Da’vine Joy Randolph, Richard Fleeshman, and Jeremy Davis appear in 'Ghost The Musical.' (Joan Marcus)

NEW YORK—The final scene of Ghost The Musical is wonderfully magical. Unfortunately, much of what comes before sacrifices intimacy for the big bang, as it were.

With a book and lyrics by Bruce Joel Rubin, music and lyrics by Dave Stewart and Glen Ballard, and based on the Paramount Pictures film written by Bruce Joel Rubin, the stage show hews too close to the source material to establish its own identity.

Wall Streeter Sam (Richard Fleeshman) lives happily with his sculptress girlfriend Molly (Caissie Levy), though he is afraid to say “I love you” to her. Molly has been able to overcome her own commitment issues, never wanting to get married until now. Looking on bemusedly is their best friend Carl (Bryce Pinkham), who works in the same firm as Sam.

The happy couple’s romance is cut short when Sam is killed in a robbery. Yet Sam finds he still exists as a ghost and is desperate to protect the stunned and grieving Molly.

Aided by storefront psychic Oda Mae Brown (Da’vine Joy Randolph) and a very angry Subway Ghost (Tyler McGee), Sam learns his death may not have been simply due to a random act of violence.

The musical paints a powerful message of the fragility of life. Sadly, the creative team seems to have forgotten that “Ghost” is, at its heart, a love story, and all too often quiet moments are lost by adding unneeded bits of business.

For example, when Molly sings a haunting song about moving on, there are various people dancing in the background, blunting the emotional thrust of the number.

Elsewhere, the scene where Sam confronts his murderer (Michael Balderrama) is lit very dimly, with a screen between the audience and the actors, and so those watching are unable to see the reactions of either character.

Finally, Sam, after dying, is greeted by a Hospital Ghost (Lance Roberts), a touching moment which morphs into a song and dance number, destroying the horror Sam feels about what’s happened to him.

The show does take the art of special effects and projection to an entirely new level, making Sam’s spiritual ability to walk through walls and to disappear totally believable without distracting from the rest of the action.

The production is also able to perfectly capture the feeling of living in New York City, via excellent video work showing scenes of the skyline, Wall Street, and people running to and from their jobs—the last of these being both physical and projected.

Molly (Caissie Levy) and Sam (Richard Fleeshman) in a scene from “Ghost The Musical,” based on the movie starring Patrick Swayze and Demi Moore. (Joan Marcus)

Yet the show suffers from special effect’s overkill at times. In a love scene between Sam and Molly, images of their bodies intertwining are superimposed on them, as if not trusting the actors themselves to covey the emotions needed.

Fleeshman and Levy are excellent in their roles and one can certainly feel the romantic sparks between the characters. Fleeshman portrays Sam as a basically good man, determined to make things right even as he loses everything he holds dear.

Levy, meanwhile gives Molly a nicely earthy quality. The actress is also able to realistically deliver her musical numbers, ranging from songs about loss and yearning to ones of more happier times. The score itself, however, is completely forgettable.

Pinkham does a nice turn as Carl, someone who may know more about what’s happening than he initially lets on. Balderrama projects a menacing attitude as Sam’s killer and McGee has some very good moments as the Subway Ghost.

Randolph is fine as Oda Mae, but she often plays the character a bit too broadly, especially in a scene in Sam’s former office. She does have a great show-stopping number (“I’m Outta Here”), but one not necessary to the plot.

Direction by Matthew Warchus is okay as far as it goes, keeping the show moving nicely without any noticeable lags, but like Rubin’s script, his efforts fail to reach the heart of the material and make it soar.

The video and projection design work by Jon Driscoll is quite good and the illusions by Paul Kieve are wondrous to behold. Hugh Vanstone’s lighting and Bobby Aitken’s sound are both excellent, a good thing as this is one case where it is quite important for every technical aspect to come off entirely as planned.

“Ghost The Musical” has a wonderful love story at its center, but too many missteps distract from its ultimate message.

Also in the cast are Moya Angela, Carly Hughes, Jennifer Noble, Jason Babinsky, Jennifer Sanchez, Daniel J. Watts, Vasthy Mompoint, Alison Luff, Jeremy Davis, Sharona D’Ornellas, Josh Franklin, Albert Guerzon, Afra Hines, Joe Aaron Reid, Constantine Rousouli, and Daniel J. Watts.

Ghost The Musical
Lunt-Fontaine Theatre
205 West 46th Street
Tickets: 877-250-2929 or
www.ticketmaster.com
Running time: 2 hours, 40 minutes
Open run

Judd Hollander is the New York correspondent for the London publication The Stage.

The Epoch Times publishes in 35 countries and in 19 languages. Subscribe to our e-newsletter.

Raúl Esparza as Jonas Nightingale surrounded by the Angels of Mercy choir. (Joan Marcus)

NEW YORK—In the tradition of Elmer Gantry, a revival bus broke down in a dusty Kansas town, and what could the beleaguered passengers do but “leap” into their familiar roles and attempt to instill old-fashioned religion into the hearts and souls of the townspeople? When the leader of the believers was the charismatic performer Raúl Esparza, you had an audience pleaser (although the show itself might have seemed a bit creaky at times).

Esparza, whose character was blessed with the unlikely moniker of Jonas Nightingale, was aided and abetted by a stalwart crew. There was his ever-supportive sister Sam (Kendra Kassebaum). There was his assistant and sturdy gospel choir leader Ida Mae Sturdevant (Kecia Lewis-Evans), who not only helped fill the theater with bouncy song (Broadway’s St. James Theatre served as the revival tent) but also cooked the books for Jonas.

Jonas couldn’t have survived without Ida Mae’s unwavering loyalty because she and her daughter (Krystal Joy Brown) were able to keep the choir members—Angels of Mercy, they were called—from walking out even though they hadn’t been paid in a good while.

Even Ida Mae’s son, Isaiah (Leslie Odom, Jr.), on vacation from Bible college, felt bad when he was forced to turn over the questionable books to the town’s sheriff. The plot then thickened because the sheriff just happened to be a female, the widow Marla McGowan (Jessica Phillips).

Now there’s nothing like a bit of romance to keep a stew simmering. Marla was more than a little conflicted because doing her job would require that she arrest the visiting charlatan. Lonely woman that she was, she couldn’t help but be drawn to the exotic stranger.

Besides, Marla’s 13-year-old son, Jake (Talon Ackerman), who had lost the use of his legs in an accident that killed his father, was also drawn to Jonas and felt that Jonas’s magic touch would make him walk again. Even Jonas was touched by the boy’s strong belief.

Interspersed between all the doings were the musical numbers (music by Alan Menken, lyrics by Glenn Slater) with titles such as Rise Up!, Fields of the Lord, Fox in the Henhouse (sung by Jonas and Marla), King of Sin (sung by Jonas), and Last Chance Salvation. You didn’t go out humming these but they certainly kept things rocking, ranging from intimate country ballads to rousing gospel.

Under Christopher Ashley’s direction, with choreography by Sergio Trujillo, the cast performed with to-be-expected Broadway conscientiousness.

It was ultimately Raúl Esparza’s show, and he carried it to the hilt.

Diana Barth writes and publishes “New Millennium,” an arts publication. For information: www.diabarth@juno.com

The Epoch Times publishes in 35 countries and in 19 languages. Subscribe to our e-newsletter.

Davies (Jonathan Pryce) joins brothers Mick (Alex Hassell) and Aston (Alan Cox) to become caretaker of their unkempt apartment. (Richard Termine)

BROOKLYN, NY—BAM (Brooklyn Academy of Music) has brought from England a Theatre Royal Bath Productions/Liverpool Everyman and Playhouse production of The Caretaker by Harold Pinter, winner of the Nobel Prize for Literature and many other literary awards.

Into a remarkably cluttered room somewhere in London, the tenant, Aston (Alan Cox), leads a scruffy, grizzled tramp who calls himself Davies (Jonathan Pryce). Aston has invited the homeless man to stay the night after he loses his job at a local pub following an altercation with his boss.

The reserved and neatly dressed Aston, who might pass for an accountant, seems an anomaly in this disordered environment. Ignoring his guest, Aston sits on his bed attempting to repair the plug on an electric toaster. Success eludes him, possibly after many tries.

Davies, shrewdly noting Aston’s seeming laissez-faire attitude, deduces that maybe his stay can be prolonged.

He tests his host. Davies needs a pair of shoes, and does Aston have any to offer. As a matter of fact he does. But they don’t suit Davies—too tight, he opines. This tramp is fussy.

Inspecting the room and apparently leaky roof—a bucket is hung haphazardly from the ceiling—Davies is concerned as to whether the nearby “blacks” ever enter the house to use the bathroom. Though down on his luck, his obvious racism indicates he feels superior to foreigners.

He tests the bed Aston offers. Clearly pleased with his good fortune, Davies smugly makes himself at home.

He is concerned, however, that the stove placed close to his bed may leak gas during the night and suffocate him. He repeats his concern even after Aston assures him that the stove is not connected. But Aston fuels Davies’s confidence by offering him a job as caretaker to the place. Davies is surprised, but will consider the offer.

With Aston having exited, stress enters in the person of Mick (Alex Hassell), an egotistical street type who proclaims himself to be the actual owner of the property, and that he permits Aston, who is his brother, to stay there. The rug is being pulled out from under Davies, as the balance of power has shifted dangerously. Even though Mick himself also offers Davies the position of caretaker, Davies is losing his earlier sense of equilibrium.

All three characters are in denial, each needing to perform some task in order to get on with his life. They communicate obliquely and seem to be going their separate ways.

Davies—whose real name is Jenkins— claims he must visit a nearby town to get his papers (which have been sitting there about 15 years) and set straight his proper name—when the weather clears, which it never seems to do.

Aston stares longingly out the window and remarks that he must get a shed built.

Mick must have the house redone properly and insists that he has hired the now bewildered Davies to perform work requiring the skills of a professional interior decorator.

More cat-and-mouse games follow, engineered by the taunting Mick. The coup de grace is unexpectedly performed by the heretofore welcoming Aston. At play’s end, Davies is completely unwound. In severe emotional pain, he is as desperate as any human being can be.

In this play, no less than man’s brutality to man is on display, a profound theme. Director Christopher Morahan’s interpretation stresses the play’s comedic aspects, which bring about big laughs from the audience.

But although beautifully performed by the three actors with some brilliant theatrical pyrotechnics, particularly by Jonathan Pryce, a stronger underlying sense of menace and yes, tragedy, throughout, elements which are more than implied in Pinter’s text, would have created a more potent and more meaningful ultimate effect.

This is a question of interpretation, however, and there is no doubt that Mr. Morahan’s version has proven both effective and entertaining.

Diana Barth writes and publishes “New Millennium,” an arts publication. For information: www.diabarth@juno.com.

The Epoch Times publishes in 35 countries and in 19 languages. Subscribe to our e-newsletter.

(L-R) Megan Hilty, Stephen R. Buntrock, Rachel York, and Deborah Rush (kneeling), in a number from the Encores! production of “Gentlemen Prefer Blondes.” (Joan Marcus)

NEW YORK—Encores! wound up their season with a very enjoyable production of the 1949 musical comedy “Gentlemen Prefer Blondes.”

With music by Jule Styne, lyrics by Leo Robin, book by Anita Loos and Joseph Fields, and adapted from the novel by Anita Loos, the story is set in 1924 New York City. It was a time when hair was bobbed, flappers were everywhere, and the lure of legal drinks was one reason many Americans booked transatlantic cruises.

Among those taking one particular ocean voyage to Paris are former Follies showgirls Lorelei Lee (Megan Hilty) and Dorothy Shaw (Rachel York). Lorelei is an attractive blonde whose intellect may be somewhat low, but she’s smart as a whip when it comes to knowing what men want from women and how she can get what she wants from men.

Lorelei’s engaged to Gus Esmond Jr. (Clarke Thorell), heir to the Esmond Button Corp., an organization threatened by the coming of a newfangled invention called the zipper. This new competition, as well as his father’s illness and dad’s disapproval of Lorelei, has caused Gus to skip the cruise.

Gus’s departure leaves Lorelei, as she sees it, a free agent in the romance department. She quickly finds no shortage of admirers, including elderly millionaire Sir Francis Beekman (Simon Jones), who is desperately trying to get away from his shrewish wife (Sandra Shipley).

As for Dorothy, she is a good-natured, good time girl who puts on no airs as to what she has to offer and doesn’t really think about the future. At least until she meets glee club instructor Henry Spofford (Aaron Lazar), then sparks quickly fly between the two. 

Among the other passengers are Follies girl Gloria Stark (Megan Sikora) and Josephus Gage (Stephen R. Buntrock) of the Gage Zipper Corp.

Things heat up when the ship reaches Paris and Lorelei finds herself under suspicion of theft, while Dorothy wonders if a girl like her could find happiness with a man like Henry. Meanwhile, Gus arrives on the scene and is none too pleased to learn what his fiancée had been up to in his absence.

Containing a plot of the thinnest kind, where coincidence becomes the norm, the story is a jolly and jaunty work of theater from a time when music and dance sequences appeared at the drop of a hat and did not always advance the plot.

There is no hidden message or meaning here, other than a few pointed sayings and lyrics regarding men and women, and how everyone can be reformed by marriage—with a little push. Rather, the entire show is just an opportunity for audience members to have a good time.

The show also contained some wonderful dance sequences, such as one by Sikora, Phillip Attmore, and Jared Grimes in a Paris nightclub.

Randy Skinner handled the choreography chores quite well, with the different movements coming together beautifully, at times in perfect synchronization.

Credit must also go to John Rando’s strong direction, which let the characters go wild when necessary, but always kept them at least somewhat grounded in reality—especially where matters of the heart were concerned.

Hilty did a great job as Lorelei, part quintessential dumb blonde, part hard-hearted realist who uses what she has to obtain a successful life for herself, and if love comes with it, that’s just a great bonus.

York was pleasing as the more earthy Dorothy, a woman trying to see if she can balance her passionate past and love of the unexpected with the more sedate life of a teacher’s wife.

Deborah Rush was fun as Henry’s mother, someone just looking for a place to unwind and have a drink or two—that is if she could get away from her overprotective son long enough.

Thorell and Buntrock were nicely square-jawed as the somewhat over-the-top Edmonds and Gage. Buntrock called to mind the memory of the late actor Jack Cassidy.

John Lee Beatty’s scenic design work was very nice, making the stage look believably like part of a ship, and later, a Parisian nightspot. Costumes by David C. Woolard were excellent, especially some of the outfits worn by Hilty.

The production of “Gentlemen Prefer Blondes” made for a wonderful look at a theatrical musical of yesteryear. Word was that the show would be recorded. If so, be sure to pick up the CD when it becomes available.

Also in the cast were Brennan Brown, Luke Hawkins, Eric Bourne, Steven Boyer, Anna Aimee White, Kristyn Pope, Shannon M. O’Bryan, Arlo Hill, Callan Bergmann, Charissa Bertels, Sam Bolen, Kyle Brown, Robin Campbell, Brandon Davidson, Christine DiGiallonardo, Michael Marcotte, Nick McGough, Lindsay O’Neil, Lindsay Roberts, Heath Saunders, Kelly Sheehan, Jessica Vosk, Matt Zimmerman, and Curtis Schroeger.

Judd Hollander is the New York correspondent for the London publication The Stage.

Cécile Van Sants sings the title role in a performance of Gluck’s “Orphée.” (Susan James)

ALBERTVILLE, France—Marking the 300th anniversary of the birthday of noted philosopher, writer, and composer Jean Jacques Rousseau, France is celebrating Rousseau’s life with a series of events, including a special concert dedicated to his passionate love of music. On May 11, Albertville staged a concert presentation of Gluck’s precedent-setting opera “Orphée” at the Dome Theatre.

Rousseau had a particular affection for the evolving opera form and was especially enthusiastic about the works of his contemporary, German composer Christoph Gluck. Thus, the concert celebrates the connection between Rousseau and Gluck.

First performed in Vienna in 1762, “Orphée” became a benchmark for French opera. It was a radical departure at the time from the overly ornate and florid Italian tradition, which dominated the evolving musical form.

With his new work, Gluck tried to impose an organic simplicity on what was basically an artificial art and, in the midst of great tragedy, give his characters recognizable human emotions.

A minor composer himself, Rousseau understood Gluck’s aims and delighted in the French influences in his work. The two men finally met in Paris in 1774.

The story of “Orphée”
Taking a tale from Greek mythology, “Orphée” tells the story of Orpheus and Eurydice, lovers separated by death after Eurydice is bitten by a venomous serpent.

Distraught with grief, Orpheus travels to the Underworld to find Eurydice and restore her to life. The gods who rule the dead are moved by his pleas and grant him his wish, with one proviso: Eurydice may follow Orpheus back to the living world, but he is forbidden to turn and look at her during the journey.

In Orpheus’s need to reassure himself, he forgets his promise and he glances back at his lost love. Consequently, she is ripped away from him and pulled once again into the world of the dead.

In the 18th century, this tragic ending was not popular so Gluck added two additional scenes and an intercession by the Goddess of Love, who ultimately reunites the two lovers in the finale.

