It’s not much of a spoiler to note that the Angel in Judgment Day gets the last laugh. In fact, we hear the Angel — also known as Sister Margaret from the lead character’s childhood — laugh at several different points in the new play, the script of which actually instructs the actor to cackle each time.
And with Patti LuPone cast in the role, rest assured you hear a cackle to end all cackles, one sounding almost diabolically possessed. Recorded last summer as a benefit for the Barrington Stage Company in the Berkshires of Western Massachusetts and now streaming in an encore presentation through the Stellar Events platform, the virtual play reading even throws in a few amusing outtakes for good measure.
“Shit! Motherfucker,” LuPone is heard in one blooper, right after her landline phone rings while shooting a split-screen scene with Jason Alexander. With perfect timing, Alexander interjects, “Is that God, Sister?”
In this promising debut play from veteran TV comedy writer/producer Rob Ulins (CBS’s Young Sheldon, Hulu’s Ramy), Alexander portrays corrupt, morally bankrupt lawyer Sammy Campo, who sets out to redeem himself after a terrifying Angel threatens him with eternal damnation during a near-death encounter.
He forms an unlikely bond with a Catholic priest (Santino Fontana), setting the stage for debates over timeless questions about morality, faith, religion, and human behavior. “I wanna figure out the rock-bottom least amount of good I need to do to get into Heaven,” Sammy says early upon meeting the priest, who snaps back, “It doesn’t work that way.”
Judgment Day itself works very well under the deft direction of Matthew Penn, who helps the large cast shine — a virtual roster also including Michael McKean, Justina Machado, Julian Emie Lerner, Loretta Devine, Carol Mansell, Michael Mastro, Josh Jonston, Bianca LaVerne Jones, and Elizabeth Stanley.
The end result is a production with sharp performances adding enough subtle dimension and vitality to almost help it defy reality, often looking and feeling like more than the staged play reading over Zoom it ultimately is.
Judgment Day streams through Aug. 1 on Stellar Events as a benefit for Barrington Stage. Tickets are $11.99. Visit www.StellarTickets.com.
In 2015, it all seemed to be a novel concept. That's the year Jordan Harrison's Pulitzer Prize-nominated Marjorie Prime premiered Off-Broadway. Certainly, artificial intelligence had been developed, but in the ten years since, its sophistication and abilities have reached levels that are both beneficial and ethically questionable. Now, the piece has returned, this time on Broadway.
The use of AI rests at the center of Harrison's drama about Marjorie (June Squibb), an octogenarian who lives with her daughter, Tess (Cynthia Nixon), and her son-in-law Jon (Danny Burstein). Christopher Lowell rounds out the cast as Walter, a computerized version of Marjorie's deceased husband, known as a "Prime." With short-term memory loss and slight dementia plaguing Marjorie, the robotic form of her late spouse reappears in his thirties and relays information provided to him by Jon and Tess.
Not since Hedwig and the Angry Inch have I so enjoyed a one-person musical about an internationally ignored female artist overshadowed by her famous male partner as much as I enjoyed Rebecca Simmonds and Jack Miles' enchanting In Clay.
Making its American premiere at Signature Theatre, following sellout runs in London, the jazz-infused portrait of early-20th-century French ceramicist and painter Marie-Berthe Cazin doesn't have too much else in common with hard-rocking Hedwig. Except that both shows are powered by a knockout batch of songs, and the galvanizing force of a woman reclaiming her time, her art, and her story.
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