59E59 Theaters

Subterms

    More stories

    • 150 Shares169 Views

      in Theater

      Review: In ‘On That Day in Amsterdam,’ a Traveler Becomes a Tourist

      by

      Two young men wander the city before they both must say farewell and return to very different lives.Sammy’s parents used to rhapsodize about the trip they took to Paris once, before he was born. Hearing their stories made the city shimmer in his imagination, but the closest he’s ever gotten to it was on a nonstop drive across France.Hidden in the back of a truck, peering through a hole in its side, he glimpsed a highway sign that said Paris. Then the driver blew past it, on through the darkness toward Amsterdam.In Clarence Coo’s play “On That Day in Amsterdam,” that’s where Sammy is on the night in 2015 when he meets Kevin at a club. They are young and beautiful, something sparks between them, and they wake together the next morning in a houseboat on a canal. Outside, snow is falling.Sammy is Syrian and without a passport, hoping to reach safety in England but terrified of the journey across the water to get there. Kevin is American, not wealthy but privileged anyway, a college student traveling on the credit card his mother pays for.While both are scheduled to leave the Netherlands that night, they have very different notions of how precious it is to be passing through, even briefly. Sammy (Waseem Alzer), who is sweet, eager and daring in his vulnerability, wants to grab this day with both hands and go on a tourist adventure. Kevin (Glenn Morizio), who is callow, arrogant and incurious in ways that he will come to regret, eventually acquiesces.It’s a bit of a Richard Linklater, “Before Sunrise” setup: just-met lovers with mere hours to spend together in a glamorous foreign capital. And on the largest stage at 59E59 Theaters, the set by Jason Sherwood (a two-time Emmy Award winner) conspires with projections by Nicholas Hussong (a 2022 Tony Award nominee for his spectacular projections in “Skeleton Crew”) and lighting by Cha See to bring visual texture and depth to Sammy and Kevin’s ramble through Amsterdam.There is the nagging sense, though, that design is the tail wagging the dog in this Primary Stages production from Zi Alikhan — that the set’s transparent downstage screen, which frames the action, constrains the performers somehow, and that the copious projections, on that screen and another upstage, could have used some editing. Yes to the moody, abstract and dreamy, emphatically yes to the striped blocks of color that represent evening windows; no to the drably literal, which only gets in the way of the poetry that Coo is reaching for.The playwright, too, has also overwhelmed the show, with a surfeit of ideas jostling for limited oxygen. This is a quasi-romance and coming-of-age story set inside a refugee crisis in a world awash in bigotry. But it’s also about art as a necessary solace, which is what it provides to Sammy, who wants to take his mind off the peril he’s in by popping into some museums. Kevin, though, is a tortured would-be writer; the making of an artist is much on Coo’s mind as well.The play might be able to manage all of that, yet it also collapses time to usher in three famous former residents of Amsterdam: Rembrandt (Brandon Mendez Homer), Vincent van Gogh (Jonathan Raviv) and Anne Frank (Elizabeth Ramos). Anne, at least, fits the principal themes: She was both an artist and a migrant fleeing — and hiding from — danger. But these characters’ interstitial-feeling scenes fit awkwardly with the whole.The result is a play too overcrowded for fullness. What sticks in the memory is Alzer’s lovely Sammy, grasping at a few hours of normalcy, cherishing the chance to lose himself in throngs of tourists who, with their documents in order, are free to come and go.On That Day in AmsterdamThrough Sept. 4 at 59E59 Theaters, Manhattan; 59e59.org. Running time: 1 hour 30 minutes. More

