Bob's Theater Blog

For its final play of the season, Manhattan Theatre Club is presenting the world premiere of an unsettling drama by award-winning British playwright Penelope Skinner (The Village Bike). The play is set in a dystopian England of the future where the government tightly regulates most aspects of life and empathy is in short supply. Silver (Tim Daly) is an anal-retentive writer who has been doing research on a novel for nine years. His sensitive wife Dolores (Rachael Holmes) has been troubled by things they have just seen on a trip to an island that is about to vanish due to climate change. Joy (Orlagh Cassidy) is the government functionary who visits the couple periodically to check on Dolores. Apparently the couple’s stipend has been temporarily trimmed until Dolores gets over having thoughts that are against government policy. Without consulting her husband, Dolores invites Mara (Roxanna Hope), an immigrant from the doomed island, to occupy their spare room. Complications ensue. Through seemingly offhand remarks, Skinner builds a chilling picture of a society that is plausible enough to make one uncomfortable. The actors were fine except for an occasional stumble over accents. Neil Patel’s attractive set has subtle hints of futurity and Jessica Pabst’s costumes, particularly the jackets and shoes for Silver, are stylishly modern. Some aspects of the plot do not stand up to close examination, the emotional temperature could use a boost and the first act could use a trim. Nevertheless, the play held my interest and raised issues that merit our attention. Leah C. Gardiner directed. Running time: 2 hours, 5 minutes, including intermission.

NOTE: The three most interesting plays of the MTC season were all by foreign playwrights (Florian Zeller, Nick Payne and Penelope Skinner). Three others were by MTC old timers — Richard Greenberg, David Lindsay-Abaire and John Patrick Shanley. Add in a mediocre revival (Fool for Love) and an absolutely ghastly new play (Important Hats of the Twentieth Century). Can MTC do better? Hope springs eternal.

Neil LaBute’s new two-hander, now in previews at Second Stage, represents somewhat of a new direction for him — misogyny and misanthropy are nowhere to be seen and love is in the air. Doug (Thomas Sadoski) and Beth (Amanda Seyfried) have shared a night of lust after hooking up at a party. The morning after is awkward as they attempt to determine what the future holds for their relationship. We learn that they are not strangers and the nature of their past relationship presents an obstacle to any future one. A greater problem is the inability of one of them to commit. Doug, a socially awkward motor-mouth, would become annoying very fast if he were not played by the superb Sadoski, who, I think, is one of the finest younger actors on the New York stage. Seyfried has a less showy — dare I say underwritten — role. I felt that her inability to make a stronger impression was primarily a problem with the script. She does have lovely breasts though. I am curious whether Tatiana Maslany (“Orphan Black”), who was originally announced for the role, could have done more with it. Much of the dialogue seemed artificial. The play became repetitive after a while and ended with a ridiculous scene that diminished what preceded it. Neil Patel’s apartment set is spot-on as are Emily Rebholz’s costumes. Leigh Silverman’s direction does not call attention to itself. I admire LaBute for trying something different and thank him for providing a juicy role for Sadoski. Other than his performance, there wasn’t much to admire. Running time: 90 minutes, no intermission.

On the basis of this first installment of Suzan-Lori Parks’s nine-part epic about the African-American experience from the mid-19th century to the present, now at the Public Theater, it is easy to understand why this highly original playwright won both a Pulitzer and a MacArthur grant. In “A Measure of a Man” Hero (Sterling K. Brown), a slave on a Texas plantation, must decide whether to follow his master to war in exchange for a promise of freedom. His wife Penny (Jenny Jules), his father figure The Oldest Old Man (Peter Jay Fernandez) and his oft-time rival Homer (Jeremie Harris) weigh in with their opinions and The Chorus of Less Than Desirable Slaves make bets on his decision. Parks’s mashup of Greek drama, poetic language, anachronisms, music and humor somehow works. In “A Battle in the Wilderness,” the most naturalistic of the evening’s plays, we meet Hero’s master (Ken Marks), now a Confederate colonel, and the Union soldier he has captured (Louis Cancelmi). The two of them spar over the nature of slavery. The colonel is allowed to display a soft side and the captured soldier reveals a couple of surprises. Hero and the soldier find a common bond. In “The Union of My Confederate Parts” we return to the plantation many months later. Only Penny and Homer are left of the original slaves. Three runaway slaves who are hiding at the plantation try to persuade Homer to run off with them, but he is unwilling to leave Penny, who is tormented by nightmares about Hero. Word reaches the plantation that both the master and Hero are dead. However, Odyssey (Jacob Ming-Trent), Hero’s long lost dog, arrives and tells of Hero’s imminent return. When Hero, who has renamed himself Ulysses, arrives, he reveals previously unseen aspects of his character that are far from heroic. The question of what freedom costs remains open. Parks's incidental music and songs are beautifully performed by Steven Bargonetti. Jo Bonney’s direction is exemplary. The simple set by Neil Patel is effective and Esosa’s deliberately anachronistic costumes are a hoot. Parks proves that dealing with serious subjects can still leave lots of room to be entertaining. I hope the remaining six parts maintain the high level of these three. Running time: 3 hours, including one intermission.

