A Bronx Tale

Watching Chaz Palminteri in “A Bronx Tale” which he wrote and starred in, and directed by Jerry Zaks, was like walking into a room filled with Damon Runyon characters. For indeed, he has recreated an entire world of characters with colorful names, twitches, tics, that have been a part of his life. He acts out his life from his early childhood where he first sees Sonny, the capo, and gains his undying appreciation for not turning him in to the police after witnessing him murdering someone.

It is from this point on he is introduced to Sonny’s mobsters. This is where Chaz shines as he smoothly and seamlessly slides from young boy into each character bringing them to life with touching amusement. The conflict that arises from C’s (as Sonny calls him) relationship to Sonny and C’s father, a moral bus driver, takes place when he discovers $1200.00 that Sonny has given him over a period of time. C cannot understand why this is such a big deal because he points out that all the people love Sonny as all the people who ride his bus love him; but, his father very clearly states they don’t love him but fear him. Fortunately for us, C continues to spend time with Sonny and his mob which results in a rich colorful mosaic of life in the Bronx as one young man lived it in a time not so long ago.

Jerry Zaks keeps the energy level on high throughout Chaz’ semi-autobiographical performance of growing up under the eye of a mob boss. Playing at the Walter Kerr Theater at (219 West 48th Street, New York).
By Lee Canaan

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August: Osage County

August: Osage County - at the Imperial Theater (249 W. 45th Street, New York). Written by newcomer, Tracy Letts. With this production he has risen to the heights of Eugene O’Neill and Tennessee Williams – his creation - a modern American classic.

Letts’ story is a family portrayal of the Westons – a large extended family that comes together at their rural Oklahoma homestead when the alcoholic patriarch, Beverly Weston, disappears. Forced to confront family skeletons and reprehensible secrets - alcoholism, drug addiction, incest, adultery – the family must also contend with the matriarch, Violet Weston, who is a pill-popping, deeply troubled woman at the center of this calamity. The play deals with every appalling topic imaginable – suicide, molestation, drug addition, loss, but Letts does it with dark humor and precision which keeps the play in suspenseful and perpetual motion. The dysfunctional saga holds you spellbound through an extended three acts – the camp savagery, twists and turns keep the audience on the edge of their seat and one of the most absorbing yet repellent scenes is in the second act at the dinner table when Violet goads her brood into physical violence. ‘Everyman’ can be recognized in this family chronicle – family power struggles, bouts of recrimination, co-dependence, and hostility – the quintessential fractured family and an endless epic tragedy. The family’s future is predetermined by a hideous past.

Letts’ vision is wonderfully re-created on stage by the genius of director, Anna D. Shapiro, and the raw talent and cohesiveness of the 13 person Steppenwolf cast. Accolades to Amy Morton who portrays the angry eldest daughter who sees herself morphing into her parents; to Jerry Perry who embraces the persona of her menschy but estranged husband; to Dennis Letts (played by the playwright’s father) – the Weston family patriarch poet; and Deanna Dunagan as Violet - spectacular as the bitchy drug-addled mother whose milk of human kindness had long dried up.
By Lee Canaan

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Cyrano de Bergerac

Cyrano de Bergerac by Edmond Rostand – translated and adapted by Anthony Burgess, directed by David Leveaux and starring Kevin Kline as Cyrano, Jennifer Garner as Roxane and Daniel Sunjata as Christian. Now playing at the Richard Rodgers Theater (226 West 46th Street, New York).

Kevin Kline is the latest poetry-spouting soldier with the large probiscis in this revival of Rostand’s 1897 romantic comedy of swords, and maidens and verses and pure love. The plot – Cyrano (the soldier) is quite unsightly in appearance with his very large and unsightly nose but oh so eloquent in verse, passionate in spirit, and a gifted poet who is afraid to woo the beautiful Roxane. So he pours out his undying love through the handsome conduit, Christian, for the beautiful Roxane. Roxane falls for Cyrano’s comrade, Christian, unaware he is a dim-witted creature who is just reciting poetic love letters given to him by Cyrano, and not the true owner of the poet’s soul that has captured her love. But, as in any romantic tragedy, the truth wins out but tragedy befalls..

Under the direction of Mr. Leveaux, this ‘Cyrano’ is brought into the 21st century. His direction is flawless and the audience is not overwhelmed by the flowery prose, which is toned down to a more modulated voice thus making the dialogue more contemporary and relatable.

