UMS_305x225

Under My Skin Ticket Giveaway

That’s right FAMERS, it’s contest time!

F.A.M.E NYC is giving away a pair of tickets for Under My Skin, the new comedy in previews at The Little Shubert Theatre.  This production takes the battle of the sexes to new heights.  And one of you FAMERS could be the lucky winner if you can answer this question…

What iconic blue-eyed singer from Hoboken N.J. recorded a rendition of “I’ve Got You under My Skin?”

 The winner will be announced on Good Friday at 5 p.m.

Happy spring and good luck!

The Outing Urban Waves

Meet the Cast of The Outing

This Friday “The Outing” premiers at Open Hydrant’s Urban Waves Short Play Festival.  We thought our FAMERS would like to get the chance to know a little more about the actor playing Salome, the lead character, and the rest of the cast.

joebrondoJoe Brondo (Salome) is proud to be working with the Open Hydrant Theater Company.  Previous credits include “In The Next Room” or “The Vibrator Play” (HITfest), “Macbeth” (Round Table Theatre Company), “Sex, Relationships, & Sometimes Love” (Michael Chekhov Theatre Company), “A Chorus Line”, “Not About Nightingales and Follies” (Southampton Players), among others. He sends his love to his wife Jennifer.   F.A.M.E NYC had the opportunity to ask Joe a few questions about himself and the character he is playing in “The Outing.”
1.  What made you want to become an artist?

Being an actor allows me to be myself in more ways than I possibly could in real life.

2.  How has living in New York City shaped your journey as an artist?

I wish I lived in NYC! Right now when I am not in the city working on projects, I’m living and spending my time with my beautiful wife in East Hampton.   I love New York City for the incredible amount of varied opportunities available for creativity and collaboration – and the food!

3.  When you summon the creative gods to assist you with your work, who do you pray to?

I am inspired most by my family and friends, and by listening to good music from all genres.  I find that music can be almost as helpful as spending time with a good friend or loved one to inspire me.
4. What aspect about the character you are playing in “The Outing” intrigued you most? 

I am very intrigued by Salome’s strength – I feel very lucky to be allowed to play such a strong, self-confident and positive woman.

5.  If you were asked to describe “The Outing” to someone using three words, which words would you pick?

Don’t Waste Life

Brondo will be participating in a 10 minute play festival with the Abingdon Theater Company on April 7. You can find him on Twitter at @joebrondo.

 

SONY DSCJosephine Pepa (Jizelle) Her credits include: New World Symphony, DATCO (NYC), New York State Summer School of the Arts (NYSSSA), touring internationally with Latin Grammy award winning group Orishas and universal recording artist singer Beatriz Luengo.   She is currently singing back up for such programs as “X Factor Mexico”, “Mira Quien Baila”, as well as working on her own material and blogging about her artistic adventures.

 

IMG_6639Ashley Marie Ortiz (Jasmine) is a New York based actress/artist.  She is excited to be a part of Open Hydrant Theater Company’s Urban Waves Short Play Festival. After graduating from the University of North Carolina at Greensboro with a BFA in Acting, she decided to make the big move to NYC.  She is member of INTAR’s UNIT52, a proud volunteer of The 52nd St Project, and happy to be a part of Amios’ SHOTZ! once a month.

 

photo1KENNY TORRES (Train) is proud to be performing with Open Hydrant Theater Company’s Urban Waves Short Play Festival in his first theatre production. His feature debut in film was in the experimental piece “Liberta” by Edson Poaiti. His screenplay “Emilio” is currently being developed with Enyi Entertainment. Also a poet, his work has been performed at Nuyourican Poets Café in Manhattan.

 

unnamedChristin Eve Cato (Director) is a New York based artist with a background in performing arts and play-writing. She is a member of the Bats, the resident acting company of the Flea Theater, a junior board member for Theater Resources Unlimited, and a member of New York Women in Film & Television. Christin is also co-founder of Manifest Alchemy, a new platform/community for Independent filmmakers to showcase their talents, specializing in Mini-Movies, documentaries, and web shows. She is excited to join Urban Waves team at Open Hydrant in her directorial debut!

Photos provided by cast members

The Outing

Afrika Brown’s The Outing Premieres At Open Hydrant’s Spring 2014 Festival

In 2009 Afrika Brown founded F.A.M.E NYC as a part of her journey as an artist and to tell the stories of NYC’S arts community.  F.A.M.E NYC is proud to announce that our beloved founder and editor will have her one of her plays premiere at Open Hydrant’s Urban Waves Spring 2014 Festival.

