Disco Pigs - the Pangs of Youth

Reviewed by Judd Hollander

It’s great to have a best friend when you’re a child. Someone you can tell secrets to, watch television with, and just hang out together. But as one grows up, things start to change – sometimes forever. It’s a point shatteringly brought home in Enda Walsh’s 1996 drama, Disco Pigs. A powerful revival of which is currently taking place at the Irish Repertory Theatre.

In 1996 Cork City, Cork County, Ireland, seventeen year-olds Pig (Colin Campbell) and Runt (Evanna Lynch), are the best of mates, and have been almost from the moment of their birth. Both from the same neighborhood, they were born in the same hospital on the same day, placed side by side in the hospital nursery, and have been inseparable ever since. Hailing from working class families, things don’t always come easy to them. The two in recent times, venting their frustrations with actions that fall outside the law. Pig in particular getting great satisfaction from trashing liquor stores and beating up those who stand in his way. All while Runt looks on, offering moral and vocal support. Their current enjoyment of choice - other than drinking and getting into trouble - is disco music, with their holy grail being a place called “The Palace Disco”.

Lately however, things have started to change for the two, with neither as content as they once were. Pig is grappling with raging hormones, and begins to see Runt as a woman for the first time. He wanting her every way in that regard. Runt, on the other hand, is beginning to realize that there is a world beyond the narrow streets of Cork City. As evidenced when she starts looking at her fellow schoolmates while wondering what will happen to their them, as well as to her and Pig, in the times to come.

Told in a combination of recollections, real time and tangents, Walsh’s writing has never felt more alive or more filled with imagery. Lynch and Campbell performing on what is basically a bare stage, yet they are able to transform their surroundings to a gritty urban neighborhood; a quiet beach with the waves breaking just out of sight; and a flashy nightclub/disco. While the dialogue can be quite hard to follow, told in an Irish street slang of the time – “Cork City” being pronounced as “Pork Sity” for example - the feelings presented are completely universal as Pig and Runt alternatively lash out and begin to question everything they know. Going hand in hand with this is the reality of inevitable change, as the life Pig and Runt once had threatens to come crashing down in a torrent of rage, music and desperation. All of which will ultimately test their friendship as never before.

Campbell gives a powerhouse performance as Pig. A young man with an ever-present, almost sadistic air of menace, this quintessential rebel-without-a-cause often seems far older than his years. Yet he also possesses a sensitive soul. Pig’s soliloquy concerning his feelings toward Runt is both quite heartfelt and totally sensual. The speech showcasing both his baser desires and his dreams of a scenario which would cement the two's relationship forever. Another example of Pig’s gentler side occurs when he takes Runt to the beach one night, thus offering her a small respite from their usual gritty haunts.Though he does harass their cabdriver more than once during the trip.

Colin Campbell and Evanna Lynch in DISCO PIGS

 (photo credit: Jeremy Daniel)

Lynch is excellent as Runt. At first an almost tagalong sort, we soon begin to see her starting to break away from Pig as she begins to question her lifestyle, while wanting to experience something other than what she’s always known. A feeling which crystallizes when she starts interacting with people other than Pig. The result being that she starts to see Pig differently for the first time, and may not be all that happy that she does.

It also helps that Campbell and Lynch have a wonderful chemistry together. The two playing off each other perfectly. Their characters feeling totally in synch in the beginning, yet beginning to grow apart as the show progresses.

John Haidar directs the show with sure and steady hand. Using the text as a guide, he allows the actors free reign to basically explode off the stage. While at the same time, making sure the images and feelings that result are completely understandable to the audience. Even if the dialogue may not always be. Particularly effective are the fight scenes where Pig pounds a character, unseen by the audience, into the dirt. Said actions coming across as brutally real.

Focusing on the themes of teenage angst and the inevitability of change, while giving these guideposts a rather refreshing twist, Disco Pigs offers a frightening look at two young people trying to make their way in a world that is no longer as simple as they once thought it to be.

Featuring Evanna Lynch (Runt), Colin Campbell (Pig).

Disco Pigs

By Enda Wash

Set & Lighting Design: Richard Kent

Lighting Design: Elliot Griggs

Sound Design: Giles Thomas

Movement Director: Naomi Said

Assistant Designer: Rachel Stone

Assistant Director: Nathan Markiewicz

Production Stage Manager: April Ann Kline

Press Representative: Matt Ross Public Relations

General Manager: Lisa Fine

Directed by John Haidar

The Tara Finney Productions
20^th Anniversary Production of Disco Pigs

Presented by the Irish Repertory Theatre

132 West 22^nd Street

Tickets: 212-727-2737 or www.irishrep.org

Running Time: 80 minutes, no intermission

Closes March 4, 2018

He Brought Her Heart Back In A Box - The Many Shades of Racial History

Reviewed by Judd Hollander

Shadows of the past run long and deep, and breaking free to find your own way is not as easy as it may seem. A point Adrienne Kennedy makes clear in her absolutely brilliant new one-act work, He Brought Her Heart Back in a Box, now at Theatre for a New Audience at the Polonsky Shakespeare Center.

In June of 1941, in the small town of Montefiore, Georgia, seventeen year-old Chris Aherne (Tom Pecinka), is making plans to leave his home and heritage forever. A heritage inexorably tied to racial inequality and the Jim Crow laws. His father Harrison (Pecinka), and grandfather, both successful businessmen, implemented the segregation system for the town – from the placement of “White” and “Colored” signs, to determining by skin color which group of people should live where. Chris however, plans to leave all this behind. Having just buried his mother, he’s about to head to New York to fulfill his dream of acting on the stage. But first he has come to the local Boarding School for Coloreds, founded by his father, to pledge his love to Kay (Juliana Canfield), a girl his own age that he has known all his life. Born of mixed-race parentage – her father was white – and having deep feelings for Chris, Kay accepts his proposal.

While these two young people would like nothing more than a beautiful future together, Chris in particular dreaming of living in Paris after the war in Europe concludes, both face constant personal reminders of the racism that permeates their society. Harrison for example, sired several children of color over the years. He often treating them, in the eyes of Chris’ late mother, better than his legal wife and son. As for Kay, she was born when her mother was only 15. She depositing Kay with relatives soon after the delivery and departing for Cincinnati, where she died under mysterious circumstances shortly thereafter.

He Brought Her Heart Back In A Box is not simply a linear story, nor does it center only around Kay and Chris. Kennedy came up with the concept from notes and clippings in her mother’s scrapbook, and her mom’s own racial experiences while growing up. These memories, and the images they evoke are brilliantly laid bare on stage, as the work opens a window to a time where Whites and Blacks rode in separate train cars, sat in different sections on buses, and drank from different water fountains. Images and memories coming alive to haunt the two would-be-lovers who dare to believe things will be different for them.

At one point it’s noted that both Kay and Chris’ fathers thought they could do whatever they wanted to in regards to colored women. They both being so powerful, people were afraid to do anything. Both men’s legal wives carrying a great deal of bitterness towards their philandering husbands, the women with whom they had relations, and the children born as a result.

