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    ‘The Welkin’ Review: A Strong Ensemble and a Story That Resonates

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    A somber yet witty play set in 18th-century England is a clever perversion of a courtroom drama that features strong performances from an ensemble cast.The final word of “The Welkin” — a soft “oh” of realization that left the theater breathless — is more of an utterance, the coo of an innocent young babe. But the speaker isn’t a child; she’s a grown woman.And she’s accused of murder.It’s England in 1759, just around the time everyone is buzzing about the arrival of Halley’s comet. This woman, Sally Poppy (played by Haley Wong), and her lover are accused of the murder and dismemberment of the young daughter of the rich family for which Sally worked. She’s set to hang, but there’s a hitch: Sally claims she’s pregnant.“The Welkin” is a kind of courtroom drama or, rather, a clever perversion of such; technically we don’t see the courtroom, just a dim, dungeonlike room nearby where a forum of 12 matrons has been convened. They’re not Sally’s final adjudicators (that job is for the men, after all), but the jury ruling on the women’s issue in this case: whether Sally’s actually pregnant.A little bit “The Crucible” and a lot bit the 2022 film “Women Talking,” in all the best ways, “The Welkin,” which opened on Wednesday at Atlantic Theater Company’s Linda Gross Theater, is a somber yet witty examination of how women labor — with housework, with children and with a society of men that doesn’t serve them — and how they negotiate their assumed responsibilities with their desires.“The Welkin” successfully depicts these women as unique individuals, representing women from different strata of society, and with different prejudices and viewpoints. Each one is memorable, from the stately outsider, Charlotte Cary (Mary McCann), a colonel’s widow in a stylish crown of a hat, to Mary Middleton (Susannah Perkins), an awkward, superstitious young woman who is worried only about getting home to her crop of leeks.Sandra Oh (center) is a standout of the ensemble cast. Jeenah Moon for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: In ‘Days of Wine and Roses,’ Two Souls Lost in an Ocean of Booze

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      In Craig Lucas and Adam Guettel’s jazzy new musical, Kelli O’Hara and Brian d’Arcy James are a glamorous couple succumbing to alcoholism.If not for the unbridled drinking, it might easily have been a screwball comedy. Just look at them: Kirsten, blondly beautiful with a tolerant smile and a quick riposte; Joe, curly-haired cute but too arrogant to grasp that he’ll have to up his game to win this woman.Within moments of their meeting in 1950 in New York City, he bursts suavely into song — some presumptuous romantic blather about the two of them together under “a chapel of stars.” Whereupon she teases him right back down to earth.“Wow,” she says. “Who are you wooing? It can’t be me; you don’t know me.”This is the addiction-canon classic “Days of Wine and Roses,” though, so some of us already know them. In JP Miller’s luridly frank 1958 teleplay, starring Piper Laurie and Cliff Robertson, and in Miller’s somewhat defanged 1962 film adaptation, starring Lee Remick and Jack Lemmon, Kirsten and Joe are the attractive pair who make a harrowing, hand-in-hand descent into self-destruction by way of alcohol.In Craig Lucas and Adam Guettel’s jazzy, aching musical based on the teleplay and the film, Kelli O’Hara and Brian d’Arcy James are an awfully glamorous Kirsten and Joe — O’Hara, in exquisite voice, singing 14 of the show’s 18 numbers, seven of them solos. Directed in its world premiere by Michael Greif for Atlantic Theater Company, this “Days of Wine and Roses” fills the old Gothic Revival parish house that is the Linda Gross Theater with glorious sound.“Two people stranded at sea,” Kirsten and Joe sing sparely, hauntingly, in the brief and perfect prologue. “Two people stranded are we.”So they are. But when they first meet, at a party on a yacht in the East River, Kirsten is a nondrinker primly uninterested in alcohol, while Joe is determined that she indulge, because then she can be his drinking buddy. That she acquiesces and then falls so far makes him her corruptor, or so her taciturn father (a wonderfully gruff Byron Jennings) will always believe.