The Muppets

“I’ve got a dream, too. But it’s about singing and dancing and making people happy. That’s the kind of dream that gets better the more people you share it with. And, well, I’ve found a whole bunch of friends who have the same dream. And it kind of makes us like a family.”

That’s something Kermit the Frog says in The Muppet Movie when he’s facing down Doc Hopper, who’s been pursuing him throughout the movie. And that’s the essence of the Muppets, the part of the Muppets to which I respond most strongly. And so I’m pleased to report that writers Jason Segel and Nick Stoller and director James Bobin got it right with their Muppets reboot, The Muppets. (Bret McKenzie, from Flight of the Conchords, provides an assist as music supervisor.)

As Segel had been saying in interviews leading up to the movie’s premiere, the inspiring aspect of the Muppets is that they’re not cynical and they remind us of the best versions of ourselves. That theme is wonderfully apparent in his movie. We see it in most of the characters, Muppet and otherwise. And it makes the movie work as a Muppet movie; as a wonderful tribute to what came before; and as a great, funny and touching movie.

The plot is simple and has roots in Muppet movies and shows past. Walter (a new Muppet voiced by Peter Linz) is the Muppets’ biggest fan. When his brother Gary (Segel) and Gary’s long-time girlfriend, Mary (Amy Adams), take a trip to Los Angeles, Walter tags along and the three set out to take the Muppet Studios tour. Walter is disheartened to see it in disarray, and after hearing oil tycoon Tex Richman (Chris Cooper) reveal that he plans to raze the studio, Walter sets out to find Kermit, rally the troops and save the studio.

(Can I just take a minute and tell you how much I love these names? Gary and Mary? A wealthy oil tycoon named Tex Richman? I love it!)

Like past Muppet productions, everyone in the movie is self-aware and addresses the camera. It’s all very meta. Which is great. Those asides are catnip to Muppet-philes like me, and they’re at least mildly entertaining to adults. Yes, there are some juvenile moments aimed at kids, but in the great Muppet tradition, there’s plenty that goes over the kids’ heads and is just for grownups. (Did you know that the original The Muppet Show pilot was titled The Muppets: Sex and Violence? Jim Henson did not want to be mistaken for a children’s show.)

In this fun and sentimental romp, there are great cameos from every generation. Mickey Rooney pops up in the beginning, followed not long after by Dave Grohl, in a cameo he was born to make. James Carville, Modern Family’s Rico Rodriguez and Neil Patrick Harris, among many others, also lend a hand, and Rashida Jones and Jack Black appear as featured players.

The Muppets is funny, bawdy, sweet, sentimental, heart-warming and all together lovable. Whether you’re a diehard Muppet fan (like me), a casual observer or you’ve never watched a Muppet movie or TV show (for shame), there is something for you to enjoy in this wonderfully optimistic tale. The whole Muppet gang is back together, “movin’ right along in search of good times and good news, with good friends” who can’t lose. I hope this becomes a habit.

For more Muppet fun, read my favorite book: It’s Not Easy Being Green and Other things to Consider, by Jim Henson, The Muppets and Friends, and edited by Cheryl Henson (Jim’s daughter and president of the Jim Henson Foundation. And watch The Muppet Movie. It’s the real story (or something like it) of how the Muppets got together (and my favorite movie, Muppet or otherwise!)

Media Morsels 11.25.11

• New Oscar Category?
  Writer, director and producer Judd Apatow thinks the Academy Awards should have a comedy category. Noting that animated films got their own category in 2001, he asserts that it's high time his genre of film making got a little Oscar love. I tend to agree. While all comedic movies and performances are eligible for nomination in the current categories, they are often overlooked for "heftier" fare. But getting comedy right takes a whole separate set of finely honed skills than getting drama right. In fact, many believe comedy is harder, and so a knockout comedic performance, or a brilliantly funny screenplay, are all the more award-worthy. What do you think? Should comedy movies have their own category, like at the Golden Globes?
  



• iPlays
  Samuel French, one of the publishing and licensing houses from which you can purchase plays and librettos, recently launched an e-library. From iTunes, you can download over 80 titles for use on your iPhone, iPod and iPad. (According to the announcement on Playbill.com, Samuel French is looking to launch a similar service for Kindle, Nook and Sony eReader users.) Included in the initial offerings is The Farnsworth Invention, an Aaron Sorkin play about the invention of television. (I saw its first Saturday night preview back in October 2007. Alas, the playwright wasn't there but the play was full of noticeable Sorkinese!) Visit samuelfrench.com for the full list of available scripts.



• Dig This
• Jason Segel goes Off the Cuff in Peter Travers's Rolling Stone office.
  



• According to an announcement about actor Thomas Sadoski's upcoming departure from Other Desert Cities, Aaron Sorkin's new HBO show, now titled The Newsroom, will air in July 2012. I'll keep you up to date, so check back often!
  



• More Muppets covering Broadway songs, from Broadway.com.

Happy Thanksgiving!

On this day of Thanksgiving, here's a little something to remind us that life and beauty are all around us. Give thanks!

Life of flowers from VOROBYOFF PRODUCTION on Vimeo.

(I found this through NYC Ballet corps dancers, Justin Peck. Follow him on Twitter: @justin_peck.)

Seminar

Playwright Theresa Rebeck often writes witty, smart dialogue and full, complex characters. Her latest, Seminar, is wonderfully true to form.

I love writing and I love talking about writing, especially with other writers. (Talk to comedy writers about writing (and life) – you’ll get the funniest and most honest answers.) So it should come as no surprise that I delighted in Rebeck’s Seminar, a sharply observed look at the psychology behind writers. (One gem from early on in the play: “Writers, in their natural habitats, are like feral cats.”)

