Off-Broadway Theater Review: This Flat Earth

Lynda Gravátt (above) and Ella Kennedy Davis. Photo: Joan Marcus

This Flat Earth
By Lindsey Ferrentino
Directed by Rebecca Taichman
Playwrights Horizons
Through April 29

By Lauren Yarger
What's It all About?
The world premiere of a new play by Lindsey Ferrentino, directed by Tony Award winner Rebecca Taichman, that takes a look at the after-effects on members of a community where a number of school children died in a shooting.

Julie (a dynamic Ella Kennedy Davis) and her pal, Zander (Ian Saint-Germain) feel awkward around each other, but it's not just because they are exploring whether they have romantic feelings for each other. The last time Zander put his arms around Julie, it was to help protect her from the shootings in their school while the two hid in a closet. They survived, but nine of their classmates didn't, including Noel, whose mom, Lisa (Cassie Beck) makes them VERY uncomfortable. Everyone is trying to go as if the tragedy never happened. Julie is blindsided by the realization that it has happened before at other schools and probably will happen again. The situation is made even more tenuous when Lisa clashes with Julie's dad, Dan (Lucas Papaelias). Julie turns to her mysterious upstairs neighbor, Cloris (Lynda Gravátt) for counsel. Can't any of the grownups do anything right? Can't they fix anything?

What Are the Highlights?
Davis gives a powerhouse performance. She's a little kid forced to grow up. We understand why she jumps at every sound and is afraid to leave the house.

What Are the Lowlights?
Characters are underdeveloped. They and the story seem to exist only to forward an anti-gun agenda. Julie's constant screams of "Are you there?" become tiresome. The play reiterates current cultural unrest about gun violence in schools, and stirs angst, but doesn't go much beyond that if you are looking for answers.

More information:
The production also features Grammy-nominated cellist Christine Kim who is seated in the house.

This Flat Earth plays through April 29 at Playwrights Horizons, 416 West 42nd St., NYC. playwrightshorizons.org

Additional credits:
Scenic Design by Dane Laffrey, Costume Design by Paloma Young, Lighting Design by Christopher Akerlind,  Sound Design by Mikhail Fiksel.

FAMILY-FRIENDLY FACTORS:
-- Language

Broadway Theater Review: Carousel with Joshua Henry, Jessie Mueller and Renée Fleming

Jessie-Mueller and Joshua-Henry. Photo: Julieta Cervantes

Carousel

Music by Richard Rodgers

Lyrics by Oscar Hammerstein II

Choreography by Justin Peck

Directed by Jack O’Brien

Imperial Theatre

Through Jan. 6, 2019

By Lauren Yarger

Though you may have some doubts about whether you should see the Broadway revival of Rodgers and Hammerstein's Carousel, let me persuade you that it is more than worth it.

Reviving a story about a man who abuses his wife in the midst of the #metoo movement is problematic. Why revive this show when there are so many others, with better stories, just waiting for a chance to play the Great White Way?

I can give you two reasons right away that make it worthwhile: Joshua Henry as Billy Bigelow and Renée Fleming making her first appearance in a Broadway musical.  Henry's performance, directed by Jack O'Brien, made me see Billy in a new light. It' wasn't a light that cast a shadow on the concept of a husband hitting his wife and tries to hide this offensive trait or tries to get us to shrug it off as acceptable (which would have been the case in previous productions). Instead, Henry stands in the spotlight and embraces Billy as he is: flawed, out of control, but regretful.

This is a new Billy for me. No trying to gloss over the repugnant with charm or good looks (though Henry certainly possesses an abundance of both.) No trying to suggest that women over react or are somehow deserving of abuse, even if the dialogue stresses that he only hit her once and townsfolks are mistaken when they think he "beats" his wife regularly. (other productions seem to want us to think once doesn't really count.) This Billy offers no excuses. Just a transparent depiction of a man unable to figure out how to leave trouble behind and how to embrace something good in his life. It didn't make me like him, but it did allow me to tolerate him.

Fleming as Nettie Fowler and her rendition of "You'll Never Walk Alone" is worth the price of the ticket by itself. It's so beautifully sung, so moving and deep, that it stopped the show with audience members trying to applaud and wipe away tears simultaneously. I hardly ever tear up in the theater, but this one got me.

So, totally by surprise, I found myself very much enjoying a show I don't really like all that much. Haven't liked it any other time I have seen it on stage and I am not a fan of the 1956 film starring Shirley Jones and Gordon MacRae.  The difference here is driven by excellent performances across the boards.

