We are greeting with facts and figures as we climb the stairs to the Martinson Theater at the Public. All of them, focusing on the debilitating international ivory trade that is destroying Africa’s wildlife, specifically the elephant population. The first reads: “1 Elephant is killed every 15 minutes“, a devastating statistic, but that is just the first of many. Mlimas Tale, written by Pulitzer Prize winning Lynn Nottage, the wizard behind such dramas as Ruined and Sweat, is the lyrically beautiful and disturbing tale of the tusk told in a superbly orchestrated La Ronde style structure of pairs. It’s crafted with such empathy and wisdom, determined to tell the step by step tale of the “Ivory Highway“, starting with the powerful Mlima, portrayed by the impressive and statuesque Sahr Ngaujah (Fela!) and ending in a rich man’s home on display for all to see.
As directed by Jo Bonney (Public’s Some People) with an sympathetic eye for detail and human complexities, the journey is a step by step process on characters basically up the financial food chain from the land to the penthouse. Each layer is assisted by three players; Itos Aghayere (PH’s Familiar), Jojo Gonzalez (Ars Nova’s Small Mouth Sounds), and Kevin Mambo (Public’s The Fortress of Solitude), taking on numerous parts with an ease that is both brilliant and realistic. Wrapping themselves around the problem “that is easy to turn into slogans” (Oskar Eustis, Artistic Director, Public), scenic designer Riccardo Hernandez (Public’s Miss You Like Hell), with solid assistance from costume designer, Jennifer Moeller (Public’s Tiny Beautiful Things), lighting designer Lap Chi Chu (Public’s Oedipus El Rey), and sound designer Darron L West (Public’s King Lear) continue their magnificent work at The Public Theater, finding the essence of the story and presenting it most engeniously. The spectacle is further enhanced with the beautifully engaging music performed by composer and music director Justine Hicks (Prophetika: An Oratorio), transporting us country to country with an ease and mystical air that only furthers the tragedy being addressed. The over all effect is powerful and moving, guiding us through the web of human forces that make up the problematic and illegal industry of poaching. Mlina’s Tale doesn’t try to solve the difficult issue, as it is far too complex to tackle within this presentation, but the white streaked imagery will leave us all stained as we take in the grandness of this animal and the profound emotional response to his death, feeling in someway complicit in the global dynamic.
For more go to frontmezzjunkies.com
A Look At The Vineyard Theatre’s Starry Gala
Photo Patti LuPone and Jesse Tyler Ferguson© Bruce Glikas @bruglikas@broadwaybruce_
Here are photos from the Vineyard Theatre’s 2024 Annual Gala honoring Tony Award-winning actor Jesse Tyler Ferguson (Take Me Out) held Monday, February 26, 2024, at the Edison Ballroom, the festive evening included performances by Sara Bareilles with Rosie’s Theatre Kids, Patti LuPone, Lea DeLaria, Celia Keenan-Bolger and more. Sarah Saltzberg served as host and Hiram Delgado, Bill Heck, Ken Marks, Michael Oberholtzer and Eduardo Ramos paid hilarious tribute to their Take Me Out co-star.
Also attendance to support were Chelsea Clinton, Kevin Cahoon, Crystal Dickinson, Brandon J. Dirden, Brandon Victor Dixon, Renata Friedman, Montego Glover, Michael R. Jackson, Haskell King, Christine Lahti, John Lavelle, Luke Macfarlane, Justin Mikita, Deirdre O’Connell, Hadi Tabbal and Rolanda Watts.
Celebratory toasts were also given to Rosemarie Bray, Educator at Union Square Academy of Health Sciences and Christina Poon, General Manager of W Hotel – New York – Union Square. The Gala will be
The Gala was co-directed by Leigh Silverman (Suffs, Harry Clarke, Sandra) and Colin Hanlon (DOT, “Modern Family”) with musical direction by Vadim Feichtner (Spelling Bee, Falsettos, New Brain).
