Sound Off: Best Play of 2009

  PxP wants to know... 

What is the best play you saw in 2009?

Why was it so great? 

Tell us in the comments!

Groovaloo

by Marlyn Palomino & Mitzi Sanchez

Marlyn: GROOVALOO is a group of young people expressing themselves through freestyle dance. Although each story is different, the characters are connected by the desire to be heard and to be who they want to be. Each character has his or her own identity and passion, which they are able to discover by accepting themselves. They use their talents to learn from their mistakes and turn them into something positive.

Mitzi: It is an amazing performance. The dancers dance for laughter, tears, madness, fears and hope. They create their dreams through movement. It is incredible how someone can express every little part of life by dancing. GROOVALOO uses dance as communication between body and soul, to express what is too complicated for words.

Marlyn: The characters show us that in life, nothing can come easily. There will always be challenges and tough choices. Many of the people around us might not agree with the things we believe in and that is always going to affect us and create obstacles, but we can never give up on our goals because they are our spirit. We were born with this spirit and it makes us unique. We should fight against the barriers and negative voices that are trying to bring us down.

Mitzi: The message of the show is dare to dream. No matter what, you should never give up on your dreams.

Marlyn: The energy is so contagious that you want to dance with them onstage.

Mitzi: The flips, the coordination, every detail of GROOVALOO is spectacular. I learned that dance is like someone’s pulse, heartbeat and breathing. It is the rhythm of life. It is the expression of happiness, joy, sadness, and even envy.

Marlyn: I highly recommend GROOVALOO to teenagers because it shows us how to express our feelings and envision the talents and strengths that we have. We all have our own story, and admitting it without shame is a way to heal many of the things that have been hurting us. It is important for teenagers to learn how to step up and seek the things we want.

HOW TO SEE THE SHOW: $25 tickets • Union Square Theatre, 100 E. 17th Street

Alvin Ailey American Dance Theater

by Nunny Reyes

The Alvin Ailey American Dance Theater performs truly unlike anything I have seen before. In theatre, it is natural to expect dialogue, a rising climax, and perhaps a twisted plot. While watching this dance performance, I realized that I needed to forget my expectations for a play when I watch dance. Dance is all about letting go and just being able to experience what is occurring onstage at that moment.

The show was broken up into three acts highlighting the advancements of African Americans and the Harlem Renaissance. The costumes were vibrant and the stage was constantly changing in order to depict a different street or a new jazz club.  Each performer looked physically different, but they were united when they danced. This was apparent in the dance of three Harlem Renaissance divas. The three divas each wore a different dress of black, gold or red. Although each diva had a different singing style and costume, the moment that the music began, they each expressed the same passion for dancing. Without missing a beat, these three powerful women made the stage theirs and invited those in the audience to clap and be a part of the performance as well.

The Alvin Ailey American Dance Theater is not your typical performance. The dancers were incredible and did a great job of making the audience feel connected to the show. Alvin Ailey is definitely a must see for all because it definitely takes you out of your comfort zone. There is not one message that the play tries to convince you off but instead it encourages you to enjoy the experience and forget the rules that once may have known about onstage performances.

HOW TO SEE THE SHOW: thru Jan 3rd • $10 student rush • W. 55th between 6th & 7th Ave.

Alvin Ailey Dramaturgy

by Jahnesha Huertas

The mission of the Alvin Ailey American Dance Theater is to establish a cultural community that emphasizes the humanity and beauty of African American heritage and diverse cultures to unite people of all races, ages, and backgrounds. Founder Alvin Ailey began creating pieces that drew from his Texan background that emphasized the blues, gospels and spirituals. He called these inspirations ‘blood memories.” Throughout his lifetime, Ailey created 79 ballets and emphasized that the mission of his company was not only to showcase his original works, but to recreate works of the past that were important for modern audiences. In all, over 200 works by more than 70 choreographers have been performed by The Alvin Ailey American Dance Theater.

The Understudy

By Monikha Reyes

What if...you were always second best? 

When I received a call from a distressed editor who needed a replacement to see a show at the last minute, I was hesitant; it was my day off and all I wanted to do was rest. However, by 1:42 PM I was at the theatre, and as Harry (played by Justin Kirk) began to speak, my other thoughts disappeared. That’s when I knew that this play was going to be good. 

The Understudy follows Harry, the struggling actor; Jake, the movie star; and Roxanne, the stage manager. When Harry arrives for his first rehearsal as Jake’s understudy, no one is more shocked than Roxanne and with good reason—she and Harry were once engaged, until he left without a word two weeks before the wedding! Add a stoned techie (whom we never see) and a bit of Kafka, and you’ve got a recipe for a delicious disaster.

