Merry Christmas, Happy New Year

We are on vacation until Jan. 8. Wishing all of our readers a blessed Christmas, the joys of the holiday season and a very happy New Year!

Quick Hit Theater Review: The Great God Pan

The Great God Pan
By Amy Herzog
Directed by Carolyn Cantor
Playwrights Horizons

What's It About?
The world premiere of the newest play by Amy Herzog (4,000 Miles, Belleville) explores possible sexual abuse of a character when he was a child. Jamie (Jeremy Strong) is leading what he thinks is a happy life with a new job as a writer at a magazine and terrific girlfriend, Paige (Sarah Goldberg) until a reunion with childhood friend, Frank, (Keith Nobbs), that looses his troubles into the world. Frank was the strange kid who always had tried to tag along with him. Jaime doesn't have a lot of memories their childhood together, but he obviously is uncomfortable in the present with Frank, who is tattooed, a homosexual and who has served time in prison. His discomfort goes to a new level when Frank explains that he is bringing charges against his father, a Sunday school teacher, who sexually abused him when he was a boy. The man also has admitted that the abuse might ave included Jaime and Frank wants him to join the lawsuit. Jamie denies that he was one of victims, but counselor Paige's description of symptoms of adults repressing abuse seems to fit him and he starts to wonder.

His mom, Cathy (Becky Ann Baker), seems unsurprised by the revelation that Frank's father may have been a pedophile and also oddly unmoved. Jaime's dad, Doug (Peter Friedman) has a different reaction, however, and tries to help his son. Jamie's old babysitter Polly (Joyce Van Patten), old and suffering from memory loss, doesn't provide too many answers, but the childhood memories Jamie does have, seem to revolve around her "scratchy" couch and trips down to the creek where she would recite the poem The Great God Pan. One trip was traumatic, but he can't remember why.

What are the Highlights:
Tautly directed, Strong gives a gripping performance of a man desperately at odds with himself -- the journalist, trying to remain detached as he collects information, and a man whose emotions have been shattered. At one point, when Paige confronts him about the future of their relationship and his inability to embrace her unexpected pregnancy, one look at Strong tells you every emotion the character is fighting and that he is losing the battle. A brilliant stage moment. The set (Mark Wendland, design) also helps tell the story -- green woods surround the action in multiple dimensions, almost like the deeply buried memory of those woods by the creek.

What are the Lowlights?
Herzog leaves a lot of questions unanswered (the play is brief -- just 85 minutes). There is a subplot involving Paige's counseling sessions with a bulimic teen, Joelle (Erin Wilhelm), that seems undeveloped and unconnected to the rest of the plot except for the fact that she's exhibiting symptoms of deeper hidden issues, too, and Paige seems as unable to help her as she is Jaime.

More information:
The Great God Pan is extended  Off-Broadway at Playwrights Horizons, 416 West 42nd St., NYC, through Jan. 13. Tickets: http://www.playwrightshorizons.org/shows/plays/great-god-pan/.

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

Quick Hit Theater Review: Golden Boy

Tony Shalhoub, Seth Numrich, and Danny Burstein. Photo: © Paul Kolnik

Golden Boy
By Clifford Odets
Directed by Bartlett Sher
Lincoln Center Theater's 75th Anniversary Production

