‘THE WAVERLY GALLERY’: Joan Allen & Elaine May. Photo: Brigitte Lacombe

THE WAVERLY GALLERY
Written by Kenneth Lonergan
Directed by Lila Neugebauer
Through January 27, 2019
John Golden Theatre
252 West 45th Street
(212-239-6200),www.TheWaverlyGalleryOnBroadway.com

By David NouNou

Kenneth Lonergan has not so much penned a play as he has written a slice of life. Some people may call it a memory play as in Tennessee Williams’ The Glass Menagerie in which Tom recalls the past and his family. Yet here Daniel Reed, played by the wonderful Lucas Hedges, doesn’t so much recall the past but explains in each successive scene his grandmother’s plight. His grandmother, Gladys Green, is radiantly played by the indomitable Elaine May.

The play opens with Gladys conversing with her grandson Daniel in her Greenwich Village art gallery about his life, his job, and things in general. She talks to him about his parents’ broken marriage and the fondness she and her deceased husband had for their son-in-law. She recalls her past and her joy of meeting new people. This is all done in a loving and nurturing but a bit repetitive manner. At first this comes across as funny because Elaine May has the knack of wringing humor from the most mundane of lines; but as the scene progresses the repetitiveness becomes more serious because Gladys isn’t so much as eccentric as she is developing the early stages of dementia.

As the story unfolds, Don Bowman (Michael Cera) enters the gallery. He is an artist who has moved from Massachusetts to New York to sell off his pitiable art and the only place that will take him in is Gladys. She believes all artists deserve a chance and enables him to showcase his art in her space, a so-called gallery.

Wednesday nights are reserved for dinner at Ellen (Joan Allen) and Howard Fine’s (David Cromer) home. Ellen is Gladys’ daughter, mother to Daniel and wife to second husband Howard. It is here where we begin to see Gladys’ deterioration. Ellen is the bastion of strength in the family, one who looks after Gladys and has to deal with the problems that begin to arise on a daily basis. She is ultimately the one who has to decide what happens to Gladys once she is informed that she is losing her gallery space and how this loss will affect Gladys when she has no place to go to fill her days.

Again, let me reiterate what we see here isn’t so much a play but actual life that Mr. Lonergan has put into words. He totally connects the dots of the start of Alzheimer’s disease, to the progression and the inevitable unreasonable demands that are unwittingly made by the patient. The effects it has on the family, when they take on the responsibility and refuse to allow the loved one go into a nursing home. Although this may sound very depressing, Mr. Lonergan has framed it with humor, which makes sitting through it a cathartic experience.

For a play of this nature, you have to start with an outstanding ensemble cast. I have to start by thanking Elaine May for bringing my late mother (who suffered from the same disease) to life and showing, with heartbreaking accuracy, what she went through those last few years of her life. Ms. May captures every nuance of so many of these patients and she does it exceptionally. One can’t imagine the toll it must take on Ms. May, but her performance is nothing short of remarkable.

Lucas Hedges is at the forefront of young actors and already has classic films under his belt. Mr. Hedges last year had his Oscar-nominated role in Manchester by the Sea and received critical raves for his work in Lady Bird and Three Billboards Outside Ebbing, Missouri. Mr. Hedges stars in the much-anticipated, soon-to-be-released Boy Erased. He makes an auspicious Broadway debut here and hopefully he returns frequently because he is equally at ease and engaging in front of a camera as well as with a live audience.

Michael Cera, earlier seen this spring in his Tony-nominated role in Mr. Lonergan’s Lobby Hero, is almost unrecognizable, as he has shed his baby-faced looks by growing his hair and a beard, to play a hapless young artist. He is perfect as this guileless artist trying to survive in the big city.

It is great to see Joan Allen back on the New York stage inhabiting a very difficult role of trying to be a cold and disciplined daughter who has to say no and rein in her unruly, deteriorating mother, but also be caring and compassionate. David Cromer, who is a Tony-winning director, is equally adept at acting. His performance is dictated by his artistry of being an impeccable director. Lila Neugebauer directs everyone with sharp precision.

What makes The Waverly Gallery a must-see is that it is a life history lesson. It captures our past and what we were, it captures the present of what we have to cope with, and it captures the future for a preparation what may be in store for a loved one or for us.

