Cost of Living

B+

After a successful run at the Williamstown Theatre Festival last summer, Martyna Majok’s (Ironbound) powerful four-character drama has arrived at Manhattan Theatre Club’s Stage I at City Center. The lead character, Eddie (Victor Williams, Luck of the Irish), begins the play with a well-written and well-performed 10-minute monologue that reveals that he is a long-distance truck driver who recently lost his wife. Next we meet Jess (Jolly Abraham, Coram Boy), an attractive woman in her twenties who is applying for a job as helper to John (Gregg Mogzala), a Harvard-educated grad student with cerebral palsy who is confined to a wheelchair. Jess works as a barmaid and needs the extra income. In a flashback, we meet Eddie’s wife Ani (Katy Sullivan) who lost her legs in an accident and is a bundle of rage. Two of the play’s most moving scenes take place in bathrooms where we see Jess shaving and showering John and Eddie giving a bath (and possibly more) to Ani. The play's strengths include  not portraying the disabled characters simplistically and in giving equal time to the needs of their caregivers. Each character is vividly sketched to the point that I wished I knew more about them. Until the final scene, each character interacts with only one other character. In that scene a new heartbreaking connection is made. I wish the author had omitted a brief manipulative reversal at the very end. The entire production is first rate: the acting, the revolving set by Wilson Chin (Aubergine, My Mañana Comes), the character-appropriate costumes by Jessica Pabst (The Ruins of Civilization) and the smooth direction by Jo Bonney (By the Way, Meet Vera Stark). I read that the author expanded this work from a two-character play and the opening monologue. The combination was not totally successful; some of the stitches show. Nevertheless, seeing it is a worthwhile, if painful, experience. Running time: one hour 45 minutes, no intermission.

Vietgone *** B+

Qui Nguyen’s new play at Manhattan Theatre Club's Stage I is hard to fit into a neat category. While the prevailing tone is comedic, it deals with some very serious issues. Its central focus is a Vietnamese couple who meet in a refugee camp in Arkansas. Quang (Raymond Lee) is a helicopter pilot wracked by guilt for being unable to rescue his wife and children when Saigon fell. Tong (Jennifer Ikeda) is an emotionally closed-off woman who wanted to escape with her younger brother but ended up being forced to take her difficult mother instead. Sexual sparks fly when Tong and Quang meet, but the emotional baggage they carry is a barrier to building a relationship. Besides, Quang wants to return to Vietnam to rejoin his family. We also meet Quang’s best friend, an American naval captain, a translator, a camp guard, a hippy couple, a redneck biker and even a character who purports to be the playwright. All the female roles except Tong are played by Samantha Quan; all the male roles except for Quang are played by Jon Hoche and Paco Tolson. The play incorporates a love story, a road trip with a hilarious kung fu sequence, a send up of ethnic and national stereotypes, broad (sometimes too broad) humor, all in the context of presenting an alternative view of the Vietnam era as seen from the other side. While the play is not a musical, every once in a while, when emotions are running high, a character will suddenly break out into rap. It’s unfortunate that I had just seen Hamilton a week before because the quality of the rap lyrics here (to music by Shane Rettig) can in no way compare to Lin-Manuel Miranda’s work. The cast members are appealing, but the acting is uneven and often unsubtle. The first-rate production benefits from an excellent scenic design by Tim Mackabee, featuring a western scene of a highway with utility poles, power lines and billboards, greatly enhanced by Jared Mezzocchi’s projections. Anthony Tran’s costumes are excellent too. Director May Adrales skillfully holds it all together. It’s an unruly play that could use a slight trim, but its energy and inventiveness go a long way to make up for its shortcomings. I found it refreshing and worthwhile. Running time: 2 hours, 30 minutes including intermission.