The Gala host committee includes the Patrick J. Adams, Blavatnik Family Foundation, John Barrie and Betsy Smith, Kathleen and Henry Chalfant, Ken and Rande Greiner, Mark Lerner and Steven Frank, Padma Lakshmi, Sue Marks, Justin Mikita, David J. Schwartz andTrudy Zohn, Annette Stover and Richard Feiner and Julia Vitullo-Martin.Under the artistic leadership of Douglas Aibel and Sarah Stern, Vineyard Theatre develops and produces new plays and musicals that push the boundaries of what theatre can be and do. For over 40 years, The Vineyard has nurtured a community of fearless theatre makers whose work has expanded the form, the field, and the larger culture. Vineyard Theatre has transferred eleven shows to Broadway, seven directly after their acclaimed Vineyard premieres: Lucas Hnath’s Dana H. and Tina Satter’s Is This A Room (both New York Times Best Theatre of 2021); Paula Vogel’s Indecent; Nicky Silver’s The Lyons; Kander, Ebb and Thompson’s The Scottsboro Boys; Bell and Bowen’s [title of show]; and Avenue Q by Marx, Lopez and Whitty (Tony Award, Best Musical). In recent years, four additional shows launched at The Vineyard have been revived in their first Broadway productions: Paula Vogel’s Pulitzer Prize-winning How I Learned to Drive; Lanie Robertson’s Lady Day at Emerson’s Bar And Grill; Becky Mode’s Fully Committed; and Edward Albee’s Pulitzer Prize-winning Three Tall Women. From our home in NYC’s Union Square, The Vineyard develops and premieres new plays and musicals which go on to be seen around the country and the world. Recently, Jeremy O. Harris’ play “Daddy” (2019) received its London premiere at the Almeida; Ngozi Anyanwu’s Good Grief (2018) and David Cale’s Harry Clarke (2017) were recorded by Audible; Branden Jacobs-Jenkins’ Gloria (2014), a finali st for the Pulitzer Prize, transferred to Chicago’s Goodman Theatre; Paula Vogel’s Tony Award-winning Indecent (2016) aired on PBS’s “Great Performances” and was one of the most-produced plays nationwide in 2019; and Oscar Nominee Colman Domingo’s Dot (2016) is being adapted into an AMC series. The Vineyard’s first major digital work, Lessons in Survival, was named one of the top theatrical experiences of 2020 by the New York Times and has been viewed by audiences in more than 40 countries. The Vineyard’s Paula Vogel Playwriting Award, Susan Stroman Directing Award, and Colman Domingo Award provide residencies to early-career artists and our education programs serve over 700 New York City public high school students annually, culminating in Developing Artists’ REBEL VERSES Youth Arts Festival. The Roth-Vogel New Play Commission is awarded annually to a mid to late-career playwright to create and develop a new play with The Vineyard. Our work and artists have been honored with numerous awards including Pulitzer Prizes and Tony Awards, and the company is proud to be the recipient of special Drama Desk, Obie, and Lucille Lortel Awards for artistic excellence and support of artists.
More Theatre News: James Monroe Iglehart, Bonnie Milligan, J. Harrison Ghee, Santino Fontana, Len Cariou, Peter Filichia and Patricia Birch
After winning rave reviews in New Orleans and Chicago, Tony Award winner James Monroe Iglehart (Disney’s Aladdin, Hamilton, Spamalot) will star as jazz legend and American icon Louis Armstrong in A Wonderful World: The Louis Armstrong Musical on Broadway in Fall 2024.
