Review-Sampaguita (6.20.07)

Sampaguita (Wednesday, 6.20.07, 8 p.m.)
45th Street Theatre, New York, NY

By: Marisa Marquez, Will Warren (direction)

Starring: Robb Hurst, Marisa Marquez

Sampaguita was written by Marisa Marquez, and tells the story of a woman suffering from Lupus. While many of us have heard of Lupus, most of us probably do not understand how debilitating the disease can be, and its incidence is rare enough that most of us also don’t know what it is like to suffer from the disease. The disease apparently also disproportionately affects Asian-Americans, which is why this play is part of the Asian-American Festival.

This two-person play is simple in premise, but a surprising amount happens during the course of the play, which switches between flashbacks to the past and telling the current story. Although the play only has two actors, the two play multiple characters. There is much about the dialogue and storyingtelling that is grounded in this being a story about an Asian-American. Some of this dialogue is humorous, some of it a little strained. Taken as a whole, the story is compelling mostly because of its premise, although I found that some of the storytelling devices employed a bit unbelievable and contrived. The sudden appearance of a family relative who looks exactly like her cousin, for example, may be a storytelling device, but it just comes across as being a little too convenient.

On the more grand scale, though, the show works on an emotional level, because at its heart the show is simply about a husband dealing with the death of his wife. The appearance of her cousin, who closely resembles his dead wife (and who in fact uses his dead wife's passport to enter the country illegally), is rather contrived, but it does provide the opportunity for him to seamlessly revisit those critical moments in his relationship. He also gets the opportunity to think about where he is in his life, and about how he can help this woman, who has been thrust into this circumstance by his mother-in-law's scheme to give him a new wife.

It doesn’t hurt that playright and actress Marquez shows a good deal of facility in switching back and forth between the characters, and her performances are anchored by Robb Hurst, who is terrific. With these solid performances, the play works. The piece is also well-directed, and manages to wring the most from the material and move along with at an easy pace.

The overall design is simple – a few pieces of furniture and some trash – and is appropriate to the material. The lighting design also assists in switching time of day and even between characters. But as with many small plays, this is about the piece and acting. In the end, this show works, notwithstanding its faults.

Review-Curtains (6.12.07)

Curtains (Tuesday, 6.12.07, 7 p.m.)
Al Hirschfeld Theatre, New York, NY

By: Rupert Holmes (book), John Kander (music), Fred Ebb (lyrics), Scott Ellis (direction), Rob Ashford (choreography), William David Brohn (orhestrations)

Starring: David Hyde Pierce (Lieutenant Frank Cioffi), Debra Monk (Carmen Bernstein), Karen Zeimba (Georgia Hendricks), Jason Danieley (Aaron Fox), Jill Paice (Nikki Harris), Edward Hibbert (Christopher Belling), John Bolton (Daryl Grady), Michael X. Martin (Johnny Harmon), Michael McCormick (Oscar Shapiro), Noah Racey (Bobby Pepper), Ernie Sabella (Sidney Bernstein), Megan Sikora (Bambi Bernet)

Fresh off his Tony win for best actor in a musical, David Hyde Pierce was greeted with warm applause in his first entrance in the show Curtains. As Detective Cioffi, a policeman in charge of investigating a homicide but also unable to disguise his love for the theatre, Pierce is engaging, warm and humorous. He delivers a delightful performance, to be sure, and banks on his likeability. It is not a tour-de-force by any means, and I left the theatre yearning for the kind of performance delivered by Raul Esparza in the groundbreaking production of Company. But it was a good, solid performance by an actor who has now amply demonstrated that he belongs as much on the musical theatre stage as he did on television.

In fact, Pierce’s performance is like the show Curtains – likeable, generally solid, and not without its merits, but not the knock-em-out-of-the-park kind of thing. Curtains is an old-fashioned musical with an old-fashioned premise. It boasts a tuneful score, some fun ensemble dance numbers, and an innocuous romance. Oh, and there are even a couple of really talented actors stuck in the middle of things, including Debra Monk and Karen Ziemba.

But at the end of the day, I couldn't help feeling that with all this talent involved, the sum of these parts shouldn't have been a little more.

