Second PBD New Year/New Plays Festival a Resounding Success

If our best regional theatres do not produce new plays, who will?  Certainly not Broadway which has gravitated toward revivals or spectaculars, taking a “chance” on new plays only after they have proven themselves elsewhere.  And if it’s a straight drama, Broadway seeks out Hollywood star power to attract audiences.

South Florida now has a relatively new proving ground for new play development, Palm Beach Dramaworks’ The Dramaworkshop, an incubation laboratory for submission, review, selection and then development of new plays, including readings by professional actors, first in a roundtable setting and then, ultimately, in front of a live audience.

Already three plays have emerged from this effort, Edgar and Emily, (March 2018), House on Fire (December, 2018), and this season’s enormously successful Ordinary Americans (now at the GableStage in Coral Gables). Edgar and Emily has been performed on Florida’s west coast and House on Fire was just published by Samuel French – the “official” publisher of established plays.

 

The Dramaworkshop and the soon to be inaugurated “Drama (in the) works” is managed by Dramaworks’ Bruce Linser who is not only passionately dedicated to their mission to develop new plays but is also a fine actor, director, singer and even pianist in his own right.  His outstanding performance in last season’s House of Blue Leaves is testament to his talent. 

Bruce Linser, Manager The Dramaworkshop

In addition, the New Plays Festival has top-drawer South Florida actors to read the parts, all members of Actors Equity, most of whom we’ve seen many times at previous Dramaworks productions.  Their versatility and talent know no bounds.  The success of these readings is as much their doing as the plays themselves.  Imagine having only 16 hours of rehearsal to perform these works, albeit as readings, and still be able to reach down and find the emotion and the meaning meant by the playwright.  I list these luminaries in their order of their appearance in the five plays:  Margery Lowe, Bruce Linser, Tom Wahl, Dennis Creaghan, Michael McKeever, Matthew Korinko, Nicholas Richberg, Rob Donohoe, Laura Turnbull, James Danford, Elizabeth Dimon, Bruce Linser (yes, again!), Irene Adjan, Kim Cozort Kay, Angie Radosh, Kenneth Kay, and Patti Gardner.  It’s like a who’s who of leading South Florida performers.

So it was with great anticipation that Dramaworks kicked off their New Year/New Plays Festival last Friday.  Two plays were read on that day, the first, one that is probably the furthest along in development as it has already been scheduled for the main stage next season, was The People Downstairs by Michael McKeever, a play that was commissioned by Dramaworks.  The play’s premise is a simple but profound one.  While Anne Frank and seven others were hidden in four small rooms concealed behind a bookcase in the factory building where her father worked, who were the brave people who kept Frank and others alive in that small space for such a long time?  How did they feel, did they fear for their own lives, all while providing solace and supplies to the occupants?  Their moral stance and the consequences of their actions are explored.

After a dinner break, the evening’s performance was Padraic Lillis’ Remember Me When You Come Into Your Kingdom, a play that is to me reminiscent (but totally original) of two other plays Red by John Logan and Peter Shaffer’s Amadeus, in that Red deals with a famous painter and his assistant and Amadeus’ Salieri suffers from knowing that his work pales compared to his contemporary, Mozart.  Similar issues arise in Remember Me as Giovanni Montorfano, a third-generation artist, has been commissioned to paint the Crucifixion, a fresco which will face another commission, Leonardo da Vinci’s “The Last Supper.” Montorfano is proud of his own “reliability” compared to da Vinci’s tendency to study issues such as light and perspective and therefore thinking he’s “all talk and no art.”  But, like Salieri, it is an exploration of “mediocrity.”  And the fear that immortality will allude him.

Saturday’s festivities were kicked off by a roundtable discussion during the Playwrights Forum: a Discussion with the Festival’s Five Dramatists.  Here the audience could hear first-hand how these dramatists work, their own individual writing processes, and what they had hoped to achieve in their plays.  Also, macro issues such as the growth, or even the survival, of live theatre in today’s media obsessed, Internet world were discussed.  It was also an opportunity to put a face to each of the plays being performed.  As in the case of the plays, there was an audience talk back afterwards, an easy give and take with warm feelings.

