In The Body of the World--A Portrait of Courage and Determination

By Joseph Cervelli

Writer/performer/activist Eve Ensler is responsible for the tremendously successful “The Vagina Monologues” which has been performed all over the world. Her new work“In The Body of the World” presented by the Manhattan Theater Club and at City Center Stage 1 chronicles her devastating battle with uterine cancer. It is an evening of such intensity told with such a forthright and heartfelt delivery by Ensler that you sit transfixed wondering how (and she does explain it) she dealt with this horrifying illness and what kept her spirits up. How she is able to perform this on a regular basis to audiences is a monumental achievement on her behalf.

Ensler who started V Day which is a day of protest against crimes against women begins by relating her visit to the Congo and the first story she tells is of an eight year old girl who could not stop urinating because of being repeatedly raped. Then goes on with an equally sickening  one about what occurred with an eighty year old woman. It is at this time she got her diagnosis which brought her to the Mayo Clinic. 

It is hard to believe that that the solo play has humor in it but it does which helps balance the pain that you feel for her ordeal. She calls the city of Rochester where Mayo is a “city of cancer” remarking about there being so many wig stores. 

She does describe in detail about what she had gone through and eventually ended up in two different NY hospitals for further treatment. Never once does she succumb to self pity even though amusingly she does wonder if  all the drugs and sex she was involved with in her youth had any direct influence or if not then how she lived through those younger days.  What makes the play work so beautifully is throughout she builds a kind of analogy between what she must endure which is to her not as severe as the atrocities women must endure in places like the Congo.  It is that steadfast dedication to help these women that kept her going through all her surgeries and subsequent treatment. 

There is one especially enlightening scene where in the hospital room there is  a large tree out her window. The superb projections are by Finn Ross. She watches it carefully through her radiation and chemo treatment and it comforts her knowing that as it blooms each season so will she get better for she must to help the women around the world who need her so desperately. 

Her relationships with her family were of little support with the memories of a father who raped her, a mother who she was never close to and now in the last stages of life and a sister she was never close to. 

But Ensler had the determination to go on despite all the odds. While “Monologues” was a play that was geared greatly towards women “Body” can deeply affect both genders. It was unfortunate that there were so few men in the audience when I attended. Here is a play that both men and women can share together. 

I recently read that “happiness is like moving on thin ice.” Ensler was most certainly in a precarious position but she fought to survive and we are thankful is continuing the work to help women whose lives would be forgotten if not for her. 

Tickets are available at Manhattan Theater Club at City Center Stage 1 or by calling 212.581.1212. As of this date the limited engagement ends March 25. 

PHOTOS: JOAN MARCUS

 

Cardinal--Painting the Town Red, Literally

By Joseph Cervelli

When the perky and frequently pesky Lydia Lensky (a somewhat shrill Anna Chlumsky) moves back to her town in upstate New York from spending time in Brooklyn she is quite astounded by the way her hometown has deteriorated. She comes up with the bright or, then again, not so bright idea of painting most of the town a red color to make it unique. Such is the premise of  Greg Pierce’s patchwork new play “Cardinal” at the Tony Kiser Theater. Pierce who was moderately more successful with his book to last season’s off Broadway musical “Kid Victory” finds himself here overwhelmed with ideas that go nowhere. There is an overabundance of thoughts that might be going on in Pierce’s mind but mapping them out into a play despite Kate Whoriskey’s capable direction falls flat and tiresome. 

The once prosperous town known for making axels  has gone downhill and according to Lydia the only way to make it what it once was was making it special. As she points out to the newly elected mayor Jeff Torm (a lumbering Adam Pally) who had an affair with her sister, two other cities did exactly the same--a Moroccan city became all blue and a Mexican one yellow.  Lydia may not be the perfect person to convince the people in the town for she has less than a stellar reputation when as a high school student destroyed a generator resulting in a city wide blackout. At a town meeting in the school gym she makes her pitch which seems to go over quite well. It seems that the mayor likes it so much that he goes to bed with her in a rather ineffectual scene that is only included to show that Lydia wants to get even with her sister for bedding Jeff. Jeff himself has emotional problems taking pills which sometimes makes him rather lethargic which does not help the momentum of this play which feels longer than its ninety minutes.