The biggest drawback and limitation here is the premise of the show. Why creators insist on telling stories that are focused in the theatre themselves is beyond me. There have been so many shows about shows -- from Gypsy and Noises Off! to A Chorus Line and The Drowsy Chaperone. This kind of story has been done countless times before, and is a gimick that, frankly, takes away from the strength of any possible storyline. The show-within-a-show concept is tired.

That said, within that premise, Rubert Holmes’ book zips along nicely, and is facilitated by the tuneful if unmemorable score by Kander and Ebb. The score at least provides some nice vocal moments by Ziemba, Danieley and, of course, Monk. Rob Ashford’s choreography is, frankly, a little boring, but it is fun to watch Karen Ziemba dance her way through the numbers. Noah Racey is completely underutilized, although it’s not clear to me he really has what it takes to lead the show.

I suppose it is the expectation that dooms the enterprise, but I just felt like with these names involved, this show should have amounted to more. I shouldn't let that detract from the fact that there is a lot of humor and levity in the show, and the performances are fun. But for something that is so generically classical, is it too much to ask for a little bit more?

Review-Journey's End (6.8.07)

Journey's End (Friday, 6.8.07)
Belasco Theatre, New York, NY

By: R.C. Sherriff (playwright), David Grindley (direction), Jonathan Fensom (scenery/costumes), Jason Taylor (lighting), Gregory Clarke (sound)

Starring: Boyd Gaines (Osborne), Jefferson Mays (Mason), Stark Sands (Raleigh), Hugh Dancy (Stanhope), John Ahlin (Trotter), Justin Blanchard (Hibbert)

At the conclusion of the “Journey’s End,” the revival of the 1928 play about World War I, there is a good minute of the sound of bombing – no talking, no lights on stage – just the sounds that would have filled the air in 1918 when this play takes place. It is a powerful moment, one which doesn’t give you much time to really think – it just invokes an immediate gut reaction.

The effect sets a perfect tone for the conclusion of the play. The feeling is not necessarily one that is different from that achieved at other times during the play – but the difference is that at the conclusion, the audience reaction is more visceral.

What is just so wonderful and moving about Journey End, though, is that the piece largely avoids relying on pyrotechnics or cliche scenes in order to achieve its emotional effect. Rather, the piece relies on building character, through conversation. There is never a dull moment, even though the action all takes place in a relatively dimly lit officer’s lodge in a trench. The “action” is only referred to – we never actually see any of it on stage. But what we do see on stage are the interactions which tell us far more about the characters on stage than any action scene could ever tell us.

The cast is uniformly excellent. Boyd Gaines is excellent as the elder statesman of the group, reliable and good-hearted and loyal to his men. Hugh Dancy is especially compelling as the young and charismatic, but equally troubled, commander, and Dancy has some unexpected moments in the second and third acts. Jefferson Mays and John Ahlin have some wonderful comic moments, with Mays in particular approaching the role with droll humor. And Stark Sands delivers a lovely performance as Raleigh, and gets to show the transformation that war can make on a man.

The lighting and scenic design are appropriate to the setting, although I would have preferred just a little more light to better see the fine acting going on before me. The direction is seamless, and given that the entire play takes place in one room, it is especially fluid.

Journey’s End is an actor’s delight. The roles are not necessarily easy to play – indeed, there is a great deal of nuance to be had – but the roles are meaty, with lots of opportunity to build character. The show is a perfect demonstration of why Broadway needs more straight plays – to give actors an opportunity to shine as they do here.

Review - 110 In The Shade (5.17.07)

110 In The Shade (5.17.07)
Studio 54, New York City

By: N. Richard Nash (book), Harvey Schmidt (music), Tom Jones (lyrics), Lonny Price (direction), Santo Loquasto (sets, costumes), Christopher Akerlind (lighting), Dan Moses Schreier (sound), Jonathan Tunick (orchestrations), Dan Knechtges (choreography)

Starring: Audra McDonald (Lizzie), John Cullum (H.C. Curry), Chris Butler (Noah Curry), Bobby Steggert (Jimmy Curry), Christopher Innvar (File), Steve Kazee (Starbuck), Carla Duren (Snookie)

Audra, Audra, Audra. When Audra is on stage, we are in heaven. It almost doesn’t matter what she is saying, what she is singing, what she is doing. So long as she is on stage, we know we will be entertained.

