'Spider-Man Turn Off The Dark' Saga Continues

Spiderman to the rescue in a scene from the troubled production, "Spider-Man Turn Off The Dark."Photos by Jacob Cohl.

BY TAMARA BECK

COMIC book superheroes have their own mythologies. It is incumbent upon their fans to debate their genesis, mission and powers.

In the case of “Spider-Man Turn Off The Dark,” it has been up to Julie Taymor to finesse the tale.

“Spider-Man’s” flight on Broadway has been marked by terrible mishaps that have been reported far and wide. But the speculation and bad press have helped keep the house at the Foxwoods Theatre full through a long cycle of previews. As of this writing that cycle has been extended.

Just Wednesday (9 March), rumor was that the show’s much delayed opening night, expected to be 16 March, would be delayed yet again. As of Thursday (10 March), it turns out these rumors were true despite the assurance of the lovely lady at the Foxwoods box office. “We’re still selling tickets,” she said.

The usher at the Wednesday matinee, aware of the news reports, said resignedly, “I’ve gotten no official word about my job.” Opening night is now scheduled for 14 June, by the way. In the interim, all previews are cancelled. Ticket refunds and exchanges are available.

Media reports that there would be changes in the creative were also correct. Those changes extend to director and co-creator, JT, which is a real shame. Her vision, however muddled the story she and Glen Berger have cobbled together, is genuinely brilliant. Of course, she cannot be summarily dismissed, owing to issues of copyright. Phil McKinley is stepping in to take over day-to-day oversight of the production.

“Julie Taymor is not leaving the creative team. Her vision has been at the heart of this production since its inception and will continue to be so,” producers Michael Cohl and Jeremiah J. Harris are quoted as saying on the “Spider-Man” blog. “Julie's previous commitments mean that past March 15th, she cannot work the 24/7 necessary to make the changes in the production in order to be ready for our opening. We cannot exaggerate how technically difficult it is to make such changes to a show of this complexity … Phil is hugely experienced with productions of this scale …”

Sketch from “Spider-Man Turn Off The Dark,” which has gone dark until 14 June.

A word about the story in seven simplified panels:
1. The Geek Chorus, four nerdy teens, is recreating the account of the rise and fall of Peter Parker/Spider-Man (Matthew James Thomas). Miss Arrow (Alice Lee) – JT’s alter ego – introduces the legend;

2. Of Arachne (T.V. Carpio) whose excessive pride in her skills as a weaver have angered the goddess Athena. Nonetheless, Athena saves her from death but turns her into an original spider;

3. Peter is an inquisitive, intelligent teenager who is bullied by his classmates in love with his neighbor, Mary Jane Watson (America Olivo) understudying at this matinee;

4. On a field trip to a biotech lab run by Norman Osborn (Patrick Page), Peter is bitten by a spider and given spider powers. As he grows into Spider-man, Peter does much good. Conflicted by the demands that being a superhero make on his time, however, Peter relinquishes the powers;

5. In a related occurrence, Norman, in an attempt to remain ethical in a corrupt society, accidentally transforms himself into the villainous Green Goblin;

6. Angered by Peter’s ambivalence and eventual rejection of his spider powers, and his love for Mary Jane, Arachne revitalizes the foes Spider-Man has vanquished and plunges the world into chaos and darkness;

While director/co-creator Julie Taymor will not be involved in the day-to-day operations of "Spider-Man Turn Off The Dark," she will not be leaving the production, at least not officially.

7. It is up to Peter to resume his role as Spider-Man and bring back light to the world.

JT, also an award-winning costumer, designed the outlandish and beautiful masks for the gaggle of villains and super-villains that besiege the New York so splendidly created by scenic designer George Tsypin.

Daniel Ezralow’s choreography, both on solid ground and in the air, is flawlessly breathtaking. Of the earthbound dancing, “Bullying By Numbers” is a gem of acrobatic and balletic movement. The aerial weaving scene in “Behold and Wonder" is an ethereal wonder of choreography and effects. In fact, all of the aerial choreography is thrilling – most spectacularly so the overhead battle between Spider-Man and the Green Goblin. (See video at http://spidermanonbroadway.marvel.com/about#num=content-1074&id=album-9)

This reviewer hopes sincerely that the producers, in revising the production and expanding the new creative team, will not throw out the spidey with the bath water.

