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Film and the Arts

September '12 Digital Week IV

Blu-rays of the Week
Children of Paradise
(Criterion)
Les Visiteurs du Soir 
(Criterion)
Marcel Carne's best films are unique amalgams of visual and verbal poetry that combine incredible acting with Jacques Prevert's sublime scripts. Children of Paradise (1945), one of the all-time great films, is an abject lesson in performance and the last word in cinematic romance. Les Visiteurs du Soir (1942) is a scarcely less wondrous fantasy about two envoys sent by Satan to Earth during the Middle Ages to cause havoc but instead find love.
The exquisite-looking B&W compositions have been restored to a new vitality on these Criterion discs, even if Children has noticeably soft sections. Both films include a 2009 making-of documentary; Children also has two commentaries, Terry Gilliam intro, featurettes, interviews and its own 2009 making-of doc.
The Crossing Guard/The Human Stain  
(Miramax)
Darkness/Below 
(Miramax)
These double-feature Blu-rays pair character-driven dramas and routine thrillers. The first has Robert Benton's Human Stain, which flattens Philip Roth's haunting novel by having Anthony Hopkins and Nicole Kidman go through the motions, and Sean Penn's downbeat Crossing Guard, which features an emotionally constricted Jack Nicholson performance.
The other has Darkness, a haunting thriller with Anna Paquin and Lena Olin, and Below, set in a submarine, which wastes Olivia Williams, among others. The movies have decent hi-def transfers; extras include featurettes and deleted scenes.
Ed Wood 
(Disney)
Tim Burton's best movie remains this affectionate 1994 biopic about the world's worst moviemaker, with Johnny Depp delightfully camping it up as Ed, who thought he was making art when he was truly the bottom of the barrel.
Sly turns are handed in by Bill Murray, Martin Landau (a perfect Bela Lagosi), and even Sarah Jessica Parker, who for once is believable as an inept actress. The exquisite B&W photography looks sumptuous on Blu-ray; extras include a commentary, deleted scenes and featurettes.
Goats 
(Image)
Another eccentric family does eccentric things, all the while speaking the most clever and witty rat-a-tat dialogue to one another—I feel like I've seen this movie 100 times in the past few years, and it's getting really tiresome.

Goats at least has a solid cast led by David Duchovny, Vera Farmiga and Justin Kirk, although the always appealing Keri Russell is criminally underused. The movie receives a top-notch Blu-ray transfer; extras include a making-of, deleted scenes and home movies.

