Broadway Theater Review: The Present with Cate Blanchett

The Present
By Andrew Upton, based after Platonov by Anton Chekhov
Directed by John Crowley
Barrymore Theatre
Limited Broadway engagement through March 19

By Lauren Yarger

Right around the time I saw The Present on Broadway, I cam down with a killer flu and didn't get to write this review right away. By the time I sat down to catch up, I realized I was going to have dig out my notes on this adaptation of Anton Chekhov's Platanov, because I couldn't remember anything about it except that it starred movie star Cate Blanchett.

Usually not being able to remember the plot of a show I just saw is a bad thing when it comes to review writing, but in this case, I blame it on Chekhov, who isn't a favorite.

In fact, I rather enjoyed Andrew Upton's new take on the story, directed by John Crowley, which had me laughing out loud through a lot of it. Now that is something else unusual -- laughing during Chekhov, something I haven't done since Christopher Durang's Vanya, Sonya, Masha and Spike. This play isn't a sarcastic takeoff, it's just a rethinking of the original which includes some rather amusing moments.

Then there is Blanchett. She's a regal force on a stage, and I thought her performance as Russian landowner Anna was bold and mesmerizing, even if I don't recall what it was about. I kept thinking Queen Elizabeth (whom Blanchett portrayed on screen in two excellent movies) had arrived and frankly, that's pretty exciting for a Chekhov play. Broadway vet Richard Roxburgh gives a strong enough performance as Mikhail Platanov, a disillusioned school teacher. The story is depressing (life has three paths: the wolves eat you, you eat the wolves or you eat yourself) and contains a lot of dismissive dialogue about women. If you really want details, check out Spark Notes.....

But don't miss a chance to see Blanchett in action. She makes even Chekhov watchable.

The Present runs through March 19 at the Barrymore Theatre, 243 West 47th At., NYC.  Performances are Tuesday and Thursday at 7 pm; Wednesday, Friday and Saturday at 7:30 pm; Saturday at 1:30 pm and Sunday at 3 pm. Tickets are $59-$159: thepresentbroadway.com.

Some bonus information:

Variously known as Platonov, Wild Honey, Fatherlessness and The Disinherited, Anton Chekhov’s first play was not discovered until 1920, some 16 years after the playwright’s death. Andrew Upton’s adaptation is set post-Perestroika in the mid-1990s at an old country house where friends gather to celebrate the birthday of the independent but compromised widow Anna Petrovna (Blanchett).

The show features the Sydney Theatre Company cast including Anna Bamford (Maria), Andrew Buchanan (Osip), David Downer (Yegor), Eamon Farren (Kirill), Martin Jacobs (Alexei), Brandon McClelland (Dimitri), Jacqueline McKenzie (Sophia), Marshall Napier (Ivan), Susan Prior (Sasha), Chris Ryan(Sergei) and Toby Schmitz (Nikolai).

Credits: Set and costume design by Alice Babidge,  lighting design by Nick Schlieper. Stefan Gregory is Sound Designer and Composer.

FAMILY-FRIENDLY FACTORS:
-- Lord's name taken in vain
-- Language
-- Sexual activity
-- Sexually-charged dialogue

Off-Broadway Theater Review: Finian's Rainbow

Ryan Silverman, the original Woody, and Melissa Errico. Photo: Carol Rosegg 

Finian's Rainbow

Music by Burton Lane

Book by E.Y. Harburg and Fred Saidy
Lyrics by E.Y. Harburg

Adapted and Directed by Charlotte Moore

Irish Repertory

Extended through Jan. 29

By Lauren Yarger

What's It All About?

