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Man Catches His Wife Cheating - CAUGHT ON CAMERA Shatter Matinee Masala. Security Cam Videos. Hot Trends. That character is Georgie an electric Mary-Louise Parker , a ish American woman living in London, and the brief play follows her growing bond with the year-old Irish butcher Alex a solid Denis Arndt from chance encounter to romantic affection.

Stephens appears saying if you try to examine or evaluate a relationship, you alter it. What an insight sarcasm intended.

Georgie meets Alex when she impulsively kisses the back of his neck at a train station. They go to dinner and become unlikely lovers.

She asks him for a large sum of money so she can find her estranged adult son in New Jersey. In their hotel room, they agree to continue seeing each other.

Fine for a short story, but the play feels incomplete. Georgie is one of those vibrant, attractive kooks who seem to exist only in plays.

She thinks nothing of telling her life story, which turns out to be a fabrication, to a total stranger.

Why she lies at first is also never gotten into. She later gives Alex the real story. D irector Mark Brokaw gives this acting exercise its best possible production, staged tautly with audience members on both sides of a strip of playing space.

The simple set is by Mark Wendland and telling lighting is by Donald Holder. Parker and Arndt give their roles weight and depth. Georgie could have been an obnoxious flake, but Parker makes her endearing.

Arndt, a veteran of the Oregon Shakespeare Festival and several regional theaters, lends dignity and intelligence to a role that might have played second fiddle to the more eccentric Georgie.

June 6, An Act of God Studio 54 The Spoils The New Group at the Pershing Square Signature Center Reviewed by David Sheward S tars of the hit TV series The Big Bang Theory have opened on and Off-Broadway in new plays.

While both showcase the talents of the individual actors, the productions give off less than a huge explosion. God is the first Broadway play inspired by a Twitter account, and it shows.

Javerbaum, an Emmy-winning writer for The Daily Show , curates TheTweetofGod where he posts character zingers as if he were the Creator of the Universe.

This popular account—1. But this Act comes across as a collection of jokes rather than as a dramatic whole.

The conceit here is that God is speaking through a charming TV star in order to lay down 10 new, less-restrictive commandments.

Not a bad idea for a minute sketch, but Javerbaum has stretched it out to an hour and a half, and the premise hits its comic peak at the fifth commandment.

But all that comic timing and sharp delivery do not rescue what is basically a lounge Act. The actor-playwright must have real self-esteem and xenophobia issues.

In each of his three plays— Asuncion, The Revisionist , and this latest one, The Spoils —he casts himself as a highly intelligent but narcissistic asshole who has difficulties connecting with a foreign character.

In this case, Eisenberg is Ben, a rich film-school reject sharing his expensive NYC apartment with Kalyan Nayyar , a Nepalese economics student. Directed with high energy and precision by Scott Elliott, The Spoils , like Act of God , has more than a little sitcom in its structure.

Even though his character is obnoxious, Eisenberg endows him with a manic intensity and keen wit. The title seems to refer to the gains awarded to white Americans of privilege like Ben who squander their wealth and comforts.

Eisenberg tries for a measure of redemption for Ben at the end as Sarah recounts an admirable act she saw him perform long ago in their schoolyard.

June 2, This challenging, riotously funny production is now being broadcast to cinemas worldwide as part of the NT Live series and theater- and filmgoers eager for a huge intellectual meal should partake.

Fiennes plays Jack Tanner, a revolutionary philosopher determined to break down the repressive structures of Western society to create a new, freer one inhabited by the superior beings of the title, not necessarily those with capes, tights, and super powers.

Chief among his targets is marriage, which he regards as a trap set by pregnancy-minded women to ensnare the creative life-force of the male.

Determined to capture Jack in that unhappy state of wedlock is Anne Whitfield, the manipulative debutante whom Jack compares to a python.

A subplot concerns the secret marriage of Violet Robinson to American Hector Malone, which allows Shaw to expound on his theories of class and morals.

After a conventional beginning in the study of Roebuck Ramsden, a stuffy representative of the British upper-middle class, Shaw breaks all theatrical boundaries and sets the characters on a mad chase across Europe with Anne in hot pursuit of the fleeing Jack.

Along the way, they encounter an intellectual brigand named Mendoza and his band of socialist-minded thieves.

But with only a few minor alterations in the dialogue a delivered letter becomes a text and the automobile speeds are increased , the transposition works.