Modern Family—Complete Season 3 
(Fox)
In the third season of the most-honored network sitcom of the past few years—winning even more Emmy awards this weekend—the extended family's misadventures continue for two dozen more episodes, propped up by the superb comic portrayals of Emmy winners Julie Bowen and Eric Stonestreet, with the voluptuous Sofia Vergara on hand to ensure that it's worthwhile watching the show on Blu-ray.
The extras comprise featurettes, deleted scenes and a gag reel.
The Navigator  
(Kino)
One of Buster Keaton's lesser features, this 1924 comic adventure finds him negotiating his way around a huge steamship as he also tries to negotiate his way around the young woman stowed away on the boat.
There are splendidly realized scenes of Buster's own brand of inimitable physical comedy, but the 60-minute movie feels like a short stretched to a feature. Still, Keaton fans will still love it. The Blu-ray image improves on the DVD, but print damage is still quite noticeable. Extras include a featurette and commentary.
October Baby 
(Fox)
This earnest but hopelessly muddled drama dramatizes a 19-year-old woman's reaction to the news that her mother not only gave her up at birth but that she was actually an abortion survivor. You know you're in amateurish hands when the movie begins with a pop song montage that so many TV shows end with—and the dull tunes keep popping up throughout as shorthand for actual conflict.
The cast has little to do, although Rachel Hendrix transforms heroine Hannah into someone who deserves our sympathy. The Blu-ray image looks fine; extras include a commentary, deleted scenes, bloopers, music video and interviews.
Der Ring des Nibelungen 
(Deutsche Grammophon)
In the Metropolitan Opera's latest staging of Wagner's insanely ambitious Ring cycle—comprising Das Rheingold, Die Walkure, Siegfried and Gotterdammerung—Canadian director Robert Lepage uses the technological wizardry at his disposal to present the fantastic epic tale of gods and goddesses, Rhine maidens and dragons, and the ring which binds them all together. If Lepage's concept is mere gimmickry, there's no quibbling with the musicianship.
There's the redoubtable Met Orchestra and Chorus under the batons of James Levine and, for the last two operas, Fabio Luisi; and there are world-class singers like Bryn Terfel (Wotan), Deborah Voigt (Brunnhilde), Jay Hunter Morris (Siegfried), Eric Owens (Alberich) and Eva-Maria Westbrook (Sieglinde). The hi-def images are splendidly realized, the music sounds great in surround sound, and an extra disc includes Wagner's Dream, Susan Froemke's documentary about this production's genesis.
Supernatural—The Complete Season 7 
(Warners)
In the seventh season of this popular prime-time soap opera, brothers Sam and Dean take on demons of all stripes, from none other than Lucifer down to their own personal crises; the set comprises 23 episodes over four discs, and the hi-def images are excellent.
Extras include an exclusive Blu-ray interactive featurette, three commentaries, a gag reel, deleted scenes and interviews.
Umberto D 
(Criterion)
Vittorio de Sica's masterly portrait of an elderly retiree and his beloved dog trying to survive in postwar Italy is one of the greatest of all neo-realist films: and this glorious Blu-ray release is the perfect present for this classic film's 50th anniversary.
Actor Carlo Battisti and canine Napoleone's naturalistic performances go beyond acting, and DeSica and co-writer Cesare Zavattini have created a painfully tragic, heartbreaking and immortal tale. The Blu-ray image is immaculate; extras include That's Life, a 55-minute doc about de Sica's career and a 2003 interview with actress Maria Pia Casilio.
The Victim 
(Anchor Bay)
Actor Michael Biehn's inauspicious writing/directing debut is a sleazy, exploitative flick about a young woman, escaping a pair of crazy men in the woods, who runs into a recluse (Biehn) who helps her out.
It's a flimsy plot stretched weakly to feature length: Biehn, who has an impressive screen presence, isn't much of a writer or director; Jennifer Blanc is too shrill as the heroine, but Danielle Harris gives an appealing performance in her too-brief screen time as the victim. The hi-def image is good; extras are a making-of featurette and Biehn/Blanc commentary.
DVDs of the Week
Army Wives—Season 6, Part 1 
 (ABC)
Body of Proof—The Complete Season 2 
(ABC)
The first half of the sixth season of the emotionally charged drama Army Wives—13 episodes' worth—finds the women (and men) of Fort Marshall dealing again with matters of both national and personal security.
The 20 episodes of the second season of Body of Proof, which stars the ageless Dana Delaney (who looks even better than she did on China beach more than two decades earlier), follow her investigating team as it solves case after case. Extras on both sets include deleted scenes, interviews and gag reels.
Death and the Civil War 
(PBS)
America and the Civil War 
(PBS)
Death, Ric Burns' devastating account of how the Civil War changed Americans' view of death and how the government dealt with military men dying on battlefields, succinctly summarizes Drew Gilpin Faust's remarkably researched book The Republic of Suffering. The usual Burnsian stew of narration, voice-over, historian commentary and vintage photographs is present and accounted for.

