Review: The Inheritance

This is an exciting, thought-provoking show. I’ve seen it compared to Angels in America – they both involve gay American history and are split into two long parts – but they are quite different animals. Angels’ author Tony Kushner, tends toward broad scope and metaphysical philosophizing. The Inheritance‘s playwright Matthew Lopez, however, focuses on more human-scale stories. Yes, there is much in the play that underlines how much “the personal is the political,” but running time to one side, The Inheritance concentrates on relatively ordinary people navigating complicated lives.

Does it, then, justify that running time? Thankfully, yes. Lopez has a real gift for crafting believable and engaging characters. Because of this, over its many hours The Inheritance never lapses into tedium, no small accomplishment. Lopez loosely adapts E. M. Forster’s novel Howards End to 21st Century gay New York, following the interlinking lives of three generations of gay men searching for love and a place to call home. Like Forster’s book, the play interrogates social conventions and codes of conduct in relationships, but since the milieu is very different, Lopez reaches intriguingly different conclusions.

Lopez centers his story on Eric Glass (Kyle Soller, in a marvelously nuanced, even elegant portrayal), a a compassionate but conflicted native New Yorker. Also, Forster is not only the source of the plot’s outline, he also appears as a character, played with delicate dignity by Paul Hilton. He advises and inspires a young gay writer played by the remarkably talented (and toned!) Samuel H. Levine. Not for the only time, Lopez teases you with suspense – which of the characters that Levine plays is telling this story? Director Stephen Daldrey gives the narrative lots of air and makes weaving this complex tapestry seem breathtakingly easy. Recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: A Christmas Carol

This is quite possibly the best stage adaptation of Charles Dickens’s A Christmas Carol I’ve seen. And there have been a lot of them: This holiday chestnut is an audience favorite, and – even better for theatres’ budgets – in the public domain. For this Broadway version, which originated at London’s Old Vic, adaptor Jack Thorne brilliantly interweaves sharp social commentary (never far away in Dickens) with ineffable warmth and joy.

Director Matthew Warchus greatly magnifies that warmth even before the show starts, with the cast tossing and passing clementines and cookies to the audience. They even chat congenially with the audience – a friend of mine had some lovely face time with Andrea Martin (who plays the Spirit of Christmas Past). The smell of people peeling clementines hugely helps to conjure the Christmas spirit. Get there early!

Our Scrooge is Cambpell Scott (whose father George C. Scott played the role in a terrific 1984 TV movie adaptation). He brings great nuance to the role, with flashes of vulnerability even early on, which clearly unnerve Scrooge, but also foreshadow his eventual change of heart. And when that change of heart comes, Warchus turns the warmth and joy all the way up with another bit of audience interaction which spectacularly embraces the entire theatre.

Rob Howell’s set envelops the theatre as well, with Victorian lanterns in huge numbers hanging over the stage and audience. Thorne treats the story as an ensemble piece, and when that ensemble includes performers as fine as Martin and LaChanze, you know you’re in good hands. In another super-smart twist, Tiny Tim is played by a differently-abled boy (Jai Ram Srinivasan at the performance I attended) which makes the scenes with him – which can be mawkishly sentimental – much more realistic and all the more genuinely touching for it. Highly recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: The Sound Inside

This subtle play probes enormous life and death issues facing people with big intellects and small lives. Brilliant but defensive (and damaged?) Yale creative writing major Christopher Dunn (Will Hochman) vies for the attention of his self-possessed, reclusive professor Bella Baird (Mary-Louise Parker). She finds herself drawn to him, and mentors him in writing his novel. But life gets in the way, in a big way.

The Sound Inside is above all a vehicle for the actor playing Bella who either narrates or monologues for much of the play. Parker is at the peak of her powers here, playing playwright Adam Rapp’s sometimes purple prose with great precision and restraint. The problems she faces put her in contact with life’s biggest questions, and neither Bella nor Parker flinches in the face of these massive subjects. Hochman rises to her challenge, giving warmth and softness to a young man who could come off as unpleasant. Both performances are remarkably honest and vulnerable.

Director David Cromer does masterful work here, particularly in his collaboration with designers Heather Gilbert (lighting) and Aaron Rhyne (projections). Images and colors appear out of nowhere, and fade back into obscurity with equal delicacy. They wrap Alexander Woodward’s minimalist set in a cloak of mystery and darkness. Daniel Kluger’s music punctuates the play with the lightest of touches. Rapp, for his part, portrays the world of academia with a knowingness that is equal parts affectionate and cynical. Recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: The Height of the Storm

In Florian Zeller’s delicately surreal new play The Height of the Storm, Zeller investigates grief for the passing of a beloved spouse, as well as the difficulty of dealing with dementia in a spouse or parent. In the last few years, there have been a spate of excellent plays on Broadway dealing with many varieties of dementia – among them Zeller’s own The Father. While there are echoes of that play here, The Height of the Storm emphasizes the complete loss of your life partner, not you memories.

The play bounces back and forth between different narratives. In one, famous writer André (Jonathan Pryce) is grieving for his wife Madeleine (Eileen Atkins). In another, Madeleine is grieving for André. In yet another both are still alive, but André is slipping into dementia – actually this is happening in all of the narratives.

