I'll skip the tired and repetitive apologies for not posting more lately. I'll get it in gear when I can find the time.
In the meantime, a rare timely Review Preview of Argonautika at McCarter. Not quite the mindblower I was hoping for, but quite interesting and kind of fun to watch.
And what could be better than a visit to Princeton in the spring?
Please all keep my stepson, Cyle, in your thoughts. He left for Afghanistan last week and is now an Army lieutenant in charge of a reconnaissance team, flushing Taliban and other bad guys out of caves and such.
Hell of a way to make a living. Good news (I hope) is after two tours in Iraq, his wife has told him this is the last one.
Mother is with the young Mrs. on that one.
Anyway, on with the show. Talk to you soon, I hope.
If you want to go:
What: “Argonautika”
When: through April 6
Where: Centenary Matthews Theatre, McCarter Theatre Center at Princeton University, 91 University Place, Princeton
How much: $15 to $49
Info: (609) 258-2787; www.mccarter.org
By WILLIAM WESTHOVEN
Daily Record
“Don’t be so literal. You’ll miss a lot.”
That’s the advice from one God to another in “Argonautika,” the latest myth-inspired theatrical experience staged by Mary Zimmerman at McCarter Theatre.
Zimmerman clearly has an abstract eye, as she previously proved at Princeton with “The Secret in the Wings” and “The Odyssey.” The former blended a sampling of lesser-known Grimm fairy tales and the was latter based on Homer’s epic poem. She also won a Tony for her 2002 staging of “Metamorphoses,” based on another Greek poem by Ovid.
Artistic director Emily Mann praises Zimmerman’s ability to “tell a tale by transforming language into thrilling visual life.” “Argonautika,” which visualizes the mythology of Jason and the Argonauts, is certainly evidence of that ability. On a set that resembles a mostly bare wooden crate set on its side, Zimmerman turns “Argonautika” into a gift basket full of visual treats.
Her grasp of language and dialogue, however, is less consistent. She overreaches by tapping into two different interpretations of the tale, which causes some confusion, especially for those people who may not be familiar with the story in the first place.
Fans of Greek mythology know all about Jason, son of a deposed king who is tasked by his uncle and current king to retrieve the mythical Golden Fleece and thereby claim the thrown. Looking on from above, the goddess Hera knows this is a fool’s errand, designed to get Jason out of the king’s hair, and most likely send him to his death.
With Hera and Athena watching his back. Jason constructs a mighty ship, the Argo, assembles a mighty strike force (including Hercules) and sets sail into unknown waters. During their storied voyage, they encounter myriad peril, including vengeful gods, sea monsters, flying harpies, fire-snorting bulls and a liberal dose of sorcery.
In her director’s notes, Zimmerman acknowledges the most popular adaptation of the story, crafted by Apollonius of Rhodes, along with another by Gaius Valerius Flaccus. From them, and two different translations, she rescues the full story of Jason’s lover, Medea, which often has been removed from popular Hollywood adaptations.
Small wonder, since they cast the title hero in a bad light. Medea was a sorceress and virgin daughter of King Aietes of Colchis, keeper of the Fleece. Because Jason needs Medea’s help to accomplish his mission, Hera and Athena convince Aphrodite to get her son, Eros, to shoot Medea with an arrow that makes her fall in love with Jason.
But in this adaptation, once the mission is accomplished, Jason dumps Medea for a politically motivated marriage, setting off a final series of tragedy.
Zimmerman’s narrative is frequently dry and heavy handed, which occasionally anchors the Argo in muddy seas. It also weighs down the actors, who struggle to give their characters a clear sense of identity.
A few actors break through. Soren Oliver plays Hercules as an oafish brute full of bluster, while Atley Loughridge covers a gamut of emotion as Medea. Her giddy giggling early on makes her undeserved fate that much more tragic.
Others struggle, including Jake Suffian as the title character, who has trouble standing out in a crowd of uniformed Argonauts, and Sofia Jean Gomez as Athena, who is saddled with much of the narration.
No matter, because “Argonautika” is more for the eye than the ear, and Zimmerman does not disappoint her fans. Characters drop from the sky and disappear through the floor, while puppets and some stunning costumes bring supernatural characters to more life than some of the human ones. Black grills in the “box” allow for eerie lighting effects, while the entire cast choreographs a spectacular wind storm.
The actors also execute some tricky and physical gymnastics that will remind some of a ballet, and even sing a few entertaining songs.
Zimmerman also has a knack for comic relief, and an odd sense of comic timing that seems delightfully random, so you never know when it might pop up. Allen Gilmore, as the scheming King Pelais, has the most fun as the scheming, two faced King Pelias.
The director also injects brief bursts of profanity to remind you that you are in Princeton, not at a child’s show at the Growing Stage.
Sunday, March 23, 2008
Wednesday, March 12, 2008
Signs of life
A quick check in to make sure you all know I did not go away. Sorry, but I've just been too busy to blog. So much to do at the Daily Record, where we have now started five new weeklies since last summer, including two in the last month. And I'm hip deep in that project. I enjoy it more than most, given my community newspaper background. We're not filling these with trailblazing, first-amendment, watchdog journalism, but rather positive news, including lots and lots of photos and reader-contributed content.
All very well received, and keeping the ship afloat, so to speak. But they are large monsters that must be fed, forcing me to work some weekends and nights in addition to the rest.
Also have been regularly producing auto columns for our new Real Morris magazine for the rich and famous (well,maybe not famous). I've test driven a Porsche Cayenne, a Mercedes I don't remember the number and a Lamborghini Gallardo.
But I hope you've been noticing that I'm still getting tot he theaters and cranking out the reviews. You just need to go to Dailyrecord.com to read them.
FYI, I'll leak word that I've won another first place NJ Press Award for critical writing, although not official until the awards ceremony in April. Guess I'll have to update the profile. If anyone cares, the submitted reviews were for Henry VI, Seven Brides and My Three Angels. I believe all three are posted here somewhere.
I'll get back to Review Previews, etc, soon, but just don't have the time right now. Also,I hear the Gannett NJ papers are going to do some sort of collective blog consolidation or reorg, and I'm still in the mix for that. Perhaps even they'll acknowledge blogging in the job description, which would force them to budget time from your week to do that.
I can dream, can't I?
In the meantime, back to the grind. Talk to you soon.
All very well received, and keeping the ship afloat, so to speak. But they are large monsters that must be fed, forcing me to work some weekends and nights in addition to the rest.
Also have been regularly producing auto columns for our new Real Morris magazine for the rich and famous (well,maybe not famous). I've test driven a Porsche Cayenne, a Mercedes I don't remember the number and a Lamborghini Gallardo.
But I hope you've been noticing that I'm still getting tot he theaters and cranking out the reviews. You just need to go to Dailyrecord.com to read them.
FYI, I'll leak word that I've won another first place NJ Press Award for critical writing, although not official until the awards ceremony in April. Guess I'll have to update the profile. If anyone cares, the submitted reviews were for Henry VI, Seven Brides and My Three Angels. I believe all three are posted here somewhere.
I'll get back to Review Previews, etc, soon, but just don't have the time right now. Also,I hear the Gannett NJ papers are going to do some sort of collective blog consolidation or reorg, and I'm still in the mix for that. Perhaps even they'll acknowledge blogging in the job description, which would force them to budget time from your week to do that.
I can dream, can't I?
In the meantime, back to the grind. Talk to you soon.
Wednesday, February 13, 2008
Review Preview: The Miracle Worker
OK, here's a technically timely Review Preview of "The Miracle Worker" at Paper Mill. Only technically, cause I saw the show two weeks ago. But the review does not publish until Friday, so it's fresh as a daisy.
No play last week and none this week, but following is another busy stretch, I think seven plays in six weeks.
Oy.
FYI congrats to all the new management types at Paper Mill, recently announced. We're all hoping things turn around.
If you want to go:
What: “The Miracle Worker”
When: through Feb. 24
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 York Giants recently completed a miracle season in the Meadowlands. For additional inspiration, the Miracle in Millburn plays on a while longer.
There’s no denying the power of “The Miracle Worker,” which is enjoying a high-profile revival at Paper Mill Playhouse. William Gibson’s adaptation of the true-life saga of Helen Keller and her teacher is one of those stories that cannot fail to move an audience.
“The Miracle Worker” also is a fairly simple production to stage, making it one of the most frequently seen plays in the United States. So when a company with a large stage and a lot of seats decides to present this important but intimate drama, several questions come to mind.
Practical considerations include how the director will prevent the huge stage from swallowing the story. Another concern shared by prominent professional theaters is how to make a given production stand out among its many predecessors.
Paper Mill takes on this challenge every year about this time. Last year, it was Tennessee Williams’ “Summer and Smoke.” The season before showcased another inspirational classic, “Diary of Anne Frank.” Both were worthy productions that struggled to connect with the audience beyond the orchestra seats.
Paper Mill, like competing stages across the Hudson, sometimes ups the ante with big-name actors such as “Summer and Smoke” stars Amanda Plummer and Kevin Anderson. Director Susan Fenichell has no such ringer in her cast, although the actors all do an admirable job. And to be fair, it’s hard to find a ringer actress capable of playing a 12-year-old, especially with Miley Cyrus busy on her concert tour.
Instead, Paper Mill has split the daunting responsibility of playing Helen between two up-and-comers: fifth-grader Meredith Lipson of Pennsylvania and New Jersey sixth-grader Lily Maketansky.
