Reviews

The Mountains Look Different

The Mountains Look Different

Set on Midsummer’s Eve (June 23), Micheál mac Liammóir’s The Mountains Look Different is about a woman’s attempt to reinvent herself through marriage following years of working as a prostitute in London. First performed at the Gate Theater in Dublin, the noted Irish actor’s play was applauded for its openness by critics and audiences in 1948, but it was also disdained by the God-fearing and narrow-minded Catholic community. However bold it was then, by today’s standards director Aidan Redmond’s revival offers audiences little more than a diorama, a 3-D representation of a bygone era. 

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Dropping Gumballs on Luke Wilson

Dropping Gumballs on Luke Wilson

In 2000 Rob Ackerman made an impressive debut with Tabletop, a play about the cutthroat world of television commercials. Centered around a dictatorial director hell-bent on the perfect close-up of a fruit drink topped with a swirl, the play raised a number of issues about art, commerce, and workplace politics. Ackerman’s newest work, Dropping Gumballs on Luke Wilson, in an excellent production by Working Theater, serves as a companion piece to Tabletop. Also set in a television-commercial sound studio, Gumballs satirically reveals the moral compromises individuals make when confronted with artistic, economic, or personal intimidation.

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Public Servant

Public Servant

Theatre Breaking Through Barriers (TBTB) is celebrating its 40th anniversary with a production of a new work by Bekah Brunstetter, Public Servant. The play is set in a small town in central North Carolina, a state that the native Brunstetter has previously focused on in dramas such as Oohrah! and The Cake. Following the TBTB mission statement, Geordie Broadwater’s first-rate production features both abled and disabled actors.

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[Veil Widow Conspiracy]

[Veil Widow Conspiracy]

Playwright Gordon Dahlquist’s [Veil Widow Conspiracy] wields those unnecessary, pretentious brackets as a warning, perhaps, that there’s a lot of extraneous information in his overstuffed 75-minute play. Set in three locations, the National Asian American Theatre Company production opens on a couple who are seemingly sheltering from some dire events outside, primarily conveyed through sirens. It’s an apocalyptic Brooklyn, but too briefly and sketchily presented to capture one’s interest.

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Handbagged

Handbagged

It’s just a side benefit to an already crackling evening, but if you see Handbagged, the latest in 59E59’s Brits Off Broadway series, you’ll also take in snippets from several current Broadway offerings. The 1981 Irish hunger strikes (The Ferryman)? They’re here. Rupert Murdoch’s takeover of several Brit tabloids, beginning with the Sun in the late ’60s (Ink)? Also here. And The Cher Show may present three different-aged Chers, each commenting on the others, but Handbagged, Moira Buffini’s 2010 play having its New York premiere, makes do with older and younger versions of Queen Elizabeth II and Margaret Thatcher, each interacting with the past and present and occasionally murmuring, “I didn’t say that.”

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Long Lost

Long Lost

Donald Margulies’s new play, Long Lost, almost revels in overly familiar plot elements. Focusing on two brothers who haven’t seen each other in years, Margulies draws on the good brother/bad brother dynamic of the Cain and Abel story; it pops up in Hollywood films as different as Arsenic and Old Lace and Legends of the Fall, but perhaps most pertinently in Duel in the Sun, where the brothers form two points of a love triangle. Here the siblings are David (Kelly AuCoin), a successful consultant, and his older brother, Billy (a gray-bearded Lee Tergesen). In Margulies’s story. David’s wife Molly (Annie Parisse) glancingly forms the third point. But another oft-mined trope is also at play: the stranger who arrives in a settled household and disrupts it is a staple of drama from The Playboy of the Western World to Picnic.

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Unmaking Toulouse-Lautrec

Unmaking Toulouse-Lautrec

Although the Parisian cabaret the Moulin Rouge was most recently popularized by Baz Luhrmann’s fantastical 2001 film musical, it was French painter Henri de Toulouse-Lautrec’s posters that brought fame to the venue during its original heyday in the late 19th century. Colorful and grotesque, his works depicted the excess, revelry, and bohemian lifestyles that defined the neighborhood of Montmartre at that time. In Unmaking Toulouse-Lautrec, Bated Breath Theatre Company delivers a quick and dirty look at the man behind the paintings in NoHo’s sexy, velvet-saturated bar Madame X (a venue that befits the bordello stylings of the production’s historical time period).

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God of Marz

God of Marz

God of Marz, Rachel Shaw’s new play presented by Red Planet Theater Company, includes a warning upfront. A voice-over eschews the usual no-photos and no-cellphones reminder and (ungrammatically) informs the audience that “nothing the characters say or do does in any way reflect the views of the author, actors, directors, stage managers, costume designers, or the venue of this production. Some may find the material offensive and, if so, please leave quietly with no regrets.” Aside from the assumption that the play then does reflect the views of the lighting and scenic designers, for instance, some audience members might harbor an expectant thrill of an inflammatory evening at the theater. Alas, that’s not the case.

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Madame Lynch

Madame Lynch

Eliza Lynch is Paraguay’s version of Eva Perón, Argentina’s famous class-climbing first lady. Madame Lynch, as she was known, was born in Ireland, emigrated with her family to France during the Irish Potato Famine (1845–49), and became a highly admired courtesan. In 1845 she met General Francisco Solano López Carrillo, who later became president of Paraguay, and she became the country’s most controversial de facto first lady. (The pair never married.) Once reviled by Paraguayans but now celebrated, the self-named “Empress of Paraguay” is the basis for the Drunkard’s Wife production of Madame Lynch, which is subtitled a “spectacle with music and dancing.”

