Reflections in the Light

Quick Hit Theater Review: Natasha, Pierre and the Great Comet of 1812

2013-05-18T18:19:00.000-04:00

The cast. Photo: Chad Batka

Natasha, Pierre and the Great Comet of 1812
By Dave Malloy
Adapted from War and Peace by Leo Tolstoy
Choreography by Sam Pinkleton
Direction and Musical Staging by Rachel Chavkin
Kazino (West 13th Street and Washington Street)

What's It All About?
This recipient of the 2013 Richard Rodgers Award for Musical Theater is a mixed cocktail of romance, war, operetta, literature and vodka. The scandalous romance of Natasha (Phillipa Soo) and womanizer Anatole (Lucas Steele) is sliced from the pages of Tolstoy's classic tale of war and peace just before Napoleon's invasion of Russia.

Designer Mimi Lien sets the show as a dinner theater in a Russian club, Kazino -- Off, Off-Broadway in the heart of the meatpacking district. The show is staged in a tent lined with red drapery, framed portraits and paintings reflecting the lights of elegant light fixtures. The mood is further enhanced by aristocratic costumes from the early 19th-century designed by Paloma Young. Your ticket includes a Russian meal, right down to the borscht with food service before curtain and during a break separating parts one through three from four and five (this is, after all, War and Peace-- run time is about two hours and 40 minutes).

The tone is anything but serious, however, and the tongue-in-cheek prologue, where writer Dave Malloy (who plays Pierre) deftly introduces all of the major and minor characters, while instructing the audience to read the information in their programs, is a quick who's who and a hoot to boot. Here's a snippet:

"This is a complicated Russian novel; everyone has nine different names.... Hélène is a slut; Anatole is hot; Marya is old school; Sonya is good; Natasha is young; And Andrey isn’t here."

An eight-member band accompanies the vocalists from various stations throughout the house, continuing an interactive theme that might well find a character sitting down at your table or sharing your glass of vodka.

What are the Highlights?
Vodka with a twist -- it's entertaining and engaging with catchy, memorable tunes. The ensemble is good. The vegetables are very tasty.

What are the Lowlights?
Sorry, I am not a fan of shared food at tables with people I don't know. The hors d'oeuvres-type food (vegetables, pierogies, bread, shrimp, fish and chicken) is served family style and without serving utensils. My companion told me I am too concerned about such things, but a woman arriving at our table right at curtain started foraging around for food in the dark. She used her fork to spear what she thought was an round appetizer, took a large bite, then RETURNED IT TO THE DISH declaring that it was just butter. Call me Monk, but eeeeeew.

But the biggest lowlight was that I had to leave before the end to catch a train. I might just go back to enjoy the experience fully.

More information:
Food service begins about an hour before the how. http://kazinonyc.com/. You can listen to some music here:
http://www.davemalloy.com/comet.html.

Notes: bathrooms are sort of glorified portable toilets.
I would say this is for adults.

New Times, Ticket Policies Announced for Shakespeare in the Park

2013-05-16T08:50:00.001-04:00

Luke Forbes, Dorien Makhloghi, Nyambi Nyambi, Marianne Jean-Baptiste
and Lily Rabe in a scene from The Merchant from Venice in the park. Photo by Joan Marcus

The Comedy of Errors, the first of this season's Shakespeare in the Park offerings by the Public Theater in Cenral Park, begins previews May 28 and some new policies will be in place for getting free tickets to the shows, which now all will begin at 8:30 pm and last abot 90 minutes without intermission.

To make it easier for patrons to wait in line for free tickets, the ticket distribution at the Delacorte Theater will begin an hour earlier this year at noon. In order to allow as many different people as possible to attend, visitors will be limited to receiving two free tickets to two performances only of each production. As in past years, virtual ticketing lottery for free tickets will be available at www.shakespeareinthepark.org on the day of the show. The Delacorte Theater is accessible by entering at 81st Street and Central Park West, or 79th Street and Fifth Avenue.

All performances this summer for The Comedy of Errors and Love's Labors Lost, a New Musical, will begin at 8:30 pm with running times of approximately 90 minutes, no intermission. Previously they began at 8 and incuded a break.

Directed by Daniel Sullivan, The Comedy of Errors will feature Jesse Tyler Ferguson and Hamish Linklater as Dromio and Antipholus respectively and will run through Sunday, June 30.