America collects several classic PBS series about the War Between the States: explorations of Gettysburg, John Brown's Harpers Ferry raid, the iron-clad Union ship Monitor, the black regiment that inspired the movie Glory and a two-parter about Reconstruction.
Hysteria  
(Sony)
Tanya Wexler's mild comedy-drama about the invention of the first vibrator has tittering scenes of women being treated for the title malady in Victorian London by manual genital manipulation juxtaposed with an unlikely romance between a young doctor and his mentor's lively, independent (read “hysteric”) daughter.
Maggie Gyllenhall is plucky as said daughter, but Hugh Dancy is too stolid as the doc. The movie unfolds decently enough, but Sarah Ruhl's 2009 play In the Next Room is a more plausible—not to mention funny—take on the same subject. Extras include a commentary, deleted scenes and making-of featurette.
The Mentalist—Complete Season 4 
 (Warners)
In the fourth season (which comprises 24 episodes), our favorite mentalist—who is played with elan by Simon Baker—is on the run after killing who he thought was his nemesis, while his investigative partners (played by Robin Tunney, Tim Kang, Amanda Righetti and Owain Yeoman) continue to back him up as the show progresses.
The lone extra is a featurette of real-life “mentalists.”
Understanding Art: Impressionism 
(Athena)
Women of the Impressionist Movement  
(Arthaus Musik)
In Understanding Art, art critic Waldemar Janusczak's four-part, four-hour 2011 documentary made for British TV, the impressionists regain their immediacy and unique artistic contributions through Janusczak's upbeat presentation and on-location reporting; extras include full-length profiles of Edouard Manet and Vincent van Gogh.

Women is Rudij Bergmann's slickly-made 45-minute overview of female Impressionist painters, including Frenchwoman Berthe Morisot and the most famous and talented of them all, American Mary Cassatt.
CD of the Week
The Master—Original Soundtrack 
(Nonesuch)
Jonny Greenwood's music for Paul Thomas Anderson's 2007 film There Will Be Blood channeled the dissonant early works of Krzystof Penderecki so successfully that Penderecki himself gave Greenwood a thumps-up, most likely because Penderecki got new fans out of the deal.
For Anderson's new film The Master, Greenwood again provides a score that has hints of Penderecki, but also touches on other modernist composers like Berg and Ligeti, and even Stravinsky and Janacek. For listeners unaware of what it is, they'd likely think it's a 20th century classical compilation, save for the scattered period songs like Ella Fitzgerald's “Get Thee Behind Me Satan.”

Onstage at BAM: "Einstein on the Beach"

Einstein on the Beach
Music and lyrics by Philip Glass
Choreography and text by Lucinda Childs
Directed by Robert Wilson
Koh (left) as Einstein (photo: Stephanie Berger)


Einstein on the Beach, Philip Glass and Robert Wilson's famous collaboration, was considered back in 1976 as a landmark of some sort: after sitting through its latest incarnation at BAM, I still don't know what sort.
If composer Glass and director Wilson hadn't continued in the same minimalist vein for the ensuing 36 years of their careers, I would have thought that Einstein was an elaborate joke on the audience. But this endless procession of disjointed, pointless scenes under a nonsensical title is, in its way, a perfect snapshot of two artists who have never moved forward, leaning on the same familiar aural and visual tropes to reassure their audiences.
It's done with undeniable cleverness: music, words, movement and visuals are so simplistic—indeed, simple-minded—that audience members can read what they want to them. The opening “Knee Plays” has gems of verbiage as the numbers 1 through 10 (and others) repeated ad nauseum. Christopher Knowles' text reaches its unintended apogee with “So this could be reflections for/Christopher Knowles-John Lennon/Paul McCartney-George Harrison.” What I wouldn't have given to hear actual Beatles' songs, even “Revolution 9”!
Lucinda Childs' choreography would be more impressive if everything wasn't repeated to distraction: obviously some consider this hypnotic, but it was a narcotic to me. Glass's music is equally distinctive, if only because it drones on and on: who else would claim it as his own? I must mention the performance of violinist Jennifer Koh as Einstein, old-man wig and makeup intact (she alternated with Antoine Silverman), playing the same Glass notes again and again in a formidable display of technique. But there's no soul to this music.
Wilson's directing most recently reared its head with an abominable Threepenny Opera at BAM last fall: with his arbitrary movements and glacial pacing intact, there's no doubt he has a recognizable style. But there's no soul to it, and Einstein on the Beach remains a cipher that lasts an interminable 4-1/2 hours.
Einstein on the Beach
Brooklyn Academy of Music, Brooklyn, NY
September 14-23, 2012