Sell/Buy/Date *** B

It’s hard to believe that 12 years have passed since I first saw the incredibly talented Sarah Jones perform “Bridge & Tunnel,” her love letter to the immigrants of New York City, in which she created about a dozen characters of different ethnicities. It moved to Broadway and was awarded a special Tony. Since then, Ms. Jones has been busy with a variety of activities, including serving as a UNICEF Goodwill Ambassador and advocating for women in the sex industry. When Manhattan Theatre Club announced her long-awaited return to the New York stage, it was cause for celebration. Once again Ms. Jones plays multiple characters, loosely connected by some involvement in selling or buying sex. The framing device has a British professor at some future time giving a lecture on changing attitudes toward sex work over the decades. Her lecture is enhanced by BERT (bio-empathetic resonant technology) which presents her students (and the audience, of course) with not only the words, but also the emotions and memories of each research subject. Most of the characters are vividly created and some of the points they make are thought-provoking. The lecture is punctuated by several interruptions during which the professor attempts to resolve a problem that is delaying her appointment as head of a new department. I thought this subplot undercut rather than enhanced the main idea. Dane Laffrey’s elegantly simple set is beautifully lit by Eric Southern. Carolyn Cantor is the director. While is was a great pleasure to see Sarah Jones again, I was slightly disappointed by the material. Running time: 85 minutes, no intermission.

The Ruins of Civilization ***

For its final play of the season, Manhattan Theatre Club is presenting the world premiere of an unsettling drama by award-winning British playwright Penelope Skinner (The Village Bike). The play is set in a dystopian England of the future where the government tightly regulates most aspects of life and empathy is in short supply. Silver (Tim Daly) is an anal-retentive writer who has been doing research on a novel for nine years. His sensitive wife Dolores (Rachael Holmes) has been troubled by things they have just seen on a trip to an island that is about to vanish due to climate change. Joy (Orlagh Cassidy) is the government functionary who visits the couple periodically to check on Dolores. Apparently the couple’s stipend has been temporarily trimmed until Dolores gets over having thoughts that are against government policy. Without consulting her husband, Dolores invites Mara (Roxanna Hope), an immigrant from the doomed island, to occupy their spare room. Complications ensue. Through seemingly offhand remarks, Skinner builds a chilling picture of a society that is plausible enough to make one uncomfortable. The actors were fine except for an occasional stumble over accents. Neil Patel’s attractive set has subtle hints of futurity and Jessica Pabst’s costumes, particularly the jackets and shoes for Silver, are stylishly modern. Some aspects of the plot do not stand up to close examination, the emotional temperature could use a boost and the first act could use a trim. Nevertheless, the play held my interest and raised issues that merit our attention. Leah C. Gardiner directed. Running time: 2 hours, 5 minutes, including intermission.

NOTE: The three most interesting plays of the MTC season were all by foreign playwrights (Florian Zeller, Nick Payne and Penelope Skinner). Three others were by MTC old timers — Richard Greenberg, David Lindsay-Abaire and John Patrick Shanley. Add in a mediocre revival (Fool for Love) and an absolutely ghastly new play (Important Hats of the Twentieth Century). Can MTC do better? Hope springs eternal.

Incognito ***

Nick Payne’s intriguing play at Manhattan Theatre Club is cerebral both figuratively and literally: it’s brainy and it’s about the brain. Just as quantum physics played an important role in “Constellations,” his last play at MTC, neuroscience is at the center of this one. In an author’s note, Payne says that the play is loosely based on real events and cites ten sources that inspired him. The three main narratives are about Thomas Harvey, the pathologist who took Einstein’s brain and wasted the rest of his career trying to find something special about it; Henry Maison, a young man who, after experimental surgery for epilepsy, was unable to form new memories for the rest of his long life; and Martha Murphy, a fictional middle-aged neuropsychologist with a dim view of human autonomy, trying to reboot her life after a divorce. There are also several subsidiary stories woven into the narrative. The gimmick is that all 20 roles are played by four actors — Geneva Carr, Charlie Cox, Heather Lind and Morgan Spector —who transition between characters with lightning speed. Text on the rear wall identifies the play’s three sections — Encoding, Storing and Retrieving. This segmentation seemed arbitrary and the moment of stylized movement and gestures that introduced each one was an unnecessary distraction. As in any pastiche, some stories are better than others. I wished that some had been prolonged and others had been attenuated or even eliminated. I found Martha’s story not very compelling, but was extremely moved by Henry’s tale. The actors are wonderful, particularly Carr and Cox. Scott Pask’s strikingly simple set consists of a large circular platform with four chairs backed by a semicircular wall, all in charcoal, with a ring of lights above the wall. Catherine Zuber’s costumes are all in various shades of gray. Director Doug Hughes skillfully juggles the many strands so that the audience can usually find its bearings without undue difficulty. I admired Payne’s ambition and intelligence even when an occasional scene misfired. Running time: 90 minutes; no intermission.

