Lyric Stage's "Allergist's Wife": Feinting Couches

Caroline Lawton & Marina Re in "The Tale of the Allergist's Wife"

As audience members entered the Lyric Stage Company’s theatre to attend their production of “The Tale of the Allergist’s Wife”, they were promisingly greeted with the strains of the background music from the (non-musical) film “Auntie Mame”, a sly underscoring referencing the real childhood of playwright Charles Busch. His own Aunt Lillian literally altered his life by enrolling him in the High School for the Arts, quite reminiscent of Mame Dennis and her nephew Patrick. At the same time theatergoers were presented with a typical New York monochromatic setting with not one but too fainting couches. (There will be a lot of feinting going on later, but it would be a spoiler to elaborate). This, Busch’s first attempt at mainstream writing, was a huge success, first briefly in 2000 Off-Broadway, then on Broadway for a substantial run (777 performances), earning a Tony nomination for Best Play. The author has updated the play for this version with allusions to more current celebrities. What hasn’t been updated is the disappointingly sophomoric and scatological level of the wit on display.

The story centers around middle aged matron Marjorie Taub (Marina Re), first looking like an unmade bed, who feels her life will never be more than mediocre though she fills her days with all manner of artistic and intellectual pursuits. Her doctor husband Ira (Joel Colodner) is a champion of homeless people but ignorant of her needs, and her constantly complaining mother Frieda (Ellen Colton) lives all too close, just down the hall in the co-op. Enter an unexpected visitor from Marjorie’s childhood, Lee (Caroline Lawton). Lee’s abrupt arrival impacts everyone (even the already impacted Frieda) as she settles in for what appears to be permanent residency. The sole other character, the doorman Mohammed (Zaven Ovian) proves pivotal when some plot twists (frankly obvious to anyone paying attention to the lengthy set-up) arise. Suffice it to say that it’s a very ethnocentric (i.e. Jewish), very New York type of play, with several hysterical lines and lots of low humor.

The cast has been directed by Larry Coen toward madcap mugging and scenery-digesting, which may be entirely appropriate for such basically sit-com material. The technical credits are up to what one would expect given Lyric’s well-established reputation, from the Scenic Design by Matt Whiton, to the Costume Design by Mallory Frers, Lighting Design by Chris Bocchiaro and Sound Design by Jack Staid. Whether this is one’s personal cup of tea depends on how hilarious one considers what passes for funny writing in the usual fare on the tube these days. As Marjorie says to the doorman at the wimpy conclusion of the play, cooking is “both simple and difficult…like so much in life”. And comedy, too.

Odyssey's "Miss Havesham"/"Water Bird": Double Trill

Heather Buck in "Miss Havesham's Wedding Night"

Odyssey Opera Boston’s current production at the intimate Modern Theater is a double bill presentation of Pulitzer Prize winning American composer Dominick Argento’s monodramas “A Water Bird Talk” and “Miss Havesham’s Wedding Night” (adapted from his full-length opera “Miss Havesham‘s Fire”). Both are fully staged, conducted and directed by Gil Rose, the company’s Artistic and General Director.

“Miss Havesham’s Wedding Night”, a musical soliloquy based on the character from “Great Expectations”, the one Dickens novel students often loathe, has a libretto by the late John Olon-Scrymgeour. It features Aurelia (did she actually have a first name?) Havesham (soprano Heather Buck), fifty years after she was jilted by her fiancée on the morning of their intended wedding day. Still dressed in her wedding attire (save one missing shoe) in her dressing room in Satis House in Essex, England, everything in the room untouched for all those years, she reenacts all that happened to her that fateful day when she first received the note with the last-minute breaking of their engagement. Smashing all the clocks and blocking out any light from outdoors, she had vowed never to leave the room or take off her gown and veil. She imagines how different her life would have been if the note had never been sent, and laments: “I am out of my wits“ (which seems clear). Interrupted by her chambermaid (Raya Louise Malcolm in a mute role) with her morning tea, she prepares to tell the young innocent Estrella (Victoria Leigh Isotti, another mute role) “all about men”. Pity poor Estrella, and even moreso her future “Pip”.

