Red Hot Patriot : The Kick-Ass Wit of Molly Ivins at Arena Stage

What is it about liberal Texas political women that makes such entertaining theater?  Last season we were treated to Holland Taylor as Texas Governor Ann Richards at the Kennedy Center.   This season we have Kathleen Turner as the firebrand columnist Molly Ivins in Red Hot Patriot: The Kick-Ass Wit of Molly Ivins at Arena Stage.   The latter play does invite brief comparison to the earlier work.   Both are one-woman shows about strong very political women who left behind a wealth of insightful commentary on the challenges of becoming a powerful woman in their respective fields coming into their own by breaking barriers in their fields.   Both subjects call Texas the home of their heart and soul.   And both women are unabashed liberal Democrats.

What sets Red Hot Patriot apart is that Molly Ivins was not a politician, she was a journalist.   In fact the play is written by two journalists, Margaret and Allison Engel who in an interview with Arena Stage's Literary Manager in the program attest to their admiration for not only Ms. Ivins' skills and humor as a reporter, but their strong belieft that following her death in 2007 from cancer that they needed to create a one-woman play that would celebrate her eclectic life showcasing not only the ground-breaking journalist but the prolific writer and commentator of forty years of American political life.

Kathleen Turner proves a perfect choice to theatrically honor Molly Ivins. The small Kogod Cradle is the perfect setting for this show.   In a larger setting the intimacy that Ms. Turner creates with her audience would be swallowed up.   It is essential that Ms. Turner be able to engage with her audiences and she does so in with Texas charm edged with piss and vinegar.   Ms. Turner is delivering a vibrant performance that is a testament to no only her abilities as an actress, but the respect and love for Molly Ivins and the material the playwrights have crafted.   It is not a perfect show, but in this political town, Red Hot Patriot is the perfect way to laugh heartily at the political scene rather than rant about it, even if for a brief 80 minutes of theater.   And to ponder, as one leaves the theater, what would Molly say about it all now.

Red Hot Patriot: The Kick-Ass Wit of Molly Ivins will be performed in the Kogod Cradle at Arena Stage's Mead Center for American Theatre through October 28, 2012.  For tickets and other performance information please visit www.arenastage.org.

Peter and the Starcatcher at the Brooks Atkinson Theatre

The boy who never grew up.  Pirates, fairies, mermaids.  Second star to the right and straight on to morning.   All familiar to anyone who has cherished the play and novels about Peter Pan written more than one hundred years ago by J.M. Barrie and the various theatrical and film adaptations that have followed.   Yet, what fun it was for Dave Barry and Ridley Pearson to reimagine the tale of how that ever youthful callow lad became Peter Pan in their 2004 novel Peter and the Starcatchers.   Now an adaptation of that novel has been lovingly crafted by playwright Rick Elice, directors Roger Rees and Alex Timbers and the Tony award winning designers of Peter and The Starcatcher now on stage in New York at the Brooks Atkinson Theatre. 

Unlike other fantasies that have graced the Broadway stage, Peter and the Starcatcher relies on the appearance of a low budget staging. The setting uses colorful backdrops and the use of  found props to create intimate scenes or clever representations of native wildlife.   Add the seemingly well-worn Victorian-style costumes and the musical score by Wayne Barker and this scant company of twelve actors create such magic on the stage that the most cynical adult will by the end believe in the power of star stuff and the legend of the founding of Neverland.

In J.M. Barrie's 1902 novel, The Little White Bird, later republished in 1906 as Peter Pan in Kensington Gardens, Peter Pan is described as a newborn who escaped his nursery window. In later adaptations he ran away because he heard his parents discussing his future adult life.   In Peter and the Starcatcher he is an abandoned orphan who is sold along with two other boys to Captain Slank of the ship Neverland to be delivered to the country of Rundoon.  Captain Slank is delivering one of two identical trunks belonging to Lord Aster.  Aster is traveling on the other ship, the Wasp under Captain Scott.   Slank marks one of the trunks and switches it so that he can possess its valuable cargo of star stuff.   Lord Astor sends his daughter Molly and her nurse Mrs. Bumbrake on the slower Neverland ship while he travels with the faster Wasp so that he can destroy the star stuff before it falls into evil hands.  