“Get rid of him, Kirs,” he tells her when it is already too late. And anyway it’s the oceans of booze in their relationship that really need to go.Lucas and Guettel, who mined the same midcentury period to great success in their 2005 Broadway musical, “The Light in the Piazza,” in which O’Hara also starred, have each spoken publicly of past personal struggles with substance abuse. Excising the heavy-handedness of previous versions of “Days of Wine and Roses,” and softening the details of Joe’s degradation, they go deeper into the heart-rending familial fallout of addiction.Lucas (book) and Guettel (music and lyrics) occasionally presume the audience’s familiarity with the plot, or steer so far clear of melodrama that they veer into emotional aridity. But they also capture unmistakably the bliss that Kirsten and Joe feel inside their bubble of a threesome: just the two of them and alcohol, throwing a private party that goes on and on.The high that makes sobriety so unthinkable: James and O’Hara as a couple whose lives disintegrate.Sara Krulwich/The New York TimesNot for these reveling lovers the swelling strings of Henry Mancini, who scored the film; in the cocktail-mixing song “Evanesce,” Guettel gives them bright, fast music, frenetic and danceable — and when they do a bit of soft-shoe in salt spilled on the floor, there’s a playful heedlessness to their sandpaper percussion. (Choreography is by Sergio Trujillo and Karla Puno Garcia.) This is the high that makes sobriety so unthinkable for Kirsten and Joe, even as their lives disintegrate.Which they do, alarmingly, despite their love for each other and for their hyper-capable daughter, Lila (Ella Dane Morgan), who learns very young to look after herself, and to lie to cover for her parents. It’s Joe who finds the strength, eventually, to choose their child over alcohol, and Kirsten who feels abandoned by her husband, as she clings to what was their private world.Affecting as O’Hara is, Kirsten is less fully drawn than Joe, whose back story makes him a recently returned veteran of the Korean War. (The combat flashback Joe suffers during one drunken binge feels gratuitous.)Kirsten gets no such context, and consequently seems oddly contemporary, which makes the show, for all its ’50s design flourishes, feel unrooted in time. (Sets are by Lizzie Clachan, costumes by Dede Ayite.) Kirsten is aware of the sexism that pervades her era — she makes snappy reference to the minuscule number of female senators — but the show doesn’t entirely seem to be. (Warning: Spoilers ahead.)There is no sense of the opprobrium that would greet a female alcoholic in the 1950s, let alone one who leaves her child, or the severe judgment that would be passed on a married woman who sleeps with strange men when she’s on a bender. Or how any of that would contribute to Kirsten’s own self-loathing.Still, this “Days of Wine and Roses” has wells of compassion for her thrall to alcohol.“Don’t give up on me,” Kirsten writes to her daughter. She might even mean it when she adds: “I’ll be home soon.”Days of Wine and RosesThrough July 16 at the Linda Gross Theater, Manhattan; atlantictheater.org. Running time: 1 hour 45 minutes. More

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      In ‘Heart Strings,’ the Ties That Bind a Family (and a Culture)

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      Atlantic for Kids’ new play explores sibling relationships, using the delicate weavings of a Hawaiian craft.Every good story requires a thread. Some writers have difficulty finding theirs, but not Lee Cataluna. The line that runs through her latest play, “Heart Strings,” comes from the real knots and tangles of a centuries-old Hawaiian craft.That technique, known as hei (pronounced HAY), consists of creating figures and patterns by manipulating a single loop of string. Although often compared to cat’s cradle, hei is more than a children’s game; it is a symbolic language. Each design has meaning: for instance, a star, the moon or the night becoming day.Seated at an outdoor cafe table on a recent afternoon in Manhattan, Cataluna, who is of Portuguese and Indigenous Hawaiian ancestry, placed a cord around her hands. Deftly moving her fingers, she transformed the string into a narrow rectangle with two triangles at its center.“So this is the house, right?” she said of the rectangle. “Then it breaks apart, and the two children run away.” She pulled her hands wide, and the triangles shot in opposite directions, then disappeared. “That’s the story I have to write,” she said she thought when, during research, she discovered this traditional hei. “I have to figure out what that means.”Different characters create that hei and others in “Heart Strings,” which runs through Oct. 23 at the Linda Gross Theater in Chelsea. Presented by Atlantic Theater Company as the first Atlantic for Kids production since the pandemic lockdown, it welcomes young audiences — the public on weekends and school groups on weekdays — with a drama that is both culturally specific in its details and universal in its themes.“I thought about what kind of issues would resonate with kids and their parents,” Cataluna said. Sibling rivalry immediately sprang to mind.But in “Heart Strings,” the meaning of “sibling” is complicated by another cultural tradition. The play’s central characters — Hoku, 10, and Mahina, 6 — are sisters according to hanai (huh-NYE), a Hawaiian custom in which couples take in children who are not their own. Hoku’s grandparents are raising both girls, and the reserved, studious Hoku, who once welcomed the infant Mahina into the family, now resents the high-spirited, questioning kindergartner she has become.