The relationships between the three very different characters unfold right before your eyes. The “mistakes” of the lights (including a blackout) and sound only add to the mix—the more mess-ups there are, the more you laugh.

The Understudy is a joy to watch and leaves you satisfied. Even though I began as an “understudy critic,” I felt an ache in my chest as I left the theatre because I wanted to watch the whole thing again!

HOW TO SEE THE SHOW: thru Jan. 17 • 1/2 price student rush • Roundabout Theatre, Laura Pels Theatre, 111 W. 46th St.

The Understudy Dramaturgy

by Sabrina Khan 

Theresa Rebeck’s The Understudy, a satirical comedy about the least coveted role in a play, portrays theatre’s social pyramid through the imaginary pages of a nonexistent Franz Kafka play. 20^th century Prague fiction writer, Kafka, is known for his magical realistic manner of writing that exhibit a senseless direction. His major works are The Metamorphosis (1912), The Trial (1925), and The Castle (1926), all of which are alluded to in The Understudy. To express this magical realism, their protagonists undergo strange experiences in a dream world that they cannot escape from. Kafka manages to make these stories sound completely credible.

Born in 1883 into a large and dysfunctional middle-class Jewish family, Kafka developed a brooding and pessimistic outlook apparent in his novels. He held a few “bread jobs,” as described by his overbearing father, for doing things just to pay the bills. He also studied law and earned a degree in the subject. He worked as a law clerk for civil and criminal courts and learned a great deal about the government and justice system, which he heavily incorporated in his novels. Later in his life, he suffered from tuberculosis and left his works to close friend, Max Brod, whom he’d met in law school. He’d asked Brod to burn them, but luckily, Brod did just the opposite, and we owe him for the incredible contributions Kafka has made to literature.

To better understand the underlying concepts of The Understudy, one must understand the essence of Kafka’s texts. Kafka’s works convey a distortion of family, a lack of trust in the law, and a pessimistic view of bureaucracy (which he saw as a tangled web deceiving citizens). For instance, Josef K, the protagonist in The Trial, is caught in this web when he is convicted of certain charges and never learns the nature of his crime. The character known only as K in The Castle, is a man who struggles with authorities for a job in a castle and eventually dies before competing the task. Tragic hero, Gregor Samsa, is a man who becomes an insect overnight in The Metamorphosis, and faces a family that he realizes barely cares for him although he has sacrificed all his wishes just to satisfy their needs.

Jake and Harry’s fictional role in The Understudy envelops all three of these characters. Both share a part that shows a despairing and alienated man undergoing an investigation before ultimately losing his mind.

Finian's Rainbow

By Desmond Sam

What if...you had to walk in someone else’s shoes?

Finian’s Rainbow is a musical full of breathtaking moments that capture a time of racism and segregation. The show follows Finian McLonergan  and his daughter, Sharon, as they leave Ireland and travel to Rainbow Valley, Missitucky to bury gold. Og, the comical leprechaun that Finian “borrowed” the gold from, follows them to Rainbow Valley. The land is owned by Woody and his sister Susan, who is mute and only communicates through dance. Woody and Sharon are drawn to each other, which causes some problems. A racist senator tries to steal the land from Woody and the sharecroppers working the land, but Og transforms  the senator into a black person so he can fully realize the outcomes of his actions.

Finian’s Rainbow contains a cultural diffusion of musical genres like Irish folklore, jazz, blues, gospel, country and a little Frank Sinatra. The choreography is very jazzy, except for Susan, who uses classical ballet. So to every genre of music, Susan brings grace and beauty. Each dancer moves with elegance and power; each lift is done effortlessly. The sharecroppers bring life, passion and joy to the show.

Finian’s Rainbow is fulfilling with its breathtaking choreography and brilliant score. It is a union of what could be with what dreams are made of.

HOW TO SEE THE SHOW: $27 student rush • St. James Theatre, 246 W. 44th St.

Finian's Rainbow Dramaturgy

By Jahnesha Huertas 

Finian’s Rainbow was originally produced in 1947. One part of the story is that a leprechaun turns a racist senator into a black person to understand the hurt he has caused. In the original production, the white actor playing the senator wore black-face to show his magical transformation from a white man to a black man. This caused bad press for the show because people thought it was encouraging racism. Not just audiences agreed, but the NAACP was also angered by what they perceived was a negative portrayal of blacks. In the current revival, two different actors have been cast to solve this problem - a white actor portrays the senator before his transformation and a black actor portrays him after the magical occurrence.

Avenue Q

By Sarah Schlesinger

What if...you couldn’t find your purpose?

