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Past Reviews
CinemaStage Past Reviews
ARMS AND THE MANTheater Row West 42nd St, NYC REVIEW by Kevin Martin(Theater Mania) Compared with plays like Pygmalion and Mrs. Warren’s Profession, Bernard Shaw’s Arms and the Man is not one of his better-known works. Gingold Theatrical Group’s lively new production at Theatre Row, however, makes a case for its being made more familiar to theatergoers. Its antiwar theme is always timely, but the campy potential of its characters makes it far funnier and more accessible to modern audiences than some of his much headier comedies.That’s not to say that this revival, directed by David Staller, consistently wrings out all that potential. It takes a few scenes for the cast to shake off some stiffness and relax into Shaw’s laughably exaggerated characters, but once they do, the comical moments rush forth unlike any I’ve ever seen in Shaw.It takes place in Bulgaria during the 1880s as a war is going on. In an aristocratic bedroom (monochrome dollhouse set design by Lindsay G. Fuori), Raina Petkoff (Shanel Bailey) muses about heroes and bravery while she awaits the return of her dashing soldier fiancé, Sergius (Ben Davis). Suddenly, there is a gunshot (subdued sound design by Julian Evans), and a handsome Swiss mercenary (Keshav Moodliar) breaks into Raina’s room and asks for shelter. Shocked but a little turned on, she hides him with the help of her haughty mother, Catherine (Karen Ziemba), and helps him escape.Months later, Sergius comes home from the war with Raina’s father Major Petkoff (Thomas Jay Ryan) and all seems in order for the two young lovers to be wed. But Sergius proves to be more arms than man with the maid, Louka (Delphi Borich), and the unexpected return of the Swiss mercenary, now a captain, throws Raina’s sense of loyalty out the window. Who will end up with whom as a whole new war breaks out at home? Though Arms and the Man is an early Shaw play (his fourth), he already had a knack for witty repartee and brisk comedic plotting, and all his blustery characters, each of them arrogant and two-faced in their own way, is ripe for campy treatment. In the role of Sergius, Davis gets the assignment. His braggart soldier fills the stage with overblown self-importance as he turns toward the audience so that we can marvel at his physique (costume designer Tracy Christensen’s gray military uniform can barely contain Sergius’s bloated ego). Borich’s flirty Louka gets laughs with her knowing side glances and fourth-wall-breaking smiles, as does Evan Zes in his role as the ambitious manservant Nicola.The rest of the cast doesn’t fare as well in the laugh department. Bailey, whose character Raina hides her feelings behind a cloak of conventionality, might be excused for delivering lines with humorless formally. The same can’t be said for Ryan’s Major Petkoff, whose bombast fails to get many chuckles until the very end. Ziemba as the hyperexcitable Catherine also seems like an untapped comedic font for much of the play, while Moodliar breaks even as the stolid Swiss soldier. Fortunately, Staller pulls out the stops at the end for a riotous final scene that does in fact leave the audience in stitches. Too bad that what comes before doesn’t have the same effect, but the end goes a long way in making the whole thing worthwhile.For those who do know the play, several changes to the script may jump out, notably Staller having the characters directly address the audience at the beginning to set the scene and give some idea of what to expect. Shaw considered using the technique himself for this play but never did. While it’s a respectable enough alteration, sussing out the play’s nutty comedy and antiwar satire, rather than making esoteric script changes, might have proved a more successful strategy.
