PRETTY,
WITTY NELL A wacky slapstick
historical romp. All I knew about Nell Gwynn (and I’m
British-born) was that she was the saucy mistress to one of the Kings Charles back
in the good old days. After experiencing Ryan J-W Smith’s slapstick theater in
verse, I now know she was a very wicked wench who romped with more than her
share of blue-blooded royals. Not to give away the surprises Ryan J-W has in
store, my only gripe is that the cavernous theater space, and the rapid-fire
pace of rhyming dialogue, made it hard to hear what anyone – Nell or her many
comical lovers – were actually saying. Still, the message is clear – Nell
really was quite a pretty, if not particularly witty, Bad Girl, as portrayed
lustily by Melanie Johnson.
MR.
YUNIOSHI Brilliant writing and acting. Shows the human face
behind an offensive caricature. If you loved the actor Mickey Rooney, in spite of this one awful role, then don’t miss this
show. Asian actor J. Elijah Cho, both writer and performer, brings Rooney to life
in all his dare-devil humor and Hollywood-legend status. Cho's impersonation will
have you laughing and, as the story of what Hollywood demands of one of its
icons, perhaps even close to crying. Cho also transforms smoothly into other
characters, both on and off-stage, to give us a meaningful understanding of the
world Mickey inhabits. Paradoxically, Cho shows how Rooney, after becoming this
figure of dubious fun, found acceptance in the community his performance mocked,
while the rest of us so-called Caucasian folk still recoil in shock and disgust.
As not everyone has seen 'Breakfast At Tiffany's' (1961) perhaps showing a clip
of Mickey's Mr. Yunioshi before the play starts might illuminate the subject
for those audience members. If the rights aren't available then a blow-up
poster might do. Winner: Best Solo Play.
SCORPION
and FROG: A TIME KILLER A scorpion asks a
frog to carry it across a river. The frog hesitates, afraid of being stung by
the scorpion, but the scorpion argues that if it did that, they would both
drown. The frog considers this argument sensible and agrees to transport the
scorpion. The scorpion climbs onto the frog's back and the frog begins to swim,
but midway across the river, the scorpion stings the frog, dooming them both.
The dying frog asks the scorpion why it stung, to which the scorpion replies "I couldn't help it. It's in my nature!”
Playwright Spencer Green, (loved his BUMPERSTICKER musical in the 2016 Fringe
Festival) has adapted this fable for The 6th Act. Even with
excellent actors Alex Parker and Christine Sage, four crossings with almost the
same dialogue grew tiresome. Felt like a charming ten minute play stretched to
one hour.
THE DUCHESS & THE STRIPPER
In my former life as a librettist I wrote a musical
THE WINDSOR FOLLIES about this same Duchess that performed in their Royal Suite
at The Waldorf Towers (see it on You Tube). I was curious to see playwright David
Bosley’s take on Wallis Simpson from Baltimore, who snared a King, and was
delighted to recognize the same enigmatic gal I had discovered. No need to
question why she would flee a socialite party to hang out with a gaudy
strip-teaser who owned her own club. In this remarkable play, brilliantly
directed by Ezra Buzzington, two women who came from nothing, yet achieved
international fame, spend an hour comparing notes. Blaire Chandler is a
believably introspective Wallis and lets us see deep into the soul of a
normally secretive woman. Alli Miller is not only gorgeous as Blaze, she also
reveals the shrewd yet understanding nature she usually masks behind pasties
and G-strings. Don’t miss this well-structured dramatic play that is an
emotional and intellectually-erogenous masterpiece.
THE
NARCISSIST NEXT DOOR Having lived in Hollywood many years, I can recall
meeting many narcissists, in fact this town breeds them. In Ellen Buckley’s humorous
sitcom, the actor portraying the neighbor from hell actually makes the looney guy
very likable… to the audience that is! It starts in photographer Sebastian’s
apartment, when his gal-pal Kate, a struggling playwright, drops by. Like in a Seinfeld
episode, there is a knock at the door and in roars their high-spirited,
loquacious neighbor Tony. From the moment he enters, actor Luca Malacrino
dashes off with the play. He is dynamic, energetic and the more he brags of his
accomplishments the more one suspects this Tony is a fantasist as well as a
narcissist. When the beleaguered characters attempt to escape to Mexico, Tony
is right there and, when danger lurks, turns out he’s the man who can handle
any situation. This turnaround gave the play a delightful contemporary meaning
– never underestimate the power of a fool – but the final action contradicted
this and left me baffled.
HELLO
AMERICA This play demonstrates the political power in live
theater as seven dynamic young actors relate what it means to be black in
America and be acknowledged as a man. They start with anger and the sadly
familiar list of injustices suffered under the iron fist of racism. Then, one
by one, they reveal the hurt that permeates their lives and the bewilderment at
why this continues to happen. Introspection follows, with each of them
remembering their childhoods and the small incidences and insults that forced
them to hide their vulnerability even from themselves. When they robustly celebrate
their young manhood, the sexual and physical challenges they overcome gives
them an illusion of invincibility. Then, with some, the longing for emotional
connection moves them to accept and show love. Others, even when the fear of
being hurt keeps them apart, find pride in self-awareness. Writer and director
Brandon Rainey, through the talent of these seven extraordinary individuals,
makes a powerful statement that deserves to be heard across America.