It took almost 20 years to get here, but Tom Stoppard’s 1995 play (based on his 1991 radio play “In the Native State”) has finally reached New York in a first-rate production by Roundabout at the Laura Pels Theatre. One can speculate on the reasons it took so long — its large cast (15), its relative lack of the playwright’s customary intellectual showmanship, and its appearance between the flashier “Arcadia” and “The Invention of Love.” In any case, we should be glad it has at last arrived. The central character is Flora Crewe (a fine Romola Garai), a free-spirited young British woman whose erotic poetry has caused a bit of a scandal and who has gone to India early in 1930. Her alleged purpose is to give a lecture tour about the British literary world, but actually she has traveled for health reasons. While in Jummapur, she meets an Indian artist Nirad Das (Firdous Bamji,) who paints her portrait, and is wooed by a British colonial functionary David Durance (Lee Aaron Rosen). Shortly after leaving Jummapur for the Indian highlands, she dies. Although her work was scorned in her lifetime, 50 years later she has become all the rage. Her younger sister Eleanor (the always wonderful Rosemary Harris), now in her late sixties, is visited by an American professor Eldon Pike (Neal Huff) who is publishing her collected letters and is far more interested in unimportant details than in the truth. She is also visited by Anish Das (Bhavesh Patel), the painter’s son, who is trying to discover what transpired between Flora and his father. The action alternates between India in the early 1930s and England and India in the 1980s. Sometimes characters from both time periods are onstage at the same time, but there is no possibility of confusion. The play touches upon contrasting aesthetic traditions, the common bond that art provides and some of the effects of imperialism. The pace is unhurried, but if you are patient you should find the emotional payoff in the final scenes gratifying. The supporting cast is excellent. Neil Patel’s set design and Candice Donnelly’s costumes are attractively effective. Carey Perloff’s direction is straightforward and uncluttered. Running time: 2 hours 45 minutes including intermission. NOTE: There is a brief moment of full frontal female nudity.

Sarah Ruhl’s delightful backstage comedy, now in previews at Playwrights Horizons, is at heart a love letter to theater and actors. Along with loads of hilarity, there is an exploration of how permeable the border between art and life is and how hard it sometimes is to tell which is imitating which. The premise is that an actress (Jessica Hecht) making a return to the stage after a long time off for childrearing is cast in the revival of a short-lived period drams from the 30’s about a woman whose dying wish is to see her old lover again. The actor playing her long lost lover is none other than her real-life former lover (Dominic Fumusa) from whom she split acrimoniously 20 years prior. When they are forced to kiss on stage eight times a week, their affair is rekindled. For most of the play’s first hour, I was doubled over with laughter. In the opening audition from hell, Hecht demonstrates that she can be a first-class comedienne; her mannered style, which I have often found so annoying, serves her well here. The audition is followed by several funny rehearsal scenes and, finally, by opening night. Fumusa has a scene on crutches that is a comic triumph. The revelation for me was Michael Cyril Creighton, who at various points plays the butler, the understudy, the doctor and, in the second act, a pimp; he is wickedly funny in all his guises. The rest of the supporting cast (Todd Almond, Clea Alsip, Emma Galvin, Daniel Jenkins and Patrick Kerr) are fine too. At intermission, I feared that Ruhl would be unable to maintain so high a level for another act. To some extent, my fears were justified. Act Two explores the consequences of their rekindled affair and throws in another audition and a scene from another play-within-a-play. Although there are a few extremely funny scenes, the resolution is a bit anticlimactic. Neil Patel’s scenic design is excellent, as are Susan Hilferty’s costumes. She dresses Hecht in a gown that is an absolute knockout. Rebecca Taichman’s direction skillfully manages the abrupt changes of tone. I wish the second act had been as wonderful as the first, but I am grateful for the first hour, which is one of the most entertaining I have spent in a theater. Running time: 2 hours, 10 minutes including intermission.

Your reaction to Anne Washburn’s innovative play, now in previews at Playwrights Horizons, may hinge on whether you are an avid fan of the animated TV series The Simpsons. Your familiarity with the characters will give you a head start in appreciating the plot. Washburn uses this popular cartoon series to show the important role pop culture plays in binding our society together. Much of the action focuses on an episode from the series’s fifth season called “Cape Feare,” a spoof of the twice-made Hollywood thriller. During the first act, survivors of a recent nuclear disaster sit around a campfire and pass the time by remembering lines from the show. In the second act, set seven years later, rival bands of roving performers survive by reenacting episodes from TV shows, complete with commercials. In the third act, set 75 years later, we see a stylized version of the “Cape Feare” episode in music and verse, presented as an inspirational pageant. The play was commissioned by The Civilians, a self-styled center for investigative theater; most of the cast (Quincy Tyler Bernstine, Susannah Flood, Gibson Frazier, Matthew Maher, Nedra McClyde, Jennifer R. Morris, Colleen Worthmann, Sam Breslin Wright) are associate artists of the group and director Steve Cosson is their artistic director. The play is enlivened by Michael Friedman’s music and Sam Pinkleton’s choreography. Neil Patel’s sets and Emily Rebholz’s costumes hit the mark. There is a terrific two-part theatrical effect at play’s end. I wish the first two acts were tightened up a bit: it’s a long slog to intermission and a smattering of people did not return. The final act ties many loose ends together, but it’s a long wait to get there. In case you were wondering, Mr. Burns is the name of Homer Simpson’s boss, the owner of the nuclear power plant responsible for the disaster. Running time: 2 hours, 15 minutes, including intermission.