Afrika has a question for all FAMERS: What’s the “T”?

What is truth?  Everyone knows what the truth is, but when the truth is revealed….how easy is it to accept?  Can you accept your truth or someone else’s truth when it finally comes out?

“The Outing” is a captivating drama centering on three individuals who reveal a certain truth about themselves and the acceptance or nonacceptance of life outside the closet.   Brief yet penetrating, “The Outingaims to hit the audience straight between the eyes with the speed and power of an Ali punch. As these characters learn to deal with the truth about themselves, the audience is also left to determine how the hidden truths of their life would affect the course of their life if they were to expose them.

Founded by Luis Cardenas, Sarah Rosenberg (stars of the Showtime documentary Shakespeare High) and Deborah Pautler, Open Hydrant’s mission is to vitalize the Arts and Theater scene in the Bronx. Their wish is to create an ensemble based company of actors, directors, playwrights, producers and artists to better serve the cultural invigoration of the South Bronx. The creative spirit of New York City doesn’t just reside in Manhattan.  As the Bronx’s first professional AEA ensemble theater company, Open Hydrant is determined to make the BX a destination for citizens of all five boroughs and the tri-state area.

Open Hydrant Theater Company’s Urban Waves Spring 2014 Short Festival runs from March 28 -30 at The Point, located at 940 Garrison Avenue, Bronx NY.  Showtimes for each day are as follows: March 28th 7:30 pm, March 29th 3:00 pm & 8pm, March 30th 3:00 pm.  Below is the link to pre-order tickets.  If you pre-order them you get $5 off.  Also, each ticket includes a drink.  Now that is definitely worth the price of admission.  Please tell a friend, who knows a friend, who knows a friend!  We hope all FAMERS will support our founder!

http://m.bpt.me/event/605593

 

 

MEAM Superman

F.A.M.E NYC Recommends Make ‘Em All Mexican

Elvis is known as the king, but what if his last name was Chavez and instead of being the king of rock ‘n roll, he was the king of Tejano?  Marilyn Monroe has remained the pinnacle of Hollywood beauty and sex appeal for over 50 years, but what if her last name was really Martinez?  What if Superman was actually an Aztec warrior from another plane of existence instead of an alien from another planet?  What if this nation’s founding fathers actually migrated from Mexico instead of Great Britain?  Elvis Chavez…Marilyn Martinez…George Washington with a permanent tan?  How would these modifications change the course of American history and iconography if they were true?  If you have ever pondered questions like these, then I’ve got something to share with you.

Vallejo5-182x300FAMERS, I’ve got the scoop on something hilariously provocative coming this way via the other coast.  Beginning next month the Lower East Side’s Clemente Soto Vélez Cultural & Educational Center will play host to a Chicano invasion courtesy of L.A. based artist Linda Vallejo.  For 20 years Vallejo’s work had been influenced by her study of ancient culture, architecture and symbols.  In recent years, Vallejo has taken memories of growing up in the segregated South during the 1960s and her experiences as a Mexican-American, Chicana to produce a new series titled “Make ‘Em All Mexican.”

“Make ‘Em All Mexican” uses cheeky wit to address a larger topic, which can be drilled down to one fact, the skin we are born in colors our perception of the world and our experiences.  Although it speaks to the Latino/Mexican-American/Chicano conundrum directly, it’s by no means a show for Latinos exclusively.  In fact, members of all minority groups in this country have a story that is reflected in this exhibition.  It’s a springboard in which we can all dive deeper into the issues that fester in the stitches of the stars and stripes.  “Make ‘Em All Mexican” is ripe for the Big Apple, adding an essential dash of spice to melting pot of this city.  I got an opportunity to speak with Linda as she prepares to bring her show to Manhattan.  She answered a few questions about herself and the importance of the show.

1.    What made you want to become an artist?

I have always been an artist.  I think I was born that way.  My first experience was at four-years-old in kindergarten.  We were finger painting on large pieces of paper with an egg drawn on it for Easter.  I was on my knees with my hands in the paint and I can still remember the smell.  I loved it and I knew it.  I was also very fortunate to have a first grade teacher that used literature to inspire painting projects.  We would read a book and then go to the back of the classroom to paint with easels and brushes on large pads of paper.  I won several prizes and loved the literature/visual art link which still inspires me today.  I sang as a young girl in the church choir and painted.  At twelve, I was playing guitar, writing music and painting.  In high school, I designed clothes, wrote music and painted, and in college I worked in theater, wrote music and painted.  All my life.  An artist is simply an artist.  We can’t help it…we’ve just got to live it.