Though the roles of men and women have altered drastically in the years since the play was written, the elemental conflict between the genders remains, as do the basic questions Shaw raises about marriage, wealth, sexual relations, and the aspirations of humanity.

Godwin wisely stages the action at a rapid pace so that it is never bogged down in talk. Indira Varma makes a formidable adversary as Anne, pleading innocence with a smile while scheming to advance her own ends.

Nicholas Le Prevost is a convincingly rigid Ramsden who loosens up considerably in the underworld scenes. Faye Castelow is a determined Violet and Nick Hendrix a stalwart Hector.

Ferdinand Kingsley is adorably forlorn as the puppy-dog-like Octavius, who moons over Anne and loses her to Jack. This is a massive, funny, challenging comedy.

May 18, Fun Home Circle in the Square Something Rotten! James Theater T wo of the biggest contenders for the Tony Award for Best Musical are polar opposites, but they demonstrate that when theater practitioners are playing at the top of their game, the results can be sublime whether the content is serious or silly.

Fun Home is a jagged memory piece about a deeply dysfunctional family, while Something Rotten! The former will break your heart while the latter will break your funny bone.

Fun Home was a hit during its limited run Off-Broadway at the Public Theater last season, winning almost every possible Best Musical accolade including the Lortel, the Outer Critics Circle, and the New York Drama Critics Circle awards.

While a successful commercial engagement on Broadway will prove challenging, Home has become even an even deeper experience in its new environment.

At the Circle in the Square, the audience surrounds the action, so the performers seem even more like a real family sharing their secrets. The cast is almost entirely intact from the Off-Broadway run.

Michael Cerveris and Judy Kuhn have deepened their portrayals of the repressed parents, while Beth Malone seems more of a central voice setting the memories in motion as the adult Alison.

Eleven-year-old Sydney Lucas still brings multiple layers to her Small Alison, and Emily Skeggs captures the awkwardness of first love as the college-age iteration of the heroine.

W hile Fun Home wants to make you feel and think, Something Rotten! Brothers Nick and Nigel Bottom want to take the 17th century stage by storm, but a white-hot rival named Shakespeare is stealing the spotlight.

So the siblings stage the first-ever tuner while the Bard attempts to ruin it. Reviewed by David Sheward May 13, Airline Highway Manhattan Theatre Club at the Samuel J.

In that earlier work, she captured a broad section of the vanishing American middle class through the travails of two underemployed suburban couples.

Here her canvas is broader with portraits of several more characters—a loving makeshift club just barely scraping by and whooping it up as their unique NOLA world is slowly swallowed up by Costcos and strip malls.

T he loosey-goosey plot follows 24 hours in the parking lot of a once-glamorous motel designed with gritty realism by Scott Pask.

Bait Boy brings along Zoe, the teenage daughter of his lover, who interviews the residents for a school project. But though she is being used as a dramatic device, Zoe, along with all the other characters, is a fully drawn, complicated figure, attracted to this glittering but chancy demi-monde.

The cast, almost all holdovers from Steppenwolf, creates an entire solar system of interconnected friends revolving around the extinguishing sun of Miss Ruby.

You want to know these people and their stories, and these actors fill that need. Julie White, a New York addition, is particularly rich in her limning of Tonya.

Watch as White silently reacts to the implied offer of a drug dealer. Todd Freeman is an explosive Sissy, Caroline Neff an intensely needy Krista, Judith Roberts a bizarrely funny Miss Ruby, and Joe Tippett a seductive and destructive Bait Boy, all lonely travelers on this endearing and heartbreaking Airline Highway.

May 6, Doctor Zhivago Broadway Theater The Visit Lyceum Theater Finding Neverland Lunt-Fontanne Theater Reviewed by David Sheward T he — Broadway season has come to an end with a flurry of new musicals that opened just before the cutoff date for Tony Award eligibility.

They all know what they want. Doctor Zhivago wants to be Les Miz. The Visit wants to be a Brecht-Weill punch to the gut.

Finding Neverland just wants to make money. Only the third one is succeeding. Yet the song is basically thrown away, briefly sung by a chorus of wartime nurses.

Unlike Les Miz , this show includes no comic relief remember the avaricious Thenardiers? F ake tumult pervades Zhivago , but actual mortality haunts The Visit.

