The COASTAL STAR
Reviews Here are reviews of current and recent performances. For the full reviews, please visit palmbeachartspaper.com.
Flagler Museum Programs
Mother’s Day Weekend
Saturday, May 12, 11:30 am - 2:30 pm • Sunday, May 13, 12:00 - 3:00 pm
The celebration of Mother’s Day began during the Gilded Age when in May, 1914, Congress established it as a national holiday. In the spirit of this tradition, the Flagler Museum invites all mothers and their families to enjoy a Mother’s Day weekend celebration in the Café des Beaux-Arts.
Tuesday, June 5, 12:00 - 5:00 pm • Free Admission for all Visitors
On June 5 each year the Flagler Museum celebrates its anniversary by opening to the public free of charge in honor of the Museum’s founder, and Henry Flagler’s granddaughter, Jean Flagler Matthews. Visitors may take a self-guided tour of Whitehall’s first floor, view the permanent collection of art and objects related to the Gilded Age, and climb aboard Henry Flagler’s private railcar in the Flagler Kenan Pavilion. h e n r y
m o r r i s o n
FLAGLER MUSEUM palm beach, florida
A National Historic Landmark One Whitehall Way, Palm Beach, FL 33480 Funded in part by:
Call (561) 655-2833 or visit www.FlaglerMuseum.us
Brigadoon (Wick Theatre, through April 8) Long before lyricist Alan Jay Lerner and composer Frederick Loewe created the timeless My Fair Lady and Camelot, they scored their first Broadway hit with an original romantic fable, Brigadoon. Although it ran a respectable 581 performances in the 1947-48 season, it has since been overshadowed by the songwriting team’s other shows and is rarely revived. Those wondering why can find an answer at The Wick Theatre, whose current production seems intent on slipping into the show’s numerous pitfalls. Brigadoon is the name of a mythical Scottish village that a pair of vacationing New Yorkers stumble onto while hunting in the highlands. Because of a miracle — oy, don’t ask — it materializes in the mist for only one day each century. During that day, incurable romantic Tommy Albright falls in love with villager Fiona MacLaren and mulls giving up his Manhattan life to become a permanent resident of Brigadoon. The show lives squarely in the realm of fantasy, of course, but to work it has to be rooted in some reality. And all too often, the Wick production breaks the spell with headscratching staging — awkward actions and tableau-like inactions — from director Jeffrey B. Moss. Nor is the idyllic nature of Brigadoon conveyed by the drab, craggy scenic design by Randel Wright, one of the most unattractive, cumbersome sets for a musical in memory. Fortunately, there is that unsinkable Lerner and Loewe score, brimming with hit songs while remaining specific to the narrative situation. Also helping to counteract the production’s flaws is the cast, headed by the vocal power of Lauren Weinberg (Fiona) and, in his Wick debut, Matthew Taylor (Tommy). Frankly, they don't have much chemistry, but you can’t have everything. The reliable Wayne LeGette is a standout as Tommy’s cynical sidekick, Jeff, and Mychal Phillips scores as randy Meg Brockie. Despite some creaking in its script, Brigadoon remains a timeless tale, even if director Moss felt the need to add in unnecessary references to Google Maps and cellphones. And at an $85 ticket price, the Wick continues its disappointing use of recorded music. — Hap Erstein Unsane (Opened March 23) A young professional woman (Claire Foy), traumatized by irrational visions of a stalker from thousands of miles away,
Claire Foy gets involuntarily committed in Unsane. visits a therapist. She’s done everything she can do to escape his presence, yet she still sees him, suddenly, in the eyes of other men. She confesses to the counselor that she has, in the past, harbored suicidal thoughts. All of a sudden, after signing some “boilerplate” paperwork, she’s ushered into a locked examination room and told to remove her clothes. Despite her protesting, she complies. Within minutes, she’s admitted into the hospital’s 24-hour inpatient ward, surrounded by shambling crazies right out of 12 Monkeys or One Flew Over the Cuckoo’s Nest. She’s deemed a danger to herself or others. In her institutional bed, a neighboring patient throws a bloody feminine product at her face the way a monkey throws feces. Welcome to the neighborhood. That’s the compelling but largely unrealized premise of Unsane, a wobbly combination of self-conscious art film and grisly B-picture. It’s one of the most curious entries in Steven Soderbergh’s woolly filmography. Despite a starry cast that includes Amy Irving, Jay Pharoah, Juno Temple and a Matt Damon cameo, it shares more DNA with Soderbergh’s micro-budget improvisational doodles, like Bubble and The Girlfriend Experience, than it does his glossier, sharper thrillers (Contagion, Side Effects). This is due in large part to the gimmicky cinematography. He (in)famously shot Unsane on an iPhone 7 Plus. This is not inherently a drawback. But Soderbergh deploys his handheld canvas like a digital evangelist out to prove a point, and Unsane often feels like an empty aesthetic exercise. As for the narrative, it’s of secondary concern. Screenwriters Jonathan Bernstein and James Greer wrote the sort of tone-shifting, medical thriller-cum-slasher script beloved by urban horror festivals. Soderbergh milks the is-sheor-isn’t-she-crazy paradigm for as long as he can, our interest already beginning to wane by the time he plays his cards. Alternating between some genuinely suffocating, nerverattling sequences and others that border on tedium, Unsane eventually loses its rhythm, collapsing into genre clichés. — Palm Beach ArtsPaper staff
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