“A Water Bird Talk”, with a libretto by the composer, is based very loosely on Chekov’s “On the Harmfulness of Tobacco” and J.J. Audubon’s “The Birds of America”. It centers around a gentleman lecturer (baritone Aaron Engebreth) speaking to a ladies’ club on a summer evening (in “Maryland, or perhaps Virginia”) about water birds whose unusual habits just happen to mirror those of the lecturer’s own life (as a henpecked husband and father). Illustrating his talk with tinted magic lantern slides from Audubon’s work, he describes a half dozen birds, such as the cormorant whose young never leave the nest, the male phalarope who’s a stay-at-home father, the puffin who mates for life, and the innocent grebe who is prey for many a predator and disappears when a confrontation looms. His wife (whom he calls “an old crow”) listens from the wings with discernable throat clearance and coughing, and finally leaves in disgust. He then digresses as he reveals the sad facts of his misery due to his wife’s overbearing manner and the ridicule of his six or seven daughters (about the exact number he was unsure), all born on the thirteenth of September. Ironically, the off-stage wife has referred to him as a booby and a loon.

These two pieces have more in common than the fact that they are musical monodramas by the same composer. Both take place around the middle of the nineteenth century, and both reveal more and more about their idiosyncratic protagonists, one increasingly mad and the other increasingly hysterical (in both senses of the term). Buck was extremely effective in both her memorable singing and intense acting in a very demanding role, and Engebreth provided the perfect comic counterpoint to the evening with his believable bumbling and growing panic. Their accomplished singing was accompanied by the impressive Odyssey Opera Orchestra, with sixteen instrumentalists in the former piece, and thirteen in the second, decisively conducted by Rose. The Projection Design by Callie Chapman had a prominent place in both pieces, eerily contributive in the first and more straightforward in the lecture in the second. The imaginative Costume Design by Amanda Mujica, complex Lighting Design by Linda O’Brien, and appropriate Hair and Makeup Design by Rachel Padula, all added to the enjoyment of both of these accessible operas.

As music, both of these monodramas had their distinctive attributes, the first emphasizing tragic pathos, the latter more humorous even if equally grotesque. Miss Havesham is haunted by dimly-remembered tunes with ethereal tonalities, and the unnamed Lecturer (in a libretto written this time by the composer himself) is surrounded by motifs that vary from rhapsodic avian paeans to the more pathetically personal. This double bill is to be repeated Sunday afternoon November 23rd at 3pm. Next up for Odyssey Opera is the full-length opera, in conjunction with the Boston Modern Orchestra Project, by composer Tobias Picker, “Fantastic Mr. Fox”, to be performed December 7th at Jordan Hall. If the titular fox is half as wily as Argento, it should surely prove to be another high point for this creative company.

Fathom Events' "Barber of Seville": Splitting Heirs

Screened at Regal Cinema in Kingston; Encore screening Wed.  Nov 26th

The Cast of "Barber of Seville"
(photo: Metropolitan Opera)

The latest Fathom Events offering in its ongoing live HD broadcasts from the stage of the Metropolitan Opera in New York is the revival of the 2006 production by Bartlett Sher of Rossini’s 1816 opera buffa “Barber of Seville”. A perennial audience favorite since its premiere at the Met in its inaugural season in 1883, this opera has been presented more than six hundred times in the house and on tour. All this is in spite of the fact that its plot, even for an opera, is about as convoluted as it gets.