Avenue Q is a funny, thought-provoking musical. The cast includes humans and puppets who live and work together. This seemingly childlike puppet world is filled with the problems and practicalities of adulthood. The puppets and their human friends all attempt to follow their dreams and to find their life purposes. Some characters have knowledge of their dreams, but are unable to attain them, while others seek to understand themselves and who they want to become. The characters are lovable and are very easy to connect to.

The audience has a full view of the actors who control the puppets as they perform onstage with their smaller counterparts, but this does not take away from the show. Instead, it adds to the performance as the puppet and the actor contribute to the depth of the overall character in ways neither could manage alone. The facial expressions and body movements of the actor contribute to the physicality of the puppets and the puppets bring the world of Avenue Q to life.

The musical is based on the style of Sesame Street, even using two televisions on the sides of the stage to play the show’s opening theme and to emphasize certain points with cartoons. Despite this, Avenue Q is not appropriate for children.

With songs that are funny, frank and extremely catchy, I highly recommend Avenue Q to teenagers.

HOW TO SEE THE SHOW:  $26.50 rush tickets • New World Stages, Stage 3, 340 W. 50th St.

Memphis

By Dalia Wolfson

What if...you weren’t heard?

Do you remember a time when the radio ruled and TV hadn’t taken over? No? Me, neither, but Memphis will take you back through a whirlwind of rock ‘n roll music, when waves of sound were changing the nation. Set in the 1950’s, Memphis tells the story and the song of black music making its way into the mainstream, granting its performers greater acceptance through their melodies.

The musical centers around a flabby-tongued white disc jockey who publicizes and falls in love with a black singer struggling to be heard. Throughout the streets, kitchens and radio stations of Memphis, the two lovers struggle with the identity of their relationship as it pivots between racism, career opportunities and the society at large. 

Memphis proves music to be a unifying, transcendent medium. Black music—blues on fast-forward and gospels on high intensity—is absorbed by  the white population, melting the core of racism as the purity of human sounds is heard on the radio.

Memphis evokes an era not too far away, so we can appreciate its music and reexamine our own prejudices. This musical is especially relevant for teenagers, because the show focuses on young peoples’ ability to bring about a revolution—white teenagers are seen dancing with black teenagers, ignoring their parents’ discriminatory attitudes. Memphis regards youth as a source of dynamic, positive change, and as a teenager I find this outlook inspiring and empowering.

HOW TO SEE THE SHOW: $26.50 student rush • Shubert Theatre, 225 W. 44th St.

Fela!

By Amy Leon

FELA! takes place during the 1970’s in The Shrine, the concert hall of Fela Anikulapo-Kuti, one of the most popular musicians in Africa at the time. He talks to the audience as if we were seated in The Shrine itself. The theatre is full of vibrant decorations, making it feel like we are actually there.

Fela’s original Afrobeat music is heard not only in Africa, but around the world. He doesn’t plan on staying quiet about the problems he sees around him, which sometimes gets him into trouble. With the lyrics original no artificiality and corruption and tradition is the government’s teacher, he describes the corrupt behavior of the Nigerian dictatorships.

The songs are strong and captivating and the dancing shows the beauty of African culture. Though these sounds and movements narrate the story, the play is most powerful within its silences. It is when the music lingers that you can hear the silent screams of pain underlying the colorful production.

FELA! shows the impact that music can make in the world and reminds us that words and a good beat have more power than violence.

HOW TO SEE THE SHOW: $27 general rush • Eugene O’Neill Theatre, 230 W. 49th St.

Read Amy's interview with Kevin Mambo,
one of the actors playing Fela here! 

Learn more about Fela here!

Fela! Dramaturgy

by Christa Tandana

Fela Kuti was a singer, composer, political and human rights activist, and musician.  He was considered a pioneer of funk and inventor of Afrobeat music, a mix of jazz, funk, and African influence.

Born in Nigeria in 1938, Fela was raised by his political activist parents. He changed his middle name to Anikulapo, which means "he who carries death in his pouch”. At the age of 20, he was sent to London to study medicine, but studied music instead.  There, he formed a band called Koola Lobitos, which he later renamed “Nigeria ‘70” and “Africa ‘70”. Through this band, Fela gave birth to Afrobeat and took the world by storm. In 1969, Fela took the band on a 10-city tour in America.

Both Fela's music and his lifestyle were provocative and controversial. Whether people liked him or not, they knew who he was. He thrived off of controversy and activism and lived in rebellion to society and the government. He formed a commune in Nigeria called the Kalakuta Republic, which he declared was independent from the country. He believed in polygamy and, at one point had 27 wives.

Fela opened up "The Shrine," a nightclub, where he would perform for hours on end. His music was often politically charged. One song, Zombie, attacked the Nigerian military on their methods:

Zombie no go go, unless you tell am to go.

Zombie no go stop, unless you tell am to stop.

Zombie no go turn, unless you tell am to turn.