September '12 Digital Week III

Blu-rays of the Week
The Big Bang Theory—The Complete Fifth Season
(Warners)
For the fifth season, the hopeless computer geeks and nerds find themselves dealing with one subject they can never get a handle on: women, mainly in the form of next door neighbor Penny (sexy Kelly Cuoco).
Despite a limit to the amount of “clueless genius” sex jokes one can hear in one's life, the show remains funny thanks to its terrifical batch of performers, led by Cuoco—one of our best and most underrated comediennes—Johnny Galecki and Jim Parsons. The hi-def image is crystal clear; extras include featurettes and a gag reel.
Fringe—The Complete Fourth Season
(Warners)
The creators of Fringe have, in their series' fourth season, gone for broke: characters move between two separate universes, plots are becoming ever more twisty, and the characters are threatening to become swallowed up the sci-fi miasma.
But whenever they reach the edge, they pull back and allow the relationships to overpower the gadgetry, always a good thing. The Blu-ray image is stellar, of course, while the extras include interviews, featurettes and a gag reel.
The Heineken Kidnapping
(MPI)
What I assumed would be a merely dry recreation of the powerful Heineken magnate's kidnapping in Amsterdam is, in director Maarten Treurneit's hands, a tautly-scripted, screws-tightened thriller with the twists and turns of a typical actioner—but far more exciting because it's true.
Rutger Hauer is astonishingly impressive as Heineken, a man whose harrowing experience might or might not change him permanently. The hi-def image is excellent; extras include a making-of featurette.
Holy Flying Circus
(Acorn)
Monty Python going up against the Church and its political allies over the 1979 biblical parody Life of Brian is dramatized in this fitfully funny but too-clever film by writer Tony Roche and director Owen Harris. The actors are game, but Python allusions (e.g., men playing women) are too in-jokey, obscuring the story of what happened and why.
Strongly satiric scenes between the boys and the clueless clowns who wanted Brian banned alternate with overdone, Rutles-type stuff that elucidates little. The Blu-ray image is strong; extras are deleted scenes and outtakes.
Lola Versus
(Fox)
The latest indie darling, Greta Gerwig, stars in this familiar tale of a young woman trying to make it—both personally and professionally—in the oh-so-difficult city of New York. Despite humorous visual and verbal touches, writer-director Daryl Wein and co-writer Zoe Lister-Jones too often fall into the “cutesy” trap in both dialogue and relationships, and the result is that their nominal star—Gerwig, who seems a less interesting Chloe Sevigny—is swallowed up by excessive cleverness.
It's too bad, for Gerwig is a decent actress, if not the goddess she's been painted as. The Blu-ray image is quite good; extras include commentary, deleted scenes, gag reel, and featurettes.
Mother's Day
(Anchor Bay/Troma)
This seminal low-budget 1980 horror film is some sort of litmus test for the genre's fans, who may or may not respond to its skin-crawling, slightly despicable lunacy. Still, there is something bizarrely watchable about the whole thing, like viewing a snuff film or an especially horrific car accident.
The restored image is grainy, often sharp but occasionally soft; extras are several featurettes and director Charles Kaufman's enjoyable commentary.

National Parks Exploration Series—
Yellowstone and the Great Smoky Mountains
(Mill Creek)
These discs give excellent overviews of two of our country's national parks: Yellowstone, which became the first national park in 1872, and Great Smoky Mountains, which joined the club in 1934.
Stunning vistas, vast amounts of wildlife, flora and fauna and natural wonders like Old Faithful are shown in all their spectacular beauty in high-definition; both programs also gives brief histories of each park. Best about these discs is their low price point: less than $10, pretty much a steal these days.
Snow White and the Huntsman
(Universal)
An ungodly hybrid of several strands of fairy tales (for gals, I guess) and action adventures (for their guys, I guess), Huntsman ends up in cinematic no-man's land. The antics of the paranoid queen (an icy Charlize Theron) bleed into the other subplots so dominantly that they make Snow White herself (a rather pale Kristen Stewart) a subordinate charcater in her own movie.
Director Rupert Sanders' balancing act, doesn't serve up much much narrative or dramatic interest. The Blu-ray image is very impressive but it's the extensive make-up and special effects that come off better than the performers; extras include several making-of featurettes and an audio commentary.
Touchback
(Anchor Bay)
In this unoriginal mish-mash of Rudy, Hoosiers, Heaven Can Wait and Back to the Future, a middle-aged loser living in the small town he grew up in has a second chance when he fails to commit suicide: he's returned to high school, where he gets to replay the big game as star QB: will he hurt himself again and ruin the rest of his life?
It's much inspirational ado about not much, with a script filled with cardboard characterizations. The acting is a mixed bag: Kurt Russell is fine as the coach, Melanie Lynskey is wonderful as the hero's wife, but Brian Presley is too stiff as the time traveler. The hi-def image is fine; extras include a commentary and making-of featurette.
The Vampire Diaries—The Complete Third Season
(Warners)
In the third season of this mash-up of True Blood, Twilight, Interview with a Vampire and probably some other movie/TV show/novel I'm missing, the area around Mystic Falls, Virginia runs red with blood and becomes ground zero for a vampire hunter extravaganza as the charismatic creatures go up against their mortal—or immortal—adversaries.
Although it's as risible as it sounds, but the performers are so darned cute—led by Paul Wesley, Joseph Morgan and Jennifer Love Hewitt lookalike Nina Dobrev—that its target audience of teens will keep watching to see these pretty people sucking blood, among other things. The Blu-ray image is excellent; extras include featurettes, deleted scenes and a gag reel.
Where Do We Go Now
(Sony)
Writer-director-star Nadine Labaki's disarming, sometime musical fantasy about women in a Lebanese town who try to end a disagreement between local Christian and Muslim men that threatens to explode into something deadly.
Daringly, triple threat Labaki takes a sensitive subject and distills it to its simple, even charming essence: if the movie doesn't break down religious barriers—what could?—it shows that common ground might eliminate antagonism in this volatile region. The Blu-ray image is very good; extras include commentary by and interview with Labaki and her composer, and featurettes.
DVDs of the Week 
Hospitalite
(Film Movement)
What begins as a low-key family drama morphs into an absurdist comedy as a friendly business owner allows a man associated with his mentor to live with his family: soon, the interloper brings his Brazilian wife and her “family” of dozens.
Director Koji Fukada actually makes everyone plausibly human, so when the odd behaviors start escalating, it's believable and slyly funny. The sequences of “relatives” helping out in the shop are priceless. The lone extra is Will McCord's short Miyuki.
John Leguizamo—Tales from a Ghetto Klown
(PBS)
Although John Leguizamo has starred in dozen of movies, he's most at home onstage performing hilarious one-man shows about his life and career, most recently Broadway's Ghetto Klown.
This hour-long documentary shows Leguizamo preparing that show, and includes interviews with its director, Fisher Stevens, friends like Rosie Perez, his wife and, of course, the man himself, who is as witty and cutting offstage as he is on. Extras include additional scenes.
Paul Simon—Live in New York City
(Hear Music)
Paul Simon's 90-minute concert at Manhattan's Webster Hall on June 6, 2011 (why does it take so long to release live recordings?) is preserved on this DVD/CD set that showcases the 70-year-old singer-songwriter's top-notch band playing 20 tunes from all phases of his career, from Simon and Garfunkel (“The Sound of Silence,” “The Only Living Boy in New York”) to solo hits like “Mother and Child Reunion” and “Late in the Evening.”
True fans will appreciate exemplary versions of deep cuts like “The Obvious Child” and “Hearts and Bones,” and, of course, Graceland is represented more than the other records, save the new one.
Queen—Greatest Video Hits
(Eagle Vision)
This is a re-release of the DVD sets that came out several years ago: 33 videos, from “Killer Queen” to “The Miracle,” spanning 15 years of the most original, creative and hilarious work done by any musicians before, during and after the MTV era.
Although restoring the videos to widescreen is problematic—surely most were not shot in 16:9—the superb 5.1 surround sound mix and guitarist Brian May and drummer Roger Taylor's informative commentaries compensate. The only quibble: where are the Innuendo and Made in Heaven videos? They should be on this reissue.
Two Broke Girls—The Complete First Season
(Warners)
A sitcom created by tart-tongued Whitney Cummings and Sex and the City alum Michael Patrick King would obviously be smart-ass and a little smutty: exactly what Two Broke Girls is. A bimbo blonde and witty brunette move in together in Brooklyn to make ends meet while waitressing at a local dive, and the double entrendres, innuendos and words not often heard at 8 PM on network TV (“vagina”) fly fast and furiously.
The silliness is worth watching for Cummings' sharp banter and how Beth Behrs and Kat Dannings make it sound utterly natural. Extras include interviews, deleted scenes and a gag reel.

Theater Roundup: "Chaplin" on Broadway; Shepard, Fugard at Signature

Chaplin: The Musical
Music and lyrics by Christopher Curtis; book by Curtis and Thomas Meehan 
Directed by Warren Carlyle
With Rob McClure, Jenn Colella, Erin Mackey, Michael McCormick, Christiane Noll, Zachary Unger
Performances began August 21, 2012; opened September 10
Barrymore Theatre, 243 West 47th Street
chaplinbroadway.com
Heartless
Written by Sam Shepard; directed by Daniel Aukin
With Jenny Bacon, Gary Cole, Betty Gilpin, Julianne Nicholson, Lois Smith
Performances began August 7, 2012; opened on August 28; closes September 30
Signature Theatre Company, 480 West 42nd Street
signaturetheatre.org
The Train Driver
Written and directed by Athol Fugard
With Leon Addison Brown, Ritchie Coster
Performances began August 14, 2012; opened on September 9; closes September 23
Signature Theatre Company, 480 West 42nd Street
signaturetheatre.org
McClure in Chaplin: The Musical (photo: Joan Marcus)
The makers of Chaplin: The Musical have some pretty big shoes to fill. No, I'm not talking about Richard Attenborough's 1992 biopic Chaplin, which garnered raves for its star Robert Downey Jr, even though the stage show shares similarities with that equally earnest and fitfully entertaining enterprise. No, I mean Charlie Chaplin himself: can one of the greatest and most beloved artists of the 20th century get his due in a 2-1/2 hour Broadway musical? The answer is obviously not, but there are compensations.
Christopher Curtis and Thomas Meehan's book tracks Charlie's entire career as one long mommy issue as he tries to atone for his mother's' fall from grace—after her drunk husband left her, she raised Charlie and brother Sydney alone while failing to make her London music hall career work, finally succumbing to mental illness. There are numerous, and predictable, flashbacks to Charlie's reminiscences of his mum that he interpolates into his films. Some of this is well handled, but after awhile, Mum and young Charlie's repeated returns end up far sappier than the unapologetically sentimental Chaplin ever was in his films.
The same goes for Curtis's lyrics and music, which combine for pleasant songs that are neither embarrassments nor an embarrassment of riches. Sorely missing, of course, is Chaplin's memorable music for his movies (he won an Oscar for his Limelight score): his immortal tear-jerking ballad “Smile,” for example, blows Curtis's score out of the water, but there are faint nods to its graceful melody buried in the orchestral arrangements, which will bring a smile to those who recognize it.
Chaplin's serviceable music and melodramatic plot are outdone by the show's stage trappings. Director-choreographer Warren Carlyle never ceases to be clever, especially in his use of Beowulf Boritt's black, white and grey sets that visualize Chaplin's movie artistry: the lone time there's bright color—a literal red carpet for Charlie's return to the States in 1972 for an honorary Oscar after two decades of exile following accusations of him being a Communist—works effectively if blatantly. Also coming up aces are Amy Clark and Martin Pakledinaz's period costumes and Ken Billington's pinpoint lighting, which provide more allusions to Chaplin classics The Circus, The Gold Rush, Modern Times and his still potent Hitler satire, The Great Dictator.
The actresses playing the women in Charlie's life—Christiane Noll as his mom, Jenn Colella as Hedda Hopper, who spearheaded the campaign against Communist Charlie, and Erin Mackey as Oona O'Neill, his last wife of 34 years and mother of 8 of his children—are excellent, while Zachary Ungar is an astonishingly poised young Charlie. As the star, Rob McClure makes a marvelous Broadway leading-man debut; like Downey in Attenborough's movie, McClure never merely apes or caricatures the great one, but rather hints at his artistry with dexterous physical agility and disarming charm. He can sing too;despite its many flaws, so does Chaplin.
Bacon and Nicholson in Heartless (photo: Joan Marcus)
As the Signature Theatre Company ends its first season at its new, multi-stage space on 42nd Street near 10th Avenue in Manhattan, two plays by veteran playwrights who are no strangers to the Signature are having their local premieres. Too bad both are pale imitations of their more powerful, earlier works.
Sam Shepard returns with Heartless, which in many ways seems a sketchy blueprint for a more complex character study. In the Hollywood Hills, wheelchair-bound Mable and her daughters—antagonistic Sally, who had a heart transplant when younger, and introspective Lucy, who seems jealous of Sally's “specialness”—deal with many skeletons in their family closet, which all come tumbling out in the poetic (or, in this case, pseudo-poetic) dialogues that are Shepard's forte.
Shepard has a harder time of it with the play's other two characters: 65-year-old former hippie turned moviemaker Roscoe, who is Sally's new boyfriend but ends up leaving, improbably, with Lucy; and Elizabeth, the young nurse taking care of Mable, who is so symbolically contradictory that even in such a bizarre context she makes no literal or figurative sense.
Heartless is filled with obvious symbols and metaphors, starting with its clunky title; too bad there's not one character, no matter how idiosyncratic, that's worth spending two hours of stage time on. The actors—particulary blustery Lois Smith as Mable and touching Julianne Nicholson as Sally—smooth over some of the script's rough patches, but director Daniel Aukin is unable to get a handle on Shepard's arbitrary surrealism, something which Eugene Lee's spare set does a better job with. Shepard hasn't written a first-rate play since A Lie of the Mind more than a quarter century ago; his Heartless has little pulse.

Brown and Coster in The Train Driver (photo: Richard Termine)

When apartheid raged in South Africa, Athol Fugard was a voice in the wilderness, writing humane plays that took the measure of how people against all odds lived under such an oppressive regime. But post-apartheid, Fugard's plays no longer have such political and personal urgency, as his more recent work shows.
His latest to come to New York, The Train Driver, is 90 minutes of speechifying and cardboard characterization. We are in familiar Fugard land: in contemporary South Africa, an elderly black grave digger in a squatter's village, Simon, is met by a white man, Roelf, looking for the graves of an unnamed young woman and her baby. It turns out that he was the engineer of a train in front of which she threw herself and her baby, which pulverized them instantly.
The intermissionless drama, which Fugard frugally directs on Christopher H. Barreca's hard-scrabble set of dirt mounds and post-apocalyptic touches like a burnt-out car and tin roof shack where Simon resides, is static to the point of monotony. And, despite the best efforts of Leon Addison Brown (Simon) and Ritchie Coster (Roelf), who give Fugard's grandstanding speeches as much humanity as possible, The Train Driver nearly goes off the rails.
Chaplin: The Musical
Performances began August 21, 2012; opened September 10
Barrymore Theatre, 243 West 47th Street
Heartless
Performances began August 7, 2012; opened on August 28; closes September 30
Signature Theatre Company, 480 West 42nd Street
The Train Driver
Performances began August 14, 2012; opened on September 9; closes September 23
Signature Theatre Company, 480 West 42nd Street

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