Lipson drew the assignment of playing Helen for the press opening and was a bundle of energy in a role normally played by an older “young” actress. Her dark, wild hair, tossed back like a lion’s mane, and high forehead made her eyes stand out like the coal nuggets on a snowman’s face. But those eyes never showed any sign of usefulness as she quickly groped her way around the stage, arms flailing and hands dancing over everything she touched.
The untamed nature of her character—left blend, deaf and largely mute by a childhood fever—leads to the entrance of the title character, Anne Sullivan (Annika Boras). Barely 20 years old and graduated from a special school, traumatized as an orphan and with her own limited vision, Sullivan seemed ill-equipped to reach Helen when many other professionals had tried and failed.
But Helen’s wealthy family in 1880s Alabama was running out of options more humane than a mental institution.
As we all know, Sullivan’s unique perspective and stubborn determination proved to be exactly what Helen needed. The rest is popular history — Helen learned not only to communicate, but became an inspirational speaker, advocate for the disabled and a celebrity, and enjoyed a lifelong friendship with her mentor.
Fenichell does a better job than most directors in adapting an intimate story to the large space. Center stage functions largely as the courtyard of the Keller estate. It later gives way to the dining room set for what is sometimes referred to as the longest battle scene in American drama. Boras and Lipson execute the complex and exhausting scene, in which Anne forces Helen through a lesson in table manners, with admirable precision.
Fenichell also emphasizes the subtle humor that Gibson sprinkles through the story, including Anne’s famous line after emerging from her battle with Helen.
“The room’s a wreck, but her napkin is folded.”
Among the supporting cast, John Hickok nicely blends Captain Keller’s mix of compassion and Confederate bluster, while Emily Dorsch, as Kate, is a sympathetically desperate mother. Scenic designer David Zinn, who also designed the costumes, fills the stage with real estate.
Still, there’s very little here to recommend as a must-see. Certainly, if you have not yet seen “The Miracle Worker,” this would be a fine choice to start. But at $95 for top-priced ticket, you’ll want to search the discount schedule for an acceptable admission.
No play last week and none this week, but following is another busy stretch, I think seven plays in six weeks.
Oy.
FYI congrats to all the new management types at Paper Mill, recently announced. We're all hoping things turn around.
If you want to go:
What: “The Miracle Worker”
When: through Feb. 24
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 York Giants recently completed a miracle season in the Meadowlands. For additional inspiration, the Miracle in Millburn plays on a while longer.
There’s no denying the power of “The Miracle Worker,” which is enjoying a high-profile revival at Paper Mill Playhouse. William Gibson’s adaptation of the true-life saga of Helen Keller and her teacher is one of those stories that cannot fail to move an audience.
“The Miracle Worker” also is a fairly simple production to stage, making it one of the most frequently seen plays in the United States. So when a company with a large stage and a lot of seats decides to present this important but intimate drama, several questions come to mind.
Practical considerations include how the director will prevent the huge stage from swallowing the story. Another concern shared by prominent professional theaters is how to make a given production stand out among its many predecessors.
Paper Mill takes on this challenge every year about this time. Last year, it was Tennessee Williams’ “Summer and Smoke.” The season before showcased another inspirational classic, “Diary of Anne Frank.” Both were worthy productions that struggled to connect with the audience beyond the orchestra seats.
Paper Mill, like competing stages across the Hudson, sometimes ups the ante with big-name actors such as “Summer and Smoke” stars Amanda Plummer and Kevin Anderson. Director Susan Fenichell has no such ringer in her cast, although the actors all do an admirable job. And to be fair, it’s hard to find a ringer actress capable of playing a 12-year-old, especially with Miley Cyrus busy on her concert tour.
Instead, Paper Mill has split the daunting responsibility of playing Helen between two up-and-comers: fifth-grader Meredith Lipson of Pennsylvania and New Jersey sixth-grader Lily Maketansky.
Lipson drew the assignment of playing Helen for the press opening and was a bundle of energy in a role normally played by an older “young” actress. Her dark, wild hair, tossed back like a lion’s mane, and high forehead made her eyes stand out like the coal nuggets on a snowman’s face. But those eyes never showed any sign of usefulness as she quickly groped her way around the stage, arms flailing and hands dancing over everything she touched.
The untamed nature of her character—left blend, deaf and largely mute by a childhood fever—leads to the entrance of the title character, Anne Sullivan (Annika Boras). Barely 20 years old and graduated from a special school, traumatized as an orphan and with her own limited vision, Sullivan seemed ill-equipped to reach Helen when many other professionals had tried and failed.
But Helen’s wealthy family in 1880s Alabama was running out of options more humane than a mental institution.
As we all know, Sullivan’s unique perspective and stubborn determination proved to be exactly what Helen needed. The rest is popular history — Helen learned not only to communicate, but became an inspirational speaker, advocate for the disabled and a celebrity, and enjoyed a lifelong friendship with her mentor.
Fenichell does a better job than most directors in adapting an intimate story to the large space. Center stage functions largely as the courtyard of the Keller estate. It later gives way to the dining room set for what is sometimes referred to as the longest battle scene in American drama. Boras and Lipson execute the complex and exhausting scene, in which Anne forces Helen through a lesson in table manners, with admirable precision.
Fenichell also emphasizes the subtle humor that Gibson sprinkles through the story, including Anne’s famous line after emerging from her battle with Helen.
“The room’s a wreck, but her napkin is folded.”
Among the supporting cast, John Hickok nicely blends Captain Keller’s mix of compassion and Confederate bluster, while Emily Dorsch, as Kate, is a sympathetically desperate mother. Scenic designer David Zinn, who also designed the costumes, fills the stage with real estate.
Still, there’s very little here to recommend as a must-see. Certainly, if you have not yet seen “The Miracle Worker,” this would be a fine choice to start. But at $95 for top-priced ticket, you’ll want to search the discount schedule for an acceptable admission.
Review Preview rewind: TNJ, McCarter
Neglecting my duties again as me and Mrs. Willie go into full home-improvement mode. We're refinancing to lower our rate and grab some cash for renovations. My home has been a revolving door of contractors, while evening conversations center around countertops and door sizes.
But I am getting to the shows. Following is a draft of the review we already published last Friday, which sort of perverts the whole Review Preview concept. But for the record,we post.
I'll follow with my Review Preview of Paper Mill's "The Miracle Worker."
FYI: "Me, Myself and I" closes Sunday, so if the review inspires you to go, move your booty. Also, tickets are tight.
Theater review
What: “Me, Myself and I”
When: through Feb 17
Where: Berlind Theatre, McCarter Theatre Center, 91 University Place, Princeton University, Princeton
How much: $15-49
Info: (609) 258-2787, ext.10; www.mccarter.org
What: “Flying Crows”
When: through Feb 17
Where: Playwrights Theatre, 33 Green Village Road, Madison
How much: $25-$27.50
Info: (973) 514-1787, ext.10; www.ptnj.org
By WILLIAM WESTHOVEN
Daily Record
It’s not every week that you can find two famous writers staging world premieres in New Jersey.
One of these novel stories comes from a novel, “Flying Crows,” by PBS news anchor Jim Lehrer. James Glossman adapted and directed this fascinating mystery.
At Princeton, three-time Pulitzer Prize winner Edward Albee is exploring more familiar territory, at least for him. “Me, Myself and I” is a dark, abstract, absurd comedy, full of confrontation and twisted conversation that would drive a grammar convention to the hotel bar.
“Flying Crows” is more complicated, but easier to follow. It reconstructs the life of a vagrant discovered living in Kansas City’s Union Station in 1997. Detective Randy Benton (Dan Domingues) finds Birdie Carlucci (Anthony Blaha) there during a final inspection before the historic building’s demolition.
When Birdie reveals he’s lived there since escaping from the infamous Somerset Medical Institution in 1933, Benton searches for answers. How did Birdie avoid detection? How did he eat? And what happened to Birdie at Somerset?
Benton’s only clue is the name Josh (Reathel Bean), whom Birdie says escaped with him. As Benton follows the trail, “Flying Crows” becomes a memory play. We see scenes of Josh and Birdie building a friendship and enduring hardships at Somerset, where thug-like attendants kept the peace with baseball bats.
We also see the memories of other witnesses, including a waitress from Union Station’s fabled Harvey House restaurant, who became more than a friend to Birdie back in the day.
There’s no active crime to solve, but Lehrer has crafted some rich characters and pulls you into this world of shadows.
Glossman’s adaptation moves at a brisk pace and covers a lot of ground. He’s also assembled a talented and brave cast. The problem is they are nearly overwhelmed by having to play two dozen characters in at least as many scenes.
Prentiss Benjamin spends the most time donning new skins. She begins as a narrator, although everyone takes turn providing narration that sounds like it came straight from the book. She also plays an aunt, a doctor, an EMT and the “Harvey Girl” waitress, both in flashback and in 1997.
Benjamin and Domingues know the territory, having done similar ensemble duty in Glossman’s “Sunrise at Monticello” on this stage a few years back. They are up to the task, but the audience has trouble keeping up with who’s who, where and when.
Newcomers Bean and Blaha both turn in rich performances in their principal roles. Bean’s calm, country manner and deep voice give Josh the kind of dignity his character never experienced at Somerset. Blaha is a convincing lunatic and a believable ladies man, both qualities essential to the tale.