Zombie no go think, unless you tell am to think.

Tell ‘em to go straight.

Due to his loud political voice, the Nigerian government sanctioned an attack on Fela's compound in 1977. Soldiers violently beat Fela and his wives and threw his mother out a window. They burned down his commune, including his instruments and master tapes.

Fela died in 1997 of complications from AIDS, but his contributions to the society and the world of music put him down in history as one of the greatest African icons.

Fela Kuti was also not your average person and neither is the show based on his life.

Read a review of Fela here!

Sound Off: First Play

PxP wants to know...

What is the first play that you saw?

How old were you?

What did you think of it?

Tell us in the comments!

Burn the Floor

By Melissa Miranda

           

Burn the Floor was an energetic and suave performance unlike any other show on Broadway because it doesn’t have a storyline, only ballroom dancing.

Burn the Floor opened my eyes to many different styles of dancing. There was the Cha Cha, Viennese Waltz, Foxtrot, Swing, Samba, Lindy, Jive, Rumba, Quickstep, and more. The dancers had perfect technique and made the dancing look effortless – I wanted to get up and dance, too! The performers made contact with the audience with their facial expressions and by dancing in the aisles. The dancers’ costumes glowed onstage and the lighting made the colors pop.

 
I would recommend Burn the Floor to anyone who is a dancer or who has an interest in dance. It is an important production for a young person to see because it is unique and shows how much time and effort goes into making a dance performance. It takes perseverance, strength, confidence, and a lot of practice.

This is one of the best Broadway shows I have ever seen because it’s all about dance – and I love to dance. Burn the Floor gets two thumbs up from me!

HOW TO SEE THE SHOW: $26.50 student rush, 2 per valid ID • Longacre Theatre, 220 W 48th St.

Hair

by Christa Tandana

It’s 1967 - a year of racism, poverty, drugs, sex and riots. The United States is in the middle of the Vietnam War. The youth of America are burning their draft cards and…growing out their hair. 

Hair follows a group of hippies living in New York in 1967. We focus on Claude, a young person searching for the greater meaning in life. He and his peers live a lifestyle that is a rebellion against injustices that they see in society. One of their acts of rebellion includes growing out their hair; Claude explains that long hair symbolizes freedom and liberation from society’s expectations.

 
The actors break the fourth wall by incorporating the audience into the play and acknowledging their presence. The cast often mingles with the crowd during musical numbers, even in the balcony. The band gets kickin’ and the hippies start dancin’ with classic songs like “Hair”, and “Let the Sun Shine In”. You can’t help but want to dance. They even invite the audience to dance with them onstage at the end!

Despite the amount of fun in the show, there are definitely serious moments and political commentary woven into the show. In the song, “Electric Blues”, they sing, “They chain ya and brainwash ya when you least suspect it. They feed ya mass media. The age is electric.” This refers to the use of media to brainwash the public.

 
From long hair to drug trips to burning draft cards, Hair shows the counterculture in a way that makes the show about more than just hippies. Hair has come to symbolize standing up for justice. The cast has even appeared at various rallies for things like marriage equality. 

Hair first opened on Broadway in 1967, yet its message resounds with fresh meaning and shows similarities to our own era. This production allows for a newer generation that didn’t live through the “hippie era” to experience it first-hand. 

HOW TO SEE THE SHOW: $25 lottery rush 2 hours before show; $25 student rush • Al Hirschfeld Theatre, 302 W. 45^th St.

Star of Superior Donuts talks to The NY Times!

Remember the cover of our fall issue and interview with the star of Superior Donuts Jon Michael Hill? (Click here to read it).

Well, The New York Times is following in our footsteps! Read their interview with Jon here!

After Miss Julie

by Sara Aronbayev

Set in England in 1945, After Miss Julie is a witty play about the timeless issues of sex, class and power.

Christine and John both work for Julie’s father and are also about to be married. Things start to get heated when Julie starts flirting with John. John has always been in love with Julie, but since he is Julie’s servant and part of the lower class, it’s impossible for them to be together. However, that doesn’t stop them from acting on their feelings.

Sienna Miller makes her Broadway debut in After Miss Julie. Her portrayal of Julie is outstanding – she naturally falls into her character and brought perspective to the world of the rich and beautiful. John, played by Jonny Lee Miller, really unveils the mind of a man after a one-night stand.

The set of the play is the kitchen of a large country estate. It’s dark, yet clean. Everything is where it was supposed to be. Since the setting was in the late 1940’s, the dishes had a slight early European feel. This particular choice showed how similar two different worlds can be. For example, John and Christine are both poor while Julie is rich, but they all still want love. 

Since the play is set in England, the accent was a must. However, it was a strong one and some of the words were a bit hard to understand. Many of the jokes had a European twist and were slightly confusing. 

