Brits Off Broadway Adds 'Bull' to Slate - NYTimes.com

http://artsbeat.blogs.nytimes.com/2013/03/04/brits-off-broadway-adds-bull-to-slate/?pagewanted=print[3/4/2013 9:29:10 AM]

MARCH 4, 2013, 9:00 AM

Brits Off Broadway Adds ‘Bull’ to Slate

By STEVEN MCELROY

“Bull,” a drama about office politics by the British playwright Mike Bartlett (“The Cockfight Play”), willhave its New York premiere in the Brits Off Broadway festival at 59E59 Theaters, the theater is toannounce on Monday. The play, which is to begin performances on April 25, recently completed a run atthe Crucible Studio in Sheffield, England, where it received good reviews.

Mr. Bartlett’s “Cockfight Play” (the actual, monosyllabic title is unprintable here) ran Off Broadway in awell-received, extended run last year. (Ben Brantley of The New York Times included the production onhis 2012 Top 10 list.) “Bull” was initially intended as a companion piece to “The Cockfight Play,” Mr.Bartlett said in an interview with The Sheffield Telegraph last month, and both plays were inspired byhis experience watching a bullfight in Mexico. But while “Cockfight” is about a love triangle, “Bull” isabout the often brutal and bullying world of office politics: Three workers know that one of them is aboutto be fired, and as they await the arrival of their boss, two gang up on the one who seems to be theweakest of the group.

“Bull,” directed by Clare Lizzimore, joins the previously announced Brits festival lineup, which is toinclude “Good With People,” by David Harrower; “Bullet Catch” by Rob Drummond; a revival of J. B.Priestley’s “Cornelius,” starring Alan Cox; and several other productions. The festival runs from March27 to June 30.

Gowns From the House of Sincere & Snark - The New York Times

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March 3, 2013THEATER REVIEW

Gowns From the House of Sincere & SnarkBy BEN BRANTLEY

OMG, everybody, they’re doing instant makeovers at the Broadway Theater. First, this scruffy fox and raccoonsuddenly turn into total studmuffins in satin suits. And then — this is the best part — this girl’s lame, retropeasant-chic outfit is transformed, right before our eyes (and while she’s singing), into a red-carpet ball gown.Make that two ball gowns: one white and one gold.

You may have gathered by now that “Cinderella,” that ultimate and most enduring of makeover shows, is backin town. Specifically, it’s “Rodgers & Hammerstein’s Cinderella” (Broadway productions wear their labels onthe outside these days), a work that started out as a made-for-television musical in 1957 and has since beenrestyled more often than a nervous movie star during Oscar week.

To my surprise the Academy Awards came to mind quite often as I watched this glittery patchwork of a show,which has a new book by Douglas Carter Beane and is directed by Mark Brokaw. It wasn’t just the parade ofbig-skirted, Technicolor dresses in the ball sequence that inspired such reflections, or the presence of a fairygodmother (poor Victoria Clark) in a humped, sparkly number that would have sent Joan Rivers intooverdrive.

No, the main and most affecting parallel is how these two productions were confronting the knotty problem ofbeing both traditional and up to date in a culture that has no tone to call its own. Like this year’s Oscar host,Seth MacFarlane — who croons like the 1950s and quips like the 2010s — this “Cinderella” wants to bereassuringly old-fashioned and refreshingly irreverent, sentimental and snarky, sincere and ironic, all at once.

Allow me to add quickly that this “Cinderella,” which stars an earnestly pretty Laura Osnes in the title role andan appealingly goofy Santino Fontana as her prince charming, is by no means as long or embarrassing as theOscars (although the second act does drag on for 10 minutes longer than it needs to). But for a show that’shawking T-shirts that read “I can be whatever I want to be” (a Hammerstein lyric), it doesn’t seem to knowquite what that is.

Such uncertainty may not bother the little girls in tiaras (you can buy your own in the lobby) who are theshow’s target audience. Or even the grown-ups from different generations who have warm childhood memoriesof one of three television versions of “Cinderella”: the first one from 1957, starring Julie Andrews (who had justwowed Broadway as Eliza Doolittle); the 1965 version that introduced a dewy Lesley Ann Warren (that wouldbe my “Cinderella”); and a 1997 remake with Brandy.

