UK Theatre Network

Don’t be cruel to a heart that’s true…” – Elvis Presley

Elvis Presley is perhaps one of the best-known musicians in recent history. His records have sold many millions of copies worldwide. According to American Demographics eighty-four percent of Americans say that their lives have been touched by Elvis in some way. Well. That’s good to know. I have to say that I have never really been a fan of ‘The King’ and this show does nothing to change that state of affairs.

Walking into the theatre at the New World Stage, “Elvis People” seems a little out of place before we even start. The NWS building is modern and rubberised, purpose-built from the shell of an old movie theatre – perhaps which showed some of Elvis’s movies years ago. Elvis is a relic of a bygone era, and the set highlights this with a various Elvis-style ‘suits’ hanging on the wings along with some cutesy dresses, and what maybe records covering the entire back wall. The juxtaposition of kitsch and modern does not do well here, and I found myself a little unsettled – especially as the rest of the set is glaring white. Things improved a little as the opening music kicked in, and some interesting video projections ensued on the record wall. However, the transitions dragged on and I found myself thinking, just get on with it already.

Henry Wishcamper’s production of Doug Grissom’s new play comes only two years after “All Shook Up”, another Elvis-based musical which did little more than vibrate the audience a little, and unfortunately also fails to really excite. The blame should not be levelled entirely at Wishcamper however, who does a serviceable job with the materials available. In the same vein, the ensemble of actors in this production have fine heritage and there are some interesting performances, but I feel that Grissom’s overly sentimental script and the tedious design does them no favours. There are some nice moments though, and I certainly found myself engaged by Ed Sala in the ‘Elvis in Vietnam’ sequence. Likewise, there are not many laughs in this show, but mention should be made of the ‘Robbery’ sequence which, though a little clunky, brightens a murky second act.

“Elvis People” will close on Saturday, June 23, 2007 after a very limited run at the New World Stages (barring a massive upturn in ticket sales) and I cannot help but think this is a good thing. Separately, the elements of the show promise much, but the vehicle they inhabit when united fails to live up to the hype. I certainly left not so much ‘all shook up’ but feeling more like I was checking into the ‘Heartbreak Hotel’.

“It’s rare when an artist’s talent can touch an entire generation of people. It’s even rarer when that same influence affects several generations.” - Dick Clark

Cast: Jordan Gelber, Jenny Maguire, David McCann, Nick Newell, Nell Page, Ed Sala

Director: Henry Wishcamper

For more information on the show, please visit: www.elvispeople.com orwww.newworldstages.com

There’s only so much buffing a person can do, and it’s fair to say that this production is sparkling, there’s a sparkle on every surface, and yet from the minute the Dusty Springfield hits the turntable you know that this is not going to as easy a ride as you had perhaps expected. Doug Stone’s witty and yet strangely disturbing tale of deepest suburbia hits a spot that others often fail to reach.

It’s difficult to quantify where it starts – the gradual decline of a marriage – and here we are offered no answers. The passing of time, the gaining of weight, the shortening of teenage skirts may perhaps all contribute to the widening rifts. Even if we recognise the slipping away, how do we face it? How do we tell our friends? Our neighbours? How do we face our partners? Elizabeth Meadows Rouse (Bonnie) is endearing and funny in her portrayal of a wife in just such a situation, finding poignancy in the smallest and darkest of moments. Kate Vandevender is also fantastic as the ditzy blonde Tracy-Ann, the perfect foil for J.J. Van Name’s mouthy and disgruntled Sinclair who seems to have a chip for all the world, but then again it could a lot of hot air. Unexpectedly, we also delve into the past life of career-minded Diane (Patricia Dalen), who finds a smile even in the most heart-wrenching of times.

This send-up of sitcoms from past and present, shows that dirty laundry, catfights and coloured plastic can be great fun, but there is no substitute for substance, and pretty packaging only masks what’s underneath. Written and directed by Doug Stone this is a bitter-sweet story which speaks to housewives and house-husbands alike. Truly a fresh take on an age-old conundrum. How does it all turn out? Our lids are sealed.

“Sealed For Freshness” sparkles at the New World Stages, New York, which can be found at340 West 50^th Street.

For more information, please visit www.sealedforfreshness.com andwww.newworldstages.com

For tickets, go to www.telecharge.com or call (212) 239-6200

“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