Off-B'way Review: The Ford/Hill Project

Elizabeth Marvel and Gabby Beans in
The Ford/Hill Project,
Credit: Rebecca Smeyne

A docu-play made up of verbatim Senate testimony? Doesn’t exactly sound riveting. Yet The Ford/Hill Project, now at BAM’s Fishman Space after regional productions and a run at the Under the Radar Festival, provides a searing portrait of the workings of government power and its failure to deal with violence and harassment against women. Elizabeth Marvel (one of four cast members) and Lee Sunday Evans (who directs) have stitched together the most dramatic excerpts of testimony and questions from the confirmation hearings of Supreme Court nominees Clarence Thomas in 1991 and Brett Kavanaugh in 2018. Both high-profile events were rocked by the respective eyewitness accounts of Anita Hill and Christine Blasey Ford, both of whom claimed the nominees mistreated them. 

Hill testified Thomas pressured her to date him and then, when she refused, used lewd, pornographic language and innuendo in front of her when they worked together at the US Department of Education and the Equal Employment Opportunity Commission. Ford claimed Kavanaugh sexually assaulted her at a party when they were in high school. At the time of both hearings, the accusations made headlines and threatened the Republican nominees’ appointment to the highest court in the land. Both vehemently denied the allegations and were eventually successfully confirmed. With the passage of time, the impact of these events has faded, but this intense distillation of Hill and Ford’s stories and Thomas and Kavanuagh’s insistent denials bring them vividly into focus.

Book Reviews: Still More Christopher Durang Plays

(Taken out of the Lincoln Center Library): Christopher Durang had the same sense of humor as me. Wild, wacky, and full of pop cultural references. I've read or seen most of his plays, but I wanted to go back and re-experience them. Some of them have dated allusions and I don't know if they'd play today. (Leona and Harry Hemsley, Bush's war on terror, Jesse Helms, Bill Clinton, etc.) But we are still dealing with the forces of racism and homophobia that Durang railed against. His forwards and afterwards are also fascinating to read. In the commentary on Laughing Wild and Baby with the Bathwater, he recounts the then-seemingly insurmountable problem of the NY Times theater critic (Frank Rich at the time) having too much power. 

Volumes read: Laughing Wild and Baby with the Bathwater.

Miss Witherspoon and Mrs. Bob Crachit's Wild Christmas Binge are collected in one volume. I saw the former at Playwrights Horizons. The latter debuted regionally but has yet to appear in NYC. It imagines Mrs. Crachit getting sick and tired of the poverty and misery that surrounds her and she goes off a tear. I wish I had seen Kristin Nielsen do this role. 

The Idiots Karamatzov (co-written with Albert Innaurto)

Durang Durang, six one-acts performed together Off-Broadway including parodies of Tennessee Williams and Sam Shepard. 

3 Short Plays: The Nature and Purpose of the Universe, Death Comes to Us All, Mary Agnes (a satire of "well-made" plays where a family gathers as the old cruel patriarch is dying and regrets are expressed), and 'dentity Crisis.

B'way Update: Julia Roberts and Paul Rudd in Small Mouth Sounds

Julia Roberts, Paul Rudd, and 
Sarah Paulson will star in
Small Mouth Sounds on Broadway.

Julia Roberts and Paul Rudd will return to Broadway in an all-star production of Bess Wohl's Small Mouth Sounds which previously played Off-Broadway in 2015. Roberts and Rudd co-starred in a staging of Three Days of Rain in 2006 (which is also returning to Broadway this season.) Small Mouth will be directed by three-time Tony winner Joe Mantello who will also be directing a new production of Downstate on Broadway. This production is another in a growing trend of Broadway transfers of recent Off-Broadway critical success. (There are now 13 play revivals scheduled for Broadway this season and only four new plays.) Wohl is the winner of the Pulitzer Prize for Liberation which had a similar Off-to-on Main Stem trajectory. Small Mouth won the John Gassner Award for Outstanding Play by a new American author from the Outer Critics Circle. Previews for Small Mouth Sounds begin on Feb. 18, 2027 at the Ethel Barrymore Theater in advance of a March 18 opening. 