Such is the case with 110 in the Shade, though to say so would be to understate the achievements of the remainder of the cast, which is uniformly excellent. But in the end, this production is about Audra McDonald, the extraordinary actress with a glorious voice. What is remarkable about McDonald is not that she sings well – though she does – but is that she manages to inhabit the character of Lizzie to such great effect. Though she is a beautiful woman, McDonald comes across as “plain”, just as the character calls for. But she is at the same compelling, and by the end we come to understand why she should have men fighting over her. She is all emotion – it pours out from her – and she is what gives 100 in the Shade it’s energy.

In the usual Roundabout fashion, Audra is not alone is this production, and she is surrounding by some notably excellent actors, particularly John Cullum as her father, H.C. Curry. Cullum is a master of musical theatre – though he does not sing particularly well, he has a wonderful presence and great comic timing. He is excellent and provides great support for McDonald in their several scenes together. Also particularly excellent is newcomer Bobby Stegger as Jimmy – he lends an adorable presence as Lizzie’s somewhat dim-witted younger brother. Chris Butler has the more difficult role of Noah, Lizzie’s dubious older brother, but he rounds out the clan nicely. Christopher Innvar, with his brooding baritone, is perfectly cast as File.

The notable deficiency in the cast is Steve Kazee, a goodlooking actor with a nice voice, who unfortunately is simply miscast. Kazee is a little too good-natured looking to be in the difficult role of Starbuck. He is not enough of a rascal, and he seems to struggle to give life to his big numbers. Although one can understand why he’d be drawn to Lizzie, it’s just not clear why she would be drawn to him.

110 in the Shade is not a real classic, though it has a couple of nice tunes. But it has some nice opportunities for great actors to show their stuff, and so it is the perfect “Roundabout” revival – a decent show populated by some great actors who give memorable performances. This production is light years ahead of the clunky revival of The Apple Tree, and will be remembered for bring Audra McDonald back where she belongs – in the starring role in a great musical theatre role.

Review - The Pirate Queen (5.8.07)

The Pirate Queen (Tuesday, 5.8.07)
Hilton Theatre, New York City

By: Claude-Michel Schonberg (music and book), Alain Boublil & Richard Maltby, Jr. (lyrics and book), John Dempsey (lyrics), Eugene Lee (scenic design), Kenneth Posner (lighting), Martin Pakledinaz (costumes), Jonathan Deans (sound), Graciela Daniele (choreography), Frank Galati (direction)

Starring: Stephanie J. Block (Grace O’Malley), Hadley Fraser (Tiernan), Jeff McCarthy (Dubhdara), Linda Balgord (Queen Elizabeth I), William Youmans (Sir Richard Bingham), Marcus Chait (Donal O’Flaherty)

It is difficult to know where to begin with The Pirate Queen, which is nothing short of a gigantic mess. I suppose the fairest thing to do is start with the premise – the story of Grace O’Malley, the Sixteenth Century Irish Chieftain who led her clan during the time of Elizabeth I. There is something admirable in the notion of a centering a show around a strong female character. If only the creators had been able to do something with it.

The relatively promising premise aside, there is very little else to admire in this clunky and aimless musical production. First and foremost, Claude-Michael Schonberg’s music could not be more plodding and uninteresting. Schonberg has always been prone to using simplistic modes, such as scales or repetitive intervals, but here it is nonstop, and listening to his score is like listening to a beginner piano student practice their technique. Even the best singers cannot transform Schonberg’s tuneless score into something compelling. Unlike some other musicals which can hide the weakness of their scores with a good book (the best example of this being Wicked), this show is entirely told through song. There is just no hiding the musical deficiencies.

The book, what there is of it, is also a huge disappointment, as are the plodding lyrics. Given the relatively promising premise, there is an unbelievable lack of compelling motion. The opening scene is a total mess – there simply HAD to be a better way of telling Grace’s early story. This wasn’t it. And beyond that, the momentum never builds to the critical scene in Act I – the betrayal – or the critical scene in Act II – Grace’s meeting with Elizabeth. The show tries so hard to be emotional that it is overbearing. The characters never have a chance to breathe.