    • 125 Shares119 Views

      in Theater

      ‘Hooded; or Being Black for Dummies’ Review: A Tragic Pageantry

      by

      Tearrance Arvelle Chisholm’s ambitious and sometimes metaphysical comedy playfully tries to tackle thorny issues at 59E59 Theaters.What defines Blackness? The idea that there might be a clear answer is absurd. But skin color is all it takes to land two diametrically opposed teenagers in the same jail cell. In the eyes of the law, at least, the connotations of race are obvious.The laughable and at times deadly assumptions that attend Black men in America are the subject of “Hooded; or Being Black for Dummies,” an imaginative and occasionally metaphysical comedy of identity by the playwright Tearrance Arvelle Chisholm. The production at 59E59 Theaters has the playful mood and aesthetic of an insightful and ambitious school project, traversing thorny terrain with deceptive simplicity.Marquis (Lambert Tamin) is splayed out on the ground playing dead, a pose he calls “Trayvonning,” after Trayvon Martin. “It’s a meme,” he explains, like planking or owling. Though his cellmate, Tru (Tarrence J. Taylor), doesn’t see the point of it, he’s not surprised to hear that Marquis was caught doing such nonsense with some white friends (in a cemetery, no less) and that only Marquis was arrested.“Typical,” says Tru, who embodies certain conventions associated with Blackness — fly kicks, street smarts, bravado — that Marquis utterly lacks. Adopted by a white mother (Tjasa Ferme), an arrogant lawyer who easily springs both boys from the town slammer, Marquis lives in Achievement Heights, where he attends an all-white academy. His mom thinks Tru would be a good (that is, Black) influence on her son and invites him to live with them (assuming that Tru comes from poverty and lacks sufficient parental care).Marquis’s classmates are caricatures of whiteness, affluence and ignorance — the girls are all blond and selfie happy, and his best friends, Hunter (Zachary Desmond) and Fielder (Henry James Eden), are troublemakers who make him the scapegoat. Marquis fits right in with his peers, with their retro-preppy uniforms and lofty life goals (costume design is by Latia Stokes). But if racial identity is a performance, Tru considers that Marquis doesn’t have the right script. So Tru writes one, called “Being Black for Dummies,” that winds up in the wrong hands.“Hooded” demonstrates a voraciousness for forms and ideas. Chisholm deploys an array of devices — scenes that reset and repeat, a light-up laugh sign — that disrupt the narrative rhythm and provoke indirect associations. Greek theater looms large (the set design, of deconstructed cardboard columns, is by Tara Higgins), and Chisholm engages with Nietzsche’s theory of tragedy to illustrate the duality inherent to his young Black characters. “There’s a little bit of Apollo and Dionysus in all of us,” Marquis tells Tru. (In case you couldn’t tell, Marquis is the kind of teenager who reads Nietzsche in bed.)It’s a lot to pack into two hours, just as a dummy’s guide to being Black could hardly be contained between binder clips. “Hooded,” presented by Undiscovered Works, is evidence of a provocative and spirited writer whose inkwell overflows onto the page. The play’s exploration of race as a kind of tragic pageantry suits its current form, but there’s more style and substance here than ultimately coheres into a convincing theatrical argument.The director, George Anthony Richardson, gives the production a freewheeling assurance. It is pleasantly lo-fi, but for projections, designed by Hao Bai, that draw wry inspiration from European art, like the schoolyard that resembles Edvard Munch’s expressionist painting. The adult actors play their teenage characters with a touch of exaggeration, suggesting both the volatile eagerness of youth and that Chisholm is interested in the origins and politics of self-presentation.“I am Black, and so whatever I do is acting Black,” Marquis tells Tru. “Or not. Or whatever!” he says, growing flustered. As with any signifier, meaning is determined by the beholder as much as by the object itself. The question isn’t what defines Blackness, but who.Hooded; or Being Black for DummiesThrough July 3 at 59E59 Theaters, Manhattan; 59e59.org. Running time: 1 hour 55 minutes. More