A sweet revival of the Burton Lane musical adapted and directed by Irish Rep's Artistic Director Charlotte Moore starring Melissa Errico as Sharon, a young girl who in 1947, travels to Rainbow Valley, somewhere in the south named Missatucky. Her father, Finian McLonergan (a delightful Ken Jennings) wants a brand new life for his daughter and he thinks the stolen pot of gold he has brought with him from Ireland will make that happens. The pot's rightful owner, leprechaun Og (Max Sheldon) isn't happy about that, however, and follows Finian and Sharon to the USA. He finds love with Susan the Silent (Lyrica Woodruff, who performs Barry McNabb's ballet choreography gracefully in the small stage), sister of Woody Mahoney (Jeremiah James), who finds love with Sharon.

There are some racial messages in the relationships with local sharecroppers and law enforcement officials and the pot of gold wreaks some havoc by granting unexpected wishes.

The book by E.Y. Harburg and Fred Saidy is kind of a reach as far as the plot goes, but the racial undertones still are relevant. The musical gives us some classics, however, with lyrics for the Lane classic tunes penned by Harburg. They include “Old Devil Moon,” “How Are Things in Glocca Morra?” and “Look to the Rainbow.” 

Filling out the cast are William Bellamy as a Gospeleer, Alex May as Lilly Mae, Dewey Caddell as Senator Rawkins, Peyton Crim as Sheriff, Matt Gibson as Buzz Collins, Angela Grovey  as Sallyann and Din Griffin, Kyle Taylor Parker,  as Gospeleers. 

What Are the Highlights?

Errico is an enchanting Sharon and James is a handsome, dreamy voiced counterpart. Jennings is delightful as Finian, who seems almost a leprechaun himself. Set design James Morgan creates a lovely locale with columns, draping tree foliage and musical notes cascading across the backdrop. The four piece band is housed at the rear of the stage.

What are the Lowlights?

The band on stage -- the pianist, who is very animated and obviously loves the score she is playing, mouths the words to the songs and is distracting.

Sheldon is miscast and looks and acts nothing like a leprechaun, and the rather silly costume provided by Designer David Toser' doesn't solve the problem.

More Information:

Finian's Rainbow has been extended through Jan. 29 at Irish Repertory Theatre, 132 West 22nd St., NYC. Most performances are sold out. Performances are Thursday at 7 pm; Wednesday, Friday and Saturday at 8 pm; Wednesday, Saturday and Sunday at 3 pm. Tickets: 212-727-2737; www.irishrep.org.

Additional credits:

Lighting Design by Mary Jo Dondlinger; Music Supervision by John Bell; Dialect Coaching by Stephen Gabis.

FAMILY-FRIENDLY FACTORS:
-- God's name taken in vain
-- A spell is cast

Off-Broadway Theater Review: The Band's Visit TOP PICK

We Can All Just Get Along After All
By Lauren Yarger
What happens when you mix some lost Egyptian musicians with some Israeli residents bored with life in the dessert? With Director David Cromer as the chef, you get a recipe for a satisfying slice of life in the world premiere of David Yazbek's The Band’s Visit Off-Broadway at Atlantic Theater Company.

With a book by Itamar Moses, based on Erin Kolirin's screenplay for the film by the same name, and music and lyrics by Yazbek, The Band's Visit transports us to another world, yet tells a warm, refreshingly human story that feel close to home.

Tony Shalhoub stars as conductor Tewfiq, who in 1996 has traveled with Egypt's police band to play at a dedication ceremony for the new Arab Cultural Affairs Center. A mix up in the name of their destination lands the band in the middle of nowhere -- Bet Hatikva -- instead of the city of Petah Tikva.

Residents of the town welcome the travelers -- after all, this is the most exciting thing that has happened around there in a while. They share food at the local cafe owned by made-hard-by-life Dina (Katrina Lenk) and offer the men places to sleep in their homes until they can catch the right bus to their destination the next morning.

It's amazing what can happen in one night. Tewfiq and Haled (Ari'el Stachel), who is responsible for the mix-up, stay with Dina. Others stay with new father Itzak (John Cariani), whose wife is about to leave him, and in the restaurant itself. Dina decides to be spontaneous and takes Tewfiq out to show him the sites – if anything in this place can really be called a site -- and others head out on a roller-skating date. The evening is magical with regrets and confidences being shared and unexpected friendships taking root. And could Dina be feeling something more than friendship with her shy, widowed companion?