What propels all the talk about writing is—wait for it—a seminar. Martin (Hamish Linklater), Kate (Lily Rabe), Izzy (Hettienne Park) and Douglas (Jerry O’Connell) have congregated at Kate’s spectacular Manhattan apartment for the first in a series of private writing seminars conducted by writer-turned-lecturer Leonard (Alan Rickman). As the action of the play (which is really a character study, at heart) moves forward, Leonard pontificates on good vs. bad writing; female writers; the benefit of traveling to third-world countries; and more. And, because the characters are in mixed company, sexual tensions rise and fall, revealing interesting character quirks along the way. Also, writers drink a lot.

Bringing these writers to life is a great cast. Hettienne Park (most recently in The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures) is serviceable as a subtly opportunistic writer. Making his Broadway debut is Jerry O’Connell, well known for his film work, including Stand by Me and a favorite blast from the past, Sliders. I had very low expectations for O’Connell so though his performance isn’t one for the history books, I was impressed. His Douglas is well-connected, though a bit dim, but fortunately O’Connell keeps him from falling into caricature territory.

Lily Rabe, who reportedly gave a phenomenal performance in last season’s The Merchant of Venice, does great work here. Kate is a strong, capable, sometimes caustic woman but that doesn’t stop Rabe from finding honest and tender moments. Her droll voice lends itself to Kate, who is seemingly perpetually unimpressed. When you see this play, watch Rabe when others are speaking. She doesn’t upstage anyone, but she is undeniably present in every moment, and conveys more when she’s not talking than most actors do when reciting their lines.

Rounding out the company are two stellar actors, Hamish Linklater (The School for Lies) and Alan Rickman. Their characters’ relationship—though they mostly talk around each other—is really the crux of this play. It’s so fascinating to watch where they start and where they end up. And it’s because both actors attack their roles with ferocity and commitment.

Linklater is fantastically twitchy and uncomfortable, putting up an unstable wall of false strength before allowing himself to be vulnerable. Rickman lays bare a defeated man. Leonard is teaching because he can’t “do” anymore. He can still write, but he can’t commit to the full process. Rickman finds beautiful shades of regret and passion within Leonard, which make the play’s climax all the more potent.

The scenic and costume design by David Zinn were spot on. In particular, I loved the sagging bookshelves in Leonard’s apartment, and the straight-from-Brooks Brothers outfits worn by Douglas. Truly, all the characters’ costumes spoke volumes about their place in the world.

Directing Seminar is one of my favorite directors, Sam Gold (The Aliens). This is easily the most active and talkative play I’ve seen him direct, and he does well. The jokes land where they should, as do the audiences' eyes. Once again showing a knack for pacing and quiet strength, Gold goes against conventional wisdom for the play’s climax. Instead of Leonard shouting out a diatribe, Gold directs Rickman to play it low, slow and steady, proving that power is not necessarily defined by volume or physical force.

It’s not often that smart, sophisticated plays—plays that don’t rely on cheap sight gags or easy laughs—make it to Broadway. With the winning combination of Theresa Rebeck’s unflinching writing, a noteworthy cast and Sam Gold’s expert direction, this limited run of Seminar is not to be missed.

Visit seminaronbroadway.com for more information and to purchase tickets.

Bonus

• Production stills by Jeremy Daniel on Broadwayworld.com
• Check out this TDF interview with playwright Theresa Rebeck

I'm so Happy that he Hosted SNL

It finally happened, dear readers: Jason Segel hosted Saturday Night Live. And it was a great, thoroughly funny show. I was reminded of the episode two years ago (almost to the date) that Joseph Gordon-Levitt hosted. In both cases, the show had a versatile host who committed to the show and was game for anything. The result? A funny episode.

The show got off to a great start with "Mitt Romney: Raw and Unleashed," easily SNL’s sharpest political satire of the season. They included little moments, like Romney unbuttoning his jacket, only to later say, “This is making me uncomfortable,” that make the sketch elicit a smarter, deeper laugh.

And then came the great opening monologue:

Later, in a sketch that used several cast members (rather than featuring one member in a one-joke impression/character...) "Kelly Ripa" was auditioning new co-hosts. I don't know if others will feel this way, but I now love Abbey Elliot for her Zooey Deschanel impression. She got exactly what I don’t like about Deschanel: “You’re a woman, but I’m just a little bitty girl,” "Zooey" said. Deschanel trades on her quirk - it’s one note and it’s not very funny. Well done, Abbey!

Usually, my favorite part of each episode is Weekend Update. And it was full of great zingers last night. I liked John Huntsman’s self-effacing turn at the Update desk. By joking about himself, he endears himself to the public and gains a little national exposure. But my favorite part of Update was "Really!?! with Seth and Kermit," reacting to Congress approving guidelines that, regarding school food, declare the tomato paste on pizza a vegetable.

And even in the post-Update sketches, which are generally less funny than the ones up front, there were still laughs. For example, in "New Jack Thanksgiving" we had Toni, Tone, Tony Shaloub. (This is hilarious for anyone who remembers Toni, Tone, Tony!) And as someone who can quote all of The Princess Bride, I thrilled over "Andre the Giant Chooses an Ice Cream Flavor," which included a “Hello, lady!”

Fans, including me, have been waiting for years for Jason Segel to host SNL. He got his chance last night and didn't let us down. Congratulations, Jason!

Media Morsels 11.18.11

• More Muppet Moments
  Continuing the countdown they began last week, this week Broadway.com brought us more Broadway-Muppet crossover moments, including Ethel Merman. Below, Ms. Merman and the Muppets perform a Broadway medley, including some of her signature Anything Goes songs. (Did you see the Muppets perform "Mahna Mahna" on Good Morning America this week? If not, watch online.)