Visit http://spidermanonbroadway.marvel.com/ to learn more about “Spider-Man Turn Off The Dark,” including ticket refund/exchange information.

Fear and Foreboding in 'Milk Train'

The mysterious Christopher (Darren Pettie) may or may not mean Flora (Olympia Dukakis) harm in “The Milk Train Doesn’t Stop Here Anymore.” Photos by Joan Marcus.

BY TAMARA BECK

TENNESSEE Williams, esteemed for “A Streetcar Named Desire” and many other works, wrote the very disturbing “The Milk Train Doesn’t Stop Here Anymore” in 1963 just after his lover had died.

Flora “Sissy” Goforth (Olympia Dukakis) is outlandishly louder-than-life. She is full of contradictions – at once cantankerous, exuberant, bullying, randy, despondent and vulgar. In “The Milk Train Doesn’t Stop Here Anymore, ”she is also dying and is deeply in denial about her illness, yet cunning and scared. OD commands the stage as Flora broadcasts her wishes and orders over the sound system she has installed.

Frances (Maggie Lacey) and Christopher (Darren Pettie) have a moment in “The Milk Train Doesn’t Stop Here Anymore.”

To help Flora ease her way is Frances “Blackie” Black (Maggie Lacey) who takes equal parts dictation and abuse. Even the compassionate Blackie can be cruel, suffering as she does under Flora’s bravado and heartlessness, the former tells the handsome poet, Christopher Flanders (Darren Pettie). Christopher has mysteriously shown up at Flora’s Italian mountaintop villa.

A difficult and troubled work, “The Milk Train Doesn’t Stop Here Anymore” gets star treatment at the Roundabout Theatre’s off-Broadway Laura Pels Theatre through 3 April. Among its most egregious failings are disquieting character/plot twists. TW breaks with realism; the resultant changes in tone are jarring. (See video: http://www.roundabouttheatre.org/video/1011/milk_2.htm?utm_source=todd_email&utm_medium=email_internal&utm_campaign=milk_train)

Christopher’s sudden appearance and his place in Flora’s world is an oddity, but “The Milk Train Doesn’t Stop Here Anymore” veers completely off course with the appearance of “The Witch of Capri” (Edward Hibbert).

All semblance of naturalism is suddenly disrupted and the actors, as if they were in a late 19th century melodrama, become stilted and wooden as if to signal a change in tone. They soon revert to the more naturalistic tone from the beginning of the play, except for EH whose delivery remains outlandish. He is deliciously vicious and swish as the gossipy Witch.

The Witch (Edward Hibbert) gives Flora (Olympia Dukakis) an earful about a certain handsome stranger in “The Milk Train Doesn’t Stop Here Anymore.”

Since Flora has allowed Christopher to stay in her pink cottage – probably because her fourth husband, Alex, was also a poet and handsome – she has invited The Witch to dine so that he can her the lowdown on her new houseguest. Christopher, it turns out, has been a companion to a number of rich women all of whom have died under his care. The Witch informs Flora that Christopher is known as the Angel of Death in their social set.

Director Michael Wilson makes an admirable attempt to bring the seldom-revived work to life. Unfortunately, it has many obstacles for both director and actors to overcome.

To learn more about “The Milk Train Doesn’t Stop Here Anymore,” visit http://www.roundabouttheatre.org/offbroadway/themilktraindoesntstophereanymore/about.htm.

'It Gets Better' Is the Height of Fashion

Uber stylist and businessman Derek Warburton displays one of his many talents in the Richie Rich Spring 2011 show in September 2010 during Mercedes-Benz Fashion Week New York. Photo from Derek Loves Shopping.

BY JENNIFER MENDOZA

“WHY should I look back over the past? The only reason is because it’s the only way It Gets Better,” entrepreneur Derek “Fabulous” Warburton reveals in his personal video diary.