The keynote songs from the original have been retained. And anyone who swooned however many decades agoover “Ten Minutes Ago,” the prince and Cindy’s musical equivalent to Romeo and Juliet’s “palmers’ kiss”scene, will find that it is sung quite fetchingly here.

But a lot has been added and deleted. (Extensive revisions, by the way, have been made in every version of this

Gowns From the House of Sincere & Snark - The New York Times

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“Cinderella” that followed its inception.) Some lesser-known songs from the Rodgers & Hammerstein cataloghave been jimmied in (including “Now Is the Time,” a rousing call for social change that was cut from “SouthPacific”).

There’s been a whole lot of fiddling with the plot too to give it politically progressive substance and thosemandatory messages about self-esteem and self-empowerment. The prince’s parents (played by Ginger Rogersand Walter Pidgeon in 1965) have been eliminated, replaced by a devious and manipulative regent figure,Sebastian (the droller-than-droll Peter Bartlett), who tricks the naïve prince, called Topher, into signing billsthat repress and rob his people.

So when Cinderella finally gets the chance to talk to her dream date at that immortal ball, instead ofwhispering sweet nothings, she says, “You need to open your eyes to what’s happening in your kingdom.”(Maybe she should be renamed Che-erella.)

Like the reinvented cartoon fairy-tale heroines of the past several decades, from Disney’s “Little Mermaid”onward, this Cinderella is no passive damsel waiting for a rescuing knight. She takes charge of her destiny, somuch so that she doesn’t lose that glass slipper; she hands it to the prince. It’s a conscious choice, see; shecontrols her narrative. And, by the way, the prince must undergo a similar process of re-education, which willallow him to conquer his self-doubts and introduce democracy to his kingdom.

Since such revisions have been overseen by the quip-meister Mr. Beane (whose new work, “The Nance,” opensthis spring), they are often presented with a wink and a nod and invisible quotation marks. Unfortunately noteveryone shares the same approach in this regard.

Mr. Fontana probably strikes the best balance between earnestness and archness. The silver-voiced Ms. Osnesseems to believe unequivocally in her character, which is winning in its own way but doesn’t quite match upwith Mr. Fontana. The ever-stylish Harriet Harris, as the vain and frivolous stepmother, bizarrely appears tobe playing an embittered middle-aged Joan Crawford heroine.

Ann Harada and Marla Mindelle are amiable but oddly tentative as the stepsisters, who in this version are notugly. (How un-PC would that be?) Ms. Mindelle’s character, a secret friend to the downtrodden, is in love withthe town revolutionary (Greg Hildreth).

Of course no one’s really going to “Cinderella” for its politics. They go for the songs (among Rodgers andHammerstein’s most confectionary) and the dances (a lot of mock-medieval capering, choreographed by JoshRhodes). And the scenery (by Anna Louizos), which in this version includes a “Beauty and the Beast”-likeforest through which walks a “Lord of the Rings”-style giant tree creature who appears in the very first scene.

And, oh yes, the dresses, which have been left to the capable and industrious hands of William Ivey Long. Theshowstoppers in this version aren’t the songs so much as those instant costume changes from rags to riches byour girl Cindy. And did I mention that fabulous wedding dress that Ms. Osnes — who bears a passingresemblance to the former Kate Middleton — wears in the finale? That one brought down the house.

Early in the show Sebastian, sensing unrest among the starving populace, suggests to the prince they come upwith “a distraction.”

What kind?, the prince asks.

Gowns From the House of Sincere & Snark - The New York Times

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“A royal wedding,” Sebastian answers.

And does that work?

“Like a dream,” Sebastian says, “every time.”

That could well be this show’s producers talking.