The action, expertly directed by Cromer, who works his usual magic, takes place on Scott Pask's bleak set -- as colorless as the lives of the people living there. A revolving stage moves the story from place to place partnered with subtle lighting shifts designed by Tyler Micoleau.  Choreography is by Patrick McCollum and movement is by Lee Sher.

The plot unfolds in songs full of emotion, yearning and heartfelt desires. One character, identified only as Telephone Guy, waits expectantly by a pay phone, frozen in time as he awaits a call from his girlfriend. The longing and need in his soul is visible. We don't know why he thinks she is going to call, or whether there is any chance she might, be we sure hope she will.

A nice touch is that, despite our expectations, politics really isn't a factor. How refreshing to think that people can come together and find kindness and generosity despite differences in politics.

The band members are just in name only. The actors actually play instruments -- sometimes as accompaniment, sometimes as part of the visit -- and later, a small concert delights the audience. Music Director Andrea Grody goes for raw feeling rather than perfect pitch and the effect sharpens the songs as part of storytelling rather than performance. The cast also features George Abud,  Bill Army, Erik Liberman, Andrew Polk, Rachel Prather. Jonathan Raviv, Sharone Sayegh, Kristen Sieh, Daniel David Stewart and Alok Tewari.

I didn't want the visit to end. "Monk" fans, this character won't remind you of your favorite TV detective, but you will want to see Shalhoub shine in this heartwarming, magical musical.

The Band's Visit plays through Jan. 1 at Atlantic Theater Company's Linda Gross Theater, 336 West 20 St., NYC. Performance times vary. Tickets are $90: atlantictheater.org/playevents/thebandsvisit; 866-811-4111.

Additional credits: 

Sound Design, Clive Goodwin; Projections content design, Maya Cirrocchi; Projections system design, Five OHM; Hair and Wig Design, Charles La Pointe; Language and Dialect Coach, Mouna R'miki.

FAMILY-FRIENDLY FACTORS:

-- No content notes.

Broadway Theater Review: A Bronx Tale

A Bronx Tale

Music by Alan Menken

Lyrics by Glenn Slater

Book by Chaz Palminteri

Choreography by Sergio Trujillo

Directed by Robert DeNiro and Jerry Zaks

By Lauren Yarger

It's another movie made into a musical, and one that I wasn't sure would make the transition, but there's something about the new Broadway version of A Bronx Tale that just won't let you give it a Bronx cheer.

Maybe it's the weight of some of the names behind this film-to-stage endeavor. Alan Menken (Aladdin, Beauty and the Beast and many others) composes the score with lyrics by Glenn Slater (The Little Mermaid, School of Rock, Sister Act). The book is by Chazz Palminteri, (who has a slew of film writing and TV acting credits under his belt), based on his one-man show A Bronx Tale which inspired his Academy-Award-nominated film of the same name. And that's before I mention that Robert DeNiro (who starred in the film) co-directs here with legendary director Jerry Zaks.  

If those names aren't enough to make us take notice, there is a 30-member cast on stage and that is before I tell you that the excellent Sergio Trujillo choreographs. 

So what's it all about? An older Calogero (Bobb Conte Thornton) reminisces about growing up in the Bronx in the 1960s. The young "C" as he is known, idolizes both his hardworking, bus-driver father, Lorenzo (a beautifully voiced Richard H. Blake), and Sonny (Nick Cordero), the local mobster who takes a liking to the boy (played by Hudson Loverro and at certain performances by Athan Sporer).  Lorenzo doesn't like the influence Sonny has on his son, or the fact that he can't compete when it comes to throwing around money and influence.