The concert
In honor of the mutual admiration of these two titans of 18th century culture, the Dome Theatre tribute performance was arranged as a stage concert under the baton of conductor Nicolas Chalvin, featuring the Orchestre des Pays de Savoie, whose home is in one of Rousseau’s favorite towns, Chambery.

An enthusiastic audience greeted conductor Chalvin’s interpretation of the opera. Unobtrusive but always in control Chalvin allowed his singers room to express themselves, and the tragedy with a happy ending, played out ably backed by orchestra and chorus.

Mourning the loss of his beloved Eurydice, Van de Sant as Orpheus took the stage dressed all in black, her face twisted with loss. Each agonized line of lyric was informed by inner suffering and the resonant timbre of her voice contrasted powerfully with the light and caressing tones of French soprano Katia Velletaz’s Eurydice.

French soprano Bénédicte Tauran, added a third strong and flexible voice to the fabric of sound as the Goddess of Love, Amour, who reunites the lovers.
The production is just one of a variety of musical events that have been mounted in France to celebrate the Year of Rousseau.

Susan James is a freelance writer based in Los Angeles. She has lived in India, the United Kingdom, and Hawaii and writes about art and culture.

This scene from “La Bayadere,” titled “The Kingdom of the Shades,” is among the most celebrated in ballet. American Ballet Theatre is performing the classical ballet through May 28 at the Metropolitan Opera House. (Rosalie O’Connor)

 PERFORMING ARTS

‘La Bayadere’–American Ballet Theatre

First performed by Russia’s Imperial Ballet in 1877, this Indian tale follows the tormented love between temple dancer Nikiya and the warrior Solor. The gods’ justice ultimately prevails. A scene in the ballet, “The Kingdom of the Shades,” is among the most celebrated in classical ballet. Music by Ludwig Minkus, and choreography by Natalia Makarova. Approximately 2 hours and 42 minutes. 

The Metropolitan Opera House, Lincoln Center
Now through May 28, times vary
Tickets: $20–$230
www.abt.org

Sergey Khachatryan. (Pascal Le Segretain/Getty Images for Montblanc)

Violinist Sergey Khachatryan

This young Armenian virtuoso will perform Beethoven’s Violin Sonata in A major (“Kreutzer”) and Bach’s Partita No. 2 for Solo Violin. Khachatryan won first prize in the VIII International Jean Sibelius competition in Helsinki in 2000, at the age of only 15, becoming the youngest person to ever do so. He is accompanied by his sister, pianist Lusine Khachatryan.

Beethoven: Violin Sonata in A major (“Kreutzer”)
Bach: Partita No. 2 for Solo Violin
Alice Tully Hall, Lincoln Center
Wednesday May 23, 7:30 p.m.
Tickets: $45$–77
www.lincolncenter.org/

Mozart’s Masterwork at St. Patrick’s Cathedral

Amid the sublime setting of St. Patrick’s Cathedral, the cathedral’s choir and orchestra will provide a secular concert, performing Mozart’s masterwork, Mass in C Minor, K. 427. The choir has performed for many heads of state and the secretary-general of the United Nations. Dr. Jennifer Pascual conducts.

St. Patrick’s Cathedral, 460 Madison Ave.
Thursday, May 24, 7 p.m.
Tickets: $20–$30
www.saintpatrickscathedral.org

Schubert, Bartok, and Dvorak – NY Philharmonic

The New York Philharmonic will perform Dvorak’s “Carnival Overture,” Bartok’s Violin Concerto No. 1, and Tchaikovsky’s Symphony No. 4. Alan Gilbert conducts and Glenn Dicterow is featured on violin. 

Avery Fisher Hall, Lincoln Center
Saturday, May 26, 8 p.m.
Tickets: $31.00–$118.00
Nyphil.org

New Amsterdam Symphony Orchestra

Noted for showcasing emerging young conductors, soloists, and composers, the New Amsterdam Symphony Orchestra will perform Mozart’s Symphony No. 36 (“Linz”) and Borodin’s “In the Steppes of Central Asia.”

Peter Jay Sharp Theatre at Symphony Space
Thursday, May 31, 8 p.m.
Tickets: $20, children $12
www.symphonyspace.org

FINE ARTS

Art of Stephen Scott Young

Forty of the exquisite watercolor paintings of living master Stephen Scott Young will be on view and sale at Christie’s. His acclaimed realist works capture in detail the spirit of the Bahamas, Florida, and coastal South Carolina through their people, landscape, and architecture.

Christie’s Private Sales Galleries, 1230 Avenue of the Americas, 20th floor
Exhibition: Now through June 11
This event is free
www.christies.com

North Italian Paintings from the Accademia Carrara, Bergamo 

Called a jewel among Italian museums, the Accademia Carrara is closed for renovation, an unintended boon for New Yorkers. Because of the closure, the museum has been able to lend New York 15 masterpieces by Venetian and north Italian painters of the 15th and 16th centuries, including works by Bellini, Titian, and Lorenzo Lotto.

The Metropolitan Museum of Art
May 15–Sept. 3
Tickets: $25, Children under 12 free
www.metmuseum.org

A Window on Nature: Art of Asuka Hishiki

These 35 watercolors depict plants and insects in superb detail and refreshing style. Artist Asuka Hishiki takes her inspiration from 18th century naturalist and scientific illustrator Maria Sibylla Merian. Hishiki writes, “I love to share the beauty and the simple and quiet moments.”

The Arsenal (in Central Park) 830 Fifth Ave.,
Now through June 6
Weekdays only, 9 a.m.–5 p.m.
Free
www.nycgovparks.org

Beauties of the Gilded Age: Peter Marié’s Miniatures of Society Women

These nearly 300 watercolor-on-ivory miniatures are portraits of women believed epitomize female beauty. They were commissioned by New York socialite Peter Marié, between 1889 and 1903, amid the rapid development and luxury of America’s Gilded Age. The fragile and rarely exhibited portraits will be displayed in four-month rotations.

New-York Historical Society, 170 Central Park West
Now through July 8
Admission:$15, kids 7–13 $5, under 7 free
www.nyhistory.org

Patricia Watwood: Myths and Individuals

Patricia Watwood’s contemporary classic paintings, many of them masterful lifelike portraits, are on display at The Forbes Galleries. Watwood writes, “I chase what artists in the past have also chased—a celebration of the human form, a passion for and humility before nature, a belief that metaphor and narrative can help us puzzle out the mysteries of our time here on earth, and a belief in the emotional power of the common visual language of representation.”

The Forbes Galleries, 62 Fifth Ave.,
Now through June 9, Tuesday, Wednesday, Friday, Saturday, 10 a.m.–4 p.m.
Admission is free
www.forbesgalleries.com

Renaissance Venice: Drawings from the Morgan

Visit the Golden Age of Venice and its territories during the 16th century. This exhibit features drawings, books, maps, and letters dating back 500 years. Great masters featured include Paris Bordone, Vittore Carpaccio, Lorenzo Lotto, Jacopo Tintoretto, Titian, and Paolo Veronese.

The Morgan Museum and Library, 225 Madison Ave.,
Now through September 23.
Adults: $15. 
Children under 12: Free
www.themorgan.org

FAMILY

Shipshape: Nautical Scale Models

From a ship in a bottle to a massive World War II warship, this exhibit explores the art and craft of shipbuilding with variations. Drawn from the Intrepid Museum’s collection and loans from other institutions and collectors, the exhibit includes large-scale models of USS Constitution and USS New Jersey, a modeler’s workbench, and World War II nautical toys.

Intrepid Sea, Air & Space Museum 12th Avenue and 46th Street
Now through July 8
Tickets: $24, $19 (ages 7–17), $12 (ages 3–6)
www.intrepidmuseum.org

‘Monkey King’: A Story from China

A children’s exhibit exploring the classic Chinese tale of the ‘Monkey King.’ The mischievous supernatural monkey decides to mend his ways by embarking on an epic journey across China to retrieve the Buddhist scriptures from India. For ages 4 and up.

Children’s Museum of Manhattan, The Tisch Building at 212 W. 83rd St.,
Ongoing, Tuesday–Sunday 10 a.m.–5 p.m., Saturday until 7 p.m.
Admission: $11 for everyone over 12 months old
www.cmom.org

Astrograss. (Lara Weschler)

Governors Island Family Festival

Get off the mainland and take your kids to Governors Island, where they can enjoy music, theater, dance, arts and crafts, face painting, and maritime education. Featured performers include local kid friendly bluegrass band Astrograss as well as The Maybelles and Arm of the Sea Theater.

Nolan Park, Governors Island, ferry located near Staten Island Ferry
Saturday May 26, 12 p.m.-4 p.m.
Free
www.nycgovparks.org

Submit Arts Events

The arts at their best are not purely for entertainment or the reinvention of art itself. Rather, they strive forward with traditional forms, toward technical mastery, and place the highest value on virtue and the spiritually sublime.

Email events for consideration to NYC_news@epochtimes.com

Pictured here in its native Bamberg, the acclaimed Bamberg Symphony will perform at Avery Fisher Hall on Sunday, May 20. (Richard Haughton)

PERFORMING ARTS

‘Giselle’–American Ballet Theatre

A romantic period ballet that brings to life the power of forgiveness. The peasant girl Giselle falls in love with a count, who is not free to marry her. Music by Adolphe Adam, and choreography by Jean Coralli and Jules Perrot. Approximately 2 hours and 5 minutes. 

The Metropolitan Opera House, Lincoln Center
Now through May 21, times vary
Tickets: $20–$220
www.abt.org

‘Orpheus’

Georg Philipp Telemann’s soaring 1726 opera tells the Greek myth of Orpheus, whose charming voice leads his love, Eurydice, from the underworld. This version pays special attention to the character Orasia, Queen of Thrace, who is driven by jealousy for Orpheus’s affection. Three hours. 

El Museo del Barrio, 1230 Fifth Ave.,
Tickets: $60–$150
May 17, 20
7:30 p.m. (1:30 on May 20)
www.nycopera.com

‘La Grande Finale’ 

A dazzling all-French program combining works by Saint-Saëns and Chausson. Featuring Inon Barnatan and Juho Pohjonen on piano; Jessica Lee, Kristin Lee, and Elmar Oliveira on violin; Beth Guterman on viola; and Andreas Brantelid on cello

Alice Tully Hall, Lincoln Center
Friday May 18, 7:30 p.m., Sunday May 20, 5 p.m.
Tickets: $27–$65
www.chambermusicsociety.org/

The Philadelphia Orchestra

Maria João Pires, called “one of the most celebrated and loved pianists on the planet” by The Telegraph, performs Chopin’s Second Piano Concerto with The Philadelphia Orchestra. Under the direction of Charles Dutoit, the ensemble also performs the overture to “Ruslan and Ludmilla” by Mikhail Glinka and Ravel’s ballet score “Daphnis et Chloé.”

Stern Auditorium, Carnegie Hall
Friday, May 18, 8 p.m.
Tickets: $20.50-$125
www.carnegiehall.org

‘Liebeslieder Walzer’

A two-part ballet of waltzes for piano duet and vocal quartet set to poems by Friedrich Daumer (1800–1875) and Johann Wolfgang von Goethe (1749–1832). The dancers are joined on stage by the musicians and singers with everyone dressed in period ballroom costumes amid an intimate and elegant ballroom setting. Set to music by Johannes Brahms. The performance is 49 minutes and accompanying ballets vary depending on the night.

David H. Koch Theater, Lincoln Center
Friday May 18, 19, 20, and 22, times vary
Tickets: $29–$149
www.nycballet.com

Morris Jumel Mansion. (Katy Mantyk/The Epoch Times)

 Harpsichordist Rebecca Pechefsky

At the oldest house in Manhattan, Pechefsky will perform works by Francois Couperin’s rarely played 12th Ordre and the rediscovered E-Flat Partita by Bach’s star pupil, Johann Ludwig Krebs. 

Morris-Jumel Mansion, 65 Jumel Terrace
Saturday, May 19, 4 p.m.–6 p.m.
Tickets: $25. Advanced registration required. Call (212) 923-8008
www.morrisjumel.org

Schubert, Bartok and Dvorak – NY Philharmonic

The New York Philharmonic will perform Dvorak’s “Carnival Overture,” Bartok’s Violin Concerto No. 1, and Tchaikovsky’s Symphony No. 4. Alan Gilbert conducts and Glenn Dicterow is featured on violin. 

Avery Fisher Hall, Lincoln Center
Saturday, May 19, 2 p.m.; Tuesday, May 22, 7 p.m.; Saturday, May 26, 8 p.m.
Tickets: $31.00–$118.00
Nyphil.org

Bamberg Symphony

Rooted in the World Heritage Site of Bamberg, Germany, the acclaimed Bamberg Symphony will perform Schubert’s Symphony No. 4 (“Tragic”), Brahms’s Piano Concerto No. 2, Webern’s Five Pieces, Op. 10. Jonathan Nott conducts and Christian Zacharias is featured on the piano.

Avery Fisher Hall, Lincoln Center
Sunday May 20, 2:30 p.m.
Tickets: $35–$77
www.lincolncenter.org/

The Buchmann-Mehta School of Music Symphony Orchestra

From Tel Aviv University, Israel, the Buchmann-Mehta School of Music Symphony Orchestra performs Mozart’s overture and select arias from “Don Giovanni,” “Sinfonia Concertante in E-flat Major,” and Symphony No. 35, (“Haffner”), and Vivaldi’s Concerto in G Minor for Two Cellos, Strings, and Continuo.

Zankel Hall, Carnegie Hall
Monday May 21, 7:30 p.m.
Tickets: Prices not yet listed
www.carnegiehall.com

FINE ARTS

“Freedom,” by Stephen Scott Young. (Christie’s)

 Art of Stephen Scott Young

Forty of the exquisite watercolor paintings of living master Stephen Scott Young will be on view and sale at Christie’s. His acclaimed realist works capture in detail the spirit of the Bahamas, Florida, and coastal South Carolina through their people, landscape, and architecture.

Christie’s Private Sales Galleries, 1230 Avenue of the Americas, 20th floor
Exhibition: Now through June 11
This event is free
www.christies.com

A Window on Nature: Art of Asuka Hishiki

These 35 watercolors depict plants and insects in superb detail and refreshing style. Artist Asuka Hishiki takes her inspiration from 18th century naturalist and scientific illustrator Maria Sibylla Merian. Hishiki writes, “I love to share the beauty and the simple and quiet moments.”

The Arsenal (in Central Park) 830 Fifth Ave.,
Now through June 6
Weekdays only, 9 a.m.–5 p.m.
Free
www.nycgovparks.org

Beauties of the Gilded Age: Peter Marié’s Miniatures of Society Women

These nearly 300 watercolor-on-ivory miniatures are portraits of women believed epitomize female beauty. They were commissioned by New York socialite Peter Marié, between 1889 and 1903, amid the rapid development and luxury of America’s Gilded Age. The fragile and rarely exhibited portraits will be displayed in four-month rotations.

New-York Historical Society, 170 Central Park West
Now through July 8
Admission:$15, kids 7–13 $5, under 7 free
www.nyhistory.org

Patricia Watwood: Myths and Individuals

Patricia Watwood’s contemporary classic paintings, many of them masterful lifelike portraits, are on display at The Forbes Galleries. Watwood writes, “I chase what artists in the past have also chased—a celebration of the human form, a passion for and humility before nature, a belief that metaphor and narrative can help us puzzle out the mysteries of our time here on earth, and a belief in the emotional power of the common visual language of representation.”

The Forbes Galleries, 62 Fifth Ave.,
Now through June 9, Tuesday, Wednesday, Friday, Saturday, 10 a.m.–4 p.m.
Admission is free
www.forbesgalleries.com

“Portrait of a Woman with a Hairnet,” by anonymous. (The Morgan)

 Renaissance Venice: Drawings from the Morgan

Visit the Golden Age of Venice and its territories during the 16th century. This exhibit features drawings, books, maps, and letters dating back 500 years. Great masters featured include Paris Bordone, Vittore Carpaccio, Lorenzo Lotto, Jacopo Tintoretto, Titian, and Paolo Veronese.

The Morgan Museum and Library, 225 Madison Ave.,
Friday May 18 through September 23.
Adults: $15. 
Children under 12: Free
www.themorgan.org

FAMILY

Ship-Shape: Nautical Scale Models

From a ship in a bottle to a massive World War II warship, this exhibit explores the art and craft of shipbuilding with variations. Drawn from the Intrepid Museum’s collection and loans from other institutions and collectors, the exhibit includes large-scale models of USS Constitution and USS New Jersey, a modeler’s workbench, and World War II nautical toys.

Intrepid Sea, Air & Space Museum 12th Avenue and 46th Street
Now through July 8
Tickets: $24, $19 (ages 7–17), $12 (ages 3–6)
www.intrepidmuseum.org

ABT Kids

The U.S.’s premier classical ballet company, American Ballet Theatre, playfully teaches children about ballet, through movement, costumes, music, and sets. The program includes short clips from the season. 

The Metropolitan Opera House, Lincoln Center
Saturday, May 19, 11:30 a.m.
Tickets: $25
www.metoperafamily.org 

Submit Arts Events

The arts at their best are not purely for entertainment or the reinvention of art itself. Rather, they strive forward with traditional forms, toward technical mastery, and place the highest value on virtue and the spiritually sublime.