Kevin Kline is masterful as Cyrano. He lends effortless melancholy, a restraint and tenderness – yet flamboyant wit to the character and a laidback charismatic aura which exudes humility and gentleness. Mr. Kline captures our hearts as Cyrano. Jennifer Garner is lithe, long-limbed, quite beautiful, exquisitely feminine and has impeccable comedic timing. Her embodiment of Roxane’s character is with such ease and grace that she radiates a megawatt beauty in Gregory Gale’s opulent period costumes. And, Daniel Sunjata is everything Christian should be – handsome, excitable and a little thickheaded.

Anthony Burgess’ adaptation of this age-old melodrama felt very contemporary and is an absolute delight.
By Lee Canaan

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The Farnsworth Invention

The Farnsworth Invention – a new play by Aaron Sorkin and directed by Des McAnuff is a commanding bio-drama about the two men who vie, in the 1930’s, for the title of “creator” of television. One being David Sarnoff – the powerful mogul and President of RCA - the smart Jewish boy with the dry wit who fled a shtetl pogrom at 10 years of age and never forgot; and his adversary, Philo T. Farnsworth, a scrappy, scientific prodigy obsessed with inventing the first television but, unfortunately, no match for the alpha male Sarnoff.

The staging and direction are deftly choreographed, fast-paced and full of force and the brilliant use of minimal props so as not to distract from the rapid verbal repartee. Sorkin and McAnuff use the two main characters – Sarnoff and Farnsworth – as two dueling narrators addressing the audience in tandem retelling their respective life sagas and personal accounts of their respective race toward a workable means of transmitting images through the airwaves - plus multiple narrators to keep the story in motion.

Sarnoff and Farnsworth are respectively played by Hank Azaria and Jimmi Simpson whose personas mesh perfectly together on stage and infuse their characters with harmonious charm. Azaria embraces the Sarnoff guise with perfect ease and agility, transforming himself completely into that 1930’s ambitious titan who created modern broadcasting. And, Jimmi Simpson portraying Philo Farnsworth – Sarnoff’s nemesis, also transforms himself effortlessly into that Mormon farmboy - simple genius – who recognized the key concepts of making possible the most influential technological breakthrough of the 20th century. Simpson’s performance is extraordinary – capturing Farnsworth’s depth and humanity.

Excellent production, interesting version of the story of Farnsworth vs. Corporate America, very entertaining, and the high-speed dialogue only propelled your interest. Superb theatre!

Playing at the Music Box Theater (239 West 45th Street, New York).
By Lee Canaan

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The Overwhelming

The Overwhelming, by J.T. Rogers and directed by Max Stafford-Clark is a riveting and powerful piece of theatre with a limited number of actors playing many roles brilliantly and creating a sense of a much larger world than is actually on the stage.

The play is set in Rwanda, a country on the verge of civil war in 1994 and involves an American family who has arrived in Kigali. The play focuses on Jack Exley (Sam Robards) a political science professor on leave and in crisis who is searching for his former college roommate, Joseph Gasana (Ron Cephas Jones) a Rwanda born doctor who works with children who have AIDS. Jack believes that he can revive his career by writing about his former friend and cites his bravery by doing what is right despite being in the midst of a world gone mad. However, his search for his friend leads him to many dead ends. While he is asking questions of police, an American ambassador, United Nations soldiers, he naively makes broad statements about right and wrong with no understanding of the world outside the democratic United States. In fact, Jack is the “Ugly American” who believes that he is entitled to the same standards of justice as he would have back home. Meanwhile, his wife (Linda Powell) who is an African American essayist is confounded by all the mystery surrounding Joseph Gasana. She is taken under the wing of a Rwandan bureaucrat who explains away the conflict between the Tutsis and Hutus by clearly siding with the Hutus. He is so convincing that she believes everything he says. Jack’s son, Geoffrey, befriends a young Hutu servant who he treats as an equal, not understanding the caste system.

This is at the heart of this drama. These are well-educated people who have no idea that they are in a different world, and their expectations can only lead to a tragic ending when Jack is asked “What would you give up to save these people, Jack?” It is only then that he realizes how hollow he has really been.