Produced by Thomas E. Rodgers, Jr., Renee Rodgers, Martian Entertainment (Carl D. White and Gregory Rae) and Vanessa Williams and Elizabeth Curtis, A Wonderful World will open on Monday, November 11, 2024 at Studio 54 (254 West 54th Street). Previews will begin on October 16, 2024. Tickets will be available at CriterionTicketing.com, with the on-sale date to be announced in coming weeks.With a book by Aurin Squire (“This Is Us,” “The Good Fight”) and featuring songs made famous by Louis Armstrong, A Wonderful World is co-conceived by Drama Desk Award winner and Tony Award nominee Christopher Renshaw (The King and I, Taboo) andAndrew Delaplaine, and directed by Renshaw. Cast and full creative team for A Wonderful World: The Louis Armstrong Musical will be announced soon. Last fall, Iglehart starred in the pre-Broadway production of A Wonderful World in New Orleans and Chicago, where he won raves for his performance. The Chicago Tribune called him “just fabulous! – a knockout Louis Armstrong.” The Chicago Sun-Times, cheered, “James Monroe Iglehart gives a phenomenal, dynamic and vivacious lead performance as the wondrous Louis Armstrong.” “I am so excited to bring this wonderful brand-new musical to Broadway,” James Monroe Iglehart commented. “American music wouldn’t be what it is today without Louis Armstrong and what is Broadway if not American music? ‘Pops’ doesn’t get enough credit for his contribution to our entertainment industry or our country. I know I have never studied, researched, or prepared for anything as much in my career as I have for this role. I feel such a strong connection and an obligation to bring his voice, his music, and his story to the one place where it can be presented in all its glory – Broadway! I can’t wait for you all to become a part of A Wonderful World.”
Maestra Music, the Obie Award-winning nonprofit organization founded by Georgia Stitt to support the women and nonbinary musicians in the musical theatre industry, is pleased to announce hosts Tony Award-winner Bonnie Milligan and Tony Award-winner J. Harrison Ghee for this year’s Amplify 2024, directed by Jessica Ryan (Between Riverside and Crazy Live Broadcast). This fourth-annual concert and fundraising event features stories, conversations, and musical performances from an impressive array of Broadway stars, composers, music directors, and more. Amplify 2024 will take place on Monday, March 25, 2024, at 8:00 pm at Sony Hall (235 W 46th St, New York, NY 10036). Tickets for the in-person event are on sale now at maestramusic.org/amplify/.
Amplify 2024 celebrates the rich creativity and ingenuity of Maestras in musical theatre, ranging from legendary to emerging talents.
The performers showcasing the musical brilliance of renowned composers and lyricists in this diverse and dynamic lineup embody the spirit of creativity and inclusivity in musical theatre including Tony Award-winner Santino Fontana (Tootsie), Two-time Tony Award-nominee Amanda Green (Mr. Saturday Nightand Hands on a Hardbody), Brooke Ishibashi (Into the Woods, Broadway), Jay Armstrong Johnson (Parade, Broadway), Mary Kate Morrissey (Wicked, Broadway), Liam Pearce (How to Dance in Ohio, Broadway), Jasmine Amy Rogers (BOOP! The Musical, Chicago), Sushma Saha (Interstate, Off-Broadway), Jordan Tyson (The Notebook, Broadway), Joy Woods (Six, Broadway), and Grammy Award-winning Nicole Zuraitis.
The celebrated composers and lyricists include Kristen Anderson-Lopez (Frozen), Susan Birkenhead (BOOP! The Musical), Amanda Green (Female Troubles), Rebekah Greer Melocik (How to Dance in Ohio), Brandy Hoang Collier, Clare Fuyuko Bierman, and Erika Ji (Yoko’s Husband’s Killer’s Japanese Wife Gloria), Christine Lavin (InunDATED), with newly added Bree Lowdermilk and Kait Kerrigan (The Mad Ones), Melissa Li and Kit Yan(Interstate) Ingrid Michaelson (The Notebook), and Lynne Shankel.
Music Director Julianne B. Merrill (My Son’s A Queer) leads a band made up entirely of Maestra members: Monica Davis (violin), Ann Klein (guitar), Mary Ann McSweeney (bass), Merrill (piano), Noelle Rueschman (reeds), Shirazette Tinnin (drums), and Clerida Eltimé (cello). Kristy Norter serves as the Music Coordinator and Lexi Vollero is music assistant.