The trunks are switched and the Neverland is taken over by pirates led by the great and terrible Black Stache.   The clever and adventurous Molly joins forces with Peter and the orphans, a storm shipwrecks the Neverland and the star stuff begins to change the island they find themselves on in strange and mysterious ways.   Before the tale ends we will see the origins of many familiar characters and places in J.M. Barrie's fantasy world.

Peter and the Starcatcher deservedly earned its Tony wins for its amazing design elements.  The actors are a joy to watch as they spin the tale keeping the audience, which frequently includes small children, engaged throughout its brisk running time.  While Tony winner Christian Borle has left the show, Matthew Saldivar has capably taken up the mantle of the scenery chewing (in a good way) Black Stache.   A complete blowhard who does maintain an undercurrent of menace, Mr. Saldivar clearly is having as good a time performing the role as the audience is delighting in his performance.

Arnie Burton is delightful as Molly's nurse, Mrs. Bumbrake giving her just the right amount of saucy bravado mixed with Victorian sensibility.   Teddy Bergman fiercely defends his island home from contamination by the English as Fighting Prawn the chief of the island.   Rick Holmes has the right stiff upper lip as Lord Aster and Kevin Del Aguila the perfect slimy sidekick as the pirate Smee.   Adam Chanler-Berat as the Boy who becomes our hero creates pathos for the abused orphan and the gradual transformation from despairing lad to the future thorn in Captain Hook's side is delightful to watch as he is guided on his journey by his fateful encounter with Lord Aster's spunky daughter, Molly.

For Molly is the true heart of this play.  In the hands of Tony nominee Celia Keenan-Bolger, Molly Astor is full of spit and vinegar.  She yearns for adventure hoping beyond hope to earn her father's approval, yet rebelling from the strictures of Victorian girlhood.  Ms. Keenan-Bolger's Molly is on the cusp of blossoming womanhood yet has the gentle awkwardness of girls and boys of her age.   Comparisons to Barrie's Wendy are obvious, yet Molly is more than the mother that Peter and the other orphans lack.  She is their feisty equal.

If there is a flaw with the play it is minor.  There are several contemporary pop culture jokes.  While this does mean that they can be updated as needed, unlike a film adaptation where such additions would become quickly stale, they do detract from the universality of the story.

Peter and The Starcatcher is being performed at the Brooks Atkinson Theatre in New York City.  For tickets and other performance information please visit www.peterandthestarcatcher.com or www.ticketmaster.com.

The Best Little Whorehouse In Texas at Signature Theatre in Virginia

In the spirit of the rousing production of The Best Little Whorehouse in Texas now being performed at Arlington, Virginia's Signature Theatre, this here review would develop a Texas twang thicker than a Longhorn's prime rib.   For a good time, come on down to the Chicken Ranch.   Just leave the kiddies at home.  Not for nothing is Signature Theatre emphasizing the word Whorehouse in all of its advertising.

This is a well crafted revival of this late 1970's crowd-pleaser   The dancers heartily stomp Karma Camp's choreography.  The deep bordello red of Collin Ranney's set perfectly frames the story.  Kathleen Geldard's fanciful costumes evoke a storytelling quality, from the stereotypical cowboy fringe of Melvin P. Thorpe and his Dogettes, to the sensuous lingerie and fall away prom gowns worn by Miss Mona's girls.  Eric Schaeffer who shapes both the high comedy and the deep melodrama of this musical has thoughtfully directed the entire production. 

 If there is any flaw in this musical it comes from the play itself, only briefly hinting on the dark side of prostitution lest it interfere with the overall message of an intolerant minority shutting down a local institution, no matter how possibly troubling said institution may actually be.  That and a change in tone in the second act which leads to an ending that peters out rather than going out with a bang.

