December 18, 2014 Leave a comment
“As an actor, you’re often the most visible part of a project while having the least amount of say over its final form,” James Franco said recently. Although at the time he was making both his Broadway acting debut and his Off-Broadway directorial debut, he was talking about movie actors. Stage actors have it better, artistically that is — not in monetary compensation or recognition.
So here are some of the New York stage performances in 2014 that deserve more recognition.
The individual performers are listed alphabetically, but let’s begin with some noteworthy ensembles.
The four actors who portrayed busboys at an Upper East Side restaurant in Elizabeth Irwin’s My Mañana Comes – Jason Bowen, Jose Joaquin Perez, Brian Quijada, Reza Salazar – achieved a level of synchronicity that was a pleasure to watch, while at the same time each performer communicated both his character’s particular struggles and the tensions among the group.
Similarly, the performers in Lisa Ramirez’s To The Bone, play characters who have attained a machine-line efficiency both in their jobs in an upstate chicken factory and in the house they share unhappily together, but they never let us lose sight of their individual humanity. As one character observes, there is an order “that is much like a heart- an artificial heart – borne out of necessity- but functioning nonetheless.” So kudos to Dan Domingues, Liza Fernandez, Annie Henk, Paola Lazaro-Munoz, Lisa Ramirez, Gerardo Rodriguez, Xochitl Romero, Haynes Thigpen
Zach Braff and Nick Cordero perform from Bullets Over Broadway in Bryant Park shortly before the show closes on Broadway
Nick Cordero, the best thing by far in Bullets Over Broadway, played Cheech, a 1920s thug who turns out to be a brilliant playwright. Cordero turned out to be a terrific song-and-dance man
Appearing on a Broadway stage after an absence of 35 years, Mia Farrow felt ideally cast as Brian Dennehy’s half-century love interest in Love Letters. With her translucent beauty and educated diction, she seemed believably rooted in the upper crust enclave in which the character is raised, but which never serves her well. Farrow ranges from flighty to flirty to fragile, with a suggestion of great feeling – much of it all the more communicated, paradoxically, because it is not expressed on the surface.
Whatever the billing, the star of “Aladdin” is its genie, James Monroe Iglehart, a worthy heir to a role originated on film by Robin Williams. A winner of a 2014 Tony Award for his performance, Iglehart morphs from showbiz master of ceremonies to carnival barker to infomercial huckster to game show host to Cab Calloway-like zoot-suiter to disco dj to hip-hopper in a Hawaiian shirt, to yes, a sparkling-suited magical genie who emerges amid smoke from a little lamp.
When he appeared in “Memphis,” he had a relatively small part as an oversized janitor who becomes a sexy singing sensation (nods to Chubby Checkers.) Shaking and rocking it to the roof in a song called “Big Love,” he delivered a showstopper. It is too much to say he is the show in “Aladdin,” but he certainly gives – and deserves – some big love.
In honoring Adrian Lester‘s mesmerizing turn in “Red Velvet,” a play written by his wife Lolita Chakrabarti, we also pay homage to the real-life character he is portraying, Ira Aldridge, a native New Yorker who left the United States as a teenager in order to pursue a career on stage, becoming a successful actor throughout Europe, specializing in Shakespearean roles. To put this in perspective: When Aldridge played Othello in London, they were still debating whether it was a good thing to end slavery in the British colonies.
Praising a stage performance by Audra McDonald – who won a record-breaking sixth competitive Tony Award for portraying Billie Holliday in Lady Day at Emerson’s Bar and Grill – is a bit like praising bread, or Meryl Streep. Still, she transformed what could have been another tiresome play about a self-destructive star into a precise study of character, and sang in a style totally unlike her own.
Bobby Moreno began the year 2014 portraying a touching love scene between poultry in The Year of the Rooster. He was Odysseus Rex, a young rooster permanently crouched, an angry punk with a knife, who is charmed by genetically over-engineered top-heavy hen. At the end of the year, Moreno stood tall in Grand Concourse as Oscar, the maintenance man and security guard in a soup kitchen in the Bronx, who is an adorable lug. Streetwise, charming, good-hearted, well-meaning, he is also slightly awkward, especially in scenes with Emma, who teases, taunts and seduces him.
Over the past few years, Moreno has stood out in charismatic roles from the dog-like military veteran in Ethan Lipton’s “Luther” to an evil teenager in Robert Askins’s “Hand to God.” Will 2015 be the Year of the Bobby Moreno?
As Christopher in The Curious Incident of the Dog in the Night-time, Alexander Sharp, a recent graduate of Juilliard, literally climbs a wall, and plays with a rat, and is thrown in the air and carried about by the other cast members.
His is a physically demanding role – all that getting lifted through the air. But it requires balancing of a different sort as well, offering a convincing portrait without condescension. Sharp nails the gestures, the lack of eye contact, the matter-of-fact tone.
It’s impossible to cap an appreciation of stage performances at only ten. So nods to Annaleigh Ashford in You Can’t Take It With You, Kieran Culkin in This Is Our Youth, Patricia Clark in The Elephant Man, the ensemble cast of Dinner With Friends, Heather Burns , Marin Hinkle, Darren Pettie and Jeremy Shamos; the ensemble cast of Casa Valentina, Reed Birney, John Cullum, Gabriel Ebert, Lisa Emery, Tom McGowan, Patrick Page, Larry Pine, Nick Westrate, Mare Winningham. Ok, I’ll stop.