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I didn't see Vices: A Love Story in July 2009, when THE CALDWELL THEATRE in Boca Raton gave the musical its World Premiere production. Now it's back at the Caldwell through December 12, and this time I've seen it. Meanwhile, in 2009, the show garnered eight Carbonell Award nominations and actually received two awards. AC Ciulla won for his choreography, and Holly Shunkey won as Best Leading Actress in a Musical. Just for the record, music and lyrics were written by Susan Draus, Everett Bradley, Michael Heitzman and Ilene Reid. The latter two are credited with writing the story.
So -- how do I feel about it and, more importantly, do I think you will like it?
The show really breaks new ground. Clive Cholerton, who directed the Premiere and the current production, and choreographer AC Ciulla clearly were seeking something "different," and they found it. Ms. Shunkey is back and teamed with male dancer Albert Blaise Cattafi. Together, they are outstanding. The dances and the dancers are very much the show's highlights. This is a mixed media event, with large screens on both sides of the stage showing imaginative original film clips that enhance the onstage action. The technical staff of Tim Bennett, John D. Hall, Dustin Hamilton and Sean Lawson create technological wonders here, adding to the story line.
Yet there's no story line as such. This is a revue. The dancers fall in love. Four others: Carlos L. Encinias, Danielle Lee Greaves, Lara Janine and Will Lee-Williams sing about them accompanied by an onstage band (20 original songs,) or they perform their daily tasks, enjoy their various entertainments, fall out of love and carry on with others.
In short, the show is fresh, loud, sassy, bawdy, vulgar. It's not a show for those who were nurtured by and still treasure the Great American Songbook. It's for those who grew up with hard rock, acid rock, rap and all the assorted paraphernalia younger generations may know. Some older folks like to identify with whatever is "in." They will like this. -- I'll return to Ms. Shunkey. She's an excellent dancer, yet she has no spoken dialogue. The Carbonell she won was for being the "Best Leading Actress in a Musical." There were very good actresses who spoke and emoted in last season's musicals. What was the Awards Committee thinking?
Next up at the Caldwell is a "thought-provoking comedy," Clybourne Park, about white and black families in a middle-class Chicago neighborhood. Running dates are January 2 - February 6. The theater has readings and luncheons on various dates. More often than not, those events are enjoyable and worthwhile attending. For tickets and additional information, telephone 877-245-7432 or online: www.caldwelltheatre.com.)
PLAY REVIEW: TWELVE ANGRY MEN AT THE MALTZ
Reginald Rose's courtroom drama Twelve Angry Men first entered Americans' conscience in 1954, when it was introduced on television. It later became a popular motion picture starring Henry Fonda, and now it's to be seen as a stage play at the MALTZ JUPITER THEATRE in Jupiter.
The script itself is a testimonial to American democracy. In this country an accused person standing trial is assumed to be innocent until proved guilty. That's in stark contrast to most other countries, where persons charged with a crime are compelled to prove their innocence. Twelve Angry Men further makes the bold assumption that one righteous man can change the opinion of eleven of his peers. The script begins when a dozen jurors are called into a small room to deliberate the fate of a young man accused of killing an elder. A preliminary vote is taken. All but one of the jurors finds the accused guilty. Even the twelfth man does not argue that he is innocent. But is the accused "guilty beyond a reasonable doubt"? which is another cornerstone of American jurisprudence. In other words, if there be any doubt whatsoever that the individual charged did not commit the crime in question, that individual must be judged "not guilty" and set free. One by one, as eleven men give their reasons for deciding against the accused, the twelfth man provides sufficient doubt to impel re-thinking of their arguments.
Mr. Rose's script itself is strong, and despite its "liberal" bias in a country that more than half a century later has largely become "conservative," it holds up very well. An American ideal is well served here. More useful perhaps is comparing the various media: television, motion picture and live theater in which the script takes life. On screen, the play is very much a star vehicle. Twelve Angry Men, the movie, not only starred Henry Fonda; he also produced it, and used it as a vehicle to display his own considerable talents. Film can focus on a star and only on a star when it needs to. On stage, this courtroom is "live,"and the twelve men in it are more of an ensemble. No one person dominates. It would be possible for one personality to dominate if a strong director would stage it to to favor one man, but Frank Galati, the director here, chooses not to go that route. In the film, Mr. Fonda, always soft-voiced, nonetheless prevails. On the Maltz stage, the actor playing the same role is also small-voiced, but at any given moment, louder voices compel the viewer in their direction and the star role, if there be one, is diminished.
