Theater
The Notebook Lights Up Broadway
On a blisteringly cold late winter Sunday, we headed to Times Square to watch The Notebook on Broadway. It was still in previews, so theater lovers and industry members piled into the Schoenfeld Theatre to experience a musical take on the beloved Nicholas Sparks film. What better way to make this tear-jerker of a story even more emotionally charged, than to put it live onstage and add poignant melodies by Ingrid Michaelson?
On Wednesday, March 6, the Roundabout Theatre Company presented the first revival of John Patrick Shanley’s play, Doubt: A Parable. Directed by Scott Ellis, the production asks questions about what’s fact versus fiction and who should be believed.
“The Maid and the Mesmerizer” Has World Premiere at A.R.T./New York Theatres
On March 3, A.R.T./New York Theatres presented The Maid and the Mesmerizer, a new play inspired by the Brontë sisters. Written by Patricia Lynn and directed by Jenn Susi, the two-hander details a high-energy love affair between a hypnotist and his assistant.
There have been dozens of parodies of the story of King Arthur. However, “Spamalot” stands as one of the most unique due to its comedic nature and its downright absurdity.
Based on the 1975 film “Monty Python and the Holy Grail,” the musical has been brought to life multiple times over the years since its debut in 2004. Now, after almost twenty years, the musical is back on Broadway with a star studded cast, and an updated script that truly does the original material justice.
Director John Rhodes is truly at the center of this revival. Each staging and performance aspect is a remarkable choice that leverages the entire story in general. From the first moment the curtain opens, the audience is taken into the realm of Camelot through the assistance of the Historian (Ethan Slater). Irony is strong along with a major amount of symbolism and analogies in the plot. One enjoyable aspect of this revival is its nods to current pop culture. The musical tries to stay relevant by referencing some of the biggest headlines, products, and people of 2023 which added greatly to the humor.
“Spamalot” is filled with exceptional performances. Each actor brings their unique comedic timing and talent to the stage, capturing the essence of the beloved King Arthur characters. James Monroe Iglehart is the perfect King Arthur. His portrayal of a “narcissist” king is magnificent. Each scene and song number featuring King Arthur is witty. Leslie Rodriguez Kritzer as The Lady of the Lake is one of the brightest performances of the show. Kritzer uses improv unlike any other cast member in the show. It added an element of spontaneity that resulted in many memorable moments. In all honesty, this production has a solid cast. The entire cast, which includes Taran Killam, Michael Urie, Nik Walker, and Ethan Slater, exudes a spirit of determination that would enable them to effectively create a fantastic production even if there was an absence of a solid script or director. It is evidence of the collective skill of all the entire production.
Overall, the set design was quite enjoyable to view. It bore a campy vibe while emulating 5th century architecture. The costumes are intricately designed, fully bringing life to each character even more. However, the entire show’s musical core occasionally lacked impact. Even if there are several witty numbers and humorous tunes, the overall musicality and choreography missed a sense of allure. Kritzer is possibly the most striking performer. But given that the sarcastic lyrics are supposed to be the main attraction, it’s understandable that the musical quality would be less important than the entire presentation.
The second act was another area where the production fell a bit flat. The tale is set up quite well in the first act, but there is a lack of coherence in the second act when the knights are divided. Although their attempt to reconcile is believable, the second act devolves into unimportant subplots that ultimately added nothing to the production. This small criticism, nonetheless, does not take away from the musical’s overall genius.
There is a noticeable focus on maintaining the essence of the Monty Python classic throughout this entire production. The musical truly lives up to to it’s source material while also making room for modern elements. The cast is strong, while the creative aspects of this production flourish. Though there are moments when the second act lags, overall it’s a wonderful experience fit for a king.
Tickets to “Spamalot” are available now. The play is now running at the St. James Theatre
“I Need That” is a work that takes its title literally.
Directed by Moritz von Stuelpnagel and written by Theresa Rebeck, the Roundabout Theatre production is a new play that stars the immensely talented Danny DeVito, Lucy DeVito, and Ray Anthony Thomas. The play follows a widower named Sam with an addition to hoarding. He refuses to fix his problem until his home becomes at risk of being demolished. With the help of his friend Foster (Thomas) and his daughter Amelia (DeVito), Sam learns that there’s value in the things around him, but he must let them go to move forward with his life.
As the narrative begins, we are immediately thrown into Sam’s world of chaos. Items spanning decades consume his house. There’s books, newspapers, games, clothing items. You name it, the house has it. The beauty of this production is that although there’s so much on stage, the character’s actions and feelings aren’t overshadowed. We understand that these items aren’t any more valuable than Sam, and even more we come to understand these items are a response to grief. It is revealed early on that Sam has lost his wife years prior. As we witness Sam explain why he keeps the items, there’s a sense of sadness masked behind delusion ad fear. The portrayal of hoarding as a result of emotional trauma was examined flawlessly.
Furthermore, the relationship between the three characters was refreshing to watch. They rely on each other heavily, but over the course of the narrative gain some independence. This especially goes for Amelia. Her role was always to be her father’s caretaker and the audience views how this unfortunately leads to a bit of resentment of both of their parts. However, she watches as her father transforms both his home and his mindset, and she becomes less inclined to worry about him. The two additionally learn that they’re not as different as they seem. Both are still grieving over the loss of their loved one. This shared journey is accumulated in cleaning the house which acts almost a a device of reconciliation.
The play explores human connection and empathy brilliantly. Foster acts as a guardian for Sam. He offers support and assistance where needed and he never bares immense judgment of how Sam lives. The two even bond over their shared experience as old men who seem alone in the world. Moreover, the choice of how their relationship shifts in the climax of the play was wisely done. Foster betrays Sam, but the latter learns to forgive him almost instantly. And even with this betrayal, you can’t be angered by Foster’s actions. Sam knows he can’t survive without Foster and vice versa. This codependency made the story even more heartbreaking. In the end, both men find strength and healing through their shared experiences. This strength allows them to live their lives separtely, but their brotherhood lives symbolically through a guitar.
Danny DeVito truly shines as Sam. No other actor can invoke a sense of raw sorrow while also making an audience laugh as he does. DeVito’s portrayal is uniquely him, and that is what makes the production so special. It felt as though this role was crafted for him. And with his daughter Lucy as Amelia, it’s even more apparent. Both have a recognizable chemistry that is a no brainer. Adding in Thomas makes them a perfect unit.
In terms of aesthetics, “I Need That” is visually strong. The set design nails the essence of the chaos and clutter of a hoarder’s home which greatly reflects the inner turmoil. Additionally, when certain items are highlighted in the show, you can’t seem to forget them. Your eyes tend to wander to see if they’re still in their spot, and they are. There’s a great amount of consideration for how hoarders are able to accumulate items. Everything is woven together, and “I Need That” reflects heavily on that sentiment. The lighting was another major key to the story. Low dims and striking balances of colors for certain scenes enhanced the overall emotional impact. It wasn’t only the performances you were moved by, but the entire creative direction of the show.
The most beautiful part of “I Need That” is that Sam’s stuff is not matter, but memory. For example, a board game holds the memory of his late wife. It’s not just in this board game, but every object that surrounds him. Sam learns though her memory is not only in material things, but in Lucy as well. It’s this revelation that allows him to finally take back his life, and step outside. This play is an emotional tale that reminds us that trauma manifests itself in different ways. A lesson we can learn from this is to always lead with empathy.
Tickets to “I Need That” are available now. The play is now running at the American Airlines Theatre