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“MACBETH" - shown at BAM, opened strongly with 3 Emergency Room nurses (aka the three witches) nursing a bloodily injured, battle worn combatant whilst he moans broadly at impending doom. Macbeth, a general in the army of King Duncan and accompanied with military colleague Banquo at his side, soon enters upon the witches' turf who bluntly forecast his impassioned, poisony ambitions: "Hail, Macbeth, Hail Thane of Cawdor, thou shall be king hereafter." They also declaim to Banquo that he will be the father of kings – though not one himself. This will not sit well with Macbeth. Played with great smoothness and effortless curiosity from the outset by Patrick Stewart (hey, who's getting fooled now?), the ambitions of his Macbeth unfurl with certain ease. The tight direction under Rupert Goold’s attentive eye weaves well atop this dramatic smoothness, charmed by Stewart's stage intelligence. He makes this naughty fellow all very sinister, funny, - and human. Recalling William Shakespeare’s JULIUS CAESER comment that "ambition should be made of sterner stuff' makes one think about ambition's overkill in the hands of this Scottish villain. Having his gruesome goal - almost immediately - next fulfilled (as predicted by the evil hags) by thus becoming – in fact - Thane of Cawdor, the newly ambitious Scot sets off to wilder heights that include having (his cousin) Duncan rubbed out in red. In Goold’s ghoulish view of things Macbeth, our contemporary history by analogy rings fairly true: militarism rising up in politics American style – maybe British style, too, - and all, (of course) in the name of freedom. Read: ”we but teach bloody instruction, which being taught, returns to plague the inventor”. Following that, think fascist Italy, think Poland September 1939, think Soviets in Kabul 1979 and USA in Kabul 2002, think Abu Gharaib 2003 and beyond. Conclusion: bloody instruction degrades the doer (does that make him an evil-doer)? Macbeth is a sly shit also – wanting the nasty stuff to be done in order to attain his own kingship, - but wary that he might have to confront some awful repercussions if he fails at the bloody deed. In this context, his extra ambitious wife and virago, Lady Macbeth (grandly executed by Kate Fleetwood, and watch the way she manhandles that cake!), steps up to the plate, - titillated and enamored as she has been by Macbeth’s earlier letters detailing the witches’ premonitions. Such is the workings of the thirst and hunger for power, presented here with a near precision for New York audiences. Here, bloody thoughts turn into visual effect for our absorption - elements of sheer terror in the criminal range of ambition: lust, overreaching, hypocrisy, mendacity, misuse of armed forces, tyranny; sound familiar? Several darkly humorous touches in the unfolding drama move well: the spousal bantering, cuddling, and cajoling of Mr. and Mrs. Mac amid the psychic dance of their back and forth blaspheming to power, as well as their premature, flight-from-reality ballroom celebration (black piano and all) both come to mind. All these moments have enormous theatrical influence, and to ask of it that they should be more “scary” or “spooky” would be to risk placing the story of these two Macnaughties in cliché land. Fortunately that never happens. Here, the director has gotten just about everyone to suit the action to the word. There is not a weak actor in this cast, thank you very much (a personal relief of mine). Why can’t all hard-rehearsed Macbeth productions be this Macgood? _________________________________________________Cast: Suzanne Burden (Lady Macduff), Michael Feast (Macduff), Kate Fleetwood (Lady Macbeth), Scott Handy (Malcolm), Bill Nash (Angus), Mark Rawlings (Lennox), Paul Shelley (Duncan/a Scottish Doctor), Patrick Stewart (Macbeth), Tim Treloar (Ross) and Martin Turner (Banquo).”- Kevin Martin
Off-Off-Broadway
Nutcracker Rouge
“Hey you flabby, arm-chair people - after you see "Nutcracker Rouge", get thee to the gym!
Art should inspire, nothing else. It should make you both feel and THINK. "Nutcracker Rouge", presented by Company XIV and directed by Austin McCormick, does that.
T'is the Season that visionary, director, and choreographer Austin McCormick brought to the NY stage a blend of excellence in theatre art, via Pytor Tchaikovsky's timeless "Nutcracker" - with a do-over that works with a sharp, enthusiastic appeal to our present time of social change, ala gender-bending energy and creativity, traditional motifs of style and presentation, and excellence of execution. Combined, you get a holiday treat unexpected, un-threatening, but all engaging. Herewith, thanks to the ensemble's excellence that will stick to your memory for a good while, you will find waiting a complete trove of superb movement, story-telling, dance, and music. McCormick's drive toward the finish line of holiday surprise is on full display, as he boldly, successfully experiments with both new forms and routine expectations. NUTCRACKER musical selections of the original (e.g., Waltz of the Flowers) are given perfect attention and effect as the cast of dancer/characters weave their finely tuned bodies and souls effortlessly through and about the air, allowing this "Nutcracker Rouge" to soar swiftly along in the magically appointed Minetta Lane theatre - and not a Minetta minute too soon. McCormick's magic moves well at nearly each and every moment; by employing a melange of raw-energy acrobatics (raw in its barest sense), classical ballet, French Can-Can, double-entendres freshly expressed, elements of rock, jazz, and night-club vocals, the director helps us to see things differently, perhaps more fascinatingly, than we might have expected. Ribaldry - New York Holiday style, is here to stay. These