Broadway Theater Review: The Glass Menagerie with Sally Field

Sally Field, Finn Wittrock, and Madison Ferris. Photo: Julieta Cervantes

The Glass Menagerie

By Tennessee Williams

Directed by Sam Gold

The Belasco Theatre

By Lauren Yarger

What's It All About?

A revival of the off-produced play by Tennessee Williams, this one starring Sally Field as Amanda Wingfield and Joe Mantello as her son, Tom. Director Sam Gold casts Finn Wittrock as Jim O'Connor, the gentleman caller who is set up to meet Toms shy sister, Laura (Madison Ferris, who is making her Broadway debut). Gold brings his design team from his acclaimed production of the play in Amsterdam.

What Are the Highlights?

Mantello gives a solid performance. Wittrock brings an interesting take to the gentleman caller -- almost a clueless jock instead of an insensitive successful man. It makes him much more interesting than usual -- an accomplishment since this is the seventh Broadway revival of the play.

What Are the Lowlights?

Fields' Amanda comes off as mentally challenged rather than manipulative and dominating. Her daughter, who is supposed to be painfully shy and retiring, seems to be the one who has her act together. Perhaps this is because we see her courage -- Ferris has muscular dystrophy in real life and Gold makes sure we see how difficult it is for her to climb up steps (she has to take them sitting) to the stage and to get in and our of her wheelchair, though a good deal of this takes place below the audience's sight lines.. She plays a bold young woman. The result, unfortunately, is to change the character of Laura, who is supposed to have a limp so minor that it is imperceptible to others even as Laura's self image is shaped by what feels to her as a an obvious defect.  It's kind of hard to miss the wheelchair and the severity of her physical needs making Amanda's denial that they are an issue -- and Jim's inability to recall her from their high school years -- a bit absurd. Also, Laura is supposed to be older than Tom, but she clearly is not, making more dialogue seem out of place. Field, at 77,  is old enough to be Mantello's mother, but looks so terrific that this relationship is hard to buy too.

The set by Andrew Lieberman is practically bare; costume designs by Woiceich Dziedzic add to the thought that Amanda must be mad (see the frock she wears below) and Adam Silverman's Lighting Design leaves the house lights up for a long time at the beginning of the play and later leaves us in the dark so much that we feel we are experiencing a blackout in the theater rather than in the Wingfield home when Tom fails to pay the electric bill.

More Information:

The Glass Menagerie plays at the Belasco Theatre, 111 West 44th St., NYC. glassmenagerieonbroadway.com

Additional credit:

Bray Poor (Sound Design).

FAMILY-FRIENDLY FACTORS:

-- Language

Sally Field, Finn Wittrock, and Madison Ferris. Photo: Julieta Cervantes

Off-Broadway Theater Review: Wakey, Wakey

Wakey, Wakey

Written and Directed by Will Eno

Signature Theatre Company

Extended through April 21

By Lauren Yarger

What's It All About?

A man named Guy (Michael Emerson), who really is "every guy," is facing his own mortality. When we first meet Guy, he is in his PJs on the floor, when he gets a "wakey, wakey" call: he apparently has been given news that he is living his last days on earth. A calendar on the wall of Christine Jones' enigmatic set shows days being crossed off, if a morbid sort of countdown (cardboard boxes are strewn about the set).

 "Is it now," Guy asks several times throughout the 75-minute presentation.

In a flash (Nevin Steinberg, sound design and David Lander, lighting design), Guy is in a wheelchair, his condition obviously worse. He begins a monologue that is mostly stream of consciousness, speaking to the audience, though we're not quite sure why we are sitting in his room at what appears to be an end-of-life care facility, where he is helped eventually by a kind person named Lisa (January Lavoy).

The script contains some humor as well as some soul searching and thought provoking points:

• Death is inevitable; we are always saying goodbye to someone. 
• If we feel something like joy, where does that feeling go?
• Whoever you are now is probably who you are going to be on your death bed, so make the most of every minute of every day to be the best person you can be.
• Don't take anything for granted.
• What's important in life is not what is lost, but what is still here.

What Are the Highlights?

Eno is a witty writer. Emerson (“Person of Interest,” “Lost”) conveys the humor as well as melancholy, giving us a portrait of a man trying to press up on the importance of what he has realized in the face of death and amidst frightening symptoms and the loss of control over his body.