The only two people not so happy with this new development owner is bakery owner Nancy Prenchel (an excellent Becky Ann Baker) and her emotionally damaged son Nat (an equally fine Alex Hurt) who decide to leave the city despite the fact they have been living there for years. They are about the only two actors who give believable and full fledged performances. As they decide to leave the town (yes, it is eventually painted red) despite its attracting many visitors there is another conundrum. An Asian businessman Li-Wei Chen (Stephen Park) decides to run bus tours to the town to make quite a bit of money for himself and grown son Jason (Eugene Young.) It is at this juncture that the show becomes somewhat interesting when the inhabitants take a xenophobic turn to an outsider trying to make money off them. Things get worse with racial epithets and violence agains Jason. 

Derek McLane provided the rather bland set while Amith Chandrashaker’s bright red lighting covering the walls is effective. 

Pierce has written a mostly theoretical play about how ideas to help a deteriorating town can take a downward turn but never involves the audience which is its fatal flaw. The play should pack a potency and punch which it severely lacks.

Tickets are available at the Tony Kiser Theater 305 43rd Street or by calling 212.246.4422. 

Mary Shelley's Frankenstein

     By Joseph Cervelli

Just this past August playwright and founder of the Ensemble for the Romantic Century, Eve Wolf gave us the fascinating although rambling “Van Gogh’s Ear.” While beautiful to look it never made much of an impact on my senses. She is back with “Mary Shelley’s Frankenstein” at the Pershing Square Signature Center.  As with the previous production this one incorporates classical musical along with the mezzo soprano Krusty Swann whose gorgeous voice is one of the saving graces of another disjunctive written work which is less interesting than the playwright's previous one.   

Besides the heavenly Swann and compositions by Bach, Liszt and Schubert among others played with utmost talent by Kemp Jernigan (oboe); Steven Lin (piano) and Parker Ramsay (organ and harpsichord) there is the brilliant dancer Robert Fairchild who was with the New York City Ballet. Broadway audiences were lucky enough to have seen him in the glowing “An American in Paris” in which this terrific performer danced, acted and sang. Here he is this show’s major asset both as actor and choreographer but even he cannot save the mess of a script and having to act with three sluggish performers. 

We first see him amidst the excellent set design by Vanessa James and the even more astounding projections by David Bengali writhing in pain as electric currents (stunningly lit by Beverly Emmons)  are running through his body as he portrays the Monster created by Dr. Frankenstein (Paul Wesley). Wesley also plays the part of Percy Shelley along with another character. The problem is that he gives such a flat performance that it makes little difference which part he is playing for they all appear intertwined. He may be speaking such lines in describing his feelings in creating the Monster as “breathless horror and disgust filled my heart” as if he were reciting a shopping list. 

Worse yet is the completely emotionless and monotonous performance of Mia Vallet who portrays Mary Shelley. Her delivery  is equally done in a sedative like feel. And not far behind is the usually good Rocco Sisto who portrays two characters one being a blind man with equally dull rendition. 

So much of the storyline is staged by Donald T. Sanders with little sense of a coherence. First, the Monster appears to be normal then without any type of explanation he turns into a dangerous and killing creature.

Fortunately, there is incomparable dancing by Fairchild who blazes with adrenaline that gives the tentative spark that this show badly needs. I could have done without showing the murder of one of the three young boy characters at the end of the first act and his pulling the dead child across part of the stage at the beginning of the second act. One of the most displeasing and unnecessary scenes I have witnessed in recent memory.

Fairchild’s acting is done with sincerity and he convinces as the Monster but sadly he has no one to play off of.

You long for his dance moments and the thrilling Swann along with the musicians but have to deal with not only the pain of listening to dialogue delivered by three performers devoid of any conviction along with desultory writing and equally meandering direction.

Tickets are available at the Pershing Square Signature Centre 480 West 42nd Street or by calling 212.279.4200.

PHOTO CREDITS: SHIRIN TINATI

Farinelli and the King--A Castrato Calms A Frenzied King 

By Joseph Cervelli

Those expecting something of a more historical nature in the London import “Farinelli and the King” playing a limited engagement at the Belasco Theater will be disappointed. This entertaining albeit lighthearted show written by Claire Van Kampen which deals with  the relationship between the mad  King Philippe V (Mark Rylance)  of Spain and the famed Italian castrato Farinelli (Sam Crane) touches the surface but never delves much deeper. While Crane speaks the part the remarkable singing is performed by countertenor Iestyn Davies at the performance I attended. James Hall alternates with him. 