Jessie Mueller, as Bigelow's battered wife who loves him through the bruises and hardships, gives Julie dignity and strength even while justifying Billy's behavior because he is a man who is "unhappy and quick-tempered." She finds a way to forgive which is inspiring. She also displays a high soprano I didn't know she had after getting used to a lower range employed by the actress in her last two Broadway roles in Waitress and Beautiful.

Also displaying a wonderfully high soprano and amazing comedy skills is Lindsay Mendez who plays Julie's friend, Carrie Pipperidge. She and Alexander Gemignani, who plays her intended/husband, Enoch Snow, are a pleasure to watch as they interact.  Margaret Colin also gives a nice turn as Billy's older, possessive boss and lover, Mrs. Mullin,

By the end of the show and hearing the rest of Hammerstein's score including favorites like ”If I Loved You" and "June Is Bustin' Out All Over" I realized that what I really don't like about Carousel is the book by Oscar Hammerstein. All of the actors who turn in shining performances and create characters who have lots of depth show the book for what it is: weak storytelling. Hammerstein shares the blame with Ferenc Molnárk who wrote Lilliom, the Budapest-set drama on which Carousel is based.

There's much for the eyes, as well as the ears to enjoy in this production. Set Designer Santo Loquasto whimsically creates the heavens where a Starkeeper (John Douglas Thompson) gives Billy a chance to take another look at his life, and a beautiful carousel canopy under which dancers, skillfully positioned by Justin Peck, resident choreographer of the NY City Ballet, become the horses and riders. Costumes by the always excellent Ann Roth complete the turn-of-the-19th Century look for this Maine community.

Carousel turns our opinions around at the Imperial Theatre, 249 West 45th St., NYC. Performance times vary. Tickets are $59-$169: carouselbroadway.com.

Additional casting:

Colin Anderson, Yesenia Ayala, Nicholas Belton, Colin Bradbury, Andrei Chagas, Leigh-Ann Esty, Laura Feig, David Michael Garry, Garett Hawe, Rosena M. Hill Jackson, Amy Justman, Jess LeProtto, Skye Mattox, Kelly McCormick, Anna Noble, Adriana Pierce, Rebecca Pitcher, David Prottas, Amy Ruggiero, Craig Salstein, Ahmad Simmons, Antoine L. Smith, Corey John Snide, Erica Spyres, Ryan Steele, Sam Strasfeld, Halli Toland, Ricky Ubeda, Scarlett Walker, Jacob Keith Watson, and William Youmans.

Additional credits:

Brian MacDevitt (Lighting Design), Scott Lehrer (Sound Design), Jonathan Tunick (Orchestrations), Andy Einhorn (Musical Supervision, Direction, and Vocal Arrangements).

Note:

Renée Fleming will not be performing the role of Nettie Fowler during these dates:

- Sept. 4 through Oct. 28, 2018

- Dec. 27, 2018 through Sunday, Jan. 6, 2019

And one more thing:

Todd S. Purdum's "Something Wonderful: Rodgers and Hammerstein's Broadway Revolution " (Henry Holt and Company; 2018) offers a fresh and look at the artistic team, their relationship with each other, their creative process, and their groundbreaking innovations: https://us.macmillan.com/books/9781627798341

FAMILY-FRIENDLY FACTORS:

-- God's name taken in vain

-- Think PG-13 for content

League's Oral History Program Features Chita Rivera

The LPTW Presents Oral History with Legendary Broadway Icon
Chita Rivera

Monday, May 7
6PM

The Bruno Walter Auditorium
New York Public Library for the Performing Arts
at Lincoln Center
Corner of 65th Street & Amsterdam Avenue

Two-time Tony Award winner Chita Rivera will talk about her life and illustrious career with Broadway World’s lead correspondent, Richard Ridge, host of Backstage with Richard Ridge.

Read about the event in Broadway World & Times Square Chronicles

---

This program is produced by Pat Addiss and Sophia Romma.

Free admission. First come, first seated.

Questions? 

programs@theatrewomen.org

Casting Announced for Shakespeare in the Park's Othello

The Delacorte Theater in Central Park (courtesy of the Public Theater)

Appropriately, on the bard's birthday, casting has been announced for the 2018 Free Shakespeare in the Park production of Othello May 29 through June 24 at the Delacorte Theater.

Chukwudi Iwuji will star as Othello with Heather Lind as Desdemona and Corey Stoll as Iago. The play will be directed by Ruben Santiago-Hudson.