Which brings me to one of the stranger aspects of the evening, which is the character of Queen Elizabeth. As played by Linda Balgord, Elizabeth is a complete parody. Her entourage sings light “English-sounding” ditties, while she, dressed in Elizabethan-looking gear, croons out songs from Sunset Boulevard. It is jarring, the juxtaposition of Elizabeth with the rest of the action – which is not a problem in terms of trying to separate “England” from “Ireland” – but it is a problem in terms of shifting the style so completely back and forth. Whereas the Irish portion of the show aims to be melodrama (though it never achieves it), the English portion seems to be parody (though it never achieves it). It is a double failure.

The design elements do not fair much better. Though the set is big and there is a lot on stage, the show manages to be expensive without looking like it, and to have big set pieces that do not really add to anything. I wouldn’t call the show visually “stunning” – merely large. There are a couple of nice effects, unfortunately, the ship (which is so important to Grace’s clan) is not one of them. Making things all the more problematic are the clunky costumes. They are bulky and vaguely period, without being either authentic or nice to look at.

The choreography also falls far short. Admittedly, there are a couple of moments during the big scenes (like the wedding scene) where the choreography starts to get interesting, but then it stops. Given the producers’ roots in Riverdance, they would have been far better off simply having extended dance numbers. At least those would have been interesting to watch.
As for the actors, they certainly do try hard. Stephanie Block is talented – she showed that in The Boy From Oz – but her talents are deserving of a role with better songs and better character development. Block does her best to show Grace’s resolve, but frankly we do not know as an audience where it comes from. And when she sings later in the show about being a woman, we are not sure why she reaches that conclusion – is it simply because she is a mother (who has not raised her child because she’s been in prison)?

Hadley Frasier does not fare too much better. He is the “good guy,” to be sure, but he is also playing second fiddle. And he never gets a good song to sing. Marcus Chait is even worse off – he gets to be the bad guy, yet he never gets a chance. Boublil is prone to this – he likes to write characters who are all good or all evil, without showing the nuances in between. There are no Javert’s here (the bad guy who is also a good guy. O’Flaherty has no redeeming qualities whatsoever.

In the end, the conclusion of The Pirate Queen is a relief. It is a relief that the proceedings have finally come to an end, that we do not have to hear more about the story of Grace O’Malley or listen to talented actors sing such horrible lyrics to such horrible tunes. That The Pirate Queen ran for a couple of months is a testament to fans’ devotion to Les Miserables and Riverdance. But we are let down in virtually every respect.

Review - Les Miserables (3.23.07)

Les Miserables (Friday, 3.23.07)
Broadhurst Theatre, New York City

By: Claude-Michel Schonberg (music), Alain Boublil & Herbert Kretzmer (lyrics, book), John Napier (design), David Hersey (lighting), Andreane Neofitou (costumes), Jon Weston (sound), Christopher Jahnke (new orchestrations), Stephen Metcalfe (co-orchestrator)
Starring: Alexander Gemignani (Jean Valjean), Norm Lewis (Javert), Lea Salonga (Fantine), Thenardier (Gary Beach), Jenny Galloway (Mme. Thenardier), Zach Rand (Gavroche), Megan McGillis (u, Eponine), Ali Ewoldt (Cosette), Aaron Lazar (Enjolras), Adam Jacobs (Marius), Drew Sarich (Grantaire)

When I saw the show in January, the production obviously suffered from an identity crisis. On the one hand, it wanted to remain faithful to the memory so engrained in the minds of its devoted audience. On the other hand, it wanted to be fresh, new and relevant. The producers and creative directors could not seem to decide, though, what they really wanted to do with the show. Moreover, the young cast showed its inexperience or, at least, its difficulty in re-defining roles that had been played by so many so well. Even the more experienced actors showed they couldn’t necessarily inhabit the roles in a successful way. The results were very varied, and the production as a whole suffered, especially when compared to the original, but more importantly, on an artistic level.

Well, even with some questionable directorial decisions, the cast now playing this show demonstrates what good actors can do to transform a production. Although the cast is largely the same as it was in January, with the actors having a few additional months playing those roles, and with a key casting change, the production that lagged so badly before is now a near triumph. It’s as if this is a whole different production.

