Magic/Bird

          Anyone who knows me well, or even a little, knows that "sports fan" is not a word that anyone would use to describe me unless it was opposite day and we were in first grade. It might shame my Boston based family for this to be made public, but I knew nothing about Larry Bird other than that he has bushy hair, is very tall, and played for the Celtics. I knew equally as much about Magic Johnson. I didn't even know that they had ever had a "rivalry".

        The play Magic/Bird would have very much benefited from an out of town production before coming to Broadway. I'm sure that the creative team would have learned a lot about the way they chose to tell this story, and may have fixed some of the obvious "kinks" in what could have been a very powerful story of friendship in the face of adversity.

        Magic/Bird takes place entirely on a basketball court. Not the action of the play, but rather different locations are depicted by bringing in different small pieces to establish a bar, a farm house, a locker room etc. The back wall is also lined with screens that show video images and projections of the real men themselves. All in all it was a very theatrical and affective way to tell the story.

        The real problems with this play are in the characters. The author Eric Simonson (who wrote last years better by comparison Lombardi) has failed to develop either of the main characters in way that lets the audience into who these men were, what made them dislike each other, and then what eventually drew them together.

         In addition to the lack of connection to the two star players, the supporting characters in Magic/Bird are all played by one white woman, one white man, and two black men. Normally this wouldn't be a problem, however, most of the characters these actors portray are so nondescript that they all seem to blend together and it's difficult to tell who each one is playing at what time.

        This is not a good play, however, it is a compelling story. For this non sports fan, it would have been so wonderful to see more of these two great athletes of our time and less of the people around them who didn't matter (random reporters, fans, TV execs etc). Also, very little time is spent on Magic Johnson discovery he is HIV positive. We see nothing of how it effected him. We see how it impacted him professionally, but nothing of the private struggle. Magics wife never makes an appearance on stage.

    All is all I went in expected to not like the play, but hopeful that if I kept my expectations low perhaps I might be surprised. All I left feeling was disappointed that this story didn't get told in the way that it deserved to be. Magic/Bird closed on Broadway at The Longacre Theater on May 12 after 37 performances.

Gore Vidals The Best Man

Long gone are the days when presidential primaries came "down to the wire". Where at convention, candidates made speeches, fought for delegates, and had more than one round of voting to choose their parties candidate. This, however, is the plot of Gore Vidal's 1960's era play The Best Man, currently being revived (for the second time in 12 years) at The Schoenfeld Theater.

The cast is starry. James Earl Jones and Angela Landsbury are billed above the title, though their roles are small (particularly Landsburys). Mr. Jone's role is somewhat more pivotal though his stage time is scarce. The true stars of the production are Tony award winner John Laroquette (Bill Russel) and Eric McCormick (Joe Cantwell) who play rival candidates in the same political party. One is considered to be more liberal than the other, and one is considered to be more of a "celebrity politician" than the other.

The first act is somewhat dry, with not much but character exposition taking place. The "conflict" is revealed toward the end of the first act where things start to pick up. The second act is much livelier and very entertaining. It is interesting to see how little the political circus has changed since 1960.

The direction, set, costume, and lighting are fine but nothing special. The entire theater is decorated in patriotic bunting. There are also several television screens to bring you "up to the minute" news reports. The house left box has also been made up to look like a news desk set up in a hotel.

The reason to see this play is for the stars. Besides the aforementioned Landsbury, Jones, McCormick, and Laroquette, are Candace Bergen, Michael McKeon, Jefferson Mays, and Kerry Butler, all giving wonderful performances. The play was short on Tony award nominations, but it's still worth seeing. It's also packing audiences in and recently extended until the September 1st. There are student rush tickets available, as well as most of the time being available on TKTS.

This wouldn't be the first play I would send people out to see (That would be Other Desert Cities) but if you enjoy politics, and famous people, this is the show for you.

Newsies

It might surprise some of you to know that I have never seen Disney's film musical Newsies. It was a flow when it came out in 1992 (when I was 8 years old) and though I was probably the prime audience for the film, my parents didn't take me to see it, nor do I even remember it being on my radar at the time. Over the course of the next 20 years many people have scoffed at me for having never seen the film, and it's one of those movies that I keep meaning to add to my Netflix que but never get around to actually doing it.

This past week I had the pleasure of seeing Newsies in it's new incarnation as Broadway musical, and I can say that what is happening on stage at The Nederlander Theater 8 times a week must be making the folks at Disney very happy. Not only is the production creatively successful, but it's a success with the critics (for the most part) and most definitely with the enthusiastic audiences.

Having never seen the film any changes that may have been made did not bother me in the slightest. Though I understand that there are some significant changes (such as the addition of a love interest for Jack). The score to Newsies is very good. There are rousing anthems of sticking it to the man, as well as soft and sultry ballads of far away dreams and places.

Harvey Fiersteins new book is a gem. He does a wonderful job at keeping the show fast paced without glossing over any of the important details. The only character that is underwritten is that of Joseph Pulitzer, who seems more of a cartoon character villain (think a journalistic Gargamel with the newsboys being the smurfs) than a flesh and blood character. There is also a theater owner named Medda played with aplomb by the wonderful Capathia Jenkins, but the character seems extraneous.

