A CHORUS LINE @ The Heights Players

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“God I hope I get it. I hope I get it!”- The words playing on repeat inside the brain of every performer during an audition, and the theme of the opening number in the musical A CHORUS LINE, now playing at The Heights Players in Brooklyn Heights. With any community theater show, the production value and talent level can run the gamut from spectacular to downright awful. However, The Heights Players, now celebrating its 57th season, has created an entertaining and thoughtful production of a very complex show.

A CHORUS LINE was groundbreaking when it hit Broadway in 1975, winning nine Tony Awards and the Pulitzer Prize for Drama, with gorgeous music by Marvin Hamlisch, lyrics by Edward Kleban, and book by James Kirkwood, Jr. and Nicholas Dante. You are probably familiar with such ACL classics as “What I Did For Love” and “One” (and if you haven’t watched ‘Every Little Step’, the documentary about the casting process for the 2006 ACL revival, DO IT. NOW! Lots and lots of good history, and insight). The show itself follows seventeen dancers auditioning for a new Broadway show; each character gets a chance to share his or her story through a variety of monologues, montages, and solos. This production does a particularly great job of giving every performer a chance to shine, including the “cut dancers” who usually disappear after the opening number. Instead, director Thomas N. Tyler brings the ensemble members back to animate some of the actors’ life stories (Mr. Karp’s acting class, Don’s stripper friend Lola, etc.). They may have returned a few too many times for my taste, but I appreciated the attempt to include everyone as much as possible.

The venue is located inside a charming old church, and the stage is a three quarters thrust, with audience members on three sides of the stage (the house was PACKED, by the way). Mr. Tyler deftly stages the numbers so that all sections of the audience can see the main action (gotta use those diagonals!). The space is small, so when I heard the live musicians warming up, I got a little worried that the music was going to overpower the singing. Fortunately, I could clearly hear every word and note, even without any voice amplification (Note: I had seats in the center section. I don’t think I would have heard as well if I had seats in the house-right section, by the musicians). Though the director had obviously directed in the space before and did his best to creatively fit the cast, the stage was just too small for the big group dance numbers. The stage was waaaay too crowded during the opening sequence, the montage, and the finale. It was a nice try, though.

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The talent level varied among the cast members, which was to be expected. I could definitely tell who were the “dancers” and who were not; who were the semi-professionals, and who were not; who fit the very specific character types on “the line”, and who did not. Karen Mascolo as Maggie is an absolute stand out. She does not look like the typical Maggie, but her voice is DYNAMITE. Her smooth belt-mix soars in “At the Ballet” (my absolute favorite!) and she vocally anchors all of the ensemble songs. Marissa Giglio is delightful as Bebe, and Tom Giancursio maintains a good balance between tough and compassionate as haughty director Zach.

The role of Cassie, the veteran dancer who is desperate for a dancing job after a failed tv/film career in Hollywood, is always the most difficult to cast. Desiree Justin does an exceptional job. Her acting and singing choices are spot on, but I wish we hadn’t seen her working so hard in “The Music and the Mirror”. It is a beast of a number, lasting seven or eight minutes, and pushes the actor physically and emotionally. I am not an ACL purist, so I do not cringe at the idea of abandoning parts of the original choreography (Gasp! BLASPHEMY!). If you don’t have the dancers, don’t do it! I’d rather the actors look really fantastic with simpler steps. Even the most seasoned performers cannot successfully embody the original flow and intensity of Michael Bennett’s iconic choreography. I wish we could have seen what Desiree does best in “The Music and the Mirror”, not what Donna McKechnie did best 40 years ago.

Overall, I had a lovely evening with The Heights Players. To me, community theater is all about giving people who love to perform a chance to be in a show. This cast includes a nurse, several teachers, an editor, a lawyer, and I think that is really fantastic. Is it the best production of A CHORUS LINE I’ve ever seen? No. Did the audience still love it? Yes. And in this case, I think that’s all that really matters.

Love and Good Seats,

Blondie

A CHORUS LINE
Music by Marvin Hamlisch, lyrics by Edward Kleban and book by James Kirkwood, Jr., and Nicholas Dante
Directed by Thomas N. Tyler
May 10-26, 2013
Fridays and Saturdays: May 10, 11, 17, 18, 24 and 25 at 8:00 p.m.
Sundays: May 12, 19 and 26 at 2:00 p.m.

Click here to reserve tickets.