The complete cast includes J. Clint Allen (Ensemble);De’Adre Aziza (Courtesan); Becky Ann Baker (Emilia); Emily Bergl (Adriana); Keith Eric Chappelle (Balthasar);Robert Creighton (Angelo); Jesse Tyler Ferguson (Dromio);Reggie Gowland (Ensemble); Jonathan Hadary (Egeon/Pinch);Bryan Langlitz (Ensemble); Hamish Linklater (Antipholus);Heidi Schreck (Luciana); Skipp Sudduth (Duke/Luce); andJessica Wu (Ensemble). The non-equity ensemble includes Tyler Caffall,Reed Campbell, Brian T. Lawton, Michael McArthur, Rachel McMullin,Natalie Woolams-Torres, and Adrienne Weidert.

The design team: sccenic design byJohn Lee Beatty, costume design by Toni-Leslie James, lighting design by Jeff Croiter, sound design by Acme Sound Partners, original music by Greg Pliska and choreography by Mimi Leiber

Love's Labors Lost. directed and adapted by by Alex Timbers has songs by Michael Friedman. It begins previews Tuesday, July 23 and runs through Sunday, Aug. 18.

The cast features Daniel Breaker (King of Navarre),Kevin Del Aguila (Dull), Colin Donnell (Berowne), Andrew Durand (Boyet), Jeff Hiller (Nathaniel), Rebecca Naomi Jones(Jaquenetta), Justin Levine (Moth), Patti Murin (Princess),Lucas Near-Verbrugghe (Dumaine), Bryce Pinkham (Longaville),Charlie Pollock (Costard), Caesar Samayoa (Don Armado),Maria Thayer (Rosaline), and Audrey Weston (Katherine).
The design team: scenic design by John Lee Beatty, costume design by Jennifer Moeller, lighting design by Jeff Croiter, and sound design by Acme Sound Partners.

FREE SHAKESPEARE IN THE PARK TICKET INFORMATION

Tickets to The Public Theater’s Shakespeare in the Park are FREE and are distributed, two per person (age 5+) at the Delacorte Theater in Central Park beginning at noon on the day of each performance. As in the past years, the Virtual Ticketing system for free tickets will be available at www.shakespeareinthepark.org on the day of the show. In order to allow as many different people as possible to attend Free Shakespeare in the Park this summer, visitors will be limited to receiving free tickets to two performances only of each production.

There will continue to be a separate line for accessible tickets for senior citizens (65+) and patrons with disabilities.

After the final ticket is distributed for each day’s performance, visitors who did not obtain a ticket may begin to form a stand-by line. The Public Theater staff will begin to monitor this line, starting at 6:30 pm. Pending availability, free stand-by tickets will be distributed, one per person.

Borough Distribution: In addition to the ticket line at the Delacorte Theater and Virtual Ticketing online, a limited number of vouchers for specific performances will be distributed, while supplies last, at locations throughout NewYork’s five boroughs. Each person in line is allowed two vouchers and each voucher is good for one ticket for that evening’s performance. Vouchers must be exchanged for tickets at the Delacorte Theater Box Office that day from 4:30-7:30 pm.

For The Comedy of Errors, ticket vouchers will be distributed, while supplies last, on Wednesday, May 29 in Manhattan at Harlem Stage at The Gatehouse (150 Convent Ave.at West 135th St.); on Thursday, May 30 in Staten Island at Snug Harbor Cultural Center (1000 Richmond Terrace); on Tuesday, June 4 in the Bronx at Lehman Stages (250 Bedford Park Blvd.); on Wednesday, June 5 in Queens at the New York Hall of Science (47-01 111th St.); and onFriday, June 7 in Brooklyn at the Brooklyn Children’s Museum (145 Brooklyn Ave.).

For Love's abors Lost, ticket vouchers will be distributed, while supplies last, on Thursday, July 25 in Staten Island at Snug Harbor Cultural Center (1000 Richmond Terrace); on Friday, July 26 in the Bronx at The Point (940 Garrison Ave.); on Saturday, July 27 in Brooklyn at the Brooklyn Public Library (10 Grand Army Plaza); on Tuesday, July 30 in Manhattan at The Public Theater (425 Lafayette St.); and on Wednesday, July 31in Queens at the Queens Central Library (89-11 Merrick Blvd.)

SUMMER SUPPORTER TICKETS, first conceived by Joe Papp as a way to support free Shakespeare in the Park, are available now. A fully tax-deductible contribution of $175 entitles each Supporter to one reserved seat for either Shakespeare in the Park production. A limited number of Summer Supporter seats are available to ensure that as many free seats as possible will be available to distribute to the general public on the day of the show. Supporter contributions help to underwrite free Shakespeare in the Park.

