- Nothing for WATCH until The Count of Monte Cristo at Aldersgate this fall.
- I’ll be reading scripts for AACT’s NewPlayFest 2020.
Anderson, Heart of a Dog
“When L died, our teacher said, Every time you think of her, give something away, or, do something kind. And I said, Then I’d be giving things away non-stop. And he said, So?”
Category Archives: Reviews
This play is not the first to treat its audience like children, but it is perhaps the first to do so literally, when the house lights come up and the house is addressed as a fifth-grade class beginning a teaching unit on the American Civil War.
Shallow, lacking nuance, weakly manipulative, and not nearly as shocking as it wants to be, the piece is not without its good moments.
- Underground Railroad Game, by Jennifer Kidwell and Scott R. Sheppard with Lightning Rod Special, directed by Taibi Magar, Woolly Mammoth Theatre Company, Washington
The Hub’s simple staging well serves Craig Wright’s wistful, spiritual three-hander, using a single movable set piece (a bench attached to pair of dock railings) to achieve some variety and levels. Helen R. Murray’s Kari shows some flintiness; but she takes her time with Kari’s tender, giddy closing monologue (“Do you remember that day in the spring of junior year…?”) and the result is masterful. Nora Achrati is called upon to embody a gaggle of different Pine City, Minnesota denizens, and she does a good job with the more naive characters like Pudge and Lisa, but she lacks the gravel and venom that Carla needs. Her second act opening monologue is quite thoughtful and fine.
Director Kelsey Mesa has chosen to present the show without the scripted intermission, blunting the force of Kari’s explosive first act closer.
- The Pavilion, by Craig Wright, directed by Kelsey Mesa, the Hub Theatre, Fairfax, Va.
Deep shadows cast by the house lights make this black box performance space a bit too literal.
Danai Gurira’s engaging drama takes a new angle on the ever-intriguing clash of cultures. In this play, Donald (avuncular Kim Sullivan) and Marvelous (stick-straight Inga Ballard), émigrés from Zimbabwe and now naturalized American citizens living in Minnesota, are preparing for the marriage of their older daughter Tendi to Chris, an evangelical Christian. When Tendi and her sister Nyasha seek to introduce African cultural elements into a conventional Protestant ceremony, sparks fly. The sparks catch fire at the arrival of the young women’s aunt Anne (force of nature Cheryl Lynn Bruce). Everyone in this tangle is working from a base of good intentions, and yet feelings get smashed and promises broken.
The end of the first act is forced, depending as it does on unrealistic behavior on the part of Nyasha (flexible company member Shannon Dorsey) and some too-fast thinking by Chris’s best man and brother, dim bulb Brad (Andy Truschinski). However, it does set up a winning comic scene between the two at the top of the second act.
The characters’ speech rhythms are quite interesting, from Marvelous’ triple “Anyway, anyway, anyway” as a means to blow off frustration (repeated by her daughter later in the play) to Anne’s grunts and an expression of dismay, a bit of Shona that sounds like “my way.”
- Familiar, by Danai Gurira, directed by Adam Immerwahr, Woolly Mammoth Theatre Company, Washington
The Humans is a routine family comedy/drama, built around the familiar tropes of a Thanksgiving dinner and a new, sketchy apartment in New York. An early telephone call, made by Aimee (Therese Plaehn), to provide some key exposition, is both well crafted and well executed.
- The Humans, by Stephen Karam, directed by Joe Mantello, Kennedy Center Eisenhower Theater, Washington
Constellation Theatre Company’s production of this quirky mid-century piece demonstrates that it’s still relevant, and that’s to the credit of the performances (like Tonya Beckman’s shape-shifting Sabina) as well as the writing. Consider the passage in the second act where Sabina’s actor breaks character (in a maneuver that prefigures Lanford Wilson’s Book of Days) and refuses to play a scene as “written,”
Because there are some lines in that scene that would hurt some people’s feelings and I don’t think the theatre is a place where people’s feelings ought to be hurt.
The production has tweaked a few of the lines (Sabina’s “understudy” been sent to Peet’s for a latte), but Beckman’s natural delivery of Wilder’s scripted lines makes them sound like 21st-century improvisations.
The despair in Beckman’s reading of “Oh, the world’s an awful place, and you know it is. I used to think something could be done about it; but I know better now.” is monumental.