LEAR/LOMAN Will meats Willy in this intriguing and dynamic play
where two fabulous actors, playing theatrical icons who meet after death, wage
contest. The irony of this truly realistic drama is that these are dramatic
characters, from familiar plays, yet we are pulled in to their lives as if both
were once real, sentient human beings. Leon Russum is magnificent as King Lear
and brings out the arrogance as well as the crushing vulnerability of the maddened
king. Bruno Oliver makes a truly persuasive Willy Loman who, while still full of
pride and bluster, after his suicide comes to face the illusions that drove him
to a false glory. At only 60 minutes these two performers brought both of their
literary characters to life and made plausible the friendship across
generations that connected them. The addition of other known characters –
Cordelia, Linda Loman, Biff and Happy, cruel sisters Goneril and Regan – helped
to dramatize the conflict. My only cavil is that, unlike the two principals, these
fine actors often spoke so low that even I, who have acute hearing, missed most
of their dialogue. (In a large space you have to project!) Being familiar with both
plays helped me to enjoy the confrontations and accept the resolution, because
this play works on its own integrity. Bravo to playwright Kate Schwartz and director
Scott Leggett.
THE
RUFFIAN ON THE STAIR
If you’ve never seen a Joe Orton play
you are in for a delightful surprise. An outrageous, farcical and absurdist
playwright, the irony is that his characters are in many ways more believable
than what is often presented onstage as “real” life. Sure, the man of the house
is a professional assassin, the lady that he loves a former prostitute, and the
violent young man who intrudes on their domestic scene is a charmer with a
hidden agenda. Anyway, Brian Foyster, as ever-so- deadpan Mike, will have you
chuckling before one word is out of his mouth, Sile Bermingham as bewildered Joyce,
trapped in domestic bliss, will bring tears of laughter to your eyes, and Reed
Michael Campbell as The Ruffian will win your heart as an innocent boy forced into
violent acts in his search for justice. All three actors are just absolutely
marvelous and share impeccable accents from various regions of the British
Isles. This was Orton’s first success, as a BBC radio play in 1964 that he
rewrote for the stage after other plays gained him recognition. Mark Kemble
directs with the perceptive and carefree flair of one born and raised in a
madhouse. This production is already
being extended for a two week run. Not to miss!
GREENWOOD
1964
As a drama student in New York in the
1960’s, I saw Sidney Poitier in Lorraine Hansberry’s 1959 ground-breaking
drama, A Raisin in The Sun, attended
Harry Belafonte’s concerts, and marched for Civil Rights in the safety of the
North. Other idealistic young friends went South into dangerous territory and
many gave their lives for the cause. In this well-researched and illuminating
play, writer/director Mohammed Ali Ojarigi, imagines the conversation between
two great stars, Sidney Poitier and Harry Belafonte, who went to Mississippi in
1964. Hidden in a safe house, in the dangerous heart of the violence, it
appears that their presence, as examples of the dignity of black men, might
give courage to those trapped in this state where the KKK reigns. Their
conflict reveals how Belafonte, in his fierce dedication to helping the cause,
has persuaded Poitier, as a beacon of nobility, to show up for his people. It’s
a dialogue that presents an eternal question – how does one fight injustice? Is
merely being a good example – or in Poitier’s case a great example - enough?
Being a martyr brings recognition but might being an icon be equally
contributory? See the play and decide for yourself as there are no easy answers
to this conundrum. As Poitier, Eli Goree is extraordinary, capturing the body
language, the vocal inflections and the charismatic glow of this familiar
screen and stage giant. Thomas Ramseur-King is physically less recognizable as
Belafonte, as he nags and denigrates Poitier’s contribution to the cause. This
play helps tell the story of the tumultuous years when an oppressed and
violated segment of our country bravely fought back. Personally, I can never
forget the sacrifices, and the brutality, that marked that era and I applaud
those who stood up to evil and those who now, through the arts, continue the
resistance.
ASK A BLACK WOMAN
For two years, on her You Tube series “Ask
A Black Woman,” people of different races have been asking Shanara Sanders all kinds
of questions. However, in this show she barely touches on these mini interviews.
Her intent is to take us through her personal journey as a black woman in America
through verse, song and even extraordinary dancing. Looking like a teenager in black T-shirt and jeans,
Shanara reveals the ambushes that haunt everyday living – the sudden insult, the
need to pacify, the toleration of stupid remarks. As a young black woman Shanara
has endured a number of noteworthy events, starting with the condescension of witless
white folk, on to the hurtful criticism of her own family members. She tells all
this with humor, energy, some amazing dance movements and oftentimes well-justified
anger. Yet her effervescent spirit and confiding ingenuousness makes her solo show
a special celebratory event.
