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Theater Review: “The Money Shot”

Newton’s third law of physics indicates that for every action, there is an equal and opposite reaction. To paraphrase Sir Issac, this reviewer’s law of theater might observe that for every die-hard fan of Neil LaBute, there is usually an equally opposite reactor. Count me among the dissenters who fail to see what the big hullabaloo about this Tony and Olivier nominated playwright is all about. His dramatic voice is relatively unmistakable (although it does draw a close resemblance to David Mamet at times), and his dialogue is razor sharp. At the same time, it is vapid and cruel and falls incredibly short on the redemption factor. If this is desirable theater for you, then you will love The Money Shot.

The setting for LaBute’s latest ode to cynicism occurs in the Hollywood home of Karen (Elizabeth Reaser) , an “out” lesbian who is quick to remind everyone around her of the career she used to have. Now, she is struggling as an actress and coupled with her lover, a headstrong film editor, Bev (Callie Thorne) . Their banter throughout the entire evening shifts between affection and accusation, a distinct contrast between their visitors, Steve (Fred Weller) and Missy (Gia Crovatin)-a couple so incredibly dense they make a cheese sandwich seem intelligent. Still, they’re too self absorbed and smitten with one another to even notice or care.

Enter the dramatic tension : In order for Karen and Steve to recharge their careers, they must act out a sex scene in the current film they are shooting-a film which may re-position( no pun intended) their star status. The conversation evolves around what they will and will not be permitted to in their intimate screen moment. Missy and Bev observe from the sidelines and offer their opinions and allowances. Bets are placed and a wrestling match later ensues between an exhausted Bev (frustrated by Steve’s oblivion) and a testosterone laden Steve. In typical LaBute style, nothing is left to imagination about the sexual proceedings that will ensue. All four carry the piece in brisk, witty fashion under Terry Kinney’s sharp direction and there are some laugh out loud one-liners showered throughout this MCC production. A particularly hilarious scene includes Missy re-enacting a scene from her high school production of Arthur Miller’s The Crucible. In the end though, the play feels as empty as the characters themselves.

Are blatant descriptions of coitus and misogynistic epithets considered quality play writing? Like any art, this is a matter of subjectivity. Perhaps the interactions in LaBute’s world may generate conversation about how we interact with one another in our real worlds. Yet even if the questions are asked and answered, The Money Shot doesn’t forge any new ground in the “lambasting and lampooning of LA” drama genre. Commentaries on the superficial landscape of Hollywood have been around since…well…Hollywood started making movies.

The Money Shot plays off Broadway now through Oct. 19th at The Lucille Lortel Theatre (121 Christopher Street, slightly east of Hudson Street). For tickets and more information, visit http://mcctheater.org/

Theater Reviews: Quiet Shows, Big Impacts

by Ryan Leeds

While there’s nothing more titillating than seeing family brawls, drunken tirades, unearthed secrets, shocking surprises or feverish romance, theatrical drama doesn’t necessarily need to always incorporate these elements in order to grab attention and make an impression. These three shows are currently on the boards, each of which are leaving an indelible mark in subtle fashion.

Love Letters

A wise sage once observed that “You never forget your first love.” Playwright A.R. Gurney proves this proclamation in Love Letters, his 1989 Pulitzer prize-winning play which charts the lives and loves of Andrew Makepeace Ladd III (Brian Dennehy) and his childhood crush, Melissa Gardner (Mia Farrow). Comprised only of a desk with two chairs, the duo sit and read letters they have written to one another over a fifty year period. Each of them take completely different paths and yet continue their faithful correspondence through boarding school, political campaigns, stints in rehab, nervous breakdowns, and multiple marriages.

The piece could easily sink into saccharine ground, but Gurney’s writing is so tender and gentle that its’ universal appeal will connect with anyone who has ever longed for a lost love or wondered what might have been if Cupid’s arrow had been more targeted. Gurney fully grasps the complexities of human interaction with his observation that there is not just one true love–some leave an indelible mark on our on lives that can only be expressed through time and written conversation. In an age where texts and e-mails fade into the crowd of daily routine, there is an enchanted quality which exists in the dying art of letter writing.

