Weekend review roundup (a few days early)

The Farnsworth Invention
Tired of seeing films adapted for the stage? Well, how about seeing a film that never even got made adapted for the stage? Honestly, I had no idea that "The Farnsworth Invention," Aaron Sorkin's new play about the race to invent television, now in previews for its Broadway debut at The Music Box, was adapted from an unproduced screenplay until I read up a bit on its later, but the production is so cinematic, I'd already made that guess. The Andrew Lippa-composed relentless underscoring, the huge number of characters and the vignette-style scenes are some of the obvious signs that this is a medium-out-of-water experience. Still, as a former broadcast major in college, it's a compelling story, although I imagine it might be rather tedious for some. The two leads in the cast--the heretofore criminally underused Jimmi Simpson as brainiac inventor Philo Farnsworth and Hank Azaria ruthless businessman and NBC founder David Sarnoff--are more than up to the task here. The big problem comes from the rest of the cast. No one is particularly bad; some, in fact, are quite good. However, most of the 18 or so supporting members play multiple roles to flesh out the more than 100 characters in this show. And some of these characters appear so briefly, it's a bit confusing to see one of the guys funding Farnsworth's research suddenly working for Sarnoff in another scene, or to see Sarnoff barking orders at the young actor who was only recently playing his childhood self. What's more, the script relies entirely too much on narration, and the fact that our two narrators establish themselves as not-too-trustworthy from the get-go makes it even more problematic. Even so, this "Rashomon" of television history is worth checking out for anyone who isn't put off by quite a bit of technical babble. Also, in technical and pacing terms, it was in great shape, particularly considering it was the third preview.

Die Mommie Die!
Housed appropriately enough in the same theatre that brought us "Evil Dead: The Musical: last year, Charles Busch's 1999 play is finally here for New York viewers. With melodramatic mugging, intentionally cheesy effects and suggested incest-o-plenty, fans of Busch, and "Evil Dead" for that matter, won't be disappointed. While it's always fun to see Busch bring one of his anti-heroines to life--in this case, faded chanteuse Angela Arden--the real discovery here is "As The World Turns" star Van Hansis as Arden's dopey, psychopathic, nymphomaniac son Lance. No, I'm not just saying that because he's cute. Hansis does the best job here of keeping up with the show's over-the-nature, without which, the "in a good way" that follows "bad" would disappear.