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Playing Host to Celebs and Newcomers Alike

Written by Our Town on . Posted in Arts, Our Town, Theater, West Side Spirit

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By Angela Barbuti

Tucked away on West 72nd Street between Broadway and Columbus Avenue is the 130-seat Triad Theater. Inside, actors make their Off-Broadway debuts, celebrities take the stage with friends and audiences are always entertained by an eclectic variety of shows, from Erotic Broadway to the smash hit Celebrity Autobiography. We spoke to owner Peter Martin about what to expect there.

West Side Spirit: How did you get started at the Triad?
Peter Martin: I was the company manager of a show called Forever Plaid at the theater; it went on to become one of the five most successful shows Off-Broadway—the producer put in $135,000 and it grossed $300 million worldwide. It seemed like a great business. In 1995, when I was 30, I had the opportunity to buy the theater. I was able to get in at the right time.

The theater was a black box originally. About four years ago, I redesigned it based on 1930s movie palaces. I love those kinds of theaters and did a lot of research. I recreated the bathrooms, added a VIP performer lounge. People tell me, “I’ve seen this in Europe.”

What is the history of the theater?
It started in the early ’80s with Forbidden Broadway. It wasn’t even a theater back then; it was a bar/restaurant called Palsson’s Supper Club. Actor Gerard Alessandrini started writing spoofs of Broadway shows and they were performed there on weekends.

What is your favorite show at the theater currently?
Celebrity Autobiography. Celebrities read from other celebrities’ memoirs in a comedic tone. You’ll have Matthew Broderick reading from Tommy Lee’s autobiography. On another night, you’ll see Kristen Wiig reciting the poetry of Suzanne Somers. We’ve probably had more famous people in it than any show on Broadway.

Have there been any memorable mishaps?
There were two sold-out shows one New Year’s Eve and the coat check girl misplaced all the numbers. People were trying to get their coats out from the first show while others were coming up the stairs for the midnight show. It was a disaster. Another time, John Simon, a well-known theater critic, came in to review Forbidden Broadway. He checked his umbrella and somehow it got lost. A couple of days later, he sent us a bill for $300.

To what do you attribute your success?
Times have changed Off-Broadway. In the last 10 years, tons of theaters have closed. I’ve really had to adapt by instating a new booking policy. In the course of a month, we can have 30 different shows. I’m always thinking of how I can improve the theater and what’s going on in the entertainment industry. On Broadway, a musical costs about $15 million.

Off-Broadway, you can experiment more. Things get started Off-Broadway then move to Broadway. For instance, there’s a new musical in the works about [’50s teen idol] Dion called The Wanderer. The first reading was at The Triad six weeks ago.

Jonathan Ames: Killer Eggs, Hot Waitresses

Written by Jonathan Ames on . Posted in Arts, Theater

The eggs, enveloped by the butter, puckered and screamed out in pain and turned dark brown. I flipped them around a bit with my fork. I put two pieces of that thin German bread into the toaster. I poured a cup of very dark, ink-black coffee. A few minutes before, I hadn’t measured out the Cafe Bustelo, just dumped a bunch in. Usually, I do a tablespoon for every cup of water I pour into the coffeemaker, but this particular morning I emptied the can because it was nearly finished and I can’t stand scraping metal against metal–in this case, the spoon against the bottom of the can. My nervous system can’t tolerate that kind of thing. The problem was it looked like I had poured about eight tablespoons of coffee into the little white pouch and I had only poured in three cups of water. But it seemed like the kind of coffee Raymond Chandler’s Philip Marlowe would drink.

It would have been nice to add a little milk to my starless-night coffee, but I had sniffed the milk in my fridge and it smelled bad. I knew it would be, but I sniffed it anyway. My fridge is more like a mortuary than an icebox for keeping foodstuffs edible. All I have in there is bouillon, capers and an onion, all left by the French girls who used to live in this apartment six months ago; I also have a thickly congealed Paul Newman salad dressing bought in a moment of enthusiasm for do-it-yourselfness, you know–making salads and the such; peanut butter from my son’s visit in October; two small containers of plastic applesauce forced on me by my great-aunt in Queens and taken from her meals-on-wheels package; the aforementioned eggs and butter and German bread; a container of expired orange juice (to keep the expired milk company); and a box of Cuban cigars–Cohibas, Castro’s brand–that I had my Italian movie-star friend smuggle back from Havana, and which I plan to give to my dad.