As Kennedy and the entire technical team clearly understand, the best way to make a point is not to hit your audience over the head with a message time and again; but rather introduce it slowly and subtly until it envelopes those watching almost without their knowing it. The story weaving together references to past tragedies and actions, with the few attempts at showing something perhaps softer, such as Harrison’s half-hearted attempts to play a role in his illegitimate family’s life, not met with understanding by Chris or acknowledged by Kay. In one of the play’s more backhanded compliments, Chris notes that not only did his dad found the town’s colored cemetery, but he also ordered tombstones for the mothers of his Negro children. Chris pointing out that those women are the only people in that particular graveyard to have tombstones. It’s also interesting to note that, for all the love he has for Kay, Chris seems to have no particular problem with the racial situation as it currently exists in Montefiore. He wanting to leave town for his own personal reasons, not because he is rebelling against segregation as it currently exists there.

Pecinka and Canfield do a great job in their respective roles. Pecinka making Chris, if not a truly likeable character, at least one completely understandable. A boy trying to be his own man, but far too accepting in what has come before. A habit he would probably continue to follow as time goes on, simply because it’s easier. Canfield is excellent as she switches from a young woman about to start a new life with the man she loves, to someone nearly crushed by familial memories. From start to finish, the atmosphere is thick with an ominous feeling of dread. Further stacking the deck in this regard are references to the dramatic Bitter Sweet and Paris Massacre (the latter also known as The Massacre at Paris), both of which depict events which do not end happily.

Even the lighting effects (an excellent job by Donald Holder), do more to call attention to the overall gloom, rather than dispel it. Evan Yionoulis’s direction is nothing short of superlative here, taking all the various elements - including the strong sound design work by Justin Ellington - and making them come together in a quiet clash of power. Lording over the entire story is Christopher Barreca’s muted set of staircases and doors that help to accentuate the bleakness that permeates the story from the first moment to the last.

Brilliantly presented on every level, He Brought Her Heart Back In A Box offers a sobering reminder of a period in our nation’s history where many people preferred to either continue the status quo, or make only a token resistance to it. Rather than strive for anything resembling real or lasting change.

Featuring: Juliana Canfield (Kay), Tom Pecinka (Chris/Harrison Ahern).

He Brought Her Heart Back In A Box

Written by Adrienne Kennedy

Scenic Designer: Christopher Barreca

Costume Designer: Montana Levi Blanco

Lighting Designer: Donald Holder

Composer/Sound Designer: Justin Ellington

Video Designer: Austin Switser

Hair & Makeup Designer: Cookie Jordan

Properties Supervision: Noah Mease

Voice & Dialect Coach: Beth McGuire

Dramaturg: Jonathan Kalb

Production Stage Manager: Cole Bonenberger

Assistant Stage Manager: Shane Schnetzler

Fight Director: J. Allen Suddeth

Casting: Jack Doulin + Sharky

General Manager: Michael Page

Press Representative: Blake Zidell & Associates

Directed by Evan Yionoulis

Presented by Theatre for a New Audience at the Polonsky Shakespeare Center

262 Ashland Place, Brooklyn

Tickets: 866-811-4111 or www.tfana.org

Running time: 50 minutes, no intermission

Closes: February 11, 2018

The Undertaking - A Pallid Examination of the Dark Side

Reviewed by Judd Hollander

A theatrical documentarian gets pulled into his own subject in The Undertaking, now at 59E59 Theaters.

After working on various projects for the investigative theatrical group The Civilians over the years, Steve (Dan Domingues), has decided that it’s time to "go after the big one, per se". The big one in this case being Death, in all its relevant aspects. How different people in different cultures deal with it; how people rationalize surviving near-death experiences; why do some people constantly challenge death; and what does it mean for who are left behind when death strikes?

After interviewing such people as an embalmer and a crime scene cleaner, Steve has arranged to meet with Lydia (Aysan Celik). A performance artist, while in Brazil, she once participated in a ritual called "the vine of death". However as Steve explains what he's trying to do, Lydia begins to suspect that he's more emotionally invested in the subject than he’s letting on. When she calls him on this, Steve goes quickly into defensive mode, saying "he doesn't do personal". Steve is thrown even more off his game when Lydia begins to tape him for her own performance piece.

As the audience soon finds out, Steve does indeed have a personal connection to death; via his mother’s battle with multiple sclerosis. Her ever-worsening condition forcing him to realize he may one day soon have to go on without her. In an attempt to ease his pain, Lydia offers to conduct Steve on a spiritual journey. One where he may be able to find the answers he seeks.

Perhaps the most troubling question when it comes to death, and one which Steve eventually verbalizes, is what happens if there is nothing beyond our current state of being? What if, when you die, you simply cease to exist, forever? Though, as the piece makes clear, if there really is no such thing as an afterlife - however one personally defines it - we’ll never know. Therefore, all one can do is to go on with one's life as best they can.

Yet for all its talk about death - with references ranging from the physical to the spiritual to the artistic - The Undertaking never breaks any new ground, nor offers any great de-mystification on the subject. Indeed, one could get just as much information from a self-help book or motivational lecture. Though the show does toss in an interesting bit of New York City trivia when it mentions that such places as Union Square, Madison Square Park and Washington Square Park were once the site of mass graves.

The show’s rambling connection to its subject matter is also visible through the journey Lydia takes Steve on. All off which happens in the confines of her apartment. While one can certainly recognize the belief Lydia feels in the process, her character having previously gone through an awakening in this regard, we get no “aha” moment or flash of incite from Steve; other than a bit of quiet resignation in the final moments of the play. Since Steve is a stand-in for the audience who are, by extension, taking this journey with him, they end up basically out in the cold with no new understandings as to what the show purports to explore. This lack of depth in regards to Steve’s character is also why Celik comes off far better than Domingues in the acting department.

More than simply two people sitting around talking, The Undertaking is also a multi-media presentation. The work including scenes from the 1950 film Orpheus directed by Jean Cocteau, as well as audio interviews from other people Steve has talked to - Celik and Domingues voicing the different characters. All of which only serves to further defuse the show's central message. By tossing in so many references and viewpoints, it makes the play seem disjoined when it should be cohesive, and bland when it should be personal. Just about all of these problems coming from the creators' conception of what the piece should be. Steve Cosson's continually meandering text and rather weak direction keeps the play moving in first gear throughout. With the entire experience feeling far longer than its actual running time.

The show’s technical efforts are good, particularly Tal Yarden’s production design and Mikhail Fiksel’s work in the sound department. However, while their efforts help to make the show more interesting, they are not able to make it any more substantial.

The premise behind The Undertaking is certainly one offering numerous possibilities. Sadly, what ends up being presented on stage doesn’t really go anywhere.

