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Off Broadway

He Says: Heartbreak House Basks in the Glorious Humanity of the Theatrical Bomb Shelter



Karen Ziemba, Derek Smith, Raphael Nash Thompson, Tom Hewitt, Kimberly Immanuel, Lenny Wolfe
It doesn’t look like the Heartbreak House I vaguely remember from the last revival that I saw in 2006 at the American Airlines Theater starring Philip Bosco, Lily Rabe, Swoosie Kurtz, Bill Camp, and Laila Robins. Of that production, the New York Times suggested that Heartbreak House was Shaw’s “richest and saddest play about the follies of humanity” drenched in privilege, idleness and indifference, and I remember it as such.  Proud, celebrated, dynamic, and seriously funny. In Gingold Theatrical Group’s valuable re-direction in the very intimate Lion Theatre atTheatre Row, the heartbreak and disillusionment survive the voyage arriving intact but altered, with a very different and less darkly disturbing sway.  This production takes place not in a grand house modeled after a ship, as it was in the Robin Lefevre directed revival, but in some sort of fortified theatrical bunker/storage room. We find ourselves , in this wondrous and structurally sound revival, ushered forth into the basement of the Ambassadors Theatre, London, circa September 1940, sometime in the middle of World War II. We are handed a song book and an Air Raid Warning pamphlet instructing us all to take shelter below the stage of the Ambassadors Theatre and wait patiently for the All-Clear. Quickly, we are joined by the theatre troupe from up above and also from the theatre across the street, including a well voiced doorman, a quirky delightful stage manager, a pretty songbird from the crowd of nervous patrons, and a mad assortment of those theatrical types we call ‘stage actors’. All ready to distract with a sweet sing-along and an impromptu performance of Bernard Shaw’s Heartbreak House. Lucky for us, they all seem to know this tale and their lines well.
Once the parts are grabbed up and assigned with gusto by this eclectic and electric group that has gathered on stage (with a humorous telling nod to the stage manager’s strengths and weaknesses), we are magically and quite festively transported to the beautiful villa of Captain Shotover in Sussex, England, September 1914. Ellie Dunn, played by one of the sheltered audience members, who in turn is played by the Pretty and somewhat overly sincere Kimberly Immanuel (CSC’s Pacific Overtures), has arrived at the villa, courtesy of an invitation by the mistress of the house, Hesione Hushabye, played by a stage actress played by the glorious Karen Ziemba (Broadway’s Prince of Broadway, Vineyard’s Kid Victory). Ellie has comefor a relaxing meal with her new best friend, but first meets the master steerer of the house, Captain Shotover, played by the theater’s doorman, who is played by Raphael Nash Thompson (TFANA’s Pericles). He seems as oddly distracted and obstinate as he is well-voiced and regal, not embracing the polite manners of the time and place, but somehow managing to find a warmth in their initial and future engagement. Ellie is in Heartbreak House to deepen her friendship with the appealing Hesione, but her host’s reasoning for the invitation is most definitely a different sailing course all together.  Hesione wants to talk Ellie out of a marriage engagement to the brittle older business man, Mangan played delightfully by Derek Smith (Broadway’s The Green Bird). Marriage should not be about money, convenience, or a feeling of appreciation, she confides to Ellie, pointing out that somewhere in Ellie’s eyes, she can see that passion does exist, but not for her intended husband. Ellie has a different opinion, one that is altered and adjusted while residing under the spell of The Captain’s Heartbreak House. “If I can’t have love, that’s no reason why I should have poverty.”
Karen Ziemba, Kimberly Immanuel,  Photo by Carol Rosegg.
Lady Ariadne Utterword then arrives after a long absence far away from her home and the villa, hoping for a warm familial welcome from her father, the Captain, and her sister, Hesione. Lady Utterword, played majestically by the chorus girl from upstairs, who is in turn portrayed by the phenomenally funny and rich Alison Fraser (Off-Broadway’s First Daughter Suite, Squeamish) wants her kiss on the cheek from someone in recognition of her arrival, but no one seems all that inclined to give it to her. She can talk and talk without hearing a word it seems, turning a brilliantly narcissistic blind ear to all, that is except for the dashing heartbreaker of the house, Hector Hushabye, Hesione’s husband, played with a flamboyant flutter by Tom Hewitt (PMP’s The Sting), who comes strutting into the room in a never-ending wave of intrepid arrivals. The maid, a gloriously tart Guiness tries to keep all the waters flowing smoothly in a hysterically quirky portrayal by the theatrical stage manager, who is, in turn, played by the dazzlingly funny Jeff Hiller (Off-Broadway’s Bright Colors and Bold Patterns). Hiller, by way of the poorly trained stage manager, adds his overdone accents to some other secondary roles, such as the burglar, who isn’t what he appears to be, and the brother-in-law of the enchanting and needy Ariandne, Randall Utterword, who can barely see his own folly. The plot only gets dizzier when Mazzini Dunn, Ellie’s sweet-natured father, played effortlessly by the wonderful Lenny Wolpe (Broadway’s Drowsy Chaperone, York’s Marry Harry), joins the crew and, not surprisingly is deemed a thief and a pirate, forever trying to convince the Captain of his kinder lineage.