Email events for consideration to NYC_news@epochtimes.com

Theo Stockman and Claire van der Boom in “An Early History of Fire.” (Monique Carboni)

NEW YORK—“An Early History of Fire” by award-winning playwright David Rabe(“Hurlyburly,” “Streamers,” and others), apparently dealing with Rabe’s own background, seems more like an early effort than one of an experienced playwright. Still, the presentation by The New Group merits attention.

Set in the early ‘60s, the play centers on Danny (Theo Stockman) from a blue-collar family, who chafes at the bit and doesn’t quite understand why until he by chance meets an upper crust girl, Karen (Claire van der Boom).

Karen, in town temporarily on a break from college somewhere in the East, is strongly attracted to him and invites him to meet her parents, who live in the elegant Citadel area of town. Danny is devastated by the invitation because his good suit hasn’t been brought back from the cleaners by his dad, Pop (Gordon Clapp). Pop had escaped the Nazis and still exhibits the conservative, German, Old World attitude toward life.

Karen’s influence makes audible Danny’s heretofore quiet inner voice. She introduces him to authors such as J.D. Salinger and Jack Kerouac. Gradually, he becomes able to voice his most deep-seated desire: to escape the stifling environment of this Midwestern city and become his own person, perhaps to become a writer. Most of the play deals with his efforts to wrestle the demons of familiarity against the stress of making a break, and realizing his dreams.

Danny’s two childhood buddies, whom he works with, exert a pull into the status quo. Terry (Jonny Orsini) is soft and gentle, but Jake (Dennis Staroselsky) is tough and demanding. He’s also jealous of newcomer Karen, whom he sees, and rightfully so, as someone who might take his buddy away from him, and his jealousy erupts into physical violence.

Pop also fears losing Danny to the wider world. Pop, whose wife died when Danny was only 10, has recently quit his menial job, in an angry confrontation with his boss, and would have only a friend, Benji (Devin Ratray), for company.

Rounding out the group is Shirley (Erin Darke), Terry’s former girlfriend, who has fallen into some bad behavior, which Terry frowns upon. However, she does add a warm note to the group. A nice scene features the entire group of young folks, sitting around and dreamily talking about life, with an Elvis Presley tune playing in the background.

Karen, too, exhibits some wild behavior, being aggressively seductive toward Danny. However, it is one of the problems of the production that Claire van der Boom’s performance of Karen doesn’t add enough fire to what is explicit in the playwright’s text. In general, the entire cast, with the exception of seasoned performer Gordon Clapp, is relatively new to the theatrical scene. This fact might have impeded director Jo Bonney from injecting more urgency into the production.

Neil Patel’s set handsomely conveys a slightly fraying Midwestern home in the ‘60s, while costumes by Theresa Squire hit the mark nicely.

Diana Barth writes and publishes “New Millennium,” an arts publication. For information: www.diabarth@juno.com

Olivia Thirlby and Topher Grace in Paul Weitz’s 'Lonely, I’m Not.' (Joan Marcus)

NEW YORK—Oh, but they are—lonely, that is—in what has been described by some as a rom/com (romantic comedy). Whatever one calls it, Paul Weitz’s Lonely, I’m Not makes for a light but delightful entertainment.

We find the divorced Porter (Topher Grace) bemoaning his current state of unemployment. Formerly a fair-haired young Wall Street exec, an unfortunate incident on the job forced him to flee the Big Apple four years ago.

He fled to the less competitive atmosphere of Los Angeles where he could envelop himself in a welcome cocoon of rest and recuperation. He’s still more than a bit uptight, however—even to the point of trying to crash a coffee shop prior to its opening for his daily fix of latte—and welcomes meeting the attractive Heather (Olivia Thirlby) through his friend Little Dog (Christopher Jackson).

The fact that Heather is blind doesn’t detract, as she quickly learns how to acclimatize herself and navigate Porter’s apartment. She’s beset by more potent demons, however, as she’s an ambitious corporate executive whose boss Decter (Mark Blum) refuses to let her crack the ever-present glass ceiling and land the promotion she knows she deserves.

She also has to stave off her nagging mom (Lisa Emery) and obsequious roommate (Maureen Sebastian).

As for Porter, his important others don’t supply much, if any, support. There’s his ex-wife (also Maureen Sebastian), who alternately teases and seduces him. There’s his dad (Mark Blum), a seasoned con man, with all the charm that that status requires. He borrows money from Porter, returns it at a terrific rate of interest, then re-borrows it.

Things get even hairier later in the play, making one see why Porter has such a rough time getting himself together.

Topher Grace moves from New York to Los Angeles to avoid stress. (Joan Marcus)

In spite of their less than conventional appeal, Porter and Heather do find their way into our hearts. This is certainly aided by two terrific performances. Topher Grace skillfully underplays Porter’s neuroses, while Olivia Thirlby displays a remarkable emotional sensitivity and an unusual physical grace in portraying a young blind woman who doesn’t let her limitations limit her drive or achievements.

Both actors, incidentally, have worked with Paul Weitz formerly, in his films.

Supporting actors, too, supply just the right touches required in their double and sometimes triple-role assignments. Lisa Emery’s Latvian cleaning woman is hilarious (along with two other roles), as are Maureen Sebastian’s ex-wife, roommate, and shy secretary.

Mark Blum as dad Rick and boss Decter is particularly adept, while Christopher Jackson’s Little Dog, Barista, and Waiter hit the mark.

In fact, this presentation’s production elements surpass the script, which, with a few embellishments, is pretty much a boy-meets-girl story. Arguably deserving a major part of the credit is director Trip Cullman, who paces the proceedings with unerring speed, while maintaining and emphasizing the required nuances of individual character elements and the play’s content.

Not of great depth, nor is it meant to be, Lonely, I’m Not is unquestionably an audience pleaser.

Diana Barth writes and publishes “New Millennium,” an arts publication. For information: www.diabarth@juno.com

(L-R) Ron Canada and Alexander Gemignani appear in the intense Ensemble Studio Theatre drama “Headstrong.” (Gerry Goodstein)

NEW YORK—Playwright Patrick Link’s intense “Headstrong” tackles the potent issue of post-concussion syndrome in the world of pro (and amateur) football. In actual cases, Hall of Fame Pittsburgh Steelers center Mike Webster suffered from amnesia, dementia, and depression before he died at age 50; Philadelphia Eagles defensive back Andre Waters, who had sustained numerous concussions, committed suicide at age 44.

In “Headstrong,” a representative from a university-based foundation on post-concussion research visits the home of a long-retired NFL linebacker. The former player, Duncan Troy (Ron Canada), basically sneers at the researcher, Nick Merritt (Alexander Gemignani), for Nick himself has never played pro football. Duncan is also enraged because he feels that Nick blames the game itself for injuring players and will never understand how fulfilling the game is.

But Nick has not paid his visit to see Duncan, but rather his daughter Sylvia (Nedra McClyde), for she was married to a player who recently died under sad circumstances. Although the couple was in the throes of getting a divorce, the papers were never signed. Thus, Sylvia is the one person who is legally able to give clearance for the foundation to examine her husband’s brain.

The scientists feel that this man’s brain will show damage resulting from the extreme number of hits to his head, even though the hits hadn’t necessarily resulted in concussion. Conclusions from this research may bring about positive changes in the rules governing how pro football is to be played in the future. And, hopefully, needless injury and even death may be prevented.

Sylvia refuses to sign the document. She is opposed to her husband’s privacy being invaded in this manner and wants him remembered for the hero he was on the field. She also wants her 5-year-old son to remember his father in a positive manner.

When Nick brings news of his failure to obtain the document to his supervisor, Dr. Moses Odame (Tim Cain), Moses is extremely distressed. This could mean the end of funding for the project, for they’ve run out of candidates.

When he urges Nick to go back and try again with Sylvia, Nick is disheartened and noncommittal. Nick has played football, but only in school situations, and thus feels not qualified to lock horns with the older professional and his daughter.

But back at the Troy household, a domestic situation is brewing. Sylvia, who had agreed to stay with her father only temporarily, has reached the end of her patience with the demanding man and is packing to move to an apartment.

Furthermore, he has continually hit a nerve in her because of his basic disapproval of her former husband. But, further complicating matters, Duncan himself is showing some memory loss, signs of possible brain damage. Now both father and daughter wonder if they’ve been in error in defending the game so adamantly.

Under William Carden’s meticulous direction, the tightly written scenes are extremely compelling, with some fiery acting, particularly by Ron Canada and Nedra McClyde as father and daughter in conflict. Alexander Gemignani and Tim Cain also have fine moments.

Diana Barth writes and publishes “New Millennium,” an arts publication. For information: www.diabarth@juno.com.

The Epoch Times publishes in 35 countries and in 19 languages. Subscribe to our e-newsletter.

All of the stories themselves are very diverse and you come away feeling spoilt to have been treated to such a range of drama and situations. There is lots of wit, but there is a sombre undercurrent throughout too. The music is provided by the multi-talented pianist An-Ting Chang (who picked the stories and devised the concept too), and it works together really well.

The music, the stories, and the acting, when put together, are greater than the sum of their parts. This is a different experience from seeing a musical where the orchestra is unseen and off-stage. The drama somehow helps to emphasise all the moods and nuances within the music; the music adds lots of emotional undercurrents to the drama.

One highlight is when the drunken old actor from Swan Song larks around, singing and reciting pieces from Hamlet and other roles that he has played. Another is the young boy who has noticed the decrepit old woman, who’s always dozing, through the window.

It seems as if the music has been written with the story in mind, or vice versa. But this doesn’t happen by accident. It’s because the right pieces have been put together -- and a lot of hard work and precision timing on the parts of everyone on stage.

ConcertTheatre – Sonata Movements has just finished its run at the Blue Elephant Theatre, a great venue for showcasing new talent and for cross-genre pieces.

Mastoor Khan is a freelance writer living in London.

The Epoch Times publishes in 35 countries and in 19 languages. Subscribe to our e-newsletter.

William Shakespeare’s romantic comedy about woods enchanted by fairies is brought to life by two-time Tony winner Bebe Neuwirth and actress Christina Ricci at the Classic Stage Company. Directed by Tony Speciale, Neuwirth plays the fairy queen Titantia and Ricci plays the love interest, Hermia.

Classic Stage Company, 136 E. 13th St.,
Now–May 20, 2012 
Tuesday’s 7 p.m.; Wednesday–Saturday 8 p.m.; Saturday & Sunday 3 p.m.
Tickets: $75–$125
www.classicstage.org

A scene from the opera "Billy Budd," remaining performances at the Metropolitan Opera House are on May 10 and 12. (Ken Howard/Metropolitan Opera)

‘Billy Budd’ 

Herman Melville’s 1891 novella following the tragic story of an English sailor wrongly accused is brought to life as an opera by composer Benjamin Britten. Starring Nathan Gunn as Billy Budd. Three hours with one intermission. Sung in English with Met titles in English, German, and Spanish.

The Metropolitan Opera House, Lincoln Center
May 10 at 7:30 p.m., May 12 at 9 p.m.
Tickets: $25–$415
www.metopera.org

‘Late Night Rose’ 

Giving a late night performance of chamber music in an intimate setting, a string and piano quartet from Lincoln Center’s Chamber Music Society will perform works by Rolla and Schumann. Host Patrick Castillo will provide musical and contextual commentary.

Daniel & Joanna S. Rose Studio, Lincoln Center
Thursday, May 10, 9:30 p.m.
Ticket Price: $37
www.chambermusicsociety.org

‘Orpheus’

Georg Philipp Telemann’s soaring 1726 opera tells the Greek myth of Orpheus, whose charming voice leads his love, Eurydice, from the underworld. This version pays special attention to the character Orasia, Queen of Thrace, who is driven by jealousy for Orpheus’s affection. Three hours. 

El Museo del Barrio, 1230 Fifth Ave.,
Tickets: $60–$150
May 12, 15, 17, 20
7:30 p.m. (1:30 on May 20)
www.nycopera.com

Ensemble du Monde: Classical Titans 

Noted for being internationally diverse and innovative, Ensemble du Monde visits the musical giants that shaped Classical period music. The evening features Beethoven’s heroic Symphony No. 7, Afro-French composer Joseph Bologne’s (“Le Chevalier de Saint-Georges”) Symphony in G Major op. 11, No. 2, and Haydn’s Sinfonia Concertante with virtuoso soloist from the ensemble.

Merkin Concet Hall, 129 W. 67th St.,
Saturday May 12, 8:30 p.m.
Tickets: $20–$75
kaufman-center.org/mch

Opening Night Gala: American Ballet Theatre

Considered one of the world’s leading classical ballet companies, American Ballet Theatre opens its New York City run with an elaborate opening night gala featuring 15 principal dancers and selections of classical pas de deux from the season’s full-length ballets. Three hours and 10 minutes. The first ballet this season is Giselle and opens the following day.

The Metropolitan Opera House, Lincoln Center
Monday, May 14, 6:30 p.m., season runs through July 7
Tickets: $25–$155
www.abt.org

‘Liebeslieder Walzer’

A two-part ballet of waltzes for piano duet and vocal quartet set to poems by Friedrich Daumer (1800–1875) and Johann Wolfgang von Goethe (1749–1832). The dancers are joined on stage by the musicians and singers with everyone dressed in period ballroom costumes amid an intimate and elegant ballroom setting. Set to music by Johannes Brahms. The performance is 49 minutes and accompanying ballets vary depending on the night.

David H. Koch Theater, Lincoln Center
Friday May 18, 19, 20, and 22, times vary
Tickets: $29–$149
www.nycballet.com

FINE ARTS:

A Window on Nature: Art of Asuka Hishiki

(Patricia Watwood)

These 35 watercolors depict plants and insects in superb detail and refreshing style. Artist Asuka Hishiki takes her inspiration from 18th century naturalist and scientific illustrator Maria Sibylla Merian. Hishiki writes, “I love to share the beauty and the simple and quiet moments.”

The Arsenal (in Central Park) 830 Fifth Ave.,
Now through June 6
Weekdays only, 9 a.m.–5 p.m.
Free
www.nycgovparks.org

Beauties of the Gilded Age: Peter Marié’s Miniatures of Society Women

These nearly 300 watercolor-on-ivory miniatures are portraits of women believed epitomize female beauty. They were commissioned by New York socialite Peter Marié, between 1889 and 1903, amid the rapid development and luxury of America’s Gilded Age. The fragile and rarely exhibited portraits will be displayed in four-month rotations.

New-York Historical Society, 170 Central Park West
Now through July 8
Admission:$15, kids 7–13 $5, under 7 free
www.nyhistory.org

Patricia Watwood: Myths and Individuals

Patricia Watwood’s contemporary classic paintings, many of them masterful lifelike portraits, are on display at The Forbes Galleries. Watwood writes, “I chase what artists in the past have also chased—a celebration of the human form, a passion for and humility before nature, a belief that metaphor and narrative can help us puzzle out the mysteries of our time here on earth, and a belief in the emotional power of the common visual language of representation.”

The Forbes Galleries, 62 Fifth Ave.,
Now through June 9, Tuesday, Wednesday, Friday, Saturday, 10 a.m.–4 p.m.
Admission is free
www.forbesgalleries.com

The Printed Image in China, 8th–21st Century 

China was the most advanced civilization on earth for many centuries, inventing both paper and printing. This exhibit explores the emergence and flourishing of Chinese printed art with 136 prints drawn from the British Museum.

The Metropolitan Museum of Art
Now through July 29
Tickets: $25, Children under 12 free
www.metmuseum.org

Art of Stephen Scott Young

Forty of the exquisite watercolor paintings of living master Stephen Scott Young will be on view and sale at Christie’s. His acclaimed realist works capture in detail the spirit of the Bahamas, Florida, and coastal South Carolina through their people, landscape, and architecture.

Christie’s Private Sales Galleries, 1230 Avenue of the Americas, 20th floor
Exhibition: May 14–June 11
This event is free
www.christies.com

North Italian Paintings from the Accademia Carrara, Bergamo 

Called a jewel among Italian museums, the Accademia Carrara is closed for renovation, an unintended boon for New Yorkers. Because of the closure, the museum has been able to lend New York 15 masterpieces by Venetian and north Italian painters of the 15th and 16th centuries, including works by Bellini, Titian, and Lorenzo Lotto.

The Metropolitan Museum of Art
May 15–Sept. 3
Tickets: $25, Children under 12 free
www.metmuseum.org

FAMILY:

Ship-Shape: Nautical Scale Models

American Ballet Theatre. (Jane Hoffer)

From a ship in a bottle to a massive World War II warship, this exhibit explores the art and craft of shipbuilding with variations. Drawn from the Intrepid Museum’s collection and loans from other institutions and collectors, the exhibit includes large-scale models of USS Constitution and USS New Jersey, a modeler’s workbench, and World War II nautical toys.

Intrepid Sea, Air & Space Museum 12th Avenue and 46th Street
Now through July 8
Tickets: $24, $19 (ages 7–17), $12 (ages 3–6)
www.intrepidmuseum.org

‘Monkey King’: A Story from China

A children’s exhibit exploring the classic Chinese tale of the ‘Monkey King.’ The mischievous supernatural monkey decides to mend his ways by embarking on an epic journey across China to retrieve the Buddhist scriptures from India. For ages 4 and up.