Leading the charge is Lea Salonga, an experienced actress who not only has a history with Schonberg and Boublil, but who shows her own versatility in taking on and embracing the role of Fantine. Salonga’s performance is sensational – gorgeously sung, beautifully acted, and appropriately tear-inducing at every turn. Because the first half hour of the show is all about Fantine, Salonga’s presence and performance are key to transforming the piece into something memorable.

The other casting change was an understudy, Megan McGillis, filling in for Celia Keenan-Bolger as Eponine. McGillis is perfect in the role, her edgy voice and tough but fragile demeanor filling the stage. Although she loses some of her power in her big Act II moment “On My Own,” in general she sings very well, and her counterpoints during “A Heart Full of Love” are exquisite. McGillis is a vast improvement of Keenan-Bolger, who never really seemed to capture the fragility of Eponine’s character. McGillis’s desperation for Marius is absolutely heartbreaking.

As for the rest of the cast, several of the actors have settled nicely into their roles. Adam Jacobs and Ali Ewoldt, who have been doing some good work, have grown all the more in their roles, and their chemistry is simply fantastic. Jacobs comes across and ernest and lost – he brings just the right amount of enthusiasm to “One Day More” and just the right amount of pathos to his big Act II number “Empty Chairs at Empty Tables.” His duet with Eponine in “A Little Fall of Rain” is beautifully rendered. Meanwhile Ewoldt brings just the right amount of girlist naievete to the role. Her lilting soprano is almost childlike at times, but it is never inappropriate, and more critically, she brings a likability that captures the essence of Cosette’s character. Her duets with Jacobs are marvelous.

Alexander Gemignani has grown into the role of Jean Valjean. Although he is still too young and a little too cool to play this role to its full effect, he at least injects some life into the character’s earlier scenes. We no longer get the character shift that was so jarring when he played the role previously. Instead, his performance is more consistent. Still not quite there, but more consistent. His performance of “Bring Him Home” is beautifully rendered, and is no longer nonsensical or overplayed. It is also nice to report that he is in better vocal form than he was previously, struggling less with the higher range.

The remainder of the cast remains excellent, with Norm Lewis and his silky baritoned Javert as the true standout. Gary Beach and Jenny Galloway are likewise excellent, delivering edgy comic performances. And Aaron Lazar is excellent as Enjolras.

The show retains its smaller and less grand feel. The weak orchestrations and ill-conceived redirection are still lamentable, and do detract from the overall staging. But it is nice to report that the show’s heart has returned from its hiatus. This new new Les Miz is emotionally lifting and gorgeous to listen to, as it should be.

Review-The Threepenny Opera (3.25.06)

The Threepenny Opera (Saturday, 3.25.06)
Studio 54th, New York, NY

By: Bertolt Brecht and Kurt Weill, Scott Elliot (direction)

Starring: Alan Cumming (Macheath), Jim Dale (Mr Peachum), Ana Gasteyer (Mrs. Peachum), Cyndi Lauper (Jenny), Nellie McKay (Polly Peachum), Christopher Innvar (Tiger Brown)

When “Cabaret” moved to Studio 54 many years ago, it seemed to be the perfect melding of show and venue. It was a brilliant production of a brilliant show, and it fit so snuggly in Studio 54’s decadent venue.

One senses that with this new production of “Threepenny Opera” that the folks at Roundabout are trying to recreate that magic with the production of another famous show from the same period. They’ve even brought back their Tony-winning lead, Alan Cumming, to play the role of Mack the Knife.

Unfortunately, this attempt falls far short of the mark.

For starters, Threepenny Opera is no Cabaret. Cabaret was transporting -- it was filled with memorable music, memorably performances, and even a political message. By contrast, Threepenny Opera’s material is uneven, with a few memorable songs, but dull dialogue, many bad song lyrics, and an uncompelling and puzzling story.

The production is also rife with problems of its own, leading to a clunky and, at times boring, production. The production is dark and relatively unpleasant to look at. The more colorful numbers are garish in appearance. Even the lighting seems to fall short of the mark.
That leaves the task up to the cast, which is filled with big-name stars. Two of them -- Lauper and Dale -- are up to the task, and they perform quite well. Cyndi Lauper’s smoky renditions of famous songs pierce through the otherwise cumbersome production and provide the best musical moments of the evening. She is entertaining whenever she is onstage, whether she is lamenting, or screaming or joking. She is delightful.

