Review: Burn This

I heard a rumor that playwright Lanford Wilson intended Burn This to be a satire of straight people. Whether that’s true or not, the current revival is the strongest production of the play I’ve ever seen because it’s the one that comes closest to satire. A gay dancer dies in a boating accident in mid-1987, bringing together his dancer roomate Anna (Keri Russell) and his older brother Pale (Adam Driver), who begin a tempestuous relationship. The key performance in this revival, however, is the terrific Brandon Uranowitz as Larry, Anna’s gay roommate. The self-possessed yet compassionate way Uranowitz plays the role moves the play’s center of gravity so that we get a clearer picture of the absurdity of how the heterosexual characters comport themselves.

While part of this conception belongs to Uranowitz, director Michael Mayer definitely helped steer him in this direction – Mayer is always very smart about carefully working through ideas about sex and gender in his productions, and you can feel that same intelligence at work here. It has the side benefit of skewing the whole play to be played more comically, which, if my sources are right, is what Wilson was going for.

The role of Pale is a big juicy piece of actor meat, and the big, meaty Adam Driver makes an appropriately full meal of it. Here again, I can feel Mayer urging him to consider the contrast between what Pale really feels and what he thinks he’s expected to feel. Burn This will never be my favorite Lanford Wilson play – his cycle of plays about the Talley family and his early masterwork The Madness of Lady Bright are far superior – but this is the best rendition it’s likely to get. Recommended.

For tickets, click here.

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

Advertisements

Review: Tilda Swinton Answers an Ad on Craigslist

I don’t know how familiar playwright and actor Byron Lane is with the legendary Ridiculous Theatrical Company and Charles Ludlam’s approach to playwrighting and acting, but his Tilda Swinton Answers an Ad on Craigslist is Ridiculous Theatre to a “T.” To wit: we are presented with absurd, campy and ridiculous situations (about serious themes) which the actors deliver with real emotion and total commitment. The themes are as serious as can be: suicidal tendencies, finding your place in the world; the situation is completely preposterous: suicidal gay man Walt (Lane himself) finds that his ex has put out a “roomate wanted” ad on Craigslist that is answered by the titular Tilda.

Swinton promptly takes over the place in both physical and spiritual ways. Lenk’s virtuouso portrayal is the evening’s centerpiece, playing to Swinton’s other-worldly persona with deliciously shameless flamboyance. According to this broadly satirical version of the film star, she was in Dances with Wolves as all of the wolves, and what she was in Die Hard is just way too fun to give away.

Lane, for his part, knows exactly when to under- and over-play Walt’s simpering despair for the best comic effect. Jayne Entwistle and Mark Jude Sullivan clown expertly in multiple roles – mostly Walt’s demanding, judgemental family. While there’s a whiff of a message about self-esteem, this is largely a surreal lark played for the laughs, which it delivers in marvellous, hysterical abundance. Highly recommended.

For tickets, click here.

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

Review: What the Constitution Means to Me

As a teenager, playwright and actress Heidi Schreck won her college tuition money in Constitutional debate competitions at VFW’s and other similar institutions across the country. In What the Constitution Means to Me, Schreck revisits those competitions to examine how her feelings about the document have changed – and how it has long failed to protect the bodies and lives of oppressed peoples like women and immigrants. And how, under conservative courts and administrations, such protections as those people have are consistently rolled back.

That may sound like material for an essay or a lecture, but Schreck makes exciting and frequently entertaining theatre out of this thorny subject. She does this mostly by bringing an intensely personal point of view to it, interjecting pop culture references from her teen years and today. Also, she uses what can be exciting and theatrical about the performance side of lectures, speeches and debates – time limits, spontanteity and conflict, for a start. It’s not for nothing that her director Oliver Butler co-founded a theatre company called The Debate Society.

There’s a lot that’s sneaky about What the Constitution. For one thing, it’s a full-on play disguised as a solo performance art show. In fact, at one point Schreck acidly observes that “I know some of you think I’ve gone off on a tangent but I promise you I haven’t. In spite of what some people think, this show is actually quite carefully constructed.”

In this play’s most important other role, Mike Iveson plays a VFW moderator, but his role morphs in surprising, effective and satisfying ways. And there are additional cast members whose function is such a delightful surprise I won’t spoil it. Highly recommended.

For tickets, click here.

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

Review: True West

A “straight boy play” that’s actually funny! More than that, a play that consciously caricatures many myths of the of the American heterosexual boy-man-child. Sam Shepard, True West‘s late playwright, was always more of a surrealist satirist than people give him credit for. He’s not celebrating the macho bad boy like Mamet or LaBute, but ruthlessly dissecting him. Shepard never lost an affection for the myth of the lonely cowboy, or the menacing trick of the Pintereque pause; however, he is also smart enough to know that they are myths and tricks, and clever enough to show them as such, again and again.

