The LeVay clan has gathered for what will become a very stormy weekend on Martha’s Vineyard in STICK FLY
Cort Theatre
138 West 48th St. between Sixth & Seventh Aves.
Through February 28, $35 – $131.50
www.stickflybroadway.com
Race and class collide in both familiar and unique ways in Lydia R. Diamond’s emotionally charged dysfunctional family drama, Stick Fly. The LeVays are gathering for their annual weekend on Martha’s Vineyard, but things are a little different this year. Younger son Kent (Psych’s Dulé Hill) is bringing his fiancée, Taylor (Cold Case’s Tracie Thoms), the daughter of a prestigious and respected cultural intellectual, to meet the clan, and eldest son Flip (Mekhi Phifer in his Broadway debut) will be introducing his new girlfriend, Kimber (Rosie Benton), a well-off white woman who works with troubled inner-city youth. Meanwhile, stubborn patriarch Joe (Tony and Obie winner Ruben Santiago-Hudson), a prominent neurosurgeon, has arrived without his wife, claiming she will be coming later. In addition, the LeVays’ longtime maid, Miss Ellie, is seriously ill and has sent her daughter, Cheryl (Ruined’s Condola Rashad), to take care of everyone in her stead. Joe is clearly proud of Flip, a successful plastic surgeon, but he is disappointed in Kent, whom Taylor, an entomologist, calls Spoon and Joe considers a failed ne’er-do-well even when he tells everyone that his first novel is going to be published by a major house. As Taylor and Kimber do battle over the rich and the poor, the self-centered Flip tries to hide a previous dalliance with Taylor. But in the middle of it all is Cheryl, an intelligent, prideful young woman who understands a lot more than she lets on but is about to get the shock of her life.
Joe LeVay (Ruben Santiago-Hudson) discusses insects and more with Taylor (Tracie Thoms) in insightful new Broadway drama
Produced and composed by Alicia Keys and directed by Kenny Leon, who is also currently helming Samuel L. Jackson and Angela Bassett in The Mountaintop, Stick Fly is an involving drama with sharp dialogue, an incisive sense of humor, and a solid cast. Detroit native Diamond, a Steppenwolf veteran making her Broadway debut, has written a compelling tale that flirts with clichés but usually manages to skirt just around them. David Gallo’s inventive set features a carefully sliced wall that allows the kitchen to be seen through the living room, cutting through works of art (by the likes of Romare Bearden and Jean-Michel Basquiat) in a way that echoes the cross-cultural arguments that continue among the characters. Rashad, the daughter of actress Phyllis Rashad and former NFL wide receiver and broadcaster Ahmad Rashad, is particularly effective as Cheryl, who sees through a lot of the LeVay facade as she goes about her menial duties, being treated differently by everyone in the house, a dramatic device that helps to define the inherent biases in each of the characters. “Racism, discrimination, whatever,” Kimber says at one point. “You can’t imply that it exists. It’s like we’re supposed to have come so far that it’s taboo to suggest we have any further to go.” Stick Fly offers a fascinating counterpart to Jon Robin Baitz’s Other Desert Cities, which is currently running at the Booth Theatre. While the former tells the story of a Huxtable-like wealthy black family meeting on the Vineyard, the latter focuses on a rich white family gathering together in Palm Springs, each group dealing with long-simmering insecurities, a book written by one of the adult children, and a not necessarily well-hidden (to the audience) secret that explodes in the second act. But each play handles their situations differently, especially at the very end. Seen together, they offer intriguing insight into the state of the American family, and perhaps not coincidentally they are two of the best plays on Broadway right now.
Carol Reed’s thriller is quite simply the most entertaining film you’re ever likely to see. Set in a divided post-WWII Vienna amid a thriving black market, The Third Man is heavy in atmosphere, untrustworthy characters, and sly humor, with a marvelous zither score by Anton Karas. Joseph Cotten stars as Holly Martins, an American writer of Western paperbacks who has come to Vienna to see his old friend Harry Lime (Orson Welles), but he seems to have shown up a little late. While trying to find out what happened to Harry, Martins falls for Harry’s lover, Anna (Alida Valli); is told to get out of town by Major Calloway (Trevor Howard) and Sergeant Paine (Bernard “M” Lee); meets a stream of Harry’s more interesting, mysterious friends, including Baron Kurtz (Ernst Deutsch) and Popescu (Siegfried Breuer); and is talked into giving a lecture to a literary club by old Mr. Crabbin (Wilfrid Hyde-White). Every scene is a finely honed work of art, filled with long shadows, echoing footsteps, dripping water, and unforgettable dialogue about cuckoo clocks and other strangeness. SPOILER: The shot in which Lime is first revealed, standing in a doorway, a cat brushing by his feet, his tongue firmly in cheek as he lets go a miraculous, knowing smile, is one of the greatest single moments in the history of cinema. The Third Man is screening December 14-16 at 1:30 as part of MoMA’s ongoing series “An Auteurist History of Film,” which continues with Akira Kurosawa’s Rashomon December 21-23 and John Ford’s Wagon Master December 28-30.
