this week in theater

OFF BROADWAY WEEK 2014

Charles Busch’s THE TRIBUTE ARTIST is among off Broadway shows offering two-for-one tickets (photo © James Leynse)

February 17 – March 2
Tickets 2-for-1
www.nycgo.com

As such theater promotions as 20at20 and Broadway Week wind down, Off Broadway Week is just getting started. Two-for-one tickets are now on sale for nearly fifty off Broadway productions, from old favorites to shows still in previews. Among the old-timers are Blue Man Group at the Astor Place Theatre, The Fantasticks at the Snapple Center, and Stomp at the Orpheum. Twofers are also available for the highly touted Buyer & Cellar at Barrow Street, about a struggling actor who gets a job as an assistant to Barbra Streisand; Riding the Midnight Express at the Players Theatre, in which the real Billy Hayes tells the true story of his Turkish imprisonment; the New Group’s world premiere of Thomas Bradshaw’s extremely graphic Intimacy at the Acorn; Caryl Churchill’s Love and Information at the Minetta Lane; Craig Lucas’s Ode to Joy at the Cherry Lane; Bikeman: A 9/11 Play at Tribeca Performing Arts Center; Charles Busch’s The Tribute Artist at Primary Stages, starring Busch and Julie Halston; the new musical Transport at the Irish Rep; John Van Druten’s London Wall at the Mint; and the AA play Bill W. and Dr. Bob at SoHo Playhouse. There’s also plenty of family friendly shows, including The Berenstain Bears in Family Matters, the Musical; Piggy Nation: The Musical; The Amazing Max and the Box of Interesting Things; and The Greatest Pirate Story Never Told!

A GENTLEMAN’S GUIDE TO LOVE AND MURDER

One of the D’Ysquiths (Jefferson Mays) celebrates with his potential murderer (Bryce Pinkham) in vengeful musical comedy

Walter Kerr Theatre
219 West 48th St. between Broadway & Eighth Ave.
Through September 7, $35-$137
www.agentlemansguidebroadway.com

Not even a ridiculously loud family sitting behind us, crunching on candy and talking throughout the first act, could dampen our thorough enjoyment of the wonderful new Broadway musical A Gentleman’s Guide to Love & Murder. The show follows the trials and travails of one Monty Navarro (Bryce Pinkham), who is in prison, writing his memoirs. The story then turns back to Monty’s mother’s funeral, where chatty Miss Shingle (Jane Carr) tells him that his mother was disowned by the noble D’Ysquith family when she married a man her relatives disapproved of. When Monty discovers that he is eighth in the line of succession to become earl, those men and women in between him suddenly start dropping like flies, each one played with a hearty wink and a nod by Jefferson Mays (I Am My Own Wife, Blood and Gifts) in ever-more-clever set-ups, from various lords and ladies to a dentally challenged reverend. Meanwhile, Monty can’t let go of the woman he adores, the spectacularly beautiful, self-centered, and manipulative Sibella Hallward (Lisa O’Hare), who is engaged to marry the never-seen Lionel Holland. Social mores of Edwardian England come tumbling down as Monty nears his vengeful goal. (If any of this sounds familiar, it’s because Gentleman’s Guide is based on Roy Horniman’s 1907 novel, Israel Rank: The Autobiography of a Criminal, the inspiration for Robert Hamer’s classic 1949 British black comedy, Kind Hearts and Coronets, in which Alec Guinness plays eight members of the D’Ascoyne family.)

Sibella (Lisa O’Hare) and Monty (Bryce Pinkham) reevaluate their relationship in A GENTLEMAN’S GUIDE TO LOVE & MURDER

Robert L. Freedman (books and lyrics) and Steven Lutvak (music and lyrics), with director Darko Tresnjak and scenic designer Alexander Dodge, have created a lovely little tale, part The Mystery of Edwin Drood, part Gilbert & Sullivan operetta, with some Monty Python flourishes added for good measure. Pinkham (Ghost, Bloody Bloody Andrew Jackson) has devilish fun as Navarro, thinking up new ways to do away with his potential victims, while Mays — well, it’s often hard to figure out just how he changes from character to character so quickly, not only in wardrobe but in accent and style, a mind-boggling tour de force. Most of the action takes place on a stage within the stage, with red curtains and faces that occasionally come alive. Intentionally cheesy backdrops and playful video projection add to the fun of such numbers as “You’re a D’Ysquith,” “Poison in My Pocket,” and “The Last One You’d Expect,” while riotous slapstick propels a marvelous scene in which Monty is with Sibella but Phoebe D’Ysquith (Lauren Worsham) unexpectedly arrives, her sights also set on Monty, who does his best trying to keep each woman from finding out about the other. A Gentleman’s Guide to Love & Murder is a delicious mélange of music and mayhem, with plot twists that hold surprises even for those who adore Kind Hearts and Coronets.