Gripping political theatre at its best! Laura Pels Theater (111 West 46th Street, New York).
By Lee Canaan

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Young Frankenstein

The new Mel Brooks musical “Young Frankenstein” at the Hilton Theatre (213 West 42nd Street, New York) with direction and choreography by Susan Stroman is a musical extravaganza, a tour de force, and merriment for all With grandiose special effects, gorgeous chorus girls, Brooks’ kitschy humor and sense of gags that is unsurpassed and a musical score that parodies the entire musical history – from Friml to Sondheim. This excursion to Transylvania is pure fun!.

The actors are perfectly paired to their Boris Karloff movie characters in this spoof tribute to classic horror films based on Brooks’ 1974 film, which he wrote, produced and directed. Roger Barts as Frederick Frankenstein is a natural with his inane expressions, strong voice and brilliant comic timing; Megan Mullally as the frigid Elizabeth is scrumptious - another actor with great comic timing, voice and wit and her big song “Please Don’t Touch Me” is a show stopper; Christopher Fitzgerald as the hunchback Igor is side-splittingly funny; Andrea Martin almost steals the show as the terrifying housekeeper Frau Blucher; Sutton Foster as Inga – Frankenstein’s sexy lab assistant brings new dimension to the character; and Shuller Henley as the monster is gleeful and brilliant – his infectious madness is in perfect harmony with Stroman’s tap dancing number “Puttin On the Ritz”. This is beyond doubt a stellar cast!! And, lest we not forget Robin Wagner’s colossal and dazzling yet spooky and sinister house sets.

“Young Frankenstein” is a fun monster musical with toe-tapping show stopping songs, frivolity and mirth and entertainment for all ages.

Come to New York and see a Show!
By Lee Canaan

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The Seafarer

Colin McPherson’s brilliant new play “The Seafarer” playing at the Booth Theatre (222 W. 45th Street, New York) is about the darkest time of the year. Nobody can see well – literally and figuratively. The younger brother, Sharkey, played by David Morse, (c.f. shark a ferocious, poorly sighted mammal) cannot see beyond his failures. The goofy friend, Ivan Curry and played by Conleth Hill, is always currying favor and is nearsighted and has misplaced his glasses. The older brother, Richard and played brilliantly by Jim Norton is literally blind. Everyone is in some kind of murky despair and they drink to blind themselves to their pain. There is a blind drunkenness that affects all the men – including Nicky Giblin, played by Sean Mahon, who arrives with a dapper stranger. Enter the devil, Mr. Lockhart (played by Ciaran Hinds) who initiates a card game. The aim of this card game is to win Sharkey’s soul.

Everyone gets intoxicated. Everything gets darker and Sharkey appears to lose the last hand and is leaving with Mr. Lockhart. The darkest hour is just before the dawn. Christmas morning and Ivan finds his glasses. He can see he has the winning hand - not the devil who they have beaten. Sharkey is reprieved and the brothers unlock their hearts. Sharkey unwraps his present from a married woman he loves; Richard – through the gift of a cell phone confesses his need to connect with his brother; and Sharkey accepts that he is his brother’s keeper. All of this is written with such hilarious clever dialogue and delivered by an outstanding ensemble cast of actors. The set, designed by Rae Smith, and the squalid and shabby clothes are perfect for this working class group. It is the most pitiable Christmas tree ever to appear on stage but it is a perfect Christmas message of redemption that comes through.

Come to New York and see a Show!
By Lee Canaan

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The Pirate Queen

 
 
The Pirate Queen
Hilton Theater
213 West 42^nd Street
New York, NY
www.thepiratequeen.com

Truth may be stranger than fiction; this old adage comes to life in The Pirate Queen, a new musical written by Alian Boublil, Claude-Michel Schonberg and Richard Maltby, Jr., directed by Frank Galati. Based on the novel, Grania – She King of the Sea, The Pirate Queen is based on the true story of an Irish woman who defied custom, morals and the pressures of her time to be a ship captain and depart to sea as men usually do. Her colorful life leads her to many adventures, which included piracy, romance, and battles.The gorgeous music written by Boubili, Schonber and Malthy is full of lust and power. The lyrics enhance the development of the story and move it along a swift pace. Since Queen Elizabeth I, daughter of Henry VIII, wanted to expand into Ireland and conquer it, this resulted in the remarkable circumstance of two strong willed independent women meeting. The conflicts and resolution, which results from the meeting between these two “Queens”, is the basis of the story.The Pirate Queen has a stupendous cast; it is a wonderful night at the theatre.
By Lee Canaan

A Spanish Play

 
 
A Spanish Play
New York, NY
www.classicstage.org/spanish.html  

The Classic Stage Company opened the 2007 season with a hope, a prayer and the return from a ten-year sabbatical, with four-time Tony winner, Zoe Caldwell, in A Spanish Play. Written by Yasmina Reza, Tony award winner for her stage play Art and directed by actor-director, John Turturro. David Ives translates the production for the American Stage.

