New York Cool - Theater Reviews

The cast members are originally from South Africa’s Ga, Zulu, and Batswana tribes. Many cast members are part of Drum Café, a South African drum and dance group whose goal is to share traditional African culture with the world. Formed in 1997 in South Africa by Warren Lieberman, the Drum Café is now increasing its international presence by undertaking new projects such as a museum, a resource center, archives, and the first ever traditional South African orchestra. Drumstruck was conceived by Warren Lieberman & co-created by Kathy-Jo Ross; directed by David Warren & originally produced in Johannesburg, South Africa by Drum Café. The show is directed by Kathy-Jo Ross and stars: Nicholas Africa Djanie; Nicollette Sebatane; Emmanuel Nathi Kumalo; Enock Bafana Mahlangu; and Tiny.

Tickets run from $26- $66 and can be bought at 212-575-9710 or www.telecharge.com. Visit http://www.drumstruckNY.com/ for more information.

New World Stages|340 West 50th Street

Sam Shepard’s
Forensic and the Navigators & States of Shock
Wednesdays & Thursdays @8PM Sept 13th - October 5th
One Final Performance on Friday, October 6th
The Big Little Theater

Reviewed by Frank J. Avella

The Michael Chekhov Theatre Company is still going strong in their mission to present all of Sam Shepard’s work through December 2007.

Currently on the Big Little Theatre boards, two Shep one-acts: Forensic and the Navigators, written in the 1960’s and States of Shock, a killer anti-war play written in 1991.

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But after seeing her amazingly brilliant and astonishing performance in Mother Courage, I wish I could invent an entire new language with exciting and original words that would do her justice.

I gush, yes. Admittedly. Profusely. Unabashedly. Because in all my many years of theatregoing--and I have been fortunate enough to see some great stage performances--I believe Meryl Streep’s Courage may just be the greatest.

Streep’s ability to wholly embody a character and give her the multi-dimensions of a real, idiosynchratic person (even in a satire!), her capacity to make you forget you are watching an actor and believe you are invading the privacy of someone’s inner world--their darkest fears and most elated joys...it’s something I marvel at and basque in.

Meryl’s Mother brought to mind various incarnations of scrappy, bufoonish old west gals like Annie Oakley and Molly Brown, a few ballsy gals like Mama Rose and Murphy Brown as well as many a Lucille Ball creation. Thoughts of appropriation aside, ultimately her Courage is an original, tortured and a torturer, gutsy and gutless, a loser and a survivor. Watching her ‘hyena of the battlefield’ is like watching our country through a frenzied, fast-forward dvd trip through the last century. You can’t stop peeping...not for any of the three hours.

And let me not forget to mention that this Mother Courage is a musical, allowing Meryl to belt with the best of them. Her opening number, “The Song of the Great Capitulation” and “The Ballad of Mother Courage” stand with the best musical theatre moments. Period.

Ah, but one needs to continue the kudos to a few others who have contributed to one of the most dazzling evenings of theatre in the last decade. Firstly, the clever class="navMainLink">interview

rmances of Shakespeare in the Park will be Tuesday Through Sunday at 8:00 p.m. Tickets are FREE and will be available on the day of the performance (two per person) at the Delacorte Theater in Central Park beginning at 1:00 p.m. and at The Public Theater, 425 Lafayette Street (near Astor Place), from 1:00 p.m. to 3:00 p.m. The closest entrances to the Delacorte are at 81st Street and Central Park West or 70th Street and Fifth Avenue.

Delacorte Theater in Central Park

Steve Sater & Duncan Sheik’s
Spring Awakening
Tuesday - Sunday @ 8:00PM
Saturday @ 2:00PM & 8:00PM
Sunday @ 3:00PM
Through August 5, 2006
Atlantic Theater Company

Reviewed by
Frank J. Avella

For exciting, enthralling and strangely-enchanting theatre, look no further than the Atlantic Theater Company’s production of Spring Awakening.

The sheer audacity of this work is enough to recommend it but it actually--for the most part--lives up to the lofty ambitions and the audience is treated to a thrilling new way to tell an old story. And how rare is that in ANY medium nowadays. It is also immensely helpful (if sad) that the repression theme is as relevant today as it was in the late 19th Century!