Karen Ziemba, Derek Smith (on the couch), Jeff Hiller, Lenny Wolpe.  Photo by Carol Rosegg.
It’s somewhat madcap, this journey to Heartbreak House, one that carries a vastly different albeit vibrant view of the foreboding horizon. Having the talented cast play an assortment of characters who in a quick change of garb play the roles in Shaw’s tragicomedy, is a slice of pure historical genius. With this arrangement, “A Fantasia in the Russian Manner on English Themes“, a subtitle that gets left off the roster here, but in historic manner refers to the style of Anton Chekhov and the cultured leisured class of England, brings with it a vaudvillian flavor of presentation, peppered with spirited sing-along moments, that freshens up the 1919 play with joy in its deliverance.  The crew is trying whole heartedly to distract the nervous crowd from the sirens above that have ushered us all into the basement.  They want, most desperately to lighten the mood, and this desire gives the actors license to be a bit more broadly funny and deliciously engaging.  Most rise to the cause, although Immanuel seems to be caught somewhere else, maybe in a more cautiously straight forward production of Heartbreak House than the one in front of us.  Her Ellie leans and languishes on a less playful ship that is sailing on some other body of water, directed by a different Captain. But showgirl Fraser and stage manager Hiller, along with the actors played by Ziemba and Hewitt get the balance just right, rocking the boat but never falling overboard. They are a delight and a joy to behold. And a distraction worthy of our attention.
Raphael Nash Thompson, Kimberly Immanuel.  Photo by Carol Rosegg.
In a telling note from the director:
“The version of Heartbreak House we’re presenting for you returns us to Shaw’s original intent. He began writing Heartbreak House before WWI exploded, but withheld it until after the war due to the general outrage at him for making speeches and writing articles to attempt to discourage the conflict. He then re-wrote the play for its 1920 debut at NY’s Theatre Guild. The script I’ve assembled employs his original hand-written version along with the subsequent typed manuscripts, numerous letters with directives, and various production scripts he’d worked on or approved. He’d hoped to use the play as a warning, but then it was too late. Art as activism was his approach, and he had hoped to jolt the world out of its complacency. By the time the world saw the play, they were ready to forget all about war and so Shaw ended his published version as a wistful reminder of the devastation. To the best of our knowledge, this original version has never been produced.”
A jolt is definitely what is needed in today’s landscape, just as it was back then. As directed with neatness and uniqueness by David Staller (Off-Broadway’s Man and Superman), the abstract warning sings along the edges of the sand-bagged basement of the Ambassadors Theatre, designed with thoughtfulness and an exacting attention to detail by Brian Prather (Off-Broadway’s Daniel’s Husband), with superb costuming by Barbara A. Bell (Irish Rep’s It’s a Wonderful Life), excellent lighting by Christina Watanabe (EST/Youngblood’s Dido of Idaho), and exacting sound design by Toby Algya (59E59’s Knives in Hens). We lose our way in this revitalized realization from Staller, forgetting about where this old ship is heading and where the other more serious revivals landed, and invest our attention to the one in front of us. The romantic and telling spell of the house is definitely more playful and comically here, but maybe in that kind and distracting play a bit of the criticism gets lost in the rough watersurrounding this revival, especially in the dark fumbling of Shaw’s dramatic ending. I couldn’t tell where we were or where the dramas were colliding and exploding because in this haunted house of heartbreak, the crew greets destruction with a muddled awareness, and the lines of play–acting and bomb–sheltering gets blurred in the final moments.  It’s a tad confusing, to say the least, but this nod to the overarching theme lands; that those in power, the cultured and leisured elite, personified by this complicated family, are failing to safely navigate society through rough watered destruction on all fronts. The British gentry, once spirited and well-meaning, are casually sailing toward jagged rocks basically because of corruption and indifference. It’s a concept that is powerfully provocative in this modern day and age as we watch the typhoon of our own history approaching, and even though Shaw was referring to World War I, this production and I are not.
Pictured in a scene from Gingold Theatrical Group’s production of Shaw’s timely comedy, HEARTBREAK HOUSE at Theatre Row:Derek Smith, Alison Fraser, Kimberly Immanuel, Raphael Nash Thompson, Jeff Hiller, Karen Ziemba, and Tom Hewitt. Photo by Carol Rosegg.