What's it About?
A cast of 19 revives Clifford Odets' story about a violinist who gives up a chance at a musical career for fame as a boxer at the Belasco Theatre, where the play premiered in 1937 (and you might also know the 1939 movie starring William Holden and Barbara Stanwyck). Joe Bonaparte (Seth Numerich) is one of New York's most promising violinists -- a great source of pride for his Italian immigrant father (Tony Shaloub, TV's "Monk"), brother, Frank (Lucas Caleb Rooney), sister, Anna (Dagmara Dominczyk) and her husband, Siggie (Michael Aronov), the precursor of a younger "entitled" younger generation, who wants someone to provide him with a cab so he can make a better living and support his wife and raise a family (when he isn't hitting her). Joe has dreams of fame and fortune, however, gets his chance when he takes the place of a boxer in the ring. Tom Moody (Danny Mastrogiorgio) becomes his manager, but he, trainer Tokio (Danny Burstein) and fight promoter Roxy Gottlieb (Ned Eisenberg, who adds some needed comic relief), feel that Joe's potential is hurt by his refusal to injure the hands needed for paying his instrument. Warnings about that are repeated often by his father, who is afraid his son will end up like fighter Pepper White (Brad Fleischer), an obviously brain-injured boxer who's washed up at the age of 29. Joe finally decide to trade strings for rings, rejects his father and allows gangster Eddie Fuseli (Anthony Crivello) to buy a piece of him in the hope that he can provide a path to greater fame and fortune. Joe also gives in to his passion for Tom's mistress, Lorna Moon (Yvonne Strahovski). The two fall in love and Joe begs her to run away with him, despite the fact that Tom divorces his wife so he can marry her.

What are the Highlights?
Strong performances. Director Bartlett Sher ingeniously employs silent vignettes between scene changes that extend the development of characters and set up the plot. Violin music, sporadically played subtly in the background underscores the heartbreaking decisions Joe makes (Peter John Still and Marc Salzberg, sound design). Towering apartment buildings loom over the action which is set up by sparse props (Michael Yeargan, set design) and Catherine Zuber designs beautiful period suits for Lorna to wear. Shaloub is always a treat on stage.

What are the Lowlights?
While the play raises good questions about morals and what's really important in life, it is of its era -- male heavy in cast and content and degrading of its women. Lorna, the one female with any substance, apparently was a prostitute before becoming a mistress, before becoming a two-timer. We're supposed to be moved by the fact that she is reluctant to hurt Tom, but she's just another woman completely deifined by the men around her.

In addition, the other female character, apparently is happy to be in abusive relationship:

"You hit your wife in private, not in public," her father advises Siggy (yet he is squeamish about the hitting that takes place in the ring).

"He can hit me anytime he likes," is her response.

Two references also are made to men having "stables" of women. What is more upsetting than 1937's commonly accepted viewpoint of women having little value is a 2012 audience finding it all funny and laughing heartily.

Another lowlight: smoke from herbal cigarettes is pretty overwhelming on the sinuses. The play is a bit on the long side at about three ours with two intermissions.

More information:
Golden Boy plays at Broadway's beautiful Belasco Theatre, 11 West 44th St., NYC. Tickets: http://www.lct.org/showMain.htm?id=211.

Christians might also like to know:
In addition to situations already described
-- God's name taken in vain

Theater Review: Dead Accounts

Dead Accounts
By Theresa Rebeck
Directed by Jack O'Brien

What's it About?
Katie Holmes and Norbert Leo Butz star in Broadway's latest from Theresa Rebeck (The Seminar, The Understudy and creator of TV's "Smash") in a story about whether you really can go home again. New York banker Jack (Butz) unexpectedly returns to his Cincinnati home, and while sister Lorna (Holmes) is happy to see him, she suspects something's up. Jack just isn't acting right. He's agitated and jumpy and keeps making jokes about having killed his wife, Jenny (Judy Greer), who isn't too popular with the family. Mom Barbara (Jayne Houdyshell), distracted with taking care of Jack's sick dad, barely notices him and old friend, Phil (Josh Hamilton) is blinded by his unspoken love for Katie. When Jenny shows up with news that Jack is a wanted man, questions of ethics and family loyalty come into play.

What are the Highlights?
Butz gives a compelling performance as the deeply conflicted and morally corrupt Jack. Holmes proves she is more than just Hollywood Box Office draw by holding her own as Butz' foil. Rebeck's story is set way outside of the theater world in which she usually writes, so this is a nice change of pace. There's a significant transformation of the set (David Rockwell, scenic design) and some conversation-starting dialogue about religion and morals.

What are the Lowlights?
Some odd freeze-frames in between scenes and annoying glares (David Weiner, lighting design).

More information:
Dead Accounts runs through Feb. 24 at the Music Box Theatre, 239 West 45th St., NYC.Tickets: http://www.deadaccountsonbroadway.com/.

