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There are six definitive and definitely talented actresses playing Tracy Letts’ title character, Mary Page Marlowe. Seven if you want to include the baby doll that cries softly trying to seek and receive comfort in the arms of her distracted father, handsomely and clearly played by Nick Dillenburg (Off-Broadway’s Teenage Dick). (Interesting footnote: when Mary Page Marlowe premiered at Chicago’s Steppenwolf Theatre in April 2016, the infant Mary was played by three actual babies, but was switched to a doll after audience members complained they were too distracted and nervous by the real life infant.) Luckily and typically, I had no idea going in to the Second Stage’s Tony Kiser Theater that the non-sequenced play was structured in such a manner, finding myself happily struggling to find my footing after the first of eleven scenes concluded. The opening, starring Susan Pourfar (NYTW’s Mary Jane) as Mary Page Marlowe (MPM, 40 & 44) delicately, and most authentically shows a mother breaking the news of divorce to her two children, played most compellingly by Kayli Carter (West End/St Ann’s Nice Fish) and Ryan Foust (Broadway’s Charlie and the Chocolate Factory). After that, we are, click by click, thrown around like a time traveling hot-potato from a scene of personal impact and importance to another, decades apart and each one starring a strongly constructed Mary Page Marlowe. This woman is masterfully assisted by a string of connected characters, each and everyone playing a role in molding and sewing together the quilt that will become the finished product at the sweet and stable age of sixty-nine.  Mary Page’s mother, played steely but the phenomenally talented Grace Gummer (Broadway’s Arcadia) adds a strong unique layer of hardness to the young twelve year-old MPM, played by the sweet Mia Sinclair Jenness (Broadway’s Matilda) laying the ground work, almost too casually, of what kind of woman this Mary will become.  “This is not a tragedy” Pourfar’s MPM says to her children so many years later, much like the words she probably needs to tell her numerous younger (and older) selves. We hopscotch our way, back and forth, over almost seventy years, comforting her lost and confused soul with the discrepancy of what should have or could have been with what it actually became. But much like MPM’s life, the end result is neither totally satifying, nor is it disappointing, as the cards can’t predict fulfillment, success or failure, just pathways forward.

MARY PAGE MARLOWE By TRACY LETTS Directed by LILA NEUGEBAUER With DAVID AARON BAKER, BLAIR BROWN, KAYLI CARTER, AUDREY CORSA, MARCIA DeBONIS, NICK DILLENBURG, RYAN FOUST, TESS FRAZER, EMMA GEER, GRACE GUMMER, MIA SINCLAIR JENNESS, BRIAN KERWIN, TATIANA

As the clever tarot cards are dealt to a young nineteen year old Mary Page, portrayed precisely by the glorious Emma Geer (Mint’s Hindle Wakes), they strongly suggest an unknown and thrilling future already laid out for her in one of the more intoxicating moments of this 90 minute play. The Queen of Cups is overflowing with hope, dreams, and possibilities, but as always, there is another, more abstract vision, the death card, suggesting opposing forces of prophesied destiny, both good and bad. This young Mary Page Marlowe,  finds comfort from the unknowingness that lays ahead, cozied up together with her best friends during a teenage sleep-over. They are played by the wonderfully engaging pair of actresses, Audrey Corsa (Arin Arbus’ Twelfth Night) and Tess Frazer (This Property is Condemned), solidifying a scenario where ideas of “I don’t want to marry” and the subsequent three marriages that we become privy to, with the last husband, and the favored one, Andy, played beautifully by the sweet Brain Kerwin (Broadway’s August: Osage County), suggest a stitching of a different thread.  Costumed to period perfection by Kaye Voyce (Signature’s At Home at the Zoo), these different clad Mary Pages remind us how our youthful desires vanish, restructuring into a series of surprising attachments that are impossible to foresee staring out at us from those tarot cards dealt.

MARY PAGE MARLOWE By TRACY LETTS Directed by LILA NEUGEBAUER With DAVID AARON BAKER, BLAIR BROWN, KAYLI CARTER, AUDREY CORSA, MARCIA DeBONIS, NICK DILLENBURG, RYAN FOUST, TESS FRAZER, EMMA GEER, GRACE GUMMER, MIA SINCLAIR JENNESS, BRIAN KERWIN, TATIANA

