a bruising tragicomic apache dance of love, betrayal and indecision…. AND it’s funny!!” Ben Brantley, New York Times. Gloria Gifford won accolades for her direction of Guirgis’ OUR LADY OF 121ST STREET, at the Matrix Theatre in 2006-2007, which was standing room only, L.A. TIMES CRITICS CHOICE and was nominated for Ovation Awards, etc.. She was lucky enough, after two years of begging Stephen to produce this in L.A., to introduce Guirgis to Los Angeles. After this explosion, everything he wrote got produced all over L.A.
THE MOTHER F**KER WITH THE HAT
Critics
LemonMeter
Reviews: 10
Reviews
The tragicomic nature of Guirgis's play makes severe demands on its actors, who must be able to find the laughter and tears in the text in equal amounts. Fortunately, Gifford's cast is up to the challenge and that's why this production comes off as superbly as it does.
Directed by renowned, veteran actress Gloria Gifford, who also runs the Gloria Gifford Conservatory in Hollywood, takes Pulitzer Prize for Drama winner playwright Stephen Adly Guirgis play and executes a perfectly timed hysterical work that is also thought-provoking and heartfelt... Playwright Guirgis is a talented writer whose gift is seeking beyond the surface and reach that raw nerve that people try to avoid.
Guirgis cleverly drops these characters into the arena and lets them claw away at each other until they are stripped bare by their own self-destructive flaws and deceptions, and he does so with hefty doses of devilish humor and gutter level language that might offend those with tender ears (hey, this is New York, and these characters aren't patricians). Director Gloria Gifford's staging is simple and straightforward, making effective use of the venue's cavernous interior. The expansive stage is constructed into three parts that neatly function as differing locales (smartly arranged by Lucy Walsh and Chad Doreck). There is, however, a need here for sharper pacing. There are stretches that grind along interminably and detract from what otherwise is a good production. Performances are excellent, particularly those by Bowers and Walker. Rounding out the cast is Benito Paje as Cousin Julio.
Taking the author's request to heart, Gifford multi-cast the play to reflect the "beautiful melting pot that is New York City." With a revolving cast, you may never see the same five actors as I am reviewing here, but I can guarantee the multi-ethnic members of her Conservatory will bring their own uniqueness and style to each character during every performance. Just be ready for very "adult" language!
Normally, one might object to the constant barrage of expletives, but in this show it makes sense. The playwright was at ease with the vernacular of the streets, the actors were believable and the direction was smooth. The cast was brilliant last Saturday night. (The cast alternates, but under Gifford's expert direction, it is difficult to imagine a sub-par performance.)
It is perhaps one of the weirdest and possibly most provocative I have ever seen. Yet as the story unfolds it makes sense and it was after all written by Pulitzer Prize winning playwright Stephen Adly Guirgis. It is also directed by multiple award winning Gloria Gifford and staged at her new Gloria Gifford Conservatory in Hollywood. Oh and what a tale is told. Though billed as a dark comedy I saw much more.
Broadway may not have been ready for a play that dared not speak its name, but theater gods be praised, The Motherf**ker With The Hat has been chalking up hit after hit on the regional scene since then, its latest incarnation now shocking and delighting audiences in equal measure on Hollywood Theater Row, unprintable title and all.
This production has a nice set, costumes, hair and make-up and some very fine moments but what will make this Motherf*cker with the Hat sing is the simple art of listening and reacting. Otherwise, it comes across as an old sitcom or daytime soap on steroids. More rehearsals or a mix-up of the dual cast might help these capable actors grow.
It's a wild and funny and loudly tender play. Full of deranged people and their ridiculous agendas. So it's highly relatable given our present national and global chaos, I only wish that we could all ‘love it out' like Jackie and Veronica. This is a play where the words are vitally important. There can be no deviating from the text or ‘adapting' the theme. If done as the playwright intended it then it's masterful, but I can see how easy it would be to miss the mark entirely. Thankfully this production by Gloria Gifford keeps faithfully to the original concept of the play and because of that and also because of some really fine performances from every single actor, it's absolutely brilliant.
It's very hip and downtown in nature, complete with all of the mofos it can carry. And this show carries!
The tragicomic nature of Guirgis's play makes severe demands on its actors, who must be able to find the laughter and tears in the text in equal amounts. Fortunately, Gifford's cast is up to the challenge and that's why this production comes off as superbly as it does.
Directed by renowned, veteran actress Gloria Gifford, who also runs the Gloria Gifford Conservatory in Hollywood, takes Pulitzer Prize for Drama winner playwright Stephen Adly Guirgis play and executes a perfectly timed hysterical work that is also thought-provoking and heartfelt... Playwright Guirgis is a talented writer whose gift is seeking beyond the surface and reach that raw nerve that people try to avoid.
Guirgis cleverly drops these characters into the arena and lets them claw away at each other until they are stripped bare by their own self-destructive flaws and deceptions, and he does so with hefty doses of devilish humor and gutter level language that might offend those with tender ears (hey, this is New York, and these characters aren't patricians). Director Gloria Gifford's staging is simple and straightforward, making effective use of the venue's cavernous interior. The expansive stage is constructed into three parts that neatly function as differing locales (smartly arranged by Lucy Walsh and Chad Doreck). There is, however, a need here for sharper pacing. There are stretches that grind along interminably and detract from what otherwise is a good production. Performances are excellent, particularly those by Bowers and Walker. Rounding out the cast is Benito Paje as Cousin Julio.
Taking the author's request to heart, Gifford multi-cast the play to reflect the "beautiful melting pot that is New York City." With a revolving cast, you may never see the same five actors as I am reviewing here, but I can guarantee the multi-ethnic members of her Conservatory will bring their own uniqueness and style to each character during every performance. Just be ready for very "adult" language!
Normally, one might object to the constant barrage of expletives, but in this show it makes sense. The playwright was at ease with the vernacular of the streets, the actors were believable and the direction was smooth. The cast was brilliant last Saturday night. (The cast alternates, but under Gifford's expert direction, it is difficult to imagine a sub-par performance.)
It is perhaps one of the weirdest and possibly most provocative I have ever seen. Yet as the story unfolds it makes sense and it was after all written by Pulitzer Prize winning playwright Stephen Adly Guirgis. It is also directed by multiple award winning Gloria Gifford and staged at her new Gloria Gifford Conservatory in Hollywood. Oh and what a tale is told. Though billed as a dark comedy I saw much more.
Broadway may not have been ready for a play that dared not speak its name, but theater gods be praised, The Motherf**ker With The Hat has been chalking up hit after hit on the regional scene since then, its latest incarnation now shocking and delighting audiences in equal measure on Hollywood Theater Row, unprintable title and all.
This production has a nice set, costumes, hair and make-up and some very fine moments but what will make this Motherf*cker with the Hat sing is the simple art of listening and reacting. Otherwise, it comes across as an old sitcom or daytime soap on steroids. More rehearsals or a mix-up of the dual cast might help these capable actors grow.
It's a wild and funny and loudly tender play. Full of deranged people and their ridiculous agendas. So it's highly relatable given our present national and global chaos, I only wish that we could all ‘love it out' like Jackie and Veronica. This is a play where the words are vitally important. There can be no deviating from the text or ‘adapting' the theme. If done as the playwright intended it then it's masterful, but I can see how easy it would be to miss the mark entirely. Thankfully this production by Gloria Gifford keeps faithfully to the original concept of the play and because of that and also because of some really fine performances from every single actor, it's absolutely brilliant.
It's very hip and downtown in nature, complete with all of the mofos it can carry. And this show carries!