Regional Review: John Wilkes Booth: One Night Only

Review of the Sunday, May 18, 2025 preview performance at Center Stage in Baltimore, Maryland. Starring Ben Ahlers, Jordan Boatman, Sam Huntsman, Ked Merwin, Adrienne C. Moore and Robbie Tann. A new play by Matthew Weiner. Scenic design by Beowulf Boritt. Costume design by Orla Long. Lighting design by Xiangfi Xiao. Projection design by Stefania Bulbarella. Sound design/Composer Taylor J. Williams. Fight and intimacy choreography by Sierra Young. Directed by Stevie Walker-Webb. 110 minutes, with no intermission.  

Early on in John Wilkes Booth: One Night Only, Booth admonishes us for not knowing his full, true story - that he's much more than that one bullet. And it is true. I learned quite a bit about one of America's most infamous villains; knowing so little is even more egregious given that he is from my home state of Maryland. To that end, this play by nine-time Emmy Award winner Matthew Weiner (TV's Mad Men and The Sopranos), is a dramatic prequel of sorts to Sondheim's Assassins. Unfortunately, it was in spite of the play rather than because of it that I learned a lot.

Set up as a cabaret one-man show, it has enough meta twists and turns to be clever enough. (Oh, Mary!'s Mary Todd Lincoln would have been thrilled to share the stage with ol' Jack Booth, I'm sure.) But the constant breaking of the fourth wall - things like direct address, an inept prompter, and stopping to repeat "important lines" grows old fast, both because any momentum the play gathers is stopped cold, and because it's a dramatic device that has become trite and here covers no new ground. Instead of adding to it, the conceit only serves to lengthen an already overlong intermission-less event.

Tony nominee Stevie Walker-Webb (Ain't No Mo') directed this mess, though to be fair, we saw an early preview and one hopes he used the rest of the pre-opening time to tighten the piece and work with the playwright to finesse this world premiere script. Beowulf Boritt designed the 19th century stage setting that does everything it needs to, along with a late act surprise that caused a deserved gasp. Lit with an appropriate dramatic flare by Xiangfi Xiao, and costumed with wit by Orla Long, the production is handsome enough to look at. At one point, "Booth" employs a "magic lantern" (a slide show) to supplement his lecture, but, as designed by Stephania Bulbarella, its effectiveness is mixed. One sequence, the re-telling of the execution of John Brown through clever, stylized silhouettes was really cool. The rest, a hodgepodge of images less 18th century and more Google search top picks, was more distracting than anything else.

  

The six cast members do the best they can with the dense, meandering script that calls on them to do 18th century melodrama-style acting, mixed with an inordinate amount of Shakespeare, and finally, a jarring dose of realism. Some are more successful than others. Perhaps it is by design (and that would be a big benefit of the doubt) that the three actors who play generic theatrical types are the least successful. As "Actress," Adrienne C. Moore fails to make her formidable presence work with a series of accents so thick that her lines are nearly all unintelligible. Similarly, Ked Merwin milks his awkward nerdy-ness dry, losing much of his early audience good will with an uneven vocal affectation and a one-note take on a beleaguered prompter. Finally, and it gives me no pleasure to say this, there's "The Boy," a virtually unnecessary character, played by Sam Huntsman, who makes so little impression it is difficult to say who is most at fault, the actor or the playwright.

  

The good news - and it is very good - is that the three main actors are always exciting and offer the strongest argument that this work is worthy of future work and production. First, as Booth's sister Asia Booth Clarke (and other characters) Jordan Boatman is a magnetic presence, with a strength that draws the eye and captivates thoroughly. Next up, as Booth's brother Edwin (and father at one point) Robbie Tann embodies the exact tone and flair I think Weiner is going for. Tann's hairpin switches between self-absorbed "actor" and expert Shakespeare tragedian are truly remarkable. One expects this guy to make it big and soon.

Most importantly, John Wilkes Booth is being played by another actor that seems to fully understand the assignment here. Ben Ahlers, probably most famous for his role in HBO's The Gilded Age, goes all in with the character, managing to be both a chilling sociopath, and, dare I say it, sympathetic. Grand gestures and minute ticks go hand in hand in this portrayal. With a pleasing combination of boyish charm and suave roguishness, he struts and frets about the stage. Until he doesn't. The final moments of the play - Booth in Garrett's barn being smoked out - signal a stark, abrupt change, and Ahlers is perfect at convincingly making that scary shift believable. In lesser hands, this would simply not have worked. It was a pleasure watching him work live in front of me.

A work that has potential, One Night Only suffers under the weight of its own concept. A tighter script, a more focused direction and a few recasts could make this go places. For now though, I'll think of the entire Booth family every time I walk by the Booth Theatre on 45th Street. Edwin (its namesake) and John Wilkes deserve our attention.