The Undertaking

Written and Directed by Steve Cosson

Conceived in collaboration with Jessica Mitrani

Featuring: Aysan Celik (Lydia and others), Dan Domingues (Steve and others)

Creative Collaborator and Psychopomp: Jessica Mitrani

Set and Costume Design: Marsha Ginsberg

Lighting Design: Thomas Dunn

Sound Design: Mikhail Fiksel

Production Design: Tal Yarden

Stage Manager: Geoff Boronda

Assistant Stage Manager: Rachel Gass

Production Manager: Ron Nilson

Producer: Margaret Moll

Assistant Set and Costume Designer: Blake Palmer

Sound Design Associate: Lee Kinney

Dramaturgy: Jocelyn Clarke and Jacey Erwin

Interviews Conducted by Steve Cosson, Jessica Mitrani and Leonie Hettinger

Presented by the Civilians at 59E59 Theaters

59 East 59th Street

Tickets: 212-279-4200 or www.59e59.org

Running time: 80 minutes, no intermission

Closes: February 4, 2017

Ballyturk - Where The End Of The Road Is Just Out Of Sight

Reviewed by Judd Hollander

If "sleep is freedom", as one character points out in Enda Walsh's Ballyturk, then it follows that ignorance is bliss and knowledge offers an awareness that can be truly devastating. The play now having its American premiere at St. Ann's Warehouse.

Two unnamed men - referred to as 1 (Tadhg Murphy) and 2 (Mikel Murfi) in the show program - are living in a somewhat homey, somewhat Spartan space. Exactly where and when this space is located and why the men are there, is unknown. The two have at least some creature comforts, such as fresh milk, tea and biscuits; along with a wide selection of music from which to chose. At the same time, there are hints of things being not quite right. Such as horizontal steel beams near the right rear ceiling, indicating the two might be in a cage where they can be observed from above. The cinderblock shower area also suggesting something one would see in a prison or, a locker room.

1 and 2 have seemingly long since settled into a daily routine. They eating, sleeping exercising, getting dressed, etc. all with the precision of a well-oiled machine, albeit with some enjoyable musical accompaniment. The majority of their time however, is spent describing the people and situations in the Irish village of Ballyturk. The two alternately acting as narrators for these scenarios, well as portraying the Ballyturk citizens themselves. Their actions reminding one of performers continually polishing their material in order to always keep it sounding fresh.

In the midst of the different actions that play out on stage, one soon begins to feel an overall presence of despair. Particularly with 1, the more emotional of the two men, who is also prone to what seems like epileptic attacks. 2 on the other hand, comes across as a more centered and level-headed individual. Yet behind all of their respective actions is the impression of something deeper lurking just beyond their field of comprehension. It's a feeling that only strengthens when we learn that one of the two may remember far more than he's let on; while trying very hard to deny that awareness.

1 and 2's lives are suddenly upended when another person (Olwen Fouéré) unexpectedly enters their domicile. Brusque and officious, she is there to offer the two men a choice. One which will change everything for the man who takes it.

In his plays, Walsh has often focused on the subject of isolation. People who find themselves, for whatever reason, butting heads against a cold and impersonal system that has made them feel cut off and alone. Some of Walsh's previous efforts in this vein include Arlington, Rooms and Misterman. Ballyturk being another such example. 

Also present in Ballyturk are clear elements of finality. Indeed, as the play continues to unfold, one can't help but wonder if these two men are trapped in some kind of limbo between this world and the next. Walsh himself has said he came up with the idea for Ballyturk while discussing the subject of death with his six year-old daughter. Though if one is looking through a definite through-line here, they're going to be disappointed. For Ballyturk is something meant to be experienced, rather than explained.

Walsh directs this production of his own work with a sure and steady hand, mixing silence with questions, and action with dancing - and a great use of the various songs. It's also interesting to note that the music source for the two men are vinyl records played on a turntable, with nothing more modern than a microwave in their possession. This again begging the question of how long the two men have been in this location - wherever it happens to be.

Murphy and Murfi work beautifully together as 1 and 2. Both characters at times, funny, angry, and always quite engaging. Especially when reeling off tales about Ballyturk, and the use of a yellow jumper (that's a sweater to Americans). The characters' actions also revealing a deep bond between the two. One built on trust and reliance, and which is hopefully strong enough to survive any disagreements that pop up along the way.

Fouéré is perfectly cast as the mysterious person who enters their lives. A seemingly bureaucratic type - as evidenced by her initial attitude, appearance and location from which she has arrived - she in actuality has the inner glimmerings of a onetime poet. As demonstrated in her speeches dealing with time, cigarettes and flying insects.

Jamie Vartan's design of both the room and what is found beyond is excellent. The set offering a nice blend of the austere, functional and elements of the personal tastes of 1 and 2. Helen Atkinson's sound design works beautifully, particularly in the opening and closing moments of the show.

Examining what might be beyond the here and now, and offering far more questions than answers, Ballyturk proves to be a probing and intellectual experience. And one definately worth seeing.

Ballyturk

Written and Directed by Enda Walsh

Featuring: Tadhg Murphy (1), Mikel Murfi (2), Olwen Fouéré (3), Eanna Breathnach, Niall Buggy, Denise Gough, Pauline McLynn (Voices), Aaralyn M. Anderson and Brook Timber (Girl).

Composer: Teho Teardo

Designer: Jamie Vartan

Lighting Designer: Adam Silverman

Sound Designer: Helen Atkinson

Presented by St. Ann's Warehouse

45 Water Street, Brooklyn

Co-Produced by Landmark Productions and Galway International Arts Festival

Tickets: 718-254-8778, 866-811-4111 or www.stannswarehouse.org

Running Time: 90 Minutes, No Intermission

Closes: January 28, 2018 

The Children - Posing Questions of Responsibility

Reviewed by Judd Hollander

"I don't know how to want less", exclaims Hazel (Deborah Findlay) in Lucy Kirkwood's dystopian drama The Children. This London transfer currently having its North American premiere at Broadway's Samuel J. Friedman Theatre.

Hazel and Robin (Ron Cook) retired nuclear engineers and a long time married couple, live on an isolated section of the English coast, approximately ten miles from what has become known as the "exclusion zone". An area so heavily irradiated in the wake of a nuclear meltdown, it has been deemed unsafe for human entry. Since the disaster, the couple has been forced to adapt to a world where items once taken for granted - such as constant electricity and safe, running water - are now things of the past.

Despite the constant reminders of what has occurred - including the farm they once owned now being in the exclusion zone - the two have managed to survive rather well. Though Robin is more haunted by the past than his wife, he even going down to their farm every day to check on the cows they had to leave behind.

Things change with the unexpected arrival of Rose (Francesca Annis). A former colleague whom they haven't seen in nearly four decades. At least Hazel hasn't. Robin, as it turns out, once had a romantic relationship with Rose. One which may have continued long after Hazel thought it finished.

Rose however, has a different reason for her visit. Knowing the authorities are working on shutting down the still-leaking power plant, she wants Robin and Hazel to be part of the team she is taking back there. Engineers and specialists all over the age of 65. People whom, in her view, have already lived most of their lives, thus more expendable than the much younger technicians who were previously sent to do the job. Especially since it can take up to 20 years for the effects of radiation to be felt.