Jim Dale is also a standout as Mr. Peachum. He is sleazy and droll, and truly delightful. Ana Gasteyer has a few nice moments as Mrs. Peachum, but she comes across as a bit overly shrill, which is disappointing.

Most disappointing is Alan Cumming. He seems unable to make much of his role because he can’t seem to decide what it wants to be -- demonic murderer or caring lover. In the end, it matters not whether Cumming sings well at all. We simply don’t care.Cumming’s struggle with the material is a telling marker of the entire production, which overall lacks any sort of vision or voice. Its flow is slow and uneven, and by the end of the show, we do not appear to have gone anywhere. In the end, the dull exercise leaves us empty. Even the political messages behind the once ground-breaking show are completely lost.

Review-The Coast of Utopia: Salvage (3.18.07)

The Coast of Utopia: Salvage (Sunday, 3.18.07)
Vivian Beaumont Theatre, New York City

By: Tom Stoppard, Jack O’Brien (direction)

Starring: Brian F. O’Byrne (Herzen), Matt Dickson (Sasha), Annie Purcell (Tata), Amanda Leigh Cobb (Olga), Felicity LaFortune (Maria Fomm), Jennifer Ehle (Malwida), Mia Barron (Mrs. Blainey), Richard Easton (Count Stanislaw Worcell), Ethan Hawke (Michael Bakunin), Josh Hamilton (Nicholas Ogarev), Martha Plimpton (Natasha Tuchkov Ogarev), Jason Butler Harner (Ivan Turgenev), Kellie Overbey (Mary Sutherland)

In Part One, we watched as a young group of Russian thinkers grabbed the reins from the older group of leaders and plotted their strategy for achieving greater enlightenment. Each man had his own method and vision, and they often clashed. But they all could agree that they were not content with the situation as it was, and that they longed to achieve something greater. Over the course of the first and second parts, we watched as each of these men strived towards their broader goals (criticism of the tsar, freedom of the serfs, revolution), but at the same time struggled with their own existence, their own personal relationships, and their own disappointments. Herzen (O’Byrne), an aristocrat who believed in freeing the serfs, lay at the center of these struggles.

In Part Three, Herzen remains at the center, but new, younger characters are entering. As he struggles to deal with the loss of his wife and child, he inhabits a new world, including an affair with his best friend’s wife, Natasha Ogarev (Plimpton) with whom he has several children (including twins who perish in disease-ridden Paris). Herzen also comes to battle the new guard, new young revolutionaries who are not content with the battles or methods of the past. Of course, Bakunin embraces these youths, but Herzen is much more circumspect.

Herzen also must come to grips that his victories are not what they seem. When the serfs are finally freed, Herzen and the others celebrate their bloodless victory, as it came by decree of the tsars. Only later do they realize the hollowness of their victory, since the serfs do not own the land they once occupied, and essentially become economic slaves to their former masters. It is a disappointing moment when Herzen realizes the failure, which puts into perspective a lifetime worth of work.

Part Three is not quite as compelling as the gripping Part II, but it is a fitting end to a truly epic trilogy of plays. What makes this production so impressive is its core of fine actors playing a multitude of roles. In Part Three, Jennifer Ehle takes on the part of the German nanny and tutor Malwida, whose impact is so great that she even takes away Olga (Cobb) who becomes Italian and forgets even how to speak Russian. She is wonderful in the role, and it is a nice counterpoint since she played the girl’s mother in Part Two. Other cameos are equally compelling, including Richard Easton’s bumbling but well-intentioned play as the Polish Count Stanislaw Worcell, a revolutionary who sacrifices his family and home in order to lead the cause (and, who Herzen notes Worcell’s sacrifices and wonders where it got him). Josh Hamilton and Jason Butler Harner continue their fine work as Ogarev and Turgenev, the latter in particular deriving more laughs out of his material.

Part Three feels like the conclusion, and as a result, there is a feeling of complacency or resolution. It is humorous and a times touching, but lacks the headiness of Part I or the emotional depth of Part II. That said, it is very engaging, and the fine performances are noted throughout.

In the end, this production should be noted for its fine direction and inventive staging. With its glossy sets, its use of sheets and simple props and well-placed (and well-composed) music, this is a sterling production worthy of the fine cast assembled. The play is a good, though not great one, but it is the production that makes it noteworthy.