Children’s Museum of Manhattan, The Tisch Building at 212 W. 83rd St.,
Ongoing, Tuesday–Sunday 10 a.m.–5 p.m., Saturday until 7 p.m.
Admission: $11 for everyone over 12 months old
www.cmom.org

Family Workshop: Paper Flowers

On the day before Mother’s Day, children can honor their matriarch by creating colorful flowers out of tissues paper, rubber stamps, and glitter. Suggested for ages 5 and up with an adult learning partner.

Morris-Jumel Mansion, 65 Jumel Terrace
Saturday, May 12, 10 a.m.–noon
Free but advanced registration is required.
Call 212-923-8008, www.morrisjumel.org

ABT Kids

The U.S.’s premier classical ballet company, American Ballet Theatre, playfully teaches children about ballet, through movement, costumes, music, and sets. The program includes short clips from the season. 

The Metropolitan Opera House, Lincoln Center
Saturday, May 19, 11:30 a.m.
Tickets: $25

Submit Arts Events

The arts at their best are not purely for entertainment or the reinvention of art itself. Rather, they strive forward with traditional forms, toward technical mastery, and place the highest value on virtue and the spiritually sublime.

Email events for consideration to NYC_news@epochtimes.com

(L-R) Michael Esper, Dick Latessa, Linda Lavin, and Kate Jennings Grant in a scene from “The Lyons.” (Carol Rosegg)

NEW YORK—Is it polite to laugh at sad, dysfunctional people? It is if they’re the family portrayed in Nicky Silver’s “The Lyons,” transferred from a run last year at off-Broadway’s Vineyard Theatre to Broadway’s Cort Theatre.

Featuring the original cast and director Mark Brokaw, the play has been slightly tweaked and sharpened, its blades hitting vital emotional marks so accurately one doesn’t know whether to guffaw or wince.

At the center of the impending maelstrom is matriarch Rita Lyons (the fabulous Linda Lavin), sitting at the hospital bedside of her husband, Ben (Dick Latessa), soon to die from cancer. Rita blithely glances through an issue of House Beautiful, commenting how she will completely redecorate their home in the near future. When Ben snarls that he likes it the way it is, Rita offhandedly reminds him that he won’t be around to see it.

They’re shortly visited by daughter Lisa (Kate Jennings Grant), who hasn’t until this moment known of the seriousness of her father’s condition. A divorced, recovering alcoholic, Lisa doesn’t handle stressful news too well and immediately wants to call her AA sponsor.

Rounding out the family album is the arrival of son Curtis (Michael Esper), who, in Ben’s eyes anyway, happens to be a failure, both as a writer and a man. Ben simply doesn’t like Curtis; the young man was originally named Hilly, for Ben’s father, a terrific, noble guy, according to Ben. Ben’s sour disappointment doesn’t fail to affect and infect Curtis’s self-esteem. Lisa too is something of a sad sack.

Act 2 comes almost out of left field. In a bare, white Manhattan studio apartment, Curtis meets with a realtor, Brian (Gregory Wooddell), presumably because he, Curtis, is in the market to buy it. 

What develops turns out to be an unexpected, vivid surprise, bringing out Curtis’s inner hurt and rage at the world and its various layers of hypocrisy. I won’t spoil it for the prospective viewer, but I found it a stunning, brilliant scene, which could stand on its own as a very dark, one-act play.

Actor Michael Esper makes the most of his opportunity to take stage in a grand way, matched effectively by Mr. Wooddell as the apartment salesman.

The last scene takes place back in the hospital room, recently vacated by the deceased Ben. Here Curtis, visited by sister Lisa, lies recovering from his damaging encounter with salesman Brian. Mom Rita enters and makes an astonishing life-changing announcement to her two offspring in some speeches that resemble the climactic aria of some Verdi opera—or maybe Wagner. She has here an opportunity to tell her side of the story of her apparently warped personality.

The siblings are left on their own recognizance, so to speak. Curtis, now bereft of survival ploys, finally turns to human connection. For the first time, he tries to connect with the one person in his environment, the nurse, played to a fine and subtle T by Brenda Pressley.

The overall presentation is a marvelous and remarkable whole. Linda Lavin, who turned down other plum offerings to do this show, made the right decision. Her artistry is nothing short of tremendous, as she treads a fine line between saccharine sweetness and vitriol, sometimes fusing them, and always with impeccable timing.

Dick Latessa makes a skillful foil, adding some shtick of his own. The other performers complete this triumphant ensemble.

The white sets by Allen Moyer create a fine, neutral, and sterile background for these floundering souls, who hopefully will learn how to create a more colorful and supportive environment for their life adventures to come.

The Vineyard Theatre production is presented by Kathleen K. Johnson.

Diana Barth writes and publishes “New Millenium,” an arts publication. For information: www.diabarth@juno.com.

Bebe Neuwirth as Titania and Steven Skybell as the transformed Nick Bottom in “A Midsummer Night’s Dream.” (Joan Marcus)

NEW YORK—There’s wonder in the air with Classic Stage Company’s funny and lyrical production of William Shakespeare’s “A Midsummer Night’s Dream.” This timeless comic tale is brought powerfully to life with a winning cast and some excellent directorial and choreographic work.

In ancient Athens, the beautiful Hermia (Christina Ricci) and the stalwart Lysander (Jordan Dean) are desperately in love. Unfortunately for them, Hermia’s father Egeus (Taylor Mac) has promised her to Demetrius (Nick Gehlfuss).

Presented with the situation, Theseus (Anthony Heald), the Duke of Athens, himself about to marry, sympathizes with Hermia’s plight, but notes Athenian law, which demands Hermia either suffer death or exile to a convent if she refuses to follow her father’s wishes.

Instead, Hermia and Lysander flee the city, planning to spend the night in a nearby forest. Learning of their plans, Demetrius follows them with the intent of bringing Hermia back. Accompanying Demetrius is his former paramour Helena (Halley Wegryn Gross), a woman who loves him still.

Also in the forest is Oberon (Heald), King of the Fairies, who is on his way to Athens to bless the Duke’s upcoming marriage. Oberon is currently on the outs with his Queen Titania (Bebe Neuwirth) over his jealousy regarding a young Indian prince she has adopted.

In a fit of anger, Oberon commands his servant Puck (Mac) to place a love potion in Titania’s eyes while she sleeps, making her fall in love with the first living thing she sees. He also directs Puck to use the same potion on Demetrius so he will fall for Helena, this after Oberon sees Helena’s offer of love spurned by the man she desires.

Titania, meanwhile, bewitched, falls in love with Nick Bottom (Steven Skybell), a weaver by trade and actor by night, who has been given the appearance of an ass, courtesy of Puck.

Spinning a magical tapestry, the work is brilliantly staged in the intimate CSC space. A key aspect is set designer Mark Wendland’s slanted wall of mirrors, which offer an interesting view of the action, as well as allows the actors and various objects to appear and disappear via the panes of glass. Great credit must go to director Tony Speciale for his vision here.

This is a play where overacting opportunities are endless, yet each performance is perfectly in keeping with the character’s persona.

Also important are the contributions of choreographer George De La Peña and fight director Carrie Brewer. Their efforts allow the show to appear fresh.

Indeed, so involving is the production, one sometimes forgets there are various stories intertwined throughout, as each individual segment and plot completely holds one’s attention—that is, at least, until the next sequence begins.

The play does take a few minutes to get going, with the first scene staged rather blandly, but it appears this was done deliberately in order to show the staidness of city life as opposed to the wonders found elsewhere.

Heald is fine as the sometimes wise, sometimes foolish Oberon, a being with enough human-like feelings to get both himself and those around him in trouble.

Mac is one of the play’s scene-stealers as Puck, often causing more trouble than that he initially sets out to fix. An especially nice touch was having Puck make his various entrances clad in different colorful and outlandish costumes.

Another excellent scenery-chewer is Skybell in the role of Bottom, a man filled to the brim with his own self-importance. Yet his motives are always honorable in that he actually wants the best for those around him—at least as he sees it.

Ricci and Gross are good as Hermia and Helena, both actresses playing their parts somewhat reminiscent of bored high school cheerleaders. As these roles, and those of Lysander and Demetrius, are never fully fleshed out in the text, it’s sometime difficult to connect with them emotionally, and they need to be played strongly to make them stand out. This is fortunately the case here.

Neuwirth does a fine job as Titania, throwing herself enthusiastically into the role, wearing her costume well and becoming the perfect companion and opponent for both Oberon and Bottom.

The rest of the actors, many of them playing multiple parts, all do a fine job with the roles they’re given.

Original music by Christian Frederickson and Ryan Rumery is lovely to hear, especially in the final scenes, which also include a bit of dancing.

Lighting by Tyler Micoleau nicely sets the various moods, a high point being when the approaching of night indicates the magic to come.

Sound design by M. Florian Staab is excellent, as are the costumes by Andrea Lauer. The play’s epilogue is also very well-delivered, offering a very satisfying coda to the entire production.

Also in the cast are Rob Yang, David Greenspan, Erin Hill, Chad Lindsey, and James Patrick Nelson.

Judd Hollander is the New York correspondent for the London publication The Stage.

Matthew Broderick and Kelli O’Hara appear in “Nice Work If You Can Get It.” (Joan Marcus)

NEW YORK—A fantastic score, gorgeous sets and costumes, and enjoyable acting down the line all make “Nice Work If You Can Get It” simply wonderful to behold.

“Nice Work If You Can Get It” (music and lyrics by George and Ira Gershwin, book by Joe DiPietro, inspired by material by Guy Bolton and P.G. Wodehouse) is set in New York City at the height of prohibition. Millionaire playboy Jimmy Winter (Matthew Broderick) is about to get married for either the third or fourth time. His current love is Eileen Evergreen (Jennifer Laura Thompson), a self-absorbed diva and master of interpretive dance. 

However, after leaving a speak-easy, the drunken Jimmy bumps into bootlegger Billie Bendix (Kelli O’Hara) who, with her cohorts Cookie McGee (Michael McGrath) and Duke Mahoney (Chris Sullivan), is trying to hide 400 cases of illegal whisky from the authorities. 

Learning Jimmy has a beach house he never uses, Billie figures it’s the perfect place to hide her ill-gotten gains. However, that’s where Jimmy and Eileen decide to have their wedding and honeymoon, forcing Cookie to assume the role of the butler and Billie, after she has spent the night hiding in Jimmy’s bedroom, of Bobbi, the cockney maid. 

Further complicating things is the growing affection that Jimmy has for Billie, feelings she finds herself having for him. 

Meanwhile, Eileen is happily preparing for her wedding while closing in is the unrelenting vice squad, led by Chief Berry (Stanley Wayne Mathis), Senator Max Evergreen (Terry Beaver), and Duchess Estonia Dulworth (Judy Kaye), the latter the “proud founder” of the Society of Dry Women.

Borrowing elements of the Gershwin musical “Oh, Kay!” the plot is basically an excuse to toss in as many musical numbers as possible, with many conversations simply setting up the song to follow. 

Fortunately, just about every number is a standout and performed by likeable or endearing characters. Highlights include the title tune, with a soused Jimmy forcing an annoyed Billie to join in; and “‘S Wonderful,” which leads to a brilliant a dance number between the two. 

While some of the setups to the songs do stretch credibility a bit (“Fascinating Rhythm” and “Let’s Call the Whole Thing Off” being two such examples), the numbers are so wonderfully presented, what came immediately before can be easily overlooked.

Broderick is excellent as Jimmy, a man-child in his own world, happily gliding through life. The childlike naiveté he projects is a refreshing contrast to the cynical outlooks of Billie and Cookie.

O’Hara is great fun as Billie, a supposedly tough woman with a kind soul underneath. Completely out of her element in Jimmy’s world of high society, a planned seduction scene becomes a hilarious musical slapstick number (“Treat Me Rough”). Listen for the line, “Is there something wrong with your shoulder?”

McGrath is the standout among the supporting characters, a master of comic one-liners and the timing that goes with it, having some classic scenery-chewing moments all his own. 

Next: He also nicely shows…

Tracie Bennett stars as Judy Garland in the Peter Quilter play “End of the Rainbow.” (Carol Rosegg)

NEW YORK—Few iconic talents are remembered as fondly as the late actress and singer Judy Garland. This fact makes writing a play about her a daunting proposition, carrying with it the task of putting a new spin on ground well-covered so that the work does not fall into either a documentary or caricature rut. However Peter Quilter does well in this regard with “End of the Rainbow.”

Billed as a “play with music,” the story opens at the Ritz Hotel in London in December 1968, a few months before Garland’s death from a drug overdose. Garland (Tracie Bennett) is about to begin a five-week concert series in town, needing the money desperately.

Accompanying Garland is her much younger fiancé and manager Mickey Deans (Tom Pelphrey), as well as her former piano player Anthony (Michael Cumpsty), who has been persuaded to rejoin Garland and her band.

From the moment Garland first appears, it is apparent she is a first-class diva, complaining about everything from the size of the hotel suite to the quality of the staff. She’s also desperate for pills and a drink, convinced she can’t function without them.

It falls to Deans to act as a peacemaker between the super-sensitive and somewhat ribald Garland and anyone who happens to wander across her path; Deans often finds himself on the receiving end of her wrath.

The two have a rather volatile relationship. Deans is pretty much her equal when they quarrel, matching her shout for shout and argument for argument. He is also steadfast about getting his beloved off drugs and booze, at least in the beginning.

More than just a look at a star on the edge, what makes the play so fascinating is Bennett’s breathtaking performance of a frightened, broken woman carrying decades of emotional and psychological baggage, while knowing she’s a drunk and an addict and accepting this reality with a terrible resignation. This makes her an object of great pity.

This point also showcases the one problem with the play. If one doesn’t care about Judy Garland, this is probably not a show to see. Indeed, the script assumes most of the audience is familiar with her life; the text mentions her past in shorthand terms, never using the full names of her ex-husbands, tossing in several “Wizard of Oz” jokes, and giving no history of any of the Garland signature tunes Bennett sings.

However, if one is a Garland fan or at least knows her basic story, this is indeed a show to see. It also helps that “End of the Rainbow” provides bits of insight and information that make what’s presented more than a simple biography.

Bennett does a tour de force turn here, getting Garland’s mannerisms and speech patterns down well and carrying the tragic air of a someone whose life has gone terribly wrong.

Bennett can also sing with the best of them, not only belting out Garland’s numbers with style and panache, but also showing what happens when the character loses her way, such as while singing under the influence and her resulting interactions with the audience, Anthony, and the orchestra.

Pelphrey does a good job as the morally challenged Deans. He loves Garland and tries to help her, for both her sake as well as his own. However he becomes so enmeshed in the Judy Garland mystique and the responsibilities that go with it that he eventually goes from trying to stop her substance abuse to getting her whatever she thinks she needs.

Cumpsty is fun as the somewhat jovial yet at times deadly serious Anthony, who acts as a sort of peacekeeper and referee between Garland and Deans. He is also unabashedly enamored of Garland and, like so many others, is unwilling to let her go into the gentle good night of quiet solitude.

Terry Johnson’s direction is very strong, keeping the story moving well and the tension between the characters slowly building as they play off one another. The transitions between the hotel and nightclub are handled nicely, with no moments that lag or feel padded to add to the show’s running time.

Chris Egan’s orchestrations are lovely to hear. William Dudley’s set of the hotel suite works well, giving it a comfortable yet anonymous feel. Costumes by Dudley are fine and the lighting by Christopher Akerlind, especially in the nightclub scenes, is excellent.

“End of the Rainbow” presents a good story with a universally recognizable face and there is much to recommend.

Also in the cast is Jay Russell. 

Judd Hollander is the New York correspondent for the London publication The Stage.

(L-R) James Earl Jones as former President Arthur (Artie) Hockstader and John Larroquette as liberal candidate William Russell in the star-packed production of “Gore Vidal’s The Best Man.” (Joan Marcus)

NEW YORK—What a pleasure to enter a Broadway theater confident in knowing that you’re about to witness a terrific play, beautifully produced, and with a great, stellar cast, whose backgrounds are liberally sprinkled with Tonys, Emmys, and other theatrical awards.

Producer Jeffrey Richards is the astute man behind this project—in fact, this is his second revival of “The Best Man,” and the production’s timing couldn’t be more propitious.

We’re quickly plunged into the behind-the-scenes shenanigans of a presidential race, and there are dirty dealings aplenty. Both sides of the battling party are ensconced in the same hotel, and various sets of the combatants hold meetings mostly in the suite of the courteous, liberal candidate William Russell (John Larroquette).

In fact, Russell seems just about perfect, except that he has difficulty having a close, loving relationship with his wife, Alice (Candice Bergen). She’s pretty sad about that and spends most of her time trying to have them grow closer. She’s not too thrilled about attending a nerve-wracking political convention, but does her best to support her man.

On the other side of the fence is candidate Joseph Cantwell (Eric McCormack), whose great goal is to become the party’s official nominee, no holds barred. With his sexpot spouse Mabel (Kerry Butler) in full agreement, the pair are joyful connivers.

Very close to the scene, and very powerful, are former President Arthur (Artie) Hockstader (James Earl Jones) and Mrs. Sue-Ellen Gamadge, Chairman of the Women’s Division (Angela Lansbury).

Hockstader, when learning that Cantwell has feet of clay, is disappointed that the moralistic Russell refuses to use that negative ammunition against his rival.