Newsies is by no means a perfect musical, but what is? It is my every means a wonderful evening of Broadway entertainment. The set design by Tobin Ost is not only functional, the solid steel framework that weaves in and out and serves as many a location brings forth the new dawn of the industrial revolution and the changes in the country. Jess Goldsteins costumes are less effective, but none the less do their intended job. Jeff Croiters lighting is serviceable but nothing terribly special. The direction by Jeff Calhoun is sleek and fast paced. Christopher Gattelli's choreography is energetic and entertaining, and may finally earn him a well deserved Tony award.

Everyone has been raving about Jeremy Jordan's performance and he doesn't disappoint, though at this particular performance he did seem to be a bit vocally under the weather. Kara Lindsey is making a sparkling debut as Katherine. Andrew Keenan-Bolger as Crutchie and Ben Fankhauser as Davey are particularly delightful.

Newsies just announced an open ended run at The Nederlander Theater. The Tony awards are June 10th and I suggest buying your tickets before that date, otherwise you may end up having to wait a very long time to see this fantastic show!

Death of a Salesman

         There are many plays that are worthy of reviving. There are even some plays that are worthy of reviving more than once. There are very few plays that are worth reviving five times in only 63 years. Arthur Millers Death of a Salesman is one of those rare plays that no matter how many times it is done on Broadway, audiences still seem to flock to the theater.

          Part of the reason for their current flocking is the unparalleled cast assembled to inhabit the humble Brooklyn dwellings of the Lohman clan. The other, of course, is Arthur Millers wonderful play which, to modern audiences may seem dated in it's language and subject, is truly universal in it's themes.

        The heart of Death of a Salesman lies in The American Dream, that which is described as "life, liberty, and the pursuit of happiness". Willy Lohman, a traveling salesmen, has been working his entire life to achieve this American Dream, and finds that at this stage of his life, he has very little to show for it. It is the want of most parents to create a better life for their children than they experienced. It is the want of most husbands to provide for their wives a decent home and a few comforts. Willy Lohman feels he has failed on all accounts.

   This is the plight of many an American Citizen living amongst us today. We are constantly berated with messages of what it means to "have it good" in America. We are oppressed by our bosses, our government, and various financial obligations vying for a piece of our proverbial pie. We are all faced with that most basic of questions, "What's the point?".

    In the role of Willy Lohman, Phillip Seymour Hoffman is giving a master class of a performance. Though he is at least 15 years too young to play the role, it hardly matters. This is the stuff of theatrical legend being created on the stage of the Barrymore Theater.

  He is equally matched by Andrew Garfield as favorite son Biff, Linda Emond as faithful wife Linda, and Finn Wittrock as Happy. Linda Emond as Linda Lohman brings the perfect mixture of a faithful wife who longs to see her husband happy, coupled with a woman who has been on the sidelines of her husbands life and hasn't been able to live much of her own. As Biff, Garfield may at first seem to small of frame to be portraying a former football player, but soon displays a talent so large you forget how small of stature he may in fact be.

   The rest of the cast, including John Glover as Ben, Bill camp as Charley, and Fran Kranz as Bernard are all equally wonderful in their roles. Mike Nichols direction is superb. His choice to recreate the original Broadway set designs by Jo Mielziner is a huge asset to the production. Mr. Nichols guides his cast perfectly though Arthur Millers minefields, though no character seems to come out unscathed.

  The current revival of Death of a Salesman  is currently booking through June 2nd. Due to the high demand of certain cast members, an extension is unlikely so make sure you see it while you can. There are $30 rush seats given out on the day of performance for those patrons under 30 years old. Get there at least 90 minutes before the box office opens if you want one of these tickets as the line forms early. However you see it, be sure not to miss it. To quote Linda Lohman, "Attention Must be Paid".

Wit

There are some plays that stick with you long after you have left the theater. They ruminate in your mind and leave an indelible impression on your heart and soul. Margarete Edison's Pulitzer prize (and many other award) winning Wit is just such a play. Just as there are plays that endure, there are performances. Cynthia Nixon (Tony winner for Rabbit Hole, and Miranda on Sex and the city) gave one such a performance in the role of Vivian Bearing PhD.

As Dr. Bearing, Ms. Nixon often addresses the audience directly. From the start of the play she makes no bones about telling you that she is going to die, and that it will not be pleasant. It is this earnest frankness, and that analytical approach to examining the process of her own death, and subsequently life, which propels the play forward.

Cynthia Nixon delivers each scene with exceptional power and grace. Her ability to navigate the different points of Vivian Bearings life, from her time as a professor of literature, to her early childhood, to her time as a student of literature, is astounding. Her costume never changes. She is always clad in hospital gown and baseball cap (to hide her bald head). Yet you would swear you see her at each specific stage of her life.

