See Industry Readings of Acclaimed PERFECT ARRANGEMENT – Free Tickets!

  • June 17, 2014

PA_ArtfullyDirect from its sold-out critically acclaimed 2013 world premiere in Washington, D.C., The Wild Root Company will present free readings of Topher Payne’s 2014 American Theatre Critics’ New Play Winner, a moving comedy about two gay couples living in Washington, D.C. in the 1950’s, on June 19 at Manhattan Theatre Club.

The Wild Root Company, a New York City-based production endeavor committed to cultivating new works from emerging playwrights and screenwriters, will present two free industry readings of Topher Payne’s timely new comedy PERFECT ARRANGEMENT on Thursday June 19, 2014 at 3:00 and 7:30 pm at The Creative Center at Manhattan Theatre Club. Linda Lombardi, who helmed the play’s critically acclaimed, sold-out world premiere at The Source Festival in Washington, D.C. in 2013, will direct. The Wild Root Company will produce the readings in association with Sean Hudock, Rocco Natale and Thatcher Stevens.

The cast of PERFECT ARRANGEMENT will feature Susan Louise O’Connor, who received a Theatre World Award, the Dorothy Loudon Broadway Debut Fellowship and an Outer Critics Circle Nomination for her Broadway debut in Blithe Spirit opposite Angela Lansbury, as well as members of the original Washington D.C. cast: Raven Bonniwell, Christine Callsen, Andrew Keller, Kiernan McGowan, Jill Nienhiser, Zach Brewster-Geisz.

The Creative Center at Manhattan Theatre Club is located at 311 West 43rd Street on the 8th Floor.

Industry folk who wish to reserve free seats for PERFECT ARRANGEMENT may do so by emailing wildrootcompany@gmail.com or by visiting www.WildRoot.org.

ABOUT THE WILD ROOT COMPANY


Founded by Producer Sean Hudock, The Wild Root Company is a New York City-based non-profit production endeavor and a fiscally sponsored project of Fractured Atlas, a 501 (c) (3) public charity. We’re committed to cultivating and presenting bold and challenging new works of theatre and film from emerging playwrights and screenwriters. Learn more at www.WildRoot.org. 

ABOUT PLAYWRIGHT TOPHER PAYNE

Topher Payne is an artistic associate with Atlanta’s Process Theatre Company and the Flying Carpet Theatre and is the executive producer of the Atlanta 24-Hour Plays for Working Title Playwrights. His plays Swell Party and Angry Fags were both nominated for outstanding world premiere at the 2-13 Suzi Awards and the latter won the Gene-Gabriel Moore Playwriting Award. The Georgia Ensemble Theatre premiered his comedy The Only Light in Reno last January. He wrote about his life with, in his words, “humiliating candor” from 2005 to 2009 in his David Magazine column, Necessary Luxuries, which was compiled into a book of the same name. From 2010-13, he chronicled suburban life in his Domestically Disturbed column in The GA Voice, winning the 2012 National Newspaper Association award for Best Humor Column.

ABOUT DIRECTOR LINDA LOMBARDI

Linda Lombardi is Literary Manager at Arena Stage in Washington, DC, where she has provided dramaturgical support on The Velocity of Autumn,Love in Afghanistan, Guess Who’s Coming to Dinner, and Camp David. As a director/dramaturg, plays include a new adaptation of Sophocles’ Ajax;Henry IV, Part I; Henry IV, Part II; Henry V; The White Devil; Blackened Windows and, in 2013, she directed Perfect Arrangement in D.C.’s Source Festival, which became the first play in Festival history to extend. Currently, she is working on Time of the Troubles, slated for summer 2015.

DOG AND PONY – San Diego, CA

  • June 14, 2014

Dog_and_Pony28_webDOG AND PONY, the new musical from Rick Elice and Michael Patrick Walker (Jersey Boys, Peter and the Starcatcher, Alter Boyz), is currently having its world premier at The Old Globe in San Diego. With the creds of this creative team, I was really excited about this show. As usual, I found myself having to remember to dial down the enthusiasm, at least until intermission, when, if deserved, I could cut loose a bit and get excited about the production. This way, I allow myself to avoid some of the disappointment that can accompany the first  rendering of a brand new work (especially when the creatives are so prominent and have such a track record). In the case of DOG AND PONY, I’m glad i did.