Supporter donations can be made at The Public Theater Box Office at 425 Lafayette Street, by phone at (212) 967-7555, or online atwww.shakespeareinthepark.org. Seating locations for donors are allocated strictly by giving level and in the order that they are received.

The Delacorte Theater is accessible by entering at 81st Street and Central Park West, or 79th Street and Fifth Avenue.

Theater Review: Pippin

2013-05-15T22:01:00.002-04:00

They've Got Magic to Do, Just for You and a Miracle Play to Play
By Lauren Yarger
If ever an opening number delivers on its promise, the exciting "Magic to Do" which opens the Broadway revival of Pippin does.

It is, in fact, one of the most breathtaking opening numbers we've seen on a stage in a long time thanks to the big-top theme imagined by Director Diane Paulus and Circus Creator Gypsy Snider and it sets the tone for the rest of the evening -- for which you definitely should leave your cheese to sour and join them for an hour or two (well, really about two and a half).

Colorful costumes (Domenique Lemieux, design) and an old-fashioned circus tent (Scott Pask, set design) provide the backdrop for juggling, tumbling, trapeze artistry, balancing and illusions (Paul Kieve) while the story of Pippin (Matthew James Thomas), son of King Charles (Terrence Mann), the Middle Ages' Charlemagne, unfolds amidst Stephen Schwartz's beloved score and lyrics with a book by Roger O. Hirson.

Young Pippin returns from school unsure of what to do with his life. He knows it has to be extraordinary, but isn't sure where he'll find his "Corner of the Sky" (beautifully nailed by Thomas.) Just when the audience is struggling not to sing along with tunes like "Glory" or get up to dance the original Bob Fosse moves with the Manson Trio (Patina Miller starring in Ben Vereen's "Leading Player" role joined by Andrew Fitch and Anthony Wayne) the house lights come up and they are invited to join Pippin's grandmother, Berthe (Andrea Martin), in the choruses of "No Time at All." I won't give away why, but this number stopped the show twice the night I was there. Look for Martin to be making an acceptance speech at the Tonys when she receives the award for Best Featured Actress in a Musical.

Pippin tries to be a soldier like his cocky half brother, Lewis (Erik Altemus), but doesn't like war. He tries to find "something completely fulfilling," but fails time and time again. Women don't satisfy him. Neither does power, even after he usurps his father's throne at the urging of Lewis and his stepmother, Fastrada (Charlotte D'Ambroise). He tries so many different things, that break-away costumes almost can't keep up with the action.

He finds domestic tranquility with a widow, Catherine (Rachel Ray Jones), and her young son, Theo (Andrew Cekala and Ashton Woerz share the role), until he realizes that he has settled. He would rather "trade my ordinary life to perform one extraordinary act," he declares The Leading Player and the the pull of earthly pleasures offer him just that opportunity, but will Pippin find what he's looking for before making the ultimate sacrifice?

"Fabulous"is the word that keeps coming to mind when describing this show. The original Broadway staging in 1972 was terrific, but Paulus has taken us to that extraordinary place for which Pippin is searching. Chet Walker's choreography is "sharper than sight" and the dramatic circus acts performed by an ensemble, many of whom have circus backgrounds, are made exemplary by an excellent technical team: Lighting Designer Kenneth Posner, Sound Designers Jonathan Deans and Garth Helm, Techincal Supervisor Jake Bell and Design Supervisor Edward Pierce. Chic Silber provides the fire effects. The music id directed and arranged by Nadia DiGiallonardo with arrangements by Larry Hochman

Every player, no matter how small the role, stands out, especially Anthony Wayne, whose portrayal of a chicken was most entertaining.

Shout it out from the highest tower, I predict this show will snag Tonys for Best Revival of a Musical and Best Director of a Musical for Paulus (Hair). Miller (whose voice sounded a bit strained the night I attended) and Mann also are nominated, along with Walker, Pask, Lemieux, Posner and Deans and Helm. Regardless of how many Tonys the show receives (it received 10 nominations in all), it will be around for a while.

Pippin is working his magic over at the Music Box Theatre, 239 West 45th St., NYC. Tickets and info: http://www.pippinthemusical.com/.

Christians might also like to know:
-- Sexual situations
-- Suggestive costumes
-- Sexual activity (some between two women; the scene where Pippin indulges in lust is quite graphic and dark, but appropriate to the plot)
-- Violence
-- Magic
-- God's name taken in vain
Note: Despite the circus motif, I would caution against taking very young children. The themes, as you can see by this list of content advisories, are more mature.