2.    New York City has a large Hispanic population. As a west coast based artist how important is it to you for this show to be seen in NYC and why?

All my colleagues in Los Angeles are very happy that I’m taking the work to New York.  New York shows mean a great deal to any artistic career.  “Brown” isn’t just a West Coast/Los Angeles/Mexican phenomenon, the politics of color is a global issue.  I am very excited to connect with Mexicanos, Cubanos and Puerto Riquenos in New York to expand the conversation, share our stores and heal some wounds.  A positive response from the New York arts community would certainly give MEAM additional cache as New York is still considered the center of the art world.

3.    When you summon the creative gods to assist you with your work, who do you pray to?

I ask the Sacred Four Directions, Mother Earth, Father Sky, and Great Spirit to help me create an image with meaning and purpose.

4.    Today…right now, which piece out of “Make ‘Em All Mexican” is your favorite and why?

I’m enthralled with the new larger series of sculptures including “Super Hombre.”  It took weeks to find a 1:1 ratio/life size bust of Super Man.  My fabricator, Chino, is a car body specialist and a perfectionist.  I have been working with him for months on this new series that creates a “car culture sub-text” by painting repurposed sculpture “as if they were cars” including metal flake, hand painting, and chrome details.  The result is a luscious chocolate coating that many say is “good enough to eat!”  One person said, “Super Hombre” is “Chocoliscious!” or “I want to lick it!”

First the viewer laughs out load, then she or he is seduced by the luscious edible beauty of the object itself, and then the questions start pouring in:  Is brown good enough?  Can brown be beautiful? Can a superhero be brown? The answers are, absolutely!  There are five of these larger works and three of them will be in NYC, but I’m only sharing the additional images with those that make it to the show in New York.

5.    If you were asked to describe “Make ‘Em All Mexican” to a New Yorker using three words, which words would you pick?

Brown is beautiful!

“Make ‘Em All Mexican” opens at Clemente Soto Vélez Cultural & Educational Center, located at 107 Suffolk St, on April 3 and includes an artist talk and discussion.  FAMERS don’t wait until Cinco de Mayo to channel your inner Chicano.  Get down to the barrio of the Lower East Side and get a good dose of artistic consciousness.

COI Artwork1

F.A.M.E NYC’s St. Paddy’s Day Ticket Giveaway

Spring is near and if you weren’t already itching to get out of the house, let F.A.M.E NYC give you another reason.  Daniel Radcliffe is best known for conjuring magic on the big screen, but he has also been known to create some special moments on stage as well.  This spring Radcliffe is coming back to Broadway in THE CRIPPLE OF INISHMANAnd we want to give someone a pair of tickets to see Radcliffe in action.  All you have to do is riddle us this?

What school did Harry Potter attend?

Leave your answer in the Comment Box below for a chance to win.  

We will choose the winner on St. Patrick’s Day at 5 p.m.  May the luck of the Irish be with you!

unnamed

KEEP UP WITH THE JONESES CONTEST

Robert Frost once wrote, “Good fences make good neighbors.”  But how many of you would jump at the chance to peer past the fence and find out what your neighbors are really like?

F.A.M.E NYC would like to give one lucky FAMER and a guest the opportunity to find out by extending two passes to the dress rehearsal of “THE REALISTIC JONESES” on March 12 at 8 pm.  Written by Will Eno and directed by Sam Gold, “The Realistic Joneses” stars Academy Award nominee Toni Collette, Golden Globe winner Michael C. Hall, Tony Award winner Tracy Letts and Academy Award winner Marisa Tomei.

To enter to win the passes for this exclusive event, all you need to do is answer this question:

What is the name of the film in which Marisa Tomei gave her Oscar winning performance?

The winner will be announced on February 25 at 5 pm.  Despite the mounds of ice littering our sidewalks, spring is coming!  And on Broadway Spring 2014 is shaping up to be one helluva season.  Here’s your chance to become a Broadway insider. Enter this contest! 

Good luck FAMERS!

R_J

Happy 2014!

We are one month into 2014 and despite the snow and frigid temperatures; NYC is still in a celebratory mood.  The Super Bowl on Sunday… Chinese New Year…Fashion Week around the corner…new shows opening on Broadway, it may be winter, but The Big Apple is hotter than ever.  F.A.M.E NYC has remained in a festive mood as well.  So much so, that we would like to show our appreciation by offering one FAMER tickets to see the 2013 production of “Romeo and Juliet” starring Orlando Bloom and Condola Rashad in movie theaters.  During its final week of performances the play about the world’s most famous star-crossed lovers was filmed and will be broadcast in theaters nationwide from February 13 – 19 as a part of BroadwayHD, www.broadwayhd.com.

