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Theater Reviews—“American Psycho,” “The Judas Kiss,” “A Doll’s House/The Father”
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Wednesday, 01 June 2016 23:53
- Written by Kevin Filipski
American Psycho
Music/lyrics by Duncan Sheik; book by Roberto Aguirre-Sarcasa; directed by Rupert Goold
Performances through June 5, 2016
The Judas Kiss
Written by David Hare; directed by Neil Armfield
Performances through June 12, 2016
A Doll’s House
Written by Henrik Ibsen; adapted by Thornton Wilder
The Father
Written by August Strindberg; adapted by David Greig
Both directed by Arin Arbus; performances through June 12, 2016
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| Benjamin Walker, Jennifer Damiano and Alice Ripley in American Psycho (photo: Jeremy Daniel) |
It’s not surprising that American Psycho is closing prematurely: although it will probably live on as a cult show like Sideshow or Taboo, it’s simply too weird for Broadway, and the youngish audience I saw it with—although they loved it—confirms that fact: multi-million dollar musicals can’t survive without some of the regular local or tourist crowds.
Based on Bret Easton Ellis’ slick 1991 novel, a catalog of lovingly detailed killings by would-be Wall Street master of the universe Patrick Bateman, the musical doesn’t have much at its disposal except for dated references to its era (the late ‘80s) in the dialogue, visuals and music. Duncan Sheik’s score is an almost endless parade of forgettable songs, interchangeable with the mindless dance tunes its pretty people groove and sniff coke to in Manhattan’s trendy clubs.
And when Sheik lowers the volume, his lyrics—straining to be witty but only managing intermittent cleverness—unfortunately come to the fore. Patrick’s girlfriend Evelyn and her vapid pals sing about how much they enjoy their superficial lives in “You Are What You Wear,” a tepidly mocking tune that actually opens with the lines, “I want blackened charred mahi mahi/it works so well with Isaac Mizrahi.”
At least the ‘80s songs that are shoehorned in—“Everybody Wants to Rule the World,” “Don’t You Want Me,” “Hip to Be Square,” “In the Air Tonight”—are given interestingly skewed new arrangements and come off the better for it: when a prostitute intones “I can feel it coming in the air tonight” while getting into a cab with Bateman cab for a fateful ride to his well-appointed uptown apartment, the undercurrent of menace hits harder than anything else in the show.
Lack of Tony Award consideration also doomed American Psycho, but its best features—scenic and lighting design—were justly recognized. Es Devlin’s inspired soulless set of antiseptic offices and apartments features various screens and scrims on which Finn Ross’s projections place us squarely in the materialistic hellhole of Manhattan during the Reagan years; ominous consolidation is provided by Justin Townsend’s inventively stylized lighting. Katrina Lindsay’s spot-on costumes and Lynne Page’s robotic choreography also fit the show’s creepy vibe, of which a little goes a long way.
Benjamin Walker, a sensationally charismatic Bateman, has the acting chops, powerful singing voice and impeccable pecs to make us believe he could charm his way to murderous infamy. But the talented supporting cast is ill-used, especially the spectacular Alice Ripley, who has so little to do as Patrick’s mother that she’s given other minor roles, where she has even less to do.
Jennifer Damiano, a natural stage charmer, though sweetly naive as Patrick’s love-struck secretary Jean, seems to be in a different show from everyone else. Helene Yorke—who looks fabulous in her designer bathing suit and other outfits—is fun as Patrick’s girlfriend Evelyn, but she could have done so much more with better material, the ultimate failure of a lively but innocuous show.
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| Charlie Rowe, Cal MacAninch and Rupert Everett in The Judas Kiss (photo: Richard Termine) |
When it first came to Broadway in 1998, David Hare’s play about the prelude to and aftermath of Oscar Wilde’s trials, The Judas Kiss, was marred by miscasting in the lead roles. Now, nearly two decades later in a new staging at BAM, the play has at least gained an effective Wilde.
Hare takes the measure of Wilde at his lowest, right before he is to be arrested and put on trial in London for what was then called “gross indecency”—a nervous and still puritan nation looked askance at this foreign (Irish) man of letters and impossibly witty bon vivant, which made him an irresistible target for legal action against his profligate immorality.
The first act takes place in the hotel room in which Wilde and his current lover, young Lord Alfred Douglas, or Bosie, are ensconced, along with Wilde’s former lover Robbie, who still takes care of Wilde’s personal affairs. The second act, a few years later, is set in Naples, where Wilde and Bosie are staying after Wilde’s two-year prison stint.