Steven Carpenter’s hale and hearty George Antrobus has a radio-friendly baritone; Lolita Marie gives us an earthy Maggie Antrobus; and Ben Lauer’s honking mammoth is adorable.
The ambitious set design entailed a rather complicated changeover into Act 2 on this Saturday matinee.
- The Skin of Our Teeth, by Thornton Wilder, directed by Mary Hall Surface, Constellation Theatre Company, Washington
Suddenly is a captivating dramatization of a suite of short stories (cryptic little tales, more precisely) by Edgar Keret, employing puppets, live video, and actors. Here, the puppets and scenery are scaled to the frame of a video lens: a ten-inch-long pair of legs, trudging through a streetscape of castoff, broken bits of frames and shutters, becomes the lonely man Miron walking down a shabby street. The moving video lens manipulates point of view. There is the the touching story of a dog named Tuvia, a puppet constructed from scraps of fabric. When Tuvia is abandoned on a street corner, we watch the dog recede from view as the camera walks away. The camera leverages perspective: a two-shot of the feet of a live actor and those of puppet Miron line up perfectly. In the piece’s most intriguing breakdown of narrative frames, the dog Tuvia chews on the cameraman’s cables and runs roughshod over the set for Miron’s meeting in a coffee shop. Narrator and listener exchange places multiple times over the course of the stories.
The philosophy of the piece is that it is more difficult, but more valuable, to make something out of something (not out of nothing). For indeed, in doing so, you learn that the something was there all along.
- Suddenly, based on stories by Etgar Keret, adapted by Zvi Sahar and Oded Littman, The Cameri Theatre of Tel Aviv, directed by Zvi Sahar, PuppetCinema, Clarice Center Kogod Theater, College Park, Md.
Keegan Theatre delivers a solid production of this story of the accomplished businesswoman Marlene (Karina Hilleard), recently promoted to managing director of her employment agency, who may be having second thoughts about the sacrifices she has made to ensure her success. The trippy opening scene, a dinner party to which Marlene has invited five women from history and legend, crackles with energy, a mashup of the real and the imagined.
The core drama, set in early Thatcherite Britain, hasn’t lost any of its bite in today’s world of grabby reality show hosts, underserved people in need, and open secrets. Caroline Dubberly is a standout as Angie, a special needs young girl who’ll likely never finish high school, but who understands things that none of the adults in her life ever will.
- Top Girls, by Caryl Churchill, directed by Amber Paige McGinnis, Keegan Theatre, Washington
The standouts in this frothy entertainment are old school Eddie Korbich as Hines, the officious time and motion man, and Prez, played with gawky grace by Blakely Slaybaugh. Korbich gets his taps on for “Think of the Time I Save” and takes a turn with Broadway éminence Donna McKechnie in “I’ll Never Be Jealous Again”—two dance breaks that aren’t frequently seen. Slaybaugh gives us a comically acrobatic “Her Is.”
Which is to say that the choreography by Parker Esse and its execution are top notch: we loved the tape measures as streamers and hula hoops for “Once a Year Day.”
- The Pajama Game, music and lyrics by Richard Adler and Jerry Ross, directed by Alan Paul, Arena Stage Fichandler Stage, Washington
Aaron Posner’s production of Our Town relaxes some of the strictures of its traditional presentation, without losing the spirit of Wilder’s play. Instead of a pair of ladders, there are set pieces for the Gibbs and Webb houses, facing one another in a galley configuration. There is the same direct address, perhaps all the more effective because we are watching the other half of the audience, as well as the play.
The town of Grover’s Corners has grown more ethnically diverse than it was in Wilder’s time. Lest we miss the point, the Stage Manager (archly played by Jon Hudson Odom) takes a knee for the passage that honors New Hampshire’s Civil War dead.
Perhaps the most effective departure is the use of half-size bunraku-influenced puppets (designed by Aaron Cromie) to portray the dozen of so minor characters. At the top of Act 3, the cast brings each puppet on, cradled in their arms—a most moving stage picture.
Todd Scofield gives us an appropriately bemused Mr. Webb. Megan Anderson’s Mrs. Gibbs is a tidy package of charm and practicality; Anderson’s plummy Prof. Willard is delightful.
- Our Town, by Thornton Wilder, directed by Aaron Posner, Olney Theatre Center, Olney, Md.
