ON THE TOWN
R E V I E W E D B Y
BY DAVID A. ROSENBERG
How ironic that the revival of "On the Town," a show first conceived as a ballet, is at its weakest when the cast begins to hoof. The Public Theater's valentine to our fair city, at the Delacorte Theater in Central Park, has choreography by Eliot Feld, whose first musical comedy this is. His dances are far from the pulse of the Leonard Bernstein-Betty Comden-Adolph Green-Jerome Robbins 1944 success.
"On the Town" originated as Robbins' ballet "Fancy Free." Where Feld is all ground-hugging slides, Robbins was sky-reaching vaults. No one wants a duplication, but we can ask for more focus--less trackless moving about like a runaway subway.
Although opening promisingly with jagged counterpointing, Feld bogs down into a series of repetitious movements and pretty pictures, climaxing in an ill-conceived and pretentious dream sequence. It's like painting the Mona Lisa on a mustache.
Director George C. Wolfe's production can be very funny but has major problems. The three sailors looking for quick pick-ups on their one day in Gotham are short on distinct personalities. Robert Montano (Ozzie), Jesse Tyler Ferguson (Chip), and Josƒ Llana (Gabey) are generic gobs.
Their gals fare somewhat better, especially Lea DeLaria as Hildy. With seismic energy, she spins her numbers into the equivalent of a fleet of yellow cabs in rush hour. While Kate Suber's Claire DeLoone isn't tight-ass enough at the start, her caution-to-the-winds performance has its dizzy delights. As Ivy Smith, the Miss Turnstiles whose pursuit is the plot's nexus, Sophia Salguero is attractive but bland.
Minor characters walk off with their scenes. Mary Testa as the bourbon-swilling Mme. Dilly, Blake Hammond as an incompetent nightclub host, and Jonathan Freeman as the beset Pitkin W. Bridgework are hoots.
Adrianne Lobel's set is wondrous, Paul Tazewell's costumes are droll, Paul Gallo's lighting has a luster all its own, and the orchestra under Kevin Stites boldly blares out the jazzy score.
Produced by the Public Theater at the Delacorte Theater, Central Park, W. 81st Street entrance, NYC, Aug. 17-31.
1776
R E V I E W E D B Y
DAVID SHEWARD
When "1776" first opened in 1969, it was not given much hope for success. After all, a musical about the signing of the Declaration of Independence? But the late Sherman Edwards' zesty score and Peter Stone's believable book overcame these obstacles and brought a dry history lesson to musical-comedy life.
The current Roundabout revival of the show faces hurdles of its own. Much of Stone's humor rests on portraying the Founding Fathers as breathing human beings who drink, make love, and perform similar bodily functions. This was a big surprise when the production premiered, but after nearly 30 years of political scandals, views of leaders have become more jaded. These jokes are so much bathroom and bedroom punning now.
Fortunately, the ever-resourceful Scott Ellis' staging doesn't overemphasize these high-school-level cracks. He acknowledges them, but doesn't dwell on them. The main thrust of the story is the uphill battle waged by cantankerous John Adams (Brent Spiner) to ram a proposal of American independence through a complacent Continental Congress. That is executed with simplicity and speed (despite the three-hour playing time).
Led by the energetic Spiner, this is one of the most evenly excellent musical ensembles in recent Broadway memory. Each player has his or her moment to shine. To single out a few, there's Pat Hingle's mischievous, croak-voiced Ben Franklin, Gregg Edelman's dark and masterful Rutledge, Dashiell Eaves' touching Courier, Linda Emond's wise, patient Abigail Adams, and Lauren Ward's charming Martha Jefferson. Tom Aldredge, MacIntrye Dixon, Michael McCormick, and Richard Poe also deserve mention. Even Michael Cumpsty and Robert Westenberg, usually two of the biggest over-actors on the boards, achieve their effects with subtlety.
Tony Walton's set employs the Roundabout's turntable and proscenium to create an authentic period flavor, which is echoed in William Ivey Long's costumes. Brian Nason's lighting evokes the right mood, particularly at the end of Act I for the Courier's affecting ballad "Mama, Look Sharp"--a sweet moment emblematic of a superior production.
Presented by the Roundabout Theatre Company at the Criterion Center, 1530 B'way, Aug. 14-Nov. 9.
THE BIRDS
R E V I E W E D B Y
VICTOR GLUCK
I'll bet you never thought about how much "Saturday Night Live" owes to the comedy of Aristophanes, but the proof is in the Voice & Vision Theater's charming production of "The Birds," which led off at the Connelly Theatre in the First Annual New York International Fringe Festival.
Of course, Devorah Herbert's adaptation, which she also directed, has updated the play and reduced the size of the cast, but remains faithful to the spirit and plot of Aristophanes' 2,400-year-old comedy--which demonstrates that greed, bureaucracy, and power have always been at the bottom of things. With witty costumes by Andrea Huelse, and a cast of stalwarts who can triple successfully in varying roles, "The Birds" proved to be an engrossing entertainment.
