The Qualms ****

With this comedy, now in previews at Playwrights Horizons, Bruce Norris (The Pain and the Itch, Clybourne Park, Domesticated) once again demonstrates that he is one of our most consistently entertaining playwrights. His depiction of a swingers’ party that goes awry is hysterically funny, occasionally touching, and uncomfortably perceptive about the foibles of human sexuality and other social behavior. For reasons that are a bit implausible, investment banker Chris (the always reliable Jeremy Shamos) has accepted an invitation to attend a swingers’ party with his attractive wife Kristy (Sarah Goldberg) at the home of Gary (John Procaccino) and his sexy but slightly dim partner Teri (the superb Kate Arrington), whom they had met on vacation. Gary argues at length about the unnaturalness of monogamy. They are joined by the plus-size Deb (the delightful Donna Lynn Champlin) and her younger black lover Ken (Andy Lucien) who combines an ultra-buff body with  a touch of swish. Last to arrive are Regine (Chinasa Ogbuagu), a sultry beauty from Martinique, and Roger (the fine Noah Emmerich), an ex-military libertarian. There’s also a delivery guy (Julian Leong) who earns laughs without saying a word. Chris quickly develops misgivings about being at the party and provokes the others by expressing unfashionably conservative views. His increasingly obnoxious behavior is a buzz-kill for the evening’s anticipated amorous adventures. Norris skillfully uses both overlapping dialog and the absence of dialog. A long silent scene near the end of the play is powerful in its impact. There's a momentary breach of the fourth wall that is very effective too. Director Pam MacKinnon manages all the action with aplomb. Todd Rosenthal has designed a condo living room that looks authentic and lived in. Jessica Pabst’s costumes are spot-on. Some may dismiss the play as lightweight, but I think there are some thought-provoking ideas lurking behind the humor. Besides, it was so funny that I wasn’t really looking for gravitas. Running time: 95 minutes, no intermission.

The Heidi Chronicles **

I wish I had stuck with my memories of enjoying the original production of Wendy Wasserstein’s landmark play instead of trying to relive them by seeing the current Broadway production. Her whirlwind tour of 25 years in the changing life of educated, affluent Americans, particularly women, was a breath of fresh air when it first appeared. While several of the play’s 11 scenes retain some of their impact, many others seemed stale --either too long or too broadly satirical or both. Elisabeth Moss is a creditable Heidi. While Bryce Pinkham is believable as Peter, Jason Biggs lacks the charm so essential to the role of Scoop. None of them compares favorably with the wonderful original cast. The supporting cast (Tracee Chimo, Ali Ahn, Andy Truschinski, Leighton Bryan and Elise Kibler) is quite good. The revolving set by John Lee Beatty and the projections by Peter Nigrini are excellent, as are Jessica Pabst’s costumes. Director Pam MacKinnon keeps things moving well through the first act, but the second act seemed interminable. If you’ve seen the play before, I suggest passing on this version. Running time: 2 hours, 40 minutes including intermission.

A Delicate Balance **

Let me confess that this play, despite its Pulitzer Prize, has never seemed to me on a par with Albee’s “Who’s Afraid of Virginia Woolf” or “Three Tall Women.” Based on Pam MacKinnon’s superb direction of the former play and the promising cast she assembled for this one, I hoped that this production might change my mind. It didn’t. I found the first half of the play listless and lacking any sense of ensemble. Things improved with the second scene of Act II and cohered even more for Act III. By then it was almost too late, because a solid foundation had not been built. The quality of the acting was below my expectations. Glenn Close, in the key role of Agnes, projected poorly, stumbled over her lines more than once and seemed generally distracted. Lindsay Duncan, as her drunk sister Claire, underplayed her role; Martha Plimpton, as much-married daughter Julia, overplayed hers. Of the four main characters, only John Lithgow, as Agnes’s husband Tobias, seemed to fully inhabit his role. Claire Higgins and Bob Balaban, as the terrified neighbors Edna and Harry, who move in, are very good. However, if it’s Harry and Edna that grab the most attention, something is wrong with the play’s delicate balance. The lavish living room designed by Santo Loquasto is imposing, but Ann Roth’s color-coordinated costumes were a bit much. I should mention that the conditions for enjoying the play were less than ideal. Legroom in the Golden Theatre’s mezzanine was minimal. The audience was annoying, laughing at inappropriate moments such as during Tobias’ impassioned monologue. Not a great evening for theater, alas. Running time: two hours, forty minutes, including two intermissions.