The Children poses numerous questions regarding the quality of life. Most specifically, whose is most important? Those with more than 50 years still ahead, or persons with probably half that? Kirkwood also stacks the deck in Rose's favor by adding elements of personal responsibility and guilt. Rose blurting out at one point that Hazel and Robin don't have the right to electricity. Not when half the developing world doesn't have access to it.

Part and parcel with this is the idea that one cannot rest on their past accomplishments - such as assisting in the removal of an irradiated layer of topsoil - when there is the still much more to be done. Hazel may believe that, after a lifetime of doing good, she and Robin have earned the right to walk away and start over. But as Kirkwood makes clear, no one has that right.

Unfortunately, while offering a lot to think about, the play doesn't even start to become interesting until the one hour mark. The time prior basically a lengthy and roundabout conversation between Rose and Hazel, which gives no idea what is to come. Thus, by the time the purpose of Rose's visit is revealed, one has ceased to care about those on stage.

It would have also been nice to know exactly when the accident happened. Robin's habit of going back into the irradiated area to check on the cows suggests it was fairly recent. Yet there are other references indicating a longer amount of time has passed. Being more specific would have made the various references in the play come together more strongly.

Findlay is the standout of the cast as Hazel. A woman who does just enough to avoid feeling guilty about her life, and where denial is a key part of her reality. As a resigned realist, Cook's character nicely balances Findlay's in their scenes together. Robin helping to maintain the illusions Hazel has erected, while not really caring about what happens to himself.

While meant to be the catalyst in the show, Rose comes off as more annoying than anything else. The character continually picking at every statement made, as if trying to reawaken old memories and feelings in the other two. Yet there is a difference between knowing you are in the right and acting much too pretentious about it. A distinction the playwright, director James Macdonald and Annis all seem to have forgotten.

Kirkwood has come up with an interesting story, but it takes too long to get to the payoff; and even when it does, there are certain elements that remain unclear.

The Children

by Lucy Kirkwood

Featuring: Francesca Anna (Rose), Ron Cook (Robin), Deborah Findlay (Hazel).

Scenic and Costume Design: Miriam Buether

Lighting and Production Design: Peter Mumford

Sound Design: Max Pappenheim

Production Stage Manager: Martha Donaldson

Original Casting: Amy Ball

Additional Casting: Nancy Piccione

Stage Manager: Amanda Michaels

General Manager: Florie Seery

Directed by James Macdonald

Presented by Manhattan Theatre Club and The Royal Court Theatre

The Manhattan Theatre Club at the Samuel J. Friedman Theatre

261 West 47th Street

Tickets: 212-239-6200 or www.ManhattanTheatreClub.com

Running Time: 1 Hour, 50 Minutes, No Intermission

Closes: February 4, 2018

It's A Wonderful Life: The Live Radio Play - All About Making A Difference

Reviewed by Judd Hollander

Each person’s life touches others, often in the most unexpected ways. It’s a lesson learned by George Bailey in the 1946 film “It’s A Wonderful Life", and given a new twist with Anthony E. Palermo's adaptation of the work as a live radio performance. Previously seen at the Irish Repertory Theatre in 2013, the piece has returned for an encore engagement, making for a heartwarming holiday treat.

Set in the same year as the film, the  Palermo version takes place in a broadcast studio of radio station WIRT. Complete with a Christmas tree, an assortment of holiday cards, several rather warn and slightly mismatched chairs, and photos of the various movies stars on the walls. Including such figures as Doris Day, Clark Gable, Lauren Bacall, Bette Davis, and Jimmy Stewart. As Bing Crosby yuletide tunes play over the station loudspeakers and the studio clock moves along in real time, the actors begin to gather for the broadcast.

"It's A Wonderful Life" tells the story of George Baily (Aaron Gaines). Hailing from the small town of Bedford Falls - one of those places where everybody knows everyone else - George had plans to go college and travel the world. Until circumstances and a deep sense of loyalty forced him to give up his dreams and take over the family savings and loan business. When $8,000, which was supposed to be deposited in the bank, suddenly goes missing, and an arrest warrant hanging over his head, George contemplates taking his own life. It's up to Clarence Oddbody (Dewey Caddell) -- an angel, second class -- to show George that he really did have a life that mattered. If Clarence can do that, he will finally earn his wings, after 200 years of waiting.

The story, as enacted here, is quite engaging. So much so that by the time the final act begins, one would be hard pressed not to believe the characters and situations presented are quite real. The cast of six talking into microphones and reading from scripts as they embody over 25 different speaking parts. Various changes in costume, used to differentiate the shift from one role from the next, are done to present a more rounded picture of the different characters to the audience. Charlotte Moore's direction is mostly spot-on throughout, allowing the story to unfold quite seamlessly as it draws the audience into the tale.

At the same time, there are frequent reminders that what we are seeing is indeed a radio play. Such as the use of commercial breaks; the way the actors move about in their "normal" personas when not acting out the various characters; or when they have direct interaction with the audience. As when the station Announcer (Ian Holcomb) welcomes the audience to the studio where the performance will be held, and also explains the need for their immediate response whenever the "applause" sign flashes.

We also get to see a demonstration of devices once used to produce sound effects for radio broadcasts. Among them, the crunching of cornflakes to imitate the footsteps of someone walking in snow. The different effects done by Rory Duffy, who acts as the station's SFX Artist, in addition to various characters in the radio play. The use of live commercials are also a particularly nice touch. They offering a 1946 perspective on such subjects as cigarettes - endorsed by doctors and nurses - and medication for females at that special time of the month.

Aaron Gaines is quite good as George. The character coming off as an honest, hardworking sort who has long since felt life has passed him by. At least, until Clarence intervenes. It also helps that Gaines and Haley Bond - who plays George's wife, Mary - are able to make the interplay between their two characters seem fresh and immediate, especially during a courtship sequence. This helping to show the growing emotional bond that develops between the couple.

While George is the lynchpin around which the story revolves, the character is somewhat limited in his makeup, due to his straight-arrow nature. It's also the reason why some of his later outbursts of joy, which work fine on a giant movie screen, come off as rather hokey when performed in an intimate venue. Actor Dewey Caddell however, has no such problems. Playing a variety of characters, from the evil Mr. Potter who wants to own the entire town of Bedford Falls; to Pop Bailey, a true salt-of-the-earth type; to the terribly earnest Clarence; Caddell is able to make each of the personas he inhabits come powerfully to life.

Also working quite well is Ian Holcomb who, in addition to his announcer duties, takes on the roles of, among others, the Superintendent of Angels, George's Uncle Willie, Ernie the Cabdriver and Nick the Bartender. All with appropriate changes in costume, head gear and accent. Rounding out the cast is Orlagh Cassidy - the diva among the actors at the radio station - who shows off her versatility by playing characters ranging from the very young to the very old.

It’s A Wonderful Life: The Live Radio Play allows a much-beloved tale to be seen in an entirely new way. It's a great treat for the holiday season, or any other time of the year, for that matter.