In the first act, Wilde’s witticisms and epigrams pour out of him in a desperate attempt to ward off the arrest he knows is coming. The second act finds a near-prone Wilde slumped in his chair at center stage, still tossing off stinging one-liners but obviously tired of the whole charade with Bosie, who screws other men and goes out on the town without Wilde, but keeps saying he’s been hurt the most by the scandal because he is, after all, a Lord.
While Hare has great admiration for Wilde as an artist and even greater sympathy for him as a human being, he never overcomes his own play’s creaky bipartite structure. Director Neil Armfield’s otherwise sensitive staging follows suit, further undercutting the characters by using the entire depth of the BAM Harvey stage, robbing us of any intimacy for long stretches.
Charlie Rowe’s Bosie certainly looks the part, but the actor’s one-note performance never makes his six-year-long relationship with Wilde remotely believable. Cal MacAninch’s eminently humane Robbie somewhat compensates, while Rupert Everett’s Wilde is far more persuasively epicurean than the miscast Liam Neeson in the original Broadway staging. Along with real gravitas, Everett brings a wink and a nod to the role which, even when Hare’s dramaturgy turns wobbly, allows Wilde to retain his dignity even amid the ongoing indignities.
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| Maggie Lacey and John Douglas Thompson in The Father (photo: Gerry Goodstein) |
Pairing Henrik Ibsen’s A Doll’s House with August Strindberg’s The Father is an inspired choice by director Arin Arbus, whose uncluttered stagings find common ground in these plays about wives suddenly deciding to re-examine their relationships with their husbands, so much so that they clear away the baggage that’s accumulated over more than a century.
Maggie Lacey’s charming but resourceful Nora centers A Doll’s House (in Thornton Wilder’s slightly musty adaptation), with John Douglas Thompson’s Torvald providing initially stolid then overwrought support. But Thompson takes the spotlight in The Father (in David Greig’s modern, and occasionally vulgar, adaptation) as the Captain, a lifelong military man and amateur scientist whose wife of 20 years, Laura, retaliates when he announces that their beloved teenaged daughter is going away to school; Thompson’s bravura performance makes the Captain simultaneously loathsome and sympathetic, while Lacey’s Laura, a most agile if desperate manipulator, gives as good as she gets.
Actual physical violence doesn’t quite rear its head in A Doll’s House, but bursts through the dam in The Father when the Captain is straitjacketed for a mental breakdown. Strindberg hated Ibsen’s play and The Father was written as a partial rebuttal—although it also owes Ibsen’s classic an enormous debt, as shown through Riccardo Hernandez’s realistic sets, Susan Hilferty’s period costumes and Marcus Doshi’s subtle lighting effects. But it’s Arbus’s artistry that makes the greatest contribution to how vividly realized both plays are.
American Psycho
Gerald Schoenfeld Theatre, 236 West 45th Street, New York, NY
americanpsychothemusical.com
The Judas Kiss
BAM Harvey Theater, 651 Fulton Street, New York, NY
bam.org
A Doll’s House
The Father
Theatre for a New Audience, 262 Ashland Place, Brooklyn, NY
tfana.com
May '16 Digital Week V
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Tuesday, 31 May 2016 12:37
- Written by Kevin Filipski
Blu-rays of the Week
The Beggar’s Opera
(Opus Arte)
In this 1983 TV production of this seminal 1728 piece of musical theater—forerunner of Weill and Brecht’s far more subversiveThreepenny Opera—The Who lead singer Roger Daltrey plays MacHeath, and though in fine voice, he conveys little of his attraction to women and penchant for crime.
So director Jonathan Miller smartly surrounds Daltrey with a veteran cast, led by Patricia Routledge as Mrs. Peachum, Carol Hall as her beguiling daughter Polly and Bob Hoskins as a sardonic choir of sorts who frames the action (which concludes with Macheath’s hanging, rather than his being freed). John Eliot Gardiner leads the English Baroque Soloists in a robust reading of the score, even if there’s no “Mack the Knife” within earshot. Hi-def audio and video are decent.
