Trust

Trust, at the 2nd Stage Theatre off-Broadway.
Gratuitous Violins rating: ** out of ****

The description on the 2nd Stage Web site says Trust "explores the corrosive effect of power on relationships."

Actually, Power would be a better title. Paul Weitz' play deals with what happens when one person has the upper hand and how that can change depending on the circumstances, sometimes in the blink of an eye.

Weitz is best known for working with his brother Chris as a director and screenwriter (About a Boy, American Pie). But he's also a playwright and he's penned a quirky dark comedy about two couples in failing relationships whose lives intersect.

What drew me to Trust was the cast, notably Zach Braff and Bobby Cannavale, two actors whose films I've enjoyed - Braff in Garden State and Cannavale in The Station Agent.

Braff plays Harry, an Internet millionaire who sold his company before the dot.com bust and spends his days giving money away through his charitable foundation. He's sweet, funny, a little neurotic, not all that happy with his life.

On a whim, Harry visits a dominatrix. She turns out to be his former high school classmate Prudence, a no-nonsense Sutton Foster. If you only know Foster from musical comedy, it's almost worth it just to see her in a very different role.

Ari Graynor as Harry's wife, Aleeza, and Cannavale as Morton, Prudence's boyfriend, do a good job with unsympathetic characters. Aleeza, a painter who's stopped painting, struck me as a whiny and grating. Morton is a brilliant but hot-tempered tough guy who never realized his potential.

The problem is, there's not much depth to Trust. The characters were so broadly drawn, it was hard to feel much of anything for them or their problems. And while the play has its humorous moments, in the end it seemed slight and inconsequential.

I did enjoy the opening scene, with Foster in her skimpy black getup, all the tools of her trade laid out on a metal cart, and Braff as her nervous customer. The interaction between the two of them was pretty funny.

Besides shocking us with the dominatrix angle and a plot twist or two, I'm not sure of the point that Weitz was trying to make. Sometimes I think contemporary drama can be like modern art - I enjoy looking at it but the deeper meaning escapes me.

Still, I don't regret seeing Trust. It's always interesting to take in a new play. And to be fair, I saw an early preview. Perhaps this one simply was too weird for me.

Foxwoods and Broadway

I was surprised yesterday to find out that Broadway's Hilton Theatre is now the Foxwoods Theatre, after Live Nation sold the naming rights to the Connecticut casino in a multiyear deal.

I'm sure Live Nation could use the money. The Hilton has been dark for more than a year in preparation for the much-delayed Spider-Man musical.

And it gives Foxwoods a major presence in Times Square, as well as a connection to the musical that marketing officer Robert Victoria calls "the most anticipated Broadway production of all time." Yes, of all time.

(As an aside, I highly recommend the book Without Reservation, by Jeff Benedict, about the Mashantucket Pequot tribe that built Foxwoods.)

Personally, I'd love it if theatres were named for people who have some connection with Broadway. But beyond that, I have a bigger concern - Does this mean the casino is dipping its toe further into the musical stream?

A full-length production of Hairspray played Foxwoods in December. As the Hartford Courant's Frank Rizzo reported, it was the first time a Connecticut casino had presented a traditional Broadway musical.

He questioned the impact on venues like New Haven's Shubert or Hartford's Bushnell if Foxwoods competes for musical theatre patrons. (Not to mention the impact on restaurants and other businesses that help keep urban downtown areas vibrant.)

At the time Bruce Flax, director of marketing for MGM/Foxwoods, said that Hairspray would be a test case and if successful, could pave the way for other Broadway-type productions."It's a big commitment for us," he said.

There's no indication the naming deal is anything more than that. But it makes me nervous. Look at where bands and musicians go now.

Over the next month Counting Crows, Stevie Nicks, Donna Summer and John Fogerty will perform at the 4,000-seat MGM Grand at Foxwoods. There was a time when they would have made tour stops in cities like Boston, Providence or Hartford.

Foxwoods is in the middle of nowhere - 2 1/2 hours from Boston, an hour from Providence or Hartford. You can take an infrequent bus or drive. It's not an easy place to reach compared with any of those cities.

I'd hate to see touring productions of Broadway shows migrate there, too.

The Addams Family

The Addams Family, at the Lunt-Fontanne Theatre on Broadway.
Gratuitous Violins rating: **1/2 out of ****

Even though there's nothing remotely pink about it, I've settled on cotton candy as the perfect food metaphor for The Addams Family: tasty but not very filling.