📸: Baltimore Center Stage

REVIEW: Appropriate

Review of the Wednesday, April 24, 2024 matinee performance at the Belasco Theatre in New York City. Starring Sarah Paulson, Corey Stoll, Michael Esper, Natalie Gold, Ella Beatty, Graham Campbell, Alyssa Emily Marvin and Lincoln Cohen. A play by Branden Jacobs-Jenkins. Scenic design by dots. Costume design by Dede Ayite. Lighting design by Jane Cox. Sound design by Bray Poor and Will Pickens. Directed by Lila Neugebauer. 2 hours 40 minutes, including one intermission. 

Broadway boasts a thrill ride these days in the form of a play revival called Appropriate. This stunner feels much like riding a dark coaster like Space Mountain. I, like much of the audience alternately shrieked with laughter, gasped at surprises and recoiled in horror - sometimes all three at once!

Playwright Branden Jacobs-Jenkins has created a family drama so tightly constructed and effortlessly quirky, that each time you think you have a handle on what you are watching, it twists in a surprising direction. As a family gathers to settle the estate of their late father, secrets are unpacked and build one upon the other, so much so that they don't recognize each other (or themselves, for that matter) by the time it is over. Much like going through the literal piles of accumulated junk in the house, so, too, are the characters unpacking old animosities and painful prejudices. Jacobs-Jenkins offers up a scathing, no holds barred look at the complications all families have, and I found myself replaying events of the play substituting my family for the one onstage at the Belasco.

As expansive as dots.'s set is, with its huge plantation house main room, grand staircase and second floor balcony, Lila Neugebauer's tight, unrelenting direction renders the play nearly claustrophobic by the end, as if the walls are closing in on the last people there. Aiding in this intensity are the haunting lighting effects by Jane Cox and the eerie, threatening sound effects of Bray Poor and Will Pickens. Scenes are punctuated by rapid blackouts and the relentless screaming of cicadas, culminating in a thrilling coda of sorts (no spoilers here).

Two generations of this family have arrived to take care of things, each with different motives, desired outcomes, and buried issues. The younger generation, ranging from young child to late teen, is represented by three terrific actors, none of whom seem new to their craft. As the youngest, Ainsley, Lincoln Cohen doesn't have much to say, but his presence is always welcome, and he provides one of the most shocking moments of the entire play. He nails the innocence of a protected, unencumbered childhood. The early teen curiosity, defiance and boy-crazy silliness of Cassidy is played by Alyssa Emily Marvin in pitch perfect balance between naivete and a certain blase wisdom of someone growing up in a Tik Tok, Instagram world. What makes her performance so endearing is her utter shock at the most mundane aspects of life in her family, and her completely nonplussed reactions to the most shocking revelations. Finally, there is the brooding presence of Graham Campbell as Rhys, almost an adult and so far headed straight for trouble. This young man is likable but deceiving in his penchant for finding trouble just to be noticed. Campbell takes being the observer to new levels, while his physical impulses balance out the volatility of his simmering emotions. He is an actor to watch for in the future.

The older generation - the children of the deceased - are a complicated mess of feelings, long harbored resentments and lifetimes of bad choices. Along with the three siblings are a wife and a significant other. All five are brilliantly rendered by perfectly cast actors. The wife (Natalie Gold) may not be blood, but she is wound just as tightly, harboring justified resentfulness while desperately trying to shelter her kids from any real or perceived danger. In a jaw-dropping few minutes full of slurs and obscenities, she finally confronts her issues. When the youngest brother arrives on the scene, he brings a flighty, new age interloper - a younger woman (Ella Beatty), who is much more than she seems to be. Much more. Ms. Beatty has that presence many actors wish they had, and following this auspicious debut, I'm certain she'll have a long stage career.

It is, however, the trio of family members that are the center of this gripping drama. The youngest brother arrives on the scene under mysterious circumstances with a girlfriend and an odd name change. Michael Esper, in the best performance of his career to date, imbues this down on his luck loser trying valiantly to make amends for a past he will never outrun with an endearing vulnerability. At first blush, the middle brother (Corey Stoll) seems the most together of them all - a family, wealth, and a cocky self-assured air. Stoll's performance, enigmatic and frustratingly stolid, builds and builds to a shocking and ultimately cathartic denouement. It is Sarah Paulson, however, that runs the show as the take charge oldest sister. A swirling mix of self-righteousness, perpetual victim-hood, and fierce protector, she (and her vice-like grip on her character) keeps you guessing about what she will do next. In short, Ms. Paulson gives one of the most beguiling performances I've ever witnessed.  

It is a credit to the playwright, the direction and the cast alike that the play never devolves into soap opera melodrama, and, instead gives us captivating, edge-of-your-seat theater. One of my favorite plays. Ever.