What’s at stake in this opera is who will inherit the hand of the fair damsel without having to play Solomon and split her in two. The libretto by Cesare Sterbini after the French play by Beaumarchais is probably familiar to most audience members, but in case a refresher could come in handy, herewith is a brief synopsis. In Seville, Count Almaviva (the diminutive tenor with a great coloratura voice, Lawrence Brownlee) serenades Rosina under the balcony of the room where she is confined (wonderfully sung and acted by mezzo-soprano Isabel Leonard, the Cherubino just last month in the HD broadcast of the Met’s “Marriage of Figaro”), who is the ward of Dr. Bartolo (bass baritone Maurizio Muraro, perfect for this role). The titular barber Figaro (Baritone Christopher Maltman, with impeccable timing and diction) offers to help the count disguise himself as a soldier with orders to be quartered in Bartolo’s house. Rosina’s music teacher Don Basilio (the shrewd bass Paata Burchuladze) warns Bartolo about the count and urges the good doctor to marry his ward with all due haste. When the count arrives disguised as a drunken soldier requiring billeting in Bartolo’s house he passes a note to Rosina. He’s about to be arrested by the local civil guard but is freed when he divulges his true identity, surprising everyone but the all-knowing Figaro. Later the count returns, again disguised, this time as Rosina’s substitute music teacher. While Bartolo snoozes, the count and Rosina rhapsodize about their mutual love. Figaro then arrives to shave Bartolo and manages to steal his house keys. Bartolo summons Basilio to bring a notary for his proposed marriage to Rosina. She is shown a note from a mythical student Lindoro in the presence of the notary (actually the count, his third or fourth disguise, but who’s counting?) that seems to prove that she’s been deceived, and thus she agrees to marry Bartolo. But the count reveals his true identity at last and claims Rosina as his bride. All celebrate their great good fortune including, unaccountably, Bartolo. And, yes, it’s complicated, and no, it really doesn’t make much sense.

What does make sense is that this all occurs with the most sublimely wonderful music, gorgeously sung and whimsically performed. The leads are all in fine voice and enact their roles with appropriate gusto. The fine ensemble also includes the roles of Fiorello (baritone Yunpeng Wang), Berta (soprano Claudia Waite, a standout), a Sergeant (tenor Dennis Petersen) and the mute role of Ambrogio (a hilariously deadpan Rob Besserer). Conducted by Michele Mariotti, the Met Orchestra was once again invaluable, frequently highlighting refined individual playing on cello and viola. Very ably directed for Live Cinema by Matthew Diamond, and introduced by HD Host Deborah Voigt, the production offered fluid if spare Set Design by Michael Yeargan, clever Costume Design by Catherine Zuber, effective Lighting design by Christopher Akerlind, and as usual terrific support from the Met Chorus under the direction of Chorus Master Donald Palumbo.

Once again, audiences were transported not just to the stage of the opera house, and to balmy Seville, but to operatic heaven at a fraction of the cost of an opera house ticket. And next up is Wagner’s “Die Meistersinger von Nürnberg”, which, if one were paying for by the minute, these days would probably mean having to sell the kids into slavery. Fathom Events HD broadcasts continue to be the biggest bargain in entertainment, with the possible exception of your Uncle Harry’s lampshade routine at the family’s dinner table at Thanksgiving.


ArtsEmerson's "Trip to Bountiful": the Enchanting Island of Cicely

Cicely Tyson, Arthur French & Jurnee Smollett-Bell in "A Trip to Bountiful"
(photo: Craig Swartz)

ArtsEmerson’s current offering of the recent Broadway version of Horton Foote’s “The Trip to Bountiful” has an impressive pedigree. It began as an original television drama (remember those?) way back in 1953 with none other than Lillian Gish in the lead role of Carrie Watts. It transferred to Broadway for a brief run with the television cast intact. Three decades later it resurfaced in a well-received film version with Geraldine Page winning an Academy Award for her performance of Mrs. Watts. Most recently, in 2013, it was revived on Broadway and subsequently again on film by the Lifetime Network (nominated for two Emmy Awards) with essentially the same cast now being enjoyed in its Boston reincarnation.