So the toast popped. I lay it on a plate. Smeared some butter on those fiber-rich German squares. Then I took the frying pan and tilted it over the toast. The brown, curdled eggs fell onto the toast. I sat down at my wobbly, wooden kitchen table with the paper and my breakfast. I went to work with the knife and fork. This was around 10:30 a.m.

The next 24 hours is a blur of delirium and stomach pain. At first things weren’t too bad, though. The caffeine caused mild psychosis and I found myself shouting “Motherfucker” a few times, which is interesting since I’m not much of a curser and find it unattractive when others use vulgarities, but the use of this caffeine-psychosis profanity was brought on, I vaguely recall, by going through my piled-up mail–a pile that has been neglected for two months–and being horrified at finding an invitation to a very nice party that I had missed, as well as several enormous phone and credit card bills, all of which should have been paid weeks ago.

I also recall–though it’s dreamlike because of the Cafe Bustelo–glancing at the pages of my new book, which had been sent to me by my British publisher for me to proofread. The Brits had computer-scanned the pages from the American publisher, and the scanning had created all sorts of strange typos. A classic, Joycean turn-of-phrase like “I let a fart leak out” had been turned into “I let a fart lead out.” I thought of leaving that typo for a moment, as I sort of liked the idea of a fart leading somewhere, but then I changed my mind, thinking that the meaning of the sentence was too botched. And I realized after finding that typo that I was going to have to do more than just skim the pages. I was going to have work hard and reread the whole damn book, which, by the way, is a narrative based on all the columns and articles I’ve written for the Press these last three, happy years.

And, just so you know, good and faithful readers, this book will be in stores here in the States sometime in May, at which point my life will be seriously destroyed. It’s one thing to write these self-revealing stories for the Press where they’re gone in a week and quickly forgotten, but it’s another thing to have them put in a book, a book that will be around for a while and can be read by one’s relatives. Relatives like one’s parents. Or future relatives like women who could be wives, but who will have nothing to do with me as the evidence mounts–three perverted books now–that I am not fit for a good woman to love.

Anyway, the poisonous eggs and coffee had me in bed by 2 p.m. where I more or less stayed for the next 20 hours. The amphetamine-like coffee had overstimulated me and then I crashed; what happened to me was similar to that game at circuses that tests your strength–I was the weight and the coffee was the hammer and I went flying to the top, rang the bell and then came flying down, back to the bottom. So I slept fitfully and with great nausea until about 11 p.m., and then I was up for hours with nauseous insomnia. I hate to vomit and so fought the urge all this time. For a few hours, I tried to read Wodehouse, usually a great pain-reliever, and it helped some, but mostly I lay there tormented, my stomach puckering like the overly fried eggs.

So I was clutching my pillow to my belly around 3 a.m. and felt quite alone in the world. Being by yourself and being ill can make one feel quite morbidly lonely, and so I indulged in Tom Sawyerish reveries of my funeral should this stomach ailment prove fatal. It bothered me, though, that, being Jewish, I’d be buried the next day and the service would have to be quickly put together and that many people wouldn’t even know about it and not come, like a poorly attended performance; but I tried not to focus on this drawback of Jewish burial rites, and I selfishly imagined lots of crying and weeping and impassioned, impromptu speeches. It was a way, I guess, for me, lonely and sick in my bed, with my stomach trying to crawl up my throat and abandon ship, to feel loved. Pathetic, I know.

So what’s the moral of the above tale? Actually, I see two morals emerging: (1) I shouldn’t cook for myself; and (2) I seem to want to be loved. Now there’s a perfect solution to both these issues: go to restaurants. It may seem obvious why this solves number one, but it also solves number two, and that’s because restaurants are staffed by waitresses. I’ve said it before, and I’ll say it again: I have a great love for waitresses. No waitress has actually ever loved me back, but I get so caught up in loving them and hoping that they might love me back, that it’s almost like being loved. That’s why I tip well. Thinking this might send affection my way.