This visit is supposed to be a journey into the corrupt soul of mankind, and it winds up being a stroll down memory lane. She promises to give the burg billions if the citizens will give her the corpse of shopkeeper Anton Schell a bedraggled Roger Rees , the man who wronged her as a girl.

But McNally, Kander, and Ebb emphasize the long-ago romance of Claire and Anton. The authors are split between cynicism and sentiment, and the result is a middling porridge, neither too hot nor too cold, but not just right either.

Though in her 80s, Rivera moves with grace and economy, her slightest gesture evidencing decades of experience. The same holds true for her voice, which she husbands with care, doling out each note like a precious drop of her very essence.

Plus, Rees seemed unsure of his lyrics at the performance attended. Barrie as he draws inspiration from a widow and her four boys to create Peter Pan.

The film appealed to adults and kids, but this musical version is strictly for the small fry. This skilled director has combined the wonder of theater with a mature sensibility in Pippin , but here the effects are theme-parkish and the actors mug up a storm, forcing tears and laughs instead of allowing them to flow naturally.

As Barrie, Matthew Morrison does his best to create a believable throughline of character, as does Laura Michelle Kelly as Mrs.

Davies, the charming widow. Kelsey Grammer stoops to sitcom shtick as the producer Charles Frohman and a dream version of Captain Hook. May 2, An American in Paris Palace Theatre Gigi Neil Simon Theatre It Shoulda Been You Brooks Atkinson Theatre Reviewed by David Sheward T hree recently opened Broadway musicals rely on old forms, but only one employs its source material with originality and charm.

An American in Paris and Gigi are based on classic s MGM movies set in the City of Light and starring Leslie Caron, while It Shoulda Been You retreads TV sitcoms.

We are still in postwar Paris, but now the brutalities of the just-ended Nazi occupation seep into the basically silly plot of three pals in love with the same gamine girl, this time a fledgling dancer.

Ballet stars Robert Fairchild and Leanne Cope not only dance the Kelly and Caron roles to perfection, they also sing and act with conviction, conveying the churning emotions of these love-struck dreamers.

Brandon Uranowitz, Max von Essen, Jill Paice, and Veanne Cox enliven their supporting roles. G igi from also starred Caron, was directed by Minnelli and written by Lerner, and won the Best Picture Oscar over such darker nonmusicals as Cat on a Hot Tin Roof and The Defiant Ones.

Unlike that of An American in Paris , the plot contains scant conflict, and while the songs from the film still enchant, the newer ones from a stage version add little.

As Gigi, Vanessa Hudgens of the High School Musical films sings with brio, as does her leading man Corey Cott.

She has plenty of spunk but no irresistible sparkle, while Cott exudes manly charm. They are closer in age than the originals of Caron and Louis Jordan, but there is no sexual tension between them.

I t Shoulda Been You is nominally a totally original musical—not being based on an old movie, novel, or play. This is definitely a case of too many cooks.

Special kudos to Lisa Howard as the plus-sized sister of the bride for creating a full-sized character in this tiny tuner. Final verdict: cheers for American ; a shrug of the shoulders for Gigi and Shoulda.

This is a major disappointment: Pendleton is one of our most insightful directors and actors his staging of Between Riverside and Crazy for Atlantic Theatre Company and Second Stage is a highlight of this season and his lead is Peter Sarsgaard, a fine performer and a rare film star with a commitment to the stage classics.

I kept hoping someone would fall into it during a sword fight, but no such luck. As the tragedy unfolds, whenever an actor is not involved in a scene, he sits at one of the well-stocked bars on either side of the stage to knock back a few.

I often wished I could join them. It is the event that drives Hamlet to seek his revenge against Claudius and to examine all of his life choices.

But there is so little passion among the participants, this claustrophobic party grows tiresome quickly. S arsgaard is an intelligent actor.

Yet his melancholy Dane is all jittery poses and eccentric, choppy line readings. Almost everything he says is given a sarcastic edge.

His few sincerely delivered observations are invariably followed by a dismissive laugh. Ultimately, this Hamlet is a spoiled teenager, stuck in his smartass phase.

Most of the cast is equally stale, flat, and unprofitable. Lisa Joyce is a beautiful but empty Ophelia. April 18, Cromwell is seen not as a man lusting for power but instead as one doing what he thinks is best for his sharply divided country.

By aiding Henry in defying the domineering Catholic Church, Cromwell seeks to strengthen England. You could even make the argument that the break with the rest of Europe in kowtowing to the Pope led to the British Empire.

