Gabriel Byrne Walking With Ghosts--Lovingly Personal Memoir

      By Joseph Cervelli

The very fine stage and film actor, Gabriel Byrne, is transfixing in his beautifully crafted and deeply personal one person show "Gabriel Byrne Walking With Ghosts" at the Music Box Theater. The Music Box is a perfect venue for a solo show--intimate enough to be enveloped into the world of the performer. 

He may be the only person on stage yet there are enough characters in his life he so tenderly and expertly conjures.  You easily envision the cast of so many which made an indelible (for better or worse) effect on his life. 

When he states he feels like "an intruder into the past" you never feel he is at all. He brings forward those he calls ghosts whom he shares with the audience. 

He starts right at the beginning discussing his parents and his early childhood in Ireland. While this might sound like you have heard stories about dealing with harsh conditions before, he has a frolicsome quality so even the difficult times become illuminating in their own way. 

He speaks of one particularly vicious teacher at the Christian Brothers school in which he being a poor math student was lashed on his hand repeatedly with a cane used for beating. Bryne vividly recreates the swishing sound. While the show utilizes sound effects this is one he wanted to relive and have the audience feel the horror of what was inflicted on him by this teacher who did not belong in a classroom.

Yet, after some troubling details along with one described and another with a classmate drowning, suddenly you hear carousel music and hanging lightbulbs suddenly appear for he is at a carnival. Like any youngster the bleak moments of a childhood can suddenly be forgotten even for a short when they find some joy and in this case by discovering the sights and sounds of a carnival. Life becomes easier. 

He was very close to his grandmother who brings him to his first movie. He recreates that scene so vividly.  Suddenly the lights  (expert lighting and effective scenic design by Sinead McKenna) dim as the MGM lion roars and he crumples up in fear. 

The show has such a universal appeal. We can all vividly remember being taken to something that thrilled us not forgetting both what it was and who took us to see it. 

Gabriel decides to join the seminary where he tells a horrific tale about being seduced by a priest.  How he handled this years later shows what a kind and compassionate man he is. Not many would have been so thoughtful. 

After leaving the seminary he becomes a dishwasher and toilet attendant before joining an amateur theater group. 

Bryne has a unique ability to go from seriousness and tragedy (his heartbreaking tale of his beloved sister is a prime example) to being frolicsome. The solemnity we have come to know in so many Irish  novels and plays is met here with the humor that he needs to get through the difficult times. He has a delightfully puckish quality that frequently appears. 

He tells a hilarious story about trying to give great depth to one line he has to say "This Way Please" in a television play. He is so thrilled given this opportunity he treats it like he was quoting a famous line from Shakespeare. Of course, it does not go over well with the director. 

The only actor (other than an aside to Al Pacino) that is mentioned is Richard Burton who was his idol. They spent a good amount of the time when not filming drinking. Byrne realized that he loved the alcohol until he correctly realizes it "betrayed" him. Sadly, the extraordinarily fine actor Burton did not and passed away at the untimely age of 58. Burton's take on fame which I read in his diaries years ago still makes quite an impact especially the way Byrne tells it. 

With Lonny Price's compassionate direction and the simply astonishing Byrne we travel with him on his emotional journey and feel honored to do so.

PHOTOS: EMILIO MADRID

Tickets are at The Music Box Theater 239 West 45th Street.

Chester Bailey--Intriguing and Superbly Acted

     By Joseph Cervelli

Before the intriguing and exceptionally well acted (a standout performance by Ephraim Birney playing with his real life dad Reed Birney) "Chester Bailey" begins you hear the first two verses of the classic "Haunted Heart" by the popular singer of the late 30's through the 50's Jo Stafford. The memorable lyrics fit the mood of this new work by Joseph Dougherty at the Irish Repertory Theatre.

The action takes place in a hospital room in 1945 on Long Island. The always excellent set designer John Lee Beatty utilizes a turntable stage to create other locations. I especially was taken with what looks convincingly like overhead steel beams representing Penn Station. 