- Date & Time: Monday, March 25, 2024, 8:00 pm (doors open at 7:30 pm)
- Venue: Sony Hall, 235 W 46th St, New York, NY 10036
- Tickets: maestramusic.org/amplify/
The Theatre World Awards Board of Directors has announced two of the individuals to be honored at 78th Annual Theatre World Awards to be held on Monday evening, June 10, 2024 beginning at 7:00 p.m. at a Theater Venue TBA. Tony Award winner Len Cariou (Sweeney Todd: The Demon Barber of Fleet Street, A Little Night Music, Applause) will receive the 11th Annual John Willis Award for Lifetime Achievement in the Theatre, while acclaimed theatre journalist Peter Filichia will receive a 2024 TWA Special Awardfor his quarter-century of service to the organization. The recipient of the 15th Annual Dorothy Loudon Award for Excellence in the Theater, and the 2024 Theatre World Award Honorees for Outstanding Broadway or Off-Broadway Debut Performance will be announced in early May.
Hosted annually by well-known theater journalist, Peter Filichia, the 78th Annual Theatre World Awards Ceremony will be produced by Theatre World Awards, Inc. Board of Directors/Dale Badway. The Musical Director is Michael Lavine.
Theatre World Award winner (1979) Ken Jennings who played ‘Tobias’ in the original Broadway production of Sweeney Todd will perform in a musical tribute to Len Cariou.
Amas Musical Theatre (Donna Trinkoff, Artistic Producer), New York City’s award-winning pioneer in diversity and multi-ethnic casting in the performing arts since 1968, will celebrate its 55th Anniversary at its annual Gala Benefit Concert on Monday, May 13, 2024 at Baruch Performing Arts Center (Engelman Recital Hall) One Bernard Baruch Way (25th Street -between Lexington & 3rd Avenues). For more information, please visit http://www.amasmusical.org/. The evening will benefit Amas Musical Theatre’s education programs.
The gala evening will begin at 6:00pm with a champagne toast. At 7:00pm the evening continues with a concert performance of “A Lotta Night Music,” directed by Jonathan Cerullo. A cast of Broadway luminaries will perform songs from such shows as Grease, They’re Playing Our Song, and A Little Night Music, among others. Teens from The Rosetta LeNoire Musical Theatre Academy will be part of the evening.
The evening will culminate with the presentation of the 2024 “Rosie” Award to Honorees award-winning choreographer and director Patricia Birch (A Little Night Music, Parade), Tony Award-wining actor Len Cariou (Sweeney Todd, Applause), and Butler Tibbets, a beloved corporate sponsor for Amas programs for many years.
Theatre News: Legacy: An Evening with Maria Friedman and Friends, Heart of Rock and Roll, Melba Moore, Gun & Powder and Bordello The Musical
The new, one-night-only concert event Legacy: An Evening with Maria Friedman and Friends will celebrate the brilliance of Stephen Sondheim, Marvin Hamlisch and Michel Legrand on Monday, March 4, 2024 at 8PM at Broadway’s Hudson Theatre (141 West 44th Street). The evening will benefit Broadway Cares/Equity Fights AIDS, The Stephen Sondheim Foundation and The Marvin Hamlisch International Music Awards. Tickets, which start at $100, and VIP sponsorship packages are now on sale at broadwaycares.org/mariafriedman.
Four-time Olivier Award winner and director of this season’s critically acclaimed Broadway revival of Stephen Sondheim and George Furth’s Merrily We Roll Along, Maria Friedman has crafted a special one-night-only concert, with friends old and new, that will explore the legacies of three titans of 20th century musical theatre. The evening will showcase Maria Friedman, Santino Fontana, Savy Jackson and a special company of extraordinary young talent performing from the songbooks of celebrated composers Stephen Sondheim, Marvin Hamlisch, Michel Legrand, Joni Mitchell and Leonard Bernstein, along with a special surprise performance from Joseph and the Amazing Technicolor Dreamcoat in which Friedman famously starred as The Narrator alongside Donny Osmond.
Collaborating with musical director and pianist Theo Jamieson, Legacy: An Evening with Maria Friedman and Friends is directed by Tony Award Winner Christopher Gattelli.