• Even More Muppets
  Jason Segel, who (you should know by now) co-wrote and is starring in The Muppets, which hits theaters on Wednesday, November 23, recently spoke to Indie Wire about the film and its possible sequels (and a possible The Muppet Show revival); what non-Muppet excitement is next for him, like Sex Tape with Reese Witherspoon; and the possibility of his Forgetting Sarah Marshall Dracula musical being fully realized. In the meantime, the funny man will host SNL this Saturday.
  
  
• Seasons of Regis:
  

• On a Clear Day You Can See Michael Mayer
  The visionary director (who was at the helm of American Idiot) recently spoke to Playbill.com about his currently-in-previews revival of On a Clear Day You Can See Forever. For this revival, Mayer is retooling the story and book, assembling it into something simultaneously classic and of-the-moment. (I saw a lab production of it over the summer and thought it was absolutely lovely.) Mayer is a skilled and passionate director and I'm so excited to see the Broadway iteration. For more information about On a Clear Day, visit onacleardaybroadway.com.
  
  
• A Few Good (Looking) Men
  This week, two magazines feted handsome men. GQ announced its Men of the Year. Hova, JTims and Jimmy Fallon all made the cut, as did impressive actor Michael Fassbender. Not to be outdone, People magazine announced its pick for Sexiest Man Alive. They chose Bradley Cooper. He's perfectly nice to look at, but he wouldn't top my list. Instead, I might have chosen one of the other men who appears in the issue, the very sexy and, more important, very talented Ryan Gosling, who had a great year this year with Crazy Stupid Love, Drive and The Ides of March. Oh well. At least People was clever enough to include Josh Charles on the list. (Are you loving the Alicia-Will storyline on The Good Wife this season?)
  
  TimeOut New York got in on the action, too, presenting a list of some of the men making this fall a Mantastic Broadway season. On the list is Harry Connick, Jr., who can be seen in On a Clear Day; the Hughs, Dancy (from Venus in Fur) and Jackman (from his concert); The West Wing alumnus Dule Hill, who will soon be seen in Stick Fly; and Alan Rickman (Seminar), among others. It's a good list, but I'd like to point out that there are a lot of great men treading the boards this season who are in supporting roles and didn't make the list. Some of my picks for mantastic supporters: Thomas Sadoski (Other Desert Cities); Telly Leung (Godspell); and Hamish Linklater (Seminar). [Seminar opens this Sunday; check back Monday for my review.]
  
  
• Save Community!
  The hilarious NBC show Community is in danger, dear readers. The show, now in its third laugh-out-loud funny season, has been taken out of NBC's midseason schedule. This doesn't expressly mean the show has been canceled, but it's not a good sign. Fans are up in arms, and graphic artist Jon Defreest created these three "Save Community" posters (including the one at right). Do your part, dear readers, to save one of the most creative, intelligent, scrappy and funny shows on TV. Share these posters with your friends - get the social networking sites abuzz with Save Community fever!
  
  
• Dig This
• Award update: Ricky Gervais will host the Golden Globes.
  
  
• Complete casting for the American Idiot tour has been announced. Joshua Kobak, a member of the original company, will take on the role of St Jimmy. Visit Broadwayworld.com for the full cast list, and visit americanidiotthemusical.com for tour details.
  
  
• The cast of Memphis, including recent addition Adam Pascal, will perform on CBS's Thanksgiving Day parade, as will Anything Goes's Stephanie J. Block (filling in for Tony winner Sutton Foster) and Colin Donnell. And the cast of Newsies (which will be sellin' papes on Broadway for a limited run) will perform on Macy's Thanksgiving Day Parade, airing on NBC.
  
  
• Leap of Faith, a musical stage adaptation of the Steve Martin movie, will bow on Broadway in fall 2012. Raul Esparza is likely to reprise the role he created when the show premiered in Los Angeles.
  
  
• Foo Fighters rocked Madison Square Garden last Sunday. (The concert was AMAZING!!!) This week, Joan Jett, who joined them on stage at the Garden, played with Foo Fighters on Letterman. Rock and roll, baby - ain't nothing like it!
  

J. Edgar

"What determines a man’s legacy is often what isn’t seen,” or so says J. Edgar Hoover in the new biopic, J. Edgar. Written by Oscar winner Dustin Lance Black (Milk), directed by Clint Eastwood and starring Leonardo DiCaprio, this film traces Hoover’s rise to power, and along the way, reveals some parts of his legacy the man may have wished remained unseen.

The story is told mostly through flashbacks, as Hoover is dictating his biography to a series of writers. This allows the storytellers (Black and Eastwood) to make leaps of time and logic without laborious exposition. Plus, it offers some interesting juxtaposition between young and old Hoover, showing off, ultimately, how little changes over the course of so many years.

Also helping to tell the story are the colors, or lack thereof, of the film. The entire film is rife with shades of gray, suggesting the murky morality marsh that must be traversed when on assignment for the FBI. The color scheme also reflects the questionable decisions Hoover made throughout his life, as well as (arguably) the veracity of everything that’s depicted in this film about a very secretive man’s life.

Much of the history of the FBI may be known to viewers, which makes the interpersonal relationships much more interesting. J. Edgar focuses on three key relationships in Hoover’s life.

His first (and perhaps most indelible) influence is his mother, portrayed with astonishing zest by Dame Judi Dench. Annie Hoover’s a piece of work, instilling delusions of grandeur in little Hoover’s mind, delusions that will turn into an insatiable lust for power and control. Keen observers will also notice how mommy dearest’s points of view and parenting style lead J. Edgar to a life of secrecy, denial and repression.