The international stylist and tastemaker (http://www.dereklovesshopping.com/) is a supporter and hosted an It Gets Better Project lounge at the Empire Hotel during the recent Morcedes-Benz New York Fashion Week. In his video, openly gay DW talked about his experience with teen bullying during high school (http://www.itgetsbetter.org/#ag84z-HixSI)

The goal of the It Gets Better Project is to send a message of hope and raise awareness about teen bullying by supporting kids who are the victims of it and who are contemplating suicide. It specifically aims to make young LGBT people aware of famous and prominent people who are out and proud about their sexuality.

Contributors who make at least a $30 donation to the It Gets Better Project receive a free T-shirt. Photo from It Gets Better Project.

The It Gets Better Project supports young kids’ sexual preference. It gives them the back up that even some family members don’t give them. Regardless of whether you are lesbian, gay, bisexual or transsexual, people should respect you for who you are is the message of the project.

DW's Fashion Week party attracted other supporters, including Eve, Kat de Luna, Gabrielle Union, Keri Hilson, John Bartlett, Amy Chan, Mike Ruiz and Miss Jay. Many of them followed the example of others around the world, including President Barack Obama, by making their own video calling for an end to bullying.

“Youth can’t picture what their lives might be like as openly gay adults," the It Gets Better Project says on its Web site. "They can’t imagine a future for themselves. So let’s show them what our lives are like. Let’s show them what the future may hold in store for them."

Visit http://www.itgetsbetter.org/ to learn more about the “It Gets Better Project.”

Sardinian Vulcan Wines Born of Happy Grapes

Sardinia boasts both beautiful beaches and good wines. Photo by Patri Iade.

BY TAMARA FISH

I can see it now: The starship Enterprise hovering somewhere overhead. Mr. Spock is standing on the jagged cliffs of Sardinia, overlooking the teal blue sea. A wine glass is in his left hand. His right hand is raised with fingers splayed, he intones in a deep basso voice, “Live Long and Prosper.”

If Mr. Spock were a wine drinker, his wine would be Sardinian: complex, unusual, seemingly otherworldly.

A grand experiment in international viniculture for millennia, Sardinia sits just south of Corsica and north of Sicily. Ancient Phoenicians and Greeks left remains of wine jugs, mixing bowls and amphorae strewn all over the sun-drenched island. Marauders crossing the Mediterranean and establishing colonies throughout the 11th-16th centuries brought with them grapes from their native lands: grafts from Spain’s Aragon region, Southern France, and possibly Syria or Lebanon.

Mixed among them all, not to be uprooted or undone, were Sardinia’s own indigenous grapes (varietals), such as Vermentino, Cannonau, Monica. And some time in the 23rd century, explorers from the planet Vulcan will stand on its craggy hills, Mr. Spock among them, and extol the virtues of this noble winemaking tradition.

But that’s not what I really mean by vulcan. Vulcan here refers to volcano. Sardinia sits atop inert volcanoes, its limestone and granite soil still connected to its lava-laden past. In fact there are caves with lava stones all around Sardinia’s pristine coasts. The volcano-tinged granite soil, some Sardinian winemakers believe, give their wines a distinctive flavor, an earthy heartiness, an almost mineral taste.

Dr. Mehmet Oz speaks highly of such wines as Vigne Surrau Sincaru-Cannonau di Sardegna. Photo from Vigne Surrau.

Tasting tip: Mineral Taste
What do I mean by a mineral taste? Don’t worry. I promised not to use terms like “pencil tip,” and I won’t. But consider this: ever drink mineral water? Ever have the sense of there being something kind of … well … different about the water? If not, go to your favorite frou-frou gourmet store, shock yourself silly at the price of a little ole bottle of water with an unintelligible label, and swig. Ahhh, the “something different,” the mineral taste.

Now take that same taste, that same rather earthy or metal-like quality, and transfer it ever-so-gently to wine. Imagine sipping wine, and without diluting its flavor, add a metal-earthy tinge –just a touch – to the wine. The wine would seem less sweet, less fruity (not fruit-forward on the palate). It might even seem sweet’s opposite: savory (reminiscent of herbs: thyme, sage).

