Evening at the Talk House

D+

It sounded so promising: a New York premiere of a work by the provocative and often amusing Wallace Shawn with a cast that includes Matthew Broderick, Jill Eikenberry and Michael Tucker (remember them in L.A. Law?), John Epperson (Lypsinka), Larry Pine, Claudia Shear (Dirty Blonde) and Shawn himself. The cast also includes a fine young actress previously unknown to me, Annapurna Sriram. Upon entering the Romulus Linney Theater at Signature Center, the audience sees a cozy area that looks like the living room of a private club, filled with overstuffed chairs and ottomans, a leather sofa, a large coffee table and an upright piano. It took me a split second to realize that the attractive woman offering a tray of marshmallows, gummy bears and colored sparkling water was Eikenberry, looking barely a day older than she did on L.A. Law. For several minutes (too long in my opinion) the actors mix with the audience before the play. Most of those gathered at the theatrical club were associated with a play that opened ten years before  — Robert, the playwright (Broderick); Tom, the star (Pine); Bill,  the producer (Tucker); Ted, composer of the incidental music (Epperson); Annette, the wardrobe mistress (Shear); Nellie, the struggling club’s proprietor (Eikenberry) and Jane, her assistant (Sriram). An unexpected guest is Dick, an old actor (Shawn) who had been turned down for a part in the production ten years ago. Robert opens the play with a very long (at least 10-minute) monologue, during which we learn that much has changed in the past 10 years. Theater has practically disappeared. The country has become vaguely dystopian with quarterly predictable elections and frequent blackouts. Robert and Tom have abandoned serious theater for the lucrative world of television comedy. Bill has become a successful agent. Ted, Annette and Jane have had to scramble to make ends meet, filling in by participating in a government program to target people “who mean to do us harm.” Dick is staying at the club temporarily after a beating from his “friends.” Despite the underlying menace, the guests prattle on about tv shows and other gossip. One topic is the mysterious recent poisoning of at least two actors. The lights go out, but the talk continues. The play grinds to a halt with an ending that seems almost arbitrary. Somewhere lurking inside this disjointed mess lies an interesting play. I wish Shawn had waited until it emerged. Derek McLane did the wonderful set and Jeff Mahshie, the fine costumes. New Group artistic director Scott Elliott directed. Running time: one hour 40 minutes; no intermission.

Intimacy **

The previous play I saw by Thomas Bradshaw -- "Burning" in 2011 -- made my Ten Worst list for that year, so I was not looking forward to Bradshaw's new X-rated comedy at The New Group. This muddled satire about sex in suburbia has lots of nudity and simulated sex but not much point. In the first act we are presented with the sexual proclivities of three neighboring families who get together in the second act to produce a neighborhood porn film. The graphic sex is more comical than erotic. The characters are a jumble of unconvincing traits and the plot, such as it is, makes very little sense. Bradshaw's desire to shock often serves no apparent purpose; he throws in a toilet scene with sound effects and a vomit scene to up the gross-out factor. A subplot about casual racism seems almost an afterthought. To see such fine actors as Daniel Gerroll, Laura Esterman and Keith Randolph Smith involved in this evoked a mixture of admiration and pity. David Anzuelo, Austin Cauldwell, Ella Dershowitz and Dea Julien all look good with their clothes off. Derek McLane's set with a candy color backdrop and quilted walls makes good use of the extremely wide stage. Director Scott Elliott also designed the costumes. Running time: 2 hours 15 minutes including intermission.

Bunty Berman Presents ***

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Ayub Khan Din's 1996 play "East Is East" is one of the funniest plays I have ever seen (rent the movie!), so I have been looking forward to his new musical, an affectionate look at Bollywood, now in previews at The New Group. This time around, he wrote the book, lyrics and, with Paul Bogaev, the music. Due to an injury that forced the lead actor to drop out, he even took over the title role. I found the show charming, but many might disagree. If you have a taste for silliness, cartoonish characters, corny jokes, ridiculous plot developments, pratfalls, sight gags and word play, you will have a good time. Bunty Berman is head of a third-rate Bombay movie studio whose success was built on its star Raj Dhawan (the hilarious Sorab Wadia), who is now long in the tooth and broad in the beam. The studio's only hope for survival is to take in as a partner a notorious gangster Shankar Dass (Alok Tewari) who wants to turn his son Chandra (Raja Burrows) into a star. Bunty's loyal personal assistant Dolly (Gayton Scott) longs for his attention. Saleem, the tea boy (Nick Choksi), is in love with the leading lady Shambervi (Lipica Shah). Dass is smitten with exotic dancer Sandra de Souza (Lyn Philistine). There is a running gag that one of the henchmen is a walking thesaurus, ever ready with an apt synonym or two.  Derek McLane's functional set is enhanced by projections by Wendall K Harrington. William Ivey Long's costumes are wonderful. The choreography by Josh Prince is hilarious. Scott Elliott's direction is fine. I laughed myself silly, but I am aware that not everyone would share my delight. Running time: 2 hours, 25 minutes, including intermission.