“You’re not my real sister,” Hoku says, shutting out the younger girl with a force that threatens to shatter their household as utterly as that hei collapsed in Cataluna’s hands.Born on Maui, Cataluna remembered hei, but she did not choose it as a recurring motif to dazzle New Yorkers. She originally wrote “Heart Strings” for her teenage son’s theater group in Honolulu. His school had requested a play incorporating something tangibly Hawaiian, much as Kathryn Schultz Miller’s “A Thousand Cranes,” which the students had previously performed, celebrates Japanese culture through origami.When the coronavirus pandemic ended the school’s plans to present “Heart Strings” at the Edinburgh Festival Fringe, Cataluna successfully submitted her work to ReImagine: New Plays in TYA. (TYA stands for Theater for Young Audiences.) Established by a consortium of theatrical organizations, ReImagine awarded grants in 2021 to playwrights who were Black, Indigenous or people of color. As a grant winner, Cataluna could also select a participating theater company to workshop her play.She felt immediately drawn to Atlantic, which was also eager to acquire “Heart Strings” and is now giving it its world premiere: Here was a play that highlighted a culture that was part of America but that was almost never explored onstage.“It’s so three-dimensional, the storytelling that happens in the hei,” Alison Beatty, the artistic director of Atlantic for Kids, said in a post-rehearsal interview. After the pandemic’s isolation, she added, “having something that was tactile — that you could feel with your hands, and that was such an integral part of how the story is told — really appealed to me. And then, I think, just the questions that are asked by the play: what it means to be family, what it means to be at home.”Aczon, far left, in a scene from the Atlantic for Kids production, with, clockwise from top left, Jeremy Rafal, Kristi Donna Ng and Un Joo Christopher.Julieta Cervantes“Heart Strings,” which is directed toward children over 6 — an older audience than most Atlantic for Kids offerings — also gave the company a rare opportunity to help shape a playwright’s vision instead of importing a finished production. Beatty, for instance, suggested adding hula gestures, another form of choreographed storytelling, to the production. John-Mario Sevilla, a hula scholar, then taught some movement to the cast.The script also evolved. Cataluna had set her earliest drafts in the present, but after her son’s classmates asked why the characters were playing with string when they had cellphones, she switched the action to the 1930s. She also wanted to highlight the pressure on Indigenous peoples to assimilate. Hoku, played by Sienna Aczon, doesn’t mind using an English name and words at school; Mahina, portrayed by Un Joo Christopher, rebels against those rules. (Almost all the actors in the Atlantic production have lived in Hawaii.)“In my father’s era, and before his, Hawaiian was not allowed to be spoken in the public schools,” Cataluna said. She drew on her family’s past again in a scene in which Hoku’s friend Josiah (Aaron Banes) reflects on his love for his Hanai sister, as Cataluna’s father once did.But she has resisted acknowledging another autobiographical detail as more than mere coincidence: She has a younger biological sister from whom she is estranged.“One of my best friends keeps calling me on it,” Cataluna said, noting that he pointed out parallels to her play. She and her sister haven’t reconciled, but, Cataluna added, “if she ever needed a kidney, I would give her my kidney.”Audiences, however, don’t need to have siblings to recognize how vulnerable — or how steadfast — the bonds of love are, Kat Yen, the production’s director, said in the same conversation.In families or friendships, “we delve into struggle, we delve into confrontations, but you never lose the love,” Yen said. “Somewhere in there is a message that I’m interested in for the audience.”But that isn’t all that children take home: The company provides instructions on how to make a hei. More

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      ‘I’m Revolting’ Review: All About the Skin They Live In

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      Gracie Gardner’s play about illness, the body and our health care system is just as impersonal as the waiting room where her story is centered.With another pandemic winter on the horizon, it’s hard not to imagine all of the ways our physical health determines the shape and quality of our lives and reveals the most intimate facets of ourselves.That’s what I suspect the playwright Gracie Gardner (“Athena”), who is also an E.M.T., was aiming to get at in her new play, “I’m Revolting,” which opened Wednesday night at the Linda Gross Theater. But despite the show’s attempts to tell a moving story about illness, the body and the U.S. health care system, this Atlantic Theater Company production fails to make a compelling work of theater out of the issues facing patients in the waiting room of a skin cancer clinic.Bookmarked by conversations between two doctors, Jonathan (Bartley Booz, with the same bumbling brand of comedy he perfected as the wacky butler in “The Play That Goes Wrong”) and the veteran Denise (a mechanical Patrice Johnson Chevannes), “I’m Revolting” initially seems to be a play about the struggles of doctors and health care workers. Then it seems as if it will be a play about physical and emotional