic rage.
After 43 years in the business, Willie Clark (Klugman) and Al Clark (Dooley) are spending their golden years apart. They haven’t even spoken in 11 years, after Al retired before Willie was ready.
We catch up with Willie in 1973, miserably comfortable in his dingy, apartment-style Manhattan hotel room. Willie’s nephew, Ben (Michael Mastro, another veteran New York actor) stocks the pantry during one of his weekly visits, during which he begs his uncle to take better care of himself.
But Willie would rather stay inside, complain and read the obits of his former friends in Variety.
“Look at that, 89 years old” he says, reading one. “He went like that, from nothing.”
Ben also is Willie’s agent, although there’s little work for an aging actor who can’t remember his lines. But Ben’s brought news of a big CBS TV special on the history of comedy, and they want Lewis and Clark.
After much cajoling, and several pages of Simon zingers, Willie reluctantly agrees to the reunion. Ben brings Al up for a rehearsal and the real fun begins.
“I heard your blood doesn’t circulate,” Willie says.
“My blood circulates fine,” Al rebuts. “I’m not saying everywhere …”
Simon’s silly lines are so deceptively simple that many actors turn them into throwaways, knowing if one doesn’t work, there will be plenty more. But Klugman and Dooley are so good at what they do that they don’t even need the lines to get a laugh. One of the funniest scenes in the show is a wordless exercise in which the surly Sunshine boys attempt to set up their famous doctor skit. Each has a sketchy memory of the sketch, and they spend several side-splitting minutes moving chairs around a table until they get it just wrong.
There’s also a quietly funny scene where they mirror mannerisms while sipping tea, never once looking at each other, like an old married couple who have blended into one entity.
Klugman’s voice remains compromised from surgery for throat cancer, scratchy at best and occasionally trailing off to a high-pitched whisper. But the rhythm of his voice, which speeds up when his character is agitated (which is quite often), is familiar as Oscar Madison’s messy bedroom. It helps that all the actors are miked and mixed to the same volume, so every line is clear all the way to the back row.
Ebony Jo-Ann and Peggy Joyce Crosby enrich a supporting cast, respectively playing a sassy home nurse and a shamelessly buxom actress playing a nurse.
A rotating stage brings the audience from Willie’s flat, where most of the action takes place, to the soundstage for a rehearsal of the doctor sketch, which, of course, falls apart as the warring geezers revisit ancient conflicts.
Add a relentless barrage of Jersey Jokes and you have the makings of a show that should back up traffic at Exit 9, which “The Sunshine Boys” appears to be doing. Saturday’s second-week performance drew a full house, so make your reservations early for this limited-run treasure.
Nice night out for yours truly and Mrs. Willie, although the town was in a bit of a funk following the ugly Rutgers football loss. By dinner time, though, the streets were full of people. Nice to see downtown N.B. so alive when it's easy to remember when it wasn't a very good idea to be walking down George Street after dark.
Lovely dinner at Soho, just around the corner from George Street Playhouse. Good food, good service and prices were a notch below some of the wonderful, but incredibly expensive Hub City restaurants. Of course, Jersey Stages always reminds readers to budget time for a nice dinner before a show in New Brunswick. The choices are myriad, especially if you're willing to drop $100 on dinner and a bottle of wine.
Oh, yeah, and the show was good too. Here's the Review Preview:
Theater review
If you want to go:
What: “The Sunshine Boys”
When: through Nov.11
Where: George Street Playhouse, 9 Livingston Ave., New Brunswick
How much: $28 to $64
Info: (73) 246-7717; www.gsponline.org
By WILLIAM WESTHOVEN
Staff Writer
Did you hear the one about Lewis and Clark discovering New Brunswick and marking it on their new map as Exit 9?
The famous explorers also inspired the name of the fictional vaudeville team, Lewis and Clark, aka “The Sunshine Boys,” who are packing them in at George Street Playhouse, N.J. Turnpike Exit 9, in the Hub City of Middlesex County.
Neil Simon’s hilarious and sentimental comedy has its own timeless quality, but Artistic Director David Saint has figuratively tossed the clock out the window, teaming one ageless acting legend with another familiar and respected veteran in the title roles.
Jack Klugman, who starred here last fall in “The Value of Names,” continues to explore his roots as a stage actor, with results that are a privilege to witness. The spry 85-year-old, who once played opposite Ethel Merman in “Gypsy,” makes it look almost too easy, as though comic timing was as natural as breathing.
Paul Dooley, one of the most recognizable actors most of us can’t name, is the perfect straight man, calmly serving as the target of Klugman’s comic rage.
After 43 years in the business, Willie Clark (Klugman) and Al Clark (Dooley) are spending their golden years apart. They haven’t even spoken in 11 years, after Al retired before Willie was ready.
We catch up with Willie in 1973, miserably comfortable in his dingy, apartment-style Manhattan hotel room. Willie’s nephew, Ben (Michael Mastro, another veteran New York actor) stocks the pantry during one of his weekly visits, during which he begs his uncle to take better care of himself.
But Willie would rather stay inside, complain and read the obits of his former friends in Variety.
“Look at that, 89 years old” he says, reading one. “He went like that, from nothing.”
Ben also is Willie’s agent, although there’s little work for an aging actor who can’t remember his lines. But Ben’s brought news of a big CBS TV special on the history of comedy, and they want Lewis and Clark.
After much cajoling, and several pages of Simon zingers, Willie reluctantly agrees to the reunion. Ben brings Al up for a rehearsal and the real fun begins.
“I heard your blood doesn’t circulate,” Willie says.
“My blood circulates fine,” Al rebuts. “I’m not saying everywhere …”
Simon’s silly lines are so deceptively simple that many actors turn them into throwaways, knowing if one doesn’t work, there will be plenty more. But Klugman and Dooley are so good at what they do that they don’t even need the lines to get a laugh. One of the funniest scenes in the show is a wordless exercise in which the surly Sunshine boys attempt to set up their famous doctor skit. Each has a sketchy memory of the sketch, and they spend several side-splitting minutes moving chairs around a table until they get it just wrong.
There’s also a quietly funny scene where they mirror mannerisms while sipping tea, never once looking at each other, like an old married couple who have blended into one entity.
Klugman’s voice remains compromised from surgery for throat cancer, scratchy at best and occasionally trailing off to a high-pitched whisper. But the rhythm of his voice, which speeds up when his character is agitated (which is quite often), is familiar as Oscar Madison’s messy bedroom. It helps that all the actors are miked and mixed to the same volume, so every line is clear all the way to the back row.
Ebony Jo-Ann and Peggy Joyce Crosby enrich a supporting cast, respectively playing a sassy home nurse and a shamelessly buxom actress playing a nurse.
A rotating stage brings the audience from Willie’s flat, where most of the action takes place, to the soundstage for a rehearsal of the doctor sketch, which, of course, falls apart as the warring geezers revisit ancient conflicts.
Add a relentless barrage of Jersey Jokes and you have the makings of a show that should back up traffic at Exit 9, which “The Sunshine Boys” appears to be doing. Saturday’s second-week performance drew a full house, so make your reservations early for this limited-run treasure.