Those cards try to tell us about a life played out in scenes of engagement, with pieces of the puzzle adding and fitting together in ways that might be pre-ordained or just plain random and reactionary. It all depends on how you want to see it. One of the most powerful being the tightly controlled Kellie Overbey (Broadway’s The Coast of Utopia) as MPM, 50, losing her composure after her third D.U.I., screaming “Don’t tell me how I feel!” over and over again at her dumbfounded and frightened husband #2, Ray, played just as compellingly by David Aaron Baker (2ST’s Oblivion Postponed).  It shows a level of disconnect in her connection and the fear that lives inside the constantly escaping Mary Page. It is most effectively portrayed at age twenty-seven and thirty-six by the most excellent player of parts, Titiana Maslany (‘Orphan Black‘) finding humor and play in her two scenes of hiding and interaction; one with her therapist, played disconcertingly by Marcia DeBonis (Small Mouth Sounds), and the other with her needy and power-playing boss/lover, Dan, played effectively by Gary Wilmes (Broadway’s Chinglish). Both display equal levels of desperation for something that might save their independent souls, filling out the form of Mary Page Marlowe with embroidered detail and denial.

MARY PAGE MARLOWE By TRACY LETTS Directed by LILA NEUGEBAUER With DAVID AARON BAKER, BLAIR BROWN, KAYLI CARTER, AUDREY CORSA, MARCIA DeBONIS, NICK DILLENBURG, RYAN FOUST, TESS FRAZER, EMMA GEER, GRACE GUMMER, MIA SINCLAIR JENNESS, BRIAN KERWIN, TATIANA

The craftwork is clean and precise, with set pieces designed simply but cooly by Laura Jellinek (Signature’s Everybody) sliding in and out. The Mary Pages, each find moments of quiet engagement between the different stages, pinpointed in the light provided by designer Tyler Micoleau (TNG’s Peace For Mary Frances), sound design by Brandon Wolcott (PH’s Dance Nation), and original music composed by Bray Poor (Public’s Office Hour), before separating back into their periods of development.  The always excellent Blair Brown (Broadway’s The Parisian Woman) portrays that woman, aged sixty-nine sitting and talking with a well crafted nurse, played effectively by the talented Maria Elena Ramirez (Broadway’s Fish in the Dark) as she comes closer and closer to the end of her life, but she also brings her earth-born strength and solidness to Mary Page at fifty-nine and sixty-three.  It’s a patchwork piece, this relatively new play by the Pulitzer Prize winning Tracy Letts (2ST’s Man From Nebraska) and as directed with an achingly delicate sense of quietness by the wonderful Lila Neugebauer (PR’s The Wolves, LCT’s After the Blast), the separate square pieces of engagements with this very big cast and its central figure comes together like a finely crafted memory quilt created to hold all the ideas and ideals of Mary’s extended family’s life.  It’s stained by experience and tears, worn by repetitive despair and contentment, and forgotten in a chest, but the life that is sewn holds sentiment only when studied and needed.  The last moment, an oddly scripted interaction with a handsome Elliot Villar (Broadway’s War Horse) feels a bit too tidy. Taking a metaphor and forcing it strongly forward. Abstractly unfulfilling, the last thread tries its best to pull it all together into one image of a woman gazing off into her future. That moment doesn’t congeal as well as planned, but the quilted final product is  comforting in its state of survival and acceptance, not electric, but warm in it’s simplicity. Cause “if you’re going to be mean, it’s good to be accurate“.

MARY PAGE MARLOWE By TRACY LETTS Directed by LILA NEUGEBAUER With DAVID AARON BAKER, BLAIR BROWN, KAYLI CARTER, AUDREY CORSA, MARCIA DeBONIS, NICK DILLENBURG, RYAN FOUST, TESS FRAZER, EMMA GEER, GRACE GUMMER, MIA SINCLAIR JENNESS, BRIAN KERWIN, TATIANAFor more go to frontmezzjunkies.com

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 last...so 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 frontmezzjunkies.com

Off Broadway

NYTW’s “I Love You So Much I Could Die” Asks A Lot From You. Are You Willing?

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I’ve seen several one-person shows this past week, 3 to be exact (Grand’s Huff, Tarragon’s Guilt, & TPM’s As I Must Live It); sorta 4 if you don’t want to get toooo technical about it all (Soulpepper’s De Profundis). And each one engaged our emotional soul in differing and unique manners. I couldn’t help myself thinking about that theoretical construct as I watched Mona Pirnot, writer and performer of I Love You. So Much I Could Die, walk in from behind, down the stairs, and onto the bare minimalistic set at the downtown New York Theatre Workshop. She sits, facing away from us all, staring upright at the back walk of exposed brick, and turns on her laptop and types a few things in to get this exercise rolling. And I was struck by the abstractionism we were about to sit through for the next 65 minutes. It was clearly going to be a different experience than any of these other shows I experienced last week, and I couldn’t help but wonder how I was going to respond to this setup.