(Arrow USA)
The Terror
(The Film Detective)
Roger Corman churned out low-budget quickies short on sophistication but with occasional thrills. Arrow’s two-disc Blood Bath set is typically well put together, but four versions of the same 1966 film—variously titled Operation Titian, Portrait in Terror, Blood Bath and Track of the Vampire—that’s difficult to sit through in even one version is too much of a mediocre thing. 1963’s The Terror featured Boris Karloff in one of his last lead roles and a young actor named Jack Nicholson as our hero, but Corman does little with the ghostly story and authentic locations. There are compensations for fans: Blood includes all four versions, ranging from 62 to 95 minutes, in hi-def, along with interviews and featurettes; The Terror, well-preserved on Blu, has no extras.
(Cohen Film Collection)
One of Federico Fellini’s most nakedly symbolic dramas, this 1980 extravaganza stars old friend Marcello Mastroianni as a middle-aged man who falls asleep on a train and finds himself in a hotel filled with female, some alluring, others grotesque: there are set pieces as glorious—and ghastly—as anything the maestro ever filmed, and if it all seems like déjà vu, it’s always interesting to watch Fellini attempt to psychoanalyze himself—and his cinematic alter ego—onscreen, however variable the results.
Cinematographer Giuseppe Rotunno’s boisterous colors have been lovingly restored for this Blu-ray release; extras are a 30-minute featurette and interviews with production designer Dante Ferretti and fellow filmmaker and Fellini friend Tinto Brass.
Dark Passage
(Warner Archive)
Delmer Davies’ tense 1947 film noir reteamed Bogie and Bacall—the third of their four films together—with a twist: Bogart isn’t seen until after the hour mark, when the bandages covering his face post-plastic surgery are removed (the convoluted plot concerns an escaped prisoner framed for his wife’s murder who puts on a new face to start again with a new identity).
Bacall’s smoldering presence is what the term “femme fatale” was made for, Bogart is always formidable and the San Francisco locations are put to gritty use by Davies. The restored transfer is excellent; extras comprise a vintage featurette and a Bugs Bunny cartoon from the same era.
(Decca)
Although Handel’s music isn’t high on my listening list—especially four–plus hours of it, as in this opera—this 2012 Salzburg Festival performance compensates with an impressively starry cast and eloquent musicmaking under Giovanni Antonini’s baton.
Cecilia Bartoli steals the show as Cleopatra, but Anne Sofie von Otter isn’t far behind as Cornelia, and countertenor Andreas Scholl makes a kingly Caesar. Too bad Moshe Leiser and Patrice Caurier’s Eurotrash production sets the whole thing in a no-man’s land of mindless modernity. Hi-def audio and video are first-rate.
Killer Dames
(Arrow USA)
Two of Italian giallo director Emilio P. Miraglia’s most representative entries—1971’s The Night Evelyn Came Out of the Grave and 1972’s The Red Queen Kills Seven Times—can’t hope to compete with their floridly descriptive titles, but they are trashy fun, especially Evelyn,which brings to the screen a young Sibyl Danning, who later made a bigger impression in 1980s B movies.
Both films have good, grainy new transfers, along with an option to watch in the original Italian or an English dub (which was how American viewers in the ‘70s would have seen them in theaters); extras include interviews, featurettes, commentaries and introductions.
A Married Woman
(Cohen Film Collection)
Jean-Luc Godard’s 1964 study of a wife unhappily juggling relationships with her husband and her lover features an actress, Macha Meril, who scorches the screen unlike most of Godard’s usual performers.
Godard’s usual fragmented anti-narrative takes a back seat to a mature, frank look at how morality and politics affects private and public lives that takes its rightful place among the director’s greatest films:W eekend, 2 or 3 Things I Know About Her, Hail Mary andNouvelle Vague. The hi-def transfer beautifully shows off Raoul Coutard’s exquisite B&W photography; extras are interviews with Meril, filmmaker Agnes B. and film scholar Antoine de Baecque.
The Sum of Us
(Olive Films)
Adapted by David Stevens from his own play that perceptively explored the close relationship between a macho widower and his gay adult son—both of whom are looking for love—this 1994 drama is directed with extreme tact by Kevin Dowling and Geoff Burton.
The acting could not be bettered: Jack Thompson plays the father with his usual blend of ruggedness and sensitivity, while a then-unknown Russell Crowe tackles the trickier part of the son with a nuanced portrayal beyond what one might have expected. It veers too much into soap-opera territory in its final third, but remains a tough yet tender family portrait. The hi-def transfer is impeccable.
