Thursday, May 29, 2008

Iron Man and the Purgatory of W. B. Yeats


A third of the way into Iron Man, I thought G. B. Shaw's Major Barbara might break out. Tony Starks (the fab. Robert Downey Jr. without whom the movie is lost) experiences inner conflict about the place of his international munitions corporation in modern warfare. His epiphany echoes Major Barbara's at the challenge of inheriting her father, Andrew Undershaft's arms factory: "Money and gunpowder; freedom and power; command of life and command of death."

But then the horror of Jeff Bridges with his bald head and bad beard announces that this is a conventional superhero movie even though he is wearing his Big Lebowski shoes throughout.

Purgatory by W. B. Yeats @ Handcart Ensemble

On May 31st, the Handcart Ensemble will offer Yeats' Purgatory, a seldom produced one-act, in a benefit night. The Nobel Laureate is, of course, known for his poetry, but he also wrote many challenging, experimental plays. Yeats' last play, Purgatory anticipates one of Beckett's later themes, the futility of trying to fight against the limitations
of the body.


Purgatory will be directed by Joan McCready and will star Sam McCready, a founding member of Belfast's Lyric Theatre. The Handcart always does such interesting productions, but don't take my word for it. Take Paul Muldoon and his Pulitzer's word for it:

“I simply can’t imagine a better production of The Burial at Thebes. Handcart Ensemble is a spectacularly gifted group, absolutely equal to the subtleties of Heaney’s text. I’ll go anywhere to see anything they do.”

Sunday, May 25, 2008

The Living Quarters @ NY Irish Center

"There are no spectators, Charlie. Only participants." - Sir



I had a marvelous time last night at the New York Irish Center's The Living Quarters . The NYIC presents its theatre as part of a Cuisine, Culture and Craic night. Part fundraising, part theatre, part community gathering, the plays produced at the Irish Center are events. For the price of a $45 ticket, the evening begins with champagne and appetizers for an hour. Lovely salmon on brown bread. At long tables, people begin to talk to each other and newcomers to the neighborhood are made to feel welcome in the hall. Everyone then moves upstairs to the play. A hot buffet dinner is served during a lengthy intermission.

There may be some drawbacks to this. The same audience which was so enthusiastic after the open bar before the play may be distracted after the open bar during intermission. Comedy might work best under these circumstances. Last night, Anna's (Kendra MacDevitt) plea to her husband and stepchildren for understanding fell on the deaf ears of her family and the audience, happy in their camaraderie. On the other hand, the audience became an extension of the Butler family and brought a new aspect to interactive theatre.

The play, directed by Patrick Mahoney and Angela Milton, runs again May 31 and June 1 and features Diana Harkin (Miriam Donnelly), Jimmy Kerr (Charlie Donnelly), Jo Kinsella (Helen Kelly), Peter Maguire (Fr. Tom Carty), Matt McAllister (Com. Frank Butler), Kevin Spencer (Ben Butler), Keelie Sheridan (Tina Butler) and Christopher Donoghue (Sir). The Living Quarters is an early Brian Friel memory play. It is cleverly constructed - similar to Pirandello's Six Characters in Search of an Author, and a direct predecessor to his Tony-winning Dancing at Lughnasa.

All this and free parking on the street! Cheers to Queens!

On Friday June 13th, NYIC will present an original work - Shamrock Kid.

Thursday, May 22, 2008

"What's all this about a band then?" - Oedipus Loves You

The band in question is Gordon is a Mime, appearing last night in the opening night of Oedipus Loves You, a Pan Pan Theatre production from Dublin at the Performance Space 122 until June 1st. The band consists of Antigone (Aoife Duffin) on bass, Uncle Creon (Dylan Tighe) on guitar, Tiresias (Ned Dennehy) on vocals with Oedipus (Bush Moukarzel) on the drum kit and Jocasta the Queen of Thebes (Gina Moxley) on background vocals, keyboard and occasional rhythm guitar. The musical, if that is what Oedipus Loves You is, is sensational in all the Roget's meanings of the word.


