‘AMERICAN BUFFALO’: Sam Rockwell & Laurence Fishburne. Photo: Richard Termine.

AMERICAN BUFFALO
Written by David Mamet
Directed by Neil Pepe
Through July 10, 2022
Circle in the Square
235 West 50th St.
New York, NY
212-239-6202, wwwAmericanBuffaloNYC.com
 

By David NouNou

It’s hard to review a David Mamet play these days without including his heinous quotes recently on Fox News: “Teachers are abusing children mentally and using sex to do so,” further alleging “Teachers are inclined, particularly men, because men are predators to pedophilia.” It’s amazing he can make quotes like these when most of his plays are full of overt sexism and toxic masculinity driving the narrative. What I find most amazing in today’s culture is the double standard for women. With all the expletives that are used in this play, especially the misogynist name calling of women with the use of the “c” word and the women that are talked about by one character as “lesbian dykes,” some people who find the text most amusing are women. When you are seated at Circle in the Square Theatre, you not only get to hear audience reaction, you also get to see audience reaction. As written and spoken by Mamet, it is acceptable and humorous, but if spoken by the average person on the street, it is offensive, demeaning and contemptible to women.

The action takes place in a junk shop on a Friday morning and later that night around eleven o’clock. In Act I, Donny (Laurence Fishburne), owner of the junk shop and a father figure to the slow-witted Bobby (Darren Criss)— who has made a mistake and apologizes for it—wants Bobby to learn from his mistake. They’re also discussing on how to go about doing “the thing.” In comes Teach (Sam Rockwell), a repugnant conman  loser if ever there was one. He is sexist, racist and has total disdain for humanity.

Turns out “the thing” is a robbery to take place later that night. A buyer has come to the shop a couple of days earlier and bought a buffalo nickel for $90. He has given his number to Donny to call him if he should come across some more. Donny now feels he has been cheated and should have gotten more for that nickel   Bobby later informs Donny that the buyer has left town with his girlfriend and a suitcase in a car that morning for the weekend and his place will be empty. Upon hearing of this job, Teach wants a piece of the action and wants Bobby out for being slow and unreliable for such a job. The meeting is set for 10:30pm that night with Donny, Teach and a third party named Fletch to break in to the buyer’s home and take back the coin and more if there are any.

Act II begins with Teach being late, and Fletch nowhere to be found. Only Bobby shows up with a lot on his mind. No spoiler alert here, but violence does ensue. This unraveling is what keeps the audience’s attention.

The redeeming grace of the evening is the solid work of the three actors, each giving stellar performances. As loathsome as Sam Rockwell’s character Teach is, his performance is as powerful as it is menacing. Having seen the original Teach, Robert Duvall in 1977, Al Pacino in 1983 and John Leguizamo in the disastrous 2008 revival (which only lasted for 20 previews and eight regular performances), Mr. Rockwell’s performance is by far the most nuanced and pulsating with seediness and rage.

Laurence Fishburne gives an equally stunning and riveting performance; the beauty here is the strength in his character as well as his protective feelings toward Bobby.

Darren Criss as Bobby is of course the least showy character in the play. However, Mr. Criss delves into Bobby to make him more than the simple character he is. There is a genuine desire to please his mentor, thus imbuing his character with humanity.

There are two more notable assets to the play.  First, Scott Pask has created the best junk shop set devised for this play. It is a work of art. Second is the pulsating direction by Neil Pepe, for even in a moment of stillness, there is constant movement. Whether it is in the dialogue or the actors, something is always moving.

Edited by Scott Harrah
Published April 22, 2022
Reviewed at April 21, 2022 press performance.

‘AMERICAN BUFFALO’: Darren Criss & Laurence Fishburne. Photo: Richard Termine.

‘AMERICAN BUFFALO’: Laurence Fishburne. Photo: Richard Termine.

‘AMERICAN BUFFALO’: Sam Rockwell. Photo: Richard Termine.

‘AMERICAN BUFFALO’: Darren Criss. Photo: Richard Termine.