Rodgers & Hammerstein’s Cinderella

Music by Richard Rodgers; lyrics and original book by Oscar Hammerstein II; new book by Douglas CarterBeane; directed by Mark Brokaw; choreography by Josh Rhodes; music adaptation, supervision andarrangements by David Chase; orchestrations by Danny Troob; sets by Anna Louizos; costumes by WilliamIvey Long; lighting by Kenneth Posner; sound by Nevin Steinberg; hair and wig design by Paul Huntley; musicdirector/conductor, Andy Einhorn; music coordinator, Howard Joines; production stage manager, Ira Mont;technical supervision by Hudson Theatrical Associates; fight director, Thomas Schall; associate director, GinaRattan; associate choreographer, Lee Wilkins; associate producer, Charles Salameno; company manager, BrigBerney; general manager, Richards/Climan Inc. Presented by Robyn Goodman, Jill Furman, Stephen Kocis,Edward Walson, Venetian Glass Productions, the Araca Group, Luigi Caiola and Rose Caiola, Roy Furman,Walt Grossman, Peter May/Sanford Robertson, Glass Slipper Production LLC/Eric Schmidt, TedLiebowitz/James Spry and Blanket Fort Productions, in association with Center Theater Group. At theBroadway Theater, 1681 Broadway, at 53rd Street, (212) 239-6200, telecharge.com. Running time: 2 hours 20minutes.

WITH: Laura Osnes (Ella), Santino Fontana (Topher), Peter Bartlett (Sebastian), Ann Harada (Charlotte), GregHildreth (Jean-Michel), Marla Mindelle (Gabrielle), Phumzile Sojola (Lord Pinkleton), Harriet Harris(Madame) and Victoria Clark (Marie).

Everything’s Fine, Until It Isn’t - The New York Times

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March 3, 2013THEATER REVIEW

Everything’s Fine, Until It Isn’tBy CHARLES ISHERWOOD

Tragedy slips into the room quickly and quietly in “Belleville,” the extraordinarily fine new play by Amy Herzogthat opened on Sunday night at New York Theater Workshop. A portrait of a marriage sliding ineluctably intocrisis, Ms. Herzog’s delicately constructed drama simmers along coolly until, almost unnoticeably, the smallsecrets and larger lies that have become woven into the fabric of a young couple’s life begin to tear them apart.

The play, which had its premiere at the Yale Repertory Theater, arrives in New York with the creative teambehind it intact: the director, Anne Kauffman, whose subtly paced, incisive work gently stokes the play’satmosphere of unease; and the two superb actors in the central roles, Maria Dizzia and Greg Keller, whoseperformances have become more finely honed, emotionally revealing and, ultimately, devastating.

The first clue that something is amiss in this seemingly promising young marriage pops up in the first scene.Abby (Ms. Dizzia) shuffles in to the couple’s apartment in the funky Belleville section of Paris expecting to findthe place empty. Zack (Mr. Keller) should be at work; they have moved from the United States to France so hecan take up a position at Doctors Without Borders. Abby is meant to be working too, but nobody showed forthe yoga class she was to lead. (She’s given up her acting dream: “To be an actor you have to love to suffer,”she says at one point, “and I only like to suffer.”)

As she sheds layers of clothing — it’s a frosty December, with Christmas approaching — Abby hears disturbingsounds from the bedroom. When she goes to investigate, she discovers Zack alone, and yet not without somestimulating company. As he later tells their landlord, Alioune (a grave, excellent Phillip James Brannon), whenAlioune comes down to share a few puffs of pot, Zack was “on the computer,” and, no, as they exchangeknowing glances, he wasn’t just checking e-mail.

Both Abby and Zack awkwardly laugh off this embarrassment. Today, after all, dipping into Internetpornography for procrastination purposes might not even qualify as a marital misdemeanor. But as the coupleattempts to repair the minor damage by planning a date night out, the tensions between them, we come to see,lie far deeper than a matter of a lull in their sexual relationship. They are still negotiating the challenges ofintimacy — they married young, possibly because Abby’s mother was dying from cancer at the time — andpersonal problems (psychological, financial, pharmacological) leave each of them dangerously vulnerable tomisreading the other’s emotional signals.