In Herbert's version, Euel and Peith, two out-of-work clowns who leave Athens in search of a better place, arrive in the kingdom of the birds and are about to be rejected because they have no wings. When Peith recommends to Epops, the King of the Birds, that they found a closed society, Tweetopia, to keep the humans from sacrificing to the gods, he suddenly finds himself in charge. Ultimately he is corrupted by power and Euel escapes to find another utopia.
As Peith, the personable Danny Strauss had the boyish ebullience of the young Roger Daltry or Matthew Broderick. Subbing for an ailing actor, Christopher Roberts demonstrated his versatility by playing six roles, including his own four as Epops, the Priest, Prometheus, and Poseidon. Likewise, Lee Lewis was unrecognizable as the performance artist Poet, the Goddess Iris, and Sovereignty. Steven McElroy as the perplexed Euel, the commanding Bureaucrat, and the pathetic Mr. Smith ran the complete gamut. Set designer P.K. Wish surprised us with a middle kingdom of the birds that was golden yellow rather than sky blue.
Presented by Voice & Vision at the Connelly Theatre, 220 E. Fourth Street, NYC, Aug. 13-23.
THE JURY ROOM
R E V I E W E D B Y
VICTOR GLUCK
In C.B. Gilford's new play "The Jury Room," Agatha Christie meets a politically correct "12 Angry Men." This is the kind of whodunit in which there is a body in the library, confrontations take place in the conservatory, and the question arises whether the butler did it. However, aside from the recycled clichƒs and stereotypes, Gilford has some new angles and the play proves entertaining despite its flaws.
Like "12 Angry Men," Gilford's premise is that 11 members of the jury are ready to convict the defendant while one member holds out for acquittal. The interest here arises from the jury members' decision to reenact the key scenes of the crime described in the trial, with each of them taking a role similar to his own personality. The O. Henry ending, though a bit farfetched, comes as a novel surprise.
Unfortunately, director Van Dirk Fisher's production at the Riant Theatre does not give the play the polish and style it deserves. The blustery, unsubtle acting draws attention to the play's weaknesses. Amy Louise Robinson, as the Society Woman, and Betsy Newberry, as the Knitting Lady, are guilty of posturing. Tom Epstein, as the Angry Man, and Christopher Lerle Hennelly, as the neurotic Man With Glasses, attempt to bluster their way through their roles.
Among those who are one-dimensional in one-dimensional roles are Penny Dembris, as an Eastern European fortune-teller, and Tenison Tompkins, as a blonde Valley Girl. In the leading roles, Erica Medirov, as the holdout to conviction, has great intensity and Michael Matts, as the shy Young Man who is stimulated by the psychodrama, grows in stature as the plot evolves. As the Foreman impersonating the victim, Nick Capous has believable authority. The jury room designed by Bobby Richardson is serviceable, but unattractive.
Presented by The Riant Theatre & B.E.T. Productions at the Riant Theatre, 161 Hudson St., NYC, July 24-Aug. 17.
GRIMM TALES
R E V I E W E D B Y
VICTOR GLUCK
Although its youthful and talented cast would not remember, Synapse Productions' "Grimm Tales," performed as part of the First Annual New York International Fringe Festival, is a descendant of Paul Sills' legendary "Story Theatre." This is high praise, because both troupes entertainingly and imaginatively retold famous fairy tales in a way that both children and adults can enjoy.
Directing from a text adapted by Carol Ann Duffy from the stories of the Brothers Grimm, David Travis has his actors narrate and pantomime props while three on-stage musicians (Michael Lawson, Alessandro Ricciarelli, and Amir Ziv) create both live sound effects and original mood music. Kai Brothers and Jen McGlashan's inventive designs include saw horses used as doorways, cages, and roads, and a rope with sandbags attached which turns into an undulating river. Their costumes (taken from trunks and hooks already on stage) are equally creative.
As the versatile seven cast members appear in multiple roles in all of the tales, their parts are not differentiated in the program. This talented septet is made up of Frances Anderson, Ben Busch, David Gochfeld, Mira Kingsley, Eliza Pryor Nagel, Rik Nagel, and John Ponzio. They walk through the audience, directly address us, and cavort as children, animals, old men, and witches, both on stage and off--all with animation and aplomb.
At the performance I attended the tales performed were "Hansel & Gretel," "The Golden Goose," "Ashputtel," and "The Magic Table, the Gold Donkey, and the Cudgel in the Sack." This delightful production is definitely proof that fortunes aren't necessary to create stage magic and that the imagination is a strong tool in successfully telling a story in the theatre.
Presented by Synapse Productions at the Connelly Theatre, 220 E. Fourth St., NYC, Aug