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‘KISS ME, KATE’: Kelli O’Hara. Photo: Joan Marcus

KISS ME, KATE
Book by Sam & Bella Spewack
Music & lyrics by Cole Porter
Directed by Scott Ellis
Choreography by Warren Carlyle
Through June 30, 2019
Studio 54
254 West 54th Street
(212-719-1300), www.RoundaboutTheatre.org

By David NouNou

In last year’s revival of My Fair Lady at the Vivian Beaumont, the balance of power shifted from Henry Higgins to Eliza Doolittle. This year Roundabout Theatre Company has chosen to do the same sort of gender-power transference with Kiss Me, Kate, in which Lilli Vanessi/Katherine (Kelli O’Hara) trounces Fred Graham/Petruchio (Will Chase) at every turn and in every scene. Having Ms. O’Hara in the part opposite Will Chase, it becomes an absolute knockout.

Cole Porter wrote one of the most glorious scores of all time for a Broadway musical and the songs are as vibrant as ever. The book by the Spewacks hasn’t weathered as well. Act I sets the story in motion, and for all the wonderful songs in Act II, they do not advance the story line much further; they act more as fillers, which was the case in a lot of musicals at the time.

Set in a Baltimore theater, the show starts with the brilliant “Another Op’nin, Another Show,” which sets the tone and mood of what is about to unfold. Lilli Vanessi has returned to the theater one last time to make her farewell performance in Taming of the Shrew, written, produced and directed by her ex-husband Fred Graham. They were married, very much in love but are currently divorced. The complications begin when Fred has cast his latest flirtation, Lois Lane/Bianca (Christine Cornish Smith) and her one true love Bill Calhoun/Lucentio (Corbin Bleu) to also be in Taming of the Shrew. Trouble ensues when Lili finds about Fred’s extracurricular activity involving Lois.

Due to the shift in power, it isn’t so much as taming of the shrew as getting even with your ex-husband. Kelli O’Hara as the shrew, Katherine, is an absolute revelation. She was a sensation in South Pacific, The Pajama Game and her Tony Award-winning role of Anna in The King and I. Here she has elevated her rank to a prima donna diva. Her voice is stunning and her acting is sublime. Will Chase does a valiant Fred/Petruchio, but the deck is stacked against him. Corbin Bleu as the hoofer Bill Calhoun is sensational. However, the highlight of the night is the opening number in Act II “Too Darn Hot,” set on the rooftop of the theater during their intermission where the dancers come up to cool off but instead end up blowing the roof off the theater.

The other thing to remember is when you see a show being directed by Scott Ellis, you know you are in for a treat. He never disappoints and he always has new tricks up his sleeve. He is rhythmically complemented by the wonderful choreographer, Warren Carlyle, and each of his numbers are absolute eye-poppers.

Wunderbar!

Editor’s Note: Understudy Christine Cornish Smith played the role of Lois Lane/Bianca at the performance reviewed here, substituting for Stephanie Styles.

Edited by Scott Harrah
Published March 21, 2019
Reviewed at March 20, 2019 press performance.

‘KISS ME, KATE’: The cast. Photo: Joan Marcus

‘KISS ME, KATE’: The cast. Photo: Joan Marcus

‘KISS ME, KATE’: Will Chase. Photo: Joan Marcus

‘KISS ME, KATE’: (left to right) Preston Truman Boyd, Stephanie Styles, Corbin Bleu & Justin Prescott. Photo: Joan Marcus

‘KISS ME, KATE’: (left to right) Will Burton, Rick Faugno, Stephanie Styles & Corbin Bleu. Photo: Joan Marcus

‘KISS ME, KATE’: (left to right) John Pankow, Will Chase & Lance Coadie Williams. Photo: Joan Marcus

‘KISS ME, KATE’: Corbin Bleu, Sarah Meahl & Erica Mansfield. Photo: Joan Marcus

‘KISS ME, KATE’: Corbin Bleu & Stephanie Styles. Photo: Joan Marcus

‘KISS ME, KATE’: Kelli O’Hara. Photo: Joan Marcus

‘KISS ME, KATE’: Kelli O’Hara & Will Chase. Photo: Joan Marcus

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‘THE LITTLE FOXES’: Laura Linney & Darren Goldstein. Photo: Joan Marcus

THE LITTLE FOXES
Written by Lillian Hellman
Directed by Daniel Sullivan
Through July 2, 2017
Samuel J. Friedman Theatre
261 West 47th Street
(212-239-6200),www.ManhattanTheatreClub.com

By Scott Harrah

Greed is the primary deadly sin among the many that run rampant in Manhattan Theatre Club’s brilliant revival of Lillian Hellman’s most enduring play The Little Foxes. There is jasmine in the air, mint in the juleps and backstabbing at every turn in this tale of the Deep South. Cotton is king and the family plays each other as pawns to get the biggest share from the ill-gotten gains.