    • 125 Shares199 Views

      in Theater

      With the Volt Festival, the Playwright Karen Hartman Comes Home

      by

      59E59 Theaters is putting a spotlight on a midcareer artist whose work has seldom been seen locally.“I’m feeling a tremendous sense of visibility,” the playwright Karen Hartman said. “And it’s not when I expected to be visible.”Visible through a Zoom window, Hartman was speaking from her Brooklyn home the morning after the world premiere of her play “New Golden Age.” Just a few days before, two of her other plays, “The Lucky Star” and “Goldie, Max and Milk,” had celebrated their New York premieres, as part of Volt, a new festival from 59E59 Theaters. (All three productions are being presented simultaneously through June 12.)Hartman, 51, a playwright with a robust career in regional theater, described being chosen as the inaugural playwright for Volt as “transformative.” The festival, intended to run yearly, is meant to highlight a midcareer artist whose work has seldom been seen locally.“It was really important that the playwright not be a usual suspect,” said Val Day, the artistic director of 59E59, who dreamed up the festival. “It had to be somebody who was more widely produced in the regions, who had a fairly large canon of work, which deserved to have eyes on it in New York.”Claire Siebers, left, and Mahira Kakkar in “New Golden Age,” about two sisters fighting for in-person connections in a big tech dystopia.James LeynseHartman fit the bill. Raised in San Diego, she studied literature at Yale and then enrolled at the Yale School of Drama. Shortly after graduation, several theaters produced her play “Gum,” including New York’s WP Theater, then known as Women’s Project. Reviews were mixed, and while she soon became a regular in the regionals, subsequent New York productions proved rare. In one week, Volt, which Hartman described as a “three-night Hanukkah,” changed that.“It has transformed my own story about what has been going on with my work all these years,” she said.From left, Nina Hellman, Mike Shapiro, Alexandra Silber, Dale Soules, Skye Alyssa Friedman and Alexa Shae Niziak in “The Lucky Star,” which premiered in 2017 as “The Book of Joseph.”Carol Rosegg“The Lucky Star,” which premiered in 2017 as “The Book of Joseph” and is presented here by the Directors Company, animates a trove of real letters written by a Polish Jewish family in the early years of World War II to the one member who escaped to America. “Goldie, Max and Milk,” from 2014 and produced here by MBL Productions, describes the unlikely bond between a queer single mother and an Orthodox Jewish lactation consultant in Brooklyn. “New Golden Age,” produced by Primary Stages and structured like a Greek tragedy, imagines the dark consequences of an extremely online future as two sisters struggle to connect IRL.Day, who had intended to debut Volt in 2020, felt that these plays resonated even more after the theatrical shutdown. “All of her plays are about people desperately trying to connect with each other and the difficulty in doing that, which we all can relate to,” Day said.Hartman put it differently, with a touch of knowing irony.“There is a thread of grief that runs through all these plays,” Hartman said. “It’s not the sexiest sell.”In a spirited hourlong chat, Hartman discussed her career, her plays, what the festival means to her and what it might mean to other writers. “What this festival is going to do over time is create these questions in the minds of people: Who else is out there? Who should be seen in New York? That’s the power of it,” she said.Shayna Small, left, and Blair Baker in “Goldie, Max and Milk,” about an unlikely bond between two women.Carol RoseggThese are edited excerpts from the conversation.How did you become a playwright?This displaced New Yorker named Deborah Salzer started the California Young Playwrights Festival, an offshoot of the National Young Playwrights Festival. She started it when I was 14 years old. I acted in the first season. Then I was like, “Oh, I could write a play.” I wrote two plays in high school that were produced in this festival. I got kind of mainline drugged as a playwright very early.What were the questions that animated you back then?Honestly, I was a kid who liked acting. And when I went to pick scenes for girls, there just weren’t any. I felt like the roles really sucked. And it felt so small, trying to center myself in the girls that existed, that I actually just started writing for there to be parts to play. My first play was about mothers and daughters. My second play was about a girl who gets obsessed with Sylvia Plath.Not long after you finished grad school, regional theaters began to stage “Gum.” The Women’s Project staged it, too. What was that like?I felt very excited and kind of raw. It’s a vulnerable thing to write about anything personal. And that play is about policing the sexuality of girls and women in a violent way. I’d written that play very swiftly, in my last year of graduate school. But it had come out of some real-life people I had encountered when traveling in Egypt, so it was a thrilling level of potential responsibility.You went on to have a thriving career in regional theater, but you had far fewer productions in New York, though you live in New York.Most writers don’t get their plays done at all. And almost nothing I’ve written has gone unproduced. I’ve worked with amazing people and been asked onto incredible projects. But in this sense of the cultural conversation, New York is an amplifier. So if I’m a mission-driven person, and my mission is to amplify voices, especially those of girls and women, and I myself am not amplified, then I am not doing my job. Also my work almost always involves getting on a plane and living by myself in artist housing. This festival is the first time that my own community, my friends, my writers’ group, my colleagues can see my work. On a personal level, that matters tremendously.Why do you think your plays haven’t found a home here?Generally, the one narrow path from the early-career buzz that I was fortunate to enjoy with “Gum” toward a steady midcareer presence in New York is a rave in The Times. “Gum” did not get that rave. So my road has been longer, and further afield. The sense I got was, “We don’t know where to put you.” The stories I tell, which are stories that I think a lot of people want to see, are off base, but not in a particularly cool way, in a way that’s emotional. I live in emotion. That’s my home.What is it like having two New York premieres and one world premiere all at once?The companies are exquisite — the level of artistry, these directors. I’ve described the nitty-gritty of it as like having triplets. They were all in previews at exactly the same time. I called Lucy Thurber, who had this festival of her plays at Rattlestick. She’s the only person I knew who had gone through something like this. She was like, “Trust. And check in with every director every day.”What do you think unites these plays?They’re all plays about how our intimate bonds meet our political moments and meet the laws of our time, but in very radically different times and contexts. How do we become the people in the relationships that we have capacity for? And how do our times work with us and against us? I keep coming back to this question of how do we get the deep, deep closeness that we need. Or maybe I’m the only person who needs this. More

