An award-winning costume and set designer for theatre, Clint Ramos is devoted to giving back to his community despite his busy schedule. In addition to his support for Oxfam International, God’s Love We Deliver, and Broadway Cares, Clint Ramos lends his time to SLAM NY, which consists of a group of New Yorkers working toward establishing the city’s first public high school devoted to youth in recovery. SLAM, an acronym for Sobriety, Learning, and Motivation, is focused on emulating the success of the more than 30 existing sober high schools in the United States. https://www.resume.com/clintramos
Does the New York City Center Encores! new production of "Jelly’s Last Jam" hold up against the original Broadway production (1992-1993) which starred Gregory Hines (Tony Award), Savion Glover, Keith David and Tonya Pinkins (Tony Award)? Yes, it does and makes a good case for Jam’s enjoying a strong future. This production, directed with verve and precision by Robert O’Hara, is both a fine musical and a fine drama, a diamond in the crown that is the Encores! thirty-year history. [more]
New York City Center Encores!’s new production of the musical, directed by Chay Yew, stars another Tony Award winner, the sensational Ruthie Ann Miles, as the determined Margaret Johnson with beautiful-voiced Anna Zavelson as a believably three-dimensional Clara. The Encores! production is more down-to-earth than either the film or the original Lincoln Center production and more satisfying as a human drama. There’s no stinting on humor, but the characters’ formerly trivial problems now seem more worthy of our attention. [more]
Celebrating the 50th anniversary of its original film release, Pulitzer Prize-winning playwright Suzan-Lori Parks has turned "The Harder They Come," the cult Jamaican film that starred later reggae legend Jimmy Cliff, into an exuberant stage musical now at The Public Theater. Led by British stage star Natey Jones and American Caribbean actress Meecah, the large cast does full justice to the new score which includes the ten songs used in the movie plus 26 other Jamaican and traditional songs, additionally interpolated ones by Cliff and others, and some with additional lyrics by Parks. There are also three original songs by Parks herself who when she is not involved with one of her plays fronts her own rock band. [more]
All of the above occurs prior to the intermission and, if "The Far Country" has a shortcoming, it's that the second half feels like a sequel to what came before rather than a continuation of the same play, despite the sensitive efforts of director Eric Ting to emotionally stitch everything together. In part, that's because characters disappear entirely after Suh's story resumes, though the more salient cause is the relatively late introduction of Yuen (Shannon Tyo), a desperate, but still strong-willed, young woman to whom Gyet proposes marriage after returning to China with his U.S. citizenship, essentially replicating Gee's offer to him with an even more intimate bond. [more]
Adopting the hokey framing device of a concert documentary, Kim turns the impending U.S. debut of a South Korean entertainment company's three hottest acts into a triptych of rigorously gendered plots. While attempting to capture all the glitz, glamor, and artistry, the American documentarian (Aubie Merrylees) also relentlessly stirs the pot to heighten any behind-the-scenes discord for the cameras, which doesn't make much sense since his paycheck is signed by Ruby (Jully Lee), the record label's iron-fisted founder and driving force, who obviously wants a glorified promotional video, not an investigative report. But to ascribe dramaturgical logic to the situation is to entirely miss the point. Aided by Peter Nigrini's voyeuristic projections of backstage squabbling, the objective is not truth but, rather, to establish the type of assiduously rendered false intimacy fans perceive as truth. [more]
Norris’ smart and effective script is packed with controversy; its characters are stained by the trauma in which their lives have been steeped, and it’s uncertain they will ever feel clean again. So many questions come to mind as this play unfolds. ... "Downstate" is a stirring, thought-provoking play about a deeply painful topic that plagues societies around the world. It’s an extremely tight piece of writing; every word and action is relevant. I can’t wait to see it again. [more]
But, again, O'Hara does these actors no favors, forcing them to contend with incongruous historical information while also depriving them of the greatest acting benefit O'Neill's four-act play affords: time. The characters' drawn-out, if not periodically downright tedious, interactions are fundamental to establishing the family dynamic and, more importantly, necessary for giving the work it's much-needed oppressive weight. It's nice that O'Hara wants to spare us from that suffering, but it doesn't help the play. [more]