We will pick a name from one of the FAMERS who have commented to one of our contests last year.  The winner will be announced on Monday.

THANK YOU FAMERS!  It’s been a pleasure bringing you the NYC I get to see.  The journey is still continuing and spreading in new directions.  I hope you will all take the twists and curves with me.

Afrika Brown

F.A.M.E NYC Editor and Founder

AAADT_Night_Creature

Masters at Work, The Ailey-Ellington Connection

When producers Kenny “Dope” Gonzales and Louie Vega formed Masters at Work in 1990, they proceeded to create a catalog that contains some of house music’s most recognizable classics.  Such is the case when two great creative minds come together to collaborate.  It seemed that from the time Alvin Ailey hit the streets of The Big Apple in 1954, he and Duke Ellington’s paths were destined to meet.  Both he and Ellington were born in different areas of the country but had come to New York City to pursue their art, although by the time young Ailey had arrived, Ellington had already cemented his legacy as a jazz virtuoso.  However, it didn’t take long for Ailey to begin to carve a name for himself in the world of dance.  With pieces like “Revelations” and “Blues Suite”, the Alvin Ailey American Dance Theater, which was formed in 1958, quickly became a sensation in the modern dance scene.  Like Ellington, Ailey was known for a unique style infusing ballet, Horton, jazz and African dance  techniques.  Also like Ellington, Ailey lifted his art above the grouping of race which allowed his work to be recognized as an American art form the world over.

AAADT's Demetia Hopkins in Alvin Ailey's The River.  Photo by Paul KolnikIn 1970, Alvin Ailey and Duke Ellington’s paths finally met.  American Ballet Theater commissioned Ailey to create “The River”.  The ballet was the first collaboration between Alvin Ailey and Duke Ellington.  Ailey would again refer to Ellington’s music when he created “Night Creature” in 1974 and “Pas de Duke” in 1976.  For the 2013 season, Alvin Ailey American Dance Theater paid homage to these late geniuses and their collaborations by premiering new productions of “The River” and “Pas de Duke” at the New York City Center.  Along with the first season’s performance of “Night Creature” and Ailey’s most seminal work, “Revelations”, the debut of these works was an evening of remembrance, revelry and appreciation for beauty, physicality and style in motion.

AAADT weaves athleticism and artistry so seamlessly that it takes the medium of dance to another level.  Visually stunning and always breathtaking to behold, Alvin Ailey American Dance Theater never fail to provide its audience with the most soul-stirring shows they will ever see.  It is where perfection and performance meet.  This sentiment simply radiates through “The River”, a work that utilizes the entire company and is as moving, fierce and romantic as its namesake.   With the accompaniment of Duke Ellington’s score driving this piece forward, the love Ailey had for dance is truly exhibited.  The way in which he carefully blended classical ballet elements together with modern techniques is nothing short of masterful.    “The River” is energetic; it rolls and sweeps the audience in its majesty.  It is a living example of the brilliance of these two men.

AAADT's Antonio Douthit-Boyd and Linda Celeste Sims in Alvin Ailey's Pas de Duke.  Photo by Paul Kolnik“Pas de Duke” was first created for Ailey’s muse Judith Jamison and ballet superstar Mikhail Baryshnikov. Black and white, modern versus ballet, Eve and Adam, “Pas de Duke” is witty, flirtatious, sophisticated and utterly charming.  Ailey must of thought of the song “Anything You Can Do” when he choreographed this piece.

Alvin_Ailey_American_Dance_Theater_in_Alvin_Ailey_s_Night_Creature._Photo_by_Krautbauer_2_As one of the children of the night, I have always had a fondness for those who skulk down sidewalks, saunter into nightclubs and compete with colored spotlights for the glory of a night filled with sweat and velocity. On many occasions, I have been one of them creating new realities on the dance floor.  Ellington said, “Night creatures, unlike stars, do not come out at night, they come on.”  I would say they come out to be alive, alive in a way they can’t be when the sun is shining.  Alvin Ailey’s “Night Creature” is overflowing with life.  The company slinks, leaps and struts with authority.  It defines the sumptuous nightlife that New York City is known for.