After a brief break, John W. Lowell’s The Standby Lear, another two hander but set in contemporary times was performed.  Here an actor and his wife (a recently retired actor) show the well trodden paths of their decades of marriage in clever, funny but poignant repartee.  The husband, who is an understudy for one of the greatest parts in the theatre, King Lear, suddenly finds himself, after three months of not having to perform, tormenting himself with thinking he might actually have to step into Lear’s costume that night.  Mortified by fear, he flees but soon returns to the support of his wife, Anna.  And so in essence, does he play the role and why does he have all the angst he feels? 

Saturday night’s reading was As I See It by Jenny Connell Davis.  This is grounded in a real life experience, with deep dive research on the part of the playwright to capture the stories of the painter Alice Neel and poet Frank O'Hara, who was also curator for MoMA in the 1960s.  It too is a classic two hander of the testing of wills between these creative individuals.  From an amusing beginning it develops into an imagined confrontation.  Are her portraits “a collection of souls?” Weighty philosophical issues such as immortality through Art are examined and the crux of the play lies in Alice painting with the perception “I paint what I see.”

Sunday began with a pleasurable “Lunch with the Artists” hosted at Leila’s in West Palm Beach where we all had the opportunity to lunch and talk with the individual playwrights.  They and the actors who bring their work to life are among the brightest and most engaging people I’ve ever met and in my career as a publisher I met thousands of authors, but they were all writing nonfiction scholarly or reference works.  The Drama World brings out passionate imagination with the knowledge of human nature.

The final play was a reading of The Hat Box by Eric Coble.  This has the earmarks of a Simonesque comedy, with the requisite dramatic moments and character development.  Family stories frequently involve secrets and Coble drills down to them through comic interaction.  Two sisters are clearing out a closet in their childhood home after their father’s death, finding a hat box the contents of which sets them on a sleuthing challenge, bringing in another family member and a friend of her father’s only to learn that there was more to dear old dad than they imagined!  And in trying to unravel a mystery in his past, the estranged sisters find a new path to each other.  “With surprising twists and hilarious turns, this comedy of family lore revels in the bizarre and beautiful mysteries that make up a life.”

After a talk back on that play, everyone gathered in the lobby where a champagne toast was made by Bruce Linser to the playwrights, the cast, and the audience and, there, William Hayes, the Producing Artistic Director, announced that it was Dramaworks’ intention to produce at least one new play each season on the main stage.  The People Downstairs has already been scheduled for next season, but which of the other four will follow from this enormously successful Festival is anyone’s guess. Each had merit in its own way.  Kudos to Dramaworks for developing new plays to think about.

 

Jerry Herman, A Great Broadway Composer / Lyricist

Jerry Herman passed away yesterday.  I think of him as being among the pantheon of great contemporary composers / lyricists, excelling as both song writer and wordsmith.  While Hello Dolly! and Mame might immediately spring to mind when talking about Jerry Herman, to me, La Cage aux Folles, the first Broadway musical to deal openly with the gay community, is the perfect Jerry Herman creation of musical numbers, ranging from the big Broadway tunes one would expect such as ''I Am What I Am'' and ''The Best of Times'' to more subtle, sweet ballads such as ''Song on the Sand'' and ''Look Over There.''  This musical is chock full of memorable pieces.  

However, I truly love two musical pieces from his earlier, short-lived musical Mack and Mabel.  Serendipity led me to them.  When we first moved to Florida, Hershey Felder (an actor, pianist, playwright and arranger), was staging one of his first one-man shows, George Gershwin Alone at The Cuillo Centre for the Arts in West Palm Beach (which later coincidentally became the home of Dramaworks).  That was sometime around 2005 before I began writing this blog so I never reviewed it, but it was a unique work which only a great pianist such as Felder could have created and performed.  It ultimately made its way to Broadway.  But getting back to the connection to Jerry Herman, Felder, after the performance, said a friend of his was in the audience, a well-known upcoming Broadway singer, a young man about Felder’s age, who he invited up to the stage to sing, Felder acting as an accompanist.  Here’s the problem about not writing this blog at the time: I have no recollection of who this singer was.  He said he would sing two of his favorite Broadway pieces, "I Won't Send Roses" and "Time Heals Everything" were from a relatively unknown Jerry Herman musical, Mack and Mabel, and oh did he sing!  The audience was totally moved, captivated, and I immediately made them staples of my own piano work. 