DOG AND PONY is apt as a title, and as you can imagine, is about, literally a dog and a pony, as well as the complete dog and pony show that involves the characters as they progress through a few years of life. The title is perfect.

Screen-writing partners and co-dependent “work spouses,”  Mags and Andy (Nicole Parker and Jon Patrick Walker), can’t get beyond their interwoven relationship that includes Andy’s wife, Jane (and eventually his new girlfriend, Bonnie) as well as Mags’ new beau Joe. Confused yet? Don’t worry. It sounds a bit whack-o (OK, it is), but whacked as it seems, it still makes sense. Sort of.

In reality, it wasn’t that the show was that bad. It was a fun concept with a good solid cast. And yes, it progressively became more interesting as the story moved on. To the point that by the end of the show I found myself actually attached to a few of the characters. Specifically the mothers of the two principal characters (both played brilliantly by Tony-winner Beth Leavel) and Andy’s girlfriend, Bonnie, played by Heidi Blickenstaff. This character was endearing in spite of her over-the-top word-altering wackiness. Eric William Morris was also convincing in his character-bending roles – playing the Host, Andy’s neighbor Jeff and Joe, Mags’ gentleman friend.

My problems with the show began with the characters’ personalities. In particular Andy’s incredible insistence that Mags be constantly at his beck and call, and Mags’ insistence on complying even as we see the (admittedly) narcissistic nature of Andy’s personality. Why does Mags, an attractive, single woman allow herself to be sucked into a non-romantic relationship with a man who is simply using her to further his career? Mags seemed too smart for this. Jane, Andy’s wife got it. Eventually.

At any rate, it’s all very dysfunctional. That in itself is not a problem. It’s that the dysfunction doesn’t allow us to feel that these characters could be real (even though we know they could). It just seems too far-fetched. The bigger problem for me was the score. Act One could have been performed completely without any musical numbers and there would have been no change in mood. The sore seemed to be an afterthought that was necessary in order to make sense of the fact that Act Two did, in fact, have a few musical numbers worth listening to.

I will say that DOG AND PONY gives credence to my reason for never (well, ok, almost never) leaving a show at intermission. Had I not returned from the interval I would have missed the fun of “Bonnie Doesn’t Get It,” “Mags Takes Flight” and the wonderful performance from Beth Leavel of “Problem Solved.”

I’d like to think that this show has some potential; however, there would need to be some intense refining for me to be interested in seeing it again. With the level of talent represented both on stage and off, this production should come out way ahead of being in reality a dog and pony show. It just doesn’t quite.

DOG AND PONY plays at The Old Globe in San Diego thru July 6, 2014. For more information and to purchase tickets, visit www.theoldglobe.org.

Inside at the Tony Awards – Really

  • June 12, 2014

Tonys_ProgramYes, it has been a lifelong dream to attend “Broadway’s biggest night.” I remember my first television Tony-watching experiences back in the 80’s when EVITA, 42ND STREET, NINE, CATS, EDWIN DROOD, PHANTOM, LES MIZ,  etc. were top dogs (or cats). At the time I thought the TV screen was as close as I would come to actually attending one of these sacred events.

This year was different – I got a ticket! Thanks to a dear friend, I was able to obtain a ticket and actually score a wonderful seat. I was in the room! I had been inside Radio City Music Hall once before – back in 1983 at a summertime Rockets show while on vacation with my parents. It was then I was hooked. Not only was I infatuated with Radio City itself… who couldn’t be, with its stately demeanor and art deco grandeur… but I was ready for my closeup. The closeup part never happened (we can be thankful for that), however, I was determined to get closer to theatre. And I did.