Rylance who has one of them most expressive facial reactions of any actor around captures the fragility of the lonely and troubled soul of the king while being quite humorous. When he first appears as the King, he is in pajamas wheeled in his bed fishing in a bowl containing a single goldfish. Looking back on him years later,  it was later surmised he might have been bipolar. He can be zany one moment and then the next have the most outrageous and unwarranted outbursts of anger with an almost chilling affect. His devoted wife Queen Isabella Farnese (a persuasive Melody Grove) is Italian and finds herself at a loss in trying to help him although a perfectly cast Colin Hurley who portrays Don Sebastian De La Cuadra the Chief Minister of Spain hopes with the help of Dr. Jose Cervi (Huss Garbiya) to  get him to abdicate. Yet, as unbalanced as the king appears he is still lucid enough to not relinquish his throne. 

Isabella travels to London where the Royal Opera House of Covent Garden has just been built and Farinelli is the star attraction. Jonathan Fensom has skilfully designed the ornate set which seamlessly moves from outside the palace to backstage at the opera. It is here where Isabella hears the celebrated performer and convinces  him to return with her to Spain convinced his soothing mellifluous voice will have an advantageous effect on the frenzied king. Here is one of the most memorable moments in the show when Philippe first hears him sing. The frenetic king’s immediate impression of Farinelli is dismissive until he performs his first note. The sullen face of Philippe dissipates into a warm almost mesmerizing look. Suddenly, you can see the tension being released from his body. This is certainly Rylance at his best. And what adds to the scene is the gloriously evocative lighting by Paul Russell which is several candle lit chandeliers being raised and lowered throughout the show. Adding to that is the luxuriant  brocaded wardrobe by the U. K. costume coordinator Lorraine Ebdon-Price. 

The second act, unfortunately, adds very little to the storyline which cries out for some complex embroilments between the lead characters.  The King and Queen along with Farinelli retreat to the forest where they lead a silent life with little communication with others. Since there is not much that van Kampen has to say in this part of the play,  she has the audience become members of the village as Philippe interacts with a few of those seated near the stage while we  are there there to be entertained by Farinelli’s silvery voice. This scene which takes up almost all of the second act becomes a bit tedious after a while. It is only when Farinelli,  and here is where the fine Crane excels,  declares his love for Isabella. After she refuses his offer to run away with him, there is a gorgeous moment and one of the best in the play in which while Davies is singing that  Farinelli circles around the Queen creating  almost magnetic force field between them.  It is at this juncture in the play that director John Dove has finally created one of the most  profound moments in the play. 

There is a rather silly scene in which the King leaves the forest on horseback while being  pulled backwards.  And what is a severe letdown is when  we hear of  Philippe’s  demise rather than dramatizing it which could have been a wonderfully conclusive moment. While van Kampen’s quasi historical drama is enjoyable, the play ultimately leaves you unfilled. 

Tickets are available at the Belasco Theater 111 West 44th Street or by calling 212.239.6200. As of this date the limited engagement ends March 25. 

PHOTOS: JOAN MARCUS

SpongeBob SquarePants--Universally Appealing Show


By Joseph Cervelli

The sets! The costumes! The lighting! It’s “Spongebob SquarePants” the scrumptious new musical at The Palace Theater with sensational direction by Tina Landau.

I must say that I knew nothing about this character who is a sponge living under the sea in what is known as Bikini Bottom. Yet, within minutes thanks to (oh, where to start!) everyone connected with this show you will find even if unfamiliar with the animated  television series completely enamored by it. 

The moment you walk into the theater your giddiness takes over while looking from one area of the stage to the other. Fish swimming along the scrim, Rube Goldberg type of contraptions on both sides of the stage which include among other things a shopping cart and huge beach balls (yes, they do come down); pool noodles on the stage representing I would think coral and it goes on and on. 

And among all the visuals of the show which leads you onto a phantasmagorical journey there is a definite story which is all about tolerance, forgiveness and true friendship. 

The ingratiating Ethan Slater who is a cross between a claymation figure and a slinky (remember them?) springs into all different shapes as the kind and always optimistic title character who works as a cook at the Krusty Krab restaurant and his one desire is to become a manager. Yet, the manager played by a vociferous Brian Ray Norris who, of course, is a crab (love those red claws which look like boxing gloves) does not think he is up to the job. Spongebob’s best friend is the lovable starfish Patrick Star (played with utter joy by Danny Skinner) along with Sandy Cheeks (a very good Lilli Cooper) a squirrel with a brilliant scientific mind. They have quite a task ahead of them trying to prevent Mt. Humongous from erupting and destroying their community. She has developed a device to prevent this, but it will be up to the limber SpongeBob to drop it into the volcano’s opening. Slater has quite a task climbing the various ladders which form part of the volcano to accomplish this. 