Based on Frank Wedekind’s highly controversial 1891 play The Awakening of Spring (not produced until 1906), and adapted by Steven Sater (book & lyrics) and rock star Duncan Sheik (music), the ‘play with songs’ (quoted by Sheik) focuses on adolescent schoolboys and girls at the age of sexual and spiritual awakening. The central figures being the good looking, wave-making Melchior (Jonathan Groff), his sweet, naive girlfriend Wendla (Lea Michele) and his troubled, oddball friend Moritz (John Gallagher, Jr.) as well as a slew of other angst-ridden, sexually-stirred, hormonally-bonkers characters.

As directed by the gifted Michael Mayer, Spring Awakening is mesmerizing to the eye--and ears. It’s a deliberately hard-edged visual and aural cacophony of the evils of repression--religious and societal (usually one begets the other).

The at-first-disarming, but ultimately richly-rewarding anachronistic nature of the work adds to its originality and freshness. Although the piece is set at the turn of the last century, the actors whip out mikes and perform raw, intensely-modern rock songs. The device achieves a Brechtian break in the ‘period’ action. It’s as if the audience has warp-sped a century to a 2006 rock concert. But the songs are the inner monologues and emotional mindstates of Everykid. And that is why it works so well.

Sheik’s music is extraordinary, whether it be a rousing ballad (the Act One tour de force “I Believe”) or an angry rant (the fantastic “Totally Fucked”) and are matched by Sater’s intelligent, sometimes obscure lyrics. And by the extraordinary ensemble’s vitality and conviction in song as well as performance.

Melchior is that perfect blend of youth: a walking sack of sexual energy mixed with smarts and savvy and Groff brilliantly brings him to life...and to despair as is necessary. Moritz is a tad more difficult since, as written he goes from frustration and confusion to doom way too quickly, yet Gallagher, Jr. transcends the trappings of the too two-dimensional character (especially in Act Two’s “Don’t Do Sadness”.)

Michele’s Wendla is another matter. She doesn’t seem able to convey the dizzy feelings of love blended with naivete the character needs, nor did I understand why someone like Melchior would be so taken with her. On the other hand Lauren Pritchard’s Ilse brims with sex appeal and evoked the perfect combo of tumult and rebellion.

Jonathan B. Wright is perfectly smarmy and charming as the homosexual survivor about to feast on his prey.