Sunday, October 21, 2007
Review Preview times 2: Frankie and Johnny; Tartuffe
Another busy weekend, no wonder my golf game suffered. And it doesn't help to come home to serious computer issues (no time or patience to explain, but Internet access takes some improvisation).
But the information must flow, so here's a draft of my combined review of Frankie and Johnny at the Clare De Lune and Tartuffe. To Tartuffe or not to Tartuffe? That is the question answered ahead.
If you want to go:
What: “Frankie and Johnny in the Clare De Lune”
When: through Nov. 4
Where: Parsippany Community Center, 1130 Knoll Road, Lake Hiawatha section
How much: $15, $13 seniors
Info: (973) 316-3033
If you want to go:
What: “Tartuffe”
When: through Oct. 28
Where: Matthews Theatre, McCarter Theatre Center, 91 University Place, Princeton
How much: $12 to $55
Info: (973) 316-3033
By WILLIAM WESTHOVEN
Staff Writer
A bountiful harvest awaits theater fans this autumn in New Jersey. Two current productions reflect the wide variety of choices—one is a straightforward approach to a contemporary work, and the other an abstract, contemporary take on an old classic.
The former may be the easier pill to swallow, at least for adult patrons. “Frankie and Johnny at the Clare De Lune” is one of the more provocative dramas staged in recent years by the Women’s Theatre Company. Now in its third year at the Parsippany Community Center, Barbara Krajkowski’s little professional company is hoping to make a big noise this year with a fresh approach that includes plays written by men as well as women. The choice of Terrence McNally’s two-character drama should attract younger audiences eager to experience a daring, edgy and intimate story in an equally intimate space.
So close to the stage, the audience becomes voyeurs, almost uncomfortably close to a pair of lonely, middle-aged coworkers who one night become lovers. We arrive before the first deed is done, greeted by grunts, groans and moans in the dark. The light gradually reveals Frankie and Johnny, a waitress and cook, respectively, at the Clare De Lune diner in Manhattan.
We soon realize Frankie (Susan Barrett) also is uncomfortably close to Johnny, whom she liked enough to have sex with, but would rather he didn’t spend the night.
On the other side of the bed, Johnny (Lenny Bart) is convinced he’s found his true love and won’t leave until she realizes it as well. She spends the next 90 minutes pointing to their differences. He admits to more faults than even she sees, but is hardly discouraged. He also has a knack for discovering their common ground (both are originally from Allentown, both have mothers who left them at age 7, both refer to the refrigerator as the ice box).
Both are desperately lonely, not getting any younger and well aware that the years have not been kind to them. Barrett and Bart both turn in fearless performances, revealing warts and more in various stages of undress (neither quite makes it to completely naked). Barrett takes a little longer, however, to connect with her character’s profound sadness. It takes an impassioned monologue by Johnny, phoning a song request to a radio host, to bring genuine tears to her eyes. From that point, late in the first act, she’s terrific.
Bart lets it all hang out from the opening curtain. Johnny may be a bit of a creep, bordering on stalker, but Bart warms the character with a relentless, cheerful sincerity that is nearly irresistible.
Director Lauren Moran Mills gets the credit for assisting the chemistry of the players, while the narrow, New York-style apartment flat from set designers Gerg Moran and Kathrynne Forsbrey is both functional and realistic.
In Princeton, the set is neither functional nor realistic for “Tartuffe,” the familiar 17th century Moliere comedy about a Rasputin-like grafter who dupes a wealthy man into signing away his daughter and, eventually, his entire net worth. The partially obscured bedroom at stage left looks like a typical “Tartuffe” set, but the rest of the large Matthews Theatre stage is nearly bare. Two large, grey walls, in back and stage right, contain large video screens, airing a live feed from the bedroom. It’s a jittery digital broadcast from a young woman, video designer Alexandra Eaton, wearing a casual test-pattern t-shirt and operating a hand-held camera.
The cast is fine and Richard Wilbur’s English verse translation of Moliere’s original French is always a pleasure. But the odd staging, in and out of the room, seems blocked merely to provide interesting camera angles. You may get the uneasy feeling that this approach could have been applied to any revival with equal impact, or lack of the same. “Tartuffe” seems a random choice — or victim — for director Daniel Fish’s uncertain vision.
Perhaps it’s the You Tube influence on our culture, which apparently has made it all the way to the Ivy League. But if I wanted to watch videos, I could have stayed home. And with “Frankie and Johnny” in the neighborhood, Princeton suddenly seems far away.
But the information must flow, so here's a draft of my combined review of Frankie and Johnny at the Clare De Lune and Tartuffe. To Tartuffe or not to Tartuffe? That is the question answered ahead.
If you want to go:
What: “Frankie and Johnny in the Clare De Lune”
When: through Nov. 4
Where: Parsippany Community Center, 1130 Knoll Road, Lake Hiawatha section
How much: $15, $13 seniors
Info: (973) 316-3033
If you want to go:
What: “Tartuffe”
When: through Oct. 28
Where: Matthews Theatre, McCarter Theatre Center, 91 University Place, Princeton
How much: $12 to $55
Info: (973) 316-3033
By WILLIAM WESTHOVEN
Staff Writer
A bountiful harvest awaits theater fans this autumn in New Jersey. Two current productions reflect the wide variety of choices—one is a straightforward approach to a contemporary work, and the other an abstract, contemporary take on an old classic.
The former may be the easier pill to swallow, at least for adult patrons. “Frankie and Johnny at the Clare De Lune” is one of the more provocative dramas staged in recent years by the Women’s Theatre Company. Now in its third year at the Parsippany Community Center, Barbara Krajkowski’s little professional company is hoping to make a big noise this year with a fresh approach that includes plays written by men as well as women. The choice of Terrence McNally’s two-character drama should attract younger audiences eager to experience a daring, edgy and intimate story in an equally intimate space.
So close to the stage, the audience becomes voyeurs, almost uncomfortably close to a pair of lonely, middle-aged coworkers who one night become lovers. We arrive before the first deed is done, greeted by grunts, groans and moans in the dark. The light gradually reveals Frankie and Johnny, a waitress and cook, respectively, at the Clare De Lune diner in Manhattan.
We soon realize Frankie (Susan Barrett) also is uncomfortably close to Johnny, whom she liked enough to have sex with, but would rather he didn’t spend the night.
On the other side of the bed, Johnny (Lenny Bart) is convinced he’s found his true love and won’t leave until she realizes it as well. She spends the next 90 minutes pointing to their differences. He admits to more faults than even she sees, but is hardly discouraged. He also has a knack for discovering their common ground (both are originally from Allentown, both have mothers who left them at age 7, both refer to the refrigerator as the ice box).
Both are desperately lonely, not getting any younger and well aware that the years have not been kind to them. Barrett and Bart both turn in fearless performances, revealing warts and more in various stages of undress (neither quite makes it to completely naked). Barrett takes a little longer, however, to connect with her character’s profound sadness. It takes an impassioned monologue by Johnny, phoning a song request to a radio host, to bring genuine tears to her eyes. From that point, late in the first act, she’s terrific.