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Original Sound

Original Sound

Original Sound, deftly written by Adam Seidel, explores the idea of what it means to be an original music artist in the age of the Internet, which has made it easy to borrow pieces of others’ work (“sample”) and use in your own. At the center of the story are Danny Solis (the sublime yet down-to-earth Sebastian Chacon), a Nuyorican mix artist who is having a hard time getting by in life because all he wants to do is make music, and Ryan Reed (Jane Bruce, a talented singer/songwriter in her own right) who is an upcoming star with a recording contract.

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Posting Letters to the Moon

Posting Letters to the Moon

Posting Letters to The Moon brings a heartfelt performance to the Brits Off Broadway festival at 59E59 Theaters. Compiled by Lucy Fleming, the daughter of British actress Celia Johnson and an actress herself, Posting Letters to The Moon is a reading of letters between her parents during World War II. Johnson, best known for the 1945 David Lean film Brief Encounter, for which she was nominated for an Oscar, was married to Peter Fleming, an accomplished writer and explorer; he was also the brother of Ian Fleming, the creator of James Bond. Lucy Fleming and her husband, Simon Williams, an actor best known as Mr. Bellamy in Upstairs, Downstairs, read the parts of her parents.

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Luzia

Luzia

Cirque du Soleil’s latest extravaganza, Luzia, draws on a Mexican theme for its storyline, but in a way that proves more accessible than some of the earlier productions. It’s subtitled “A Waking Dream of Mexico,” and under that guise it presents the feats of strength, agility and clowning with less obligation to a plot that can feel murky. An announcer sets it all up: he is a pilot of Flight 2016 to Mexico; the audience is in the passenger seats; and as the plane takes off, the fliers are meant to relax and doze into an in-flight fantasia.

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Mac Beth

Mac Beth

Red Bull Theater’s new production of Shakespeare’s Macbeth—restyled Mac Beth and originally staged at the Seattle Repertory Theatre—is an exciting theatrical experience that injects fresh energy and immediacy into the oft-performed and oft-read play. It strikes a good balance between faithfulness and innovation, and its central conceit never feels like an interpretive fad or a new-for-the-sake-of-new device.

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Socrates

Socrates

Socrates begins at the end, with the famed philosopher already dead, and Plato, his most famous student, trying to understand why. Giving away the ending is always risky, but in playwright Tim Blake Nelson’s hands, the story becomes a type of metaphysical puzzle. The question isn’t who did it—Plato tells us up front it was the city of Athens—but how a supposedly great civilization could so easily eradicate a great mind, especially one who went to great lengths to disavow his greatness.

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Enter Laughing: The Musical

Enter Laughing: The Musical

When Enter Laughing: The Musical opened in fall 2008, the York Theatre Company struck gold in their excavation and refinement of a 1976 flop musical, So Long 174th Street. Using the title of the play by Joseph Stein and novel by Carl Reiner on which it is based, Enter Laughing was hailed by critics as a musical gem, prompting the New York Times critic to write, “All you can do is wonder, how did this thing fail so badly the first time around?”

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Happy Talk

Happy Talk

Two is company, three’s a crowd, and being alone is unbearable in the New Group’s world premiere of Jesse Eisenberg’s latest comedy-drama, Happy Talk. Unfolding across a series of confrontations where, more often than not, two characters, deep in conversation, are interrupted by the needs of an intrusive third, this play tracks the lives of some strong women and a weak man, all of whom are at the end of their collective rope.

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Curse of the Starving Class

Curse of the Starving Class

 The goose and rabbit who have been delighting audiences on Broadway in The Ferryman now have some competition in the nonhuman actor category: the sheep who graces the stage for much of Signature Theater’s revival of Sam Shepard’s Curse of the Starving Class. It’s clear from the startling outset, when the walls of the dilapidated kitchen crack and break apart, that things aren’t going to end well for human and nonhuman alike. And the play implies that the divide between human and animal isn’t as stark as we would like to imagine

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Hans Christian Andersen

Hans Christian Andersen

The Ensemble for the Romantic Century puts together hybrids of theater, classical music—both vocal and instrumental—and readings of letters or diaries to create its productions. For Hans Christian Andersen, its latest offering, the group has increased the hybrid entertainment by adding puppetry for its story of the life of the great Danish fairy-tale writer: marionettes, hand puppets, and some that are much larger.

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Lockdown

Lockdown

The prison drama has a familiar formula: the grizzled veteran nearing parole, the hotheaded younger inmate spoiling for a fight, the wary authorities, the well-meaning outsider taking up the inmates’ cause. The difference with Cori Thomas’ Lockdown is a) it’s Rattlestick Playwrights Theater 2019, not Warner Brothers 1931, and b) it addresses contemporary, unsettling issues about incarceration, social inequity, and what awaits anybody getting out of stir. 

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Caroline’s Kitchen

Caroline’s Kitchen

A British celebrity cook’s life isn’t so camera-perfect in Torben Betts’s Caroline’s Kitchen, a U.K. transplant now playing in 59E59 Theaters’ Brits Off-Broadway festival. The high-tension new play centers on BBC cooking host Caroline (Caroline Langrishe), the “darling of Middle England,” whose privileged life goes up in flames over the course of an evening—along with the roast.

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