A Reflection on a Lyric from Stephen Sondheim’s musical play PASSION

I re-watched a DVDI have of Stephen Sondheim’s PASSION. In the play, a man who has run away from a woman’s obsessive love finally surrenders to it. Georgio addresses Fosca with these lyrics by Sondheim. I’ve been thinking we could almost say the same thing to GOD.

Here’s the lyric:

“No one has truly loved me

As you have . . .

Love without reason,

Love without mercy,

Love without pride or shame.

Love unconcerned

With being returned —

No wisdom, no judgement,

No caution, no blame.

No one has ever known me

As clearly as you.

No one has ever shown me

What love could be like until now.

Not pretty or safe or easy.

But more than I ever knew.

Love within reason –that isn’t love.

And I’ve learned that from you. . . “


WEST SIDE STORY now in Previews on Broadway – A Review

WEST SIDE STORY now in previews at the Broadway Theatre, directed by wunderkind Ivo Van Hove (The Crucible; A View From the Bridge) is electrifying. Its conceit is that it is both theatre and cinema – a nod to the youth and young adults of this generation always snapping selfies and recording life with their phone cameras.  The opening sequence offers movie screen size head shots on the back wall of the stage of each of the gang members, Jets and Sharks, as the actors stand in rows along the stage proscenium.  They’re no longer just “gangs,” but distinct individuals, each with their own angers and issues.  What a great way to introduce the “war of the immigrants verses the native born.” Van Hove cues the tension at the onset and it never lets up, giving this musical drama more Shakespearean dynamics than I have ever experience in previous productions, including the 1961 movie. Presented without an intermission, the drama of two young lovers thwarted by hate-filled rivalries maintains suspense throughout, holding the audience captive yet riveted.  

The cast of astounding young professionals is refreshingly multi-ethnic and there’s a nod to sexual diversity that firmly sets this West Side Story in the 21st Century.  These are young adults we recognize and with whom new generations should identify easily.

There are many standout performances beginning with Isaac Powell as Tony. He has a fine voice yet fittingly eschews it a few times here and there to convey a naturalism, almost conversational delivery suitable for a teenager who is meant to be both tough and tender. Shereen Pimentel, clearly trained in operatic vocal technique at Julliard, brings full bodied singing to her role as Maria and is especially good in the demanding “I Have a Love.” Both leads have the right look for their roles and act more playful and believably juvenile than many who have taken on these demanding roles in the past.  Dharon E. Jones as Riff in his Broadway debut and New York City ballet dancer Amar Ramasar as Bernardo (last seen to great effect in the revival of Carousel) perfectly inhabit their roles and astound with their dancing as do Yesinia Ayala as Anita and Elijah Carter as Action. 

The choreography inspired by the Jerome Robbins original but advanced to the steps of the modern age by Anne Teresa De Keersmaeker is breathtaking and jaw droppingly executed by a first-rate ensemble. My only reservation here concerns the backwall video honing in on individual dancers or groups to the detriment of the full picture displayed by the terrific company on stage.

There are also some new bits of orchestration by Jonathan Tunick that bring a fresh feel and surprising nuance to the score, conducted with aplomb by Alexander Gemignani. Mr. Gemignani is more often seen on Broadway as a performer (Carousel, Les Miserable revivals) yet now follows the path his father (Paul), a frequent Broadway Musical Director and Conductor.  

Ivan Van Hove brings many thrilling touches to the staging.  I will not reveal them here so you will not be bereft of surprises when you go.  As the show is still in Previews until Opening Night February 20th, there may be more marvels in store. I recommend you get a feel for all that awaits by going to the show’s official website:    There you may get tickets directly from the venue and not second hand.  And I highly recommend that you go.  I may even return!

