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Film and the Arts
November '15 Digital Week I
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Tuesday, 03 November 2015 23:33
- Written by Kevin Filipski
Blu-rays of the Week
Amour Fou
(Film Movement)
(Film Movement)
The murder-suicide pact of poet Heinrich von Kleist and Henriette Vogel is the jumping-off point for director Jessica Hausner's potent dissection of passion, madness and art: her obvious antecedent is Eric Rohmer's minimalist 1976 adaptation of Kleist's novella The Marquise of O, with its unadorned editing and camera setups, affectless acting and no musical soundtrack.
But Hausner doesn't slavishly ape that blueprint, which was a way of creating theater on film; instead, she has created an intelligent and robust work of art punctuated by bursts of onscreen music-making that underscore the art and artistry in her story and in Kleist’s life. The movie looks striking on Blu; extras are deleted scenes, Hausner interview and commentary, and her short film,Oida.
Tenderness of the Wolves
(Arrow)
In Arrow's most attractive-looking set to date, two films loosely based on an Edgar Allan Poe story are brought together. Lucio Folci's The Black Cat (1981) and Sergio Martino's Your Vice Is a Locked Room and Only I Have the Key (1972) are both definitively of their era, with mainly schlocky shocks, but Cat's cast (led by that consummate ham Patrick Magee) and Vice's femme fatale Edwige Fenech (so enticing that she gets her own bonus featurette as a ‘70s sex symbol) make these true guilty pleasures.
Ulli Lommel's 1973 Tenderness, conversely, is similar to the campy films of Rainer Werner Fassbinder (who appears in, but supposedly disliked, the film); Lommel's dramatization of a grisly real-life murderer who seduces then kills young men, cuts up their bodies and sells the parts to restaurants is clinical in the extreme, yet never comes to sickening life. All three films have been beautifully restored; extras include featurettes, interviews, location featurettes and commentaries.
The Exorcism of Molly Hartley
(Fox)
Apparently this is a sequel to The Haunting of Molly Hartley, which I either missed or completely forgot about: in any case, this is little more than a brazen Exorcist ripoff, with an opening scene that, astonishingly, closely follows the climax of William Friedkin's 1973 classic.
The rest of the movie follows the worn-out formula of medicine failing to cure the unfortunate young woman, and religion comes to the rescue. Sara Lind (Molly) and Gina Holden (psychiatrist) could be persuasive under far better circumstances. The film looks fine on Blu; extras include featurettes and hidden-camera footage.
(Universal)
Writer-director-actor Joel Edgerton’s Fatal Attraction-type thriller, which thrives too readily on the inconsistencies that populate the genre, smartly stars Edgerton himself, who plays the villain with a nervy mix of nastiness and shyness, and Jason Bateman and Rebecca Hall, who bring an appealing realism to the terrified couple, which helps smooth over many implausible moments.
The nastiness, eventually involving possible rape and impregnation, piles up illogically, but it's done so slickly that most viewers won't mind. The movie has an excellent Blu-ray transfer; extras include Edgerton's commentary, featurette, a less effective alternate ending and deleted scenes.
Inside Out
(Disney)
In what's Pixar's cleverest conceit yet—with a big (uncredited) assist to the hilarious orgasm segment of Woody Allen's classic Everything You Always Wanted to Know About Sex—this gorgeous animation concerns a young girl whose life is uprooted by moving to a new neighborhood and new school, as her various emotions battle one another inside her brain’s control center.
The 95-minute movie wears out its welcome (75-80 minutes would have sufficed), but inventive animation and stand-out voice cast (Diane Lane as Mom and none other than Lewis Black as Anger take top honors) make this a worthwhile watch. The hi-def transfer is splendid; extras include two shorts, Lava and Riley's First Date?, and several featurettes.
(Warner Bros)
This set of four films from the primitive era of special effects—1933’s Son of Kong, 1949’s Mighty Joe Young, 1953’s The Beast from 20,000 Fathoms and 1954’s Them!—might not mean much to anyone who's grown up on (or been spoiled by) today's CGI, which renders nearly anything possible onscreen.
But for anyone who wants to relive the days of really cheesy visual effects—whose shoddiness is accentuated by Blu-ray's greater resolution—then by all means watch these often risible but entertaining thrillers of yore, filled with giant apes, radioactive giant dinosaurs and mutant ants. Extras include commentaries and featurettes.
