STING'S "THE LAST SHIP" SETS SAIL AT THE AHMANSON THEATER

Sting (center) and the cast of THE LAST SHIP at Center Theatre Group's Ahmanson Theater, Los Angeles
All photos by Matthew Murphy

THE LAST SHIP portrays the end of an era in Great Britain when the shipbuilders of Wallsend ultimately went the way of the dinosaurs much like American coal miners in the late 20th century. when overseas shipbuilders could produce a competitive product for millions less with no messy unions to deal with. It eliminated a whole way of life for thousands of workers who struggled to reinvent themselves in an economy that no longer wanted them. Singer/composer/musician Sting created a loving tribute to the town of his youth in England's gritty Northern country. Entire generations of families lost everything...but they didn't go quietly. The battles they fought to take over their shipyard and launch one last ship is the plot of this uneven musical that can't quite decide to go port or starboard.

At the show's opening scene, young Gideon desperately wants to flee the poverty and narrowness of Wallsend and rebels against his father's wishes to join the shipbuilders union. Instead, he impulsively runs off to join the Navy, leaving behind his childhood love Meg whom he promises to return for in a short while.

Frances McNamee as Meg and Oliver Savile as Gideon
in THE LAST SHIP

Seventeen years later, the disillusioned Meg is running a local pub and raising daughter Ellen as a single mum, when Gideon suddenly reappears wanting to reclaim his lost love and discovers he has a daughter. This all happens in the midst of news that the shipyard will be closing and the last ship they are working on, the Utopia, will be torn down and sold for scrap.

Sting as Jackie White in
THE LAST SHIP 

Sting plays Jackie White, the shipyard foreman, who is caught between management and his men. His wife Peggy is the shipyard nurse who stands loyally by her man as the builders and their families turn on Jackie in a rage of betrayal and disappointment.

If it sounds like there is a lot going on here, there is. And each element - plot, music, dialogue, movement - is fighting against each other, much like the characters in the show. The opening number is a rousing sea shanty of sorts, "We've Got Nowt Else" sung full-throttle by the powerful chorus. Starts promising, but then subsequent numbers are alternately Sondheim-esque character pieces, inspiring hymns, jazzy eleven o'clock showstoppers or a plaintive reflection from Sting's classic album "The Soul Cages." In fact, three songs from that album are featured in THE LAST SHIP. This results in a dissonance that often throws the show off balance.

As far as the cast goes, there are some outstanding talents up there, giving it their all. The real find of this production is the glorious Frances McNamee whose tremulous yet powerful voice brings Meg to full life. As her love Gideon, Oliver Savile has a nice presence and shows both the good and bad sides of this prodigal. As Ellen, the feisty young woman who also longs to flee the shipyards like her father did to pursue a musical career, Sophie Reid has a strong voice but seems a bit too mature to be 16 years old. 

Sophie Reid as Ellen in THE LAST SHIP

Other outstanding performers include Jackie Morrison as the no-nonsense wife of Jackie White; Marc Akinfolarin as a philosophizing builder who brings a sweet quality to his scenes; and Annie Grace, channeling her best Margaret Thatcher person as a Baroness who represents the government in the shipyard brouhaha. 

Frances McNamee and the ladies of Wallsend Shipyard
in THE LAST SHIP

But what about Sting, you might be asking, the star and musical creator of THE LAST SHIP? Ironically, he is the least compelling actor on that stage. Don't get me wrong, I adore Sting and when he is performing in concert, he is a magical, magnetic presence. But he's not rough-edged and dynamic enough to portray Jackie. I have a feeling that he agreed to be the marquee name to boost sales for the show, which isn't necessarily a bad thing. But his restrained and erudite way of speaking doesn't really fit the working class Jackie. However, he has the most authentic accent on the stage. Many of the cast members are inconsistent, slipping between Scottish, Irish and a weak attempt at the traditional Geordie accent of northern England.