I had first seen Gurney’s play in 1994 at Allenberry Playhouse in Pennsylvania when the roles of Ladd and Gardner were played by Marty Ingels and his Academy Award winning wife, Shirley Jones (respectively). As a naive teenager, I knew nothing about the gains or losses of love. Now, through the lens of adulthood, the play resonates on a much different level. Full disclosure: my eyes were not completely dry when I left this Broadway theater. As I glanced around at others making their way towards the exit, I noticed that I was not alone. Obviously the script still tugs at the heart, some 25 plus years after it debuted.

Producers are hoping that this modest show will attract the baby boom generation and those wanting to huddle in the same room with a line-up of Hollywood heavy hitters. Following Mia Farrow (who ends her run on Oct. 10th), Carol Burnett, Candice Bergen, Diana Rigg, and Angelica Huston will assume the role of Melissa Gardner. Brian Dennehy will stay past Oct. 10th and continue in the role of Andrew Makepeace Ladd III. Then Alan Alda, Stacy Keach, and Martin Sheen will take turns sitting at the desk to recount the sweet journey between soul mates. Given this array of talent , you can rest assured that each performer will infuse his or her own flavor and turn Gurney’s words into a rhapsody of romance.

Love Letters plays on Broadway at the Brooks Atkinson theater, 256 W. 47th (between Broadway and 8th ave.) Tickets available at the box office or by visiting: http://lovelettersbroadway.com/. Visit the site for the guest star schedule.

A Walk In the Woods

Another Pulitzer nominated play, A Walk In the Woods opened one year before Love Letters in 1988 . It starring Robert Prosky and Sam Waterston as

polar opposite negotiators who convene in Geneva, Switzerland for a peace summit. Determined to find common ground and gain understanding, the two take a literal walk to seek a greater human connection than can be achieved by hours of sitting around tables.

A new version of Lee Blessing’s thoughtful two-character drama recently landed off-Broadway at Theatre Row, where it is enjoying a new make-over under Jonathan Silverstein’s deft direction. In the original Broadway staging, Prosky starred as Russian diplomat Andrey Botvinnik and Waterston portrayed the American counterpart John Honeyman. Here, our Russian lead is female and is portrayed with exceptional perceptiveness by the accomplished Kathleen Chalfant. An equally sharp Paul Niebanck masterfully holds his own as John Honeyman.

When the play first premiered, Reagan’s presidency had ended and talks of Cold War discussions with Gorbachev had topped International headlines. While these are merely footnotes in recent history, the potency of Blessing’s work still echoes. Under the surface, after all of the missile talks, number of arms, power struggles, and economics, there is a vulnerable humanity that exists across all nations and languages. One only need to scan a newspaper to realize that our accomplishment on that front is far from fully realized.

Blessing chose to change the gender of his Russian character by stating that “the gender change can wake us up a bit more to a play that discusses issues that haven’t been on the front burner (in quite this way at least) for decades. It reminds us that more and more women are finding their way into our society’s biggest socio-political discussions, and that they have already proved themselves every bit as competent as their male counterparts.” With Chalfant in the role, her competency is not only proved, but should be preserved as a lesson for all current and aspiring actors. There remains not a single ounce of artifice in her performance.

Keen Company is exemplifying its’ mission to create theater that provokes emotional connection. With Niebanck and Chalfant, this is one conversation on which you’ll want to eavesdrop.

A Walk in The Woods plays through Oct. 18th at off Broadway’s Theatre Row. 410 West 42nd (between 9th and 10th). For tickets and more information, visit the box office or keencompany.org.

Port Authority

There is a new cure on the market for sleep deprivation. Unfortunately it is not covered under any insurance plan and it costs around $70. It goes by the name of Port Authority and is dispensed nightly around Union Square. This latest version of celebrated writer Conor McPherson’s 2001 work is receiving a new treatment from the Irish Repertory Theater, and you’re probably going to want a pillow for it.

Under Ciaran O’Reilly’s direction, Mcpherson’s 90 minute snoozer leaves a different type of mark from the others mentioned above; one so solemn that it plays like a funeral dirge. This piece involves three Irishmen, each at different phases of their lives. James Russell is Kevin, a young lad who speaks about the quagmires of falling in love. Billy Carter portrays Dermot, a middle-aged man who finds life too much to handle, and Peter Maloney is Joe, a senior citizen who resides in a care facility and speaks about his now deceased wife. The three men sit on a rather stark stage and each of them take turns delivering lengthy monologues, all of which are nearly as interesting as asking a five-year old to explain quantum physics. Carter’s Dermot is the only riveting performance and even then, you’ll likely find your mind wandering into the near realm of REM sleep.