For this is the tale of the Chicken Ranch.  A wholesome house of I'll repute operating in Texas for more than a century.  The owner, Miss Mona Stangley gives generously to local causes and hosts the annual end of season reward for the Texas A & M Aggies football team.   When local radio personality and self appointed morality police Melvin P. Thorpe decides to crusade against the Chicken Ranch the local and state politicians are forced to stop patronizing the Chicken Ranch and close it down.

Christopher Bloch makes a terrific villain as Melvin P. Thorpe, embracing his single minded crusade whilst wearing a completely ridiculous ensemble.   Tracy Lynn Olivera brings a weary wisdom as the long suffering waitress Doatsy Mae slinging hash and zingers and singing well the song that shares her name.  Nova Y. Payton's Jewel raises the roof in Twenty Four Hours of Lovin'.  It is a shame that she only has the one solo, but as has been mentioned in other reviews she is slated to portray Effie in the upcoming production of Dreamgirls to which we all look forward to with excitement. Thomas Adrian Simpson's Sheriff Ed Earl Dodd may not be the hero that Miss Mona requires but he still comes across as a decent man forced to follow the letter of the law rather than do what he feels is right.

Second in importance only to Miss Mona herself are the talented young men and women who make up Miss Mona's Girls, The Doggettes and The Aggie Boys.  Signature Theatre has managed to find an incredibly talented ensemble of singers and dancers who raise the roof off of The Max stage.  The ensemble includes the choreographer’s daughter Brianne Camp who is also credited as Associate Choreographer.

As for the proprietor of the Chicken Ranch, Miss Mona Stangley?  The amazing Sherri L. Edelen brings her to vivid life.  Ms. Edelen is the fierce mother hen, protector of her girls and upholder of her standards.  She fights hard for her girls and her business, while holding a torch for the Sheriff.  She'll bring you joy in A Lil' Ole Bitty Country Place and a few tears in Bus From Amarillo.  Mostly she'll turn on the charm so that you just might want to extend your stay in The Best Little Whorehouse a little while longer.

The Best Little Whorehouse in Texas will be performed in The Max theater at Signature Theatre in Arlington, Virginia through October 7, 2012.  For tickets and other performance information please visit www.signature-theatre.org.

The Merchant of Venice at the American Shakespeare Center

The true genius in the best of William Shakespeare's plays is his ability to challenge the audience's expectations.   The prejudices of the sixteenth century are ever present, but the stereotypes are frequently deepened.    And thus it is with The Merchant of Venice which features as its villain the usurious Jewish moneylender, Shylock.   In the brilliant "I am a Jew" speech and the despairing rant over his daughter's betrayal, Shakespeare gives Shylock a more rounded character that helps transcend the stereotype of the money-grubbing man seeking revenge.   Add to that the rich characterization provided by an actor at the top of his game and you have a compelling reason to journey to the Shenandoah Valley to seek out the high qualities of this production presented by the American Shakespeare Center.

The melancholy merchant of the title, Antonio (Rene Thornton, Jr.) agrees to help fund his best friend Bassanio's (Gregory Jon Phelps) attempt to win the wealthy heiress of Belmont Portia's (Tracie Thomason) hand in marriage.  Antonio's own money is unavailable as his merchant ships are at sea.  He agrees to borrow the money from Shylock (James Keegan), a wealthy Jewish moneylender.  Shylock, who has been harassed and suffered humiliation at the hand of Antonio and the other Christian merchants of Venice agrees to lend the money on one condition.  If Antonio does not meet the deadline for repaying the loan, he must forfeit one pound of his flesh.  Antonio agrees as he does not believe that he will have any trouble repaying the funds. Bassanio travels to Belmont where Portia is restricted by the terms of her father's will in how she chooses a husband.   Any suitor must select from three caskets, gold, silver, and lead.   If they choose correctly they will marry Portia.  If not, they cannot marry any other woman.  Meanwhile, Shylock's daughter, Jessica (Abbi Hawk) elopes with the Christian Lorenzo (Chris Johnston), taking with her a small fortune.   This additional betrayal hardens Shylock's heart, so when Antonio's ships fail to come in and he must forfeit on the loan, his life is in danger.   In the midst of happy marriages, the unhappy trial for Antonio's life looms large.   Judgments will be made with the aid of a surprising scholar of the law.

