As a regular theater goer in the New York area, every year at about this time I start getting brochures from, it seems, every subscription theater group in the tri-state area. A few years ago I finally broke down and bought my first, to Second Stage. I enjoyed four very good years of theater at reasonable prices (although usually the same reasonable price that I will know doubt get in a post card or e-mail after the show opens) and then hit a dud. I don't remember particularly why I didn't care for the season except that one entry was a one women show featuring Anna Deveare Smith that even for all her immense talent could not create a satisfying theatrical experience. Down went Second Stage and up went Playwrights Horizon. Playwrights Horizon went the way of The Public, and The Public to The Atlantic. I've cycled like this with five or six companies over the years.
Still, the thrill of seeing something new before everyone else overweighs the fear of tge inevitable clunker and I was an early fan of Next to Normal, Putnam County Spelling Bee and Suburbia at Second Stage, secured great seats to the Stoppard tribute to Chekhov because of my Lincoln Center subscription and dug Mauritius through an MCC "4-Pack" deal.
This year I added The New Group, a red hot off-Broadway company of the moment. Noted for their very physical, risk-taking productions, home is a small venue on the 42nd Street theater row so when they get a hit it tends to sell out quickly leaving poor souls like me on the outside looking in (and I really hate that!). No Aunt Dan and Lemon for Evan. After really enjoying a revival of Hurlyburly last year, I took the plunge and once again had the privilege of seeing Ethan Hawke's ass crack (that caused a big stir in Hurlyburly, nigh a whisper from the critics about it in 2010) in Blood From A Stone, the first production of the season. Since Blood From a Stone was so well cast, well written and exceptionally well directed, I had great hopes for what would be my third New Group production. After all, with Marissa Tomei starring, and Wallace Shawn writing, what could be wrong with Marie and Bruce?
EVERYTHING and nothing it turns out, is wrong with Marie and Bruce, currently in production at 410 W 42nd street, because after the first fifteen minutes you are so tuned out to anything going on up there you start making mental checklists of everything you have to do the next day, which can be very productive. About the time I was considering where to make lunch reservations, the scenery changed and Marie and Bruce (fyi...we hear that Marie and Bruce are married and Marie really, really hates Bruce a lot before you finally tune out) went to party where everyone smoked, wore seventies clothes, and talked about boring things. By the time the party was over, I had mentally mapped out a work project. I glanced at creepy characters doing a set change while checking my e-mails (I know, I know...but I took great pains to cover the light) and when they were finally done yammering up there was all ready for bed.
See this play ONLY if you need some quiet time for free thought, because this show offers nothing to think about. I have no idea what it is trying say and don't really want to put the effort in to find out. This is a dud, plain and simple and given the tepid applause at the end (with the exception of obvious Marissa Tomei fans in the mid-section) I think the rest of the audience agreed. There wasn't even -- shocking! -- a standing ovation.
I hear Signature is doing a neat season next year -- any up for a sub?
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