Henry VI

The Atlas Shakespeare Company recently performed William Shakespeare's Henry VI trilogy in two parts, combining the first two plays, and then performing the third as a stand-alone production.

When the Public Theater announced they would be hosting NAATCO performing Henry VI: A Trilogy in Two Parts, I knew I'd have to check it out, if for no other reason than to compare how the companies divided up the material differently.

The current production reduces The First Part of Henry VI into a single act. Joan of Arc, who is clearly a witch and a sorceress in Shakespeare's text (since there's no way the French could possibly beat the English without cheating), is cleaned up considerably when played by Myka Cue. One could almost mistake the play for being historically accurate.

In the second act, the production further develops the characters of Henry VI (Jon Norman Schneider) and Queen Margaret (Teresa Avia Lim). It is Margaret who ultimately takes over the kingdom, as well as the play, and Lim is more than up to the task. She was recently featured in Gingold Theatrical Group's Pygmalion, but has appeared in a slew of other classical works as well.

The same can be said of Rajesh Bose, who previously shared the stage with Lim in Caesar and Cleopatra and now plays the ambitious Duke of York. Possessing a better claim to the throne than the current king but reluctant to openly defy him (yet), the Duke of York is forced to seek out allies, chief among them the Earl of Warwick, who came to be known as the Kingmaker. Anna Ishida plays Warwick wonderfully, as the Earl attempts to navigate the changing political landscape and also keep his head.

York's dark monologue in which he plots the uprising of Jack Cade both ends the first part of the current production and begins the second part. Did Cade's popular revolt in 1450 have anything to do with York? Probably not, but Shakespeare was never one to allow history to get in the way of a good story. Cade did use the name of John Mortimer, an earlier claimant to the throne, and this production cleverly has Orville Mendoza play both the real Mortimer in the first part and later the fake one.

The second act of part two of this production ties up the later scenes of The Third Part of Henry VI, which display a parade of slaughter. After the Duke of York it given a paper crown and had his head lopped off, the war is continued by his son Edward, played by David Shih. In NAATCO's co-production of Bus Stop at Classic Stage Company, Shih played the somewhat comic character of the bus driver, but while Edward is not above cracking jokes, he can also be terrifying, as when he and his brothers murder the young prince (Tommy Bo).

Shakespeare also gives ample space to the Clifford Family, whose power base was in the north of England, but who owed their allegiance to the Lancastrian King Henry VI. James Yaegashi, who plays the villainous Bishop of Winchester in the first part, returns terrifyingly as Old Clifford in the second part. He is succeeded by a son just as bloody, Young Clifford, played by David Lee Huynh (whom the audience previously saw as the Dauphin of France).

For the most part, Henry VI is like a well-written soap opera: good, escapist fun. However, this tale of incompetent leadership, broken promises, and disastrous foreign wars can't help but resonate with contemporary America. Though the adaptation by director Stephen Brown-Fried cuts a great deal to trim a trilogy down to two evenings, it doesn't needlessly alter Shakespeare's words. Perhaps that's why the audience appeared shocked when Warwick delivered this speech written centuries ago:

    Alas! how should you govern any kingdom,

    That know not how to use ambassadors,

    Nor how to be contented with one wife,

    Nor how to use your brothers brotherly,

    Nor how to study for the people's welfare,

    Nor how to shroud yourself from enemies?

Once again, Shakespeare proves to be our contemporary.

David Copperfield

Yesterday was the final monthly meeting this season of The Friends of Dickens New York, at which we discussed the final chapters of A Tale of Two Cities.

As I've previously blogged, A Tale of Two Cities was adapted for the stage almost immediately after it was published. After our meeting, though, many of us headed to an adaptation of a different Dickens novel, David Copperfield.

The play, adapted by Abigail Pickard Price, Sarah Gobran, and Matt Pinches, was originally produced by Guildford Shakespeare Company and is playing now at 59E59 Theaters (memorably located at 59 East 59th Street in Manhattan).

Performances last for two hours and 15 minutes, including the intermission, which means much has to be cut from the massive novel. (Barkis might have been willin' but still didn't make it into the show.) Eddy Payne plays David, while Luke Barton and Louise Beresford perform everybody else.

The costumes, designed by Neil Irish and Anett Black, help to distinguish the characters, but mostly the performers relate character through voice and body language (and occasionally through puppets). Price, who directed the play as well as being one of the adaptors, skillfully helms the production, making sure the audience keeps up with the action.

