Apr 19th

Bill W. and Dr. Bob - By Stephen Bergman & Janet Surrey

By Luke Tudball

“Confront the dark parts of yourself, and work to banish them with illumination and forgiveness. Your willingness to wrestle with your demons will cause your angels to sing. Use the pain as fuel, as a reminder of your strength” – August Wilson

 

This is not an easy play to watch, but necessary in its difficulty. The path, as they say, is never a smooth one if you are in recovery. “Bill W. and Dr. Bob” is the inspiring story of New Yorkstockbroker Bill Wilson and Dr. Bob Smith, a surgeon from Ohio, both alcoholics, who through an astonishing series of events, meet and eventually form Alcoholics Anonymous.

 

Bill (Robert Krakovski), a successful businessman crashes with the Stock Market. Bob (Patrick Husted) often operates on his patients with a hangover, sometimes while still intoxicated. If it wasn’t a true story, you’d still be worried for their state of mind – and this story is a true one. Many of us, perhaps, may associate with the loss of control that comes from being under the influence – at times a freedom devoutly to be wished for, and at times a freedom that scares the living daylights out of us. Free-falling can be exhilarating and terrifying when seen through different eyes. And this, I think, is true of the audience at the New World Stages. Not your average theatre audience, this crowd is made-up of a large number of recovering addicts, and it is strangely moving to be able to experience at first-hand their personal stories in association with the evocative performances on stage.

 

Director Rick Lombardo has created a frighteningly truthful and powerful drama which creates images that are both compelling and inspiring, while finding something primitive in each of the audience. Here is a story that inspires laughter in pain and tears of joy, while never becoming sentimental or jaded. Krakovski and Husted are fantastic as the title players, and vividly remind us of the massive ups and downs that addicts can experience, whatever their addiction. Their portrayals of the two men who pioneered the international AA movement are extremely moving and to many, inspirational. And the supporting players are also excellent. Special mention should be made of Marc Carver whose enthusiasm and honesty are unparalleled in my recent experience.

 

Speaking with the audience after the show, I think that they would agree with the sentiments expressed by Helen Keller when she said, "I long to accomplish a great and noble task, but it is my chief duty to accomplish small tasks as if they were great and noble." Every day is another step forward. You may take small steps, you may take great strides, but what counts is that you are moving forwards. This is a pebble, perhaps, in an ocean of spirit, but has created some sizeable ripples, and I for one have felt the force of its emotional wave.

 

“Bill W. and Dr. Bob” is on at the New World Stages, New York.

 

Tickets can be ordered online or by phone from www.telecharge.com or (212) 239-6200

 

For more information, please visit www.billwanddrbobtheplay.com orwww.newworldstages.com

Apr 4th

Fugue - By Lee Thuna (New York - Cherry Lane Theatre)

By Luke Tudball
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"It is a terrible thing for a person to lose their memories for it is they that shape us and make us who we are".
 
What must it be like to wake one day with a completely blank slate for a mind? A “clean page”? No recollection of anything that has gone before? No knowledge of friends, family, home, likes, dislikes, or even your own name. What is it like to be “unscathed by life and learning”? For some, perhaps, exciting, exhilarating. For others, terrifying and destructive. But for all, transforming.
 
It is impossible to know just how great of a transformation may take place – how little or how much a person may ‘change’. But what is it to change if you don’t know what you were before? And how do you know if what people – your ‘friends’, your ‘relatives’ – are saying is ‘true’ or not just what they hope to be true, or worse, want to be true.
 
‘Fugue’, a new play by Lee Thuna at the Cherry Lane Theatre, directed by two-time Tony Award Winner Judith Ivey, follows the treatment of one Fugue patient, Mary, played by Deirdre O’Connell, who is found wandering in Chicago, her feet blistered and bloody. She has been travelling continuously on the L-Train, but she does not know why. Doctors at the hospital immediately recognize this as a symptom of the "fugue" state of amnesia, where the patient is literally running away from an intolerable memory and a young psychiatrist (Rick Stear) is assigned to work with her. But he too is running from his own demons after a mistake he made with a patient which had a devastating effect on his own life. His job is to make her remember, but if she does, will he be repeating the mistake that he made? Sometimes the hardest memories to run away from are the ones that you can't even remember.
 
Winner of the American Theatre Critics Award for Best Play in Regional Theatre, ‘Fugue’ is a masterpiece, and the cast fantastically placed. O’Connell is remarkably moving in her sometimes painfully honest portrayal of Mary, and Stear fantastic as the wounded Dr. Lucchesi trying to understand her. Ari Butler and Lily Corvo are also excellent, both making their Off-Broadway debuts. But there are no weak links, unless you count the mind as a character and Thuna’s piece is both poignant and uplifting in equal measures.
 