Eno fans appeared to be in attendance laughing boisterously as lines that didn't seem all that funny.

What Are the Lowlights?

Some of the ramblings are vague and hard to follow. Even at only 75  minutes, I felt my mind wander. The woman next to me fell into a deep sleep.

More Information:

Wakey, Wakey has been extended at the Signature Center, 480 West 42nd St., NYC, through April 21. Tickets and Performance info: signaturetheatre.org.

Additional credits: 

Michael Krass (Costume Design), Peter Nigrini (Projection Design)

FAMILY-FRIENDLY FACTORS:

-- No content notes

Broadway Theater Review: The Price

The Price
By Arthur Miller
Directed by Terry Kinney
Roundabout Theatre Company
Through May 7

By Lauren Yarger
Talk about a dream cast! Tony Shalhoub, Jessica Hecht, Danny DeVito, along with Mark Ruffalo, show what character acting is all about in a limited Broadway run of Arthur Miller's The Price presented by Roundabout and directed by Steppenwolf Theatre Company co-founder, Terry Kinney.

Shalhoub and Ruffalo play estranged brothers Walter and Victor Franz, who are reunited to sell the remains of their father's household before the building is razed. When his father lost everything in the Depression, Victor gave up his chance at college and a career in science to stay home and take care of him. Walter, however, went on to become a successful doctor. Something about why one got his chance and the other didn't has festered for 16 years and kept the brothers apart.

Victor's wife, Esther (Hecht), is tired of living on a policeman's salary and urges her husband to retire. She also wants him to accept Walter's offer of a job and his half of the money they might get for the sale of the household furniture and possessions.  Walter seems eager to make amends with his brother but Victor hesitates. At what price does this offer come?

Picking a name randomly from the phone book, Victor contacts Gregory Solomon (DeVito), an eccentric 90-year-old furniture appraiser to see what the old stuff, no longer in vogue, can bring. Set Designer Derek McLane litters the stage with all kinds of dusty, old antiques with many pieces suspended around the border of attic ceiling, a portend of how the past is looming, threatening to crash down on the brothers.

The play is one of Miller's best, in my opinion, giving thorough development to the characters and peppering the philosophical monologue about life with humor. Not wanting to give spoilers, let me just say that after watching Solomon eat a hard-boiled egg --  which seems to trigger genuine laughter from Ruffalo -- you will never eat one again without thinking of DeVito. Lines about movie tickets costing $2.50 (it is set in 1968) and about the federal government not being reliable generate bonus laughs as the original dialogue takes on new meaning in current times.

The play runs a bit long at two hours and 30 minutes with an intermission, and at times Miller seems to have forgotten he has stashed Solomon in the bedroom, but overall, it's a very human, raw, honest look at the ghosts in families and how they affect us when we try to reconcile the past with hopes for the future.

Hecht and Shalhoub are excellent and bring depth to characters we might otherwise not like. Esther is at once a fed-up housewife who is ashamed of a husband who doesn't seem to know how get ahead and his devoted wife and friend. Walter is a combination of a condescending brother trying to one-up his sibling and a display of humility by a man who has realized the folly of his ambition.

DeVito's comedic timing is a charm, even if we don't fully buy him as an aging Jew. Ruffalo, however, struggles to bring layers to Victor and the character comes off as clueless instead of a son who has been taken advantage of by his father.

The Price plays at American Airlines Theatre, 227 West 42nd St., NYC. Performances are Tuesday through Saturday at 8 pm; Wednesday, Saturday and Sunday at 2 pm
Tickets are $69-$169: roundabouttheatre.org; 212-719-1300.

Sarah Holden (Costume Design), David Weiner (Lighting Design), Rob Milburn and Michael Bodeen (Sound Design), Jesse Tabish (Original Compositions), Tom Watson (Hair and Wig Design), Thomas Schall (Fight Director)

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

Off-Broadway Review: The Light Years

Rocco Sisto, Aya Cash & Erik Lochtefeld. Photo: Joan Marcus

The Light Years

By Hannah Bos and Paul Thureen

Developed and Directed by Oliver Butler

Presented by The Debate Society

and Playwrights Horizons

Through April 2

By Lauren Yarger

What's It All About?
It's 1893 and 1933 all at the same time, in this world premiere of the new play written by The Debate Society Co-Artistic Directors Hannah Bos (The Open House) and Paul Thureen (Blood Play). Circumstances around the World's Fair in Chicago merge with family struggles 40 years later, both linked by the light of a star.