The play is complex enough that one can interpret it several ways. One person I spoke with perceived that this was all in André’s confused mind, as happened in The Father. I prefer to think that we are seeing several different realities play out, perhaps even more than the ones I described above. In one, André had an affair, in another it was a student of his that had the affair, etc., etc. Certainly Zeller keeps us on our toes with his imaginative and precise writing.

I have never seen Jonathan Pryce better. He moved me with his performance, which he has never done before. Eileen Atkins is also exceptional, and the supporting cast uniformly excellent. Director Jonathan Kent and lighting designer Hugh Vanstone help us track the shifting reality with intricately calibrated lighting changes working hand in hand with thoughtful, rigorous staging. Recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: Galas

Diva! Here we have one diva (in the most positive goddess-like sense) playing another diva (in both senses). Well, it’s a little more complicated than that. We have a man with goddess-like acting gifts (Everett Quinton) portraying a fictionalized version of opera diva Maria Callas. Drag doesn’t get much higher than this.

The play is Galas by the late great Charles Ludlam, Everett’s partner in art and life – and the greatest playwright to come out of the Ridiculous Theatre movement. Now Quinton is directing and playing the lead role in Galas in its first New York revival since its original 1983 run.

As director, Everett fills the play with truly “Ridiculous”detail, as well as lots of warmth and romanticism, appropriate to the story of a diva with such great skills at singing Romantic Era opera. As an actor, Galas confirms Quinton as the greatest living actor in the Ridiculous tradition – and among the best in any tradition, as far as I’m concerned.

He attacks the role with great precision, and the almost supernatural conviction that is the hallmark of great Ridiculous acting, expertly playing the deep seriousness of this tragicomedy as well (its actual subtitle is “A Modern Tragedy” but it’s far too funny for that). Everett is the ideal interpreter of Ludlam’s plays, knowing when to be loyal to what Charles had already done, and when to push things even further into preposterousness to keep it fresh.

This is above all a star vehicle for the actor playing Galas, but there is one other fantastic performance in this production, as well as someone who shines in a smaller part. On the fantastic side is Jenne Vath as the diva’s mad maid Bruna. The role is nutty as hell and Vath plays it to the hilt. And, as Galas’s romantic rival Athina, Maude Lardener Burke leads you to believe – in a very few lines – that she is every bit as formidable as the great singer.

The production’s venue is the acoustically unforgiving main hall of St. John’s Lutheran Church, and its biggest flaw is lack of vocal projection equal to the echo-y space. That is for sure, a mere quibble when you are seeing such a great artist as Quinton vigorously at work. Highly recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: BenDeLaCreme

So I thought a show about matrimony would be less searching than a show about astrophysics or a 14th Century Italian epic poem, BenDeLaCreme’s previous two topics.

I was wrong.

Ready to Be Committed goes right to the tough questions: what is love anyway? Should people even get married, since matrimony’s roots are in a system which treated women as property? The first question is addressed in a rap entitled “Lovesickness” which traces theories about the nature and source of love from the ancients to modern neurochemistry. The second question gets a hard going-over in a parody of “Single Ladies” called “Medieval Ladies.”

This show is lighthearted in the sense that the queen otherwise known as Ben Putnam is back to playing a bit of a ditz this time around. It’s her wedding day, but she forgot to get a groom – so she goes on Grindr to find one. Which leads to all kinds of hilarious misunderstandings. I can give this much away because BenDaLa’s brilliance really shows up in the details.

BenDeLaCreme takes the best of clowning, drag, circus, burlesque and puppetry and whips them into something new, fascinating and intensely intelligent. Not only that, she uses these popular forms to probe the very biggest questions, switching from deep existential angst to spiritual lightness in the space of a minute – in between double entendres about sex and booze.

She is not only all about fantastic and ridiculous artifice, but also ultimately about what that artifice can communicate and express about deeper things, like ethics and how to take care of ourselves and each other. She delivers a show that’s equal parts cheeky fun and insightful art, no small feat. Highly recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: Jinkx Moonsoon & Major Scales

Picture a maniac Jinkx Monsoon being psychoanalyzed by her musical counterpart, pianist / composer / raconteur Major Scales. This show features almost entirely original music, all from her album The Ginger Snapped, also the title of the show. This is a return engagement, and the show has definitely grown into something more hilarious and special.

Their first New York cabaret show, The Vaudevillians, was such a runaway success that it’s become a running joke in their shows that “I think the audience was expecting The Vaudevillians. Oops!” While good for a laugh, that self-deprecation isn’t necessary, since this show is equally accomplished – certainly it digs into deeper themes.

Monsoon and Scales are more entertaining and smart than the vast majority of the competition. The material from the album is heavily influenced by New Wave (heck the B-52’s Fred Schneider even guests on one track). They’ve traded the glam medical smocks they wore during the show’s first run (pictured above) for simpler, chicer outfits. Simple yet fabulous.

The Ginger Snapped is light years more thoughtful, tuneful and original than your typical cabaret drag act, while rarely being less than acidly hilarious. Very funny but with genuine rage and love just below the surface. Highly recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.