The Heights Players

26 Willow Place
Brooklyn, New York 11201
Phone: (718) 237-2752

3 Shows I’m Excited to See This Month (and you should be, too!)

‘Tis the season of Broadway Openings. MATILDA opens tonight (Happy Opening, kids!), and over 12 other Broadway productions will open in the next two weeks, all racing against the Tony Award eligibility deadline. Although I can’t wait to see them ALL, here are 3 shows I’m excited about that may NOT be on your radar.

1)   FAR FROM HEAVEN @ Playwrights Horizon

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Kelli O’Hara in a scene from Far From Heaven. Photo by T. Charles Erickson

After a successful run last summer at Williamstown Theatre Festival, FAR FROM HEAVEN, the musical adaptation of the 2002 film, will be at Playwrights Horizon May 8-June 30.  The show has an award-winning creative team (book by Richard Greenberg, music by Scott Frankel, lyrics by Michael Korie, and Michael Grieg is directing) and stars the lovely Kelli O’Hara, fresh off her run as Billie Bendix in NICE WORK IF YOU CAN GET IT (she has an ANGEL VOICE, so it’s no wonder the woman never stops working- even when she’s several months pregnant!).  Also excited to see Quincy Tyler Bernstine, especially after her fantastic work in Soho Rep’s WE ARE PROUD TO PRESENT A PRESENTATION… . Looks like a night of smart dialogue, great acting, and beautiful, jazzy music. You can check it out here (PH’s website is really awesome, btw).

 

2)   ON YOUR TOES @ New York City Center ENCORES!

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The Encores! series at New York City Center is such a gift to those of us who enjoy classic, old-school musicals. On May 8-12, the little known 1936 Rodgers and Hart musical ON YOUR TOES will return to the stage with the help of talented director/choreographer Warren Carlyle. According to the show’s website, ON YOUR TOES is “an improbable mix of gangsters, vaudeville and classical ballet” and was “the first musical to successfully integrate classical dance into the Broadway musical format.” The original production was actually choreographed by Mr. George Balanchine himself! I love ballet, and I REALLY love old musicals, so here’s my chance to see both. Get your tickets here!

 

3)   A PUBLIC READING OF AN UNPRODUCED SCREENPLAY ABOUT THE DEATH OF WALT DISNEY @ Soho Rep

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Walt and Roy Disney posing with their Academy Award

I first heard rumblings about this play after the PRELUDE Festival last October, and voila! Now the World Premiere of A PUBLIC READING OF AN UNPRODUCED SCREENPLAY ABOUT THE DEATH OF WALT DISNEY is being produced at Soho Rep April 30-May 26.  The play is written by rising star Lucas Hnath, directed by Sarah Benson, and features a solid cast with Larry Pine as Walt Disney, Amanda Quaid as Daughter, Brian Sgambati as Ron, and (my personal favorite!) Frank Wood as Roy. I don’t know a whole lot about the plot, other than Walt Disney is reading a screenplay he wrote about his last few days on Earth. Soho Rep describes it as an “adrenaline-charged odyssey, a supersonic portrait of the man who forever changed the American Dream.” I expect big things. Buy your tickets here!

 

These shows won’t be on any 2013 Tony ballots, but I’m excited nonetheless!

Love and Good Seats,

Blondie

Talley’s Folly @ Laura Pels Theater, Roundabout Theatre Company

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Danny Burstein and Sarah Paulson in ‘Talley’s Folly’
Photo credit: Joan Marcus

“They tell me that we have 97 minutes here tonight.” And what a lovely 97 minutes it is.  Matt Friedman (played by the always outstanding Danny Burstein) sets the scene as he candidly addresses the audience in the opening monologue of Roundabout Theatre Company’s revival of Talley’s Folly by Lanford Wilson, now playing thru May 12 at the Laura Pels Theater. The day is July 4, 1944, the backdrop is the rural town of Lebanon, Missouri, and Matt is going to win over his valentine, Sally Talley (played by Sarah Paulson), tonight. In 97 minutes. And so begins this funny, heart-warming production.