After Miss Julie shows that sometimes true love has to wait and that looks can be deceiving. With its wit and charm and I would recommend After Miss Julie to young adults and above. 

HOW TO SEE THE SHOW: $26.50 general rush • American Airlines Theatre, 227 W. 42nd St.

Bye Bye Birdie

by Desmond Sam

Some musicals are meant to teach a moral and leave you thinking. Other musicals are meant to just make you smile and brighten your day. Bye Bye Birdie is one of those musicals. If you ever need a pick me up, like a cup of hot chocolate or a comfy couch near a warm fireplace, Bye Bye Birdie is definitely the right cure.

Bye Bye Birdie is about singer Conrad Birdie (think Elvis), an out of control celebrity and an icon to teenagers, who is drafted into the army. His manager, Albert Peterson, wants Conrad to have his last kiss before leaving for war with a random fan on the Ed Sullivan Show. Kim MacAfee, president of the Conrad Birdie fan club, is chosen and the news turns her world upside down. The epicenter of this show was the romance between Albert and his secretary, Rose. Though Albert’s crazy mother and the ridiculous Conrad did get in the way, Albert and Rose prove that true love can never be broken.

There were many elements that popped out to me. The best part was the singing and dancing–the harmonies were beautiful and the heart that was put into each dance move was overwhelming. The set was amazing–everything moved! The stage became a girl’s bedroom, a train station (with a moving train), a living room and a TV studio all in the first act. The bright colors of the costumes lit up the stage and added to the feel of the musical. The teenagers’ costumes shifted to black, red and blue jeans when transitioning to night. It was breathtaking and showed that the teenagers were ready for rebellion. The stand out performance was John Stamos as Albert. He was a strong and powerful leading man, who took control of the musical adding to its humor. 

Bye Bye Birdie was fun, hilarious and entertaining. I recommend this musical to anyone and everyone. Sometimes you need to smile and laugh, especially in the society we live in, so come and enjoy Bye Bye Birdie. I promise you won’t regret it.

HOW TO SEE THE SHOW: Half-price student rush at half-hour; $26.50 general rush. Henry Miler's Theatre, 124 W. 43rd St.

Our Town

by Ben Wolfson

“ ”. That’s the most poignant moment of Our Town. You didn’t catch that? Here, I’ll say it again, “ ”. You probably think there is a spelling mistake or that the wrong article was published. Let me explain.

In order not to spoil the whole play for you (not to mention the third act, which is so vivid, due to its profound moments of induced introspection and self-evaluation), I’ll summarize it in a sentence: Boy in suburban town meets girl, they get married and then the third act.

The few props onstage are used creatively. For instance, one of the chairs is put on the table to symbolize the second story of the house. The actors are so in tune with their characters that they seem to have grown up in Grover’s Corners.

The “ ” is silence. Funny how a show can be so loud when nothing is said. The silences in Our Town puncture the fabric of the fourth wall* and, just like the Stage Manager who narrates the play, the silences tell us of the deeper woes, thoughts and feelings of the characters.

If you’re a teenager looking for a show with humor and heart that will give you a new found respect for life, see Our Town. You won’t regret it.

*Fourth Wall: The invisible line that divides the actors from the audience.

HOW TO SEE THE SHOW: $20 student rush • Barrow Street Theatre, 27 Barrow St.

The 39 Steps

by Grace Lisandrelli

Broadway’s The 39 Steps is an action-packed tale of suspense, love and adventure adapted from Alfred Hitchcock’s 1935 film. Englishman Richard Hannay, bored with life, is falsely accused of murdering the beautiful and mysterious Annabella Smith. Prior to her demise, Smith warns Hannay of the shadowy 39 Steps and its threat to the world, but fails to identify precisely what the 39 Steps are. She does, however, leave behind clues that lead to the answer. Running from the law and ever further towards the 39 Steps, Hannay finds himself in one absurd predicament after another.

The show’s dialogue and its delivery were crisp and funny. The four actors played many distinct characters. The two actors who played the most roles were Jeffery Kuhn and Arnie Burton. They did a superb job with the wide range of characters — men, women, old, young, flirtatious, dastardly.

The 39 Steps is a must-see performance, particularly if you are looking for some good laughs to last all evening. And then some.

HOW TO SEE THE SHOW: $26.50 student rush • Helen Hayes Theatre, 240 W. 44th St.

The Toxic Avenger

by Claire Pienaar

Having lived in New York City my whole life, I have developed a mix of disgust and humor regarding the state of New Jersey. I’ve often traveled through our industrial neighbor and inhaled the toxic fumes—probably more than I should have. This is one of the reasons that I loved the musical The Toxic Avenger.