Kudos to the 59 Productions design team that created the imposing multi-level set using projected images to change scenes and mimic the look of a real shipyard bay. Director Lorne Campbell (who also wrote the revised book) met the challenge of bringing the sound, movement, dialogue and performance elements into a cohesive presentation which was no easy task. Other outstanding production team members include Sound Designer Sebastian Frost, Lighting Designer Matt Daw, Music Supervisor and Orchestrator Rob Mathes, Musical Director Richard John, Costume Designer Molly Einchcomb, and Movement Director Lucy Hind.

While it may not be the grand musical the creators envisioned, it is nonetheless a unique look at a way of life that is no more. THE LAST SHIP is playing at the Music Center's Ahmanson Theater through February 16, 2020. General tickets for “The Last Ship” are available online at CenterTheatreGroup.org, by calling Audience Services at (213) 972-4400 or in person at the Center Theatre Group Box Office.

-- Lisa Lyons

PALM CANYON THEATRE NOW IN ITS 23RD SEASON PRESENTS LERNER AND LOEWE’S “CAMELOT”

Paul Grant as King Arthur and Fabrizio Ibanez
as young Tom of Warwick in "Camelot"
All photos by Paul Hayashi

Although our society and culture is always evolving when it comes to our entertainment choices – theatre, movies, TV streaming platforms, and music – thankfully, there are always the golden oldies that audiences of a certain age cling to and with good reason. They’re familiar; they’re warm, cozy, and deliver music and lyrics to which that age group can understand and relate.

The Palm Canyon Theatre of Palm Springs (PCT), now in its 23rd season of presenting quality entertainment, is producing a revival of Alan Jay Lerner and Frederick Loewe’s romantic fairy tale of King Arthur and the Knights of the Roundtable, based on the T.H. White book “The Once and Future King,” better known as the musical “Camelot.”

Alan Jay Lerner and Frederick Loewe are among Broadway’s music royalty, ranking alongside Rodgers and Hart, then Rodgers and Hammerstein, Cole Porter, Leonard Bernstein, and Stephen Sondheim, among others.  The Broadway theatre was built on the talents of these giants. 

In case one has been living in a cave for the past 60 years, “Camelot” the musical has some of the most iconic music and lyrics found in the American Song Book.  The haunting “If Ever I Would Leave You,” to the clever, wishful thinking, lyrics of the title song “Camelot,” to the poignant “I Loved You Once in Silence,” to the tender “How to Handle a Woman,” have resonated with audiences for six decades.

The Palm Canyon stage production of “Camelot,” is once again awash in the breathtaking colors and costumes created by play director/choreographer Derik Shopinski.  The set by resident design wizard J.W.Layne cleverly reduces the sprawling story to fit neatly within the PCT proscenium walls and stage space. Sound by Brenna Williams and Props by Toby Griffin round out the creative technical team under the direction of Derik Shopinski.

Opening Night can often produce opening night jitters among cast members.  Especially when the production had to share the theatre and performing space with the Palm Springs International Film Festival that uses the PCT venue as a festival screening site, which then shortened the musical’s normal rehearsal time to just thirteen rehearsals.

Sixteen performers bring the production to life for its appreciative audience. The cast presents a broad range of experience and credits to this “Camelot.”  Having said that, the strength of the musical lies in its leading actors:  Garnett Smith brings a wealth of professional credits to his role as the delightful but somewhat dotage-driven elderly King Pellinore, advisor to King Arthur. It’s the type of role that has “scene-stealer” written all over it.  Solid support also comes from Nikki Hock as Nimue/Morgan Le Fay and Noah Arce as Mordred.

A little gem of a performance near the final scene is courtesy of Fabrizio Ibanez as young Tom of Warwick.  It’s a tiny, but important, poignant moment that young Ibanez shares in a scene with Paul Grant’s King Arthur. It’s delivered with just the right amount enthusiasm and understanding for one so young.  TV and the stage may be in his future if he gets bitten by the acting bug.