Last week, I decided to take myself on a theater date. Talley’s Folly was recommended to me by several of my friends (and I was in need of a smile- this Blonde doesn’t handle extended winters so well…), so I bought my $20 ticket (thanks Hiptix!), curled my hair, and came to the theater with high hopes. I just happened to come on a day when Roundabout offers one of their free, pre-show “Theatre Talks,” which I highly recommend. A Roundabout teaching artist gives talks to the patrons in the lobby about the production history of the particular show, and its creators. I learned a few fun facts:

  1. Lanford Wilson (who won the 1980 Pulitzer Prize for Drama for Talley’s Folly) wrote the play on a dare from his friend, director Harold Clurman, to finally write “a joyous play.”
  2. Talley’s Folly is the second play in a trilogy about the Talley family (in between Talley & Son and Fifth of July), but Wilson almost wrote a tetralogy (five plays). One of the never-written plays would have followed Uncle Whistler, the Talley family patriarch who built the ornate Victorian boathouse that is the namesake of and only set piece in Talley’s Folly, and his experience in Lebanon, MO during the Civil War.
  3. Wilson joked that the tetralogy would have been entitled THE WAR IN LEBANON (Missouri)

Armed with this new knowledge, the rest of the audience and I stepped into the world of 1944 Lebanon, the “folly” boathouse is falling apart, with hints of its former grandeur, and the summer sun is setting. An idyllic scene for a sweet romance. Then out comes the loud and overly-energetic Matt with his enthusiastic, fourth-wall breaking speech (which he repeats, fast-forward style, for “the late-comers”) about wooing his reluctant Sally, with topics ranging from the life expectancy of bees to real estate salesmen, and we soon realize that this romance might not be so idyllic. This guy is kinda weird. And a little nerdy. And definitely not from Missouri.

Danny Burstein effortlessly plays this eccentric Matt Friedman character, a middle-aged Jewish accountant with a vaguely foreign accent (Brooklyn? Russian? Yiddish? You find out later in the show, so I’ll keep it a mystery), with lively precision. How Burstein hasn’t won a Tony award yet is beyond me (he’s been nominated three times).  He did just get a nominated for a Lucille Lortel Award, though, which is well-deserved! What strikes me most about his performance is his spot-on physicality. Even in Matt’s animated, quirkiness, not one move or word is inauthentic. I fell in love with this earnest, out-of-place man with a devastating past, fighting for the love of a seemingly ordinary, upper-middle class farm girl in Sally Talley. A girl he could never actually marry, not in rural Missouri in 1944. But the times, they are a changin’ and we soon learn more about Sally, and why perhaps she and the Jew are not so different.

Sarah Paulson is likable as Sally Talley, a guarded, smart, attractive daughter of a wealthy Missouri family who works as a nurse’s aided for soldiers at the nearby hospital. Sally is 31, well past the usual marrying age, and takes her time opening up to Matt, and to the audience. Behind her cool, reluctant exterior is a fiery, passionate woman with modern ideas (she got fired from teaching Sunday school, gasp!) and a complicated relationship with love and family. Paulson definitely looks the part, with her flattering yellow dress and delicate frame, and she stays true to the character’s restrained nature, but something about her sing-song accent was really off-putting (I’m a Georgia girl myself, so I get a little picky about my Southern/Southern-ish dialects). Almost every line followed the same speaking pattern, which seemed too practiced and unnatural. Fortunately, Paulson falls out of that pattern in her most vulnerable moments with Burstein, and really blossoms in the revealing climax at the end of the play. However, I still would have liked a few more glimpses of the “real” Sally sprinkled throughout the show, not just in the last 15 minutes.

In the wrong hands, this script could easily land on the sappy, cheesy side of romantic comedy. However, director Michael Wilson skillfully keeps the show in balance with the right amount of sentimentality, humor, darkness, and wit. I’m usually not a fan of two-person shows, but Wilson and the actors are able to maintain the tension and keep the story stimulating throughout. Not surprisingly, the production is Lortel-nominated for Outstanding Revival🙂

Ultimately, Talley’s Folly is about the different barriers we put up around ourselves to shield us from the hurt and pain this world brings. But those barriers can also keep out the love and the special (and sometimes strange) people that make living worthwhile. Matt awkwardly explains to Sally that we are all a bunch of eggs- too afraid to touch for fear we will break. But, ironically, when you break those eggs, mix them up, and put them in a skillet, “that’s when you’re really cookin’!” This is the message that resonated with me most. In our tech-savvy, digitally-obsessed, emotionally detached culture, our shells are getting harder and harder to break; but I hope we can all still take the risk of cracking our eggs, and finding that person who will complete our omelet (can you tell I’m a hopeless romantic?).

