Thursday, April 25, 2019

O'Neill Center Announces Summer Season

The Eugene O’Neill Theater Center announced today the 2019 summer season of plays, musicals, and other works in development at theNational Music Theater ConferenceNational Playwrights ConferenceCabaret & Performance Conference, and National Puppetry Conference
“This summer in Waterford, CT, the O'Neill, the Launchpad of the American Theater, will continue our work with exciting new musicals, plays, puppetry, & cabaret. I'm delighted to welcome audiences from around the world to experience these vital new works during our 55th anniversary season.”  O’Neill Executive Director Preston Whiteway continues, “I am grateful to each of our Artistic Directors for their bold vision in selecting these pieces and artists that will impact the field for decades to come.”

National Music Theater ConferenceAlexander Gemignani, Artistic DirectorReadings: June 22 - July 12> More Info
Since its founding in 1978, the National Music Theater Conference has developed more than 125 new musicals, including early works of award-winning writers and composers such as Lin-Manuel Miranda, Tom Kitt, Andrew Lippa, Tan Dun, Robert Lopez, Duncan Sheik, Kirsten Childs, Adam Gwon, Steven Sater, Kristen Anderson-Lopez, Maury Yeston, Michael R. Jackson, and Jeanine Tesori.  Each musical will undergo the O’Neill’s signature development process, employing professional creative teams including acclaimed directors, dramaturgs, actors, and musicians.. Selected from 320 submissions, the following three new musicals will be developed:
Borderline
Book by Aryanna Garber
Music & Lyrics by Benjamin Velez
 
JEANNETTE
Book by Lauren M. Gunderson
Music & Lyrics by Ari Ayesha Afsar
Undesirables
Book & Lyrics by Hansol Jung
Lyrics & Music by Brian Quijada
NMTC Artistic Director Alexander Gemignani shares this about his second season: “The three musicals we’ve chosen exemplify the idea of innovation and serve as a reminder of how powerful the art form of music theater can be. I am thrilled that the O’Neill will be ushering these pieces along on this step of their journey. I cannot wait to get started with these groundbreaking and brilliant writers.”

National Playwrights ConferenceWendy C. Goldberg, Artistic DirectorReadings: July 3-27> More Info
The O’Neill’s founding program will present eight new works this summer season by a broad mix of brand new, mid-career, and established writers. Each play will undergo the O’Neill’s signature development process, employing professional creative teams, including acclaimed directors, dramaturgs, actors, and designers to bring new plays to life.  NPC has developed more than 750 new plays, including early works of award-winning writers such as Edward Albee, Lee Blessing, Adam Bock, Kia Corthron, Christopher Durang, John Guare, Quiara Alegría Hudes, Samuel D. Hunter, David Henry Hwang, David Lindsay-Abaire, Martyna Majok. Dominique Morisseau, Lynn Nottage, Robert O’Hara, Roberto Aguirre-Sacasa, Wendy Wasserstein, August Wilson and Lanford Wilson.  The plays were chosen from 1,416 plays received through the O’Neill’s open submissions process. Isaac Gomez (The Way She Spoke) joins as writer-in-residence.
Craig Lucas - Death of the Republic
Zayd Dohrn - The Humanities
Charly Evon Simpson - it's not a trip it’s a journey
George Brant - Tender Age
Anna Ziegler - Antigones
Tearrance Chisholm - Black Dick
Kimber Lee - Untitled F*ck M*ss S**gon Play
Laura Neill - Winter People
NPC Artistic Director Wendy C. Goldberg shares this about her 15th season: “I am excited to welcome these artists to the O'Neill community this summer. These storytellers are visionaries and sages for our culture and speak with great relevance to this moment in our nation's history. It is an honor to collaborate with them as we move these plays into the world."

Cabaret & Performance ConferenceJohn McDaniel, Artistic DirectorPerformances: July 31-August 10> More Info
The conference brings some of the biggest names in Cabaret Theater to perform at the O’Neill each summer, providing valuable development and performance training for select Cabaret Fellows (up-and-coming performers on the cabaret scene) as well as middle and high school students through the Junior Fellows program. Headliners for 2019 include:
Storytellers - Brad Simmons, with special guest Lennie Watts
Thirsty! - Tori Scott
Barb, Brel and more! - Barb Jungr
Carole Cook Tonight!
The Jam: Only Child - Daniel J. Watts
Artistic Director John McDaniel shares this about his seventh season: “This summer we are featuring everything from an old-school Broadway legend to an incredibly modern & hip sensation, with some downtown hilarity thrown in for good measure. It promises to be a season to remember!”
Atlantic Broadband is the premier sponsor of the 2019 Cabaret & Performance Conference.

