Elling **

Simon Bent's English adaptation of a Norwegian play (and Oscar-nominated film) by Axel Hellstenius based on a series of novels by Ingmar Ambjornsen was a big hit in London. Having successfully crossed the North Sea, the play has now made it across the Atlantic in a production starring Denis O'Hare and Brendan Fraser directed by Doug Hughes at the Ethel Barrymore. Any opportunity to see O'Hare in action is a pleasure for me. He does not disappoint here in the title role of an agoraphobic momma's boy who was institutionalized after his mother's death. His roommate in the asylum, Kjell Bjarne (whose name is annoyingly repeated at least every five minutes), is a simple lug who is simultaneously lascivious and innocent -- it's a good role for Fraser. Released to a state-owned apartment in Oslo on a trial basis, this Norwegian odd couple strive to find their place in the world. Richard Easton is somewhat wasted in the role of a poet who befriends Elling. Jennifer Coolidge is hilarious in several roles, particularly as a poet at a slam. Jeremy Shamos is solid as their social worker. While there are many very funny one-liners, the humor tends to be broad and occasionally descends to the level of a tv sitcom. The second act runs downhill rapidly. The audience was wildly enthusiastic though. Maybe I just don't find the struggle of ex-mental patients to adjust that suitable a topic for comedy.

The Pitmen Painters **

I was really looking forward to this MTC import because it had been well received in London.  Lee Hall, whose book and lyrics for Billy Elliot: The Musical were so satisfying, once again mines the vein of northern England and its miners in his adaptation of a book by William Feaver about the Ashington Group. This group of miners learned to paint in the late 1930's under the auspices of their union's education program. Their paintings attracted first local, then national attention, which, judging from the projections seen in the play, was well-deserved. Unfortunately, I found the paintings and the underlying story more interesting than the play. The characters seemed mostly stereotypical and the situations predictable. Hall too often settles for an easy laugh. He aspires to high seriousness about the proper role of art and the promise of socialism, but the narrative lacks a clear arc and pretty much fizzles out when the mines are nationalized. Having said all this, I hasten to add that the play is far from an unpleasant experience. I'm sure I would have enjoyed it more if my expectations, based on Hall's previous work, had not been so high.

Freud's Last Session ****

This lively two-hander by Mark St. Germaine presents an imagined conversation between Freud and C.S. Lewis on the day Britain enters WWII. Martin Raynor makes a powerful impression as Freud, wracked with the horrible pain of oral cancer, but still in possession of his wits and his wit. Mark H. Dold is slightly less effective as Lewis. The two argue the existence of God and poke at each other's beliefs with entertaining and moving results. The set, a detailed recreation of Freud's Hampstead study, is a treat to see. The Little Theater at the West Side Y is a gem (but avoid rows B and C because they are not raked). All in all, a very enjoyable 80 minutes.

Me, Myself & I *

"Much Ado about Nothing" would have been a more appropriate title for Edward Albee's play at Playwrights Horizons. I suspect Albee had more fun writing it than you will watching it. Tons of style, milligrams of content. Lots of shouting and posturing. Ashley and Murray are fun though. Zachary Booth has a nice backside. Don't leave at intermission or you'll miss an amusing stage effect near the end.