Forty minutes into this particular performance, a lady in the front row got up and left. Moments later, a scratching sound behind me prompted me to turn my head where I witnessed another obviously disengaged theatergoer filing her nails. When the curtain fell, my guest for the evening turned to me and said, “I think I would have enjoyed that so much more on a sofa, covered in a blanket.” In Irish brogue, ya can draw yer own conclusions, lads and lassies.

Port Authority plays off Broadway through November 16th at The DR2 Theatre. 103 East 15^th Street (between Park and 3rd ave.) For tickets and information, visit http://www.irishrep.org/

Fall Food Events at South Street Seaport

by Ryan Shea

Even though it still feels like summer outside (proud to be wearing shorts still, yay) the fall season is underway and why not spend some of it at one of New York City’s most beautiful locations- South Street Seaport. With accessibility on several subway lines, South Street Seaport is the place to go to anytime of year for some of the best food, style and events that happen throughout the city.

Now, South Street Seaport has announced some super fun events that are happening in the month of October. Big fan of Cider and beer? Family friendly activities more your thing? South Street Seaport has you covered! Check out what they are offering this month and come on down and see what all the fuss is about!

The Fulton Stall Market returns: Monday through Sunday from 11:00AM-5:00PM

On October 1, the Fulton Stall Market returns to the South Street Seaport, marking its sixth year of bringing local food vendors, farmers, crafters, and artisans to lower Manhattan. The Market will be open seven days a week year-round, in a brand-new indoor location at 207a Front Street, and extend into Cannon’s Walk. A ritual for locals and visitors alike, the Fulton Stall Market allows shoppers a glimpse into the street’s history, which since 1822, has anchored the Seaport’s waterfront market district. This year’s offerings include a wide variety of new and returning vendors selling everything from sauces, to syrups to sandwiches and more, as well as non-edible treats such as t-shirts and totes.

South Street Seaport, Manhattan Digest, Oktoberfeast — Credit to: DKC

OktoberfeAst “Pop-Up” Biergarten: Saturday, October 11 from 11:00AM – 6:00PM

Presented by Beer Sessions Radio™ and the Good Beer Seal, a new series of “popup” events offering a sophisticated drinking experience for discerning New Yorkers will feature the best of German and NY State lager and fest beers during two sessions taking place on Saturday, October 11th on the corner of Fulton and Front Streets. OktoberfeAst will feature 20+ of the best fall offerings from NY State brewers and select German-beer importers specializing in Bocks, Kolsches, Pumpkin, and Fest beers. Additionally, a selection of regional food prepared by New York chefs will be available for purchase and live music performances from Oompah Bands and other acoustic musicians will take place throughout the day.Tickets can be purchased at the door or in advance at www.southstreetseaport.com

South Street Seaport, Manhattan Digest — Credit to: DKC

Taste of the Seaport: Saturday, October 18 from 11AM – 4PM

The fifth annual event brings together some of the most important restaurants in Lower Manhattan for an outdoor festival of food, beverage, live music and family-friendly activities. Proceeds support academic and arts enrichment programs at Lower Manhattan Public Schools PS 397 and 343, also known as the Spruce Street School and the Peck Slip School.The Taste of the Seaport will take place on Front Street between Beekman and Peck Slip. Participating restaurants include Seaport district favorites Acqua, Bin 220, Cowgirl Seahorse, Fresh Salt, Il Brigante, Key 229, Nelson Blue, Suteishi, V Bar and more. Tickets are currently available through this link: http://www.tasteoftheseaport.org/ticket-sales/

Manhattan Digest, South Street Seaport — Credit to: DKC

CiderfeAst: Saturday, October 25, 2014 from 11:30AM – 6:00PM

The unofficial kick-off party for Cider Week NYC, CiderfeAst will feature the best of regional, national and European ciders from more than 30 cider makers as well as a selection of regional food prepared by New York chefs. This ticketed event will take place on the corner of Fulton and Front Streets, and will be split into two sessions. Tickets can be purchased at the door or in advance atwww.southstreetseaport.com

Theater Review: 9 to 5 the Musical

by Ryan Leeds

9 to 5 The Musical at Walnut Street Theatre. Philadelphia, PA. Photo courtesy of Marl Garvin — 9 to 5 The Musical at Walnut Street Theatre. Philadelphia, PA. Photo courtesy of Mark Garvin

Technically, the name of this online publication is Manhattan Digest. And it’s easy for our New York elitism to bleed through into…well…practically every aspect of our daily lives. Sometimes we Gothamites are so deeply entrenched in our belief that New York City is the center of it all, that we fail to take notice to the notable offerings around us. I use the collective “we” here, because I too, have been guilty of this snobbery.