This is a play that can challenge the 21st century audience.  For not only does it feature as its villain a Jewish character bent on revenge for the wrongs that the Christian merchant of the title has done unto him, it also features uncomfortable behavior by the majority Christian characters towards the Jewish and African ones. The American Shakespeare Center has not excised the more uncomfortable language spoken by the heroes and heroines of the play.   Under the direction of Artistic Director Jim Warren, the language is not emphasized, but is matter-of-factly delivered.  Thus when Portia proclaims that she hopes not only that the Prince of Morocco fail in his attempt to marry her, but "let all of his complexion choose me so," she is declaring that she hopes that anyone of African descent not win her.  Yet, she delivers it not with malice, but as if it were the most natural thing for her character to say.  It is a credit to Ms. Thomason that she keeps Portia's attitude light and merry throughout the discussions of her various suitors.

For Ms. Thomason is a delightful, playful Portia.  The Blackfriars' stage encourages audience interaction.  In the scene in which Portia and her gentlewoman, Nerissa (Allison Glenzer) discuss the various suitors who have failed in their quest to marry her, Ms. Thomason and Ms Glenzer have a great deal of fun choosing audience members to illustrate their playful banter.  Ms. Thomason's Portia has mirth-filled charm throughout Portia's journey from object of love to deliverer of justice.

Ronald Peet and Chris Johnston bring comic delight to the roles of Portia's suitors, the Princes of Morocco and Arragon.   Mr. Peet seems to be channeling a little bit of Geoffrey Holder (cola nut, un-cola nut) and Mr. Johnston seems to have taken the brilliant costuming of designer Jenny McNee with zest and has managed to create the embodiment of farce.

Rene Thornton, Jr. has a quiet strength as the melancholy Antonio, the truest friend to Bassanio despite his lack of ready cash and has poignant quiet resolve at his trial where he is willing to accept his fate.   Yet, there is also the layer of menace in his contempt for Shylock and when Antonio determines the final penalty of the trial, the electricity within that scene among the leading participants of Portia, Antonio and Shylock leaves the audience breathless, riveted and ultimately unnerved by the proceedings.

To achieve that outcome, it is on the shoulders of the outstanding performance of James Keegan as Shylock.   Shylock is not an easy character.  With the modern mindset it is easy to play up the discrimination towards the character playing Shylock more as victim and less as the villain that Shakespeare wrote.   Make no mistake, Shylock is the villain of the play.  Yet, Mr. Keegan shades his performance with steely nerve as he subjects himself to Christian ridicule and with pure heartbreak at his daughter's betrayal.   The speech which Shylock gives seeming to be more upset by the loss of his money and jewels instead of his daughter comes across as the agony of a father knowing that his daughter's choice to abandon her faith means the end of their relationship.   During the trial you witness the release of the weight of all of the wrongs Shylock has suffered.   While you cannot wish for Shylock to exact his bloody revenge on Antonio you do understand his desire for it and that is the brilliance of Mr. Keegan's performance.   The uneasy end to the trial and the silent reaction of the audience would not be possible without Mr. Keegan's riveting performance.

William Shakespeare's The Merchant of Venice is being performed in repertory with The Two Gentlemen of Verona, Cymbeline, King John and James Goldman's The Lion in Winter through November 23, 2012.   For tickets and other performance information please visit www.americanshakespearecenter.com

The Two Gentlemen of Verona at the American Shakespeare Center

"Love is your master, for he masters you;"

The American Shakespeare Center tackles one of William Shakespeare's earliest plays with a high-energy romp through The Two Gentlemen of Verona.  While other Shakespearean plays have the reputation of being problem plays, The Two Gentlemen of Verona contains what is probably one of the greatest jerks to appear on the Elizabethan stage.  Yet, in this production, under the skillful direction of Ralph Alan Cohen, the ensemble deftly navigates the trickier aspects of the story creating an almost satisfying happy ending.