Beyond the maste="11">

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	The doublebill provides audiences with the slight and the searing. Forensic is an enigmatic and sometimes annoying play set in a post-apocalyptic future. It reminded me of a David Lynch film, only without too much imagination, loaded with nonsensical dialogue and typical Shep-oddball Midwest character quirks (ex: Emmet’s inexplicable need to consume Rice Krispies). Director Tom Amici keeps it moving and Forensic does offer some terrific acting--especially Tim Scott as the 2nd Exterminator. It’s worth sitting through the muck of Forensic to get to the thrilling States of Shock, written during the Gulf War but just as timely today as it was back then. Perhaps, moreso. In Shock, Shep presents us with two army war vets who gather in a diner (repping the US of A). The young Stubbs has been permanently maimed by the war. The older Colonel, is a staunch militarist who lost his son in the unnamed conflict. Colonel looks after Stubbs but, adding to the intrigue, the bullet that killed his son actually went right through Stubbs first! Some wonderful, thought-provoking monologues follow. The rest of the diner-ites include: Glory Bee, an inept waitress as well as an older couple who have ordered clam chowder and keep waiting and complaining but never leave. Concerned only with the superficial, these two pretty obviously represent America and our lack of concern for anything that doesn’t directly effect us. States of Shock is impressively directed by Joe Benenati and features a powerhouse performance by Aaron Firicano as Stubbs as well as nice work by Natalie Barback, Judy Guyll and Allen Magnus. The play would have been better served with a more daring turn by Steve Abbruscato as the Colonel, though. States of Shock contains some of Shep’s most biting and wicked wordplay. It’s a condemnation of war...any war--all war--and, as presented by the Michael Chekhov Theatre Company, it’s great theatre! THE SAM SHEPARD FESTIVAL will be at The Big Little Theatre, 141 Ridge St. (one block south of Houston). States of Shock (and Forensic and the Navigator will run at 8 pm on Wednesdays and Thursdays, Sept 13- October 5 with one final performance on Friday, October 6. Tickets will be $18 and can be purchased by calling SmartTix at (212) 868-4444 or by visiting www.smarttix.com . For more information, visit www.chekhovtheatre.com/shepfest.html. The Big Little Theatre, 141 Ridge St. (One block south of Houston). Bertolt Brecht's Mother Courage and Her Children New Adaptation by Tony Kushner Tuesday Through Sunday @ 8PM August 8th – September 3rd Delacorte Theater in Central Park Reviewed by Frank J. Avella Meryl Streep must be the most praised actress ever. She’s certainly the most acclaimed. She’s arguably the most lauded actor (across gender lines) of all time. This year alone Streep has delivered two remarkable, Oscar-worthy screen performances in Robert Altman’s Prairie Home Companion and The Devil Wears Prada. The woman holds the record for the most Oscar nominations of any actor ever. She has conquered screen, stage and television. Her name is pretty synonymous with ultimate excellence. Isn’t it time we say enough already? The answer is...a vehement...NO! The grande dame of stunning thespianism has done it again. This time onstage (and for free for all to see) at the Delacorte in Central Park in the Public Theater’s crafty and potent production of Mother Courage and Her Children. One tends to run out of superlatives when writing about Streep and her accomplishments. There are only so many thesaurus synonyms for “amazing” and “brilliant.” How many different ways can one say “astonishing?” /August/about-town.html">about town
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Angels in America, Caroline or Change, Munich) who adapted the great work of genius Bertolt Brecht. Kushner’s version adds quite a heap of modern political parallels to the plot. The anti-war sentiment is there and is hit upon repeatedly and appropriately but Kushner also focuses on what war does to a person. How it mangles and alters. And how it seems to be what man does best. While Mother Courage and Her Children takes place in the 17th Century amidst the Thirty Days War in Europe, it contains universal themes. Director George C. Wolfe achieves some extraordinary moments with his cast, especially the build to the finale. Wolfe should always work with Kushner. They’re magic together. Jeanine Tesori’s original music perfectly marries itself with the Brechtian/Kushner milieu. Kevin Kline leads the impressive featured cast in the subtle yet penetrating turn as the roguish Cook. Kline and Streep are magic together as they were twenty-four years ago in the masterwork Sophie’s Choice. Watching them banter, sing and him hold a cleaver, I was struck by a dream that they would play Mrs. Lovett and Sweeney Todd onscreen together...alas it is not to be...but perhaps one day on the Broadway stage... Frederick Weller, Alexandria Wailes, Geoffrey Arend, Jenifer Lewis and Austin Pendleton are all fine and achieve individual moments of excellence. What Pendleton does with a twig is comedy at it’s most hilarious. The night I attended, nature seemed to be in synch with the production. The wind seemed to blow and howl at frighteningly appropriate moments adding to the overall chilling effect. A Broadway run would be a dream but my guess is that scheduling conflicts probably prohibit the possibility. So Theatre-lovers, you have until September 3rd. Trust me, this one is worth camping out for. It’s simply great theatre with a touch of of the Meryl-poet tossed in for...courage. Perfon="left" valign="middle" class="textBold">