    • 75 Shares189 Views

      in Theater

      ‘Barococo’ Review: Fop Till You Drop

      by

      Happenstance Theater traps five pretentious aristocrats in a comedy of bad manners that could use more luster and more bite.Playing parlor games, dancing the minuet, making snide comments — aristocrats sure do know how to party. But there’s always a chance that by the end of the night someone will lose their head …The dandies and dauphins of the 1 percent prance to 59E59 Theaters for Happenstance Theater’s “Barococo,” A satire of upper-class privilege zhuzhed up into an often absurd comedy of manners, “Barococo” has fun and laughs, but doesn’t always have the glamour you’d expect from this exaggerated snapshot of genteel life.The play’s title is a portmanteau of “Baroque” and “Rococo,” the 17th- and 18th-century periods of ornate European art, fashion, architecture and music. “Barococo” takes place during a soiree hosted by the noble Dauphine Marionette (Sarah Olmsted Thomas). In attendance are the self-important actor Astorio Cavalieri (Mark Jaster), the pretentious Duc Leslie Pamplemousse de Citron-Pressé (Alex Vernon), the petty elder Countess Olympia Stroganovskaya (Sabrina Selma Mandell) and the vacuous outsider Baroness Constance Blandford Plainview (Gwen Grastorf).Luccio Patatino von Dusselkopf (Caleb Jaster) serves as the entertainment, accompanying the party games with the sounds of Handel and Bach on harpsichord and cello.Happenstance, a Washington-based physical theater troupe, devises productions with its cast, and there’s no plot to speak of in this brief 65-minute show, directed by the company members Jaster and Mandell.We simply watch these daft noblemen and women play charades, dance and trade riddles in a desperate attempt to stave off ennui. Leisure is a trap — literally. It soon becomes clear that these aristocrats are unable to leave the party.So the surprise of “Barococo” is how it actually resembles Sartre’s “No Exit,” or, more fittingly, Luis Buñuel’s surrealist film “The Exterminating Angel,” which was recently adapted into an opera. There’s the same idiocy and, sometimes, cruelty beneath the fawning and posturing. Somewhere outside this room is the real world, where finery and foppishness won’t save these characters from an uprising of the plebs.The actors distinguish themselves through affectations: a raised eyebrow, a bow, a giggle, a swept leg, a daintily dropped handkerchief, a cleared throat. Pantomime and awkward silences are emphasized more than dialogue, and to great comedic effect — the show really takes off during an extended silent sequence in which the partygoers gorge on an unseen feast; outrageous feats of physical comedy soon devolve into violence and then total chaos.As the Dauphine and Cavalieri, Thomas and Jaster make starving for attention into a show of flamboyance — she tittering shamelessly and he performing a full actor’s warm-up for a simple game of charades. Grastorf is a worthy straight woman, her bearings painfully stiff and face twisted into an expression of constant bafflement.From left: Vernon as a pretentious duke, Mandell as a petty countess, Jaster as a pretentious actor and Thomas as the hostess of the soiree.Richard TermineAnd yet, for a show all about excess, the production is oddly spare. The set design is virtually nonexistent — unadorned floors and walls dotted with a harpsichord, some stringed instruments, a fencing sword mount and a table with quills and an inkwell. In a program note the directors write that they chose this minimalist approach “to focus on period restraint, manners and style,” but the empty space feels like too stark of a contrast; some embellishments would do the production good.The same can be said of Daniel Weissglass’s austere lighting and the costumes, designed by Mandell. The cuffs and collars and doublets, and curled and powdered wigs, are perfectly serviceable but could use more rococo ornamentation, with brighter colors, opulent fabrics and jewels.The script itself could use some trimmings, too. There is plenty of delicious humor to chew on at “Barococo.” But more context on the outside world, and the lives of these characters, might individualize the gossip and quibbles, and give the satire more bite. Right now the show is little more than rich people dawdling and preening on a stage.BarococoThrough March 6 at 59E59 Theaters, Manhattan; 59e59.org. Running time: 1 hour 5 minutes. More

