The Richmond Shepard Theatre is located on 26th Street on Manhattan's East Side -- its very, very East Side, which pretty much means not a whole lot of walk-in traffic. And this is too bad, because this quirky venue with its little patio, arty lobby, homey staff and wonderful theatre space is really worth visiting, particularly during its current production of Ronald Ribman's Cold Storage.  

The play -- a drama laced with dark humor -- is not perfect. It would have been helpful if the playwright had included a whisper or two of foreshadowing during the first act since a lot of new info comes to light during Act II. Nevertheless, the production and performances are compelling and the audience is easily caught up in what is a deft character study of two very different men at their most vulnerable.

The setting is the rooftop terrace of a cancer hospital in 1976, where a talkative elderly patient and a stoic middle-aged businessman converse their way from pedantic banter to verbal jousting to painful soul baring over the course of the play.

Dan Burkharth gives a highly introspective and focused performance as the businessman (Richard Landau) who is undergoing tests for what may or may not be a cancerous condition.

The role of Joseph Parmegian, Landau's fellow-patient who has already received his medical death sentence by the time the play starts, is expertly played by Richmond Shepard -- clearly having a grand time pushing his idiosyncratic codger privileges to their incendiary limits.

The end result is an intriguing cat-and-mouse counterpoint between the two men, with Shepard's determined and playful Parmegian pitted against Burkharth's guarded and thoughtful Landau. And I must add that the unsettling chemistry between these two professionals is both unique and engrossing.  

The third member of the cast is Candice Fortin, who has some lovely moments as Landau's private nurse.  

Directed by Mr. Shepard, the show, which runs Wednesday-Saturdays, will only be around through August 30th, so I urge you to reserve your tickets ASAP.   

The Richmond Shepard Theatre is located at 309 E. 26th St. btw. First & Second Aves. For reservations, call 212-684-2690.

It's the home stretch for Perfect Harmony, a clever musical confection currently playing at The Clurman on Theatre Row. Even so -- and admittedly you only have three more chances left to check it out -- it's worth the effort. To wit, the show is about a couple of high-school a cappella groups -- one made up of guys (The Acafellas), the other girls (The Ladies in Red) -- and the sundry obstacles they're forced to contend with on the road to the annual a cappella showdown.

And while the production itself is not "perfect"  -- it can use a bit of timing and script tightening and the girls berets cry out to be red instead of blue -- the overall effect  is highly enjoyable thanks to its bright young cast who harmonize their way through such dubious a cappella selections as "Lean on Me" and "Wind Beneath My Wings."

Perfect Harmony is also a bit of an eye-opener, especially for people like me whose knowledge of a cappella has been  pretty much tied to '50s and '60s doo-wop. In fact, until I Googled "a cappella," I had no idea of the depth of its cultish popularity, particularly on college campuses and in miscellaneous sing-offs all over America.

The show's conceiver/director/writer, Andrew Grosso, gleefully (no pun intended), taps into this musical Bizarro World where pianos and guitars are rendered pointless by well-honed vocalizations.

And some of the show's funniest bits have nothing to do with singing. Kudos to Mr. Grosso, for instance, for creating a divinely warped collection of preppy names, including Lassister A. Jayson III, JB Smooter, Meghan Beans and Michaela Dhiardeaubovic (aka Mickey D). And how can you not fall head over heels in love with Kerri Taylor, a character who denies her conspicuous Tourette's affliction even as she spouts a litany of loopy profanities?

Lately, it seems like every other email that crosses my computer screen has something to do with theatre schedules: openings, extensions, moves, closings...

And admittedly, it's the closings that get to me, particularly when they're shows that have something unique to offer.  

One such production is Urban Stages' 27 Rue de Fleurus, an intriguing and witty musical exploration of the myths and realities surrounding Alice B. Toklas and her relationship(s) -- "wife," secretary, muse -- with Gertrude Stein. 

The show will be closing this weekend (its last performance being Sunday the 13th), so I suggest you get your tickets now -- right now -- as the theatre is small and the buzz is big for this fictionalized memory musical with Alice in the driver's seat, serving up her long-unspoken perspective on her life with Stein. 