nearly 2-hours of surprise enjoyment (that's what a creative director should do anyway: surprise us; this is what happens here) go nimbly by, but you will enjoy it. "Nutcracker Rouge" is intelligent, gutsy, and done with sheer originality. The cast and crew deserve high honors for their dedicated, skilled energies and talent. All here are totally professional and giving; to name a few that do this are Laura Careless in the part of Marie Claire, giving her character precise care and vulnerability every step of the way; Shelly Watson as Mrs. Drosselmeyer, in a style of singing this story along with power and grace and enthusiasm, and Ms. Watson does it brilliantly; as Mr. Drosselmeyer, Jeff Takacs is utterly engaging as he works along side Mrs. Drosselmeyer as a "co-host" of sorts - accented by a '70s hard Rock look, realized with perfect humor and intelligence. Also not to be overlooked are Zane Pihlstrom for the exquisite, uncrowded set design (Minetta lane is not a Broadway house), and for giving the story a comforting albeit luring appeal, but always (for lack of a better phrase) sucking us all into the land of Marie Claire/Nutcraker Rouge imagination. Complementing this is the light design from Jeanette Oi-Suk Yew, with a smooth, subtle, and well-thought out arrangement of mood and atmosphere, appropriate to the inventiveness of the director's effort. This production with its cast of physically powerful, soulful, talented commitment is just about flawless. Let it suffice that Tea Party folks, anal types should drag themselves to Minetta Lane for some crazy, funny, sensual, surprising entertainment - if you think you can still get a TICKET. 'Ya better hurry, last performance is Jan. 5.”- Kevin Martin
Art should inspire, nothing else. It should make you both feel and THINK. "Nutcracker Rouge", presented by Company XIV and directed by Austin McCormick, does that.
T'is the Season that visionary, director, and choreographer Austin McCormick brought to the NY stage a blend of excellence in theatre art, via Pytor Tchaikovsky's timeless "Nutcracker" - with a do-over that works with a sharp, enthusiastic appeal to our present time of social change, ala gender-bending energy and creativity, traditional motifs of style and presentation, and excellence of execution. Combined, you get a holiday treat unexpected, un-threatening, but all engaging. Herewith, thanks to the ensemble's excellence that will stick to your memory for a good while, you will find waiting a complete trove of superb movement, story-telling, dance, and music. McCormick's drive toward the finish line of holiday surprise is on full display, as he boldly, successfully experiments with both new forms and routine expectations. NUTCRACKER musical selections of the original (e.g., Waltz of the Flowers) are given perfect attention and effect as the cast of dancer/characters weave their finely tuned bodies and souls effortlessly through and about the air, allowing this "Nutcracker Rouge" to soar swiftly along in the magically appointed Minetta Lane theatre - and not a Minetta minute too soon. McCormick's magic moves well at nearly each and every moment; by employing a melange of raw-energy acrobatics (raw in its barest sense), classical ballet, French Can-Can, double-entendres freshly expressed, elements of rock, jazz, and night-club vocals, the director helps us to see things differently, perhaps more fascinatingly, than we might have expected. Ribaldry - New York Holiday style, is here to stay. These nearly 2-hours of surprise enjoyment (that's what a creative director should do anyway: surprise us; this is what happens here) go nimbly by, but you will enjoy it. "Nutcracker Rouge" is intelligent, gutsy, and done with sheer originality. The cast and crew deserve high honors for their dedicated, skilled energies and talent. All here are totally professional and giving; to name a few that do this are Laura Careless in the part of Marie Claire, giving her character precise care and vulnerability every step of the way; Shelly Watson as Mrs. Drosselmeyer, in a style of singing this story along with power and grace and enthusiasm, and Ms. Watson does it brilliantly; as Mr. Drosselmeyer, Jeff Takacs is utterly engaging as he works along side Mrs. Drosselmeyer as a "co-host" of sorts - accented by a '70s hard Rock look, realized with perfect humor and intelligence. Also not to be overlooked are Zane Pihlstrom for the exquisite, uncrowded set design (Minetta lane is not a Broadway house), and for giving the story a comforting albeit luring appeal, but always (for lack of a better phrase) sucking us all into the land of Marie Claire/Nutcraker Rouge imagination. Complementing this is the light design from Jeanette Oi-Suk Yew, with a smooth, subtle, and well-thought out arrangement of mood and atmosphere, appropriate to the inventiveness of the director's effort. This production with its cast of physically powerful, soulful, talented commitment is just about flawless. Let it suffice that Tea Party folks, anal types should drag themselves to Minetta Lane for some crazy, funny, sensual, surprising entertainment - if you think you can still get a TICKET. 'Ya better hurry, last performance is Jan. 5.”- Kevin Martin
MANIPULATION
This "MANIPULATION " is a form of seduction. Cristina's World (Who's the puppeteer and who's the puppet)? Review by Kevin Martin
“Mexican-born Victoria E. Calderon (I have never heard of her 'til now, but I am very glad I did) has written a little gem of a new play - a mere 70 + minutes long, and it shines. Directed with lightning sensitivity and worked through (good, REAL acting is work) by an utterly fine cast, this scenically well-designed, enchantingly sounded, excellently costumed, smartly lighted 'MANIPULATION" in fact shines - glows - on all sides in this production.