Jordan J. Jones as Lancelot and Nikki Hock as
Nimue/Morgan Le Fay in "Camelot"

Jordan J. Jones as Sir Lancelot, (originally a role made famous by Robert Goulet), is a singer who acts and gets to fall in love (lucky fellow) with the fairest maiden in the land of Camelot, Queen Guenevere, the beautiful wife of King Arthur Pendragon, who is played by Se Layne.

The last time I saw Ms. Layne, on stage, she was tutoring the children of the King of Siam in the musical production “The King and I” at PCT.  I stated then that the role of Anna was a role she was born to play. I may have misspoken myself.  The beautiful Ms. Layne is on a roll with back to back winning performances.  She easily slips from young maiden into a coquettishly young adult, to a desirable Queen.  It’s another finely judged performance from Ms. Layne, who stars in a role that features her classically trained voice once again (lucky audience).

Paul Grant as King Arthur and Se Layne as
Guenevere in "Camelot"

As King Arthur, Mr. Grant brings his extensive credits in New York, along with his many national touring company roles, to the Palm Canyon stage once more.  His energy and on-stage chemistry with his co-star Ms. Layne underscores the standards that these two professional performing actor/singers bring to their roles of King Arthur and Queen Guenevere. 

The musical production, once again, is under the musical direction of Steven Smith, on piano with accompaniment by David Bronson on drums and Larry Holloway on string Bass.

“Camelot” performs on the Palm Canyon Theatre stage and runs through February 9, 2020.  For reservations and ticket information, call the box office at 760-323-5123.

-- Jack Lyons

NORTH COAST REP THEATRE PRESENTS “BLOOMSDAY” A STEPHEN DIETZ FANTASY/COMEDY

Martin Kildare, Rachel Weck and Hunter Saling in "Bloomsday"
All photos by Aaron Rumley

Steven Dietz was among the five most produced playwrights in America during 2019. And now his latest play “Bloomsday,” is on stage at North Coast Repertory Theatre (NCRT), making its Southern California debut.

The Solana Beach professional theatre, now in its 38th season of presenting quality entertainment to North County San Diego residents, offers something a little bit different with playwright Dietz’s comedy-fantasy “Bloomsday.”

Life’s journeys are replete with choices we humans make every day. Bombarded with choices, many of which are made in haste without a lot input.  On the other hand, many missed opportunities have slipped away because of too much cogitation and hesitation, and not enough action on our part.

“Bloomsday,” is a whimsical, magical, reflection of unrequited love that didn’t have to be.  What if we could alter time in such a way as to manipulate that pesky time continuum?   Playwright Dietz thought it might make for an interesting and entertaining evening in the theatre to attempt that leap of faith.

Martin Kildare and Rachel Weck in "Bloomsday"

What place of whimsy and magical fantasy to set such a play other than in Ireland, land of tall tales and fetching colleens, the land of O’Casey, and of James Joyce and his iconic, epic story “Ulysses,” which plays a part in this ‘what if’ love story.

What better person to direct this non-linear, delightful comedy than Andrew Barnicle, native son of the Emerald Isle and a favorite NCRT director, who was the Laguna Playhouse’s Artistic Director for twenty years.

Hunter Saling, Jacquelyn Ritz, Martn
Kildare and Rachel Weck in "Bloomsday"

Director Barnicle is blessed with a cast of talented comedy practitioners who know their way around a witty and sometimes tricky play in order to keep their audience engaged.  Martin Kildare, as Narrator and Robert, is our guide/interlocutor who sets the story points along the way that keeps the story moving.

Caithleen, a Dublin Tour guide (wonderfully played by Rachel Weck), meets Robert and chats him up, only to lose contact later on.  Robbie, a young American of boundless energy played by Hunter Saling, is taken with Caithleen, but these two young people fail to connect, although there is interest on both sides.

Timing, you see, always plays a part in the love equation of “what if.”  To assist the audience in making this charming play work, the character of Cait, winningly played by Jacquelyn Ritz, appears as the older Caithleen, and Martin Kildare reappears as the older Robbie. It may sound a bit confusing, I’ll admit, but in the capable hands of director Barnicle and this talented cast, and as Sherlock Holmes always said to Dr. Watson, “Patience Watson. All will be revealed.” would be my admonition also.

