A Starry Couple Revives a Neil Simon Triptych: “Plaza Suite” on Broadway

Between 1961 and Y2K, Neil Simon was represented on Broadway by thirty plays, winning four Tony Awards (one honorary) and the 1991 Pulitzer Prize for Drama (“Lost in Yonkers”). The plays were basically comedies, many with serious undertones. As a measure of his importance in those decades, the Alvin Theatre on West 52nd Street was re-named the Neil Simon Theatre during its 1983 run of his autobiographical “Brighton Beach Memoirs.”

Simon’s plays were/are nearly all firmly tied to the time and tone of then-prevailing social mores. While a goodly number of the laugh lines still work, much of the dialogue and many of the situations are dated; some among them make light of personal interactions that we now regard with a degree of dismay. Time has not been kind to the Simon tone.

Simon’s plays are still seen on high school and community stages, but professional productions, even short of Broadway, are rare. Which makes the current Broadway revival of his 1968 “Plaza Suite” an anomaly.

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Blog, Broadway

Ten Times Ten Equals a Sumptuous Theatrical Buffet at Barrington Stage Company

Think about the last ten new plays you saw. Were most of them really well written, with cohesive plots and well-developed characters? Were they thought-provoking and/or amusing? Well, that assessment sums up my last ten, which I saw – all ten – last Sunday at Barrington Stage Company’s “10X10 New Play Festival.” Now in its eleventh year, the Festival comprises ten ten-minute plays, thus the moniker 10X10.

I wondered: How can ten plays begin/middle/end coherently in just ten minutes each? Wouldn’t even the best of them be little more than an extended skit? But no; while most of the ten are comedic in style and intent, these are all complete and stage-worthy pieces. Selected from many submissions, the plays range from the (surprisingly) sublime to the (intentionally) ridiculous.  It is a theatergoer’s buffet, and a sumptuous one at that.

Two directors each helm five entries, while six actors play several characters apiece. With bare minutes between the plays for costume changes and minimal tech setup, versatility is hardly a luxury, and these folks deliver.

Barrington Stage Company founder (1995) and long-time artistic director Julianne Boyd is retiring at the close of the 2022 season. Her final directing credit will be for “A Little Night Music” in August, but if it were for the 10X10 Festival entry “Gown,” she would be going out on a high.

Peggy Pharr Wilson, left, and Aziza Gharib in”Gown” [Production photos: David Dashiell]

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Professional, Regional

What’s Old Is New Again: Mint Theater Revives “The Daughter-in-Law”

In years past I have seen several plays performed in foreign (to me) languages. “Death of a Salesman” and “Fiddler on the Roof,” both familiar works, were perfectly clear in Yiddish, while Ionesco’s “The Bald Soprano” (so-titled from an actor’s line-flub) was no less comprehensible in French than in English.

Now along comes Mint Theater Company’s production of David Herbert (D. H.) Lawrence’s “The Daughter-in-Law,” through March 20 at New York City Center’s Stage II. And, okay, it is not really in a foreign language, but rather “an East Midlands dialect…rich in Old English and lingering Norse influence from the centuries when this part of England was under the rule of Vikings.” (Thank you, dramaturg Amy Stoller.)

The hearty dialect takes a few minutes to parse before settling into an accessible source of the play’s aural pleasures. Miss a word here or there? Doesn’t matter a whit. Delivered by a superb cast, the dialect takes on a lilt, a musicality that draws you in and carries you along with the emotionally absorbing story it explores.

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Blog, NY Theater, Off Broadway

Reality Adds a New Dimension to Off-Broadway “WIT”

Vivian Bearing, PhD, a college professor of 17th-Century poetry, specializing in the Holy Sonnets of John Donne, is undergoing chemotherapy for stage-four metastatic ovarian cancer. Fifty years of age, Vivian is a fictional character.

Erin Cronican, producer/actor and Executive Artistic Director of The Seeing Place Theater, is undergoing chemotherapy for stage-four metastatic breast cancer. Somewhat younger than Vivian, I surmise, Erin is a real-life woman.

Erin Cronican as Dr. Vivian Bearing [Photos: Russ Rowland]

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Blog, NY Theater, Off Broadway

Understudy: Not a Job for the Weak of Heart

Theater lore abounds with tales of understudies who have gone on to a degree of stardom, some as a direct result of having filled in for an indisposed performer. Shirley Maclaine, who subbed for Carol Haney in “The Pajama Game” in 1954 is an oft-quoted example. Another is Sutton Foster, who took over “Thoroughly Modern Millie” in 2002 and who is now on the reverse end of a resurgence of interest in the roles (sorry) of understudies, swings and standbys.

[Understudies, often already in minor roles, cover one or more larger roles; swings cover multiple ensemble roles in musicals. A standby covers one role and may be scheduled to perform at certain performances. Christine in “Phantom of the Opera,” for example, has a standby “alternate,” who plays the vocally demanding role at matinees. Current alternate Emilie Kouatchou assumes the role full time in January, becoming the first Black Christine on Broadway. Presumably, she will have a standby alternate.]

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Blog, Broadway, NY Theater, Off Broadway, Professional, Regional

“Company” Swaps ‘Bobby, Bobby Baby’ for ‘Bobbie, Bobbie Baby’

Several terrific performances in the current Broadway revival of “Company” owe their provenance to its gender-switched casting. Originally about NYC bachelor Robert/Bobby being feted on his 35th birthday by ten of his friends (five couples), who also noodge him about being single at that advanced age (Imagine!), even as he grapples with his own ambivalence, the show now centers on birthday-girl Bobbie, who is subject of the same chagrin over her apparent commitment phobia.

Switching that pivotal role from male to female trickles down to some of the characters with whom he, now she, interacts. Still straight, Bobbie’s past/present romantic partners are now men and while four of the five couples are still hetero, one is same-sex male, a change that works better, I would wager, than might have been expected.

Katrina Lenk, center, and the cast of “Company” [Photo:Matthew Murphy]

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Blog, Broadway, NY Theater