The two gentlemen in question are best friends Proteus (Gregory Jon Phelps) and Valentine (Grant Davis).  Valentine is leaving for the court of the Duke of Milan (John Harrell).  Proteus stays behind unwilling to leave his love Julia (Tracie Thomason).  Proteus' father Antonio (James Keegan) sends his son to Milan where he is reunited with Valentine, now head over heels in love with the Duke's daughter Sylvia (Abbi Hawk).  Proteus instantly falls in love with Sylvia and plots to win her from Valentine at any cost.   Add into the mix clownish servants, a band of merry outlaws, Julia disguised as a boy,a dog and many strange and silly episodes later the lovers are eventually reunited and we come to an slightly awkward happy ending.

The American Shakespeare Center has assembled a group of actors for its summer and fall season that are of excellent quality.   Many old favorites return and are joined by a few newcomers and others who return to the company after a few seasons absence.   Benjamin Curns and Alison Glenzer are merry and delightful as the two clowns Launce and Speed.  Ms. Glenzer in particular is crisp of tongue rapidly delivering Speed's humorous quips.   Mr. Curns manages to elude the axiom that one should not perform with children or animals by delivering a wonderful comedic performance while sharing the stage with the special guest stars who are portraying Launce's dog, Crab.

The American Shakespeare Center is partnering with Augusta Dog Adoptions for the run of The Two Gentlemen of Verona.  Each week a different dog available for adoption is portraying Crab. The American Shakespeare Center should be lauded for providing a platform and assisting homeless dogs in finding their forever homes.   Audience members are introduced at the beginning of the show to the featured dog and instructed to visit the box office to find out how to adopt the guest star or other dogs.   Bravo.

Returning to the human stars of the show, Abbi Hawk is regal as Sylvia the object of both Proteus and Valentine's ardent desire.  Tracie Thomason makes Julia a petulant lover at the beginning of the play who grows into heartbreak as she witnesses Proteus' betrayal of her constant heart.   Grant Davis plays well the heroic Valentine suffering through the obstacles his best friend places in the way of true love.

It was wise to place the troubling Proteus into the hands of company veteran Gregory Jon Phelps.  Proteus is an absolute jerk and the audience let Mr. Phelps know their feelings loudly as he first became the ardent suitor of Julia and then the wicked betrayer of Valentine and Sylvia.  The ending of the play is problematic as Proteus physically attacks Sylvia before realizing how far he has sunk from the bounds of decency.  Yet, Mr. Phelps wins back the audience by showing true remorse in that troubling scene.   While we may not accept Proteus' easy reconciliation with Julia, Mr. Phelps makes the audience believe that Proteus may yet earn that redemption.

The Two Gentlemen of Verona is being performed as part of The American Shakespeare Center's summer season through November 23, 2012, along with William Shakespeare's The Merchant of Venice and James Goldman's The Lion in Winter.   These plays will be joined in the fall by William Shakespeare's Cymbeline and King John.   For tickets and other performance information please visit www.americanshakespearecenter.com.

For information on Augusta Dog Adoptions and the guest stars appearing as Crab please visit www.augustadogadoptions.org.

Larry Kramer's The Normal Heart--A Reflection

The first medical cases of the disease we now know is caused by HIV were first described thirty years ago.  There is an entire generation of people who have grown up since then who have no idea of the struggles to recognize this dangerous modern-day plague, to work through the stereotypes and stigmas associated with it and to recognize that, even now, HIV/AIDS is a world-wide health crisis.   Playwright Larry Kramer wrote an angry cry in the wilderness The Normal Heart in 1985.  The play was a raw condemnation of the 1980's establishment's responses to the emerging epidemic equally attacking the medical establishment for its slow response, the government for dismissing the crisis as a white gay male problem and the media for not realizing the rapid spiraling scope of the disease and not giving the crisis the front page coverage it deserved in a more timely fashion. It was through Mr. Kramer's passionate words and the off Broadway production at Joseph Papp's Public Theater that the artistic community started to document the scourge of HIV/AIDS.