The technical credits at NCRT are always first-rate.  The sets designs of Marty Burnett are legendary, and the light designs of Matt Novotny compliment Burnett’s designs over their years of working as a team.  The costume designs are by Renatta Lloyd, with Hair and Wig designs by Peter Herman, and Props by Phillip Korth.  A special kudo goes to Sound and Projection designer Aaron Rumley whose creative designs over the seasons have lent an authenticity that enriches the overall experience of the audience.  Mr. Rumley also stage manages this production.

“Bloomsday” is a charming production that performs at North Coast Repertory Theatre in Solana Beach and runs through February 2, 2020.

-- Jack Lyons

DEZART PERFORMS STAGES A POIGNANT POWERFUL PRODUCTION OF “DANIEL’S HUSBAND”

Michael Shaw, David Youse, Chuck Yeats and Hanz Enyeart

in "Daniel's Husband" All photos by David A. Lee 

Dezart Performs of Palm Springs, celebrates the beginning of its 12th season of producing quality live theatre entertainment in the Coachella Valley, with a shattering, poignant, heart-rending, drama production about Gay marriage that reaches across all gender and identity lines. 

Love is the most powerful emotion on this planet. Its reach has no limits, stretching forever, touching, and capturing everyone in its path. An anthem for both gay and straight people could easily be found in the music of Leonard Bernstein and in the lyrics of Stephen Sondheim’s iconic musical “West Side Story” punctuated by a poignant duet sung by Anita and Maria, that best sums it up with “…when love comes along, there is no right or wrong.” Words and a philosophy to live by. The country’s legal system finally legalized gay marriage in 2015. Gays all over the world celebrated this historic moment. 

In the award-winning play, “Daniel’s Husband,” insightfully written by Florida-based playwright Michael McKeever whose sharply observed play of gay partners in short or long committed relationships, comes into sharper focus by following two couples: successful architect Daniel Bixby (a terrific Michael Shaw) and his partner Mitchell, (a mesmerizing (David Youse) who collectively just suck all of the oxygen out of the onstage acting space with their flawless performances. More about the cast later.

There isn’t a weak moment or a misstep by this outstanding cast and/or the creative technical team led by director Darin Anthony. Case in point: the beautiful set design by Thomas L. Valach, drew such remarks from audience members as “I’m ready to move into that home right now.”” to “It’s just gorgeous.” It is indeed, and one of the most elegant and functional designs that fits so perfectly onto the intimate Palm Springs Woman’s Club stage that I’ve seen in a long time.

Michael Shaw in "Daniel's Husband"

In the world of theatre, there is no substitute for quality writing. It galvanizes and energizes the performances of everyone in the production, elevating all of the floating boats in the harbor, so to speak. When actors are presented with a terrific property, they respond in kind, which becomes a huge benefit for the audience. And that is precisely what we have with this impressive Dezart Performs’ production of “Daniel’s Husband.” 

The performances from this gifted ensemble cast is what every critic wishes for before we settle into our seats. Theatre is the art of telling a tale so compellingly that one cannot take one’s eyes off the stage and/or certain characters. Everyone, cast crew, and audience are fully engaged in what is unfolding on the Dezart Performs stage night after night. That’s the gold standard and goal to which every theatre company aspires.

The vision of director Darin Anthony enriches this production with his many wonderful directorial touches. And that’s not as easy as it sounds. Remember, Anthony has four award-winning actor/directors in his cast to contend with when it comes to making important decisions. Yes, theatre is first and foremost, a collaborative art form, and professionals always adhere to the one director rule in a production. However, I sure would have enjoyed being a fly on the wall during rehearsals. Spirited discussions, no doubt, abounded during their rehearsals among five directors. 

Michael Shaw, as Daniel, a successful architect, delivers a memorable and deeply affecting performance as the partner who aches to be married. Mitchell, an equally successful author, and partner of seven years with Daniel doesn’t believe in gay marriage as an institution, is brilliantly played by David Youse, in a highly nuanced tour de force performance. 