“Mexican-born Victoria E. Calderon (I have never heard of her 'til now, but I am very glad I did) has written a little gem of a new play - a mere 70 + minutes long, and it shines. Directed with lightning sensitivity and worked through (good, REAL acting is work) by an utterly fine cast, this scenically well-designed, enchantingly sounded, excellently costumed, smartly lighted 'MANIPULATION" in fact shines - glows - on all sides in this production.
Taking place (somewhere) in the faux-modernist, expensive apartment of Cristina and Mauricio in Latin America, 'MANIPULATION" bespeaks itself metaphorically, perhaps, of the unrest curdling through at least some of the daily lives of women, as personalized in the experience of one Cristina (adroitly felt by actor Marina Squerciati). Fatherless Cristina, the main protagonist of this sparkler, is married very young to the very moneyed, successful Mauricio. As far as I am concerned, - and partly excepting Cristina's poor-ritzy mother's view of the world (this role of Beatriz is played luminously by Saundra Santiago), this is not a "feminist" play; but, rather, a sort of "marriagist" one: the belief that marriage, still a must-try thing to do in society, leaves many spouses believing in, and fearful of, being locked in - though often admitting furtively that the institution of marriage is really just all too much, and all too other-centered for some folks to bear. Yes, we can all be quite selfish at times.
Mauricio applies his manly-ish, husbandly interest (ala "you have all the money you need") toward lonesome, under loved Cristina with that oft-infamous carnal habit of quick get-it-over-with sex, while all the while offering patchy assurances of his love, Mauricio-wise speaking. But Mauricio, as rendered by the perfectly-tuned craft of Robert Bogue, is a guy with his own problems. In fact, it really isn't ONLY Cristina who is lonely (she lives out all her deeply repressed needs and regrets with high wired mental flashes that are the actual play itself); everyone is lonely. I am lonely, you are lonely, we are all lonely, even if we do love, for love sometimes goes missing from life's emotional tool box. Cristina hooks up with Luis (done extremely right by Rafi Silver) a gifted pianist with hands that only a Cristina could love but which speaks volumes of her erstwhile lonely marriage. And so, 'MANIPULATION" makes me wonder - reminds me again, that there may not be any exit from this field of occasional, sometimes strangeness we call living, and that whether there are ghouls standing by us as we continue our daily function or whether there is something better than this, who knows? There are literally a few ghoulish types lurking in Cristina's world, to be sure. Cristina, who later finds respite in Poeta (a young, impoverished poet, so-named, and done just right by Brendan McMahon), goes to see a shrink and tells him that she fears her husband. As a possible comment on modern therapy - and medication - the shrink does not really help Cristina, and instead exasperates the same fear she feels toward Mauricio. The shrink, "Dr. Lublitz" is deftly brought out by Jeremy Stiles Holmes, and he's quite a shrink, and indeed, is clearly unfulfilled himself, no less. As per Cristina's lament to Dr. Lublitz, well, therein lies the rub; how can we love something, or someone, that we fear? Alas, we really can't, and don't. The dramatic effects by the exquisite light and sound work almost perfectly; one very minuscule complaint is that the lighting transitions were ever so slightly long.
If a dream itself is but a shadow, then this "MANIPULATION" casts a big one; Cristina's vivid dream reflection of living is painful and true. We see, at play's end, that Cristina is in a museum (what better place is there to house the human condition?) gazing into a very famous painting that, ideally or otherwise, sums up her existential woe. What she sees, and observes, in some certain measure, is all of us, you and me, - and it's not pretty.
All the actors, including Gabriel Furman as Alejandro, have made it clear: the play's the thing.”
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