The story is a simple one, that of the physical and emotional journey of the elderly Carrie Watts (Cicely Tyson) who lives in Houston with her very protective son Ludie (Blair Underwood) and his bitchy wife Jessie Mae (Vanessa Williams). Forbidden by Ludie to travel alone and no longer able to drive herself, she fulfills her dream of revisiting her ancestral home in the (mythical) small Texas town of Bountiful, escaping by bus. She meets a young woman, Thelma (Jurnee Smollett-Bell) on the bus and tells her story in lengthy conversation with her. At the penultimate stop, she even convinces the local sheriff (Devon Abner) to drive her the remaining leg of her journey. Of course she finds time hasn’t been kind to the town (long ago depleted by the double whammy of the Great Depression and the Dust Bowl), or the family homestead. Predictably her son and daughter-in-law catch up with her and take her home. Other roles include Roy (Arthur French), a ticket agent (Wade Dooley), and various travelers and bus employees (Pat Bowie, Russell Edge, Dalila Ali Rajah, Keiana Richard, Duane Shepard, Sr., and Desean Kevin Terry). And that’s about all that happens, accompanied by a healthy dollop of sentiment and a whole lot of heartfelt language. The production is ably directed by Michael Wilson, with meticulously detailed Scenic Design by Jeff Cowie, perfect vintage Costume Design by Van Broughton Ramsey, effective Lighting Design by Rui Rita, and Original Music and Sound Design by John Gromada. This includes some intrusive and unnecessary piano tinkling to underline or underscore dramatic tension less appropriate for live theater than for the sort of thing seen on the Lifetime network, where, as noted above, this production found a home last season.

The simplicity of Foote’s basic story with its universal themes, despite that healthy dose of sentiment (and sometimes sentimentality) is alive and well and presently thriving at the Cutler Majestic Theater, in no small part because of its stellar cast. Initially a henpecked stereotype, Underwood, a Golden Globe nominee, comes into his own in the moving final scene with his mother at the family home. Williams, a Tony and Grammy Award nominee, courageously takes on one of the theater’s most unflattering roles. The rest of the cast, including the memorable Smollett-Bell and French, are superb. But it’s Tyson’s recreated Tony-winning and Emmy-nominated turn that is the island of sanity and serenity in this production. With more than eight decades of life experience from which to draw, she’s just plain astonishing. (Her reaction when she’s literally bowled over by some unexpected bad news is alone worth the price of admission). The play shows its age, but not the player. The work remains primarily a vehicle for an enduring star, starting with Gish sixty years ago, and Tyson surely makes it her own. Toward the end of the play, Ludie admits he should have taken his mother back to her home sooner. The same could be said for Tyson and Boston,


BLO's "Love Potion" or "Vin Herbe": Herbal Tease

The Greek Chorus in "The Love Potion"
(photo: Boston Lyric Opera)

Boston Lyric Opera’s current production of “Le Vin Herbé, translated as “The Love Potion”, is a bit of a tease; it’s not that more famous elixir. This work, by Frank Martin, centering on the romantic story of Tristan and Isolt (yes, the same coupling from yet another opera), is more obscure. As part of its Opera Annex program, BLO is continuing its policy of presenting both the more familiar and the less, as it follows its recent “Traviata” with this arcane work. It’s being given its fully staged Boston premiere in honor of the fortieth anniversary of the Swiss composer’s death. Based on the novel by Joseph Bédier written in 1900, “Roman de Tristan et Iseult”, (in turn based on a tale that dates back to the time of Arthur and his Guinevere, and even before that), it was previously performed in this area in a concert version in 1990 by the John Oliver Chorale. This production is being performed in a new translation by Hugh MacDonald (commissioned by the BLO) accompanied by the eight-member BLO Chamber Ensemble (seven strings and a piano). Continuing the company’s dedication to offering operatic works that are “not readily available…in evocative venues”, the performances are held in Temple Ohabei Shalom in Brookline. Also true to its other aim of extending opportunities for local talent to shine, ten out of the twelve singers are either current members or alumni of BLO’s fine Emerging Artists Program. The opera is in three parts with a total of eighteen scenes, clocking in at just under two intermission-less hours.