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

What To See and Do This Holiday Season in New York

Rockefeller Center

Top Picks for This Holiday Season
By Lauren Yarger
It's that time of year when so many of you write to ask what you should see when you visit New York City for the holidays. Well, in the city that never sleeps, there are endless choices of things to do and see, but I will list a few TOP PICKS here to help you decide where to spend your entertainment dollar (click on the title to read the full review).

On Broadway:

A Christmas Story the Musical.
If you love the movie about Ralphie and his overwhelming need for a BB gun one Christmas back in 1940, you will love this terrific musical based on the Jean Shepherd classic. The music and lyrics by Benj Pasek and Justin Paul are catchy. Dan Lauria stars as Shepherd. At the Lunt-Fontanne Theatre, 205 West 46th St. where it runs through Dec. 30. Tickets: 800-745-3000, 877-250-2929; http://achristmasstorythemusical.com/tickets.

The Mystery of Edwin Drood
Murder most foul -- and most funny takes place with a different ending every performance as determined by audience vote. Chita Rivera is among the suspects in Roundabout Theatre Club's revival of this Tony-Award winning musical by Rupert Holmes with choreography by Warren Carlyle. Extended through March 20 at Studio 54, 254 West 54th St. Tickets: 212-719-1300; www.roundabouttheatre.org.

Nice Work if You Can Get it
Starring Matthew Broderick and Kelli O'Hara with songs by George and Ira Gershwin and a fun book by Joe DiPietro (Memphis). You can't help but smile. At the Imperial Theatre, 249 West 45th St. Tickets: 212-239-6200; 800-432-7250.

Peter and the Starcatcher
The prequel to Peter Pan, this imaginative and witty play by Rick Elice is staged with fabulous sets and costumes to take us on a voyage we wish will never end. At the Brooks Atkinson Theatre, 256 West 47th St. Tickets: 800-745-3000.

Once
Last year's winner of the Tony for Best Musical, it's wonderful theater experience based on the movie of the same name. Composing team Glen Hansard and Marketa Irglova won the Academy Award for the song "Falling Slowly."  Guy meets girl who helps him with his music career in Ireland (the set is designed to feel like a pub). At the Bernard B. Jacobs theatre, 242 West 45th St. Tickets: 212-239-6200 or 800- 432-7250.

War Horse
One of the most gripping, emotional theatrical experiences you can have. Based on the children's book by Michael Morpurgo about a boy and the horse he loves at the time of World War I in England, this Tony Award winning production features artistry by the Handspring Puppet Company that will have you convinced there are real horses grazing and galloping on stage. Gallop over to the Vivian Beaumont Theatre at Lincoln Center , 150 West 65th St, where it runs through Jan. 6.


Off Broadway

Vanya, Sonia, Masha and Spike by Christopher Durang at Lincoln Center's Mitzi E. Newhouse Theatre is one of the best things I have seen in a long time. Funny, funny funny. It's a a light-hearted tribute to Chekhov starring David Hyde Pierce, Kristine Nielsen and Sigourney Weaver as siblings. Through Jan. 13 at the Mitzi E. Newhouse, 150 West 65th St. http://lct.org.

Tribes extended through Jan. 20 at the Barrow Street Theatre. Strong performances in a story about a deaf man and his relationships with his hearing family and a woman who introduces him to the world of sign language. While the play is very good, I could recommend it solely because it is directed by David Cromer. If you are in the city and something he has directed is playing, go see it. At the Barrow Street Theatre, 27 Barrow St., off 7th Avenue South in the Village. http://tribestheplay.com/

Water By The Spoonful last year's surprise Pulitzer prize winner by Quiara Alegría Hudes is now in previews at Second Stage for a run Jan. 8-27. I was one of the lucky one who got to see it in Connecticut where it had its world premiere at Hartford Stage (the review link is for that production). I won't see it at Second Stage (they don't invite Drama Desk critics to review), but the play is good enough that I feel confident recommending it. Second Stage Theatre is at 305 West 43rd St. http://www.2st.com/.

