Merry Christmas and Happy New Year

Ashley Robinson, Mark Hartman, Jacque Carnahan and John Cullum in A Child's Christmas in Wales at Irish Rep. Photo: Carol Rosegg

Wishing you and yours a wonderful Christmas. We will be on vacation and back after the new year.

Off-Broadway Review: Marjorie Prime

Lois Smith,, Lisa Emery and Stephen Root. Photo: Jeremy Daniel

Which Memories Do You Want to Keep?

By Lauren Yarger
Before we launch into reviews for the large number of shows opening on Broadway (stay tuned in upcoming weeks for a preview of what’s coming up and reviews of what’s on stage) I want to make sure you know about an interesting Off-Broadway run over at Playwrights Horizons.

2015 Pulitzer-Prize finalist Marjorie Prime, written by Jordan Harrison (Maple and Vine, “Orange is the New Black”) is getting an extended New York premiere directed by Anne Kauffman. It would be easy to miss it in the burst of big openings down the street on Broadway and that would be a shame, because quieter, thoughtful pieces like Marjorie Prime can be some of the most satisfying times in the theater.

The always excellent Lois Smith stars as Marjorie, an 85-year-old woman who engages a robot to help her remember her departed husband, Walter (Noah Bean). This artificial intelligence unit (or Prime) looks like her husband in his youth and is programmed to remember stories about how they met and their life together.

Her son-in-law Jon (Stephen Root – you’ll know him as the stapler guy from the movie “Office Space”) thinks it’s a great idea and writes down stories when Marjorie shares them to help Walter be – well, more like Walter. And sometimes, he adds a little information to make the memory even more pleasant.

Marjorie’s daughter, Tess (Lisa Emery) is more skeptical of the whole Prime thing, however.  The idea of sharing everything online via social media tools that know our likes and dislikes and what we want before we know ourselves is a little unsettling, she thinks. 

More unsettling is the emerging theme of what makes a memory real and which ones do we really want to remember? Marjorie has forgotten the loss of her troubled son. Is that really such a bad thing? Does Walter really need to be programmed to know about him and remind Marjorie of him? Tess, who still remembers her brother’s death and the fears surrounding it isn’t comforted by being able to remember, so why make her mother relive them?

When memories are lost, or altered, are they any less real? And if we had the chance, which memories would we choose to keep or forget – and why? These are some questions probed by Harrison.

The ensemble gives fine performances in the thought-provoking piece, which plays out on a lime-green apartment set (design by Laura Jellinek) bland enough to allow lighting designer Ben Stanton to focus on characters and the creepy nature of what is taking place. The plot is more intellectual than fast-paced action in this 90-minute, no intermission play, but Kauffman’s taut direction doesn’t allow it to sound boring. Harrison’s script also keeps the subject from veering into science fiction.

Marjorie Prime is extended through Jan. 24 at Playwrights Horizons,  416 West 42nd St., NYC. Performances are Tuesdays and Wednesdays at 7 pm; Thursdays and Fridays at 8 pm; Saturdays at 2:30 and 8 pm and Sundays at 2:30 and 7:30 pm. Tickets are $75-$95: www.TicketCentral.com; (212) 279-4200. 

Broadway Theater Review: King Charles III

Tim Pigott-Smith, Photo: Joan Marcus

The Next Royal Coronation Isn’t in Line With What You’d Expect

By Lauren Yarger
Royal watchers, beware!

One of the latest transfers to Broadway from London’s West End is all about William and Kate, Prince Harry and other members of England’s royal family, but don’t be deceived. King Charles III is a rather dark drama about what happens when Prince Charles prepares to take over as King following the death of his mother, Queen Elizabeth II.

In the midst of a flurry of new show openings on Broadway, I didn’t do my homework on this show before arriving at the Music Box Theatre, where Set and Costume Designer Tom Scutt has done a nifty job of blending stone palace walls and platforms on stage with the theater’s actual columns and crystal light fixtures. Theatergoers feel as though they really are enjoying a royal audience.