It's A Wonderful Life: The Live Radio Play

Adapted from the Frank Capra film by Anthony E. Palermo

Featuring: Haley Bond (Mary Hatch Bailey, Mrs. Davis), Dewey Caddell (Clarence, Mr. Potter, Pop Bailey, Mr. Gower, Martini), Orlagh Cassidy (Ma Bailey, Ma Hatch, Cousin Tilly, Toll Taker, Bank Teller, Janie Bailey, Zuzu Bailey, Impatient Neighbor, Suzie), Rory Duffy (SFX Artist, Officer Bert, Dr. Campbell, Sam Wainwright, Mr. Welch, Petey Bailey, Sheriff, Randy), Aaron Gaines (George Bailey), Ian Holcomb (Announcer, Superintendent of Angels, Uncle Billy, Harry Bailey, Ernie, Nick, Mr. Carter).

Set Design: James Morgan

Costume Design: Barbara Bell

Lighting Design: Brian Nason

Live Sound Design: Zach Williamson

Associate Sound Designer: Walter Tillman

Production Stage Manager: April Ann Kline

Assistant Stage Manager: Marian Hyfler

Press Representative: Matt Ross Public Relations

General Manager: Lisa Fane

Directed by Charlotte Moore

Presented by the Irish Repertory Theatre

132 West 22^nd Street

Tickets: 212-727-2737 or www.irishrep.org

Running time: 75 minutes no intermission

Closes: December 31, 2017

Downtown Race Riot - A Matter of Perception

Reviewed by Judd Hollander

Just because one person has an opinion of how they stand in a cultural context, doesn't mean people with different social perspectives share that same opinion. This being one of the messages in Seth Zvi Rosenfeld's powerful drama Downtown Race Riot.  The show now being presented by The New Group at The Pershing Square Signature Center.

Greenwich Village, New York City, 1976. 18 year-old Jimmy "Pnut" Shannon (David Levi), and his best friend Marcel "Massive" Baptiste (Moise Morancy), are hanging out at Pnut's apartment before joining a riot set to begin in nearby Washington Square Park. The area locals (mostly older and Italian) planning to drive out the "undesirable" element (i.e. members of a different racial makeup than their own) that have moved into the neighborhood as of late.

Pnut and his older sister Joyce (Sadie Scott) live with their drug-addicted mother Mary (Chloe Sevigny), whose days are spent watching TV and getting high. Mary is also someone who has learned to game the system. Which is the reason she receives monthly disability checks for her so-called “chronic back pain”. She's also constantly coming up with different get-rich-quick schemes, such as saying Pnut suffered brain damage due to his eating lead-based paint chips when he was younger. Mary's action's being the reason Joyce is planning to leave home and never come back.

Though Mary is unaware of it, Pnut is probably the only reason she's still alive. Her son using a series of neighborhood contacts to keep tabs on his mother during her various drug-fueled episodes. These people doing their best to make sure she gets home safe.

While Pnut is planning on joining the riot because it's expected of him, Massive is chomping at the bit to dive right in. Massive is originally from Haiti and has had more than has share of prejudicial blowback since his arrival in town. Originally settling in Harlem, Massive and his family were often harassed by African-Americas for the way they dressed and talked. They eventually moving downtown to "get away from them".

Treasuring the acceptance he has received from the various elements in his current neighborhood, Massive will do whatever is necessary to keep their respect. However, even in a community, there are some lines you do not cross, such as getting involved with the sister of someone from a different racial background. A fact Pnut learns when two neighborhood toughs (Cristian DeMeo, Daniel Sovich) come by to make sure he bring Massive brings to the riot, where his friend will be taught a very hard lesson to that effect.

Pnut's failure to follow his instructions will result in some very serious consequences. Not only would be branded a traitor and thus become persona non grata to those in the neighborhood, but his mother would loose the protection she has been given and, as such, be at the mercy of anyone who tries to sell her drugs; or take advantage of her when she is unable to defend herself. Pnut then trying to decide whether to do the right thing, as well as figure out just what is the right thing to do?

It's not long before a hard truth emerges. You cannot save someone who doesn't wish to be saved. Massive and Mary being two such examples. Massive is fiercely protective of the status he thinks he has gained, while failing to see that those he counts as allies may not feel the same way. As for Mary, she has no intention of even trying to kick her drug habit, despite the damage it causing to both herself and her family.

In another ironic twist, it is Mary who ultimately realizes the futility of offering someone a lifeline who doesn't want it. Her understanding of this becoming a key point in the show's final moments.

Director Scott Elliott displays a good understanding of the text. Many of the scenes having the feeling of a ticking time bomb, as the audiences waits for the inevitable explosion. One that will reveal which, if any, of the characters will emerge unscathed.

Levi gives a powerful performance as Pnut. A perennially sullen young man, trapped in an unhappy home life, with a deep seated anger that threatens to consume him. Morancy is fine as the stalwart and laid-back Massive. Someone supremely confident in his neighborhood standard, while firmly aware of the responsibilities that come with such status. Scott does well as Joyce. A young woman who wants to get far away from the place she no longer considers home, while realizing she still as deep roots there. DeMeo and Sovich nicely project threatening airs as the two street hoods.

Special mention must be given to Sevingy's excellent performance as Mary. The character turning out to be both a study in contradictions, and the most multi-layered character in the piece. She perfectly willing to use her Joyce and Pnut, and also sleep with whomever necessary, in order to get what she wants. At the same time, she displays a deep intelligence and is fiercely protective of her children. Mary apparently believing that she has the right to take advantage of the two of them, but no one else does.

Derek McLane's set of the Shannon apartment suggest a place well-worn and depressing. The feeling adding to the overall ominous atmosphere of Rosenfeld's work.

Downtown Race Riot presents an intimate and thought provoking examination of people for whom survival is the best they can hope for, provided they can first live through today.

Also in the cast is Josh Pais.

Downtown Race Riot

by Seth Zvi Rosenfeld

Featuring: Christian DeMeo (Tommy-Sick), David Levi (Jimmy "Pnut" Shannon), Moise Morancy (Marcel "Massive" Baptiste), Josh Pais (Bob Gilman), Sadie Scott (Joyce Shannon), Chloe Sevigny (Mary Shannon) Daniel Sovich (Jay 114)

Scenic Design: Derek McLane

Costume Design: Clint Ramos

Lighting Design: Yael Lubetzky

Sound Design: M.L. Dogg

Fight Direction: Unkle Dave's Fights-House

Production Supervisor: Five Ohm Productions

Properties Supervisor: Matthew Frew
Production Stage Manager: Valerie A. Peterson

Assistant Stage Manager: Nicole Iovino

Assistant Director: Marie Masters

Casting: Judy Henderson, CSA

Public Relations: Bridget Klapinski

Advertising: AKA

Associate Artistic Director: Ian Morgan

Development Director: Jamie Lehrer

General Manager: Kevin Condardo

Marketing Director: Stephanie Warren

Directed by Scott Elliott

Presented by The New Group

The Pershing Square Signature Center

480 West 42nd Street

Tickets: 212-279-4200 or www.thenewgroup.org

Running Time: 1 Hour, 45 Minutes, no intermission

Closes: December 23, 2017

Who's Holiday! - One Woman, Starting Again

Reviewed by Judd Hollander

For the record, the Grinch did not pat Cindy Lou Who on the butt during that long ago Christmas Eve, nor was she possibly three years old at the time the two first met. In actuality, she was "no more than two", according to the historical documents which chronicled that initial meeting. Playwright Matthew Lombardo using this encounter from the much-beloved Dr. Seuss children's book "How The Grinch Stole Christmas" as the genesis for his one-person show Who's Holiday!, now at the Westside Theatre.