Hoover’s second important relationship is with Helen Gandy (Naomi Watts), his lifelong secretary. (Think Mrs. Landingham, except younger and with a fumbled romantic beginning.) Hoover values loyalty above almost all else, and Gandy is nothing if not loyal. She reminded me of the long-suffering sports widows who are devoted to their husbands but receive little to no gratitude for their efforts. Hoover shows his affection by trusting Gandy, but does little else to show he cares. And that may have something to do with his third very important relationship.

Clyde Tolson (Armie Hammer (The Social Network)) was Hoover’s second in command and, according to this telling of Hoover’s life and many long standing rumors, also his life partner. Hammer gives a transcendent performance. He easily goes toe to toe with DiCaprio, revealing all the pent up frustration of living a life according to someone else’s rules (but dutifully caring for that someone anyway) while also capturing the excitement of being in love. There’s a moment toward the end of the film in which Hoover kisses Tolson’s forehead. Even with all the make up on his face, you can still see the joy radiating from Hammer as Tolson and the love of his life share a tender moment. He’s really terrific in this, and I hope he’s remembered this award season.

At the center of all this is the incomparable Leonardo DiCaprio as J. Edgar Hoover. True to form, he never makes a false move. I was taken aback by how young the veteran actor looked when we first met young Hoover. I was later struck by his vulnerability during a tense Hoover-Tolson scene. It’s an emotionally charged, manic scene and during its climax, Hoover says, “I love you, Clyde.” In that moment, DiCaprio’s face looked like that of a scared, lost boy, who might truly be in love but has no capacity for handling the intense, complicated emotion. It’s remarkable how DiCaprio seems to lose himself in this role, with the private actor opening up to play a very private man. (While he was physically recognizable, I did notice that the usually blue-eyed actor had brown eyes throughout. I guess accuracy still counts for something these days!)

J. Edgar is an interesting look at one of our nation’s most enigmatic trailblazers. At times, the film moved a little slowly, but at others I was dissatisfied with the too-quick camera edits. Ultimately, though, that’s okay. While there is definitely a solid script, and plenty of important plot points, the real selling point is the exceptional performances from Armie Hammer and Leonardo DiCaprio. J. Edgar is a star-making turn for the former, and solidifies the latter as the paragon of fearless, honest and exquisite acting.

Bonus

• While noticing how young Leo looked, I was reminded of a photo which recently ran in GQ: Leo is sitting beside Clint Eastwood, and with the elder statesman next to him, Leo looked like a little boy. It was actually very sweet, thinking that this powerful and respected force, Leo, could look even remotely child-like. (Here’s the interview that ran in the issue.)

Suicide, Incorporated

You would think that a play focusing on various aspects of suicide, and particularly writing the suicide note (i.e., figuring out the “why”) would elicit a strong, visceral reaction. It didn’t. It was good and interesting, but that’s all I can muster.

In Suicide, Incorporated, Jason (Gabriel Ebert) is a guy in his late twenties who takes a job at the titular company. Rather than talk clients down from the ledge, at Suicide, Inc., Jason, Perry (Corey Hawkins) and their boss, Scott (Toby Leonard Moore), write their clients’ suicide notes. When a new client, Norm (James McMenamin), comes in, Jason’s conscience is haunted by his younger brother, Tommy (Jake O’Connor). (On occasion, a police officer (Mike DiSalvo) checks in with the fellows.)

Andrew Hinderaker’s play is well written, with snappy, darkly funny dialogue, and director Jonathan Berry paces the action so that the play runs at a quick clip. (Some of the scene changes felt a little rushed, but it’s a small space and you can’t hold in black out for too long, so I understand.) Daniel Zimmerman’s scenic design adds an intriguing element to the play, as sections of the set are revealed over time, letting us into Jason’s life little by little.

The game (and mostly very tall) cast works well together, as they explore the prevalence of suicide among young men, with Moore standing out as the bombastic boss. Still, I didn’t have a strong reaction. I think perhaps it’s because the play has too many hints of an after-school special to be affective. This is a good, well-written and well-acted after-school special, but it expressed its message a little too conspicuously for my taste.

Bonuses:

• Actor Gabriel Ebert fills out the Playbill.com Cue & A
• Broadway.com checks in with the cast, playwright and director

---

Visit roundaboutunderground.org to learn more about this production and Roundabout Underground’s mission of supporting and nurturing new and emerging talent.

Media Morsels 11.11.11

• Aaron Tveit Wants to Make You a Drink
  For a good cause, of course. The immensely talented actor (who was on this past week's episode of The Good Wife) will be joined by several other stars of stage and screen on November 16 at Hudson Station Bar and Grill. While there, Tveit (most recently seen on Broadway in Catch Me if You Can), John Benjamin Hickey (The Normal Heart), Jesse L. Martin (an original Rent cast member), Annie Parisse (Becky Shaw and Clybourne Park) and others will serve as bartenders from 7-11pm. All tips will be donated to Stockings with Care, which "grants the Christmas-morning wishes of children from families in crisis." Visit Playbill.com for more details about the event, and visit stockingswithcare.org for information about the charity.
  
  Not sure what to ask Tveit, Hickey and others to make? Check out Virgin Media's list (with instructions!) of the ten coolest movie cocktails, including A Big Lebowski White Russian.
  