Vacation
(Warner Bros)
Any list of unnecessary reboots includes the comic adventures of the Griswold family as they travel to the infamous Walley World: Ed Helms and Christina Applegate take over the roles closely related to those originally played by Chevy Chase and Beverly D'Angelo in the far-from-classic 1985 original.
Writers-directors Jonathan Goldstein and John Francis Daley manage to come up with some bad-taste 2015 comic equivalents, but they desperately end up resorting to Chase and D’Angelo cameos to save their movie. The film looks sharp on Blu; extras are featurettes, gag reel and deleted scenes.
The Civil War—A Film by Ken Burns
(PBS)
Ken Burns' classic mini-series, which brought his signature documentary style to the masses with its nine-hour exploration of the destructive War Between the States, celebrates its 25th anniversary with a long-awaited restoration, allowing Burns' now iconic visuals to be seen in a way they never have.
In addition to the original series, the six-disc DVD set includes a 16-page collectors' booklets and several hours' worth of extras, including the featurettes Making The Civil War: 25 Years Later and Restoring The Civil War;complete interviews with historian Shelby Foote in high definition; and additional interviews that didn't make the final cut.
Do I Sound Gay?
Seymour—An Introduction
(Sundance Selects)
Do I Sound Gay? is director David Thorpe's exploration of his own (and others’) voice: is there such a thing as a gay voice, and if so, why? He speaks with Dan Savage, Tim Gunn and David Sedaris, voice counselors and other experts, and even though the results are equivocal, Thorpe goes on interesting tangents, such as showing long-time stereotypes in the entertainment world, from swishy minor characters to Paul Lynde on Hollywood Squares.
In Seymour—An Introduction, a diverting portrait of octogenarian Seymour Bernstein, director and admirer Ethan Hawke follows the chatty, personable pianist as he discusses his life, career, art and teaches his students: there’s also, not coincidentally, a lot of good music, as Seymour performs (and talks about) Schubert, Brahms and Beethoven, and even his own compositions, both in the film and in the welcome 45-minute bonus recital.
Rapa Nui
(Warner Archive)
In Robert Mandel's 1983 drama Independence Day, restrained, believable performances by Kathleen Quinlan and David Keith overcome cliched, tepid writing as two small-towners who find each other look to escaape their constricting lives; also memorable is a newcomer named Dianne Wiest, heartbreaking as Keith's put-upon married sister.
Rapa Nui, Kevin Reynolds' 1994 historical epic, gains points for authenticity—it was shot on location on Easter Island—Sandrine Holt's beautifully modulated portrayal and the impressive physical production, which compensate for a trite story and other wooden actors.
October '15 Digital Week IV
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Tuesday, 27 October 2015 23:58
- Written by Kevin Filipski
Blu-rays of the Week
3 Films by Benoit Jacquot
(Cohen Film Collection)
Mediocre French director Benoit Jacquot specializes in surface studies of young women that are energized by his actresses—notably Virginie Ledoyen, who became a star in 1995's A Single Girl, in which she persuasively portrays the title character juggling a boyfriend, pregnancy and dead-end job.
Ledoyen highlights this three-film set, which also includes 1990's The Disenchanted, a blah look at a confused teenager starring Judith Goreche, and 1999's Keep It Quiet, a wan, sub-Chabrol satire that features Isabelle Huppert and Vahina Giaconte. The films themselves are noticeably improved in hi-def; extras are audio commentaries and new Jacquot interviews, but it’s too bad there's nothing about any of his leading ladies.
(Anchor Bay)
Revenge is always a go-to trope for a horror movie, and when a woman bashes men who've done her and others wrong, so much the better: at least that's what this blunt, bloody sequel to the sequel to the latest reboot promises.
For awhile, it's a trashy guilty pleasure as rape victim Jennifer (a lively Sarah Butler) gets vengeance after her friend is killed by going after sleazebags who meet their applause-worthy demise; but it soon bogs down in ham-fisted visualizations of Jennifer’s crazed mindset. The hi-def transfer is first-rate.
Indian Summers
The Widower
(PBS)
Indian Summers, a novelistic depiction of the misunderstandings among native Indians and their British rulers, takes its time fleshing out its characters’ political, personal and social status while fashioning a deepening and involving mystery; superb acting and unerring recreations of a bygone era give this 10-part series staying power.