The artwork for the show, depicting Prince Charles with his mouth taped shut, along with the subtitle “A Future History Play” made me think I was attending a comedy. After all, when a staging about the death of a queen who is still sitting on the throne wins the Olivier for Best New Play, it can only be a parody, right?

Wrong, I immediately found out. This two-hour and 30-minute play by Mike Bartlett is quite serious, and presented in blank verse to give it a modern Shakespeare feel (as all tragedies about kings should be). It jolts away any expectations that humor is the playwright’s intention.

Tim Pigott-Smith (TV’s “The Jewel in the Crown”) reprises his role as troubled Prince – now King—Charles, who has no idea how to reign because his mother has ruled for so long that he never really got a chance to see what he could accomplish before being an old man himself.  And no one really wants him to be king any way, it seems. Camilla (Margot Leicester) is more than willing to take her place on the throne beside her husband, but she’s not exactly popular either.  And there’s an annoying ghost of Charles’ first wife, Diana (Sally Scott), who keeps showing up to complicate matters (very Shakespearian).

The king’s first meeting with Prime Minister Evans (Adam James) doesn’t go so well. Charles is reluctant to sign a bill that would restrict freedom of the press. The King, really doesn’t get a say, Evans tells him. He is just supposed to sign whatever the government passes…. Charles disagrees and comes up with a surprising solution that triggers an unprecedented crisis for the monarchy.

Prince Harry (Richard Goulding) is of little help – he gets pushed further away from the throne every time his brother has a child, so he turns his attentions to parties and having fun. His latest love interest is Jess (Tafline Steen), an anti-establishment artist type who definitely doesn’t fit in at Buckingham Palace. Harry wants to renounce any claim to the throne and live life as a commoner with her.

Meanwhile, Prince William (Oliver Chris) does have a vested interest in the legacy his father leaves him as the next monarch, so he steps up to be a mediator between Charles and his subjects who are in revolt. Will is manipulated into further action by his wife Kate (Lydia Wilson), whose stunning good looks and charming ways with the press mask the fact that this commoner-turned-Royal might just be the most ambitious of all of the House of Windsor characters.

Enhancing the interesting production is Director Rupert Goold’s punctilious casting of solid actors who look very much like the real-life people they are portraying. In addition, musical composition by Jocelyn Pook helps set the mood.

While the story held my interest, I couldn’t shake the feeling that all of this was somewhat disrespectful to the queen and her family.

King Charles III reigns at the Music Box Theatre,  239 West 45th St., NYC through Jan. 31. Performances are Tuesday and Thursday at 7 pm; Wednesday and Saturday at 2 and 8 pm; Friday at 8 pm; Sunday at 3 pm. Tickets are $37 - $149: kingcharlesiiibroadway.com

Cast:

Tim Pigott-Smith….  King Charles III

Anthony Calf…. Mr. Stevens

Oliver Chris…. William

Richard Goulding…. Harry

Nyasha Hatendi…. Spencer, Nick, Sir Gordon

Adam James…. Mr. Evans

Margot Leicester…. Camilla

Miles Richardson…. James Reiss

Tom Robertson…. Cootsey, Speaker of the House of Commons, Sir Michael

Sally Scott…. Sarah, ghost, TV Producer

Tafline Steen…. Jess

Lydia Wilson…. Kate

Peter Bradbury, Lucas Hall, Rachel Spencer Hewitt, Gordana Rashovich and Harry Smith…. Ensemble.

Hamilton, Kinky Boots, other Cast Members Scheduled to Help Launch First BroadwayCon

Broadway is joining the popular  "con" movement and will bring fans together with industry professions for a three-day "BroadwayCon™" Jan. 22-24 at the New York Hilton Midtown.

Attendees will get an opportunity to meet and listen to actors, musicians, dancers, choreographers, directors, producers, writers, designers and more, all of whom will bring their experience, talent, stories and love of theater to the event.