This happened last weekend when I crawled out of my hole of oblivion and hopped an Amtrak train from Penn Station to Philadelphia. Granted, I was there to to run a half marathon,but prior to my departure, I was reminded of the terrific and often overlooked theater scene dwelling in Pennsylvania’s largest metropolis. It was here where I saw a delightful and improved stage version of Dolly Parton’s notorious film about eighties working girls, 9 to 5: The Musical.

The show had a short life when it opened on Broadway in April 2009. Critics found it tawdry and dated and although Parton’s name and influence was present, it wasn’t enough to generate box office dollars. The production, in Times Square’s Marriot Marquis closed 6 months later in September. Since then, it has found its’ groove among regional theaters, including the well regarded Walnut Street theatre where it is enjoying a run through Oct. 19th.

This story of girl power centers on Violet Newstead (Dee Hoty), Doralee Rhodes (Amy Bodnar), and Judy Bernly (Amanda Rose). This spunky trio punches the daily clock and attempts to climb the corporate ladder but is shot down at every angle by their misogynistic boss, Franklin Hart, Jr. (Paul Schoeffler). If that weren’t enough, they must deal with Hart’s obsessively loyal administrative assistant, Roz Keith (Mindy Dougherty). Violet cautions an overwhelmed Judy on her first day that Roz is Mr. Hart’s eyes, ears, and throat and “if you want to gossip in the ladies room, check under the stalls for feet first.” The women concoct a plan to kidnap Hart and finagle a way for Roz to attend a French Vocabulary School. They continue on their mission to teach Hart a lesson on respect.

The premise is implausible, but the sense of nostalgia is perfectly intact. So are the vocals from this predominantly female cast. Each of them have their moment to shine and deliver Parton’s score with fresh vivacity and vigor. It is possible that producers caught wind of the weaknesses of the Broadway production and the criticism that it felt out of date. In this version, a pre-recorded Dolly Parton welcomes the show via digital projection and introduces all of the leading players. Parton informs the audience that the show takes place in a time when “apples and blackberries were things I picked from the field” and knowingly winks at the time frame. Admit it: If Dolly Parton can’t bring a smile to your face, you’re either the world’s crankiest person or you’ve had one too many botox injections.

There is nothing overly cerebral about the story, but it remains a feel-good satire on the injustices and monotony of office life. It also provides the opportunity to hear some fresh Grammy nominated music from Dolly, delivered by a Broadway quality talent. So, dispense with your New York City highbrow attitude and shower our neighboring city of brotherly love with a bit of romance.

9 to 5: The Musical is now playing at Philadelphia’s Walnut Street Theatre (825 Walnut Street) now through Oct. 19th. For tickets and information, visit: http://www.walnutstreettheatre.org/ or call 215-574-3550.

Andrew Lippa Gives ‘Em Hope

by Ryan Leeds

Andrew Lippa is one audacious composer. A few years ago, he received an unsolicited email from Dr. Timothy Seelig, conductor of the San Francisco Gay Men’s Chorus (SFGMC). In it, Seelig stated that SFGMC was seeking commissioned works from 10-12 composers, inviting them to write a five-minute piece based on their experiences and observations about Harvey Milk. Milk (in case you happen to be of the millennial generation or are just now crawling out from under your rock), was the first openly gay politician who served on San Francisco’s Board of Supervisors in 1978. He served for a mere 11 months before being fatally shot by his former colleague Dan White.