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My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to

Off Broadway

The Welkin Is A Play About The Cruelty Of Women



Lucy Kirkwood’s The Welkin asks several questions about right and wrong, the violence women deal/dealt with, power between wealth and not, the belief that men are the better species, even to women and why and how women do not defend or truly help each other.

Stepped in 1759, Suffolk, England, the story centers around Sally Poppy (Haley Wong), who’s sentenced to hang for helping her lover murder a little girl, except she herself is with child, so she claims. It is up to twelve women to decide her fate. Is Sally telling the truth or lying to save her skin. Under English law “pleading the belly” could commute the sentence saving Sally’s and her child’s life.

Midwife Lizzy Luke (Sandra Oh) believes in life, but these women have issues that effect the outcome. One has miscarried 12 times (Emily Cass McDonnell) in eight years and delivered a stillborn son, one is going through menopause and is overheating (Ann Harada), Sarah Hollis (Hannah Cabell) lost her voice in childbirth and has not spoken since, one is not who she says she is (Mary McCann). These women’s circumstances and beliefs often blur their choices and we are like peeping Tom’s looking in.

Wong, as the complex Sally, is a rebellious teen, who is over life as it was dictated for her. She wants to live by her own rules and when the puzzle has been exposed this plays leaves more questions than answers, which is impossible to ask or state here without giving the whole play away. Lets say, who her mother is, who her father is, who the child is and who the women who ultimately decides her fate was never really explored and that is the fascinating psychology that would have made this play soar.

Sandra Oh last seen on Broadway in 2006, is best known for TV’s Killing Eve and Grey’s Anatomy. She is the heart and soul until she is not. Once her secrets are out the play seems a little like Mother’s Play.

Emily Cass McDonnell makes us hate women whose own self centered needs and wants take no prisoners. Hannah Cabell makes us wish women who are like her would stay silent. Ann Harada and Dale Soules as Sarah Smith bring humor to challanging aspects of a women’s journey.

There are two men in the play Mr. Coombes (Glenn Fitzgerald), the bailiff who is a special friend to Oh’s character, until he is not and Danny Wolohan as the doctor that the women choose over a midwife, because he is a man. In The Welkin women eventually choose a man over their own. This man’s opinions of women, is beyond tragic.

Hanging over the play is the arrival of Halley’s Comet, why really is this play called The Welkin and an odd section where The Bangles “Manic Monday is sung ala an ode to Bridgerton. In a show that is over 2 hours, that could have been cut.

Director Sarah Benson’s direction at times seems odd and leaves more questions than answers. What is extremely well done \s the casting, as this cast all shine in their respected roles.

The Welkin is disturbing on so many levels. What it is saying seems unpalatable, but we do need to take it’s message to heart for at some point for the sake of humanity we need to connect and be on each other’s side.

The Welkin: The Atlantic Theatre Company at the Linda Gross Theatre, 336 West 20th Street until July 7th.

