The Farnsworth Invention: 10/31/2007

Aaron Sorkin's The Farnsworth Invention is a big play: big cast, big ideas all packed into a very tight two hours and fifteen minutes. The play concerns the the race to invent and patent the first practical, working television. In this corner we have Philo T. Farnsworth, a young self-taught genius from the Midwest, and in the other corner we have David Sarnoff, visionary media mogul in search of a medium. Sorkin's play is a wild-ride of a history lesson of what was, what wasn't and what could of been regarding radio and television in the first half of the 20th century. While the fist act gets a little too bogged down in "this-is-what-happened-next" mode, act two really soars. Hank Azaria is amazing as Sarnoff and Jimmi Simpson is outstanding as Farnsworth. The Farnsworth Invention is well worth a trip uptown.

For Tickets & Info: www.farnsworthonbroadway.com

Preview: A New Richard Maxwell Show

A new show by Richard Maxwell begins performances this week at The Performing Garage.
It's called Ode to the Man Who Kneels. A Western.

November 1-18, 2007
Thursdays thru Sundays @ 8pm
Performing Garage
33 Wooster Street
$20

For Info & Reservations: www.nycplayers.org

Die Mommie Die: 10/28/2007

Seeing Charles Busch on stage in one of his plays is always a treat. As Angela Arden, in Die Mommie Die, he's Bette Davis, Joan Crawford, Eve Arden and about a half-dozen other screen stars wrapped up in one performance. And that's Busch's art – he doesn't just act a role, he portrays a famous a film actress acting a role. And he does it wonderfully – the deep vocal inflections, the posed stances, the stylized strutting across the stage are almost kabuki-like in their use, signaling certain emotions with the accuracy of an “Applause” sign being lit. To say the rest of the cast isn't on Busch's level would be an understatement – they just ain't got it. But to compare them almost isn't fair; Busch has spent a whole career honing these skills. The production would have been better served had director Carl Andress taken another approach with the other cast members, who by the way are not untalented – they include the amazing Kristine Nielsen! When Busch isn't on stage, it is a drag (pun intended) but thankfully he is on stage for much of the evening – and when he isn't you know is changing costumes! I would never miss a chance to see Charles Busch, I only wish it weren't so long in between his stints in New York.

For tickets & Info: www.dmdtheplay.com

Welcome to Nowhere (Bullet Hole Road):

For me, a show by Temporary Distortion is not about what is being told but how it is being told. I'd be hard pressed to tell you the “plot” of some of their previous shows, but the mood, images, technical devices and aural surroundings are what sticks. With Welcome to Nowhere (Bullet Hole Road), TD has really expanded their use of video and it has really taken their shows to a new level. The video sequences in Welcome To Nowhere, by William Cusick (projected above the installation-like structure in which the live actors perform) are so beautifully shot they put most major films to shame. Artistic Director Kenneth Collins has once again created a terrifically atmospheric piece and assembled a group of game actors to participate, most notably Stacey Collins, Brian Greer and Lorraine Mattox. Don't miss Temporary Distortion's next show.

For Info: www.temporarydistortion.com

The Receptionist: 10/21/2007

Adam Bock's new play The Receptionist could be subtitled “The Banality of Evil.” It's set mostly in the reception area of the Northeast Office an unnamed company at which Beverly answers phones, cleans her work area, makes coffee and guards the office supplies. Beverly is played with hilarious gusto by the talented Jayne Houdyshell and her exchanges with her co-worker, Lorraine (Kendra Kassebaum), are familiarly funny to anyone with a “day-job”. But the endless banks of Manila file folders and an unexpected visitor from the Central Office signal something is not quite right. While The Receptionist is not quite the rich experience that Bock's previous play, The Thugs, was – it is definitely enjoyable, thought-provoking and packs a punch. Joe Mantello directs with much skill and style. Kudos to Manhattan Theatre Club for taking a chance with this one!

For Tickets & Info: www.mtc-nyc.org

The Beebo Brinker Chronicles: 10/18/2007

Adapted from the novels of Ann Bannon by Kate Moira Ryan & Linda S. Chapman, The Beebo Brinker Chronicles is an instant classic. Leigh Silverman directs so flawlessly that it's a crime she's not directing more often (note to the “old boys club” producers – time to break the glass ceiling with regard to female directors); Silverman should be at the top of everyone's director wish-list. As Beebo, Anna Foss Wilson gives an amazing, self-assured performance. David Greenspan, as always, is a wonder to watch and Carolyn Baeumler, in a number of small roles, steals every scene she's in! Hourglass Group deserves three cheers for this fabulous production and the smarts and courage to recognize the gap that his show fills in lesbian representation. And it payed off nicely - the show has already been extended and I would not be surprised if it has a future life.

For Tickets & Info: www.hourglassgroup.org/beebo.html

The Wooster Group's HAMLET: 10/16/2007

Back for it's official run after a brief stint at St. Ann's Warehouse earlier this year The Wooster Group's HAMLET is a must-see. Now performing at The Public's Newman Theater (why does the public make such a secret out of which venue a show is in?), the Wooster Group's re-construction of the 1964 Richard Burton telecast of Hamlet is a thrill to watch. It hasn't changed drastically from early this year. This is still Scott Shedhard's show and he runs with it. Kate Valk is wonderful as always (as both Gertrude and Ophilia). A new revelation for me this time was how great Ari Fliakos was as Claudius and a number of other roles. Casey Spooner's Laertes song is terrific as is the entire sound design. I wasn't quite sure how The Public's subscribers were feeling about the show and anyone expecting Shakespeare's Hamlet will be disappointed. But anyone looking for something special should get thee to The Public! It's already been extended through December 2nd.

For Tickets & Info: www.publictheater.org