Cheryl Stern, a petite brunette with a Puckish streak, is a fascinating Alice B: way more animated than one would ever imagine the real Alice to be, but then it's Alice's story that being told. She's backed up by three versatile actors (Sarah Chalfy, Susan Haefner, and Emily Zacharias) who take on several roles each. And, of course, she must contend with the bigger-than-life presence of Gertrude, played by Barbara Rosenblat.

Rosenblat, whom I've known for several years, is best known for her vocal acumen: she's an award-winning audiobooks narrator and pretty much legendary in voice-over circles. I seriously doubt there's a character voice or accent beyond her abilities. 

Her last Broadway outing was spent mostly at an off-stage mic, playing a series of callers in the revival of Eric Bogosian's Talk Radio; her next big career project involves voicing a sardonic garage receptionist in a new PBS animated series based on National Public Radio's call-in hit, "Car Talk." Which is all well and good, except for those of us who know just how much fun it is to actually "see" Rosenblat perform. Which is why her appearance in the juicy role of Stein is so tantalizing, for not only is she on stage a lot, she sings, she dances, and she gets to embody one of the literary world's most iconic characters. 

"This is largest role I've had in my life," said Rosenblat in a post-performance interview. "Here I am a middle-aged Jewish woman playing a romantic lead for the first time in my life -- and I get to kiss a girl on stage!"  [Still packs a wallop, even if you watch "The L Word" regularly.]

Rosenblat says that to get Stein's voice just right she went straight for the Internet, where audio of Stein and Toklas is conveniently up for grabs. "I googled Gertrude Stein and got access to actual recordings," she says, adding that hearing the real Stein made doing her voice all the more exiting -- and fun. Click here for more info on the show.
 

A mere five days ago I reported that the divine comedy (no offense, Signore Dante!) The 39 Steps was hitting the road as of March 29th. At the time I didn't know, just how short a road it was: just 6 blocks! 

Yes, the play will be exiting 42nd St's American Airlines Theatre on 3/29 as reported, HOWEVER it will reopen a month later on April 29th, at the Cort Theatre (138 W. 48th St.).  Ben Brantley at the New York Times called it "absurdly enjoyable," while Clive Barnes at the Post noted, it's "inventively astonishing, riotous & marvelous."  Even more impressive, the lovely and hilarious Griffin Miller of City Guide Magazine calls it "a creative dynamo of comedy."  FYI, tickets for the Cort Theatre run go on sale today at 212-239-6200. 

While I?m well aware that Broadway musicals are a mega-draw for New York theatergoers (one need only check the box office receipts for Jersey Boys, The Lion King, Wicked, and Legally Blonde for confirmation), hard-core theatre junkies like myself voraciously scan theatre listings and gossip columns for what generally comes down to a smattering of straight plays -- the ones scattered lightly through spring and fall theatre rosters, usually with limited shelf lives.

Several that have squeezed in among their singing and dancing counterparts in recent seasons -- like Proof, I Am My Own Wife, The Pillowman, The Lieutenant of Inishmore, and Glengarry Glen Ross -- have proved jaw-droppingly transcendent, whereas others -- mostly ill-timed revivals -- were, shall we say, disappointing. But regardless of their merit, the comedy-drama count rarely exceeds five or six at any given time.

Which is why the tail end of 2007 into early 2008 is proving to be such a satisfying feast for anyone hungry for first-rate theatre of the non-musical variety. And let me just point out, this group of avid playgoers includes some of the most prominent actors and creative figures of our time. This came home to me in full force when I happened upon the opening-night performance of Tracy Letts' amazing August: Osage County last week.

The hefty number of notables giving the paparazzi a lensful included actors Christine Ebersole, Elaine Stritch, Alan Rickman, Joan Allen, Anthony Edwards, Angela Lansbury and her recent Deuce costar Marian Seldes, Chris Noth, Kathleen Marshall, Tamara Tunie, Gary Sinise, Laurie Metcalf, David Schwimmer, Penny Fuller, Zelko Ivanek, Lois Smith, Tom Hulce, Bobby Cannavale, and Jayne Atkinson; directors Joe Mantello, Michael Mayer, and Doug Hughes; writers Joseph Stein and Eric Bogosian; and composer Duncan Sheik.

And did I mention that the show's cast, the majority of whom were in the original Steppenwolf production in Chicago, received a standing ovation to rival even the most high-profile Broadway musical? Quite a coup, when you consider how rare it is for audiences to get to their feet, without orchestral urging, in celebration of a gifted (make that stellar) company of relative unknowns. Click here for tickets.