Our Mother's Brief Affair *

Noone knows how to pander to a Manhattan Theatre Club audience better than Richard Greenberg. String together some witty one-liners, throw in a Jewish matron, add a few Yiddish words, mention Great Neck at least once and, voila, MTC awaits with open arms. If you can get Linda Lavin to play the matron, all the better. And so we now have this strange lumpy play occupying the stage of the Friedman Theater. Anna (Lavin), on her deathbed for the umpteenth time and not fully of sound mind, confides to her son Seth (Gregg Keller), a gay solitary obit writer, that she had an affair when he was a teenager. Having trouble processing this information on his own, he summons his twin sister Abby (Kate Arrington) back from Southern California, leaving her wife and infant behind. Anna claims that while Seth was taking unwanted viola lessons at Juilliard, she was carrying on with a man (John Procaccino) she met on a park bench in Central Park who said his name was Fred Weintraub. SPOILER ALERT: Read no further if you don’t want to know an important plot point. Fred later reveals that he is actually David Greenglass, the man largely responsible for sending his sister Ether Rosenberg to the electric chair. (I confess that I find it distasteful when a playwright drags in a well-known historical moment, be it 9/11 or the Rosenberg case, to prop up his play.) To remind the audience who Greenglass was, director Lynn Meadow turns up the house lights so Seth can give us a short lecture, thereby destroying whatever mood had been established. David's confession is not a turnoff for Anna who responds with a confession of her own, recalling a shameful incident from her early adulthood. Time passes, Anna worsens, moves to assisted living and the family home is sold. Seth and Abby have their doubts about the truthfulness of Anna’s story. Unfortunately, Anna is so unsympathetic and her adult children so emotionally stunted that it is hard to develop much concern for them. The exposition involves long scenes of Anna and Phil/David reenacting her story while Seth and Abby are reduced to standing around and injecting an occasional sarcastic remark. Keller and Arrington make the best of their underwritten roles. Procaccino is fine and Lavin is Lavin. She looks smashing in her Burberry coat and still has great legs. That seemed enough to satisfy the audience. Santo Loquasto's understated set is a far cry from MTC's typically lavish set designs. Running time: two hours including intermission.

Ripcord ***

Playwright David Lindsay-Abaire has a new addition to his long string of successes at Manhattan Theatre Club. His new comedy stars Marylouise Burke, his oft-time muse, and Holland Taylor (replacing the originally announced Mary Louise Wilson) as Marilyn and Abby, residents of the Bristol Place Assisted Living Facility. Over four years, the unfriendly secretive  Abby has driven away a long string of roommates by her acerbic personality. Her latest, Marilyn, drives her wild with her cheerful gregariousness. Marilyn is quite happy where she is and has no intention of leaving. The roommates make a secret bet: if Abby wins, Marilyn moves out; if Marilyn wins, she gets the bed by the window. The attempt to win leads the pair to increasingly outrageous and hilarious stunts. Marilyn enlists her daughter Cathleen (Rachel Dratch) and son-in-law Derek (Daoud Heidami) in her campaign. Scotty (Nate Miller), a good-natured attendant and would-be actor, tries unsuccessfully to keep the peace. The second act takes on a somewhat darker tone as the competition gets more personal and nastier. A new character, Benjamin (Glenn Fitzgerald) makes an appearance. The resolution was a bit disappointing, to me at least. Burke and Taylor are outstanding as the rival roommates. The supporting cast is strong too. The play resembles Lindsay-Abaire’s early playful works such as “Fuddy Mears” more than his more serious recent plays like “Good People.” David Hyde Pierce has a real knack for directing comedy. Alexander Dodge’s clever scenic design switches seamlessly between their shared room and a few other very different locations. Jennifer von Mayrhauser’s costumes are apt. All in all, it’s a very entertaining, but not very substantial work. Running time: two hours including intermission.