Among the dozens of special guests scheduled to appear are Lin-Manuel Miranda, Jonathan Groff, Billy Porter, Gavin Creel, Leslie Odom, Jr., Anthony Rapp, Skylar Astin, Kerry Butler, Lonny Price, Philippa Soo, Hunter Bell, Melissa Errico, James Monroe Iglehart, Courtney Reed, Rebecca Luker, Ted Chapin (president, Rogers and Hammerstein Organization) as well as producers, directors, writers and choreographers from shows including Hamilton, Kinky Boots, Annie, The Elephant Man, If/Then, Hedwig And The Angry Inch, The Book of Mormon and many others. The most current listing can be found at BroadwayCon.com/guests.

The event will include panels, concerts, keynotes, performances, workshops, autograph and photo opportunities, meet-and-greets,  Q and As and more.

BroadwayCon is being produced in partnership with Playbill, with a portion of the proceeds from the event benefiting Broadway Cares/Equity Fights AIDS.

Passes can be purchased in advance at BroadwayCon.com/ for $250 for the full event or $125/day. Passes will also be sold at the door for $150/day. The Hilton is located at 1335 Avenue of the Americas, NYC.

On Broadway -- Lord of the Dance: Dangerous Games

Michael Flatley, Photo: Brian Doherty for Rapa Investments

Lord of the Dance: Don't Try This at Home....

By Lauren Yarger

If you haven't been able to catch Michael Flatley's last appearances with Lord of the Dance this fall on Broadway over at the Lyric Theatre, take heart. You might be ale to clog your feet over to your local box office for the pleasure as the show has recently announced a national tour.

Lord of the Dance: Dangerous Games kicks off its US tour  in Florida followed by stops in Washington DC, Philadelphia, Las Vegas and Los Angeles, among others (see schedule below).

Meanwhile, the Broadway engagement runs through Jan. 3. Flatley is the creator of Lord of the Dance which brought Irish Dance to the attention of theatergoers more than two decades ago. This version, "Dangerous Games" adds holographs, special effects lighting, dancing robots (giving the production a video-game feel) as well as world champion acrobats and Irish dancing to a score by Gerard Fahy.

The show reminds me a bit of Cirque du Soleil -- it's mostly visual, set to great music. There's a story in there -- basically good verses evil -- but it's not always easy to follow. Flatley proteges James Keegan, Morgan Comer and Fergal Keaney play the Lord of the Dance, who battles the evil Dark Lord (Tom Cunningham, Nial McNally and Zoltan Papp). A Little Spirit (Jess Judge) travels through time to help him.  Also dancing through the story are Saoirse (Erin Kate McIlravey, Nikita Cassidy, Caroline Gray), Morrigham (Andrea Kren, Brea McGaffey), Erin the Goddess (Sophie Evans) and a fiddlers (Giada Costenaro Cunningham, Valerie Gleeson).

The dancing is amazing. The number of taps per second astounds. Many years ago, inspired by one of the first Irish Dance shows, Riverdance (created and choreographed by Flatley), I purchased a video to learn how to do some of the dance moves. I remember struggling quite a bit to get my legs and feet to go to exactly the position my instructor demonstrated, and with each new step, I questioned my commitment. Finally, having mastered the eight steps, my instructor explained that we were now ready to put them all together. He demonstrated and said, "and that's one" as in the dance count of one.

"One?" I yelled incredulously at the TV monitor. All of those steps, it turned out were what I was supposed to be doing with my body, legs and feet on just the first count. I could only imagine the heap I would be in if there were eight or 12 counts of steps to accomplish to actually move from the spot on which I was standing. I quickly packaged up the VHS tape and gave it to a choreographer friend who said she'd always wanted to learn Irish dancing and that was the end of dreams of clogging across the family-room floor.

So I enjoyed, with personal empathy, the amazing footwork involved on stage at the Lyric. The precision is impressive. It's entertaining, if a bit drawn out and hard to follow, and Flatley himself joins the cast at certain performances to show that he still is at the top of his game as well. In 1998, at the age of 39, he exceeded his first Guinness World Record of 28 taps per second set in 1989 with a phenomenal 35 taps per second. My feet are VERY happy I gave that dance instruction tape away.

The New York engagement runs through Jan. 3. Tickets are $57.50 - $147.50: www.leisureconnect.com/lordofthedance.html; 800-745-3000; Box Office, 213 West 42nd St.