Glossman adds a video screen with images of the station real structures that serve as the setting for this fictional story, along with datelines to remind you which decade you’re in. It helps, but so would trimming a few scenes and characters.
But as it stands, “Flying Crow” is worthy of an audience that, in the middle of a Hollywood writer’s strike, could use a good story right about now.
In Princeton, Albee’s “Me Myself and I” doesn’t offer much of a story — a mother who named both of her twin sons Otto and can’t tell the evil one from the good one. We never learn why the doctor who delivered them replaced the father who left on their birthday.
But this darkly hilarious gem is a brilliant showcase for the fabulous Tyne Daly (showing off some rarely seen comic skills) and Broadway favorite Brian Murray as the mom and the doc, who have a ball with Albee’s intricate wordplay. Artistic director Emily Mann wisely clears the set of everything but actors and a few beds, and lets them coin phrases, then twist them into knots like Eagle Scouts at a jamboree. Along the way, we learn a bit about maternal bonds, sibling rivalries and individual identity.
Like “Flying Crows,” it gets confusing at times, but the “Me, Myself and I” audience also can enjoy how the characters are as confused as they are.
But I am getting to the shows. Following is a draft of the review we already published last Friday, which sort of perverts the whole Review Preview concept. But for the record,we post.
I'll follow with my Review Preview of Paper Mill's "The Miracle Worker."
FYI: "Me, Myself and I" closes Sunday, so if the review inspires you to go, move your booty. Also, tickets are tight.
Theater review
What: “Me, Myself and I”
When: through Feb 17
Where: Berlind Theatre, McCarter Theatre Center, 91 University Place, Princeton University, Princeton
How much: $15-49
Info: (609) 258-2787, ext.10; www.mccarter.org
What: “Flying Crows”
When: through Feb 17
Where: Playwrights Theatre, 33 Green Village Road, Madison
How much: $25-$27.50
Info: (973) 514-1787, ext.10; www.ptnj.org
By WILLIAM WESTHOVEN
Daily Record
It’s not every week that you can find two famous writers staging world premieres in New Jersey.
One of these novel stories comes from a novel, “Flying Crows,” by PBS news anchor Jim Lehrer. James Glossman adapted and directed this fascinating mystery.
At Princeton, three-time Pulitzer Prize winner Edward Albee is exploring more familiar territory, at least for him. “Me, Myself and I” is a dark, abstract, absurd comedy, full of confrontation and twisted conversation that would drive a grammar convention to the hotel bar.
“Flying Crows” is more complicated, but easier to follow. It reconstructs the life of a vagrant discovered living in Kansas City’s Union Station in 1997. Detective Randy Benton (Dan Domingues) finds Birdie Carlucci (Anthony Blaha) there during a final inspection before the historic building’s demolition.
When Birdie reveals he’s lived there since escaping from the infamous Somerset Medical Institution in 1933, Benton searches for answers. How did Birdie avoid detection? How did he eat? And what happened to Birdie at Somerset?
Benton’s only clue is the name Josh (Reathel Bean), whom Birdie says escaped with him. As Benton follows the trail, “Flying Crows” becomes a memory play. We see scenes of Josh and Birdie building a friendship and enduring hardships at Somerset, where thug-like attendants kept the peace with baseball bats.
We also see the memories of other witnesses, including a waitress from Union Station’s fabled Harvey House restaurant, who became more than a friend to Birdie back in the day.
There’s no active crime to solve, but Lehrer has crafted some rich characters and pulls you into this world of shadows.
Glossman’s adaptation moves at a brisk pace and covers a lot of ground. He’s also assembled a talented and brave cast. The problem is they are nearly overwhelmed by having to play two dozen characters in at least as many scenes.
Prentiss Benjamin spends the most time donning new skins. She begins as a narrator, although everyone takes turn providing narration that sounds like it came straight from the book. She also plays an aunt, a doctor, an EMT and the “Harvey Girl” waitress, both in flashback and in 1997.
Benjamin and Domingues know the territory, having done similar ensemble duty in Glossman’s “Sunrise at Monticello” on this stage a few years back. They are up to the task, but the audience has trouble keeping up with who’s who, where and when.
Newcomers Bean and Blaha both turn in rich performances in their principal roles. Bean’s calm, country manner and deep voice give Josh the kind of dignity his character never experienced at Somerset. Blaha is a convincing lunatic and a believable ladies man, both qualities essential to the tale.
Glossman adds a video screen with images of the station real structures that serve as the setting for this fictional story, along with datelines to remind you which decade you’re in. It helps, but so would trimming a few scenes and characters.
But as it stands, “Flying Crow” is worthy of an audience that, in the middle of a Hollywood writer’s strike, could use a good story right about now.
In Princeton, Albee’s “Me Myself and I” doesn’t offer much of a story — a mother who named both of her twin sons Otto and can’t tell the evil one from the good one. We never learn why the doctor who delivered them replaced the father who left on their birthday.
But this darkly hilarious gem is a brilliant showcase for the fabulous Tyne Daly (showing off some rarely seen comic skills) and Broadway favorite Brian Murray as the mom and the doc, who have a ball with Albee’s intricate wordplay. Artistic director Emily Mann wisely clears the set of everything but actors and a few beds, and lets them coin phrases, then twist them into knots like Eagle Scouts at a jamboree. Along the way, we learn a bit about maternal bonds, sibling rivalries and individual identity.
Like “Flying Crows,” it gets confusing at times, but the “Me, Myself and I” audience also can enjoy how the characters are as confused as they are.
Wednesday, January 30, 2008
Review preview preview: The Miracle Worker
It's a long story, but although I saw Paper Mill's "The Miracle Worker" opening night, my review won't run for more than two weeks. So it's not actually written yet.
And I'll probably see two more plays and write their reviews before I get around to writing "Miracle Worker" up.
I know what I think. I just haven't thought it through a keyboard. But since you have to know, I'll give you this much:
Pretty good.
Suprisingly effective use of the entire stage, something that's alays a problem here for shows better seen in a smaller space.
Cast was fine all around.
But is it one of those productions I go around and tell my friends, "Hey, you gotta go see this"? Not really. It's always an inspiring story to witness, and I've never seen it done better. But I learned nothing new, nor did I see any performances that had to be seen.
So my friends don't need to be paying Paper Mill prices when they can see this wonderful play the next time it plays for $15 at a nearby community theater, which it undoubtably will soon.
Friday I'm at Playwrights Theatre for "Flying Crows." Saturday I'm at Princeton for "Me, Myself and I." Sunday I have two stories to write before I go to a Super Bowl Party.
So glad my schedule has finally let up a bit.
And I'll probably see two more plays and write their reviews before I get around to writing "Miracle Worker" up.
I know what I think. I just haven't thought it through a keyboard. But since you have to know, I'll give you this much:
Pretty good.
Suprisingly effective use of the entire stage, something that's alays a problem here for shows better seen in a smaller space.
Cast was fine all around.
But is it one of those productions I go around and tell my friends, "Hey, you gotta go see this"? Not really. It's always an inspiring story to witness, and I've never seen it done better. But I learned nothing new, nor did I see any performances that had to be seen.
So my friends don't need to be paying Paper Mill prices when they can see this wonderful play the next time it plays for $15 at a nearby community theater, which it undoubtably will soon.
Friday I'm at Playwrights Theatre for "Flying Crows." Saturday I'm at Princeton for "Me, Myself and I." Sunday I have two stories to write before I go to a Super Bowl Party.
So glad my schedule has finally let up a bit.
Review Preview: Almost Maine
Bravo to the Bickford for a good choice and good execution on John Cariani's "Amost Maine." Always enjoy my visits there, and if you haven't seen the changes at the Morris Museum, you need to check them out. It continues to be a curiously well-kept secret that Morris County has a substantial museum that ranks with the very best in the state. The expanded music box exhibition, which we've seen bits and pieces of in the past, is spectacular. Lots of touring exhibits come and go as well, so keep in touch with them at www.morrismuseum.org.
Anyway, here's the draft of my review, which pubs Friday in TGIF. As always, you get it here first.
And for free.
I'm not sure we have this cross-platform thing completely licked.
Theater review
If you want to go:
What: “Almost Maine”
When: through Feb 17
Where: Bickford Theatre, Morris Museum, 6 Normandy Heights Road, Morris Township
How much: $30, $28 seniors, $27 museum members, $15 students 18 and younger
Info: (973) 971-3706; www.bickfordtheatre.org
By WILLIAM WESTHOVEN
Daily Record
The 2008 theater season in New Jersey is off to a busy start, with big stars, world premieres and an Oscar and Tony-worthy classic all within easy driving distance.
The Bickford Theatre at the Morris Museum counters with the revival of a relatively obscure romantic comedy where the lovers spend most of the evening dressed for the Iditarod.
The very idea is so crazy—and the show is so enjo yable—that it just might work.
Certainly, the large opening-night audience last Friday evening for “Almost Maine” showed their approval for John Cariani’s charming collection of nine unusual love stories, featuring four terrific actors. Most are funny, although at least one starts sadly and ends sadder.
Cariani’s point is that romance always seems to involve a measure of pain, but the author’s clever writing allows us to absorb—and appreciate—his tough lessons while leaving our romantic idealism intact.
He accomplishes his mission with sneaky humor and little twists that adds delightful abstraction to each sketch. It’s as though Rod Serling decided to write an entire extended episode of the old “Love, American Style” TV series.
Cariani’s twilight zone is the town of Almost, Maine, in the far northwest of New England’s frontier territory. It’s really not even a town, which we learn in the first scene.