Also starring are Martin Freeman (The Hobbit), Greta Lee (The Morning Show), Tony and Drama Desk winner Sarah Paulson (Appropriate), and Isaac Powell (Once on This Island). The play concerns six strangers meeting at a spiritual retreat and trying to keep a vow of silence. Scott Rudin and Barry Diller are the producers.

Dr. Who Out to Tender

Ncuti Gatwa and Jodie Whittaker

After over six decades, the BBC has put Doctor Who "out to tender," meaning they are accepting proposals for an outside producer to take up the reigns while the program has been suspended. This hiatus has happened once before when the Doctor was in limbo from 1989 to 2005. I can't be too upset because 63 years is a remarkable run for any TV program and there is plenty to rewatch and read in past episodes, countless books and comics. 

What does gall me is the carping from fans who claim the show's downfall in ratings was due to its "woke" attitude and the recasting the Doctor as a woman and then a black gay man. There was even a comment on FB that Peter Capaldi was the last "good" Doctor, i.e., the last white male Doctor. He went on to say that Jodie Whitaker should have been a companion like Romana, and Missy, the female version of the Master, should have been the Rani, another renegade Time Lord who happened to be a woman. This fan was saying the Doctor should only be a white British dude. This attitude springs from not wanting to see women or other minorities in traditional white straight white male roles. This poster evidently has a problem with women being the central figure, rescuing the guys instead of the other way around. This Doctor is an alien and this whole show is a fantasy, so what's the big deal about a woman or a black man assuming the role?

The other main complaint is the Whitaker and Gatwa episodes seemed to be pushing a liberal "Woke" agenda. As if the Doctor was never about inclusiveness and diversity before. I will agree that many of the Whitaker stories were hitting us over the head with their messages on racism, homophobia, climate change, and autocracy. The writing wasn't particularly strong. During the whole "Flux" season I had no idea what the hell was going on. 

But the Gatwa episodes were much better overall. I think because Russell T Davies took over as the show runner from Chris Chibnall. His sense of story structure was much stronger. There was still a social consciousness but it did not overwhelm the plots. In Dot and Bubble, the fact that the Doctor is black  and the racism of the people he's trying to save is subtly brought up and not explicitly stated until the very end.  Boom was my favorite episode of these seasons. The Doctor is confined to a single spot--a landmine on a war-torn planet which will explode if he moves off it--for nearly the entire segment. It was a clever, tight script.

The future of Doctor Who is in doubt now. But I have confidence it will live on in some form and continue to fascinate millions of Whovians. 

Off-B'way Review: The Real Ivanov

Sam Adegoke and Sam Underwood in
The Real Ivanov.
Credit: Russ Rowland

Beware of director-adaptors who use the word “real” in their versions of a classic script. Laura Strausfeld has chosen to employ the adjective to describe her edition of Anton Chekhov’s Ivanov and subtitled it “A Comedy about Despair.” It’s currently playing at the Lynn F. Angelson Theater and not a production of the CSC. While her staging does have some innovative moments and there are a few glints of pathos and humor, this Ivanov is not particularly “real” since much of the direction is stylized and most of the acting is either overblown or shallow.

The rarely-performed play was Chekhov’s first produced work (in 1887) and has not been seen in a major NYC production in almost 30 years. (The last staging was Gerald Gutierrez’s moving 1997 edition for Lincoln Center starring Kevin Kline, Marian Seldes and a brilliantly funny Max Wright.) Ivanov is not seen as frequently as Chekhov’s four other major plays because of its unrelentingly melancholy story. The title character is a depressed Russian landowner managing a bankrupt estate and his terminally ill wife Anna with whom he has fallen out of love. Nikolai Ivanov is surrounded by comically covetous buffoons and rascals including his ever-scheming estate manager Borkin, his pompous uncle Count Shabyelski, and the frivolous, mercenary Lebedev family to whom he owes a huge debt. In addition to his perpetual sadness, he is also racked with guilt because his spouse left her Jewish religion and her parents to marry him and he is now attracted to Sasha, the Lebedevs’ foolishly idealistic young daughter. 