health, but it veers off course, and never works its way to a clear statement.In the impersonal space of a waiting room are seven blue chairs lined up neatly in a row, a water cooler, a vending machine, some fake plants, and a table with a bottle of hand sanitizer on it (set design by Marsha Ginsberg). The doctors discuss the day’s patients, identifying them by their maladies, their race and gender, their medical history.The flesh-and-blood counterparts gradually appear, beginning with Reggie (a stiff Alicia Pilgrim), a young woman concerned about how her surgery will affect her appearance, and her self-involved older sister, Anna (a brusque, hilarious Gabby Beans). There’s also Toby (Patrick Vaill), a sullen young man convinced his cancer is a punishment, and his hippie New Age mother, Paula (Laura Esterman); the meek Liane (Emily Cass McDonnell), who’s endured multiple surgeries, and her degenerate husband, Jordan (Glenn Fitzgerald); and the oddball regular, Clyde (Peter Gerety), who dispenses unsolicited advice.From left: Laura Esterman, Patrick Vaill, Glenn Fitzgerald, Emily Cass McDonnell, Peter Gerety and Alicia Pilgrim in the playwright Gracie Gardner’s new work.Sara Krulwich/The New York TimesThey mostly talk among their groups — Anna tells Reggie to assert her rights as a patient, Liane and Jordan discuss the merits of a particular lotion — and occasionally to one another. Paula’s suggestion that meditation and positive thinking is all the cure her son needs leads to a waiting room debate about science and alternative medicine.And yet there’s little to no depth to these patients, or anything novel in their conversations, which occur while they wait to be called on by Jonathan and Denise. It soon becomes clear that the thin plot is in desperate need of a raison d’être.The direction, by Knud Adams (“English”), is unremarkable; the actors not only lack chemistry but also deliver stiff readings of their lines. And for a play about the Big C, there’s no sense of urgency or threat. Even with a spare 90-minute running time, and the occasional laughs Beans, Booz and Gerety generate through their characters’ particular quirks and expressions, “I’m Revolting” drags like the hours in waiting room limbo.In those moments when the script rolls out some visceral details (describing the repurposing of a flap of forehead skin, or the archaeological dig into an eye socket), it feels like an empty attempt to have the audience squirm.During the play, I kept thinking of my neighbor who recently told me about his own battle with skin cancer. His story wasn’t just about the skin on his nose but his path to the malady — from a childhood running in the sun and several years working under the cloudless sky in the Caribbean — and his ongoing recovery.We are more than our afflictions, and the story of our nation’s medical care over the past few years warrants more than a few drive-by conversations in a waiting room. As it is, “I’m Revolting” only skims the surface when what it really needs is to perform a thorough examination.I’m RevoltingThrough Oct. 16 at the Linda Gross Theater, Manhattan; atlantictheater.org. Running time: 1 hour 30 minutes. More

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      Review: Learning ‘English,’ When Your Accent Is a ‘War Crime’

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      In a rich new play by Sanaz Toossi, four Iranians and their language teacher find second selves in a second tongue.If you’ve ever tried, as an adult, to learn a new language, you know how painful it can be; it’s bad enough to hear yourself mangling Italian, but worse to hear it mangling you. For those of us accustomed to sounding sharp with our words, it can come as quite a blow to discover the shabby figure we cut in the ill-fitting suit of someone else’s.How our mother tongue gives us voice yet limits our world — and how a new tongue expands that world yet may strangle our voice — is the subject of “English,” a rich new play by Sanaz Toossi that opened on Tuesday at the Linda Gross Theater. Both contemplative and comic, it nails every opportunity for big laughs as its English-learning characters struggle with accents and idioms. But the laughter provides cover for the deeper idea that their struggle is not just linguistic.The play, a coproduction of the Atlantic and Roundabout theater companies, is after all set in Iran in 2008, against a backdrop of travel restrictions and family separations. Each of the four students prepping for the Test of English as a Foreign Language, or Toefl, at a storefront school in Karaj, a city of two million not far from Tehran, has a different reason for enrolling.For the cheerful 18-year-old Goli (Ava Lalezarzadeh), the promise and pleasure of new opportunity is reason enough. “English is the rice,” she explains in the inadvertent poetry of the partially fluent. “You take some rice, and you make the rice whatever you want.”But the others are more ambivalent. Dignified Roya (Pooya Mohseni) is there only because her son, who lives in “the Canada” with his wife and daughter, has insisted she speak English if she wants to live with them. He will not have his daughter’s assimilation