The complete cast features Peter Jay Fernandez (Duke of Venice); Motell Foster (Roderigo); Andrew Hovelson (Lodovico); Chukwudi Iwuji (Othello); David Kenner (Ensemble); Heather Lind (Desdemona); Tim Nicolai (Ensemble); Flor De Liz Perez (Bianca); Miguel Perez (Brabantio); Thomas Schall (Montano); Caroline Siewert (Ensemble); Corey Stoll (Iago); Babak Tafti (Cassio); Peter Van Wagner (Gratiano); and Alison Wright (Emilia). The non-equity ensemble will feature Kevin Rico Angulo, Christopher Cassarino, Lily Santiago, and Allen Tedder.

Tony winner Santiago-Hudson's Othello will take place amid war and palace intrigue in the 17th-century Mediterranean. 

Shakespeare in the Park  will continue with a re-imagined staging of the Public Works musical adaptation of Shakespeare’s T\Twelfth Night July 17-Aug. 19, conceived by Kwame Kwei-Armah and Shaina Taub, with music and lyrics by Taub, choreography by Lorin Latarro and direction by Oskar Eustis and Kwame Kwei-Armah. 

For more information and for how to get free tickets to the performances, visit https://www.publictheater.org/Free-Shakespeare-in-the-Park/

Talking About Desperate Measures with Will Shakespeare on His Birthday

The cast of Desperate Measures at the York. Photo: Carol Rosegg

Will in the West

Peter Kellogg sat down with playwright William Shakespeare on April 23^rd, his 454^th Birthday, to ask him about his new musical, Desperate Measures, set to open soon at New World Stages.  Here’s what he had to say:

Q: First of all, Happy Birthday, Will.  How does it feel to be 454 years old?

With mirth and laughter, let old wrinkles come.

That’s a very nice sentiment.  Now to Desperate Measures:  You usually do all the writing yourself.  What was it like collaborating with David Friedman and Peter Kellogg on a musical version of one of your plays?  

Misery acquaints a man with strange bedfellows.

When they first mentioned the idea of turning Measure for Measure into a 6-person Western, set in the 19^th century with country and western music, what was your reaction?

Lord, what fools these mortals be.

But when they explained how much you could make with a hit musical, when they showed you the weekly box office from Hamilton and Book of Mormon, what did you say then?

Westward-ho!

I understand there were some rocky moments in the collaboration.  What was your opinion after reading Peter’s first draft of the libretto?

Past hope, past cure, past help!

What did you think when you discovered that, though they retained “the bed trick” from the original play, they cut “the head trick” entirely?

This was the most unkindest cut of all.

But instead of giving up on the project then and there, you asked David to play you some of the music from the score.  What was your reaction then?

O! It came o’er my ear like the sweet sound that breathes upon a bank of violets.

Your director, Bill Castellino, has received high praise for his direction of the musical, Cagney. But that’s a very different kind of show. Desperate Measures seems to be more of a comic romp.  What’s your opinion of him so far?

A fellow of infinite jest, of most excellent fancy.

You also managed to procure an amazing cast for the original York production: Emma Degerstedt, Gary Marachek, Lauren Molina, Conor Ryan, Peter Saide and Nick Wyman.  What did you think of their performances?

O, wonderful, wonderful and most wonderful.  And after that, out of all whooping!

Did you offer any advice to the cast, seeing as you too were an actor in your day?

Eat no onion or garlic, for we are to utter sweet breath.

Jim Morgan and The York Theatre are known throughout the country for helping to develop and nurture new musicals.  What was it like working with them?

Now is the winter of our discontent made glorious summer by this sun of York.

Glad it was a positive experience.  And now to the upcoming production: five of the original cast are returning to reprise their roles at New World Stages.  How does that make you feel?  

I can no other answer make but thanks, and thanks; and ever thanks.

The one new cast member is Sarah Parnicky.  She’s playing Susanna, the novice nun.  What’s your opinion of her so far?

O she doth teach the torches to burn bright!  

Impressive.  Now, let’s talk about your producers: Pat Flicker Addiss took over the production at The York and extended it for over 100 performances.  Pat was also a lead producer of Vanya, Sonia, Masha and Spike (which won a Tony); and A Christmas Story.  What’s it been like working with her? Though she be but little, yet she is fierce.

And now Pat is being joined by Mary Cossette - Vanya, Sonia, Masha and Spike, and Will Roger’s Follies - to bring Desperate Measures to New World Stages.  What do you think of them as a team?  

The very life-blood of our enterprise.