Full schedule of Lord of the Dance: Dangerous Games’ U.S. Tour is as follows:

Friday, February 19^th, 2016

Sunrise, FL (BB and T Center)

Sunday, February 21^th, 2016

Atlanta, GA (Phillips Arena)

Wednesday, February 24^th, 2016

Boston, MA (Citi Wang Theater)

Thursday, February 25^th, 2016

Uncasville, CT (Mohegan Sun Arena)

Friday, February 26^th, 2016

Washington D.C. (Eagle Bank Arena)

Sunday, February 28^th, 2016

Philadelphia, PA (Wells Fargo Arena)

Tuesday, March 1^st, 2016

Detroit, MI (Palace of Auburn Hills)

Wednesday, March 2nd 2016

Chicago, IL (Chicago Theater)

Thursday, March 3^rd, 2016

Independence, MO (Silverstein Eye Centers Arena)

Saturday, March 5^th, 2016

Dallas, TX (Verizon Wireless)

Sunday, March 6^th, 2016

Houston, TX (Revention Music Center)

Monday, March 7th, 2016

Cedar Park, TX (Cedar Park Center)

Wednesday, March 9^th, 2016

Loveland, CO (Budweiser Events Center)

Friday, March 11^th, 2016

San Diego, CA (San Diego Civic Theater)

Saturday, March 12^th, 2016

Phoenix, AZ (Comerica Theatre)

Tuesday, March 15^th, 2016

Los Angeles, CA (Microsoft Theater)

Thursday, March 17^th, 2015

Las Vegas, NV (Coliseum at Caesar’s)

Broadway Theater Review: The Color Purple

NOTE: Heather Headley will replace Jennifer Hudson May 10

Color Purple Revival May Be Better Than the Original

By Lauren Yarger

Alice Walker’s moving and haunting novel “The Color Purple” comes to life in a fresh new way thanks to Director John Doyle’s vision for the revival currently running on Broadway.

Originally a best-selling novel by Alice Walker, then a motion picture (starring Oprah Winfrey and Whoopi Goldberg in memorable performances), The Color Purple got a musical stage adaption a little over 10 years ago, with a fine book by Marsha Norman and music and lyrics by Brenda Russell, Allee Willis, Stephen Bray. It was surprisingly good – one of those times a favorite book or movie actually made the transition to the stage. This revival, however, has been stripped back, tightened and made even more vibrant (Doyle also designs the set) in the telling of a young African-American woman who finds herself after enduring years of hardship and suffering. 

One of the spotlights on why this version is so exciting is the knock-your-socks-off Broadway debut of its star, Cynthia Erivo.

Erivo, played the role of Celie in the Menier Chocolate Factory’s production of the show in 2013 and  commands the stage again here – despite playing some other powerhouse performances by Jennifer Hudson (Shug Avery) and Danielle Brooks (Sophia) – both of whom also are making their Broadway debuts in the production.

The story follows Celie from 1909 to 1949 in rural Georgia. Forced to give up children she conceives when her father, Pa (Kevyn Morrow) has his way with her, teen Celie’s only happiness comes from the love she shares with her sister, Nettie (Joaquina Kalukango). Pa marries Celie off to a mean, older man with a brood of children. She knows the man only as Mister (Isaiah Johnson) and if forced to put up with his unkempt house and children, his abuse – and his mistress, an entertainer named Shug Avery (Hudson).

But instead of hating each other, the women form a friendship and help each other cope. Meanwhile, Mister’s son Harpo (Kyle Scatliffe) marries an outspoken woman named Sophia (Danielle Brooks) who is not to be messed with -- Brooks' version of the song "Hell, No!" is a tour de force.

As the years go by, we see Celie develop and grow and eventually find a way out of her circumstances. Erivoa's rendition of "I'm Here" brought a standing ovation mid-show. Sophia, however, is defeated by a white dominated society making sure she is left with no hope or dignity -- well almost.

The triumph of the human spirit is palpable, solidified by soaring ballads and extraordinary performances. The faith of Celie and Nettie sees them through and the love they have for each other is a lifeline through years of separation.