Ms. Herzog, the talented author of “4000 Miles” and “The Great God Pan,” writes with perfect pitch in aminor key in scenes that are paced to evoke a sense of everyday domesticity slightly tinged with disquiet.Almost before we can sense it a mood of menace has come to hover in the air, like the vestiges of the smokefrom the pipe that Zack keeps resorting to, with an increasing sense of desperation.

At first you have to lean in and listen to hear the quiet alarm bells going off. There are casual allusions to

Everything’s Fine, Until It Isn’t - The New York Times

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Abby’s having gone off her antidepressants (though she still takes Valium as needed). Zack makes jokes withAlioune about it, but Abby’s jittery tendency to chatter on — about her sister in the States who’s expecting ababy, about how much she misses her father — signals that she is closer to an emotional precipice than itmight first appear.

Ms. Dizzia conveys the furtive fears trembling underneath the hopeful smiles with heartbreaking exactness.When Zack, responding to her tetchiness, tells her he just wants to make her happy, she lashes out: “I am nothappy, O.K., that’s just not my, like, mode of being, so if that’s what you’re trying to accomplish, stop!”

Or is Zack the more fragile one, with the tips of his white tennis shoes poised on the edge of a cliff? The wayhe ransacks the apartment for every last bit of weed doesn’t suggest a man who is facing his problems head-on.And Ms. Herzog employs classic devices to stoke suspense. For instance we come to learn crucial facts aboutZack’s mismanagement of their finances before Abby does, when Alioune begins pressuring him about months’of overdue rent.

As portrayed by Mr. Keller, this coolheaded, easygoing man seems to be trying his best to comfort his nerve-rattled wife, to ease her disappointments and shore her up against the loneliness she feels living in a strangecity. (She has more or less given up learning French.) So why, when they come home from their big date night,with Abby messily drunk, do we feel such a shiver of unease when Zack suddenly emerges from the kitchenwith a butcher knife in his hand? Perhaps because, in moments of stillness, a shutter seems to close over Mr.Keller’s handsome features, and Zack’s friendly eyes turn into ice cubes.

The blade of that knife, soon put away after Zack has cut up some bread to soothe Abby’s stomach, keepsglinting in the back of our minds as “Belleville” moves stealthily toward its dark conclusion. Other smallincidents — Zack’s casual confiscation of Abby’s cellphone, ostensibly so she won’t drunk-dial her dad — alsohint that the distance between Zack and Abby is growing ever wider, even as they try to paper over theproblems in their marriage.

Every detail in Ms. Kauffman’s production — and in Ms. Herzog’s 95-minute play — has been preciselycalibrated to keep us aware of two things at once: that this couple is in some sense no different from manyothers in their intelligence and humor, their mutual love frayed by individual disappointments; but also thatthe possibility of violence of one kind or another is perhaps just a whisper away.

The expert set design, by Julia C. Lee, prominently features more than one door capable of being meaningfullyshut. The layered sound design, by Robert Kaplowitz, plays its own dramatic role: things that go bump in thelocked bathroom have you squirming tensely in your seat. And some of the most disquieting moments areimmeasurably enhanced by the lighting of Ben Stanton.

At one crucial point I found myself peering desperately into the shadows to see precisely what expression wasplaying across Zack’s face. As the atmosphere of veiled antagonism in the small apartment becomesclaustrophobic, we sense Abby’s disorientation and fear growing. It’s born of a feeling that most of us have feltwith an intimate, the sense that the person on the bed or the couch beside us has suddenly become a stranger,whose motives, needs, deepest desires are as unreadable as a map of a city we’ve never visited.

Belleville

By Amy Herzog; directed by Anne Kauffman; sets by Julia C. Lee; costumes by Mark Nagle; lighting by Ben

Everything’s Fine, Until It Isn’t - The New York Times

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Stanton; music and sound by Robert Kaplowitz; fight director, Jeff Barry; dialect coach, Deborah Hecht;production stage manager, Terri K. Kohler. Presented by New York Theater Workshop, James C. Nicola,artistic director; William Russo, managing director; in association with Yale Repertory Theater. At the NewYork Theater Workshop, 79 East Fourth Street, East Village, (212) 279-4200, nytw.org. Through March 31.Running time: 1 hour 35 minutes.