    • 150 Shares169 Views

      in Theater

      ‘The Collision’ and ‘The Martyrdom’ Review: A Nun Ahead of Her Time

      by

      A classic text by the 10th-century Saxon nun Hrotsvitha of Gandersheim inspires two new plays being performed as a double bill at 59E59 Theaters.Three nuns hard at work at their convent look up to discover that the sky is falling …It could be the beginning of a joke, or a New Yorker cartoon. But it’s the opening scene in “The Collision and What Came After, or, Gunch!,” a play being presented alongside “The Martyrdom” by Two Headed Rep at 59E59 Theaters. Despite the comic potential of this setup, these works, inspired by the writing of the 10th-century nun and playwright Hrotsvitha of Gandersheim, are neither as funny nor — at two hours and 40 minutes — as snappy as they could be.In “The Collision,” written by Nadja Leonhard-Hooper, the patient Sister Gudrun (Emma Ramos) and the critical Sister Anise (Lizzie Fox) try to teach the young Sister Gunch (Layla Khoshnoudi) the responsibilities of the ideal nun: doing chores, praying, hand-copying Bibles — you know, the usual. But Gunch is foul-mouthed, blunt and curious about more than just God. “All of nature is vile and fecund and touching itself,” she says with lustful wonder, recounting a time she watched one goat mount another.When a giant meteorite lands near the convent, the abbess goes the way of the Wicked Witch of the East and Gunch suffers a fatal attack that she miraculously survives. The event forces the characters to reconsider the lessons in faith they’ve been taught — which messages are prophetic and which ones heretical, and why.The script has a few delicately written passages, for example, when Gudrun describes “gray-black clouds” that gather “as if trying to bind the sky like a wound.” The performers also have some standout moments: Halima Henderson, who plays a couple of secondary characters, has a priceless bit as a messenger with no grasp of social cues. And Khoshnoudi, with her dreamy glances and devilish grin, could have her own play, her own TV series, in fact, as the delightfully peculiar Gunch.As for the story itself, it’s zany, though to what end isn’t always clear; Lily Riopelle’s direction, which incorporates physical humor and playful props (a severed hand, a dead pigeon and a chicken called “little queen,” designed by Liz Oakley), often reads as amateurish. Though the play gets a lot of mileage from its narrative twists and turns, which pull the story into the realms of science fiction and absurdism, the script can’t successfully pull off its final maneuver, an explicit criticism of institutional religion and a grand statement on storytelling.“A story is a snake, and we are mice inside it, swallowed whole but still alive,” a character says at one point. That sentiment can be applied to this play, which swallows its characters — and some narrative logic — in its bizarre contortions.If “The Collision” is more enamored with its quirks than with cohesive storytelling, then “The Martyrdom” is its antipode, a play so procedural that it leaves little space for strangeness and wonder.After a brief intermission, the four actresses return for this second play, the full title of which is so long that reading it requires its own intermission: “The Martyrdom of the Holy Virgins Agape, Chionia, and Irena, by Hrotsvitha the Nun of Gandersheim, as Told Throughout the Last Millennium by the Men, Women, Scholars, Monastics, Puppets, and Theater Companies (Like This One) Who Loved Her, or: Dulcitius.”Layla Khoshnoudi, left, and Halima Henderson in “The Martyrdom.”Ashley Garrett“The Martyrdom,” directed by Molly Clifford, is based on Hrotsvitha’s play “Dulcitius,” about three pious sisters who try to remain chaste despite the intentions of lascivious politicians. “Dulcitius” appears throughout the course of “The Martyrdom,” though in different pieces and different forms.With translation by Lizzie Fox and new text by Amanda Keating, “The Martyrdom” is a history lesson, celebrating the legacy of Hrotsvitha, who is considered to be the first female playwright to have her work recorded, by providing a timeline of major incarnations of “Dulcitius.”So the show begins in a monastery during Hrotsvitha’s lifetime, where a council or monks reviews the playwright’s work. Then centuries later, Hungarian nuns write a modern, vernacular adaptation of “Dulcitius.” Then there are the French artists who use marionettes to tell the tale of the three sisters. Then the British suffragist in the 1800s, and an American nun at the University of Michigan in the 1950s. It’s a clever move for such dated material: In each scene the characters act out parts of the play, each version reflecting the changing context of the material over time. After each section, a fourth-wall-breaking educational moment occurs when the actresses provide more details about Hrotsvitha’s text and its various productions.The result, unfortunately, is colorless and, like “The Collision,” unnecessarily long. “The Martyrdom” tries to stretch out scenes of Hrotsvitha’s play across history to suit its structure, despite the fact that the play’s plot is already pretty anemic, so there’s not enough action to go around.It doesn’t help that Cate McCrea’s set design for the tiny theater, which seats about 50, is rather bland: a plain back wall, a long rectangular bar that bisects the length of the stage, serving as a table or desk or bench as needed.Somewhere between “The Collision” and “The Martyrdom” is a holy middle ground of oddity and structure, chaos and order, that would make even a Saxon nun from the 10th century say, “Amen.”The Collision / The MartyrdomThrough Feb. 5 at 59E59 Theaters, Manhattan; 59e59.org. Running time: 2 hours 40 minutes. More

