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It is obvious that Neil LaBute is not Jewish. You can tell because he writes the most wonderfully despicable characters that even when self-aware, they never feel guilt about their bad behavior. The fascinating and spellbinding new show ALL THE WAYS TO SAY I LOVE YOU could have easily followed suit with his REASONS TO BE PRETTY and REASONS TO BE HAPPY and been titled REASONS TO LIE TO YOURSELF.

Once again Judith Light does her chameleon disappearing act into a character. Wearing  no makeup and a sad little wig, she embodies a midwest high school English and Drama teacher who has an affair with one of her students. And I am not giving away anything by telling you this. This story has so much more to divulge.

As with most of Mr. LaBute’s cannon, there is a central theme to this play: what is the cost of a lie? and like most of his plays, he is going to tell you the answer in a vicious, devastating tale that leaves you breathless. This is a 60 minute, one woman tour-de-force and every single minute is enthralling and unnerving.

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FIORELLO! Off-Broadway


The Berkshire Theater Group’s production of FIORELLO!. Photo by Emma Rothenberg-Ware.


I love Bock & Harnick’s score to FIORELLO!, the musical about how Fiorello LaGuardia became Mayor of New York.  Set in 1919-1934, the book by Jerome Weidman and George Abbott was written in 1959 with a 1959 mentality, both good and bad.  The idea that politics is just a “song and dance” is such a breath of fresh air given the current nasty political climate, however the dated female tropes of being helpless and emotionally desperate are painful to watch, even in a period setting.

The Berkshire Theater Group has transferred their production of FIORELLO! to the East 13th Street Theater (better known as the home of Classic Stage Company).  The cast is very young.  The show feels like a college production.  The voices are untrained, the acting is uneven, the dialects are a rollercoaster of awkward sounds.  There are some gems; Dan Cassin and Chelsea Cree Groen are adorable as Floyd and Dora, Bob Moss‘ direction is smart and sophisticated, and the concise Set design packs all of the essentials.  Austin Scott Lombardi gives a credible performance as LaGuardia, a role that should be charm personified.  I am afraid this production is only for the die-hard fans of the musical.

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Photo: Ben Arons

Bess Wohl‘s SMALL MOUTH SOUNDS has moved from Ars Nova to the Linney Courtyard Theatre at the Signature Center, mainly because it received good reviews and great word of mouth.  Taking place at a silent, spiritual retreat, this play is at least 50% pantomime and 90% played for laughs.  It tells the story of a group of six varied characters,  looking for a way out of their personal torment through enlightenment.  While watching the show, I had a wonderful time; beautifully directed by Rachel Chavkin, it is an enticing theatrical experience, I laughed heartily and it was entertaining, but the moment the show was over, I realized that every single laugh was at someone’s expense and usually at their misery. I was upset that I laughed mindlessly at their pain and that this is what our violence-inured society has come to; Schadenfreude antics. Is this really the type of humor we want to exalt?

SMALL MOUTH SOUNDS is like a one-night stand; at the time you think it’s great, but the moment it’s over, you feel cheap and ashamed.

Let Laura read this to you:


Show Info and Site