Ephraim Birney plays the title character, a good looking young man in his 20's, mostly in his hospital room.  Interestingly in a few scenes  you don't quite see his hands for the pajamas and robe seem a bit overlong. There is a reason for this. The other character in the play is Dr. Philip Cotton (an always perfect Reed Birney) a psychiatrist who is assigned Chester's case. 

Right from the onset you find Chester very likable young man wanting to enlist in the army during wartime. But as he tells it, his parents were very much against his serving  and his dad got him to work as a riveter in the Brooklyn Navy Yard. He was despondent when he was convinced his girlfriend dropped him only because he was not in the service. We really don't know the real reason for her breaking up with him if indeed that was. But Chester likes to convince himself so. Unfortunately, a horrific violent  incident takes place at work and the young man loses his hands, one ear and becomes totally blind something which Chester refuses to believe. This is what makes this play so compelling. How could Chester even try to live any kind of life he he refuses to believe that he is now incapable of his once normal life. He spends the time convincing the Dr. Cotton that he can see and still has hands. The young actor is amazing at the resilience he puts forward in the character. There is once scene near the end when he lets out a kind of primal scream that is heartbreakingly real. 

At the same time, Cotton has his own issues. Married with one daughter he finds out about his wife's infidelity. He also has fallen in love with the director of the hospital's wife. He wants there to be more but knows it is just an affair. He appears to be a very unhappy man and what makes him feel even worse is his inability as a doctor to convince Chester that he indeed has been severely damaged. Until that happens he cannot help him. There are various techniques he uses to convince Chester to accept his fate which don't work. 

Beautifully directed by Ron Lagomarsino he is able to show how much alike these two men are in terms of personal relationships and emotions. When the doctor makes a debatable decision at the play's conclusion, you are not sure if it is in the best interest of his patient. But certainly one that will remain with you.

Ephraim Birney is so effortless in his portrayal of this conflicted soul who  beams as he thinks about the young woman he saw working at Penn Station and then the anger when the reality of his condition is somethingwhich he will not accept.  His mood changes are so convincingly done. 

As always the very fine Reed Birney shows his emotion in a more low keyed fashion. There was one moment that was very easy to miss. He was thinking about one romantic time with his superior's wife and just has a bittersweet smile with his mouth slightly open thinking about that special time. 

This is a slow moving play but never dull with both monologues and dialogue between both characters, but the two actors make it work completely. I especially look forward to more stage roles for the younger Birney. He truly is unforgettable. 

Photos: Carol Rosegg

Tickets are available at the Irish Repertory Theatre 132 West 22nd Street. 

 Everything's Fine--An Immensely Likable Storyteller in a Heartfelt One Person Show

      By Joseph Cervelli

I have to say that I was not that familiar with Douglas McGrath before reading in the Playbill he wrote the excellent "Checkers" several years ago and the book to the fine "Beautiful: The Carole King Musical" as well as the screenplay to the hilariously funny "Bullets Over Broadway."  I wish I had known about his adapting one of my favorite novels and films "The Age of Innocence" to the stage. Would have rushed to have seen it.

In the very pleasurable "Everything's Fine" a solo show at the DR2 Theater he acts as both writer and performer. He succeeds admirably on both levels. He is a wonderfully engaging storyteller and a kind of performer you would love to meet and ask more questions about his life. There is only one caveat in this show. While he tells loving tales of his growing up in Midland, Texas (a lot of laugh out loud humor in there) he spends a bit too much time discussing what occurs in the eighth grade. Now, in all fairness I will say I was never bored with his story about his both humorous and also troubling experience with his teacher from that grade. It does go on rather long, but I found myself laughing heartily and then at the edge of my seat thinking this is no longer a funny situation. Fortunately, nothing graphic was discussed because nothing like thankfullytook place (worth the spoiler alert to know that.) 