There are a couple of reasons why I love waitresses. First of all they are often beautiful and men love beauty and are drawn to beauty. It can’t be helped. Secondly, waitresses mimic the behavior of my mother–they bring dishes of nourishment to me. My mother was very much a 1950s mother and she served the family all our meals for years, thus creating this early association with love and the placing of a dish of food in front of me. (My mother also cooked the food, but I don’t seem to love cooks; perhaps because I never see them.) And thirdly, I love waitresses because of the angle at which I observe them–I stare right into their asses and vulvas, two of my favorite spots, and when they bend over sweetly to warm my coffee, I catch glimpses of breasts, another all-time favorite spot. For example, my favorite breakfast waitress in Brooklyn says to me all the time, “Do you want a warmer in your coffee, honey?” And she smiles at me when she says this; it’s so lovely; and I say yes, and she bends over and I sneak a peek at her kind chest. I only see shadows, but it’s enough.

So my breakfast waitress is magnificent, but there is another who is even more so. This other waitress, by whom I can be served both lunch and dinner, is the most beautiful waitress in all the five boroughs of New York City. She’s right here in my Brooklyn neighborhood, and she’s legendary with the men in this part of town. The restaurant is always packed and I observe my fellow males as they sit there glassy-eyed and in awe; one hardly tastes one’s food in her presence.

Recently, I brought my boxing opponent David Leslie to the restaurant for dinner so that he could witness her. As we walked to the restaurant, I said, “She’s Jamaican, and I was told by a woman friend of mine, who’s currently living in Jamaica and studying Jamaican art for her PhD, that the asses of the women in Jamaica are considered to be a national treasure and that a woman’s ass has great erotic importance, which I am in complete agreement with and I’m glad that there is a whole culture and country that support my worldview. She also told me something a bit strange. In much the same way that Chinese women used to bind their feet to make them small, Jamaican women do things to build up their rear ends. She told me that she knows Jamaican women who eat chicken feed to build up their butts… Oh, what a crazy world we live in. Poor women, because of males like us, they transform their bodies. Feet in China, breasts in the United States, asses in Jamaica. But I guess some males get penis augmentation or rods inserted, though that doesn’t quite balance out the ledger for going to great lengths to please the opposite sex.”

“Chicken feed!” exclaimed Leslie, not listening to my final brilliant remarks.

“That’s what my friend wrote in an e-mail,” I said. “Anyway, I don’t think this waitress eats chicken feed, but she has the most amazing rear end I’ve ever seen. It should be a Brooklyn landmark, up there with the Brooklyn Bridge and Grand Army Plaza.”

We were lucky to get a table and Leslie was mesmerized by the waitress. He then began to urge me to ask her out. “When we’re done eating, ask her to meet you for a drink when she gets off,” he said.

The fellow was delusional and was hoping to live through me vicariously. “I can’t just ask her out!” I said. “You can’t just go up to a beautiful waitress and propose a date. You might as well just say, ‘I know nothing about you but I’d like to fornicate with you.’ That’s insulting. Only a devastatingly handsome man, and there aren’t many of those, or a famous man or a very rich man can pull off asking a waitress out. A quasi-average male like myself has to wear a waitress down. So what I’d have to do is come here for months…well, actually, years. It would be like an arranged marriage; she’d get so used to me that maybe she’d fall in love with me. Or come to hate me. But that’s not bad odds. Fifty-fifty.”

“It’s only love or hate?” asked Leslie.

“Love or hate,” I said. But then I thought about it some more. “Well, there’s also dislike and bored by andmildly indifferent to and tolerated. I think I’ll aim for tolerated. That’s achievable. In the meantime, it’s awfully nice just to look and dream and to have her give me food. To me, that feels very loving.”

Leslie, I don’t think, quite realized the depth of my sentiment, my attachment to waitresses, but he shook his head in mild confirmation and then stared at the waitress-in-question with that glassy-eyed look I had seen so often before.

Book Review: Luminous Airplanes by Paul La Farge

Written by Mark Peikert on . Posted in Arts, Theater

farge

There is a lot of ground covered in Paul La Farge’s Luminous Airplanes, from the Great Disappointment of the 19th century to a time when computers were the province of dedicated insomniacs obsessed with the idea of making the machines do their bidding. Beneath the divergences and skittering chronology, however, is a fairly banal search for a father figure. —

The unnamed narrator, who abandoned his dissertation on the Millerite movement and their conviction that they would all ascend to heaven Oct. 22, 1844—sound familiar?—finds himself at his grandparents’ home in upstate New York, sorting through his recently deceased grandfather’s things, drinking and ruminating on the past. His mother was abandoned by his hippie father and spent the rest of her life with her twin sister, raising the narrator together and sending him to visit their parents every summer.