Exploring the blurry lines separating actor from character and reality from artifice, the play chronicles five thespians rehearsing a Spanish family comedy. The roles include a recently widowed real estate building manager, Fernan (Larry Pine); his older lover, Pilar (Caldwell); two of her three daughters, Nuria (Katherine Borowitz) and Aurelia (Linda Emond); and the latter’s husband, Mariano, played by Denis O’Hara. Christal, the third sister is unseen on stage, though her pregnancy and extramarital affair are fodder for the family neurosis.

Performers and their assumed personas are the central conceit, but the lines here are so indistinct and the dialogue so un-engaging that any interest in sorting out the two dimensions is unclear. We get a dysfunctional family played by the equally dysfunctional family of a theater ensemble.
By Lee Canaan

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Howard Katz

 
 
Howard Katz
Roundabout Theatre Company at
Harold & Miriam Steinberg Center for Theater
Laura Pels Theatre
111 West 46^th Street
New York, NY
www.roundabouttheatre.org

A Roundabout Theater Company presentation of Patrick Marber’s Howard Katz is a 90 minutes, no intermission production starring two-time Tony Award nominee Alfred Molina as Howard Katz. It is a dark comedy directed by Tony Award winner Doug Hughes (Doubt). Once a powerful, hard-hearted showbiz agent, Howard Katz has lost everything: his career, his family, even his self-respect. Oscar nominee Patrick Marber (Notes on a Scandal, Closer) deftly traces the story of the mighty Katz through flashbacks, painting a vivid picture of a man in crisis. But it’s in the midst of this freefall Katz learns that only by looking back at what he's lost can he find the faith to move forward. Watching Howard crumble is haunting and at times harrowing because he refuses any bid for sympathy, yet somehow he tries to sort out his own humanity. Supported by a good cast, Bern, played by Max Baker as Howard’s brother, is too exposed to his sibling’s harshness to swallow his sudden discovery of values. Euan Morton plays Robin, both a wily street kid and an actor client fed up with Howard’s rudeness. Elizabeth Franz plays Ellie, Howard’s mother. The on-stage mastery of Molina and his castmates makes Howard Katz worth seeing.
By Lee Canaan

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The Color Purple

 
 
THE COLOR PURPLE
Broadway Theatre
1681 Broadway
New York, NY 10036

“The Color Purple”
Contains Powerful Music, But Is It Enough?

Alice Walker’s novel, “The Color Purple,” was turned into a movie in 1985, which was directed by Steven Spielberg and is now on Broadway and produced and financed by Oprah Winfrey. “The Color Purple” focuses on the story of a poor young black woman’s journey through her life. The musical is indeed very bleak, but for the most part that’s a good thing.

What stands out for this musical is the music. Brenda Russell, Allee Willis, and Stephen Bray are responsible for the music and lyrics. The three manage to combine gospel, blues and pop together to make something truly unique. Jonathan Tunick contributed his wonderful orchestrations. Marsha Norman’s book falls short. The show is directed by Gary Griffin.

In terms of the plot, the main character never achieves what you want her to achieve. Even though the cast gives powerful performances, it isn’t enough necessarily to carry the entire musical. Donald Byrd’s choreography creates gospel, blues and pop dancing to give it life.

Overall, “The Color Purple” is worthwhile because of its dance and music. With Oprah’s backing and constant publicity, it will run a long time.
By Lee Canaan

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The Drowsy Chaperone

THE DROWSY CHAPERONE
Marquis Theatre
1535 Broadway
New York, NY 10036

“The Drowsy Chaperone”
Shows Us Yet Another Musical About Musicals

“The Drowsy Chaperone” is being called one of the year’s best musicals. This seems to be because it is another musical about musicals, written by Lisa Lambert and Greg Morrison. From the beginning, we are introduced to a character called Man in the Chair, and he proceeds to talk about this antiquated musical from the 1920’s called “The Drowsy Chaperone.” It makes you wonder why you should care about this “man” or why you should care about the fact that he loves old musicals so much.