70 possible short scenes, merely text, no characters, no given situations
the impossibility of describing the sensation of fear, of plain, of longing
shotgun DNA sequencing
love and remembrance
cocktails and [illegible]
interrogation and torture
opening scene: Alice shares a secret with Bob, but we never get to hear it
house configured galley style, watching other audience members
half a line, fishermen in slickers, a phone call to a Las Vegas showgirl
ensemble of fourteen
- Love and Information, by Caryl Churchill, directed by Michael Dove, Forum Theatre, Silver Spring, Md.
In the Heights is a richly-textured soundscape and dancescape of immigrant life in New York’s Washington Heights in the early years of this century. From the broad strokes of redevelopment pressures to the fine details of transit (“There’s no 9 train now”), the rendering is vivid and precise. Miranda and Hudes skillfully advance character and plot within a big set piece like “The Club”/”Blackout” in short, economical phrases.
The text is brought to marvelous life by director/choreographer Marcos Santana. For the most part, the downstage thrust area is kept open; Milagros Ponce de León’s set pieces can be pulled on wagons to bring us into the interior of Usnavi’s bodega, or Daniela’s hair salon, or Kevin and Camila’s car service office.
Although the young people’s hopes and dreams drive most of the story, I was particularly smitten by Danny Bolero’s “Inútil,” a song of mature longing in which he sings of the frustrations of being his father’s son and of not being able to do well enough for his family. And the Piragua Guy’s (Tobias A. Young) interludes are a pleasant mood-relaxer.
The offstage band sounded somewhat disembodied, and at Sunday’s show, some of the mic cues could have been executed later rather than sooner.
- In the Heights, music and lyrics by Lin-Manuel Miranda, book by Quiara Alegría Hudes, directed by Marcos Santana, Olney Theatre Center and Round House Theatre, Olney, Md.
Woolly Mammoth takes a bold step… into the past, with its mounting of a play from the mid-20th century. The Swiss playwright Max Frisch’s fable, first presented in 1958 (as Biedermann und die Brandstifter) and in a new translation by Alistair Beaton, is a cry against middle-class complacency when confronted with looming evil. It’s not a particularly subtle work, with a narrative arc that angles straight down. There are Brechtian touches of distancing. Bits of dialogue are repeated, and the language can be rather stilted–cut across with fourth wall-breaking direct addresses to the audience.
Businessman George Betterman (Howard Shalwitz, dusting off his nebbishy) is visited (or invaded?) in his living room by Joe Smith, a down-and-outer, played by Tim Getman. Getman (skinheaded and bushy-bearded) does some strong work here, riding a line of simmering threat and emotional blackmail. Betterman (a bit of a sketchy dealer himself, truth be told) invites Joe under his roof, probably against his better judgement. There is a suspicion, at first just a soupçon, that Joe has something to do with the rash of arson fires that have plagued Betterman’s city. Betterman wants to show compassion, to engage with Joe. But Joe just ramps up the stakes, first bringing his friend Billie Irons (Kimberly Gilbert, all sweetness and sand) into the house without asking, and then rolling in some very ominous looking storage drums. There’s no guile to Joe and Billie: every time they’re asked, they tell you what they’re doing at that particular moment.
The question that Frisch poses to us (nay, flings at us) is simply: at what point do you say no to Joe and Billie? When Joe first walks in the door? When they are asked what’s in the drums, and they flatly reply, “Gasoline”? When, at the play’s culmination, they ask Betterman for a mundane favor that is the key to the final conflagration?
The play’s strength is its weakness. We can read so many different conflicts into it, from freedom fighters vs. fascists of all stripes, to narcissist national leaders who escalate pissing contests into nuclear exchanges.
- The Arsonists, by Max Frisch, in a new translation by Alistair Beaton, directed by Michael John Garcés, Woolly Mammoth Theatre Company, Washington
This wistful drama with comedy from 1990 gets its first Broadway run, powered by a name-brand cast. The technical means afforded by the American Airlines Theatre make for smooth scene changes (and there are a lot of them); the revolve makes sense here. The cast is gently amplified. Nevertheless, this is a play that wants to be in a smaller house.
Celia Weston is a good sport in playing Ruth, a character who largely serves to provide comedy in the form of euphemisms for constipation and an improbable remote control device.