If you are in need of a smile, or just enjoy solid storytelling, go see this wonderful production before it closes!

Love and Good Seats,

Blondie

Talley’s Folly

By Lanford Wilson; directed by Michael Wilson; sets by Jeff Cowie; costumes by David C. Woolard; lighting by Rui Rita; music and sound by Mark Bennett; hair and makeup by Mark Adam Rampmeyer; dialect coach, Kate Wilson; production stage manager, Lori Lundquist; production manager, Aurora Productions; general managers, Nicholas J. Caccavo and Sydney Beers; associate managing director, Greg Backstrom; associate artistic director, Scott Ellis. Presented by the Roundabout Theater Company, Todd Haimes, artistic director; Harold Wolpert, managing director; Julia C. Levy, executive director. At the Laura Pels Theater, Harold and Miriam Steinberg Center for Theater, 111 West 46th Street, (212) 719-1300, roundabouttheatre.org. Through May 5. Running time: 1 hour 35 minutes.

WITH: Danny Burstein (Matt Friedman) and Sarah Paulson (Sally Talley).

Hands on a Hardbody @ Brooks Atkinson Theater

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‘Hands on a Hardbody’ Jay Armstrong Johnson and Allison Case at Brooks Atkinson Theater. Photo Credit: Sara Krulwich/ The New York Times

I wanted to love this show, I really did. Hands on a Hardbody, now running at the Brooks Atkinson Theater, has all my favorite ingredients in a new Broadway show: an American creative team telling a uniquely American story, a solid cast, brand new music with a country twang, an innovative concept, and a successful out-of-town run at La Jolla Playhouse (they do some great stuff at La Jolla!). There is nothing else like it on stage in New York. However, this new musical “stalls” on many levels.

The show’s premise is interesting enough. Hands on a Hardbody is based on the 1997 documentary of the same name that follows contestants in a cutthroat Texas contest to win a brand new Nissan pick-up truck. The group of ten must keep one hand on the truck at all times; the last competitor standing takes home the truck, and with it, a whole new lease on life.

This contest brings together a wide range of eccentric characters, skillfully represented by a talented ensemble cast. I can’t tell you how refreshing it was to see actors of all shapes and sizes on stage- it is a story about “normal” Americans after all! Keala Settle as the Jesus-loving, gospel-singing Norma Valverde is the unquestionable stand out of the group. Settle’s earnest, joyful performance is only enhanced by her “knows no bounds” vocal chops. The woman can belt! Hunter Foster is almost unrecognizable playing the goatee-clad, arrogant, intimidating Benny Perkins who has already won a truck in the same contest last year. Foster’s vocal strength and stage presence anchor the cast throughout the show. Allison Case and Jay Armstrong Johnson are delightfully awkward as the youngest competitors, dreaming of a more exciting life outside of Texas is in the song “I’m Gone.” I love Connie Ray in just about anything (any fellow fans of “The Torkelsons” out there?), and she adds some much needed humor to the show as the struggling dealership’s marketing director. Honestly, there are no weak acting performances, just weak material.

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Photo Credit: Chad Batka/ AP

Despite my affinity for country/pop music, I found Hardbody’s score, written by Trey Anastasio of Phish and Amanda Green, dull and forgettable. The one true showstopper is “Joy of the World,” the gospel song turned full cast percussion experience lead by the infectious Settle. I wouldn’t have minded a few more “Joy” moments myself. The lackluster songs come in succession one right after another with very little dialogue in between. Lucky for me, several songs had been cut from the show since the beginning of previews, keeping the run time to 2 hours 20 minutes (which still seemed too long).  The choreography (or should I say “car”eography, since almost all the numbers revolved around the bright red pick-up truck on stage) was just as monotonous. The car-eography was clever at first, but after an hour or so, I think we can ditch the truck for a few numbers.

Ultimately, I wanted to know more about each of the contestants, especially the ones who make it past the first day or so of grueling competition. Each character is written as a vague archetype: the Iraq-war veteran, the first-generation Mexican-American trying to pay his way through college, the mother of five with bills to pay, etc. Thus, I felt no emotional connection to any of the contestants. I didn’t really care who won the truck, which I think defeats the whole purpose of the show. I wanted someone to root for. Perhaps some extra visits from family members or boyfriends or bar buddies would have given the audience some more insight into the lives of these characters (maybe take a page out of 25th Annual Putnam County Spelling Bee’s book with the right mix of competition and character development…). But as written, the characters are not fully developed. And for a musical set in the parking lot of a Nissan dealership in Longview, Texas, there are very few light moments or joking to be had in such an absurd situation. Instead of jokes, Doug Wright’s book includes random and abrupt political commentary on everything from illegal immigrants to veterans’ affairs.

