Interludes

VIEWPOINTS – Shape-shifters: Mikel Murfi, Kathryn Hunter, and Hershey Felder captivate in their solo shows

• By drediman
• September 17, 2018
• No Comments

Essentially, theater really is just storytelling from different points of view (even if just a single one). At its most distilled, all you need is a bare stage, a performer, and a story to tell. The solo show format, more than most forms of theater, understands this. This weekend, I luckily and happily caught a trio of excellent shape-shifting solo performers who may not be unfamiliar to theatergoers – Mikel Murfi, Kathryn Hunter, and Hershey Felder (each has appeared in New York previously to great acclaim). All three are back in town displaying their latest wares Off-Broadway in three captivating solo shows.

Mikel Murfi in “The Man in the Woman’s Shoes” and “I Hear You and Rejoice” at the Irish Arts Center.

In Hell’s Kitchen at the Irish Arts Center, Irish actor Mikel Murfi has put together a pair of utterly riveting, altogether flawless solo shows, The Man in the Woman’s Shoes and I Hear You and Rejoice (both HIGHLY RECOMMENDED), both of which opened this weekend. Although the former piece had already played New York three years ago, also at IAC, it was a smart idea to bring it back in repertory with I Hear You and Rejoice, which is basically its sequel. Performed simply on a bare stage with minimal props and simple lighting, Mr. Murfi makes theater magic by miraculously conjuring to life an entire rural Irish village via a shape-shifting performance of astonishing quickness, timing, and precision. And may I also add heart. These shows (which really should be seen together for maximum impact), collectively an unlikely love story, are as hilarious, moving, and energizing as anything playing in New York. Indeed, Mr. Murfi’s performance seethes with the vitality of life itself.

Kathryn Hunter in “The Emperor” at Theatre for a New Audience.

Over in Brooklyn’s Fort Greene neighborhood, the singular British actress Kathryn Hunter is currently appearing in The Emperor (RECOMMENDED), which opened last night at Theatre for a New Audience. Although not technically a solo show – she appears onstage with soulful Ethiopian instrumentalist Temesgen Zeleke – much of the dialogue and acting belongs to and is delivered by Ms. Hunter. The Emperor is based on Ryszard Kapuściński’s 1978 journalistic book of the same name, which creates a portrait of Ethiopian emperor Haile Selassie and his downfall through interviews with his various loyal servants. In the solo stage adaptation, the ever shape-shifting, physically-gifted Ms. Hunter skillfully brings these peripheral personalities to life. If she’s somewhat less striking here than in her past appearances – mostly because the mellow adaptation itself stubbornly resists overt theatricality – Ms. Hunter’s performance gains in stature and poignancy as Selassie’s and Ethiopia’s tragic fate unfolds. As with the Murfi shows, The Emperor is performed essentially on a bare stage, albeit aided by some somber but stylish lighting and projection work.

Hershey Felder in “Hershey Felder as Irving Berlin” at 59E59 Theaters.

Meanwhile, up on the Upper East Side of Manhattan, you can catch Hershey Felder as Irving Berlin (RECOMMENDED), the most conventionally structured, written, and performed of the lot, at 59E59 Theaters. As many of you know, Mr. Felder has made a name and a career for himself by transforming himself into and performing as iconic composers of the American songbook – George Gershwin, Leonard Bernstein, and now Irving Berlin (he’s also known for bringing to life great classical music composers like Beethoven, Tchaikovsky, and Chopin). As with with Mr. Felder’s other solo bio-dramas, his depiction of Irving Berlin’s life and times is well-researched and comes with a healthy dosage of sing-along piano-playing (Mr. Felder is a very talented and beautifully trained piano player), much to the delight of his adoring fans, as well as shape-shifting perspectives. For me, his writing and performances can sometimes come across as trite, but with this latest show, Mr. Felder has refreshingly turned down his enthusiasm (he’s obviously passionate about his subjects) in favor of a more subdued, nuanced portrayal. Although some of the writing still seems a tad pat, I would argue that Hershey Felder as Irving Berlin is definitely one his more affecting presentations. Indeed, there’s a quiet, unaccompanied montage of hit Berlin songs towards the end of the show that I found particularly touching and indicative of the piece. Look out for it.

THE MAN IN THE WOMAN’S SHOES / I HEAR YOU AND REJOICE
Off-Broadway, Play
Irish Arts Center
Both plays run approximately 1 hour, 20 minutes (without an intermission)
In repertory through October 21

THE EMPEROR
Off-Broadway, Play
Theatre for a New Audience
1 hour, 15 minutes (without an intermission)
Through September 30

HERSHEY FELDER AS IRVING BERLIN
Off-Broadway, Play
59E59 Theaters
1 hour, 45 minutes (without an intermission)
Through October 28