threatened, he has warned, by a grandmother cooing in Farsi.If Roya is angry about this situation, she mostly suppresses the feeling, leaving her son hilariously passive-aggressive voice mail messages in which she offers evidence of her growing fluency. “I know all the numbers now,” she tells him. “Forty-three. Five hundred and thirty-eight. And seven.”But for Elham (Tala Ashe), anxiety is upfront: Having failed the Toefl five times, she must pass it if she wants her provisional acceptance at an Australian medical school to become official. When the Toefl teacher, Marjan (Marjan Neshat), tells her that “English isn’t your enemy,” she answers, “It is feeling like yes.” Her accent, she adds, is “a war crime.”Marjan learned English during nine years spent living in Manchester, England, gradually experiencing the way the fog of alienation can give way, through language, to the thrill of connection. Now that she is back in Iran, though, her English is eroding at the edges, at least in comparison to that of the fourth student, Omid (Hadi Tabbal), whose accent is minimal and vocabulary exceptional. Playing a game in which everyone must name items of clothing as quickly as possible while tossing a ball, he wins handily, wowing the others with “windbreaker.”Tabbal, left, plays the standout student in the English class taught by Neshat’s character. We understand her fluency (nine years in Britain), but there’s a mystery behind his (where did he learn the word “windbreaker”?).Sara Krulwich/The New York TimesOver the course of 22 scenes representing lessons, office hours and smoke breaks during the six-week course, we get to know all five characters well, and yet they also remain as stubbornly enigmatic as people do in real life. Their progress, too, is unpredictable, their skills sometimes stalling, then bounding forward, with new words and seemingly new ideas emerging.Not that we are told this; we just see it happen, thanks to Toossi’s clever theatricalization of the process. (When the characters speak English, they do so haltingly and with an accent; when they speak Farsi, which we hear in English, it’s swift and unaccented.) Even Elham, her W’s no longer sounding like V’s, and her tempo improved from largo to allegretto, is eventually able to pose a challenge to Omid’s fluency.The mystery of that fluency (why does he know “windbreaker”?) is one of the more obvious tensioning devices in a play that, despite its pleasures — but also at the root of them — has a somewhat schematic structure. Like a lifeboat movie, it features the immediate and broad differentiation of characters, their shifting alliances in the face of a looming threat and an eventual resolution involving the revelation of lies and someone cast overboard.Nor are its themes entirely novel; the drama of superimposing one language on another is at the heart of works as widely varied as Brian Friel’s “Translations” (in which a 19th-century cartographer is charged with rendering Irish place names in English) and the hyper-asterisked Leo Rosten novel “The Education of H*Y*M*A*N K*A*P*L*A*N,” set among immigrants in a night school English class and turned into a musical in 1968.But the delicacy of Toossi’s development handily makes up for both problems, especially the hysteria of lifeboat melodrama; in a recent interview in The New York Times, she told my colleague Alexis Soloski that “writing a trauma play makes me want to dry heave.”So in dealing with characters who could easily be exoticized in their chadors, Toossi has chosen instead to focus on their familiarity; like most of us, they deal less with the disaster of geopolitics than with an atmosphere of mild if daily discomfort. As such, the insights here are deep but never shattering, as when Roya perceives the crucial distinction between the verbs “visit” and “live” in one of her son’s messages. If the world’s happiness does not depend on it, a grandmother’s does.The director Knud Adams gently underlines the calm, almost classical rhythms of Toossi’s writing. Chopinesque piano solos play between scenes. As the play contemplates the question of language from several angles, the cube-like set, by Marsha Ginsberg, slowly rotates, offering in turn a street view of the building, the classroom interior and an entry portico. The cast is uniformly excellent, in a suitably unshowy but fully lived-in way.Too much delicacy has a way of wearing thin, though; with its refusal of trauma and even climax — the romance, if there is one, is buried — “English” begins to feel a bit overlong despite its moderate running time of an hour and 45 minutes.Still, the longueurs are worth it, forcing the audience into a useful position of slight non-fluency. We don’t always know what is going on in the play, as we don’t in the world either. And as each character struggles to decide whether to become another person by mastering another language, we are asked to consider whether we in the English-speaking West are not just cultural imperialists but linguistic ones as well. And whether, perhaps, those are really the same thing.EnglishThrough March 13 at the Linda Gross Theater, Manhattan; atlantictheater.org. Running time: 1 hour 40 minutes. More