Overall, Hardbody was a nice try. I think it could have benefited from a NYC Off-Broadway run where the creative team could have streamlined the story and music numbers, but I’m glad an innovative American musical made it to Broadway nonetheless. The actors’ performances are stellar (again, Keala Settle is a force to be reckoned with), despite weaknesses in the material. I really wanted to love it, but Hands on a Hardbody never makes it out of the parking lot.

Hands on a Hardbody

Book by Doug Wright; lyrics by Amanda Green; music by Trey Anastasio and Ms. Green; based on a film by S. R. Bindler; directed by Neil Pepe; musical staging by Sergio Trujillo; musical direction/vocal arrangements by Carmel Dean; sets by Christine Jones; costumes by Susan Hilferty; lighting by Kevin Adams; sound by Steve Canyon Kennedy; orchestrations by Mr. Anastasio and Don Hart; music coordinator, Michael Keller; associate choreographer, Lorin Latarro; production stage manager, Linda Marvel; production manager, Juniper Street Productions; associate producer, David Carpenter; general manager, Foresight Theatrical/Allan Williams; executive producer, Jennifer Costello. A La Jolla Playhouse production, presented by Broadway Across America – Beth Williams, Barbara Whitman/Latitude Link, Dede Harris/Sharon Karmazin, Howard and Janet Kagan, John and Claire Caudwell, Rough Edged Souls, Joyce Primm Schweickert, Paula Black/Bruce Long and Off the Aisle Productions/Freitag-Mishkin. At the Brooks Atkinson Theater, 256 West 47th Street, Manhattan, (877) 250-2929, ticketmaster.com. Running time: 2 hours 30 minutes.

WITH: Keith Carradine (J D Drew), Allison Case (Kelli Mangrum), Hunter Foster (Benny Perkins), Jay Armstrong Johnson (Greg Wilhote), David Larsen (Chris Alvaro), Jacob Ming-Trent (Ronald McCowan), Kathleen Elizabeth Monteleone (Heather Stovall), Mary Gordon Murray (Virginia Drew), Jim Newman (Mike Ferris), Connie Ray (Cindy Barnes), Jon Rua (Jesus Peña), Keala Settle (Norma Valverde), Dale Soules (Janis Curtis), Scott Wakefield (Frank Nugent) and William Youmans (Don Curtis/Dr. Stokes).

The Revisionist @ Cherry Lane Theatre

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‘The Revisionist’ Vanessa Redgrave stars with Jesse Eisenberg, who also wrote this play, at the Cherry Lane Theate.  Photo credit: Sara Krulwich/ The New York Times

Getting to see a show at Cherry Lane Theatre is always a treat- an intimate space tucked in the corner of a quaint street in the West Village. Getting to see Jesse Eisenberg (of The Social Network fame) and VANESSA REDGRAVE (of awesome-in-everything-she’s-done-for-the-past-five-decades fame) from the third row at Cherry Lane Theatre is something extra special. The Revisionist, written by Eisenberg and produced by Rattlestick Playwrights Theatre, opened in February and just announced a second extension through April 27, with rumors of a possible move to Broadway. The entire run is sold out, but I was able to take advantage of an ushering opportunity last night (Why yes, I will totally hand out playbills for 30 minutes in exchange for a FREE ticket!), and I am so glad I did.

The show’s website sums up the play like this: David (Eisenberg) arrives in Poland with a crippling case of writer’s block and a desire to be left alone. His 75-year-old second cousin Maria (Redgrave) welcomes him with a fervent need to connect with her distant American family. As their tenuous relationship develops, she reveals details about her complicated post-war past that test their ideas of what it means to be a family.