This modern day adaptation of Sophocles and Seneca's Oedipus cycle by Gavin Quinn and Simon Doyle proves that old stories can still shock in new ways, not in the least, you'll be shocked at yourself when you laugh at incest, suicide and self-mutilation. Oedipus Loves You, directed by Mr. Quinn, is wildly creative but makes perfect sense at all times. It was surprising but then logical that the seer Tiresias would bear an uncanny resemblance to an aging Iggy Pop. And if he can be a ex-glam rocker, he could also serve as a Freudian analyst to counsel the royal family on all their comical Oedipal urges.

A warning: there is nudity and simulated sex acts but what would a good Oedipal story be without nudity and sex. This youtube video unfortunately limits the play to the one lens of a camera and misses the multi-media experience of the show. The theatre shows many windows into the house of Laius. Through one, you might see Creon drinking a Heinken through his motorcycle helmet. In another, Antigone works on her killer stare to be more effective on stage with her band. Throughout all these throwaway moments of humor, the "superplot" of modern theatre stalks around the characters and their humor. Oedipus Loves You is a wonderful example of a new Irish cultural movement moving on from an Irish history toward a world history. It is an amazing new look at a old story.


Overheard after opening night: "That was soooo much better than I thought it was going to be!"





p.s. 5/24/08 - nice review in today's NYT

OBie Awards and Sean McNall




A hearty congratulations to Sean McNall (right, Dominic Cuskern on left) for his OBie award. And a little boasting here that I told you so. As I said last month here, Mr. McNall gave one of the best performances of Algernon Moncrieff in the Pearl Theatre's The Importance of Being Earnest I have ever seen. Sean won Sustained Excellence of Performance from the Off-Broadway awards sponsored by the Village Voice. And that sustained excellence wasn't just in maintaining constant consumption of muffins and cucumber sandwiches, although an appetite like that is just what Algernon needs.

Kicking a Dead Horse



Sam Shepherd's Kicking a Dead Horse has been extended til August 10th. For those unable or unwilling to board the Hampton Jitney, this will be the theatre talk of the summer regardless of what happens at the Tonys. This is a co-production with the Abbey Theatre and not to be missed.


Imagine the artistic tension between the playwright and his lead actor, Stephen Rea. Whose countenance is more ironbound? Who is more enigmatic? Who embodies their cultural identity in a more authentic way? Who is just plain more macho: the American cowboy or the Irish rebel? I have my money on a no-decision.

Tomorrow I hope to have something insightful to say about Oedipus Loves You at Performance Space 122. Something insightful? Yes, that would be a pleasant change.

Sunday, May 18, 2008

Scandal at the Drama Desk

Have you a better website than a 5th grader?

Not a particularly Irish subject, scandal being of a more universal nature, I am following quite closely the nominating debacle at the Drama Desk Awards, familiar with some involved. The story was broken yesterday by the L.A. Times. Even more of a scandal than who is being pressured to nominate what is Drama Desk President William Wolf's media credential. If Wolf Entertainment Guide is media, this blog will win a 2009 Pulitzer.

The awards will be given tonight at Lincoln Center. In a nicely ironic twist, only accredited media will be given press credentials to cover the event. Under such guidelines, President William Wolf would not be allowed to report on his own awards show.

Here is a list of past presidents of the DD. See the anomaly for yourself.

Sam Zoloto (New York Times)
William Hawkins (World Telegram)
Vernon Rice (New York Post)
John Keating (Cue)
Robert Sylvester (Daily News)
John Beaufort (Christian Science Monitor)
Thomas Dash (Women's Wear Daily)
Emory Lewis (Cue)
Stuart Little (Herald Tribune)
George Oppenheimer (Newsday)
Henry Hewes (Saturday Review)
Sam Norkin (Daily News)
Tom McMorrow (Daily News)
Alvin Klein (New York Times, WNYC)
John Madden (Variety)
Christopher Sharp (Women's Wear Daily)
Leida Snow (1010 WINS)
David Barbour (Theatre Crafts)
Peter Filichia (Theatre Week)
David Sheward (Back Stage)
William Wolf (wolfentertainmentguide.com)




Stephen Crowley/The New York Times


Back to our regularly scheduled programing.