Based on a bizarre true story, The Widower absorbingly dramatizes how Malcolm Webster, after killing his first wife, tries to off his second and fools a third woman into falling for him: the performances of Reece Shearsmith (Malcolm), Sheridan Smith, Kate Fleetwood and Archie Panjabi (the women) and John Hannah (detective) are brilliantly of a piece, lending dramatic gravitas to this three-part mini-series. Both series have excellent hi-def transfers; lone Indian extra is a one-hour series documentary.
Roxy—The Movie
(Eagle Rock)
Shot live in Paris during his latest tour,Just Let Go shows Lenny Kravitz pumping out hit after hit for an adoring audience; although he took too commercial a turn after his first two well-crafted albums, there's no denying the joy in songs like "Let Love Rule," "It's Not Over Til It's Over" and "New York City."
Roxy—The Movie, the Holy Grail for Frank Zappa fanatics, is the long-awaited video release of the legendary 1973 Los Angeles concerts that found Zappa and his crack band at their peak, kicking out classic jams and showcasing Zappa's inimitable humor and nimble guitar playing. Both films look and sound excellent on Blu; extras include bonus songs.
The Making of the Mob
(Anchor Bay)
This eight-part mini-series—narrated by Ray Liotta and featuring talking-head interviews with everyone from Rudy Giuliani to Chazz Palminteri, alongside many historians and experts—is a bastardization of the current mania for reenactment documentaries and docudramas.
But the subject matter—how mobsters were able to rule New York City—is so compelling that it remains watchable throughout. The visuals are vividly evoked in hi-def; extras comprise deleted scenes and featurettes.
(Lionsgate)
As the drug-addicted title character, Edie Falco has proven her mettle as a gifted dramatic and comedic actress far beyond The Sopranos, in the process making this self-consciously cute but “serious” sitcom entertaining during its seven up-and-down seasons.
The final season ends on an unsurprisingly ambiguous note, but even amid the many haphazard and wayward changes in tone, Falco is always on point. The hi-def transfer is solid; extras are commentaries, featurettes, deleted scenes and a gag reel.
Paper Towns
(Fox)
Lightning doesn't strike twice when it comes to movie adaptations of John Green's popular young adult novels: whereas The Fault in Our Stars had a schmaltzy if tragic premise and the fantastically authentic actress Shailene Woodley, Jake Schreier's Towns has insufficient amounts of drama, comedy and even believable teenage behavior.
I'm not asking for The Breakfast Club, mind you, but something more than the jokey silliness mitigating the nicely understated performances of Cara Delevingne and Nat Woolf as unlikely friends would be welcome. The movie has a sharp Blu-ray transfer; extras include deleted scenes, gag reel, making-of and featurettes.
(Magnolia)
Crystal Moselle's documentary about six home-schooled brothers who never ventured outside their lower Manhattan apartment and who began making home movies based on favorites they watched repeatedly begins rather one-dimensionally, as they’re seen primarily through their bizarre movie-only existence.
Soon, however, Moselle effectively builds a sympathetic portrait of siblings using the only means possible to survive incarceration by their parents. The movie looks fine on Blu; extras include some of the brothers’ home movies.
DVDs of the Week
The Great American Dream Machine
(S'more)
Shown on PBS from 1971-3, this satirical comedy-variety series, hosted and starring humorist Marshall Efron, was a forerunner of Saturday Night Live, but its three seasons were marked by the same sort of unevenness plaguing the shows that followed, as classic bits like Albert Brooks' hilarious "School for Comedians" are interspersed with pieces that don’t work or take too long to hit their marks.
The wide-ranging nature of the show—short documentary interludes included a “Great American Hero” segment—allowed it to feature such notables as Studs Terkel, Evel Knievel and Andy Rooney, and the four discs have some true gems amid the dross. Extras include additional sketches.
(Accentus Music)
French composer Erik Satie was a master of musical miniatures, mostly piano works with the perfect balance of exquisite musicality and offbeat humor that no one else could approach without seeming hopelessly retrograde.
This impressive hour-long exploration of his life and art finds the wondrous whimsy in the absurd that was Satie’s most endearing (and enduring) feature. The program includes interviews with experts and friends such as Jean Cocteau, as well as performances of some of his most representative works. Extras include more performances.
CDs of the Week
Anne Akiko Meyers—Serenade
(e one)
Leonard Bernstein’s five-movement Serenade, based on Greek philosophers' writings about love, is a concerto in all but name: and when Anne Akiko Meyers plays the solo violin part with such passionate intensity, it certainly sounds like the most romantic (in both senses) of Bernstein’s works.
