The Biltmore Theatre is hosting two long overdue homecomings to Broadway. First is William Inge's ahead-of-its-time drama itself, more than half a century absent from the Broadway stage. The second is S. Epatha Merkerson, taking a break from what seems like nearly the same amount of time on "Law & Order" to play against type as Inge's frumpy, isolated housewife, Lola. Gone is any of Merkerson's trademark strength as Merkerson putters around the claustrophobic set, starving for whatever human interaction she can find: a buff milkman, a nosy neighbor, even a wrong number. As her recovering, resentful alcoholic husband Doc, Kevin Anderson is wound so tight that when he finally snaps, one almost feels like rushing the stage to protect poor Lola. It's a tense, terrifying moment, all adding up to the most affecting show I've seen since last season's "Journey's End," even though director Michael Pressman's work overall is nowhere near the master level of David Grindley's production of the World War I drama. Much of the ensemble work comes nowhere near the realm of the two leads, grinding some crucial scenes, such as Doc's dramatic second act exit, to a halt. Worse, some, particularly Zoe Kazan as boarder Marie, were having projection problems the night I saw it. Still, said ensemble also gets bonus points for surprise eye candy of the season: Brian Smith as hunky track star Turk.
GreaseYes, I finally got around to seeing this. Thank heavens for $30 standing room seats. Let's just say that, considering this show was cast from a reality show, Laura Osnes was a pleasant find as everyone's favorite prude, Sandy. And Kirsten Wyatt is head and shoulders above all as drippy beauty school dropout Frenchy. And, uh, let's just leave it at that.
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