Fool for Love **

Full disclosure: While I have often admired Sam Shepard as an actor, his plays have never appealed to me. The overwrought characters and situations just do not draw me in. The present play, a Williamstown export to Broadway via Manhattan Theatre Club, is no exception. Had it not turned up on my subscription, I never would have seen it. Sam Rockwell and Nina Arianda play Eddie and May, a pair of sometime lovers who can’t get along with or without each other. May has tried to start a new life in a small town on the edge of the Mojave Desert, but Eddie has tracked her down and shown up at her rundown motel room to try to rekindle their relationship. Gordon Joseph Weiss is The Old Man, who, although presently unseen by the pair, has played a crucial role in shaping their lives. Tom Pelphrey plays Martin, May’s intended date for the evening, with delightful obtuseness. Ariana and Weiss are fine. Although Rockwell certainly aced his lasso lessons, I wish he displayed more of the charisma that would explain his hold over May. The big secret seemed more like a plot contrivance than an organic development. Dane Laffrey’s set for the motel room goes beyond seedy. Anita Yavich’s costumes are apt. The lighting design by Justin Townsend and the sound design by Ryan Rumery add much to the production. The initial scenes seemed a bit slack, but director Daniel Aukin picks up the pace as the play progresses. I wish I had found it more involving. Running time: 70 minutes, no intermission. It seemed longer.

Heisenberg **

When I reviewed Bluebird at the Atlantic Theater in 2011, I said: “Don't be brokenhearted if you weren't able to get tickets to see Simon Russell Beale in Simon Stephens' 1998 play, now in a sold-out run at Atlantic Stage 2.” I could say the same about his new play at Manhattan Theatre Club. Unless you are a die-hard Mary-Louise Parker fan, you won’t be missing much if you didn’t score tickets to this one. After seeing three of his plays (Harper Regan, Bluebird and Punk Rock) and his adaptation of the book The Curious Incident of the Dog in the Night-Time, I have concluded that Stephens shows much more talent as an adaptor than as a playwright. In this two-hander, Parker once again plays the quirky, troubled soul that she was born to play — over and over and over. She is joined by the impressive Denis Arndt, an actor with a long list of regional credits, but who is new to me. Parker plays Georgie Burns, a 40-ish American expat in London, who, as the play begins, has just impulsively kissed Alex Priest (Arndt), a 75-year-old butcher sitting on a bench in a train station. The motor-mouthed Georgie then practically drowns Alex in a sea of words. A week later she shows up at his shop unexpectedly. The nature of her interest in this older man is a mystery. We eventually learn the reason or, at least, the purported one. With Georgie there’s always uncertainty, because she is prone to expressing two diametrically opposed views simultaneously. (Perhaps that’s where the title comes from.) We follow their interactions over the next six weeks. I will say no more about the slender plot. It’s a tour de force for the actors, particularly Parker, but it didn’t otherwise hold much interest for me. City Center’s Studio at Stage II has been reconfigured with the audience on both sides of the elongated stage. Except for two tables and two chairs, the set by Mark Wendland is bare. The costumes by Michael Krass do not call attention to themselves. Mark Brokaw’s direction is uncluttered. Running time: 85 minutes, no intermission.

Lost Lake ***

In the 13 years since winning the Pulitzer and a Tony for Proof, playwright David Auburn’s work has rarely been seen in New York. His 2011 adaptation of The New York Idea was rather flat and his 2012 bipolay about Joseph Alsop, The Columnist, did not have much to offer beyond a juicy role for John Lithgow. Now he is back at Manhattan Theatre Club with this two-character play about Veronica (Tracie Thoms), an African-American nurse from New York City who rents a summer home in Putnam County for a week and Hogan (John Hawkes), the man she rents it from. The widowed Veronica is a hard-working nurse who just wants to offer her two children a week in the country. Hogan, a free spirit who could all too easily be dismissed as one of life’s losers, is a man unable to deliver on his good intentions. The landlord-tenant relationship that throws them together develops into something different as they confide in each other and eventually reach out to help each other. It is a pleasure to see award-winning indie film actor Hawkes on stage. Thoms, whose previous work I was not familiar with, holds her own performing with him. Auburn has written two characters that are both vivid and compassionate. The ending may not bring us to a happy place, but the journey is worthwhile. Daniel Sullivan’s direction is skillful. J. Michael Griggs’s set is appropriately both rustic and a bit seedy. Jess Goldstein’s costumes are apt. Running time: 1 hour, 35 minutes; no intermission.