The Little Foxes is Ms. Hellman’s most accessible drama because it is so intricately constructed, timeless, and a classic. The show was first produced on Broadway in 1939 with Tallulah Bankhead, and has featured everyone from Elizabeth Taylor and Anne Bancroft to Stockard Channing over the years. This outstanding revival showcases Laura Linney and Cynthia Nixon, alternating the roles of Regina Giddens and Birdie Hubbard with the “blue” cast (Ms. Linney as Regina) and “green” cast (Ms. Nixon as Regina). It’s a winning gimmick indeed (this review is of a performance with Ms. Linney as Regina and Ms. Nixon as Birdie), but the true beauty of the show is how Ms. Hellman’s story holds up nearly 80 years after it was first mounted. Greed and family dysfunction have not changed much since 1900 Alabama (when the play is set).

This Southern Gothic tale is set in a small Alabama town, centering on the struggle for controlling a family business. Regina Hubbard is a formidable villainess, a woman wanting to gain financial control of her life because her ailing husband Horace (Richard Thomas) is in a Baltimore hospital with a heart condition and she must rely on him for money. Meanwhile, her brothers Oscar (Darren Goldstein) and Ben (Michael McKean) live well off the inheritance from their father and his profitable plantation and cotton fields, with money made off the backs of low-paid African-American workers.

The brothers want to build a new cotton mill and they ask Regina for money (an additional $75,000), but she has to get the funds from her sick husband Horace. The three-act drama has a riveting narrative filled with family machinations as we see the lengths the family goes to due to their avarice, including suggesting a marriage between first cousins Leo (Michael Benz) and Alexandra (Francesca Carpanini).

Birdie Hubbard (a role alternated in this production by Ms. Linney and Ms. Nixon) is the alcoholic wife of Oscar. She’s a delicate flower indeed, physically abused by her husband, dependent on his wealth, with a penchant for elderberry wine and clinging to the fading gentility of the old South. In the “blue” cast, Ms. Nixon’s portrayal of Birdie is haunting and heartbreaking.

The show is flawlessly directed, designed and acted. Laura Linney as Regina is evil incarnate, and Cynthia as Birdie Huddard, Regina’s sister-in-law, is the charm that was the South. The production is ably supported by Michael McKean and Darren Goldstein as Regina’s conniving brothers. Richard Thomas as her husband Horace is simply wonderful. Caroline Stefanie Clay as maid Addie, and Francesca Carpanini, as Alexandra, are also noteworthy. This is a play that resonates today as it did in 1939 when it was first presented. The Little Foxes, directed by Daniel Sullivan, is one of the year’s best revivals.

Edited by David NouNou
Published April 24, 2017
Reviewed at press performance on April 23, 2017

‘THE LITTLE FOXES’: (left to right) Francesca Carpanini as Alexandra & Laura Linney as Regina. Photo: Joan Marcus

‘THE LITTLE FOXES’: Laura Linney as Regina. Photo: Joan Marcus

‘THE LITTLE FOXES’: Cynthia Nixon as Birdie & Francesca Carpanini as Alexandra. Photo: Joan Marcus

‘THE LITTLE FOXES’: Darren Goldstein & Michael Benz. Photo: Joan Marcus

‘THE LITTLE FOXES’: Richard Thomas & Caroline Stephanie Clay. Photo: Joan Marcus

‘THE LITTLE FOXES’: Michael McKean. Photo: Joan Marcus

‘THE LITTLE FOXES’: Darren Goldstein. Photo: Joan Marcus

‘THE LITTLE FOXES’ (Green Company): Cynthia Nixon as Regina & Laura Linney as Birdie. The two actresses alternate the roles at certain performances. Photo: Joan Marcus

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‘THE CHERRY ORCHARD’: (Left to right) Kyle Beltran, Tavi Gevinson, Diane Lane & Celia Keenan-Bolger. Photo: Joan Marcus

