Reflections in the Light

Monday, October 29, 2012

Broadway Shows Cancelled Again on Tuesday, Oct. 30 Due to Hurricane Sandy

As a result of the suspension of public transportation by government authorities and additional safety precautions implemented due to severe weather on behalf of Hurricane Sandy, all Broadway performances on Tuesday evening, Oct. 30 will be cancelled. Plans are for normal operations to resume Wednesday morning.

For Refund and Exchanges:

If tickets were purchased via Telecharge or Ticketmaster via phone or online your credit card will be refunded automatically within 7-10 business days. For any issues, please contact the customer service information included with your tickets. Please have your Order Number/Confirmation Number handy. Original tickets need not be retained.

If tickets were purchased at the Box Office: please return your original tickets to the Theater Box Office. You have the option of receiving a full refund to the original method of payment or exchanging your tickets for an alternate date of your choice, subject to availability.

If tickets were purchased as part of a Group: please contact your Group Sales Agent for more information regarding refunds or exchanges. Original tickets should be retained until you contact the Group Sales Agent.

If tickets were purchased through any other sales channel, please return to the original point of purchase for more information. If you have your tickets in hand, please retain them for a refund or exchange.

Sunday, October 28, 2012

Storm Updates for the Theater Community

Check here for the latest cancellations, schedules due to the storm:

Sunday, Oct. 28, 2012

----
Shows cancelled:

Chaplin at 8 PM

Chicago at 8 pm

Mamma Mia! 7 pm

Mary Poppins 6:30 pm

The Lion King 6:30 pm

The Performers 8pm

The Phantom of the Opera 8pm

Bad Jews 7pm

Disgraced 7pm

The Exonerated 7 pm

Forbidden Broadway 7:30 pm

Fuerza Bruta

Golden Child 7pm

Silence the Musical 7 pm

Stomp5:30 pm

Public Theatre evening performances

Signature Theatre evening performances

----Newsies 7:30 pm Oct. 29 performance cancelled

----NEW DRAMATISTS will be closed on Monday, Oct. 29

----54 Below announces that due to the weather emergency, it will be closed for performances Sunday, October 28 brunch and through Monday, October 29. The following performances have been cancelled: Sunday, October 28 at 5:30PM - Mark Nadler; Sunday, October 28 at 9PM - Nicole Parker; Monday, October 29 at 7PM - David Friedman; Monday October 29 at 9:30PM - Brent Barrett.Those who have purchased tickets will receive a full refund through TicketWeb.com. 54 Below will contact ticket-buyers about rescheduled performances. 54 Below plans to reopen Tuesday, October 30. (In the event that train and subway service is not restored by Tuesday, 54 Below will issue a further announcement.) Call 646-476-3551 or visit www.54Below.com for further updates.

----PLAYWRIGHTS HORIZONS Weather update: matinees of DETROIT (2:30) and THE WHALE (2:00) will go on as scheduled. Evening performances cancelled.

----Roundabout Theatre Company All matinee performances will go ahead today as scheduled. Customers will be notified by email and phone in the event of any cancellations. For more information please visit out website http://bit.ly/PAa9Sd

----MTA subway service, Metro-North trains and LIRR service will be shut down as of 7 p.m. Sunday. Additionally, final bus service end at 9 p.m.

---- ALL PATH train service and stations will be shutdown at 12:01am Monday, October 29 until further notice due to Hurricane Sandy.

---- NJ TRANSIT will implement a gradual system-wide shutdown of all bus, rail, light rail and Access Link service, starting at 4:00 p.m. this afternoon and continuing through 2:00 a.m. on Monday morning.

Thursday, October 25, 2012

Theater Review: Who's Afraid of Virginia Woolf?

Amy Morton and Tracy Letts. Photo: Michael Brosilow

A New Look at George in What Traditionally Has Been Martha's Story
By Lauren Yarger
Two of the most riveting performances on Broadway are taking place over at the Booth Theatre where Chicago's Steppenwolf Theatre Company's revival of Edward Albee's Who's Afraid of Virginia Woolf is playing.

The performances stand out, not only because of their strong portrayals of the Tony-Award-winning study of a love/hate relationship, but because the dynamic shifts that take place. Traditionally, this is Martha's show -- a powerhouse part for the actress (here Amy Morton). Her husband, George, typically seems weaker and comes off as a wimp or as a victim. In this production, directed by Pam MacKinnon, George, played by Tracy Letts, holds his own against the force of his wife and becomes an equal player in the game. It's really fascinating to watch and the reason you should add yet another revival of the show to your calendar (the last Broadway revival was in 2005 and that George -- Bill Irwin, opposite Kathleen Turner -- won the Best Actor Tony. Expect another nomination here).