In 1893, Hillary (Erik Lochtefeld) works on the piece de resistance for fair,  the 12,000 seat "Spectatorum" theater, the vision of Steele MacKaye (Rocco Sisto). It's a moon that, with the help of assistant Hong Sling (Brian Lee Huynh) will make an electrifying entrance for the crowd -- if they don't electrocute themselves in the effort.

Hillary's wife, Adeline (Ava Cash) is an enthusiastic supporter of the project until tragedy occurs. Some 40 years later, another family lives in the same house and the wife, Ruth (also Cash), bears a striking resemblance to Adeline. Her husband, Lou (Ken Barnett), is having a hard time supporting his wife and son, Charie (Graydon Peter Yosowitz) as a jingle writer and Ruth find work at the fairgrounds in a pancake shop. Sling and Hillary show factor in with a surprise for Ruth.

What Are the Highlights?

Cash, who is known as Gretchen on the FX series “You’re the Worst,” is excellent as both female protagonists. The action is not linear with action from both time periods intermingling. She makes some quick costume changes and effectively portrays two separate, yet linked characters. 

Oliver Butler's direction is tight and focuses, giving the two time periods distinction while avoiding confusion. Lighting by Russell  H. Champa provides lighting which helps convey the mystical feel of the piece as well as providing direct routes of light from the star that links the action to earth on the front of the proscenium.

The play gets point just for being different. This is not your typical story or presentation (a trademark of shows presented at Playwrights Horizons). An amazing amount of storytelling occurs in one hours and 45 minutes with no intermission. I really enjoyed the adventure of traveling through time and thinking through the mind of an inventor.

What Are the Lowlights?

The play can be a bit scattered and struggles to find its ending.

More Information:

The Light Years plays at Playwrights Horizons, 416 West 42nd St., NYC through April 2. playwrightshorizons.org 

Additional credits:

Scenic Design by Laura Jellinek, Costume Design by Michael Krass, Sound Design by Lee Kinney, Original Music by Daniel Kluger, Wigs by Paul Huntley. 

Off-Broadway Theater Review: The Penitent

The Penitent 

By David Mamet

Directed by Neil Pepe

The Atlantic Theater Company

Through March 26

By Lauren Yarger

What Is It All About?

The world premiere of a new play from David Mamet with hardly an F bomb to be found. It's an interesting study on just how far a person is (and should be) willing to go to stand up for what is right -- or to defame someone else just to get what you want. The themes seem particularly vital in the midst of current culture where false news can drive an agenda and where not being on the perceived "right side of an issue' can result in a person's being targeted with hatred and loss of livelihood.

Charles (Chris Bauer of "True Blood"" fame) is a renowned psychiatrist who refuses to testify on behalf of a client. The client claims homophobia is the reason and goes public with his allegation citing a paper Charles once wrote calling homosexuality an aberration. Charles claims his decision not to support the youth with his testimony is instead because of the heinous crime committed by the boy -- the shooting of 10 people. The "aberration" remarks are an incorrect reporting of what Charles actually wrote in the paper, but that doesn't seem to matter.

The press focuses on Charles' character, rather than on the crime and soon his marriage and career are threatened. He seeks advice from his colleague, Richard (Jordan Lage, who appeared in Mamet's Pulizer Prize-winning play Glengary Glen Ross on Broadway). He understands Charles' ethical objections to releasing any records of his sessions with the boy -- even if they will help exonerate him.

His wife, Kath (a miscast Rebecca Pidgeon), doesn't appreciate having her life turned upside down. The stress becomes too much with more devastating effects on her than even her husband who is the target of public hatred experiences. Joining in the pressure to just give in and testify is Charles' attorney (Lawrence Gillard, Jr. from "The Walking Dead"). He remains opposed, especially in light of the his recent religious awakening. He isn't quite sure exactly what he believes about God or his Word in the bible, but he feels that testifying on behalf of the boy would be wrong morally.

What Are the Highlights?
The themes are contemporary and thought-provoking. What is the price of being forced to commit an act one feels is immoral? The interaction between Charles and his attorney in the second act is the most engaging.