The Great God Pan The world premiere of Amy Herzog's play about the unleashing of unpleasant childhood memories. Jeremy Strong's compelling portrayal is reason enough to see this show, but I can recommend just about everything at Playwrights, my favorite Off-Broadway theater. Any time you are in the city, check out what is on their stage. Best value for your buck and ask them about their babysitting service. Extended through Jan. 13 at Playwrights Horizons, 416 West 42nd St. http://www.playwrightshorizons.org.


For the Kids:
OK, I realize that most of the selections above are probably not exciting (or appropriate)entertainment for kids -- they are just the TOP PICKS in my opinion.  Here are links to reviews for some shows your kids, depending on their ages,  might want to see. As always, Reflections in the Light  is the only place you can find a review with information about language and content from a Christian perspective (added at the end).
Annie
Bring it On
Elf (this review is from the previous incarnation on Broadway)
Newsies
Rock of Ages
Spider-man Turn Off the Dark
How the Grinch Stole Christmas (at Madison Square Garden) and Wicked -- these  opened on Broadway before we started reviewing. If you want information, send an email to masterworkproductions@yahoo.com.

Other stuff to do:
There are the obvious tourist attractions like Rockefeller Center, Radio City Music Hall with the Rockettes kicking up their popular Christmas Spectacular, the Empire State Building, Times Square, Central Park, the World Trade Center site, etc. Here are two unique offerings that will help you understand the city and entertain you at the same time:

Margaret Copeland and Kevin James Doyle. Photo Courtesy of Jim Randolph.

How to Be a A New Yorker
This dinner theater presentation features comedians Margaret Copeland and Kevin James Doyle, both also certified tour guides, in their lively and tongue-in-cheek look at how tourists can learn to be real New Yorkers.

Directed by Robert Ross Parker, Copeland and Doyle guide us through the history of New York in three parts, surrounded by skits involving video (set and projection design by Nick Francone), quick character and costume changes (Janel Clingenpeel, costume design) games like "Is it Safe?" and audience participation -- all in just about an hour. A buffet lunch or dinner of salad, pasta and chicken cacciatore is provided starting about half an hour before show time.

The presentation, downstairs at Sophia's, 221 West 46th St. is so popular, that it has been extended through March 30. Performances are Thursday and Friday evenings at 7:30 with matinees Saturday at 2 pm. Matinee tickets are $45 (which includes lunch) and evening performances are $55 (including dinner), and are available by calling 212-352-3101 or through www.How2BaNewYorker.com.

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

The Ride -- an electronically interactive tour of New York City on motor coaches has announced holiday schedules and pricing.

The Ride, on five motor coaches, has played months of sold-out, multi-million-dollar, state-of-the-art tours of the Midtown Area and more than 70,000 customers have enjoyed the 4.2-mile journey that has been termed “a Passport to New York City.”
 
The buses are specifically designed theatrical vehicles; the tallest allowed by federal law, fitted with stadium-style seating that orients the 49 participants sideways looking through the massive windows that deliver New York as the most successful Broadway show on earth.

The coaches are equipped with surround sound, 3,000 LED lights and 40 video screens. They are, in essence, rolling state-of-the-art theatres. External speakers and lighting allow riders and on-board performers to interact with street performers as well as anyone else they pass on the street.

I took a friend, in New York for the first time, on one of the tours. We laughed a lot as we cruised around Times Square seeing attractions like Carnegie Hall, Grand Central Station and the Chrysler Building. Two tour guides bantered back and forth and gave points to participants for their city knowledge while giving odd bits of information about the sights and interacting with "New Yorkers" along the route. There was a guy already staking out his position in Times Square for New Years, a break-dancing package delivery guy,  singing commuters and an actress lost on her way to an audition (the performers, surprisingly, are very talented.)

While I wouldn't recommend this bus ride for someone looking for a serious, informational tour of the city, it is a lot of fun for groups of friends or families in between shows or shopping and provides a unique vantage point of the city (and a place to sit for about an hour and 15 minutes). Special holiday versions of The Ride also are available through Dec. 30.

