Even in our shockproof age, the shattering production of Tis Pity She's a Whore grabs our attention. Now at BAM, John Ford's 17th-century drama is about the incestuous love between a brother and sister, or what the local friar calls "a leprosy of lust."
When you're tackling a towering masterwork like Arthur Miller's Death Of A Salesman, words like "respectable" and "solid" seem like faint praise. When you hope to scale the mountaintop, getting most of the way up is cold comfort.
In the 1930s and '40s, Busby Berkeley (1895-1976) staged a series of movie dance numbers that could rival the paintings of Salvador Dali in their outlandishness. His movies were loaded with jaw-dropping optical illusions and wound up influencing everyone from the Coen Brothers to Mel Brooks.
In the course of two evenings on a stage at the Clemente Soto Velez Cultural Center, to packed audiences of peers, family members, co-workers and strangers, the cast gave a Broadway quality 'great performance.'
Even with an entirely new book and complete re-imagination of the central story, On A Clear Day remains a muddied, unsatisfying work that -- except for one promising Broadway debut -- has little to offer.
While it's a lighthearted and funny story, the play does carry some complicated issues related to identity and sexuality. For these characters -- and the show in general -- there's usually more than meets the eye.
I hope enough time passes that every time I listen to the cast album that will accompany the revival of Alan Jay Lerner and Burton Lane's 1965 On a Clear Day You Can See Forever -- and I know I'll listen to it often -- I won't be reminded of the tackiness of the production itself.