One of the surprising things about the show at the Maltz is that it lacks intimacy as compared with the screen versions. A film can show men close-up: -- scorning, shouting, tormenting, laughing, weeping -- better than a stage play in which chairs are of necessity sometimes turned with their backs to the audience. Mr. Galati directs well, but at the very end, he misses a key visual element of the script by blocking one of the men. Mr. Galati also told The Palm Beach Post's Hap Erstein that he sees the play as a comedy, and a few people in the audience occasionally laughed at some of the lines. But this is a tense script that builds towards a riveting climax: laughter is something of a distraction in this setting.
You'll like Twelve Angry Men: It grabs at you, gives you pause, makes you ponder what it means to be an American. It's the sort of play, actually, that you wish everyone, including school children -- perhaps, especially, school children -- and persons new to America would/could see. It speaks to the values of our society.
The play runs through November 14. For reservations and additional information, telephone 575-2223 or online at www.jupitertheatre.org.) I've noted in the past that the Maltz has turned itself into a mini-Kravis Center, with many events scheduled during the season. Ask for the season's brochure. A new theatrical musical, Academy, arrives December 7, and in early 2011 the Maltz has three big musicals most Century Villagers would take to their hearts: The Sound of Music, Jolson at the Winter Garden and the Gershwin Brothers' Crazy for You.
Water is always a problem for southeastern Florida. Although the State is a peninsula bounded on three sides by salt water, it has no mountains that yield fast, free-flowing rivers of potable water. Most of Palm Beach County's drinkable water derives from underground aquifers or from Lake Okeechobee to the west of the major coastal population centers. As the population increases, there is always a danger that the water supply will quite literally dry up and disappear. Compounding the problem is that most years rainfall is relatively modest during the winter and early spring. A season of really light rainfall can dry out the soil and result in a drought. From late spring through late autumn, severe hurricanes -- torrential rains and terribly high winds -- can whip across the land to cause substantial loss of human (and animal) life and property. In 1926, drought was so bad water managers estimated that West Palm Beach had only a 21-day supply of water remaining. People prayed for rain. When it fell, it fell hard, in the form of a hurricane. A mud dike, built to retain Lake Okeechobee, gave way, killing 400 people. Political squabbles followed, resulting in patchwork repairs. In 1928, "The Big One" struck. The dike broke again. Now 2,500 people died.
Andrew Rosendorf's drama, CANE, considers this subject. Being given its World Premiere performances by FLORIDA STAGE in the Company's new home at THE KRAVIS CENTER in West Palm Beach, the play is set in Belle Glade. The time is 1928. The storm has not yet come. Perhaps it won't. Neighbors Eddie Wilson (Gregg Weiner) and Noah Brooks (David Nail) discuss it. Noah is depressed. There's been little rain. His property isn't worth much. Maybe he should sell it and get out. Eddie thinks all this land has value. He offers to buy Noah's property. They shake hands on the deal. Other people are involved. Eddie's wife, Ruthie, would like to move away, but in common with most women of her day, she leaves hard decision-making to her husband and more or less lives in his shadow. A hermit (Dan Leonard) comes in and out, occasionally expressing his opinions. Then there's the black girl Harriet (Trenell Mooring,) a field hand who works for Eddie. She is pregnant. Eddie suspects his son is the father, which the girl does not deny. At a time when segregation is still the law of the land in the Deep South, in his fashion Eddie treats Harriet kindly, if not entirely respectfully. But the storm is definitely coming; there's no longer any doubt. Noah changes his mind: with rain incoming, his property might be worth something. He reneges on his deal with Noah, who offers him more money. Both men have rifles. Thunder and lightning and rain crash down. A rifle fires. A scuffle breaks out. In a truly stunning ending to the first act, one of the men is left dead.