Lippa was “floored and thrilled” by the email, so he called Seelig immediately. “I am so excited that you’ve asked me to write a five minute piece about Harvey Milk,” he told the conductor. “But I don’t want to write a five-minute piece. I want to write a sixty minute piece!” Lippa couldn’t believe that he was so bold to suggest it, but they both discussed the reasons before agreeing to a project that would become I Am Harvey Milk. After a 2013 debut by SFGMC, this powerful concert and theatrical event has been performed by other gay choruses throughout the country. This Monday night, October 6th, it will make a New York City premiere at Lincoln Center’s Avery Fisher Hall.

Lippa pointed to his kinship with Harvey Milk, “Harvey spent most of his adult life in New York- as have I. Harvey was raised Jewish-as was I. Harvey was 48 years old when he was assassinated- I was the same age when the piece premiered. Harvey’s interest in gay politics came later in life-as did mine.” Lippa’s husband was also the marketing director for Focus features, the studio behind the oscar winning bio-pic Milk starring Sean Penn. The producers of that film were also the producers of Lippa’s Broadway musical Big Fish. Obviously, universal forces were working to his favor. Lippa interpreted this as a sign and an opportunity to write about his own gay experience and his relationship with this heroic politician. He had no idea that the individual songs would morph into full orchestrations and a recording , nor did he consider playing Harvey Milk himself. “I wrote the piece and kept sending demos to Tim (Seelig)”, Lippa recalls. “And he just kept encouraging me to send more!” Lippa prepared a workshop performance of what he had written in New York and presented it to Seelig, producer Bruce Cohen, and approximately 100 others. Lippa was overwhelmed by the enthusiasm. “I had never seen anything like it in my entire career” he said. “I literally had people approach me when it was over, asking me how much money we needed.” After visualizing the potential, an equally forthright Seelig said, “We can’t do this with a 10-piece orchestra. We need 25 pieces- at least!”

Lippa also recounted the nearly unanimous decision by his private audience for him to play the role of Harvey Milk. ” I was a little reluctant at first because I wanted this to be a piece about Harvey Milk and not Andrew Lippa. But I agreed to do it in San Francisco.” Since then, he has done it in Los Angeles and will perform on Oct. 6th as well. In March, Seattle audiences will see the composer take center stage, followed by stops in London and Australia. It’s safe to assume that his reluctance has waned.

The night that Lippa’s choral worked debuted in San Francisco also proved to be synergistic. Earlier that day, June 26th, 2013, the US Supreme Court struck down the Defense of Marriage Act (DOMA) and Proposition 8, making marriage equal and fair for all gay couples. Bruce Cohen, who not only produced the piece, is an outspoken gay activist who was on the board of the non-profit group which help defeat DOMA and Prop 8. Cohen was in DC the night before the announcement and was on the Supreme Court steps the morning of June 26th. Cohen recorded footage of the event and then hopped a plane to San Francisco, where the director and visual designer included that same “hot off the press” footage into a video presentation for the evening show. “The energy in San Francisco that night was unreal,” Lippa said. “In the same city where Harvey had achieved such incredible feats, there we were celebrating yet another milestone in gay rights. It was indescribable on that particular day.”

Lippa believes that Milk’s legacy has endured due to a very simple concept. ” Like our greatest spiritual teachers, Harvey’s message was to come out…be present.be in the room and let them know who you are. Be true to yourself and people will find their way around their own prejudices. His message was terrifically unencumbered and it has inspired countless artiststic works.”

The advice has also resonated with heterosexuals. Lippa explained, “The final movement in the work is a song called “Come Out” in which the chorus sings those two words 49 times and triumphantly ends with the proclamation to literally come out. When we performed it for the first time in the NYC workshop, a straight man in the audience said, ‘I’m not gay and even I want to come out after that!’ That is exactly what I had hoped would happen. Everyone holds some secret about themselves that they don’t want other people to know. the term “coming out” is just not for homosexuals, but is a human need to allow ourselves to be vulnerable. The idea of being seen and seeing others sometimes sounds like a radical notion, but Harvey understood that if we are seen, then we exist.”

Lippa will be joined on the Avery Fisher stage by Tony Award winning actress Kristin Chenoweth and the All Star Broadway Men’s Chorus, which is comprised of actors who have worked or are working on Broadway. This production will also bring more dancing, more projections, and the inclusion of the World class Orchestra of St. Luke’s, the largest group of musicians that has ever performed the piece.