The Country House ***

Donald Margulies’s new play at Manhattan Theatre Club could well bear the subtitle “Variations on Chekhovian Themes.” Characters and situations from “The Seagull” and “Uncle Vanya” are borrowed, tweaked and conflated to produce a clever mash-up that works more often than not. The action takes place in the Williamstown home of Anna Patterson (Blythe Danner), an acclaimed actress of a certain age who is in town to play the title role in Mrs. Warren’s Profession. For the first anniversary of her daughter Kathy’s death, she is joined by her granddaughter Susie (Sarah Steele), a senior at Yale; her daughter’s widower Walter (David Rasche), a successful Hollywood director who has his new girlfriend Nell (Kate Jennings Grant), an actress, in tow; and Anna’s unhappy son Elliot (Eric Lange), an unsuccessful actor and would-be playwright. The family are joined by a surprise guest, Michael Astor (Daniel Sunjata), a television celebrity who has come to town to play The Guardsman. As a young actor, he had appeared with Anna and had an affair with Kathy; he is still catnip to three generations of women. Eleven years ago, Nell and Elliot had acted together in Louisville, leaving Elliot smitten with unrequited love for her. All this is laid out cleverly in the first act with amusing dialogue. And then things head south. The second act seemed formulaic and the third act, which hews too slavishly to Chekhov, did not offer any sense of resolution. The play is peppered with droll observations on the state of theater and film. The cast are uniformly excellent, John Lee Beatty’s set is luscious, Rita Ryack’s costumes are appropriate and Daniel Sullivan’s direction is smooth and assured. Although the destination was a disappointment, it was an entertaining ride for most of the journey. Running time: 2 hours, 15 minutes including intermission

Tales from Red Vienna ***

Although far from flawless, this new play by David Grimm is the most interesting thing I have seen at Manhattan Theatre Club so far this season. It presents a vivid cross-section of Viennese life right after World War I. Austria has lost its empire, the socialists are in control in Vienna, the resentful aristocrats have lost their titles and the Jews are, as so often, convenient scapegoats. Helena Altman (Nina Arianda) is a war widow forced to take extreme measures to survive. Edda Schmidt (Kathleen Chalfant) is her loyal longtime housekeeper. "Mutzi" von Fessendorf (Tina Benko) is a haughty self-centered childhood friend who has ulterior motives for introducing Helena to Bela Hoyos (Michael Esper), a handsome Hungarian socialist journalist. Rudy Zuckermaier (Michael Goldsmith) is a young Jewish grocery deliveryman with a crush on Helena. Karl Hupka (Lucas Hall) is a mysterious figure about whom I dare not say more.  In this era of 90-minute plays sans intermission, it is a novelty to see a play with three acts and two intermissions. The play starts with a gripping scene that certainly gets your attention. The rest of the first act plays out well, but the second act is considerably weaker with an abrupt turn to melodrama. For me, the final act did not provide a satisfactory resolution. Why then, you may ask, am I giving it three stars? The two main reasons are Arianda and Chalfant, who are among our finest stage actresses. It is always a privilege to see them in action. Also, I credit the play for its ambitions, even though it doesn't fully realize them. Esper needs to turn up the volume a bit and Benko needs to tone things down a smidgen. With over two weeks until opening night, I suspect that everything will be more polished by then. John Lee Beatty's set design is appropriately oppressive and Anita Yavich's costumes are very good. Kate Whoriskey's direction does not call attention to itself. Running time: 2 hours 25 minutes including 2 intermissions.

Outside Mullingar ***

If you are willing to turn off your critical faculties and yield to the skillful manipulations of a master, you can have a good time at John Patrick Shanley's new play at Manhattan Theatre Club. Not for nothing has it been called the Irish "Moonstruck." It too is a rather slight but enjoyable rom-com with a prickly couple at the center. Fortunately Anthony and Rosemary are played by Shanley veteran Brian F. O'Byrne and, in her Broadway debut, Debra Messing, who play well off each other and are joined by two wonderful actors, Peter Maloney and Dearbhla Molloy as Anthony's father and Rosemary's mother. The wisp of a plot involves a spiteful real estate transaction 30 years prior, the alienation between father and son, the loneliness of Irish farm life and a long-smoldering unrequited love. There are some fine set pieces that allow each actor to shine, but for me, a ludicrous revelation in the final scene undid some of the good will the play had earned. John Lee Beatty's set design is topnotch and Catherine Zuber's costumes are fine. Doug Hughes's direction is assured. Running time: 80 minutes, no intermission.