If you want to go, the play is still running until June 28th. If you're interested in The Friends of Dickens New York, we'll be taking a break for the summer, but will be meeting again in September, beginning discussions of a new novel, Hard Times.

Sub

Last night, I caught Alex Aguirre's underwater workplace comedy Sub, about coworkers in a dystopian future selling arms to private militia groups from a submarine on a mostly submerged planet earth.

Mitchell Polonsky directed the piece at Erf Gallery, which is in an off-the-beaten-path part of Bushwick. The audience sits on both sides of a long, narrow set, designed by Owen Versteeg to evoke a futuristic submarine.

At one end of the set is a rack of the latest post-apocalyptic fashions designed by nepo baby Freya, played wonderfully by Addie Guidry. At the other end is a steel drum containing weapons manufacturer Peter, played by the magnificent Nick Walther.

We learn the reason Peter is in the drum is that he had both his legs cut off by Freya's father, a nasty powerbroker on which they both must rely. He consoles himself by popping pills and swilling an insane amount of liquor, but the audience later finds out that these are merely placebos.

For her part, Freya has to contend both with her daddy issues and her powerful frenemy, Chloë Chimera, played eerily by Chloe Claudel with the aid of a microphone that electronically alters her voice. Chloë claims to be "post-human" and freed from the conventional morals of an obsolete humanity. The character reminded me quite a bit of some of the post-human imaginings of Bernard Shaw in Back to Methuselah and Farfetched Fables.

Other than Freya and Peter, the only other employee on the sub is Arnold, a splendidly clad but ineffectual security officer played by Jonah O'Hara David. The crew does receive periodic visits from Chloë's husband, a fellow warlord named Barnaby Miller who apes the film noir villains of the past. (Just don't call it his "bit" if you want to live long!) Santiago Mallan is both comic and menacing as Barnaby, who inhabits his retro persona out of a terror of having to deal with the world in which he actually lives.

Chloë has no such difficulties, having fully embraced a world in which human emotions can only prove weaknesses. Having adapted her body to the technology that alters her voice, she's already on her way to becoming a computer, like the one that steers and protects the sub. ("Emily" voiced by Wendy McColm.) All of the cast members are imaginatively costumed by designer Olivia Vaughn Heren, though Chloë's outfits are the most impressive and least human looking.

Ultimately, though, the play is about humanity, and Freya and Peter share an oddly touching moment at the end that reminds us how in dark times hope can be one of the most subversive elements to remain in the bitter remnants of a failed society.

The show is running this weekend only, so see it while you can!

Much Ado in the Bronx

Last night I was at the Bartow-Pell Mansion to watch Red Monkey Theater Group perform William Shakespeare's Much Ado About Nothing in the ladies' parlor of the historic Bronx home.

As I learned during a tour of the museum, the Bartow-Pell Mansion was built with two nearly identical parlors, though the one designated for men was decorated with eagles, while the ladies' parlor was given cherubs instead.

Pocket doors in the walls could open up to unite both parlors into one large room, when it was needed for balls, for instance. Open space was necessary for the performance, not for the dancing (though there was some) but to provide room for the stage manager who ran sound cues.

The audience sat on three sides of the room, not on historic chairs and sofas, which had been cleared away, but on (rather nice) folding chairs. This created an intimate space for the stripped-down, 90-minute, intermission-free performance. Co-directors Tal Aviezer and Amy Frey also took on the roles of Benedick and Beatrice in the play.

I'd previously seen Aviezer as Sherlock Holmes in Red Monkey's production of The Adventure of the Beryl Coronet. Aviezer himself wrote that adaptation of the A.C. Doyle short story, which Frey directed. Clearly, they have a rapport offstage. Similarly, onstage they have tremendous chemistry as the the two bickering lovers in Much Ado. They were supported last night by some other actors I recognized from Beryl Coronet, Derek Tarson as Leonato and Ariel Francoeur as Margaret.

The production also uses some clever doubling. Sean Coffey, who plays the cynical villain Borachio, returns as the holy Friar Francis in the infamous non-wedding scene. Sean David Demers, who plays Borachio's vile patron Don John, later comes back as the officer Dogberry, who arrests Borachio toward the end of the play. Sadly, we never get the rest of the watch, but with a cast of only nine and only an hour and a half to perform, some cuts have to be made.

Red Monkey will be returning to the Bartow-Pell for a special Dungeons & Dragons fundraiser, and then again for a one-man version of A Christmas Carol that I previously saw Coffey perform at the Van Cortlandt House Museum.