Soph Metcalf,William DeMeritt,Kimberlee Walker,
Sam Adegoke,Jordan Lage,Sarah Long,
Sam Underwood,Spencer Aste, and Amelia Mason
in The Real Ivanov.
Credit: Russ Rowland

Bringing off the play’s delicate balance between tragedy and comedy is a difficult challenge. Strausfeld attempts to make the case that the protagonist is a victim of clinical depression and would benefit from therapy and medication if he were born about 120 years later (at least that what is claimed in program notes and advertising for the production.) 

She stages much of the action in interesting patterns, reflecting Ivanov’s confined psyche. For the group scenes at the Lebedevs’ soiree, the characters move as if at an uncomfortable, awkward dance. In the scenes at Ivanov’s gloomy house, all action revolves around a simple bench or a table with only one chair. In the fourth act, she places them on a narrow strip of light and the actors tightly maneuver around each other like passengers on a crowded subway—again symbolizing the psychological oppression they feel. Jiyoun Chang’s lighting helps out here, defining the cage-like spaces of Ivanov’s neuroses. While the direction can be innovative, Stausfeld has neglected to emphasize the human dimension of the characters. They are either mopey victims or broad clowns.

B'way Update: Downstate and Blueberries

Francis Guinan and K. Todd Freeman
in Downstate at Playwrights Horizons.
Credit: Joan Marcus

Two plays which had critically acclaimed Off-Broadway runs, Bruce Norris' Downstate and Moises Kaufman and Amanda Gronich's Here There Are Blueberries, have announced Broadway engagements. Downstate will play the Booth Theater this fall (no specific dates have been posted), according to the Chicago Tribune, while Blueberries will start previews at the Barrymore Theater on Nov. 2 and open on Nov. 9. 

Downstate, Norris' play about four men convicted of sexual offenses living in a group home, opened at Chicago's Steppenwolf Theater in 2018, played London in 2019, then opened Off-Broadway at Playwrights Horizons in 2022, and Washington DC in 2025. The New York Drama Critics Circle voted it the Best Play of the 2022-23 season. This Broadway edition will be a new staging, directed by Tony winner Joe Mantello. (The previous productions were directed by Pam McKinnon.) The Tribune also reports that Francis Guinan and K. Todd Freeman, veterans of the Chicago, London, and NYC versions, will repeat their roles. 

During Downstate's DC run, conservative politicians slammed the play for its humanistic portrayal of sex offenders. Norris stated before the NYC run, “A depiction of something is not an endorsement. But, I do think that witnessing the lives of characters on stage encourages identification, and if you spend two hours in the company of a group of sex offenders, do you emerge from the experience with your certainty about them momentarily disrupted? The goal is not to forgive, but rather to complicate an easy and casually cruel response.”

Kathleen Chalfant, Nemuna Ceesay,
Jonathan Raviv, and Elizabeth Stahlmann in
Here There Are Blueberries at NYTW.
Credit: Matthew Murphy

Blueberries is Tectonic Theater Project's documentary dramatization of the discovery of a book of photographs of Nazi officials and staff of a concentration camp enjoying themselves in leisure activities. The play opened at La Jolla Playhouse in 2022 and played Off-Broadway at the New York Theater Workshop in 2024. It subsequently was a finalist for the Pulitzer Prize and won a Lortel Award for Best New Play. 

Says Kaufman and Tectonic Theater Project Executive Director Matt Joslyn in a statement: “For Tectonic Theater Project, bringing Here There Are Blueberries to Broadway is the culmination of a remarkable journey. These photographs hold a mirror up to our humanity in the most intimate and unsettling way. We have to look at them—not to understand the people in the pictures, but to better understand ourselves.” 

Both shows deal with facing uncomfortable figures and show a trend towards mining Off-Broadway for Broadway dramatic productions. There are only four totally new plays planned for the Main Stem this season and 12 play revivals.

