A Raisin in the Sun
Mandi Masden, Tonya Pinkins and Toussaint Battiste in a scene from Robert O’Hara’s production [more]
Williamstown Theatre Festival
Seared
As directed by Moritz von Stuelpnagel, the play is fast-paced and engrossing and the smell of garlic coming from the stage convinces us that real cooking is going on. The completely working industrial kitchen designed by Tim Mackabee is a wonder of economy on the small stage of the Susan & Ronald Frankel Theater at The Robert W. Wilson MCC Theater Space as we watch many meals get prepared in record time. The flaw in the play is that Esparza’s Harry spends so much time ranting about his beliefs and requirements that he becomes both tiresome and unsympathetic. Harry may be an artist fighting capitalist necessities, but he also sabotages his own success. We eventually discover that he is not as ethical as he pretends to be even though he claims not to care about money – or adulations. And as none of the money in the restaurant is his, ultimately he has no say in what is decided. [more]
The Sound Inside
On Broadway every once in a while writing, acting, directing and the technical production come together to profound, memorable effect. Adam Rapp’s "The Sound Inside" at Studio 54 is a superb example of this phenomenon. Originally staged at the Williamstown Theater Festival, the move to Broadway, and a much larger theater, works incredibly well. [more]
Cost of Living
The play is enlightening for a physically abled audience as to the needs of the disabled both physically and emotionally. Both stories include a tender, poignant bathing scene as the caretakers learn how to adapt to their charges. However, there is more to Majok’s story. Both Jess and Eddie are dealing with their own problems. We discover that Jess is a first generation Princeton graduate down on her luck, all of her family having returned to her native country, never named. Eddie has been a long time alcoholic (which probably wrecked his marriage) and has lost his license and his job after a DUI charge. Ultimately, we discover that Jess and Eddie are coping less well than their charges and adversity is just around the corner. [more]
Fool for Love
This is the fault of director Daniel Aukin who also staged it at The Williamstown Theatre Festival. Besides obtaining just competent performances from his cast, he has chosen a shallow high-tech approach in staging this small-scale but profound masterpiece by a writer at the peak of his powers in a Broadway theater rather then creatively reimagining it with meaningful aesthetic simplicity. [more]
The Elephant Man
This third Broadway outing of Bernard Pomerance’s "The Elephant Man" has its strengths and its weaknesses. On the one hand, it has Bradley Cooper’s magnificent, commanding performance in the title role. On the other, Scott Ellis’ production is a times superficial when it ought to be trenchant and facile when it ought to be caustic. However, like actors in profound classic texts, the performances in this 19th century tale many deepen over time. [more]