“To be a town, you’ve got to get organized, and we never got around to it,” a local fellow named East (Michael Irvin Pollard) informs a strange woman who’s camping on his land without permission.
The visitor, Glory (Liz Zazzi), tells East that her heart is broken in 19 pieces. Fortunately for Glory, East is a repairman.
The next scene presents a sad fellow (Daniel Robert Sullivan) whose broken romance, and tragically misspelled tattoo, lead to a surprisingly happy ending. The first act concludes with Pollard as a man who cannot feel pain, and a couple who argue until their love quite literally gives them a soft place to land.
The second act isn’t quite as funny, but Cariani continues to make thoughtful commentary on love. It’s amusing to watch two people who can’t stand up when they fall in love, but bittersweet because neither wants to admit their feelings. In the next scene, neither husband nor wife wants to admit they are miserable. They’re followed by a woman determined to find her lost love, only to learn she waited too long.
It’s almost enough to ruin the warm, fuzzy feelings we banked in the first act, but Cairiani wisely brings us full-circle. The last sketch gives us as longtime friends who finally connect romantically. Their consummation, though, has to hurdle one more obstacle, not a wardrobe malfunction so much as a wardrobe conspiracy.
Cariani closes the book by concluding a prologue that featured Sullivan and Janice Kildea as young romantics with opposing opinions of what it means to be close. Like the best of “Almost Maine,” these bumper scenes are delightfully offbeat, but not so abstract that the most casual observer won’t get it and appreciate the sentiment.
All four actors are well-known on professional stages in North Jersey and can add several lines to their respective resumes with this single show. Regardless of geographical similarity, the many characters they play in “Almost Maine” demand a wide range of skills and every one of them is up to the challenge.
Director Wendy Liscow, another veteran of New Jersey and New York stages, nurtured the actors, and her production, with smooth confidence. The fast-paced show moves smoothly from scene to scene and mood to mood, while the actors appear comfortable in every circumstance.
Scenic designer Jim Bazewicz gives them an appropriately sparse, snowy landscape, with the kind of star-filled sky that attracts lovers and astronomers in equal number.
From Paper Mill Playhouse (“The Miracle Worker”) to Playwright’s Theatre (the world premiere of newsman Jim Lehrer’s “Flying Crows”) to McCarter Theatre (premiering Edward Albee’s “Me, Myself and I”), there’s plenty of obvious choices right now for theater fans. Hopefully, they won’t overlook this charming and worthy show set on the outskirts of U.S. territory.
Anyway, here's the draft of my review, which pubs Friday in TGIF. As always, you get it here first.
And for free.
I'm not sure we have this cross-platform thing completely licked.
Theater review
If you want to go:
What: “Almost Maine”
When: through Feb 17
Where: Bickford Theatre, Morris Museum, 6 Normandy Heights Road, Morris Township
How much: $30, $28 seniors, $27 museum members, $15 students 18 and younger
Info: (973) 971-3706; www.bickfordtheatre.org
By WILLIAM WESTHOVEN
Daily Record
The 2008 theater season in New Jersey is off to a busy start, with big stars, world premieres and an Oscar and Tony-worthy classic all within easy driving distance.
The Bickford Theatre at the Morris Museum counters with the revival of a relatively obscure romantic comedy where the lovers spend most of the evening dressed for the Iditarod.
The very idea is so crazy—and the show is so enjo yable—that it just might work.
Certainly, the large opening-night audience last Friday evening for “Almost Maine” showed their approval for John Cariani’s charming collection of nine unusual love stories, featuring four terrific actors. Most are funny, although at least one starts sadly and ends sadder.
Cariani’s point is that romance always seems to involve a measure of pain, but the author’s clever writing allows us to absorb—and appreciate—his tough lessons while leaving our romantic idealism intact.
He accomplishes his mission with sneaky humor and little twists that adds delightful abstraction to each sketch. It’s as though Rod Serling decided to write an entire extended episode of the old “Love, American Style” TV series.
Cariani’s twilight zone is the town of Almost, Maine, in the far northwest of New England’s frontier territory. It’s really not even a town, which we learn in the first scene.
“To be a town, you’ve got to get organized, and we never got around to it,” a local fellow named East (Michael Irvin Pollard) informs a strange woman who’s camping on his land without permission.
The visitor, Glory (Liz Zazzi), tells East that her heart is broken in 19 pieces. Fortunately for Glory, East is a repairman.
The next scene presents a sad fellow (Daniel Robert Sullivan) whose broken romance, and tragically misspelled tattoo, lead to a surprisingly happy ending. The first act concludes with Pollard as a man who cannot feel pain, and a couple who argue until their love quite literally gives them a soft place to land.
The second act isn’t quite as funny, but Cariani continues to make thoughtful commentary on love. It’s amusing to watch two people who can’t stand up when they fall in love, but bittersweet because neither wants to admit their feelings. In the next scene, neither husband nor wife wants to admit they are miserable. They’re followed by a woman determined to find her lost love, only to learn she waited too long.
It’s almost enough to ruin the warm, fuzzy feelings we banked in the first act, but Cairiani wisely brings us full-circle. The last sketch gives us as longtime friends who finally connect romantically. Their consummation, though, has to hurdle one more obstacle, not a wardrobe malfunction so much as a wardrobe conspiracy.
Cariani closes the book by concluding a prologue that featured Sullivan and Janice Kildea as young romantics with opposing opinions of what it means to be close. Like the best of “Almost Maine,” these bumper scenes are delightfully offbeat, but not so abstract that the most casual observer won’t get it and appreciate the sentiment.
All four actors are well-known on professional stages in North Jersey and can add several lines to their respective resumes with this single show. Regardless of geographical similarity, the many characters they play in “Almost Maine” demand a wide range of skills and every one of them is up to the challenge.
Director Wendy Liscow, another veteran of New Jersey and New York stages, nurtured the actors, and her production, with smooth confidence. The fast-paced show moves smoothly from scene to scene and mood to mood, while the actors appear comfortable in every circumstance.
Scenic designer Jim Bazewicz gives them an appropriately sparse, snowy landscape, with the kind of star-filled sky that attracts lovers and astronomers in equal number.
From Paper Mill Playhouse (“The Miracle Worker”) to Playwright’s Theatre (the world premiere of newsman Jim Lehrer’s “Flying Crows”) to McCarter Theatre (premiering Edward Albee’s “Me, Myself and I”), there’s plenty of obvious choices right now for theater fans. Hopefully, they won’t overlook this charming and worthy show set on the outskirts of U.S. territory.
Friday, January 25, 2008
Over the Hump Day
Last night I "put to bed," as we say in the biz, Part II of the Daily Record Forecast section, which coincided with my three-month anniversary back in Parsippany. An eventful 90 days, to say the least. Very busy, very exciting, very challenging.
Tonight, I'm at the Bickford. Sunday at Paper Mill. Saturday, I'm off for the first time since Jan. 5. I can kick back, play Internet poker, watch movies on the DVR.
Nap.
TV sports are light in the Superbowl 'tween weekend. But I'm that rare bird that watches golf on TV, and both Tiger and Phil are back swinging.
Might even go hit a bucket of balls if the weather's cooperating. Try out that new driver I got for Christmas.
Life is good, is what I'm saying.
So why am I writing this at five in the morning?
Tonight, I'm at the Bickford. Sunday at Paper Mill. Saturday, I'm off for the first time since Jan. 5. I can kick back, play Internet poker, watch movies on the DVR.
Nap.
TV sports are light in the Superbowl 'tween weekend. But I'm that rare bird that watches golf on TV, and both Tiger and Phil are back swinging.
Might even go hit a bucket of balls if the weather's cooperating. Try out that new driver I got for Christmas.
Life is good, is what I'm saying.
So why am I writing this at five in the morning?
Monday, January 21, 2008
Review preview: "B.F.G. (The Big Friendly Giant)"
Told you I would post soon; no reason to wait, I guess.
Abstract: Great fun, very colorful, touches of MontyPython, and most adults should enjoy it as well. Lotta fart jokes, though, so stuffy (and regular) parents should beware: you'll have to explain on the way home why the giant was wrong to do all that "whizzpoppping."
Theater review
What: “The B.F.G. (Big Friendly Giant)”
When: through Feb. 10
Where: The Palace Theatre, 7 Ledgewood Ave. (Route 183), Netcong
How much: $14; $10 seniors and students
Info: (973) 347-4946; www.growingstage.org
By WILLIAM WESTHOVEN
Staff Writer
Last weekend was a good one for giant fans. Not only did the New York football Giants earn a ticket to the Super Bowl, but another big giant made quite an impression in Netcong.
At the Growing Stage, however, the giants are battling each other in “The B.F.G. (Big Friendly Giant),” another stage adaptation of a story by Roald Dahl, better known for “Charlie and the Chocolate Factory” and “James and the Giant Peach.” English, Oxford-educated David Wood adapted the Welsh writer’s story, but this production carries the unmistakable trademarks of longtime Growing Stage designer-director Perry Arthur Kroeger.
Kroeger knows how to delight the children these shows are meant for, but also knows how to twist the action in ways that will keep the parents from squirming in their seats. He pushes the limits of good taste at times — parents may have to review good and bad body noises with their kids on the way home — but Kroeger enlivens this colorful romp with nearly 100 props and some cheeky, Monty Python-inspired silliness.