As if seeing the Tony Awards on the Radio City marquee wasn’t amazing enough, walking into the massive lobby and seeing the 3-story Tony banners hanging above the bar caused chills. I had arrived. Say what you will about the commercialization and incorporation of modern theatre, this was still the Tonys, and the special air that surrounds the theatre community – worldwide – still exists. The closeness and camaraderie could be felt throughout the audience. They say that you are celebrating with 6,000 of your closest friends. There may be some truth to that.Tonys_Inside

I really appreciated the opportunity to actually view the presentation of the creative arts awards, presented by past winners Billy Porter and Karen Ziemba, most of which are not shown on television. The TV audience gets to view short clips of the winners’ speeches; however, the experience is never as complete as watching the entire presentation contiguously.

And then there was Hugh Jackman. OK. Let me interject here. I am not writing a review of the show, other than to say that sitting in the room is a very different experience than watching on TV. That said, I’m still trying to figure out what was happening during that opening number. In my opinion, watching Hugh Jackman bouncing around on stage, after having watched three minutes of him hopping down the street, just didn’t do anything for me. Actually, just to be frank, I felt it was a waste of talent. My goodness, you have Hugh Jackman under lock and key for three hours. Can’t you think of something better for him to do? Ok, hopping down from the soapbox now. I DID enjoy Hugh’s snippets throughout the show and felt he did a good job making the show flow for the audience, even during the breaks.

Tonys_RC_MarquisRegardless what you thought of the telecast, and really, regardless of what I thought about being at there live, there were some really memorable moments during this year’s show. To begin with, this has to have been one of the more competitive seasons on Broadway in recent memory, in many categories. And I have to say, in my opinion, most winners were very deserving candidates. I do, however, hold some biases, but will refrain.

Carol King, Fantasia, Gladys Knight, Patti LaBelle, Jennifer Hudson, Idina Menzel and Audra McDonald – making history by winning her sixth Tony – and many more. Whew! What a list of divas! Seeing them live and in person was beyond amazing.

I think what was most memorable for me, having been at the show, was simply the energy. I’ve attended other award shows, both the LA and Vegas varieties, and not much happens during the commercial breaks. The Tonys are different. Other than the occasional countdown returning to live, there were very few interruptions. At times the show flowed so well I didn’t realize we had gone to commercial. A few tech glitches occasionally; however, pretty darn smooth.

As any award show attendee can attest, these events truly are events. I think Jessie Mueller said it best during her acceptance speech, “I’ll be quick. I know everyone wants to drink,” or something to that effect. And she was right. It didn’t take long for those 6,000 people toTonys_GGLAM_After_Party empty out onto Avenue of the Americas and filter off to the after parties at 30 Rock.

I was privileged enough to be invited to attend the GENTLEMAN’S GUIDE TO LOVE AND MURDER (GGLAM) party under the stars (with the stars) at Rockefeller Center’s Summer Garden (the summer name of the ice rink). I’m sure this party would have been the event of the season regardless; however, the shows’ winning the Tony for best musical certainly didn’t harm the mood.

And there I ate, drank and danced with the cast, crew, producers, and thousands of their closest friends until the wee hours of the morning when I returned to my hotel, changed my clothes, grabbed my luggage, got in a taxi to LaGuardia, and headed home to California. No time to sleep for this Broadway baby. NYC… I’ll be back!

I want to thank my very dear friend Lori Florio for her blog post about my visit to the Tonys. Check it out at www.mysliceoftheapple.com. Just skip past the horrible selfie of me. Lori is a true New Yorker, a foodie and a great writer. If it’s NYC you want to know about, she’s got it!

One of the best places to see complete official coverage of the Tony Awards is www.tonyawards.com. And yes, you can view the In Memoriam segment that was omitted from the telecast. Don’t ask me why, but that’s a rant for another time.

 

 

TRUE WEST – Palm Springs, CA

  • May 31, 2014

truewest_posterSam Shepard’s TRUE WEST, like most of his works, is inspired by myths of American life and popular culture. The award-winning play originally premiered in 1980 at the Magic Theatre in San Francisco.