This morning's "most e-mailed article" in the New York Times is Does the 'Real Ireland' Still Exist? by fellow St. Bonaventure University alum Dan Barry. Guess we won't be seeing Dan at the upcoming SBU reunion. He seems quite content there in Kinvara. And who wouldn't be? Perhaps he is working on a follow-up to his warmly-received memoir Pull Me Up.

Saturday, May 17, 2008

Endgame Ends Game

Me to play....

Overheard at the theatre: "Did they really have to stay in those garbage cans for the whole play?"

Brooklyn Academy of Music's Endgame ends tomorrow. It was an enormously successful production; solving the problem of how to keep an audience interested in Beckett's preoccupation with boredom and pointlessness, to paraphrase A. Alvarez. There is nothing I can add to Cahir O'Doherty's glowing review of the play except that the physical space of the Harvey Theatre would have pleased Beckett very much. "Something dripping in my head, ever since the fontanelles..." was the plaster work flaking off from the vertigo-inducing ceiling of the ancient theatre.

Perhaps it's a Beckettian sacrilege to say so, but I'm convinced that Clov is the center of this play, at least from a 21st century viewpoint. Not many of us are paralyzed by our anxiety and depression as is Hamm. Many of us are sprinting or at least dragging ourselves from point to point, from window to window in a futile attempt to attend to the world's demands. And Clov does have one of the most heartbreaking soliloquies in theatre:

"They said to me, That's love, yes yes, not a doubt, now you see how....easy it is. They said to me, That's friendship, yes yes, no question, you've found it. They said to me, Here's the place, stop, raise your head and look at all that beauty. That's order! They said to me, Come now, you're not a brute beast, think upon these things and you'll see how all becomes clear. And simple! They said to me, What skilled attention they get, all these dying of their wounds....I say to myself - sometimes, Clov, you must learn to suffer better than that if you want them to weary of punishing you - one day....."

Beckett is managing to become more and more relevant even as his plays age. And in case I am guilty of pretentiousness, here is the first scene of Endgame in Legos:


Thursday, May 15, 2008

Gabriel Byrne and the Irish Arts Center

Don't lean on the Matisse, honey.

The sadly missed Nuala O'Faolain said of her father: “He was a dapper, clever, reticent man and he treated the family as if he had met them at a cocktail party.” Not only fathers can treat their family this way. I too am guilty! After all, when you come home from a fund-raising cocktail party for the Irish Arts Center, in a lovely apartment overlooking the Metropolitan Museum of Art, with a Matisse over the bartender's shoulder, it's hard not to treat the children as if the party should continue.

Blogger on right. The tireless Ms Pauline Turley, vice-chair, Irish Arts Center on left.



Tuesday night, Gabriel Byrne gave an impassioned, eloquent argument for supporting Irish culture in general and the Irish Arts Center in particular. To an informal, enthusiastic group, Mr. Byrne pointed out that in the last one hundred years, one small nation had changed Western civilization's idea of the novel (James Joyce), the theatre (Samuel Beckett), and poetry (Yeats), accomplishments made even more remarkable by the fact that Ireland was relatively new to the English language. But it is not enough to rest and brag, persuaded Gabriel. New artists, the next Synge (is it Enda Walsh?), must be encouraged and supported. A wonderful, motivating evening for those working in the Irish arts, it was marred only by the serving of Guinness in wine glasses.




And speaking of Guinness, yesterday's Food Network aired an episode of Glutton for Punishment. Host Bob Blumer survives a week in Dublin on nothing but Guinness and water. His blog is here




Gwyneth will play the lead in the movie.