It’s a structural theoretical experience, one destined to play mind tricks with almost every person in the audience. Pirnot (NYTW’s Usual Suspect) never turns to face us with the story she wants to tell. It’s unclear why at the beginning, but as she unleashes her story, not with her own voice, but with the voice of her computer, Microsoft text-to-speech tool, the complicated, and frustrating, unwrapping becomes more and more clear. It’s a completely devastating tale of pain and tragedy that she has set out to detail, most effectively in her “cut to” tense listing of events. And she doesn’t have the voice to actually say it out loud. It’s too much. Too difficult to vocalize. She has the words, obviously, and the wit and strength, but not the voice. Unless she is singing a sad song of sorry, or love, accompanying herself with her trusted guitar that sits, oddly enough, facing us on the wide expanse of the stage.

Mona Pirnot in I Love You So Much I Could Die at New York Theatre Workshop – photo by Jenny Anderson.

The story is spoken out to us from that Microsoft voice, somewhat flat and awkward, distancing ourselves and her from the horribly sad and dark moments of an accident of some sort that incapacitated (to put it mildly) her sister during that complicated timeframe of the pandemic when visiting a loved one in the hospital was just not allowed. It seems she needs that disconnect to really tell us that tale; of that difficult and chaotic time in Florida where she spent months trying to survive her emotional self and the space she found herself with her husband; the playwright and ultimately the director of this show Lucas Hnath (Broadway’s A Doll’s House, Part 2). It’s an understandable predicament, one that I’ve always praised when an actor can tell us such a sad tale and maintain their voice, so I wrestled with that inside my head, somewhat distractively, during her unpacking, and somehow came out the other end understanding and sympathizing with the theory and experiment.

Using that flat computer tone and by staying turned away, she is able to unwind a story that may cripple her if she had to look us in the eye and tell us personally about her pain. I get that entirely, but I wasn’t convinced at the beginning (and maybe a little at the end as well) that this kind of confessional makes for good theatre. I soon discovered that there was little to look at on that stage after the initial few minutes, even with the fine work done by scenic designer Mimi Lien (Broadway’s Sweeney Todd), the fading lighting design mastery of Oona Curley (NYTW’s runboyrun & In Old Age), the simplistic but meaningful costume design by Enver Chakartash (PH’s Stereophonic), and the solid expanding sound design by Mikhail Fiksel (NYTW’s How To Defend Yourself). I could engage during the few musical interludes that filled the space with her lovely voice singing touching songs of sadness and love, but during the other moments, especially the “cut to” scenarios and a sad tale revolving around sickness and death, I could look away, stare at the floor or the wall of ladders that were to my left, and just dive into those flat words with abandonment.

Mona Pirnot in I Love You So Much I Could Die at New York Theatre Workshop – photo by Jenny Anderson

It’s not the simplest experience to endure, and endear, but there is another level, maybe one that director Hnath has played with before in his experimental Dana H., which played both off-Broadway and on (and on a Toronto stage next month that I hope to see) where we have to pull out internal connections to our own pain and sadness to really engulf ourselves in this somewhat slim play. It’s the flatness and metallic quality of the voice that forces us to find what we feel about the tale she is telling. Not an exercise of taking on what an actor is somehow transmitting to us, in a way, telling us how to feel about the pain being described. I’m crying, so you should be too. I’m laughing at this part, so you should laugh too. No one is giving us a sign or direction in the way we should be experiencing this, so we must look deep inside ourselves if we are to really embrace it.

Or we don’t have to. That is the other option. We can let the computer voice give us permission to nod off, and not engage with this terrible event she needs to tell us, nor the love and care she experienced from her husband. Pirnot tells us flat out (in a NYTimes interview), that she “couldn’t find the strength to verbalize her feelings to [Hnath] or her therapist … she typed her thoughts into her laptop, and prompted a text-to-speech program to voice them aloud.” Makes sense, even to this writer (who is also a psychotherapist in his real day job). Does it make great theatre? That is a question that only each audience member can decide for themselves, inside and within that very moment, as they sit in the ever-darkening theatre listening to I Love You So Much I Could Die. Do I dig deep and engage with my own emotional self, led there by no other person but myself? Or do I decide to not go there? Both are credible options, with very different outcomes. You decide. Dig deep or go home. And I won’t judge you for which you choose. I chose one-way last night. I can’t tell you what I might have chosen on a different night. That’s pretty impossible to know.