The Secret of Sardinian Wines: Respect the grape
Combine the mineral taste from the volcanic-granite soil with Sardinia’s indigenous varietals, and presto! The making of unusual – and quite beautiful – wines. But if Sardinia’s wines are so unusual, beautiful, and otherworldly, why haven’t we heard of them by now?

It’s simple: Sardinian viniculture fell prey to the ebb and flow of popular tastes, as well as the difficult choice of whether to follow the grape or follow the trends. Grapes are temperamental beasties. Pull, prod, prune, and blend, folks can try to bring them in line with lighter flavors, but ultimately nature will rebel.

Disrespect the character of the grape – like disrespecting the essential nature of horse – and you’ll be thrown for a loop every time. Sardinian grapes responded to being dragged kicking and screaming into trendy fashion by creating plonk. What is plonk? Cooking-sherry-quality wines. Pure drech. Rot-gut.

Sardinian wines were on the menu at the recent Vino 2011 Italian Wine Week in New York. Photo from Italian Made.

During the past two decades, Sardinian winemakers literally went back to their roots, respecting the nature of their indigenous varietals and their distinctive tastes. Instead of trying to make nature conform, they began to celebrate what it is that the local grapes could produce. Integrating some modern agricultural approaches with traditional methods of winemaking, Sardinian winemakers have cultivated distinctive hearty robust wines with minimal sweetness.

How did I manage to hear of Sardinian wines? Partially by accident, and then searching for them deliberately at the Vino 2011 Italian Wine Week at the Waldorf=Astoria New York.

Two Sardinian Varietals and One Vineyard: Vigne Surrau
Vermentino
One of Italy’s four DOGC white wines (highest level of controlled appellation), Vermentino is a Houdini of white wine: what appears before one’s eyes and what one gets are two delightfully different things. Imagine a wine that smells powerfully fruity, unmistakably fruity, like citrus. In fact, the first sip even tastes fruity. But then, without any advance notice, the fruit melts away and becomes a warm not-sweet-at-all (dry) mineral taste with a savory edge. One dip down, and the eyebrows go up, wondering what the heck was that?!?! Welcome to Vermentino.

Vigne Surrau: Branu 2009
Open a bottle of Surrau Branu and stand back. There’s no need to approach the bottle. Its fragrance (nose) – as strong as a full bouquet of flowers and honeydew fruit salad – will rise, shake your hand, and call you by name. Initially slightly sweet on the tip of the tongue (seemingly fruit forward), the wine suddenly fades (middle finish) to a soft mineral taste with a delicious somewhat savory long aftertaste (lingering finish, slightly herbal). Surrau Branu pairs perfectly with seafood minimally fussed with, and soft cheeses.

Vigne Surrau Branu -Vermetino di Sardegna pairs well with soft cheeses and simply prepared seafood. Photo from Vigne Surrau.

Cannonau
Dr. Mehmet Oz put Sardinia’s Cannonau on the U.S. wine scene with one simple announcement: perhaps Cannonau, the wine with the highest antioxidant properties, is the key to Sardinian longevity. Related to the French Grenache, Cannonau is intense, eggplant dark, and rich – seeming both spicy on the one hand and fruity on the other, often with a hearty rustic aftertaste (oaky finish).

Vigne Surrau: Sincaru 2008
Despite a very intense fruit smell (black cherry on the nose), Vigne Surrau’s Sincaru is smoky (charcoal, oaky) and reminiscent of spices (savory). Sincaru pairs well with charcoal grilled foods, game and red meats.

Where to buy
Vigne Surrau expects its wines to be available in the United States and online by the end of Spring 2011. Until then, you have three choices: Go to Sardinia, try Argiolas’ version of the same varietals available online from Wine Access (http://www.wineaccess.com/search/results.adp?dims=4294965478) or hope that our friend, Mr. Spock can have Scotty beam over a case or two.