Melvin Ferd the Third is a nerd who hopes to clean up the harmful toxic waste that plagues the state of New Jersey to win the heart of Sara, the ditzy, blind librarian. The Republican mayor makes profit in the piling waste, and she sends her goons to end Melvin. They drop him in a vat of toxic goo, but instead of dying, Melvin gains superhuman strength, some frightening new looks, and a compulsive loud roar. He becomes a hero with the mayor still out to kill him.

The humor is very crude and at times very gory; at one point, toxic Melvin (a.k.a. Toxie) squirts some brain juice into the audience. The five actors play many roles, sometimes with half-and-half costumes, which brings more humor out of their performances.

The Toxic Avenger is a love story with some misplaced eyeballs, appendectomies and French toast. If you live in New York City and are a fan of gory, physical and unsophisticated humor, you will enjoy this play.

HOW TO SEE THE SHOW: $25 Tickets thru Nov. 24th with the code TOPBP909. Visit www.broadwayoffers.com to buy tickets or visit box office at New World Stages, 340 W. 50th St.

Superior Donuts

by Ben Ellentuck

Superior Donuts made me smile. It also made me laugh; quite a bit, in fact. It made me happy and sad and completely in awe of playwright Tracy Letts’ ability to manipulate my emotions so deftly. Ironically, it did not make me particularly hungry.

Arthur owns a depressing donut shop, Superior Donuts, where two cops and a delightfully tipsy woman, known as “Lady,” are the regulars (and possibly the only customers). Everyone is a little bit lonely. On the morning after Arthur’s shop has been vandalized, one energetic, charismatic, and most of all, broke 21-year-old, Franco Wicks (read an interview here), arrives looking for a job. Both Arthur and Franco have their share of past troubles: Arthur is a pessimistic draft- dodging former-hippie with a recently-deceased ex-wife and a daughter far away. Franco is looking for some fast cash to pay off a large debt. 
The actors make Letts’ carefully honed script come alive. The dynamic between Franco and Arthur becomes nothing short of brilliant as they form a tight father-son bond over the course of the play. 

Superior Donuts is truly effective and affecting. I laughed many times, almost cried (I probably would’ve if I were a crier) and was truly touched by the ending. Plus, it made me smile. And to get a person to smile is a beautiful thing. 

HOW TO SEE THE SHOW:  $29.50 Student Rush • Music Box Theatre, 239 W. 45th St.

Oleanna

by Sabrina Khan 

Picture yourself as a professor whose ideals conflict with a student’s. What lengths would you go to in order to stay true to your beliefs?  How far would you go to protect yourself, or achieve success, if it meant betraying your ideals? How would you recognize it if you already had?

Now, imagine that you are a student whose beliefs challenge your professor’s authority. You follow your beliefs completely, but you take extreme measures. You ruin everything the professor has worked for. How would you justify your actions? 

Both the professor and the student end up in a sticky situation, so which would you rather be? In the end, whatever side you take, you’re wrong.

David Mamet’s Oleanna explores such profound questions and the invisible battle lines drawn within the professor-student relationship. Bill Pullman and Julia Stiles, who play John (the professor) and Carol (the student), both give tremendous performances in this stunning look into the complexities of academic hierarchy.

The entire play takes place in the John’s spacious office and opens as he answers a phone call while Carol waits to speak. The first act can be difficult to follow because most of the dialogue is delivered in fragments. We soon discover, however, that John is in the process of gaining tenure. Meanwhile, Carol is distraught because she is lost in the classroom and refuses to fail, at least not without a fight. A simple discussion about Carol’s grades and her inability to understand John’s book escalates into an argument about his teaching methods. Soon enough, the roles are reversed and Carol gains more control over the situation than John or the audience expects. According to her, John is guilty of sexual exploitation and now runs the risk of losing his job. At this juncture, both are sharply abused by the other and push one another to the brink of sanity and us to the edge of our seats.

The script blazes with brilliant discourse fired from both characters. As the audience, we become emotionally invested and take sides, but we find it difficult to completely support either character. As Carol provokes John, we understand his anger, and as he attempts to pacify and patronize her, we feel her degradation. One wonders if John is right about education when he says that it is just “prolonged and systematic hazing,” and one considers Carol’s right to doubt his ability as an educator. How can he conceive of such an idea while teaching those who hope to learn?  It is all a matter of power—who has it and who can manipulate it to his or her advantage.

Oleanna makes immense social and political commentary. Mamet compels us to critically view the educational platform and see that the same problems exist in every leader-subject dynamic.