When McGrath discusses what he felt as a fourteen year old he captures the foibles, innocence and immaturity of a boy that age. He actually morphs into a younger version of himself. I loved his imaginary interaction with his best friend Eddie whom he mimics. Love to know what happened to Eddie. It is so believable looking for help from another fourteen year old and, of course, getting nothing but laughter. McGrath shows his kindness by forgiving his teacher despite making his life more overbearing thanany young man that age needed to contend with. Won't say anymore. You will see for yourself. 

What occurred with  his father after he met with an horrific accident as a child is told with humor and more than that warmth. There is one particular glowing moment when McGrath talks about his grandmother who read classic books to his father trying to recover from the tragedy. As the tears well up in the performer's eyes as they do when he explains how his father made one bad business decision leading to bankruptcy you might find yourself also feeling the same way. McGrath certainly has that persona. 

I can easily understand why the great actor John Lithgow would want to direct this show (first time in 45 years.) As I was watching McGrath and listening to him I could hear Lithgow's voice and even see his mannerisms. It is uncanny and probably why the result is so good. 

There is very little set (design by John Lee Beatty) except for a teacher's desk and chairs which doubles as a family dining area.

While I wished McGrath had discussed what it was like to work on both "Beautiful" and more especially "Bullets," I admired the sweetness encapsulated in his storytelling. The image of him as a child on his bike racing against blowing tumbleweed still remained in my mind well after the show. That exemplifies the enchantment of this show.

Photos: Jeremy Daniel

Tickets are available at the DR2 Theater 101 East 15th Street.

 1776

      By Joseph Cervelli

I remember the thrill of seeing the original and exhilarating "1776." That same feeling held true when I saw the revival years later.

Right now a brave, new production starring female, trans and non-binary actors put a different twist on the show but remaining true to the original except for some dramatically different turns near the end. 

The superb book by Peter Stone and magnificently clever score by Sherman Edwards which tells the story about how the Second Congressional Congress bickered ferociously whether we should break away from England and declare our independence. The  idea of signing a Declaration of Independence remains still as exciting now in this new production.  

One certainly has to first compliment co-directors Jeffery L. Page  and Diane Paulus for their chance in taking such an  unorthodox approach with the cast change. When you have a great show to start with the only thing you have to make sure of is that the cast can live up to the demands. And this cast for the most part does, many of whom playing more than one role. 

First starting with a fiery John Adams (played with forceful conviction by Crystal-Lucas Perry) who never lets up on the commitment for independence. The humorous "Sit Down, John" sung by members of the  Congress along with the uniquely different but extremely effective choreography by co-director Page makes the number feel especially new. Allyson Kaye Daniel is sweetly charming as Adams devoted wife. Their duet "Till Then" still sounds as fresh as when I first heard it. 

Shawna Hamic is a hoot as Richard Henry Lee making the most in a near operatic voice of "The Lees of Old Virginia." There are some comical moments in the first act that don't always work, such as, the overdone drunken representative Stephen Hopkins (Joanna Glushak) from Rhode Island. But most of the time the directors keep them intact without going overboard. 

The always welcome Carolee Carmello is wonderfully dislikable as John Dickinson of Pennsylvania who is staunchly unpleasant in refusing to listen to reason about breaking away from England. Her rendition of "Cool, Cool Considerate Men" a memorable number from the second act is done so well with her band of supportive allies making  hem as disagreeable as they have been throughout. 

I especially enjoyed Patrena Murray who is a droll Benjamin Franklin. Murray could not have been better in portraying the jocular statesman.

The first act ends with a rousing rendition of "He Plays The Violin" sung lusciously by Eryn LeCroy who portrays Martha Jefferson. It is an affectionate ode to her husband Thomas who wooed her from the beginning of their courtship with his violin playing. The only misstep is the dour, lackluster performance of Elizabeth A. Davis as Jefferson. 