When learning Jerry Herman had died, I listened to my own recording of "I Won't Send Roses" and said to myself, yes, this is how I would like to remember this great artist.  In the original production, it is sung by a movie director “Mack” (played by Robert Preston) to his upcoming star “Mabel” warning her that she shouldn’t expect any of the niceties of romance from him.  It is a brutally honest yet tender song, the words in perfect symmetry with the melody.  It is later reprised in the show by Mabel (played by none other than Bernadette Peters) where she accepts Mack without the roses.

And so, I’ll think of Jerry Herman any time I play this piece, this recording from about ten years ago .

RIP Jerry Herman

Christmas Redux

Over the years I’ve posted these YouTube piano “performances” of my favorite Christmas songs.  I present them here in one place and by clicking onto the title, one can read my original reason for recording each.  Interspersed are some photographs of Christmas here in Florida.  It’s certainly not the same as our Connecticut years but it is the same spirit.

The first is by none other than Bill Evans and it’s the most viewed of my selections. 

It's Love -- It's Christmas 

 Luminaries light the way on our road throughout Christmas Eve.

Here is one of my very favorites, by Vince Guaraldi, something this great jazz pianist wrote for A Charlie Brown Christmas special in 1965.

Christmas Time Is Here 

 Many homes are decorated along the Intracoastal Waterway

This is an unusual one in that it was written by none other than Peggy Lee.  It’s rarely performed yet beautiful

Christmas Lullaby 

The Palm Beach Boat Parade organizes in front of Old Port Cove and is preceded by fireworks all along the parade route up to Jupiter.

And the last is one of the iconic Christmas songs we hear again and again, but as I’m away from “home” – NYC where I was born and will always identify with -- it has a special meaning to me.

I'll Be Home for Christmas  

May your holidays be happy and healthy!

“Yoo-Hoo, Mrs. Goldberg!” ‘Ordinary Americans’ has a Deeply Affecting World Premiere

Palm Beach Dramaworks’ co-production with GableStage of Joseph McDonough’s Ordinary Americans recently made its triumphant World Premiere on the Dramaworks’ stage.  This stirring new play peels away to the truth of what it means to be human and to be vulnerable to political polarization, demagoguery and anti-Semitism.  The Dramaworks production and playwright Joseph McDonough’s insightful script touches us all, especially today.  The 1950s may have been “the placid decade,” but underneath all the apparent innocence of the times American politics and ethnic relations were as fractious as they are now.  

It is an ironic title as the characters in this play were anything but ordinary, especially our protagonist, Gertrude “Tillie” Berg who brilliantly and single handedly conceived, wrote, and starred in The Goldbergs, first on radio and then TV for more than two decades.  Her extraordinary accomplishments, as a woman, and a Jew, particularly in a man’s world echo throughout the play.  Yet she, her colleagues, especially Philip Loeb, fell victim to McCarthyism.  The play resonates with the feeling that the ghost of Roy Cohn still stalks the land.   

Ordinary Americans is performed on a nearly barren stage, serving a multiplicity of scenes in different places, the audience basically having to fill in for the presentational nature of Michael Amico’s scenic design.  It is the logical platform for those scene changes, fluidly balancing the play’s highly dramatic moments and humor to underscore its serious themes.

David Kwiat, Elizabeth Dimon, Rob Donohoe,

Photo by Samantha Mighdoll

It is a memory play, opening with a scene in a diner in Ohio (circa 1958), the I Love Lucy program on the diner’s TV, quickly transitioning to the NBC studios in NYC in 1950.  There stands the indefatigable Gertrude Berg, playing her spiritual doppelgänger, Molly Goldberg, surrounded by her TV cast in spotlighted tableau, her husband, “Jake Goldberg” (played by David Kwiat as Philip Loeb), and “Uncle David” (played by Rob Donohoe as Eli Mintz), as well as her lifetime assistant Fannie Merrill (played by Margery Lowe), and TV Production Manager for the show Walter Hart (played by Tom Wahl).  All are PBD veterans except David Kwiat who is making his PBD debut.  This dramatic “snapshot” of the major characters truly sets the stage for the story they will tell.

