Monday, April 18, 2016

Off-Broadway Review: Nathan the Wise

Stark Sands and F. Murray Abraham. Photo by Richard Termine
Nathan the Wise
By Gotthold Ephraim Lessing
Translated by Edward Kemp
Directed by Brian Kulick
Classic Stage Company

 By Lauren Yarger
What's It All About?
What could be more contemporary than a play about the need for religious tolerance? How about an 18th century tale set in Jerusalem during the Crusades, which when originally penned by Gotthold Ephraim Lessing (translated here by Edward Kemp) was banned by the church? 

F. Murray Abraham stars as Nathan the wise, a Jewish merchant living in Muslim-controlled Jerusalem (1192) alongside Christian soldiers of the Crusades. He has raised Rachel (Erin Neufer), a baby dropped at his doorstep, as his own daughter, but she was baptized a Christian -- a fact Daya (an entertaining Caroline Lagerfelt) finds it hard to keep to herself, even if the consequence might be death for Nathan. Meanwhile, Al Hafi (George Abud), treasurer to Sultan Saladin Austin Durant) introduces Nathan to his boss and that friendship just might save Nathan. Especially if he can answer the sultan's heartfelt question about which religion of the three in the region is the best. Meanwhile, a Knight Templar (Stark Sands) falls in love with Rachel, with potentially disastrous consequences for everyone. Shiva Kalaiselvan completes the cast as Saladin's sister, Sittah.

What are the Highlights?
Always fun to see Broadway vet F. Murray Abraham -- and Star Sands (Kinky Boots, American Idiot), for that matter -- on a New York Stage. Lagerfelt adds a much needed dose of humor.

What are the Lowlights?
It's kind of a predictable (in spite of the apparent plot twists and surprises). With two acts running just over two hours it seems a bit tedious, especially since there is a lot of retelling of action we already have seen.

Modern-attired actors begin the tale speaking a foreign language (which is lost on any of us who do not speak it -- as is Arabic writing that appears in projection on the backdrop which includes photos of war-ravaged Jerusalem -- but from modern days with satellite dishes visible.). They switch to intriguing costumes designed by Anita Tavich (with Arabic-looking writing on them) 

Set designer Tony Straiges also uses some rugs on a sand-colored floor to change scenes, or set up areas of action on the stage, but they sometimes seem in the way. Persian-looking lamps hanging overhead lend a nice touch.

Nathan the Wise plays through May 1 at Classic Stage Company, 136 East St., NYC. Performances are Tuesdays through Thursdays at 7 pm; Fridays and Saturdays at 8 pm and Sundays at 3 pm. Tickets are $60 on weeknights and $65 on weekends: www.classicstage.org; 212- 352-3101 / 866-811-4111; box-office.

FAMILY-FRIENDLY FACTORS:
--God's name taken in vain
-- Extended Muslim prayer


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Our reviews are professional reviews written without a religious bias. At the end of them, you can find a listing of language, content or theological issues that Christians might want to know about when deciding which shows to see.

** Mature indicates that the show has posted an advisory because of content. Usually this means I would recommend no one under the age of 16 attend.

Theater Critic Lauren Yarger

Theater Critic Lauren Yarger

My Bio

Lauren Yarger has written, directed and produced numerous shows and special events for both secular and Christian audiences. She co-wrote a Christian musical version of “A Christmas Carol” which played to sold-out audiences of over 3,000 in Vermont and was awarded the Vermont Bessie (theater and film awards) for “People’s Choice for Theatre.” She also has written two other dinner theaters, sketches for church services and devotions for Christian artists. Her play concept, "From Reel to Real: The Jennifer O'Neill Story" was presented as part of the League of professional Theatre Women's Julia's reading Room Series in New York. Shifting from reviewing to producing, Yarger owns Gracewell Productions, which produced the Table Reading Series at the Palace Theater in Waterbury, CT. She trained for three years in the Broadway League’s Producer Development Program, completed the Commercial Theater Institute's Producing Intensive and other training and produced a one-woman musical about Mary Magdalene that toured nationally and closed with an off-Broadway run. She was a Fellow at the National Critics Institute at the O'Neill Theater Center in Waterford, CT. She wrote reviews of Broadway and Off-Broadway theater (the only ones you can find in the US with an added Christian perspective) at http://reflectionsinthelight.blogspot.com/.

She is editor of The Connecticut Arts Connection (http://ctarts.blogspot.com), an award-winning website featuring theater and arts news for the state. She was a contributing editor for BroadwayWorld.com. She previously served as theater reviewer for the Manchester Journal-Inquirer, Connecticut theater editor for CurtainUp.com and as Connecticut and New York reviewer for American Theater Web.

She is a Co-Founder of the Connecticut Chapter of the League of Professional Theatre Women. She is a former vice president and voting member of The Drama Desk.

She is a freelance writer and playwright (member Dramatists Guild of America). She is a member if the The Outer Critics Circle (producer of the annual awards ceremony) and a member of The League of Professional Theatre Women, serving as Co-Founder of the Connecticut Chapter. Yarger was a book reviewer for Publishers Weekly A former newspaper editor and graduate of the University of Missouri’s School of Journalism, Yarger also worked in arts management for the Bushnell Center for the Performing Arts, the Hartford Symphony Orchestra and served for nine years as the Executive Director of Masterwork Productions, Inc. She lives with her husband in West Granby, CT. They have two adult children.

Copyright

All material is copyright 2008- 2024 by Lauren Yarger. Reviews and articles may not be reprinted without permission. Contact reflectionsinthelight@gmail.com

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Key to Content Notes:

God's name taken in vain -- means God or Jesus is used in dialogue without speaking directly to or about them.

Language -- means some curse words are used. "Minor" usually means the words are not too strong or that it only occurs once or twice throughout the show.

Strong Language -- means some of the more heavy duty curse words are used.

Nudity -- means a man or woman's backside, a man's lower front or a woman's front are revealed.

Scantily clad -- means actors' private areas are technically covered, but I can see a lot of them.

Sexual Language -- means the dialogue contains sexually explicit language but there's no action.

Sexual Activity -- means a man and woman are performing sexual acts.

Adultery -- Means a married man or woman is involved sexually with someone besides their spouse. If this is depicted with sexual acts on stage, the list would include "sexual activity" as well.

Sex Outside of Marriage -- means a man and woman are involved sexually without being married. If this is depicted sexually on stage, the list would include "sexual activity" as well.

Homosexuality -- means this is in the show, but not physically depicted.

Homosexual activity -- means two persons of the same sex are embracing/kissing. If they do more than that, the list would include "sexual activity" as well.

Cross Dresser -- Means someone is dressing as the opposite sex. If they do more than that on stage the listing would include the corresponding "sexual activity" and/or "homosexual activity" as well.

Cross Gender -- A man is playing a female part or a woman is playing a man's part.

Suggestive Dancing -- means dancing contains sexually suggestive moves.

Derogatory (category added Fall 2012) Language or circumstances where women or people of a certain race are referred to or treated in a negative and demeaning manner.

Other content matters such as torture, suicide, or rape will be noted, with details revealed only as necessary in the review itself.

The term "throughout" added to any of the above means it happens many times throughout the show.

Reviewing Policy

I receive free seats to Broadway and Off-Broadway shows made available to all voting members of the Outer Critics Circle. Journalistically, I provide an unbiased review and am under no obligation to make positive statements. Sometimes shows do not make tickets available to reviewers. If these are shows my readers want to know about I will purchase a ticket. If a personal friend is involved in a production, I'll let you know, but it won't influence a review. If I feel there is a conflict, I won't review their portion of the production.

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