Wednesday, May 14, 2008

Sinead Cusack Will Rock 'N Roll

Congratulations also to Sinead Cusack the magnificent! She has been nominated for best featured actress in a play. Her quaking-in-their-shoes competition are Mary McCormack (Boeing-Boeing), Roseanne's Laurie Metcalf (November), Martha Plimpton (Top Girls) and Rondi Reed (August: Osage County). Although I have a soft spot in my heart for Ms. Plimpton from her role in Conor McPherson's The Shining City last year and for Rondi Reed, Sinead will conquer in her multi-role turn in Sir Tom's Rock 'n Roll. I loved August: Osage County, but I love rock 'n roll more. Ms. Cusack, shine on you crazy diamond!

We pause for a moment for a reminiscence. Eight years ago, Sinead was in Sebastian Barry's Our Lady of Sligo @ the Irish Repertory Theatre. It was a poignant play and a heartbreaking performance. But the story I tell most from that day is of bellying up to the bar at the theatre. Actually in the intimate space of the Irish Rep. it is more like bellying up to the mini-bar. Next to me and excusing himself for crowding in the rush to get a intermission Heineken was Mike Nichols. Unable then to speak, I mimed to my companion: "Do you know who we are standing next to?" Mr. Nichols was deep in conversation with someone who clearly wasn't Diane Sawyer: "Well, Jeremy called and told me to catch this." Jeremy Irons, the director of The Graduate, the absent Diane Sawyer, and the equally absent Elaine May. All heady stuff.





















Tuesday, May 13, 2008

2008 Tony Nominations

Congratulations to Conor McPherson and the production of The Seafarer! The Tony nominations were announced this morning, and the Seafarer gathered four. Unfortunately two of those nominations are head to head in "Best Featured Actor in a Play:" Conleth Hill and Jim Norton. Now how are voters expected to chose between those two? Each performance was more physical, more humorous and more poignant than the other. Go n-eiri an t-adh leat, gentlemen.

Sara Krulwich/The New York Times

From left, Jim Norton, Conleth Hill, Ciaran Hinds, David Morse and Sean Mahon

The other two nominations are for best new play and best direction of a play. Conor McPherson directed his own play. This does not always result in a Tony nomination. However, McPherson may indeed be "quite possibly the finest playwright of his generation" as Ben Brantley, NY Times, proclaimed.

August: Osage County
is fresh off a Pulitzer and may be a difficult runner to catch, but today let's enjoy the accolades the Dublin-born McPherson will gather today.





Thursday, May 8, 2008

Brian Friel vs. Tom Stoppard, Frasier vs. Niles

"Which of my many fascinating personas should I portray?"
- Tom in The Living Quarters

One Irish play within a play ends. Another begins. Brian Friel's The Living Quarters is at the New York Irish Center at the end of May. An early play not frequently produced, LQ begins:

"It is here on May 24th some years ago that our story is set, as they say - as if it were a feast laid out for consumption or a trap waiting to spring. And the people who were involved in the events of the day, although they're now scattered all over the world, every so often in sudden moments of privacy, of isolation, of panic, they remember that day, and in their imagination they reconvene here to reconstruct it - what was said, what was not said, what was done, what was not done, what might have been said, what might have been done; endlessly raking over those dead episodes that can't be left at peace."

These words, so wonderfully poetic in that Friel way, could have introduced last week's immensely creative The Walworth Farce. Enda Walsh's Farce was the constant reconstruction of a past tragedy in a most innovative expression. The same is true in WF's predecessor The Living Quarters. Anthony Roche from University College Dublin describes LQ as having an "unprecedented degree of theatrical experiment by presenting what we are seeing as a conciously constructed performance rather than unmediated realism." The first production of LQ was at the Abbey Theatre, 1977, directed by the marvelous Joe Dowling, now the artistic director of the Guthrie Theatre.