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Off Broadway

Yada, Yada 



What’s better than a 90-minute sitdown with old friends? Nothing, of course, and that’s exactly what Singfeld, A Musical Parody About Nothing is all about. An energetic and highly talented cast take on the proposition that Jerry and George are going to write a musical about–what else?–nothing. Chiming in with comments and suggestions are Elaine and Cosmo, with occasional drop-ins from Mr. and Mrs. Costanza, Mr. Peterman and Susan. Other familiar names, situations, phrases and even subtle musical homages (I counted at least five) are jammed into this fun-filled and highly enjoyable show. 

So the rhymes aren’t always perfect, who cares? You’ll be trying to stifle your laughter so you don’t miss the next reference which will have you guffawing even harder. Another tribute to the cast: on this hot afternoon, they performed under hot lights and gave it their all. This show is a must for any Seinfeld fan—bring your friends and, well, yada yada. 

Singfeld, A Musical Parody About Nothing: The Jerry Orbach Theater the Theater Center 210 West 50th Street

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Titanic is a Complete Musical Triumph at NYCC Encores!




By Dennis W

Titanic sailed into New York City Center full speed ahead saved from a watery grave and stoked with a newfound energy that brought the house down. Encores! latest concert production dazzles, taking on the famed musical about the sinking of the largest, fastest ship afloat on its maiden voyage in 1912 with expert gusto. The Tony-winning 1997 musical, with music and lyrics by Maury Yeston (Broadway’s Nine),resonates with emotion, class struggle and humanity.

The Encores! Orchestra, with Guest Music Director Rob Berman (Encores! Into the Woods), takes center stage and the spotlight delivering a phenomenal interpretation of the nuanced score. Filling the theater with a powerful rendition of Yeston’s vision, Berman’s musical direction breathes new life into the score that tells the saga of the iconic doomed “unsinkable” ship that went down with more than a 15-hundred people aboard. The audience is transported by the music to the disaster and seems locked in on every note. The 32 voices in the cast joined to present a sound that reverberated through the space creating a richness and fullness that would give you goosebumps.   After the curtain call the orchestra played as people left and when it was done the audience who was still left in the theater roared with appreciative applause. It’s no surprise that Titanic: A New Musical swept the music category at the 1997 Tony Awards winning for orchestration, score, and best musical.

The ensemble cast, in Encores! tradition, was chosen from the best and brightest Broadway has to offer. Each actor gave an amazing performance from the leads to the chorus but there were a few standouts. Ramin Karimloo ( Broadway’s Funny Girl) as Barrett gave a deft performance as the ship’s stoker. His duet with Harold Bride played by Alex Joseph Grayson (Encores!/Broadway’s Parade) is a highlight portraying a mix of emotions including love, hope, and desire while we watch the voyage come to a tragic end. Brandon Uranowitz (Broadway’s Leopoldstadt) is convincing as the tightly wound and controlling owner of the shipping line. The always astounding Bonnie Milligan (Broadway’s Kimberly Akimbo) as Alice Beane adds a little comic relief as the social climbing 2nd Class passenger who is determined to hobnob with the rich and famous. Drew Gehling (Broadway’s Almost Famous) as Edgar Beane gives a noteworthy performance as the husband who can not see his wife’s vision of a new society where people are not locked in their station forever. Encores!, as always, it seems, assembled an all-star cast who together brought this production of Titanic to life.

The direction by Anne Kauffman (Encores! Assassins) is limited but interesting given the small amount of stage the actors have to work in as the orchestra is elevated on stage directly behind the action. The scenic design by Paul Tate Depot III (Broadway’s The Great Gatsby) acts as a three-dimensional backdrop that gives the impression of the famed ship, billed as the next wonder of the world, but is rarely used by the actors. The costumes designed by Márion Talán de la Rosa (Off-Broadway’s The Connector) seemed to lose the formal spirit of the early 1900s on their way to the Encores! stage. The men were basically in suits and the women’s costumes did not evoke the structure of dresses of the era which were simpler in construction and with higher hemlines.