Bart lets it all hang out from the opening curtain. Johnny may be a bit of a creep, bordering on stalker, but Bart warms the character with a relentless, cheerful sincerity that is nearly irresistible.
Director Lauren Moran Mills gets the credit for assisting the chemistry of the players, while the narrow, New York-style apartment flat from set designers Gerg Moran and Kathrynne Forsbrey is both functional and realistic.
In Princeton, the set is neither functional nor realistic for “Tartuffe,” the familiar 17th century Moliere comedy about a Rasputin-like grafter who dupes a wealthy man into signing away his daughter and, eventually, his entire net worth. The partially obscured bedroom at stage left looks like a typical “Tartuffe” set, but the rest of the large Matthews Theatre stage is nearly bare. Two large, grey walls, in back and stage right, contain large video screens, airing a live feed from the bedroom. It’s a jittery digital broadcast from a young woman, video designer Alexandra Eaton, wearing a casual test-pattern t-shirt and operating a hand-held camera.
The cast is fine and Richard Wilbur’s English verse translation of Moliere’s original French is always a pleasure. But the odd staging, in and out of the room, seems blocked merely to provide interesting camera angles. You may get the uneasy feeling that this approach could have been applied to any revival with equal impact, or lack of the same. “Tartuffe” seems a random choice — or victim — for director Daniel Fish’s uncertain vision.
Perhaps it’s the You Tube influence on our culture, which apparently has made it all the way to the Ivy League. But if I wanted to watch videos, I could have stayed home. And with “Frankie and Johnny” in the neighborhood, Princeton suddenly seems far away.
Saturday, October 20, 2007
Shopping for Shakespeare
Just got back from the Costume and Prop Sale at the Shakespeare Theatre of New Jersey. Lots of cool stuff, as I promised. We got some masks, a parasol, some $5 T-shirts and a few other knick knacks. Mrs. Willie loves knick knacks. Lots of fun waiting on line as well as we met up with some fellow old timers, reminiscing about seeing bands in the 70s and the 80s at places like the Main Event and Zaffy's. Anybody else remember the Good Rats? "Rat City in Blue?" "Tasty?"
Takes a fella back. Back to the days when the George Street Playhouse was still on George Street, and the seats at the Shakespeare Theatre were folding desks.
Still plenty of stuff, so if you read this in a timely manner, get over there the same way.
Busy weekend on the boards as we saw "Frankie and Johnny at the Clair de Lune" last night at the Womens Theater Company in Parsippany. Incredible rain storm on the way home.
In about an hour, we're off to Princeton for a matinee of "Tartuffe." Whew.
As Greg Schiano is so fond of saying, "you just gotta keep choppin'."
Takes a fella back. Back to the days when the George Street Playhouse was still on George Street, and the seats at the Shakespeare Theatre were folding desks.
Still plenty of stuff, so if you read this in a timely manner, get over there the same way.
Busy weekend on the boards as we saw "Frankie and Johnny at the Clair de Lune" last night at the Womens Theater Company in Parsippany. Incredible rain storm on the way home.
In about an hour, we're off to Princeton for a matinee of "Tartuffe." Whew.
As Greg Schiano is so fond of saying, "you just gotta keep choppin'."
Wednesday, October 17, 2007
Forum readings at Playwights Theatre
Misplaced the press release for this event so did not get it into the column in a timely manner. So let's play catch up with Playwrights Theatre with apologies. Fortunately, I can give you bloggers a complete report, while my column readers will have to pick up with weekend 2 of the new Forum series of staged readings.
Strange I haven't had the chance to blog all that much about Playwrights Theatre, but they were dark all summer and have replaced their usual fall production with this series of readings, which they used to do in December and May.
It's also frustrating because I would love to get to more readings, especially of new works, but my schedule just won't allow it. We generally only review shows that are still running, and I have to budget my limited time to attending events I can write about.
But that's my problem. Playwrights is a developmental theater, so emphasizing readings is true to their mission.
Anyway, here's the info. You guys can decide for yourself how to budget your time.
Playwrights Theatre is proud to announce it will open its 22nd season in October with a new event called FORUM. Staged readings of 7 new plays with intimate discussion with the artists following each performance will take place at 7:00pm each evening on October 17, 18, 19, 25, 26, 27 and November 2 & 3 at Playwrights Theatre, 33 Green Village Road, Madison, NJ. Patrons can attend one reading for $10 or purchase a FORUM PASS to the entire festival for $25. Playwrights Theatre’s season subscribers receive a FORUM PASS as a free added bonus. Reservations can be made online at www.ptnj.org or call (973) 514-1787 X10.
Featuring the work of some of the nation’s best writers, including Tony and Pulitzer nominee Lee Blessing, off-Broadway regular Richard Dresser, and a commissioned premiere from New Orleans (Rising Water by John Biguenet) a play just nominated for a Pulitzer Prize, FORUM brings critical mass to Playwrights Theatre’s new play programs. Visit Playwrights Theatre’s website www.ptnj.org for additional pre-show and post-show information.
"We are very much looking forward to working on these new plays, and we are especially excited about the line-up. These are some of the best writers working in the theatre today," said John Pietrowski, Artistic Director. “John Biguenet’s play, Rising Water, has been nominated for a Pulitzer, so we’re holding our breath to see what will happen. Even though it’s received a production already in New Orleans, John has done some additional work for this reading."
Thursday, October 18 at 7:00 p.m.
Sexsting by Doris Baizley
Directed by David Winitsky
John Doe, a middle aged married man with two teenage children, has become addicted to Internet Chat Rooms where he likes to engage in "virtual sex" with underage girls. But the girl he becomes closest to is an undercover male FBI agent who is also middle aged. Sexsting is a provocative new play about virtual pornography, entrapment, loss of identity, and the blurring of boundaries in today's cyber world. This play is for ages 18 and up and not recommended for children.
Friday, October 19 at 7:00 p.m.
Lonesome Hollow by Lee Blessing.
Directed by John Pietrowski
Lonesome Hollow is a small town and high security penal colony for pedophiles and others that the government now considers “dangerous.” The open air space has trees and benches; it seems, well, kinda nice. But there sure are a lot of gunshots in the distance--and prisoners frequently get R & R in ways that leave no marks. From the Pulitzer and Tony nominated author of Whores, A Walk in the Woods, and The Winning Streak, is a brand new play that explores where America’s post 9/11 obsessions with self-protection may be heading. Recommended for 18 and up.
Saturday, October 20 at 7:00 p.m.
There or Here by Jennifer Maisel
Directed by John Pietrowski
Robyn and Ajay are desperate to have a baby so they “outsource” the pregnancy by going to a third world country to rent a womb. From the author of The Last Seder, Mallbaby, … And The Two Romeos comes a complex new play about those who yearn to connect within a world where technology let’s everyone remain distant. Recommended for ages 15 and up.
Thursday, October 25 at 7:00 p.m.