The declarative lyrics are written by Mr. Goldstein and the show’s composer Michael Friedman. Mr. Friedman was a notable musical theater figure who died of HIV-related causes in 2017, at the age of 41. With its derivative melodies echoing Stephen Sondheim, John Kander and William Finn, "Unknown Soldier" is not a posthumous masterpiece. [more]
Bess Wohl's "Grand Horizons" opens with a pas de deux of marital inertia as Nancy (Jane Alexander) and Bill (James Cromwell), two near-octogenarians wasting their twilight days in a so-called independent living community, wordlessly go through the motions of sitting down to dinner. Their silence, and apparently 50-year marriage, are finally both broken when Nancy dispassionately declares that she "would like a divorce" and with equal nonchalance Bill responds, "All right." Confidently staged, or rather choreographed, by director Leigh Silverman, it's an extraordinary scene that, in truth, could stand alone as its own very brief play with the audience, possibly to its experiential chagrin, imaginatively filling in everything that came before. [more]
Hillary Clinton wearing a glittery red pantsuit leading a Gene Kelly/Stanley Donen-style production number set in a Busby Berkeleyesque recreation of a McDonald’s with giant sparkling French fries is a highlight of the insipid and disjointed musical fantasia, "Soft Power." It’s just one of its many lame sequences including a "The Music Man"-type explanation of the U.S. electoral system led by a singing and dancing judge. We’re in for two hours of painfully unfunny self-indulgence. Holden Caulfield from "The Catcher in the Rye" pops up too. [more]
A mulatto slave is sodomized with a large black dildo while in a canopy bed by his master’s wife who is decked out in Madonna-style dominatrix regalia. A white indentured servant fellates the boot of his black overseer after they’ve performed a balletic dance in their underwear. A snarling whip- wielding white overseer is abusive to a female black slave as she cleans his shack while twerking to Rihanna’s “Work.” Welcome to playwright Jeremy O. Harris’ overblown and overrated racial, social and sexual satire, "Slave Play." Striving for hilarity, it’s painfully unfunny. The wan shock value is more in the spirit of Mel Brooks than Jean Genet. [more]
Poet Aziza Barnes’ first play, "BLKS," now at MCC Theater Space is raucous, vulgar, outrageous and contemporary in Robert O’Hara’s hilarious, over-the-top production. Following the adventures of three black women roommates from Brooklyn over a day and a half, it shows us how the Girls are living today - Lena Dunham would approve. However, the loud and busy production in the Newman Mills Theater stage will thrill twenty and thirty somethings, while older people may not be in tune with it. It is an insightful view of modern life today from the black female perspective and as liberated as a play can get at this moment in time. There is likely to be a generational divide to this comedy which pushes the envelope. [more]
Abrasive as a subpar episode of Maude and reaching a sour psychological thriller-style finale out of Craig’s Wife, Happy Talk is playwright Jesse Eisenberg’s muddled family drama. It’s the 1990’s and the New Jersey Jewish matron Lorraine is playing Blood Mary in a community theater production of South Pacific and so in addition to the jokey title we get a barrage of painfully cute musical comedy references. Scene transitions are accompanied by blaring snippets of Mitzi Gaynor who played Nellie Forbush in the film version. The combination of Mr. Eisenberg’s smug sensibility, inane contrivances, shtick-ridden dialogue, condescended-to characters, and slack construction all make it a tiresome one hour and 45 minutes. [more]
For one thing, it takes far too long for Pale, Wilson’s most outrageous and flamboyant creation, to arrive on the scene. (Malkovitch was Pale in the original production and Adam Driver is Pale now, with different but equally effective results.) For another, the premise of the play requires Anna to be overly reserved and subdued, in contrast with Pale’s constantly explosive character. The customarily sure-fire director Michael Mayer somehow seems to have accentuated those problems with lethargic consequences. [more]
After she won the Pulitzer Prize for "Topdog/Underdog," one approached a new play by Suzan-Lori Parks with great expectations--expectations that are strongly rewarded by her latest work, "White Noise." While the title refers specifically to the hissing sound made by sleep machines, meant to lull and keep you asleep, it also hints at the many racist issues this new, smart work traffics in. [more]
