December 2- 8, 2004

art

Winter's Tale

lady fenway's fan: Mrs. Fenway (Penny Fuller) takes a breather in Tennessee Williams' Summer at the Lake at the Manhattan Theatre Club. : Joan Marcus

Keep warm with good drama in New York this holiday season.

by Toby Zinman

A Second Hand Memory

Abominable Playwriting 101, Assignment No. 1: Borrow Williams' narrator from The Glass Menagerie (change the gender—nobody will notice). Borrow the rest of the family from Miller's Death of a Salesman (hey, this isn't called "second hand" for nothing). Then—and this is crucial—give every character one note and only one note, and then find actors who can sustain that one note without deviation from beginning to end. Develop the theme of American drama: soul-destroying materialism. Add big blobs of regret. Use every worn-out convention of realistic American drama (memory play, apartment in Brooklyn, 1950s; culture clash of New York and California, sibling rivalry, father's infidelity, mother's peacemaking, everybody's betrayal) and then repeat them all in the next generation. Then repeat it all in the second act. Don't forget to give everybody his or her "I've got a dream" speech. Woody Allen wrote and directed this play you wouldn't watch if your own kid had written it.

Through Jan. 23, Atlantic Theater, 336 W. 20th St., 800-432-7250.

Doubt

This is the season for John Patrick Shanley (Moonstruck), who has one play in revival (Danny and the Deep Blue Sea) and two new plays (Sailor's Song and Doubt) on in New York this season, not to mention another revival (Where's My Money?) here in Philly. Shanley has the nifty capacity to write laugh-out-loud plays about "alienating sorrow." Doubt is about a Catholic school in the Bronx run by an iron-souled nun (the superb Cherry Jones) who suspects a priest (the equally superb Brian F. O'Byrne, who recently won both an Obie and a Tony for Frozen) of sexual abuse. The collisions between innocence and guilt, between faith and doubt, between kindness and cruelty, are subtly choreographed, punctuated by two riveting sermons. John Lee Beatty does it again with a splendidly mobile set lit wondrously by Pat Collins. Doug Hughes directs.

Through Jan. 9, Manhattan Theatre Club, 131 W. 55th St., 877-581-1212.

Five By Tenn

Five short, almost unknown plays by Tennessee Williams—each one glaringly flawed but each one with that Williams allure. The writer (Jeremy Lawrence doing a fine imitation of T.W.) introduces each one, and although the device is charming, it seems unnecessary. Summer at the Lake (1937), the weakest of the lot, is about mother/son co-dependency. "The Fat Man's Wife" is a melodrama redeemed by some stylish acting. And Tell Sad Stories of the Death of Queens (1959) is overtly gay-themed and features a very fabulous performance by Cameron Folmar. The odd homage to D.H. Lawrence called Adam and Eve on a Ferry is fairly silly, and I Can't Imagine Tomorrow (1970) is about pain—psychological and physical—in "dragon country." Directed by Michael Kahn, the cast includes the extraordinary Kathleen Chalfant, mistress of many accents and many walks. Worth seeing, especially for anyone interested in Williams.

Through Dec. 19, Manhattan Theatre Club, Stage II, 131 W. 55th St., 877-581-1212.

Reckless

Mary-Louise Parker is enchanting (when is she not?) as a woman subject to "euphoria attacks" who has a run of hilariously bad luck. First, her husband hires a contract killer to murder her on Christmas Eve ("This is so mean!"), and many calamities and many deaths later, she finds a good use for her good nature by becoming a therapist. Craig Lucas' play is the kind always called "quirky" (not as off-putting as "zany," but close), but with lively performances by Rosie Perez and Debra Monk, the evening is entertaining.

Through Dec. 19, Biltmore Theatre, 261 W. 47th St., 800-432-7250.

Trying

An old-fashioned play about an old-fashioned curmudgeon that creaks along with stilted dialogue and predictable plot turns until it ends on the predictably bittersweet, heartwarming note. The esteemed Fritz Weaver plays Judge Francis Biddle (of the Philadelphia Biddles, who bought their original land from William Penn— now known as New Jersey), the first Biddle to become a Democrat. After a long and distinguished career, he is now in his pedantic dotage, writing his memoirs and driving away secretary after secretary. Kati Brazda plays the one who toughs it out. Joanna McClelland Glass wrote this very trying play.

Through Jan. 30, Promenade Theatre, 76th St. and Broadway, 800-432-7250.

Opening Soon:

Paula Vogel wrote The Baltimore Waltz as a tribute to her brother, who died of AIDS; it's being revived at Signature Theatre, where Vogel is this season's playwright (Runs Dec. 5-Jan. 9, 212-244-7529). Belle Epoque at Lincoln Center, a collaboration between choreographer Martha Clarke and playwright Charles L. Mee, is selling out fast. (Through Jan. 9, 212-239-6200). Phylicia Rashad stars in Gem Of The Ocean, August Wilson's newest in his 10-play cycle at Walter Kerr Theater (In previews, opens Dec. 6, open run, 212-239-6200). Finally, there's Fat Pig, Neil LaBute's newest nasty, at Lucille Lortel. (In previews, opens Dec. 15, runs through Jan. 15, 212-279-4200).