There were a few issues with the second act that mainly concerns two of the musical numbers. The strongly anti-war song "Momma, Look Sharp” is very moving number which  starts off well as sung by the courier played by Salome B. Smith. There was no need for the screeching at the end nor the ensemble to join in. The song sells itself. 

While I did like the projections of kegs in the compelling yet disturbing "Molasses to Rum"dealing with the profits from slavery, it, too, was sung with too much yelling by Sara Porkalob (Edward Rutledge). Porkalob did better in the acting role of portraying the smarmy representative from South Carolina rather than singing. Porkalob starts out so well in the song and then it becomes grating.  

There is a twist to the charming "The Egg" as Adams, Jefferson and Franklin debate which bird best represents the our new country. In the middle of the song there is a video of the various turbulent times in our country’s history which does not congeal with the meaning of the song. If the directors feel it was necessary it could have been put in another scene.  

The final scene from the original was a tableau of the Founding Fathers signing the Declaration. Here it is something quite different and much more political. I wish it had ended on a more upbeat note despite the inequities that we do have in our country. The fact that the cast is so varied shows how far we have come and that alone is a cause for celebration. Adding what appears to be this political statement seems forced. What could have worked here was the video during "The Egg" number. 

Despite my reservations, the cast which is certainly excellent does an admirable job of representing the various historical figures. And it’s a joy to listen to that unforgettable score and exceptionally well written book. 

PHOTOS: JOAN MARCUS

Tickets are available at the American Airlines Theater 227 West 42nd Street. 

 I'm Revolting

      By Joseph Cervelli

If you are squeamish about medical issues, a bit of a hypochondriac or have an upcoming dermatologist appointment scheduled you might well consider venturing to the Atlantic Theater Company at the Linda Gross Theater to see Gracie Gardner's new play "I'm Revolting." According to this play, it seems that if you have some serious decisions to make about your health (in this case skin cancer) you are basically on your own. Trust the doctors? Not so sure about that as presented here nor should you expect much compassion from your friends or relatives. You better look to yourself. They are more concerned with their jobs or own self preservation. 

The play directed by Knud Adams has a kind of surrealistic feel in a kind of "Twilight Zone" sort of way. The action takes place in a sleek (sets by Marsha Ginsberg) waiting room for those coming mostly for serious dermatological issues. 

There is one doctor Denise (Patrice Johnson Chevannes) who seems to be caring though as the play proceeds you are not so sure about her sincerity. And there is also the milquetoast resident Jonathan (Bartley Booz.) 

Then the patients filter in. Reggie (Alicia Pilgrim) needs to have something removed from her nose and though things look good after the surgery, she may need more which is described in detail (again squeamish beware). Her stylishly dressed sister Anna (Gabby Beans who was outstanding in the dreadful revival of "The Skin of Our Teeth") is more concerned with getting back to work. Even when things get to be more serious for Reggie, Anna is no where to be found. 

A married couple who seem very unhappy, Jordan (Glenn Fitzgerald) who ends up being truly a horrible person and his emotionally fragile wife Liane (Emily Cass McDonnell) who needs more than just additional dermatological surgery. The jovial Clyde (Peter Gerety) who is accustomed to having several surgical procedures. Toby (Patrick Vaill who was terrific as Jud in the recent revival of "Oklahoma") seems bored with being there and it does not help as he waits for his ditzy mother Paula (Laura Esterman) who is into holistic medicine playing her "crystal singing bowls" which seems to have cured her son. Or, have they?

There really is not much to the play other than the fact as mentioned that medical people are more concerned with rushing to get things done and give you no time to think things through. And since most people need a support team when given a serious diagnosis your immediate loved ones are not those you can depend on. 

I have never seen physicians discuss a patient's medical condition in the waiting room. Guess HIPAA laws don't apply here. But then again the play appears to be taken as a satire. I found nothing amusing about it although the audience did find parts uproariously funny. The situations described within the play are too serious to be taken in such an amusing manner. 

PHOTOS: Ahron R. Foster

Tickets are available at the Linda Gross Theater 336 West 20th Street