DR. DU BOIS AND MISS OVINGTON

Miss Mary White Ovington (Kathleen Chalfant) and Dr. W. E. B. Du Bois (Timothy Simonson) discuss the state of the NAACP and more in world premiere play (photo by Ronald L. Glassman)

Castillo Theatre
543 West 42nd St. between Tenth & Eleventh Aves.
Thursday – Sunday through February 16, $25
212-941-1234
www.castillo.org
www.newfederaltheatre.com

On an early summer Sunday morning on Fifth Ave. in 1915, a white woman and a black man both unexpectedly show up at their place of employment, unable to rest from their crusade for justice and equality. Clare Coss’s slight but affecting Dr. Du Bois and Miss Ovington, presented by Woodie King Jr.’s New Federal Theatre at the Castillo, offers the unique opportunity of spending ninety minutes with social activists Mary White Ovington (Kathleen Chalfant) and Dr. William Edward Burghardt (W. E. B.) Du Bois (Timothy Simonson) as they discuss racism, politics, war, family, and more in the office of the NAACP, which they helped cofound and where Dr. Du Bois writes and edits The Crisis, the organization’s controversial magazine. Angered once again by disagreements with the board, Dr. Du Bois has come to the office to revise his resignation letter, while Miss Ovington is there because she was troubled as well by the previous evening’s board meeting. Ever determined, she says, “Fate has thrown us together now. Let us take advantage of this propitious moment.” And take advantage they do, often speaking in pedagogical, resolute phrases as Miss Ovington tries to convince Dr. Du Bois that he must stay with the NAACP. “Here, we unite against the greatest odds, because we value the worth of every single human being, We must not fail,” she says. “We must not fail, for our task is to transform three hundred years of alienation between black and white in our country,” he replies poetically, “and stir a great awakening in the American Negro — an inner revolution.” As they continue sharing their passions, they grow closer physically as well. Directed by longtime Castillo veteran Gabrielle L. Kurlander (Sally and Tom [The American Way]), the play is anchored by solid performances from Chalfant (Wit, Angels in America) and Simonson (Adam), who instill their characters with an endearing grace and warm familiarity, although Simonson includes an additional dose of earnestness. Chris Cumberbatch’s set is an office torn in half; on the left is Miss Ovington’s desk, with a typewriter and a window that looks out onto the city, while on the right is Dr. Du Bois’s darker, more claustrophobic space, with a dictaphone and a record player with an old horn speaker, echoing their respective roles in changing America’s views on racism. Dr. Du Bois and Miss Ovington is an intimate look at a critical moment in time whose ultimate impact can still be felt today.

INTIMACY

A community takes a revealing look at itself in world premiere from the New Group (photo by Monique Carboni)

The Acorn Theatre at Theatre Row
410 West 42nd St. between Ninth & Tenth Aves.
Through March 8, $25-$65
212-560-2183
www.thenewgroup.org
www.theatrerow.org

So what’s all the fuss about? Thomas Bradshaw’s latest play for the New Group, Intimacy, is a clever and comical, if occasionally cringeworthy, exploration of contemporary society that focuses on three families living in a close-knit, unidentified wealthy American suburb. James (Daniel Gerroll) found Jesus after his wife’s sudden death, retired from his successful Wall Street job, and is raising his eighteen-year-old son, Matthew (Austin Cauldwell), by himself. James has hired his neighbor Fred (David Anzuelo), an independent contractor, to renovate his house. Fred’s eighteen-year-old daughter, Sarah (Déa Julien), dreams of losing her virginity to Matthew on prom night. Meanwhile, Matthew, who wants to be a filmmaker instead of going to college, is spying on neighbor and fellow eighteen-year-old high schooler Janet (Ella Dershowitz), whose mother, Pat (Laura Esterman), talks to her extremely openly about sex and whose father, Jerry (Keith Randolph Smith), is a mild-mannered gentleman who wants only the best for his little girl. They gossip about who’s cheating on who, worry about school, argue over money, and share lawn tips. It might not quite be Peyton Place, but there’s nothing particularly strange or different about this community. But when one of the characters’ surprising sexual secret is exposed, a whole lot of other exposure follows.

