the broadway blog

Miracle

Becky SarwateLeave a comment
The cast of ‘Miracle.’ at The Royal George Theater. (Photo: Michael Brosilow)

“The Lovable Losers finally ended the sports world’s longest winless streak in 2016 with a long-dreamed-but-never-realized-by-anyone-living World Series trophy. And because nothing about being a Cubs fan is ever easy, the team put its global legion of diehards on an epic, seven-game emotional roller coaster ride that ended in joyous shock, disbelief, and exhausted euphoria. The extra bleary kind that only arrives at 1 a.m., after 108 years of waiting ‘til next year.

The real-life story — from Tinkers to Evers to Chance, to 1945, to the Curse of the Billy Goat, through 1969, 1984 and 2003, and until mercifully, 2016 — is one made for soaring opera: the tears of relief shed by fans old and young, for themselves and for the true believers long departed; the parade that welcomed millions of revelers to downtown Chicago on an unseasonably warm November day that seemed heaven-ordained. There’s so much material and possibility for bringing recent history to vivid narrative life.

Instead, the Royal George offers audiences thirsty to relive the impossible, a pedestrian, disappointing trifle. Miracle, with a book by Jason Brett (co-founder of Chicago’s Apollo Theater), and music and lyrics by Jeff Award-winner Michael Mahler (Buddy: The Buddy Holly Story), makes a few stirring emotional connections. But the production ultimately strikes out by engaging in too much Disneyfication and deus ex machina. The result makes for a bland if well-sung production that perversely siphons away the emotional heft of those fateful events in November 2016.”

Read the full post at The Broadway Blog.

The Winter’s Tale

Becky SarwateLeave a comment
Goodman Theatre’s ‘The Winter’s Tale.’ (Photo: Liz Lauren)

“Part of the fun in this Bohemia is that we know more than the silly and angry characters do. We think we can see the story’s ending, and can thus relax and enjoy the show. In this reimagining of Shakespeare’s work, the audience is treated to modern pop cultural breadcrumbs like a cool line dance sequence choreographed by Tommy Rapley, and a joke about the band Queen. Mr. Falls’ production and its 19-member cast invite us all the way in during the show’s second half, after holding us at paranoid arm’s length in Sicilia.

But in a bit of late-career paradigm busting, the Bard throws his audience a science fiction curveball. Or does he? A rushed, climactic ending may leave heads scratching, but after a night to sleep on it, I’ve decided that this is a good thing. Few of Shakespeare’s most famous plays end in mystery. Goodman Theatre’s production of The Winter’s Tale embraces ambiguity with gusto, offering a smartly realized and multi-dimensional realization of one of Shakespeare’s most cryptic works.”

Read the full review on The Broadway Blog.

The Children

Becky SarwateLeave a comment
(l to r) Janet Ulrich Brooks, Yasen Peyankov and Ora Jones in ‘The Children.’
(Photo: Michael Brosilow)

“The global immediacy of man-made climate change, the consumptive guilt of the Baby Boomer generation and a renewed confrontation with an old, complicated love triangle. Any one of these themes is more than enough for a production that runs an hour and 45 minutes (no intermission). Steppenwolf Theatre’s The Children is, therefore, too much in all the right ways.

Written by dynamic young playwright Lucy Kirkwood (a Fellow of the Royal Society of Literature’s “40 Under 40” initiative) and directed by celebrated Chicago theater director Jonathan Berry, The Children is the important, funny, socially conscious gut punch I didn’t know I needed.

A 2018 Tony Award nominee for Best Play, The Children opens per press materials, “on a summer evening in an isolated sea cottage in the East of England.” Due to perfectly understated work from scenic designer Chelsea M. Warren, lighting designer Lee Fiskness and sound designer Andre Pluess, this looks and sounds idyllic.

Audiences learn rather quickly, however, that the enviable bohemian lifestyle of married former nuclear scientists Hazel (Janet Ulrich Brooks) and Robin (Yasen Peyankov) is not what it seems. What we witness instead is England’s answer to Chernobyl and two of its architects. Though long retired with four grandchildren and literally vapored dreams of operating an organic farm, the couple’s individual habits communicate a suppressed culpability. Hazel, pushing 70, goes all in on the cult of salads and yoga as the keys to eternal life, as Robin retreats to their abandoned farm to bury dead animals, absorb radiation and weep in peace. Intense stuff.”

Read the full post at The Broadway Blog.

Buyer & Cellar

Becky SarwateLeave a comment
Scott Gryder in ‘Buyer & Cellar.’ (Photo: Heather Mall)

“Directed by Jeff Award-winning actor Donterrio Johnson (Judas Iscariot in Theo Ubique Cabaret Theatre’s Jesus Christ Superstar), Buyer & Cellar taps into our culture’s self-hating obsession with the one percent, creating a preposterous setup that still somehow rings plausibly true.

Set in a basement curio shop, it’s here we find Alex More, (Mr. Gryder), an underemployed L.A. actor who’s taken an unusual job. He’s been hired to manage the pre-fabricated mall in the nether regions of Barbra Streisand’s Malibu estate, running the frozen yogurt machine and dusting the dolls, among other mundane tasks. The mall’s only customer is Babs herself, in need of periodic “normalcy.” And the single employee in Ms. Streisand’s land of make-believe is Alex.

The work’s title muses on the multiple meanings of ‘buyer/buying’ and ‘cellar/selling.’ For in two senses, Alex and Barbra are engaging in transactions with one another. By creditably creating a pedestrian experience for the lonely rich woman who has everything, Alex is selling Barbra more than her own goods, even as he willfully purchases the fantasy of theirs as a sustainable friendship of equals. In the cellar, Barbra Streisand walks through the souvenirs of her storied career with Alex and indulges safe opportunity to be vulnerable. The dynamic is complex and intriguing.”

Read the full review on The Broadway Blog.

Afterglow

Becky SarwateLeave a comment
(l to r) Jacob Barnes, Jesse Montoya and Rich Holton in ‘Afterglow.’ ( Photo: Heather Mall)

“Mr. Gelman’s 2017 Off-Broadway hit delivers a rather common romantic cautionary tale, arising from a sexually titillating setup. Polyamory (having intimate relationships with more than one partner) underpins a plot revolving around appetites, emotional maturity and the complexities of modern fidelity. The playwright, however, inverts the typical trajectory of a three-way, love-gone-wrong story, starting with what might normally be the end game.

As the curtain lifts, married lovers and expectant parents Alex (Jacob Barnes) and Josh (Rich Holton) are comfortable with their open relationship. Weekend trick Darius (Jesse James Montoya) is just another fling… until he isn’t. The three characters enjoy mutual pleasure and an unspoken understanding that the intimacy ends when the evening does. But the rapacious Josh decides he wants more.

It’s easy to view Josh, a successful stage actor and primary source of financial support for all three men, as an entitled child deferring adulthood. Yet I suspect that in the hands of a more nuanced performer, he’d be more complex than flopping hair and whiny pleading for unearned empathy. The character’s crisis of commitment and responsibility is 10 years ahead of schedule, yet Mr. Holton’s interpretation looks backward. I found myself hoping that Alex and Darius would fall in love and leave Josh behind. Mr. Holton’s rendering of the lead — chiseled glutes aside — is simply too grating to yield any level of devotion and forgiveness.”

Read the full review on the Broadway Blog.