THIS JUST IN:

The producers of August: Osage County, the revival of Harold Pinter's The Homecoming* (now in previews for 12/16 opening), and David Mamet's latest, November** (slated to begin previews on 12/20 for a 1/17 opening), are offering theatergoers an unheard of opportunity: an exclusive subscription to all three productions for $199 (orchestra & front mezzanine). To take advantage of this truly impressive offer, visit www.3greatplays.com or call Broadway Offers at 212-947-8844 and mention code PLAY3.

*Cast includes Ian McShane ("Deadwood"), two-time Tony Award nominee Raúl Esparza (Company, Taboo), Eve Best (A Moon for the Misbegotten), Michael McKean (Hairspray, The Pajama Game), James Frain (Elizabeth), and Gareth Saxe (Heartbreak House).

**Starring Nathan Lane (The Producers, The Birdcage), Laurie Metcalf ("Roseanne," "Desperate Housewives"), Dylan Baker (Mauritius), Ethan Phillips ("Star Trek: Voyager"), and Michael Nichols (One Flew Over the Cuckoo's Nest). 

Posted on Monday, December 10, 2007 @ 06:53 PM | 0 replies Start the Discussion

Browse: Broadway | Reviews

Ever since I saw the amazing 1994 revival of the theatrical warhorse An Inspector Calls on Broadway, I’ve been smitten by the theatrical power of water imagery. In the opening scene of Inspector, the stage was literally engulfed in rain, a visual that remains a staple of my subconscious 13 years later.  Rain stage-tech has since been employed frequently (the currently-running production of 110 in the Shade being the latest to use it to lovely effect), but Inspector still holds my mind-blowing record.

The same goes for Metamorphoses in terms of pools of water.  In this myth-infused production that debuted at Off-Broadway’s 2econd Stage Theatre in 2002  before enjoying a healthy run at Circle in the Square, the set was (predominantly) a large rectangle of shallow water, in and around which the play’s action took place.

And now, during a  summer theatre season filled with romance and scenic triumphs, both of these hydrodynamic concepts have reemerged in two transcendent productions: Eurydice and Romeo and Juliet. 

Like Metamorphoses, Eurydice comes to Off-Broadway courtesy of those brilliant folks at 2econd Stage (not surprisingly, they’re also the progenitors behind the hit musical comedy The 25th Annual Putnam County Spelling Bee).  Written by Sarah Ruhl, this new take on the story of Orpheus’ descent into the underworld to return his bride Eurydice to corporeal life, has a set reminiscent of a spa that has seen better days. Here, water becomes an allegory for both love and death: the ocean that beckons the lovers in the opening scene; the River of Forgetfulness from which the dead are compelled to drink. But the show’s most haunting visual is when Eurydice, umbrella in hand, steps out of an elevator filled with rain into the afterlife.

Surrealism meets myth meets Theatre of the Absurd. (Set design by Scott Bradley: two thumbs up.) Set to close 7/28, but so wonderful it cries out to extend more than once. Click here for tickets.

Which brings me to the set of Shakespeare in the Park’s first 2007 production, Romeo and Juliet. Set to close next Sunday (see it, see it, see it), the scenic elements of this visually staggering show were created by Mark Wendland, who has devised a revolving stage dominated by a circular pond and metal half arcs that seem to have sprung from an oversided Erector Set. The open-air arcs, with their numerous steps and compartments, come together to form a bridge or separate (symbolic and practical -- love it.)

But here again, the water is the key element: a force of nature in which the play’s action takes on a saturated life of its own. The characters slosh, fight, reflect, frolic, embrace and extinguish in Wendland’s glorious pool. An improbable -- and impeccable --  theatre experience come to life. Click here for info on getting tickets.

Posted on Tuesday, July 03, 2007 @ 03:36 PM | 0 replies Start the Discussion

Browse: Off-Broadway | Reviews | Special Performances

Playwright Jenny Schwartz has a gift for free-association: verbally, to be sure, but also visually and emotionally. As a result, her play God’s Ear unfolds as a portrait of a family in which a devastating loss is met head-on with absurdist humor, insight, and music.