A pair of fathers (Daniel Gerroll and Keith Randolph Smith) aren’t sure where things went wrong in Thomas Bradshaw’s INTIMACY (photo by Monique Carboni)

Bradshaw is no stranger to graphic portrayals of sex and violence onstage, as evidenced by such previous works as Burning for the New Group in 2011 and Job at the Flea in 2012. But with Intimacy, the sex and nudity — and there is plenty of both, including frottage, masturbation, footage of real sex, and expertly simulated acts that will have audiences wondering what’s actually going on right in front of them — are only a backdrop for a story about people’s fears and desires, their desperate need to connect with one another, and their deeply embedded addictions and overwhelming sense of shame and guilt. Bradshaw takes on religion, education, racism, the economy, personal privacy in the surveillance age, and other social and political mores in the show, skillfully directed by New Group founding artistic director Scott Elliott. Most of the characters are usually situated in Derek McLane’s suburban interior all at once, with Russell H. Champa’s lighting zeroing in on the specific action taking place on a couch, a bed, a video monitor, a toilet (which does indeed get used), and a desk where many of the characters watch porn and, well, take pleasure in it. And there’s a lot of pleasure being had, judging by all the erections and orgasms. The cast, featuring several members making their professional stage debuts, is, er, clearly having a ball with the edgy material, bravely going where few non-porn actors have gone before. So indeed, what’s all the fuss about? Intimacy is likely to catch people’s attention because of the overt naughtiness happening onstage — the production proudly announces, “This show contains nudity, sex, and bad language. Enjoy!” — but it deserves to get noticed more because it’s damn entertaining, erotic and titillating, realistic and absurd, and very, very funny, coming off as surprisingly natural despite the surreal turn it takes as the climax nears. As an added bonus, select seats in the first two rows are only $25, for those who want to get even more up close and personal with this revealing tale.

OUTSIDE MULLINGAR

Tony Reilly (Peter Maloney) shares his questionable plans with son Anthony (Brían F. O’Byrne) and neighbor Aoife Muldoon (Dearbhla Molloy) in OUTSIDE MULLINGAR (photo by Joan Marcus)

Manhattan Theatre Club at the Samuel J. Friedman Theatre
261 West 47th St. between Broadway & Eighth Aves.
Tuesday – Sunday through March 16, $67-$135
www.manhattantheatreclub.com
www.outsidemullingarbroadway.com

Ten years ago, Manhattan Theatre Club presented Bronx-born playwright John Patrick Shanley’s Doubt, starring Brían F. O’Byrne, directed by Doug Hughes, and with scenic design by John Lee Beatty. That group has teamed up again for the world premiere of Outside Mullinger, a charming little tale that opened last week at the Samuel J. Friedman Theatre. A dark romantic comedy, Outside Mullingar takes place in County Westmeath in the home of Tony Reilly (a wonderful Peter Maloney) and his ne’er-do-well son, Anthony (five-time Tony nominee O’Byrne). An elderly widower, Tony tells his neighbor, Aoife Muldoon (Dearbhla Molloy), that he is considering selling his farm to his nephew in America rather than leave it to Anthony. Aoife, who has just buried her husband, Christopher, can’t believe Tony would do that to his son, who is distressed when he is told of the possibility that he might not get the family land he has worked on his whole life. Discussion also turns to a forty-meter strip of land on the Reilly property that is actually owned by the Muldoons because of an old loan. The strip divides the front of the Reilly home so Tony and Anthony have to walk through a pair of gates to get from the road to their front door. Now that Christopher Muldoon has died, the Reillys believe they can get that narrow bit of land back, but Muldoon’s daughter, Rosemary (Debra Messing), is not about to hand it over, as it holds a very special memory for her. As the two families bicker both playfully and seriously, attention soon turns to Anthony and Rosemary, two lonely, difficult people who clearly don’t know what’s best for them.

Anthony Reilly (Brían F. O’Byrne) and neighbor Rosemary Muldoon (Debra Messing) battle it out during a soft rainstorm in new John Patrick Shanley play (photo by Joan Marcus)

Shanley, who won a Tony and a Pulitzer for Doubt and an Oscar for his screenplay for Moonstruck, keeps things simple in Outside Mullingar, which works as a timeless character study, performed by an engaging cast. Maloney (To Be or Not to Be, Judgment at Nuremberg) nearly steals the show as the crotchety old man, while Molloy (Dancing at Lughnasa, The Cripple of Inishmaan) is stalwart as the widow dressed in black. One of the genuine treasures of the New York stage, O’Byrne (Frozen, The Beauty Queen of Leenane) plays the unpredictable Tony with just the right mix of ambiguity and crazy. And in her Broadway debut — although she has performed often off Broadway, including as Mary Louise Parker’s understudy in Shanley’s Four Dogs and a Bone — Emmy Award winner Messing (Will & Grace, Smash) is a delight, employing an Irish brogue as she battles with Tony both in his house and outdoors in a gentle rainstorm. Here’s hoping it’s not another ten years before this talented team works together again.