Producers Hunter Arnold, Tyler Mitchell and Kayla Greenspan welcomed the company of The Heart of Rock and Roll as rehearsals began for the upcoming Broadway musical, which is set to begin previews on March 29th, 2024.
The Heart of Rock and Roll, the new musical inspired by the iconic songs of Huey Lewis and The News, will open on Broadway at The James Earl Jones Theatre (138 W 48th St, New York, NY 10036) on Monday, April 22, 2024.
The principal cast features Corey Cott, McKenzie Kurtz, Josh Breckenridge, F. Michael Haynie, Zoe Jensen, Tamika Lawrence, Raymond J. Lee, John-Michael Lyles, Orville Mendoza, Billy Harrigan Tighe and John Dossett.
The cast also includes Mike Baerga, Tommy Bracco, TyNia René Brandon, Olivia Cece, Taylor Marie Daniel, Lindsay Joan, Ross Lekites, Robin Masella, Kara Menendez, Joe Moeller, Jennifer Noble, Fredric Rodriguez Odgaard, Michael Olaribigbe, Kevin Pariseau, Robert Pendilla and Leah Read.
Set in 1987 and jam-packed with Huey Lewis megahits like “Do You Believe in Love”, “Hip to Be Square” , and “If This Is It,” The Heart of Rock and Roll centers on a couple of twenty-somethings on the cusp of their futures—Bobby, a rock and roller who’s traded his guitar for the corporate ladder and his boss Cassandra who’s always put the family business first. When they both get a second shot at their dreams, it’ll take “The Power of Love” and a little help from their friends — to figure out what kind of life they really want.
The Heart of Rock and Roll premiered in San Diego at The Old Globe, helmed by Erna Finci Viterbi Artistic Director Barry Edelstein and the Audrey S. Geisel Managing Director Timothy J. Shields, in 2018.
Paper Mill Playhouse (Mark S. Hoebee- Producing Artistic Director; Michael Stotts- Executive Director), recipient of the Regional Theatre Tony Award, is pleased to announce the full cast and creative team for the new musical Gun & Powder, with book and lyrics by Angelica Chéri and music by Ross Baum. Directed by Stevie Walker-Webb, choreographed by Tiffany Rea-Fisher and music directed by Austin Cook, the production will play April 4 – May 5, 2024 at Paper Mill Playhouse (22 Brookside Drive). Opening night is Sunday, April 14. Gun & Powder will feature Liisi LaFontaine (West End: Dreamgirls, Moulin Rouge!; Regional: Born for This) as Martha Clarke,Ciara Renée (PMP: The Hunchback of Notre Dame; Broadway: Waitress; TV: “The Flash,” “Arrow”) as Mary Clarke, Jeannette Bayardelle (Broadway: Girl from the North Country, The Color Purple) as Tallulah Clarke, Aaron James McKenzie (Broadway: A Beautiful Noise; TV: “Bull”) as Elijah, Hunter Parrish (Broadway: To Kill a Mockingbird; TV: “Weeds,” “The Other Black Girl”) as Jesse Whitewater, and Jisel Soleil Ayon (National Tour: Hamilton, Waitress) as Standby for Mary and Martha. The ensemble of Gun & Powder will include Rickens Anantua, Reed Campbell, Carrie Compere, Meghan Olivia Corbett, Joann Gilliam, Francesca Granell, Aaron Arnell Harrington, Mary Claire King, Malik Shabazz Kitchen, Rayshun LaMarr, Zonya Love, Tiffany Mann, Tony Perry, Adam Roberts, Hank Santos, Christine Shepard, Katie Thompson, Aurelia Williams, and Jason SweetTooth Williams.
Gun & Powder is a new musical inspired by the true story of Mary (Renée) and Martha Clarke (LaFontaine), African American twin sisters who take extraordinary measures to settle their mother’s sharecropper debt and save her home. In 1893 Texas, the Sisters Clarke—passing as white—embark on a remarkable Wild West adventure that examines race, family, and identity with two electrifying women who transformed from farm girls to outlaws to legends.