If the original was good, this refined, re-envisioned version is even more exhilarating and rewarding. Look for Erivo to get a best actress nod (and Hudson and Brooks also might join her in the featured category.)

The Color Purple delights at the Bernard B. Jacobs Theatre, 242 West 45^th St., NYC. Performances are Tuesday and Thursday at 7 pm; Wednesday, Friday and Saturday at 8 pm; Wednesday and Saturday at 2 pm; Sunday at 3 pm. Tickets are $75 - $145: colorpurple.com; (800) 432-7250

Additional Credits:

Costume Design by Ann Hould-Ward, Lighting Design by Jane Cox, Hair Design by Charles G. LaPointe, Sound Design by Gregory Clarke, Musical Direction by Jason Michael Webb; Orchestrations by Joseph Joubert; Additional Orchestrations by Catherine Jayes. 

Additional casting:

Phoenix Best, Dwayne Clark, Lawrence Clayton, Carrie Compere, Patrice Covington, Adrianna Hicks, Bre Jackson, Grasan Kingsberry, Kevyn Morrow, Ken Robinson, Antoine L. Smith, Carla R. Stewart, Akron Watson and Rema Webb…. Ensemble

FAMILY-FRIENDLY FACTORS:

-- God's name taken in vain

-- Homosexuality

-- Mature language and themes

Broadway Theater Review: A View from the Bridge

Phoebe Fox, Mark Strong and Nicola Walker. Photo: Jan Versweyveld

A Different View of A View from the Bridge

By Lauren Yarger

Ivo van Hove is fast becoming one of my favorite directors. Anyone who can take a play like Arthur Miller's  A View from the Bridge and make it riveting, to me is a director to watch.

The play was revived on Broadway in 2010, but even Liev Schreiber and big-time film star Scarlett Johnasson weren't enough to make that story interesting for me. Every time I have read it or seen it I have wondered why people produce it. So I wasn't too excited to hear yet another revival was being staged this season (to coincide with the playwright's 100th birthday celebrations). But I'm glad it was.

This production comes to Broadway direct from two completely sold-out engagements in London, where it swept the 2015 Olivier Awards winning for Best Revival, Best Director, and Best Actor (Mark Strong), Van Hove's vision is drastically different. The characters are barefoot, to begin with, and walk around a stark cement-like set (designed by  Jan Versweyveld, who also does the Lighting Design) that evokes images of Greek tragedies -- or at least of the play Metamorphoses. And doesn't that seem appropriate?

To top that off, audience members are seated right up on either side of the stage for an up-close view of the bloodbath that overtakes the Carbone family in Brooklyn (and I do mean literal bloodbath -- that cement structure turns out to have a more sinister purpose than just  holding water...).

Eddie Carbone (Mark Strong) struggles with an inappropriate attraction to his young niece and ward, Catherine (Phoebe Fox). His wife, Beatrice (Nicola Walker) is aware of it and tries to help her niece gain some independence from under Eddie's watchful eye.

He doesn't approve when she starts dating Rodolpho (Russell Tovey , The History Boys), a cousin of Beatrice's, who along with his brother, Marco (Michael Zegen), arrive in the US (illegally) to find work with Eddie, who is a longshoreman.

Tragedy ensures when Eddie is unable to get a grip on his feelings about Catherine. Richard Hansell, a member of the original Young Vic company, reprises his role as Louis, a friend of Eddie's. Rounding out the cast are Michael Gould as Alfieri and Thomas Michael Hammond as Officer.

I might not be exactly sure why all the characters are barefoot, but I'll tell you I was engaged thinking about it for all two hours -- and even after I left the theater -- something I can't say about any other  versions of the play I have seen. I usually don't tend toward avant-garde theater, which some might think this is -- messing with a classic, after all -- but in this case, I say well done.

A View from the Bridge plays at the Lyceum Theatre, 149 West 45th St., NYC through Feb. 21.

Additional credits:
Costume Design by An D’Huys, Sound Design by Tom Gibbons.

FAMILY-FRIENDLY FACTORS:
-- God's name taken in vain
-- Mature themes