📸: J. Marcus

REVIEW: Harry Potter and the Cursed Child (New Version)

Review of the Saturday, January 22, 2022 evening performance at the Lyric Theatre in New York City. Starring David Abeles, Aaron Bartz, Nadia Brown, Michela Cannon, Judith Lightfoot Clarke, Steve Haggard, Edward James Hyland, Jenny Jules,  Brady Dalton Richards, James Romney, Stephen Spinella and Karen Janes Woditsch. Written by Jack Thorne, based on an original new story by J.K. Rowling, Jack Thorne and John Tiffany. Music composed by Imogen Heap. Set design by Christine Jones. Costume design by Katrina Lindsay. Lighting design by Neil Austin. Sound design by Gareth Fry. Illusions and magic by Jamie Harrison. Movement direction by Steven Hoggett. Directed by John Tiffany. 3 hours, 30 minutes including a 20 minute intermission. Grade: A+

Having loved the original two-part experience - especially all of the magic - I was very interested in seeing how they condensed Harry Potter and the Cursed Child into a one-part adventure. In short, the new version is as delightful, and in some ways more so, as the original. Though I will attempt to #keepthesecret, I can't promise that I won't give something away. Playwright Jack Thorne and his collaborators have most notably excised a good deal of backstory (sorry Hagrid fans), and filled in some of the blanks with small amounts of exposition in the dialogue. By and large, all of the trimming and re-writing has tightened the same story and really sharpened its major themes, namely reconciling ones expectations of ones children, and the unintended consequences of ones actions, not only on oneself, but on future generations as well. Brought to the fore, and, as played at least, is also the bond of friendship and all of its consequences. Harry Potter has always been about friendship, but this newest version of the story also explores a far-reaching extension of deeper feelings, and yes, love between the two young men who are at the center of the action.

All of this was present in the original version, but the change in emphasis is clear. The young actors who portray Albus Potter and Scorpius Malfoy, James Romney and Brady Dalton Richards, respectively, have a near instantaneous and palpable chemistry. It is particularly interesting to watch them navigate these new feelings while still trying to come to terms with everything else that makes them feel like outsiders, notably the assumptions made about them because of who their parents are. Also impressive is that both actors have created new takes on established performers - no carbon copying here. Richards' way with being so unabashedly quirky while being completely unsure of himself, and Romney's brooding contempt for his father while being terrified to be himself are the perfect way to see why each would be drawn to the other. These roles were large to begin with, but in this version, these two carry the weight of most of the play on their backs, and it couldn't be in better hands. Watch for these fine actors in the years to come.

Winning performances from Nadia Brown as Ron and Hermione's people-pleasing, if somewhat bigoted daughter, and Michela Cannon as an ultra cool next generation Diggery round out the next generation of Hogwarts students. It was fun to watch Ms. Brown navigate the tricky road from adolescent snob to accepting young adult. Can't say much about Ms. Cannon's performance as I don't want to give anything away here, but I will say she was wicked fun from start to finish.

As the adult versions of the characters we all grew to love in books and movies, Steve Haggard (Harry), David Abeles (Ron), and Jenny Jules (Hermione), are an interesting trio. Haggard's Harry is crushed by the weight of expectation, and his anger over it is misdirected at his son; Jules' Hermione is at the top of her game, but as usual, struggles with the burdens of muggle-dom and always having to keep her friends on track; and Abeles' Ron is as lovably goofy and awkward as ever, but the strains of reputation, family and responsibility are heavy on him. All three play this very well, occasionally infusing some of the characters' beloved idiosyncrasies into their portrayal, much to our delight. However, it is when the they have the chance to be children again, that all three actors really soar - you can sense that they really enjoy this part of the story. And, in turn, seeing this side of them, makes their return to parenthood just that much more urgent and poignant.

Although portrayed as adults now, both Draco Malfoy and Ginny Weasley-Potter are a keen presence in this play, and both Aaron Bartz and Judith Lightfoot Clarke wisely do not rely on only giving us what we expect from them, instead carefully revealing themselves to be excellent parents. In fact, both actors make plain that often they are the only real adults in the room, which adds a delicious layer to things when all must unite at the end. Other beloved (and not so) characters are given fine performances as well: Stephen Spinella as both Snape and He Who Shall Not Be Named is both menacing and fun, and thankfully never campy. Similarly, Karen Janes Woditsch does double duty as McGonagall and Delores Umbridge; the former the sassy tower of strength, the latter, so wicked she actually was hissed by the audience! And Edward James Hyland garnered sighs of relief as he appeared in a painting as Dumbledore, wise, yet troubled, and rather forthcoming about his love for Harry - perhaps a hint that he knows his namesake's truest inner feelings for Scorpius, and wants Harry to acknowledge that?