The story is that of the medieval princess Isolt (soprano Chelsea Basler), cursed as most such damsels seem to be with the dilemma of choosing between her duty and her love, in this case for Tristan (Jon Jurgens). Her mother (Heather Gallagher) gives the titular potion to Brangain (Michelle Trainor) for Isolt to use on her betrothed, King Mark (David McFerrin), but it falls into the hands of a maid who, thinking it wine, pours for Isolt and the king’s nephew Tristan, whose previous animosity for one another turns instantly to love (as these things do). The king, on learning of their love, condemns them to death but hasn’t the heart to execute it when he discovers them asleep and apart. Tristan, with a heavy dose of guilt, wanders away and giving up hope for Isolt marries another, Isolt of the White Hands (Rachel Hauge, apparently sharing a popular given name of the time), daughter of Duke Hoël (David Cushing). Later, mortally wounded in battle, Tristan sends his friend Kahedin (Omar Najmi) to bring his true love Isolt to him, furling white sails if successful, black if not. Isolt of the White Hands hears this, and later falsely tells Tristan that the ship is returning with black sails. He dies in grief, but our heroine does arrive, lies down beside him and joins him in death. Buried by King Mark in adjacent tombs, a living green branch miraculously grows out of Tristan’s tomb into Isolt’s (which continues to regenerate even as attempts are made to sever it) uniting them eternally.

As Joshua Rosenblum wrote in his article “The Other Tristan” about Martin’s “Le Vin Herbéin a recent issue of Opera News, Martin felt he had all the right in the world to approach this story from his own view and with music of his own time, especially with respect to the lushness of his harmonies. This work is more oratorio than opera, and thus by its very nature subject to a certain sameness, with the bulk of the story narrated not by the principals but by the chorus. In the roles of the lovers, Balsen and Jurgens were tremendously moving, as was the outstanding Trainor. The rest of the chorus, every one of them individually audible when making the rounds of the circular stage, were wonderful, including Yvon (Mara Bonde), Treasa (Tania Mandzy Inala), Denolenn (Brad Raymond) and Andret (David Wadden). Conductor David Angus led the chamber ensemble exquisitely, with a thrilling Set Design by Jim Noone, muted Costume Design by Nancy Leary, astounding Lighting Design by Robert Wierzel and Wig and Makeup Design by Jason Allen. But the star of the opera was unquestionably Stage Director David Schweizer, who made what could easily have become a very static work into a living, vibrant whole with ingenious and breathtakingly mysterious stagecraft.

The intriguing question before the performance began was just how wise a choice the venue would prove to be. The huge domed sanctuary could easily have become an acoustical nightmare with notes flying up to the celestial heights never to be heard again. Not to worry. A series of baffles undoubtedly helped contain them, and the presence of a crystalline central piece of the set design kept singers from being in the one spot where voices went dead or reverberated depending on whether a performer was facing toward or away from a segment of the audience. In the end, it succeeded as a resonant playing space in several senses of the term: an insert in the program, referencing the recent attack on renowned local Rabbi Mosheh Twersky in Jerusalem, served as a reminder of the significance of the use of the site as an exaltation of “the unifying force of the human spirit” through the arts and in particular through this performance of “The Love Potion”.