Little Cindy Lou Who (Lesli Margherita) is now all grown up, on the far side of 40, and somewhat the worse for wear. She lives in a trailer on the side of the Mount Crumpit, not far from her childhood home from which she has long since been exiled. The time is once again the evening of December the 24th, and Cindy Lou Who is eagerly awaiting the guests for the holiday party she has planned. While she waits, she finds herself looking back on her life and the circumstances which have brought her to this moment. Events which include a marriage against her parent's wishes; and one she was ill-prepared for when things started to go wrong. Said union, and its aftereffects, the reason many of those she once knew refuse now to have anything to do with her. Of particular pain to Cindy Lou Who is her continuing estrangement from her daughter, whom she hasn't seen in more than a decade.

At its heart, Who’s Holiday! is a story about second chances and forgiveness. While the underlying circumstances explored here may be rather familiar, the specific participants are certainly unique. Cindy Lou Who fully acknowledging her own responsibility on how her life has turned out, having recently completed a lengthy stretch in jail. She has since returned to as near her home turf as she can and is anxious to pick up the pieces of her life and start anew. The question being if those she still counts as her friends are ready to do the same.

The show takes a few pot shots at bigotry and hypocrisy; while also examining the truism of how one can find the more important friendships in the most unlikeliest of places. A great touch is when, during Cindy Lou Who's time in jail, her cell mate orders that she stop talking in rhyme, Something the former Whoville resident explains she is unable to do. Lombardo also tosses in mentions of other characters from the Dr. Seuss universe. Among them, Yertle the Turtle, Horton the Elephant, the Cat in the Hat, the Sneetches, the Lorax, and even the Grinch’s dog, Max.

While there is a charming idea for a story here, Lombardo isn't satisfied with just a gentle morality lesson, the objective, by the way, of pretty much all of the Dr. Seuss children’s stories. During the course of the show, Margherita often ignores the fourth wall, engages members of the audience directly and at times breaks into some decidedly non-Christmassy song and dance routines. There’s also more than a bit of salty language and sexual innuendo present. Yet while these non-Seussian moments are certainly quite enjoyable, they also damage what has come before, particularly the believability of the character Lombardo and Margherita have worked so hard to create.

It was also decided that the character of Cindy Lou-Who would be delivering most of her dialogue in the form of rhyming couplets. However, in order to execute such a creative choice effectively, the cadence of each verse should flow seamlessly into the next. A result which is often not the case here. Not only are there some things that don’t rhyme where they need to (i.e. "table" and "Playbill" or  "brawn" and "gone"), but there are also many times where the required amount of syllables and words in one spoken sentence don't match the next. Nit-picky as this may sound, this misstep continually jerks the audience out of the moment the play is trying to create.

Margherita is nothing short of brilliant as she takes on the role of both a beloved childhood icon and a woman who has had more than her fair share of pain. Her performance ranging from comic to heartbreaking as we come to understand the anguish and loneliness she is feeling. Carl Andress' direction is strong, though he's hampered by the unevenness of the text. Such moments particularly noticeable when the play transitions from one style of dialogue to the next.

David Gallo has done a very nice job with the set, the main portion of which is a rather lived-in trailer which has clearly seen better days. Though the lights and other holiday bric-a-brac that Cindy Lou Who has added doesn't completely dispel the atmosphere of things being not quite right. In keeping with the holiday season, there's snow all around albeit with a rather ominous no trespassing sign nearby.

An interesting yuletide offering, Who’s Holiday! is certainly a lot of fun, while having the potential to be so much more. However Lombardo seems unsure of just what the finished product should be, and as a result, what ends up on stage simply doesn't work as well as it should.

Due to the show's subject matter, no one under 15 years of age will be admitted.

Who’s Holiday! A New Comedy with a Twist of Rhyme

Written by Matthew Lombardo

Starring: Lesli Margherita

Scenic Designer: David Gallo

Costume Designer: Jess Goldstein

Lighting Designer: Ken Billington/Jonathan Spencer

Sound Designer: Bart Fasbender

Wig Designer: Charles G. Lapointe

Production Supervisor: TINC Productions

Production Stage Manager: Jeffry George

Company Manager: Emma McElwee

Press Representative: Sam Rudy Media Relations/Shane Marshall brown

General Management: DR Theatrical Management/Kyle Provost

Executive Producer: Adam Hess

Directed by Carl Andress

Westside Theatre (Upstairs)

407 West 43rd Street

Tickets: 212-239-6200 or www.telecharge.com

Running Time: 60 Minutes, no intermission

Closes: December 31, 2017

Harry Clarke - One Man's Search for Himself

Reviewed by Judd Hollander

Billy Crudup gives a powerful performance in David Cale's Harry Clarke. A one-man play about the realizations and pitfalls that come with self-discovery, now at the Vineyard Theatre. 

Crudup plays Philip Brugglestein, a man who hails from Indiana, and who has no happy memories from childhood. His parents fighting seemingly all the time and his father an alcoholic. During those early years, Philip started speaking with an English accent as a means of escaping who he was and where he was from. Something which annoyed his father to no end.

After the death of his folks, Philip relocated to New York City "where, from the day I landed, I spoke only with an English accent". A charade he's kept up for over a decade. One day while out walking, Philip spies a man who happens to pique his interest and ends up following him around unnoticed for the next few hours. 

Some months afterward, when he happens to run into the same fellow, one Mark Schmidt, Philip strikes up a conversation with him, using information he gathered from their previous encounter. Philip introducing himself as "Harry Clarke". Harry being a confident and outgoing Londoner Philip invented during his Indiana days; and whom he hadn’t thought about in years. Though now Harry is back with a vengeance and through him, Philip finds himself doing and sayings things far outside his usual norm.

It’s not long before Philip, as Harry, begins to insinuate himself into Mark’s life, and by extension, Mark's entire family. Harry's brash openness being a sort of magnet to which they are all drawn. Harry and Mark becoming particularly close, with Harry's presence causing Mark's own suppressed desires to emerge. The outcome of which leads to a place none of those involved had envisioned in the beginning.

Harry Clarke proves to be an interesting experience, as both Philip and Mark continually struggle with who they really are as opposed to who they think they need to be. The story containing elements of Six Degrees of Separation, The Talented Mr. Ripley, Dr. Jekyll and Mr. Hyde and even a bit of The Twilight Zone. Unfortunately, the playwright never decides exactly what he wants to focus on. Is this a story about the duality of man; a lesson on the dangers of trusting the wrong people; a tale of a boy running from his past; or a warning against continually suppressing who you actually are inside? The work eventually getting to the final denouement without being illuminating enough about the actual journey necessary to get there. As such, good as the piece is, one eventually begins to listen to it with a rather detached air, instead of being totally immersed in the tale as it unfolds.