Charles Addams' macabre cartoons first appeared in the New Yorker in 1938. Since then, they've been turned into a TV series and movies, video games and a musical variety show, to name a few incarnations.

Now, his characters known for looking on the dark side of life are in a splashy musical comedy, playing to some of the biggest crowds and with some of the highest ticket prices on Broadway. If you're visiting New York, it seems like a show that the whole family would enjoy.

And it's definitely a crowd-pleaser. The Addams Family has a large cast with actors who know how to deliver a joke, imaginative special effects, an impressive-looking set and a big Broadway sound.

While I enjoyed those things (as well as Thing), for me they weren't quite enough.

The musical starts strong, with the orchestra striking up the familiar TV-show theme by Vic Mizzy. A scene in a graveyard introduces the family and a ghostly chorus of ancestors with a lively ensemble number, "When You're an Addams."

I loved the Addams house - an old, creepy New York City mansion designed by Phelim McDermott and Julian Crouch. Together with puppetry by Basil Twist and special effects from Gregory Meeh, they created an appropriately ooky, spooky atmosphere.

If only the rest of the musical had been that stylish and clever.

Composer Andrew Lippa's songs weren't very memorable. I felt like I'd heard similar ones in other musicals and there wasn't much variety to the delivery either. Although I have to admit, it was glorious to hear a full-sized orchestra fill a Broadway theatre.

The book, from Marshall Brickman and Rick Elice, had too few examples of true wit. It relied on easy topical humor, with references to texting and swing states, and tiresome stereotypes - narrow-minded middle America. Those lines got laughs but I groaned.

The plot, instead of being inventive, was borrowed from La Cage aux Folles: Wednesday (Krysta Rodriguez) is bringing her boyfriend, Lucas, (Wesley Taylor) and his parents (from shudder, Ohio) home for dinner. She wants her "nontraditional" family to act "normal" for an evening.

Nathan Lane was a standout as Gomez - urbane, with a vaguely European accent. The man can wring a laugh out of me with even the most pedestrian lines. And the "Happy/Sad" ballad he sang to Wednesday, about his conflicting emotions as his daughter grows up, truly was touching.

With her tight, slinky gown and long, jet-black hair, Bebe Neuwirth looked stunning and as Morticia. I just wish she'd been given more to do besides her solo number, "Death is Just Around the Corner." (Corner - coroner, get it?)

Jackie Hoffman was a hoot as the salty, crotchety Grandma, even if the material felt mundane - telling Pugsley (Adam Riegler) to stop texting and open a book - and vulgar. (I mean, a pee joke?) And Kevin Chamberlin was sweet as the lovestruck Uncle Fester.

Lucas' parents, Alice and Mal Beineke, played by Carolee Carmello and Merwin Foard (subbing for Terrence Mann), were funny but their characters weren't the most interesting foils. Did anyone think they'd be able to keep Wednesday and Lucas apart? Did anyone care?

After a pre-Broadway run in Chicago, veteran director Jerry Zaks was brought in as a "creative consultant" to work with directors McDermott and Crouch. He tightened things up, put the focus more squarely on the Addams characters.

Maybe he did help but the problem was, after a dinner scene that ended Act I The Addams Family kind of fell apart in Act II. Everyone seemed to go their separate ways and the story drifted. I felt less and less engaged.

Still, despite the flaws I enjoyed myself. (Hey I was on vacation. What's not to like?) The Addams Family was fun - just not as inspired as I'd hoped it would be.

Send in Krusty the Clown

Now that the Los Angeles Times and the New York Times have weighed in, here's one of my favorite "Send in the Clowns," courtesy of The Simpsons.

Maybe this isn't the best version of the song ever recorded and maybe Krusty does play fast and loose with Stephen Sondheim's lyrics but in its favor, it does feature an actual clown.

Proposition 8 is overturned!

Thank-you, federal Judge Vaughn Walker for ruling in Perry v. Schwarzenegger that California's Proposition 8, which banned same-sex marriage, is unconstitutional.

While the case is likely headed to the Supreme Court, it's still a hopeful development for those of us who believe that all Americans are entitled to equal protection under the law. (Slate's Dalia Lithwick has a terrific analysis of the decision.)