Of course, there is a villain, Sheldon Plankton,  played with slimy delight by Wesley Taylor who wants to stop them. The one other major character is the crotchety Squidward Q. Tentacles  and played to the hilt by Gavin Lee (remember he was the fellow who walked upside down around the proscenium arch in “Mary Poppins”.) With four pant's legs and not  sure how he manages this--his one big number  “I’m Not a Loser” which is part “Razzle Dazzle” from “Chicago” and “One” from “A Chorus Line” is irresistible. 

What is a clever idea and works superbly is having  various composers contribute to the score so you have the harmonic “Hero is My Middle Name” by Cyndi Lauper and Rob Hyman; the catchy “Chop to the Top” by Lady Antebellum; the hard rock Steven Tyler and Joe Perry’s “Bikini Bottom Boogie.” They all blend in so perfectly which gives the show that extra pizzazz.

And speaking of pizzazz David Zinn’s sets and costumes are a feast for the eyes and senses. It is like a box of Crayola just exploded onto the stage but never mismatched which is a difficult feat. He has created the underwater world expertly with shark heads protruding from the side of the stages, surfboards surrounding Lee during his knockout number and pink jelly fish walking down the aisles. 

Kevin Adams' consummate lighting is vibrantly multicolored  blending in expertly with the costumes and sets.

Kyle Jarrow’s book not only has many laugh out loud moments but tender ones and the derogatory sign about land mammals going home directed to Sandy Cheeks is a lesson in acceptance which those in Bikini Bottom soon learn. 

All of this jubilance would not have been possible without the keen and brilliant mind of Landau. It is a show that could have easily gone completely overboard and awry but she made sure that it flows along in a orderly manner. It enhances the viewer’s senses while never  bombarding them with unnecessary touches. She also has quite amusingly included some sight gags. Did I see a video of a fiddler on top of a roof just before the people fearing the worst from the volcano of their town walk with all their belongings like villagers singing “Anatevka” from you know what show? 

     Here is a universally appealing show for as the circus line goes "Children of all ages."

     Tickets are available at The Palace Theater 1564 Broadway or by calling 877.250.2929.


PHOTO CREDIT: JOAN MARCUS

.

Once on This Island--Still Jubilant but Overbloated

By Joseph Cervelli

What originally was a lovely, charming and sweetly ingratiating musical has been turned by into an overbloated revival under director Michael Arden’s frantic staging .  “Once on This Island” at Circle in the Square originally opened back in 1990 and made a star of the effervescent LaChanze portraying  the peasant girl Ti Moune (played by the equally winning Hailey Kilgore) who falls in forbidden love with Daniel better known as one of the “grand hommes” from the wealthy part of the island. Not only is Ti Moune poor but dark skinned unlike the lighter skinned Daniel who is a descendent from the original French who took over the island years ago. 

Dane Laffrey has realistically designed an island (though not sure about that truck located near the rear of the stage) that has been hit after a huge storm.  The various actors come onto the stage which is the floor of the theater in a kind of preshow to clean up the strewns of palm leaves and  bring out chickens and even a rambunctious goat who enjoys all the leaves it is being fed. The actors (and even the goat) travel up and down the various aisles of the stadium seating of the theater throughout the show which leads to much distraction, and the story gets lost in the excessively busy staging by Arden. If you are unfamiliar with the story you may not know exactly  whom a few of the characters are, and it does not help that the program omits the description of several of them. It is easy to figure out that the ominous Papa Ge (Merle Dandridge) is Death but will most know that Lea Salonga portraying as Erzulie is the Goddess of Love?  Most of the other gods are boisterous but don’t have much of a personality. The very talented Quentin Earl Darrington makes little impression as Agwe, the God of Water. Worse yet is the excessively bland and expressionless Alex Newell as Asaka (Earth Mother). She needs to have a universal full embodied warmth which is missing from her performance. When she sings the immensely rousing and crowd pleasing “Mama Will Provide” it comes across lacklustre. 

Yet, among all the hurlyburly and over amplified sound there are some very special moments thanks to both  Kilgore’s splendid performance and the always valuable Phillip Boykin as Tonton, Te Moune’s adoptive father as well as Kenita R. Miller as her adoptive mother, Mama Euralie.  Their duet “Te Moune” is powerful in its simplicity.  Powell makes for an excellent Daniel and his interaction with Kilgore is honest and touching. Thankfully, Arden captures the essence of the play more in the latter half which deals with a love doomed because of people from  two different backgrounds.  Sure, it is “West Side Story” and other likewise shows  but “Island”  has an ingrained beauty that cannot be denied. 