National Puppetry ConferencePam Arciero, Artistic DirectorPerformances: June 14 & 15> More Info
The National Puppetry Conference welcomes artists from around the globe to explore the range and power of the puppet, with rehearsals and workshops in puppet and mechanism building, writing, music, marionettes, and more.  As previously announced, artists leading Conference intensives this summer include: Tyler Bunch, Melissa Dunphy, James Godwin, Alice Gottschalk, Kurt Hunter, Jim Kroupa, Bobbi Nidzgorski, Jim Rose, Richard Termine, Fred Thompson, and Derron Wood. Guest artists include Polina Borisova (Body - Object - Space), Tracy Broyles (Unsettling: Unsettling: An Expulsion of Breath), Dan Hurlin (Reading/Misreading Action), and Hansol Jung & Lexy Leuszler (Little Red Writing Hood), The Conference concludes with  two public performances featuring an extraordinary mix of devised work from throughout the Puppetry Conference, led by guest artists, artists-in-residence, and a vast array of performance styles.
Artistic Director Pam Arciero shares this about his 17th season: “This summer our Conference is full of an international mix of creative artists who give our conference it's unique spark. We look forward to featuring works that explore the extraordinary range and power of the puppet.”

National Theater Institute - TheatermakersRachel Jett, Artistic DirectorFREE Performances: Mondays, June 17 - July 22> More Info
One of six programs from the O’Neill’s flagship educational program the National Theater Institute. Theatermakers Summer Intensive trains students in a credit-earning curriculum of acting, directing, and playwriting alongside the O’Neill’s professional artists. Join us each week as students share their works-in-progress with the public.


National Critics Institute
Chris Jones, DirectorJune 30- July 14> More Info
Chris Jones, critic and columnist at the Chicago Tribune, helms America's only boot camp for arts writers. NCI is a two-week residential workshop and conference, designed for writers and critics looking to strengthen their skills in an increasingly competitive and fast-paced industry. Past faculty members include: Mark Blankenship, Ben Brantley, Sarah Kaufman, Peter Marks, Michael Phillips, Tejal Rao, and Dan Sullivan.

Commercial Theater InstituteTom Viertel, CTI Executive Director & O’Neill Board ChairJuly 10-12> More Info
The Commercial Theater Institute’s three-day summer intensive focuses specifically on the producer as a creative force. CTI provides aspiring producers the unique opportunity to get close to the development process as it unfolds at the O’Neill. In this hands-on intensive, teams of participants develop plans for a several of the O’Neill’s plays and musicals through a mixture of sessions with working producers and theater professionals, interaction with writers and directors, and group discussion. The workshop culminates with the teams presenting their strategies to a panel of industry professionals. The program is led by Tom Viertel — CTI Executive Director, O’Neill Board Chair, and Tony Award-winning Broadway producer — along with an all-star faculty from the New York theater community. Applications for 2019 are due June 17. 

The O’Neill Box Office opens to the public June 5. Advance ticket sales are available to O’Neill members May 20.  For more information, visit www.theoneill.orgor call 860-443-5378.

The 2019 Summer Season is made possible by: The Shubert Foundation, National Endowment for the Arts, Harold and Mimi Steinberg Charitable Trust, Burry Fredrik Foundation, Connecticut Office for the Arts, Geraldine Stutz Trust, The Jerome Robbins Foundation, The Jane Henson Foundation, The Horace W. Goldsmith Foundation, The Edward and Mary Lord Foundation, The Mohegan Tribe/Mohegan Sun, Dramatist Play Service, Foundation of the American Theatre Critics Association, The Joseph C. and Esther Foster Foundation, The Rodgers & Hammerstein Foundation, Actors' Equity Foundation, Chester W. Kitchings Foundation, New London Education Foundation/Karl Kelly Fund, Electronic Theatre Controls, Inc. and the support of individual O’Neill donors.

