Measure for Measure: A Collaborative Effort

Last summer’s Shakespeare in the Park was a true collaborative success. The beautiful Delacorte Theatre in Central Park hosted a wonderful production of Measure for Measure. The lesser-known Shakespeare play possesses no general expectations and this creative freedom was fully realized by Director David Esbjornson and the production team.  Every element of design was well thought out and was clearly expressed.

The opening scene exhibited separate trades creating a unified and effective product. Demon-like creatures danced around the Duke, symbolizing a disturbed Vienna full of sin. The lighting was dark and shadowy, a representation of the unease generated by this disturbance. The original sound design established dramatic tension using a modern mix of choir music and low tones.

Besides the audiences disregard for theater etiquette, the experience was enlightening and motivating. The production was comprehensively achieved and staged elegantly. The complete collaboration of the artists involved was obvious. Theatre practitioners should strive to emulate these qualities of Measure for Measure. 

How to Succeed, Radcliffe Style

How to Succeed in Business Without Really Trying first opened in 1961 with much success, winning multiple Tony Awards. This summer’s revival starred Daniel Radcliffe of Harry Potter fame.

It is doubtful that the revival would have succeeded without Radcliffe’s presence. The audience was filled with children, obviously attending for the celebrity. The energy present in the audience previous to the show is attributed to the hype over Radcliffe.

As the drop of NYC flew out, Radcliffe stepped into a spotlight and the young audience drowned the jazzy overture out. Radcliffe performed well; his voice and dancing were satisfactory but not extraordinary. He was, however, successful in making the script relevant to the present. When J. Pierrepont Finch exclaimed, “I’m in love”, Radcliffe made the decision to jump on the couch, a reference to Tom Cruise.

How to Succeed is a clean and fun musical that is good for all ages. It doesn’t delve into heavy issues but is light-hearted and entertaining. This kind of musical is a perfect introduction to theatre, and the name Radcliffe attracts initial interest for a younger audience. How to Succeed may not blow your mind but it will spark awareness of the art of theatre for a younger generation to cultivate. 

Bengal Tiger Haunts

Bengal Tiger at the Bagdad Zoo is a hard-hitting story about the horrors of war and its psychological effects on people involved. The episodic play involves people being haunted by those who have died in the war, including a tiger that was shot by a soldier.

The opening scene features two soldiers guarding a tiger. After taunting the hungry tiger, which is played in human form without costume by Robin Williams, the tiger bites off the arm of one of the soldiers. Soon after is the first haunting in the play and many more follow. Although some of the characters are dead, they still have desires. Many of them are looking for answers and more specifically, God. As the living interact with the dead, more uncertainties arise and the war continues.

The distinct difference in Iraqi and American cultures is a prominent theme, along with war and destruction. The behavior of the American characters is distasteful and at times appalling resulting a powerful statement about others opinions of Americans.

The performance was executed impeccably. Many special effects were used to convey gory scenes including gunshot wounds, slit wrists, and an arm that was bitten by a tiger. The actors used excellent stage combat to create a realistic sequence of events. 

Arcadia: A Mystery of History

               Arcadia tells the story of an enthusiastic don (played by Billy Crudup) and an author uncovering events of the past. The play shifts between two time periods, as the modern characters uncover the details of events that occurred in the same manor in the early 19^th century.

The visual and aural elements of the performance created a realistically flowing plotline. Sound cues usually denoted time change between the world of the 1990s and the 1800s. The scenic design was extravagant, mirroring the style of the 19^th century. The set was picturesque and its enormity made the characters appear small suggesting the significance of the house and its constancy through different time periods. This forced the audience to think about the importance of the location of actions in the play, while considering how we process and accept information.

Arcadia expects an intelligent audience that can follow along with obscure historic references and keep up with the mass amounts of information that is offered. The play questions perception of the past offering a new way to analyze the world. The struggle between the characters to determine truth in history presents different strategies in forming perceptions. The audience gathers information from these characters and also from watching the actual events that occurred in the 1800s. This allows the audience to understand the conclusions of the characters invested in research. By witnessing this process, the audience can reflect on methods of processing information. 

Avenue Q, a precursor to The Book of Mormon

In New World Stages recently constructed underground complex, a small theatre houses the continuation of Avenue Q off-Broadway. Though the hype for this show has died down significantly, I couldn’t help but purchase a ticket. Not only was I interested in what originally drew audiences to the show, but also, Robert Lopez (creator, musician and lyricist) recently collaborated with Matt Stone and Trey Parker on a little musical called The Book of Mormon. Knowing I would eventually see The Book of Mormon, I thought it appropriate to see the precursor for this style of musical.