Morton (who appeared on Broadway in August: Osage County, the play for which the multi-talented Letts won the Pulitzer Prize as its author) takes a firm grip on Martha and steers her through the depths that make up the grieving, desperately lonely woman who enjoys dominating and torturing her husband. George never has lived up to expectations -- hers or her university president father's -- and still is a lowly associate professor with a sad, unpublished novel.

Always on the prowl for younger, sexually attractive men, Martha invites her latest object of interest, new professor Nick (Madison Dirks) and his naive wife, Honey (Carrie Coon) over for drink. The never-ending flow of booze loosens tongues, lets down guards and makes for a night of pure hell as the intimate secrets of both marriages are revealed. Watching George give it back as good as he gets is what sets this production apart. Letts and Morton have a natural rapport that adds to the belief that these are two old married people who know all the best and worst parts of each other and who take great pleasure in knowing which buttons to push.

Nick, despite being tempted by Martha's seduction, feels a creeping horror as he realizes that watching George and Martha is like looking at Honey and himself 20 years down the road. Honey spends most of the night drunk and throwing up (Coon has some nice comedic moments, but for some reason shouts most of her lines).

The book-pile-trimmed home, typical of a New England college professor, is designed by Todd Rosenthal. Costume designer Nan Cibula-Jenkins puts us in 1962.

Who's Afraid of Virginia Woolf has been extended through Feb 24 at the Booth Theatre, 222 West 45th St., NYC. Tickets: www.Telecharge.com or 212-239-6200.

Christians might also like to know:
-- The show posts a MATURE advisory
-- Lord's name taken in vain -- Lots!
-- Language
-- Sexual activity

Note: the show runs three hours with two intermissions.

Tuesday, October 23, 2012

Scandalous, Musical about Evangelist Aimee Semple McPherson, Begins Broadway Previews

The new Broadway musical Scandalous: The Life and Trials of Aimee Semple McPherson is in preview performances with opening night set for Thursday, Nov. 15.

Starring two-time Tony Award nominee Carolee Carmello (Parade, Mamma Mia!, Sister Act) in the title role, the musical features book and lyrics by Kathie Lee Gifford and music by David Pomeranz and David Friedman.

Scandalous also stars two-time Tony Award winner George Hearn (Sunset Blvd., La Cage aux Folles, Sweeney Todd).

Directed by David Armstrong, the musical is based on the life of Aimee Semple McPherson (1890-1944), media sensation and founder of the Foursquare Church. Her passion for saving souls equaled her passion for making sensational headlines and attracting overflow crowds of thousands throughout the world.

Set in 1920's Los Angeles, holiness collides with Hollywood in this extraordinary tale of one remarkable woman's charismatic rise to fame amidst scandalous love affairs and growing controversy, inevitably ending in her much-publicized fall from grace.

Scandalous runs at the Neil Simon Theatre, 250 West 52nd St. For more information, visit www.ScandalousOnBroadway.com.

TICKETING AND PERFORMANCE SCHEDULE
Now through Sunday, Nov. 18, the pre-opening preview performance schedule is as follows:

Tuesday at 8 p.m.

Wednesday at 2 p.m. and 8 p.m.

Thursday at 8 p.m.

Friday at 8 p.m.

Saturday at 2 p.m. and 8 p.m.

Sunday at 3 p.m.

Beginning Tuesday, Nov. 20, the regular weekly performance schedule is:

Tuesday at 7 p.m.

Wednesday at 2 p.m. and 7:30 p.m.

Thursday at 7 p.m.

Friday at 8 p.m.

Saturday at 2 p.m. and 8 p.m.

Sunday at 3 p.m.

Tickets are $57.00- $127.00 for all performances** (all prices include a $2.00 facility fee) and are available by calling 877-250-BWAY (2929) or by visiting www.ticketmaster.com.
Group sales (12+ tickets) are available by calling 212-398-8383.

[** For the holiday weeks of Thanksgiving and Christmas, tickets are $77.00-$147.00.]

Monday, October 22, 2012

Win Two Tickets to Golden Boy

Golden Boy, starring Danny Burstein (South Pacific, Follies, "Boardwalk Empire"), Danny Mastrogiorgio, Seth Numrich (War Horse), Tony Shalhoub (Lend Me A Tenor, "Monk") and Yvonne Strahovski ("Chuck," "Dexter") begins previews Nov. 8.

Set in the vivid world of prizefighting’s past, Golden Boy, Clifford Odets’ most popular play, is the story of Joe Bonaparte, a promising young violinist who forsakes his family and artistic dreams for the lure of fame and fortune in the ring. Bartlett Sher (Awake and Sing!, Joe Turner’s Come and Gone, South Pacific) directs this 75th Anniversary production in the Belasco, the same theater in which it premiered.