David Youse in "Daniel's Husband"

The play begins with a dinner party with another gay couple. Barry Dylon, Mitchell’s agent (solidly portrayed by Chuck Yates), and Barry’s new, 20 something, wide-eyed boy toy Trip (Hanz Enyeart). Over drinks Trip innocently asks Mitchell, you two seem to just be made for each other. Why don’t you get married? 

The comment sets Mitchell off on his standard tirade on the efficacy of gay marriage. “Why do we need a piece of paper to prove we love one another” is the rhetorical question Mitchell tosses out whenever pushed to tie the knot. Daniel, however, sits stone-faced, as Barry calmly observes the scene with the knowledge that his client is a will of the wisp when it comes to settling down. Living together with Daniel? Yes. Legally married to Daniel? No. It’s the only bone of contention in their relationship.

When the doorbell suddenly rings, the tension in the air quickly dissipates. Daniel’s mother, Lydia Bixby (Deborah Harmon), makes a grand entrance dressed to the nines slyly claiming she just wanted to see how her “two boys” were doing before going off to a previous engagement. Ms. Harmon’s portrayal of a waspish, controlling mother whose only concerns in life are all about her, is spot-on.

What could possibly go wrong when Mitchell’s prospective mother-in-law is just dropping by to see how two adult men are doing? Plenty. Stay tuned. But no spoiler alerts from me at this point. But what I can say is the following. The first 15 minutes of the play unfolds as a comedy, peppered with terrific dialogue ala Neil Simon like zingers aplenty; however, it shifts into a drama of consequence later on and right up to the end. The play is performed without an intermission and runs approximately 90 minutes.

David Youse, Deborah Harmon, and
Michael Shaw in "Daniel's Husband"

This impressive production is produced by Michael Shaw and sound designer Clark Dugger. It is also one of their finest productions over the last eleven years, which I suspect will be taking home several Desert Theatre League (DTL) Stars Award trophies come October of 2020. “Daniel’s Husband” performs on the Pearl MacManus stage in the Woman’s Club of Palm Springs and runs through January 19th. It’s a Must-See Show!

-- Jack Lyons

NEW MUSICAL, LITTLE BLACK DRESS, CELEBRATES LIFE'S GREAT MOMENTS WITH LAUGHTER, TEARS AND RAUNCH

Jennette Cronk, Jenna Cormey, Clint Hromsco,
Danielle Trzcinski in "Little Black Dress The Musical"
Photos by Rebecca McNicholas 

IMHO, "Little Black Dress The Musical" (aka LBD), is a show that is perfect for GNOs and fans of raunchy improv humor. A combination of original songs, audience participation, improv and a smidgen of drama, the brand new musical is in search of a wider audience in its initial tour.

Written by predominantly women, the show hits the mark on many topics that will resonate with women of all ages, and even some men. From first kiss, to first sexual encounter, job interviews, proposals and eventually funerals, the LBD has played an important part of many lives.

In a nutshell, the story centers on best friends Dee (Danielle Trzcinski) and Mandy (Jennette Cronk) who at age 13 pledge to be BFFs for life and to take a dream trip to "Paree!" when they grow up. When Dee's mom (Jenna Cormey) takes the girls to a boutique to find dresses for their upcoming school dance, they are introduced to and fall in love with the LBD.

Jennette Cronk as Mandy and Danielle Trzcinski
as Dee in "Little Black Dress The Musical"

The rest of the show covers the progression of time where the two womens' futures diverge, but they hang on to their friendship despite many setbacks. Dee marries Mark (Clint Hromsco) and has a baby girl Madison, while Mandy remains defiantly single as she forges her own path in life.

There are times in the show where the actors call on audience members to share their own memories of first kisses and bachelorette parties, which leads to some unexpected shenanigans. The night I went, one woman was so startlingly raunchy that the performers struggled to keep a straight face during the "A Night You'll Never Forget" number. There is always a risk in improvised segments, as they can often slow a show down, but again the ladies (and gentleman) had it under semi-control. LOL.