Taking Care of Baby**

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British playwright Dennis Kelly's faux documentary is now at Manhattan Theatre Club's Studio at Stage II for its New York premiere. An initial advisory that all the dialogue has been lifted from actual transcripts is deliberately garbled a couple of times later, perhaps as a clue that it is all fiction. The play crosscuts between Donna (Kristen Bush), a mother who has been jailed for murder after the death of her two young children; her mother Lynn (Margaret Colin), a politician whose positions change as often as the wind direction; the controversial Dr. Millard (Reed Birney), who has posited a disease that causes oversensitive women to murder their children; and Martin (Francois Battiste), Donna's traumatized former husband. Peripheral characters include Mrs. Millard (Amelia Campbell), Lynn's campaign manager Jim (Ethan Phillips) and an odious, sexually addicted reporter (Michael Crane.) Talking head interviews alternate with reenactments. The acting is top-notch, especially by Bush, Colin and Birney. I wish that the rapid alteration of fragmentary scenes did not diminish the momentum so that none of the individual stories was adequately developed. Despite the fine acting, the play's concept was more interesting than the execution. Erica Schmidt's direction seemed unfocused and uninvolving. Running time: two hours, fifteen minutes including intermission.

The Commons of Pensacola **

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Few first-time playwrights are lucky enough to have their debut effort presented by a major New York theater company, Manhattan Theater Club, directed by its artistic director, Lynne Meadow, starring two esteemed actresses, Blythe Danner and Sarah Jessica Parker. Amanda Peet, an actress known for "Studio 60 on the Sunset Strip"  and "The Good Wife," is that lucky person. Her play imagines the post-scandal life of Judith, a Ruth Madoff-like character (Danner), forced to live in straitened circumstances in a Florida condo, and the collateral damage to her family. Daughter Becca (Parker), an unsuccessful 43-year-old actress and her 29-year-old boyfriend Gabe (Michael Stahl-David), a self-styled "guerilla journalist," have arrived for a Thanksgiving visit. They are joined by teenaged granddaughter Lizzy (Zoe Levin), whose mother Ali (Ali Marsh) has broken off contact with Judith for reasons unknown. We also meet Judith's capable part-time homemaker-health aide Lorena (Nilaja Sun). What Judith knew about her husband's criminal activities is at issue. The troubled relationship between Judith and Becca is another focus. The play contains several interesting touches and the dialogue is actor-friendlly, but it doesn't add up to much. Although less than a rousing success, it at least provides the pleasure of seeing Danner and Parker on a New York stage again. I attended an early preview, so chances are it might improve before it opens. Santo Loquasto's set is appropriately nondescript. Running time: 1 hour, 20 minutes; no intermission.

Choir Boy **

I wish I had not read the glowing reviews of Tarell Alvin McCraney's drama with music at Manhattan Theatre Club's Stage II, because they set me up for disappointment. The a cappella singing of the actors portraying members of the gospel choir and the headmaster of an elite black prep school is gorgeous, but the drama into which the music is blended could use deeper character development and fewer subplots. Jeremy Pope is strong as the effeminate student choir leader who is as much bully as victim. Nicholas L. Ashe, Kyle Beltran, Grantham Coleman and John Stewart are all fine as the other students. Charles E. Wallace is admirable as the headmaster and Austin Pendleton is believable as the retired historian brought in to hone the boys' intellect (a la "History Boys"). The plot is often contrived and predictable. Jason Michael Webb made the fine vocal arrangements. David Zinn's set and costumes are excellent and Trip Cullman's direction is smooth. I might have enjoyed it more had I been expecting less. Running time: 90 minutes, no intermission.

The Explorers Club ***

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If you go to Nell Benjamin's new play now in previews at Manhattan Theatre Club's Stage I, be sure to arrive a few minutes early so you will have time to savor Donyale Werle's spectacular set. Just seeing this recreation of a Victorian men's club in London with its dark paneling, oriental rugs, stuffed animals, animal heads, horns, tusks and pelts, shrunken heads, spears and swords is almost worth the price of admission. Another reason to see the show is a brilliant piece of stage business in the second act that elicits appreciative gasps from the audience each time it is repeated. A final plus is the superb ensemble cast giving their all to animate what is billed as a "madcap comedy." Carson Elrod, who was so good in All in the Timing recently, is wonderful as Luigi, the blue-painted native brought back from the Lost City by Phyllida Spot-Hume (Jennifer Westfeldt), who would like to become the first woman in the Explorers Club. Lorenzo Pisoni, who usually plays a heartthrob, is cast against type as Lucius Fretway, a shy, clumsy botanist who yearns for Phyllida. David Furr is delightful as Harry Percy, the club's none-too-bright president, whose expeditions have an unusually high mortality rate. John McMartin is droll as a Professor of Bible Science whose hypothesis that the Irish are the lost tribes of Israel causes an international incident. A snafu when Luigi is presented to the Queen leads to a declaration of war. Act One gets a bit bogged down in exposition and seems more like satire than farce. Act two, however, rises to hilarity several times. I wish the humor had been more consistently maintained, but it would be churlish to dislike a play that is so amiable. Anita Yavich's costumes are excellent. Marc Bruni's direction is mostly smooth. Running time: one hour, 50 minutes with intermission.