About the Eugene O'Neill Theater Center: Founded in 1964, the O’Neill is the country’s preeminent organization dedicated to the development of new works and new voices for the American theater, and named in honor of Eugene O’Neill, four-time Pulitzer Prize-winner and America’s only playwright to win the Nobel Prize in Literature.  The O’Neill has been home to more than 1,000 new works for the stage and thousands more emerging artists. Scores of projects developed at the O’Neill have gone on to full production at theaters around the world. O’Neill programs include the National Playwrights ConferenceNational Music Theater ConferenceNational Critics InstituteNational Puppetry ConferenceCabaret & Performance Conference, and National Theater Institute – which offers six credit-earning undergraduate training programs. In addition, the O’Neill owns and operates Monte Cristo Cottage as a museum open to the public. The O’Neill is the recipient of two Tony Awards and National Medal of Arts. www.theoneill.org.

Tuesday, April 23, 2019

Outer Critics Nominations Announced









Outer Critics Circle
2018-2019 Award Nominations

OUTSTANDING NEW BROADWAY PLAY
The Ferryman
Ink
Network
To Kill a Mockingbird
What the Constitution Means to Me

OUTSTANDING NEW BROADWAY MUSICAL
Be More Chill
Hadestown
Head Over Heels
The Prom
Tootsie

OUTSTANDING NEW OFF-BROADWAY PLAY
Fairview
The House That Will Not Stand
Lewiston / Clarkston
The Light
White Noise

OUTSTANDING NEW OFF-BROADWAY MUSICAL
The Beast in the Jungle
Black Light
Girl from the North Country
The Hello Girls
Midnight at the Never Get

OUTSTANDING BOOK OF A MUSICAL
(Broadway or Off-Broadway)
Robert Horn     Tootsie
Conor McPherson     Girl from the North Country
Peter Mills and Cara Reichel     The Hello Girls
Anaïs Mitchell     Hadestown
Jeff Whitty and James Magruder     Head Over Heels

OUTSTANDING NEW SCORE
(Broadway or Off-Broadway)
Matthew Sklar and Chad Beguelin      The Prom
Joe Iconis     Be More Chill
Peter Mills     The Hello Girls
Anaïs Mitchell     Hadestown
David Yazbeck     Tootsie

OUTSTANDING REVIVAL OF A PLAY
(Broadway or Off-Broadway)
All My Sons
By the Way, Meet Vera Stark
Juno and the Paycock
Our Lady of 121st Street
The Waverly Gallery

OUTSTANDING REVIVAL OF A MUSICAL
(Broadway or Off-Broadway)
Carmen Jones
Fiddler on the Roof (in Yiddish)
Kiss Me, Kate
Oklahoma!
Smokey Joe’s Cafe

OUTSTANDING DIRECTOR OF A PLAY
Rupert Goold     Ink
Sam Mendes     The Ferryman
Jack O’Brien     All My Sons
Bartlett Sher     To Kill a Mockingbird
Logan Vaughn     The Light

OUTSTANDING DIRECTOR OF A MUSICAL
Rachel Chavkin     Hadestown
Scott Ellis     Tootsie
Daniel Fish     Oklahoma!
Joel Grey     Fiddler on the Roof (in Yiddish)
Cara Reichel     The Hello Girls

OUTSTANDING CHOREOGRAPHER
Warren Carlyle     Kiss Me, Kate
Christopher Gattelli     The Cher Show
Denis Jones     Tootsie
David Neumann     Hadestown
Sergio Trujillo     Ain’t Too Proud: The Life and Times of the Temptations

OUTSTANDING SCENIC DESIGN
(Play or Musical)
Beowulf Boritt     Bernhardt/Hamlet
Bunny Christie     Ink
Rachel Hauck     Hadestown
Rob Howell     The Ferryman
David Korins     Beetlejuice

OUTSTANDING COSTUME DESIGN
(Play or Musical)
Rob Howell     The Ferryman
Bob Mackie     The Cher Show
William Ivey Long     Beetlejuice
William Ivey Long     Tootsie
Arianne Phillips     Head Over Heels

OUTSTANDING LIGHTING DESIGN
(Play or Musical)
Neil Austin     Ink
Stacey Derosier     Lewiston / Clarkston
Bradley King     Hadestown
Jason Lyons     Sugar in Our Wounds
Peter Mumford     King Kong

OUTSTANDING PROJECTION DESIGN
(Play or Musical)
Peter England     King Kong
Alex Basco Koch     Be More Chill
Peter Nigrini     Beetlejuice
Jeff Sugg     All My Sons
Tal Yarden     Network

