Japhy Weideman designs lighting environments for theater, opera, and other live events. His designs have been presented throughout the United States, Europe, and Asia. He lives in Brooklyn, New York.
In New York City, his work has been seen on Broadway and at Lincoln Center Theatre, Roundabout Theatre Co, New York Theatre Workshop, The Public Theater, LAByrinth Theatre Company, Playwrights Horizons, Second Stage, Primary Stages, NY City Center, Juilliard Opera Center, Manhattan School of Music, Ma-Yi Theatre Co, and Soho Rep. Dance includes Chase Brock Experience and Tami Stronach.
Auburn (Pulitzer Prize winner for Proof) has a knack for writing complex female characters. That knack hasn’t failed him in "Summer, 1976." Diane, the lustrous Laura Linney, is an aloof artist/university professor who meets Alice, the warm and magnetic Jessica Hecht, a stay-at-home mom, via their very young daughters. Alice’s husband, the unseen, but occasionally heard, Doug, an economist on the tenure track at the university where Diane also teaches, devised a babysitting co-op that involved coupons exchanged for hours of babysitting, a system that eventually breaks down quite humorously. [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]
LaTanya Richardson Jackson (Samuel L. Jackson’s wife) has directed in a desultory fashion. Long, revealing monologues, the backbone of this particular play, are delivered directly to the audience rather than to the other characters, making them more speeches than important character revelations. She also chose to overdo the ending, which includes an ill-advised exorcism and won’t be ruined here. [more]
Comedian Sarah Silverman has turned her bestselling memoir, "The Bedwetter: Stories of Courage, Redemption and Pee," into a musical with the help of co-book writer Joshua Harmon, author of this year’s award-winning "Prayer for the French Republic," and composer Adam Schlesinger ("Cry-Baby"), who passed away in 2020 just as the show was about to go into rehearsal prior to the pandemic. The new musical, simply called "The Bedwetter," like the book is by turns amusing, first hilarious and later serious. Anne Kauffman’s production has a top-notch cast headed by Bebe Neuwirth, Caissie Levy, Darren Goldstein and Rick Crom. [more]
David Hyde Pierce taking off his suit trousers to practice on a drum in his boxer shorts is one of many hilarious bits that are meshed with drama in "The Visitor." It’s a faithful, resonant and well-done musical adaptation of the acclaimed 2007 independent film of the same title. Book writers Kwame Kwei-Armah and Brian Yorkey stick closely to director/screenwriter Thomas McCarthy’s original vision while skillfully translating it for the stage. [more]
It is not until the second act of British playwright Chris Urch’s "The Rolling Stone" that the play catches fire but from then on the drama is explosive, compelling and very disturbing. Once the play gets past the introductory exposition that sets up the plot, the production by Saheem Ali (Donja R. Love’s "Sugar in Our Wounds" and "Fireflies," and Christopher Chen’s "Passage") is taut, tense and involving. [more]
Tom Stoppard, our most cerebral modern playwright, has finally written a play that one would have expected from him all along. "The Hard Problem," his first play in ten years, is literally about concepts in neuroscience and its characters are psychologists, scientists and mathematicians all studying the brain. While the story and its outcome are intriguing, like many Stoppard plays, the characters are not likeable and you will find yourself not rooting for anyone. (Most likely, many real scientists aren’t lovable people either.) Jack O’Brien, who has previously directed Stoppard’s "The Coast of Utopia," "The Invention of Love," and "Hapgood," all for Lincoln Center Theater, has chosen his LCT cast without household names just as did the original London production in 2015 by Nicholas Hytner for Britain’s National Theatre. [more]
Ethical integrity versus moral turpitude is the theme of Kenneth Lonergan’s "Lobby Hero" now having its Broadway debut at The Second Stage’s newly renovated home, The Helen Hayes Theater. Although Trip Cullman’s production is very leisurely for at least the first half of this talky and long play first seen in New York in 2001, his quartet of impeccably cast players (Michel Cera, Brian Tyree Henry, Bel Powley and Chris Evans in his Broadway debut) have a field day with these ethically challenged police and security officers. "Lobby Hero" may appear at first to have a great many meaningless conversations, but it all becomes a tight web of intrigue as the tension rises in the second act. [more]
Lila Neugebauer has directed these two one-acts to bring out their naturalism. In the past, "The Zoo Story" was usually performed with an odd, surreal quality. Neugebauer has given the conversations a flow that reveals this play to be about people, not walking symbols, a lesson Albee had thoroughly absorbed by the time he wrote "Who’s Afraid of Virginia Woolf?" [more]
It’s well constructed, the dialogue is snappy and filled with some funny one-liners. The milieu is that of upper middle class Manhattan white-collar workers. Moderately entertaining, it attempts to explore a prevalent societal issue, but is undermined by its off-putting main character and its rarified sensibility. There is minimal sex talk and that is mostly cute, rather then revelatory. Jordan rhapsodizes about a male co-worker’s body, but doesn’t extoll anything much below the waist. [more]
That sequence is just one of the highlights of John Doyle’s commanding direction. Best known for his vibrant minimalist approach to musicals, Mr. Doyle brings that precise and visually expressive focus to this play. The cast of ten is expertly placed and moved around the relatively bare and spacious stage creating tension, excitement and striking tableaus that all connect to the story. There are also many presentational flourishes. [more]