The plot revolves around the wedding of Broadway star Janet Van De Graaf, performed by Sutton Foster and playboy Robert Martin, played by Tracy Britton Johnson, which is being threatened by some of the other characters and an inane plot twist. The musical starts to take off with the well-rounded cast, as the musical allows them all to showcase their talents, notably Beth Leavel. With Casey Nicholaw’s choreography and direction, and with Gregg Barnes’ costumes, and David Gallo’s sets make the entire production come alive.

On the whole, “The Drowsy Chaperone” is a pleasant experience. If you’re looking for another musical about musicals, the best bet is THE DROWSY CHAPERONE.
By Lee Canaan

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TARZAN
Richard Rodgers Theatre
226 West 46th Street
New York, NY 10036

“Tarzan”
Swings Into The Richard Rodgers Theatre

Disney’s newest addition to its Broadway family is “Tarzan,” based on their animated film, joins THE LION KING and BEAUTY AND THE BEAST. Whoever decided that this was a good idea might have wanted to rethink that before they gave this show the go ahead.

The plot of Tarzan is simple: Tarzan is abandoned in the jungle at a young age because his parents are killed. He is raised by apes, and then falls in love with Jane. The book by David Henry Hwang of M Butterfly fame. Not like the plot matters all that much to the kids who will be the only ones who want to see this musical. Phil Collins’ original music is being blared throughout the theater, yet you feel that something Is missing. Jane is well performed by Jenn Gambatese. The producers took a risk casting “American Idol” finalist Josh Strickland as Tarzan with his lack of stage experience. It is a good supporting cast in a show that needed support.

TARZAN was staged and designed by Bob Crowley, which worked well with Natasha Katz’s lighting design. This is something beautiful to see. Choreographed by Meryl Tankard, and the way that Tarzan flies is through aerial acrobatics designed by Pichon Baldinu. However, these great elements are not enough to make “Tarzan” a great show for adults but good fantasy for youngsters.

If you were thinking about going to see a Disney musical this season, and expecting a lot, “Tarzan” swings for the younger audience.
By Lee Canaan

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“Hot Feet”
Fails to Warm Hearts on Broadway at the Hilton Theatre

“Hot Feet” Fails to Warm Hearts on Broadway at the Hilton Theatre

Maurice Hines, the director and choreographer, has come up with a pure dance show mixed together with music from Earth, Wind, and Fire. The result makes you wish that you were watching something else altogether.

The musical revolves around the character of Kalimba, whose story is nothing that you haven’t heard before. She wants to be a dancer; her mom wants her to stay in school etc. She runs away to be a dancer, with conflicts thrown in that move the story along. A cadre of other characters comes across the show as well, but none of them are really memorable enough. Book writer Heru Ptah doesn’t give any of the actors enough depth to make their characters memorable. The choreography seems to exist solely for the purpose of giving the performers a workout, as opposed to being there for any artistic reason. Vivian Nixon, Ann Duquesnay, Michael Balderrama, and Keith David all give decent performances, with the material they have to work with.

Maurice Hines  takes the  Earth Wind and Fire music and turns it into a dance show that comes at times alive on stage.
By Lee Canaan

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“Sweeney Todd”
Opened At The Eugene O’Neill Theater

“The History Boys”
Will Teach You A Thing Or Two

“The History Boys,” Allan Bennett’s play about a group of high school seniors getting ready for their college entrance exams may not seem like the kind of play that would make you want to run to the theater. But this production, which originally was produced at London’s National Theatre two years ago, will remind you of what it was like to be a young person dealing with the fears of adulthood in the midst of your high school years.

The play is a success because of all the elements of theater combining to make a wonderful, witty play. Nicholas Hytner’s direction and Bob Crowley’s sets work in conjunction with Ben Taylor’s video sequences that push the plot forward. Mark Henderson’s lighting plan, and Colin Pink’s sound design add to the overall production.

The plot focuses on the two opposing professors, Hector and Irwin, played by Richard Griffiths and Stephen Campell Moore. Both have very opposing views on what education means to them, and subsequently what it will mean to their pupils, the history boys. The casting is perfection, and all of the actors shine in their roles.

The education of “The History Boys” has never been more fun to watch or experience.
By Lee Canaan

VISIT NEW YORK AND SEE A SHOW!

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