You don't have to wait until December to see the company, though. Much Ado About Nothing continues to play at Bartow-Pell until June 7th, and then will be running at Wildcliff in New Rochelle until June 28th.

Uncle Vanya

This summer, there are two free outdoor productions of Anton Chekhov's Uncle Vanya. Last night, I saw the first of them to begin performances, Hudson Classical Theater Company's staging by the Soldiers' and Sailors' Monument in Riverside Park. I can't speak for the other production that hasn't opened yet, but this one is definitely worth seeing.

Hudson Classical has done some great work in recent years, including Henrik Ibsen's The Lady From the Sea, William Shakespeare's Coriolanus, and Richard Brinsley Sheridan's The School for Scandal. This is their 23rd season presenting summer theatre, and Uncle Vanya is the 80th play they've produced. Audience members sit on the stone steps of the Monument, but fortunately there are cushions.

The unique setting adds to this production, since there is a natural backdrop of trees as the characters discuss the disappearing forests of Russia. Dr. Astrov, played by Jeff Dylan Garrett, speaks eloquently of his plans to restore nature to its former grandeur. Unfortunately, the beautiful Yelena, played by Silvia Bond, seems incapable of understanding him. Astrov remains fixed on Yelena, in spite of the attention paid to him by her stepdaughter young Sonya, played by Charlotte Nichols.

At the center of this whirling cast of characters is Sonya's depressed Uncle Vanya, played by Dan McVey. Vanya is also in love with Yelena, though she remains married to Professor Serebryakov, who is played in all his annoying petulance by John L. Payne. The professor, who writes virtually unread books about Realism and Naturalism without understanding a bit about art, remains to this day a biting attack on the inanity of certain academics.

Nicholas Martin-Smith directs the production to run swiftly from scene to scene in an intermission-free performance that gets to the heart of Chekhov's text with such rapidity the audience doesn't mind the cramped legroom on the Monument steps. The show runs through June 21st, so see it before it closes!

New Comedies Festival Semifinalist (Again!)

I just received word that my new play After an Earlier Incident has been named a semifinalist in the B Street Theatre's 2026 New Comedies Festival in Sacramento.

The theatre is scheduled to select four finalists by June 2nd. Chosen plays will receive readings July 12th through 19th, and at least one of those plays will be fully produced for the theatre's upcoming season.

In March, I previously announced that After an Earlier Incident had advanced to Round 2 of B Street Theatre's process. Last year, my play The Love Songs of Brooklynites made it to the semifinals, but unfortunately was not invited out for the New Comedies Festival.

The first scene of After an Earlier Incident had a workshop at Theatre of Western Springs outside of Chicago. I continued to develop the piece with Caryn Osofsky and Nick Walthers, two actors I met through the American Renaissance Theater Company (ARTC), and they performed a public reading of the full play in December at Theater for the New City.

In the play, a recently widowed woman meets a perpetually awkward man for their first date, only to discover that they both have more baggage than they are willing to admit. The play asks how two people can relate to one another when the technology we use to communicate keeps getting in the way, and how we can move forward with life even when a recent death remains ever present. It's a comedy about trying to live and love when tragedy lies just below the surface.

Perhaps this July the people of Sacramento will get a chance to hear this piece, which is very near and dear to my heart.

The Grim Game

Harry Houdini is known for being a great performer, but in addition to doing magic and escape acts, he was also a fine actor.

Houdini made several films, and tonight I was able to see one of the ones that survived: the 1919 silent The Grim Game. The New York Public Library for the Performing Arts held a screening of the restored film with Makia Matsumura providing live piano accompaniment.

In addition to showing Houdini in action as the fictional Harvey Hanford, the film features a mid-air plane crash which was unscripted. Fortunately, no one was hurt! Incidentally, Houdini did not do his own aerial stunts, though he can be seen escaping from handcuffs, a straight jacket, and other jams, as he was famous for doing on stage.

Houdini has appeared on stage as a character as well, perhaps most notably in the musical Ragtime, currently running right next to the library at Lincoln Center. He's also depicted in a new play Joe Sutton has been developing at American Renaissance Theater Company. I had the privilege to play Houdini in a developmental reading from the piece at an ARTC Workshop earlier this year.

If you want to see Houdini's acting yourself, the restored print of The Grim Game is now owned by Turner Classic Movies, so you might be able to catch it there.