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Louis McCartney in Stranger Things: The First Shadow. Credit: Matthew Murphy and Evan Zimmerman |
Stephen Daldry and his co-director Justin Martin have staged the complex, absorbing story like a film with smoothly flowing scenes imparting vital information and thrills. But the real stars are the other-worldly special effects and illusions created by Jamie Harrison and Chris Fisher, which rival anything you’ll see on Broadway including a horrifying invasion from another dimension. My theatergoing companion called this specific effect the new and better chandelier from Phantom of the Opera or the helicopter from Miss Saigon. I’m not going to list the more nerve-rattling and spine-shaking moments so as not to spoil your fun, but suffice it to say, look out for crashing battleships, monsters with no faces, and be prepared to scream if you’re afraid of spiders.
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Louis McCartney in Stranger Things: The First Shadow. Credit: Matthew Murphy and Evan Zimmerman |
The basic appeal of the series is the heroic status of the nerdy kids saving the day. The message is it’s okay to be considered weird, love science, and get good grades. The play emphasizes the painful struggles of the alienated youngsters at the center of the story. The amazing Louis McCartney repeats his London role as Henry Creel, the socially awkward loner somehow tied in with all the mysterious happenings. McCartney delivers a viscerally dynamic and shockingly physical performance as dark forces battle for Henry’s soul. Gabrielle Nevaeh is sensitive and intense as Patty Newby, the orphaned girl “from nowhere” who befriends Henry.
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Louis McCartney and Gabrielle Nevaeah in Stranger Things: The First Shadow. Credit: Matthew Murphy and Evan Zimmerman |
Alison Jaye, Burke Swenson, and understudy Patrick Scott McDermott (covering for Juan Carlos at the performance attended) are energetic as the amateur young sleuths who grow up to become the parents in the series. Eric Wiegand is a riot as an obsessed theater kid. Alex Breux is all ice and steel as the dangerous Dr. Brenner. T.R. Knight and Rosie Benton shutter and shatter admirably as Henry’s troubled parents. Andrew Hovelson and Ted Koch are pompously proper as other clueless grownups.
Daldry and Martin’s fluid and dynamic direction is abetted by the magical, moving sets of Miriam Buether, the scary, atmospheric lighting of Jon Clark, the spooky and penetrating sound design of Paul Arditti, and the grainy, gritty videos of 59 Productions. D.J. Wade composed the haunted and haunting original music and Brigitte Riffenstuel deserves kudos for the period costumes.
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Florencia Cuenca, Tatianna Cordoba, and Justina Machado in Real Women Have Curves. Credit: Julieta Cervantes |
This scary scene in an otherwise joyful musical brings home the insecure status of undocumented aliens which persists some 40 years later. But the focus of this exuberant show is the strong bond among immigrant families and their struggles to get ahead. Based on Josefina Lopez’s play and the subsequent HBO film with a screenplay by Lopez and George LaVoo, Real Women celebrates the bond between sisters Estela and Ana and their determined mother Carmen.
Estela labors intensely to make the dress factory a success while Ana, a budding journalist, has just received a full scholarship to attend Columbia University. But Carmen opposes Ana leaving the family when they need her the most to complete the rush order. In addition, Ana is the only citizen in the family and can therefore deal with government bureaucracy. The book by Lisa Loomer with Nell Benjamin leans a bit heavily on sentimental melodrama, but balances these soapy suds with sharp wit and a strong depiction of characters too often ignored in Broadway musicals. At one Carmen observes, “I’m 51 and I’ve working since I was 13. In gringa years, I’d be 70.”
The score by Joy Huerta and Benjamin Velez is equally snappy and irreverent as well as uplifting. The title song in which the factory ladies and Ana defy society’s body shaming and celebrate their ample shapes, brings the house down with its unapologetic defiance. In another group number tackling a subject you seldom hear about on Broadway, Carmen and the ladies welcome the onset of menopause and the exiting of their “monthly visitor.” There’s also soaring hopeful song for Ana and Itzel, a recent arrival from Guatemala, and a funny comedy number where Ana and her new boyfriend Henry attempt their first time at sex, but have no idea what to do. Sergio Trujillo skillfully directs and choreographs, combining biting humor with savvy movement. Arnulfo Maldonado’s sets create a believable LA atmosphere, along with Hana S. Kim’s videos and Natasha Katz’s lighting. WIlberth Ganzalez and Paloma Young’s costumes blend the everyday life of the workers with their high-fashion aspirations.
Tatiana Cordoba, Florencia Cuenca, and Justina Machado are fierce, funny, and fiery as Ana, Estela, and Carmen, as are Mason Reeves as Henry and Aline Mayagoitia as Itzel. Real Women is the real thing, a Broadway show with heart and courage addressing marginalized people.
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Tommy Dorfman in Becoming Eve. Credit: Matthew Murphy |
In the flashbacks, Chava is embodied by elaborate puppets designed by Amanda Villalobos while her voice is provided by the actor playing the role, an expressive Tommy Dorfman, suggesting that her former self was not her true being. Tyne Rafaeli’s direction carefully balances the forceful debate with the conflicting emotions of each of the parties. Dorfman’s tormented but ultimately triumphant Chava, Richard Schiff’s rigid but intellectual father, and Brandon Uranowitz’s amicable Jonah give depth to each corner of this dramatic triangle.
Stranger Things: The First Shadow: Opened April 22 for an open run. Marquis Theater, 210 W. 46th St., NYC. Running time: two hours and 45 mins. including intermission. broadwaydirect.com.
Real Women Have Curves: Opened April 27 for an open run. James Earl Jones Theater, 138 W. 48th St., NYC. Running time: two hours and 20 mins. including intermission.
Becoming Eve: April 7-27. New York Theater Workshop at the Abrons Arts Center, 466 Grand St., NYC. Running time: one hour, 50 mins. with no intermission.
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