Nothing is what it seems in Jeremy 0. Harris’ startling and explosive "Slave Play" which investigates where race and sexual relationships intersect. What we have been watching in the play’s opening scenes is role playing on Day Four for Antebellum Sexual Performance Therapy, “designed to help black partners re-engage intimately with white partners from whom they no longer receive sexual pleasure.” These three couples have chosen to spend a week in this new treatment in order to deal with their "anhedonia" or inability to feel pleasure which has been a problem for them for some time. [more]
In offering a window on a world most New York theatergoers know little about, Hansol Jung’s Wild Goose Dreams is a fascinating look at Korean culture. On the other hand, what appears to be a Korean obsession with the Internet and smartphones often becomes tedious as it goes on so long without bringing us much that is new. Leigh Siverman’s busy production creates a world of its own but is often overwhelming rather than enveloping. The Public Theater staging, a co-production with La Jolla Playhouse, may be of more interest to Millennials addicted to their electronic devices than the rest of the theatergoing public. However, this may be the trend of the future and older theatergoers may just have to get used to it. [more]
If these characters sound familiar, they are based on real people who populated Albany politics four decades ago. "The True," a world premiere play by Sharr White ("The Other Place," "The Snow Goose") gives four-time Emmy and two-time Golden Globe Award winner Edie Falco another bigger-than-life role and she is magnificent. The cast also includes television stars Michael McKean (Mayor Corning) and Peter Scolari (Peter Noonan) as well as Glenn Fitzgerald (Howard C. Nolan) and John Pankow (Charlie Ryan) who under the direction of The New Group’s artistic director Scott Elliott create a true ensemble, making us feel that these people have lived their roles. [more]
This plotless, mostly sung-through exhibition conveys the tumultuous 20th century urban African-American experience through Micki Grant’s dazzling score for which she wrote both the music and lyrics. “Universe in Mourning,” “Harlem Streets,” “Ghetto Life” and “Billie Holiday Blues” are some of the titles. [more]
The unison of Jason Robert Brown’s accomplished score, Kate Whoriskey’s exciting direction and Rennie Harris’s vibrant choreography make this New York City Center Encores! Off-Center’s revival of his 1995 debut show "Songs for a New World," a dynamic theatrical experience. Mr. Brown’s surprise appearance at the piano to play a song in the second act was electrifying. [more]
But "Reference" is also about issues of gender, race, age, celebrity, politics, economics, and the inescapable impact of the Internet--and more specifically, social media--on the ways business is done today. That may sound like a lot to digest, or maybe even too ambitious by half--but what’s amazing about "Relevance" is how well it manages to fit all of that into a four-character play that speeds by in only 100 minutes. [more]
Playwright Robert O’Hara’s fertile premise might have made for a provocative, sober sci-fi take on gender roles, sexuality and parenthood. Instead, it’s broadly conceived and lame. The flat dialogue is in the vein of Abbott and Costello with numerous jokes about “fathers” since there are no mothers. The “Dude, I’m pregnant” bit gets painfully recycled. [more]
Anton Chekhov once advised that if you show an audience a gun you are required to have it go off. Set on September 8, 1976, Seth Zvi Rosenfeld’s new play, "Downtown Race Riot," being given it world premiere by The New Group, never takes us to this forgotten event which happened in Washington Square Park but depicts the forces and people involved in the 100 minutes before the riot is to happen. This overheated melodrama which goes on a bit long takes on many important themes (racial hatred, drug addiction, petty crime, sexual identity, financial insecurity, etc.) without making any pertinent point about any of them. While the dialogue and the milieu are gritty, Downtown Race Riot recycles a great many stereotypes and clichés. [more]
Director Arden, a 2005 Juilliard graduate, has impressed with his reinvention of the 2015 Forest of Arden/ Deaf West Theatre revival of "Spring Awakening" for which he was nominated for a Tony Award. Among his clever additions to "Once on This Island" are the use of a chorus of eight to play the Storytellers who relate the tale through Ahrens’ book and lyrics, a new sonic palette for Flaherty’s calypso-tinged score with musical instruments made from found objects, and a set which puts us on the shores of the very island where the story takes place with the audience sitting on all four sides of this newly created beach. His young lovers Ti Moune and Daniel seem a good deal younger than before, making the story that much more romantic and ultimately more tragic. [more]