The play also never allows the audience to get inside Harry's head and see what makes him tick. His actions seeming more a continual series of contradictions rather than anything clearly defined. Philip may come to believe Harry is real, but the audience isn't offered enough information to make that decision for themselves. As a result, the story's overall impact isn't nearly as effective as it could be.

There are also problems with some of the other choices Cale has made with his script. One in particular having to do with the fate of a character which feels a bit too contrived. Especially when taking into account all that has come before.

Crudup does an excellent job in taking on the personas of the various roles. His vocal skills particularly evident as he switches from English to Midwestern American and back again. Though he is much more believable when speaking as a male character than a female one. Just as importantly, Crudup is able to convey a very engaging stage presence. Something vital in a situation such as this. The audience being told the story rather than shown it, with Crudup acting as the conduit through when they follow along.

Leigh Silverman's direction is tightly focused and keeps the narrative moving nicely, while not allowing any of Crudup's characterizations to slip into parody or caricature. Something which the character of Harry easily has the potential to do. Scenic design by Alexander Dodge is non-descript enough so it doesn't distract from the story that's being spun, while providing a fitting framework for the final moments of the play.

Harry Clarke is an enjoyable experience, but the tale related doesn't go deep enough to make it something really special.

Harry Clarke

By David Cale

Featuring Bill Crudup (Philip Brugglestein)

Scenic Design: Alexander Dodge

Costume Design: Kaye Voice

Lighting Design: Alan C. Edwards

Sound Design: Bart Fasbender

Original Songs: David Cale

Assistant Director: Bryn Herdrich

Props Master: Andrew Diaz

Dialogue Coach: Elizabeth Smith

Casting: Henry Russell Bergstein, CSA

Production Stage Manager: Shelly Miles

Production Supervisor: Adrian White

Production Manager: Mary Duffe

Press Representative: Sam Rudy Media Relations

General Management: DR Theatrical Management

Directed by Leigh Silverman

Presented by the Vineyard Theatre

Produced in connection with audible

108 East 15th Street

Tickets: 212-353-0303 or www.vineyardtheatre.org
Running Time: 85 Minutes, No Intermission

Closes: December 17, 2017

Illyria - Offering Much, But Not Telling Enough

Reviewed by Judd Hollander

The birth pangs of the New York Shakespeare Festival, particularly its conflicts with the New York City Parks Department and city planner Robert Moses are the stuff of theatre legend. Playwright Richard Nelson using those events as the source material for his rather meandering play Illyria, at the Public Theater.

Taking place between April and August of 1958, the story centers around Joe Papp (John Magaro), founder of the Festival, and a man who expects and demands loyalty from those around him. He's also not above using his position to get what he wants. Case in point, his insistence on casting his actress wife Peggy (Kristen Connolly) in the company's upcoming production of Twelfth Night. This despite objections from the group's director Stuart Vaughn (John Sanders), who thinks she's clearly wrong for the role. Stuart is also still chafing over his having to cast Peggy in a previous production, despite his protests.

Adding to the tension between the two men is Stuart 's acceptance of a directing offer at the Phoenix Theatre, something Joe is not happy about. Though Stuart insists he can do both jobs without sacrificing the quality of his work at either - the productions being on different schedules - Joe wants him to pick one career path or the other. Matters coming to a head during a luncheon gathering which quickly turns into a verbal battle over art and commerce. Festival press agent Merle Debuskey (Fran Krantz) delivering the most powerful line of the play at that encounter, telling Joe that, while he would do anything for free Shakespeare, he refuses to be associated with cheap Shakespeare. This in regard to a discussion on charging audiences a nominal fee for Festival productions rather than keeping them free for all, as was originally envisioned.

While certainly a subject worth discussing, things start to become repetitive rather quickly. Matters not being helped by the fact that, other than Joe, none of the characters feel in any way three-dimensional, and thus, not all that interesting. Rather ironic, since just about all of those depicted are real people, several of whom became major forces in theatre. This detached feeling becomes even more exacerbated in an extended final scene which goes on and on, and on. Nelson, also doing double duty here as the show's director, seeming to have had no idea of when to end his story.

Nelson does try to keep things the audience engaged by dropping in some interesting tidbits from time to time. These include the group having to deal with a temperamental George C. Scott during one of their productions; various union issues the company faced in order to get their shows put on; and mention of what would eventually become Lincoln Center for the Performing Arts being built on New York's West Side. An institution, Joe and his friends believe, the city authorities are much more in favor of than the Festival.

It should be pointed out that Illyria is not presenting things as they actually happened. As Nelson explains in the program notes, he's taken some liberties with the timeline of events, and has given one particular incident a new outcome for dramatic effect. Yet that doesn't explain the feeling one has of being dropped into the narrative midway through and thus continually forced to play catch-up in order to understand what's going on. Joe's being called before the House Un-American Activities Committee being an example of this.

Nelson must also share the blame, along with sound designer Scott Lehrer, for the continued inability of the audience to hear much of what was being said during the production. The actors apparently being neither miked nor projecting their voices. To be fair, The Public Theater staff did tell the audience before the show began that Illyria was going to be an intimate affair, and that listening devices were available for anybody who wanted one. However there’s a difference between such devices being available and their use being mandatory; something which definitely needed to be the case here.

Despite the work's various shortcomings, the cast give it their all. Particularly Magaro in the Joseph Papp role as he presents a portrait of someone who, while not that likeable, leaves no doubt as to where he stands on every issue. Kranz is nicely stalwart as Merle; while Sanders’ character offers a strong counterpoint to Joe throughout. Stuart also bringing up issues no one wants to talk about. Like asking what's wrong with working on projects that make you money and advance your career?

The set by Susan Hilferty & Jason Ardizzone-West is serviceable, while the lighting design by Jennifer Tipton works well.

The story of Joseph Papp, Robert Moses (who strangely isn't mentioned until more than an hour into the play) and the beginnings of the New York Shakespeare Festival is a fascinating tale and one that certainly deserves to be told. Illyria, however, is not the vehicle with which to tell it.

