Hades of course is hell. And singer-songwriter Anaïs Mitchell‘s script and music, directed by Rachel Chavkin, is based on the Greek myth of Orpheus, who journeys to Hades in order to find his love, the nymph Eurydice, who has been killed by a poisonous snake.
Here Orpheus is a minstrel. His wonderful music persuades the King of the Dead to let him take Eurydice home as long as he does not turn around to look at her until they reach the upper world. They have to trust each other. But….
It‘s charming but also hokey: the story of black producers and performers struggling in the early twenties to put a show on Broadway. It‘s 1920 and they are Noble Sissle and Eubie Blake, a comedy duo who meet at Fisk, the black college in Nashville.
Arthur Miller‘s brilliant parable of the Sen. Joseph McCarthy attack on American liberties, allowed by the U.S. Congress till it became too obscene for even cowardly politicians to stomach, is brilliantly staged by Ivo Van Hove, a Dutchman who understands and communicates Miller‘s political message (see also his “A View From the Bridge”) in a theatrical manner that makes politics into art. Using a metaphor of real events some 260 years earlier, it tells of accusations without evidence that were used to damn the innocent. They occurred during the Salem witch trials in the Massachusetts Bay Colony, 1692-93.
Laura Benanti is stunning and luminous as Amalia, a smart, assertive clerk in an upscale perfume shop in 1934 Budapest. Her trilling soprano shimmers.
The story itself is corny, schmaltzy. The slow start makes you think sit com, but it gets better. Its light fluff is underpinned by some serious commentary about the economic condition of workers and the way men treat women.
Think of Philip Ridley‘s play as a Gulliver‘s modest proposal for furnishing your home. Nothing like what Martha Stewart might recommend. It‘s a very smart macabre satirical over-the-top sci fi allegory, a modern deal with the devil, and in case you weren‘t sure about what counts, director David Mercatali opens the play with Madonna‘s “Material Girl” and the Beatles‘ “Money.”
This 1974 Alan Ayckbourn play, seen for the first time in the U.S., is a master class in how to use theatrical devices. In five one-act plays with the same superb ensemble cast, it uses absurd farce, irony and slapstick to show how people miscommunicate as their needs and desires collide.
From Jessica Lange‘s remarkable dissolution as the drug addicted Mary, reaching her nadir (and theatrical heights) in her mad scene, to Michael Shannon‘s stunning drunk, you are blown away by Jonathan Kent‘s staging of Eugene O‘Neill‘s “Long Day‘s Journey Into Night.” It is autobiographical. His father was a famous dramatic actor and O‘Neill as a youth traveled with his parents. The younger son, Edmund, stands in for O‘Neill.
If you like bluegrass and feminist stories, you will love this Steve Martin-Edie Brickell show, as I did. Carmen Cusack is a dulcet-toned charmer as the heroine. Martin and Brickell did the story and music together; Martin wrote the book and Brickell the lyrics.
The fascination of Florian Zeller‘s play about a man suffering from Alzheimer‘s is that it is told from the point of view of the sufferer. I noted early on a very beautiful French desk, and then not long after, it wasn‘t there. Hmm, I thought. What happened to the desk? Then other items of furniture in his apartment weren‘t there.
Or was it his apartment? It seems that his daughter was married and living in London. But no, he was living in her Paris flat, and she was married to someone else. Or was that the case?
Workers solidarity, a labor union, caring about each other may appear a bit old fashioned in this neoliberal era, but Dominique Morisseau shows vividly how that is a lifeline for four people facing the loss of the jobs at a Detroit auto plant in 2008. At a time when the corporate 1% thinks nothing of what closing factories does to workers.
That of course was the year that bankster fraud almost brought down the world financial system and caused business failures that threw millions of people out of work.
Danai Gurira‘s stunning, naturalistic play is about the horror of war with no horror shown, only talked about. It takes place in Liberia during the civil war of the 1990s and 2000s. There is something surreal there. Three women who have been taken as sex slaves by a military commanding officer are so dehumanized, they have no names. They call each other Wife #1, Wife #2, Wife #3, as their only identities.
Yet, there is some solidarity. The older one (Saycon Sengbloh) there 25 years – since she was 12 or 13 — seems beyond outrage; she cares for other girls. Wife #2 (Zainab Jah), about 19, escapes to get a gun and join the army so she can kill men who attack her. She declares, “With a gun, no man can touch you.” Wife #3 (Pascale Armand) is pregnant, naïve, cried at the rape, but sees no way out.
Surprise that a play about a famous homosexual starts with a man and woman cavorting in bed. We see them waist up, she is nude. But we discover that they are just hotel servants, not the main attraction, who is gay and upper class in his tastes. That‘s Oscar Wilde, the playwright whose sense of entitlement probably helped blind him to the dangers of challenging the British upper class hypocrisy that, riven with homosexuality itself, just didn‘t like it displayed so openly. Not in 1895. So, in some ways, David Hare‘s very strong play is as much about class as about sexual choice. Class, of course, plays a role in other Hare plays.
June 3, 2016 – Joseph Stiglitz, Nobel prize-winning former chief economist of the World Bank, says that the way to solve corruption and money-laundering facilitated by offshore banks that run secret accounts is to “shut them down.” And the way to do that is to ban non-transparent banks from US correspondent accounts. He spoke at a Council on Foreign Relations meeting today.