The Pursuit of Happiness by Richard Dresser
Directed by John Pietrowski
Annie and Neil are mighty concerned when Jodi, their prized daughter who went to all the right private schools, refuses to go to college. People must go to college; it’s the next step! From the author of Augusta and Rounding Third, comes a funny play about middle-aged baby boomers, obsessed with getting ahead, who build their lives inside a house of sand. Recommended for ages 15 and up.
Friday, October 26 at 7:00 p.m.
Love Song by John Kolvenbach
Directed by James Glossman
Beanne lives alone in his bare apartment. Lately the walls have been closing in, rather slowly, just like his life. When Molly magically appears out of nowhere, she rattles not only Beanne's insular world, but affects the lives of his annoying sister and her rational husband. Recently commissioned by Chicago's Steppenwolf Theatre, this play is for recommended for ages 15 and up.
Saturday, October 27 at 7:00 p.m.
The Day of the Picnic by Russell Davis
Directed by John Pietrowski
Denise Fullbright is a widow. She now resides inside a nursing home. Lately, she and others are hearing the faint call of "yoo-hoo." It's everywhere. But where does this "yoo-hoo" really come from and where it will finally lead? From the author of The Song of Gwendelyn, Sally’s Porch and Mahida’s Extra Key to Heaven, this menacing yet humorous new play evokes elements of the mystical, explores a prophecy of Isaiah, and wonders whether or not we ever see what's truly coming at us during our lives. Recommended for ages 15 and up.
Friday, November 2 and Saturday, November 3 at 7:00 p.m.
Rising Water by John Biguenet
Directed by John Pietrowski
In post Katrina New Orleans, an old married couple are stuck in their attic. Water is seeping up slowly; the whole neighborhood is flooded. Unsure of what just happened or where they are going, these refugees examine what is left of their long and difficult marriage. This play is for ages 13 and up.
**Programs are subject to change. Please visit the website www.ptnj.org for up-to-the-minutes details.
Season subscriptions and single tickets are on sale now (discounts available for students, seniors and groups). Registrations are being accepted for the Creative Arts Academy Fall classes for children, teens and adults. The New Jersey Writers Project is accepting applications for 2007-2008 residencies. For more information about any of the programs, please visit www.ptnj.org or call (937) 514-1787.
About Playwrights Theatre:
Playwrights Theatre is a 501(c)(3) non-profit, professional (Actors’ Equity) theatre. A community of professional playwrights, theatre artists, and arts educators, Playwrights provides opportunities for writers to develop their works in a nurturing environment and connect with new audiences. Our New Play Development Program is a multi-step process through which playwrights, theatre artists, and audiences collaborate to bring selected texts from rough draft to finished production. Our Education Programs introduce students of all ages and backgrounds to the possibilities inherent in thinking and communicating creatively. Playwrights Theatre's New Jersey Writers Project provides hands-on workshops led by professional writers-in-residence to students in schools and community centers throughout the state reaching over 15,000 students annually. We place an equal emphasis on New Play Development and Educational activities, and encourage our community and audiences to participate fully in both.
We are honored that for the years 2007-2010 the New Jersey State Council on the Arts (NJSCA) designated Playwrights Theatre as a Major Arts Institution. This means that the Council considers Playwrights Theatre to be “an anchor institution that contributes vitally to the quality of life in New Jersey” (along with Paper Mill Playhouse, George Street Playhouse, The Shakespeare Theatre of New Jersey and the McCarter Theatre Center).
Funding for Playwrights Theatre is made possible in part by the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts, the Geraldine R. Dodge Foundation, the F.M. Kirby Foundation, Inc., The Prudential Foundation, the Victoria Foundation, the New Jersey Cultural Trust, Bank of America, Campbell Soup Company, The Horizon Foundation for New Jersey, The Turrell Fund, Atlantic Mutual Companies, Novartis, Pearsall Family Foundation, Pfizer, PSE&G, St. Paul Travers, Wyeth and many other corporations, foundations and individual contributors. FORUM is supported by grants from the Puffin Foundation, The Shubert Foundation and The Dramatist Guild Fund.
Playwrights Theatre is a member of the New Jersey Theatre Alliance, the National New Play Network, American Alliance for Theatre & Education, Theatre Communications Group and Madison Arts & Culture Alliance.
Strange I haven't had the chance to blog all that much about Playwrights Theatre, but they were dark all summer and have replaced their usual fall production with this series of readings, which they used to do in December and May.
It's also frustrating because I would love to get to more readings, especially of new works, but my schedule just won't allow it. We generally only review shows that are still running, and I have to budget my limited time to attending events I can write about.
But that's my problem. Playwrights is a developmental theater, so emphasizing readings is true to their mission.
Anyway, here's the info. You guys can decide for yourself how to budget your time.
Playwrights Theatre is proud to announce it will open its 22nd season in October with a new event called FORUM. Staged readings of 7 new plays with intimate discussion with the artists following each performance will take place at 7:00pm each evening on October 17, 18, 19, 25, 26, 27 and November 2 & 3 at Playwrights Theatre, 33 Green Village Road, Madison, NJ. Patrons can attend one reading for $10 or purchase a FORUM PASS to the entire festival for $25. Playwrights Theatre’s season subscribers receive a FORUM PASS as a free added bonus. Reservations can be made online at www.ptnj.org or call (973) 514-1787 X10.
Featuring the work of some of the nation’s best writers, including Tony and Pulitzer nominee Lee Blessing, off-Broadway regular Richard Dresser, and a commissioned premiere from New Orleans (Rising Water by John Biguenet) a play just nominated for a Pulitzer Prize, FORUM brings critical mass to Playwrights Theatre’s new play programs. Visit Playwrights Theatre’s website www.ptnj.org for additional pre-show and post-show information.
"We are very much looking forward to working on these new plays, and we are especially excited about the line-up. These are some of the best writers working in the theatre today," said John Pietrowski, Artistic Director. “John Biguenet’s play, Rising Water, has been nominated for a Pulitzer, so we’re holding our breath to see what will happen. Even though it’s received a production already in New Orleans, John has done some additional work for this reading."
Thursday, October 18 at 7:00 p.m.
Sexsting by Doris Baizley
Directed by David Winitsky
John Doe, a middle aged married man with two teenage children, has become addicted to Internet Chat Rooms where he likes to engage in "virtual sex" with underage girls. But the girl he becomes closest to is an undercover male FBI agent who is also middle aged. Sexsting is a provocative new play about virtual pornography, entrapment, loss of identity, and the blurring of boundaries in today's cyber world. This play is for ages 18 and up and not recommended for children.
Friday, October 19 at 7:00 p.m.
Lonesome Hollow by Lee Blessing.
Directed by John Pietrowski
Lonesome Hollow is a small town and high security penal colony for pedophiles and others that the government now considers “dangerous.” The open air space has trees and benches; it seems, well, kinda nice. But there sure are a lot of gunshots in the distance--and prisoners frequently get R & R in ways that leave no marks. From the Pulitzer and Tony nominated author of Whores, A Walk in the Woods, and The Winning Streak, is a brand new play that explores where America’s post 9/11 obsessions with self-protection may be heading. Recommended for 18 and up.