The emphasis on family is definitely felt in the play, but I think the real driving theme is the contrast between two generations: the “Me” generation and the “Greatest Generation” (Maria is Polish, not American, but you know what I mean). David’s total self-absorption, inability to manage human relationships, and non-existent family values versus Maria’s strong desire to maintain her family relationships (she lost all of her immediate family in the Holocaust), her optimistic survival spirit, easy sense of humor, and appreciation for the small things in life. One moment that stands out to me in particular happens during one of David’s rants about a colleague who is a New York Times bestselling author and a guest on David Letterman, not because his book is any good, but because this particular writer wrote his book on his cell phone while riding the subway to work every morning. Now he’s famous, and David isn’t.  This is the example David uses to illustrate to Maria how, “Life is unfair” (did I mention that she is a Holocaust survivor? Right.). I actually laughed out loud on that one. The whole thing was absurd, and yet not surprising or out of character. David’s story characterizes his narcissistic view of the world, and total lack of empathy, while Maria responds with a cool, polite, all-knowing smile.

Eisenberg proves here that he really knows how to write to his strengths. As seen in his interpretation of the egotistical Mark Zuckerberg, Eisenberg is great at playing a bona-fide jerk. Eisenberg’s David is no exception: annoyingly self-absorbed, rude, fiercely intelligent, anxious, condescending, and tremendously insecure. He is overly critical of himself and others, making it difficult for him to accept people into his life, even when they are as lovely as his cousin Maria. Eisenberg’s script is smart, quick-witted, and has a speech pattern all its own. Eisenberg himself speaks very quickly and low, almost to the point of mumbling, which may work on camera, but doesn’t on stage. He has created a character that made me squirm and scowl with his selfish nature and dismissive attitude, but I think that was the point. By the end of the play, I still hated David (or perhaps hated the fact that people like him actually exist), but I also felt sorry for him and his inability to accept love, and embrace the idea of family.

In contrast to Eisenberg’s flightiness and constant nervous movement, Redgrave is solid, absolutely comfortable in her own skin. She instantly takes command of the stage, and doesn’t let go for the entire 1 hour 45 min tour-de-force performance. Not to say she overpowers Eisenberg in any way. The two actually complement each other to create scenes filled with the right amount of humor, pain, and vulnerability. But Redgrave is the obvious veteran. Still STUNNING despite the frumpy clothing and complete lack of make-up, Redgrave’s physical presence coupled with her multi-layered characterization of the upbeat, but deeply wounded Maria makes for a compelling performance. The Polish accent is the least convincing part of her performance, but who cares? She’s a star.

This is perhaps a thought for another post, but this is the THIRD play I’ve seen this year about an older woman opening up about her genocide survival past to a younger, male relative (the other two plays being the short-lived FLIGHT by Michel Wallerstein starring Maria Tucci, and the New York Theatre Workshop’s Red Dog Howls by Alex Dinelaris starring the fantastic Kathy Chalfant). The Revisionist is my favorite of the three, mostly because there are plenty of funny moments to break up the heavy, intense moments related to Maria’s haunted past. However, I can’t help but notice that the dinner scene in this show and the “pre-confession” dinner scene in Red Dog Howls are eerily similar, awkward drinking contest and all…

Overall, this play is well-written, very well-acted, and fits perfectly on the Cherry Lane Theatre stage. I hope it transfers to Broadway so more people can see the dynamic Vanessa Redgrave, and the promising writer-actor Jesse Eisenberg. Hopefully, the intimacy of this production can be translated to a larger space on the B-way. Whatever future this production may have, I have to thank Mr. Eisenberg and Ms. Redgrave for a surprisingly entertaining, thought-provoking, emotional night of theatre.

Love and good seats,

Blondie

The Revisionist

By Jesse Eisenberg; directed by Kip Fagan; sets by John McDermott; costumes by Jessica Pabst; lighting by Matt Frey; sound by Bart Fasbender; stage manager, Christine Catti; production manager, Eugenia Furneaux. Presented by Rattlestick Playwrights Theater, David Van Asselt, artistic director; Brian Long, managing director. At the Cherry Lane Theater, 38 Commerce Street, West Village, (866) 811-4111, rattlestick.org. Through April 27. Running time: 1 hour 45 minutes.

WITH: Jesse Eisenberg (David), Daniel Oreskes (Zenon) and Vanessa Redgrave (Maria).

A lot of theatre, y’all.

Y’all, I see a lot of theatre. All kinds of theatre. From showgirl spectacle to Brooklyn experimental, you name it, I’ll see it. Since moving to New York last year, I have been lucky enough to be a part of dozens of theatrical experiences in and around the city, and I think it’s time to share some of those experiences with you- the good, the bad, and the downright weird.

So…here goes nothin’!

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Love and good seats,

Blondie