For a chance to win a voucher for two tickets to a performance, email your name, address (US only) and a comment about why you would like to see the show with "GOLDEN BOY" in the subject line by Friday, Oct. 26 at midnight (Eastern time) to masterworkproductions@yahoo.com. All responders will be entered in a drawing for the voucher (good through Dec. 13, 2012). Winner will be notified Saturday, Oct. 27.

Sunday, October 21, 2012

Hell in New York: Screwtape Letters with Max McLean Returns for a Limited Engagement

The Screwtape Letters, winner of a 2010 "The Lights Are Bright on Broadway Award" presented by Masterwork Productions, will return for a limited engagment in New York at the NYU Skirball Center.

The show stars Max McLean in the adaptation of the book by C.S. Lewis. He will do a talk back after each performance Nov. 15-18 at the center, 566 La Guardia Place and Washington Square South, NYC. For information about perfromances and tickets, visit http://www.screwtapeonstage.com/new-york-city. The show runs 90 minutes without intermission.

For a review of the show, click here.

Saturday, October 20, 2012

Theater Review: Cyrano de Bergerac

A Nice-to-Look-at Version of the Poet Who isn't So Nice to Look at
By Lauren Yarger
Aah, Cyrano. So eloquent and moving on paper, yet unable to express himself in the flesh. Much the same can be said of most theatrical productions of Edmond Rostand's 1897 play Cyrano de Bergerac too, unfortunately. It's moving to read, but difficult to stage.

Roundabout Theatre Company is giving it a go, however, on Broadway with a translation by Ranjit Bolt and Douglas Hodge (Tony Award winner for La Cage aux Folles) in the title role. Clemence Poesy as Cyrano's love interest Roxane and Kyle Soller, as her mistaken love, Christian, both are making their Broadway debuts. Veteran Patrick Page (Spider-Man Turn off the Dark among many others) plays the married Compte de Giche, who also is smitten with Roxane's beauty.

The mistaken identities, sword fighting, poetry and undying love take place against a spectacular set (Soutra Gilmour, who also designs the lovely 17th-century inspired costumes) of colossal grey stoned edifices with arched windows and doorways. It looks great. The old-fashioned story kind of gets lost up there, however. Hodge brings a lot of energy to his Cyrano, but there isn't any depth to the character. He's boisterous and demands attention, but we don't feel the pain behind the man forced to cover his shame about his ugly appearance (he has a huge nose for those of you possibly not familiar with the story which I won't repeat here -- I'll refer you instead to the SparkNotes) with a bravado in battle and a razor-sharp wit as deadly as the sword he brandishes in battle.

Hodge is so forceful and full of energy sometimes, that it is hard to understand what he's saying in such rushed, loud tones. And some of the more famous lines form the play seem to get lost up there too in all the noise (Cyrano himself makes a loud, baning entrance through the house). Not only are battles raging, lights flashing (Japhy Weiderman, design), guns firing (Dan Moses Schreier, sound design) and swords crossing (fight direction is by Jacob Grigolia Rosenbaum), but Director Jamie Lloyd has some really annoying musicians strolling around playing music (by Charlie Rosen) under the dialogue too.

Famous lines get lost -- and they, in addition to the deep, self-sacrificing character of Cyrano, are what make this story so endearing. The poetry is rushed. It's not clear what Cyrano is doing at first when he lists a number of possible ways to say "large nose" better than what Valvert (Samuel Roukin) has managed to come up with when he refers to it as being "big."

Worse, we aren't aware of Cyrano's pain when he shows courage " better since" when he is rejected by Roxane in favor of Christian. I barely noticed when Roxane regretted having "loved but one man to lose him twice." Usually that has me breaking out the hankies. For some reason Lloyd has her deliver the line from several feet away from her love instead of at his side. Odd, since

A kiss, when all is said, what is it?

An oath that's ratified, a sealed promise,

A heart's avowal claiming confirmation,

A rose-dot on the 'i' of 'adoration';

A secret that to mouth, not ear, is whispered ...

Aah. Cyrano still can some court me with poetry under my balcony any time.

It's a fun-to-watch version for loving, longing eyes and some of actors in minor roles deliver some nice comedic moments. It's just not the moving words of Cyrano that I hoped would grope their way to find my ear.
Cyrano de Bergerac runs through Nov. 25 at American Airlines Theatre, 227 West 42nd St., NYC. Tickets: 212-719-1300.

Christians might also like to know:
-- God's name taken in vain

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.

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.