Hockstader is also suffering from a serious illness, and actor Jones skillfully alternates high energy and booming voice with unexpected physical pangs. With such a delicious role at his disposal, Jones manages to take center stage whenever he’s on.

And don’t minimize Lansbury’s Mrs. Gamadge. Though given to fluffy dresses and tea sipping, she’s a mighty presence, and all the participants are well aware that it’s best to stay on her good side. Of course, Ms. Lansbury makes the most of her opportunities.

The goings get hot and heavy when a former colleague of Cantwell’s appears. He is the very nervous Sheldon Marcus (Jefferson Mays), who, intimidated by the highfalutin’ company he finds himself in, seems to have one foot out the door.

Director Michael Wilson keeps the spirited dialogue moving along briskly, and in spite of the two-and-a-half-hour length (including two intermissions), one’s attention never flags.

Set designer Derek McLane’s utterly comfortable hotel suite supplies a perfect backdrop for the not-so-neutral activities.

Others in the cast lending support are Donna Hanover (former First Lady of New York City), Fred Parker, Sherman Howard, Tony Carlin and James Lecesne as journalists, Corey Brill as Cantwell’s campaign manager, Dakin Matthews as a senator, Angelica Page, Bill Kux, Curtis Billings, Amy Tribbey, Olja Hrustic, and Michael McKean.

“Gore Vidal’s The Best Man”
Gerald Schoenfeld Theatre
236 West 45th Street
Running time: 2 hours, 30 minutes
Tickets: 212-239-6200 or www.telecharge.com
Closes: July 8

Diana Barth writes and publishes “New Millennium,” an arts publication. For information:www.diabarth@juno.com.

Baron Tuzenbach (Sergey Kuryshev) and Irina (Ekaterina Tarasova), characters yearning for a brighter tomorrow. (Pavel Antonov)

BROOKLYN, NY–Once again a major Anton Chekhov work graces the stage via the good auspices of BAM’s (Brooklyn Academy of Music) import of the Maly Drama Theatre of St. Petersburg, production of “Three Sisters.”

In a boring, provincial town in the late 19th century, the women: the youngest, unmarried Irina (Ekaterina Tarasova), Masha (Elena Kalinina), and Olga, the oldest (Irina Tychinina), and their brother Andrey (Alexander Bykovsky), try to make the best of a painful situation. Forced to leave Moscow by circumstance, they each, in their ways, reach out for the little that life seems to offer them. 

At the play’s beginning, the family is somewhat optimistic, due to the presence of an army garrison, many of whose members visit the family. 

Masha, stuck in a stultifying marriage to the schoolteacher, Kulygin (Sergey Vlasov), is gradually intensely drawn to the officer, Vershinin (Igor Chernevich). Unfortunately, he too is married, and has children. But Masha is too overwhelmed by passion to consider the possible consequences of the relationship. 

As for Vershinin, he often propounds noble, philosophical ideas, a theme that runs throughout Chekhov’s plays: how life will be different, and better, in years to come.

Irina longs mostly to return to Moscow. But can her longing ever be fulfilled? She later allows her attention to fall on the Baron Tuzenbach (Sergey Kuryshev), a lieutenant in the army. He is enamored of her, and quite possibly Irina will be rescued. But this is Chekhovian territory, remember. One mustn’t be too hopeful.

As for the oldest, Olga, she becomes more and more “married” to her post as schoolmistress. She entertains no hopes of much change in her life.

Their brother, Andrey, unproductive and lonely, becomes engaged and soon marries Natasha (Ekaterina Kleopina). It would seem that this would be a good move, although the sisters are somewhat put off by what they consider her vulgarity. 

As it turns out, the initially modest Natasha, once married, aggressively imposes her will upon the entire household, inflicting more pain. It is more than implied that she dallies with another man, although Andrey vehemently defends her. To deny his denial would be more than he could bear.

Army doctor Chebutikin (Alexander Zavyalov) philosophizes and finds solace in the bottle, while staff captain Soleny (Alexander Koshkarev), although initially playing a minor role in the events of the household, comes to hold more importance, in a tragic manner, later on.

What transpires, over time, can’t be viewed so much as progress, but, simply, change, and seldom for the better. These are people who seem to have no control over their destiny. Of course, circumstance has much to do with it. 

The sense of isolation permeates the play. I am not being facetious when I say that they had no TV or movies for entertainment. And their social life was severely limited. When the day comes that the garrison of soldiers must leave the town, it is a tragedy of no mean proportion.

Director Lev Dodin (also Maly’s artistic director) has caught the dark and stultifying atmosphere of the environment and makes clear how that affects the characters. One would have wished, however, that the static quality, of the first act, particularly, could somehow have been relieved. 

Set design by Alexander Borovsky, depicting the exterior of the family home, set far back on the stage, exudes a sense of a barrier between the players and the audience. The design must have been chosen quite deliberately, but in my view it serves to increases the sense of distance, in an uncomfortable way.

However, the performances convey strong ensemble work, to be expected from a major and deservedly prestigious company. Although performed in Russian, supertitles in English are clear and comfortably placed. Lovers of fine international theater, and Chekhov in particular, should not miss this production.

Diana Barth writes and publishes “New Millennium,” an arts publication. For information: www.diabarth@juno.com 

Leo (Gabriel Ebert) shows up on his grandmother’s (Mary Louise Wilson) doorstep, and the two must forge a bond. (Erin Baiano)

NEW YORK—Amy Herzog’s “4000 Miles” is not earth shatteringly intense, nevertheless it leaves a softly resounding imprint on one’s psyche long after leaving the theater.

An elderly but feisty 91-year-old named Vera (Mary Louise Wilson) receives an unexpected visit from her 21-year-old grandson, Leo (Gabriel Ebert), who drags his baggage-laden bike into Vera’s Greenwich Village apartment at 3:00 a.m. one night. Leo’s traveled across the country and hints that it’s been a harrowing trip—something about an accident happening to his best friend, Micah, but that will come out later.

The meat of the play lies in the subtle investigation of the pair’s feelings and their relationship to each other, which needs a good deal of working on as they haven’t seen much of one another over the years.

The widowed Vera is a former lefty but now lives pretty much a solitary life, as most of her contemporaries have died off. However, in spite of the fact that she walks slowly, with a stiff-backed shuffle, she still retains her independence and protects herself by nightly touching base with her next-door neighbor via the telephone.

Leo, who’s in a pretty depressed state, tries to refuel his relationship with a former girlfriend, Bec (Zöe Winters), but she feels it’s a lost cause, which distresses Leo. Their scenes together, however, have charm and zest, lending a nice contrast to the relationship of the grandmother and grandson.

Lending even more zest is a somewhat prickly scene with Leo and a cute Asian girl he’s picked up in a bar, played with wit and humor by Greta Lee. Leo would like to enliven his spirits with a casual relationship. At first the girl finds him “cute” but ultimately she’s turned off and abruptly walks out on him, leaving him, again, like a ship foundering.

So Leo is thrown back onto family, namely, Vera. The two ultimately are able to draw closer together, with his relating, finally, in detail, the dreadful fate that betook his friend, Micah, on their cross-country trip. It is a painful story, and Vera listens to Leo with great attentiveness.

The gift of Amy Herzog’s writing lies in the fine detailing of her characters, and how their most subtle thoughts and feelings are opened to us. Although there’s not much external action, the internal holds our attention, especially as Vera, although possessing a somewhat cool outward manner, finally reaches Leo by her deeply felt compassion.

The highly experienced Ms. Wilson, though her performance is quiet and controlled, conveys worlds of emotion. Gabriel Ebert, though young in experience, holds his own, and the two convey a lovely, though mismatched, couple.

Zöe Winters and Greta Lee offer fine support, helping to create, under Daniel Aukin’s sensitive direction, a result of excellent ensemble playing.

“4000 Miles”
Mitzi E. Newhouse Theater, Lincoln Center
150 West 65 St.

Running time: 1 hour, 40 minutes
Tickets: 212-239-6200 or Telecharge.com
Closes: June 17

Diana Barth writes and publishes “New Millennium,” an arts publication. For information: diabarth@juno.com.

Jeremy Jordan (center) and the cast of “Newsies.” (Deen van Meer)

NEW YORK—Stop the presses! Put “Newsies” (music by Alan Menken, lyrics by Jack Feldman, book by Harvey Fierstein) in the running for the Tony Award for Best Musical.

Based on the Disney 1992 film, the stage show soars from start to finish, boasting a rousing score, wonderful performances, and some choreographic work that blows the roof off the theater.

Set in 1899 New York City and based on an actual incident, the story focuses on 17-year-old Jack Kelly (Jeremy Jordan), the unofficial leader of a group of newsboys (also known as “newsies”), who roams the city streets, selling the newspapers of Joseph Pulitzer (John Dossett) and others of the era.

However, when Pulitzer increases the price the newsies must pay to purchase the papers for resale to the public. Jack balks and, helped with advice from his new pal Davey (Ben Fankhauser), as well as Davey’s pint-size precocious brother Les (Lewis Grosso), he organizes the group into a union, vowing to strike until prices are rolled back.

Jack finds unexpected help in Katherine (Kara Lindsay) a pretty young reporter, looking to stop covering flower shows and move into hard news, and who sees in Jack her ticket to doing just that. 

Before long, however Jack, learns being a union leader has its own set of problems, such as when a mob of strikebreakers attack the newsies and one of his friends is captured and taken to the Refuge. The Refuge is a home for orphans and runaways and a place from which Jack himself once escaped.

The creative team does a great job with the story and score, using the film as a starting point and altering the material enough so it that the stage version can stand on its own.

While no major changes have been made from the original material (other than switching the gender of a major character), numerous scenes are condensed to make the narrative flow more quickly and at least one subplot is beefed up. In addition, several new songs have been added while many of the tunes from the film are given new lyrics, which add to their overall effect.

Additionally, given the recent Occupy movements, the basic plot of “Newsies” has become quite topical, the basic plot being the powerful businessman trying to keep down struggling members of the rank and file. Other themes include the dangers of the media having too much power; how people change their tune when causes they once championed hit close to home, and the dangers of forgetting that some people are willing to work the system to their own advantage.

Jordan is phenomenal as Kelly, a guy with a cocky attitude and a secret dream who is instantly both likeable and endearing to the audience. Jordan also has a wonderful singing voice, which he makes great use of in both quiet ballads and the more rock-driven numbers.

Lindsay is enjoyable as Katherine, the actress giving her character a haughty but perky persona. Katherine is also someone eager to prove herself but filled with self-doubt about being able to do so. Like Jordan, Lindsay does a great job with the musical numbers and allows Katherine to fit in with the rougher characters around her. It also helps that Jordan and Lindsay have great chemistry together.

Fankhauser is fine as Davey, who’s reluctantly dragged into newsies’ struggle, as well as into a partnership with Jack. He soon becomes just as passionate about their cause as the rest of the group.

Grosso is a hoot as Les, a 10-year-old child with the attitude of a hardscrabble veteran, and delivering lines in all seriousness which sound hilarious coming from one so young.

Andrew Keenan-Bolger hits some strong emotional notes as Crutchie, a lame newsie who runs afoul of the strikebreakers. Dossett cuts a nice figure as Pulitzer, both a calculating businessman and a realist; and Capathia Jenkins does a nice turn as Medda Larkin, a theatrical performer who owns the venue Jack and his friends use for a union rally.

Particularly glorious in the production are the dance sequences, all performed with an energy not seen on Broadway for some time. Led by dance captain Ryan Steele, who also plays “Specs” in the show, the newsies leap, tap, spin, cartwheel, and fling themselves across the stage, in one case dancing on newspapers, in an outstanding display of acrobatic motion.

Direction by Jeff Calhoun is very good, helping to tie all the different components of the show together. In fact, the entire production is so involving, one is never conscious of the passage of time. The pace of the show also never feels rushed or hurried, with the scenes and songs unfolding naturally rather than with an in-your-face effect.

The multi-level set by Tobin Ost, standing in for the newsies’ flophouse, the streets of New York and other locations, works nicely and the orchestrations by Danny Troob sound crisp and clear, and highlight the infectiousness of the songs.

“Newsies” is quite simply, a real treat and a tremendous amount of fun. Also in the cast are Ryan Breslin, Garett Hawe, Kyle Coffman, Aaron J. Albano, Evan Kasprzak, Andy Richardson, Ephraim Sykes, Thayne Jasperson, Julie Foldesi, Laurie Veldheer, Mike Faist, Brendon Stimson, John E. Brady, Matthew Schechter, Mark Aldrich, Nick Sullivan, Stuart Marland, Tommy Bracco, Kevin Carolan, Jess LeProtto, and Alex Wong.

(L-R) Chilina Kennedy as Mary Magdalene, Josh Young as Judas, and Paul Nolan as the title character in “Jesus Christ Superstar.” (Joan Marcus)

NEW YORK—One of the most powerful rock operas in the Broadway canon, “Jesus Christ Superstar” (lyrics by Tim Rice, music by Andrew Lloyd Webber), bursts upon the stage like a brilliant tableau, in its current revival.

The show tells the story of the final days of the title character (Paul Nolan).

A beacon of hope for the hopeless and an ever-growing threat to those in power, Jesus is facing dissension from both without and within. While he may be popular with the poor and downtrodden, the religious hierarchy is not pleased at all, seeing the man who claims to be the son of God as a threat to their own power base. These powers are determined to destroy him.

Jesus must also deal with the discontent of Judas (Josh Young), his right-hand man. Judas believes his mentor is becoming too powerful, too fast, ignoring Judas’s pleas for a “go slow” approach. Judas also sees the ever-increasing mobs of people following Jesus becoming more and more disorganized and desperate and, ultimately, uncontrollable.

The musical, which comes to Broadway via a well-received production at the Stratford Shakespeare Festival in Canada, has a powerful score, which allows most of the characters to shine at different points.

However, it would have been nice if the show had not felt so rushed, especially in the beginning. While the music, ranging from rock to ballad to camp, is wonderful to hear and the action enjoyable to behold, the perpetual hurriedness of the show, clocking in at a brisk two hours, doesn’t allow the text enough time to breathe and let all the implications of what is being presented to really come through.

The first act in particular has a habit of leapfrogging from one song to the next with no time allowed for pregnant pauses or intros to moments that might help add to the atmosphere. Fortunately, things get better in Act 2 where the pace slows somewhat.

That’s not to say the musical doesn’t have any subtext. One underlying theme mentioned continuously is the danger of the mob mentality, as evidenced from the throngs of people screaming for Jesus’s crucifixion to the masses following Jesus begging for salvation—desperate pleas, which can easily turn to anger.

There’s also the somewhat lackadaisical attitude of the Apostles, as noted in their song during “The Last Supper” sequence. Also present is a fear from all sides of being on the receiving end of these emotions.

Paul Nolan as Jesus Christ surrounded by his followers in “Jesus Christ Superstar.” (Joan Marcus)

The performances are all simply superb. Nolan is wonderful as Jesus, first appearing as a quiet and calm man, seemingly oblivious to all that is going on around him, yet revealed to be someone filled with conflict and worn down by his years of struggle.

Young makes a perfect Judas, loving Jesus and what he represents, but also terribly afraid of what he believes he is becoming. Young also succeeds in making Judas a flesh and blood character as he wrestles with the question of betraying his closest friend.

Chilina Kennedy works well as Mary Magdalene, having a pleasant singing voice and nicely delivering “Everything’s Alright” and “I Don’t Know How to Love Him,” while offering a sympathetic shoulder and ear when necessary.

Tom Hewitt is good as the somewhat righteous Pontius Pilate, an inherently frightened soul who would do anything to get out of having to condemn Jesus and thus avoid the blame that goes with said action.

Bruce Dow is great fun as the over-the-top King Herod and Marcus Nance is very good as Caiaphas, one of the people determined to see Jesus die and doing his best to make sure it comes to pass. Also worthy of mention is Aaron Walpole as Annas.

Des McAnuff’s direction works fine, though as mentioned above, it would have been nice if he had slowed things down just a bit at points. Lisa Shriver’s choreography is excellent, as is the fight direction by Daniel Levinson; the various actions make use of the entire stage, making it appear as if the show were not simply a musical tale but rather a sweeping epic.

Paul Tazewell’s costumes run the gamut from the garish to the simple, and all work quite well. Sets by Robert Brill are nice to look at and appropriately blend in with the story. Lighting by Howell Binkley is alternatively powerful and subdued, as is the sound design by Steve Canyon Kennedy.

There is much to recommend about this production of “Jesus Christ Superstar.” Go for the songs, stay for the story, and relish the experience. It’s not completely perfect, but see it while it’s on Broadway, for who knows how long till it will pass this way again.

“Jesus Christ Superstar”
Neil Simon Theatre
250 West 52nd Street
Tickets: 877-250-2929 or www.ticketmaster.com
Running time: 2 hours
Open run

Judd Hollander is the New York correspondent for the London publication The Stage.

Leslie Uggams and Laura Osnes (on the couch) as they appear in Rodgers and Hammerstein's "Pipe Dream." (Ari Mintz)

NEW YORK—One of the best things about the Encores! series at New York City Center is their penchant for presenting seldom-seen gems of musical theater. Such was the case with “Pipe Dream.”