“I’ve written 7 or 8 musicals” Lippa said. “I love writing them and I’ve got another one coming up ( it will be based on Jules Feiffers’ children’s book The Man in the Ceiling). But I am also interested in writing a partner piece for I Am Harvey Milk. We’ve had a lot of interest in something that is fuller length and suitable for a theater or opera house. I’m just starting to write it now and will hopefully do another workshop.” In the meantime, Lippa is taking dance lessons and enjoying his title of an ordained inter-faith minister.

Composer.Performer.Dancer.Activist.Humanitarian.Minister. The real Harvey Milk must be shining with admiration from the celestial grand staircase above.

I Am Harvey Milk is a one night event. Monday, October 6th @ 7:30 PM at Avery Fisher Hall, 10 Lincoln Center Plaza. For tickets and information, visit http://www.iamharveymilknyc.com .

For a video preview, https://www.youtube.com/watch?v=tAhRAqRFmgw#t=84.

For additional information about Andrew Lippa, visit his website: http://andrewlippa.com/

Theater Review: Bedbugs!!!

by Ryan Leeds

It wasn’t all that long ago when New Yorkers were terrified by repeated news stories about objects which were smaller than a poppy seed. These insidious, blood sucking creatures took refuge in our mattresses, sofas, movie theater seats, and even in subways. They were nearly indestructible and while DDT proved to be a sure remedy, the government put the kabosh on it, citing personal health and environmental issues. For years, they fell into relative obscurity before making a recent comeback . Now, these minuscule creatures of doom have returned to the Upper West Side , bringing with them infectiously fun eighties flavored tunes and fun lyrics.

There is so much that is right about Bedbugs!!! that it’s challenging to offer any criticism. This surprisingly well rounded musical comedy from the creative minds of Paul Leschen and Fred Sauter offers enough lighthearted fun to make even the most vehement scaredy cat comes to terms with their entomophobia.

Bedbugs begins in 1989 where young Carly (Grace McLean) is watching her favorite singer, Dionne Salon (Brian Charles Rooney) on The Tonight Show. So entrenched in her music coming from her TV screen, young Carly fails to hear the cry of her mother (Gretchen Wylder) who pleads for help before a fatal bedbug attack. Determined to seek vengeance, an adult Carly (now a chemist) sets her sights on ridding the world of her mother’s attackers. With the assistance of her colleague Burt, she actually makes the problem worse. Not only are they back, but they’ve formed a gang and have set out to brainwash the well intended Carly, who nearly falls prey to the seduction of Cimex (Chris Hall). Oh, but fear not! Our protagonist won’t be caught in the dark side forever.

In true campy fashion, only Dionne Salon can breathe redemption into this tale. Rooney is not your typical drag diva impersonator. With each glance and every breeze from the wind machine blowing through his hair, he creates a persona that is sincere, flawless, and drop-dead hilarious.

McLean’s commanding and impresive rock vocals lend a genuine edginess to the proceedings, while her bug lover, Cimex (Hall) adds unique quirkiness and impeccable comic insight. If you’ve ever wondered how bed bugs copulate, your curious itch shall be scratched. The remaining ensemble rounds out the show with effortless timing, supported only by a hugely talented creative team. Philip Heckman’s costumes alone deserve a trophy .

Bedbugs!!! was originally presented at the 2008 New York Musical Festival, where it recieved critical acclaim. Producers were wise to bring it back and share this silly, yet well crafted show to a broader audience. The age old adage of humor being the best medicine works here, and while that particular remedy may not aid an actual infestation, it will more than satisfy your craving for a dementedly outrageous night of theatrical entertainment.

Bedbugs!!! is now playing at the ArcLight Theatre, 152 West 71st street between Broadway and Columbus Ave. For tickets and more information, visit http://www.bedbugsmusical.com/

Theater Review: The Valley of Astonishment

by Ryan Leeds

THE VALLEY OF ASTONISHMENT (photo by Pascal Victor/ArtComArt) — THE VALLEY OF ASTONISHMENT
(photo by Pascal Victor/ArtComArt)

The Valley of Astonishment is sure to have its fans. It has already received rave reviews in London and will undoubtedly draw praise from New York City intellectuals. After all, famed writer and director Peter Brook (along with Marie Helene Estienne) is at the helm and his artistry is highly regarded on both sides of the pond.

