Theater Review: Playwright-director RichardNelson continues his RhinebeckPanorama, an exquisitely intimate, multipart portrait of our troubled times, in 'The Michaels'
Perhaps as a direct inverse reflection of its deafening volume in our everyday lives, politics is confined mostly to background texture in Richard Nelson's new work, unlike the previous entries in his, a transfixing experiment in real-time micro-macro drama that now spans a decade and encompasses eight plays.
The gathering place this time is the home of Rose Michael , a celebrated modern dance choreographer with stage 4 ovarian cancer, whose work gained prominence in the downtown New York arts scene of the 1970s.
From the moment the play begins, with the estrogen-heavy ensemble arranging the furniture on Jason Ardizzone-West's lived-in set — spreading mats, placing props and assembling the ingredients for a meal to be cooked in the fully functioning kitchen — there's a sense of women's domestic routines being celebrated.
The dances, based on vintage original choreography by Dan Wagoner, are jagged and emotional, particularly a duet in which Lucy and May play their mothers, Rose and her sister. The balance of warmth and competition between them registers as a vivid memory, playing out across the faces of the characters watching, or in Kate's case, providing another window to the younger life of the woman she loves.
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