Saturday, October 20 at 7:00 p.m.
There or Here by Jennifer Maisel
Directed by John Pietrowski
Robyn and Ajay are desperate to have a baby so they “outsource” the pregnancy by going to a third world country to rent a womb. From the author of The Last Seder, Mallbaby, … And The Two Romeos comes a complex new play about those who yearn to connect within a world where technology let’s everyone remain distant. Recommended for ages 15 and up.
Thursday, October 25 at 7:00 p.m.
The Pursuit of Happiness by Richard Dresser
Directed by John Pietrowski
Annie and Neil are mighty concerned when Jodi, their prized daughter who went to all the right private schools, refuses to go to college. People must go to college; it’s the next step! From the author of Augusta and Rounding Third, comes a funny play about middle-aged baby boomers, obsessed with getting ahead, who build their lives inside a house of sand. Recommended for ages 15 and up.
Friday, October 26 at 7:00 p.m.
Love Song by John Kolvenbach
Directed by James Glossman
Beanne lives alone in his bare apartment. Lately the walls have been closing in, rather slowly, just like his life. When Molly magically appears out of nowhere, she rattles not only Beanne's insular world, but affects the lives of his annoying sister and her rational husband. Recently commissioned by Chicago's Steppenwolf Theatre, this play is for recommended for ages 15 and up.
Saturday, October 27 at 7:00 p.m.
The Day of the Picnic by Russell Davis
Directed by John Pietrowski
Denise Fullbright is a widow. She now resides inside a nursing home. Lately, she and others are hearing the faint call of "yoo-hoo." It's everywhere. But where does this "yoo-hoo" really come from and where it will finally lead? From the author of The Song of Gwendelyn, Sally’s Porch and Mahida’s Extra Key to Heaven, this menacing yet humorous new play evokes elements of the mystical, explores a prophecy of Isaiah, and wonders whether or not we ever see what's truly coming at us during our lives. Recommended for ages 15 and up.
Friday, November 2 and Saturday, November 3 at 7:00 p.m.
Rising Water by John Biguenet
Directed by John Pietrowski
In post Katrina New Orleans, an old married couple are stuck in their attic. Water is seeping up slowly; the whole neighborhood is flooded. Unsure of what just happened or where they are going, these refugees examine what is left of their long and difficult marriage. This play is for ages 13 and up.
**Programs are subject to change. Please visit the website www.ptnj.org for up-to-the-minutes details.
Season subscriptions and single tickets are on sale now (discounts available for students, seniors and groups). Registrations are being accepted for the Creative Arts Academy Fall classes for children, teens and adults. The New Jersey Writers Project is accepting applications for 2007-2008 residencies. For more information about any of the programs, please visit www.ptnj.org or call (937) 514-1787.
About Playwrights Theatre:
Playwrights Theatre is a 501(c)(3) non-profit, professional (Actors’ Equity) theatre. A community of professional playwrights, theatre artists, and arts educators, Playwrights provides opportunities for writers to develop their works in a nurturing environment and connect with new audiences. Our New Play Development Program is a multi-step process through which playwrights, theatre artists, and audiences collaborate to bring selected texts from rough draft to finished production. Our Education Programs introduce students of all ages and backgrounds to the possibilities inherent in thinking and communicating creatively. Playwrights Theatre's New Jersey Writers Project provides hands-on workshops led by professional writers-in-residence to students in schools and community centers throughout the state reaching over 15,000 students annually. We place an equal emphasis on New Play Development and Educational activities, and encourage our community and audiences to participate fully in both.
We are honored that for the years 2007-2010 the New Jersey State Council on the Arts (NJSCA) designated Playwrights Theatre as a Major Arts Institution. This means that the Council considers Playwrights Theatre to be “an anchor institution that contributes vitally to the quality of life in New Jersey” (along with Paper Mill Playhouse, George Street Playhouse, The Shakespeare Theatre of New Jersey and the McCarter Theatre Center).
Funding for Playwrights Theatre is made possible in part by the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts, the Geraldine R. Dodge Foundation, the F.M. Kirby Foundation, Inc., The Prudential Foundation, the Victoria Foundation, the New Jersey Cultural Trust, Bank of America, Campbell Soup Company, The Horizon Foundation for New Jersey, The Turrell Fund, Atlantic Mutual Companies, Novartis, Pearsall Family Foundation, Pfizer, PSE&G, St. Paul Travers, Wyeth and many other corporations, foundations and individual contributors. FORUM is supported by grants from the Puffin Foundation, The Shubert Foundation and The Dramatist Guild Fund.
Playwrights Theatre is a member of the New Jersey Theatre Alliance, the National New Play Network, American Alliance for Theatre & Education, Theatre Communications Group and Madison Arts & Culture Alliance.
Monday, October 15, 2007
Review Preview: "Henry VI: Blood and Roses"
OK, in a timely manner, for once. Here's the review preview for "Blood and Roses."
As exciting as it was, I'm not sure I can go out of my way to recommend it for casual theater fans, becuase it is long and somewhat demanding. That said, I still think most people, including those with an aversion to Shakspeare, might find it surprisingly exciting. The problem is keeping up with the story, but there's so much action, your attention never wanders.
As for the rest of you (and I assume most of the people who read this blog are theater fans), you simply don't want to miss this. The acting is top-notch, including numerous performances from actors new to this stage, and the the show generally rocks and rolls like one of those old Allman Brothers concerts. Rock on, Brian Crowe, and expect some of my worthless (but highly coveted) end-of-the-year awards.
Here you go:
Theater review
If you want to go:
What: “Henry VI: Blood and Roses”
When: through Nov. 11
Where: F.M. Kirby Shakespeare Theatre, 36 Madison Ave. (Route 124), Madison
How much: $28 to $52
Info: (973) 408-5600; www.shkespearenj.org
By WILLIAM WESTHOVEN
Staff Writer
Ken Burns needed 15 hours to document America’s four-year involvement in World War II. Brian B. Crowe needed only three to cover the 32-year War of the Roses, three Shakespeare plays and an intermission.
Crowe obviously was the better choice to adapt the Bard’s sprawling trilogy of Henry VI plays, Parts 1, 2 and 3, into the taut “Henry VI: Blood and Roses,” which explodes through Nov. 11 at the Shakespeare Theatre of New Jersey.
Crowe also directed this thrilling epic, wrapping up a thematic arc that began in May with the company’s season-opener, “Henry V.” Artistic director Bonnie J. Monte got the ball rolling with that one, then turned it over to Crowe to close, which he does with a noisy slam
When performed as separate entities, the “Henry VI” troika can run nine hours or more, so many past adapters have scissored Shakespeare’s fictional look at the infamous War of the Roses, which involved petty power struggles that escalated in the aftermath of the death of conquering King Henry V. “Blood and Roses” begins with V’s funeral, on the rugged, minimalist set used for “Henry V,” now clearly in decay. Also prominent is the scaffold-like London Bridge (used in “Henry V” for prop storage), with plenty of posts to hold severed heads. They are put to good use in the second act.