Following "Bachelorette" and "Assistance," Leslye Headland’s latest play, The Layover, is a taut psychological thriller told in an updated film noir style. Trip Cullman, who has directed all of her New York productions, has made the play a tour de force of tension and unease. As acted by Annie Parisse, Adam Rothenberg, Amelia Workman, John Procaccino and Quincy Dunn-Baker, the tone is marvelously sustained. The only fly in the ointment is the ending which will take you entirely by surprise and may feel unmotivated. [more]
it’s significant that Steve Martin has won five Grammy Awards for albums he’s made–two in the category of “comedy,” and three in the category of “music.” He loves to play the banjo (an instrument, incidentally, that has a prominent role, along with the fiddle, in the music we hear in “Bright Star.”) He’s collaborated with Edie Brickell on two albums. And their ongoing musical collaboration has provided the foundation and inspiration for this engrossing musical play. [more]
"Bright Star," the new bluegrass/country music comedy-drama, rises—just barely—above Hallmark Network romance level thanks to its energetic score by the Hollywood star, Steve Martin (music and book) and singer-songwriter Edie Brickell (lyrics) and an astonishing, charismatic performance of Carmen Cusack in her Broadway debut. [more]
Todd Rosenthal’s remarkably atmospheric and evocative setting is waiting for the audience when they come into the theater: a huge expanse of a corrugated ice flow in Northern Minnesota in forced perspective with miniature cars, ice fishing huts and a train in the far distance. Erik, a dour, taciturn ice-fishing enthusiast played by Jim Lichtscheidl, dressed in a green parka and yellow cap, and Ron (Rylance), a fishing novice dressed in a glowing orange parka and matching hat, appear on the ice to drill holes in the frozen lake on this last day of the ice fishing season. As Ron tells us in his first monologue, “If you go into the woods, the back country, someplace past all human habitation, it is a good idea to wear orange and carry a gun, or, depending on the season, carry a fishing pole, or a camera with a big lens. Otherwise it might appear that you have no idea what you are doing…” [more]
The production includes the Broadway debuts of British screen and television stars Clive Owen and Kelly Reilly, and a return of British stage star Eve Best after her Tony Award nominated performance in the 1908 revival of Pinter’s "The Homecoming." Unfortunately, to some extent they are appearing in three different plays so different are their acting styles. Even Constance Hoffman’s costumes take your mind away from the play before you. A pity actually as "Old Times" has not been seen in New York since the Roundabout’s Off Broadway revival which ran from 1983-84 but had an odd combination of American and British actors of film and stage. [more]
Joshua Harmon, the author of the bitingly engaging "Bad Jews," is back on the boards with "Significant Other," another modern morality tale. Again he displays his incredible ear and eye for the behavior of modern twenty and thirty-somethings. Love, its frustrations and great rewards, is the subject. The pangs of loneliness, self-imposed or otherwise come in for a good going over, too. [more]
Set in Boston in 1984, "Nice Girl" is the story of Josephine “Jo” Rosen (Diane Davis), a 37-year-old secretary who lives with her mother. Davis’ Jo is the epitome of a “nice girl.” She keeps to herself, puts others first, and is afraid to say how she really feels in spite of clear emotional stress. Davis is an actress with immense emotional depth, and provides a varied and complex look at a protagonist whose self-inflicted pain, from an outsider’s perspective, is frustrating and also subtle enough that it feels totally conceivable. [more]
Unlike D’Amour’s last New York play, "Detroit," a Pulitzer Prize finalist which had four characters and a tight arc, "Airline Highway" is diffuse and sprawling with a large cast of 16 actors ably piloted by director Joe Mantello. Set in the shabby, rundown Hummingbird Motel on New Orleans’ Airline Highway, the play introduces us to a colorful but down-and-out cast of characters just eking out a living: Krista, a now homeless stripper in her 30’s; Tanya, a 62-year-old hooker and drug addict; Terry, an African American handyman always in need of money; Francis, a 50ish poet who seemed to have missed his moment, and Sissy Nan Na, a transvestite bartender and karaoke wrangler on Bourbon Street of African American and Puerto Rican descent. The motel is managed by Wayne, in this late 50’s, always good for a soft touch or ready to tell his life story. [more]
Sarah Ruhl's latest play, The Oldest Boy, having its world premiere at Lincoln Center Theater's Mitzi E. Newhouse, is a magical spiritual investigation into the relationship between teachers and students, and mothers and sons. Based on a true story told to the author by her Tibetan housekeeper, Rebecca Taichman's production uses dance (choreographed by Barney O'Hanlon), ritual and a puppet (designed and directed by Matt Acheson) for three-year-old Tenzin. The play also has the Mother directly address the audience and features breathtaking and colorful lighting effects by Japhy Weideman on Mimi Lien's minimalist but pleasing setting, as well as beautiful Asian costumes by Anita Yavich. [more]
Throughout the play there are many visual and spoken references to Michael Jackson, showing how large the presence and influence of The King of Pop in his heyday loomed in the consciousness of many growing up and living in that era. This symbolism adds greatly to the detailed specificity of this passionate, suspenseful and bold work. [more]
The casting is superb. Gunn expresses Olivia's vulnerability and integrity with every line and moment of the play. Magnussen's Ethan, on the other hand, exudes arrogance and over-confidence having found easy success early in his life both with women and as a writer. it also takes perfect casting and acting to make such an evening both convincing and absorbing. This Gunn, Magnussen and Director David Schwimmer have accomplished in spades. Sex with Strangers is an evening not to be missed. [more]