May '16 Digital Week IV
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Wednesday, 25 May 2016 01:19
- Written by Kevin Filipski
Antonia’s Line
(Film Movement Classics)
(Film Movement Classics)
This 1995 Oscar-winning Best Foreign Film has lost little of its charm, even if Dutch director Marleen Gorliss’s often amusing feminist melodrama feels less like the magic realism of Gabriel Garcia Marquez and more like the heroic sentimentality of John Irving novels. With an immensely likeable cast and a remarkably light directorial touch, Antonia remains serious fun, although it’s anything but frivolous.
Lone extra is a vintage Gorliss interview; the booklet essay by Thelma Adams is notable for discussing female director milestones but somehow omits Lina Wertmuller, the first woman nominated for a Best Director Oscar for her 1976 masterpiece Seven Beauties. The film has a good Blu-ray transfer.
(Lionsgate)
Robert DeNiro is definitely enjoying spouting profanities, flirting with nubile young actresses, even doing a Karaoke rap on “It Was a Good Day” (complete with mic drop): he’s having a better time than anyone watching this crass, forgettable comedy that pits deNiro’s eponymous old man against Zac Efron’s straight-laced, about-to-be-married lawyer.
Zoey Deutch (Lea Thompson’s daughter) is charming, and Aubrey Plaza has a real way with raunch that even outpaces DeNiro, so there are a few oases amid the comedic desert we’re saddled with. There’s a top-notch hi-def transfer; extras include a commentary, gag reel and featurettes.
Father of the Bride
(Warner Archive)
This harmless 1950 comedy won’t go down as one of director Vincente Minnelli and star Spencer Tracy’s stellar achievements, but it has its distinct pleasures, most notably Tracy’s effortless charm, the young Elizabeth Taylor’s effortless beauty, and a quick pace that helps this sturdy and short (90 minutes) comedy move from A to B satisfyingly. Warner Archive’s hi-def transfer is superb; extras are two brief newsreels, neither with sound: a glimpse at Taylor’s real wedding and another of President and Mrs. Truman appearing at the movie’s premiere.
(Disney)
Rather like The Perfect Storm, director Craig Gillespie’s absorbingly old-fashioned sea-tossed drama recreates the incredible rescue of 32 sailors on a sinking tanker in a huge storm off the Massachusetts coast by a single coast guard lifeboat in 1951.
But unlike Storm, there’s a happy ending for everybody at sea and, especially, the worried fiancée of our hero who’s stuck onshore (and who’s played beautifully by underused British actress Holliday Grainger). The movie looks smashingly good on Blu-ray; extras comprise featurettes and deleted scenes.
How to Be Single
(Warner Bros)
Dakota Johnson and Alison Brie make sweetly endearing klutzes desperately looking for love in all the wrong places in this lackluster rom-com that balances those assets with the always one-note Leslie Mann as Johnson’s sister and one-trick pony Rebel Wilson, who gives her usual bull-in-a-china shop performance as the snarky friend.
Moments where this could have become something more memorable are snuffed out by a stolid Mann and over-the-top Wilson. There’s a high-quality high-def transfer; extras include featurettes, outtakes, a gag reel and deleted scenes.
(Olive Films)
Greek director Michael Cacoyannis made his commercial (and Oscar-nominated) splash in 1964 with Anthony Quinn in Zorba the Greek,but he was best known for his trilogy of adaptations of plays by the ancient dramatist Euripides, which began with Electra and The Trojan Women.
In the last, 1977’s Iphigenia—which was nominated for a Best Foreign Film Oscar—the director dramatizes without much urgency, and even less poetry and insight, one of the playwright’s most shattering tragedies. Even the authentic Greek cast, which features no less than Irene Papas as Agamemnon’s wronged wife, Clytemnestra, cannot save this stillborn adaptation. The film looks decent if unspectacular on Blu.
The Naked Island
(Criterion)
(Criterion)
Kaneto Shindo’s 1960 quasi-documentary is extraordinary in every sense: from its shimmering black and white photography and Hikaru Hayashi’s modernist score to its seemingly unstaged scenes of the unspeaking denizens of an isolated island in the Japanese archipelago.
This classic is far away as possible from Shindo’s later horror masterpieces Onibaba and Kurenko, but is undoubtedly the work of the same directorial vision. Criterion’s new hi-def transfer is as astonishing as the film; extras comprise a Shindo introduction, Shindo and Hayashi commentary, Benecio del Toro appreciation and scholar Akira Mizuta Lippit interview.