It is no coincidence that the play, originally written in 1992, was Mamet’s response to the highly publicized Anita Hill - Clarence Thomas hearings. Thomas, currently an Associate Justice of the United States Supreme Court, came under fire during his 1991 confirmation hearings when Hill, an attorney who used to work for him, testified that he had sexually harassed her. He was confirmed despite the allegations, but the truth behind them is still debated to this day.

Oleanna is an intensely powerful show sure to provoke the mind of any audience member.

HOW TO SEE THE SHOW: $25 Student Rush • Golden Theatre, 252 W. 45th Street

Hamlet

by Zoe Wolfe

In reviewing one of Shakespeare’s most iconic and tragic tales, where does one begin? The classic “to be or not to be” speech? The star studded cast? The set? The directing? All of these must be discussed in due time, but it might be best to start at the beginning.

As the dim lights come up, you see Hamlet (only recognizable because we know that he is played by Jude Law) kneeling, looking forlorn. This puts the viewer in a highly focused, almost frightened mindset. But as Hamlet exits and Barnardo and Francisco enter, the feeling is shattered. They start jabbering away, throwing around the witty lines that Shakespeare wrote for them, putting the audience at an utter loss. They speak so quickly that it is nearly impossible to keep up with what they are saying without having read the play at least a dozen times before. In the way they speak, they could be any duo from any Shakespeare play.

All of Law’s actions, however, are carefully chosen. You know exactly why he’s moving in a certain direction, or why he’s using a certain tone of voice. His intentions and the meaning of his lines are clear, even if you can’t understand every single word he’s saying. It is evident that director Michael Grandage put a lot of thought into Hamlet’s character and that he spent a lot of time working with Law to perfect his performance. Their hard work pays off, and Law’s portrayal of Hamlet is wonderfully in tune.

If Grandage had put as much thought into the rest of the characters as he did into Hamlet, then the play could have been truly amazing. With a number of characters, including Barnardo, Francisco, Horatio and Ophelia, all intentions are lost. The audience cannot clearly see what they want or how they are going to get it. While this might suffice in a contemporary play, the problem is blaringly obvious here. Many Shakespearean words and phrases are confusing or unfamiliar, so it would be in the director’s best interest to treat the script as a foreign language. Everything needs to be clear, or the audience will be lost.

The production’s time period is confusing, too. All of the characters are wearing somewhat modern clothes. The older men wear formal suits, while the women wear modern formal clothing. This is set against the stone backdrop of a medieval castle. This effect is not too confusing, because it seems to be trying to achieve an ambiguous time period. It gets muddled when Rosencrantz and Guildenstern, Hamlet’s school friends, are introduced as characters. They are dressed in dark jeans and peacoats—very 2009.

They also act like modern people, while the older actors act more reserved, either trying to maintain ambiguity or Shakespearian pomp. Through his sarcasm and sporadic bursts of energy, Law also acts with modern flair. While Grandage might have been trying to show a difference between the old and the young, his choice works against him and confuses the viewer. He could have gone one way or the other, and in my opinion, he should have chosen to direct Hamlet as a modern play, because Rosencrantz and Guildenstern are two of the best-acted characters.

While Hamlet is many things at once, and is sometimes plain confusing, it is still an enjoyable experience. Through Law’s portrayal of Hamlet, the audience gets an inside view into his character’s mind. Hamlet speaks directly to the audience with openness and a bare honesty that amazes the viewer. This play has the potential to be truly great, but it is missing the little bit of effort that it would need to reach that level.

HOW TO SEE THE SHOW: $35 student rush tickets. Broadhurst Theatre, 235 W. 44th St.

Our Town

by Dalia Wolfson

When you first come to the Barrow Street Theater, it seems a little shabby. But just wait a while, until the lights go down, and a man with bright, searching eyes enters the room. He is the Stage Manager (a character, not tech person) and he holds a glowing cell phone. You've probably already extinguished yours, but sit quietly and wait for him to talk, not into the phone, but to you.  Because once the Stage Manager begins to speak, he will conjure up a whole county within several square feet. Grover's Corners of the early twentieth century will materialize in front of your eyes, filling the theater, with pulsating air.

The Stage Manager directs the audience through the childhood, adolescence, and brief adulthood and marriage of Emily Webb and George Gibbs. Their relationship is sweet, like a sort of simple sugar, with a proposal over cherry soda. Eventually, that sugar of life will heat up, turn to caramel, and finally to carbon ashes.

The final act, in particular, brings an added dimension to the story (including a stunning surprise), making the audience reconsider life and the monotony of daily routines. Playwright Thorton Wilder reminds us that, too often, we don't pay attention to “clocks ticking...and Mama's sunflowers. And food and coffee. And new-ironed dresses and hot baths...and sleeping and waking up.” The audience is forced to realize that we have an obligation to truly appreciate the beauty of this water, that bird and the sound of heliotrope blossoms in the springtime.

