Weekend review roundup

Manuscript
I see a lot of fledgling Off-Broadway and Off-Off-Broadway works about which I rarely feel compelled to comment. However, I want to give a little mention to "Manuscript," a new play by Paul Grellong now playing at the Studio Theatre at Theatre Row Studios. It's presented by You Are Here Productions, an independent group from Theatre Row that was started to help new playwrights. While I'm not going to say much about the production itself, I will say that Grellong's script -- which centers around three Ivy League students who get their hands on a great writer's unpublished manuscript -- shows a lot of promise. The "Deathtrap"-esque twists and turns and some snappy dialogue made it an overall enjoyable evening. The script is in dire need of some editing -- the ending drags on way too long, and a line near the beginning gives a far too obvious hint at the final twist -- but overall, it's an admirable effort. This isn't the first time "Manuscript" has been seen in New York, as Bob Balaban directed a version at the Daryl Roth with Pablo Schreiber and Jeffrey Carlson a few years ago, but I missed it and was glad to be able to see it in some form. So much of the new stuff by budding playwrights that I see tries too hard for shock value in a feeble attempt to be edgy. One recent show which I won't mention by name had so much pointless vulgarity, including one out-of-the-blue mention from a female character how she liked to masturbate her own horse, that even I was almost offended to the point of walking out. But it's good to see that there is still some up-and-coming talent that's getting the basics right. Greg Cayea and Duane Langley, who act in this production, and Vadin Lum You, who is the assistant production manager, created You Are Here Productions about a year ago and should be commended for giving this work another chance to be seen.

The Dark at the Top of the Stairs
It's a rare opportunity to see William Inge's overlooked gem from 50s onstage, and fortunately, the Transport Group's current production at the Connelly Theater -- billed as the 50th anniversary production -- does it justice. Donna Lynne Champlin, last seen squeezing an accordion as the greedy Pirelli in John Doyle's "Sweeney Todd," is utterly divine as the overbearing Cora Flood, the over-protective and over-doting wife and mother whose daughter would rather play Chopin than socialize, whose son would rather look at his album of movie stars than play outside and whose husband would rather travel on business than stay at home with her. Also exquisite is Michele Pawk as Cora's sister Lottie, who has her own marital problems with her aloof husband Morris (Jay Potter). These two fine actresses have great chemistry together, and the show sizzles in the second act in which they both dominate. Pacing elsewhere is a bit slow, as the entire show clocks in at about three hours with two intermissions, and it didn't have to be that long unlike a production of, say, "A Long Day's Journey Into Night." The set design, by Sandra Goldmark, is also worth a mention. The stage is mostly bare with the exception of the looming staircase and a few furniture pieces behind a translucent screen, so a lot of the action takes place almost in silhouette. It's an intriguing and usually effective device. The towering Patrick Boll also is superb in his too-brief scenes as Cora's husband Rubin. The show runs only through April 21, so don't miss the chance to see this work in the hands of a talented ensemble.