I know the reviews were universally excellent at The York.  One of the critics, Peter Filichia, even called it “The funniest, most tuneful, non-stop, slam-bang, best musical of the season.  What’s your impression of him?   

A Daniel come to judgment! Yea, a Daniel!  O wise young judge, how I do honour thee.

And yet, even though show was so successful at The York, it’s taken you five months to move it to another theatre.  Why is that? 

First thing we do, let’s kill all the lawyers.

I get the picture.  So what’s your prediction for this new production and the future of this show?

A hit!  A very palpable hit!

Last question: Any advice to theatregoers who come to see Desperate Measures at New World Stages?  Prepare for mirth, for mirth becomes a feast.

---------

Peter Kellogg (Anna Karenina) has written the books and lyrics for Desperate Measures, the Lortel-nominated musical which played a multi-extended, sold-out run at the York Theatre earlier this season. It will re-open this June at New World Stages. Music is by David Friedman (Listen To My Heart); direction is by Bill Castellino (Cagney, Marry Harry). 

Desperate Measures features:
Lauren Molina (Rock of Ages) as Bella Rose
Conor Ryan ("Jesus Christ Superstar Live in Concert") as Johnny Blood
Gary Marachek (Eleanor) as Father Morse
Peter Saide (Skin Tight) as Sheriff Green
Nick Wyman (Les Misérables) as Governor von Richterhenkenpflichtgetruber
Sarah Parnicky as Susanna/Sister Mary Jo

Inspired by William Shakespeare's Measure for Measure, Desperate Measures tells the tale of Johnny Blood, a handsome young man whose life is in danger over a saloon brawl. Set in the early 1890's, Johnny must put his fate into the hands of a colorful cast of characters including a wily sheriff, an eccentric priest, a authoritarian governor, a saloon girl gone good, and a nun out of the habit- as they all struggle to decide Johnny's fate. Laws are broken and hearts are won as they try to find justice in a world that often doesn't seem just.

Desperate Measures plays New World Stages, 340 West 50th St., NYC, beginning with previews May 30. Opening is June 13. Performances are Monday at 7 pm; Wednesday at 7 pm; Thursday at 2 and 7 pm; Friday at 8 pm; Saturday at 2 and 8 pm; Sunday at 3 pm. Tickets are $59-$89: DesperateMeasuresMusical.com; 212-239-6200.

Full disclosure: producer Pat Addiss is a friend. Even so, I thought the book was very clever and the musical very enjoyable. I highly recommend it.

-- Lauren Yarger

Broadway Theater Review: Frozen

Patti Murin, Caissie Levy, Jacob Smith. Photo: Deen vanMeer

Frozen

Music and Lyrics by Kristen Anderson-Lopez and Robert Lopez

Book by Jennifer Lee, based on her screenplay with Chris Buck

Choreography by Rob Ashford

Directed by Michael Grandage

St. James Theatre

By Lauren Yarger

The special effects, costumes and sets of Frozen are so enchanting, I was able to let it go, when it comes to the weak book transferring the latest Disney film to a Broadway stage.

When Elsa touched a wall at the St. James and triggered its transformation into a glittering ice palace, I think I was as delighted as some of little girls in the audience dressed as their favorite princesses and screaming (and there are LOTS of them, accompanied by parents carting bags full of stuffed snowmen and the like from merchandise booths in the theater.)

For those of you unfamiliar with the story by Jennifer Lee, loosely based on Hans Christian Andersen's "The Snow Queen," Elsa (Cassie Levy) is a princess in an Icelandic country called Arendelle. She and her spunky sister, Anna (a delightful Patti Murin), are best friends, until one night when Elsa's ability to command snow and ice almost kills the younger girl. Queen Iduna (Ann Sanders) and King Agnarr (James Brown III) call upon some woodsy (and scary looking) trolls who use magic to heal Anna and leave her without memory of the incident. Elsa's powers must be hidden, however, to keep everyone safe. The palace is closed to outsiders and Elsa retreats to a lonely existence in her room leaving Anna to wonder what she has done to alienate the sister with whom she was once close. (Before the princesses grow up, they are portrayed by young actresses who share the roles.)

When Elsa becomes queen, the kingdom's subjects are allowed into the palace for the coronation. Anna instantly falls in love with and agrees to marry Hans of the Southern Isles (John Riddle), and caught off guard, Elsa unleashes an unending winter on the kingdom and vanishes. Anna goes off to search for her sister with the help of iceman/snow-hiking expert Kristoff (Jalani Alladin) and Sven, his large reindeer (a puppet housed by Andrew Pirozzi and designed by Michael Curry.)