The entire company (and I mean that in every sense of the word) is sharp and focused, and look to be truly enjoying taking us along for the ride. Not only do they all take on multiple roles, they dance, create magic, move scenery and set the stage in a staggering amount of formations. John Tiffany's tight, truly magical direction transports us gratefully to another world. Steven Hoggett's thrilling choreography to Imogen Heap's equally thrilling music remains a highlight. "The Wand Dance" is still a favorite of mine. We sat closer this time, and I hoped maybe I'd be able to see how some of the more elaborate illusions (by Jamie Harrison) were done, but no. Actually I'm glad - for three and a half hours, magic was real, and I needed that. All of the gasp-inducing elements are still there on Christine Jones' magic box set, under Neil Austin's ethereal lights, and swirling around in Katrina Lindsay's cavalcade of costume delights.

Cursed Child remains an entertaining delight, and I for one hope to return soon.

📸: J. Kyler, M. Murphy

REVIEW: King Lear

Review of the Saturday, March 30, 2019 matinee at the Cort Theatre in New York City. Starring Glenda Jackson, Ruth Wilson, Jane Houdyshell, Elizabeth Marvel, Aisling O'Sullivan, Pedro Pascal and John Douglas Thompson. Scenic design by Miriam Buether. Costume design by Ann Roth. Lighting design by Jane Cox. Sound design by Scott Lehrer. Original score by Philip Glass. Direction by Sam Gold. 3 hours, 30 minutes including one intermission.

Grade: B

William Shakespeare's King Lear is one of my favorite of his plays, and it feels very contemporary in its current incarnation which opened last night on Broadway. This story of family greed and political manipulation is right out of today's headlines. And as the elderly head of state descends into madness... enough said. The play is provocative and upsetting as is, but the direction, design and performances are at once brilliant and troubling. This is a production you have to engage with - no passive sitting with this one. The one drawback to that is comfort. With a two hour running time for act one, the cramped, rigid seats at the Cort Theatre are not good. The physical (and mental) break that a second intermission would afford would go a long way to more enjoyment. I found myself mentally checking out off and on for the last half hour or so as I became acutely aware of how stiff my legs were getting. Not a good thing with a challenging play.

Ruth Wilson, Glenda Jackson and John Douglas Thompson

Had there been more to look at I might have been less easily distracted. Normally, I love the less is more approach to a play, and until now, I've really loved designer Miriam Buether's work. Here she has created a giant, nondescript box as a playing space, much like what she did for A Doll's House, Part 2, a less dense, less action packed, and much less lengthy play. That's not to say I don't get what she was going for. It is timeless and regal - I've never seen so much royal purple carpet in one place, and the sheer size of the gilded walls suggest both wealth and immense power. And it certainly allows for rapid change of scene. But, coupled with a mostly linear style of direction, it becomes almost distracting to stare at. A master of costume design, Ann Roth has dressed this with on point modern style - tuxedos for the royal men, haute couture for the royal ladies, and business suits for the underlings. Picture a soiree in the West Wing... But, again, after awhile this gets dull. Jane Cox's lighting gets the job done.

There's been a fair amount of online chatter regarding the score by Philip Glass. I found it to be appropriately moody and complex, just as notable for when it is played and when it isn't. The string quartet was wonderful and unobtrusive, despite early reports.

John Douglas Thompson, Michael Arden
and Russell Harvard

Also fodder for online bickering is Sam Gold's direction of this masterwork. He has created a few terrific symbolic moments, particularly with the use of huge tables that provide a visual for a divided kingdom that ultimately collapses. A royal sized wing back chair does double duty as a throne and a cliff-side boulder. Less effective is the too consistent use of horizontal, presentational staging. Gold has a lot of opportunity to mix it up - Lear doesn't lack for action. It gets old fast. Oddly, when the space is constricted during the storm scene, the horizontal nature of the staging actually amps up the tension.

I really respect his casting, a true melting pot of actors, without regard to gender, race or physical limitation. Especially effective is that each actor speaks with his/her/they own accent. This play may list England as its setting, but, as with the design, the goal here is an "everywhere." A welcome side effect of this is that the non-traditional casting doesn't feel in the least bit gimmicky or forced. It isn't that it is a woman playing King Lear, it is that Glenda Jackson is playing King Lear. Jackson's co-stars offer a variety of acting styles that manage to (mostly) coalesce. Of Lear's three daughters, Regan has the least to work with, and Aisling O'Sullivan doesn't make much out of it. She preens and looks snooty, but that's about it. Even her death is a snooze. More successful is Russell Harvard a deaf actor (Michael Arden is his translator) whose presence and expression makes up for any loss made by his lack of speaking; when he does scream in rage and despair, it is hair-raising.