Next: Savoring Sauvignon Blancs – The OTHER White Wine

Women in the World Stories and Solutions

Secretary of State Hillary Clinton, activist/author Ayaan Hirsi and publisher Arianna Huffington have invitations to the Women in the World Stories and Solutions summit. Photos from The Daily Beast.

HAPPY Women’s History Month and Happy International Women’s Day! Celebrations and commemorations are abounding the world over, especially today.

One of the main events was the Million Woman March in Cairo’s Tahrir Square. Alas, misguided men – some of whom participated in the revolts against former President Hosni Mubarak – decided to beat up and grope the ladies. “Down with women,” offenders reportedly chanted as they went about their misdeeds.

Events in Egypt, plus many others – including education and economic empowerment in various forms – affecting the women of the world will be on the mind and tongues of those attending and participating in the second Women in the World Stories and Solutions summit.

The Hudson Theatre at Millennium Broadway will be the vortex of some of the greatest concentration of woman power in the world Thursday through Saturday (10-12 March).

Last year’s summit was such a hit that host Tina Brown, editor-in-chief of The Daily Beast and – most recently – Newsweek, has decided to re-up. Her co-hosts include Diane von Furstenberg and Meryl Streep.

Wajeha H. Al-Huwaider

Other high-profile women participating in the summit include three presidential cabinet types: Hillary Clinton, Condoleezza Rice and Madeleine K. Albright, as well as influential women from many other fields. Some are more well-known than others, but all are doing important work toward the advancement of women and are descending on Gotham to celebrate achievements and discuss challenges ahead.

Saudi Arabian journalist/activist Wajeha H. Al-Huwaider participates in the first panel of the summit, “Firebrands: Pioneers in the New Age Dissent.” Moderator Christiane Amanpour guides the discussion around creative forms of protest and the future of women in the Middle East in light of events in North Africa. Later in the evening Charlie Rose interviews Melinda Gates, wife of Bill. Over dinner, TB interviews Bill Clinton, husband of Hillary.

Yem Chhuon

An ugly subject, graphic images included, is “Stealing Beauty.” It opens Day 2 of the summit. Under discussion will be acid attacks on women and their root causes and antidotes, i.e., regulating the availability to the substance and stiff justice for those afflicted. Panelist and acid attack survivor Yem Chhuon will no doubt provide useful insights.

On a happier note at mid-day, Phelicia Dell, designer and CEO/VeVe Collections and others will disclose how mentors helped them grow their business from small to medium in “Making a ‘Must Have’ Market.”

Phelicia Dell

Not surprisingly, with attendees including former presidents, current and former secretaries of state, billionaire CEOs and other high-wattage types, the summit is invitation-only. But those not holding an invite can watch the livestream of the summit at http://www.thedailybeast.com/.

One of the most gratifying stories of the three days has to be Friday’s “A heroine for our Times: Dr. Hawa Abdi.” The enterprising physician started a health clinic on her family farm in Somalia. It is considered an oasis of peace.

Dr. Hawa Abdi

On Saturday, the stories of women in the so-called Democratic Republic of Congo are told through words and pictures in “If You Knew Me, You Would Care.” Also on the agenda and under scrutiny is the French ban of the nigab and Europe’s cultural tolerance (or lack thereof) in “The Multiculturalism Debate: Is Europe Stigmatizing the Veil?”

Before TB’s closing remarks is “Presenting 10 X 10: 10 Girls. 10 Countries. 10 Writers. 10 Compelling Stories.” The international action campaign, “10x10,” focuses attention on the importance of educating/empowering adolescent girls in the developing world as a way to break the cycle of poverty. The overview comes with action plans

Visit http://www.thedailybeast.com/newsmaker/women-in-the-world/ to learn more about the summit.

Keeping It Relevant at Paul Taylor Dance Co.

Annamaria Mazzini leads the full cast as Flemish Villagers in Paul Taylor Dance Company's "Phantasmagoria." Photo by Tom Caravaglia.

BY TAMARA BECK

CONCEPTS can sometimes overwhelm and muddy a dance piece. Or, more happily, they can be just the ticket to delightfully conjoining mind and body on the stage.