La Farge packs a lot of quirkiness into his 242 pages, from his grandfather’s neighbor, who salted the clouds to make it snow and turn his winter resort into a success, to a desperate search for a homeless man in San Francisco. The parts, however, are more engrossing than the whole; La Farge’s narrator is exactly the kind of overgrown Peter Pan who flees responsibility that movies have over-represented for the last decade.

What saves Luminous Airplanes is La Farge’s style, one that sprinkles truth among the catalog of historical failures by which his narrator is gradually consumed. “Something was wrong with Yesim’s imagination: it stored its kisses too close to its tears,” is a gorgeous and moving observation, one of many that prevent Luminous Airplanes from feeling like a retread.

Ultimately, one’s enjoyment of La Farge’s characters is entirely dependent on one’s saturation level for aimless narrators who falter when it comes time to make decisions. For anyone who isn’t tired of such men, Luminous Airplanes is a skillful, enjoyable read.


They’re Young, They’re In Love, And They Sing at People

Written by Mark Peikert on . Posted in Arts, Theater

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The titular duo of misguided new musical Bonnie & Clyde first appear covered in blood, already dead in their car from the rain of bullets police officers unleashed upon them in 1934. That’s a pretty apt foreshadowing of this dead on arrival musical retelling of America’s sweetheart bandits.

Book writer Ivan Menchell is the only person capable of ignoring the Oscar-winning and groundbreaking 1967 film (which starred Warren Beatty and Faye Dunaway), preferring to tell the truth rather than Hollywood gloss. Unfortunately, that truth is dull (as is Menchell’s sole fictional addition, a lovelorn small-town sheriff pining for Bonnie), and instead of the movie’s emotional truth we get dry facts and a zig-zagging plot that doesn’t even unleash Bonnie and Clyde as a bank-robbing duo until the end of act one.

Gone, too, is the desperation that infused the movie, and, one assumes, the real-life Bonnie Parker and Clyde Barrow. These young Texans (Laura Osnes and Jeremy Jordan, not particularly burnishing their resumes) are just dumb hicks who want to be Clara Bow and Billy the Kid. They may murder some lawmen, but that’s just foreplay for them. Menchell doesn’t  dig too deep into why they’re both so aroused by breaking the law; the Natural Born Killers musical version, which is surely only a matter of time, will have to wait.

Saddled with a bulky set from Tobin Ost that relies mainly on projections of film clips, newspaper headlines and scene-setting backdrops, director-choreographer Jeff Calhoun has little choice but to focus on moving his cast on and off the stage. He and Ost contribute some interesting moments—particularly when planks from the stage are removed for a baptism scene—but the focus is pointedly on getting everyone in place for their cues, which leaves the sour taste of start-stop in audiences’ mouths.

Osnes and Jordan’s chemistry is adequate enough, but they never seem truly dangerous or sympathetic or even Texan; Osnes’ Bonnie seems more like a Midwestern gal wandering around the shanties of West Dallas like she’s in a backstage musical, waiting for her big break. (She also sports a six-pack that Priscilla Queen of the Desert’s Nick Adams would kill for.) During group numbers like “Made in America,” chorus members may root for Bonnie and Clyde, but neither Menchell nor Calhoun have bothered to explore the parallels between the duo and their poverty-stricken era—let alone their folk hero status with that of the Occupy Wall Street movement.

As for the score, Frank Wildhorn and Don Black have written a generic Broadway score with gospel choruses and occasional banjos, none of which will remain with you after the curtain falls. The songs are so clunkily written (and titled) that the entire plot is laid bare in the Playbill’s song list.

Only Melissa van der Schyff, as Clyde’s hysterical, religious sister-in-law Blanche, commits to giving a real performance. That her performance is divisive can only be a credit to her in this broadly generic, we-aim-to-please musical retelling of bloody bank robbers. By the time Bonnie and Clyde clamber back into their car for the finale, their nihilism has been turned into affable, pre-ordained destiny: the Thelma and Louise of the Dust Bowl without the feminist commentary.

 

Bonnie & Clyde
Through Dec. 30, Schoenfeld Theatre, 236 W. 45th. St. (betw. Broadway & 8th Ave.),www.bonnieandclydebroadway.com; $71.50–$136.50.

Cut It Down

Written by Mark Peikert on . Posted in Arts, Theater

cherry

“People shouldn’t be going to plays,” says Ranevskaya somewhat ominously in Chekhov’s The Cherry Orchard—or that may just be Dianne Wiest’s performance. Should you have ever tossed and turned in grief at Marilyn Monroe never having the opportunity to play Chekhov, Wiest’s simpering performance is dedicated to you. 

