n the midst of gentrification and a looming financial deal to drive preexisting renters away, retired policeman Walter “Pops” Washington sits in one of the last rent-controlled apartments on New York City’s riverside drive.
This may not be Ben Platt’s first walk down the Tony Awards road, but it surely is an important one.
In Second Stage Theater’s Broadway production of THE THANKSGIVING PLAY written by Larissa FastHorse of the Sicangu Lakota Nation, directed by Tony Award Winning Director Rachel Chavkin, this play uses humor and absurdity to address our society’s inability to recorrect it’s happy “peaceful dinner” narrative to the brutal reality of how Indigenous communities that have been massacred, brutalized, and erased from American narratives and especially their own land. With a star filled cast including D’arcy Carden (TV’s The Good Place and A League of their Own), Award Winner Katie Finneran (Noises Off, Promises Promises), Scott Foley, and Chris Sullivan play teachers and actors in real time trying to figure out how a cast of all white people can effectively honor the voices of Indigenous people and their history. With a script that reflects the many conversations and efforts of out “artistically inspired allies” that is highly aware of its time and place living after the BLM movement, FastHorse tactfully writes a story centering white bodies and their allyship (even if it’s performative) to highlight the American discomfort that comes with the truth of Native American History.
The critically acclaimed novel turned Academy award winning film open at the Schoenfeld Theatre in March.
Growing apart, even among the most brief of friendships, makes us lovesick for the memories of what once was, and calls us to mourn the potential of what could have been.
The Knockturnal attended the VISION GALA at New York City Center. The Dance Theatre of Harlem honored Founding Member and Outgoing Artistic Director, Virginia Johnson with the Arthur Mitchell Vision Award; and arts advocate, business leader, and former DTH Board Chair Reginald Van Lee with the Virtuoso Award.
The Pulitzer Prize-winning play will run for 14 weeks at the American Airlines Theatre.
The Pulitzer Prize-winning play officially opened on Wednesday for a 14 week run at the American Airlines Theatre.
In the midst of this tumultuous political environment, urbanStages presents a kind and in depth look into American History from a different point of view. Eleanor and Alice: Conversations Between Two Remarkable Roosevelts, an appropriate title for this new play, written by Ellen Abrams, having previous iterations (including readings to radio plays), is now making its world premiere at urbanStages. With Tony Award winning Trezana Beverley playing Eleanor Roosevelt and Drama Desk Award winner Mary Bacon playing Alice Roosevelt Longworth, these historical figures are embodied with a fullness and dimension that will keep your attention throughout the intricacies of their careers and thought experiments.
The show explores the complex lives and relationships between Eleanor Roosevelt and Alice Roosevelt Longworth and their innate differences, despite being a part of the same family. We watch as they bicker and disagree with one another throughout their lives, yet inevitably learn to listen and grow together through the highs and lows of their personal lives and careers. Not to mention doing such a thing with a major spotlight shining on them given their place in mainstream politics.
Before the show began, songs like “Let’s Misbehave” hum throughout the space and set the tone for the beginning of the show. The stage is established with two settings on the same stage. A brightly lit side with white wicker furniture and a dimmer lit side with vintage makings for a homey cottage. A projection reminiscent of the first “moving pictures” projects the title of the show on the back of the stage. Soon we are placed in 1904 where we meet our leading ladies in their youth. Eleanor Roosevelt impatiently waiting upon the arrival of her cousin, Alice Roosevelt. When Alice bursts onto the stage, the two almost collide immediately: both in energies and ideals. With costumes in contrasting color palettes, we feel a sense of “frenemy” quickly established between the two as they discuss the favoritism that leans towards Eleanor in their family, marriage and the extent of their political beliefs at that stage of their lives. To hear veteran actors speak on topics that a 20 year old would focus on, like marriage and rumors, reminded me how even the grandest of people were also merely 20 year olds at some point in their lives. Then hearing them discuss such stereotypically feminine expectations in the 1900s coming from the mouths of adult women made me think of how the game of womanhood was created long before we even knew that women were playing a game. As they age, these ideals press so hard onto the women that they ask themselves if they could go back in time, what should they change and Eleanor states that “once a bell has been rung, it cannot be unrung.”
As time passes, we see both of the women at ages 36, 38, 40 run straight into their choices in life, happily or with spite. The language that our playwright Ellen Abrams constructs is a wonderful balance of traditional and contemporary. With proper diction that honors the era of the 1900’s while also creating dialogue for these women to think of contemporary problems such as identity, religion in politics, and the ever pressing issue of democrat versus republican. In between each scene we see vintage news articles and quotes by both of the women projected onto the stage while we shift into each new chapter in their lives. At age 48, we shift out of the Roosevelt Family home and into Eleanor’s home office as we follow them to the later half of their lives. Their costumes, once visually in opposition with one another begin to share a similar color palette in their respective styles as the two discuss more complicated political matters: communism versus capitalism, equal rights for women and people of color (specifically Black Americans), the US’ relationship with other nations and committing to grand changes and actually following through on them. And on the other hand, we see how these two balance their professional lives along with their maternal identities and how even with varying opposed beliefs, in times of loss, they were there for one another. We see both of the women mature and become grounded in their beliefs. We drop into moments of major achievements and painful loss.
With a show mostly filled with long and intricate discussions, there are two moments that stand out to me the most. Besides the clever quips from both parties, reminding me that their wit stands on par with their political standings, I found myself being truly moved by the emotional intimacy shared with the audience between Bacon and Beverley when Alice’s daughter Paulina passed away. With the two sitting Downstage of the set, the women listened to one another and pulled me in deeper than I already was. It was really a beautiful moment that showed how these “characters” are not just names in our history books, but women who went through tremendous struggles while making an effort to do their best. Alongside the growth for Alice seen in her managing her losses, Beverley seamlessly matured Eleanors character to the point that when Eleanor gets excited to see Sputnik take off, there is a light that shines brighter in her eyes while exuding her mature disposition. We can’t help but jump with her as she declares that “the future will not wait for us. We must catch it before it flies away” even at the age of 73. This belief embodies Eleanor fully in her hopes and her kind character that guided her life.
The show closes with warm lighting on the two women, and at the end of this piece one is left with a better understanding of American history and a new affinity for these women who played major roles in our nation’s past and present. Eleanor and Alice made the history of these characters accessible to those who do not consider themselves “History Buffs” but will also be a lovely shared experience to those who share in these memories. Eleanor and Alices plays till April 30th at urbanStages.
Photo Credits to urbanStages Production team
The McKittrick Hotel, home of the infamous interactive theater experience Sleep No More has added a new attraction to its lineup—the National Theater of Scotland’s play and Drama Desk Award-winning production of The Strange Undoing of Prudencia Hart.