Judge Walker notes that California had already issued 18,000 marriage licenses to same-sex couples before the ballot measure passed in 2008 - and has suffered no demonstrable harm.

The state, he writes, has no interest in discriminating against gay men and lesbians and "the evidence shows Proposition 8 does nothing more than enshrine in the California Constitution the notion that opposite-sex couples are superior to same-sex couples."

The gay and lesbian couples affected by today's decision are not abstractions. They are our friends, our neighbors, our coworkers, our loved ones. They're in loving, committed relationships. I believe that they are entitled to the same rights as any other American citizens.

In 2009, Broadway Impact held a rally for marriage equality in New York City. Among the speakers was actor David Hyde Pierce, who talked about marrying his partner of 25 years, Brian Hargrove, before Prop. 8 was passed.



The road to equal rights for all Americans has been a long and tortuous one and progress doesn't happen nearly fast enough. But we're getting there. And today is one of the good days, because a more just society benefits all of us.

Music for marriage equality

I love checking off new experiences during my trips to New York. This time, I made my first visit to Joe's Pub, named after Public Theater founder Joe Papp, for the Broadway Impact concert with cast members from American Idiot.

I haven't seen the musical so it was nice to hear new performers like Christina Sajous, above, and familiar ones, like Rebecca Naomi Jones, who was in Passing Strange on Broadway.

It was a fun way to end the weekend and at $25 for a ticket, very reasonable. I'm glad my fellow blogger Linda, from Pataphysical Science, invited me to go along. (Although be warned that not all cast members participate and they don't necessarily sing songs from the show.)

While I got a little squished in the packed bar (tables go fast) I was happy to be part of a crowd supporting Broadway Impact. It's a community of actors, directors, stage managers, fans - anybody who's ever worked on or been to a Broadway show - united in the fight for marriage equality.

If I never went to the theatre I'd still support marriage equality - for my friends and because it's the right thing, the American thing, to do.

But being a theatre fan makes it more personal. How can I tell people whose work I admire - onstage and behind the scenes - that if they're gay or lesbian, they shouldn't be allowed to marry the person they love?

Tickets are on sale for the final Broadway Impact concert of the summer at Joe's Pub, at 7 p.m. Aug. 23, featuring cast members from the Tony-winning musical Memphis.

I can't think of a more fitting finale than Memphis, in which a white dj and a black singer fall in love in the 1950s, when it was not only illegal for them to get married in their home state but dangerous to even be seen together as a couple.

Unfortunately, I won't be in New York City for the Memphis show but I'm looking forward to returning to Joe's Pub for another Broadway Impact concert.

It would be great if the cast of every Broadway musical agreed to do one.

Lend Me A Tenor

Lend Me A Tenor at the Music Box Theatre on Broadway.
Gratuitous Violins rating: *** 1/2 out of ****

One good thing about going to Broadway after the season ends is that you've read the reviews and heard the buzz - or lack of it. And the revival of Lend Me A Tenor had great buzz.

Honestly, I'm not really into farce. Broad physical comedy, disguise, mistaken identity, slamming doors, hiding in the bathroom or the closet - a little goes a long way. It can become repetitive and tiresome.

But this terrific ensemble, directed by Stanley Tucci, had me in stitches. What a fast-paced production, with memorable characters and perfect comic timing from an expert cast. I was laughing from the beginning to the inspired curtain call.

Ken Ludwig's play is set in 1934, in a hotel room in Cleveland. An impresario, Saunders, played by Tony Shalhoub, has brought a famous opera singer to star in Otello and he's got a lot riding on the evening's success. (Without giving too much away, let me simply say that complications ensue.)

Justin Bartha, in his Broadway debut, was especially impressive as Max, the mild-mannered, eager assistant assigned to babysit the tenor - who turns out to be quite a handful.

Bartha, who was in the hit movie The Hangover, is so confident and expressive that he seems born to be onstage. I hope this is only the first of many Broadway roles.

Anthony LaPaglia is great as the egotistical tenor, Tito Merelli. And Jan Maxwell, whom I loved as a 1920s Broadway star in The Royal Family, is just as wonderful here playing his tempestuous wife, Maria. Jay Klaitz stands out in a small role as an opera-loving bellhop.

Since I couldn't make it to New York City in the spring, I missed several limited-run plays. In the summertime, a Broadway play is nearly an extinct species. Lend Me A Tenor closes Aug. 15, and I'm so glad I got to see it.