Mona Pirnot in I Love You So Much I Could Die at New York Theatre Workshop – photo by Jenny Anderson. For tickets and information, click here.

For more go to frontmezzjunkies.com

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Off Broadway

FIVE: The Parody Musical Meets The Press

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Look out SIX, here comes FIVE: The Parody Musical. Henry VIII and his six wives had nothing on Donald, the 45th, and these five ladies. This morning they met the press.

FIVE is an irreverent musical comedy revue starring Anyae Anasia as Ivana, Gabriella Joy Rodriguez (The Color Purple) as Marla, Jaime Lyn Beatty (Stranger Sings! The Parody Musical) as Melania, Gabi Garcia as Stormy, Hannah Bonnett (Legally Blonde national tour) as Ivanka, and Jasmine Rice LaBeija as Hillary Clinton.

Michael Cohen

Featuring a book and lyrics by Shimmy Braun and Moshiel Newman Daphna and music and lyrics by Billy Recce (A Musical About Star Wars), directed and choreographed by Jen Wineman, the production features orchestrations and arrangements by Terence “T” Odonkor, music supervision and arrangements by Lena Gabrielle, scenic design by David Goldstein, costume design by Florence D’Lee, lighting design by Marie Yokoyama, sound design by UptownWorks, hair and wig design by Ian Joseph, and props by Brendan McCann. Mark Osgood is production stage manager.

Moshiel Newman, Billy Recce, Jen Wineman, Shimmy Braun

FIVE begins its run Off-Broadway at Theater 555 February 15. Opening night is February 19, and the limited engagement will continue through March 10.

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Off Broadway

Russian Troll Farm; a Comedy About Dirty Politics, Dirty Russians and Dirty Trolls

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“As I researched the IRA’s (the Internet Research Agency) activities, I started getting this uncomfortable feeling that … I might be really great at this job. Trolls spend all day making up characters, writing dialogue, staging fights, triggering strong emotions … essentially, they’re playwrights!” Sarah Gancher in her program notes.

Sarah Gancher’s Russian Troll Farm: A Workplace Comedy takes us back to the time before the 2016 presidential election. Here truth, facts, manipulation, propaganda are in question — or are they?

Hadi Tabba, Renata Friedman
Photo by Carol Rosegg

We are transported to the real-life organization, the Internet Research Agency in St. Petersburg. The agency employed fake accounts registered on major social networking sites attempting to influence the 2016 United States presidential election. On February 16, 2018, a United States grand jury indicted 13 Russian nationals and three Russian entities, including the Internet Research Agency, on charges of violating criminal laws with the intent to interfere “with U.S. elections and political processes”, according to the Justice Department.

Haskell King, John Lavell,Christine Lahti, Renata Friedman, Hadi Tabba
Photo by Carol Rosegg

What Russian Troll Farm does is introduce us to the people inside. We have Egor (Haskell King), who is into his job or is it the people he meets on-line?  Steve (a fabulous John Lavelle) who is on high octane, intimidating others and getting off on 4chan. The supervisor of the floor Nikolai (Hadi Tabbal), whose marriage got him the job and whose chemistry with newcomer Masha (Renata Friedman) a former journalist will be his downfall. Heading them to their dark demise is Ljuba (Christine Lahti), a woman of steel who used to be a KGB senior manager, whose sexuality could get her axed.

Christine Lahti, Renata Friedman
Photo by Carol Rosegg

Like life, the most manipulative see and seek ways to destroy the fold, simply for fun and control.

Christine Lahti, Haskell King Photo by Carol Rosegg

Darko Tresnjak’s direction keeps us at a distance from being too pulled in. It feels as if we are watching a tragedy that has no hope.

Haskell King, John Lavell Photo by Carol Rosegg

Lavelle makes this play thoroughly entertaining, reminding us of Jack Black, as he mops up the stage. He is a frat boy who will never grow up and is still playing those repulsive childish games, just because he can. Christine Lahti’s story is the most human, but it comes out of left field.

The set by Alexander Dodge is sterile and Jared Mezzocchi’s projections with titles to let us know whose game it is are confusing.

There are many who will love Russian Troll Farm: A Workplace Comedy, I just think it lost track of what it was trying to say.

Russian Troll Farm: A Workplace Comedy: Vineyard Theatre, 108 E 15th Street through February 25.

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Off Broadway

Off-Broadway Week Starts February 13

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NYC Off-Broadway WeekSM, presented by Mastercard®,has 2-for-1 ticket sales to 30 Off-Broadway shows. This biannual program, which features over a dozen new shows, runs February 12–March 3, 2024.