What Are the Lowlights?
The play can be unclear at times about who some of these folks are. I took me a while to verify in my mind that Kath was Charles' wife and for a while, I thought Richard was his attorney and a prosecutor before realizing he was a colleague.  It is two acts and does not need to be -- an 80-minute, no-intermission format would better serve it. So would some edits. We wonder where Charles' attorney is through most of the first act. Pigeon ("The Unit") seems to have trouble looking or sounding natural in the role. Pepe has her taking walks away from Charles and talking into space rather than directly to him which points out the distance between them, but unfortunately also contributes to her not fitting. The sharp, quick banter that is Mamet's trademark doesn't fall naturally off her tongue.

More Information:

The Penitent plays through March 26 at the Atlantic Theater Company's Linda Gross Theatre, 338 West 20th St., NYC. atlantictheater.org 

Additional credits:

Scenic Design by Tim Mackabee, Costume Design by Laura Bauer, Lighting Design by Don Holder.

FAMILY-FRIENDLY FACTORS:

-- Language

-- God's name taken in vain

Off-Broadway Theater Review: Man from Nebraska TOP PICK

Man From Nebraska
By Tracy Letts
Directed by David Cromer
Second Stage Theatre
Extended through March 26

By Lauren Yarger
What happens when one day you realize that you no longer believe what you believe? That's the question poignantly explored by Pulitzer-Prize winning playwright Tracy Letts in Man From Nebraska getting an extended Off-Broadway run at Second Stage Theatre

For Ken Carpenter (the always-excellent Reed Birney), suddenly the stars are out of alignment and he isn't sure what he wants out of life. After all, he can't complain. He and his devoted wife, Nancy (the also always-excellent Annette O'Toole) have settled into the routine of comfortable life. They seem in sync as they go to church, visit Ken's mother, Cammie (Kathleen Pierce), in the nursing home, eat a silent meal together and finish off the day watching some bad TV.

They go through the motions of a normal life and Director David Cromer is the star here, allowing the drama to take its time to reveal the monotony of the couple's routine by not falling into the temptation to speed up the action. The result is that through an extended silence, or the subtle way Ken instinctively hands Nancy the napkin she needs, we get a sense of two that have become one, even if that one is fairly boring.

But one night, in what is probably the best depiction of a crisis of faith on stage (and one of the finest moments of acting you will ever see), Ken breaks down and confesses to Nancy that he doesn't believe in God any more. He is full of sorrow and despair and doesn't think God hears his prayers. He thinks people are not rewarded for what they do right and punished for what they do wrong, he sobs. Maybe we're all just accidental science and when we die, we're done.

He tries to talk with his daughter, Ashley (Annika Boras), with whom he works, but with whom he doesn't have a real friendship, but doesn't get anywhere. His other daughter is away at school and apparently not interested in interrupting her studies for a master's degree to deal with family matters. Nancy wants to help her husband, but doesn't know how, so she reaches out to their pastor, Rev. Todd (William Ragsdale). The understanding pastor doesn't seem phased, however, saying it just sounds like a bunch of questions have come up that Ken thought he had already answered. He suggests Ken take a vacation, get out of Lincoln, and spend some time by himself.

Ken heads to London, the only other place he has ever been (he had been stationed there while in the service) and strikes up an unlikely friendship with hotel barkeep Tamyra (Nana Mensah) and her flatmate (and comic relief character) Harry Brown (Max Gordon Moore). Soon, Ken isn't taking calls from home and is finding new ways to express himself through sculpture and a fling with the very willing and kinky Pat Monday (Heidi Armbruster).

Meanwhile, Nancy is left on her own to deal with Cammie, life in Lincoln and with the romantic attentions of Rev. Todd's father, Bud (Tom Bloom). The skies of Nebraska hang over all Ken experiences and finally call him home (thanks to Set Designer Takeshi Kata and Lighting Designer Keith Parham). Original music and Sound Design by Daniel Kluger adds to the mood.

Letts' script is sensitive and probing. These are real people with real issues tinged with messages about acceptance, friendship, forgiveness and what is real in life. The sadder elements of the story are balanced with humor, including some laugh-out-loud moments. The tightly written script runs a perfect two hours with an intermission. My only criticism is an obscure reference to Ken's not understanding the stars that doesn't seem to fit with the rest of his quandary about faith (but it does lend itself to a nice special effect).