To detail the plot would require an adapter to fit this space, but young Henry VI’s (grammer-schooler Daniel Marconi is a marvel in a demanding role) peaceful world is being torn apart by his squabbling uncles, protectors and mentors.
The scorecard includes Gloucester (John Hickok), the Bishop of Winchester (William Metzo) and Suffolk (Fletcher McTaggart). York (Rufus Collins) and Somerset (Joe Discher) have their own ambitions, but are more interested in fighting each other.
Suffolk takes the early lead by fixing up Henry with the lovely Margaret (Angela Pierce). By now, Henry’s a sweet young man (Ryan Farley) in way over his head. He’s got no stomach for war, and clutches his Bible like a warm puppy. His wife, however, is always up for a fight, and plots with her lover, Suffolk, to seize power.
The players alternate forming conspiracies with fighting battles, and the pattern repeats for most of the evening. But Crowe’s sharp scissors and knack for staging action keeps the story rolling downhill, picking up speed as it goes along. Some battles last only a few seconds, but fight choreographer Doug West makes the most of every moment. At one point, a new scene begins to play while a battle, already under way, rages on in the background.
More than two-dozen actors execute this complex production with dazzling precision, exiting in the wings, switching costumes and then making dramatic entrances seconds later from the back of the theater.
Hickok and Metzo are memorable sparring partners in the first act, as Gloucester’s steely resolve infuriates the devilishly nasty Winchester. Pierce and McTaggart also raise some heat as the passionate conspirators. Farley tempers the passion with his sad-eyed Henry, who just looks like he needs a hug.
The second act is like a game of Risk, as unstable alliances are formed, armies are broken, players switch sides and the fighting resumes. As the lead players’ severed heads accumulate on the bridge, second-line characters rise in profile, including Scott Whitehurst as the mercurial Earl of Warwick and Derek Wilson as Richard, the homicidal humpback who would later surface as the infamous Richard III. Wilson has turned in some nice work on this stage, mostly in gentlemanly roles. He shows some surprising range here, a frightening sight with stringy hair and flashing an evil grin while declaring “I can smile, and murder while I smile.”
Crowe adds a nod to last year’s startling production of “Richard III,” adding the gasping sound effect used in that show as Richard makes his final exit.
The Shakespeare Theatre has a well-deserved reputation for making what looks like easy work out of difficult productions. “Blood and Roses” raises the bar in Madison by whipping three at once. The only problem is, what do they do for an encore?
As exciting as it was, I'm not sure I can go out of my way to recommend it for casual theater fans, becuase it is long and somewhat demanding. That said, I still think most people, including those with an aversion to Shakspeare, might find it surprisingly exciting. The problem is keeping up with the story, but there's so much action, your attention never wanders.
As for the rest of you (and I assume most of the people who read this blog are theater fans), you simply don't want to miss this. The acting is top-notch, including numerous performances from actors new to this stage, and the the show generally rocks and rolls like one of those old Allman Brothers concerts. Rock on, Brian Crowe, and expect some of my worthless (but highly coveted) end-of-the-year awards.
Here you go:
Theater review
If you want to go:
What: “Henry VI: Blood and Roses”
When: through Nov. 11
Where: F.M. Kirby Shakespeare Theatre, 36 Madison Ave. (Route 124), Madison
How much: $28 to $52
Info: (973) 408-5600; www.shkespearenj.org
By WILLIAM WESTHOVEN
Staff Writer
Ken Burns needed 15 hours to document America’s four-year involvement in World War II. Brian B. Crowe needed only three to cover the 32-year War of the Roses, three Shakespeare plays and an intermission.
Crowe obviously was the better choice to adapt the Bard’s sprawling trilogy of Henry VI plays, Parts 1, 2 and 3, into the taut “Henry VI: Blood and Roses,” which explodes through Nov. 11 at the Shakespeare Theatre of New Jersey.
Crowe also directed this thrilling epic, wrapping up a thematic arc that began in May with the company’s season-opener, “Henry V.” Artistic director Bonnie J. Monte got the ball rolling with that one, then turned it over to Crowe to close, which he does with a noisy slam
When performed as separate entities, the “Henry VI” troika can run nine hours or more, so many past adapters have scissored Shakespeare’s fictional look at the infamous War of the Roses, which involved petty power struggles that escalated in the aftermath of the death of conquering King Henry V. “Blood and Roses” begins with V’s funeral, on the rugged, minimalist set used for “Henry V,” now clearly in decay. Also prominent is the scaffold-like London Bridge (used in “Henry V” for prop storage), with plenty of posts to hold severed heads. They are put to good use in the second act.
To detail the plot would require an adapter to fit this space, but young Henry VI’s (grammer-schooler Daniel Marconi is a marvel in a demanding role) peaceful world is being torn apart by his squabbling uncles, protectors and mentors.
The scorecard includes Gloucester (John Hickok), the Bishop of Winchester (William Metzo) and Suffolk (Fletcher McTaggart). York (Rufus Collins) and Somerset (Joe Discher) have their own ambitions, but are more interested in fighting each other.
Suffolk takes the early lead by fixing up Henry with the lovely Margaret (Angela Pierce). By now, Henry’s a sweet young man (Ryan Farley) in way over his head. He’s got no stomach for war, and clutches his Bible like a warm puppy. His wife, however, is always up for a fight, and plots with her lover, Suffolk, to seize power.
The players alternate forming conspiracies with fighting battles, and the pattern repeats for most of the evening. But Crowe’s sharp scissors and knack for staging action keeps the story rolling downhill, picking up speed as it goes along. Some battles last only a few seconds, but fight choreographer Doug West makes the most of every moment. At one point, a new scene begins to play while a battle, already under way, rages on in the background.
More than two-dozen actors execute this complex production with dazzling precision, exiting in the wings, switching costumes and then making dramatic entrances seconds later from the back of the theater.
Hickok and Metzo are memorable sparring partners in the first act, as Gloucester’s steely resolve infuriates the devilishly nasty Winchester. Pierce and McTaggart also raise some heat as the passionate conspirators. Farley tempers the passion with his sad-eyed Henry, who just looks like he needs a hug.
The second act is like a game of Risk, as unstable alliances are formed, armies are broken, players switch sides and the fighting resumes. As the lead players’ severed heads accumulate on the bridge, second-line characters rise in profile, including Scott Whitehurst as the mercurial Earl of Warwick and Derek Wilson as Richard, the homicidal humpback who would later surface as the infamous Richard III. Wilson has turned in some nice work on this stage, mostly in gentlemanly roles. He shows some surprising range here, a frightening sight with stringy hair and flashing an evil grin while declaring “I can smile, and murder while I smile.”
Crowe adds a nod to last year’s startling production of “Richard III,” adding the gasping sound effect used in that show as Richard makes his final exit.
The Shakespeare Theatre has a well-deserved reputation for making what looks like easy work out of difficult productions. “Blood and Roses” raises the bar in Madison by whipping three at once. The only problem is, what do they do for an encore?