The rest of the CD comprises shorter pieces arranged for violin and orchestra (Keith Lockhart leads the London Symphony); the picks of this litter—Astor Piazzolla’s Oblivion and two Gershwin compositions—sound ethereally beautiful in Meyers' radiant hands (and bow).
(UME)
On his fourth solo studio album, Chris Cornell again teams with producer Brendan O'Brien for a sometimes dazzling trip through many of the singer's influences, from intimate folk to muscular rock to the Beatles; his trademark yelp is held in check as he shows off his vocal range on an eclectic group of songs adorned with sparse but inventive instrumentation by (mainly) Cornell and O'Brien.
Highlights include the soaring chorus of "Before We Disappear," the majesty of the piano-based title track, the soothing optimism of "Our Time in the Universe" and the acoustic strumming on "Only These Words," which wouldn't be out of place on the American version of Rubber Soul.
Prokofiev—Peter and the Wolf…and Jazz!
(Le Chant du Monde)
Viktoria Mullova—Prokofiev
(Onyx)
For those for whom classical music might seem too imposing, Sergei Prokofiev’s bright and friendly Peter and the Wolf provides an intro to orchestral sounds and instrumentation: for those for whom even that might be too much, a clever big-band arrangement is played with cheerful aplomb by the French jazz combo The Amazing Keystone Big Band, with actor David Tenant as the capable narrator.
On her new Prokofiev CD, the exciting Russian violinist Viktoria Mullova tackles three of the master's violin works—the spry and lively Second Concerto, the melancholy Sonata for Two Violins (with Tedi Papavrami) and the rueful Solo Violin Sonata—in a rich, purposeful recital.
October '15 Digital Week III
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Wednesday, 21 October 2015 00:02
- Written by Kevin Filipski
Blu-rays of the Week
The Anomaly
(Anchor Bay)
If you're confused while watching this futuristic tale of amnesia and parallel universes about a man who can only stay awake for 9 minutes and 47 seconds at a time, then join the club: the hero, who is played by the movie's director Noel Clarke, is probably even more so.
Although the production design and visual effects are impeccable and accomplished actors like Brian Cox and Alexis Knapp are part of the supporting cast, nothing can overcome a script riddled with the genre's usual inconsistencies. The movie does look striking on Blu-ray.
(History)
History buff that I am, I thoroughly enjoyed this mini-series spanning the years of the American civil war, which admirably doesn't try to cover the same ground as Ken Burns' seminal (but problematic) classic documentary.
The gimmick, the colorizing of hundreds of photographs from the era, makes for a more immediate historical and educational experience for viewers, providing added detail to photographer Matthew Brady's iconic images, along with many others. The hi-def transfer is excellent; extras include additional interviews and featurettes.
Blunt Force Trauma
Nocturna
(Alchemy)
In Blunt Force Trauma, two underground duelists fall in with each other as he tracks down the champion and she avenges her brother's killing, leading to a tender romance amidst the violence; if neither Ryan Kwanten nor Mickey Rourke is able to play an interesting, even semi-real character, fans of Freida Pinto won't be disappointed in her typically committed performance.
Nocturna, an oddball addition to New Orleans vampire sagas, suffers from unsavory inhuman creatures and idiotic behavior of the police while investigating the disappearance of several children around Christmastime. Both films have decent hi-def transfers.
(MPI)
In his sympathetic documentary of comedian Barry Crimmins, Bobcat Goldthwait presents a trenchant portrait of a man known for uncontrolled anger as a standup, with other comics chiming in to say he was one of the best around: but he went AWOL for awhile.
Goldthwait shows what happened, and when Crimmins himself discusses it, and we watch him trying to simultaneously erase terrible scars and ensure others don't go through the same hell, our grudging respect for his comic talent becomes outright admiration for his bravery. The film looks fine on hi-def; lone extra is a Goldthwait/Crimmins commentary.
Eaten Alive
(Arrow)
One of director Tobe Hooper's earliest scarefests is a schlocky depiction of a dastardly motel where people check in but don't check out; it's risible, forgettable and insipid all at once. Hooper later turned rancid material into frightful flicks, but in this 1976 attempt—hampered by sound-staginess and bad acting across the board—nothing works out.