THE CHERRY ORCHARD
By Anton Chekhov
Adaptation by Stephen Karam
Directed by Simon Godwin
Through December 4, 2016
American Airlines Theatre
227 West 42nd Street
(212) 719-1300, www.roundaboutttheatre.org

By Scott Harrah

Anton Chekhov and his famous director Konstantin Stanislavsky must be rolling over in their graves regarding this misguided, unfocused adaptation of The Cherry Orchard. This revival is so inept that three questions arise immediately. Has it been produced as a vanity vehicle for Oscar nominee Diane Lane, who stars as Madame Lyubov Ranevskaya (she played one of the children back in a 1977 Lincoln Center revival with Meryl Streep and Raul Julia)? Or was it mounted because of a new adaptation by hot young playwright Stephen Karam, on the heels of his Tony Award-winning hit The Humans? Finally, why is Simon Godwin’s direction of the cast so haphazard and scattershot, with performances that are literally all over the place?

There is an ongoing argument in academic and intellectual circles about the true intent of The Cherry Orchard. Most theatergoers consider the four-act drama to be one of the greatest tragedies ever written for the stage. When first produced at the Moscow Art Theatre in 1904, director Konstantin Stanislavsky depicted a dark, lugubrious story of an aristocratic family, deeply in debt and about to lose their beloved estate. Most revivals have been true to the original Russian production, but some contend Chekhov was dissatisfied with the heavy-handed, gloomy tone the director infused into the text and the characters. Stephen Karam must believe—as some academics have pointed out over the years—that Chekhov intended the story to be a comedy because there are many humorous touches here, such as governess Charlotta Ivanovna (Tina Benko) hamming it up in some scenes, munching suggestively on a cucumber and doing card tricks and acting like a clown during a party.

Reinterpreting a classic like this may seem outrageous, but this is hardly the first production of Chekhov’s masterpiece with “comic” aspects. In 2005, an off-Broadway production at the Atlantic Theater (starring Brooke Adams) also played up the text’s more lighthearted moments, with equally dismal results. Whether New York audiences will agree that the story and its characters are funny is highly debatable. One simply cannot deny that the core of the plot itself is more heartbreaking than humorous.

Roundabout Theatre’s revival, directed by Mr. Godwin (a Brit who has directed numerous works at the National Theatre), features a stellar cast of Broadway and Hollywood veterans.

Diane Lane is Madame Lyubov Ranevskaya, the nearly bankrupt aristocrat who travels back to Russia from Paris to deal with the sale of her family’s orchard. Yermaoli Lopakhin (Harold Perrineau.), a onetime serf from the estate who has recently become a successful businessman, offers a simple solution to the problem—sell the orchard and build summer cottages on the land. Madame Ranevskaya and her ineffectual brother Gaev (John Glover) quickly reject the plan.

The Cherry Orchard is known more for its many subplots than one simple storyline. Chekhov created a complicated tapestry of dramatic incidents, existential philosophy and everyday encounters instead of a single narrative thread. The only villain here seems to be the changing socio-economic landscape of tsarist Russia—one that is quickly disassembling all former notions, privileges and traditions of the upper classes.

The cast has some distinguished names indeed, including the great Joel Grey (as the servant Firs), and Broadway notables Celia Keenan-Bolger as Varya (Ranevskaya’s daughter) and Tavi Gevison (recently in The Crucible) as Anya.

Scott Pask creates a fine set, complete with Calder-style mobiles that represent the cherry trees, and costumes by Michael Krass are lavish indeed

Ms. Lane certainly shows off her emotional range an as actress here, but her performance, like so many in the cast, never gels with the others because director Simon Godwin doesn’t rein in any of the actors, and it’s frustrating trying to figure out the myriad acting styles on display here. Mr. Grey’s portrayal of Firs is the only one that comes close to anything moving in this otherwise confusing and forgettable evening. Blame both Stephen Karam for this head-scratching adaptation and Mr. Godwin for his puzzling direction (or lack thereof). This new “spin” on The Cherry Orchard is simply the pits.