And yet, there exists a stark, hollow quality to his latest work, which is intriguing, but empty. On a minimal set consisting of 3 chairs and a coat rack, Brook explores the concept of synesthesia, a physiological and psychological condition which affects how we remember and the tools we use in order to hold memory. For instance, the number 7 might appear as a handlebar mustache in the brain while the number 8 might evoke a fat lady.

A cast of 3 actors, identified only as “actors” and “actress” do a masterful job at attempting to explain the inexplicable mysteries of the mind. The actress (Kathryn Hunter) has an extraordinary capacity for memory and is encouraged by doctors to use this gift to become famous. Soon, she is thrust into the public spotlight but eventually begins to unravel as unanswered questions remain: Can memory be measured and studied? Alternatively, can the loss of memory be understood? An expressly spoken moment comes at a moment when psychiatrists ask whether it was a wise decision for her to seek their counsel in the first place. This leads to a greater inquiry : Does studying the mind create more madness for the patient?

This 80 minute, intermission-less show is cerebral and profound and would make for an intellectually engaging academic paper. As a piece of theater, however, this minimalist piece feels chilly and fails to climb any mountains.

The Valley of Astonishment is playing now through October 5th at the Polonsky Shakespeare Center, 262 Ashland Place at Lafayette Avenue, Brooklyn. For tickets and more information, visit www.tfana.org

Theater Review: The McGowan Trilogy

by Ryan Leeds

The antagonist, Victor M. McGowman (Paul Nugent) Photo Courtesy of Garlia C. Jones-Ly

Don’t piss off Victor McGowan. His milky white complexion and innocent eyes might seduce you. You’ll drink some ale, share some tales,and reminisce about the good ‘ole days. It will be like spending time with an old friend and it will bring comfort. And then…(spoiler alert)…you’ll be dead as a doornail.

McGowman (Paul Nugent) is the central figure in Seamus Scanlon’s contemporary Irish play The McGowan Trilogy: a Serial in Three Acts. In Act 1 (“Dancing at Lunacy”), McGowman bursts into an Irish pub circa 1984. At first he befriends and later terrorizes Ahern (Matt Golden), Pender (Phillip Callen), and the barman (Conor McIntyre), each of whom have unknowingly irritated McGowan in a way that leads to their “permanent removal”.

The second act (“The Long Wet Grass”) takes us into a wooded area where Mcgowan and a former love interest (Anna Nugent) meet to discuss their past. Polite discussion ensues, followed by tense talks, and topped off with…you guessed it…”permanent removal”.

In the final act (“Boy Swam Before Me”) McGowman is charged with taking care of his ill mother, May McGowan, a feeble, dementia and bed ridden soul whose constant questioning and singing exacerbates her son’s angst. Eventually, things don’t end very well with her.

McGowan’s fiery revolutionary seems to respond to each of his discontents with abrupt violence. Maybe this is due to his fierce loyalty to the Irish Republican Army. Maybe paranoia adds to his burden? . Whatever the case, life seems to be nettlesome and overwhelming. Nugent portrays him with honest sincerity and deep complexity. His fellow cast mates, however, seem to be playing on a different field. The Irish brogues sound feigned and it is difficult to pinpoint where they actually from.

The play itself carries the same tone and pacing of a Martin McDonagh piece. It us unpredictable, warped, and shocking. Only McDonagh’s language is clever and darkly funny. With him. there is no attempt to be provocative. There simply is provocation. Playwright Seamus Scanlon appears to be emulating the same subversive style , but is unfortunately coming up empty-handed

The McGowan Trilogy plays now through Oct. 5, 2014 at the Cell (338 W. 23rd Street between 8th and 9th ave.) For info and tickets, http://www.thecelltheatre.org/events/2014/9/11/the-mcgowan-trilogy-7-pm

Eataly- Your One Stop Shop For All Things Delicious

by Ryan Shea

As someone who has become an unfortunate jaded New Yorker in some aspects, I was delighted to discover for the first time the essence and variety that is Eataly. Eataly is unlike anything I have seen before in New York, where they pair off the freshest variety in foods for you to bring home right next to mini restaurants that boasts the same type of food you are about to eat. Sounds confusing right? It isnt. To me, when I went inside Eataly I felt like I was in a mixture of Fairway/Whole Foods type of a Supermarket (without the shallowness and annoying people in it) mixed with anything from great pizzeria to a delicious sweet shoppe and everything in between. For a real foodie (hate it or love that word) it is sort of like you are walking into Willy Wonka’s Chocolate Factory, although instead of it being just chocolate it is every type of yummy food imaginable.