The Good Mother *

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Ads for Francine Volpe's new play at The New Group describe it as a "taut psychological thriller." I wish! It's anything but taut, devoid of thrills, and psychological only in the sense that much of the dialogue is psychobabble. Larissa (Gretchen Mol) is a 33-year-old single mother with an autistic 4-year-old daughter. In a series of scenes with her goth babysitter Angus (Eric Nielsen), her truck driver date Jonathan (Darren Goldstein), her former group therapist and mentor during her teen years -- and father of Angus -- Joel (Mark Blum), and an ex-boyfriend cop Buddy (Alfredo Narciso), we see several aspects of Larissa which still fall far short of creating a coherent character. The fine cast struggles valiantly, but they have little to work with. Scott Elliott's sluggish direction only emphasizes the play's flaws. I liked the set by Derek McLane -- a tacky living room with knotty pine walls, an overstuffed sectional and lace curtains. Cynthia Rowley's costumes were fine too. Applause was tepid at best at play's end. Running time: 95 minutes, no intermission.

Russian Transport **

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An immigrant family struggling to achieve the good life in Brooklyn is thrown into turmoil by the arrival of a relative from the old country.  No, I'm not talking about "A View from the Bridge." In this New Group production,  the family are Russian Jews living in Sheepshead Bay and the arriving relative is the wife's younger brother Boris (Morgan Spector.) Misha, the hen-pecked husband (Daniel Oreskes), runs a struggling car service. When she is not bullying her family, domineering wife Diana (Janeane Garofolo) works in a store. Son Alex (Raviv Ullman), still in high school, drives for his father, works in a mobile phone store, and deals a few drugs on the side. He is unrelentingly nasty to his younger sister Mira (Sarah Steele), who dreams of attending a summer program in Florence and must be the first 14-year-old girl in history uninterested in getting her first bra or wearing makeup. Even before Boris arrived, I was not looking forward to spending 2 1/2 hours with these unpleasant people. Diana's brother Boris is a sinisterly seductive sociopath who immediately sets out to corrupt Alex and Mira. He enlists Alex as an initially unwitting driver to transport newly-arrived Russian girls to mysterious locations. He turns on the charm with Mira and shows her his gun. (No, Freudians, an actual gun.) The family members have at each other for 2 1/2 hours, as various secrets are revealed. Playwright Erika Sheffer is not adept at telling a story clearly. At intermission, people around me were arguing about what exactly happened in the final scene of Act One. There is another scene near the end of the play that takes place so quickly and in such darkness that it wasn't clear what actually transpired. Director Scott Elliott shares some of the blame here. The actors are excellent with the exception of Garofolo, who struggles a bit with the Russian accent. Spector is an absolutely chilling Boris. Steele and Ullman are both fine, but I thought that she looked older than her brother, not three years younger. Oreskes deftly avoids stereotype. The two-level set by Derek McLane captures Diana's concept of good taste. I am surprised by the mostly positive reviews the play received. The audience was far less enthusiastic.

Burning *

Anal intercourse (straight and gay), anilingus, cunnilingus, fellatio, incestuous masturbation, pedophilia -- all are onstage in Thomas Bradshaw's new play, now in a New Group production on Theatre Row. Long after the shock and titillation wore off, the sex scenes continued until a groan was audible at the sight of yet another character disrobing. All this carnal activity is allegedly in service to a convoluted plot that takes place both in the 1980's and the present. Among the characters in New York are a 14-year-old hustler who wants to be an actor, a gay producer and actor who take him in to be their slave, a black artist who keeps his race a professional secret, his British wife, and his late cousin's sexually confused son. In Berlin we meet a neo-Nazi brother and sister, their constipated friend, and a gorgeous prostitute allegedly from Ethiopia. An occasional quotation from the Marquis de Sade is thrown in to supply philosophical ballast. And so it goes, on and on for almost three hours. It was often unclear to me whether the playwright was being satirical or in earnest. If there was a point to it all, it was lost on me. I will spare the actors mentioning their names. Scott Elliott directed.

Blood from a Stone ***

This over-the-top blue-collar family drama with comic flashes, now at the Acorn Theater in a New Group production, has already extended its run before it even opens. The box-office draw is probably Ethan Hawke as the damaged elder son Travis, a former war hero who returns to his small-town Connecticut home before Christmas to try to sort out some family problems before taking off for the West Coast. His character is the glue that holds the play together: he has a scene alone with each of the other characters. The excellent cast includes Gordon Clapp and Ann Dowd as parents who are locked in constant combat, Thomas Guiry as the younger brother who is a gambler and chronic liar, Natasha Lyonne as the sister who has struggled with some success to escape the toxic pull of her family, and Daphne Rubin-Vega as the sexy married neighbor whom Travis beds whenever he is in town. Tommy Nohilly is an actor turned playwright and the juicy roles he has written here give each actor a chance to shine. Director Scott Elliott is in good form as usual. Derek McLane's set of a house in disrepair appropriately mirrors the play's chaos. There really isn't anything new or revelatory, some of the scenes run a bit long, some of the motivation is a bit unclear, but the play is full of energy and very well acted. I overcame my initial lack of interest in these characters and eventually got caught up in the action. I"m not sure you'll like it, but I doubt that you'll be bored.