The former unfortunately is true of Paul Taylor Dance Company’s “Polaris,” a piece originated in 1976 to commissioned music by Donald York. The concept that two casts of dancers consecutively perform the same steps and movement to two different scores is intriguing, even fascinating. The resulting work is a dull disappointment, though.

“Polaris” is performed inside and outside of an open-faced box, delineated only by its struts. This box is an open square built of edges against a blue background designed by Alex Katz.

The dancers begin downstage in confinement within this enclosure. At first they define the space, reaching out to touch the imaginary walls. As one of the dancers breaks free from the box onto the larger stage, others soon follow. Their confinement is voluntary and eventually, they all return to it. At this point the second crew comes on stage and one by one replaces the first group of dancers.

Dancing inside the box in "Polaris." Photo by Lois Greenfield.

The music changes, but the movement repeats, line for line, stretch for stretch, step for step. “Polaris” lacks the verve and energy this reviewer has come to expect from a Taylor-made piece.

There is repetition and recurring characters in “Phantasmagoria” as well. But, oh my, everything in “Phantasmagoria” is to pleasurable effect. The eclectic and lively music is selected from anonymous Renaissance composers. The costumes by Santo Loquasto are imaginative, colorful, and echo the eras they reflect.

Annamaria Mazzini, Amy Young and Laura Halzack as the Isadorables in "Phantasmagoria." Photo by Tom Caravaglia.

“Phantasmagoria” is a kind of history of the world set through dance, covering an amusingly wide range. The Renaissance is represented in a pictorial opening featuring the entire cast as Flemish Villagers (12 cast members led by Annamaria Mazzini), onward to the tribute to Isadora Duncan in the form of the Isadorables (Amy Young, AM, and Laura Halzack). There is a side trip to an East Indian Adam and Eve, deftly and humorously played by Sean Mahoney and Parisa Khobdeh with a toy serpent.

The oft-present Byzantine Nun (LH) dances off with PK’s prop serpent also to very funny effect. The Flemish Villagers, the Isadorables, an Irish step dancer (Michelle Fleet), come in and out of the wings. Michael Trusnovec, as St. Vitus’ dance transformer, infects the cast. The involuntary jerky movements of the disease named for St. Vitus, the patron saint of dancers, are turned into a joyful display.

Michael Trusnovec as St. Vitus’ dance transformer and cast in Phantasmagoria. Photo by Tom Caravaglia.

Paul Taylor continues to add vibrant, thought-provoking and relevant dances to his repertory at the age of 82. There are some 150-plus works that are often licensed for performances by other dance troupes and taken on tour by both the larger company of 16 dancers and Taylor 2’s ensemble of six.

In 1993, PT with longtime colleague, Linda Hodes, created Taylor 2 so that it could tour the world and share his works with a wide audience. Since it is a company of only six professionals, it can economically meet its mandate to accommodate performance requests as well as teach and provide community outreach with a repertoire that spans the broad spectrum of his works and can be performed by a smaller ensemble. (See video at http://ptdc.org/video/taylor-2)

Among the works in the Taylor 2 repertory is the classic “Company B” set to music sung by The Andrews Sisters. It is a jazzy and wistful recollection of the nation’s hopes, dreams and disappointments just as World Wa II was beginning.

Taylor 2 dancers in "Company B." Photo by Tom Caravaglia.

While the main company’s annual visit to New York City Center ended yesterday, it goes on the road, starting 19 March at Altanta. Other stops include Washington, D.C., Stillwater, OK and Clearwater, FL. It ends on 23 July in Durham, NC.

Meanwhile, Taylor 2 is in residence at the UB Center for the Arts in Buffalo and performs there Thursday (10 March, http://www.ubcfa.org/webmodules/event/Events.aspx?eid=647#647e). Other stops are Livermore, CA and Napa, CA before the tour ends on 2 April in Colorado Springs, CO.