True West is about what happens when two adult brothers, aspiring screenwriter Austin (Paul Dano) and theiving drifter Lee (Ethan Hawke), cohabit in their vactioning mother’s house. Roles are reversed, hereditary alcoholism indulged, and general chaos wrecked as they try and live up to what they’ve seen in the movies, especially Westerns. Director James Macdonald does a great job balancing the play’s symbolic and psychological components ‒ rightly placing a slightly stronger emphasis on the the symbolic, comic aspect of the show.

Austin initially presents as a milquetoast, but Dano finds darker colors from the very beginning. As he unravels under the pressure of Lee’s more obvious insanity, Dano shows terrific slapstick chops. Lee at first seems to be the kind of “man-boy with brooding menace” role that Hawke is known for, but Lee’s own transformations offer a whole other set of comedic opportunities, and Hawke takes full advantage.

The play is not what you would call “fully woke” ‒ it was written in 1983, for goodness sake ‒ but is certainly more evolved and self-aware than most straight male centered drama of the time. Recommended.

For tickets, click here.

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

Review: Torch Song

Harvey Fierstein first became famous playing drag queen Arnold Beckoff, the central character in the play he wrote for himself, Torch Song Trilogy. As someone who covers a lot of gay theatre, most productions of this play I’ve seen make the mistake of casting someone in their 40s or 50s as Arnold, when Fierstein himself was in his 20s when he played the role. What a treat, then, to see Michael Urie, only in his 30s, perfectly cast in this fine revival.

Torch Song follows Beckoff from 1971 through 1980 as he negotiates finding love, and losing it. Instead of aping Fierstein’s gravely growl, Urie switches between his normal voice and, for added sissy sass, a variation on that cartoon queen Snagglepuss, even – though in this Broadway transfer that’s more organically incorporated into his mannerisms. Urie’s knack for comedy is wickedly sharp, especially in a hilarious backroom scene. He also plays less to Arnold tragic side, which oddly makes all the heartbreak he goes through that much sharper.

The last act is by far the juiciest part of the play, and Mercedes Ruehl makes a ferocious late entrance as Arnold’s mother. Also terrific is Michael Rosen as Arnold’s pretty younger boyfriend Alan, and Jack DiFalco as David, the smartass gay teen Arnold is planning to adopt. The production doesn’t get everything right – the design for 1971 looks and sounds like a few years later than that – but it gets very close. Recommended.

For tickets, click here.

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

Review: The Waverly Gallery

This play is about Alzheimer’s. That is the major thing you have to be aware of, because if you’ve known someone with the affliction, this can be hard going. The Waverly Gallery is a very good play about Alzheimer’s, with some lighthearted stuff to make it all easier to take (until it isn’t). And at the heart of this revival is a stunning performance from the legendary Elaine May as the person suffering from Alzheimer’s, one Gladys Green.

One of the things that makes The Waverly Gallery more bearable – but ultimately more tragic – is that Gladys has a wonderful personality: intellectual, kind and generous. After working as a lawyer and social activist in her younger days, Gladys operated a small art gallery in Greenwich Village for many decades. The play finds her still running the gallery in the late 1980s and early 1990s, as the disease is affecting her more and more, and focuses on the effect of her decline on her family, especially her grandson Daniel (Lucas Hedges, who underplays the part marvelously).

May has the gargantuan task of inhabiting this vital, bright woman who thinks she’s still in full command of her faculties, while also showing us, scene by scene, exactly how much she’s losing her grip, bit by awful bit. It takes a razor-sharp mind to convey that change over the course of an evening, and May is sharp as a tack – even if Gladys isn’t – giving us a mesmerizing portrayal of fragility and decline. Recommended.

For tickets, click here.

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

Review: The Ferryman

There is an extensive dramatic literature about strife in Ireland. So, crafting a drama that takes a fresh angle, and tells that story in a new way is no small accomplishment. That’s exactly what playwright Jez Butterworth has achieved in The Ferryman, an enormous family tragicomedy set during “The Troubles.” Specifically, the play is set in rural County Armagh, Northern Ireland, late summer 1981. The Carney farmhouse hums with activity in preparation for the annual harvest. A day of hard work on the land and a traditional feast finds the family inexorably – and tragically – drawn back into the arms of the Irish Republican Army.

Director Sam Mendes deftly weaves together the everyday and mystical elements that Butterworth has weaved into this complex tapestry of a play. Paddy Considine plays household head Quinn Carney brilliantly, sharply etching the bright lights and deep darks of this deeply-conflicted central character.

The Ferryman is above all an ensemble show. Butterworth has given each of its many characters a distinctive personality, Mendes has given structure to this often chaotic household, and every member of the ensemble plays the hell out of their part no matter how large or small. A particular standout is the luminous Fionnula Flanagan as Aunt Maggie Far Away, a mostly catatonic elder family member, who, when she comes to life, comes blazingly to life.

Does The Ferryman earn its 3 hour and 15 minutes running time? Not 100%. There are times, especially in Act III, where it feels like Butterworth is luxuriating in a moment too much. But it is still, overall, a rewarding production of a richly written play. Recommended.

For tickets, click here.

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