Nov 30

Love in the Moonlight

(front to back) Anne Gottlieb (Frankie) and Robert Pemberton (Johnny) in FRANKIE AND JOHNNY IN THE CLAIR DE LUNE. Photo by Christopher McKenzie.

Frankie and Johnny in the Clair de Lune by Terrence McNally, New Repertory Theatre, 11/28/10-12/19/10.  Nudity and Mature Themeshttp://newrep.org/frankie_johnny.php

Reviewed by Becca Kidwell

Frankie and Johnny in the Clair de Lune is a difficult play to stage.  The tight, witty, intelligent romance by Terrence McNally requires a comparable production that will not fall flat; New Repertory Theatre’s current production rises to the challenge.

A two-person play needs two strong actors.  Anne Gottlieb and Robert Pemberton deliver beyond expectations.  Not only are they strong individual actors, but they also thrive as a couple.   While Terrence McNally has said that the play is a “romantic fairytale”, the play would not hold an audience’s attention if it was not grounded in genuine, believable characters.  As Robert Pemberton speaks every line, his eyes reveal the sincerity of his heart.  Over the span of one night, Johnny’s profession of love could seem ludicrous, even threatening—except for the fact that this Johnny is truly sincere and truly loves Frankie.  Ann Gottlieb walks the delicate line between being fragile and resilient.  If she does not display strength, the character of Johnny would crush her; at the same time, the character of Frankie has been hurt and the vulnerability still has to be there to create the tension.  As Frankie, Gottlieb has found this balance so that the character can hold her own against Johnny, but still fear the pain of heartbreak.  Gottlieb and Pemberton completely draw the audience in to Frankie and Johnny’s struggle where one can’t help but fight with them for the connection to something that can last.  They ARE Frankie and Johnny—trying to be more than just a couple of “bodies bumping around in the night”. Continue reading

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Nov 22

The Religion of Family

Vengeance is the Lord’s by Bob Glaudini, WORLD PREMIERE, Huntington Theatre Company, 11/12/10-12/12/10.  http://www.huntingtontheatre.org/season/production.aspx?id=8511

Larry Pine (Mathew Horvath) and Karl Baker Olsen (Donald Horvath) in Vengeance Is The Lord's, by Bob Glaudini, directed by Peter DuBois. Photo by T Charles Erickson

Reviewed by Becca Kidwell

“Honor thy father and mother” is the first and only commandment in the Horvath family.  In Vengeance Is The Lord’s, the Horvath family sticks together, supports each other—in all endeavors—but to what end?  The play starts out with a normal family Thanksgiving scene; the father starts by telling about his need to turn someone in who stole a car and the mother talks about forgiveness for Myers, their daughter’s killer.  As the story unfolds, however, the veneer is lifted to reveal not only hypocrisy but also an active crime family.  The audience and the youngest son Donny begin to question what justice means and how far love and loyalty should extend within a family.

The set by Eugene Lee provides a “gilded cage” for the Horvaths.  The house looks like any normal suburban household—with one exception—Cheryl’s room.  While it seems like any other bedroom in any other house, this bedroom haunts the Horvath family.  Along with the Horvath family, the audience is constantly reminded of the empty room and Cheryl’s horrific murder as the house spins on a turntable.  The effect of the turntable mirrors the family’s discontent; when they slow down or stop, the family ends up confronting problems that they would rather ignore.   The lighting design by Japhy Weideman, the sound design by Ben Emerson, and the original music by David Van Tieghem add to the tense domestic scene.

The actors form a cohesive family unit.  Roberta Wallach stands firm as the matriarch of the Horvath family, Margaret.  Wallach creates a woman who lives in pain, but who is strong and relatively self-sufficient; however, as the play progresses and the emotional pain becomes too much to bear, the character gives in to the physical operation.  Wallach reveals through this concession that Margaret has deferred some of her resolve to Matthew and Woody. Continue reading

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