  
• J. Edgar
  Leonardo DiCaprio's new movie, J. Edgar, comes out today. The star (or, more likely, someone in his camp) has been posting on his social media outlets all week, giving followers glimpses of the red carpet, as well as production stills. In this particular interview, Leo talks about his passion for this film, the kind of which doesn't get made often these days. (You can connect with my favorite actor on Facebook, Twitter and mobli.) You know my movie-going habits, dear readers, so check back soon for my review of J. Edgar. (And Happy Birthday, Leo!)
  
  
• The Muppets
  Dear readers, you know how excited I am for The Muppets to hit the cineplex, right? Well, co-writer and star Jason Segel is also excited. Below, he explains the magic of the Muppets. First on Studio Q, then on The Tonight Show. Plus, great news: Jason Segel will finally host SNL. He'll host next week, November 19. Tune in, and enjoy! (And mark you calendar: the movie opens on November 23!)

• Fall Openings
  This week, two hotly anticipated shows of the fall season celebrated their opening nights.
  
• Monday, the first Broadway revival of Godspell opened at the Circle in the Square. Broadwayworld.com has photo coverage of red carpet arrivals; the curtain call; and the opening night party. Here's my review of the show. (This revival company will record a cast album. Check back for details.)
  
  
• Tuesday brought us the Broadway premiere of the scintillating and provocative new play, Venus in Fur. Broadway.com has photo coverage of the curtain call and after party; and Broadwayworld.com has photo coverage of the red carpet arrivals and the curtain call and opening night party. Here's my review of this must-see new play.
  
  
• Award Season Update
• Oscars: Following producer Brett Ratner's departure, Eddie Murphy has bowed out of his Oscar-hosting duties. But, never fear: Billy Crystal, the master Master of Ceremonies, is on the job! (The Oscars will be awarded on February 26, 2012.)
  
  
• Golden Globes: Morgan Freeman will receive the Cecil B. DeMille award, the Golden Globes' lifetime achievement award. Recent recipients include Martin Scorsese and Robert De Niro. The Globes will be handed out on January 15, 2012.
  
  
• Dig This
• Vocal selections from The Book of Mormon are now available. The songbook includes every song from the show.
  
  
• Check out the first promo stills from the upcoming On a Clear Day You Can See Forever. (Here's my review of the lab production.)
  
  
• As Broadway.com counts down to the release of The Muppets, they're posting great Muppet moments. Below, Joel Grey sings "Wilkommen." (More: Joel Grey (singing "Razzle Dazzle"); and Bernadette Peters)
  

Venus in Fur

“There can be nothing more sensuous than pain or more pleasurable than degradation.” At so it goes in this deliciously seductive power play.

David Ives’s Venus in Fur is an adaptation of the eponymous German novel, penned by Leopold von Sacher-Masoch, the namesake of the term “masochism.” The term was coined and fashioned, actually, after the actions in Sacher-Masoch’s Venus in Fur, and sexual politics and their inherent power struggle are further explored in this new play.

Ives (who was recently represented off-Broadway with The School for Lies) structures the play using an old musical theatre device: a show within a show. In Ives’s Venus in Fur, Thomas (Hugh Dancy) is a playwright who has adapted Sacher-Masoch’s Venus in Fur. Thomas keeps his adaptation set in the 1870s. Ives’s characters are interacting in present day. When we meet Thomas, he is exasperated after a day spent trying to find the right actress to play Vanda Dunayev, the pivotal goddess/temptress of Sacher-Masoch’s book and Thomas’s play. With lightning and thunder abounding, in walks Vanda Jordan (Nina Arianda), a seemingly flighty, inarticulate actress. Oh, how wrong first impressions can be.

For the rest of the play, Thomas and Vanda debate power within a relationship (a man's vs. a woman's, sexual and otherwise), with many of the debates being sparked by the excerpts they are reading from Thomas’s play. (There are also moments in which the power struggle, and a person’s propensity toward masochistic behavior, is analogous to a life in the theatre.) In this complex and provocative play, which asserts that, “In love as in politics, one partner must rule,” power is mercurial, exposing a maddening elusiveness in the intangible thing we all want to grab hold of.

Breathing incredible, passionate and messy life into Thomas and Vanda are Hugh Dancy and Nina Arianda, respectively. Under Walter Bobbie’s skillful and careful direction, both are excellent.

Dancy is no stranger to the stage (or to an American accent), and here, he doesn’t miss a beat. As the power shifts, so do Thomas’s moods, though thanks to Dancy’s fine acting, nothing feels false. I particularly loved a moment in the middle of this brisk 90-minute play: Dancy sinks in and tries to disappear into the divan as Vanda analyzes him. It’s a Sisyphean effort, of course. In that moment, Vanda has the power and he is paralyzed, but his emotions are running at full speed.

When Venus in Fur ran off-Broadway last season at Classic Stage Company, Nina Arianda received rave reviews. I didn’t get to see that production, so going into this, I was a little skeptical of the hype. However, after about, oh, one minute, I had officially hopped aboard the Nina Arianda bandwagon. It’s difficult to describe just what is so spectacular about Arianda’s performance, and I think that actually makes it all the more spectacular. I do not see the effort. She seamlessly disappears into the role and becomes Vanda. She is a goddess and a temptress. She is fierce. She is fearless. She is headed toward amazing heights.

The execution of this play is nearly flawless. John Lee Beatty’s scenic design is simple and constrictive, which is just right for this play. The subtle lighting cues of Peter Kaczorowski gently enhance the power ebb and flow. While Walter Bobbie’s direction was very good, I wish the end hadn’t felt so rushed. I would have preferred for the ending tableau to linger for just a moment longer, to let the ending sink in. But if my only complaint about the play is that it was over too quickly, then it’s a damn good play!

And it is. Venus in Fur is complex, provocative, sexy, smart and powerful. In short, it’s everything a great piece of art should be.