Even upgraded to hi-def, the movie looks cheap, which may make purists happy. Extras include a Hooper intro and interview, commentary, other interviews and featurettes.
(Criterion)
Ettore Scola's subdued 1977 character study got Oscar nominations for Best Foreign Film and for Marcello Mastroianni's typically strong performance as a homosexual living under Fascism on the very day in 1938 when Hitler visits Mussolini in Rome; equally memorable is Sophia Loren as a married woman with six children who spends the day with this man and discovers there's life beyond her front door.
The film, shot in burnished tones by cinematographer Pasqualino de Santis—whose palette is so drained of color it's nearly black and white—is one of the erratic Scola's best studies of history and personal lives intersecting. Criterion's hi-def transfer is first-rate; extras are new Scola and Loren interviews, two Dick Cavett shows from 1977 with Loren and Mastroianni, and a new short, The Human Voice, with Loren.
The Vatican Tapes
(Lionsgate)
This banal Exorcist rip-off follows a young woman whose erratic behavior finally alerts her father, boyfriend and priests to conclude that she has come under the spell of an evil spirit.
Director Mark Nevelone has little sense of pacing or narrative flow, the choppiness of the movie of a piece with the hazy script and indifferent acting: even the promising found-footage angle soon becomes a narrative dead end. The film looks decent on Blu; extras are commentary, featurettes, deleted and extended scenes.
All-Star Orchestra—Programs 11 & 12
(Naxos)
For the latest episodes of this entertaining classical-music series, conductor Gerard Schwartz and his first-class ensemble perform two classics and one new work. Richard Strauss's orchestral masterpiece Ein Heldenleben and Wolfgang Mozart's lilting Posthorn Serenade are played with clarity and proficiency, no surprise from these musicians.
What's thrilling to hear—and watch—is soloist Anne Akiko Meyers, whose impassioned style coaxes all the lyricism out of Samuel Jones' Violin Concerto. Short intros by Schwartz, Jones and Meyers set the stage for all three pieces.
Hungry Hearts
(Sundance Selects)
Writer-director Saverio Costanzo's modern-day horror film eschews the typical found-footage, cheap scares or wooden performers: instead, he simply shows a young and tentative couple having difficulties after their son is born.
For over an hour, Costanzo ratchets up the tension tautly and tightly, as the wife continually endangers her infant son and her husband slowly realizes the serious implications. Too bad the last half-hour degenerates into the usual cop-out melodramatics, nearly canceling strong performances by Adam Driver and especially Alba Rohrwacher as the couple.
(Alchemy)
If it wasn't for the delightful dual presence of Daily Show standout Jessica Williams and Regina King as a 19-year-old student and her mother, this self-important comic look at a cartoonist/professor with young twin daughters going through a personal crisis after his wife leaves him, writer-director Jim Strouse's film would be less tolerable.
The main problem is the insufferable presence of Jemaine Clement as the protagonist, whose lack of charm and charisma drags the movie down, even with an appealing and talented supporting cast (the actresses playing his daughters are especially real and funny).
Wind Across the Everglades
(Warner Archive)
In Nicholas Ray's pulpy 1958 melodrama, a young Christopher Plummer battles a burly Burl Ives in the Florida Everglades, the two going mano a mano in the depths of the gator- and snake-infested swamplands.
Budd Schulberg's script may be overstuffed with atmosphere and undercooked with plausible drama, but Ray's direction compensates, while Plummer and Ives make worthy adversaries (and support from the likes of stripper Gypsy Rose Lee is essential). It's too bad that this unrestored color film isn't also available on Blu-ray.
NYC Theater Reviews—‘The Gin Game’ on Broadway; ‘Perfect Arrangement’ and ‘Clever Little Lies’ off-Broadway
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Monday, 19 October 2015 22:20
- Written by Kevin Filipski
The Gin Game
Written by D.L. Coburn; directed by Leonard Foglia
Performances through January 10, 2016
Perfect Arrangement
Written by Topher Payne; directed by Michael Barakiva
Performances through November 6, 2015
Clever Little Lies
Written by Joe DiPietro; directed by David Saint
Performances through January 3, 2016
 |
| James Earl Jones and Cicely Tyson in The Gin Game (photo: Joan Marcus) |
That D.L. Coburn's The Gin Game won the 1978 Pulitzer Prize for Drama says less about its quality and more about those who chose it. This slight two-hander about two lovably cranky oldsters in a senior citizens' home who bond and bicker while playing cards might be a sure-fire crowd-pleaser, but it's little more than an enjoyable way to pass two hours in the theater with two living legends.