Edited by Scott Harrah
Published October 20, 2016
Reviewed at press performance on October 19, 2016

‘THE CHERRY ORCHARD’: (Left to right) Harold Perrineau, Diane Lane & John Glover. Photo: Joan Marcus

‘THE CHERRY ORCHARD’: Diane Lane. Photo: Joan Marcus

‘THE CHERRY ORCHARD’: (left to right) Tavi Gevinson, John Glover & Celia Keenan-Bolger. Photo: Joan Marcus

‘THE CHERRY ORCHARD’: (left to right) John Glover, Diane Lane & Joel Grey. Photo: Joan Marcus

‘THE CHERRY ORCHARD’: Harold Perrineau & Diane Lane. Photo: Joan Marcus

‘THE CHERRY ORCHARD’: (left to right) John Glover, Joel Grey, Diane Lane & Chuck Cooper. Photo: Joan Marcus

‘THE CHERRY ORCHARD’: (Left to right) Harold Perrineau, Diane Lane, John Glover, Joel Grey & Chuck Cooper. Photo: Joan Marcus

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‘LONG DAY’S JOURNEY INTO NIGHT’: Gabriel Byrne & Jessica Lange. Photo: Joan Marcus

LONG DAY’S JOURNEY INTO NIGHT
By Eugene O’Neill
Directed by Jonathan Kent
American Airlines Theatre
227 West 42nd Street, (212-392-1652)
www.roundabouttheatre.org

By Scott Harrah

You’ve not truly seen Jessica Lange perform until you catch Roundabout’s revival of Eugene O’Neill’s Long Day’s Journey Into Night— for this is probably her best performance in years, if not ever. The tragic epic runs three hours and 45 minutes. However, this production is so wonderfully paced by director Jonathan Kent, and Ms. Lange’s portrayal is so haunting, that this marathon of family dysfunction circa 1912 almost seems like a breeze to sit through.

Ms. Lange plays Mary Cavan Tyrone, the wife of successful Irish actor James (Gabriel Byrne) and a woman battling decades of morphine addiction, broken dreams and a volatile relationship with her two sons. Many have portrayed Mary throughout the years, but Ms. Lange, at this point in her career, seems tailor made for the part. She is a marvelous mix of maturity, incandescent stage presence, vulnerability and strength. From the moment she enters the stage, she has us spellbound as she paces, full of nerves and emotion, with her hands running across her hair, or throat or smoothing out her dress. One minute she’s sweet and coquettish; the next, she’s yelling at the family. Watching Ms. Lange is exhausting as she recounts both the happy and painful details of her past, and it’s impossible to keep our eyes off her.

Long Day’s Journey Into Night, first produced on Broadway in 1956, is Eugene O’Neill’s autobiographical saga of his family in the early 20th century. It is a foggy August day at Monte Cristo Cottage, the seaside Connecticut estate of the Tyrones. Mary has recently returned from a sanitarium and has failed to kick her morphine habit (which she claims is medication for her arthritic hands). Elder son James (Michael Shannon) has a serious alcohol problem and visits the local brothel too much, while the family fears the constant coughing of younger son Edmund (John Gallagher, Jr.), modeled after O’Neill himself, means he probably has consumption (tuberculosis) and may soon be sent to a state sanitarium.

With his thick Irish brogue and elegant demeanor, Gabriel Bryne is certainly everything Eugene O’Neill had in mind for the character of James Tyrone: A man eager to maintain the love of his wife as she unravels.

Michael Shannon gives a solid depiction of a man overcome by his demons, one who admits his kid brother is his “only pal.” Unfortunately, John Gallagher, Jr. is less effective as Edmund, the youngest son.

The drama has never been easy to watch with its heavy talk about death, alcoholism, disease, an overly frugal father, and so on. Yes, it is melodramatic and repetitious at times. Although the play could use some trimming, it’s still a masterpiece and O’Neill’s greatest work. Perhaps that’s why director Jonathan Kent keeps everything intact here, with all the touches that remind us of O’Neill’s real-life family back in 1912, from Jane Greenwood’s elegant period costumes to Tom Pye’s gorgeous set. In a season of unorthodox revivals, it’s refreshing to see one that’s simple, straightforward and free of gimmicks, allowing audiences to appreciate everything that is great about an American classic.