Act Two takes place at the present time. The same actors portray descendants of the '28 people, and some 80-odd years later, they're still talking about what occurred back then. Zora, Harriet's heir, a college grad, speculates on what may have happened to Harriet, who simply disappeared in the flood. Her suspicions gain sympathy from police officer Isaac Brooks. But they lack sufficient evidence to press the case that Zora wants to bring to court. "Junior" Wilson has meanwhile become a wealthy real estate developer. His wife, unlike her predecessor, at a critical juncture takes a stand in opposition to her husband. For me, shortly after this point the play begins to fall apart. Zora delivers a lengthy soft-spoken monologue which, although I sat quite close to the stage, I confess I did not fully hear. From what I could tell, her talk summarizes what she believes befell Harriet on that fateful day the storm struck and then concludes on a spiritual note, whereupon the play essentially ends.
I don't like to give away play endings (especially when I have not clearly heard the closing words!), but I have to say that while Act One is full of high drama (even melodrama), memorable characters and lively action, Act Two lacks that vital drive, the contemporary characters border on stereotypes, and everything ends in a near-whisper. This is a strong play which has potential to be truly powerful, yet the ending is weak.
So -- my overall feeling? I liked the play, Mr. Rosendorf's first full-length work to be professionally produced, and I liked it quite a lot. I liked Louis Tyrrell's directing, the special effects, the acting. My guess is that the playwright's forthcoming works will be much produced. But I think that sometime in the future, he'll return to this one and revise its second act. You may well disagree with my words: I urge you to see and to judge for yourself!
The play runs through November 28. Remember there's been a change: Evening performances begin at 7:30 p.m. and matinees at 1:30 p.m. For tickets and additional information on this and incoming shows, telephone 585-3433 or online www.floridastage.org.
AT THE MUSEUM
I hadn't been to THE NORTON MUSEUM OF ART in downtown West Palm Beach for awhile. This past Saturday seemed as good a time as any to go. Even when I first arrived here, many years ago, the Museum wa recognized as being one of the best in the American southeast. In recent years, it has been modernized, greatly enlarged, and its collections have grown. Also, as usual, it has interesting things to see and to do. Yes, "do." All good museums nowadays have interactive programs, entertaining, informative lectures and family events. (For these, contact the Norton to receive additional information: 832-5196 or www.norton.org.) Meanwhile, here's a peek at some of the current art exhbitions.
Through November 21 view "On the Silk Road and the High Seas: Chinese Ceramics, Culture and Commerce." The Norton has a large permanent collection of Chinese art. This touring exhibition lends a little something extra.
Through January 2 visit "John Storrs: Machine-Age Modernist." John Storrs (1885-1956) is credited with developing a geometric non-objective form of the Art Deco style. Highlighted are some of his sculptures, drawings and paintings from various national museums. His stylized, elongated forms won't be to everyone's tastes, but they will give you pause when you examine them.
Through January 9 see "Nick Cave: Meet Me at the Center of the Earth". Here's a colorful, joyful art exhibition if ever there was one! Nick Cave creates costumes, and he makes them of all sorts of things one would never associate with clothing, including ordinary household objects that many of us would discard. They are very tall, some probaby as tall as two average-size males standing one on top of the other; they have multitudes of colors, some sparkling in such a way as to turn a rainbow green with envy, and they make sounds as the wearer whirls, shakes or just moves about. Inspired by costumes worn in Africa (Mr. Cave is African-American), his "Soundsuits," as the artist terms them, "evoke celebratory and religious ceremonial costumes as well as the extremes found in haute couture." The Museum says that. But whereas authentic African costumes can seem quite sinister to non-Africans, these are designed for fun and high spirits. (You can watch a film at the Norton, which shows them in use. It's festival-time!) If you have kids or grandkids about, take them to see this. They'll love it. I did, too! By the way, "Meet Me at the Center of the Earth" is Mr. Cave's way of saying that at their core, all human beings are the same.
Through February 9 study a self-portrait by Vincent van Gogh. Only one such painting is on view, but in it one can see something of the origins of modern art and the influence van Gogh would have upon generations of artists who came after him.
The Norton has a restaurant, not cheap, but the food is high-quality and artistically presented. The service is excellent.
COMING THIS WEEK
November 2 - 14 at THE MALTZ JUPITER THEATRE in Jupiter visit "12 Angry Men." You may have seen the movie starring Henry Fonda and an all-star cast, but seeing it onstage is almost like watching an honest-to-goodness jury trial, quite different from watching a film. The premise here: In our country, unlike many others, a defendent is innocent until proved guilty. -- Or is he? Phone 561-575-2223 or 800-445-1666 for tickets and additional information.