Sunday, October 14, 2007
To "Tartuffe" or not to "Tartuffe"
Still writing my review of "Henry VI: Blood and Roses."
Here's the early draft:
"!"
But the reason I'm jumping in here is to share some interesting buzz coming up from Princeton.
I'm friendly with a lot of the other critics and we usually gaggle, especially at the big openings, where the crowd of us can get pretty big. And last night, virtually every one of them asked me if I had seen "Tartuffe," because they didn't see me at Friday's press opening.
And all of them said, "You're lucky. It was awful." And I mean all of them. With the rolling of the eyes and the smirk and the whole magilla.
My response to most was, "well, did you like his (director Daniel Fish, who definitely has some interesting ideas) "Hamlet"? And they all said no. I said, "well, I did," to which they said, "well, then maybe you might like this." Again with the eye rolling and the smirking and the whole magilla.
Ouch! Still haven't got that one on the schedule, but I'm still hoping to go.
They can't scare me off.
Here's the early draft:
"!"
But the reason I'm jumping in here is to share some interesting buzz coming up from Princeton.
I'm friendly with a lot of the other critics and we usually gaggle, especially at the big openings, where the crowd of us can get pretty big. And last night, virtually every one of them asked me if I had seen "Tartuffe," because they didn't see me at Friday's press opening.
And all of them said, "You're lucky. It was awful." And I mean all of them. With the rolling of the eyes and the smirk and the whole magilla.
My response to most was, "well, did you like his (director Daniel Fish, who definitely has some interesting ideas) "Hamlet"? And they all said no. I said, "well, I did," to which they said, "well, then maybe you might like this." Again with the eye rolling and the smirking and the whole magilla.
Ouch! Still haven't got that one on the schedule, but I'm still hoping to go.
They can't scare me off.
Saturday, October 13, 2007
Costume and prop sale
I've often written that one of my favorite theater nights of the year is the outdoor show put on by the Shakespeare Theatre of New Jersey. Mrs. Willie's favorite recurring event is the biennial costume and prop sale at said company's F.M. Kirby Shakespeare Theatre.
We were late getting to the pickings in 2005, but still got a lot of cool stuff. Got someone unique on your holiday gift list? This is the place you want to be. I'm not shilling here; we stood in the rain to get in and had plenty of company. This thing is a lot of fun and well-attended, so get there early.
A more formal writeup of the event follows. FYI: I'll be there tonight for Blood and Roses. And since I'm up writing this at 4:30 a.m., I guess I'll be napping beforehand.
Oh, well, sleepless nights are good for the old blog. sorry I've been scarce lately, but life's been busy. Lots of plays, lots of transition issues as I approach my transfer date to the Daily Record.
I just gotta keep choppin', eh, Rutgers fans?
Remind me to blog about the personal-best 89 I shot last week. I know you want to know all about it.
i Just in time for Halloween, the Shakespeare Theatre of New Jersey will conduct its second Biennial Costume and Prop Sale Saturday at the F.M. Kirby Shakespeare Theatre, 36 Madison Ave. (Route 124) on the campus of Drew University in Madison.
The sale will feature hundreds of unique items from the company’s costume and prop shops, including many worn, used or seen in main-stage productions. Proceeds from the sale will benefit the company’s educational and artistic programs.
Admission is free of charge and the doors will open at 10 a.m. sharp. Shoppers may want to consider arriving early since the 2005 sale was so well-attended that a long line formed outside the theater, with many people standing in a steady rain while waiting for their chance to enter.
For more information, call (973) 408-5600 or visit www.shakespearenj.org.
We were late getting to the pickings in 2005, but still got a lot of cool stuff. Got someone unique on your holiday gift list? This is the place you want to be. I'm not shilling here; we stood in the rain to get in and had plenty of company. This thing is a lot of fun and well-attended, so get there early.
A more formal writeup of the event follows. FYI: I'll be there tonight for Blood and Roses. And since I'm up writing this at 4:30 a.m., I guess I'll be napping beforehand.
Oh, well, sleepless nights are good for the old blog. sorry I've been scarce lately, but life's been busy. Lots of plays, lots of transition issues as I approach my transfer date to the Daily Record.
I just gotta keep choppin', eh, Rutgers fans?
Remind me to blog about the personal-best 89 I shot last week. I know you want to know all about it.
i Just in time for Halloween, the Shakespeare Theatre of New Jersey will conduct its second Biennial Costume and Prop Sale Saturday at the F.M. Kirby Shakespeare Theatre, 36 Madison Ave. (Route 124) on the campus of Drew University in Madison.
The sale will feature hundreds of unique items from the company’s costume and prop shops, including many worn, used or seen in main-stage productions. Proceeds from the sale will benefit the company’s educational and artistic programs.
Admission is free of charge and the doors will open at 10 a.m. sharp. Shoppers may want to consider arriving early since the 2005 sale was so well-attended that a long line formed outside the theater, with many people standing in a steady rain while waiting for their chance to enter.
For more information, call (973) 408-5600 or visit www.shakespearenj.org.
Tuesday, October 9, 2007
Review Preview: School for Wives
Draft of my review of "School for Wives" at Centenary College follows. Had to wait until alst night to finish the lead (you'll understand when you read it).
Normally, I do not look forward to Centenary's season-opening costume classic, but this was a startling exception. Two reasons not in the review: the cast is not dependent on students that never seem to do very well on this stage, and a tight running time of 2 hours even.
Which is more than I can expect this week when I see "Blood and Roses" at Shakespeare Theatre of New Jersey. Looking forward to it (Brian Crowe is rapidly rising to the top of my list of resident directors there, and that's one talented list), but I have a nap scheduled in my DayRunner for Saturday afternoon.
Theater review
If you want to go:
What: “School for Wives”
When: through Oct. 21
Where: Centenary Theatre, Centenary College, 400 Jefferson St., Hackettstown
How much: $15 to $22
Info: (908) 979-0900; www.centenarystageco.org
By WILLIAM WESTHOVEN
Daily Record
Call him Mr. October.
Morris-area baseball fans may not have a team to cheer for in the World Series, but, like Reggie Jackson in the 1977 fall classic, artistic director Carl Wallnau is the straw that stirs the drink for Centenary Stage Company, which last week premiered a sensational production of “School for Wives.”
Wallnau traditionally directs his professional company’s season-opening, classic-theater production, but for the first time in several years, he’s also claimed the starring role. He’s cast himself perfectly as the unscrupulous, cradle-rocking fraud in Moliere’s 18th century farce, and he’s hit the part out of the park. There are many pleasures in “School for Wives,” but Wallnau’s side-splitting performance is more than enough to nominate it for comedy of the year in Northern New Jersey.
The famed 17th century French playwright Moliere also was known for starring in his not-so-romantic comedy about a middle-aged businessman experiencing something of a mid-life crisis. Arnolphe had achieved some measure of respect and success, but has yet to marry, fearing the fate of other men who have become cuckolds (men whose wives cheat on them). His long-term solution, however, is about to ripen. Agnes (Katie Tame), his young ward, is back home after years in a convent, where her only education came from the Bible and a book about how to be a proper wife.