City Center Encores! production of Titanic is a complete triumph. It relies on a magnificent score and poignant lyrics to tell the story of one of the world’s major shipping disasters that sent shock waves around the globe. The orchestra, conductor, and actors embraced the rich score giving a performance that bowed the walls and wowed the crowds packed inside the New York City Center with their intensity and magnitude. Encores! Titanic is the show to see right now, playing at the New York City Center until June 23rd. Is there a Broadway transfer in the works? We hope so.

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The Musical Titanic Successfully Sails onto the Stage at City Center



Titanic The Musical proves that the music and story does not need the special effects of a sinking ship to send the audience on an emotional journey. Twenty-five years ago when Titanic opened on Broadway, after reading headlines about the  malfunctioning unsinkable set, I skeptically went to the show; but, those first 18 minutes turned out to be the greatest opening number I had ever seen. The show is currently being performed at City Center in the Encores! Series and this score can stand alone without the trappings usually required to produce a Broadway spectacle. The opening number not only introduced us to the three focal people who each in their own way contributed to the disaster of the iceberg: Captain E.J. Smith (Chuck Cooper), Thomas Andrews (Jose Llana), J. Bruce Ismay (Brandon Uranowitz); but, also the members of all three classes aboard the ship and the crewmembers. As the 32 member cast raises their voices in beautiful harmony to cheer “Sail on, great ship Titanic” the hopes of the third class passengers, the wonder of those in first class and the pride of the crew are all felt by the audience. So moving is this song that we can suspend reality and wish that the maiden voyage of this “floating city” actually successfully makes it to New York.

This is not the Rose and Jack story that fictionalized a love story between a third and first class passenger but an even more beautiful story based on real people who either survived or were left onboard as the ship broke apart.

The music and lyrics by Maury Yeston are thrilling, cheerful, romantic and haunting. The story and book by Peter Stone who had previously done justice to the telling of the signing of the Declaration of Independence in 1776 again brings history to the stage with wit and suspense despite knowing the eventual tragedy.

Over twenty songs fill this musical score with a variety of styles and themes. Each one perfectly delivered by this amazing team of actors and singers briskly directed by Anne Kauffman. There is not a bad song in the mix nor a disappointing performer; but, in addition to that opening number I must highlight a few.

Lady’s Maid sung by the 3rd class passengers brings me to tears as three Irish lasses all named Kate start by telling their fellow travelers their dreams for America. Samantha Williams, Lilli Cooper, and Ashley Blanchet play the ‘three Kates’ and are joined by the ensemble all singing their own individual ambitions – to be a constable, engineer, and governess, etc. It fills my heart with pride that America is such a land of opportunity and then it breaks when I realize that some of these dreamers will never make it to their destination.

A pairing of two male singers, Ramin Karimloo and Alex Joseph Grayson, playing coal stoker Barrett and radio operator Bride, respectively sing two love songs one to his fiancé and one about his career choice is a magical duet where each voice is given a chance to shine.

Another example of Yeston’s genius is a song where three voices combine but certainly not in love; the ship’s owner, designer, and captain Blame each other for the inevitable sinking. It is a dramatic song that is rarely seen in such a show but too often seen in human nature.

The real life owner of Macy’s department store was actually onboard the Titanic with his wife. Chip Zien and Judy Kuhn portray the elderly Isidor and Ida Straus whose love proved even stronger than the two youngsters in the James Cameron film. Ida chose not to get on a lifeboat without her life long partner and that love is beautifully sung in their duet Still.

Love, anger, hope and desire are all represented on the stage but it is second class passenger Alice Beane that gives the tension a bit of comic relief. Wonderfully sung and acted by Bonnie Milligan, Mrs Bean dances into the first class salon and in one of the few choreographed numbers brings joy to the festivities. She and her husband Edgar (Drew Gehling) sing I Have Danced – a song that depicts the struggle of a happily married couple when ambitions are not in line.

We know the ship is going to hit the iceberg but as Matthew Scott as the ship entertainment sings the rhythmic tune Autumn coupled with the Company repeating the haunting No Moon the suspense grows as the ship sails in the night.

Anne Kauffman directs the cast seamlessly from scene to scene not only allowing the songs to tell a fantastic story but to bring out the wit and passion of Peter Stone’s words.