Fathom Events' "Billy Elliot": Tutu Twain

  Screened at Showcase Cinemas, Dedham, MA & other theaters; Encore at 7pm Tues. Nov.18th

Liam Mower & Elliot Hanna in and  (both) as "Billy Elliot"
(photo: Fathom Events)
There’s a magical moment (one of many) in the musical “Billy Elliot” when there occurs a dream sequence in which the young Billy dances a pas de deux with his older self. It was even more amazing in the recent HD broadcast of this work when Elliot Hanna, currently portraying the title role, danced this number with the now mature Liam Mower, the original Billy from the phenomenal London success in 2005. It was previously lauded as an Oscar-nominated non-musical film in 2000, and subsequently in 2008 as a Broadway musical, winning ten Tony Awards, including Best Musical, and ten Drama Desk Awards, also including Best Musical. It ran in New York for over three years. Now it’s enjoying yet another success with an HD broadcast of a performance from London’s Victoria Palace recorded this past September 28th ; it made history as the first ever event cinema broadcast that was the number one box office hit in the U.K. And what an event, as it included over two dozen actors who have played the title role in a mash-up finale.

The story, adapted from the film by Lee Hall (who also wrote the lyrics) from his own screenplay, featuring a musical score by Elton John, concerns the 1984 miners’ strike in a Northeastern England mining town in County Durham. It centers around the tale of the young Billy who transitions from the boxing ring into a ballet class, with understandingly fierce initial reactions from the workers from his blue-collar neighborhood. Billy Elliot (the remarkably talented Hanna) finds support in his dance teacher Mrs. Wilkinson (Ruthie Henshall), his brother Tony (Chris Grahamson), Billy’s best friend Michael (Zach Atkinson) and his Grandma (the showstopping Ann Emery repeating her role from 2005); eventually, even his working-class Dad (Deka Walmsley) is won over. As is the audience, especially whenever Henshall, Hanna and Atkinson take the stage.

The story is a strong one, but the score is what really makes this “Billy” soar, from the rousing “Once We Were Kings” (“we all go together when we go”), to the exhilarating paean to performance, “Electricity” (“I really can’t explain it, I haven’t got the words…it’s like forgetting , losing who you are, and at the same time something makes you whole”) to the anthem “The Stars Look Down”, a reference to the A. J. Cronin novel which inspired this tale (“and the stars look down and know the pain and…lead to where the light shines again, where we‘ll stand as one”). Then there’s the unforgettably hilarious turn by Billy and his buddy Michael (“If you wanna be a dancer, dance…what we need is in-div-id-ual-ity”), the most life-affirming number in many a year. Hanna is stupendous throughout the show, but briefly meets his match in the person of Atkinson. Never has dancing in the aisles been more tempting.

This production, directed by the original helmer Stephen Daldry, and re-directed for film by Brett Sullivan, looks fabulous on the big screen. The Set Design by Ian MacNeil (notoriously temperamental in its New York previews) is as wondrous as ever, with fine Costume Design by Nicky Gillibrand, intricate Lighting Design by Rick Fisher, and effective Sound Design by Paul Arditti. Of course, the crucial Choreography by Peter Darling is as stunning as it gets. With a technical crew this great, backing up a cast full of talent, musical theaters is alive and (literally) kicking.

Thus it was great news to hear of the HD broadcast on this side of the pond. Even better news: if you missed it this time around, never fear. As noted above, it’s being repeated on Tuesday November 18th at, as the saying goes, a theater near you.


Huntington's "Awake and Sing": Snooze and Schmooze?

Correction: As noted in the comment at the end of this review, the character of Bessie indeed does smash her father Jacob's records in the original script. The incorrect reference to a lack of stage directions has been removed. Snoozing indeed, on the part of this critic!