OUTSTANDING SOUND DESIGN
(Play or Musical)
John Gromada     All My Sons
Peter Hylenski     King Kong
Drew Levy     Oklahoma!
Eric Sleichim     Network
Nevin Steinberg and Jessica Paz     Hadestown

OUTSTANDING ORCHESTRATIONS
Michael Chorney and Todd Sickafoose     Hadestown
Simon Hale     Girl from the North Country
Joseph Joubert     Carmen Jones
Daniel Kluger     Oklahoma!
Harold Wheeler     Ain’t Too Proud: The Life and Times of the Temptations

OUTSTANDING ACTOR IN A PLAY
McKinley Belcher III     The Light
Bryan Cranston     Network
Daveed Diggs     White Noise
Bill Irwin     On Beckett
Jeremy Pope     Choir Boy

OUTSTANDING ACTRESS IN A PLAY
Glenn Close     Mother of the Maid
Edie Falco     The True
Glenda Jackson     King Lear
Mandi Masden     The Light
Elaine May     The Waverly Gallery

OUTSTANDING ACTOR IN A MUSICAL
Brooks Ashmanskas     The Prom
Reeve Carney     Hadestown
Damon Daunno     Oklahoma!
Santino Fontana     Tootsie
Steven Skybell     Fiddler on the Roof (in Yiddish)

OUTSTANDING ACTRESS IN A MUSICAL
Stephanie J. Block     The Cher Show
Kelli O’Hara     Kiss Me, Kate
Beth Leavel     The Prom
Anika Noni Rose     Carmen Jones
Mare Winningham     Girl from the North Country

OUTSTANDING FEATURED ACTOR IN A PLAY
Bertie Carvel     Ink
John Clay III     Choir Boy
Hugh Dancy     Apologia
John Procaccino     Downstairs
Benjamin Walker     All My Sons

OUTSTANDING FEATURED ACTRESS IN A PLAY
Joan Allen     The Waverly Gallery
Stephanie Berry     Sugar in Our Wounds
Fionnula Flanagan     The Ferryman
Harriett D. Foy     The House That Will Not Stand
Celia Keenan-Bolger     To Kill a Mockingbird

OUTSTANDING FEATURED ACTOR IN A MUSICAL
John Behlmann     Tootsie
André De Shields     Hadestown
Reg Rogers     Tootsie
George Salazar     Be More Chill
Ephraim Sykes     Ain’t Too Proud: The Life and Times of the Temptations

OUTSTANDING FEATURED ACTRESS IN A MUSICAL
Amber Gray     Hadestown
Leslie Kritzer     Beetlejuice
Bonnie Milligan     Head Over Heels
Sarah Stiles     Tootsie
Ali Stroker     Oklahoma!

OUTSTANDING SOLO PERFORMANCE
Mike Birbiglia     The New One
Maddie Corman     Accidentally Brave
Jake Gyllenhaal     A Life
Carey Mulligan     Girls & Boys
Renée Taylor     My Life on a Diet

JOHN GASSNER AWARD
(Presented for an American play, preferably by a new playwright)
Jeremy O. Harris     Slave Play
Jeremy Kareken & David Murrell, and Gordon Farrell     The Lifespan of a Fact
Donja R. Love     Sugar in Our Wounds
Ming Peiffer     Usual Girls
Charly Evon Simpson     Behind the Sheet

SPECIAL ACHIEVEMENT AWARDS
The Executive Committee voted and decided upon the presentation of Special Achievement Awards to:
The Puppetry Team That Created and Operates King Kong
recognizing the artistry and technical achievement that brings a 2,000-pound gorilla to life:

 * Puppet designer and builder Sonny Tilders and the Creature Technology Company
 * Scenic designer Peter England, who collaborated on the aesthetics of the puppet 
* Aerial and movement director Gavin Robins 
* The members of the King’s Company, who move Kong on stage: Mike Baerga, Rhaamell Burke-Missouri, Jōvan Dansberry, Casey Garvin, Gabriel Hyman, Marty Lawson, Roberto Olvera, Khadija Tariyan, Lauren Yalango-Grant, and David Yijae
 * Kong’s Voodoo Operators, who control his facial expressions: Jon Hoche, Danny Miller, and Jacob Williams.