November 7 - December 12 THE CALDWELL THEATRE in Boca Raton welcomes the return engagement of VICES: A LOVE STORY. A musical, it was heralded by audiences and critics when it first appeared in 2009. It's here now, by request. The box office number is 877-245-7432 or online: www.caldwelltheatre.com.
Sunday, November 7, Daylight Saving Time ends. Set your clock back one hour.
ARTS AND ENTERTAINMENT BY IRV RIKON
PLAY REVIEW: ZERO HOUR AT THE MALTZ JUPITER THEATRE
ZERO HOUR, written by and starring Jim Brochu, had its off-Broadway Premiere as recently as November, 2009, but from October 21 through October 24, 2010, it's at THE MALTZ JUPITER THEATRE in Jupiter, where I urge you to see it. The subject is Zero Mostel, the legendary comic actor who onstage originated the role of Tevye in FIDDLER ON THE ROOF and created the lead role in A FUNNY THING HAPPENED ON THE WAY TO THE FORUM both onstage and in the film. He was the producer in Mel Brooks' movie,THE PRODUCERS. To me, he was the most inimitable actor I ever saw, larger than life. Despite his size and bulk, he moved gracefully, his schtick and mugging helping to make him a truly memorable performer. Mr. Brochu succeeds in bringing him back again.
Zero was a painter before he turned to acting. The setting is his Artist's Studio in Manhattan. A reporter from The New York Times has come to interview him in July, 1977. The time is critical to his story. Zero and other alleged Communists working in the entertainment industry had been asked to appear before a Congressional Committee investigating the suspected influence of communism in the popular media. Many who testified before that Committee would ultimately be blacklisted, Zero among them. Blacklisting meant no one would hire them again. This was "The McCarthy Era," played out during the Eisenhower and Kennedy administrations, but with its repercussions -- especially the ugly partisan politics -- felt to this day. The play does a good job of showing McCarthyism's evils. Those whom Senator Joe and his colleagues disliked and accused -- often without substantial evidence -- were essentially barred from employment with, in most instances, their reputations shattered, sometimes forever.
Zero had other problems: his parents disowned him; in a freak accident, a bus ran over him, crushing his leg and causing him pain that lasted through the remainder of his life. These things and more he talks about with the reporter and us, the audience. He names names, among them actress Lucille Ball and Director-Choreographer Jerome Robbins. Zero's relationship with Robbins was extraordinary, to say the least. As Zero Mostel, Mr. Brochu swaggers, smiles, snarls, tells tales that are funny, bitter and angry. His performance is a tour-de-force that won for him the 2010 New York Drama Desk Award for Outstanding Solo Performance and the 2010 Helen Hayes Award for Best Lead Actor in a Play. I've no doubt the New York critics got it right.
All who love theater should see this show. All who lived in America during the '50s, '60s and '70s will remember the days of their relative youth. For others, it will be an entertaining bit of showbiz Americana. My one and only objection to the show is that too much of the downside of Zero Mostel is in it. For me, he was a very funny man, and that's the image I like to keep with me. But I laughed here, just as I laughed when Zero himself took the stage. Applause, applause!
For tickets and additional information, telephone 575-2223 or online at www.jupitertheatre.org.
THE CALDWELL THEATRE in Boca Raton has been embarking upon a number of exciting theatrical events since Clive Cholerton took over as Artiistic Director.
Here's one that many Century Villagers would like to see. From October 14 through October 24, there will be performances of the great Kander and Ebb musical, CABARET. Those who know the story know it takes place in Berlin during the 1930s, and the background concerns the rise of Nazism and the beginning of the end for Jews in Germany. The original production made a star of Joel Grey, who co-starred in the motion picture with Liza Minnelli. If you've seen only the movie and not the stage play, I assure you that the stage play is much better. The movie emphasized Liza's considerable attractions but minimized the growing anti-Semitism.
It's a short run for the production at the CALDWELL, and space has been rented out to a guest company whose work I've not yet seen. But one of the features of this production is that Holocaust survivors during the matinee performances of October 16, 17 and 23 are being invited to participate in discussions with cast and audiences following the show. All they have to do to be placed on the complimentary (no charge) list is to send an email to publicist Gary Schweikhart at gary@pr-bs.net. Prices are reduced for this presentation, and discounts are also available for Holocaust Survivor groups. For tickets and additional information telephone 877-245-7432 or 561-241-7432.