At the breakfast on “Is U.S. Finance Hurting Growth?”, he addressed an aspect of banking that was not on the agenda, asking, “Why do we have offshore banking?
The American Interest, May 26, 2016 – It will indeed, unless something changes, according to a member of a European Union delegation to the United States investigating shell companies.
An international agency could label the United States a tax haven as the result of America‘s refusal to require the names of beneficial owners of companies registered in the U.S. So said European MP Eva Joly, a member of the European parliamentary delegation to the U.S. that met last week with government officials and Congressmen on the issue of America‘s clandestine shell companies.
This is one of those emotionally riveting plays that suddenly flips you over as you realize that everything you took for granted is not so. You are quite sure that David Harrower‘s story fits in with your beliefs about men‘s sexual abuse of young girl, until maybe it doesn‘t. Strongly acted by Michelle Williams and Jeff Daniels. (Williams is so much better than her bland performance in “Cabaret,” that you don‘t think it‘s the same person.)
In Richard Bean‘s affecting “Toast,” workers in a British bread factory stick together to combat fatigue, danger, insecurity. Bean wrote the play out of his experiences working at a bread factory in Yorkshire when he was 18.
The men work with old machinery that might break down and cause the owner, who is doing no maintenance, to shift production elsewhere. Yet, they endure stoically the danger of getting hurt – someone‘s arm got crushed — because they need the work. We come to see that they also need each other.
The American Interest, May 12, 2016 – Solving the offshore money-laundering and tax evasion system is easy, but the Obama Administration‘s proposal isn‘t the way to do it.
Stung by the Panama Papers revelations of worldwide tax evasion by the rich and powerful, President Obama has seized the moment to propose a solution guaranteed to gather headlines”and then fail. But if he wanted to, he could, through the Treasury Department, end the system of offshore tax havens with a stroke of the pen.
First, let‘s look at the solution and, then, at what‘s wrong with the President‘s proposal.
The Obama proposal acknowledges the threat offshoring poses to our national security. Treasury estimates that $300 billion in illicit proceeds are generated annually in the United States due to financial crimes. But it then essentially ignores the powerful weapon it can wield against that threat.
Philippe Chow‘s cuisine is delicate, subtle, an infusion of Chinese flavors into an American sensibility. One of the waiters told me, “It‘s Americanized food. It‘s Beijing style, but you won‘t find this in Beijing.” It‘s a sophisticated take on Beijing cuisine.
“Echoes” is a powerful and intense play that explores the imperialist mindset as it compares the experiences of two women who lived 175 years apart in Ipswich, England, and were each swept up in the murderous rampage of godly imperialist killers. It won a Spirit of the Fringe award in Edinburgh last year and transferred to London.
April 26, 2016 – A drumbeat of the Troika that ended Greek sovereignty last year was that the government wasn‘t collecting taxes. The Troika was the European Commission (EC), the International Monetary Fund, and the European Central Bank. That charge came from a collection of states that includes some of the world’s worst tax evasion enablers, including the Luxembourg of EC President Jean-Claude Junker, whose country is a world class tax haven. Former Greek Finance Minister Yanis Varoufakis revealed for the first time how days after he resigned, the Troika effectively abolished a unit he had set up to combat tax evasion.
A little weird, but Sherlock Holmes stories always are. A guy who wants a young employee to cut her hair. And to wear blue. He lives in a castle, of course. Maybe his wife is a lunatic. So the plot thickens. It‘s “The Adventure of the Copper Beeches.”
April 14, 2016 – Bernie Sanders supporters came to my Greenwich Village neighborhood April 13th, filling Washington Square Park for a rally that raised the issues he has made the focus of his campaign – how the super-rich have taken over the country‘s politics in their interests.
April 7, 2016 – Secretary of Commerce Penny Pritzker appeared at the Council on Foreign Relations a few days ago and treated the members to misinformation about the proposed Trans Pacific Partnership, which is being promoted by President Obama and corporate America as a free trade benefit. Opposition to TPP has swelled as the public found out the details of the treaty which was negotiated in secret, with input only from corporate representatives, and not even made available to members of Congress. Much of it was revealed by Wikileaks. Pritzker said in her remarks at the April 4th event that critics were “not telling an accurate story or telling part of the story and blaming trade for something that‘s larger.” So, in a question, I pointed out that “I heard a lot of facts that I thought were misstated from your presentation.”
Alfred Uhry‘s 1995 play “The Robber Bridegroom” is a hokey, campy amusing fantasy complete with an evil stepmother, a naïve father, and a two-faced hero/villain, Jamie Lockhart (Steven Pasquale) who has, we must believe, a different face when he wears a small marker that indicates a berry stain. All done to the fine and lively sounds of invigorating country music. (Music by Robert Waldman.) And Connor Gallagher‘s very good down-home choreography.
George Bernard Shaw‘s first play, given a first rate performance by The Actors Company Theatre directed by David Staller, establishes the theme of personal morality vs business corruption that would be a signature of his works through the years. He wrote it in 1892. Shaw from the start liked to skewer snobbery. Harry Trench (a naïve but likable Jeremy Beck) and Billy, more formally William De Burgh Cokane, (the unctuous Jonathan Hadley) are British tourists at a hotel on the Rhine. Pretentious Billy flavors his speech with French, and we enjoy the fact that his accent and grammar are dreadful.