Venus in Fur is presented by the Manhattan Theatre Club, and the limited run production plays at the Biltmore Theatre on 47th street through December 18. Visit mtc-nyc.org for more information and for tickets. (Under 30? Join MTC’s 30Under30 program and pick up tickets for Venus in Fur for just $30.)

---

Bonuses:

• Playwright David Ives on How Venus Got Her Fur, from Broadway.com
• Production stills, by Joan Marcus, from Broadwayworld.com
  

Godspell

“I’m obsessed,” my friend exclaimed during intermission at Godspell. I’m not obsessed, but I can’t stop thinking about the show and I’m in very strong like with the revival of this Stephen Schwartz musical.

This revival (which is playing at the Circle in the Square Theatre, right next to Schwartz’s mega-hit Wicked, prompting some theatre fans to dub the area the Schwartz Breezeway) is the first major New York production since the show originated in the 70s. So why bring it back now? That’s usually my first question when a revival pops up, and lead producer Ken Davenport answered it in his Day by Day: The Producer’s Perspective blog several months ago. After watching the debt ceiling negotiations break down over the summer, Davenport said,

When I first met [composer] Stephen Schwartz and [director] Danny Goldstein…they described Godspell as the story of a group of people who, at the beginning of the show, can’t communicate… And then, through the course of the show and thanks to the leadership of one individual [Jesus], they learn how to talk to one another and how to get along regardless of religion, race or political party affiliation.

That’s definitely something I can get on board with. And I did, in fact, get on board with that aspect of the show, as well as its Hippie ethos of treating one another with kindness, respect and graciousness. (The rag-tag feel of the production and the structure of the show (scant plot/dialogue, mostly songs) were very reminiscent of Hair.) My ambivalence comes in with the specific Jesus and God stuff. Granted, that’s my own struggle, and it won’t keep me from recommending the show, but it did keep me from coming fully under its spell.

This is, I think, actually unfortunate for me because there are so many elements of the show and this production that I like a great deal.

Circle in the Square is, as its name suggests, a theatre in the round, and I’ve now seen five shows in this theatre. Usually, each show has to make it work for the theatre. With this production, I think the theatre works for the show. This is possibly the best marriage of show and venue I’ve experienced. Because we’re all sitting around the stage, it feels like we’re all warmly embracing the players, and a part of us feels like a part of them. The disciples come out into the audience and engage with us; the band is seated among us; and some of us even get to go on stage and be part of the action. This all combines to create a spectacular communal feeling, which is perfect for this story of coming together.

In addition, I really like that the cast look unlike most Broadway (or movie or TV) casts. Though it bordered on a Benetton ad, the (purposefully) multicultural cast is markedly different from your typical ensemble; and it isn’t all glamazon Rockettes or Adonises up on stage: Jesus’s disciples come in all shapes and sizes. Again, for a show about creating community, this casting helps audience members connect with and relate to the players and feel a part of something special.

And let me tell you, dear readers, those players are incredible! Hunter Parrish (star of TV’s Weeds and a cast member of the final Spring Awakening company) stars as Jesus; Wallace Smith (once American Idiot’s Favorite Son) is his Judas; and the eight disciples are brought to life by Uzo Aduba, Nick Blaemire, Celisse Henderson, Morgan James (though she was out the night I saw the show; understudy Julia Mattison covered her track), Telly Leung, Lindsay Mendez, George Salazar and Anna Maria Perez de Tagle.

I saw Parrish as Melchior in Spring Awakening and was unimpressed. I think this show and venue are a much better fit for the young actor. He brought a gentleness to the role that I didn’t expect. He has a decent voice, though it’s not particularly powerful, and he seems delighted to be reveling on stage with his followers.

Standouts from the disciples are Leung, Mendez and Blaemire. Leung has great vocal range (plus he tickles the ivories at one point) and in one funny bit, shows off his impersonation skills. (It’s very funny.) Mendez is a spectacular presence on stage, wowing and winning over the crowd whenever she opens her mouth. And Blaemire (a Joe Iconis family member and Things to Ruin alumus) is charming and goofy. He, his great voice and his guitar skills lead the company in the 11 o’clock number, “We Beseech Thee,” the choreography (by Christopher Gattelli) for which handily uses a fun gimmick to thrill even this sometimes jaded theatergoer.

So, my dear readers, don’t get caught up in my struggle with the specifics of Godspell. Instead, become entranced with its message of being good to each other; be entertained by the pop/rock tunes; be blown away by the talented ensemble. Because, really, whenever there’s fun, spirited theatre being put on by passionate people, it’s "all for the best."

Visit godspell.com for more information and to purchase tickets. (And while you’re there, check out the cast bios; it’s chock full of fun trivia, like what the performer sang for his/her audition!)

Bonus: Watch the cast perform on Letterman! These guys and gals rock!!!

Martha Marcy May Marlene

After seeing writer/director Sean Durkin's Martha Marcy May Marlene, I couldn’t stop thinking about it. But not in the way or for the reasons that usually excite me. Instead, I was thinking about the film because after sitting through a little over 90 minutes of an interesting, if a little creepy at times, well-acted character study, the end abruptly arrived and I had no idea what happened. I won’t say any more about what occurs (or doesn’t) at the end, but it left me feeling unsettled, confused and not just a little bit like I’d been duped.*

Martha Marcy May Marlene looks at what happens to Martha (Elizabeth Olsen) when she leaves the cult commune on which she’d been living for two years. She reenters the real world by staying with her sister, Lucy (Sarah Paulson), and Lucy’s husband, Ted (Hugh Dancy). Interspersed with present-day goings on are flashbacks to Martha’s time in the cult, when she was called Marcy May. While there, we see Marcy May interact with the cult’s leader, Patrick (John Hawkes), as well as the other “converted” women and some seemingly lost boys.