“Pipe Dream” (music by Richard Rodgers, book and lyrics by Oscar Hammerstein II, based on John Steinbeck novels “Cannery Row” and “Sweet Thursday”) ran for 246 performances on Broadway in 1955-1956 and was presented here with a top-notch cast.

A 1950s seaside town called Cannery Row in Monterey County, California is mostly a collection of bars, bordellos, and flophouses where castoffs and forgotten people of society congregate, while contemplating and pontificating on the mysteries of life.

Among the happy denizens is Doc (Will Chase) a marine biologist who collects star fish and octopi for various educational institutions. Helping him is Hazel (Stephen Wallem) a likable fellow for whom thinking too much is a chore.

Doc’s simple contentedness is upended when he meets a pretty vagrant named Suzy (Laura Osnes). With nowhere to go, Suzy’s is taken in by Fauna (Leslie Uggams), who runs the Bear Flag Café, one of those places open all night for the restless “who don’t want to rest.”

Seeing a romantic connection between Doc and Suzy, Fauna hatches a plan to bring them together. There’s also a concurrent storyline about the guys in the local flophouse, led by Mac (Tom Wopat), deciding to raffle off their building, even through they don’t own the property, and use the money to buy a high-powered microscope for Doc.

“Pipe Dream” is basically a story about people who look for a way to get from one day to another while keeping the troubles of the world as far away as possible—at least until the town gets caught up in the relationship between Doc and Suzy.

The simplistic story worked thanks to the lush melodies of the score, presented in glorious musicality by the Encores! on-stage orchestra, under the musical direction and baton of Rob Berman.

Among the tuneful highlights were the comic “A Lopsided Bus,” the haunting ballads “Everybody’s Got a Home But Me” and “The Man I Used to Be,” the somewhat politically incorrect “How Long?” and the delightfully jaunty “Sweet Thursday.”

Credit must also go to Marc Bruni’s smooth direction, which allowed the show an easy, sometimes rambling but always enjoyable pace; though the early part of Doc and Suzy’s romance did feel a bit rushed.

Also integral was Kelli Barclay’s very able chorography and John Morris’s dance arrangements, allowing the cast to kick up their heels and make good use of the stage while doing so.

Chase was nicely middle of the road as Doc, a man who thought he found his purpose in life until he meets Suzy. Osnes was good as the hardboiled drifter with a soft spot underneath, however it might have worked better had she looked a bit more disheveled when the audience first sees her.

Uggams was a joy as Fauna, a woman with a great understanding of human nature, and who would probably love to have a fling of her own if the opportunity presented itself. She also handles her singing duties with the best of them.

John Lee Beatty’s set, basically some pilings on a pier and various signs that descend when needed, as well as a very impressive backdrop, nicely created the time and place depicted.

Toni-Leslie James’ costumes showed how clothes can make the person, such as when the girls from the Bear Flag change from their normal working attire to some colorful outfits for a party sequence.

Orchestrations by Robert Russell Bennett were nicely infectious.

Judd Hollander is the New York correspondent for the London publication The Stage. 

Simon Callow plays a combination narrator and guide through Shakespearean text, aimed to enlighten the audience to the playwright and poet shrouded in so much mystery. (Courtesy of Stephanie Berger)

NEW YORK—It’s not easy to present a compelling one-man show when the subject in question is shrouded in mystery. With only select facts and dates to work with, the rest becomes conjecture and possibility. Yet playwright Jonathan Bate accomplishes it quite well with his engaging and informative “Being Shakespeare,” not only showing the life of William Shakespeare but also presenting it against a cultural, societal, and economic backdrop.

Actor Simon Callow stars in the piece, playing a combination narrator and guide through the text, which uses the Bard’s “Seven Ages of Man” speech as a basic template as well as numerous other excepts of his work to tell the story. All of these help to put the world of Shakespeare in perspective and give him a human face.

At the same time, the audience is also given insights into the people and events that possibly shaped and influenced Shakespeare’s work. There was Anne Hathaway, Shakespeare’s more worldly wife. He was 18; she was 26 when they married and may have taught him a few things that served him well when he wrote his more romantic and risqué verses regarding love, seduction, and courtship.

The fact that England was often at war with one country or another might explain why so many of Shakespeare’s plays, even his comedies, had a military element to them. The various outbreaks of plague that ravaged England during Shakespeare’s time and the effects they had on his family could explain why so many of his works are filled with death and despair; while other, more happier moments in his life may have led him to explore themes of redemption, second chances, and forgiveness in his plays.

However, the text does more than simply go from one moment to the next. Bate also tosses in numerous bits of trivia along the way, thus allowing Callow to illuminate and examine these instances for maximum effect.

Examples include when Shakespeare’s company of actors got caught up in political intrigue, which could have spelled their doom; the reason the Globe Theatre, where many of Shakespeare’s plays were first performed, was actually built; and how Shakespeare got his start in theater by taking care of the horses of audience members, making him the 16th century equivalent of a parking attendant.

Callow does a great job with the material, offering an imposing, yet never overbearing presence. He handles the narrative information with a congenial air, and excellently delivers the various Shakespeare speeches and soliloquies, often assuming the personas of several different characters, such as Macbeth, Romeo, Juliet, Rosalind, Orlando, and King Lear.

Two particular highlights are a recitation by John Falstaff about profit and war, and a speech between several strolling players discussing roles they are about to perform in a scene from “As You Like It.”

Callow works hand-in-glove with director Tom Cairns here, their obvious understanding of the material making the entire piece very enjoyable. While one never really feels transported back to the time of Shakespeare, the effect being more like presenting flickering images of a time only half-remembered, the result is still most effective. Just as important, the work moves quickly and smoothly, never overstaying its welcome.

There is, however, one situation that threatens to derail the play more than once. That problem is the sound. The Harvey Theater, where the show is currently playing, is a cavernous space that can easily swallow the voices of the actors if one is not careful, which is precisely what happens here. The fact that Callow isn’t miked doesn’t help matters.

Plus, for some reason, Callow spends a lot of time toward the back of the stage, so many of the words spoken don’t reach the audience. Adding to the problem is the fact that several sections of the play contain outdated terms or ones not immediately recognizable to a 21st century American audience, making it even more necessary to accurately hear what’s being said.

The set, designed by Cairns, basically a few trees and numerous props, works well in calling to mind various images of Shakespeare’s world.

The lighting by Bruno Poet is nicely quiet and atmospheric, while the music and sound design by Ben and Max Ringham effectively serves to set the different moods presented.

“Being Shakespeare” is a show with a lot going for it, though given some technical tweaking, it could have been much better.

Judd Hollander is the New York correspondent for the London publication The Stage.

Anita Gillette and Tom Bloom appear as the older couple, as generations of family life are explored in 'The Big Meal.' (Marcus)

NEW YORK—Dan LeFranc’s new play, The Big Meal, seeks to cover enormous ground—namely, the lives over time, three generations in fact, of a fairly typical American family. Further, LeFranc endeavors to accomplish his goal with a set of only nine actors, and in less than 90 minutes—a daunting task.

The audience must give its concentrated attention to this task, for the actors each portray multiple roles, with more than one actor playing a particular character at a different age.

At the start, 20-something Sam, initially played by Cameron Scoggins, “comes on” to Nicole (Phoebe Strole) at a restaurant where she works. She claims that she doesn’t want commitment, doesn’t even want to know anything about him.

Moments later the two are on a date, and then on a later date. You guessed it: They marry and have children, even as they protest that they don’t want children.

In fact, a romantic dinner date is interrupted by the offstage whine of young Rachel Resheff, who later comes onstage to play a daughter at various stages of the couple’s life, and also young Griffin Birney, who plays their son. (Both pre-teen actors, incidentally, are highly skilled at portraying obnoxious children, but with commendable theatrical discipline.)

The bulk of Sam and Nicole’s middle years is in the capable hands of actors David Wilson Barnes and Jennifer Mudge. They continue the conflict-filled relationship with on-again, off-again moments, always in a restaurant of varying ethnic or class distinction.

Part of the mix are Sam’s parents: his father (Tom Bloom), overly hearty and crass, and his somewhat ditzy mother (Anita Gillette).

As the play progresses, as does time, Sam and Nicole’s roles are taken over by Bloom and Gillette, with, finally, some stage time given to developing the couple’s deeper relationship.

They are now grandparents. There are poignant moments as we note that the older Sam (Bloom) has lost his earlier, feisty powers, and he is reduced to being spoon-fed by the ever-loyal Nicole, her present attitude a far cry from her earlier sassy ways. When Sam exits the scene, his gait is now quite shaky; we sense his vulnerability, and perhaps observe our own.

At various times, the Server (Molly Ward) enters and somewhat arrogantly places a plate of food before one character or another. She conveys something ominous, somehow.

David Zinn’s set design enhances the playwright’s vision of simplicity and neutrality. The downstage table, expandable when needed, where the action takes place, is highlighted (Mark Barton’s lighting design), while the audience can simply toss a glance at three upstage tables, where the actors sit to await their cues.

LeFranc’s pyrotechnical talents are evident, however, and he is strongly aided by director Sam Gold, who has orchestrated and paced the doings with a finely tuned theatrical eye and ear.

Diana Barth writes and publishes “New Millennium,” an arts publication. For information: www.diabarth@juno.com

Cynthia Harris as the grandmother in the excellent production of “Lost in Yonkers,” directed by Jenn Thompson. (Courtesy of Stephen Kunken)

NEW YORK—Neil Simon has sometimes been criticized because his plays, though undeniably funny, are often thought to lack heart. No such accusation can be leveled at his “Lost in Yonkers,” now playing in a nigh-perfect revival at the Beckett Theatre. With this play, many felt Simon entered the ranks of serious dramatists.

Originally presented on Broadway for close to a two-year run (February 1991 to January 1993), “Lost in Yonkers” ran for a spectacular 780 performances. Simon won both a Pulitzer Prize and Tony for Best Play, as well as three of the actors winning Tony Awards.

Here director Jenn Thompson, co-artistic director of TACT (The Actors Company Theatre), and her company of fine actors strike just the right balance between outlandishness and tenderness.

Set in Grandma Kurnitz’s (Cynthia Harris) Yonkers living room at the height of World War II, her anxious son Eddie (Dominic Comperatore) is present with his two teenage sons, Jay (Matthew Gumley) and younger brother Arty (Russell Posner). Eddie, mostly offstage, pleads that Grandma let the boys live with her while he is down South working to pay off a debt for medical expenses resulting from his deceased wife’s cancer treatment.

Grandma Kurnitz is a tough nut to crack. She has enveloped herself in an icy shell due to dreadfully painful experiences during her younger days in Germany. She coldly sets the ground rules for her two grandchildren, and it is the show’s major delight to see how these young characters (in the hands of clever performers Gumley and Posner) sidestep just about every hurdle that Grandma sets for them.

(L–R) Aunt Bella (Finnerty Steeves) with her nephews, Jay (Matthew Gumley) and Arty (Russell Posner), in Neil Simon’s Pulitzer Prize-winning play “Lost in Yonkers.” (Courtesy of Stephen Kunken)

Later on we meet Grandma’s son Uncle Louie (Alec Beard), apparently a member of the criminal class. He is a true “tough guy,” and sports a handgun in a holster at his side. It comes out that the “dance will be over” for him on Friday, and he must seek new digs. The visiting Aunt Gert (Stephanie Cozart) can barely utter a sentence without going into a severe wheeze. These two are apparently the legacy of Grandma’s severe childcare system.

An important member of this dysfunctional household is warm-hearted Aunt Bella, Grandma’s slightly simple-minded daughter (Finnerty Steeves), who, though often put down by her mother, later manages, with a good deal of newfound emotional strength, to persevere. In fact, the climactic scene between Bella and Grandma, brilliantly enacted, brought tears to many viewers’ eyes.

“Lost in Yonkers” is a show to be seen and savored.

“Lost in Yonkers”
Beckett Theatre
410 West 42 Street
Tickets: 212-239-6200 or www.telecharge.com
Running Time: 2 hours, 10 minutes
Closes: April 14

Diana Barth writes and publishes “New Millennium,” an arts publication. For information: diabarth@juno.com

All female cast: 'The Women of Troy' after Euripides, a story of human survival in a world at war. (Adam Trigg)

Last year, the Lazarus Theatre Company staged a brilliantly clever version of Macbeth at the Blue Elephant Theatre, which used lighting and sound to stunning effect. 

Lazarus have returned to the Blue Elephant for another dark classic this year. Women of Troy is based on Euripides’ play about the noble Trojan women kept prisoners by the invading Greeks. The central characters are Queen Hecuba of Troy, her pregnant daughter-in-law Andromache, and her daughter Cassandra. For such a short play on a small stage, the producers have kept the cast large. 

It works surprisingly well, partly because it feels slightly claustrophobic—which is appropriate in a play about a group of captives. 

The invading Greeks have annihilated the Trojan men. Now, the women of royal and noble descent wait to find out what their individual fates will be: whether they will be killed, married off to Greek soldiers, or taken as slaves. These are strong women, wearing beautiful clothes, determined to keep their dignity and identity. One of the highlights of the play is a rallying speech made to cheer them, extolling the great life they led in Troy under Queen Hecuba.

Euripides was Greek, but here he has written about the wanton destruction of Troy by the Greek army. The Odysseus of this play is not the hero who slays the Cyclops, but the brute who has killed husbands, sons, and brothers. 

Helen is a particular figure of hatred for the women, who all hold her responsible for what has happened to their homeland. She eloped with Paris to Troy and was the catalyst for the Greek invasion. Who the real villains are—and which “side” the victim—can become blurred if you trace back the lines of revenge and counter-revenge. 

There are many occasions when one feels familiarity with the works of Euripides, as well as the history and mythology of the region, would really enhance enjoyment of the play. For example, whenever Cassandra spoke, there were titters from parts of the audience who obviously knew more about her character (Cassandra has a gift for foretelling the future, baffling as her words might sound). This is the kind of detail that can’t be gleaned through watching this play (Euripides wrote other plays following the same characters).

As a study of women prisoners of war, this play immediately resonates with current distressing happenings in the world. There is an intense, very cleverly woven atmosphere, and it is worth seeking out this theatre and this play to experience it. Director Ricky Dukes has developed an ingenious style with lighting and sound effects that makes your heart skip beats. Scenes and moods change swiftly and as effectively—if not more effectively—than in plays with elaborate backdrops and lots of props. 

A serious, gruesome drama with beautiful singing, Women of Troy is on at the Blue Elephant Theatre until April 14.

Mastoor Khan is a writer living in London

(L–R) Buzz Roddy as Pete Vitale, Brian Wallace as Ken Salmon, and Carole Monderdini as Phyllis Salmon, Ken’s mother, in Frank Tangredi’s “Lifeline. (Kim T. Sharp)

NEW YORK—Frank Tangredi’s “Lifeline” starts off innocuously enough. Onstage are Pete (Buzz Roddy), a retired construction worker, and Ken Salmon (Brian Wallace), a playwright, or at least a wannabee playwright, who is renting Pete’s furnished basement apartment. Ken is presently separated from his wife, Wendy (Lori Gardner), while the two are “working things out.”

Pete, a do-gooder type, is always seeking a project. He has found one in Ken, who is very reserved and possibly depressed. Pete discusses drawing Ken into a game of chess, at which Ken is supposedly an expert, in the hopes of firming up their relationship .

When alone, Ken receives emails from Wendy on his laptop computer. These messages are expressed via projections of Wendy onto the stage walls (on two sides of the stage to be exact, courtesy of set designer David L. Arsenault and lighting designer Travis McHale).

Early emails indicate that Wendy is off enjoying herself in some sunny clime. She is mildly angry with Ken for some misdeed in the past. But she still loves him, and when she is ready, she will return to him.

A friend of Pete’s comes onto the scene for a game of poker. He is jewelry store owner Seamus (Brit Whittle), a bit of a sourpuss and not too friendly toward Ken. Seamus admits to Pete that he feels there’s something “off” about Ken.

Further, the tension is rising, at least on Pete’s part. He has discovered a handgun in Ken’s desk drawer and is fearful lest his newfound friend may be considering suicide. Seamus is quite unconcerned over this news, for he feels that most of the people in the country have guns.

Finally, upsetting the tenuous equilibrium in Pete and Ken’s relationship, on comes Ken’s mother Phyllis (Carole Monferdini), who has managed to track down her son, having driven to this suburb of Manhattan from Pawtucket, R.I.

Pete is shocked at Ken’s animosity toward his mother. Her very presence puts Ken into a rage. He storms, he threatens. Calm through it all, the sophisticated Phyllis holds her ground. Apparently, she is used to these scenes.

Now we get to the nitty-gritty of the conflict. After Phyllis leaves to find a hotel room for herself in the area, Ken details to Pete her insults in the past, how she has interfered in his life, telling nasty lies to any woman in whom he is interested, making him out to be a pervert, in fact.

Interestingly, Wendy’s emails now take a negative turn. She has found a young man on the island, or wherever her exotic location is (it’s never made specific), and he has pleased her immensely, thus ratcheting up Ken’s emotional tension and loss of control.

Later, when Phyllis is alone with Pete, she details the history of her son’s past behavior, which is in direct conflict with Ken’s version. In fact, according to Phyllis, it’s not safe for Ken to be out in the real world. She wants desperately to get him back to Pawtucket where he’ll be properly looked after.