Elizabeth Marvel

This Goneril is extremely sexually charged, and Elizabeth Marvel handles the graphic nature of some of her scenes with skill, even as the audience cringes/gasps at her actions. John Douglas Thompson does fine, grounding work as Lear's confidante, the Earl of Kent. One of the "good guys," the character doesn't offer many juicy moments, but in a sea of crazy, his moral fortitude is welcome, and Thompson delivers. At first, Jane Houdyshell as Gloucester, was (and it pains me to say) a bit of a disappointment. She seemed unsure if she should just "be" or affect more traditional masculine mannerisms. But my disappointment was short-lived, for she was powerful and heartbreaking in the tragic eye gouging scene and its aftermath. As the wicked bastard son of Gloucester, Edmund, Pedro Pascal is sharp and vicious, though occasionally when he gets really manipulative he teeters on the edge of mustache-twirling villainy. But overall, he is good - his demise is very satisfying.

Jane Houdyshell and Glenda Jachson

That Glenda Jackson is one of the greatest actors of all time is indisputable. But is she a good Lear? Yes. It is fun and frequently jaw-dropping to watch her go from haughty arrogance and nasty privilege to the pain and loss caused by the betrayal of loved ones. The final scenes of Lear's insanity leading to his death are both cathartic and disturbingly sad. What a delight to be in the presence of such skill.

Jackson's name may be above the title, but for my money there are two stand out performances in this production. First, as the banished son of Gloucester, Edgar, Sean Carjaval is amazing. He is by turns brave, fiercely loyal, raving mad, disturbing and sad. You could feel his tortured soul all the way up to the ceiling. The physicality of his performance is equally brilliant. This is not normally a character one thinks of in regards to this play, but Mr. Carjaval simply shines. Hard to believe this is his Broadway debut. Then there is the thrilling performance of Ruth Wilson in the dual roles of Cordelia, the honest and banished daughter and the Fool, Lear's sidekick. Wilson is absolutely captivating as both the quiet, focused former royal and the boisterous, foul-mouthed speaker of truths. As with Carjaval, she uses brilliant physicality to convey as much emotion as her words do. The Fool demands that, but it is how she wordlessly rounds out her character of the daughter. When she is tragically reunited with her father, it is quite moving. I am already looking forward to seeing more of these two on stage in the near future.

Despite the very real physical pain caused by this production, I'm glad I persevered. It was three and a half hours well spent.

(Photos by J. Kyler, B. Lacombe)

#2046

REVIEW: The Boys in the Band

Review of the matinee performance on Saturday, August 4, 2018 at the Booth Theatre in New York City. Starring Jim Parsons, Zachary Quinto, Matt Bomer, Andrew Rannells, Charlie Carver, Robin De Jesus, Brian Huchison, Michael Benjamin Washington, Tuc Watkins. A play by Mart Crowley. Scenic and costume design by David Zinn. Lighting design by Hugh Vanstone. Sound design by Leon Rothenberg. Direction by Joe Mantello. 1 hour, 40 minutes, with no intermission. Closes Saturday.

Grade: A

The Boys in the Band

Perhaps a more apt title for this hilarious and unrelentingly biting examination of gay life in the late 1960's would be Mean Boys. The Plastics, a few blocks over, could learn a lesson or two these fellas who may have written the book on cruelty. Really, watching this tightly directed (by genius Joe Mantello), superbly acted piece must be what it feels like to open a time capsule. You can laugh ruefully at the silliness of a time past, maybe even missing it a little, and maybe a little regretfully. But then, as you look more closely, you may recoil at the horrifying realization that times may change, but people never really do.

The pink-tinged mirrors that make up the walls on David Zinn's ultra-mod bachelor pad never allow this band of boys a place to hide - the ultimate see and be seen set up, where one can primp and re-style as needed, but also where one cannot get away from himself. Wealth and status pervade every detail in the setting from the marble base table and the room sized velvet covered sectional to a closet filled with expensive sweaters and an impressive row of designer shoes. Were this a modern day tale, the decor might be a little different in color and the clothes more up to date, but change out the turntable with a cutting edge digital device, and probably a huge curved-screen Smart TV, and this could be today. It's the perfect setting for observing a surprise birthday party.

Zachary Quinto and Charlie Carver

The nine man cast is uniformly excellent. The eye-candy call boy stud known only as Cowboy is played by Broadway debutante Charlie Carver of Teen Wolf fame. He is, in fact, eye-candy, but he delivers a smart performance - no small feat considering the character is largely vacuous. But his very self-aware exit line betrays what I kind of suspected all along: Cowboy isn't as dumb as he looks. An interloper to this gathering as the "straight" college roommate of the party's host, Brian Hutchison has a most challenging role; he's definitely not going to get much of the audience's sympathy after revealing his prejudices and physically bullying another guest, and yet, he's compelling throughout, and even manages to get a bit of sympathy after all. It is interesting to realize that the character that ends up really getting the short end of the stick is the one that resonates the most with me. And outside of us both being gay, I have no outwardly direct connection with the character played by Michael Benjamin Washington, but his struggles, painfully and poignantly revealed, hit me like a punch in the gut. I, too, have felt the agony of loving a forbidden guy, and who among us hasn't hidden our true self by code switching? His was a genuine, moving performance.

