BROADWAY UNDERCOVER

Photo by Joan Marcus.

Kicking a Dead Horse, written and directed by Sam Shepard, which is currently gracing the Martinson Theatre stage at the Public Theater, is a Beckettesque presentation similar to Endgame.  Stephen Rea brings his considerable talent to this one-man piece as Hobart Struther, a man trying to find himself after achieving considerable success on Park Avenue who is  suddenly thrust into a very difficult situation in the middle of nowhere with a dead horse.   It is essentially a monologue discussing a variety of subjects such as the demise of the American west as we knew it, to United States politics, including the loss of hope.  Originally presented at the Abbey Theatre in Ireland, it’s a unique play which, unfortunately, leaves the audience not wanting more. Except for a brief appearance by a woman who does not speak, Rea does his thing quite admirably for 90 minutes.

A post-show discussion followed Tuesday evening’s performance which was both interesting and enlightening.  According to Rea, Sam Shepard has an obsession with Beckett and wrote this play in a similar style.  When asked why the scenery was deliberately phony he said, “It’s a play you know….it’s about the language,” and as he checked out the “old west” behind him his response continued with, “I think it’s rather beautiful actually.”  He felt that developing an American accent was just part of his job akin to learning the lines.  An audience member wondered how the response to the play differed  from Ireland to the United States to which he replied, “I thought it would be more poignant here than in Ireland but it was about the same. “  Rea admitted that it was a challenge to talk about the wild west since he’s an Irish lad, but Kicking a Dead Horse encompasses much more than its setting.

A western hat carries a degree of significance which, according to the actress sharing the bill with Rea who retrieves said hat, it’s telling Hobart in a somewhat spiritual manner that he has another chance.  The conversations between Shepard and Rea regarding the play were oddly enough not of great substance insofar as meaning,  and were not of a political nature, which it does touch on.  Rea told a story about meeting an elderly gentleman outside the theatre after a performance who put the meaning of the play very well.  “It’s very Beckettesque….it goes from birth to death.”We were fortunate to exchange a few words with Rea as we left the Public.  He’s a very low key but charming guy who agreed that Merrill shoes are the greatest and that Someone Who’ll Watch Over Me, the Broadway play he did in 1993 which we saw, was a lot fun.  Sam Shepard wanted him for this role and we know why.  

The Big Apple was bustling on Saturday with the annual Broadway Barks event in Shubert Alley to raise money for animal shelters and give people the opportunity to adopt a dog.  Bernadette Peters and Mary Tyler Moore took center stage and were engaging as usual in their attempt to accomplish these goals, while introducing many theatre folk along the way.  Along with the enormous crowd that gathered to participate in this happening, a cacophony of barking dogs made the event complete.

Although [title of show], currently at the Lyceum Theatre,  boasts energetic performances from an earnest group of actors it, unfortunately, fails to impress.  The concept is quite original but in our view this vehicle is of an amateurish nature and would be better suited to an Off-Broadway house where this intimate piece began.  You can’t help but admire the performers for their effort but the end result misses the mark.   

If you want to get tickets for the sold out South Pacific here’s a worthwhile tip.  Try the cancellation line which forms prior to each performance and you just may be successful.  If you’re willing to put in the time (about four hours prior to curtain), lady luck may shine on you and you may find yourself spending a glorious three hours captivated by this amazing production.  Good luck!  

Broadway is at its best when it combines new creative juices such as Passing Strange and In The Heights with the glorious musicals dynamically revived such as South Pacific and Gypsy.

The current Lincoln Center Theatre production of South Pacific is a flawless presentation of the great Rodgers and Hammerstein classic tale with a cast not missing a beat.  Kelli O’Hara, Paulo Szot, Matthew Morrison and Danny Burstein along with a full formally clad orchestra bring to life the glorious music filling the theatre with three hours of pure joy.  The dramatic moments of the piece are beautifully acted along with the lighter aspects of the show.  Nellie does attempt to “wash that man right out of her hair” eight times a week which, according to Kelli O’Hara, is actually a wig with a microphone under it snugly fastened to her head.  Danny Burstein shared info re his tattoos which he applies on a weekly basis.  As the audience leaves the theatre I think they have the feeling that they were indeed transported to Bali Ha’i.

Damn Yankees, currently in previews at New York City Center, featuring Sean Hayes, Jane Krakowski, Cheyenne Jackson, Randy Graff and a raised on stage orchestra is an okay version of an okay musical that is a crowd pleaser at times but lacks that special quality.  The performances are acceptable but neither the actors nor the show shines and with the exception of a couple of songs the music is not memorable.  You don’t exit the theatre thinking you’ve wasted your time but get thee to Gypsy and South Pacific if you want to catch a couple of great revivals.  Unfortunately, it’s too late for Sunday in the Park with George.