Edited by Scott Harrah
Published October 29, 2018
Reviewed at October 28, 2018 press performance.

‘THE WAVERLY GALLERY’: Elaine May. Photo: Brigitte Lacombe

‘THE WAVERLY GALLERY’: (left to right) Lucas Hedges, Elaine May & Michael Cera. Photo: Brigitte Lacombe

‘THE WAVERLY GALLERY’: Lucas Hedges & Elaine May. Photo: Brigitte Lacombe

‘THE WAVERLY GALLERY’: Lucas Hedges & Elaine May. Photo: Brigitte Lacombe

‘THE WAVERLY GALLERY’: Joan Allen. Photo: Brigitte Lacombe

‘THE WAVERLY GALLERY’: Lucas Hedges. Photo: Brigitte Lacombe

‘THE WAVERLY GALLERY’: Lucas Hedges. Photo: Brigitte Lacombe

‘THE WAVERLY GALLERY’: Lucas Hedges. Photo: Brigitte Lacombe

‘THE WAVERLY GALLERY’: Elaine May. Photo: Brigitte Lacombe

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‘LOBBY HERO’: Brian Tyree Henry & Chris Evans. Photo: Joan Marcus

LOBBY HERO

Written by Kenneth Lonergan
Directed by Trip Cullman
Through May 13, 20
18
The Hayes Theater
240 West 44th Street
(212-239-6200), www.2ST.com

By David NouNou

Playwrights Horizons first presented Kenneth Lonergan’s Lobby Hero in 2001. However, its message and urgency seem more relevant today than they would have been back then. Dealing with lies, coverups, alibis, collusion, sexism, corruption; these are just on the surface. Underneath you are dealing with integrity and the abuse of power, the need for friendship and the betrayal that friendships sometimes bring. Heady topics indeed, but Mr. Lonergan’s gift of injecting humor in almost every line makes this a thought-provoking as well as a delightful evening in the theater.

Jeff (Michael Cera), a security guard in a high-rise who hates being called a doorman, is confronted by his supervisor William (Brian Tyree Henry) for being sloppy on the job, falling asleep on the night shift, inefficient and totally lacking any promise for the future. Jim is a talker and can delude and talk himself into anything. The two talk each other up, and in so doing, it reveals that William has a problem and their roles reverse. William confides in Jeff that his brother was involved with two other gang members in the murder and rape of a nurse in a hospital and stuffed her body in a closet. This involves family loyalty or standing for his integrity and telling the truth. Instead, William finds himself being used as an alibi to protect his brother.

Bill (Chris Evans) is a gorgeous sleazy policeman who can charm the dew off a honeysuckle tree. He is trying to put the moves on his rookie trainee and partner, Dawn (Bel Powley). He is Mr. Good Guy; years on the force have earned him badges and fame but underneath he is a manipulating snake. On this night he is enticing Dawn while he has a rendezvous with a lady on the 22nd floor in the high-rise. While Bill is busy doing his thing, Jeff, being attracted to Dawn, spills the beans on what Bill is doing on the 22nd floor. This devastates Dawn as she has fallen for him, reprimands him and by doing so, incites Bill’s wrath and he shows his true self.

It is at this point that Mr. Lonergan has set up the trap and we wait to see how allegiances will play out. The humor that is infused here is both funny and sad. As humorous as the lines are at any given moment, it underlines the shortcomings of each character. The show’s trump card is the four brilliant performances. Starting with Captain America, Chris Evans, he is a movie star and an action figure, but who would have dreamed he had such charisma and style? Most movie stars making their Broadway debuts are stiff and not in the best of sync. However, Mr. Evans is a pro on the stage. As charming and beguiling as he is in the beginning, he can be equally menacing and a scoundrel when he is backed against a wall. He knows how to command a stage.

Michael Cera, last seen in Mr. Lonergan’s This Is Our Youth, has a nebbishy presence but is always in command of his performance. Whether he is being scolded or befriending William or Dawn, he is in complete control of how he manipulates them. He is indispensable to the proceedings because he adds equal measure of loser and hopeful.

Brian Tyree Henry is excellent as the torn security captain between familial ties as well as his integrity. Bel Powley has the hardest part of juggling a female policewoman rookie who wants to do well but is caught up in the cogs of the system and she gives a lovely, nuanced performance of disciple and losing sight of what is right.