The York Theatre Company
James Morgan, Producing Artistic Director
Evans Haile, Executive Director
in recognition of 50 years of producing new musicals, as well as classics from the past

Wednesday, April 17, 2019

New Jersey Review: Benny and Joon


Bryce Pinkham, Photo: Matthew Murphy for MurphyMade
Benny and Joon
By Kirsten Guenther, based on the film written by Barry Berman and Leslie McNeil.
Music by Nolan Gasser
Lyrics by Mindi Dickstein
Choreography by Scott Rink
Music Direction by J. Oconor Navarro
Directed by Jack Cummings III

By Lauren Yarger
What's It All About?
A tale of a brother trying to take care of his mentally-challenged sister and a sister trying to find herself outside of her brother's shadow, based on the 1993 film  of the same name, written by Barry Berman and Leslie McNeil and starring  Johnny Depp and Mary Stuart Masterson.

This staging, imaginatively directed by Jack Cummings III, features Bryce Pinkham (A Gentelman's Guide to Love and Murder) as Sam, an odd introverted man the siblings "win" in a poker game and who changes their lives. He copes by escaping to the the scenes of old movies that play in his head and somehow, that is a perfect match for Joon (Hannah Elless), who navigates her schizophrenia and the two find the relationship they always have been looking for, but which they thought was impossible. 

Joon's brother, Benny (Claybourne Elder), struggles with this, but is it because he is protecting the sister he has cared for for 15 years following the death of their parents in a car accident, or is it because he resents the fact that she has found happiness when he has sacrificed his own?  He backed away from his own chance at happiness with waitress Ruthie (and engaging Tatiana Wechsler) to stay with Joon. Would a group home -- which Joon adamantly doesn't want -- be the best solution?

What Are the Highlights?
Finally, a musical with wit, warmth and whimsy. Cummings creates an environment where both reality and fantasy feel right at home. Pinkham is in his element as the Charlie-Chaplinesque loner whose character delights with a pure heart and true friendship while he quotes movie scenes (while giving impressions of the stars) and serving up food items prepared in fanciful ways. 

While light and breezy (with choreography by Scott Rink), the story manages to deal with serious issues through characters who are flawed, but very likable. Family and friendship are real winners here. I'd like to see this show make the leap to Broadway.

What Are the Lowlights?
The music by Nolan Gasser is pleasant if not memorable (except for the title tune which sticks). A poker-playing song seems a bit over the top. Some vocals seem stretched (though Natalie Toro, who wowed us in Broadway's Tale of Two Cities, gets a chance to soar vocally during a short solo number).

More Info:
Ensemble:
Conor Ryan as Sam at certain performances,Colin Hanlon as Mike, Paolo Montalban as Larry, Natalie Toro as Dr. Cortez/Mrs. Smail, Jacob Keith Watson as Waldo/Video Store Owner and Belinda Allyn.

Running time: two hours and 30 minutes with an intermission.

Benny and  Joon plays a limited engagement through Sunday, May 5, 2019 at Paper Mill Playhouse, 22 Brookside Drive, Millburn, NJ. papermill.org/show/benny-joon/

FAMILY-FRIENDLY FACTORS:
-- No content notes

  .

Off-Broadway Review: All Our Children

John Glover, Karl Kenzler and Sam Lila. Photo: Maria-Baranova

All Our Children
By Stephen Unwin
Directed by Ethan McSweeny 
Sheen Center, through May 12

By Lauren Yarger
What's It All About?
After an acclaimed run in London's West End, the Sheen Center for Thought and Culture presents the American premiere production of Stephen Unwin's new play, All Our Children.  It is Germany, 1941 and the Nazis are getting rid of children it considers to be a burden, like those with any handicaps or illnesses such as epilepsy, thanks to a program headed by Dr. Victor Franz (Karl Kenzler).  He runs a clinic where parents are told their children will receive care, but instead, the children are systematically exterminated.

The parents should be grateful for being relieved of their burden, according to Eric (Sam Lilia), Franz's SS agent masquerading as a doctor and the doctor's assistant. Not all are, however, especially Elizabeth (Tasha Lawrence), a mother who entrusted her son to the clinic's care over a year ago and who would desperately like to visit her beloved boy.

Franz's maid, Martha (Jennifer Dundas), is oblivious to what really takes place at the clinic, but she doesn't trust Eric, who hopes to create some good Arian stock by coupling with her 15-year-old daughter. The one person who speaks out against the atrocities is Catholic Bishop Von Galen (John Glover).