Avenue Q cleverly satirizes today’s society in a world of humans, monsters, and puppets. While the residents of Avenue Q try to get their lives together, they learn many lessons from each other on topics ranging from race to porn. The use of other mediums, specifically television, supported the parody of Sesame Street in the show. For example during the song “Schadenfruede”, the word was displayed on the screen followed by a definition (taking pleasure in another’s pain) and finally, as a character spells it in song, each letter also flashed upon the screen.

            While Avenue Q was a great show in spectacle, I felt it was somewhat outdated. Only some of the issues dealt with in the musical are still relevant. While a great show for entertainment, I wouldn’t recommend Avenue Q to anyone looking for a cathartic experience. 

A Heavy Yet Realistic Family Story

The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures (Intelligent Homosexual’s Guide) is an intense but genuine story of an intellectual family struggling to relate to one another. After leading separate lives, the family is brought together by their father’s determination to sell the house while it’s at peak value and then commit suicide. The family must cope with this plan while managing tangled relationships of their own. Jumbled in the emotional drama is a battle of wits with reference to the family’s socialist ideals.

Tony Kushner is known for writing relatable characters and realistic relationships in hard dramas. Similar to his most recognized work, Angels In America, Intelligent Homosexual’s Guide is full of authenticity. Convincing performances by the actors enliven these intelligent characters in an accurate portrayal of family life, even in the distinctively dark circumstances.

The commotion of family arguments was conveyed through multiple exchanges at one time. Just as the play replicates real life, it also reminds the audience that it is theatre. In the midst of a chaotic family argument, Adam (the ex-husband of the daughter) reveals that he is the buyer of the house by shouting “I bought the cherry orchard!” Upon this exclamation during the performance, the audience went wild, clapping and cheering for Kushner’s metatheatrical salute to Chekhov.

The sincere nature of the script proves that Kushner respects his audience enough not to dilute the intricate story or eliminate complex references. Through the trust built by this respect, the audience is capable of truly investing in the story. Intelligent Homosexual’s Guide is a powerful, moving, but also (in the best way possible) an emotionally exhausting experience. It’s a show that grants its audience a mental and emotional transformation.

“Do you know what the greatest talent in the world is? To be an audience. Anybody can create, but to be an audience…” - Billy Einhorn from The House of Blue Leaves written by John Guare

It is hard to find a play that is more relevant in a revival than in its original context; The House of Blue Leaves may be the exception. Today, Americans endorse celebrity culture. Our fascination with famous individuals couldn’t be more blatant. The multimedia and technological resources are endless, making access to these people effortless. 

The House of Blue Leaves centers on Pope Paul VI’s visit to New York in 1965 and the commotion created by his presence. Artie, a zookeeper and failed cinematic songwriter, lives in a shabby Brooklyn apartment with his bipolar wife, Bananas (a perfect name because she’s barking mad).  Artie’s girlfriend, Bunny, is constantly encouraging him to keep working on his music and eventually leave Bananas. With intentions motivated by a desire for fame, their decisions produce chaos and disaster. As conflict explodes, a dark undertone becomes more apparent. The ending is bittersweet; a hint of hope emerges from a sinister situation.  Dynamic characters and an unexpected relevance to our celebrity-obsessed world transform a decent production into a brilliant one.

It is simply ironic that three recognizable actors star in a production in which characters are driven by a compulsion for fame. Ben Stiller portrays Artie with the disposition of Willy Loman, while adding a hint of comedy. To amp up excitement for Stiller, the first few scenes are carefully blocked, hiding Stiller’s face until absolutely necessary. In fact, we see Jennifer Jason Leigh’s face before Stiller’s, suggesting that his reveal is more important than the scene. However, Leigh demands attention as an enthusiastic and energetic Bunny, keeping the audience alert with exceptional comedic timing. Edie Falco cleverly portrays Bananas. Her depiction of insanity is especially convincing, and despite disconcerting behavior, Falco establishes an empathetic connection to the audience.

         The House of Blue Leaves no doubt draws in a large crowd due to Stiller, Falco, and Leigh. One question comes to mind: Could this production stand alone, without the celebrities? It is my opinion that applicable content and the presence of fame fuse together creating a clever show that is self-reflective. Watching celebrities play characters desperate to be famous subtly produces speculation. Audiences are tactfully challenged to critically examine the world around them.