Long Day’s Journey Into Night has received seven Tony nominations, including Best Revival of a Play, Best Performance by an Actress in a Leading Role in a Play, Best Performance by an Actor in a Leading Role in a Play, Best Performance by an Actor in a Featured Role in a Play and Best Director of a Play.

Edited by Scott Harrah
Published May 3, 2016
Reviewed at press performance on May 1, 2016

‘LONG DAY’S JOURNEY INTO NIGHT’: John Gallagher, Jr. & Jessica Lange. Photo: Joan Marcus

‘LONG DAY’S JOURNEY INTO NIGHT’: Jessica Lange & Gabriel Byrne. Photo: Joan Marcus

‘LONG DAY’S JOURNEY INTO NIGHT’: (Left to right) John Gallagher, Jr. & Michael Shannon. Photo: Joan Marcus

‘LONG DAY’S JOURNEY INTO NIGHT’: Jessica Lange. Photo: Joan Marcus

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ONE MIGHTY ‘MICE’: Chris O’Dowd & James Franco in ‘Of Mice and Men’. Photo: Richard Phibbs

By David NouNou

There is something so rewarding but seldom seen nowadays when going to the theater and seeing an audience totally engrossed in the proceedings happening on stage, instead of playing on their iPhones and Androids and texting, with their annoying lights shining in the dark. It made the experience so much more enjoyable to appreciate a play that was first presented in 1939 and still has a grip on the audience from start to finish.

Set in 1930s Salinas Valley, California, George (James Franco) the protector, and Lennie (Chris O’Dowd), a gentle giant and mentally slow, travel together, drifting from job to job due to Lennie’s penchant for touching and fondling soft things and getting in trouble. George is the voice and brains for the twosome and it’s their means of survival. Starting work on a new ranch, George instructs Lennie to keep out of trouble and never speak. Things start well but there wouldn’t be a drama if things didn’t unravel. The other workers get along with the newcomers, but there’s the boss’s jealous son Curley (Alex Morf) who just got himself married a couple of weeks before to a free spirited young woman who likes to hang around the boys (Leighton Meester). Needless to say, this causes constant trouble for the workers when Curley comes in jealous rages looking for his wandering-eyed wife. Lennie is told to stay clear of both of them.

To keep Lennie safe, George has to constantly create lovely tranquil illusions that they will someday own a ranch together once they earn enough money and Lennie could have his rabbits to grow and feed and that no one can ever fire them or get them in trouble. On a particular night Candy (Jim Norton), an injured cleaner who has lost an arm to a shredder, overhears George and Lennie’s goals for a Utopian way of life and wants in on it and plans to give them his life savings. Life seems to be going well until…

What makes this drama so effective is the seamless direction by Anna D. Shapiro. The action is nonstop for there is always something around the corner and the sets by Todd Rosenthal keep the pace moving and evoke the emotion of the moment whether in the marshes at the play’s start, ranch bunkhouse or the hayloft. There is a smooth flow to the transitioning scenes.

The performances are robust and all engrossing. The standout is Chris O’Dowd; his Lennie is memorable and ethereal; a creature that is so full of joy but cursed with being slow. James Franco’s George is protective as is necessary but not dynamic to balance the scales that their partnership requires. At times in crucial scenes, Mr. O’Dowd can overshadow Mr. Franco and totally eclipse him. A lovely nuanced performance is by Jim Norton as Candy. George and Lennie are his last hope of getting out of his miserable environment and to be able to share in the bliss of the farm they’re all going to get together. The rest of the cast delivers creditable performances that are both engaging and affecting.

What makes Of Mice and Men such a rare and wonderful treat for drama lovers is that it is seldom revived. The last time it was done was in 1974 with James Earl Jones and Kevin Conway at the Brooks Atkinson Theatre and quite frankly, weak and misguided. This is one of those timeless gems that should be revived every 20 years and be able to be rediscovered by a whole new generation and delight in its timelessness.

LENNY & CURLY’S WIFE: Chris O’Dowd & Leighton Meester in ‘Of Mice and Men.’ Photo: Richard Phibbs

Of Mice and Men– 2 Tony Nominations, including Best Dramatic Actor – Chris O’Dowd & Lighting Design.

Edited by Scott Harrah
Published April 19, 2014
Reviewed at press performance on April 18, 2014

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