AAADT_in_Alvin_Ailey_s_Revelations._Photo_by_Christopher_DugganThere can be no better end to an evening with AAADT than “Revelations”.  It is the work that Alvin Ailey is most known for and definitely on the top my list. Seeing Alvin Ailey’s choreography paired with Duke Ellington’s music gave me a few revelations of my own.  There is no debate why the majority of their works are regarded as masterpieces.  I would liken the Ailey-Ellington collaborations to an artistic atom bomb – an explosion of epic scale whose far reaching effects have spanned over generations.

Photos: Paul Kolnik, Christopher Duggan, Gert Krautbauer

CAMILLE A. BROWN AND DANCERS

Mr. Tol E RAncE is Brilliant

I didn’t realized how rare it was to witness the emergence of a masterpiece before December 7, 2013.   “A Love Supreme”, “A Raisin in the Sun”, Alvin Ailey’s “Revelations”, often times the works I regard as masterpieces were created before I was born, but the thing about a masterpiece is you know one when you see one.  It rocks your head back and socks you directly in the breadbasket.  After seeing Camille A. Brown’s “Mr. Tol E. Rance” my head has been popped up Rock ‘Em Sock ‘Em Robots style.

CAMILLE A. BROWN AND DANCERS

Camille A. Brown

Like “Revelations”, “Mr. Tol E RAncE” was born from choreographer Camille A. Brown’s personal experiences.  Frustrated with the game many artists must master in order gain recognition or make a living, Ms. Brown started on a journey that culminated in this powerful, introspective piece.  Through exploring her own emotions, Ms. Brown was also influenced by Spike Lee’s “Bamboozled”, Mel Watkins’ “On the Real Side” and the idea of the modern day minstrel.  Utilizing sketch comedy, live music and animation, “Mr. Tol E RAncE” presents a mirror to the audience allowing them to examine the influence that stereotypes have had on black culture and art.  The stereotype is the mask the artist wears to become successful, but what happens when one becomes imprisoned by it?

The Company in TOL... PC_Christopher.Duggan_166Hattie McDaniel was once quoted as saying she would rather make $700 a week playing a maid than make $7 a week being one.  This sentiment speaks to the first act of the production.  Beginning with photographs and videos of comedic actors and shows, the dance troupe then provides a blistering, rhythmic history lesson, sometimes acting out the gestures of famous black characters.  An episode of “The Twilight Zone” could best describe act two.  The particular one that comes to mind is titled “The Masks.”  Family members gather at the home of a wealthy family member whose dying. He demands the members to where masks he selected all night in order to obtain their inheritance.  They comply and when they are able to remove the mask, they realize that their face has contorted into the same shape as their mask.    As much as the first act reveals how stereotypes were used as a means of paving a way, the second act shows how stereotypes have become the main contributor to black culture and the road that was paved has lead black entertainers to a realm where minstrelsy is not only perpetuated but expected.

Waldean Nelson

Waldean Nelson

Mixing nostalgia with bitter truths, “Mr. Tol E RAncE” can brutal on the eyes and soul. The comedy and jiving lower our guards and lure us in, then without warning the rug is snatched from under your feet.  Suddenly, you realize the role you play in the perpetuation of today’s stereotypes.  As much as black entertainers wear a mask, we assist and often times insist on them wearing it.  Afterall, we are the ones that subscribe and purchase what these entertainers are peddling.  The penultimate section of act two contains two riveting solos by Waldean Nelson and Camille A. Brown, each struggling to break away from their masks.   The work ends with a dialogue between the dancers and the audience.  Explosive and extremely emotive this work barrels through the consciousness like a bullet shattering through panels of glass.  If works of art were required to be seen, this would be one of them.  It is the most telling piece of edutainment I have seen in a long time.  In short I could sum up “Mr. Tol E RAncE” in three syllables, tour de force.

CAMILLE A. BROWN AND DANCERSCamille A. Brown & Dancers performed “Mr. Tol E RAncE” at Kumble Theater for the Performing Arts on December 6 and 7.   Some may always think of December 7 as a day that will live in infamy.  I will view it as a day of awakening.  There is no way you can sit down to view “Mr. Tol E RAncE” and walk out the same.  When this work is performed again I urge everyone who reads F.A.M.E NYC to see this seminal dance piece and witness this masterpiece with your own eyes, mind and spirit.