Featuring: John Magaro (Joseph Papp), Kristen Connolly (Peggy Papp), Fran Kranz (Merle Debuskey), John Sanders (Stuart Vaughan), Emma Duncan (Gladys Vaughn), David Amram (Blake Delong), Max Woertendyke (John Robertson), Rosie Benton (Colleen Dewhurst), Will Brill (Bernie Gersten), Naian González Norvind (Mary Bennett)

Illryia

Written and directed by Richard Nelson

Scenic Designers: Susan Hilferty & Jason Ardizzone-West

Costume Designer: Susan Hilferty

Lighting Designer: Jennifer Tipton

Sound Designer: Scott Lehrer

Production Stage Manager: Theresa Flanagan

Stage Manager: Jared Oberholtzer

Presented by The Public Theater

425 Lafayette Street

Tickets: 212-967-7555 or www.publictheater.org

Running Time: 1 Hour, 45 minutes, no intermission

Closes: December 10, 2017

Of Thee I Sing - It's Message Still Soars

Reviewed by Judd Hollander

Satire may be what closes on Saturday night, as playwright George S. Kaufman once said, but that was certainly not the case for the Pulitzer Prize-winning musical Of Thee I Sing. Gleefully skewering the American political process and written by Kaufman and Morrie Ryskind, with music and lyrics by George and Ira Gershwin, the show opened on Broadway in 1931, running for 441 performances.

Considering what’s going on in the world today, it’s not surprising the musical is now getting another look. MasterVoices having recently presented a concert version of the show at Carnegie Hall. Though while certainly enjoyable at points, the production was not nearly as strong as it had the potential to be.

As a presidential campaign begins in earnest, the party's major power brokers, Matthew Fulton (Chuck Cooper), Louis Lippman (Brad Oscar) and Francis X. Gilhooley (Fred Applegate), must convince the voters that their candidate, John P. Wintergreen (Bryce Pinkham) has what it takes be Commander-in-Chief. A totally unexpected pick, Wintergreen was chosen simply because his name sounds presidential.

Searching for a platform for him to run on, and one which won’t cost the party anything, the group settles on “love”. They deciding to find the most beautiful girl in the country who Wintergreen will then marry, but only if he wins the election.

Though Wintergreen, who is not above using dirty tricks to get elected, goes along with the idea initially, he upsets the party’s plans at the last minute by falling in love with Fulton's assistant, Mary Turner (Denée Benton). Mary’s hidden talent being that she can bake corn muffins, which are absolutely delicious. It’s not long before the party, and indeed the entire country, are solidly behind the couple as the campaign takes the lovers to every state in union. Wintergreen proposing to Mary at each stop along the way.

Not surprisingly, Wintergreen wins the election. However, just as the combined inauguration/wedding ceremony is concluding, Diana Devereaux (Elizabeth Stanley), the woman selected to marry Wintergreen before he threw her over for Mary, arrives and accuses him of breach of promise. Though the Supreme Court quickly rules in Wintergreen and Mary’s favor, Diana's presence continues to be felt in the new administration. The media continually coming back to the issue, with Diana herself making sure she is not forgotten by the people. Things come to a head when it’s discovered Diana has certain connections to Napoleon. Seeing this now as a matter of his country’s honor, the Ambassador of France (David Pittu) demands Wintergreen divorce Mary and marry Diana, or face an international incident.

Of Thee I Sing pulls no punches when it comes to politics. The show calling out know-nothing politicians and backroom dealings, where the matter of the public good is simply a random afterthought. Also examined are the appeal of what would now be considered reality shows - beauty contests in this case - as well as the sometimes much-too-close relationship journalistic outlets have with politicians; and a world where style means a lot more than substance. While some parts of the book are quite dated, such as when Wintergreen lists the important attributes he’d look for in a wife, the underlying messages of the show are still as powerful as when they were first written.

Just as pivotal to the production is the wonderful Gershwin music, and the often pointed lyrics. Some of the musical highlights include the heartwarming “Love is Sweeping the Country” and the show’s title tune. Also a lot of fun are “The Senator from Minnesota” and “Posterity is Just Around the Corner”. The latter number a swipe at President Herbert Hoover and a statement he made in regards to the Great Depression. It's also a great treat to hear the score performed by a full orchestra. The MasterVoices orchestra performing under the very skilled baton of conductor Ted Sperling.

A chief problem with the show is its execution. Many of the gags landing not nearly as sharply as they should. Sperling, who also handled the directing chores, seeming unsure of his choices throughout. As a result, a good part of the action feels flat and uninspired.

In addition, a number of the performers are unable to get a proper handle on their characters. This is particularly evident in Pink ham's portrayal of Wintergreen. He not playing it naïve enough to come off as an everyman and not cynical enough to be believable as a political power player. He also fails to have any chemistry with Benton, thus blunting the impact of their scenes together.

Benton conversely, is able to ably convey the aura of a relative political newcomer turned practiced old hand as the show unfolds. Cooper, Oscar and Applegate feel rather interchangeable as three political hacks, with none of them really resonating in the roles they’ve taken on here. Coming off better is actor Kevin Chamberlin, who gives a winning performance as vice presidential candidate Alexander Throttlebottom. A person no one remembers and who doesn’t even know his own duties as the VP. Until they’re explained to him by a White House tour guide (Marnee Hollis).

The show is also beset by serious sound issues. A good number of the lyrics being swallowed up in the gigantic auditorium and unable to be heard. This is a critical error, as how strongly the show's messages resonate depends on the audience being able to hear what's being said.

A nice touch was having actor/humorist Mo Rocca take on the part of the narrator. Which he does in a pleasant and genial manner. Rocca also taking the opportunity to drop in some interesting trivia about the production and its history. Such as the creative team's previous effort in satire, Strike Up The Band, and George Gershwin’s penchant for publicly playing songs from Of Thee I Sing before the musical’s book had even been written.

That Of Thee I Sing still has a lot to say is without doubt. However it can't be denied that, satirical lessons and wry understandings aside, much of the show now seems quite corny. Especially when it comes to the ending. For corny to work, it needs to feel both real and involving. In the recent MasterVoices’ production of Of Thee I Sing, it doesn’t. At least not often enough.

 Of Thee I Sing

Music and Lyrics by George and Ira Gershwin

Book by George S. Kaufman and Morrie Ryskind

Concert Adaptation by Tony Krasker

Orchestrations by Robert Russell Bennett, William Daly and George Gershwin

Narrative Written by Joe Keenan

Featuring: Bryce Pinkham (John P. Wintergreen), Denée Benton (Mary Turner), Kevin Chamberlin (Alexander Throttlebottom), Elizabeth Stanley (Diana Devereaux), Chuck Cooper (Matthew Fulton), Brad Oscar (Louis Lippman), Fred Applegate (Francis X. Gilhooley), David Pittu (French Ambassador), Rhett Gutter (Jenkins), Anna Landy (Miss Benson) Mo Rocca (Narrator), Ellen Richter (Tourist #1), Marnee Hollis (Tour Guide)

Susan H. Drannm, Stephen Eisdorfer, John Koski, Ken Moore, Vivianne Potter, Robert R. Rainier, Gerald Richman, Lisa Rubin (Supreme Court Judges)

Ghalahad Abella, Nicholas Cunha, Robert James, Vincent Machacek, Edsel Romero, Edward Yim (French Soldiers)

Presented by MasterVoices

MasterVoices Orchestra

Conductor and Director: Ted Sperling

Musical Staging: Andrew Palermo

Sound Designer: Patrick Pummill

Stage Manager: Lisa Ann Chernoff

Presented at Carnegie Hall on November 2, 2017

Isaac Stern Auditorium / Ronald O. Perelman Stage