I actually found the back and forth structure to be interesting, as it allowed us to discover things about Martha over time. Attentive viewers are rewarded when a seed planted in the first act blooms in the third. I like this because, in my view, this is a film asking more of its audience than to be idle viewers. And with this particular film, it seemed to work because the pace at which details were revealed helped to keep Martha an enigma, which helped to keep me engaged. (The non-linear storytelling also helps to express Martha's confusion as she reenters the world.)

Also helping to keep me engaged were great performances from all. John Hawkes did creepy loner very well in last year’s overrated Winter’s Bone. Here, he offers a variation: the charming, charismatic creep. Mind you, Hawkes’s Patrick is not creepy to the harem of girls he’s collected on his commune, but to outsiders his behavior is despicable and horrific at worst, and creepy and reprehensible at best.

Sarah Paulson (good on stage two years ago in Collected Stories, and also a Studio 60 alumna) and Hugh Dancy (of the incredibly powerful Venus in Fur) make a good pair as the adult figureheads who try to help Martha get back into the groove of real life. Paulson’s face reveals that Lucy is trying so hard to be strong but inside she’s a wreck, trying to figure out what happened to her sister, if she was responsible and how she can help. Dancy, meanwhile, succeeds in showing Ted as compassionate, but not a pushover. Because Dancy expertly plays a natural progression of emotions, his Ted is able to blow up and yell at Martha and not come off as the villain.

Tackling the role of Martha is relative newcomer Elizabeth Olsen. (I'm loath to mention her lineage because she's good in her own right, but I feel obliged to mention that she is the younger sister of twin stars Mary-Kate and Ashley Olsen.) It’s kind of difficult to pin point just what makes her performance so good, which I think makes it even better. Olsen has a wholesome looking face with big eyes (she looks like a cross between Maggie Gyllenhaal and Vera Farmiga), and she seems to simply embody the soul of this sweet, not so innocent and very confused girl. Though she doesn’t have much dialogue, Olsen says plenty her body language, even with just a slight quiver of the lip.

The more I think about this film, the more I like everything except the end, which makes the ending all the more infuriating. (If you’ve see this film, leave your thoughts about the ending in the comments section below. I’m curious to know your take.) Martha Marcy May Marlene garnered a lot of attention at Sundance, where it premiered earlier this year. And it’s been getting great buzz since then. I have a feeling it has mostly to do with Olsen’s performance, which is likely to be remembered come award season. If plot’s your thing, steer clear. But if you’re looking for an intriguing character study with standout performances, this is it.

*After reading this interview with writer/director Durkin, and reflecting on his insight to the ending, I'm less infuriated by the ending. Instead, I understand its place in the film, and it seems more appropriate. Still, I don't love the fact that I needed footnotes in order to understand and enjoy the film.

Media Morsels 11.4.11

• Jason Segel Makes Rolling Stone's Hot List
  The talented and very funny puppet lover makes Rolling Stone's annual Hot List as the magazine (and I!) anticipate the release of The Muppets. (It opens November 23. Get thee to a theater.) In the short profile, Segel says he "just really appreciates puppetry as an art form," which, if you ask me, makes him the perfect choice to return the Muppets to their former glory. I can't wait to see the movie!!!
  
  
• Macy's Thanksgiving Day Parade
  On the heels of Thespis's special day comes Thanksgiving, and with it the annual Macy's Thanksgiving Day Parade. I don't know about you, dear readers, but snuggling on the couch with loved ones is my favorite way to start my favorite holiday. Of course, my favorite part about the parade is the slate of performances from Broadway shows. This year, we'll see performances from How to Succeed, Priscilla, Sister Act and Spider-Man, in addition, of course, to the Rockettes, the Muppets (!!!) and recording artists, like Mary J. Blige. Visit Playbill.com for the full list of performers, and tune into NBC on Thanksgiving, November 24, at 9am to watch the parade.
  
  
• The Best Man
  A revival of Gore Vidal's The Best Man is heading to Broadway this spring (previews begin in March), and you won't believe the cast. Joining previously announced James Earl Jones are Angela Lansbury (the five-time Tony winner who was great in A Little Night Music a couple years ago), Candice Bergen and Michael McKean (who has several Broadway and off-Broadway credits (I saw him in a reading of Welcome Home, Dean Charbonneau), but you probably know him best from the Christopher Guest movies). The Best Man doesn't have a home yet, but rehearsals begin on January 30; previews start March 6; and the play will officially open on April 1. Visit Broadwayworld.com for more details.
  
  
• My Space with Colin Donnell
  Ever wonder what the handsome star of Anything Goes keeps in his dressing room? Here's your chance to find out. In this installment of Broadway.com's ongoing series, Donnell shows off five things in his dressing room at the Stephen Sondheim Theatre that comfort and inspire him, including a photo of his newborn nephew! (Anything Goes, once a limited run set to close this past summer, is extended through April 29. Visit telecharge.com for tickets.)
  
  
• What to See in New York
  Vogue magazine recently released list of which musicals and plays to see in New York this fall. Among their picks for musicals are Godspell (which I just saw - review coming next week); On a Clear Day, under the direction of visionary Michael Mayer (I saw a lab production this summer); and Lysistrata Jones, an update of the Aristophanes classic that had great buzz when it was off-Broadway. As for plays, they recommend Other Dessert Cities, Dreams of Flying Dreams of Falling, the upcoming Stick Fly, starring The West Wing alumnus Dule Hill, The Lyons and Asuncion. Visit vogue.com for their full lists.
  
