Posts Tagged ‘grounded’

Culture Vulture: the year in review

December 30, 2015

Top Theater of 2015:

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  1. A View from the Bridge – Ivo van Hove’s intense Broadway revival of Arthur Miller’s, staged within Jan Verseweyveld’s evocative stark set and lighting, an excellent cast headed by Mark Strong, Michael Gould, and Nicola Walker
  2. Between Riverside and Crazy – I’m thankful that Second Stage brought back the Atlantic Theater Company’s production of Stephen Adly Giurgis’s deep, dark well-deserved Pulitzer recipient, full of amazing performances (Stephen McKinley Henderson and Liza Colon-Zayas – pictured below — with Ron Cephas Jones and Victor Almanzar) directed by Austin Pendleton.

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  1. An Octoroon – the kind of big, messy, important, risk-taking production that keeps me engaged with theater. Playwright Branden Jacobs-Jenkins had key collaborators in director Sarah Benson, eight brave actors, smart producers (Theatre for a New Audience extended the life of the show that began at Soho Rep), and a design team at the top of their game (especially Mimi Lien, who certainly deserves the MacArthur Foundation fellowship she won this year).
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  2. John (Signature Theatre) – Annie Baker’s long astonishing play staged by Sam Gold on Mimi Lien’s hyperrealistic set with four terrific performances: Georgia Engel, Lois Smith, Christopher Abbott, and Hong Chau.

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  3. Ghost Quartet – a sweet and haunting chamber piece from Dave Malloy (above, plaid shirt), composer of Natasha, Pierre, and the Great Comet of 1812, performed in the cozy setting of the bar at the McKittrick Hotel.
  4. And That’s How The Rent Gets Paid – Jeff Weiss (below) and Ricardo Martinez’s East Village epic revived at the Kitchen featuring a cast of veteran and emerging downtown stars under director Brooke O’Harra’s fine-tuned cat-herding.
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  5. iOW@ (Playwrights Horizons) — playwright Jenny Schwartz gave herself an amazing amount of freedom with this piece, one of the most aggressively odd-shaped plays I’ve ever seen in how information is delivered, how characters are introduced, how the story advances, the use of music (gorgeous and scrupulously unpredictable score by Todd Almond), etc. Kudos to director Ken Rus Schmoll and a super-game cast.
  6. Composition…Master-Pieces…Identity (Target Margin Theater) – I don’t know how he does it but David Greenspan again inhabited Gertrude Stein’s prose with effortless genius.
  7. Gloria (Vineyard Theatre) – another fine example of Branden Jacobs-Jenkins’ gift for merging social commentary, shrewd humor, and extraordinary performance opportunities; Evan Cabnet directed the fantastic six-member cast, among whom Jennifer Kim and Ryan Spahn stood out for me.
  8. Hamilton (Public Theatre) – I had my reservations about the most acclaimed musical of the year (the hiphop score is monotonous, the staging is theatrically square, and author Lin-Manuel Miranda’s performance struck me as charmless) but there’s no denying that this retelling of early American history by black and Latino performers is smart, conceptually ambitious, and fiendishly well-written.
  9. Steve (New Group) – Mark Gerrard’s smart, hilarious gay comedy about sad stuff, impeccably directed by Cynthia Nixon with a fine cast and a seriously great performance by Matt McGrath.

Honorable Mentions:

Eclipsed (Public Theatre)– Danai Gurira’s original play about the experience of women during Liberia’s civil war with an exceptional all-female ensemble directed by Liesl Tommy

Ada/Ava (3Legged Dog) – unusual, inventive, emotionally absorbing shadow puppet play created by the Chicago-based Manual Cinema

Spring Awakening – DeafWest Theatre’s revelatory revival of Duncan Sheik and Steven Sater’s musical adaptation of Frank Wedekind’s play with a cast full of impressive Broadway newcomers directed by Michael Arden, noteworthy set by Dane Laffrey.

Grounded (Public Theater) – Julie Taymor brought her theatrical magic to this small honest play starring Anne Hathaway (below) as a disillusioned and war-damaged drone pilot

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Preludes (LCT3) – another exceptional eccentric musical event from the team of composer Dave Malloy and director Rachel Chavkin starring Gabriel Ebert (below, with flowers) on another dazzling Mimi Lien set.

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Disgraced – Ayad Akhtar’s play superbly directed on Broadway by Kimberly Senior.

Living Here (Foundry Theatre) — Gideon Irving’s one-man musical performed in living rooms all over NYC (including mine)

Raul Esparza in Cymbeline in Central Park

1-8 keith abronsKeith Hennessy’s bear/SKIN in the Abrons Arts Center’s American Realness Festival

Bob Crowley’s sets and costumes and Robert Fairchild’s performance in An American in Paris

Daniel Oreskes, Cameron Scoggins, and Tom Phelan in Taylor Mac’s Hir at Playwrights Horizons with a set by David Zinn that screamed “toxic America”

Other Culture Vulture High Points:

South African photographer Zanele Muholi’s show Isibonelo/Evidence at the Brooklyn Museum

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Anna Teresa de Keersmaker’s Partita in the White Light Festival

The new Whitney Museum

Habeas Corpus, Laurie Anderson’s collaboration with Guantanamo Bay detainee Mohammed el Gharani at the Park Avenue Armory

Love and Mercy, Bill Pohlad’s harrowing, arty, moving, thrilling biopic of Brian Wilson with an incredible performance by Paul Dano – my favorite film of the year

Performance diary: GROUNDED and THE NIGHT DANCE

April 27, 2015

It was one of those only-in-New-York weekends of performance-going. Saturday night Andy and I went to the Public Theater where we sat 20 feet away from Anne Hathaway performing George Brant’s Grounded in a spectacular production staged by the great Julie Taymor. Hathaway plays a female pilot who, after many missions flying over Iraq and Afghanistan, meets a man on leave and gets pregnant, which means getting reassigned from “the blue” to the “chair force”: sitting and watching a high-definition black-and-white screen as the remote operator of a missile-mounted drone tracking targeted individuals in…Pakistan? Iraq? The play isn’t great literature; it arrives at a moral point of view most of us walked into the theater already holding. But it is an honest, dense, skillfully crafted performance poem that Hathaway handled with impressive skill (despite a wandering Wyoming accent).

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And the production surrounding her is intensely dazzling, thanks to Taymor and her stellar team of designers (Riccardo Hernandez sets, Christopher Akerlind lighting, Will Pickens sound design, Peter Nigrini’s projection design, Richard Martinez electronic music design , with original music and soundscapes by Elliot Goldenthal). As my friend Jeremy Gerard wrote in his review, “this master of spectacle is just as imaginative and ingenious working on an intimate scale as she is on larger canvases.”

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Then Sunday afternoon I went by myself to the Park Avenue Armory to see The Night Dance, an hour-long recital with Charlotte Rampling reciting poems by Sylvia Plath and Sonia Wieder-Atherton playing Benjamin Britten cello suites. It was a beautiful, elegant, austere, and — you can imagine — fierce performance. Wieder-Atherton bowed, plucked, and strummed her way through Britten’s pieces, by turns keening, lyrical, and brooding, usually on their own but occasionally overlapping with Rampling’s simple, inhabited recitations of familiar poems (“Daddy,” “Lady Lazarus”) and less familiar ones. “It is a terrible thing/To be so open: it is as if my heart/Put on a face and walked into the world.” The rapt audience in the cozy Board of Officers Room at the Armory (capacity 200?) was full of women Rampling’s age and temperament who grew up with these poems, felt all the rage and confusion and feeling contained in them, and still survived, miraculously.

 

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