Its premiere starred real-life couple Hume Cronyn and Jessica Tandy, followed by E.G. Marshall and Maureen Stapleton, as Weller and Fonsia. For this first Broadway staging since 1997 (when Charles Durning and Julie Harris starred), two of our biggest—and oldest—stage stars are headlining: James Earl Jones and Cecily Tyson. And they are superb together, making the play's gimmicky surface—the constant repetition of the games, or of Weller's counting the cards while dealing, or of their cantankerous back-and-forth, which shows their growing (if grudging) affection—seem natural and organic.
There are moments—their tender dance, their final spewing of a certain F-word—when Jones and Tyson transcend the script's built-in limitations, while Leonard Foglia's direction spotlights what's amusing more than what's dramatic. The Gin Game is nowhere near top-drawer, except when pros like the 84-year-old Jones and 90-year-old Tyson play it at the top of their game.
 |
| The cast of Perfect Arrangement (photo: James Leynse) |
Two off-Broadway plays, Perfect Arrangement and Clever Little Lies, both nod to TV and stage sitcoms to construct their comic tales. Topher Payne's Perfect Arrangement, which explores the closeted lives of homosexuals in Washington, D.C., circa 1950, has a surface resemblance to '50s "family" comedies like Ozzie and Harriet, Leave It To Beaver, I Love Lucy and The Honeymooners.
But such wink-winks and nudge-nudges allow Payne to slyly tell his story of two gay couples posing as straight husbands and wives. Bob Martindale, a Department of State employee, and Jim Baxter, his schoolteacher lover, pretend to be married to, respectively, the stay-at-home Millie and her girlfriend Norma, who works with Bob to ferret out Communists during the height of the Red Scare; in fact, they are so good at their job that their unctuous boss Theodore Sunderson wants them weeding out other undesirables and perverts, straight and (it goes without saying) gay. Theodore's ditsy wife Kitty and Barbara Grant, an unapologetically loose straight woman who works with Bob and Norma, round out the septet.
Although Payne wittily lampoons the era's rigid homosexual and straight ideology, at times he's too facile: the men literally go into and out of a closet to reach their apartment adjoining the women's. The laughs are there, and if they don't go too deeply, they do provide food for thought. Michael Barakiva's adroit directing balances sitcom tropes with Payne's more serious provocations, and the cast has great fun with the just-this-side-of-cartoon characters, especially Mikaela Feely-Lehmann, whose Millie is intelligent, forthright and shrewdly funny.
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| Marlo Thomas in Clever Little Lies (photo: Matthew Murphy) |
In Clever Little Lies, Joe DiPietro takes his cue from Neil Simon's one-liner-filled '60s and '70s comedies; that it stars Marlo Thomas also nods to her That Girl sitcom. Unlike Living on Love, a farce that was DOA on Broadway last spring, Lies shows that DiPietro can make his jokes hit their marks, even if too many are vulgar and crass, and, unlike the lazy stereotypes of Love, here there are characters worth spending time with.
When Billy tells his father, Bill, Sr., that he's cheating on his beloved wife Jane—who just had a baby—with a gorgeous 23-year-old personal trainer named Jasmine, dad inadvertently spills the beans to his wife Alice, who invites her son and daughter-in-law to the house to talk. As things are hashed out among the foursome, arguments ensue, drinks are downed, and dad eventually walks out in a huff. But this is no Virginia Woolf: DiPietro simply wants laughs, and he gets them, even throwing a late curveball that sheds new light on mom and dad's marriage, along with Billy's own infidelity.
David Saint's snappy staging smartly builds the conversations toward their humorous payoffs, while his acting quartet—Marlo Thomas (Alice), Greg Mullavey (Bill, Sr.), George Merrick (Billy), Kate Wetherhead (Jane)—perfectly hits the beats of most of the jokes.
The Gin Game
Golden Theatre, 252 West 45th Street, New York, NY
thegingamebroadway.com
Perfect Arrangement
Primary Stages, The Duke on 42nd Street, 229 West 42nd Street, New York, NY
primarystages.org
Clever Little Lies
Westside Theatre Upstairs, 407 West 43rd Street, New York, NY
cleverlittlelies.com
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