Photos: Christopher, Grant Halverson

New MB5

Macabre and Metaphysics Intertwine in Macbeth at Lincoln Center Theater

We are all familiar with the story of Macbeth, the Scottish warlord who would become king partly on the count of the Three Witches.  After a victorious battle, Macbeth encounters the Three Witches and upon doing so is told he will be king.  Macbeth and his wife then plot to murder Duncan, the current monarch.  Under the guise of merriment and despite Macbeth’s reservations, he and his wife welcome Duncan and his kinsmen into their home, get the king’s chamberlains drunk and assassinate the king.   Newly crowned, Macbeth descends from sovereign to psychopath murdering his loyal friend Banquo.  A second caucus with the Three Witches only heightens Macbeth’s paranoia and prompts him to have the family of Macduff, a fellow kinsman, murdered.  Meanwhile, Lady Macbeth, overcome with guilt, plummets into depression and begins to sleepwalk.  Eventually she commits suicide.  Macbeth is ultimately vanquished by Macduff and Duncan’s eldest son Malcolm becomes king.

MB4No matter the interpretation, the theme of the supernatural is constantly present in “Macbeth”.  You can’t get away from it, but what makes Shakespeare’s work so genius is that the interpretation of his plays depends on the road you take.  Director Jack O’Brien’s offering of “Macbeth” chooses to take the metaphysical path.   In this version, the Three Witches aren’t just a trio of wacky soothsayers convening around a cauldron. Oh no. These conniving necromancers morph into other characters on stage, thus taking on the personas of puppet masters ensuring their marionettes move their strings in the exact order they desire. The witches’ almost ubiquitous presence calls into question the subject of fate and action.  How much of Macbeth’s destiny relied on his own ambition or that of the Three Witches? Was Macbeth’s belief in the witches’ prediction responsible for all the events that followed? How responsible are Macbeth and Lady Macbeth for their actions if their actions were just pit stops along their destined path?  Jack O’Brien’s interpretation of this classic tragedy sets the mind ablaze with questions about the workings of the universe and the individual’s role in it to create good or evil. What I find most intriguing about this production is that O’Brien doesn’t attempt to supply the audience with answers, the answers you must discover for yourself.

The visuals of “Macbeth” only intensify the mystical happenings on stage.  From the moment the audience takes their seats and views the carved mandala, they become keenly aware of the conjuring set to take place.  And just like the actors, we are at the witches’ mercy, forced to watch two lovers plunge headlong into the abyss of destruction.  Along with the sacred symbol of the universe, the production is draped in the primary colors of black, white and blood red – hues that have meaning in the occult.  The lighting provides a stark perception of the actors making the tragic events more exaggerated and the imagery more daunting.  The costumes and sets courtesy of Catherine Zuber and Scott Pask produce a minimalist, sleek quality without dedicating itself to one particular time period.

MB3And what of the thespians who resurrect the bubbling and boiling characters full of toil and trouble? Color me impressed.  The vernacular of Shakespeare is a language we learn in high school and unless you take courses in it in college, there it stays. If not performed correctly, the rich wording of Shakespeare’s prose can come off like pubescent ramblings of students looking for a mid-term grade.  Some reincarnations of Shakespeare’s plays I have witnessed as of late have possessed this puerile quality.  Not so with this production.  Led by Ethan Hawke, the cast as a whole is more fair than foul.  I’ve viewed productions where actors performed Shakespeare as if they were competing for top prize in “Who Can Scream Loudest.”  Hawke’s Macbeth is a combination of shrewd underplaying offset by fierce outbursts of emotion.  He is the personification of a man slipping into darkness.  As Lady Macbeth, Anne-Marie Duff is sensational.  She embodies the grace of a queen and psyche of a sociopath. Together Hawke and Duff brilliantly represent one word…karma.  Malcolm Gets, John Glover and Byron Jennings portray the pied pipers of wizardry in this numinous production.  Although they look like rejects from “RuPaul’s Drag Race”, the sorcerers don’t just play to win, they play for keeps.  The havoc they render adds the spice that makes this supernatural gumbo complete.  On a surprising note, I was pleased with Daniel Sunjata’s Macduff.  Though a bit heavy handed in his delivery at times, he proved to me that he is more than just a pretty face.   What I enjoyed most about the production was its fluidness.  It moved like a choreographed dance, constantly adding layers.

MBChristmas hovers in the air, tis the season to be jolly, but for Hawke and company tis the time to be wicked, the naughty reign supreme at The Vivian Beaumont Theater.  “Macbeth” has a limited run and ends on January 12.  Take a break from tidings of cheer and take a walk down the paranormal path.  Without a doubt, this production is worth seeing.

Photos: T. Charles Erickson