Taylor Dance and Taylor 2 exclusively perform pieces created by its founder and namesake. (See Video of PT's “Scudorama” at http://www.youtube.com/watch?v=GfdpmYzs3J4&NR=1) and the classic “Esplanade” at http://www.youtube.com/watch?v=PnYmdX8hpPE&feature=related and http://www.youtube.com/user/danceonfilm)

Visit http://www.ptdc.org/ to learn more about the Paul Taylor Dance Company and http://ptdc.org/artists-dances/taylor-2 to learn more about Taylor 2.

Goings-on Elsewhere in the World of Dance
ANTICIPATION is growing for a visit from the Martha Graham Dance Company in honor of its 85th anniversary from 15 March to 20 March at the Rose Theatre in the Time Warner Center. (http://marthagraham.org/company/newyork)

New York City Ballet dancers Tiler Peck, Sara Mearns and Amar Ramasar perform "For the Love of Duke. Photo by Paul Kolnik

The program will include classic pieces by Martha Graham, a world premiere by Bulareyaung Pagarlava and the revival of a piece commemorating MG, Robert Wilson’s “Snow on the Mesa” …

THE New York City Ballet comes in little bursts. The winter season just ended, featured some old gems, including George Balanchine’s “Cortege Hongrois” and new faves like Susan Stroman’s “For the Love of Duke.” Not to worry. They’re back in residence at the David H. Koch Theater at Lincoln Center for the spring season from 3 May to 12 June. (http://www.nycballet.com/1.html) ...

WHAT won’t be back in the spring is Peter Martin’s “Swan Lake” which sold out the house, actually creating a cancellation line during the last week of the winter season. “Black Swan”-effect, you think?

'Black Tie': Things Fall Apart, WASP-Style

(Curtis' father) Daniel Davis, top, appears from the grave to advise his son (Gregg Edelman) regarding a seminal event in the family's history in "Black Tie." Photos by James Leynse.

BY TAMARA BECK

WHITE Anglo Saxon Protestants, once at the forefront of American life, have lost some of their ascendancy. In A.R. Gurney’s new comedy, “Black Tie,” the dying WASP is already dead.

Daniel Davis is Curtis’ father, only identified as such and an apparition that Curtis (Gregg Edelman) consults on the eve of his son’s wedding. Curtis’ father is the ghost of WASPs past, and only Curtis can see him. He is seeing his father now because of nostalgia for a social order no longer entirely relevant.

“Black Tie,” a Primary Stages production on stage in an extended run through 27 March at 59E59, is a mild and pleasant familial anecdote.

Ari Brand (Teddy), Carolyn McCormick (Mimi), Elvy Yost (Elsie), Gregg Edelman (Curtis) and Daniel Davis (Curtis’ father) in "Black Tie."

Curtis hangs onto his father’s advice and some of the societal conventions it embodies, but the world of the latter has long ago begun to breakdown. Mimi (Carolyn McCormick), Curtis’ wife, though of the same class and background, is a liberal and progressive woman. She is having a much easier time of it.

Although wistful for the traditions so easily followed by his father’s generation and now passé, Curtis is not strictly a starchly-conservative and tradition-bound WASP. But some traditions die hard.

Curtis wants to commemorate his son, Teddy’s (Ari Brand), wedding by wearing black tie and tux to the rehearsal dinner as he feels his father would have done. Elsie (Elvy Yost), Mimi and Curtis’ daughter, is the family’s designated peacekeeper as the plans for the rehearsal dinner get more and more complicated.

Gregg Edelman (Curtis) and Carolyn McCormick (Mimi) are parents who have different reactions to an upcoming wedding in "Black Tie."

While much of what he advises is pleasantly sensible and inclusive, Curtis’ father doesn’t understand the intricate relationships in his grandchildrens’ lives. Not understanding, though, does not mean he is not prepared to accept that times change. Curtis, on the otherhand, is hurt that the rehearsal dinner is not his party anymore – it belongs to the new generation.

“Black Tie” boasts a fine cast with the exception of DD. Despite the sympathetic character he plays, he is grating. GE is ingratiating as Curtis, and CMcC gives a lively yet low-key performance.

Visit http://primarystages.org/blacktie to learn more about “Black Tie.”