Unfortunately, while he was traveling, Agnes was smitten by young Horace (Philip Mutz), the son of one of Arnolphe’s oldest friends. Enlisting the assistance of two less-than loyal—and less than competent—servants (Stuart Fingeret and Daniele Tampier), Arnolphe spends the better part of two acts plotting to separate the young lovers, taking one step forward and three steps back the entire way.
To be sure, there is no vegetarian alternative in “School for Wives” as Wallnau’s performance has more ham than the breakfast special at I.H.O.P. Imagine Jackie Gleason doing an impression of David Niven and you’ll begin to get the idea. Wallnau the director has given Wallnau the actor free reign, and he commands the stage like a child throwing a tantrum in the middle of Wal-Mart. Twisting syllables and eyebrows beyond their natural limits, Wallnau had the opening-night audience hyperventilating and gasping for air in between the belly laughs.
Of course, given his character’s utter lack of conscience and scruples (even his bribes are counterfeit), the over-the-top approach is perfectly appropriate. Arnolphe’s behavior is so inexcusable that he must be rendered a caricature for any audience to appreciate him, because they will never like or sympathize with him. This was true, even in Moliere’s day, and it takes a brave man to play such a coward with so much passion.
Wallnau the director also has a nice touch with his supporting cast. Fingeret and Tampier have a nice chemistry as the bumbling servants, while Mutz, who has done some work with the Shakespeare Theatre of New Jersey, is an earnest, eager lover who handles the tricky dialogue with ease. Leon Hill, a Centenary student and Centenary Stage veteran, makes an impression in a brief role as a snooty notary.
Wallnau’s only misstep as director is dressing Agnes in a pink, baby-doll dress with oversize hair ribbons, and having Katie Tame play her as an obnoxious 8-year-old. Gilda Radner used to make this work on “Saturday Night Live,” but her character was not an object of male desire. Wallnau even supplies her with an oversized lollipop, adding a creepy Lolita quality to the list of reasons why we hate Arnolphe.
Tame also delivers her lines with a loud, shrill voice that would make one wonder why two men, let alone one, would want her as a wife. Fortunately, Wallnau lets her act her age during a balcony monolgue that lets us appreciate Tame, and her character, just enough to not consider if she may be the punishment Arnolphe deserves.
Centenary College has a lot to look forward to in the future, with groundbreaking this week on the new, 70,000-square-foot Lackland Center, which will include a new 500-seat theater. In the meantime, Centenary Stage Company has brightened the school’s present with this fine production of an enjoyable classic plucked from the past.
Normally, I do not look forward to Centenary's season-opening costume classic, but this was a startling exception. Two reasons not in the review: the cast is not dependent on students that never seem to do very well on this stage, and a tight running time of 2 hours even.
Which is more than I can expect this week when I see "Blood and Roses" at Shakespeare Theatre of New Jersey. Looking forward to it (Brian Crowe is rapidly rising to the top of my list of resident directors there, and that's one talented list), but I have a nap scheduled in my DayRunner for Saturday afternoon.
Theater review
If you want to go:
What: “School for Wives”
When: through Oct. 21
Where: Centenary Theatre, Centenary College, 400 Jefferson St., Hackettstown
How much: $15 to $22
Info: (908) 979-0900; www.centenarystageco.org
By WILLIAM WESTHOVEN
Daily Record
Call him Mr. October.
Morris-area baseball fans may not have a team to cheer for in the World Series, but, like Reggie Jackson in the 1977 fall classic, artistic director Carl Wallnau is the straw that stirs the drink for Centenary Stage Company, which last week premiered a sensational production of “School for Wives.”
Wallnau traditionally directs his professional company’s season-opening, classic-theater production, but for the first time in several years, he’s also claimed the starring role. He’s cast himself perfectly as the unscrupulous, cradle-rocking fraud in Moliere’s 18th century farce, and he’s hit the part out of the park. There are many pleasures in “School for Wives,” but Wallnau’s side-splitting performance is more than enough to nominate it for comedy of the year in Northern New Jersey.
The famed 17th century French playwright Moliere also was known for starring in his not-so-romantic comedy about a middle-aged businessman experiencing something of a mid-life crisis. Arnolphe had achieved some measure of respect and success, but has yet to marry, fearing the fate of other men who have become cuckolds (men whose wives cheat on them). His long-term solution, however, is about to ripen. Agnes (Katie Tame), his young ward, is back home after years in a convent, where her only education came from the Bible and a book about how to be a proper wife.
Unfortunately, while he was traveling, Agnes was smitten by young Horace (Philip Mutz), the son of one of Arnolphe’s oldest friends. Enlisting the assistance of two less-than loyal—and less than competent—servants (Stuart Fingeret and Daniele Tampier), Arnolphe spends the better part of two acts plotting to separate the young lovers, taking one step forward and three steps back the entire way.
To be sure, there is no vegetarian alternative in “School for Wives” as Wallnau’s performance has more ham than the breakfast special at I.H.O.P. Imagine Jackie Gleason doing an impression of David Niven and you’ll begin to get the idea. Wallnau the director has given Wallnau the actor free reign, and he commands the stage like a child throwing a tantrum in the middle of Wal-Mart. Twisting syllables and eyebrows beyond their natural limits, Wallnau had the opening-night audience hyperventilating and gasping for air in between the belly laughs.
Of course, given his character’s utter lack of conscience and scruples (even his bribes are counterfeit), the over-the-top approach is perfectly appropriate. Arnolphe’s behavior is so inexcusable that he must be rendered a caricature for any audience to appreciate him, because they will never like or sympathize with him. This was true, even in Moliere’s day, and it takes a brave man to play such a coward with so much passion.
Wallnau the director also has a nice touch with his supporting cast. Fingeret and Tampier have a nice chemistry as the bumbling servants, while Mutz, who has done some work with the Shakespeare Theatre of New Jersey, is an earnest, eager lover who handles the tricky dialogue with ease. Leon Hill, a Centenary student and Centenary Stage veteran, makes an impression in a brief role as a snooty notary.
Wallnau’s only misstep as director is dressing Agnes in a pink, baby-doll dress with oversize hair ribbons, and having Katie Tame play her as an obnoxious 8-year-old. Gilda Radner used to make this work on “Saturday Night Live,” but her character was not an object of male desire. Wallnau even supplies her with an oversized lollipop, adding a creepy Lolita quality to the list of reasons why we hate Arnolphe.
Tame also delivers her lines with a loud, shrill voice that would make one wonder why two men, let alone one, would want her as a wife. Fortunately, Wallnau lets her act her age during a balcony monolgue that lets us appreciate Tame, and her character, just enough to not consider if she may be the punishment Arnolphe deserves.
Centenary College has a lot to look forward to in the future, with groundbreaking this week on the new, 70,000-square-foot Lackland Center, which will include a new 500-seat theater. In the meantime, Centenary Stage Company has brightened the school’s present with this fine production of an enjoyable classic plucked from the past.
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