There are, of course, more problems in this Classic Stage Company revival than just its leading lady, but hers is the mortal blow. Chekhov’s melancholy comedy about the loss of a family estate and the clash between the failing aristocracy and the newly empowered peasant is funnier in director Andrei Belgrader’s production than Chekhov’s plays are usually allowed to be, but it is amusing in a divertingly bizarre way.

Wiest’s pouty, girlish performance turns the whole tragic loss of the orchard into a remake of Gone with the Wind—if Suellen were in charge. Her Ranevskaya isn’t sentimental so much as scatterbrained; she seems mentally incapable of making a decision that could save the land. Wealthy former peasant Lopakhin (John Turturro, sounding more Brighton Beach than Russian) begs and pleads with her to turn her vast acreage into housing, but Wiest is too busy fluttering around and batting her eyelashes to pay much attention, a perfect avatar for the tonal blender into which Belgrader has tossed his actors.

How else to explain Roberta Maxwell’s satisfying but bizarre turn as the wry, biting Charlotta, performing magic tricks dressed like Cabaret’s MC? Or Josh Hamilton’s pointedly modern take on perpetual scholar Trofimov, airily announcing that he is above love? The performances run the gamut of styles, from the wistful pratfalls of Charlie Chaplin (Michael Urie as Epikhodov) to Daniel Davis’ Gaev, here a doddering uncle out of Evelyn Waugh. Not to mention there’s Belgrader’s bizarre staging of Lopakhin’s triumph, which involves ripping feathers out of the bottom of a chair with an obviously foam seat (you’ll spend the last 15 minutes sneezing as feathers continue to drift interminably).

Even the set design seems out of place. Santo Loquasto has contributed a round raised platform for the stage, but Belgrader often ignores its circumference and has his actors step off of it to perform. If the circle in CSC’s square doesn’t demarcate the room, then why have a stage at all?

Then again, if The Cherry Orchard is more funny than moving and the hard-nosed practicality of Lopakhin looks more appealing than the sentimentality of Ranevskaya and family towards her childhood home, why perform it at all?

The Cherry Orchard Through Jan. 8, 2012, Classic Stage Company, 136 E. 13th St. (betw. 3rd & 4th Aves.), www.classicstage.org; $70–$125.

Misery Loathes Audiences

Written by Mark Peikert on . Posted in Arts, Theater

misery

The insistent irony of the title Happy Hourshould be enough to tip audiences off to what to expect from the trio of Ethan Coen-penned one acts, staged at a glacial pace by Neil Pepe. Surprise! None of these characters are happy! And this collection is definitely not an hour.

Things start off excruciatingly immediately, with the bitter monologue (there are a few lines delivered by other actors, but they’re just fodder) “End Days.” “End Days” is also the only work set in an actual bar, rendering the umbrella title even more ridiculous. Railing against the injustices of life for the better part of half an hour, Hoffman (Gordon MacDonald) never met a bar fly he couldn’t bully, nor a piece of bad news he couldn’t smack his lips over. Unmitigated bile is difficult to take, but Pepe’s insistence on dragging out the wisp of a play makes it unbearable; even MacDonald can only find so many shadings to a rageaholic.

Somehow even worse is the ’70s set “City Lights,” in which a misanthropic, misogynistic musician (Joey Slotnick) barrels into the lives of both a kindly cabbie (Rock Kohli) and a teary, freshly dumped schoolteacher (Aya Cash). He’s brusque and rude, when he’s not getting stoned and eating Oreos; she has serious issues with cursing. Yet, for some reason, she’s attracted enough to him to track down his apartment—a major mistake on her part that ends the first act on such an ugly note that one is sorely tempted to abandon the theater for a scalding shower.

The final installment, “Wayfarer’s Inn,” at least benefits from an accomplished comic performance from the reliable Clark Gregg (doing his best Clark Gregg) and a bustier impression of Melanie Griffith from Ana Reeder, as married man Buck and his date Gretchen. Along for a bizarre sushi dinner is Lucy (Amanda Quaid, looking and sounding out of place), who barks out a laugh at the thought that love might be more important than friendship. Lust, at least, seems more important than friendship for Buck, who has left his depressed friend Tony (Lenny Venito) at their hotel, with predictably unfortunate—and interminable—results.