B'way Review: Paranormal Activity

Travis A. Knight and Cher Alvarez
in Paranormal Activity.
Credit: Matthew Murphy

It’s rare that the sound designer is the star of a production, but that is the case with Paranormal Activity, the play based on the popular horror film franchise, now at the August Wilson Theater after a London run and an American tour. Gareth Fry’s ultra creepy soundscape perfectly sets the mood for this scarefest. Before the show even begins, we are assaulted with seemingly innocent radio chatter as we find our seats. As the lights dim, the volume menacingly increases until it feels as if our eardrums will shatter. The curtain raises and we find ourselves in what appears to be a perfectly mundane London house (Fly Davis designed the deceptively ordinary two-story setting.) Everyday transactions take up most of the first act (including one actor simulating using the toilet), but Fry’s ominous combination of creepy music and foreboding sounds puts the chill up the audience’s collective spine.

Cher Alvarez and Travis A. Knight in
Paranormal Activity.
Credit: Matthew Murphy

Horror is not a genre that has fared well on Broadway. There have been long-running thrillers such as Deathtrap and Sleuth. But the only genuine horror plays to achieve significant runs that come to mind are the original Dracula from 1927 and the Frank Langella 1977 revival, the still-running Stranger Things prequel and Lost Boys musical. (Three previous vampire-themed musicals flopped resoundingly.) I wouldn’t call the Harry Potter play a horror genre piece though it does contain scary elements. But the recent trend of immersive, supernatural experiences Off-Broadway such as Sleep No More and Viola’s Room shows there is a market for spooky spectacle. Felix Barrett who directed both those productions does an admirable job here of maintaining and building a frightening atmosphere and author Levi Holloway’s structure is much stronger than his mystical misfire Grey House from 2023. 

There isn’t much point in recapping the plot. Holloway’s script is standard haunt fare and this critic does not want to reveal any spoilers. It’s the shocks and effects that make the show, thanks to Chris Fisher’s astonishing illusions and Anna Watson’s spectral shadowy lighting. Luke Halls’ video and projection design also induces several shutter-worthy moments. There’s one particular effect towards the end of the first act that sends screams through the theater and prompts an epic ovation. 

Cher Alvarez in Paranormal Activity.
Credit: Matthew Murphy

But to deliver the bare essentials of the story: Young marrieds Lou (Cher Alvarez) and James (Travis A. Knight) have recently moved to London. Through an obvious expositional video phone call with James’ religious mother (Shannon Cochran) in Florida, we learn the couple has been through a series of unspecified traumatizing events in their former home of Chicago. As the pair goes about setting up housekeeping, odd and upsetting occurrences mount up. Doors open and close by themselves, the lights flicker, the security alarm suddenly blares, the doorbell rings and there’s no one there. The true source of the pair’s growing anxiety and fear is gradually revealed and a paranormal investigator and podcaster (Eva Kaminsky) is called in to investigate. Secrets are revealed and the horrors build in intensity to a shattering twist ending.

The acting is perfectly serviceable with Alvarez and Knight incrementally conveying the terror engulfing Lou and James. Alvarez is particularly effective in slowly revealing Lou’s growing dread. Cochran and Kaminsky subtly display multiple aspects of their characters, shifting subtly from believable reality to Twilight Zone territory.

The audience has a ball getting scared to death. The screams and shreiks are often followed by delighted laughter and at the curtain call, the cast sported broad smiles as if to say “You really got you, didn’t we?” Paranormal is the theatrical equivalent of a four-star-screamer, a summertime spooky movie. In fact, one could argue that horror is more effective in the theater than on screen. Film has all sorts of special effects at its disposal while on stage, the illusion is more mystifying and inexplicable and therefore more frightening. So for a bone-chilling night out, creep over to the August Wilson. 

Aug. 25—Jan. 3, 2027. August Wilson Theater, 245 W. 52nd St., NYC. Running time: two hours including intermission. atgtickets.com.