A Man of No Importance

Becky SarwateLeave a comment
Ryan Lanning (center) and the cast of ‘A Man of No Importance.'(Photo: Heather Mall)

“As the musical begins, Alfie’s internal life finds expression in his commitment to community theater. Leading a merry band of invested misfits in a production of Oscar Wilde’s Salome, Alfie courts controversy — and a reckoning with his own soul — as he prepares his team for “Going Up” in the basement of St. Imelda’s church. The arrangements of the songs in each scene, such this one about the flurry of preparing for opening night, categorically respond to Alfie’s own internal, if invisible, mood swings. With music by Stephen Flaherty and lyrics from Lynn Ahrens, A Man of No Importance’s score supports a small story, compelling for its ability to give voice to the people we fail to notice each day.

If the work is intentionally understated, that doesn’t prevent a dynamic and capable cast from pulling off big emotional drama, matched only by show-stopping song and dance. Staged inside the relatively small, 85-seat Broadway Theatre of the Pride Arts Center, the production feels large, owing to onstage and creative talent adept at realizing big visions in tight spaces.”

Read the full review on The Broadway Blog.

Twice, Thrice, Frice

Becky SarwateLeave a comment
(l to r) Annalise Razie, Catherine Dildilian, and Marielle Issa in ‘Twice, Thrice, Frice…’ (Photo: Airan Wright)

“Directed by Patrizia Acerra, Twice, Thrice, Frice… drops audiences in on the interconnected lives of three suburban Muslim women. Khadija (a terrific Annalise Raziq) is the mother hen/older sister figure to Amira (Catherine Dildilian), an artist and real estate professional, and Samara (Marielle Issa), a young 30-something balancing a career with an MBA program. Samara is also the daughter of Khadija’s deceased bosom friend, investing their relationship with what at first seems like a relatively harmless co-dependency.

Without giving away spoilers, the women’s somewhat predictable lives begin to quickly unravel. The play prophetically opens with an intense debate between the three on the subjects of adultery, polygamy, Sharia law and how all of these forces are shaped by American citizenship and culture. The discussion underpins the plot points to follow, as well as the dynamics between the women.

Amira—childless, happily married but somewhat lonely—initially serves as the rhetorical antagonist to her more culturally conservative friends, rejecting the notion that Muslim men are entitled to sensual gluttony by either gender or divine providence. Khadijah and Samara adopt more traditional positions that are taken apart and reconfigured as the story evolves. Over 100 intermissionless minutes, we learn that perhaps neither Khadijah nor Samara are quite as conventional as first presented. This is a tangled, complicated story of survival, betrayal and moral responsibility—written, directed and acted by talented women aware of their agency.”

Read the full review on The Broadway Blog.

Farrow’s ‘Catch and Kill’ Draws Ire of Two Famed Rapists and their NBC Enablers

Becky SarwateLeave a comment

“To review and translate:

  1. Harvey Weinstein, who deployed an entire mass of enablers in service of his sexual crimes and subsequent cover-ups, is FLUMMOXED by suggestions he reached his disgusting paws into other controversies in order to spare himself.
  2. Andy Lack leads a morally pure media empire that somehow employed one of the longest-running, most rampant and overpaid beasts of prey in broadcast history. But it’s Ronan Farrow doing this disrespecting of his colleagues.
  3. Matt Lauer prizes his family relationships above all else, dammit! He’s just a lying philanderer and rapist trying to rebuild his life. Why (oh why!) can’t we just leave the poor pervert ALONE?

The immediate, scripted and entirely cynical reaction of all of these parties to Farrow’s book, which shot to the top of bestseller lists a week before its debut, is indicative of its promise of speaking truth to power. These men can feel feint, pathetic grasps on the narrative slipping further away. Farrow’s record of accomplishment and industry respect have made him increasingly dangerous. A piece from him is no as longer easy to scuttle as it was in 2017.

That doesn’t mean the predators and their fix-it men won’t keep trying. The conspiracy, however weakened, rolls on.”

Read the full post at Contemptor.

Big Fish

Becky SarwateLeave a comment
(l to r) Kyrie Anderson and Tommy Thurston in BoHo Theatre’s ‘Big Fish.’ (Photo: Time Stops Photography)

“In modern-day Alabama, Edward Bloom (an utterly transfixing Tommy Thurston) and his wife Sandra (Kyrie Anderson) are preparing for their son’s (Jeff Pierpont) wedding. Will Bloom has become emotionally estranged from his father, who he views as an odd man in a complicated relationship with the truth. While Sandra and Will’s new bride (Nicole Besa) take delight in Edward’s Odysseus-like coming-of-age stories, Will is annoyed by his father’s opacity as he prepares to start his own family.

Mr. Thurston is a revelation as an admittedly imperfect husband and father who nonetheless regards life as a series of colossal possibilities. No experience is limiting except as beheld by the small thinker. It can’t be easy for an actor to play a character who repeatedly vacillates between a teenager and an elderly man without ever losing sight of subtle shifts in energy, appearance and wisdom. Mr. Thurston is so effective at these quick changes that it’s easy to forget we’re watching the same performer.

The actor is supported by a marvelous cast that includes Ms. Anderson as Sandra, Edward’s muse, best friend and wife. As portrayed by an actress gifted in emotional range, song and pulchritude, it’s easy to understand the passionate man’s love for Sandra at first sight. And Robert Quintanilla is remarkable as Karl, one of the characters from Edward’s whimsical tales. A gentle behemoth with a delicate cultural palette and thirst for learning, Mr. Quintanilla’s performance is reminiscent of Andre the Giant’s turn in The Princess Bride. His work is just as endearing as the former wrestler’s in that film, however, accompanied by stronger diction.”

Read the full review on The Broadway Blog.

X

Becky SarwateLeave a comment
(l to r) Sarah Price and Krystal Ortiz in Sideshow Theatre Company’s U.S. premiere of “X.” (Photo Jonathan L. Green)

“The most effective science fiction is that which places authentic people in fantastic situations, lending a constant and credible edge to intriguing unreality. Somewhere along his writing journey, Mr. McDowell stumbled over that paradigm and was unable to course correct (space pun acknowledged, if not intended). By the conclusion of X, the audience, like the characters onstage, must necessarily lose the narrative thread.

While Mr. McDowell alone is responsible for the rhetorical downshift into linguistic babble, there is enough empty space left for director Jonathan L. Green to clarify the narrative, but he doesn’t seem to know what direction it’s headed, either. In spite of the dramaturgical and production challenges, Gage Wallace delivers a worthy performance as British space bro Clark, a revelation of obnoxiousness, comedic timing and genuine pathos. Mr. Wallace, Ms. Price and H.B. Ward, who plays universe-weary elder crewman Ray all deserve better material.

If X ended after the first act, theatergoers would be treated to a meditation on the present stewardship of our planet as leading to inevitable tragedy. However, the fresh ideas, innovative structure and fearless reckoning with the mistakes of the cultural present that offer such early promise, yield to a confusing, senseless and forgettable conclusion.”

Read the full review on The Broadway Blog.