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rful score, near-perfect performances and deft direction, I had a craving more emotional ties to the characters. I didn’t quite feel as passionately drawn in as I wanted to be. But then I reminded myself that it wasn’t until I saw another groundbreaking show THREE TIMES that I finally realized the entire transcendent nature of the piece. That show was Sondheim & Lapine’s landmark Sunday in the Park with George. And while I am not saying Spring Awakening is in the same league as that work of art, I am saying that I’m looking forward to seeing it again...and again...to see how well it may measure up. Tickets are $60 at 222.telecharge.com. 212-239-6200 or 800-432-7250 Atlantic Theater Company\| 336 West 20th Street New York, NY 10011 The Wedding Singer Tuesday 7:00PM Wednesday 2:00PM & 8:00PM Thursday 8:00PM Friday 8:00PM Saturday 2:00PM & 8:00PM Sunday 3:00PM Al Hirschfeld Theatre Reviewed by Frank J. Avella The current and seemingly popular endeavor of transforming mediocre films into Broadway musicals is right up there with the genius notion of the jukebox musical in the annals of ATROCIOUS ideas purpotrated on audiences and theatre afficianados, in an effort to mediocre-ize the used-to-be-Great White Way and transform it’s stages into a type of hellish, paint-by-numbers product--perfect for the whole Midwestern family, but lacking in any creativity or passion. And while The Producers and Hairspray stand on their own as good shows, isn’t anyone frightened at the lack of faith in original ideas? So along came The Wedding Singer, gasp! The original film I wholly admit I have only seem in bits and pieces while channel surfing. I happen to dislike both stars, Adam Sandler (who’s only good performance is in the little-seen Punch-Drunk Love directed by the amazing Paul Thomas Anderson) and Drew Barrymore, who has never been good in anything! I shuddered at the idea of turning a Sandler vehicle into...a Broadway musical!?? I had assumed it’s Tony nomination for Best Musical was due solely to the fact that they needed to fill the catagory and was not based on any true merit. Now imagine how flabberghasted I was to find myself actually enjoying The Wedding Singer. This Broadway bon-bon is a pure delight--damn entertaining, but also a pretty smart satire on the Reagan decade. It’s a pretty simple story. Boy gets dumped by whorish girl. Boy falls for dullish good-girl waitress. Boy spends rest of production trying to get her. One of the main reasons this musical soars so high is it’s star, Stephen Lynch. Intelligent enough NOT to evoke too much Sandler, Lynch creates a true and unique character who is incredibly vulerable, free of narcissism and completely adorable. A throwback to the leading men of days gone by with more than a sprinkle of Jerseydude, his Robbie runs in the face of the greed-infested 80’s. He’s an artist as well as a poet. And he believes in love. And he’s cute and sexy, but in a real way. The dynamic Lynch gets mucho ensemble support. Amy Spanger kicks performance ass and proves she’s no second-banana as the unapologetically slutty Holly. Spanger is so red-hot-and-talented, she’s ready for her own Broadway show. And in just two too-brief scenes, Felicia Finley manages to channel many an 80’s rock chick (from Lita Ford to the Heart babes) and steal the spotlight, gyrating sexily and crooning the crap out of her numbers. Kevin Cahoon is also a stand out as Robbie’s Boy George-esque friend. The book, by Chad Beguelin & Tim Herlihy, is pretty witty and damn funny--especially near the end with an impersonation extravaganza that includes Tina Turner and Imelda Marcos! The songs are mostly infectious, specifically the rousing “It’s Your Wedding Day”, “All About the Green” and “Saturday Night in The City”--which perfectly captures the Bridge and Tunnel invasion that took place (and continues to take place) every weekend. Director John Rando keeps things moving at a brisk pace. The production design, costumes and lighting all impressively capture that 80’s yuck feeling. I do have a few minor complaints about the show. The grandmother character falls flat. It’s as if the creators were trying too hard to make her cool and they ended up with a wholly unbelievable and irritating cartoon. Also, it would have been nice if the creators had given George SOME kind of love interest, instead of making him the typical stock gay character with no life outside of his friendship with the leading man. Finally, I was underwhelmed by understudy Tina Maddigan in the Julia Sullivan role. I can only imagine Laura Benanti brings a vitality and much-needed charisma to the underwritten part that was wholly missing from Maddigan’s interpretation. That said, I highly recommend The Wedding Singer as a happy alternative to the bombast of Phantom of the Opera and the predictablitity of the now-too-many Disneyfied cookie cutter shows out there. Tickets $56.25 -$111.25 212-239-6200 or 800-432-7250 www.telecharge.com Al Hirschfeld Theatre\| 2 302 West 45th Street

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