While superficially poignant, "Torch Song" remains what it always was: a fierce play about the need for respect as a gay person, when it was painfully more difficult to come by acceptance, let alone respect. And to that extent, it may seem like a dated work, wedded to when it premiered as three one-act plays that were then put together as one, more than three decades ago. It’s still just as moving and tear-provoking as it comes to focus on a gay man whose mother (“the Sylvia Sydney of Brighton Beach”) has to cope with his adopting a young son. With the marvelous Urie and the always-superb Mercedes Ruehl as the mother, how could anything go wrong? Nothing does. [more]
Although the physical production has been well-thought-out, the script seems to have no interpretation other than a great deal of slapstick comedy which does not much register. The cast varies greatly in having found the core of their roles. Phylicia Rashad’s Titania is romantic and authoritative, while Richard Poe’s Oberon is wryly arch but ineffectual. Their fairy attendants are played by white haired and balding senior citizens but nothing much is made of this unusual casting. As Puck usually played by a youth or a dancer, Kristine Nielsen’s regular mannerisms are kept to a minimum but she seems much more amused by her mischief than the audience does. [more]
Featuring an energetic, game cast headed by bigger-than-life Ashley D. Kelley as the title character, "Bella" follows this “big booty Tupelo girl,” as she travels (under an assumed last name) to meet her staid fiancé, Buffalo Soldier Aloysius T. Honeycutt (handsome, sweet voiced Britton Smith) and to escape the law. She meets a slew of fascinating characters—some who really existed and some fictitious—and finds her life taking a surprising turn in her bumpy road to marital bliss. [more]
Say this for actor Hamish Linklater: he writes juicy parts for his fellow actors. He also knows how to set up a sense of community. The New Group production directed by its artistic director Scott Elliott has a fine cast led by two-time Tony Award winner Norbert Leo Butz and Zosia Mamet, just off six seasons of the recently ended HBO television series, Girls. [more]
All the acting is sharp, from the upper-crusters taken in by Paul (Lisa Emery, Michael Countryman and Ned Eisenberg) to their kids (Colby Minifie, Keenan Jolliff, Ned Riseley, and Cody Kostro), Chris Perfetti as Trent who, sexually intoxicated by Paul, fills him in on the ways and means of all the people he will eventually swindle, and finally, to the young lovers (Peter Mark Kendall and Sarah Mezzanotte) whose fate reveals just how psychologically damaging Paul can be. [more]
Don’t blame singer Jo Lampert who gives a passionate performance as the Maid of Orleans. Unfortunately, she hasn’t been given anything very interesting to sing in this mostly sung-through musical. Her lyrics are trite and repetitious. She may have been a teenager, but there is no reason to have written lyrics that continue to sound like they were written by a junior high school student attempting his or her first songs. The endlessly repeated refrains do not serve to make Joan seem more simple and holy but sound like a lack of imagination. The minimal spoken dialogue is used for the various narrators and the trial testimony taken from the actual transcript of the event. [more]
It would be difficult to imagine anything darker than the content of the second musical collaboration by John Kander and Greg Pierce having its New York premiere at the Vineyard Theatre. Possibly Kander’s own"Cabaret" or "The Visit" - but both take place long ago and in faraway lands. Kid Victory relates the tale of a 17-year-old youth who was kidnapped for a year and has returned to his Kansas family. All the members of the community want to behave as though nothing has changed but for Luke Browst nothing is the same and things can’t go back to the way there were before. [more]
The real reason to see the new "Sweet Charity," its third major New York revival, is for Sutton Foster’s bravura performance. Aside from nightclub singer Reno Sweeney in Anything Goes, Foster has usually played innocent, clean-cut young women caught up in unusual situations. Here she again plays to type – but with a difference: Charity Hope Valentine works as a taxi dancer in a New York dance hall, a sleazy environment. However, she keeps her infectious innocence and her indomitable spirit despite one unfortunate romantic encounter after the other due to her gullibility. Under Leigh Silverman’s direction, Foster may just be the most convincing actress to ever play Charity. [more]