WITH: Pascale Armand (Amina), Phillip James Brannon (Alioune), Maria Dizzia (Abby) and Greg Keller(Zack).

Sharp Memory Yields Perils and Payday - The New York Times

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March 1, 2013THEATER REVIEW

Sharp Memory Yields Perils and PaydayBy CLAUDIA LA ROCCO

What are the elements that make us human, that make us ourselves? Our memories, our ability to feel and toempathize? Or perhaps our capacity for cruelty?

Such are the big questions coiled at the center of “The Mnemonist of Dutchess County.” Written by JoshKoenigsberg and directed by Laura Savia, this two-hour production from the Attic Theater Company concludesits run on Saturday at the Beckett Theater.

Partly inspired by the Russian journalist Solomon Shereshevsky, whose perfect memory and synesthesia (acondition in which the stimulation of one sensory pathway causes a response in another, as when a colorevokes a specific smell) were documented by the psychologist Alexander Luria, “The Mnemonist” is set inpresent-day upstate New York. Our synesthete is Milo (the physically compelling Henry Vick), a sweet,working-class guy whose inability to shut off certain parts of his brain serves him poorly in social and worksituations. He finds an exceedingly poor man’s version of Luria in Dr. Hulie (Brit Whittle), a psychologyprofessor at the local college scrounging around for his next book idea.

Everybody is on the make. Milo agrees to work with Dr. Hulie to make himself more palatable to Gina (AvaEisenson), a restless bar owner whose almost-boyfriend and would-be bouncer, Tito (Aaron Costa Ganis),constantly eyes his next moneymaking opportunity.

Dr. Hulie’s student Samantha (Jessica Varley, shrilly muscling her way through the show’s most thanklessrole), is out to get ahead at all costs, while Gina’s brother, Joey (Malcolm Madera), can’t deal with all of thethings he wants and can’t have, and so projects his desires for a better life onto the hapless Milo.

Got all that? “The Mnemonist” casts out lots of lines, along with attendant and meaty issues of class, place andwhat it means to be a social creature. But Mr. Koenigsberg and Ms. Savia are ultimately too preoccupied withworn narrative conventions and stock (as well as sexist) characterizations to let the play’s themes develop.

The results, like the memory tricks Milo performs for money, are at once busy and empty, a mere gloss on thereal thing. Melodrama can be a terrific artistic tool. But the realism this play seeks requires complexity andquiet too.

Bonnie Franklin, ‘One Day at a Time’ Actress, Dies at 69 - NYTimes.com

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March 1, 2013

Bonnie Franklin, Steadfast Mom on ‘One Day at aTime,’ Dies at 69By DOUGLAS MARTIN

Bonnie Franklin, whose portrayal of a pert but determined Ann Romano on the television show “One Day at aTime” in the 1970s and ’80s spun laughter out of the tribulations of a divorced woman juggling parenting, career,love life and feminist convictions, died on Friday at her home in Los Angeles. She was 69.

The cause was complications of pancreatic cancer, family members said. They had announced the diagnosis inSeptember.

Ms. Franklin also acted on the stage and in movies and for years sang and danced in a nightclub act. But she wasmost widely known in the role of Ann Romano, one of the first independent women to be portrayed on TVwrestling with issues like sexual harassment, rape and menopause. Ms. Franklin — green-eyed, red-haired, button-nosed and 5-foot-3 — brought a buoyant comic touch to the part.

Some saw the show as helping feminism enter the mainstream.

“I know it’s just a television show, and I don’t think that I am changing the way the world is structured,” Ms.Franklin told The Washington Post in 1980, but she allowed that “sometimes we strike chords that do make peoplethink a bit.”

“One Day at a Time” ran from December 1975 to May 1984, and its ratings ranked in the top 20 in eight of thoseseasons and in the top 10 in four. Ms. Franklin was nominated for an Emmy Award and twice for a Golden Globe.