The production features orchestrations by John Clancy (Broadway: Kimberly Akimbo, The Notebook), scenic design by Beowulf Boritt (PMP: The Wanderer, Murder on the Orient Express; Broadway: Harmony; New York, New York; The Scottsboro Boys), costume design by Emilio Sosa (PMP: On Your Feet!; Broadway: Sweeney Todd; Ain’t No Mo’; Good Night, Oscar), lighting design by Adam Honoré (PMP: After Midnight; Broadway: Purlie Victorious, Ain’t No Mo’), sound design by Connor Wang (Broadway: How to Dance in Ohio; American Repertory Theatre: Evita), wig, hair, and makeup design by J. Jared Janas & Tony Lauro (PMP: Clue; Broadway: Sweeney Todd, & Juliet), fight direction by Sordelet, Inc./Rick Sordelet (PMP: The Wanderer, Fiddler on the Roof; Broadway: Take Me Out), and intimacy direction by Crista Marie Jackson (Broadway: Between Riverside and Crazy; Film: Dumb Money, No Hard Feelings). Casting is by Tara Rubin Casting. Jakob W. Plummer is the Production Stage Manager.
The York Theatre Company (James Morgan, Producing Artistic Director, Marie Grace LaFerrara, Executive Director) “Where Musicals Come to Life,” will present developmental readings of Bordello, The Musical, with book by Barbara Bellman and Joan Ross Sorkin, music by Emiliano Messiez, lyrics by Barbara Bellman, music direction by Steven Gross and directed by Will Pomerantz. The presentations by invitation only will take place on Thursday, February 29 and Friday, March 1. These presentations are part of The York Theatre Company’s Developmental Reading Series. General Management by Hillel Friedmanfrom Evan Bernadin Productions. Executive Producer is Rashad Chambers.
Synopsis: Set in the colorful world of Buenos Aires in 1920 and inspired by historical events surrounding Raquel Liberman, Bordello is the story of a Polish immigrant who is forced into prostitution and risks everything to bring an international Jewish sex-trafficking ring to justice. This never-been-told-before tale of love and bravery has a musical theatre score that incorporates tango, klezmer and other sounds of the period.
Cast: Dana Aber, Harrison Bryan, Emily Brockway, Ellie Biron, Alison Cimmet, Omar Cepero-Lopez, Cicily Daniels, Ryan Duncan, Jamie LaVerdiere, Jillian Louis, Benjamin Magnuson, Samantha Massell, Shereen Pimentel, Cheryl Stern, Pablo Torres, and Eric Van Tielen. Stage Manager is Michael Wizorek.
Public Theater Brings “The Ally” Forward for an Intense Debate
So here’s the pickle. This play, The Ally, clocking in at a far too long two hours and forty minutes, throws controversy at you in numerous long-winded speeches one after the other, filling your brain with details and complexities that clash and do battle with each other from beginning to end. The structuring is intelligent, as the Public Theater‘s new play, The Ally, written by Itamar Moses (Outrage; The Band’s Visit) and directed with precision by Lila Neugebauer (Second Stage’s Appropriate), strides forward into dangerous territory with determination against all odds. Wickedly smart and articulate, the play, in general, overwhelms the intellectual senses. It’s factual and intricate, somewhat off-balanced and attacking, delivering detailed positions with fiery accuracy, which only made me question whether I wanted to sit this one out. Or step more in.
It’s unsafe and determined, placing the action (or inaction, if you really want to get into it) inside a college campus, and attempting to engage in deep-level conversations and arguments with the complicated issues of the world. These are exactly the debates worth having, says basically one character to another, in the tradition of arguing. Because banning free speech is “weird on a college campus.” These conundrums and conflicts are core to passionate dialogue, and just the idea of having them is meeting with fierce debate at universities and colleges across the country. The complexities and the tipping points are layered and real, swimming in a sea of questions about what free speech really truly means, and how differing points of view, civil dialogue, and the stark polarization contrasts collide and enflame. And how, in discussion, defensiveness and aggressive emotional stances are taken on and used against one another like weapons; bullets, and missiles. I even feel a bit worried that taking this stance of wanting to back away might be taken as ‘part of the problem’.