Dahl dabbled in black humor as well, and “B.F.G.” also reprises one of his familiar scenarios, which presents a single adult who becomes a champion for children persecuted by other adults. At first, we’re not so sure the hero is very nice, since the play begins with the unnamed giant kidnapping a pigtailed orphan, Sophie, and bringing her to giant country.
Sophie is quickly relieved to learn that he is known as the Big Friendly Giant, or B.F.G. for short, and spends his day catching dreams for children. He’s also a vegetarian, in contrast to the other giants, who like to snack on children (one prefers Turks, another favors English).
A plot of sorts develops when Sophie and B.F.G. learn the other giants plan to turn her orphanage into a British buffet. With the help of the Queen of England, they manage to serve up the happy ending that you can always count on at the Growing Stage, the state’s only professional resident company devoted to children’s theater.
Equity professionals anchor the cast, beginning with Jason Szamreta as the B.F.G. Nikole Sara Rizzo makes her Palace Theatre debut as Sophie, while Bill Edwards, a regular on the regional scene, makes his Growing stage debut in a variety of roles.
Szamreta affects a chewy Down Under accent (Dahl hints at Giant Country being west of East Rutherford, in the neighborhood of Australia or New Zealand) that complements the B.F.G.’s colloquial English, full of playful words including snozzcumber (a revolting vegetable) and whizzpopping (a body noise similar to a burp, but originating further south).
Rizzo manages to be convincing as a child without resorting to the whiny, cloying clichés grownups use when acting childish, and operates a small puppet twin that the giant speaks to, which establishes Szamereta’s giant perspective.
Edwards and the remaining ensemble (including another professional newcomer, Rachel Schwartz, along with community artists Caitlin Orvetz, David Yashin and Ralph Wallace) have their share of fun, but the second act belongs to Lori B. Lawrence, who channels her inner ham as the wobbly, warbling Queen of England. Mugging and cooing under a tiara and a purple-grey wig, her portrayal of this silly monarch is more John Cleese than Helen Mirren, and is the comic highlight of a very young 2008 theater season.
Kroeger also takes some inspiration from the British school of broad humor. His cardboard, cartoon-cutout “costumes” used to portray many characters will remind adults of Terry Gilliam’s animated skits on the old “Monty Python’s Flying Circus” and had the audience in stitches.
Black lights, smoke and other effects give this show a slightly psychedelic quality that will appeal to a broad range of ages. Again, Kroeger flirts with the edges of good taste — the whizzpopping jokes go on so long that one character sprays Lysol — but sometimes, it’s worth the guilt to laugh this much.
Abstract: Great fun, very colorful, touches of MontyPython, and most adults should enjoy it as well. Lotta fart jokes, though, so stuffy (and regular) parents should beware: you'll have to explain on the way home why the giant was wrong to do all that "whizzpoppping."
Theater review
What: “The B.F.G. (Big Friendly Giant)”
When: through Feb. 10
Where: The Palace Theatre, 7 Ledgewood Ave. (Route 183), Netcong
How much: $14; $10 seniors and students
Info: (973) 347-4946; www.growingstage.org
By WILLIAM WESTHOVEN
Staff Writer
Last weekend was a good one for giant fans. Not only did the New York football Giants earn a ticket to the Super Bowl, but another big giant made quite an impression in Netcong.
At the Growing Stage, however, the giants are battling each other in “The B.F.G. (Big Friendly Giant),” another stage adaptation of a story by Roald Dahl, better known for “Charlie and the Chocolate Factory” and “James and the Giant Peach.” English, Oxford-educated David Wood adapted the Welsh writer’s story, but this production carries the unmistakable trademarks of longtime Growing Stage designer-director Perry Arthur Kroeger.
Kroeger knows how to delight the children these shows are meant for, but also knows how to twist the action in ways that will keep the parents from squirming in their seats. He pushes the limits of good taste at times — parents may have to review good and bad body noises with their kids on the way home — but Kroeger enlivens this colorful romp with nearly 100 props and some cheeky, Monty Python-inspired silliness.
Dahl dabbled in black humor as well, and “B.F.G.” also reprises one of his familiar scenarios, which presents a single adult who becomes a champion for children persecuted by other adults. At first, we’re not so sure the hero is very nice, since the play begins with the unnamed giant kidnapping a pigtailed orphan, Sophie, and bringing her to giant country.
Sophie is quickly relieved to learn that he is known as the Big Friendly Giant, or B.F.G. for short, and spends his day catching dreams for children. He’s also a vegetarian, in contrast to the other giants, who like to snack on children (one prefers Turks, another favors English).
A plot of sorts develops when Sophie and B.F.G. learn the other giants plan to turn her orphanage into a British buffet. With the help of the Queen of England, they manage to serve up the happy ending that you can always count on at the Growing Stage, the state’s only professional resident company devoted to children’s theater.
Equity professionals anchor the cast, beginning with Jason Szamreta as the B.F.G. Nikole Sara Rizzo makes her Palace Theatre debut as Sophie, while Bill Edwards, a regular on the regional scene, makes his Growing stage debut in a variety of roles.
Szamreta affects a chewy Down Under accent (Dahl hints at Giant Country being west of East Rutherford, in the neighborhood of Australia or New Zealand) that complements the B.F.G.’s colloquial English, full of playful words including snozzcumber (a revolting vegetable) and whizzpopping (a body noise similar to a burp, but originating further south).
Rizzo manages to be convincing as a child without resorting to the whiny, cloying clichés grownups use when acting childish, and operates a small puppet twin that the giant speaks to, which establishes Szamereta’s giant perspective.
Edwards and the remaining ensemble (including another professional newcomer, Rachel Schwartz, along with community artists Caitlin Orvetz, David Yashin and Ralph Wallace) have their share of fun, but the second act belongs to Lori B. Lawrence, who channels her inner ham as the wobbly, warbling Queen of England. Mugging and cooing under a tiara and a purple-grey wig, her portrayal of this silly monarch is more John Cleese than Helen Mirren, and is the comic highlight of a very young 2008 theater season.
Kroeger also takes some inspiration from the British school of broad humor. His cardboard, cartoon-cutout “costumes” used to portray many characters will remind adults of Terry Gilliam’s animated skits on the old “Monty Python’s Flying Circus” and had the audience in stitches.
Black lights, smoke and other effects give this show a slightly psychedelic quality that will appeal to a broad range of ages. Again, Kroeger flirts with the edges of good taste — the whizzpopping jokes go on so long that one character sprays Lysol — but sometimes, it’s worth the guilt to laugh this much.
Getting busy
Nearly over the hump, dayjob-wise, and not a minute too soon. Skipped the big premieres last weekend at George Street and Two River, and will skip the delayed Albee premiere Friday at McCarter. But I did get to the Growin Stage to see a fun "B.F.G. (Big Friendly Giant)" last Friday, cause that was the geographical imperative. Review preview will post very soon.
In the same spirit, this weekend I'll be at the premiere of "Almost Maine" at the Bickford and "The Miracle Worker" at Paper Mill. I'll catch up with Albee's "Me Myself and I" soon, while the world premiere of "Flying Crows" opens Jan. 31 at Playwrights Theatre.
Hmm ... perhaps I'll do a double-review of the two world premieres, which by my calendar will make the paper by Feb. 8.
There's something for you guys to look forward to. In the meantime, big deadlines still loom, so let me go.
Congrats to the Giants. Like they say in Piscataway, gotta keep choppin'.
In the same spirit, this weekend I'll be at the premiere of "Almost Maine" at the Bickford and "The Miracle Worker" at Paper Mill. I'll catch up with Albee's "Me Myself and I" soon, while the world premiere of "Flying Crows" opens Jan. 31 at Playwrights Theatre.
Hmm ... perhaps I'll do a double-review of the two world premieres, which by my calendar will make the paper by Feb. 8.
There's something for you guys to look forward to. In the meantime, big deadlines still loom, so let me go.
Congrats to the Giants. Like they say in Piscataway, gotta keep choppin'.
Catching up with Paper Mill
I'm a little late in posting this but since I didn't get the exclusive, I guess there was no hurry.
Congrats to Mark S. Hoebee on his elevation from interim to permanent artistic director at Paper Mill Playhouse. He's certainly earned it, staying on the sinking ship while others bailed. Hard to blame many of them, given the circumstances, but the ship didn't sink, so Hoebee appropriately gets to keep steering.
He still faces daunting challenges--and must adjust to a new managing administration--so the future is anything but certain. But we'll be rooting for him and Paper Mill.
The complete release follows.
Hoebee Takes Top Artistic Leadership Post
at Paper Mill Playhouse
(Millburn, NJ) January 17, 2008 – The Paper Mill Playhouse Board of Trustees is proud to announce that Mark S. Hoebee, Paper Mill’s Acting Artistic Director since March of 2007 has been promoted to Artistic Director effective immediately. Mr. Hoebee joined Paper Mill Playhouse in June of 2000 as Associate Artistic Director. Most recently Mr. Hoebee directed the critically acclaimed production of Meet Me in St. Louis at the New Jersey theatre.
