Tuesday, November 7, 2017

Off-Broadway Theater Review: The Portuguese Kid


The Portuguese Kid
Written and Directed by John Patrick Shanley
Manhattan Theatre Club
Extended through Dec. 10

By Lauren Yarger

Can you say Doubt?

The Portuguese Kid is a very disappointing world premiere play from Pulitzer-Prize winner John Patrick Shanley's. It stars Jason Alexander ("Seinfeld"), Sherie Rene Scott (Everyday Rapture) and multi-talented Mary Testa (The Government Inspector, First Daughter Suite, Queen of the Mist), among others.

If that all sounds very impressive, the feeling wears off shortly into the first act and we start to doubt that this play is going to have any of the sparkle of Shanley's other excellent work like Doubt, Outside Mullinger, the really excellent Prodigal Son, or even his Academy -Award winning film "Moonstruck." It doesn't. The plot isn't very interesting and the star-studded cast isn't able to do much to develop the characters. Using the playwright as director probably isn't the best idea in such a situation, even if this is the 12th collaboration between Manhattan Theatre Club and Shanley.

Widow Atalanta  Lagana (Scott) visits her long-time friend and lawyer, Barry Dragonetti (Alexander) seeking help selling her Rhode Island estate. The two go way back, to the time when Atalanta saved Barry from a Portuguese mugger who still haunts him for no reason that makes sense. The two never got together -- we're not sure why, but a good reason not to would be Barry's mother (a funny Testa) who doesn't  like Atalanta much and makes Medea look like a walk in the park. Meanwhile, Atalanta, it seems, calls out Barry's name while having sex with others, so maybe they will figure out how to make things work now? 

Add to this lots of sexual dialogue, some anti-Trump jokes, Atalanta's current eye-candy boyfriend, Freddie Imbrossi (Pico Alexander), and Barry's wife, Patty (Aimee Carrero), and . . . well, things still don't get interesting in the one-hour, 40-minute play without an intermission (which somehow is a recipient of an Edgerton Foundation New Play Award.)

Getting most of the attention here would be John Lee Beatty's set, which pleasingly revolves and changes to take us from Barry's office to Atalanta's bedroom, to Barry's home and then to Atlanta's patio, and William Ivey Long's costumes.

The Portuguese Kid has been extended through Dec. 10 at New York City Center, Stage I, 131 West 55th St., NYC. Performance times vary. Tickets are $95-$112.50: manhattantheatreclub.com

Additional credits:
Peter Kaczorowski (lighting design), and Obadiah Eaves (original music and sound design).

FAMILY-FRIENDLY FACTORS:
-- Language (lots of the "F" word)
-- God's name taken in vain (a lot)
-- Nudity
-- Sexual Dialogue (lots of it)

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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 2000 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.

Yarger trained for three years in the Broadway League’s Producer Development Program, completed the Commercial Theater Institute's Producing Three-Day 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 writes 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 is a contributing editor for BroadwayWorld.com and is a theater reviewer for the Manchester Journal-Inquirer. She previously served as Connecticut theater editor for CurtainUp.com and as Connecticut and New York reviewer for American Theater Web.

Yarger is a book reviewer for Publishers Weekly and freelances for other sites. She is a member of the National Book Critics Circle.

She is a freelance writer and playwright and member of The Drama Desk, The Outer Critics Circle, The American Theater Critics Association and The League of Professional Theatre Women. She served as a judge for the SDX Awards presented by the Society of Professional Journalists. She also is a member of the Connecticut Critics Circle and the CT Press Club.

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- 2017 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 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 and The Drama Desk, the two professional critics organizations with journalists covering NY theater. 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 review all Broadway shows and pertinent Off-Broadway shows), 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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