My New York month is coming to an end—just one more week and I’ll be heading home. Mixed feelings, because I always love going home. And there is certainly lots of arts and culture to consume and review in Chicago. But there’s a certain something about New York. No other city can match it. So I hope to do this again in a year or two. Here’s what I’ve been doing since I last posted here.
Among the plays I’ve seen recently are three that I’ve reviewed for Third Coast Review.
Theater Highlights, Part 2
Sam Shepard’s True West, starring Ethan Hawke and Paul Dano as the battling brothers, was a pleasure to see again with another set of players. I’ve seen this play many times–first in 1982, when Steppenwolf staged it with John Malkovich and Gary Sinise playing the lead roles. This New York production at the American Airlines Theatre was excellent—and I took a different theme from it this time. The American dream, perhaps exemplified by one brother’s hard work at developing and writing a screenplay, is turned on its head. His drifter brother manages to bullshit his way into a film contract by making up a story as he talks with a film producer. And, of course, it all ends in a battle of…toasters and toast.
Juno and the Paycock at Irish Repertory Theatre is the second in its Sean O’Casey season. This is the best known of the three plays and Irish Rep stages a terrific production, led by the theater’s co-founder, Ciarán O’Reilly, as the ne’er do well Captain Jack Boyle. The play is beautifully cast, mostly with Irish Rep regulars, and succeeds in threading the tragedy of the Irish Civil War beneath the humor and occasional sadness of a Dublin family.
King Lear (Cort Theatre on Broadway) starring Glenda Jackson as Lear was a highlight of my New York month. I saw the play in preview, since it won’t open until April 4. Therefore I can’t review it now, but will write a review later. I can say now that it is a four-star production; not only is Jackson a solid and satisfying Lear, but the cast is diverse and the staging and direction (by Sam Gold) are brilliant.
Nantucket Sleigh Ride, John Guare’s newest play, is a world premiere being staged by Lincoln Center Theaters in the Mitzi Newhouse Theater. My review was just posted today. The play is a farce, with lots of laugh lines, but it is a strange mix of reality and surrealism, laced with more pop culture references than I could keep track of. It’s an updated version of an earlier play, as I mention in my review, but I think it’s still not ready for prime time.
A unique theater resource in New York is the Theatre on Film and Tape archive (TOFT) at the New York Public Library for the Performing Arts (adjacent to the Lincoln Center theater building). TOFT records many of the plays and musicals produced on Broadway and off-Broadway. The archive is available to theater professionals, students or researchers with work- or study-related projects. You request viewing of a play by locating it on the TOFT website and calling to sign up for a viewing appointment. When you arrive, the films are cued up on a computer in the archive’s screening room. I’ve watched several plays there on two different occasions, including the 1988 and 2009 productions of Waiting for Godot. I’m hoping to get there once more this week.
Art at the Whitney and the Museum of Arts and Design
One of the important art exhibits on view in New York right now is Andy Warhol–from A to B and Back Again at the Whitney Museum of American Art. I saw a preview of the exhibit last fall, just before it opened, and I was happy to be here in time to see the exhibit before it closes March 31. It’s a huge exhibit, a retrospective of Warhol’s life in art, film and pop culture generally, beginning with his childhood in Pittsburgh. The exhibit will transfer to the Art Institute of Chicago this fall, with an October opening planned. Here’s my review of the Whitney exhibit.
The Museum of Arts and Design is a small museum located at 2 Columbus Circle, near 58th and Broadway. I particularly liked the exhibit titled The Future of Craft, Part One, on the third floor. The exhibit features many beautiful works in fabric art, both decorative and (sort of) wearable. On the second floor, there’s an exhibit of contemporary jewelry, titled Non-Stick Nostalgia. It’s all exquisitely displayed in unusual cases.
A special feature of the museum is the restaurant Robert on the ninth (and top) floor of the building. The restaurant has great views looking north toward Central Park and the upper west side. The food and service are excellent. We had a delightful brunch there on a Sunday.
Here are recaps of three plays I’ve seen in the last 10 days. They’re all recommended and all still running so you have time to see them. I’ve been focused on the David Bowie Is exhibit this week and I’ll post my review of that soon.
King Lear at Chicago Shakespeare
A four-star production of this Shakespearean masterpiece. The most four-star part of it is the performance by Larry Yando as King Lear. He’s one of Chicago’s finest actors and this is a performance that has “Jeff award” all over it. Here’s how my Gapers Block review begins.
“King Lear, perhaps William Shakespeare’s most-revered play, is an existential tragedy. It’s a story of power and family lost, mind and health destroyed. But it’s also a retirement story and a family tragedy. It’s amazing how deeply and warmly current issues are treated in this 400-year-old masterpiece.
“Fathers mourn relationships with their children. Siblings fight over the estate before the parent dies. Old men suffer the tears and trauma of aging. And most profoundly, we see the onset of dementia in someone who has been a brilliant and powerful leader.”
Lear runs until November 9 at Chicago Shakes’ theater on Navy Pier.
Isaac’s Eye at Writers Theatre
Isaac’s Eye by Lucas Hnath is a smart, funny exercise in what-if. What if a young Isaac Newton and the older and less well-known scientist, the brilliant Robert Hooke, met and discovered they had similar and conflicting interests in color and light? The result is a mesmerizing two-hour play at Writers Theatre’s back-of-the-bookstore location in Glencoe. In this tiny space, you are literally right at the feet of the two great men as they bicker and compete, in modern dress and language. It’s a fascinating post-modern drama.
One of my favorite Chicago actors and old friends, Marc Grapey, plays Hooke with the right amount of antipathy and snark. And Jürgen Hooper plays Newton, with geeky naivete matched by seething ambition. Elizabeth Ledo gives a smart performance as Newton’s girlfriend. The compelling addition to the play is LaShawn Banks as a narrator and dying man, who agrees to undergo Newton’s eye test. He is a constant and energizing presence on the tiny set, keeping the mood dynamic even when he is sort of “offstage.”
Isaac’s Eye runs until December 7 at Writers Theatre. I didn’t review it formally but I’m glad I didn’t miss it. You shouldn’t either.
Season on the Line at the House Theatre
I have to confess. I loved this play. This is the headline for my review: “House Theatre Plants a Big Wet Kiss on the Theater Industry.” It is loaded with theater jargon and literary references and the opening night audience of reviewers, Jeff Committee members, friends and relatives clearly loved it as much as I did.
Season on the Line, smartly written by House ensemble member Shawn Pfautsch, is the story of a struggling mid-size theater company that decides to produce a new and inventive production of Melville’s Moby Dick as the culmination of an important season. We are treated to production meetings, rehearsals, after-parties and backstage gossip as the company gets ready to present its first show, The Great Gatsby (a success), and second show, Balm in Gilead (not a success). All the while, the artistic director, played with great intensity and possibly obsession by Thomas J Cox, is focused only on the great white whale. Yes, he’s Captain Ahab. He believes if he can produce a show that wins a four-star review from the influential theater critic, he will save the theater company.
The House Theatre, always an inventive and creative bunch, obviously has great fun with this. They advertise it as an “epic love letter to the American theater.” And it is. If you love theater, you’ll love it. It’s not for amateur theater-goers, however.
Season on the Line, which runs until October 26, is a 3-hour whale, plus two intermissions. That’s right, you’ll be in the theater for 3.5 hours. I loved every minute of it and if you read this far, you will too.
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