Rob Berman, the Encores! Music Director, again conducts this 30 piece orchestra with incredible ease despite the complicated orchestrations created by Johnathn Tunick. With every violin string, trumpet note, drum roll and cymbal clash the music envelops the huge theater yet touches every individual in it.

Encores! Began 30 years ago to honor scores that are not often revived. With minimal rehearsal time for this limited run some actors are still on book but that does not diminish either the music, story or the talent on the stage. Much has been written about the cost of producing on Broadway so a production with this many cast members and musicians may never be transferred to a Broadway theater as Encores other 2024 title, Once Upon a Mattress will be doing so do not hesitate to buy a ticket. Do not be left on the dock waving goodbye to this magnificent creation.

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Off Broadway

The Opposite Of Love A Devastating Look At Where We Are At Sexually



Ashley Griffin (Trial)  new play The Opposite of Love, is an uncomfortable, truthful, devastating and brave play about sexual intimacy, trauma, sexual abuse, assault, suicide and the sexualized world we live in today. This piece shows how the misuse of sex has permeated our culture, our minds and our feeling. We no longer truly date or have relationships, but look to satisfy our needs with not love, but sex. When you have grown up sexually abused, without a solid family background how do you navigate this world, that your heart tells you is instinctively wrong? That is at the crux of The Opposite of Love.

Ashley Griffin and Danny Gardner Photo credit: Jeremy Varner

The play follows trust fund baby Eloise (Ashley Griffin) who has been sexually compromised since she was a small child by a relative. Though not penetrated in the true sense of the word, her boundaries and trust issues have been violated. Wanting a loving, intimate romantic relationship she is ill equipped to function. Enter Will ( Danny Gardner), a male prostitute she has hired to take away her virginity. Unable to connected in any way Eloise sends Will away, but Will seeing a potential cash cow, suggests that they meet weekly to just…talk.

Ashley Griffin and Danny Gardner Photo credit: Jeremy Varner

During the course of several weeks the two share the trauma’s of their lives until they finally connect and Eloise feels safe enough. We learn about both of their insecurities, their deepest wants and lies they tell the world until they both feel seen.

Intimacy director Crista Marie Jackson has allowed us to see just enough without crossing the line, but the real kudos goes to director Rachel Klein, who does not play down to us. She crafts this play with heart, soul and intelligence allowing us to go on this journey without falling completely apart with it’s honest look at where we have come to.

Ashley Griffin, as a writer has a wonderful way with words as she expresses what we all are feeling. She shows us that we are both Will and Eloise. Who we are depends on our financial circumstances and upbringing.

Griffin as an actress needs to slow down on her delivery. Her words have so much to say but we miss some of the text due to her rushing and projection. Her charactazation fares better as she takes us on the rollercoaster of this journey. You are never going to expect the ending and that is where she really shines.

Gardner’s Will is organic as we follow his transformation with anticipation. He goes from shallow cad to a broken man who has finally allowed himself to care. We see his mind work as he lies, then tells the horrors of his actions and his the trauma’s of his life, than are even more devastating than Eloise’s as he is told by society that he can not feel. In the end when he finally let’s his guard down we feel his pain and heartbreak.

Gardner, who is primarily known for his tap dancing work on Broadway’s in Dames at Sea and Flying Over Sunset, wow’s as a dramatic actor. I look forward to seeing him do more straight acting.

Griffin and Gardner have chemistry, which allows the play to go even deeper.

The scenic design by Brendan McCann and lighting by Zach Pizza, do well in such a small space and on a small budget

The Opposite of Love, could easily upset and anger those who have not come to terms with the shadows within, but if you are willing to face those devils you just might find a fabulous piece of theatre. I hope this show gets a longer run, where audiences will have a chance to experience this intimate look at the reality of where we are now. I know it is Tony season and there are only a few more performances but if you get a chance, I highly recommend this show.

The Opposite of Love: New York Rep at the Royal Family Theater (145 West 46th Street, until June 15th.

We did a Live From The Hotel Edison Times Square Chronicles Presents with Ashley Griffin and Danny Gardner. Click here to see this interview and learn even more about The Opposite of Love.

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