Man From Nebraska has been extended at Second Stage Theatre, 305 West 43rd St., NYC. Performances are Tuesday, Wednesday and Thursday at 7 pm; Friday and Saturday at 8 pm; Saturday at 2 pm; Sunday at 3 pm. Tickets are $56-$100: http://2st.com; 212-246-4422.

FAMILY-FRIENDLY FACTORS:
-- Language
-- Drug use
-- Nudity
-- Sexual activity

-- Explicit dialogue

Off-Broadway Theater Review: The Most Reluctant Convert

Max McLean. Photo:  Jeremy Daniel.

The Most Reluctant Convert
Written by Max McLean
Co-directed by Max McLean and Ken Denison
Fellowship for the Performing Arts
Extended through May 21

By Lauren Yarger
What's It All About?
The story of the the conversion of author C.S. Lewis (the creator of the Narnia books) from atheism to Christianity. Max McLean, who adapted the script form Lewis' autobiography "surprised by Joy and his "Collected Letters" as well as other materials, stars as Lewis and co-directs the one-man show with producer Ken Denison. Set in Lewis' Oxford study (designed by Kelly James Tighe with projections for backgrounds designed by Rocco Disanti)  in 1950, Lewis relates the story of how he fell away from the faith -- he was baptized in the Church of Ireland and harsh father was not an example of the kinder side of faith. He came to the belief that God did not exist, that religion was something mankind made up to answer terrifying questions.

"I didn't believe in God, but was angry with God for not existing."

He delves into erotica and the occult to fill the void, but never is able to find what he is looking for until later study and conversations with friends like poet Owen Barfield and author J.R.R. Tolkien ("The Hobbit;" "Lord of the Rings") that he realizes he does believe in God. Believing in Jesus as God incarnate came a bit later.

What Are the Highlights?
Lewis went on to become one of the greatest writers about the Christian faith. His books "Mere Christianity" The Narnia Chronicles and "The Screwtape Letters" -- which Fellowship for the Performing Arts also turned into a stage adaptation starring McLean -- have been a source of growth for Christians and conversation with non believers for decades, so it's always great to see this type of work highlighted on a New York Stage.  The always excellent John Gromada provides original music and sound design to enhance the atmosphere. Disanti's projection pulls portraits off the study walls to highlight the people mentioned in Lewis' narrative. A run time of 80 minutes with no intermission is a treat.

What Are the Lowlights?
It's pretty dry, even if you are interested in the Christian perspective of Lewis' conversion. McLean's heavily accented voice (Claudia Hill-Sparks does the dialect coaching) develops a cadence that tends to lull. Introducing some conversation with Tolkien might have broken up the monologue and provided interest for audience members who probably know the Middle Earth author as well or better than Lewis. The "most" reluctant convert seems a stretch for this conversion story which hinges on a a realization and slow acceptance of belief. Believe me, I was a much more reluctant convert! But again, it is a blessing to be able to have this kind of faith-based theater offering in New York and I have already recommended it to many planning trips into the city. Talk-back sessions are offered after most of the performances.

More information:
The Most Reluctant Convert concludes this season for Fellowship of the Performing Arts (previous shows were The Screwtape Letters and Martin Luther on Trial, the company's first original play.) Performances through April 2: Wednesdays at 7 pm; Thursdays at 7 pm; Fridays at 8 pm; Saturdays at 4 and 8 pm; Sundays at 3 pm.

Beginning on April 4: Wednesdays at 2 pm; Thursdays at 7 pm; Fridays at 8 pm; Saturdays at 3 and 8 pm; Sundays at 3 pm.

Exceptions: There will be no 2 pm performance and no 7 pm performance on Wednesday, March 15 and Wednesday, March 29, no 7 pm performance on Friday, April 14 and no 3 pm performance on Sunday, April 16. There will be an additional 7 pm performance on Tuesday, April 11 and Wednesday, April 12.

Tickets are $65: Acorn Theatre, 410 W. 42nd St., NYC; FPAtheatre.com; 212-239-6200

Additional credits:
Costume Design by Michael Bevins; Lighting Design by Geoffrey D. Fishburn

FAMILY-FRIENDLY FACTORS:

-- No content notes. The theater recommends this show for age 13 and up.