The Lying Lesson *

(Please click on the title to see the complete review.)
The publicity for Craig Lucas's new play at the Atlantic Theater bills it as a "comic thriller." Alas, it is neither amusing nor thrilling. This strange two-character play imagines an 1981 episode in which Bette Davis, in her early 70's, returns to a coastal Maine town where she had summered in her teens to buy a house and rekindle her acquaintance with her former heartthrob. Shortly after her arrival, she meets a young local woman who attempts to make herself indispensable. Carol Kane looks amazingly like Davis, especially in Ilona Somogyi's great costumes, but, when she opens her mouth, the illusion is shattered. I am sure there are still bars in Manhattan where any patron picked at random can do a more convincing Bette Davis. Mickey Sumner, lean and lanky, is convincing as the mysterious young woman, except when her down-East accent slips. The plot, such as it is, revolves around discovering her identity and motivation. Neil Patel seems off his stride with a set in drab shades of beige. Even director Pam MacKinnon, who did so well with "Who's Afraid of Virginia Woolf" and "Clybourne Park,"can't make a silk purse out of this. Running time: two hours, ten minutes including intermission.

Who's Afraid of Virginia Woolf *****

(Please click on the title to see the complete review.)
Edward Albee could not have hoped for a better way to celebrate his landmark play's 50th anniversary than opening night for a sensational Broadway revival that demonstrates the play's continuing power. This production at the Booth has been imported intact from Chicago's Steppenwolf Theatre with two Tony winners in tow. Amy Morton, who was so impressive in August: Osage County, gives a nuanced performance as Martha, showing the human behind the harridan. Tracy Letts, who won for writing August: Osage County, is no less impressive as actor than he was as playwright. His riveting characterization of George is the revelation of the evening. The supporting actors, Madison Dirks and Carrie Coon as Nick and Honey, are both fine. I had forgotten how hilarious much of the dialogue is. The big third act reveal still doesn't work for me and the play is a bit longer than it needs to be, but these are mere quibbles compared to all that is so right about this production. Todd Rosenthal's set looks exactly like a professor's house should and Nan Cibula-Jenkins' costumes are just right. Pam MacKinnon's assured direction is flawless. Running time: 3 hours, 10 minutes including two intermissions.

Note: For a very interesting essay on this production, see www.bsonarts.com.

Harrison, TX ***

(Please click on the title to see the entire review.)

This evening of three short plays by Horton Foote, now in previews at Primary Stages, is not on the same high level as The Orphans' Home Cycle or Dividing the Estate, but it does offer moments of pleasure. Only the location -- the fictionalized version of Foote's hometown where most of his works take place -- unites the three plays. The first, Blind Date, is an affectionately satirical sketch about an aunt trying to teach her visiting niece a lesson in charm before an arranged date. Although the sketch eventually runs out of steam, it is the most satisfying of the trio. The One-Armed Man, a short but brutal confrontation between an injured man and the boss he blames. presents a jarring and unpleasant contrast. The longest and most ambitious play, The Midnight Caller, vividly portrays the soul-sucking, circumscribed life of the residents of a boarding house and the disruption caused by the arrival of two newcomers. The cast of nine (Devon Abner, Mary Bacon, Jeremy Bobb, Alexander Cendese, Hallie Foote, Andrea Lynn Green, Jayne Houdyshell, Evan Jonigkeit, and Jenny Dare Paulin) are all excellent. Kaye Voyce's costumes clearly evoke the time and place. Marion Williams' set is also evocative, but falters a bit in the third play when a corner of the stage suddenly has to represent a bedroom. Pam MacKinnon's direction is smooth and direct. Running time: 1 hour, 50 minutes without an intermission.