Kallan Dana’s new play Racecar Racecar Racecar is an original tale of a daughter-dad adventure in which character is tested, quite literally, if preposterously, during a cross-country road trip. Directed by Sarah Blush, and making its world premiere at A.R.T/New York Theatres, this surreal one-act play packs an emotional punch.
It’s impossible to discuss Pen Pals, Michael Griffo’s new two-hander at the Theatre at St. Clement’s, without first bringing up A.R. Gurney’s Love Letters. A Pulitzer Prize finalist, Love Letters consisted of nothing more than two actors reading letters to each other, recounting an epistolary romance spanning almost a half-century. It was so popular because, first of all, it was easy to produce: small set, small cast, and celebrity actors who could jet into town, get onstage, and read the text without having to memorize anything.
What does it take to turn an extraordinary Shakespearean tragedy into an extraordinary production? The first step is vision. King Lear, with Kenneth Branagh in the title role, reflects the artistic vision and collaborative muscle of a directing triumvirate—Branagh, Lucy Skillbeck, and Rob Ashford. They have reduced the Bard’s three-hour-plus saga to two hours with no intermission and cast current and former Royal Academy of Dramatic Art students to bring new energy to a complex story. This series of theatrical risks yields cohesive and riveting theater.
Michelle Kholos Brooks writes powerful dramas about salient issues. Together with director Sarah Norris, she has created a viscerally, emotionally gripping tableau of remembrance. With maximum impact, Kholos Brooks’s Room 1214 hits gun violence out of the ballpark.
In The Blood Quilt by Katori Hall, four half-sisters gather a few weeks after their mother’s funeral for an annual rite of stitching a quilt. As they congregate in their childhood home, the quartet of archetypal characters rehash old conflicts with their different personalities and views of tradition.
The work of Austin McCormick, the polymath artistic director and choreographer of Company XIV, may be handily classified as burlesque—costumer Zane Pihlstrom provides more than enough feathers, fringes, and pasties to justify it—but that label doesn’t really fit a production that incorporates dance, opera, pop music, and acrobatics as well. All are on display in his newest effort, Seven Sins.
Harry Houdini is arguably the most famous magician of all time, but the circumstances around his death remain suspiciously murky. Did he truly die suddenly of appendicitis, or were there more malevolent forces afoot? Cynthia von Buhler’s The Girl Who Handcuffed Houdini combines murder mystery, film noir, and comic book genres to create a genuinely fun immersive theater experience wherein audiences can explore the mysteries surrounding Houdini’s death.
Follow Nasty Drew (no not a typo) and the Harder boy (well, there is only one after all) as they attempt to solve The Mystery of the Family Jewels, a fun, sexy, raucous evening of tongue-in-cheek comedy, a little drag (hello, family jewels?) and some outrageous burlesque. What burlesque has to do with a spoof of the teen-mystery-novel genre is a good question, but somehow they seriously pull it all together and take it all off.
The mystery is set up by Franklin W. Dixon and Carolyn Keene, respective authors of the super sleuths’ series, The Hardy Boys and Nancy Drew. Tigger! as Dixon and Fancy Feast as Keene are as colorful as their names, in a Dead Men Don’t Wear Plaid kind of way, and create a playful, publishing-world rivalry. When Dixon attempts to engage Keene in a dialogue about the Hardy Boys, she dismisses him with, “Those two boys, always carousing around in that flashy convertible, always seeking to emulate and please the Hardy patriarch. Such strong father issues.” Dixon, not to be outmaneuvered, refers to Nancy Drew’s “questionable relations with those lady ‘cousins’ of hers…” The evening is filled with double entendres (“It’s even more colossal than my ‘Case of the Mysterious Hole in the Wall’”) and early Batman/Boy Wonder dialogue (“Jumpin’ catfish, what is it?”) Laughter, mixed with a ton of silliness and a whole lot of skin, will certainly chase the workday blues away.
Dixon and Keene introduce Nasty Drew (Nasty Canasta) and That Harder Boy (Chris Harder) who take on solving The Mystery of the Family Jewels, which is written and directed by Harder. In the course of the investigation, they meet with the buxom Lady Sussanah LaVeux De Cock; her bawdy cousin Mona Crackers; randy Police Chief McDaniels; the mechanic with lesbian tendencies Nadina North; and Cecilia “Sissy” LaVeux De Cock, Lady LaVeux De Cock’s estranged “twin” sister, among others. (The characters are played by a rotating cast of performers based on the show’s schedule.)
In The Mystery of the Family Jewels the puns, sight gags and extraordinary burlesque keep coming. Pearls Daily as Mona Crackers, who is purportedly from the wrong side of the tracks, delivers a 1920s style flapper number in a wonderful homage to the queen of burlesque, Gypsy Rose Lee. Nasty Canasta follows with a funny and entertaining undercover number employing a fake nose, glasses and mustache, which at first glance seems silly, but just wait.
Feast, who also plays North, Brookeville’s “semiretired, show-stopping sensation of stage and screen,” performs a most bodacious burlesque piece and steals the show with dialogue in the manner of legendary Mae West. Not to be outdone, the men have their own time baring all in the limelight. Ben Franklin as Police Chief McDaniels pulls off “You’ve gotta have a gimmick” burlesque that is straight—in this context used loosely—from Gypsy with hula hoops, the unbelievably limber Tigger! takes it down to a sock puppet, and Chris Harder woos the fans in his unforgettable, charming style, sock garters and all.
The show is sponsored in part by a few local businesses, and commercials are written into the script to promote them. It’s a fun gimmick that needs more attention to detail in the venerable, radio announcer style. Although issues with the show's sound and lighting may be attributed to the slightly random performance schedule, the biggest drawback is that some comic lines can’t be heard and sound levels overpower a few of the songs.
It’s evident that the Mystery of the Family Jewels has a following with a rowdy, adoring audience in attendance, and it’s easy to see why. The cast, taking their lead from Harder and Canasta, has a blast giving their all and baring all. If they break character or a prop doesn’t appear as expected, don’t be surprised, it just adds to the frivolity.
Performances of Mystery of the Family Jewels are 10 p.m. April 29 and May 13 and 9:30 p.m. May 1 and 15 at the Laurie Beechman Theater inside West Bank Cafe (407 West 42nd St.at Ninth Avenue). The theater is accessible from the A,C,E,N,R,V,F,1,2,3 trains at 42nd Street. Tickets are $22, plus a $20 food/drink minimum. A $35 VIP ticket includes reserved seating, a gift bag and a meet-and-greet. To purchase tickets, call 212-352-3101 or visit www.SpinCycleNYC.com.