(Olive Films)
Even George Sanders (who provides his usual urbane suavity as our cad of a hero) and actresses ranging from Angela Lansbury to Ann Dvorak are unable to lift it out of the doldrums. Neither does a brief color insert of Max Ernst’s painting The Temptation of St. Anthony. The movie looks fine on Blu.
Off-Broadway Reviews—“Daphne’s Dive" and "A Better Place”
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Sunday, 22 May 2016 18:32
- Written by Kevin Filipski
Daphne’s Dive
Written by Quiara Alegría Hudes; directed by Thomas Kail
Performances through June 12, 2016
A Better Place
Written by Wendy Beckett; directed by Evan Bergman
Performances through June 11, 2016
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| Samira Wiley in Daphne's Dive (photo: Joan Marcus) |
In her sometimes affecting but mostly scattershot Daphne’s Dive, Pulitzer Prize-winning playwright Quiara Alegría Hudes follows the denizens of a local Philly bar over the course of 18 years, but their lives, loves, and even deaths have little resonance or dramatized with scant insight, despite flashes of wit and humor.
We meet Daphne, hard-working owner-proprietor of the eponymous bar; her flaunting, successful sister Inez and her husband, rising local politician Acosta; three regulars, provocative performance artist Jenn, painter Pablo and ancient biker Rey; and Ruby, an 11-year-old black girl adopted by Daphne after she was (literally) found in a dumpster after jumping out a window to escape her family’s eviction.
The play jumps forward through the years—Ruby intones, “I am 15,” “I am 20,” etc., to situate where we are—and the lives of this septet become ever more fractured, complicated, even loving (Daphne and Jenn begin an unlikely romance). But Hudes too often cuts corners: after a tender scene between Daphne and Jenn, for example, the latter’s disappearance from the play is handed so clumsily that it hovers over the rest of the drama, to its ultimate detriment.
More foolhardy is what feels like a tacked-on epilogue: a flashback to when Ruby was 11 and she and Daphne say what might have been their final goodbye (before Daphne adopts her). Its stiltedness is more the playwright’s fault than two characters searching for things to say. That ever-resourceful director Thomas Kail is unable to fully join the disparate strands of this memory play together, even as it’s enacted on Donyale Werle’s wonderfully dingy bar set and acted with forcefulness by the entire cast, especially Vanessa Aspillaga, who makes an intensely sympathetic Daphne, and Samira Wiley, whose Ruby is wounded but beautifully alive.
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| Jessica DiGiovanni in A Better Place (photo: Jenny Anderson) |
Apartment envy is a fact of life in Manhattan, and Wendy Beckett’s A Better Place tackles it with all the finesse of a ‘70s sitcom filled with caricatures, however funny and accurate parts of it are.
Gay couple Les and Sel live in a rent-controlled one-bedroom, and Les is transfixed by the ultra-rich, seemingly perfect family in their modern, airy apartment across the street: he always watches what’s going on, which includes mom Mary, dad John and daughter Carol, who brings home real-estate brokers for sex laden with brokerage verbiage to get her off.
This is all OK as far as it goes, and Beckett finds plentiful, if easy, humor in these absurd situations, especially when it comes out that the one-percenters are not really as affluent as they seem—both financially and personally; but how the two sides finally get together is brought about in such a painfully contrived way that the final scenes come across as rather desperate in their attempt to join belly laughs and deeper meaning.
The performances are smartly pitched just this side of parody by director Evan Bergman, who otherwise has problems reining in the play’s episodic nature as it jumps back and forth between apartments: best in a game cast is Jessica DiGiovanni, who provides an amusingly flirtatious portrait of a millennial bimbo who needs to hear ever more florid descriptions of pricey apartments to have an orgasm.
The stunning set is by David L. Arsenault: the two apartments are shown in all their realistic glory on either side of the stage, with a metaphorical chasm in between: the lived-in, rent-controlled brownstone is dark and stuffy; and the modern multi-million dollar one all bright and airy. That more is said through the set than through the characters ends up dragging A Better Place down.
Daphne’s Dive
Signature Theatre, Pershing Square Signature Center, 480 West 42nd Street, New York, NY
signaturetheatre.org
A Better Place
Duke on 42nd Street, 229 West 42nd Street, New York, NY
abetterplaceplay.com
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