Originally advertised as 90 minutes, during the preview process Happy Hour’s running time crept up to two-plus hours, easily attributable to Pepe’s insistence on wringing every possible beat out of awkward silences and the repetition of jokes that weren’t funny the first time, let alone the fifth (people struggle to unlock their door! Hilarious!). Even a cast of up-and-coming actors and established performers seem at a loss with these dingy men and women. At least at an actual happy hour, the cornered patron can self-medicate with booze while listening to the tales of woe from fellow drinkers. At Happy Hour, we have to grimace and bear it.

Happy Hour

Through Dec. 31, Peter Norton Space, 555 W. 42nd St. (betw. 10th & 11th Aves.), www.atlantictheater.org; $65.

Good Fences Make Fascist Neighbors

Written by Mark Peikert on . Posted in Arts, Theater

“Beware of the British spinster” might as well be the tagline for Neighbourhood Watch, the first-rate Alan Ayckbourn play being given a second-rate production by director Alan Ayckbourn at 59E59 Theaters.

When first we meet her, Hilda (a superb Alexandra Mathie) is a grief-stricken sister, mourning the tragic loss of her younger brother while dedicating a park to his memory. The rest of the evening is a lengthy flashback, deeply satisfying and ultimately as suffused with mounting horror as a Shirley Jackson classic.

Newly moved to Bluebell Hill Development, a well-to-do neighborhood situated distressingly near the council flats, Hilda and Martin (Matthew Cottle) are quick to invite their neighbors over for tea. The motley crew who assemble include retired security man Rod (Terence Booth), cuckholded husband Gareth (Richard Derrington), his flashy-trashy wife Amy (Frances Grey) and neighborhood gossip Dorothy (Eileen Battye). As they spin stories of police incompetence and the council flat hooligans who trespass on private property, we see an idea form as if in a cartoon bubble over the heads of professed devout Christians Martin and Hilda: form a neighborhood watch.

Ayckbourn proceeds to tease out the repercussions of allowing ordinary, somewhat repressed citizens full power to its logical extreme: a microcosm of a fascist country, complete with check-in points and a debate over strip searches when one is entering or leaving the newly gated community. The play itself is better than the shabby production is has received as part of the Brits Off Broadway festival, one that finds designer Pip Leckenby substituting plain black walls for the frequently discussed (and mocked) sickly green drawing room. And the cast isn’t quite up to snuff, either, particular Grey’s Amy. Her performance is a delicious blend of vamp and truth-teller, but in her bright red wig and her barely-there costumes (also courtesy of Leckenby), it’s unimaginable that she should have ever married Derrington’s Gareth.

Where Neighbourhood Watch and Ayckbourn-as-director shine brightest is in the handling of Hilda and Martin’s relationship. They still retain the closeness of siblings raised by a single parent (one who represented a common enemy from the sound of it), but that closeness has calcified into something creepy as they near 40. Hilda is jealous of Amy’s attentions to her brother; Martin has abandoned all hope of persuading Hilda that her ideas about interior design may not always be ideal. As their relationship turns slowly antagonistic, Martin perks up and Hilda turns icily manipulative, turning the screws on an abused neighbor as a means to an end. Mathie’s penultimate scene, as Hilda prepares for a funeral, is a chilling, bleak study in the futility of trying to outwit the deviously devout.

Neighbourhood Watch

Through Jan. 1, 59E59 Theaters, 59 E. 59th St., www.59e59.org.

Overcast, With a Chance of Boredom

Written by Mark Peikert on . Posted in Arts, Theater

connick

The original book to the 1965 On a Clear Day You Can See Forever is widely acknowledged as abysmal—but it is solely on the basis of that show and The Apple Tree that Barbara Harris’ towering status as an icon of musical theater rests. Not bad for a show that is frequently dismissed, despite its gorgeous score by Alan Jay Lerner and Burton Lane. Director Michael Mayer and playwright Peter Parnell, however, thought they had the solution to the original, and have given audiences a radically reworked version that is just as flawed.

In On a Clear Day 2.0, psychiatrist Mark Bruckner (Harry Connick, Jr.) is still mourning his dead wife, and young, gay florist’s assistant David (David Turner) can’t quit smoking or commit to his lawyer boyfriend. So the two of them end up in session together, where David reveals a talent for being hypnotized, and Mark discovers that David was a big band singer named Melinda Wells in a previous life. What does Mark do? He drags David all over Manhattan and puts him under hypnosis to spend the day with Melinda—when he’s not somehow transported back to Melinda’s pre-World War II world, complete with waiters, band members and hoity-toity lyricists.