The Normal Heart was not the only theatrical work of the time period to address HIV/AIDS.  As a matter of fact, one of the reasons that the first time that The Normal Heart appeared on Broadway was in its 2011 Tony Award-winning revival is because another play dealing with the health crisis, William H. Hoffman's As Is premiered during the same 1985 season and a decision was made to keep The Normal Heart in production at the Public which ensured it a longer run.   Yet, The Normal Heart is as crucial and relevant to the 21st century audience as it is in 1985.   This was no mounting of a period piece where we can safely proclaim that those were the bad old days and the world has come so far that we can look back on those quaint times and be relieved that life is so much better now. It most assuredly is not.

1981.  Thirty years ago. Everyone born since then has lived with HIV/AIDS as a reality.   For them, HIV/AIDS is no longer the automatic death sentence it was in the 1980's.   The stigma that led to the horrific treatment of a dying patient being thrown away with the garbage so vividly described by the character Bruce Niles in The Normal Heart may no longer occur in these supposedly enlightened times.   The fear mongering of the 1980's was a time during which the home of the Ray brothers in Florida was burned out of fear that these children would infect their town.   It was a time when the television series St. Elsewhere received criticism for deciding to infect Mark Harmon's promiscuous Dr. Robert Caldwell with HIV through heterosexual contact.  Today in the American Adventure pavilion at Walt Disney World's EPCOT in the montage of American heroes for the past sixty years is the face of Ryan White.   How many of the tourists recognize the young AIDS activist banned from attending his middle school, who put an ordinary face on those who contract the disease, and who died at the young age of 18 in 1990?

The Normal Heart can feel preachy at times.   Yet, when those words are preached by activist Ned Weeks it feels perfectly normal given how Mr. Kramer has written the character.   The lone female character in the play, the no nonsense Dr. Emma Brookner delivers a rousing condemnation of the complacency of the medical and government bureaucracy whose slow response to the growing crisis is emphasized by the ever growing list of names projected on the walls of the set of this production.  In the end of this emotional play, the audience feels shock, anger, despair and a desire for knowledge that was literally handed to the audience attending the Broadway production in flyers, sometimes handed out by Mr. Kramer himself.

When the play closed on Broadway there was hope that a national tour would develop.   Yet, in these days when crowd pleasing musicals can easily book theaters from coast to coast it is much harder for plays to receive the same generous touring dates.   It is heartening that The Normal Heart is receiving  an important run at Washington, DC's Arena Stage through July 29, 2012 and will subsequently be performed in San Francisco's American Conservatory Theater September 13 - October 7, 2012.  More importantly a film version will finally reach movie theaters in 2014.   

The Normal Heart may depict the history of a past generation's struggle with HIV/AIDS, but it is as important in 2011/2012 as it was in 1985.    If you have the opportunity to see this production do so.   If you have influence at a theater company to produce your own production of this play try to get it done.  The wider the audience for this piece, the better chance that this important part of history will not fade into memory.

The Normal Heart is being performed at Washington DC's Arena Stage through July 29, 2012.  For tickets and other performance information please visit www.arenastage.org.   The Normal Heart will be performed at San Francisco's American Conservatory Theater September 13 - October 7, 2012.   For tickets and other performance information please visit www.act-sf.org.   The film of The Normal Heart will be released in 2014.   For information on the film please visit imdb.com.

Harvey at Roundabout Theatre Company's Studio 54

"In this world, Elwood, you must be oh so smart or oh so pleasant.  Well, for years, I was smart.  I recommend pleasant."

Every once in a while, a professional theater company revives an old chestnut, a play or musical that has been regulated to community and student productions.   That is not to say that the world of amateur theatrics cannot produce a well-acted, thoughtful production.   Yet, when the pros decide to make a revival with the resources available to give it spit and polish, the results give theater-goers a chance to revisit an old friend and delight in the wonders that visiting such a friend can bring.