  
• Godspell on Letterman
  Speaking of what to see this fall, check out the talented ensemble of Godspell do their thing on Letterman. Check back here on Monday for my review!
  

• Tony Update
  The Tony Awards Administration Committee met this week to discuss eligibility of various shows, performers and creatives. Some rulings: Julie Taymor will be eligible in the Best Direction of a Musical category for Spider-Man: Turn Off the Dark, while the show's second and final director, Philip William McKinley, will not be eligible. In addition, Reeve Carney and Jennifer Damiano will be eligible in the leading actor and actress category, respectively. Visit tonyawards.com for a complete list of rulings.
  
  
• Dig This
• Lin-Manuel Miranda has joined the starry cast of City Centers Encores! production of Merrily We Roll Along. He joins the previously announced Colin Donnell (Anything Goes) and Celia Keenan-Bolger (Peter and the Starcatcher).
  
  
• Milk Like Sugar, a great play that opened this week, has been extended!
  
  
• Check out truetheatergoer.com for the latest user reviews of shows in New York and DC.
  
  
• The Huffington Post released its 2011 Game Changers list and NYC Ballet soloist Chase Finlay scores a slot as the pick for the Culture Game Changer. Visit nycballet.com to learn more about City Ballet's season and to purchase tickets.
  
  
• Speaking of City Ballet, their production of George Balanchine's The Nutcracker will be broadcast not only on PBS, but also in movie theaters!
  
  
• My favorite headline of the week, courtesy of rollingstone.com: Detroit Lions Fans Furious About Nickelback Halftime Show Booking. (If Nickelback is playing anywhere I'd be furious, too!)
  

Other Desert Cities

One bad apple can spoil the whole bunch. That’s basically how I feel about Other Desert Cities, the Jon Robin Baitz play that is now on Broadway after an acclaimed run off-Broadway last season.

It’s not that any of the characters are the rotten apple; rather, it’s an actor. When Other Desert Cities ran off-Broadway, the talented Elizabeth Marvel took on the role of leftie Brooke Wyeth. (I bet she did a fantastic job.) Unfortunately, Ms. Marvel is not on board for the Broadway transfer. Instead, Rachel Griffiths makes her Broadway debut, and I think the production is weaker for it.

The Brooke character is basically the catalyst for everything that happens. Sure, there’s plenty of family history and a complex dynamic that help to propel the plot, but basically Brooke is at the center of things.

Brooke, who lives in Sag Harbor, is the daughter of Polly and Lyman Wyeth (Stockard Channing and Stacy Keach), Palm Springs retirees who enjoyed a successful life in entertainment and politics. (They were friends with Ron and Nancy.) It’s Christmas 2004 and Brooke and her younger brother, Trip (Thomas Sadoski), are visiting their parents, who are also hosting Polly’s recovering alcoholic sister, Silda Grauman (Judith Light). Familial politics and secrets from the past come to light when Brooke presents galley copies of her soon-to-be-published memoir, which focuses on a rarely talked-about family tragedy.

So, you see, Brooke is the catalyst for the action, and Griffiths’s lackluster performance is a detriment to what could be an interesting play (which is directed by the superlative Joe Mantello). Sure, the play devolves into a bit of a soap opera in the second act, but with Brooke in better hands, I would have been more invested in her character, and therefore her interactions with everyone else. Griffiths, a native Aussie, does a very convincing American accent, but perhaps by concentrating on her accent she’s forgotten how to do anything else with her voice. Rather than using various intonations, Griffiths uses volume as a way to express Brooke’s roller coaster emotions. Griffiths seemed disengaged with everyone else on stage, and I found it impossible to take an interest in her troubles.

On the other hand, I was entirely pleased by Thomas Sadoski’s stand out performance. I’ve actually seen him in three other plays but I have never been as impressed with him as I was here. Sadoski has the difficult task of playing Trip, the younger sibling who tries not to get caught up in all the family mishegas. He needs to be assertive but not over bearing, understanding but not a pushover. Sadoski excels, imbuing Trip with a realness and sensitivity that combine to make an intriguing, round character. (Guess what. Sadoski is a cast member of Aaron Sorkin's upcoming HBO show!)

Stoackard Channing, Stacy Keach and Judith Light all turn in reliably good performances. (Ms. Light is taking on the role that Linda Lavin created off-Broadway. Ms. Lavin is busy nailing it as matriarch Rita Lyons in The Lyons.) In particular, I got a kick out of seeing Stockard Channing. As a The West Wing aficionado, I delighted at the chance to watch Dr. Abigail Bartlet on stage. She absolutely commanded the stage, and in more than one moment, I could see that she’d make a fantastic Lady Macbeth.

Creating the Wyeth home is in-demand scenic designer John Lee Beatty. He fills his set with nary a straight line. The walls are curved. The sectionals are rounded. The coffee table and side tables an oval and a circle, respectively. This made perfect sense, as the Wyeths and Aunt Silda seem to continually have the same conversation; the circular dialogue always leads them back to the same place. Moreover, since we’re dealing with family, there are comparisons between mother and daughter. Lyman tells Brooke she’s just like her mother, proving once again that everything comes full circle. That was just one of the many symbols the creative team wove into this play.

And so Other Desert Cities (this title refers not only to the Palm Springs area but also to several volatile desert cities over seas) wasn’t a total bust. There is sharp writing, dramatic family dynamics and stand out performances from some. But that one bad apple keeps me from giving this a whole-hearted recommendation.

Bonus:

• Read Ben Brantley’s review of the off-Broadway production