The 1965 incarnation may have been listless, but at least it boasted Harris and John Cullum as its stars (there’s a wonderful condensed version of the show available on YouTube). Here, we have Connick Jr., clearly uncomfortable with the big Broadway showtunes; Turner as a wan, charmless leading man who destroys the second act hit “What Did I Have That I Don’t Have” by overacting; and, making her Broadway debut, the refreshingly talented Jessie Mueller as Melinda, playing her scenes with the steely strength and lovable vulnerability of a young Judy Garland and blasting out her songs with the precision and powerhouse vocals of a young Patti LuPone. Mueller’s a-star-is-born moment comes in the second act, when she belts “Ev’ry Night at Seven,” a song from the 1951 Lerner-Lane movie musical The Royal Wedding that she invests with all of the personality, magic and sheer giddiness that the rest of the show is missing.

Mayer seems to have taken the story’s new time period of 1975 as the guiding vision behind the production, beating audiences over the head with a succession of design elements that are almost laughably ugly. Costume designer Catherine Zuber reveals herself to be a fan of matchy-matchy clothes—at one point, Mark and his lovelorn co-worker both wear the same shade of blue while standing downstage between David and his boyfriend, outfitted in matching reds—corduroy and fringe, and Doug Besterman’s orchestration of “Wait ’Til We’re Sixty-Five” sounds suspiciously like that of “But Alive” from 1970’s Applause.

The list of mistakes made in preparing On a Clear Day for its second Broadway outing is a long one, topped by the utter ludicrousness of its book—how is Mark traveling back in time?—and underwritten characters. David is a flouncing cipher, and Turner brings no charisma or quirkiness to his performance. And the supporting cast members—including Sarah Stiles, making the most out of her dippy character—are mostly reduced to singing backup and filling the stage for hazy, hippie group numbers. The only person, behind the scenes or onstage, who emerges unscathed is Mueller, safely ensconced in her 1940s setting and, on a cloud of music, serenely rising above the bad acid trip that is the rest of the show. If she’s not a Barbara Harris yet, she well may become one.

 

ON A CLEAR DAY YOU CAN SEE FOREVER

Open run, St. James Theatre, 246 W. 44th St. (betw. Broadway & 8th Ave.),www.onacleardaybroadway.com; $54–$157.

The Milkman Cometh

Written by Mark Peikert on . Posted in Arts, Theater

milkman

What people seem to ignore—or shrug off—in our mad for Mad Men times is that the past was not necessarily simpler. Under the lacquer of nostalgia lies a time of community, when grocery store clerks who sold you goods on credit existed in place of self-check-out aisles and neighbors greeted new arrivals with casseroles. But that same community is also the one that spread gossip animatedly and viciously, where women had one slot in life and men who weren’t manly were jokes.

That disconnect between our perceptions of what the past was like (no Internet? No problem!) and its actual, prickly reality is explored in Maple and Vine, the uproarious, problematic new comedy by Jordan Harrison at Playwrights Horizons. Still reeling from a miscarriage three months ago, young couple Katha (Marin Ireland, slightly out of place in a comedy) and Asian-American Ryu (Peter Kim) indulge themselves in a world of 1950s re-enactors, led by the charismatic Dean (Trent Dawson). In Dean’s world, the United States has been recreated in microcosm within a gated community, complete with Mason-Dixon line. Dean and his wife, Ellen (Jeanine Serralles, absolutely perfect) are always on the lookout for new types to make the experience more authentic, their particular watchword. Katha briefly contemplates eschewing foundation garments for the berets and poetry of the beatnik, but Ellen quickly sets her straight: what Katha really is wants “some repression, some rich subtext.” Before you can say, “Honey, I’m home,” Katha and Ryu have traded in a life of disconnected technology for one of crinoline and martinis.

Ireland, best known for darker dramatic turns in plays like Blasted and reasons to be pretty, doesn’t have quite the same balance as Dawson and Serralles when it comes to walking the fine line of Harrison’s play between satire and sincerity; she’s a little too strident to nail the comedy, but she succeeds through sheer force of talent. Former soap star Dawson is a natural fit for the material, as are Pedro Pascal as a gruff man’s man and Serralles as the angular, perfectly put together Ellen, whose every movement is carefully calculated and period perfect.