    • 150 Shares199 Views

      in Theater

      Review: In ‘Whisper House,’ the Living Are the Pawns of the Dead

      by

      A lighthouse keeper, the nephew living with her and a Japanese employee are on alert for U-boats and graver threats in this chamber musical set in 1942.The ghosts, at least, are having fun.Sunken eyed, in moldering Jazz Age whites, they slink and shimmy around 59E59 Theater’s petite stage — about the size of a backyard swimming pool — luring characters to their various dooms. There are only four living characters and a limited supply of calamity, but still these spirits put in overtime. In Duncan Sheik and Kyle Jarrow’s pocket Gothic, “Whisper House,” the ghosts (Alex Boniello and Molly Hager) deliver 12 of the 14 songs, each a hymn to a wicked hereafter.“It’s good to be a ghost,” they sing. “It’s better to be dead.”A chamber musical planted in Maine’s stony soil in the early 1940s, “Whisper House” had its world premiere in 2010 at the Old Globe in San Diego and played London in 2017. It has spent the past couple of years in a kind of limbo, having clocked a single 59E59 performance before the 2020 theater shutdown. It returns, tentatively, in a moment of renewed anxiety and upgraded face masks.The show, about the fear of the unknown and the trust that love requires, can feel indefinite, too. Directed by Steve Cosson, the artistic director of the cherished theater company the Civilians, it has mood for days. (All credit to Jorge Arroyo and Jeff Croiter’s sepulchral lights and a surfeit of stage fog.) And the music haunts prettily. When the ghosts are singing, anyway. But none of the living characters feel precisely real and the book scenes totter under the weight of metaphor.“Whisper House” opens with a boy named Christopher (Wyatt Cirbus, who looks as if he has never seen the sun), a near-orphan sent away to live with his aunt, Lily, a lighthouse keeper in coastal Maine.Lily (Samantha Mathis) has a Japanese employee, Yasuhiro (James Yaegashi), and a nodding friendship with the local sheriff, Charles (Jeb Brown). This is 1942. Roosevelt’s executive order and the threat of nearby U-boats mean that Yasuhiro has to go. But he wants to stay and Lily wants that, too. The ghosts, with Christopher as their pawn, have other ideas.That sets the lighthouse table for tragedy. But the trouble with the story, conceived with Keith Powell, is that you have to abandon psychology to make it happen. Would a woman with Lily’s stoic good sense trust a traumatized child with a secret? Would Yasuhiro try to bribe him? The more you think about the living characters, the flimsier they seem. If your ghosts are your most substantial creation, what has gone wrong?“We don’t believe in you,” the ghosts sing to the living. They have a point. The plot also absolutely depends on ignoring the wet and the weather.Wyatt Cirbus, left, and Samantha Mathis as the nephew and aunt in the musical.Sara Krulwich/The New York TimesBut the music is mostly lovely, if unvaried. As in Sheik’s score for “Spring Awakening,” it melds pop balladry with folk and it carries his very particular mix of romanticism and cynicism. (Sheik has a reputation for one-hit wonders, but this ignores some fine if piecemeal work over the years, as well as his lush Gullah-inflected score for “The Secret Life of Bees.”) The lyrics, co-written with Jarrow (“SpongeBob SquarePants the Musical”), are clever for the ghosts and pallid for everyone else, freighting Yasuhiro with the awkward solo “The Art of Being Unseen.” That neither Yaegashi, always a welcome presence, or Mathis, stuck with a costume-party Katharine Hepburn accent, are vocal powerhouses probably doesn’t help. The orchestrations, credited to Sheik, Jason Hart, Simon Hale and Wiley DeWeese, contain some fine surprises, like the bright blare of a horn. The choreography, from Billy Bustamante, mostly seems an afterthought.If the show spends about 85 of its 90 minutes inclining toward tragedy, its creators have something gentler in mind. The ultimate theme of “Whisper House” is that we must love another or die, a comforting thesis in a moment that demands — in every auditorium — so much mutual faith and care. Then again, there are the paired, smirking ghosts to imply the contrary. Turns out you can love another and die.Whisper HouseThrough Feb. 6 at 59E59 Theaters, Manhattan; 59e59.org. Running time: 1 hour 30 minutes. More