What Are the Highlights?
A glimpse at a little-known part of the Holocaust.
Unwin includes all the various perspectives -- Eric represents the regime, Franz believes what he is doing is justified, Martha has no clue, Elizabeth embodies the victims and von Galen is the moral compass. The result is a thorough look at the situation.

Set Designer Lee Savage's backdrop of towering file cabinets brings home the enormity of the numbers of files contained within them.

Lawrence is compelling in emotional swings that range from the polite, grateful woman who brings cookies to thank the nice doctor, to the grief-stricken mother who wants him held accountable.

What Are the Lowlights?
The script could use a rewrite. The first half hour drags and doesn't make clear what is happening. While Kenzler deserves and award for the "most realistic sounding cough," we get tired of other characters commenting on it. 
The topic of doctors making choices about who gets to live and die is relevant in the face of recent headlines concerning after-birth abortion and euthanasia of the elderly.

More information:
Von Galen was a real-life Catholic bishop who spoke out for the some 20,000 children and young persons who died at the hands of the Nazis.

Additional credits:
Lighting Design by Scott Bolman; Costume Design by Tracy Christensen; Sound Design by Lindsay Jones

The Sheen Center for Thought & Culture (www.sheencenter.org) is a New York City arts center located in NoHo that presents a vibrant mix of theater, film, music, art and talk events. A project of the Archdiocese of New York, The Sheen Center serves all New Yorkers by presenting performances and artists that reflect the true, the good, and the beautiful. Named for the late Archbishop Fulton J. Sheen, best remembered as an inspirational author, radio host and two-time Emmy Award-winning television personality, The Sheen Center reflects his modern-day approach to contemporary topics. The Sheen Center is a state-of-the-art theater complex that includes the 270-seat off-Broadway Loreto Theater,

All Our Children plays a limited five-week engagement through May 12 at The Sheen Center (18 Bleecker St. at the corner of Elizabeth Street, NYC) in the Black Box Theater. Performances are Wednesday and Thursday at 7 pm, Friday and Saturday at 8 pm, with matinees on Saturday at 2 pm and Sundays at 3 pm. There is a special Tuesday evening performance on April 30 at 7. 

Tickets are $65 and $80: SheenCenter.org; 212-925-2812

OPEN CAPTIONED PERFORMANCES - Thursday May 2 at 7 pm and Saturday. May 4 at 8 pm.  A service for patrons with slight to profound hearing loss. One LCD screen will be visible from any seat in a section of the theater, show what the actors are saying in real time. Assisted listening devices will also be available at all performances.

PARENT-FRIENDLY PERFORMANCES - Sun. May 5 at 3PM and Sat. May 11 at 2PM: At these performances, experienced caregivers will be available to look after neurodiverse children in two separate rooms for children aged 4 to 8 and 9 to 12+ so parents and caregivers can enjoy the show. Children of all abilities are welcome.

A GALLERY EXHIBITION COMPANION TO ALL OUR CHILDREN 
"Little Differences: The Portrayal Of Children With Disabilities Throughout History" on exhibit through May 3 examines the depiction of children with disabling conditions in a variety of formats across the ages. Whether appearing in works of fine art, literature, media campaigns, or in popular culture, these children were intended to rouse the audience to action. 

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

Off-Broadway Review: Fiddler on the Roof (in Yiddish) TOP PICK

The cast of Fiddler in Yiddish. Photo: Matthew Murphy
Fiddler on the Roof (in Yiddish)
Music by Jerry Bock
Lyrics by Sheldon Harnick
Book by Joseph Stein, based on stories by Sholem Aleichem
Yiddish translation by Shraga Friedman
Musical Staging and new Choreography by Staś Kmieć
Musical Direction by Zalmen Mlotek
Stage 42

By Lauren Yarger
A Yiddish translation of the much-loved musical telling the struggles of Tevye the milkman (a marvelous Steven Skybell) and his family in Tsarist Russia has moved to a new home at Off-Broadway's Stage and it probably is the best production of the musical you ever will see.