Fences – Movie Review by Fr. James DiLuzio C.S.P.

by August Wilson, Directed by Denzel Washington

When you go to see FENCES (and I urge you to go), don’t expect to see a movie.  Expect a play on the big screen.  Like those FATHOM EVENTS or the MET OPERA HD LIVE BROADCASTS in movie theaters.  August Wilson’s play is profound and when his writing is coupled with the actors’ close-ups, depths of character are on display. Still, it takes a bit getting used to.  The dialogue is poetic–musical and rhythmic with ideas and images that crackle and pop–but we’re just not accustomed to this much dialogue in movies these days. It’s a true “talkie.”  For all that, director / actor Denzel Washington wisely kept FENCES a play-on-film.  How else could he be true to the character he plays with such bravado: the extroverted, extremely chatty TROY?  Denzel insists we experience Troy as Wilson conceived him—larger-than-life, a grand stander who dances around his angst, hurt and despair to the tune of ATTENTION MUST BE PAID!  Yes, writer and director could have made this a more cinematic experience, and that would have been wonderful, too, but why deprive us of this language and the reality of characters who speak their way through life the way most of us do?

In more than a few ways, FENCES is an African American DEATH OF A SALESMAN although it’s not quite as tragic.  Its pathos is not as draining but it is deeply moving.  I think it’s because Troy is more likeable than Willy Loman (SALESMAN’S central character), and, as an African American in 1950’s and 1960’s USA, he is more complicated.  Troy has more phantoms, more layers of social oppression to navigate than Loman and August Wilson surrounds him with a set of less deflated, more earth-centered family and friends.   Troy’s devoted wife, Rose, has fire in her belly (Viola Davis –WOW!) and her decision to love (yes, friends, love is ultimately a “Decision”) brings rays of light into the proceedings.  Also: Troy’s son, Cory (played by Jovan Adepo, a natural) has more going for him than Willy Loman’s sons.  The primary reason for that is Loman and sons lived in a fantasy world of Willie’s own making–his version of “The American Dream;” his misguided definition of “success.” In contrast, Troy, the patriarch of Wilson’s drama, has taken a very hard look at America and all the prejudices and limitations it imposes on African American life.  It is his blessing and his curse, his wisdom and his folly.  His tragedy is that he transmits his pain, intentionally and unintentionally, on his wife and son without ever transcending it.  Is it because he cannot or will not aspire to reclaim a different, richer dignity? The answer is “YES: to both.  Which is why Rose reaches a nobility her husband can only covet.  And that is sad, indeed, for unlike so many fathers who abandon their wives, girlfriends and children in search of some other kind of manhood, Troy takes responsibility for his family, extended family and friends.  His tragedy is that he is not fully present to the life he leads. Instead he indulges an undercurrent of resentment, chasing phantoms of release rather than being at ease in the stillness of sacred silence.  But we cannot judge him. He had had a moment of being on the cusp of greatness- a major league baseball career, for if not for social bias toward race, age and its obsession with youth (yes, even THEN), he could have been a contender.  And he, and we, live in a culture that values little else. God help us.

The power of FENCES—its situation and ideas, the faces of its characters—lingers profoundly long after watching it.  I guarantee your appreciation for the film will grow in the days and weeks ahead just as it has in the world’s response to Arthur Miller’s DEATH OF A SALESMAN and Lorraine Hansberry’s A RAISIN IN THE SUN with which this photographed film has a strong affinity.  The play is alive with exciting performances of flawed but fascinating people who convey many truths about the nature of marriage, parenting, family and friendship.  I hope you will treat yourself to experience some of the depth of drive and feeling FENCES evokes—feelings we too often sublimate or eschew.    Of this much you can be sure: as you gather for celebrations of Christmas, Hanukkah, Kwanzaa and a Brand-New-Year, your investment in FENCES will offer you and your loved ones a great deal to talk about.

Forthcoming biography of playwright Tennessee Williams

American playwright Tennessee Williams whose great plays THE GLASS MENAGERIE, STREETCAR NAMED DESIRE, CAT ON A HOT TIN ROOF and THE NIGHT OF THE IGUANA highlighted the tragedy of human vulnerability to the point of despair, was a man of sorrow who either found little comfort in and/or was unable to surrender to the ways faith can transform sensitivity from tragedy to grace. That said, I have to note that CAT and IGUANA probably came as close as possible to grace-filled resolutions. Agree?

I am writing about Williams today as the NYTIMES features an excellent article about John Lahr’s upcoming bio on Williams that looks like it will be well worth the purchase for those of us who love the theatre and it’s potential to explore our meaning and purpose. John Lahr (son of the actor Burt Lahr, know for The Wizard of Oz on film and WAITING FOR GODOT on stage plus LAYS Potato Chips commercials in the 1960s) is one excellent and insightful writer and drama critic. Here’s the article: