Theater Review: "Arcadia" - Unstoppable Stoppard

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Parent Category: Film and the Arts

Category: Reviews

Published on Saturday, 19 March 2011 10:00

Written by Kevin Filipski

Arcadia
Written by Tom Stoppard
Directed by David Leveaux
Starring Margaret Colin, Billy Crudup, Raúl Esparza, Grace Gummer, Byron Jennings, Bel Powley, Tom Riley, Noah Robbins, Lia Williams

Along with The Real Thing, Arcadia may be the closest to an audience pleaser that Tom Stoppard has written.

That’s not to say he’s slumming; on the contrary, the famously erudite playwright has stuffed Arcadia full of playful puns, historical and literary allusions, and discussions on topics as wide-ranging as chaos theory, landscape architecture and heat death of the universe. But the context — trying to find order in chaos, whether in the arts or sciences or romantic relationships — makes Arcadia among the least arcane of Stoppard’s works.

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Theatre Review: Importance of Being Earnest

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Parent Category: Film and the Arts

Category: Reviews

Published on Wednesday, 16 March 2011 05:00

Written by Lucy Komisar

The Importance of Being Earnest
Written by Oscar Wilde
Directed by Brian Bedford
Sets and Costumes by Desmond Heeley
Starring Brian Bedford, Sara Topham, Dana Ivey, Charlotte Parry, David Furr, Santino Fontana, Paxton Whitehead

Wilde’s The Importance of Being Earnest delightfully skewers British upper classes

The genius of Oscar Wilde’s skewering of the British upper classes circa 1895 is that his satire is rather gentle, even affectionate, but his pointed steel neatly pierces the targets. In his deft and delightful The Importance of Being Earnest, he manages to get a few licks in at the literary establishment as well. All is done with enormous wit and panache, and not a trace of meanness.

In the world that Wilde describes, members of the upper classes are useless, though some have wrong-headed convictions and other are merely frivolous. Even Lady B seems a Gorgon, but not necessarily an evil one. Theirs is world where people go to dinner and tea and back and forth between townhouses with servants and country estates with servants.

Where pedigree is all, what could be more distressing to Lady Bracknell than a suitor for her daughter Gwendolen (Sara Topham), who appears to have none? Worthing (David Furr) not only doesn’t have appropriate parents, but as an infant was left in a leather satchel in the Victoria Station cloakroom. The satchel was given by mistake to a rich country gentleman, Thomas Cardew, who adopted the foundling and named him Worthing because the man had a ticket to Worthing in his pocket. And then there’s his first name, on which hangs a long joke of the play.

Worthing has been brought up in privilege, endowed with class values. He is a traditional, serious, intense man committed to the social system, including marriage.

Not so his pal, Lady Bracknell’s nephew, the buffoonish Algernon Moncrieff (Santino Fontana), who comes with a pedigree and insists that nobody of their class works.

Gwendolen ridicules convention by making Worthing go down on one knee to propose. The plot thickens because both men practice deception -- Worthing to get away from the Shropshire country estate where he lives with his ward, Cecily (Charlotte Parry), the granddaughter of his benefactor; and Algie to escape from town.

At the estate, we see how stultifying social rules also afflict the lower middle classes. Miss Prism (Dana Ivey), Cecily’s governess, is as stolid as Lady B and as tightly tied by propriety. But her infatuation with the Rector (Paxton Whitehead) lights a spark that makes her seem about to burst with suppressed desire.

From a critic of the upper classes, Wilde moves to a fonder spoof of the fanciful absurdities of romance. Cecily, for example, writes everything in her diary, including fantasized engagement letters.

Wilde spices the script with wonderful literary digs and bons mots. Algernon tells Worthing, "Literary criticism is not your forte, my dear fellow. Don’t try it. You should leave that to people who haven’t been at a University. They do it so well in the daily papers."

The Rector notes that he has preached his sermon on the meaning of the manna in the wilderness as a charity talk on behalf of the Society for the Prevention of Discontentment among the Upper Classes.

We learn from Lady B that the university extension service is sponsoring a lecture on "The Influence of a Permanent Income on Thought."

The production owes much to the flawless direction and acting of Brian Bedford. He is powerful in his portrayal of the dominating matriarch Lady Bracknell, the epitome of the hypocrisy and shallowness of British aristocrats that the Irishman Wilde found insufferable.

Though Bedford is a man playing a woman, this character does not appear as a man in drag. Bedford’s visage is screwed into a permanent frown or glower. His character is chilling, heavy in spirit as well as size, rather like a general who goes around shaking his rules like a stick, yet whose genuflection to station can be overcome by money.

The fetching Topham seems to float and flutter like a white bird on the wings of her chirpy, trilling voice. Parry has a comic seductiveness as the breathless ingénue.

Worthing is finely portrayed by Furr, and Algernon is captured well by the quirky, appealing Fontana. Ivey is brilliant, shaky and high-pitched. Her mouth is pulled down, but her eyes sparkle and roll.

Desmond Heeley’s stunning sets and costumes move the action from a pale violet London drawing room to a gorgeous garden and summer house where the elegantly clad ladies -- and I include Lady Bracknell -- turn and preen.

This production is in every respect a charmer.

The Importance of Being Earnest
Roundabout Theatre Company
American Airlines Theatre
227 West 42nd Street, New York
212-719-1300
www.roundabouttheatre.org
Opened Jan 13, 2011; closes July 3, 2011.

(After the March 20th performance, Jayne Houdyshell replaces Dana Ivey as Miss Prism, Brian Murray replaces Paxton Whitehead as the Rector, and Jessie Austrian replaces Sara Topham as Gwendolen Fairfax.)

For more by Lucy Komisar, visit thekomisarscoop.com.

Review: New York Youth Symphony

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Parent Category: Film and the Arts

Category: Reviews

Published on Tuesday, 15 March 2011 02:32

Written by Jack Angstreich

On the afternoon of Sunday, March 13th, 2011, I had the pleasure of enjoying the excellent musicians of the New York Youth Symphony perform, under the estimable direction of Ryan McAdams, at a concert mostly devoted to Russian composers, at Carnegie Hall.

Modest Mussorgsky's Night on Bald Mountain, in the orchestration by Nikolai Rimsky-Korsakov, is one of the most familiar works in the classical repertory. But it was a bracing -- and thrilling -- experience to hear the powerful original orchestration by Mussorgsky himself, as the opening piece in the program -- indeed this version received its New York premiere played by this very ensemble in 1983. One exciting element here was the stronger sense of the folk-music inspiration underlying the work's genesis than can be perceived in the Rimsky-Korsakov arrangement. The players sounded superb as they did, too, in the next piece performed, Sergei Prokofiev's extraordinary and delightful Overture on Hebrew Themes.

The New York Youth Symphony has a tradition of commissioning new works by young composers to be premiered at its concerts. On this program we heard the world premiere of Christopher Cerrone's haunting Still Life with Violin and Orchestra. The eccentric, up-and-coming virtuoso Hahn-Bin -- perhaps as much a performance-artist as an outstanding musician -- brought a flamboyant theatrical dimension to the space as he took the stage to play, exquisitely, the beautiful solo-violin line.

The concert concluded, triumphantly, with a rousing account of the great, unsettling masterpiece, the celebrated Fifth Symphony of Dmitri Shostakovich.

New York Youth Symphony
Conducted by Ryan McAdams
Violin Solo by Hahn-Bin
Music of Modest Mussorgsky, Sergei Prokofiev, Christopher Cerrone, Dmitri Shostakovich

Carnegie Hall
57th Street at Seventh Avenue
New York City
March 13, 2011