The lyrics and book seem a bit weak and unnecessarily telegraph action. The women characters -- C's mother, Lucia Giannetta, and Ariana Debose as Jane, Calogero's African-American girlfriend, who causes his some angst in an era that has the races separated outside of school and on opposite sides of the battle lines outside, for example,  -- are mostly window dressing. 

Getting more development are a slew of gangster types gathered around Sonny: Rudy the Voice (Joey Sorge), Eddie Mush (Jonathan Brody), JoJo the Whale (Michael Harra), Frankie Coffeecake (Ted Brunetti), Tony Ten-To-Two (Paul Salvatoriello), Handsom Nick (Rory Max Kaplan) and Crzio Mario (Dominic Nolfi).

Still, there's something moving about the relationship between Calogero and his father and that, plus a pleasing score by Menken and a run time of just over two hours keep us interested.

A Bronx Tale plays at the Longacre Theatre, 220 West 48th St., NYC. Performances are Tuesday, Wednesday, Thursday at 7 pm; Friday and Saturday at 8 pm;  Wednesday and Saturday at 2 pm; Sunday at 3 pm. Tickets are $50-$187: abronxtalethemusical.com; 212-239-6200.

More information:

The design team: Beowulf Boritt, Scenic Design; William Ivey Long, Costume Design; Howell Binkley, Lighting Design; Gareth Owen, Sound Design; Paul Huntley, Hair and Wig Design; Anne Ford-Coates, Makeup Design; Robert Westley, Fight Coordinator; Ron Melrose Music Supervision and Arrangements; Doug Besterman, Orchestrations; Jonathan Smith,  Musical Direction.

A Bronx Tale evolved from the one-man Off Broadway play written and performed by Chazz Palminteri in 1989. During the original Off Broadway and subsequent Los Angeles engagements, Robert De Niro saw the show, and brought the story and star Palminteri to the screen in 1993, making his film directorial debut in the process. Following the success of the film, Palminteri performed the one-man show A Bronx Tale on Broadway in the 2007-2008 Season.

FAMILY-FRIENDLY FACTORS:

-- The theater suggests this show is best for children 12 and up.

-- Language

-- Derogatory terms used for persons of color

-- Derogatory terms used for persons of Italian heritage

-- God's name taken in vain

-- Gun violence

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Apollo Theatre Offers New Holiday Tradition

Photo: Shahar Azran 

The Apollo Theater presents The Classical Theatre of Harlem’s production of The First Noel through Dec. 18. 

The Harlem-based holiday musical moves to the Apollo’s mainstage this year, as part of the institution’s “Holidays at the Apollo” programming. The musical features original music and re-imagined classic carols —ranging from pop to jazz to gospel — and follows three generations of a Harlem family affected by tragedy to tell a universal story of love and belonging.  

Book, music and lyrics are by Lelund Durond Thompson (founder, YellaFella Entertainment) and Jason Michael Webb (Motown: The Musical, Violet and The Color Purple), Steve H. Broadnax III (Dominique Morisseau’s Blood at the Root) directs and Brian Harlan Brooks (Motown: The Musical) is choreographer.

The company of The First Noel includes Brian D. Coats (as Skeeter; Ma Rainey’s Black Bottom), Tina Fabrique (as Grandmother Ethel; Ragtime; Bring In Da Noise, Bring In Da Funk), Ashley Ware Jenkins (as Noel; The Color Purple national tour), Donald King Jr (as Benny Raindrop), Lizan Mitchell (as Lou; So Long on Lonely Street), Ken Robinson (as Henry; 2015 revival, The Color Purple), Soara-Joye Ross (as Deloris; Les Misérables), with Nia Caesar and Zariah Singletary as Young Noel. The ensemble features James Alexander, Angela Birchett, Jesse Corbin, Darius Crenshaw, Tamara Jade Fingal, Ayana George, LaTrisa A. Harper, Adam Hyndman, Sarita Amani Nash, Drew Shade, Chawntá Marie Van, Tiffany Webb and Helen White.