Whenever a Friel play gets press, the phrase "arguably the greatest living playwright" is brought out of storage. Then the inevitable comparison
to that other "arguably the greatest living playwright" begins.
Since Stoppard's plays have been spectacularly received lately, Sir Tom seems to be in the lead in that race. Friel vs. Stoppard, Godzilla vs. Mothra, Frasier vs. Niles Crane.

The Importance of being a Crane

Last week's The New York Times had a overdue review of the Pearl's The Importance of Being Ernest. I was glad to see the article; Sean MacNall's Algernon Moncrieff was one of the best Algys I've seen. And one of the hungriest.

photo: George Costanzo

Reviewer Caryn James made the wonderful parallel between Algy and his brother Jack Worthing with Frasier and Niles Crane. Earnest Jack Worthing and his foppish brother are ancestors to the Crane brothers. I'll never look at any of those four characters the same again. It makes me wonder what other Algy-Jack relationships there might be in modern pop culture....




Sunday, May 4, 2008

The Walforth Farce and Cinco de Mayo

Happy Cinco de Mayo! A holy day of obligation as a friend points out. An obligation to have food and drink that's really bad for you! Nachos and a margarita or three. Nature's perfect food - gracias, nature! And not just today - every day! After all, as Hayley says in The Walworth Farce: "If you're happy with your lifestyle and what you eat, why change?"

photo: Caroline Shea Kennon


I recently went to Galway in search of the Druid Theatre. But the theatre was dark because Garry Hynes and company were in New York with the aforementioned play. I managed to catch the very last production - nothing like waiting til the very last matinee. I had heard good things about it, and I never miss anything Garry does - the only woman to win a best director Tony. So glad I caught the show! The play is fabulous - clever, challenging, funny. There is the ubiquitous familial bloodshed as with so many modern Irish plays (John Synge would be so proud of his artistic progeny). The violence however is never gratuitous. The play (the murder of a brother) within a play (the move of two young brothers to London from an ideal of Cork) evokes Oedipal and biblical themes. From the universal to the local, Irish nationalism and its tragedies are explored in brother vs. brother conflict while "A Nation Once Again" plays on the radio. All the while the audience is laughing at broad, physical jokes at the expense of actors, directors, playwrights and theatre in general. Playwright Enda Walsh deconstructs the theater and constructs a marvelous play that offers something new to the modern Irish Theatre landscape.

After the show, in the Water Street restaurant near the theatre,
I sp0ke to Garrett Lombard who plays Blake. Mr. Lombard told me the show was headed for London, but first the
production is taking a break. A break is certainly deserved because the role is very physical. The farce is truly a farce in pace if not in heart. Mr. Lombard graciously signed my script 'le gra.' With my elementary Irish, I would have eventually figured out next year this meant 'with love,' but it was nicer to have him translate it for me on the spot.

















Who has the best chance at the acting trophy? Left to right: Garrett Lombard, Denis Conway, and Tadhg Murphy

Thursday, May 1, 2008

Samuel Beckett and the NYC Marathon

NYC famously holds its marathon on the first Sunday of November. Lincoln Center also has a marathon. It involves less, though marginally so, Gatorade.

In 2006, the theatre centrepiece of the Lincoln Center Festival was DruidSynge, a marathon of all John Synge's plays brought to NYC by the Druid Theatre of Galway. This particular marathon consisted of seeing all 6 Synge plays in one day with 2 short breaks and a dinner hour. Deidre of the Sorrows was my wall, but I pushed through it. Let's see Katie Holmes try that!


This year, Lincoln Center will marathon Samuel Beckett with 3 one-man dramas: Eh Joe, I'll Go On, and First Love. This is brought to LC by the Gate Theatre - Dublin's other Theatre. The cast is fabulous, and tickets will be dear on Craig's List: Barry McGovern (whom I waxed rhapsodic on last month), Ralph Fiennes (invigorated by the workout from Brian Friel's The Faith
Healer),
and Liam Neeson who we have all forgiven for The Haunting.

Sign o' the times: a Rolls searching for a parking space @ Costco yesterday.