Fiddler, you may ask? How can it be that different from the other 100 versions we have seen and which have been presented on thousands of stages since the original production, with music by Jerry Bock, lyrics by Sheldon Harnick, and book by Joseph Stein, took Broadway by storm in 1964? I'll tell you.  It only takes a few moments to recognize it as the quintessential version of this musical you ever will experience. It's almost perfect in every way and feels like it's the version of this classic we have been waiting to see-- much like David Cromer's revival of Our Town became the standard against which any other productions now will be measured.

Yiddish, you may ask? Yes, this musical, expertly directed  by Joel Grey, is presented in Yiddish, with English and Russian supertitles projected on Beowulf Boritt's parchment backdrop. Most of us know the story pretty much by heart: Tevya struggles to uphold the traditions that have kept survival an option for his family and their little village of Anatevka.  And most of us can sing the familiar tunes like "Matchmaker," "Sunrise Sunset," "Do You Love Me?," "and "If I Were a Rich Man" by heart, so the translations of Shraga Friedman's adaptation aren't needed to follow the story as much as to provide reference. It's also fun to observe at times how details  vary from the traditional version: the dispute in tradition is over whether a she-goat or a he-goat had been delivered, not a horse or mule, for example. It's fascinating -- and still one of the best opening numbers of a Broadway musical ever staged. Staś Kmieć, who provides musical staging and new choreography, remains faithful to Jerome Robbins's original and iconic choreography.

Beowulf's set is minimal, yet descriptive in that the parchment panels forming the backdrop to daily life bear the word "Torah." The biggest set change occurs when the parchment is torn -- a visual image of a way of life being torn apart as Russian officials begin targeting Jews for deportation. This musical is personal and we all feel the wound.

For more, listen to the review here.

For more information, click here.

FAMILY-FRIENDLY FACTORS:
-- No content notes. Do your self a favor and see this one. It's as near-perfect a Fiddler as you'll see. I would go back again and I don't say that about every show.

Friday, April 5, 2019

Broadway Theater Review: Be More Chill

The cast of Be More Chill. Photo: Maria-Baranova
Be More Chill
Music and Lyrics by Joe Iconis
Book by Joe Tracz based on the cult sensation novel by Ned Vizzini
Choreography by  Chase Brock
Directed by Stephen Brackett

What if popularity came in a pill? Would you take it, no questions asked? In Be More Chill, achieving that elusive "perfect life" is now possible thanks to some mysterious new technology-but it comes at a cost that's not as easy to swallow. What could possibly go wrong? Blending the contemporary with retro sci-fi, this thrillingly exciting, comically subversive, and deeply felt new musical takes on the competing voices in all of our heads. And ultimately proves, there's never been a better time in history to be yourself-especially if you're a loser...geek...or whatever.


Full disclosure: I am friends with a number of investors in this show.

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

Broadway Theater Review: To Kill a Mockingbird

LaTanya Richardson Jackson and-Jeff Daniels. Photo: Julieta-Cervantes
To Kill a Mockingbird
By Aaron Sorkin, adapted from the novel by Harper Lee
Directed by Bartlett Sher
Shubert Theatre


Set in Alabama in 1934, Harper Lee’s enduring story of racial injustice and childhood innocence centers on one of the most venerated characters in American literature, the small-town lawyer Atticus Finch, played by Jeff Daniels. The cast of characters includes Atticus’s daughter Scout (Celia Keenan-Bolger), her brother Jem (Will Pullen), their housekeeper and caretaker, Calpurnia (LaTanya Richardson Jackson), their visiting friend Dill (Gideon Glick), and a mysterious neighbor, the reclusive Arthur “Boo” Radley (Danny Wolohan). The other indelible residents of Maycomb, Alabama are brought to life on stage by Frederick Weller (as Bob Ewell), Gbenga Akinnagbe (playing Tom Robinson), Stark Sands (as prosecutor Horace Gilmer), Dakin Matthews (playing Judge Taylor), and Erin Wilhelmi (as Mayella Ewell).

Ensemble features Baize Buzan, Thomas Michael Hammond, Ted Koch, David Manis, Aubie Merrylees, Doron JéPaul Mitchell, Jeff Still, Shona Tucker, and Rebecca Watson.

Shubert Theatre (225 West 44th St., NYC. 
tokillamockingbirdbroadway.com

FAMILY-FRIENDLY FACTORS:
-- God's name taken in vain
-- Language
-- Mature topics
-- "N" word

Gracewell Prodiuctions

Gracewell Prodiuctions
Producing Inspiring Works in the Arts
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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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