Now Pete is really puzzled. Who to believe?

The remainder of the play sorts that out, with some sharp surprises in store.

Performances are uniformly excellent, while the small space of the Abingdon Theatre Company’s Dorothy Strelsin Theatre neatly accommodates this intimate play, which provides a lively evening’s entertainment under Jules Ochoa’s tightly-paced direction.

“Lifeline” is the last production of Abingdon’s current season, but the informal Sunday Series has offerings through May 13.

[etinfoTableLifeline]
Abingdon Theatre Company’s Dorothy Strelsin Theatre
312 West 36 St.
Tickets: 212-868-2655 or www.abingdontheatre.org
Running time: 1 hour, 30 minutes
Closes: April 1[etinfoTable]

Diana Barth writes and publishes “New Millennium,” an arts publication. For information: diabarth@juno.com

Dancer Mikhail Baryshnikov at a press conference. (Courtesy of Maxim Reider)

TEL AVIV, Israel—”I’m not that old …” answered the king of classical ballet, Mikhail Baryshnikov, provoking laughter from the crowd. His quip followed a reporter’s question asking where he has gotten all the energy to keep performing as long as he has.

Baryshnikov, considered one of the greatest ballet dancers of our time, arrived at a press conference held in November 2011 at the Susan Dellal Centre in Tel Aviv, Israel, on the occasion of the show “In Paris,” in which he plays the lead.

The artistic giant and divine dancer, now over 60 years old, emitted warmth and captivating grace. He answered questions patiently and politely, and even humorously.

In the last few years Baryshnikov has diversified his career by performing in movies, on television, and in theater. He says that creating art is the responsibility we have to the future.

Furthermore, he claims that in any artistic forum the artist might engage in, he carries an eternal quality that is not consumed and which continues to create its expression, whether in movement, voice, or tone.

“Everyone has his own signature,” he says, “like the great composers who you can identify from the first musical sentence. You immediately know if it’s Shostakovich or Mendelssohn. Choreographers bring in those elements, because a dancer’s body language creates thousands of images that have never been created before.”

When on stage, … I let myself be led by my instincts and by my partners on stage.

Baryshnikov had been invited by the Susan Dellal Centre after having performed there with the dancer Anna Laguna in a show integrating theater and dance.

In the play, “In Paris,” alongside the actress Anna Sinyakina, he has been focusing on theater.

‘In Paris’

“In Paris” is an adaptation of a story written in 1940 by Ivan Bunin, directed by the Russian director Dmitry Krimov, and produced by the Baryshnikov Arts Center in New York and the Dmitry Krimov Lab. It ran in mid-November 2011 in Russian accompanied by a Hebrew written translation, at the Susan Dellal Centre in Tel Aviv.

Mikhail Baryshnikov as a retired Russian general and Anna Sinyakina, who plays the waitress he falls in love with, in "In Paris." (Courtesy of Anna Akartseva)

“As you know, art, dance, theater, are not far from each other. But this now is not a dance. It’s about body language and internal intention. Whoever is familiar with director Krimov’s concept knows that movement, dancing, music, and singing constitute a great part of his talent as an artist.

“When on stage, I do not think, ‘Am I an actor, a dancer, or who I am,’ I let myself be led by my instincts and by my partners on stage,” Baryshnikov said.

“In Paris” is a love story about two Russian immigrants in Paris during the ‘30s. Baryshnikov plays a retired general of the White Army who had fled there from the Bolsheviks, and Anna Sinyakina plays a waitress many years younger than he is, working in a restaurant, where they meet.

Baryshnikov explained that while the playwright, Ivan Bunin, had not been deported and lived in exile by choice, “he was anti-communist and one of the best Russian artists of our time. He died in Paris; maybe this is a reflection of his thoughts. This is not a story about theater; it’s a story about people in a typical, classic situation.”

Philip Seymour Hoffman as Willy Loman in the American classic, “Death of a Salesman.” (Brigitte Lacombe)

NEW YORK—“Death of a Salesman,” the story of a man who has believed in the American Dream for so long he cannot comprehend anything else, is one of the classic works in American theater. The reasons are powerfully and crushingly brought home in the current Broadway revival.

It’s the late 1940s, and time is running out for 60-year-old Willy Loman (Philip Seymour Hoffman), a traveling salesman who, after 34 years on the road, is emotionally burning out.

Often barely breaking even financially and more often coming up short, his mind turns increasingly to the past and the dreams he once had, the joys he once felt.

Keeping the home fires burning is Willy’s wife Linda (Linda Emond), who feels angry and frustrated with her inability to help the man she loves.

The family also includes prodigal son Biff (Andrew Garfield), who is estranged from his father and who has been bouncing from job to job over a decade, and the younger son Happy (Finn Wittrock). Happy is an assistant buyer with his own apartment and an endless number of women at his beck and call. He is also a charter member of the Willy Loman school of dreams.

This clash of viewpoints (reality versus fantasy) represents the focal point of the play. Wistful memories of a time long gone are shown that they weren’t always as good as Willy remembers. And the present reality is the ever-frightening element of change.

These factors are present throughout the story, from the early open spaces around the Lomans’ Brooklyn home to later when the house is surrounded by apartment buildings that cut off the light allowing living things to grow.

The old days of business deals by handshake are now replaced by the bottom line: how much money you bring in for the company.

Willy finds himself recalling his very successful brother Ben (John Glover). Ben’s appearance leads to the question playwright Arthur Miller continually asks: When does one become responsible for one’s own actions, regardless of what may have originally set one on one’s present course?

The play works so well because of its deliberate but never dragging pace, where different scenes unfurl gradually and seamlessly with characters switching ages and moments at the drop of a hat.

In no case do any of the time shifts feel jarring or unnatural. Great credit must go to Mike Nichols’s direction in allowing the story to take center stage and integrating the various performances perfectly into the tale.

Hoffman, at age 44, does a great job at playing the used-up but still-hopeful Loman. A proud man who is not above accepting charity from his best friend Charley (Bill Camp), Willy won’t accept Charley’s job offer as it would force him to give up his dream.

Willy is more than a bit self-centered at times, looking for his own happiness where he can find it, and often cutting off Linda when she tries to add her own voice to family conversations regarding their sons.

Emond is excellent as the salt-of-the-earth Linda, a caring wife and mother who lashes out at her children for neglecting their father in his time of need and for thinking of their own pleasures above the man who has taken care of them for so long.

Garfield is good as Biff, an angry young man who finally learns he has no one to be angry at but himself. A long-ago incident forced him to see that no one, not even Willy, always lives the dream he believes in. Biff’s greatest fear is that he will be like his father.

Wittrock is very convincing as Happy, a sort of Willy Loman Jr. who desperately wants to become a respected businessman. Yet he wastes too much time in the pleasures of the here and now and, just like his father, is too eager to color the truth whenever it helps him avoid a major confrontation.

The supporting characters are all quite good. Camp has an easy chemistry with Hoffman as Willy’s long-time friend, despite the ever-changing tone of their conversations. Glover works well as the self-made Ben, having a hidden touch of malice and cunning that Willy lacks.

Remy Auberjonois cuts a surprisingly sympathetic figure as Willy’s boss, torn between business and loyalty, while Molly Price is rather effective as The Woman, whose role would give away too much were it explained in detail.

Jo Mielziner’s set is lovely, showing the Loman house in the flower of its youth and as nearby buildings threaten to crush it in later years. The seemingly dead or dying trees around the house, their images symbolic of what is happening in the play, are also a nice touch.

Brian MacDevitt’s lighting is excellent throughout, especially for the various transition sequences. Original music by Alex North nicely fits the story, and the costumes by Ann Roth are good, though the garments for the supporting characters are more striking than what the Loman family wears.

Also in the cast are Fran Kranz, Kathleen McNenny, Glenn Fleshler, Stephanie Janssen, Elizabeth Morton, and Brad Koed.

Arthur Miller’s “Death of a Salesman”
Ethel Barrymore Theatre
243 West 47th St.
Tickets: 212-239-6200 or www.telecharge.com
Running time: 2 hours, 55 minutes
Closes: June 2

Judd Hollander is the New York correspondent for the London publication The Stage.

Cherry trees blossoming along the Potomac River in Washington, DC. (Ron Blunt)

The Cherry Blossom Festival has begun in Washington D.C., this year marking the 100th anniversary of the Capital’s cherry blossom trees that began as a gift of friendship between Japan and the United States.

The cherry blossom, for many cultures, holds a special significance, symbolizing rebirth, and hope. The beauty of the flower following cold, dark winter months awakens and energizes us for the renewal spring.

It is altogether fitting then that the Shen Yun Performing Arts Company should burst onto the Washington stage during this year’s auspicious Cherry Blossom Festival.

While there will be many events during the six week festival period, Shen Yun offers something special too, and some would say as inspirational as the Festival itself.

Deeper Yearnings

Shen Yun is a New York based performance company, dedicated to reviving China’s 5000 year culture.

“After more than 60 years of communist rule in China, and especially after the Cultural Revolution, traditional culture in China has been all but completely demolished,” says the Shen Yun website. “However, the deeper spiritual core of the ancient culture, with its values of benevolence, honor, propriety, wisdom, and sincerity, as well as a reverence for the gods and the heavens, cannot be destroyed.”

Performers in Shen Yun, largely ethnic Chinese, have come from around the world to join the company. Many of the principal artists from the Mainland left to pursue deeper inner yearnings not allowed to be fulfilled in the communist state.

“It is outside of China that Shen Yun’s artistic creators have the ability to freely express themselves and their ancient culture,” the website says. “Their courage to speak up is an integral part of Shen Yun’s spirit.”

What began as one small group in 2006, has grown to three performance groups, each with a classical Chinese dance company; an orchestra that blends ancient instruments from the East with Western strings, percussion, woodwinds and brass; plus world class solo singers and musicians.

“In a collection of short pieces, audiences are taken on a journey from the heights of the Himalayas to coastal regions; from China’s ancient legends through to the story of Falun Dafa in China today; from the heavenly realms down to the earthly world of the Middle Kingdom.”

The Beauty of Chinese Culture

A dancer playing a waist drum in a Shen Yun performance. In order to establish a culture based in communism and atheism, since it took power the Chinese communist party took to destroying China's traditional culture, values and beliefs. (Courtesy of Shen Yun Performing Arts)

It is the foundational nature of traditional Chinese culture in the performances that so touches people when they see Shen Yun, particularly for Chinese Mainlanders who are deprived of Shen Yun performances in China.

“I’ve watched so many productions in the Mainland, but none like tonight’s,” said Mr. Song, a Chinese theater director from the mainland after seeing Shen Yun in New York this year. “I feel that every movement in the Shen Yun dances is so soothing, beautiful, and sincere.”

“These are the stuffs of genuine culture from traditional China, and drastically contrasting with performances from Mainland Chinese,” he continued, “ I was truly captivated body and soul,” he said.

Chinese artist and poet Huang Xiang also saw Shen Yun in New York.

Mr. Xiang, who has been published in China and abroad, lived through the Cultural Revolution and was severely persecuted and imprisoned six times from 1959 to 1995 by the communist regime. He lives in the United States under asylum as a writer in residence.

“The poetry is in the lyrics/words, in the dance movements, and the colors,” he said. “This is just a great poem for the entire Chinese civilization.”

“We [Chinese people] cannot even accept our own culture,” said Mr. Xiang. “Why can this show perform in New York in front of the whole world, [but] cannot take the stage in Beijing to the great Chinese population?” he asked.

Shen Yun inspires hope for Chinese people and rebirth, just like the cherry blossoms.

“With so many talents here, I admire them. Shen Yun really can renew Chinese culture,” she said.

Like many Chinese, Ms. Xi wept through some of the performances saying the performances had contained a “spiritual realm, inner meaning, and a certain inner spirit.”

“This [Shen Yun] is indeed what belongs to us Chinese people, and has been missing in China for years,” she said.

Next…Global Appeal

Diana Damrau as Adina and Juan Diego Flórez as Nemorino appear in Donizetti's "L'Elisir d'Amore." (Cory Weaver/Metropolitan Opera)

NEW YORK—Donizetti’s crowd-pleasing opera “L’Elisir d’Amore” (“The Elixir of Love”) combines low comedy and high notes. The story is as silly as many other opera plots, but at least this one is intentionally funny.

A love struck country boy named Nemorino loves the more intelligent Adina—she reads books—but tries to win her over by buying a potion from a con artist. Meanwhile, Adina is being courted by a narcissistic army officer. 

The revival at the Metropolitan Opera boasts the same team, Juan Diego Flórez and Diana Damrau, who achieved such success at the house in two of Donizetti’s other comic gems, “The Daughter of the Regiment” and “Count Ory.”

The biggest applause of the evening went to Flórez for his big second act aria, “Una Furtiva Lagrima.” 

Damrau can act with charm or knock off lovely arias with a voice that opens up to fill the house, yet she did not match Angela Gheorghiu’s performance as Adina a couple of seasons ago. 

Damrau and Flórez had strong support from baritone Mariusz Kwiecien, as the boastful officer Belcore, and from baritone Alessandro Corbelli (whose comic acting surpassed his vocal qualities) as Dr. Dulcamara. Soprano Layla Clare was delightful as Gianetta, a country lass. 

John Copley’s production (now staged by Stephen Pickover), with sets and costumes by Beni Montresor, will be replaced with an entirely new production next season. 

The set may have seen better days, but when Flórez was on stage spinning those beautiful vocal lines, there was no doubt that he is the world’s leading bel canto tenor. He also demonstrated he is light on his feet with some tricky dance steps. His clowning may have been over the top, but the audience didn’t mind when it heard singing of such a high order. 

“L’Elisir d’Amore” will be performed intermittently through March 31 at the Metropolitan Opera. For more information, call 212-362-6000 or visit metopera.org. 

Barry Bassis writes about music, theater, travel, and dining for various publications.

(L–R) Susan Pourfar, Gayle Rankin, Mare Winningham, Jeff Perry, Russell Harvard appear in the New York premiere of the new play “Tribes” by Nina Raine. (Gregory Costanzo)

NEW YORK—Staged in the three-quarter round, director David Cromer’s vivid production of British playwright Nina Raine’s provocative play, Tribes, has one hanging on every word, or sign, as the case may be. The play involves communication, or lack thereof, amongst a family of highly articulate intellectuals, including one son, Billy (Russell Harvard), who was born deaf.

At the opening, the parents Christopher (Jeff Perry) and Beth (Mare Winningham) are involved in a shouting match, along with their grown children who are all living at home: Daniel (Will Brill), Ruth (Gayle Rankin) and the quiet Billy. Actually, it’s a typical evening for the enthusiastic “tribe.”

After all but Billy leave the stage, we are left with the sense that, although he can hear, via hearing aids, and can speak and read lips, he is left out of the major part of family discussions. Hence, he seems lonely, and isolated.

That is soon to change. At a party he meets a lovely young woman, Sylvia (Susan Pourfar), born of deaf parents. She is in the terrible process of gradually losing her own hearing, and fighting to adjust to what will be for her a new and frightening world. She does have one skill, however, that Billy lacks. She can perform sign language, and endeavors to teach signing to Billy. The pair draws closer together and becomes a couple.

With Billy’s newfound skill and emotional support, he achieves the courage to make an unexpected demand on his parents and siblings: He will not communicate with them at all, unless they too learn sign language. The family, who had unintentionally relegated Billy to second-class citizenship, responds with bewilderment and even guilt for having treated Billy with less than the respect he deserves.

Other elements pop up. Daniel who had always “heard voices” now appears to be besieged with them. The others try to deal with what is apparently mental illness. Ruth, who wants to be an opera singer but lacks the courage to pursue her goal strongly enough, resents what she feels is Christopher’s lack of respect for her ambitions. Billy, who has landed his very first job, translating court tapes via lip-reading, becomes a bit too “creative,” thereby jeopardizing his position. The delicate but strong Beth does her best to hold things together.

In one moving scene, Sylvia expresses to Billy her deep-felt grief regarding her oncoming loss of hearing. Deafness is harder for her, she claims, because Billy has always been deaf, and thus hasn’t lost anything.

The cast is excellent, with each character clearly defined and expressed. Even Jeff Perry’s Christopher, often bombastic and seemingly insensitive, conveys a deep sense of caring. The same too for Will Brill’s Daniel, who deep-down adores his brother Billy, even though sometimes seeming to ignore him.

Gayle Rankin’s Ruth poignantly expresses her frustration. Susan Pourfar’s Sylvia travels skillfully from well-adjusted and attractive young woman to terrified and emotionally-wrought being. Mare Winngham’s Beth is always appealing and tender, as she provides the anchor for this intense and conflicted group.

Russell Harvard’s Billy melds pain and strength, with the character growing in power and wisdom as the play progresses. It is a superior performance.

The play might make one question one’s own communications skills and possibly realize there is room for improvement, individually, as well as on a national and international scale.