Danielle Trzcinski as Dee
in "Little Black Dress The
Musical"

The set is simple (perfect for road shows and local theater companies), the LBDs could have been a tad more stylish, and some of the choreography and staging was a little dodgy, but overall it charmed the audience who gave the performers a rousing, well-deserved ovation at evening's end. Both Trzcinski and Cronk are powerful singers, while Hromsco and Cormey both do quadruple duty in the show and always hit the comic bullseye.

Kudos to all the talented folks who brought "Little Black Dress The Musical" to life including creators Amanda Barker, Natalie Tenenbaum, Danielle Trzcinski and Christopher Bond who also directed.

"Little Black Dress The Musical" is at Center Theatre Group's Kirk Douglas Theatre in Culver City until December 15 only, so if you suffer from FOMO, hustle on down and buy your seats ASAP at www.centertheatregroup.org.

-- Lisa Lyons

LOVE ACTUALLY LIVE, A SPARKLING MUSICAL GIFT FOR THE HOLIDAYS

Rex Smith (center) and the cast of "Love Actually LIVE"
All photos by Kevin Parry

Next to "It's a Wonderful Life," one of the most beloved Christmas big screen films is "Love Actually", directed by Richard Curtis, that counts down the drama-filled weeks leading up to Christmas in the lives of five separate yet intertwined Londoners. The show is back after last year's sellout run at the Wallis Annenberg Theatre in Beverly Hills, and is now playing there through December 29.

In the tradition of the live sing-along nights at the Hollywood Bowl, "Love Actually LIVE" is a multi-media concert experience where the film and live action seamlessly intertwine throughout the London setting. The result is a satisfying trip down memory lane for the audience and the opening night theatergoers responded with wild enthusiasm.

John Battagliese as David
in "Love Actually LIVE"

To briefly recap, the families and friends whose lives we enter are David, the newly elected Prime Minister of London and his working class assistant Natalie; recently widowed Daniel and his adorable stepson Sam; newlyweds Peter and Juliet and his lovelorn best friend Mark; lonely editor Sarah and her erstwhile crush Karl; Sarah's cynical boss Harry and his wife Karen who suspects he is having an affair with sexy Mia; Billy Mack, a faded rock star angling for a comeback with the support of his long-suffering manager Joe; and jilted author Jamie, who is writing his newest book in France, and his beautiful Portuguese housekeeper Aurelia who speaks no English.

Original songs as well as featured numbers from the movie soundtrack are presented on a gorgeous set with a 10-foot-high decorated Christmas tree at center and two side areas where scenes are played out. There is a fantastic live orchestra that plays both onstage and, at some points, in the auditorium that adds to the evening's festivities.

The number of talented singers on stage is awe-inspiring and you'd be hard pressed to single them out, but I'll try. Several performers from last year's production are back including heartthrob recording artist Rex Smith (Billy Mack), Tomasina Abate (Karen), and Doug Kreeger (Harry), are among those who give solid performances.

Carrie Manolakos as Natalie
in "Love Actually LIVE"

Powerful women's voices soar into the rafters including standouts Carrie Manolakos (Natalie), Gabriella Carrillo (Aurelia), Aubrie Sellers (Sarah) and Nayah Damasen as Joanna, Sam's secret crush in the school band.

The men are also well-represented by Smith (who still looks damn fine in his gold lame shorts and Santa hat), young Levi Smith (Sam), James Byous (Mark), John Battagliese (David), Jon Robert Hall (Daniel), Declan Bennett (Jamie) and Rogelio Douglas, Jr. (Peter) who blew the top off the theater with his reinvented, gospel-inspired version of "White Christmas."

Ruby Lewis and Rogelio Douglas, Jr in
"Love Actually LIVE"

Huge kudos to the behind the scenes team who created a warm and welcoming world at the Wallis. They include director and adapter Anderson Davis, music supervisor Jesse Vargas, vocal designer AnnMarie Milazzo, musical stager Sumie Maeda, scenic designer Matthew Steinbrenner, lighting designer Michael Berger, sound designer Ben Soldate, costume designer Steve Mazurek, video designer Aaron Rhyne and the fantastic 15-piece orchestra.