    • 150 Shares169 Views

      in Theater

      Theater to Stream: 'Notes on Grief' and Russell Brand's Take on Shakespeare

      by

      An adaptation of Chimamanda Ngozi Adichie’s “Notes on Grief,” Russell Brand’s take on Shakespeare and a two-day event anchored by a Milo Rau film are among the highlights.Productions from the multidisciplinary Manchester International Festival often end up traveling around the world, making pit stops at well-heeled performing arts centers. This year, we don’t have to wait, as the festival is making some of its offerings available online — an approach we hope will become commonplace among international gatherings.Of particular interest to theater audiences is “Notes on Grief,” Rae McKen’s adaptation of Chimamanda Ngozi Adichie’s essay-turned-book about her father’s sudden death. The show is bound to be compared to the Joan Didion memoir-turned-play “The Year of Magical Thinking.”One day in June 2020, Adichie learned that her father — with whom she had chatted just a day earlier — died. “My brother Chuks called to tell me, and I came undone,” she wrote in an essay that The New Yorker published in September. McKen’s show stars Uche Abuah, Michelle Asante and Itoya Osagiede. Audience members lucky enough to be in Manchester can see it in real life through July 17, and the rest of us can watch from home from July 15-18. mif.co.uk.‘Our Little Lives: Shakespeare and Me’Those who associate Russell Brand only with his excesses and shock tactics may be surprised by his quieter mien these days — he’s become the kind of guy who occasionally finds life lessons in sonnets. He is now reprising a one-man show he conceived with the director Ian Rickson and developed in 2018, in which he uses Shakespeare’s writings to illuminate his own story. Brand promises an appearance by his dog, Bear (perhaps timed to his exit, so he can be pursued by Bear). Through July 14; live-now.com‘A Gentleman’s Guide to Love and Murder’CollaborAzian is streaming an abridged version of this Tony Award-winning musical from 2013 with an all-Asian American cast and production team. Karl Josef Co takes on Monty Navarro, who sets out to kill multiple members of the D’Ysquith family, all of them to be portrayed — often in lightning-fast succession — by Thom Sesma. It should be interesting to see how the director Alan Muraoka and his actors handle the show’s high-farcical style online. Look also for a special appearance by Lea Salonga. July 15-22; collaborazian.com‘I Hate It Here’Last year, Studio Theater presented the Chicago playwright Ike Holter’s anthology of vignettes as an audio drama; now the Goodman Theater is producing it as a fully staged livestream, directed by Lili-Anne Brown. The stories cover various aspects of life during the peak of the pandemic year, touching on Covid-19, racism and activism, and possibly even hope. July 15-18; goodmantheatre.orgThe New Solidarity: Art, Organizing and Radical PoliticsPresented by various institutions and organizations across the country, including the Foundry Theater in New York, this two-day event is anchored by a streaming presentation of the Milo Rau film “The New Gospel.” Rau, an audacious Swiss director whose production company “for theater, film and social sculpture” is called the International Institute of Political Murder, set the Passion of Christ in the context of 21st-century conflicts about migration; the Jesus character is played by the activist and writer Yvan Sagnet, who was born in Cameroon and then later moved to Italy to study. Rau will also participate in a couple of panels: “How are artists seizing power today?” and “How are artists and organizers building solidarity between art and movements?” (Sagnet will participate in the latter one as well). July 9-10; howlround.com‘Lines in the Dust’Nikkole Salter emerged in 2005 with the play “In the Continuum,” which she and Danai Gurira wrote and starred in. Since then, Salter continues to make theater that inspires and engages, stirs and advocates. The New Normal Rep company is reviving her 2014 play “Lines in the Dust,” in which a working-class New Jersey mother alters her residency paperwork so her daughter can attend a good school. July 8-Aug. 8; https://www.newnormalrep.org/next-up‘Silent’Pat Kinevane in “Silent.” Ste MurrayThe respected Dublin company Fishamble celebrates the 10th anniversary of one of its biggest hits, “Silent,” from the writer-performer Pat Kinevane, with a virtual American mini-tour of a filmed version: It’s presented first by Odyssey Theater Ensemble in Los Angeles (July 9-11) then by Solas Nua in Washington (July 11-18). Kinevane portrays a mentally ill homeless man who emulates the silent movie star Rudolph Valentino. Praising “Silent” in The New York Times, Ben Brantley wrote that “there is breath and blood to spare in this carefully wrought production.” fishamble.comDiscover Imitating the DogThe explosion of streaming theater last year allowed us to discover many artists doing stellar work in their corners of the world. One such outfit is Britain’s Imitating the Dog, whose shows make inventive use of multimedia techniques and translate remarkably well online. Luckily the company remains proactive in making its catalog available. Check out, for example, “Dr Blood’s Old Travelling Show,” from October 2020, or the collection of shorts “Street,” which smartly spruces up the aesthetics of documentary theater. http://www.imitatingthedog.co.uk/at-home/2021 Short New Play Festival: RestorationRed Bull Theater, in New York, has made a name with such zippy revivals as “The Government Inspector,” which gave Michael Urie a golden opportunity to display his comic timing, but the company is not stuck in the past. For this year’s edition of its festival dedicated to short new plays, Red Bull commissioned a work from José Rivera (“Cloud Tectonics” and the Academy Award-nominated screenplay for “The Motorcycle Diaries”) and selected six entries from hundreds of open submissions. The winning playwrights are Constance Congdon, Rosslyn Cornejo, George LaVigne, David Lefkowitz, Abigail C. Onwunali and Charlotte Rahn-Lee, and their pieces should be in good hands with the directors Margot Bordelon and Timothy Douglas. July 12-16; redbulltheater.com‘Possible’The Welsh writer and performer Shôn Dale-Jones’s new solo show has been compared to Bo Burnham’s Netflix special “Inside”: both are autobiographical works that explore lockdown life while occasionally reaching further back in time. Dale-Jones refers to digital interactions he’s had in the past year, including WhatsApp group chats and Zoom calls, and includes tough discussions about his mother’s mental well-being. After a livestreamed run, the National Theater Wales production is available on-demand. Through July 13; nationaltheatrewales.orgEast to Edinburgh Goes VirtualEvery year, 59E59 Theaters in New York presents a showcase of productions headed to the Edinburgh Festival Fringe. While the United States have made great steps toward a return to a theatrical normal (whatever that might be), the new edition of East to Edinburgh is still virtual, with nine shows you can watch from home. Among the titles that caught my eye is Priyanka Shetty’s docu-theater solo “#Charlottesville,” about the events that roiled the Virginia city in August 2017. Borrowing from Anna Deavere Smith, Shetty built her text from interviews. Other intriguing entries in the showcase include “Testament,” in which Tristan Bernays (“Frankenstein”) imagines what would happen if four biblical characters lived now; and Somebody Jones’s “Black Women Dating White Men,” whose title is an apt description of the show. July 15-July 25; 59e59.org More