Review - Talk Radio (3.08.07)

Talk Radio (Thursday, 3.08.07)
Longacre Theatre, New York City

By: Eric Bogosian, Robert Falls (direction)

Starring: Liev Schreiber (Barry Champlain), Michael Laurence (Stu Noonan), Kit Williamson (Spike), Cornell Womack (Bernie), Peter Hermann (Dan Woodruff), Stephanie March (Linda MacArthur), Marc Thompson (Vince Farber), Christy Pusz (Jordan Grant), Sebatstian Stan (Kent), Barbara Rosenblat (Dr. Susan Fleming), Christine Pedi (Rachael)

Is he crazy? Is he genuine? Is he going to lose it?

The main conceit of “Talk Radio” is that the radio host, Barry Champlain, is a man on the edge. Because he is on the edge, we the audience should always wonder whether or not he will be okay. Barry Champlain’s radio persona is that of a man on the edge.

As Champlain, Schreiber is captivating. When he is talking, it is difficult to focus on anything else other than him. He is funny, outrageous, poignant – all the things you would expect in a successful radio host. He lets loose, but even when he does, you always get the sense that he is in control, even when he breaking down.

Herein lies the problem.

Schreiber’s Champlain is a thinking man. He is quick witted and quick tempered, unpredictable. But he’s always in control, and you always sense he will be ok. Even though he is a joy to watch and is very entertaining, one wonders why he isn’t more on the edge. There is no suspense, no worry about the character, no real edge.

Unfortunately, this is no small flaw. There is really no salvaging the production with the wrong actor in the lead role, and unfortunately, Schreiber is not the right actor. He is a terrific one, to be sure, a thinking actor who showed his chops in Glengarry Glen Ross. But here, his cerebral quality doesn’t allow him or his character to reach the heights if you really had that sense of unease about the character.

The remainder of the production is fine, although the play suffers whenever Champlain is no the center of attention. In particular, when the secondary characters step out for their monologues. The play would have been better streamlined if it simply focused on Champlain at all times. Of course, it would also have been better with a more appropriately cast actor in the lead role.

Review - A Prelude To A Kiss (3.06.07)

A Prelude To A Kiss (Tuesday, 3.06.07)
American Airlines Theatre, New York City

By: Craig Lucas, Daniel Sullivan (direction)

Starring: John Mahoney (Old Man), Alan Tudyk (Peter), Annie Parisse (Rita), Matthew Rauch (Taylor), Francois Battiste (Tom, Jamaican Waiter), James Rebhorn (Dr. Boyle), Robin Bartlett (Mrs. Boyle), Macintyre Dixon (Minister), John Rothman (Uncle Fred), Marceline Hugot (Aunt Dorothy), Marceline Hugot (Leah)

"Prelude" is a story about a crossed connection – between the lovers, Peter and Rita, and between two souls who have a sense of yearning for something else – Old Man and Rita. What proceeds following the “Kiss” is a bizarre journey as Peter (Tudyk) struggles to find Rita before it is too late.

Everything about this production of Prelude is good and competent. As Peter, Alan Tudyk is likeable and believable. As Rita, Annie Parisse is sufficiently quirky without ever coming across as unreal. And as the Old Man, John Mahoney plays his material well. The production values are good, the direction seamless, the incidentals well thought out.

In the end, though, there is something missing in Prelude, and it’s not clear what it is. Sure, we come to care about Rita’s plight, but perhaps there just isn’t enough about her character to make us care. Indeed, I was most concerned with how she would manage to switch souls back, rather than whether she would be able to do so.

It could be the times have changed, and so the resonance of the piece too has changed. Prelude was written during the height of the AIDS epidemic. Although the piece doesn’t come across as one about AIDS, in fact it is a piece that explores the life cycle and death. Peter, when he learns that the Old Man is ill with cancer, is suddenly faced with the prospect of losing Rita at a time when he has been preparing to spend the rest of his life with her. It is a poignant thought which probably struck a greater chord at a time when many young people died before the their prime. It is still a sad thought today, but today young people aren’t being constantly stricken down.

In any event, this is a good play, and a potentially thought-provoking one. It is difficult to imagine that a better production could have been given. Unfortunately, the play suffers from its seeming lack of relevance.