Levi Smith as Sam in "Love Actually LIVE"

The show is basically family friendly, although be warned there are some naked body parts and suggestive actions in the filmed sequences, so maybe not great for kids under 10...just sayin'.

For fans of the film, this is a perfect kickoff for the holiday season. If you have never seen the film, shame on you! Many in the audience left the theater vowing to go home and watch the original film, so a whole new generation of "Love Actually" fans is in the making.

Tickets prices are $39-$125 (subject to change) and can be purchased by calling 310-746-4000 or visiting www.TheWallis.org/Love.

-- Lisa Lyons

MUSINGS FROM THE 2019 NYC AMERICAN THEATRE CRITICS ASSOCIATION CONFERENCE

I’ve noticed a trend lately in our ever-changing theatre scene that states in the playbill/programs that “This production will be performed without an intermission.”  It appears to be a sign of the times  indicating that budgetary issues are definitely impacting not only the subject matter of stories being written by playwrights, but also the size of the casts employed by producers as a result.

Is it a harbinger and sign of the times?  It certainly looks like it.  The fate of the three and two acts play structures over the last 75 years, (unless one was watching a Shakespearean play that told its story in 5 acts back in its day) is likely to be as relevant in today’s theatre productions as a buggy whip.

It’s difficult to actually pinpoint when producers introduced the “90 minute” production concept; ranging in cast size from the “two-hander” to casts up to six characters, but it’s been at least ten years by my count.

Today’s American society in general have short attention spans.  We are an instant gratification-driven society.  We want everything and we want it now!  “Immediate seating, no waiting” is music to our ears, be it entertainment or dinning choices. Alas, it’s no wonder we’re constantly stressed out much to the delight of the pharmaceutical industry.  I believe our playwrights and theatre professionals deserve much better than this.

The American Theatre Critics Association (ATCA) usually holds its New York City Broadway visit event in late October/ early November to coincide with its member conference and plays availability from Broadway producers.  This year’s conference was short and sweet.  It ran from November 1st thru November 3rd.  Not much time for the average person to see many plays, however, theatre critics thrive on overdosing and binge reviewing as many plays as possible within that short window of opportunity.

To wit:  I saw three productions in that time span and each one as it turned out was performed without an intermission; running approximately 85 to 90 minutes.  A perfect time frame for the current state of today’s theatre-going audience demographic choices.  And I still had time to attend an all-day session of panels and discussion groups.  How do we do it you wonder?  Ah, that’s the mystery and the magic of the theatre.

In order of the productions seen and reviewed, “Betrayal”, by Sir Harold Pinter is a must see show for Pinter fans.   Its devilishly written dialogue and non-linear plot is deftly performed by a terrific cast of actors led   by British leading man Tom Hiddleston as writer Robert, husband of Emma, a sultry Zamwe Ashton, and Charlie Cox as Jerry, Robert’s agent and best friend and the other man in this love triangle production.  Eddie Arnold, lends solid support as the Waiter and performs other yeoman duties as well.

Harold Pinter, in a moment of complete candor said he based this play on his own marriage woes involving infidelity and betrayal as the key components.  The powerful production, exquisitely directed by Jaime Lloyd, features strong emotional content mixed with achingly poignant moments of truth and boldness as it explores the rush that sex and infidelity sometimes, for some, can inject into a marriage.

The stark, minimal set design by Soutra Gilmour matches and achieves director Lloyd’s vision on how best to capture Pinter’s edgy and all-so-civilized-sophisticated drama.  The characters are playing with dynamite which almost always leads to one or all in the triangle being forever scarred and even destroyed.

The timing and pacing may appear glacial at times, but this non-linear play is so compellingly well-acted by this cast that it keeps one engaged and on our toes until the payoff moment that is so Pinter-esque. The sex triangle characters are fully formed adults who know what they’re buying into when the play begins, but we the audience, must wait to find out how it all sorts out.  And it’s all accomplished in less than 90 minutes.