    • 113 Shares149 Views

      in Music

      ‘Listening Party’ Review: Can Songs Heal a Brotherly Divide?

      by

      In “The Jackson C. Frank Listening Party w/ Special Guests,” the musician is simultaneously central and peripheral to the story.The title character of “The Jackson C. Frank Listening Party w/ Special Guests,” from the New Light Theater Project, is a musical footnote: A troubled artist, Frank recorded his only album when he was 22, in 1965, which Paul Simon produced. Frank died at 56 after a life marked by tragic accidents, mental illness and a stint of homelessness.I’d never heard of him — not realizing he had written the achingly beautiful “Blues Run the Game,” which has been covered by Sandy Denny, John Mayer and Counting Crows, among many others — and initially thought the playwright Michael Aguirre had made Frank up as a kind of theatrical answer to the fictional folk singer of the film “Inside Llewyn Davis.”But yes, Frank and his music are real, and we get to know a little more about them in this new streaming production, presented by 59E59 Theaters.“Listening Party” is not, however, a traditional bio-play, and Aguirre does not get into the weeds of Frank’s life and artistry. The musician is simultaneously central and peripheral in a show — which essentially takes place in the present day — that is more interested in how music can foster personal connections and, perhaps, a sense of community.For Allen (Aguirre), listening to albums was something he and his older brother, Rob (Sean Phillips), had ritualized growing up: They would buy a new CD every Friday, go home and play to the whole thing in order. Aguirre was largely inspired by his own childhood, as Allen recounts those days and how they helped him bond with Rob. Now he attempts to do the same with the audience as we all listen to Frank’s self-titled album at the same time.The show includes links to the music on various platforms, including Spotify and YouTube, and at regular intervals, Allen instructs us to press “play” on a specific song. We listen while watching him listen, and then it’s back to Allen’s reminiscences about growing up in Rob’s shadow. By the end, we’ve mainly learned that Allen is the white-bread straight man to Rob’s enigmatic free spirit, which is not all that much by way of insights.Bethany Geraghty plays the mother of Aguirre’s character, Allen.via New Light Theater ProjectAt one point, Allen mentions how Kanye West invited a select few to Wyoming in 2018 to bask in the glory of his album “Ye.” But that type of event was more promotional launch than listening party, creating a highly controlled environment in which information flowed only one way — as it does in this play, since Aguirre and the director Sarah Norris are at the helm, and we’re following their cues.Allen sketches out Frank’s life, with the special guests of the title — Paul Simon (William Phelps), the old hippie Grandma Woodstock (Dana Martin) and the brothers’ mother (Bethany Geraghty) — not adding anything of great import, especially since the portrayals are rather cartoonish. Aguirre is more interested in the old-fashioned concept of sharing music in a more organic, possibly gentler way than posting a playlist online.Allen likes to think those CDs sustained their brotherly complicity, so when Rob goes missing, Allen deals with it by reflecting on their old listening habits and perhaps, indirectly, on our current ones — when was the last time you sat down with an album in its entirety and in sequence?But did Allen and Rob know each other well? It looks increasingly as if they did not, at all, so Allen’s fixation on their listening parties feels like an exercise in solipsistic nostalgia — an issue Aguirre skirts, maybe because it would imply that sharing art does not shed any special light onto someone else.The Jackson C. Frank Listening Party w/ Special GuestsThrough April 11; newlighttheaterproject.com More