Diana Barth writes and publishes”New Millennium,” an arts publication. For information: www.diabarth@juno.com

Wrenn Schmidt (Ruth Atkins) and Lucas Hall (Robert Mayo) in Eugene O'Neill's “Beyond the Horizon” at The Irish Repertory Theatre. (Carol Rosegg)

NEW YORK—At this writing, I’ve had time to read the reviews of several colleagues regarding The Irish Repertory Theatre’s presentation of Eugene O’Neill’s “Beyond the Horizon.” I am surprised at some complaints that this 1920 effort, which won the playwright the first of his four Pulitzer Prizes, did not measure up to his later work—masterpieces such as “Long Day’s Journey Into Night” and “The Iceman Cometh.”

I didn’t notice. I think that O’Neill at his worst (which “Horizon” is not) surpasses the best of many a current playwright.

The play is set on a New England farm, and poetic, dreamy Robert (Lucas Hall) has set his sights on going to sea the next morning with his feisty seafaring uncle, Captain Dick Scott (John Thomas Waite). Robert would abandon the farm and his adored brother Andrew (Rod Brogan), the picture of a sturdy, farm-loving type who loves nothing better than to till the soil.

But the presence of Ruth (Wrenn Schmidt), a neighboring girl both brothers love, throws all their plans askew. When Ruth professes her love for Robert, he impulsively decides to marry her and stay to take over the farm, although he is not suited for the work. Andy takes Robert’s place on the ship, to avoid the pain of watching the newly formed couple enjoy their wedded bliss.

The brothers’ father, James (David Sitler), is incensed at Andy’s abandonment, even though mother/wife Kate (Johanna Leister) does her best to soothe the roiling waters. This scene reaches the point of violence, with father against son.

As so often happens in life, when one goes against one’s own grain, no good can come of it. Such a false move can lead to disaster: financial ruin, illness, even death. And so it is with the participants in this passionate drama—so passionate, it has hints of grand opera. The early first act scene between Robert and Ruth led me to think of a Puccini aria, so tender and vivid was it.

Lucas Hall (Robert Mayo) and Rod Brogan (Andrew Mayo) play brothers in love with the same girl. (Carol Rosegg)

Later tragedy, with the death of the couple’s young daughter (Aimee Laurence), is heart-wrenching. And the situation goes ever downhill, with the disintegration of the farm itself under Robert’s inefficient handling, Ruth’s disappointment in her marriage, and Andy’s dissatisfaction even in the face of monetary success.

The unpleasant (but entertaining), ever-complaining Mrs. Atkins (Patricia Conolly), Ruth’s mother, snarling out orders from her wheelchair, increases the household’s stress.

John Thomas Waite performed a good double as Dr. Fawcett; Jonathan Judge-Russo played a surly workman.

Under the direction of Ciarán O’Reilly (also producing director of the Rep), the play comes to powerful and accurate life. I say accurate because my two readings of the text prior to seeing the performance proved to me that O’Reilly has been true to the playwright’s vision.

Hugh Landwehr’s simple but evocative scenic design set the stage nicely, unified by Brian Nason’s lighting. Good costumes by co-costumers Linda Fisher and Jessica Barrios topped off the production.

“Beyond the Horizon”
The Irish Repertory Theatre
132 West 22 St.
Tickets: 212-727-2737 or www.irishrep.org or www.theatermania.com
Running Time: 2 hours, 30 minutes
Closes: April 15

Diana Barth writes and publishes “New Millennium,” an arts publication. For information: www.diabarth.com

Steven Skybell (L) and F. Murray Abraham (R) appear in Classic Stage Company’s theater production of Bertolt Brecht’s 'Galileo.' (Joan Marcus)

NEW YORK—When one enters the Classic Stage Company’s theater prepared to see Bertolt Brecht’s Galileo (translation by Charles Laughton), at first one doesn’t think of the play or the actors one is about to see. One is overwhelmed by designer Adrianne Lobel’s stunning set, consisting of nine enormous globes suspended above the stage by powerful wires at irregular intervals.

Obviously, you are meant to be in the presence of the entire universe. The globes represent the planets, with which the great Italian astronomer and physicist Galileo Galilei concerns himself.

At the play’s beginning, set in Padua, Galileo (F. Murray Abraham) is involved with researching how the Earth moves around the sun. This view would be considered heresy if the authorities were knowledgeable of his work. They hold that it is the sun that moves, with the Earth being the all-powerful center of the universe.

At this time all is serene, however. Galileo works quietly with his servant, Andrea (Andy Phelan), and his daughter Virginia (Amanda Quaid) nearby.

Galileo receives a visit from a wealthy young nobleman, Ludovico (Nick Westrate), who expresses interest in becoming a student of the great man. Ludovico is also moved by Virginia, with the two ultimately becoming engaged.

But Galileo’s ambitions and lack of money for his research push him to move to Florence, where he invites the attention of powerful politicians. At first, he finds favor, for he has come up with several inventions that can be of use to the businessmen of Florence and surrounding areas.

Galileo is introduced to an inferior form of telescope, which he is able to considerably improve upon and which proves to be of inestimable help to tradesmen and sailors alike. The scientist is riding high.

But eventually, as with so many creative people of integrity, Galileo runs afoul of those in power. It is the Catholic Church and Churchmen, such as Cardinal Barberini (Robert Dorfman) and Cardinal Bellarmin (Steven Skybell), who become threatened by Galileo and feel they must take steps to stop his experiments, his writings, and his unwelcome original opinions.

F. Murray Abraham in director Brian Kulick's brisk production of 'Galileo.'(Joan Marcus)

After all, the Churchmen reason, if common folk start believing and acting on the very practical solutions to their problems posed by science, what will become of religion and its hold over the people? Even Ludovico’s affection for Virginia sours, as he is a landowner and must protect his economic holdings.

It is now the period of the dreaded Inquisition. Its practitioners are noted for doing away with opponents and usually brutally torturing them in the process.

Will the highly ethical Galileo choose to give up his life for his beliefs? Or will he recant and save his skin?

These issues involve the last sections of the play. Because these issues continue into our own time, the play gathers momentum and import.

Director and CSC artistic director Brian Kulick has mounted the terse scenes in almost pageant-like style, brisk and to the point. Abraham’s Galileo is cynical and practical. One might say, he hopes for the best but knows the worst might be dealt him.

Amanda Quaid’s Virginia begins with youthful innocence and develops into the firm maturity of one who comes to accept life’s blows and who resolutely places her father’s comfort above all else.

The cast is uniformly excellent; others not yet mentioned here are Steven Rattazzi, Jon DeVries, and Aaron Himelstein.

Galileo is another intriguing production in the 45-year-old CSC’s history of offerings committed to re-imagining the classical repertory for a contemporary American audience.

Diana Barth writes and publishes “New Millennium,” an arts publication. For information: www.diabarth@juno.com

Sara Surrey (L) and Allison McLemore (R) in “Rutherford & Son,” written by Githa Sowerby. (Richard Termine)

NEW YORK—Set in Northern England in 1911, an old glassworks is struggling to keep alive financially. Fiercely controlled by owner John Rutherford (Robert Hogan), this patriarch rules family and workers alike with an iron fist, in playwright Githa Sowerby’s eloquent drama.

Rebellion is brewing at home. The eldest son, John Jr. (Eli James), married and with an infant but unable to support his family, has returned home to live. However, he has discovered an important mechanical process that could save the firm, yet he refuses to hand the formula over to his father unless he gets his “price.” Apparently, John has learned only too well about rough business dealings from his father.

This dysfunctional family includes younger son Richard (James Patrick Nelson), who has sought his escape in the priesthood. He later seeks forgiveness from his father on behalf of an old parishioner, Mrs. Henderson (Dale Soules), whose son has stolen a small sum of money from the firm, but John Sr. is adamant in his cold approach to all things.

Janet (Sara Surrey), the unmarried Rutherford daughter, eaten up by loneliness and isolation in this small town where she is too “good” for the lower-class townspeople, compromises by having a secret affair with Martin (David Van Pelt), the factory manager.

Unpleasantly present is John Sr.’s sister Ann (Sandra Shipley), whose sternness and negativity permeate the household and who makes life particularly unpleasant for John Jr.’s wife, Mary (Allison McLemore), an outsider who hails from London but who cannot raise the family’s economic or social standing to a higher level. Therefore, Mary is viewed pretty much as a drawback to the family and is miserable as a result. But Mary does have her baby boy, a Rutherford. And she, too, who has observed the family goings-on, can drive a hard bargain herself.

Patriarch John Rutherford (Robert Hogan) is a commanding figure in “Rutherford & Son,” a story of family and power. (Richard Termine)

The remarkable play had great success not only in its first but also in subsequent productions. But it is particularly remarkable for having been written by a woman, amazingly a first-time playwright, in the early 1900s. At that time, the playwright was known as K.G. Sowerby to conceal her true identity, for the noted Royal Court Theatre, which initially presented the play, felt that neither audiences nor critics could accept the play if they knew it was written by a woman.

Although that period wasn’t so long ago, many followed Charles Darwin’s theory that propounded that females of all species represented a stunted and inferior example of evolution, and that women were created solely to procreate and serve men.

Regarding the current production, the play’s complexities are well served by director Richard Corley. As is typical for Mint Theater offerings in general, acting and production values are of the highest quality. Robert Hogan’s stern Rutherford towers emotionally over the other characters, as well he should.

But all of the cast, from Eli James’s persistent John Jr., to James Patrick Nelson’s soft-spoken Richard, to Sara Surrey’s feisty Janet, Sandra Shipley’s obnoxious Ann, Allison McLemore’s softly strong Mary, David Van Pelt’s sturdy Martin, and Dale Soules’s emotionally wrought Mrs. Henderson—all contribute to the powerful impact of this unusual and consistently rewarding theater piece, which often has shades of Ibsen.

The provocative set by Vicki R. Davis and good period costumes by Charlotte Palmer-Lane contribute to the production’s overall effect.

Diana Barth writes and publishes “New Millennium,” an arts publication. For information: diabarth@juno.com

(L–R) Tim Hopper, Kobi Libii, and Peter Jay Fernandez appear in playwright Gabe McKinley’s 'CQ/CX.' (Kevin Thomas Garcia)

NEW YORK—Playwright Gabe McKinley presents an interesting look at a pivotal moment in journalistic history but never really makes the story his own in the drama CQ/CX, presented by the Atlantic Theater Company at the Peter Norton Space.

Jay Bennett (Kobi Libii) is a young, eager African-American serving an internship at The New York Times. He impresses his superiors so much with his attention to detail when writing a story that he ends up getting a staff position with the paper.

However, as time goes on, Jay begins making more and more mistakes, initially trying to pass them off as the fault of sloppy note-taking and overwork. The problem is noticed by numerous people, but not newly appointed Executive Editor Hal Martin (Arliss Howard) and Managing Editor Gerald Haynes (Peter Jay Fernandez) who are trying to revamp The Times and make it more relevant, a process that includes hiring a more diversified writing staff.

Basing the play on the real-life Jayson Blair scandal, which nearly destroyed the credibility of The Times some years ago, McKinley has crafted a story with a lot of potential and one that includes a top-notch cast.

Unfortunately, the script reads like a not-very-good docudrama with soap opera elements mixed in. There are some telling points raised, such as how The Times didn’t employ fact checkers, working instead on the honor system with those filing stories, and how Jay’s story will be taught in journalism school for decades to come. But because the story never gets below the surface of the situation, its emotional impact feels weak and unsatisfying.

A major problem is that McKinley spends too much time trying to establish the paper as the holy grail of journalism and how the old guard, personified by long-time newsman Frank King (Larry Bryggman), doesn’t mesh with the changing times and political priorities.

However, Bryggman’s character, while wonderfully portrayed by the actor, is not at all necessary to the story and seems to exist just to fill up time. The few of Frank’s lines that do advance the plot could easily have been given to someone else.

(L–R) Steve Rosen, Sheila Tapia, and Kobi Libii play interns at The New York Times. (Kevin Thomas Garcia)

There’s also the question of race, many aspects of which are examined—such as the need to diversify the staff at the paper, the feeling that minorities need to be twice as good and work twice as hard to even be considered equal in stature, and that latent racism is always present no matter how honorable one’s actions.

Yet these points are dropped just as fast as they’re brought up. The only time race is given more than a few moments in the tale is when Jay tries to use it as the reason he’s being blamed for his actions. Because of where this scene falls in the context of the story, however, it’s a rather hollow argument.

The show’s major redeeming point is the cast. Libii does excellent work as Jay, a young man on the rise who quickly falls into a tailspin of lies, drugs, and alcohol. Ironically, Jay is probably the least developed character in the play as the audience is never offered a chance to learn why he did what he did, which leads to a lack of closure in the tale.

Tim Hopper offers a nicely grounded performance as Ben, the paper’s Metro editor, who is more concerned about getting the story right than being politically correct.

Fernandez is nicely authoritative as the somewhat angry Gerald, a man who rose through the ranks but who has felt the sting of prejudice more than once on the way up.

Howard is fine as the perhaps too-well-intentioned Hall, though his continual homespun homilies begin to get tiresome.

Steve Rosen and Sheila Tapia are very good as Jay’s fellow interns, each of whom becomes a different facet of Jay’s conscience.

David Pittu works well as the newly minted publisher of The Times and one who’s overprotective of it to a fault, determined that it will not be destroyed from either without or within.

CQ/CX, the title referring to a newspaper term, boasts some very impressive performances, but McKinley would do well to follow his play’s central theme, that of needing to look beneath the surface of what is offered and start examining the truth underneath.

Judd Hollander is the New York correspondent for the London publication The Stage.

In the 2006 Lu Opera Theater production “Dayu Huashang,” Zhou Qifei (L) plays a daughter of a well-to-do family. (Courtesy of Zhou Qifei)

After arriving in New York this past December, Chinese opera performer and emerging television star Zhou Qifei is finding a new home at New York’s New Tang Dynasty Television—anchoring the news.

“I think I now want to be a journalist and anchor for NTD Television,” Zhou said with a burst of energy. “Because NTD aims to revive authentic Chinese culture and deliver reliable information to its viewers. These are, in essence, the same as my childhood pursuits.”

Despite growing up in a country that is modernizing at a rapid rate, Zhou (also known as Wang Xiangru) was raised in a traditional family that enjoyed the sound of Chinese opera, and for nearly a decade, Zhou had dedicated herself to preserving one of the foremost local operas in the coastal Chinese province of Shandong.

“Probably because I showed a flair for the arts at a young age, my teacher recommended for me to apply to the Shandong University of Arts,” Zhou said in a phone interview. “To my delight and surprise, I was accepted, and that’s how I walked onto this path of life.”

Yet unlike other Chinese arts students who often take years before being able to step onto the big stage, Zhou benefitted from a partnership between her university and the Lu Opera Theater of Shandong Province, where she continued to work for another four years after her graduation.

Rigid Training

Zhou Qifei plays the lead in the Lu opera “Tao Li Mei,” the last opera she appeared in before coming to the United States. (Courtesy of Zhou Qifei)

Since 2002, the year Zhou entered college at the age of 12, she performed part-time with the Lu Opera Theater company, one of the biggest Lu opera companies in China.

“I was part of a special class that received particular training to suit the needs of the company,” said Zhou, who often played the lead in the company’s youth division performances.

Lu opera, like its Peking opera cousin, requires much more from its actors than a beautiful singing voice.

“We had to train very hard because it is not easy to become a professional. We needed to show proficiency in both language and acting, but training also includes acrobatics because opera is a multidimensional art form.”

Zhou and her classmates and colleagues trained all day long, with vocal practices, opera fundamentals, and rehearsals occupying them from morning to evening.

“We had to take a lot of pain when we began doing this,” Zhou said. “We basically practiced splits, backbends, front flips, back flips, and all kinds of tumbling techniques that are very similar to those of classical Chinese dance.”

Her Rising Career

In the Lu opera “Tao Li Mei,” Zhou Qifei plays the main character, Yuan Yumei (R). Pictured are the three sisters of the opera: (L–R) the eldest sister Yuan Yutao, the middle sister Yuan Yuli, and the youngest sister Yuan Yumei, who tries on a garment that is meant to be a gift from her middle sister to her fiancé. (Courtesy of Zhou Qifei)

Despite its hardship, the training came to good use. Zhou won the third prize in the Shandong division of the Chinese Opera Plum Blossom Award—the most esteemed Chinese opera award in the country—once in 2003 and again in 2007. She was also the third-prize recipient of a provincial youth Lu opera competition in 2004.

Since 2002, Zhou has had the lead role in some two dozen operas, performing all around China, from as north as Harbin in the northeastern Manchu province of Heilongjiang to as far south as the portal cities of Guangzhou and Hong Kong.

Among the most successful opera productions was one that debuted at the Shandong International Cultural Industries Fair in 2006, “Dayu Huashang,” a production based on music written in the Tang Dynasty (A.D. 618 to 907).

In “Dayu Huashang,” which ran until 2010, Zhou took on seven roles, including the daughter of a well-to-do family, a female monster, and a nun, while her colleagues played only one or two roles.

“It was crazy,” Zhou said. “I was always in a rush to change between my roles, sometimes having several makeup artists working on my face simultaneously.”

In 2005 at the peak of her acting career, Zhou was accepted by the Communication University of China and Beijing Film Academy, the respected schools from which countless Asian actors have graduated.

Nevertheless, in 2006, Zhou appeared in the 43-episode drama “Boxer Storm,” where she starred alongside Korean actress Jang Seo-hee and Taiwanese actors Sally Chan and Joseph Cheng.

Next…Taking Her Dreams Abroad