Eataly, Manhattan Digest — Credit to: Eataly

Before me and my friend roamed around the location, we sat down to eat dinner at one of their seven restaurants called “La Pizza & La Pasta”. We were excited to see what they were going to present us, as they were located right next to all the delicious take home pastas, sauces, and anything else Italian related out there. Suggestions that I would make to my readers if they choose this restaurant upon entrance at Eataly are the Caprese as theirs is done with a bit of a twist, using heirloom tomatoes and a zesty and delicious champagne vinaigrette to go along with. For “The Pizza” section, all of them look absolutely splendid however I would recommend trying the Salsiccciotta. This is made with Tomato Sauce, Mozzarella, Eataly Housemade Sweet Italian Sausage, Mushrooms and Basil. What is fantastic about this pizza is that each ingredient really shines when you take a bite, which can be unlikely with some pizzas because there can be one that outshadows the other. For the Pasta section, you can’t get any better or more traditional than their Ravioli. It is their housemade one that comes with Spring Pea, Ricotta, Pecorino, and mint with butter and peas. For something that doesn’t have a meat option, the Eataly ravioli was far and by superb in taste and contrast in flavors. Overall a 9/10 in my book.

Something me and my friend also discovered while we were there was the Nutella bar, nudged in a corner of Eataly. As someone who is a bit of a Nutella “nut” per se I was completely excited to see what they had to offer. You literally walk in to a room full of jars of Nutella (heavy breathing) and a simple yet cute bar with 8 different ways you can experience Nutella via Eataly. You can have it in Brioche form (Croissant filled with Nutella), or you can try it in Tortina Margherita form (muffin spread with Nutella) if that spikes your fancy. For me and my friend we simply beelined for the Crepe option, where I had mine filled with warm Nutella and Banana slices. Unreal taste- warm, hazelnutty, just crazy good. A perfect way to finish off a great meal at both of these locations.

Eataly boasts a ton of fresh food on top of the great restaurants they provide as well. While you are there you can shop for anything from top of the line fish and meat items, fresh pasta, coffees, sweets, decor and even take a cooking class or two. They are pretty much your one stop shop for all things delicious. I would definitely recommend anyone going, bringing a big group of friends and seeing what all the great hype is about. Worth the visit for sure.

Check out Eataly’s official website for more information about their restaurants, food, classes and more.

Eataly

200 5th Avenue (Between 23rd and 24th Street)

212-229-2560

Theater Review: My Manana Comes

by Ryan Leeds

Few of us, including those who have worked in service industries, seldom pause to reflect on the labor that has been put forth when we sit down to dine at our favorite restaurant. As My Manana Comes delicately points out, there are heartaches, back breaks, hopes and ambitions behind every entrée.

The setting for Elizabeth Irwin’s play is the kitchen area of a posh Upper East Side restaurant. Here, four bus boys discuss their every day lives, all of which differ significantly from the privileged lives of their patrons. Peter (Jason Bowen), is the alpha male who is satisfied with his daily routine. Meanwhile Whalid (Brian Quiijada) keeps an eye towards EMT certification and a plan to forsake the mundane existence which is his current reality. Pepe (Reza Salazar) and Jorge (Jose Joaquin Perez) join them as two illegal citizens desperate to fulfill promises and craft better lives for themselves.

Irwin’s dialogue is snappy and accurate and reveals truths that are simply ignored or disregarded by the well to do. Irwin also subtly weaves those truths into exchanges with the illegal immigrants, leaving the audience with a hearty meal of cultural philosophy. There is a moderate amount of dramatic climax, but this is undeniably a character piece. Under Chay Yew’s swift direction, his well tuned cast turns the back room of this dining establishment into a colorful yet pensive serving of theater that is both thoughtful and entertaining. You’d better hurry though. They clear the tables and close the shop this coming Sunday, September 20th.

My Manana Comes plays now through Sept. 20th. at the Peter Jay Sharp Theatre at Playwrights Horizons. 416 W. 42nd St (between 9th and 10th) For tickets, visit the box office, call TicketCentral: 212-279-4200, or visit http://www.ticketcentral.com .

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