Shepard’s plays are generally set in very ordinary, everyday circumstances, but some really bizarre things happen. Almost to the point of hilarity. Shepard has an amazing skill for developing characters that are so interesting you are able to see past the bizarre and reconcile their actions with the reality of sanity. TRUE WEST definitely fits this bill, giving the audience an uneasy dose of creepy and comical in one helping.

TRUE WEST is about the sibling rivalry between two estranged brothers. Austin (Sean Kanan), is a college educated, Hollywood screenwriter working on a screenplay while house sitting for his mother. Enter his older brother, Lee (David Steen), a drifter and a thief who has been living in the desert. Instead of robbing the neighborhood, Lee steals Austin’s production deal with a pitch about an idea for a western causing Austin to lose his mind. There is just one problem. Lee can’t type. By the end the brothers have switched roles and nearly killed each other, but were never closer.

Palm Canyon Theatre’s production of TRUE WEST puts on display the typical ambition with which this small company attacks its big projects. J. W. Lane’s scenic and lighting designs bring three dimensional reality to the crazy story as it unwinds. Mark Blanchard directs the seasoned cast with fineness and has pulled together an ensemble that is second to none.

Kanan and Steen presented their characters with such fluidity that I felt I was in the house with them observing the unfolding of this sordid chapter in their lives. They were able to make the stark and warped dialog flow seamlessly and reduce dramatically the distance between the stage and audience bringing us into their unusually strange and twisted codependent relationship.

If you are in or near the Desert Cities of Southern California, don’t miss this opportunity to see an award-winning play by an acclaimed and respected playwright.

TRUE WEST runs thru June 8th at Palm Canyon Theatre in Palm Springs, CA. For more information and to purchase tickets, visit www.palmcanyontheatre.org. or call 760.323.5123.

 

IF/THEN – Broadway

  • May 21, 2014

If_ThenIF/THEN staring Idena Menzel… enough said. Well, OK. Let’s give a little more information here. Obviously, the new Broadway musical, IF/THEN, has incredible vocals, and with a score and lyrics from the team of Tom Kitt and Brian Yorkey (RENT, NEXT TO NORMAL), there is no question that IF/THEN should have some pretty amazing numbers. And it does.

I love shows like this because they make you think a little bit. Don’t buy a ticket thinking that you will receive a pretty plot served up on a silver platter. IF/THEN is a story that offers complexity and intrigue while focusing on real-life struggles, all the while keeping the audience engaged by winding the plot backwards and forwards, in and out of its characters’ lives.

And while the actual number of characters is manageable, with more than sufficient performances from a tightly knit ensemble cast (think RENT), thought is required in order to keep track of who is doing what when, and to whom. The story also offers variables. Hence the title. Think of high school algebra. Well, no – it’s not quite that complicated. In fact, in spite of the show’s complexity, the musical numbers will keep you engaged even when you happen to be distracted by Mark Wendland’s sensational sets and Kenneth Posner’s innovative lighting designs.

I have to admit that I went to IF/THEN with a bit of skepticism. Not because I thought the show wouldn’t be good. I’m just usually skeptical of shows that receive a lot of hype and publicity simply because of one big star, or because of several big names tied to an ensemble cast – this show has both, and I must say that in the case of IF/THEN, the hype is well-deserved.

I don’t want to delve too deep into the story of IF/THEN because this is a production that needs to be seen, experienced, thoughtfully processed, discussed and digested before judgements can be made. I will, however, say that if you didn’t think the choices you make can change your life and dramatically affect the lives of others, think again.

I genuinely loved everything about this production. As mentioned previously, the sets and lighting design will keep you engaged regardless of whether you have a clue what is happening on stage, and the musical numbers will have you humming a potential top-40 hit or two.

As expected, Idina Menzel is perfect and absolutely earns her top billing on the marquis. The rest of the cast, however, is no less deserving of commendation. LaChanze, Anthony Rapp and James Snyder sing their hearts out and expertly work together to pull off a plot full of twists that requires much finesse and precision  to be understood.