Robin de Jesus, Michael Benjamin Washington,
Andrew Rannells and Jim Parsons

Tuc Watkins plays what today is kind of a stock gay character - the guy who marries, has a family, then sacrifices it all when he finally admits to himself that he isn't straight. Not much new ground is broken here (Band kinda started it all, really), but Watkins is compelling to watch nonetheless. Just watching him watching the man he loves was a master class. Always a favorite of mine in every show I've seen him in, Robin de Jesus did not disappoint here.  I'll admit I was concerned that his effeminate, tortured Latino characterization might lapse into a combination stereotype/been-there-done-that performance. He's been down this road before. Boy, was my concern misplaced. He is working on so many levels at once, it is mind-boggling. And dude can work a fan.  If de Jesus' performance began in familiar territory, the opposite can be said of the explosively dark turn of Zachary Quinto. What a stunning, thrilling surprise. Every single syllable he utters drips with an astonishing depth of character. His performance is very austere, and every single move he makes is calculated for maximum impact and damage. Such control is both mesmerizing and frightening. Another brilliant stage turn - come back soon. Please.

Matt Bomer and Jim Parsons

Andrew Rannells also offers a departure of sorts from his more famous roles.  It was nice to see him stretch (one of the best parts of years of theater-going is watching favorite actors grow and surprise you). Nasty, mean even, and honest to the point cruel, his performance is fiercely unflinching. But it is also evident why everyone he come in contact with wants him, even if it means certain pain, and to Mr. Rannells' credit, all of those facets, often on simultaneous display, are razor sharp. Matt Bomer, making a stellar Broadway debut, has a deceptively easy role, one that requires him to mostly observe and add commentary occasionally. But it is not easy to remain as present and fully engaged. I found myself watching him even when he far from the focus of the action. He is a natural on stage, with charisma and presence to spare. (And he may single-handedly bring back a return of the tighty whitey!) I'm already looking forward to seeing him on stage again.

Jim Parsons and Matt Bomer

The real breakout here for me is the harsh and ultimately heartbreaking performance of Jim Parsons. Often, when an actor becomes so well known for a particular role as Parsons is with Sheldon Cooper of Big Bang Theory, they never seem able to get out from under that when the show ends. After witnessing this, I am more than confident that he will be able to move beyond his TV persona. That he can be funny was never in doubt, but to be honest, I'd never ever have guessed he was capable of what he did in the last half hour or so of the show. I was not prepared for it; days later, I am still haunted.

The Boys in the Band definitely shows us where we've been and how far we've come. The play's scathing commentary on the destructive nature of many in the gay community, and the sobering final tableau of self-loathing are a powerful reminder of how much further we still have to go.


(Photos by J. Kyler, J. Marcus)

REVIEW: Angels in America

Review of the Thursday, May 3, 2018 (Millennium Approaches) and Friday, May 4, 2018 (Perestroika) performances at the Neil Simon Theatre in New York City.  Starring Andrew Garfield, Nathan Lane, Susan Brown, Denise Gough, Amanda Lawrence, James McArdle, Lee Pace and Nathan Stewart-Jarrett.  Written by Tony Kushner. Music by Adrian Sutton. Scenic Design by Ian MacNeil and Edward Pierce. Costume Design by Nicky Gillibrand. Lighting Design by Paul Constable. Puppet design by Finn Caldwell and Nick Barnes. Direction by Marianne Elliott. Part I: 3 hours, 30 minutes with two 15 minute intermissions; Part II: 4 hours, with two 15 minute intermissions.

Grade:  A+

The first time I saw Angels in America, it was the original Broadway production of Millennium Approaches. It was amazing, life-changing theater. I remember a very intense feeling in the the audience, as if each word held the secret of life. It was very intense and extremely emotional. Together we laughed, grew silent in seething anger, and wept in despair.  In fact, it was the weeping I remember most vividly - particularly the sobs that greeted the reveal of Prior Walter's first lesion. It was a special matinee performance during Gay Pride weekend in June 1994, and the wounds of the AIDS crisis were fresh.

Amanda Lawrence and Andrew Garfield

When I revisited Angels this past weekend, it was, once again, an intense, emotional experience. This time around, the laughs were easier and even heartier than before.  And the anger felt more intense.  But I didn't hear (or even feel the need for) crying this time around. A lot has changed in the quarter century since the play premiered.  AIDS is no longer a death sentence; the shame of being queer is less an issue (I pray), and homosexuality is much less of a cultural novelty/taboo.  Of course, American politics these days are as frightening as they ever were, probably more so.  You can practically hear our president wailing, "WHERE'S MY ROY COHN??" The balance has shifted in the last 25 years: before, the AIDS tragedy was in the forefront, set against a backdrop of politics; now, the politics are in the forefront, set against a backdrop of the AIDS crisis. It is quite telling that a speech about racism in America got the biggest hand of the night this time around. Ultimately, these different but equally intense reactions to this epic speak to the enduring quality of  Tony Kushner's work. In short, this brilliant master work was must-see theater then and is now.