Elizabeth Dimon’s performance as Gertrude Berg is so graceful that we forget we are watching a consummate artist at work.  While radiating genuine warmth as The Goldbergs creator and star, Dimon’s “Tillie” does not suffer fools when crossed.  Yet, like her creation Molly, she too has a heart of gold.  Her TV family is her family.  In fact, at times she wonders “what would Molly do in this situation?”  Or “sometimes I think Molly is a better me than me.”  It is a difficult role to execute, a bifurcated person, yet Dimon believably conjures both Tillie and Molly’s kindness and humor.  If one wonders how Dimon can play this part with such heart and soul, it’s because the play was originally her idea as well as her dream role.  She’s been with the play since its inception and a couple of years of workshopping it at PBD.  A perfect fit for such a seasoned actor.

Dimon shows the other side of her character, an increasing frustration, especially in a maddening chaotic scene in her imagination of her being surrounded by potential advertisers or networks, screaming at her, multiple voices simultaneously.  Dimon slowly comes to the conclusion that her Tillie is at the end of her rope yelling “PLEASE LISTEN TO ME!” And then finally having to admit to herself that it’s “the first time in my life I feel helpless.”

David Kwiat, Elizabeth Dimon,

Photo by Alicia Donelan

While Tillie is the creative engine of the The Goldbergs program, and clearly the master of her fate, she is surrounded by people dependent on her for their employment.  At the top of the list is Philip Loeb, who David Kwiat deftly portrays as the perpetual optimist, an advocate for just causes, such as Actors Equity.  It is he who has to cope with the consequences of being on the infamous John Birch Society sponsored pamphlet of 151 artists and broadcasters entitled “Red Fascists and their Sympathizers,” otherwise known as “the Red Channels list.” (Tillie observes that the way they define “communist” is “anyone they don’t agree with, union organizers, activists, artists” and especially Jews.)

Kwiat is the ideal Philip, always hoping for the best, for himself, his colleagues and his son who needs institutional help.  He skillfully portrays Philip as a man suffering increasing desperation; his world falling apart under appalling injustice.  Kwiat’s final scene in front of the House Un-American Activities Committee is powerful as well as heartbreakingly pitiful, as he finally cries out, “Leave me alone…I’m a citizen and a human being.  You can’t take these away from me.”  It is a brave performance.  You will not forget his exit near the play’s end.

Tillie’s right hand gal, Fannie, is effectively played by the PBD veteran Margery Lowe, along with another minor role as “Mrs. Kramer” in The Goldbergs show itself.  Lowe, who is the accomplished professional having appeared in a number of PBD productions over the past, again comes through in these important supporting two roles, the efficient, buoyantly supporting Fannie, and her brief moments at a window as Mrs. Kramer, bellowing out “Yoo-Hoo, Mrs. Goldberg!”

Elizabeth Dimon, Margery Lowe

Photo by Samantha Mighdoll

Another long-time PBD veteran, Rob Donohoe, plays a number of roles, showcasing his versatility.  As Eli Mintz he is “Uncle David” in the show, adding humor and Greek chorus support in the background, Yiddish accent and all.  Eli Mintz is the play’s Cassandra; always thinking the “Red List” will metastasize into something serious for the show (he was right of course).  His interaction with Philip in particular is filled with much needed humor and affection for his colleague. 

Elizabeth Dimon, Rob Donohoe,

Photo by Alicia Donelan

His portrayal of Cardinal Spellman is purposely pedantic, which speaks to Tillie’s private admonishment of the man, “All politician, no clergy.”  He’s also the voice of the grand inquisitor, a Senator from the House Un-American Activities Committee bellowing out at Philip with eerie “witch hunt” hysteria assisted by David Thomas’ sound design (more on that later).