       The  resoundingly wonderful score by Lynn Ahrens (book and lyrics) and Stephen Flaherty (music) still remains among the bounciest in years despite the fact that the ensemble numbers don’t give much justice to the delightful lyrics which are not always clearly understood. 

The last scene which should have us with a bright and hopeful smile on our faces left this reviewer with a blank look. While I won’t get into the reason for the tree at the end, what was presented was disappointing and misses the point. The tree should be flourishing representing the particular character’s soul inner beauty. Yet, it appeared to be more of a log which was a huge letdown. 

While  Camille A. Brown’s energetic choreography and Clint Ramos’s colorful costumes are assets the jubilation is overshadowed by the overwhelming bustling atmosphere. 

Tickets are available at Circle in the Square Theater 235 West 50th Street or by calling 212.239.6200.

PHOTOS CREDIT: JOAN MARCUS

The Parisian Woman--Played With Icy Perfection by Uma Thurman

     By Joseph Cervelli

As the saying goes, power is truly a might aphrodisiac  What some people won’t go through to achieve it is sometimes quite amazing. Such is the case in Beau Willimon’s crisply written new play “The Parisian Woman” at the Hudson Theater with the title role played with icy perfection by Uma Thurman. Not only is the stately Thurman beautiful but as Chloe conveys this enigma which is evident in many of her films. Other characters remark how much her character is liked and one  can easily believe that. She seems to be laid back not trying to seek out any attention to herself in the midst of political maneuvering (play takes at the present time in D.C.) but only there to help her tax attorney husband  (Tom) convincingly played by the dashing Josh Lucas. But hold on a bit. This seemingly sweet and congenial lady will do what she can to get Tom a judgeship on the Court of Appeals. Tom has been working for many senators who owe him a lot for his keeping their less than stellar dealings from landing in jail. Yet, they  are not coming forth to influence President Trump (yep, he is  mentioned throughout and as you would expect not in flattering terms) to appoint him. Much of the dialogue is smartly written and quite witty although some of the typical Trump comments are worn. 

Chloe is having a fling (well, to her) with Peter (Marton Csokas) who is madly in love with her and wants her to leave Tom. It seems that Tom is aware of this but since Peter is quite a wealthy banker and contributed much to the President’s campaign his influence could help Tom’s chances to get this position. While Peter is amusing there is something a bit too cartoonish the way he is portrayed by Csokas. Pam MacKinnon (“Who’s Afraid of Virginia Woolf?”) direction as usual is stinging and always on target yet not sure why she decided to turn Peter into such a goofy fellow. Even those moments when he acts in a venomous manner don’t come across as they should.  

Not convinced that Peter is the one to advance Tom’s chances, Chloe accepts a dinner party invitation with the equally wealthy and influential Jeannette (an excellent Blair Brown) who has been nominated for Chairperson of the Federal Reserve. While the couple don’t particularly care for  the sometimes caustic Jeannette she could be a bit help to Tom.. At the party we are introduced to their lovely and brilliant daughter Rebecca (played with heartfelt emotion by Phillipa Soo) a Democrat who just graduated from Harvard a the top of her class and wants to run for office after practicing law. Even though Jeannette does not succumb to Chloe's wishes that does not preclude the determined wife from doing what she can to help her husband. 

There is a turn of events later in the one act play which under MacKinnon’s director moves speedily along proving  that Chloe is far from being a “Stepford Wife.” She is shrewd and unfaltering in her determination. Again, this is Thurman’s show all the way. Watching her confront one of the character’s in the play’s pivotal moment I could not help thinking of what a wonderful Regina Giddens from “the Little Foxes” she would make in a few years time. Just listen when she tells the other person  to “sit down.” It is a command that jolts you since it comes from almost no where. This woman is not to be toyed with. The sobriquet “Parisian Woman” was deemed by Tom because Chloe spent a number of years in Paris where she fell madly in love with a fellow who eventually deceived her. 

Derek McLane’s decorous stage is a high point and notice  the way two characters come though two different openings when the LED board appears between scenes. Their expressions tell you that not all is what it appears to be. 

Yes, some of the play may feel manipulative and predictable but it is generally so well acted and Thurman (clothed exquisitely by the always superb Jane Greenwood) is thrilling in such a quiet way that you are drawn into this snappishly entertaining play. 

Tickets are available at the Hudson Theater 41 44th Street or by calling 855.801.5876.

PHOTOS: MATTHEW MURPHY