The two parts of the stage version run nearly six hours, but at a marathon bout of theatergoing to see both sections on the same day, I was riveted for every minute.

Plot follows counterplot in rapid and fascinating succession. The main racer is Ben Miles as Cromwell. Almost never leaving the stage in either part, Miles is never flashy nor obvious, as Leo McKern was in the film version of A Man for All Seasons.

Cromwell is also a loving husband and father, as well as a loyal friend to his mentor Cardinal Thomas Wolsey, whose failure to secure an annulment for Henry leads to his disgrace.

Miles blends these elements together for a shaded portrayal of a figure usually painted in black and white.

B ut this is far from a one-man show. There are multidimensional offerings from the entire court. Even the smallest courtier and servant roles are full fleshed out.

April 11, Fish in the Dark Cort Theatre Hand to God Booth Theatre Reviewed by David Sheward T wo new Broadway comedies feature obnoxious main characters.

Ironically, the one made of fabric with sewn-on eyes is more complex than the flesh and blood one. Fish , one of the biggest financial hits of the season, is really an extended sitcom.

Norman, a grouchy urinal salesman, has a lot on his plate: His father is dying, his mother is moving in, his wife is moving out, his brother is putting him down, his daughter is driving everyone crazy practicing her accents for an amateur production of My Fair Lady , all his relatives are constantly kvetching, and his housekeeper has just revealed a tremendous secret.

In Seinfeld which David co-created, this role of chief schlemiel was taken by the George Castanza role played by Jason Alexander who will replacing David as of June This kind of light nonmusical entertainment used to be a staple on Broadway where you could include the kind of slightly racy antics that were not allowed on network TV.

Director Anna D. Shapiro demonstrates that her proficient style works as well with shallow comedy as with the pyrotechnic family confrontations in August: Osage County.

David gives the audience what it wants: the same character as he played on Enthusiasm. Fortunately, Broadway veterans Marylouise Burke, Lewis J.

W hile David delivers a TV retread, Robert Askins dives into the depths of demonic darkness while laughing hysterically on the way down. His Hand to God arrives at the Booth Theatre after downtown productions at Ensemble Studio Theatre and MCC Theatre, and brings with it a refreshingly brutal sensibility that rocks tired old Broadway.

Like Norman, shy teenager Jason is beset with problems. His father has recently died, his mother, Margery, is struggling financially and emotionally, he pines after the equally quiet Jessica, and he is tormented by the bully Timothy.

But, unlike Norman, Jason has an outlet in the form of his raging sock puppet, Tyrone, innocently created so the lad can participate in a Christian puppet workshop at the church of Pastor Greg, who has a thing for Margery.

Tyrone spews all the repressed emotions Jason conceals as well as revealing the hidden passions swirling within everyone else, challenging the pious hypocrisy of his community.

Directed with a fever-pitch intensity by Moritz von Stuelpnagel, who staged both Off-Broadway runs, the play is both wildly funny and terrifyingly honest.

The five-person cast marvelously blends the outrageous with the sincere. Chief among the actors is Steven Boyer, delivering a double-barreled shotgun of a performance as the tormented Jason and the satanic Tyrone.

He somehow manages to simultaneously convey the fear and longing of the puppeteer and the titanic fury of the puppet. Hand to God is dangerously hilarious, forcing us to confront the very real monsters within, while Fish in the Dark reduces them to annoying little pests to chuckle over.

April 7, Kristin Chenoweth is a goddess. Like such Broadway stars of previous generations such as Ethel Merman, Carol Channing, and Zero Mostel, Chenoweth is simultaneously her unique self and the character she inhabits.

Lily Garland is a volatile headliner, torn between her independent status as a film icon and her longing to return to the stage and the arms of Oscar Jaffe, the equally narcissistic impresario who launched her career and now needs her back to bolster his sagging fortunes.

Derived from plays by Ben Hecht, Charles MacArthur, and Bruce Millholland, the book and lyrics by Betty Comden and Adolph Green and music by Cy Coleman employ traditional musical-comedy idioms along with influences of operetta and Gilbert and Sullivan to fuel the battle between these two gigantic egos onboard a Chicago-to—New York s train.

She informs every gesture and expression with subtext in this exquisitely outsized star turn. From her first entrance, when she seems to plead with paparazzi to stop snapping her but loving it all the while, she commands the stage.

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