Trip Cullman has staged the proceedings in a well-balanced manner, unobtrusively splitting the serious and the humor in equal doses and moves his players with effortless ease. He is helped by David Rockwell’s wonderful revolving set where we get a different perspective of each character as the set moves to reflect each character’s perspective. Whichever perspective you choose, you can’t help but be invested in these characters and their outcome.

Edited by Scott Harrah
Published March 30, 2018
Reviewed at press performance on March 29, 2018

‘LOBBY HERO’: Chris Evans & Michael Cera. Photo: Joan Marcus

‘LOBBY HERO’: Chris Evans. Photo: Joan Marcus

‘LOBBY HERO’: Chris Evans & Michael Cera. Photo: Joan Marcus

‘LOBBY HERO’: Michael Cera & Brian Tyree Henry. Photo: Joan Marcus

‘LOBBY HERO’: Brian Tyree Henry. Photo: Joan Marcus

‘LOBBY HERO’: Bel Powley. Photo: Joan Marcus

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INSTANT ATTRACTION: Tavi Gevinson & Michael Cera. Photo: Brigitte Lacombe

By David NouNou

September is the month when children go back to school and critics go back to review Broadway shows. For most children and critics, this could be an ominous time. However, this time the first day of school (or from a critic’s standpoint, the first show of the new fall 2014 season), This is Our Youth is a cause for rejoicing for two reasons. The first being relishing a good show, and the second seeing fresh newcomers take to the Broadway stage and have actual stage presence and charisma. For me, it’s always a pleasure to see actors/celebrities from other mediums making their Broadway debuts and leaving lasting impressions.

Set in March 1982 in the Upper West Side of Manhattan, we meet the loner/loser Warren Straub (Michael Cera), who has just been thrown out of his father’s house for constantly smoking weed there and just happens to steal $15,000.00 on his way out from his dad’s attaché case. Being midnight and having nowhere else to go, Warren shows up at his best friend and tormentor’s home Dennis Ziegler, (Kieran Culkin). Dennis is an entrepreneur in the art of the deal in procuring and selling drugs to his friends and has made a lucrative life for himself, and Dennis also has his own apartment that his rich family pays for as long as he stays away. The third person is Jessica Goldman (Tavi Gevinson), who Warren likes a lot. Naturally they all have excess baggage, and are not particularly likeable characters if you knew any of them personally, and all have hidden secrets, which get revealed as the show progresses.

This is Our Youth was first done as an Off-Broadway show in 1996. As a matter of fact it is Mr. Lonergan’s first foray on Broadway. Both show and playwright are making their Broadway debuts. Also making his Broadway debut is Michael Cera, known as a movie star for his roles in Juno, Superbad, and This Is the End, plus the TV show “Arrested Development”; Mr. Cera has always managed to supply his own brand of geekyness and awkwardness, but he does it with flare. In This is Our Youth, he takes this awkwardness to new heights that are heartfelt as well as heartbreaking. He is the misfit of the 1980s era and plays it to perfection. Even at a happy moment with a girl, he is still the sad sack because you know something will go wrong.

Having seen Kieran Culkin in After Ashley and The Starry Messenger, I knew he is a deft and talented actor;seeing him in an aggressive role is a refreshing part for him. His Dennis is full of cockiness and has mastered the art of the deal, but in the end he will find a way to screw it up because he hasn’t learned to harness his talents for the long haul, just long enough for the next dream ahead.

Tavi Gevinson is an enjoyable young actress but she still has to find her stage legs. She has the angst and frustration of her character but has to tone her down a bit. She can come across as too shrill at times. Director Anna D. Shapiro has managed to take this small show and give it the proper dimensions to make it work on the big stage. Todd Rosenthal’s tenement building background is a vision of art.

What makes This is Our Youth timeless is that it resonates in every decade Whether it’s the 80s, 90s or even the 2010s, the same loners and losers still exist. The dropouts exist in every decade, the only difference is in the 80s they either lived with a parent or lived alone in their own apartment. The only thing that has changed in the 2010s is that they now live as three roommates to make it more cost effective to share the rent.

BEST FRIENDS: Kieran Culkin & Michael Cera in ‘This Is Our Youth.’ Photo: Brigitte Lacombe

Edited by Scott Harrah
Published September 14, 2014
Reviewed at press performance September 13, 2014

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