Mark S. Hoebee is a director and choreographer whose work has been seen at theaters all over North America. In the fall of 2006, Mark directed the Actors Fund Benefit Concert of The Best Little Whorehouse in Texas at the August Wilson Theatre which starred Emily Skinner, Terry Mann and Academy Award winner Jennifer Hudson as well as Songs For NU York, a benefit for Northwestern University at The Promenade Theatre which starred Tony Roberts, Penny Fuller and Patricia Neal. In recent years he has directed five companies of Victor/Victoria including the first national tour starring Grammy® Award winner Toni Tennille, Almost Like Being In Love: An Evening With Lerner and Loewe which toured the United States and Canada starring Diahann Carroll and regional tours of Company and Dreamgirls. He directed Paper Mill’s highly lauded productions of Meet Me in St. Louis, Hello, Dolly! starring Tovah Feldshuh, The King & I starring Kevin Gray and Carolee Carmello, Dreamgirls, and in 2002 was granted special permission from Sir Cameron Macintosh to direct an all-new production of Miss Saigon for Paper Mill's stage.
In spring of 2005, Mark worked along side Richard Maltby, Jr. and David Shire as he directed and choreographed the new version of their 1983 Broadway show Baby and the following winter he directed and choreographed the world premiere of Tom Jones and Joseph Thalken’s Harold and Maude: The Musical starring Estelle Parsons.
“Mark has been an essential leader during the ‘Save the Paper Mill’ campaign,” says Kenneth Thorn, Paper Mill’s Board Chair. “Mark’s artistic excellence has a national reputation and we are proud to call him our Artistic Director.”
“Mark Hoebee and I have developed a terrific working relationship over the past several months,” says Mark W. Jones, Paper Mill’s Executive Director, “he has a true artistic vision for the theatre that our audiences can relate to.”
“I hope to continue, as well as deepen, Paper Mill’s historic role of providing a stage for excellence in American musical theatre,” says Mark S. Hoebee. “Paper Mill is my home, I understand what our patrons are looking for and I know Mark Jones and I can revitalize this flagship theatre.”
Mark S. Hoebee has over forty shows to his credit as a director and/or choreographer including such standards as 42nd Street, Gypsy, Brigadoon, Singin’ In the Rain, West Side Story and Sweet Charity (for which he was awarded Chicago’s Joseph Jefferson Award as Best Choreographer), as well as rarely produced shows like Grand Hotel (the American Stock Premiere), Baby (starring Liz Callaway), 70 Girls 70, The First, Romance/Romance and Windy City. Mark made his Network television debut as choreographer for the highly rated CBS show Touched by an Angel. The episode guest starred Carol Burnett, Rita Moreno, Carol Channing and Tim Conway.
His performance credits include the Broadway companies of Jerome Robbins’ Broadway, Nick & Nora, Beauty and the Beast, the Menken/Ahrens A Christmas Carol, as well as working alongside Blake Edwards and Rob Marshall in Victor/Victoria starring Julie Andrews. He has also appeared in national touring companies of Guys and Dolls, A Chorus Line – The Broadway Tour of America, Sweet Charity directed by Bob Fosse, Camelot with Richard Harris, and The Best Little Whorehouse in Texas.
Coming up next at Paper Mill Playhouse is the heart-warming mainstage production of The Miracle Worker. Before Helen Keller became a world famous speaker, author, and advocate, she was a blind, deaf, and mostly mute child living in Alabama in the 1880's. Misunderstood, pitied, and consequently spoiled by her family, at the age of six she terrorized the household with her tantrums and tricks. Then, Anne Sullivan arrived. She was merely twenty years old herself, but Anne held the key that would unlock the door between Helen and the world. William Gibson's Tony Award-winning play (adapted into the Academy Award-winning film) unfolds the trials and tribulations Anne and Helen encountered as they forged what would become a 49-year-long friendship. From their isolation in the family cottage house to the watershed moment when Helen finally understood the concept of language and communication, The Miracle Worker is a profoundly moving retelling of the groundbreaking work of two pioneers, as well as the volatile relationship between them. The Miracle Worker will run at the Millburn theatre from January 23, 2008 through February 24, 2008. There are three added student matinee performances on February 6, 13 and 14 at 11:00am. The Miracle Worker is supported in part by an award from the National Endowment for the Arts.
The Miracle Worker will play the following performance schedule: Wednesdays at 7:30PM, Thursdays at 2:00PM & 7:30PM, Fridays at 8:00PM, Saturdays at 2:00PM & 8:00PM and Sundays at 2:00PM & 7:30PM. Single tickets are now on sale and range in price from $25 to $92. Student rush tickets are $20 and are available the day of performance in person with current student ID. Tickets may be purchased by calling 973-376-4343, or at the Paper Mill Box Office on Brookside Drive in Millburn, or online at www.papermill.org. Visa, MasterCard, Discover and American Express accepted. Groups of ten or more can receive up to a 25% discount on tickets and student groups can attend any performance for only $20 per ticket. For more information regarding group purchases please call 973-379-3636 ext. 2438. For all performances from Wednesday, January 23rd through Sunday, January 27th, buy an adult ticket and receive a children’s ticket for half price (some restrictions may apply).
Rounding out the season is the enduring comedy Steel Magnolias (March 5-April 6), the classic Cole Porter Masterpiece Kiss Me, Kate (April 16-May18) and the “freakishly funny” musical Little Shop of Horrors (June 4-July 6). Visit Paper Mill’s website for a complete list of programming at www.papermill.org.
PAPER MILL PLAYHOUSE, a not-for-profit arts organization, is one of the country's leading regional theatres and is supported 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, in addition to contributions from many corporations, foundations, and individuals. Paper Mill Playhouse is a member of Theatre Communications Group, the National Alliance for Musical Theatre, the Council of Stock Theatres, and the New Jersey Theatre Alliance.
Congrats to Mark S. Hoebee on his elevation from interim to permanent artistic director at Paper Mill Playhouse. He's certainly earned it, staying on the sinking ship while others bailed. Hard to blame many of them, given the circumstances, but the ship didn't sink, so Hoebee appropriately gets to keep steering.
He still faces daunting challenges--and must adjust to a new managing administration--so the future is anything but certain. But we'll be rooting for him and Paper Mill.
The complete release follows.
Hoebee Takes Top Artistic Leadership Post
at Paper Mill Playhouse
(Millburn, NJ) January 17, 2008 – The Paper Mill Playhouse Board of Trustees is proud to announce that Mark S. Hoebee, Paper Mill’s Acting Artistic Director since March of 2007 has been promoted to Artistic Director effective immediately. Mr. Hoebee joined Paper Mill Playhouse in June of 2000 as Associate Artistic Director. Most recently Mr. Hoebee directed the critically acclaimed production of Meet Me in St. Louis at the New Jersey theatre.
Mark S. Hoebee is a director and choreographer whose work has been seen at theaters all over North America. In the fall of 2006, Mark directed the Actors Fund Benefit Concert of The Best Little Whorehouse in Texas at the August Wilson Theatre which starred Emily Skinner, Terry Mann and Academy Award winner Jennifer Hudson as well as Songs For NU York, a benefit for Northwestern University at The Promenade Theatre which starred Tony Roberts, Penny Fuller and Patricia Neal. In recent years he has directed five companies of Victor/Victoria including the first national tour starring Grammy® Award winner Toni Tennille, Almost Like Being In Love: An Evening With Lerner and Loewe which toured the United States and Canada starring Diahann Carroll and regional tours of Company and Dreamgirls. He directed Paper Mill’s highly lauded productions of Meet Me in St. Louis, Hello, Dolly! starring Tovah Feldshuh, The King & I starring Kevin Gray and Carolee Carmello, Dreamgirls, and in 2002 was granted special permission from Sir Cameron Macintosh to direct an all-new production of Miss Saigon for Paper Mill's stage.
In spring of 2005, Mark worked along side Richard Maltby, Jr. and David Shire as he directed and choreographed the new version of their 1983 Broadway show Baby and the following winter he directed and choreographed the world premiere of Tom Jones and Joseph Thalken’s Harold and Maude: The Musical starring Estelle Parsons.
“Mark has been an essential leader during the ‘Save the Paper Mill’ campaign,” says Kenneth Thorn, Paper Mill’s Board Chair. “Mark’s artistic excellence has a national reputation and we are proud to call him our Artistic Director.”
“Mark Hoebee and I have developed a terrific working relationship over the past several months,” says Mark W. Jones, Paper Mill’s Executive Director, “he has a true artistic vision for the theatre that our audiences can relate to.”
“I hope to continue, as well as deepen, Paper Mill’s historic role of providing a stage for excellence in American musical theatre,” says Mark S. Hoebee. “Paper Mill is my home, I understand what our patrons are looking for and I know Mark Jones and I can revitalize this flagship theatre.”
Mark S. Hoebee has over forty shows to his credit as a director and/or choreographer including such standards as 42nd Street, Gypsy, Brigadoon, Singin’ In the Rain, West Side Story and Sweet Charity (for which he was awarded Chicago’s Joseph Jefferson Award as Best Choreographer), as well as rarely produced shows like Grand Hotel (the American Stock Premiere), Baby (starring Liz Callaway), 70 Girls 70, The First, Romance/Romance and Windy City. Mark made his Network television debut as choreographer for the highly rated CBS show Touched by an Angel. The episode guest starred Carol Burnett, Rita Moreno, Carol Channing and Tim Conway.
His performance credits include the Broadway companies of Jerome Robbins’ Broadway, Nick & Nora, Beauty and the Beast, the Menken/Ahrens A Christmas Carol, as well as working alongside Blake Edwards and Rob Marshall in Victor/Victoria starring Julie Andrews. He has also appeared in national touring companies of Guys and Dolls, A Chorus Line – The Broadway Tour of America, Sweet Charity directed by Bob Fosse, Camelot with Richard Harris, and The Best Little Whorehouse in Texas.