The bottom line – go see IF/THEN at the Richard Rodgers Theatre in New York and prepare to be wowed by some good tunes, great voices and a more-than-interesting story — just don’t forget to put your thinking cap on.

For more information and to purchase tickets, visit www.ifthenthemusical.com.

 

EQUUS – Palm Springs, CA

  • May 18, 2014

Equus_HeadEQUUS is a play depicting a psychiatrist’s attempt to treat a young boy who’s obsession with horses leads to his committing a horrible crime. Playwright Peter Shaffer takes us into the mind of Alan Stang, a 17-year-old whose parents have unwittingly driven him to a religious obsession with horses, and his relationship with a young horse handler causes him to commit an unthinkable act.

The play itself is quite dark and extremely disturbing and thus requires a high level of intensity on the part of the cast. It is quite impressive what Palm Canyon Theatre has been able to achieve in putting together a production of this magnitude in just a few days and for only four performances. Also, not to mention, with only a shoestring budget to work with.

Director Steve Fisher has assembled a cast that, especially considering the short time frame allotted, is able to pull together and form an ensemble that is not only convincing, but effortlessly pulls the audience into Shaffer’s macabre tale to the point that some artistic nudity, necessary to the plot, is hardly noticeable (requiring an adults-only disclaimer nonetheless).

Local actor, Jake Phillips, portrays the young Alan Stang with authentic passion that depicts the accuracy of the boy’s emotional trauma causing the audience to cringe with uneasiness. There is little doubt as to what Strang would have actually been feeling in reality.

More than the story itself, however, this production of EQUUS is the perfect example of the little theatre company that could. With Se and Bill Layne at the helm, Palm Canyon Theatre has been producing quality local theatre for the city of Palm Springs, CA.

For more information about EQUUS and to learn about Palm Canyon Theatre and their next ambitious season, visit their website at www.palmcanyontheatre.org.

BLITHE SPIRIT – London

  • April 24, 2014

Blithe_SpiritOne of Noël Coward’s most well-known and imaginative comedies, BLITHE SPIRIT, is currently running at London’s Geilgud Theatre. And thanks to the surprising energy from the director and ensemble, this production in no way disappoints. Director Michael Blakemore, at 85, and his star, Angela Lansbury, 88 together give Coward’s work the vitality it deserves.

The odd tone of the play leaves the audience in a delicate balance between hilarity and heartlessness; however, along with his well-cast ensemble, Blakemore delivers to the audience’s ecstatic delight. As Madame Arcati, Coward’s beyond eccentric medium, Lansbury delivers a large dose of youthful exuberance and comedic energy. Each time she begins the dance ushering her into her metaphysical trance, the theatre simply erupts with laughter.

Whenever Dame Lansbury opens her mouth to speak, we are treated with sharp, witty jabs and humor that is indicative of Madam Arcati’s kooky personality. Although we know the woman is bonkers (Arcati, that is — not Lansbury!), Lansbury’s Arcati somehow comes across as sharp and oddly intelligent in spite of her lunacy.

Blakemore’s entire production really is the star here. The cast works together seamlessly and allows us to actually feel a bit sorry for Charles (Charles Edwards) and his wife, Ruth (Janie Dee) as they are placed in a quite interesting and complicated predicament when the ghost of Charles’ former wife, Elvira, appears. Matters become even more complex when she refuses to leave. And as the story continues to spiral to a darker macabre depth, we are left wondering exactly how much Charles actually loved either woman initially.

One of the most surprisingly fun characters for me was Edith, the maid; whimsically portrayed by Patsy Ferran. She handily brought a fun slapstick component and surprised us with her character’s kooky charm. Also worthy of note in this production are the quite convincing and mysteriously fun set designs of Simon Higlett.

I believe that the playwright would have been most pleased should he have somehow been able to see this production of his work. Who knows. Perhaps he has.