The design team includes Dan Robinson (scenic design), Rachel Dozier-Ezell (costume design), Alan C. Edwards (lighting design), and Curtis Craig (sound and projection design).Andrew Lederman returns as musical director. 

PERFORMANCE SCHEDULE, TICKETS & BOX OFFICE INFORMATION

Tuesday, Dec. 13 at 7:30 pm (OPENING NIGHT)

Wednesday, Dec. 14 at 2 pm 

Wednesday, Dec. 14 at 7:30 pm

Thursday, Dec. 15 at 7:30 pm

Friday, Dec. 16 at 7:30 pm

Saturday, Dec.17 at 2 pm 

Saturday, Dec.17 at 7:30 pm

Sunday, Dec. 18 at 2 pm 

Performances of THE FIRST NOEL take place at the Apollo Theater Mainstage (253 West 125^th Street, Harlem, NYC).  The production is part of the “Holidays at the Apollo” family-friendly programming series. Recommended for ages 5+.

Tickets are available at The Apollo Theater Box Office: 212-531-5305 (253 West 125^th Street) and via Ticketmaster.com: 1-800-745-3000. Group Sales: 212-531-5355. Tickets are $30-$65. Apollo Advantage member pricing: $30 - $40. To learn more, visit: apollotheater.org/firstnoel

Off-Broadway Theater Review: Terms of Endearment

Molly Ringwald and Hannah Dunne. Photo: Carol Rosegg

Terms of Endearment

By Dan Gordon

Directed by Michael Parva

The Directors Company

Through Dec. 11

An Excellent Film-to-Stage Adaption So Good It Will Make You Cry

By Lauren Yarger

The final lines of dialogue were spoken, the stage went black and the entire audience was crying. Normally, this would be a director's worst nightmare, but when the play is Terms of Endearment, an audience full of sobs means a job well done.

The American Premiere, written by Dan Gordon, based on the book by Pulitzer Prize-winner Larry McMurtry ("Lonesome Dove") and the Oscar-winning screenplay by James L. Brooks, is getting a limited run by the Directors Company at 59E59 and there's definitely a shortage of tissues at the end of this tearjerker.

Gordon is a master of touching the emotions -- he brought us the terrific Irena's Vow on Broadway a gripping true tale of a woman who successfully hid Jews under the nose of the Nazis during World War II. Starring here is Molly Ringwald (OK, I was ready to shed tears already when I realized the teen who first came to our attention in the films  "Sixteen Candles" and "The Breakfast Club" is old enough to play the mother part -- where does the time go?). She gives a powerful performance directed by Michael Parva, who manages to assemble a cast that puts us in mind of the film's iconic stars without trying to imitate them.

Ringwald is a feisty and quirky an Aurora Greenway (think Shirley MacLaine), an overbearing mother who disapproves when her daughter, Emma (Hannah Dunne, and excellent actress who reminds us of Debra Winger), marries deadbeat philanderer Flap Horton (Denver Milord). The mother-daughter relationship is filled with many disagreements tempered by love through daily visits over the years until Emma and her family move to Iowa where Fla finds a teaching job.

Visits continue by phone and Aurora shares some of what is happening in her life in Texas, The longtime widow has found happiness with her astronaut neighbor Jeb Brown (Garrett Breedlove from TV's “Blacklist”), but it's complicated. Neither one expected to find a lasting relationship, especially Brown, who has made a career of having sex with a lot of younger women to feed his aging ego. (And gosh, Breedlove looks a lot like Jack Nicholson  -- wig and makeup design by Amanda Miller).

When Emma returns home, it's not for a happy reason: she has cancer and Aurora and Flap must somehow work out terms to get along so they can support Emma and make decisions about what will be best for the children. And Brown needs to step up to support Aurora. Jessica DiGiovanni rounds out the cast as Emma's best friend, Patsy.

This production really is a perfect representation of the popular film, played out on a multi-roomed stage with one set (designed by David L. Arsenault) with time passages projected above. Gordon's script captures all of the humor of the characters and the emotion of their relationships. I don't think I ever have heard such sobbing in the theater.