The program notes that “the theatre is a safe space in the most literal sense of that term: no one is going to be physically harmed during this performance in the Anspacher. But it is most decidedly not a safe space if by that term we mean a space where everyone will feel comfortable and no one will feel angry, saddened, or offended. It can’t be that kind of space. The theater depends on conflict – the form itself refuses the idea of a single truth. It’s why I [Oskar Eustis; Artistic Director of The Public Theater] believe that theater is the ultimate democratic art form – just like citizens in democracy, the theater demands that we listen to and share opposing viewpoints, and that from that conflict, a greater truth will emerge.” And I couldn’t agree more with that.
Yet, even with such heightened emotions on stage, delivered full throttle by the excellent cast that includes Cherise Boothe (Signature’s Fabulation,…) as Nakia; Elijah Jones (Signature’s Confederates) as Baron; Michael Khalid Karadsheh (Target Margin’s The Most Oppressed by All) as Farid; Joy Osmanski (“Stargirl“) as Gwen; Josh Radnor (LCT’s The Babylon Line) as Asaf; Ben Rosenfield (RTC’s Love, Love, Love) as Reuven; and Madeline Weinstein (BAM’s Medea) as Rachel, who each try to make it sound more authentic than the writing really allows, the play suffers from how deep of a dive the writing goes. But not without a solid attempt by this cast, bringing qualities and characteristics to the forefront whenever they are given the chance. But a lot of the time, like their main focus, Radnor’s Asaf, they must stand and listen to whoever has the microphone at that one particular speechified moment. And wait, just like us, for the next round. And viewpoint.
Playwright Itamar has certainly dived fully into some of the most difficult topics of our time and asks us to patiently listen to all sides, even when the dialogue doesn’t really resemble discussion but more like informed lectures or one-framed speeches. On the plainest of sets, designed by Lael Jellinek (Public/Broadway’s Sea Wall/A Life), with costuming by Sarita Fellows (Broadway’s Death of a Salesman), lighting by Reza Behjat (ATC’s English) and sound design by Bray Poor (Broadway’s Take Me Out), The Public‘s The Ally, uncovers some emotional space within the manifestos presented. Itamar states in the note section: It “wasn’t that i had nothing to say,” he carefully explains, like the main character who has to stand back and take on the full force and brunt of the argument. “Rather, I didn’t know where to begin because what I had to say was too confused, too contradictory, too raw.” And if that was the complicated stance he was trying to unpack, the playwright succeeded tremendously well.
But does that make The Ally, at The Public Theater, especially this long-winded one, worth sitting through? I’d say yes, and I’d say no. I couldn’t wait to leave that debate hall, but I was also impressed and intrigued by the arguments presented and discussed, even if ‘debate’ would not exactly be the word I would use for the ideas thrown around at one another with brutal force. One of the later statements said to Radnor’s Asaf by his ex-girlfriend, Nakia (Boothe) at maybe one of the few truly emotional moments of actual human souls speaking their truth, sums up my stance. “The thing you need, may not be words.” I won’t argue with that.
For more information and tickets, click here.
For more go to frontmezzjunkies.com
The New Group’s “The Seven Year Disappear” Is a Sweet Wonderful Lollipop of Strong Whiskey and Sadness
“Have I got the complicated guy for you?” And with that commentary from one friend to another, The New Group‘s fantastically layered cocktail of whisky and sadness dives in. It’s a deliciously adept remark, related somewhere in the midst of this time-jumping fascination that revels in art and protest; personal and political. Or so The Seven Year Disappear, written with forceful intent and intelligence by Jordan Seavey (Homos, or Everyone in America), tells us. The complication and attraction are stated by one of the many wild and wonderful interactions had by the son and manager of the world-famous performance artist, played to detailed length by the wonderful Cynthia Nixon (“The Gilded Age“; MTC’s The Little Foxes). He, Naphtali, dynamically portrayed by Taylor Trensch (LCT’s Camelot; Broadway’s Hello, Dolly!), is that guy. He’s part of the art, but this time, he has been left out of the loop, abandoned by his mother after vanishing into thin air, as he stood, introducing her to a roomful of donors at an event organized by him to announce a new creation that she has been commissioned for by MoMA.