The second play reviewed was the Irish Repertory Theatre production of Conor McPherson’s self-loathing melodrama “Dublin Carol”.  The Irish Rep Company has a fabulous reputation of bringing the light and dark side of Celtic heritage to its productions that celebrates the many styles of story-telling yarns for which the Irish are famous.

“Dublin Carol” is a penetrating portrait of Irish culture with a leitmotif of alcohol addiction, guilt, remorse, and redemption running rampant throughout its 89 minutes of the stage performance.  Needless to say, it’s not an O’Casey-like comedy.  But, it is an ever so brilliant tour de force performance by Jeffrey Bean, as Dublin funeral parlor employee John Plunket who is constantly warring with his demons that will not stop coming out of the Jamieson whiskey bottles he keeps in his cupboard.

The play set in Dublin on Christmas Eve in 1999, centers around John’s relationship with his estranged daughter Carol (Sarah Street) who has not spoken to her father in eleven years who now suddenly shows up on his doorstep to inform him that her mother is dying of cancer.    Carol has a love/hate relationship with her father.  She wants to have a closer family relationship, but she can’t bring herself to forgive him for his “abandoning” of the family years ago.

Guilt is the powerful enabler and the enemy of remorse and redemption.   No character feels that pang more acutely than John.  The nephew of John’s friend is a young Dublin lad of twenty named Mark – who has recently joined the family funeral business – is nicely played by Cillian Hegarty. His purpose is to help flesh out the deeply held emotions and insecurities of John as sort of a sympathetic ear and shoulder for John to lean on when the “urge” to enjoy the comfort of those Jamieson whiskey bottles become too strong to resist.

The Irish aren’t considered as having the “gift of the gab” for nothing. “Dublin Carol” is a talky play.  The beauty of the production, however, lies on the performance of Jeffrey Bean as John.  It’s a tribute to Bean’s talent, experience and stamina if nothing else.  He’s on that stage for about 80 of its total 89 minutes.   It’s an astonishing performance.

The last production reviewed in this three- mini review piece is “The Height of the Storm”, written by French playwright Florian Zeller, with an English translation by Tony and Oscar award-winning author/playwright Christopher Hampton.

The 2018 Olivier Award-winning play stars British theatre legends Eileen Atkins and Jonathan Pryce in two riveting star-turn performances as an aging couple of some 50 plus years of marriage who find themselves needing one another more than ever as the medical term of “dementia” begins to rear its ugly head.

Playwright Zeller is a huge fan of playwriting Nobel Laureate Harold Pinter, which accounts for the echoes of Pinter-like plotting, the opaqueness of structure, the content, and the style so associated with Pinter plays.

For example, the audience, at the beginning, isn’t quite sure whether the characters of Andre (Jonathan Pryce) and Madeleine (Eileen Atkins) are even alive as characters. They are seen interacting with their two daughters Anne (Amanda Drew) and Elise (Lisa O’Hare).  But they too may even be ghosts or perhaps, figures of the imaginations of the other on-stage family members, as well as two non-family visitors: The Woman (Lucy Cohu) a woman who claims to be from Andre’s past whom he doesn’t recognize or knows, along with The Man (James Hillier) the boyfriend of Elise; all of whom meet and interact with one another. Confusing?  You bet.

One thing we know for sure is that either Andre or Madeleine must be deceased.  Which one passed first is revealed at the end.  Everyone else appears to be caught in a dream, and/or in denial.  Frankly, even for me, a Pinter fan, Zeller has tossed in too many red herrings into his French onion soup that lacks clarity and cohesion.  I’m not sure if the play’s clarity problems lies in the original French version or in Hampton’s English translation.

Regardless of clarity concerns of the story directed by Jonathan Kent, one cannot deny the power and precision of the performances of Jonathan Pryce and Eileen Atkins. These two stars possess the talent and acting chops to still knock your socks off, along with solid support from this impressive ensemble cast.