You can go have a cleansing cry while Terms of Endearment plays through Dec. 11 at 59E59, 59 East 59th St., NYC (but bring a packet of tissues-- I had to lend some of mine to the teens in my row who were sobbing their guts out). Performances are Tuesday through Thursday at 7 pm; Friday at 8 pm; Saturday at 2 and 8 pm, and Sunday at 3 pm. (No performance on Thanksgiving). Tickets are $25 - $70: www.59e59.org; 212- 279-4200.

FAMILY-FRIENDLY FACTORS:

-- God's name taken in vain

-- Language

Off-Broadway Theater Review: Dead Poets Society TOP PICK

The cast of Dead Poets Society, Jason Sudeikis, right. Photo: Joan Marcus

Dead Poets Society
By Tom Schulman
Directed by John Doyle
Classic Stage Company
Extended through Dec. 18

By Lauren Yarger
What's It All About?
A terrific stage adaptation of the film of the same name which starred Robin Williams (written by Tom Schulman adapted from his Oscar-winning screenplay) directed by the excellent John Doyle (Sweeney Todd, The Color Purple). Starring as inspiring teacher John Keating is Jason Sudeikis (a writer and cast member for TV's "Saturday Night Live"). It's 1959 and Keating arrives at Welton Academy, a traditional all-boys school in New England, where he quickly tells his English students to tear out the pompous introductions in their poetry books and start thinking for themselves. Carpe Diem (seize the day), he tells the boys who decide to revive the secret society to which Keating belonged when he was a student at the school: The Dead Poets Society. 

The boys sneak off to a nearby cave (expertly created by Lighting and Sound Designers Japhy Weideman and Matt Stine, respectively) to read poems, but also find a a safe place to explore their hopes and passions. The society includes:

• Neil Perry (Thomas Mann), a star student who can't find a way to communicate his desire to pursue a career in the theater with his overbearing father (Stephen Barker Turner)
• Geeky Steven Meeks (Bubba Weiler)
• Knox Overstreet (William Hochman), who pines in unrequited love for Chris (Francesca Carpanini)
• Rebellious Charlie Dalton (Cody Kostro) who pens an unauthorized article in the school paper (and then takes the punishment without giving up the names of his society members)
• Newcomer Todd Anderson (Zane Pais) who stutters, but who finds the ability to express himself through poetry
• Richard Cameron, Steven Meeks, Gerard Pitts, 

Keating's untraditional methods soon bring trouble with Headmaster Nolan (David Garrison) for both him and the boys. 

What Are the Highlights?

Doyle's staging is perfection. Set Designer Scott Pask provides a backdrop of looming book cases and a large back board, but has the actors use books to create setting. A pile of books on the floor becomes the desk on which students stand for the famous "Captain My Captain) scenes. The action plays to the audiences on all sides of the thrust-style stage on the floor, pulling us into the classroom. Suddenly dialogue is underscored by humming; songs shift mood. "Words and ideas change the world," and "Try never to think about something the same way twice," Keating tells us. Doyle obviously took both pieces of advice to heart and creates a brilliant work of art.

What Are the Lowlights?

A couple of performances weren't as sure, but I saw a preview, so I am willing to bet that rough edges will be smooth post opening.

More Information:

Dead Poets Society has been extended through Dec. 18 at CSC, 136 East 13th St., NYC. Performances are Tuesday, Wednesday, Thursday at 7 pm; Friday and Saturday at 8 pm; Saturday and Sunday at 3 pm. Tickets: classicstage.org; 212- 352-3101.

Additional Credit: Costume Design by Ann Hould-WardYou might recognizae Sudeikis from his SNL impersoniations of Joe Biden and Mitt Romney. 

FAMILY-FRIENDLY FACTORS:

-- God's name taken in vain

-- Minor language

-- Suicide