But, she was gone, yet also, as this play spins forward and back most savagely, she is everywhere. As the timeline zips up and down in the background, giving titles to framed artworks of time, Naphtali tries in his own way to cope with the sudden disappearance and move forward, playing the game, but not aware of the rules. The play, directed with preciseness by Scott Elliott (TNG’s The Seagull/Woodstock, NY), is a masterclass of performance and creation, taught by the incomparable Nixon. She presents herself as both the artist and the art, taking on all the faces of those Trensch’s desperate son engages with during those years; friends, lovers, coworkers, lovers, and flirtations. Nixon digs in with all her might, taking on accents and postures that resonate and reveal both their harshness and their care. It’s clever and fascinating in its construct, especially as it bounces around, unleashing all the responses one could have with such a mother as this.
And then she returns, suddenly from her disappearance act of art, taking a seat casually, requesting cooperation and involvement, when she has given him neither. Naphtali must confront her absence and neglect, something that has been painted on him from the day he was born, like a canvas. But it all comes to a centerpiece head with a request that baffles him, yet explains so much, without her answering the questions and inquires he has for her. It’s a compelling setup, that delicately transforms itself before us on that meticulously cold-formed stage, courtesy of scenic designer Derek McLane (Broadway’s Moulin Rouge!), with simple yet effective costuming by Qween Jean (TNG’s Black No More), complex and determined lighting by Jeff Croiter (MTC’s Cost of Living), solid and electric sound by Rob Milburn & Michael Bodeen (Broadway’s Sweat), and the meticulously well scrolled out projection design by John Narun (Life Jacket’s Gorey…).
It’s all “part of the art“, we are told by The New Group‘s The Seven Year Disappear, and part of the game, and it works, this sweet lollipop of art and attachment, reconstructing its own brilliantly crafted formula as a way to wrap up the discontent and connection. It’s captivating and fascinating, watching the attachment and anger flourish and recede into the performance art that is at its core. The two relish the wonderfully created interactions, finding layers of complication and attraction to interact with inside an installation of reconciliation and art. The range of ideas unspooled is relentless and ravishing in its determined approach to a mother and a son, and their complicated dance of love and misuse. And I was enthralled.
For more information and tickets, click here.
For more go to frontmezzjunkies.com
Live From The Hotel Edison Times Square Chronicles Presents Maury Yeston and Victoria Clark Rescheduled
A Look At The Vineyard Theatre’s Starry Gala
More Theatre News: James Monroe Iglehart, Bonnie Milligan, J. Harrison Ghee, Santino Fontana, Len Cariou, Peter Filichia and Patricia Birch
Romantic and Meaningful Love Quotes For Her To Help Win Her Heart
Entre Institute Review – Is Jeff Lerner’s Program a Scam?
How to Take Advantage of Virtual Numbers for SMS
Family3 days ago
Errol Rappaport: Guardianship/ Conservatorship and What You Need To Know Part 2
Family4 days ago
Wendy Williams: Guardianship/ Conservatorship and What You Need To Know Part 1
Cabaret2 days ago
The Most Beautiful Woman in the World
Broadway5 days ago
Ken Fallin’s Broadway: Sweeney Todd’s New Cast
Events5 days ago
Inside the Origins of Whiskey presented by Bushmills at Halls des Lumières
Broadway3 days ago
Betty Buckley Returns to Joe’s Pub
Broadway3 days ago
Live From The Hotel Edison Times Square Chronicles Presents Maury Yeston and Victoria Clark
Family2 days ago
Jose Verdugo: Guardianship/ Conservatorship and What You Need To Know Part 3