Denise Gough

Marianne Elliott has once again proven that she is a master at staging epic theater. Just as she did with War Horse, she has again staged large scale pieces - think big production numbers - that have a wow factor that leaves you mouth-agape and breathless. Whether is the lonely snow scape of Antarctica, a full-out fight with an angel, or a "backstage battle" between a prophet and a heavenly flock of angels, the epic scenes are a feast.  That is not to say that they ever overshadow while the rest of the play gets lost.  No. In fact, the small scenes are just as epic - words and actions cut like daggers, and the ebb and flow of emotions is so carefully planned, that the "small" scenes feel epic and the "big" stagy scenes feel intimate.  The scenic design (by Ian MacNeil and Edward Pierce), lighting (by Paul Constable) and the score (by Adrian Sutton) -Tony nominees all - all contribute to the intricate chaos created by reality and fantasia.  Each element informs each moment to hit a perfect balance.

Susan Brown

But a brilliant script and equally brilliant direction only works with a cast that is up to the task.  This cast is more than up to it. They elevate it.  Each actor plays several characters, but none more than Tony nominee Susan Brown and Amanda Lawrence. Ms. Brown has the widest range of roles play, and, frankly, isn't entirely successful with all of them. Neither her "rabbi" or "oldest living Bolshevik" are completely devoid of her femininity, but they still serve their purposes.  She intrigues as a ghostly presence as Ethel Rosenberg to be sure. But she more than acquits herself in the pivotal character of Hannah Pitt, an unlikely heroine who undergoes and beautiful transformation. Watching that happen is one of the great pleasures of Perestroika, just as watching Ms. Lawrence's enigmatic, mysterious and thrilling Angel is.  Her physicality, at once broken and strangely athletic, is riveting, and her line delivery is mesmerizing.  The effect is fantastic and otherworldly. And kudos to her, her "Angel Shadows" and the design of Finn Caldwell and Nick Barnes, and the team behind the entire movement/fight sequence - absolutely breathtaking.

With incredible presence and flair, Nathan Stewart-Jarrett's Belize, is a fiery force of nature. His comic timing is spot on, as is his gift for walking that line between just enough and excess.  But most remarkable is his innate ability to show us, with razor-like precision, the searing anger and proud resistance that lies beneath every barb.  The other raging inferno of the cast is the wonderful James McArdle, who, as loud-mouthed but weak, politically charged but self-righteous, Louis Ironson, manages the impossible.  He makes a very unlikeable, cowardly man compelling nonetheless. It is a shame that the Tony nominators couldn't make room for these fine actors.

James McArdle and Nathan Stewart-Jarrett

Lee Pace, as Mormon Joe Pitt, delivers an amazing performance that makes you feel every one of his character's multitude of emotions. Not just because he is very tall and strongly built, Pace towers over others by using his physicality to inform every scene he is in.  Sometimes menacing, sometimes surprisingly weak, his presence and bearing draw your eye and it is difficult to look away. Watching his Joe fight, break and rebuild is one of this season's greatest pleasures.  The same could be said for Denise Gough's breakthrough performance as anxiety-ridden, pill-popping, is-she-hallucinating-or-is-she-facing-reality Harper Pitt. This woman is a force of nature, giving one of the great performances of the season. Riveting from start to finish, Ms. Gough allows us to admire, revile, be fascinated by, turn away from and feel everything for this woman.

Lee Pace, Andrew Garfield, Nathan Lane

I must admit that generally I feel that a little bit of Nathan Lane can go a really long way.  When he is on, he is ON, and you never really forget that you are watching Nathan Lane as Nathan Lane.  And at first, his performance here is just that. For about 5 minutes. Then, all of a sudden, you are watching a hateful, disgusting human being lord over anyone and everything in his path.  In short, Mr. Lane is giving the performance of his storied career. This is a ferocious, balls to the wall tour de force turn that is so intense, it is a relief when he appears as a Ghost of Prior Past full of his trademark flare. A full week later now, and I am still having flashbacks of his venomous delivery and the shocking realism of his seizure-filled descent toward death.  Far and away, though, the one who almost steals the show all to himself is the amazing Andrew Garfield. There simply aren't enough adjectives to describe this performance.  I will say that seeing him perform here has been one of the great privileges I've ever had in 35 years of theater going. He creates such a complex character in Prior Walter that it is like watching the proverbial onion being peeled, layer by painful layer, right in front of you. Mr. Garfield is just incredible - a performance not to missed. I am now a fan.