Director Anne Kauffman does fine work with the performers; where she falters is the play’s pacing. The set changes are so elaborate (the busy set design is from Alexander Dodge) that she’s forced to stage some scenes in the aisles of the theater just to keep momentum. And nothing she or Ireland do can mitigate the abrupt insertion of monologues directed at the audience by Katha in the second act, in which she relates her dreams in the third person; likewise, the happy ending that Harrison has supplied skirts the issue of whether or not the past was truly easier by allowing the characters to be happier play-acting in a perpetual 1955.

But Kauffman, Harrison and company do so much right that these are mere cavils. Harrison takes material that Todd Haynes seemed to have done to perfection and spins it out in new, mesmerizing ways—particularly in the community’s treatment of Japanese-American Ryu, who is greeted with a kind of reverse racism after the internment of Japanese Americans during World War II. As Ryu and Katha—rechristened Kathy by Ellen—slip deeper into their roles, they find solace in the limitations of the time period they’ve hand picked for themselves, even as they gradually morph from the couple they were into a 1950s equivalent, one in which Ryu can demand unironically why Kathy isn’t wearing her apron when he walks in the door after work and Kathy can delightedly spend an entire day making chicken stock.

Only gradually do they realize what Mad Men creator Matthew Weiner has been telling us for four seasons now: Choices during the mid-20th-century may have been fewer, but the ones that existed were all the more potent for it.

Maple and Vine

Through Dec. 23, Playwrights Horizons, 416 W. 42nd St. (betw. 9th & 10th Aves.),www.playwrightshorizons.org; $70.

Too Close For Comfort

Written by Mark Peikert on . Posted in Arts, Theater

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Manhattan Theatre Club has given theatergoers a lump of coal this holiday season with Close Up Space,a tedious new comedy-drama about editing, the Russian poet Anna Akhmatova, feminist literature and family failures. That the cast includes pros like David Hyde Pierce and Rosie Perez makes the whole 80 minutes just that much sadder.Book editor Paul Barrow, exactly the kind of fussy academic that Pierce can play in his sleep, is having a rough time. His wife died five years ago; his rebellious 18-year-old daughter Harper (Colby Minifie) has just been kicked out of boarding school, his best-selling author Vanessa Finn Adams is virulent about the importance of Oxford commas, his office manager (Michael Chernus, playing a slovenly Joe seemingly in his sleep) is sleeping in a tent in the office and his new Vassar-bred intern (Jessica DiGiovanni) is distressingly given to fits of tears. Leaden wackiness ensues.

Playwright Molly Smith Metzler can’t seem to decide what genre she wants to write in. Is it sitcom theater? That would explain Harper’s insistence on speaking in Russian and carrying a cooler of snowballs around with her. Is it a microcosm of life, a la Annie Baker, which is what Chernus’ conversational performance seems to be aiming for? Or is it over-the-top high camp, as when Metzler steals an exchange from the film Soapdish and Perez—utterly if enjoyably miscast as an Erica Jong-esque writer—declaims Shakespeare in what is supposed to be a withering goodbye to Paul?

Director Leigh Silverman can’t make sense of it either, and tries to keep the various tones self-contained. Perez is allowed to vamp it up with her accent; Pierce reprises his Frasier performance, no matter with whom he has a scene; and Minifie gives a sloppily enunciated, shrill turn as Harper that erases any doubts as to why Paul has insisted on sending her away to school for the last several years, culminating in a scream of rage that goes on for so long both she and the audience turn red-faced; she from lack of oxygen, we from vicarious embarrassment.

Most painfully and inexplicably in this uneven evening, a large chunk of the plot revolves around Harper stripping Paul’s office clean. Todd Rosenthal’s office set dutifully rolls backward—and stays there, within sight, as the characters wander the empty space it just occupied and bemoan the lack of furniture and manuscripts. Did MTC use up so much its budget carefully outfitting Zoe Kazan’s We Live Here with Crate and Barrel offerings that it couldn’t afford even a curtain to hide the set? Or, like the rest of Close Up Space—including the opening scene when vigilant grammarian Paul line edits an email and inserts an apostrophe in the wrong place—did they assume the audience was too stupid to notice?

Close Up Space
Through Feb. 5, Manhattan Theatre Club, 131 W. 55th St. (betw. 6th & 7th Aves.), www.mtc-nyc.org; $80.