Will LeBow, Stephen Schnetzer, Michael Goldsmith, Lori Wilner & Eric T. Miller
(photo: T. Charles Erickson)

At the announcement that Huntington Theater Company was to produce the 1935 play, Clifford Odets’ “Awake and Sing”, theatergoers might have been forgiven for imagining they were in a time warp of sorts. Huntington kicked off their current season with “Guess Who’s Coming to Dinner” (based on a 1967 film) and is scheduled to present “Come Back, Little Sheba” (1950) later this season. Additionally, they might well have mused as to whether such a presumably dated vehicle as “Awake and Sing” would induce sleep or seem like insignificant small talk. Not to worry, this piece has aged well (with some reservations), now being revived in honor of Odets’ birthday, who would have been 100 this year. It’s the first full-length play he wrote, considered by many to be his greatest (though some favor “Golden Boy”). It didn’t win any Tony Awards in its first time out, as they didn’t exist then, but the 2006 revival earned eight nominations and won two Tony Awards, for Best Revival of a Play and Best Costumes. At its core is the conflict between capitalists and communists, as the depression era produced economic crises and social struggle. The goal of the individual for self fulfillment vs. one’s family’s expectations is a call for action, from Isaiah: “Awake and sing all ye who dwell in the dust…and the earth shall cast out the dead”.

As the playwright once wrote about this work, all of his characters have in common a basic “struggle for life amidst petty conditions”. The action takes place in a Jewish walk-up in the Bronx in the 1930’s. The central role is that of the matriarch of the Berger family, who describes herself as both mother and father in the home, Bessie (Lori Wilner), a realist obsessed with social appearances and deeply frightened by the evictions she sees in the neighborhood. Orbiting around her are the remaining members of the family, most of them idealists, her subdued husband Myron (David Wohl), their daughter Hennie (Annie Purcell), their son Ralph (Michael Goldsmith) and Uncle Morty (Stephen Schnetzer), as well as Bessie’s father Jacob (Will LeBow), and two of Hennie’s suitors, Moe Axelrod (Eric T. Miller) and Sam Feinschreiber (Nael Nacer). The only other character is the janitor Schlosser (Kevin Fennessy). Through various crises, the family is at odds to preserve their basic dignity. As Odets wrote about Bessie, though she wants the best for her children, she is stymied by her own fears and panic. It’s a theme found in other playwrights such as O’Neill and Williams: a mother wanting her children’s survival, but sometimes ensuring their eventual destruction. As superbly directed by Melia Bensussen, this cast embodies ensemble acting at its finest, with terrific star turns, most impressively LeBow in a towering performance, and Wilner with her unforgettable portrayal. They’re all memorable (though Goldsmith’s delivery is sometimes too rapid for the acoustics of the house). Some of Bensussen’s directorial decisions might be deemed controversial,  but she does make the extended family seem heartbreakingly real. The technical credits are up to Huntington’s demanding standards, from the evocative Scenic Design by James Noone to the wonderful Costume Design by Michael Krass to the Lighting Design by Brian J. Lilienthal and the Sound Design by Rob Milburn and Michael Bodeen. The Set Design, with Sacco and Vanzetti posters and newspaper headlines, is especially effective.

While it still speaks to us today, it’s often does so as though in a foreign language. As one might expect of a play that’s eighty years old, there are more than a few odd colloquialisms: “bughouse” (crazy), “plunks” (dollars) or perhaps the most outstanding one, “foxie-woxie” (?) and shockingly casual politically incorrect terms, even for Jews (“mockie”). Then there are such ethnic phrases as “you gave the dog eat?”. Yet some of Odets’ dialogue is too poetic to seem natural to these less educated characters, such as Ralph’s final admission: “The night he died. I saw it like a thunderbolt! I saw he was dead and I was born! I swear to God, I’m one week old! I want the whole city to hear it - fresh blood, arms. We got ‘em. We‘re glad we’re living”. Odets wanted his audiences to leave the theater glad to be alive. Written while he was an actor with the activist Group Theater in New York, before he succumbed to the temptations of Hollywood, the point of the play is best expressed by Ralph’s earlier exclamation that “life should not be printed on dollar bills”. So who would have guessed that this play from the seemingly distant past would strike us as painfully relevant today? Like many a treasured antique, despite showing its age, it might well prove to be of more value to us now than ever before.