Theatre Reviews


Yankee Tavern: A Compelling Conspiracy

By Mary Damiano

William McNulty and Antonio Amadeo in Yankee Tavern Photo: Janine Harris

Conspiracy theories swirl through Yankee Tavern, a play by Steven Dietz now making its world premiere at Florida Stage in Manalapan. But how do you know what to believe? When does a theory start looking like the truth? After all, it’s not paranoia if they’’re really after you..

It’s been nearly eight years since the September 11 attacks, and the once taboo subject is now ripe for fiction. The theories surrounding the attacks are at the heart of Yankee Tavern, as a young couple gets caught up in the intricacies of what happened, and what might have happened.

Set in New York City in 2006, Yankee Tavern takes place in a titular bar located in a dilapidated, boarded up hotel which has a date with a wrecking ball. Both are relics from another era, barely hanging onto their former glory. The bar is run by Adam (Antonio Amadeo) a college student who inherited it from his late father. He serves the few customers who come in, works on his thesis and plans his wedding to Janet (Kim Morgan Dean). Ray, (William McNulty) an eccentric conspiracy theorist who was Adam’s dad’s best friend is also a mainstay. Ray converses with ghosts and preaches his skepticism on a variety of subjects, including the moon landing, the JFK assassination and the 2000 presidential election, as well as September 11. It seems like it’s all in good fun, until a mysterious patron, Palmer, (Mark Zeisler) makes claims that threaten to destroy Adam and Janet.

Dietz’s play is engaging and interesting, full of funny tirades and food for thought, but it switches gears abruptly in the second act, careening from quirky comedy to sinister thriller. The play comes alive when McNulty is on stage, his performance is luminous enough to light the whole theatre. The other cast members get their big moments and do well with them, but Yankee Tavern belongs to McNulty. Richard Crowell’s scenic design is another highlight—his attention to detail makes the tavern look as if it’s been housed at Florida Stage for 40 years.

Yankee Tavern will make you question what you think you know, and Ray’s first act curtain line—“Who are you gonna believe?”—will echo in your head long after you leave the theatre.

Yankee Tavern runs through June 21 at Florida Stage in Manalapan. For tickets and more information, visit www.floridastage.org.

The Dumb Show: Stupid Title, Smart Play

By Mary Damiano

Gregg Weiner, Deborah L. Sherman and David Sirois in The Dumb Show. Photo: George Schiavone

The question of how much a celebrity owes his public for his fame is examined in The Dumb Show by Joe Penhall, not on stage at the Promethean Theatre in Davie.

There was a time when reporters were regarded as heroes, fighting for truth and justice, but those concepts seem quaint in the face of tabloid journalism, where a celebrity’s affair or a woman giving birth to eight children dominates the headlines of both mainstream press and supermarket checkout rags.

The Dumb Show—a terrible title for a provocative play—takes place in a posh London hotel room (gorgeous scenic design by Dan Gelbmann) where two reporters (Deborah L. Sherman and David Sirois) pretend to be star-struck bankers in order to lull a TV star (Gregg Weiner) into a false sense of security so that they can get dirt on him for an expose. What happens in the hotel room during the course of their meeting is a matter of perception—the reporters claim the star is showing his true colors, while he says they entrapped him. Either way, his life, family and career are suddenly on the line, while the reporters are willing to ruin a man’s life if it means a juicy story.

The Dumb Show contains some interesting concepts about a celebrity’s right to privacy versus a gossip-hungry public’s right to know, and a celebrity’s complicity in his tabloid fate.

Some aspects of the production don’t quite mesh—the British humor, for example, falls flat, which bogs down the pacing and energy. But Weiner is terrific as the TV star, who goes from cocky to desperate to vulnerable over the course of the play. His accent is also spot on, and he’s so good at what he does it never feels like he’s acting. Sherman and Sirois, as the reporters are more stagy, more mannered. They’re at their best when they’re tag-teaming their prey, transforming from reporters to witch hunters, brow-beating the poor star into a “confession” about his perceived immorality.

The Dumb Show runs through May 31 at the Hollywood-Mailman Theatre on the Nova Southeastern University campus in Davie. For tickets and more information, visit www.theprometheantheatre.org.

Havana Bourgeois: Predictability Reigns in Period Play

By Mary Damiano

Danny Pino and James Puig in Havana Bourgeois Photo: Alberto Romeu

The Cuban Revolution and its effect on a successful advertising agency in Havana is at the crux of Havana Bourgeois by Carlos Lacamara, now playing at Actors’ Playhouse in Coral Gables.

It’s 1958, and things are buzzing at the Calvo and Associates ad agency. There’s lots of accounts from American businesses, there’s plenty of money and perks, like business trips to the United States, and opportunity to climb the ladder of the thriving agency. There’s also hope that the political climate will soon change, as a charismatic young Fidel Castro promises to overthrow Batista and make Cuban life better for everyone.

Well, we all know how that worked out. Havana Bourgeois is burdened by the history it seeks to humanize. There’s no suspense because we already know what happened.

Havana Bourgeois is a predictable story with nothing new to say. The characters are stock—the young believer who grows disdainful of the new regime, the world weary outcast, the oppressed flunky whose blind faith results in a rise to power in the new government. Change the names and setting to the Soviet Union under Stalin or Nazi Germany and the play would be the same.

The production is oddly devoid of period details, save for a cool retro television. The ad agency set is very perky and modern, the costumes could be from just about any modern time period, which doesn’t help the interchangeable nature of the play. Also, the play is dwarfed by the Miracle Theatre’s vast main stage venue; the upstairs theatre would have added an intimacy not possible in the main theatre.

Havana Bourgeois does boast a terrific performance by James Puig as a been there, seen that illustrator who refuses to submit to the new regime. Puig brings depth to a familiar character.

Danny Pino, the much-touted TV actor from the CBS show “Cold Case” looks the part of a young Cuban family man and turns in a competent performance, as does the rest of the cast.

Havana Bourgeois will likely be of great interest to South Florida’s Cuban population who will enjoy seeing their story or their ancestors’ story brought to life on stage. Otherwise, it’s a story you’ve already seen.

Havana Bourgeois rns through June 7 at Actors’ Playhouse at the Miracle Theatre in Coral Gables. For tickets and more information, visit www.actorsplayhouse.org.

Have a comment about what you’ve read? E-mail letters@miamiartzine.com.