He has a brief hilarious role as the diner owner in Dayton Ohio, fumbling his words, touting chicken salad as his special, and pretending to know the play, The Matchmaker by Thornton Wilder, which Tillie has come to Dayton late in her career to play, her television show now an apparition of the past.

PBD veteran Tom Wahl is a jack of all trades in this show, playing a number of roles, not an easy task to differentiate them all, but succeeds amazingly.  First and foremost, he is Walter Hart, The Goldbergs Production Manager on the set, played with exasperation on making deadlines, clipboard in hand.  He also plays other key roles: as Roger Addington, the General Foods executive who first brings the “Red Channels List” to Tillie’s attention, requesting that Philip Loeb, whose name is on the list, be removed from the show, but backing down as Tillie responds: “no one tells Gertrude Berg to fire anyone.”  While Addington takes her no as a temporary answer, he warns Tillie worse is to come. 

As Frank Stanton, the President of CBS, Wahl expresses empathy yet the firmness which earned Stanton’s reputation at CBS as being a “son of a bitch.”  It is an affecting scene, Stanton and Tillie, Stanton demanding that Tillie fire Philip Loeb, and Tillie refusing, yet again.  Wahl walks that fine line evoking some audience sympathy for the character trying to cajole Tillie (“We’re survivors in this business.”).  The stalemate ends in the cancellation of the show. 

Wahl plays still another “one of those men in suits”.­­ a young ad executive, who Molly hopes will help find a sponsor for her reconstituted show which has been off the air for a year (now without Philip as her husband and set in the suburbs of all places).  Wahl’s ad man recounts the facts:  “It’s 1955. Nobody has ethnicity anymore…Celebrate the Unity….People want to see ordinary Americans…Molly Goldberg had a good run. Let her rest in peace.”  And while sensitively delivered by Wahl, Tillie now stands alone finally mouthing the plaintive line, so achingly delivered by Dimon, “Molly, Goodbye Molly.”

There are many seamless scene transitions in this memory play and this is where the excellence of Director Bill Hayes and his technical crew shine.  Where actors need to be with split second timing is a key to the play’s success and this work is generally invisible to the audience, without curtains being drawn.  It leads to lively pacing, and Hayes knows when actors should slow their pace, or even pause, to let the play’s funny moments land securely.

Lighting is critical in this play, such as, the subtle flickering of lights when a TV showing The Milton Berle or I Love Lucy shows is on the restaurant or bar, or the sudden burst of full lighting when cutting to the studio scenes.  Or most effectively (and affecting) the lighting during the Hearings, Philip Loeb in a solitary spot, alone on stage except for Tillie watching from her memory in the shadows, and then during the news report of Philip Loeb’s suicide, the lights slowing coming up in muted yellow bathing the audience itself, as if we’re part of the same story today.  PBD newcomer Christina Watanabe’s lighting design is remarkable.

Sound design is usually important for mood and background, but takes on another level of importance in this show.  It of course has the requisite musical interludes, especially different takes on the music that was associated with The Goldbergs, Toselli’s gentle waltz, “Italian Serenade.”  Sound designer David Thomas also had the challenge of delivering lines from the play, electronically enhanced echoed questions being thrown to Philip Loeb during the Hearings, and the cacophony of news headlines crying out about McCarthy’s accusations, teletype clacking in the background, and haunting sounds in Tillie’s mind.

PBD resident costume designer, Brian O’Keefe, cleverly decided to go with red, white and blue palettes against the barren stage, in particular Tillie’s red dress with a wide satin collar and pearls, a jacket to delineate important meetings.  Of course, TV Molly became easily identifiable with her added white apron as a “typical” housewife of her time.  Fannie was normally dressed in dark blue while the men wore subdued grays, all outfits mid fifties perfect. 

This is an important play, constantly underscoring themes that are so significant and germane to our current, often stressful, times.  Joseph McDonough’s Ordinary Americans joins the canon of classic plays honorably based on aspects of our own dark American history, ones that remind us to heed our past.