Tickets are $50 -$74 and are available by calling 866-299-9682 or at the Box Office located at Madame Tussauds (immediately to your left in the lobby), 234 West 42nd Street in Times Square. Groups: 212-244-2551 (x155). Buses leave from the corner of West 42nd Street and 8th Avenue (or somewhere fairly close to that). Seating is not assigned.

Dance Ministry Brings Nativity Story to Manhattan

Nativity: Birth of a King features music, dance and spectacle will bring themessage of Christmas to the Gerald W. Lynch Theater at John Jay College at the northern tip of  Broadway.

Meditating profoundly on the birth of Christ, the joyous drama moves audiences with an original portrayal of the central event of Christian history. Produced by New Rochelle-based Dance Ministry Institute (DMI) and featuring original choreography by DMI founding director Robert Evans, Nativity pays tribute to the miracle of the incarnation, the universal power of faith and the explosive talent of an inspired local dance ministry.

“Since 2001 the primary mission of DMI has been to proclaim the Gospel of Jesus Christ and assist in reclaiming the arts back to the Kingdom of God,” Evans. said “Bringing our Christmas show to the heart of the Theater District is a blessing and the culmination of a dream.”

 

Evans’s choreographic works have ministered to people throughout the U.S. and the Caribbean over the last two decades, including the Bahamas Faith Ministries (Nassau, Bahamas); Christian Cultural Center (Brooklyn, New York); World Changers Church International (College Park, GA); and The Potter’s House (Dallas, Texas). A native of St. Louis, his dance ministry roots began with the Harlem Tabernacle Dance Ministry (Harlem, NY) where he served as the assistant director from 1991-2001.

 

Information: Lynch Theater at John Jay College, 524 West 59th St. (between 10th and 11th avenues), NYC. Performances will be held on Saturday, Dec. 15 at 4 and 8 pm and Sunday, Dec. 16 at 4 pm. Tickets for this limited engagement start at $40 and can be purchased online at www.thedmiexperience.com.

Backstage Cabaret Benefits Artists Striving to End Poverty

ASTEP/Artists Striving to End Poverty has gathered a group of acclaimed and award-winning New York theatre stars for Backstage for Christmas: A Holiday Cabaret, an intimate benefit concert to be presented in a unique backstage Broadway space 8:30 pm Monday, Dec. 17. 

The up-close cabaret — featuring Tituss Burgess (Jersey Boys, The Little Mermaid, Guys and Dolls), Jonathan Groff ("Glee," Spring Awakening), Derek Klena (Carrie, Dogfight, "American Idol" Hollywood Week Finalist), Lindsay Mendez (Godspell, Everyday Rapture, Grease), Julia Murney (Wicked, The Wild Party), Ali Stroker ("Glee Project") and more — will take guests to a private performance space within Broadway's Foxwoods Theatre.

Backstage for Christmas: A Holiday Cabaret is produced and music-directed by Drama Desk Award-winning orchestrator Mary-Mitchell Campbell, who is also the Founder and Executive Director of ASTEP. Appearing with pianist Campbell will be Damien Bassman (drums/percussion).

Backstage for Christmas: A Holiday Cabaret will take place through the Stage Door entrance of Broadway's Foxwoods Theatre at 214 West 43rd St. (between 7th and 8th avenues). Access to the show will provide a unique behind-the-scenes experience of a major Broadway theatre.

The new 2012 concert builds on the foundation of the popular ASTEP New York City Christmas benefit concerts created by Lynne Shankel and preserved on CD. This year, there's a different set of songs and celebrations — plus a few hits from the New York City Christmas album, which will be available for purchase at the event.

General admission is $75. For a $100 ticket, you'll also get a free copy of the New York City Christmas album.

All proceeds from tickets to the show and album sales go to supporting ASTEP's mission to connect performing and visual artists with underserved youth in the US and around the world to awaken their imaginations, foster critical thinking, and help them break the cycle of poverty.

Space is extremely limited. Tickets available by purchase online through Eventbrite at aholidaycabaret.eventbrite.com. Artist lineup is subject to change. For more information: davinia@asteponline.org; asteponline.org.