This piece is as charming as it is terrifying, as honest as it as dark, intriguing as it is engaging. Where it finds holes it tries to fill them, where it finds loss, it tries to bring healing. If it is a terrible thing to lose your memories, then it follows that it must be an amazing thing to find them again. And it is.
 
‘Fugue’ runs a limited engagement until April 22. Tuesday at 7pm, Wednesday – Friday at 8pm, Saturday at 2pm and 8pm, Sunday at 3pm. Tickets $45, $50
 
Cast: Charlotte Booker, Ari Butler, Lily Corvo, Liam Craig, Deirdre O'Connell, Danielle Skraastad, Rick Stear and Catherine Wolf.
 
Scenic design by Neil Patel
Costumes by Gail Cooper Hecht
Lighting by Pat Dignan
Sound by T. Richard Fitzgerald and Carl Casella.
 
For more information please visit www.cherrylanetheatre.com or call 212-239-6200
Mar 27th

The Pirate Queen on Broadway!

By Luke Tudball
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Ok, I'm a little confused. I'll admit it. This is supposed to be a new show right? That's what it says on the posters...A "spectacular new musical from the Tony Award-winning authors of 'Les Misérables' and 'Miss Saigon'...an epic musical adventure". Hmmm - what am I missing?
 
'The Pirate Queen', based on the real-life story of the "legendary" (Eh? I've never heard of her) Irish Chieftain Grace O'Malley, is Claude-Michel Schönberg and Alain Boublil's latest offering to the Great White Way and has all the elements that you would expect in a Broadway show and yet somehow is lacking something. It's not actors, oh no, there are forty or so of them, and it's not dancing, there's lots of Riverdance-style foot-twirling going on (the producers of the show Moya Doherty and John McColgan also produced 'Riverdance'), and not music - this show runs at just under three hours. This pairing of Schönberg and Boublil has produced before and they have the awards to prove it, as does the director, Frank Galati. So what is it? Ah yes......plot and singable tunes. Simple really.
 
A very great director friend of mine once told me that all you needed to make a great musical was a great plot and easily-singable tunes, although a good-looking leading lady always helps. Stephanie Block, this shows leading lady, is very good but has little interesting to do except change costume between every scene, but is well-complemented by Hadley Fraser (he's been a pirate before in 'The Pirates of Penzance') as her love interest Tiernan. Together they sing some powerful duets, but none that stick in your mind such as some of Boublil and Schönberg's previous showstoppers. The music on the whole seems a little lacklustre and very repetitive. It’s a shame, Block and Fraser both are certainly very accomplished for their years and to my mind deserve much better roles than these. Linda Balgord, as Queen Elizabeth, is excellent, but lost in a sea of boring scenes which tell us next to nothing about the conflict between England and Ireland - theoretically, the basis of the story! (I only know that because of the synopsis in the program). And this, I think, is somewhat of a theme throughout the performance. A lot of effort has gone into making the show look great. Rumours say $20 million of effort. The actors are all excellent, and well-cast. The set is simple to look at, yet extremely effective in its hidden complexities. The costumes are lavish. And the lighting......WOW. Kenneth Posner's lighting for me is probably the most beautiful I have seen for a long time (and I’ve seen ‘Wicked’ four times), certainly the most interesting thing to look at in this show. Although I was certainly amused at the costumes of Queen Elizabeth which seemed to get more and more outrageous scene by scene.
 
Maybe I'm being too critical. A lot of people loved the show. Lots of people bought souvenir t-shirts. Next to me a family from Alabama said it was the first and best thing they had seen on Broadway. People clapped, smiled, laughed, and even cried during the epic two acts - possibly due to massively loud canon fire at the beginning of act two loosing dust from the building. I don't know. I think maybe I just expected a lot. I love 'Les Misérables', but more than that, I love musical theatre. I love going to see something that can only happen then and there in front of you that amazes, confuses, excites, and enraptures you all at the same time. But sadly, this only frustrates me. I want it to be good, and it has so much potential to be. As one reviewer puts it “You end up dazzled, exhausted, impressed and exalted — but rarely moved.” You just have to cross your fingers, tap your heels together three times and say, there’s no place like home…oh wait…darn, that’s a whole other show…
 
‘The Pirate Queen’ is currently running on Broadway at the Hilton Theatre, just off Times Square. For more information, please visit www.thepiratequeen.com