We emerge from the theatre with a new breath. Sigh softly for the comfortable, unconscious world of Grover's Corners, summoned and snapped shut by the Stage Manager's careful words. Director David Cromer has created a masterpiece out of Wilder's script, molding the characters, settings and speech into a little microcosm that provides a patch of warmth on a cold autumn evening.

So when it is time to leave this town and enter the next one, our planet, make sure you're not just acting. For Pete's sake, live, breathe and be Wilder. Now more than ever, the earth needs an encore. 

HOW TO SEE THE SHOW: $20 student rush. Barrow Street Theatre, 27 Barrow St.

County of Kings

by Monikha Reyes

The audience speaks in high murmurs, excited about the show that has yet to begin. Suddenly, to our right, Lemon Anderson silences the crowd, spitting out the first lyrics to the show. All eyes are on him as he makes his way to the stage, demanding attention as he begins the tale of his childhood.

 
County of Kings is a one-man, hip-hop, coming-of-age memoir. Lemon Anderson describes growing up with his family, the gossiping old women on his block, having sex and selling drugs. He brings close to home how easy it is to fall from the straight path when growing up with negative influences. By the end, we realized that a lesson was learned through every bad decision, and that every ordeal led to the man we saw before us. Without all of his experiences, whether harsh or tender, Lemon Anderson would never have entered the Def Poetry Jam, which started his career as a poet.

The music has a great beat that made many people bob their head in unison. It’s a treat to hear blasts from the pasts as familiar songs flood from the speakers, reinforcing the decade onstage. Quick narration keeps things moving, leaving not even a yawn to be stifled.

County of Kings is definitely a show worth seeing. It will leave you with a new outlook on life.

HOW TO SEE THE SHOW: $25 tickets, Culture Project, Public Theater, 425 Lafayette.

The 39 Steps

by Ben Ellentuck

Calling all Anglophiles*, Alfred Hitchcock fans, and ticket buyers simply in the mood for fun: The 39 Steps is for you! 

Based on the 1935 Hitchcock film of the same title, The 39 Steps chronicles the adventures of Richard Hannay, an innocent man who, like so many other Hitchcock men, is accidentally caught up in a high-stakes international spy game. And yet the play is not a thriller. Well, not first and foremost. Mostly, it is a light-hearted comedy in which four actors play more roles than I can count. 

The actors clearly have their rhythm down. The piece strikes the right tempo—a sprightly allegretto—and is able to maintain it fairly consistently until the very end. If it gets slow, which occasionally does happen, it never stays slow for long. The actors are hams (think Bottom from A Midsummer Night’s Dream), but the play is a play for hams.

Again, this is not a thriller—this is a parody of a thriller. You will not be particularly scared. You will not cry, well, unless you have a habit of crying when watching a comedy. You will perhaps laugh, however. No, scratch that: you will definitely laugh.

 

The 39 Steps isn’t the world’s funniest evening, but there really is something in it for everyone to enjoy. This fast-paced frolic is pure entertainment. And what better reason to go to the theatre? 

*somebody interested in people from England. 

HOW TO SEE THE SHOW: $26.50 student rush • Helen Hayes Theatre, 240 W. 44th St.

Vigil

by Nat Marcus

Vigil is a new Off-Broadway comedy that revolves around the relationship between a nephew and his dying aunt. Their shaded familiarity and endearing discomfort is examined in the simple setting of her bedroom. At first glance, the plot of this play sounds like a total snore, but the chaotic way in which the play unfolds and the heaping portion of bitter comedy makes me want to hang out at funeral homes.

The play opens with Kemp, the nephew, leaving his job and home in order to care for his ailing aunt, Grace. Although this seems like an incredibly selfless and responsible thing to do, Kemp is revealed to be a bit off-center as he is clearly only waiting for his aunt to die. Grace is strangely unfazed by his abhorrent behavior, even while Kemp continually talks about death and even plans her funeral. After Kemp and Grace pass a year together in this fashion, an elderly woman across the street passes away. Something uncannily links this dead woman to Kemp, and he realizes that he might have made a mistake.

The format of Vigil is very unique, with short rambling monologues from Kemp and many blackouts, making the play very fast-paced. Both actors portrayed their characters with specificity and nuance. Grace doesn’t speak at all until the end of the first act, and even in the second act, she only speaks a few times. I commend both for holding the audiences interest throughout the whole show, with one constantly speaking and the other hardly ever opening her mouth. The set is detailed and convincing, and the subdued madcap music reflects on the dark and hilarious nature of the play perfectly.

I would recommend Vigil to anyone looking for a sharp and witty play.

HOW TO SEE THE SHOW: $20 student rush tickets. DR2 Theatre 103 E. 15th Street.