It's sheer theater magic when the ice palace, which Elsa creates for herself, emerges. Special Effects Designer Jeremy Chernick, Video Designer Finn Ross, Scenic and Costume Designer Christopher Oram and always excellent Lighting Designer Natasha Katz, merge geniuses to create some of the most satisfying effects on a Broadway stage yet. Snow falls, icicles jut, crystals sparkle and we are mesmerized. So let's not worry too much about the weaker elements of the show -- especially when Levy belts out a wonderful rendition of ”Let it Go,"  the tune every parent of a small child has heard played in excess of one million times since Idina Menzel first sang it for the animated film. It won the Academy Award for the songwriting team of Kristen Anderson-Lopez and Robert Lopez, who doubled the number of songs for the Broadway adaptation of the film.

Standing out in the cast are Greg Hildreth as Olaf the snowman, who merges puppetry and acting skills to create the most successful Disney sidekick character to make the transition from film to stage for the first time in forever, and Robert Creighton as the creepy and humorous Weselton.

The opening numbers of both acts, with choreography by Rob Ashford, would be included in that "weaker" element section we're not going to worry about. I also won't comment on Director Michael Grandage's casting choices that don't work -- and there are many. At the end of the day, these little audience kids are enjoying themselves and that is important. I wouldn't want you to think I have ice in my heart. I am a nice princess critic, not an evil queen.

Frozen makes snow look good -- even after the long winter of 2018 -- at the St. James Theatre, 246 West 44th St., NYC. Tickets are $82-$199: frozenthemusical.com.

Additional casting:

Kevin Del Aguila (Oaken), Timothy Hughes (Pabbie), Audrey Bennett (Young Anna), Mattea Conforti (Young Anna), Brooklyn Nelson (Young Elsa), Ayla Schwartz (Young Elsa)

Ensemble: Alicia Albright, Tracee Beazer, Wendi Bergamini, Ashley Blanchet, Claire Camp, Lauren Nicole Chapman,Spencer Clark, Jeremy Davis, Kali Grinder, Ashley Elizabeth Hale, Zach Hess, Donald Jones, Jr., Nina Lafarga, Ross Lekites, Austin Lesch, Synthia Link, Travis Patton, Adam Perry, Jeff Pew, Olivia Phillip, Noah J. Ricketts, Jacob Smith and Nicholas Ward.

Additional credits:

Sound Design by Peter Hylenski, Hair Design by David Brian Brown, Makeup Design by Anne Ford-Coates.

FAMILY-FRIENDLY FACTORS:
-- The stage version is a bit darker than the movie. I would give it a PG rating.
-- Magic (with incantation)

Off-Broadway Theater Review: Harry Clarke

Billy Crudup. Photo: Carol Rosegg

Harry Clarke

By David Cale

Directed by Leigh Silverman

Minetta Lane Theatre

Through May 13

By Lauren Yarger
Have you ever told a lie, then had to tell another and another to keep up with the first? Meet Harry Clarke (Billy Crudup) a whole person created by a run of falsehoods that changes the lives of his creator and all of those around him.

The return engagement of the world premiere of David Cale's play, which extended twice at the Vineyard, last year, is a tour de force for Crudup (The Coast of Utopia). Even at the age of 8, Phil Brugglestein doesn't feel comfortable with himself and to his rough, Midwestern father's dismay, starts speaking  with a British accent.  As an adult, he moves to New York where the alter ego's cool persona comes in handy when timid Philip meets wealthy Mark and his family.  Passing himself off as hip music business manager Harry Clarke, Philip develops relationships with Mark, his sister, Stephanie, and their mother, Ruth with surprising consequences.

With a set by Alexander Dodge that doesn't change, except for hues of color added by Lighting Designer Alan C. Edwards to mark changes of scene, the focus is on Crudup, who takes us through the emotional rollercoaster ride of a man stuck in a world of deception that threatens his own sanity. It's a riveting 75 minutes directed by Leigh Silverman. Look for some theater award wins in the solo category here.

Harry Clarke lives a double life at the Minetta Lane Theatre, 18 Minetta Lane, NYC. through May 13. Perfromances are Tuesday-Saturday at 7 pm; Saturday a t 2 pm; Sunday at 3 pm. Tickets are $57-$87: libertytheatresusa.com

Additional credits:

Costume Design by Kaye Voyce; Sound Design by Bart Fasbender; Original Music by David Cale.

FAMILY-FRIENDLY FACTORS:

-- God's name taken in vain

-- Sexual dialogue

-- Homosexuality

-- Language