Coming up next at Paper Mill Playhouse is the heart-warming mainstage production of The Miracle Worker. Before Helen Keller became a world famous speaker, author, and advocate, she was a blind, deaf, and mostly mute child living in Alabama in the 1880's. Misunderstood, pitied, and consequently spoiled by her family, at the age of six she terrorized the household with her tantrums and tricks. Then, Anne Sullivan arrived. She was merely twenty years old herself, but Anne held the key that would unlock the door between Helen and the world. William Gibson's Tony Award-winning play (adapted into the Academy Award-winning film) unfolds the trials and tribulations Anne and Helen encountered as they forged what would become a 49-year-long friendship. From their isolation in the family cottage house to the watershed moment when Helen finally understood the concept of language and communication, The Miracle Worker is a profoundly moving retelling of the groundbreaking work of two pioneers, as well as the volatile relationship between them. The Miracle Worker will run at the Millburn theatre from January 23, 2008 through February 24, 2008. There are three added student matinee performances on February 6, 13 and 14 at 11:00am. The Miracle Worker is supported in part by an award from the National Endowment for the Arts.
The Miracle Worker will play the following performance schedule: Wednesdays at 7:30PM, Thursdays at 2:00PM & 7:30PM, Fridays at 8:00PM, Saturdays at 2:00PM & 8:00PM and Sundays at 2:00PM & 7:30PM. Single tickets are now on sale and range in price from $25 to $92. Student rush tickets are $20 and are available the day of performance in person with current student ID. Tickets may be purchased by calling 973-376-4343, or at the Paper Mill Box Office on Brookside Drive in Millburn, or online at www.papermill.org. Visa, MasterCard, Discover and American Express accepted. Groups of ten or more can receive up to a 25% discount on tickets and student groups can attend any performance for only $20 per ticket. For more information regarding group purchases please call 973-379-3636 ext. 2438. For all performances from Wednesday, January 23rd through Sunday, January 27th, buy an adult ticket and receive a children’s ticket for half price (some restrictions may apply).
Rounding out the season is the enduring comedy Steel Magnolias (March 5-April 6), the classic Cole Porter Masterpiece Kiss Me, Kate (April 16-May18) and the “freakishly funny” musical Little Shop of Horrors (June 4-July 6). Visit Paper Mill’s website for a complete list of programming at www.papermill.org.
PAPER MILL PLAYHOUSE, a not-for-profit arts organization, is one of the country's leading regional theatres and is supported 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, in addition to contributions from many corporations, foundations, and individuals. Paper Mill Playhouse is a member of Theatre Communications Group, the National Alliance for Musical Theatre, the Council of Stock Theatres, and the New Jersey Theatre Alliance.
Thursday, January 17, 2008
SNEAK PREVIEW STNJ 20008
Yes, he's still alive.
Sorry for the sporadic posts of late, but just hasn't been any time. Still working on the Daily Record's two-part Forecast business section. Good thing there haven't been any openings since early December (another reason for the lack of posts), since I've been working weekends as well.
That all changes this week. I'll be at the Growing Stage this weekend (while still in full deadline mode). Following week, I've got the Bickford ("Almost Maine") and Paper Mill ("The Miracle Worker").
But the big news of the moment is we got the release on the 2008 schedule at Shakespeare Theatre of New Jersey. I'll post the whole shebang following my notes, but the highlight will likely be Bonnie Monte directing Laila Robins in "Streetcar." Too bad we're going to have to wait many months for that one--reminds me of when I have to buy concert tickets six months in advance, and you just can't wait one more day!
Also should be fun to see "Compleat Works of Wm. Shakespeare Abridged" on the outdoor stage. And, of course, it will be interesting to see who gets the few, but plumb, comic roles this comedy offers. I've got a few ideas (Greg Jackson, anyone? And we haven't seen David Foubert in a while--these guys are funny) but we'll lave it to the professionals.
A few others--"Comedy of Errors," "Romeo and Juliet," are somewhat overdone but typically crowd pleasers, and you have to put fannies in the seats.
Anyway, it's exciting news from what I call the state's most consistent source of top-rate professional theater.
PS: We read this morning in another Paper that Mark S. Hoebee was promoted from acting to permanent artistic director. Congrats to him and well-deserved, after keeping the ship from sinking for the past year. I probably overlooked him in consideration for my 2007 "Hardest Working Man in NJ Showbiz" award.
PPSS: I may have some career and blog future announcements coming soon--all good. Stay tuned.
Anyway, here's the release:
The Shakespeare Theatre of New Jersey
Announces an epic 2008 Season
Increased discounts for subscriptions and ticket packages also announced
Madison, NJ – The Shakespeare Theatre of New Jersey today announced seven of the eight productions of its 2008 Season, on the heels of closing its record-breaking 45th Anniversary Season which saw the addition of a 7th play on the Main Stage. “The 2007 season was extraordinary,” said Artistic Director Bonnie J. Monte who begins her 18th Season in 2008. “In addition to each of our productions receiving tremendous critical acclaim, we saw an increase in attendance including our famed Outdoor Stage which broke all records with a more than 40 percent increase. Our 2008 Season promises to be an equally thrilling one, with an amazing line-up of masterpieces appealing to a broad many generations of theatergoers!”
The Shakespeare Theatre also announced today that the 2008 Season would feature increased discounts on subscriptions and ticket packages—offering subscribers substantial discounts of up to 45% off single ticket prices. “Our priority has always been to make our performances available to the broadest spectrum of audiences as possible. We believe, with these increased discounts, we have a subscription for everyone,” said Ms. Monte. With the new pricing, Complete Works subscriptions, which provide a ticket to each of the seven Main Stage productions of the 2008 season, begin at $105—a savings of more than $90 if tickets were purchased individually. As always, student Complete Works subscriptions are available for $70. In addition to the substantial discounts, subscriber benefits include free ticket exchanges and an exchange policy that even allows for last minute exchanges. “In 2008, we’re starting an exclusive Subscriber email address, so if a patron is stuck at work, or even stuck in traffic, they can instantly send us an email, or, of course, give us a call,” Ms. Monte explained.
Laughter kicks off the 2008 Season on April 29th with William Shakespeare’s The Comedy of Errors. Two sets of identical twins, separated at birth, find themselves in the same city on the same fast-paced, bewildering day in Shakespeare’s riotous farce of wild misadventures and mistaken identities. The Comedy of Errors will run from April 29th through May 18th.
Beginning May 28th and continuing through June 22 will be Amadeus – Peter Shaffer’s thrilling tale of the young and brilliant Mozart and the fanatic malcontent Salieri who plots to ruin his career and smother his genius.
The summer season will also feature the entire Shakespeare canon “under the stars” at the Shakespeare Theatre’s Outdoor Stage – the Greek Theatre on the campus of the College of St. Elizabeth in Morristown. Beginning June 18th and running through July 20th, family audiences will roar with laughter at The Compleat Works of Wllm Shkspr (abridged). All of Shakespeare’s 37 plays are “performed” with lightning speed (sometimes backwards!) in this unique and wildly celebrated romp penned by the popular and zany Reduced Shakespeare Company.
One of Shakespeare’s greatest masterpieces—King Lear—takes the Main Stage July 2nd and continues through July 27th. This production will star renowned classic actor and Tony Award nominee Daniel Davis, known for his brilliant work on Broadway and at the nation’s most prestigious theatres, as well as for his witty and acerbic portrayal of Niles the butler on the television series The Nanny. Davis also starred in the Tony Award winning Broadway revival of La Cage aux Folles and The Frogs.
Noel Coward’s comedy Private Lives begins performances on August 6th and continues through August 31st. A divorced couple, each newly remarried, accidently find themselves in adjoining honeymoon hotel suites in this quick-witted “confection” by the modern master of comedies of manners.
Beginning the Fall portion of the season will be Tennessee Williams’ A Streetcar Named Desire running September 10th through October 5th. Seen for the first time at The Shakespeare Theatre under the artistic direction of Bonnie J. Monte, this American classic will feature Shakespeare Theatre and Broadway veteran Laila Robins as the legendary Blanche DuBois. Robins was last seen on the Shakespeare Theatre stage in highly acclaimed The Cherry Orchard. Her Broadway credits include The Heartbreak House, Frozen and The Real Thing.
The most famous of all love stories, Shakespeare’s Romeo and Juliet, will begin performances on October 15th and continue through November 16th. Seen on the Main Stage for the first time in a decade, this production will also feature special morning performances for students.
The 2008 Season will conclude with a yet to be announced production. Beginning performances on December 3rd and continuing through December 28th, the holiday offering promises to be in the same family-oriented tradition of past holiday productions such as A Midwinter Night’s Dream, As You Like It, and A Christmas Carol.
