ARTS

Wishes don’t always come true, but in cases when they do, sheer happiness abounds. Last year’s “Best of 2013 Theater”  by  Manhattan Digest included a plea  that  Here Lies Love find a home. Approximately one year ago it was one of the hottest theater events in town. After numerous extensions at the Public Theater, it finally had to end its run. Producers scurried to find an appropriate space  and there was much scuttlebutt in online chat rooms and throughout the industry about its’ future. But as Axl Rose gently reminded us, “All we need is just a little patience.”

How right you were, Mr. Rose. One year later, the dancing and decadence has returned to the same space and it is brighter than before- literally. Justin Townsend’s lighting is likely to make the CEO of the electric company a very content man, which is mighty fine for a show about such luminous and at times, polarizing politicians.

Here Lies Love is a 90- minute, intermission-less musical which chronicles the rise and fall of Filipino first lady, Imelda Marcos and her husband Ferdinand. It opens with a young Imelda (Ruthie Ann Miles) singing about her childhood in Leyte, which mostly consisted of “hand-me-downs and dresses made of scrap”. While there is a pluckiness and determination about her, the Lady from Leyte met a would-be, aspiring President (Jose Llana)  while she was a contestant in a beauty pageant. Together, they would climb the ladder of power only to watch it sink like quicksand a few  years later. Prophetically  she knew at an early age that she would rise above her economic status and become destined for greatness- even if it meant the sacrifice of her “forever friend ”, Estrella (Melody Butiu), who would become Marcos’ maid. Like any politician, fighting foes and battling the opposition are politics as usual;  hush money is paid, threats are made, and the wealthy and powerful continue to gain.

Imelda’s rise was a quick and sometimes ruthless one. Yet she is neither demonized nor sainted in this immersive, dance friendly history lesson. Audience members stand for the duration and are encouraged to participate at certain periods. With the constant motion of the moving stages, it is  not only a suggestion  but rather a requirement.  With  David Byrne and DJ Fatboy Slim’s transcendent score, you’ll effortlessly  find that your body has been captured by the infectious melodies.

Most of the talent that made this a hit  in the first place have  remained with the cast. Director Alex Timbers, choreographer Annie B Parsons, and the fellow members of their artistic team have maintained a bona fide work of brilliance. The word  genius is all too often bantered about. In this case, it is perfectly justified. While other new “toys” are gleaming in theaters around town, this downtown diamond will outshine most anything else on the boards.

Here Lies Love is now playing at the Public Theater, 425 Lafayette St. Tickets available online at www.herelieslove.com, at the box office, or by calling 212-967-7555.

Rob Ashford is the last person I would have expected to helm a broad  and brooding production of Macbeth along with Kenneth Branagh. This is to not to question his competency. After all, the eight time Tony nominated director walked off with the top prize for Thoroughly Modern Millie in 2002. Following that, he went on to direct Curtains, How to Succeed in Business Without Really Trying, Evita, and other large scale, splashy musicals. Ashford, however, was also the director of Anna Christie at London’s Donmar Warehouse. Alex Poots, artistic director of the Park Avenue Armory, had seen the production and loved it so much that he tapped Ashford to work with Branagh.

The result of their collaboration premiered at the Manchester International Festival in July 2013. Now, they have brought their sprawling production of Macbeth to the cavernous drill hall of the Park Avenue Armory. Even before steping foot into the Armory, there is a sense of majesty for what awaits. Majesty will indeed be served in this Scottish feast, with side orders of madness, malice and murder. It’s practically an alliterative meal of destruction, but one that will leave you fully sated.

As audience members wait for the doors to open they are divided into various Scottish clans, the purpose of which refers to the clan system in 11th century Scotland. Once you enter the performance space, an immediate eeriness is felt. Cobblestones, moss and dirt cover the hall floors and torch-lit guides lead patrons past a large formation of Stonehenge-like rocks to their stadium style seats. Then the production begins. Macbeth’s (Kenneth Branagh) Scottish army is at war with the Irish and Norweigan troops. It is intense staging that will literally shake the rafters.

Once the battle is over, Macbeth is visited upon by three witches who prophesize that he eventually will become the King of Scotland. Charlie Cameron, Laura Elsworthy, and Anjana Vasan offer some of the creepiest and most effective witchcraft I’ve ever seen.

Macbeth has a conversation with his wife that goes something like this: “Dear, I just saw these three witches who tell me that I’m going to be King.” Lady Macbeth (Alex Kingston), equally as power hungry says, “Oh! That’s terrific, honey. Be sure to kill anyone who stands in your way.” So, the dutiful husband listens and takes out Duncan (John Shrapnel) and Macduff (Richard Coyle). It doesn’t get any better. Guilt washes over the ambitious couple to a tragic finale. Granted, Shakespeare was thousand times more eloquent, but you get the point.

Branagh and Kingston lead a huge cast in this  well-oiled, bold and showy production. Scoring a ticket may be as difficult as seizing a royal throne, but to those who are fortunate enough to acquire one, you’ll be in for a bloody exciting time.

Macbeth is now playing through June 22nd  at the Park Avenue Armory, 643 Park Avenue, at 67th Street. For tickets, call 212-933-5812 or visit armoryonpark.org.