The rest of the cast is fine, though they more often than not fade into the background. Greg Keller as Dr Jason Posner fares best against Nixon as the impersonal, and possibly unethical fellow studying her case. Carra Patterson as Suzie, the nurse who befriends and ultimately stands up for Vivian Bearing comes off as weak. The rest of the cast is fine.

The set design by Santo Loquasto is simple yet effective, being able to transform between a hospital room, a college lecture hall, an professors office, and Vivian's child hood living room with a simple turn of a white panel. Peter Kaczorowski's lighting design is similar in it's simplicity and equal in it's utter brilliance of being able to transform the stage by emitting soft pools of light, and darkness when needed. Lynn Meadows direction is flawless.

Wit ended it's first (limited) Broadway run at Manhattan Theater Clubs Samuel Friedman Theater on March 17th 2012. Expect Nixon (and quite possibly the production, and Lynn Meadows direction) to be nominated for a Tony award on May 1st.

Godspell

Prepare ye, the way of the lord! These are the familiar opening refrains of Stephen Schwartz's seminar musical theater classic Godspell. The show done by many a high school, college, community theater, regional theater, and church group. It's filled with toe tapping music that can't help but sticking in your brain. The classic show is currently getting a revival for our current times over at The Circle in the Square Theater, and all I have to say is bless the Lord my soul!

I was very wary going into the theater because (having played Jesus in an aforementioned community theater production a number of years ago) I somewhat understand the essence of what makes Godspell enjoyable for audiences (other than the great songs). It's a camaraderie between the actors and the audience. Godspell is a show that has always thrived on the creativity of it's actors. There is many a place for improvisation and ad libbing. Too often, the audience is excluded from the joke while the performers seem to be having a great time of themselves.

Happily I report this is not the case with the current Godspell. From the opening (which I have never seen performed before now) which brings new clarity to the piece, you can tell you are for something exciting. Each and every actor brings something fresh and exciting to the table.

Lead by Hunter Foster (from Weeds) as Jesus, we are presented with an energetic bunch of young people with an exuberance befitting the piece as well as this particular production. Gone are the harlequin face paint and superman shirts of old (though a slight homage is made) and in comes a Jesus that is everything you would want him to be.

Oh Bless the Lord My soul, By my side, and Beautiful City are particular standouts in this production, though every musical number is absolutely fantastic in my opinion. The book scenes are also extremely well done. Uzo Akuba is particularly wonderful in all of her scenes as is Lindsay Mendez. The only weak link for me was Judas, He seemed to be overindulging himself with the score and I didn't find anything special in his scenes either.

The set, costumes, lighting, and special effects are also brilliant. Now, some purists may think that part of what made Godspell special was it's simplicity. I understand that. But we can't just keep doing shows the way they were originally done every time we do them. We need to bring fresh perspective to them otherwise they become redundant.

This Godspell has new, fresh orchestrations that make almost every song ready for the radio (as did the original production at the time). Do not miss this production! Hunter Parish leaves on April 14th to film the 8th season of WEEDS, but the show continues on with Corbin Blue. Tickets are currently on sale through January of 2013.

The (extremely long) Road to Mecca

I can see the appeal of this Athol Fugard play. The subject matter is quite interesting, and on the page I'm sure it's literary value is apparent. In this Roundabout Theater Production helmed by director Gordon Edelstein it is nearly unbearable to sit through.

Roundabout bills the play as such: In a desolate stretch of the Karoo Desert in South Africa, an elderly woman has turned her home into a highly personal work of art. The townspeople are threatened by her eccentricity and want to send her to an old age home, but a younger woman, a kindred spirit, wants to save the woman and her home.

This is a three person play, but for the majority of the show it is a two person play. The two woman are Miss Helen (Rosemary Harris) the aging artist in question, and Elsa Barlow (Carla Gugino) a younger woman from the city who spent a number of years living with Miss Helen. The third person is that of Marius Byleveid (Jim Dale) the reverend who is attempting to remove Miss Helen from her home and bring her to a retirement house.

Miss Helen and Reverend Byleveid are Afrikaans, descendants of the dutch settlers of South Africa - an extremely religious sect at that. Elsa is a more modern woman, descending from the British. This plays an important part in their respective world views.

It's important to note that this play is based on an actual living (now dead) person, Miss Helen. Her story is very interesting and is brought to brilliant life by Rosemary Harris. The problem is in the direction which is very one dimensional and dry, and also the writing, which is basically a series of monologues that the characters deliver to one another.

Even when the third character enters (a breath of fresh air), most of the dialogue is monologues rather than conversational. The conversational dialogue is interesting and brightens up the play, as does Jim Dales serio-comic portrayal of Marius. Overall you just can't wait for them to finally reach the end of the road so you can get the hell out of the theater (several people left during intermission).

The set and costume design by Michael H. Yeargan and Susan Hilferty are spot on, particularly the set design which seeks to capture the spirit of the art of Miss Helen without being garish to the audience. I wonder what this production would have been like with better pacing and a director who knew how to move things along a little better and create interesting stage pictures rather than people just standing around talking.

This play closed on Broadway at The American Airlines Theater on March 4 2012. Don't expect to see it nominated for any Tonys.