When I heard A Moon for the Misbegotten was returning to Broadway only seven years after its last revival, I was somewhat surprised. After all, the 2000 version with Gabriel Byrne and Cherry Jones was pretty darn impressive, and, of course, the 1973 revival with Jason Robards, Jr.  and Colleen Dewhurst will be forever be talked of in hushed and reverent tones as “definitive.” Nevertheless, after having seen the current rendition of O’Neill’s tempest-tossed romance at the Brooks Atkinson, I realize that -- as with Romeo and Juliet or Hamlet -- there really is no definitive Moon, only the promise of a seismic theatrical eruption should the lead actors have the right chemistry. And, in case you’re wondering, Kevin Spacey as James Tyrone and Eve Best as Josie Hogan (pictured) do.     

As a film star, Spacey has the upper-hand in terms of recognition, but Best, a polished stage actress from the U.K., meets his celebrity head-on the moment she sets foot on the stage as O’Neill’s “oversized” farm girl. Their scenes together are compelling: James Tyrone is a poster child for conflicted antihero, his drunken ramblings liberally laced with emotion and blarney, while Josie’s Earth Mother is painfully hobbled by her own romantic longings, salty wit and dogged nature.  Both actors’ interpretations of these roles are fresh and appealing. And with the versatile Colm Meaney in the mix as Josie’s crusty, tight-fisted father Phil Hogan, the humor soars. 

When you see a lot of theatre -- and in my case, we’re talking lots and lots and lots of theatre -- it’s not uncommon to find yourself moved to the point of wiping away a tear or two as the curtain falls. Drama is, after all, a potent emotional trigger. 

Maybe it’s because I grew up in Cleveland, but Eric Bogosian’s Talk Radio -- opening next Sunday (Mar. 11) on Broadway -- lassoed me right back to my Cuyahoga County roots. Perhaps it was the reference to the radio station’s location  -- the Terminal Tower -- or Euclid Avenue, the city’s main drag, which ran from my childhood home base to all things “Downtown.” In the end, though,  I think it’s the seductive whiff of the ’80s along with the subliminal vision of suburban Clevelanders phoning in from Lakewood, Shaker Heights, and Parma that sent me over the top.                                             
Most people who show up at the Longacre Theatre, however, won’t find the production so umbilical. They’ll be there for the script, the acting, the star presence of Liev Schreiber (pictured; photo by Joan Marcus) -- and to compare it to the 1989 film or the original 1987 Off-Broadway production that put Bogosian on the map as both as an actor and a playwright. And they won’t be disappointed. 

It may have debuted at London’s celebrated Royal Court Theatre, but Christopher Shinn’s new play, Dying City, is shaping up to be the drama of the moment here in New York at Lincoln Center’s Mitzi E. Newhouse Theatre (previews began last Thursday for a Mar. 4 opening). Starring Pablo Schrieber, who received a Tony nomination last season for his performance in Awake and Sing!, and Off-Broadway newcomer Rebecca Brooksher, the play’s intimacy contrasts nicely to Tom Stoppard’s expansive Coast of Utopia trilogy, running in rep next door at the Vivian Beaumont Theater. In the final analysis, Dying City’s storyline -- about a young soldier who dies in Iraq and his identical twin’s visit to his widow a year later -- serves up a pointed and highly moving look at a family in search of both answers and solace.

Sam Eaton is the mastermind  -- or more appropriately, mind master – who created and stars in the 70-minute homage to the art of magic known as The Quantum Eye. Mining the inner workings of human perception, the show experienced a sold-out run in 2006 before moving to its new home at the 29th Street Jewel Box Theatre, where theatergoers with a taste for the mind-boggling can take an intimate sojourn into the world of illusion every Friday night. Recent audience comments include “He uses deception to open you up to a world of possibilities” and “He stole the thoughts right out of my head. I was totally freaked out.” Click here to buy tickets.

It hearkens back to the primal urge most of us are hit with in childhood: to put on a -- big! splashy! fabulous! -- show. Yet, while this niggling theatrical passion tends to fade away in puberty, Gutenberg! The Musical! zeros in on a couple of quasi-regular guys who can’t let go of the dream, and thus find themselves in the throes of a backers’ audition for their historically wobbly salute to the inventor of the printing press. Actors Jeremy Shamos and David Turner climb hilariously over the top to make this a totally dandy evening of loopy music and laughs. Now playing at the Actors’ Playhouse in Greenwich Village. Click here for tickets.