BLITHE SPIRIT runs until June 7 at London’s Gielgud Theatre. You can visit www.gielgud.co.uk for more information.

URINETOWN – London

  • April 21, 2014

Urinetown_MainCurrently enjoying a successful limited run at London’s St. James Theatre, URINETOWN, the American cult musical shipped from Boradway is full of surprises. One thing that is NOT a surprise is, of course, the toilet humor and all of the associated jokes, puns, language and in fact, sometimes sounds (not smells, thankfully!) that go along with a musical with such a title. And, yes, it is a musical. A thought that is almost humorous in itself.

With a title like URINETOWN and a tag line “A Drop of Hope can Change the World,” one has to doubt the seriousness with which this show has been constructed. The truth, however, is that the show is quite impressive. As I settled into my seat while studying the construction of Soutra Gilmour’s dark, dingy and immaculately complex set design, I realized that if nothing else, I was in for a visual and technical treat. Gilmour’s display of talent here far exceeded some of the designs that I’ve seen in the West End or on Broadway in recent years.

Combine strong technical prowess with some amazing direction and talent onstage, and any way you look at it, you have a great show. Director Jamie Lloyd, London theatre heavyweight has assembled a cast of talent no short of any gargantuan West End production.

As Bobby Strong, Richard Fleeshman, West End and Broadway veteran and pretty boy,  far exceeds expectations. He is the hero who leads the citizens as they protest the corporate giant, UGC, the regulators of all facilities and architects of corruption. And as big voices go, you can’t do better than Jenna Russell. Playing Bobby’s boss, she belts out tunes like “It’s a Privilege to Pee” with such mastery you would think you’re at a production of Les Miz.

In fact, an overall comparison that might otherwise be considered sacrilegious to some theatre pop culture aficionados, you could say URINETOWN has many markings of Les Miz (at a superficial level, of course). Think Javert chasing Valjean through the sewers of Paris. Nonetheless, URINETOWN holds its own against the some of the best.

While odd, gross and at times downright ridiculous, URINETOWN does attempt to make some obvious environmental and political statements. And regardless of your opinions, you can still enjoy this musical. Regardless of the depth, or at times lack thereof, URINETOWN works well and brings all of its production elements together flawlessly. So go (no pun intended) and have a good laugh. “Urine” good company. Ugh. I’m sure that’s not the first time that line has been used in relation to this show, but it seemed somehow obligatory.

URINETOWN is currently running at London’s St. James Theater with a strictly limited run through 3 May. For tickets and more info, visit www.stjamestheatre.co.uk.

 

SOUTH PACIFIC – Paper Mill Playhouse

  • April 20, 2014

South_Pacific_StageThere is absolutely no questioning that the Rodgers and Hammerstein musical SOUTH PACIFIC is an undying classic. I’ve heard it mentioned several times that the work is so strong and vibrant in its own right, it would require great effort to mess it up. I agree to a point; however, this musical is so remarkably well-know and highly regarded, woe be unto the producers and artistic team that doesn’t invest all the time and effort possible to get it right. And without question, the new Paper Mill Playhouse production of SOUTH PACIFIC, gets it right.

Director, Rob Ruggiero, wisely provides a smart, forthright production of the show, focusing on utilizing the talented cast to its full potential rather than putting unnecessary energy into dispensable glitz and glamor. Fans of the show will be pleased to see the beloved script left unscathed and perfectly executed, while newcomers will enjoy the fresh and clever presentation of the timely classic.

A seasoned cast has been assembled providing nothing less than flawless performances. There is always a risk in performing roles that are so renowned, and the Paper Mill cast clearly lives up to expectations.  Broadway up-and-comer Erin Mackey as Ensign Nellie Forbush inexhaustibly recreates the beloved iconic role that so many have stepped into before. And she does so with grace and ease, offering up the wit and charm of Forbush’s southern cockeyed optimism and naivety together with a voice that can belt out the famous melodies rivaling any Broadway diva.