GAME PLAY

Ars Nova
511 West 54th St. between Tenth & Eleventh Aves.
January 29 – February 8, $15, 8:00
212-352-3101
www.arsnovanyc.com

Eleven of the world’s most famous board games will take center stage at Ars Nova as the Play Group turns those heated contests into short theatrical works and live music as part of its annual winter celebration of pop culture. Following in the footsteps of “The Wikipedia Plays,” “Missed Connections NYC,” “The Wii Plays,” and “The Urban Dictionary Plays,” among others, “Game Play” will run January 29 to February 8, with all tickets $15, which is cheaper than the cost of most of the actual games these days. Each night will include all eleven pieces: Sofia Alvarez’s Taboo, directed by Sash Bischoff; Max Posner’s Risk, directed by Portia Krieger; Sarah Burgess’s Snakes & Ladders, directed by Peter James Cook; Nick Gandiello’s Candy Land, directed by Sash Bischoff; Brian Otaño’s Scattergories, directed by Cook; Bess Wohl’s Pictionary, directed by Andrew Neisler; A. Zell Williams’s Guess Who? directed by Cook; Erica Saleh’s Life, directed by Bischoff; Daniel Pearle’s Mousetrap, directed by Andrew Neisler; Stephen Karam’s Sorry! also directed by Andrew Neisler; and that childhood favorite, Settlers of Catan, written by Sarah Gancher and directed by Portia Krieger. The plays will be performed by Peter Benson, Marcia DeBonis, Dashiell Eaves, Brandon Gill, Ben Graney, Susan Heyward, Jessica Love, and Carmen Zilles, with costumes by Tilly Grimes and Daniel Dabdoub, lighting by Richard Chamblin, projections by Caite Hevner Kemp, and live music by Crossfire.

CULTUREMART 2014

HERE
145 Sixth Ave. at Dominick St.
January 28 – February 9, $15
212-647-0202
www.here.org

The January performance festival season might be winding down, but HERE’s annual CULTUREMART is just getting under way. From January 28 to February 9, the downtown arts organization will present thirteen multidisciplinary workshop productions from current and former participants in the HERE Artist Residency Program (HARP), with all tickets only $15. The festival kicks off January 28-29 with Bora Yoon’s Sunken Cathedral, a multimedia journey through several rooms, exploring the cycle of life, death, and rebirth. Matt Marks and Paul Peers’s Mata Hari, an opera-theater piece about the WWI spy’s last month, is paired with mezzo-soprano Hai-Ting Chinn’s Science Fair, which is told through songs, slides, and live experiments. In Restless Next, choreographer Rebecca Davis examines the body’s ability to change. Joseph Silovsky uses video, oratory, robotics, and puppetry to relate the story of Sacco and Vanzetti in Send for the Million Men. Stefan Weisman and David Cote’s multimedia opera of James Hurst’s The Scarlet Ibis will be stripped down to a concert version consisting of the piano and vocal score; at two hours and fifteen minutes, it’s the longest show of the festival. (Most run between twenty and sixty minutes.)

Soomi Kim’s CHANG(E) examines the performance artist and political activist Kathy Change’s bizarre end (photo by Hunter Canning)

Soomi Kim and Mei-Yin Ng’s Chang(e), a dance-theater work about controversial performance artist Kathy Change, shares a bill with Ng’s Lost Property Unit, which deals with surveillance and robotics. Dancer-choreographer Laura Peterson is back with The Futurist, a collaboration with the very busy composer Joe Diebes that uses sound and movement to investigate what lies ahead. In Genet Porno, Yvan Greenberg and Laboratory Theater update Jean Genet’s Our Lady of the Flowers into a contemporary tale about porn and a gay prostitute. Leyna Marika Papach’s opera/movement-theater piece Glass Mouth (Part 2) delves into the nature of personal identity, with visuals by Jerry Smith Jr. CULTUREMART concludes with LEIMAY’s Frantic Beauty, in which dancer choreographer Ximena Garcia and video installation artist Shige Moriya look at dreams and desires, and Michael Bodel’s there are caves and attics, which uses Michel Foucault’s Corps Utopique to probe the concept of place. As usual, CULTUREMART provides a potpourri of intimate, experimental works from creators who are willing to take chances while both entertaining and challenging audiences.