Roundabout Theatre Company brings a gem of a production of Mary Chase's Pulitzer winning comedy, Harvey.   Yes, there are those who have reviewed this production that lament that Harvey won the Pulitzer over the vastly more meaty drama of Tennessee Williams' The Glass Menagerie. Yet, when one looks at the context of when the two plays were produced on Broadway near the end of World War II, one can see, perhaps, the reason that the gentle Harvey was embraced so near the end to so horrible a conflict.

Here we have the tale of Elwood P. Dowd, an eccentric middle-aged man, who delights in his daily imbibing of alcohol and the encounters that he makes with the people he meets.   Elwood mostly delights in his friendship with Harvey, a pooka spirit that has taken the form of a 6' 3" invisible white rabbit.   This deeply troubles his sister, Veta, worried that Elwood's eccentricities are ruining her social standing and the prospects for her daughter, Myrtle Mae. Veta is determined to have Elwood committed to a mental sanitarium.   The ensuing encounters with the doctors and staff of the sanitarium lead to misunderstandings.  Just who is the one needing the intervention? And, more importantly, is Harvey real?

Director Scott Ellis has shaped this production in such a way that the material feels fresh despite the situation and conflicts being well and truly of the time in which the play was written.  It was a good decision to cut the second intermission from the original three act play as the pace of the play subsequently moves at the right speed.   Jane Greenwood's costumes and Tom Watson's hair and wig design compliment the actors even those stuck in medical uniforms.  David Rockwell's two-sided set shows the old-fashioned, yet ornate Dowd estate and the clinical yet, strangely inviting sanitarium.  Obadiah Eaves' original music and sound design gently supports the play inviting the audience into the world of Elwood and Harvey.

The acting ensemble is taut and Roundabout has assembled some terrific stage veterans, some of whom prove the adage that there are no small parts only small actors.   Carol Kane is a prime example of this taking the small role of the head psychiatrist's wife, Betty Chumley and injecting her performance with delightful silliness as she portrays a society wife who views her husband's diagnoses as an obstacle to getting to a reception on time.   Rich Sommer as the thuggish orderly Duane Wilson uses his imposing frame well, yet proves adept at physical comedy as he manhandles poor Veta.  Larry Bryggman proves yet again why he is a mainstay of the New York stage as Judge Gaffney whether exasperated at having his golf game interrupted or trying to navigate his legal duties to both Veta and Elwood.

In the pivotal role of Dr. Chumley, the head of psychiatry who ends up forever changed by his encounters with Elwood and Harvey, Charles Kimbrough who normally portrays the role was absent from this performance.   In his stead, his understudy Jeffrey Hayenga proved himself more than a competent replacement clearly showing the madcap unhinging of this logical man's world view.

Jessica Hecht is perfectly batty has Veta. Veta has her own life-changing journey and Ms. Hecht brings comedic fun to the unraveling Veta. Whether it is protecting her society maven friends from her brother's antics to surviving a treatment in the hydro tub, poor put-upon Veta is in sure hands in Ms. Hecht's performance.

Jim Parsons made an impressive Broadway debut in the spring of 2011 in the acclaimed revival of The Normal Heart.   Here he tackles the leading role of Elwood P. Dowd under the twin challenges of the iconic Jimmy Stewart film performance and his own status as Sheldon Cooper in The Big Bang Theory.   It is a testament to Mr. Parsons that he takes Elwood and puts his own stamp on the role.   Mr. Parsons is charming.   One wishes to travel to Elwood's small town, accept his card and invitation to join him for drinks at Charlie's and pass a few pleasant hours giving up reality just as Elwood has chosen to do.

And as for Harvey?   He has a commanding stage presence in his well-tailored suit.  His stage mischief seems harmless and his performance brings joy to us all.

Mary Chase's Harvey is being presented at Studio 54 by Roundabout Theatre Company in New York City through August 5, 2012.   With Charles Kimbrough, Tracee Chimo, Angela Paton, Holley Fain, Morgan Spector and Peter Benson.   For tickets and other performance information please visit www.roundabouttheatre.org.