The show’s topicality fell squarely in the tradition of its developer, Norman Lear, who had gained renown forintroducing political and social commentary to situation comedy with “All in the Family” and other shows. Its co-creator was Whitney Blake, a former sitcom star who, as a single mother, had reared the future actress MeredithBaxter.

Like Archie and Edith Bunker in “All in the Family,” Ann and her daughters, Julie and Barbara Cooper (MackenziePhillips and Valerie Bertinelli), used comedy in the service of grappling with serious and thorny real-world matters.

As a divorced mother who had reverted to her maiden name and relocated to Indianapolis, Ann fought herdeadbeat ex-husband for child support, for example. Or she dealt with a daughter deciding whether to remain avirgin.

Some story lines continued for up to four weeks, as when Julie, to Ann’s consternation, dated a man more thantwice her age. In one plot twist Ann’s fiancé is killed by a drunken driver. Later she marries her son-in-law’sdivorced father.

Comic relief came from the frequent visits of the building superintendent, Dwayne Schneider (Pat Harrington). ButMs. Franklin was said to have pushed the producers toward greater realism, urging them to take on issues liketeenage pregnancy and avoid letting the show lapse into comic shtick.

In her 2009 memoir, “High on Arrival,” Ms. Phillips, who had come to the show after gaining notice in the 1973George Lucas film “American Graffiti,” said that Ms. Franklin did not want “One Day at a Time” to be “sitcomfluff.”

Bonnie Franklin, ‘One Day at a Time’ Actress, Dies at 69 - NYTimes.com

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“She wanted it to deal honestly with the struggles and truths of raising two teenagers as a single mother," Ms.Phillips wrote.

By the time the show ended in 1984, Ann’s daughters had grown and married; Ann herself had remarried andbecome a grandmother.

In interviews. Ms. Franklin said she had refused to do anything that might diminish her character’s integrity. Inparticular, she said, it was important for Ann not to rely on a man to make decisions. But each year she foundherself fighting the same fights.

“And I’m not working with insensitive men,” she told The Boston Globe in 1981. “But the men who produce andwrite the show still don’t believe me when I present them with the women’s point of view.

“After seven years,” she continued, “I just want to say, ‘C’mon guys, I’m an intelligent person, why don’t you justtrust me?’ I’m so tired of fighting. But you can’t give up.”

Bonnie Gail Franklin was born in Santa Monica, Calif., on Jan. 6, 1944, one of five children. Her father was aninvestment banker while her mother pushed her children toward the performing arts. The family later moved toBeverly Hills, where Ms. Franklin graduated from Beverly Hills High School.

An excellent tap dancer by 9, she performed on “The Colgate Comedy Hour” in 1953. The next year, she playedSusan Cratchit on “A Christmas Carol” on the CBS variety show “Shower of Stars.” In 1956 she had uncredited rolesin Alfred Hitchcock’s “Wrong Man” and the comedy “The Kettles in the Ozarks.” She turned down an offer to be aMouseketeer on Disney’s “Mickey Mouse Club” television show.

After attending Smith College in Massachusetts, Ms. Franklin transferred to the University of California, LosAngeles, where she graduated with a major in English in 1966. Her marriage to Ronald Sossi, a playwright, endedin divorce in 1970.

She had her breakthrough as a performer the same year, when she was nominated for a Tony for her 10-minutesong-and-dance performance on Broadway as a chorus gypsy in “Applause,” which starred Lauren Bacall.

Ms. Franklin also acted in episodes of other television shows as well as in regional theater and movies, mainly onesmade for television, notably playing Margaret Sanger, the women’s rights and birth-control advocate, in “Portraitof a Rebel: The Remarkable Mrs. Sanger,” a 1980 movie on CBS. On the Sanger set, she met the movie’s executiveproducer, Marvin Minoff. They were married for 29 years before his death in 2009.

Ms. Franklin is survived by her mother, Claire Franklin, and her stepchildren Jed and Julie Minoff.

Twenty-four years after her Sanger portrayal, Ms. Franklin spoke to hundreds of thousands of women at anabortion rights march in Washington.