Participating shows in NYC Off-Broadway Week Winter 2024 include:

  1. A Perfect Peace *

  2. All The Devils Are Here

  3. Blue Man Group

  4. Brooklyn Laundry *

  5. Cinderella The Musical

  6. Dead Outlaw *

  7. Drunk Shakespeare

  8. Eva Luna

  9. Five The Parody Musical *

  10. Friel Project – Aristocrats *

  11. Friends! The Musical Parody

  12. Gazillion Bubble Show 

  13. Hotel Happy *

  14. Jack Tucker: Comedy Standup Hour *

  15. Jonah * 

  16. La Breve Y Maravillosa Vida De Oscar Wao

  17. The Life And Slimes Of Marc Summers *

  18. Make Me Gorgeous * 

  19. Munich Medea: HAPPY FAMILY *

  20. Nicole Travolta Is Doing Alright *

  21. Nina Conti: The Dating Show *

  22. The Office! A Musical Parody

  23. Perfect Crime

  24. Pericles *

  25. Play That Goes Wrong

  26. Radojka

  27. Singfeld! A Musical About Nothing

  28. Tennessee Williams’s The Night Of The Iguana *

  29. Titanique  

  30. White Rose: The Musical *

* New participants in NYC Off-Broadway Week.

“We are proud to have over 30 Off-Broadway productions take part in this year’s NYC Off-Broadway Week program,” said Casey York, President of The Off-Broadway League. “For over a decade, this biannual program has allowed our productions to continue to showcase the intimate setting and diversity that is inherent to the Off-Broadway community, captivating both New Yorkers and visitors alike.”

Participating Off-Broadway shows can be sorted by filters including Genre (Comedy, Drama, Kid-Friendly, Magic, Musical, Play), Audience (Adults Only, Family–All Ages, Not for Younger Children (5+), Teens and Adults), Borough and Neighborhood at nyctourism.com/offbroadwayweek

Since its launch in 2009, over 800 Off-Broadway productions have participated in NYC Off-Broadway Week. The program has also generated nearly $5 million in revenue through sales; over 120,000 tickets have been sold. New York City’s economic recovery continued in 2023 with 61.8 million travelers arriving in the City—marking a recovery of 93% of the City’s record 2019 visitation levels.

For more information and tickets, visit nyctourism.com/offbroadwayweek

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Off Broadway

Still Brings Jayne Atkinson and Tim Daly Off Broadway

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Following a successful run at the Dorset Theatre Festival in 2023, Jayne Atkinson and Tim Daly will be reprising their acclaimed roles as Helen and Mark in the New York premiere of Still by Lia Romeo. The play will be produced by Colt Coeur (Adrienne Campbell-Holt, Founding Artistic Director; Heather Cohn, Executive Producer), directed by Adrienne Campbell-Holt (Lucille Lortel Visionary Director Award).

Jayne Atkinson

 

“Lia Romeo has written a play that I feel I’ve waited for my whole life. What an honor!,” said Tony Award nominee Jayne Atkinson.

“This play is funny, moving, thought provoking, and endlessly surprising and as an actor and for an audience that’s an exciting combination of elements,” said Emmy Award nominee Tim Daly.

Thirty years ago, Helen and Mark broke up, but they never completely forgot about each other. When they meet for dinner to catch up, the flame is rekindled… but Mark is running for Congress, and Helen has a secret that could derail his bid. Lost love is revisited and an avocado goes flying in Lia Romeo’s whirlwind New York premiere comedy about getting older, political divisions, and roads not taken.

“I wrote Still because I was struggling with some big questions… what to do when you love someone, but you hate some of the things they believe… and what to do when there’s someone you can’t be with but you also can’t manage to forget. I thought writing about these questions might lead me to answers. It didn’t. But it did show me that they’re questions that also resonate with a lot of other people,” said Playwright Lia Romeo. “I’m so excited that Colt Coeur is bringing this beautiful production to New York. Tim and Jayne bring so much sympathy to these characters… it’s impossible not to love them, even when they’re doing and saying terrible things to one another.”

Still begins previews on April 13, for a limited engagement through May 18, 2024, at DR2 Theatre (103 East 15th Street). The press opening is scheduled for Thursday, April 18.

Tickets begin at $26 and are on sale now at www.telecharge.com and 212-239-6200. Ten $10 tickets will be available for each performance in April while supplies last. Student and Artist Tickets available for a discount in-person at the box office only with valid ID.

 

 

 

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