Advance orders for Complete Works subscriptions, featuring tickets to all seven Main Stage productions, are now being taken. Complete Works subscriptions range in price from $105 to $378. Student subscriptions are available for $70. Call The Shakespeare Theatre Box Office at 973-408-5600. The Complete Works subscription features up to 45% percent savings off the cost of regular tickets, the best seats to all seven Main Stage productions; free, easy and unlimited ticket exchanges should your schedule change; discounts on additional tickets; and the convenience of having your tickets in hand and dates scheduled in advance. Call the box office at 973-408-5600. Look for more information at www.ShakespeareNJ.org
The Shakespeare Theatre of New Jersey’s Main Stage, the 308-seat F.M. Kirby Shakespeare Theatre, is conveniently located in Madison at 36 Madison Avenue (Route 124) at Lancaster Road (on the Drew University campus), just minutes from routes 287, 78 and 10. Parking is free. The Outdoor Stage is located at the Greek Theatre on the campus of the College of St. Elizabeth in Morristown. The F.M. Kirby Shakespeare Theatre is barrier free with access into the Theatre via a ramp and elevator access to all floors. Wheelchair seating and transfer seating is available. Braille and large print programs are available. Infrared listening devices are available free of charge. Some performances are audio described, captioned and sign-language interpreted. Contact the theatre for more information. For more information, or to purchase tickets, call 973-408-5600 or visit www.ShakespeareNJ.org.
Sorry for the sporadic posts of late, but just hasn't been any time. Still working on the Daily Record's two-part Forecast business section. Good thing there haven't been any openings since early December (another reason for the lack of posts), since I've been working weekends as well.
That all changes this week. I'll be at the Growing Stage this weekend (while still in full deadline mode). Following week, I've got the Bickford ("Almost Maine") and Paper Mill ("The Miracle Worker").
But the big news of the moment is we got the release on the 2008 schedule at Shakespeare Theatre of New Jersey. I'll post the whole shebang following my notes, but the highlight will likely be Bonnie Monte directing Laila Robins in "Streetcar." Too bad we're going to have to wait many months for that one--reminds me of when I have to buy concert tickets six months in advance, and you just can't wait one more day!
Also should be fun to see "Compleat Works of Wm. Shakespeare Abridged" on the outdoor stage. And, of course, it will be interesting to see who gets the few, but plumb, comic roles this comedy offers. I've got a few ideas (Greg Jackson, anyone? And we haven't seen David Foubert in a while--these guys are funny) but we'll lave it to the professionals.
A few others--"Comedy of Errors," "Romeo and Juliet," are somewhat overdone but typically crowd pleasers, and you have to put fannies in the seats.
Anyway, it's exciting news from what I call the state's most consistent source of top-rate professional theater.
PS: We read this morning in another Paper that Mark S. Hoebee was promoted from acting to permanent artistic director. Congrats to him and well-deserved, after keeping the ship from sinking for the past year. I probably overlooked him in consideration for my 2007 "Hardest Working Man in NJ Showbiz" award.
PPSS: I may have some career and blog future announcements coming soon--all good. Stay tuned.
Anyway, here's the release:
The Shakespeare Theatre of New Jersey
Announces an epic 2008 Season
Increased discounts for subscriptions and ticket packages also announced
Madison, NJ – The Shakespeare Theatre of New Jersey today announced seven of the eight productions of its 2008 Season, on the heels of closing its record-breaking 45th Anniversary Season which saw the addition of a 7th play on the Main Stage. “The 2007 season was extraordinary,” said Artistic Director Bonnie J. Monte who begins her 18th Season in 2008. “In addition to each of our productions receiving tremendous critical acclaim, we saw an increase in attendance including our famed Outdoor Stage which broke all records with a more than 40 percent increase. Our 2008 Season promises to be an equally thrilling one, with an amazing line-up of masterpieces appealing to a broad many generations of theatergoers!”
The Shakespeare Theatre also announced today that the 2008 Season would feature increased discounts on subscriptions and ticket packages—offering subscribers substantial discounts of up to 45% off single ticket prices. “Our priority has always been to make our performances available to the broadest spectrum of audiences as possible. We believe, with these increased discounts, we have a subscription for everyone,” said Ms. Monte. With the new pricing, Complete Works subscriptions, which provide a ticket to each of the seven Main Stage productions of the 2008 season, begin at $105—a savings of more than $90 if tickets were purchased individually. As always, student Complete Works subscriptions are available for $70. In addition to the substantial discounts, subscriber benefits include free ticket exchanges and an exchange policy that even allows for last minute exchanges. “In 2008, we’re starting an exclusive Subscriber email address, so if a patron is stuck at work, or even stuck in traffic, they can instantly send us an email, or, of course, give us a call,” Ms. Monte explained.
Laughter kicks off the 2008 Season on April 29th with William Shakespeare’s The Comedy of Errors. Two sets of identical twins, separated at birth, find themselves in the same city on the same fast-paced, bewildering day in Shakespeare’s riotous farce of wild misadventures and mistaken identities. The Comedy of Errors will run from April 29th through May 18th.
Beginning May 28th and continuing through June 22 will be Amadeus – Peter Shaffer’s thrilling tale of the young and brilliant Mozart and the fanatic malcontent Salieri who plots to ruin his career and smother his genius.
The summer season will also feature the entire Shakespeare canon “under the stars” at the Shakespeare Theatre’s Outdoor Stage – the Greek Theatre on the campus of the College of St. Elizabeth in Morristown. Beginning June 18th and running through July 20th, family audiences will roar with laughter at The Compleat Works of Wllm Shkspr (abridged). All of Shakespeare’s 37 plays are “performed” with lightning speed (sometimes backwards!) in this unique and wildly celebrated romp penned by the popular and zany Reduced Shakespeare Company.
One of Shakespeare’s greatest masterpieces—King Lear—takes the Main Stage July 2nd and continues through July 27th. This production will star renowned classic actor and Tony Award nominee Daniel Davis, known for his brilliant work on Broadway and at the nation’s most prestigious theatres, as well as for his witty and acerbic portrayal of Niles the butler on the television series The Nanny. Davis also starred in the Tony Award winning Broadway revival of La Cage aux Folles and The Frogs.
Noel Coward’s comedy Private Lives begins performances on August 6th and continues through August 31st. A divorced couple, each newly remarried, accidently find themselves in adjoining honeymoon hotel suites in this quick-witted “confection” by the modern master of comedies of manners.
Beginning the Fall portion of the season will be Tennessee Williams’ A Streetcar Named Desire running September 10th through October 5th. Seen for the first time at The Shakespeare Theatre under the artistic direction of Bonnie J. Monte, this American classic will feature Shakespeare Theatre and Broadway veteran Laila Robins as the legendary Blanche DuBois. Robins was last seen on the Shakespeare Theatre stage in highly acclaimed The Cherry Orchard. Her Broadway credits include The Heartbreak House, Frozen and The Real Thing.
The most famous of all love stories, Shakespeare’s Romeo and Juliet, will begin performances on October 15th and continue through November 16th. Seen on the Main Stage for the first time in a decade, this production will also feature special morning performances for students.
The 2008 Season will conclude with a yet to be announced production. Beginning performances on December 3rd and continuing through December 28th, the holiday offering promises to be in the same family-oriented tradition of past holiday productions such as A Midwinter Night’s Dream, As You Like It, and A Christmas Carol.
Advance orders for Complete Works subscriptions, featuring tickets to all seven Main Stage productions, are now being taken. Complete Works subscriptions range in price from $105 to $378. Student subscriptions are available for $70. Call The Shakespeare Theatre Box Office at 973-408-5600. The Complete Works subscription features up to 45% percent savings off the cost of regular tickets, the best seats to all seven Main Stage productions; free, easy and unlimited ticket exchanges should your schedule change; discounts on additional tickets; and the convenience of having your tickets in hand and dates scheduled in advance. Call the box office at 973-408-5600. Look for more information at www.ShakespeareNJ.org
The Shakespeare Theatre of New Jersey’s Main Stage, the 308-seat F.M. Kirby Shakespeare Theatre, is conveniently located in Madison at 36 Madison Avenue (Route 124) at Lancaster Road (on the Drew University campus), just minutes from routes 287, 78 and 10. Parking is free. The Outdoor Stage is located at the Greek Theatre on the campus of the College of St. Elizabeth in Morristown. The F.M. Kirby Shakespeare Theatre is barrier free with access into the Theatre via a ramp and elevator access to all floors. Wheelchair seating and transfer seating is available. Braille and large print programs are available. Infrared listening devices are available free of charge. Some performances are audio described, captioned and sign-language interpreted. Contact the theatre for more information. For more information, or to purchase tickets, call 973-408-5600 or visit www.ShakespeareNJ.org.
Thursday, January 3, 2008
Happy New Year
Greetings from the next year of the rest of your life. Sorry that the posts have been sparse lately, but its been a perfect storm of work, holidays and the lack of new plays opening anywhere west of the Hudson.
January's going to be a tough month as it is the busy month for the business editor,including two Sunday forecast special sections coming out at the end of the month. Also a flurry of premieres beginning Jan. 18.
But I'll get through it. Don't I always?
In the meantime, follow the link below to my year-end awards column. And remember, you too, can win one of my unofficial awards in 2008. Just e-mail me and I'll send you a price list.
Just kidding, boss.
http://www.dailyrecord.com/apps/pbcs.dll/article?AID=/20071230/LIFE/712300324/1113
January's going to be a tough month as it is the busy month for the business editor,including two Sunday forecast special sections coming out at the end of the month. Also a flurry of premieres beginning Jan. 18.
But I'll get through it. Don't I always?
In the meantime, follow the link below to my year-end awards column. And remember, you too, can win one of my unofficial awards in 2008. Just e-mail me and I'll send you a price list.
Just kidding, boss.
http://www.dailyrecord.com/apps/pbcs.dll/article?AID=/20071230/LIFE/712300324/1113
Thursday, December 20, 2007
Checking in with Edward Albee
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
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
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.
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