It soon becomes clear that the important, interesting story arc is the relationship between Bessie (never flashy, always on task Lili Taylor) and Hank (Jack DiFalco). Their quiet one-on-one scenes, well directed by Anne Kauffman, take the time that they need. (But at times, we wish that Hank’s volume to be pumped up a bit.)
- Marvin’s Room, by Scott McPherson, directed by Anne Kauffman, produced by Roundabout Theatre Company, American Airlines Theatre, New York
The Book of Mormon is an entertaining mix of potty-mouthed irreverence (it takes balls to trash a faith shared by fifteen million people) and old-school, conventional stagecraft. Set pieces roll in on wagons; curtains fly and travel in and out; a brief side diversion to Orlando, Florida is accomplished by nothing more than a vividly painted drop. The proscenium frame, suggesting a temple, with its clumsily animated Moroni, is the right mix of splendor and cheese. Musically, there’s nothing challenging here.
Even more subversive is the white boys’ chorus (set against a second ensemble of actors of color and both genders): as young missionaries ready to go out and convert the world, they are squeaky clean, with just a hint of possible man-to-man attraction. That tension is completely blown up by the number “Turn It Off,” led by Elder McKinley (the very able Stephen Ashfield) and sexily choreographed by Casey Nicholaw. A transformation enabled by a reference to The Clapper is too good to spoil (and how did they manage the shoes)? Some of the boys appear in drag in re-enactments of Joseph Smith’s days on the frontier, and the drag works here.
If the running gag with Elder Cunningham’s inability to pronounce Nabulunhgi’s name wears out its welcome immediately, the confrontation between Elder Price (Nic Rouleau gives good teeth) and the General (working that eyepatch is Derrick Williams) that caps “I Believe” is quite tasty.
My takeaway is that, no matter what our belief system, the stories we tell ourselves are “so fucking weird.”
- The Book of Mormon; book, music, and lyrics by Trey Parker, Robert Lopez, and Matt Stone; directed by Casey Nicholaw and Trey Parker; Eugene O’Neill Theatre; New York
Chelsea Marcantel’s examination of group dynamics within an Amish community, when it is subjected to both the external shock of an outsider committing a careless deadly act as well as the eruption of casual, intimate violence between two of its members, is called Everything Is Wonderful, a title with irony as solid as a horse. Telling one of its stories through fragments of the past and present, it follows Jessica Savage’s Miri, a young young Amish girl who leaves the community under a cloud and seeks a way to return. Savage masters the younger Miri’s innocence, her older self’s sarcasm, and her constant headstrong feistiness. Paul DeBoy is the stolid Jacob, Miri’s father. Director Ed Herendeen, festival helm, puts the expansive Frank Center performance space to excellent use, composing effective stage pictures while managing a couple of the script’s messier technical challenges.
The spine of this piece is a remark by Jacob (helpfully reprinted in the program book: “Forgiveness is a choice. It happens in an instant. Reconciliation is a journey.”
We Will Not Be Silent, by David Meyers, picks up the case of Sophie Scholl and the White Rose resistance movement in 1943’s Germany. An imagining of the interrogation of Sophie (the delicate Lexi Lapp) during the shockingly short period of time between her arrest and her trial and execution (five days), the play zeroes in on the question of conscience vs. self-preservation. Like Arthur Miller’s John Proctor, Meyers’ Sophie vacillates between signing a confession, a mere tissue of words, and maintaining her integrity. Her interrogator is the urbane Kurt Grunwald (Paul DeBoy, again), who can play good cop against his own bad cop. He lets a simple line like “I see” hang in the air like a dagger.
Lest readers infer that playwright Meyers approaches this material from the same point on the political spectrum as Miller, be advised that he is a former intern in the George W. Bush White House.
The title town of Evan Linder’s Byhalia, Mississippi lies just southeast of Memphis, and it earned a page in this history of American civil rights with the shooting of Butler Young, Jr. in 1974, the exoneration of his killer, and an ensuing backlash. Linder’s play, set in the present day, looks at the dysfunctional marriage of Laurel and Jim, a young white couple trying to get by, while the town’s history echoes all around.
- Contemporary American Theater Festival at Shepherd University, Shepherdstown, W. Va.
- Everything Is Wonderful, by Chelsea Marcantel, directed by Ed Herendeen
- We Will Not Be Silent, by David Meyers, directed by Ed Herendeen
- Byhalia, Mississippi, by Evan Linder, directed by Marc Masterson