Mike McGowan convincingly takes on the role of the debonaire charmer Emile de Becque with a troubled past who seduces Nellie into a confusing tither. His alluring vocals are truly enchanting and bring a tear to the eye on several occasions. As Lt. Joe Cable, Doug Carpenter is genuinely impressive, especially as he belts the classic “Younger Than Springtime” and delivers the poignant “You’ve Got to be Taught,” that captures the show’s theme in a nutshell (and not without controversy at the show’s debut in 1949). Tony Award nominee Loretta Ables Sayer returns to the role of Bloody Mary (from the 2008 Lincoln Center Broadway revival) and once again charms us with her sarcastic wit and a rendition of “Bali H’ai” that stops the show. Michael Yeargan’s set designs are alluring and effective, letting us know where we are without distraction, while Catherine Zuber’s costumes complete the impression.

Sixty-five years since its Broadway opening, SOUTH PACIFIC is without question one of American theater’s most moving and notably blunt accounts of racial prejudice, and a stark reminder that the social issues facing society in the 1940’s are sadly not so far removed from us today.

Don’t miss this beautifully executed presentation of Rodgers and Hammerstein’s SOUTH PACIFIC at Paper Mill Playhouse, 22 Brookside Drive, Millburn, NJ. For more information and to purchase tickets call the box office at 973.376.4343 or visit their website at www.papermill.org.

 

A RAISIN IN THE SUN – Broadway

  • April 18, 2014

raisin_headWith all the buzz around the current revival of Lorraine Hansberry’s A RAISIN IN THE SUN there is very little left to say about this production that at this point hasn’t been said, other than the show is amazing, and everyone should see it. Besides that, however, because this is a review, I will highlight a few things that I believe are noteworthy.

Denzel Washington, obviously, is a big draw for this production, and is certainly worthy of the title role. His portrayal of Walter Lee Younger, the father struggling to support his family and rise up out of Chicago’s post WW II impoverished South Side is effortless. Looking at the cast as an ensemble, however, Washington’s performance seems to fade into the scenery. Not that his performance isn’t amazing, but the other members of the cast are simply that good as well. This cast works as a team and it shows.

Latanya Richardson Jackson as the energetic, excitable matriarch (Lena Younger) of the family is nothing short of perfect. She brings an uplifting tirelessness to an otherwise exhausted family as is evidenced in the opening scene by Sophie Okonedo who, as Walter Lee Younger’s wife Ruth, is simply making an honest wholehearted attempt to hold her fragile family together. In spite of Richardson’s portrayal of Lena as a pillar of strength, she adds a touch of earthiness to her character that allows the audience to experience the mother-in-law/daughter-in-law relationship she has with Ruth.

The family faces the seemingly typical socioeconomic and racially-fueled challenges of most inner-city African American families in the period; however, there is an obvious desire to move forward and, in spite of the exhaustion that emanates from their efforts, hope is never lost on the Younger family. Lena is determined that they shall overcome. Even Walter, in his own missteps, is determined that his family will have a better life.

Thirteen-year-old Bryce Clyde Jenkins makes his Broadway debut in A RAISIN IN THE SUN as the youngest of the family, Travis Younger. This won’t be the last time we see him. He portrays Travis with an energy and confidence that unwittingly holds the family together and pilots the story throughout.

The underlying narrative is daughter Beneatha’s desire to attend medical school and her relationship with friend Joseph Assagai, and her continual search for life outside of the family as she advances into young womanhood.

Playwright Lorraine Hansberry understood life and its complications for the post-WW II African-American family and fluently penned its reality. This production compiles a cast of actors that are able to present her words as reality, as well as draw the audience into the reality. This play does more, however. A RAISIN IN THE SUN reminds us that struggles still exist, and that hard work and perseverance is not only a thing of the past. We must press on as a people and together keep the momentum of the dialog  penned by such writers as Loraine Hansberry in A RAISIN IN THE SUN.

A RAISIN IN THE SUN is currently playing at the Ethel Barrymore Theatre in New York. For more information and to purchase tickets, visit www.raisinbroadway.com.