There are laugh lines — even laugh-out-loud lines — though much of what’s funny may well be unintentional.
The twenty-seven-year old-daughter, Carol (Jessica Digiovanni), who still lives at home, engages in a curious and quite funny passion for real-estate brokers, “young men dressed like Mormons,” who manage literally to get her off by spouting “real estate porn” — Carrara cladding stone, sweeping views from wrap terraces, room-sized showers with scores of body jets — well, you get the idea.
American Psycho has more than second-act problems; it has what’s-the-point problems.
I cannot suggest you will enjoy The Father, now playing at the Manhattan Theatre Club. But I promise you, you will be moved—perhaps wounded.
As the colorful two-faced rogue, Steven Pasquale, as Jamie, brings the heat. He is every woman’s bad boy—at once hot and funny. He’s Zorro and Butch Cassidy. Yes, you fall in love. Well, as it is only 90 minutes, perhaps it’s lust, but he grabs you early and keeps you close.
Bottom line – I had a good time. I knew the songs. I wore the clothes. I liked the silliness and the way, way overdrawn parodies. Cheesy? No question. Fun? Yep.
Playwright Laura Hirschberg takes a powerful swing at making an original theater piece out of an oft-told-tale. Verona Walls comes off as fresh and fun—even clever.
The Helen Hayes was alive with laughter—belly laughs, laughs of surprise, and knowing laughs of “oh-yeah-been there!” There were moments of giddiness, near-giggling. Still, you cannot call The Humans a comedy.
Morisseau sings the song of Detroit—this is the third in her hometown trilogy—but, more, she is writing an original American story. You might trick out the set with WPA murals, tributes to the American worker at the dirty finger nail level.
All that said, bundling into one of New York’s scrappy off-off-Broadway houses to sit in the dark and watch three people become three other people—delivering a reasoned view of the world from a skilled playwright/director —is its own reward. If you are a fan of theater on the margins (which is not to say edgy theater)—this is a good candidate.
A robustly handsome young man of soldier age, Gwyther performs this one-man “spoken word” poem-cum-drama in a spellbinding sixty minutes.
There are a few moments of titillation that evoke the ‘old life’ some of the characters enjoyed before the kids were part of the equation. It is a genuine pleasure to see all of Alex Hurt (Jason) heading for the outdoor shower at a Pines rental.
The buzz around the current production hangs on the inventiveness of director Ivo van Hove. His refinement of the play to essentials, devoid of conventions of costume and set, offers us a truly fresh take on an American classic. The scene is stark and elemental; a grey box rimmed with transparent bench seating all around. It is, in every sense, stripped to basics.
Yes, the way these women live—paycheck to paycheck and enraged at their evident failure to prosper—is grim. The good news here is that Pollono’s storytelling hangs on well-developed characters engaged in a dark comedy. So while you despair of their progress you are laughing hard with them as they bang through adversity.
The thing is, this is fun. It is lively and joyous. It is one of those uncommon experiences in theater when the joke is absurd and we are all delighted to be in on the joke. Just go.