Andrew Garfield

Smartly, both plays are staged very differently, with Millennium Approaches the more conventional of the two, and Perestroika the more "fantasia."  In both cases, though, fasten your seat belts.  Angels in America is one hell of a ride.

(Photos by J. Kyler, Brinkhoff/Mogenburg and H. Maybanks)

REVIEW: Three Tall Women

Review of the Saturday, March 24, 2018 matinee preview performance at the Golden Theatre in New York City, New York. Starring Glenda Jackson, Laurie Metcalf and Alison Pill, with Joseph Medeiros (uncredited). A play by Edward Albee. Scenic design by Miriam Buether, costume design by Ann Roth, lighting design by Paul Gallo. Directed by Joe Mantello. 1 hour, 45 minutes, with no intermission. Limited engagement through June 24, 2018.

Grade: A+

I'm guessing that like me, other bloggers and legit critics will be consulting their thesaurus to find enough different superlatives when evaluating the revival of Edward Albee's Three Tall Women, which opened last night. I will start off simply: this brilliant masterpiece is the best play I have seen in years, on-, off- or nowhere near- Broadway.  And the same can be said for the entire production of the play, as well.

The scrim rises to reveal designer Miriam Buether's elegant, well-appointed bedroom suite, so tidy it borders on sterile. The room is a carefully calculated arrangement where everything is in its place, covered with the sheen of wealth and all masking the turmoil within its walls. The nearly frigid lighting (designed by Paul Gallo) has the feel of life draining from the air.  All of this remarkable physicality mirrors the room's chief inhabitant, an ancient, miserable woman who spends her days fighting pain and tormenting her caregivers, even as she torments herself with a myriad of memories that pop in and out of her head on a cruel whim.  The second half of the play includes a jaw-dropping change to that remarkable physicality, which further mirrors all of the inhabitants of that room.

How wonderful to report that as jaw-dropping and perfect as the set is for this production, the biggest thrills come from Albee's often hilarious, always sharp, and thoroughly thought-provoking script, some of the tightest direction, by Joe Mantello, who creates a lot of poignant physical movement in a very wordy play, and three Tony-worthy star turns by three generations of actresses. Three tall women, indeed.

In a role that will likely always seem like the least of the three, Alison Pill's performance is one that creeps up on you.  For about the first third of the play, she comes across as a pragmatic, almost supercilious millennial lawyer, and as such is not the most sympathetic of the three ladies. She also seems to have the least to contribute to the forward motion of the plot. But as the play progresses, and you see her not only survive, but hold her own against a barrage of acidic barbs, you come to respect her efforts. Then as the play enters its enlightening second phase, Ms, Pill not only holds her own against two titans of the stage, she joins their ranks as an equal, delivering a powerfully emotional performance that perfectly captures the arrogance of youth and the heart-breaking reality that all of us face as we start to age.

Again, I'll state it simply. Laurie Metcalf is one of the greatest actresses of her generation, and certainly one of the greatest currently on our stages. Like Ms. Pill, Ms. Metcalf plays two different variations on a theme - this time of middle age.  As is her trademark, she plays every moment with an astonishing immediacy as if it is really happening for the first time, and each of those moments reveals a rapier wit with an undercurrent of sadness, regret and a certain been-there-done-that attitude.

The role also offers her a few well-chosen chances to show off some nice physical comedy skills in the first section, while it offers ample opportunity for her to explore the darker end of human emotions. During a late play monologue, she held the entire audience in silent captivity as we hung on her every word while tears streamed down her face. Will she be winning a Tony two years in a row? Quite possibly.

I rarely make such a prediction in a review, but, barring a HUGE late season surprise, the winner of the 2018 Best Actress in a Play Tony will go to the glorious Glenda Jackson, who is giving one of those performances that people will be talking about for years to come.  That is no small feat, considering Ms. Jackson's career which is filled with many such pinnacles. Like the others, she plays two distinct characters in the course of the play, and yet she is the only one who actually plays the same character the entire time.

To say more would be to give away too much of the story, but suffice it to say Ms. Jackson is at the top of her game, delivering sometimes lengthy stream of consciousness monologues that often change emotion mid-sentence in the first part, which makes the relatively more subdued second part of her performance all the more delicious, as she strolls around the stage in full command. Two distinct facets of the same hard diamond, I was almost afraid to take my eyes off of her - will she break or explode? Either way, I don't remember blinking. Or breathing.

With three such amazing performances, such terrific visuals and beautifully timed direction, Three Tall Women fires on all cylinders and time flies. The result is a riveting, edge-of-your-seat thrill ride, the kind often reserved for the latest roller coaster. This is a don't miss production.




(Photos by J. Kyler, B. Lacombe)