The Other Place (revisited) ***

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Are worthy new plays so hard to find that Manhattan Theatre Club must resort to offering subscribers a play that had a perfectly good off-Broadway production just last year? This was my review when I saw the play at MCC Theater April 17, 2011:

A gripping performance by Laurie Metcalf overcame qualms I had about some of the plot points in Sharr White's new drama at the Lucille Lortel. Metcalf plays a prickly research scientist who has an "episode" during a lecture to a group of doctors. In a kaleidoscope of brief scenes that move backward and forward in time, we gradually learn that all is not what it seems. When all the pieces fall into place and we understand what really ails her, the effect is devastating. Dennis Boutsikaris is excellent as her husband and Aya Cash succeeds in multiple roles. John Schiappa has very little opportunity to shine. The stark set by Eugene Lee and the lighting by Justin Townsend are very effective. Joe Mantello ably directed this MCC production. The play's 80 minutes flew by. Although sometimes painful to watch, Metcalf's riveting performance made it worthwhile.

I found that this is not a play that improves with a second viewing. The rapid alternation of short scenes was more annoying than intriguing this time. The weakness of some plot points stood out more. Daniel Stern and Zoe Perry have assumed the roles of the husband and The Woman; I preferred their counterparts at MCC. Although it's always worthwhile to see Laurie Metcalf, even her bravura performance seemed less nuanced In the new production. Eugene Lee's abstract set seemed overwhelming and the frequent use of harsh fluorescent lighting by Justin Townsend was unpleasant. I still don't understand how having Metcalf sit in a chair onstage for 15 minutes before the play begins improves anything. Running time: 80 minutes without intermission.

An Enemy of the People *

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The years have not been kind to Ibsen's 1882 landmark play. What must have seemed daring and original at the time can easily come across as both overheated and shopworn now. Perhaps a strong case can still be made for this play, but the production now in previews at Manhattan Theatre Club does not make it. First of all, there is far too much shouting. Director Doug Hughes seems to think that increasing the volume will improve the dialog; he is wrong. Richard Thomas, whose performances usually disappoint me, does so once again here as Mayor Stockmann. Even Boyd Gaines, whose performaces never disappoint me, seems a bit off his game here as the protagonist, Dr. Stockmann. The other actors perform their stereotypical roles enthusiastically. John Lee Beatty's attractive revolving set creates four different locations effectively. Catherine Zuber's costumes do not distract. If only the play were not so leaden and self-righteous and had at least a smidgen of nuance. The best thing I can say about Rebecca Lenkiewicz's adaptation is that it makes the play a bit shorter. Running time: 2 hours, 15 minutes including intermission.

Regrets **

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I was surprised to learn that Matt Charman, the author of this period drama about the inhabitants of a divorce ranch for men in Nevada in 1954, is British. It's hardly an obvious topic for a contemporary playwright, especially one from across the pond. Charman succeeds in setting up an interesting situation, when a mysterious young arrival, Caleb Farley (Ansel Elgort),  disturbs the equilibrium of the three current residents -- Alvin Novotny (Richard Topol), Gerald Driscoll (Lucas Caleb Rooney) and Ben Clancy (Brian Hutchinson). Adriane Lenox is fine as Mrs. Duke, the scrappy black owner of the ranch. Alexis Bledel is less convinicing as a kind-hearted young prostitute who visits the ranch, but the role is poorly written. The arrival of Robert Hanraty (Curt Bouril), an investigator from the House Unamerican Activities Committee sets the plot in motion. Unfortunately, the second act runs downhill and fails to fulfill the play's early promise. The set by Rachel Hauck, the costumes by Ilona Somogyi and the direction by Carolyn Cantor are all effective. The results are sufficiently interesting that I had no regrets about seeing it. It was certainly the best of the three new plays that Manhattan Theatre Club has offered at City Center this season. Running time: 2 hours, 10 minutes.