"Waiting for Lefty," presented by New Phoenix Theatre Company and Subversive Theatre Collective, closes this Saturday.

WAITING FOR LEFTY

The acting in the New Phoenix Theatre Company/Subversive Theatre Collective production of Clifford Odets’ Waiting for Lefty is thrilling. Originally performed by the legendary Group Theater in 1935, during a golden age of American acting, the play is brimming with opportunities for actors to strut their stuff. In this production, no opportunity is wasted.

Waiting for Lefty takes place at a meeting of a cab drivers’ union where a strike is being discussed. The charismatic union leader, “Lefty,” is inexplicably late. As the situation between labor and management is argued, union members expressionistically act out scenes from their personal lives that highlight the need for better pay and working conditions. This is far more entertaining than it might sound.

The Group Theater boasted an oddly generous number of pioneers of the American theater: Harold Clurman, Cheryl Crawford, Lee Strasberg, Stella Adler, Elia Kazan, Sanford Meisner, Lee J. Cobb, Howard Da Silva. This remarkable group of young friends aspired to the highest standards of theatrical excellence and their self-confidence knew no limitations. The Subversive Theatre Collective seems to share that attribute, and after a number of energetic forays into the arena, their efforts appear to be coming together in this production. The level of commitment to the work is exhilarating.

Of Odets’ plays, Waiting for Lefty is among the more formulaic and lacks the dramatic and psychological complexity of Awake and Sing, also first produced in 1935. The script would seem to be made to order, however, for this theater group. There are numerous roles and the script is organized into brief scenes, allowing these players a chance to showcase their talent.

Under the direction of Kurt Schneiderman, the scene work is meticulous, nuanced and detailed. Richard Lambert and Kate LoConti, among the most seasoned members of the cast, excel as a husband and wife whose marriage and family life is jeopardized by poverty. Impressive work is also contributed by Sarah Brown and Jeffrey Coyle, Hasheen DeBerry, Victor Morales and Bill Schmidt. The riches are plentiful.

With slight and forgivable departures from historic accuracy, the set by Dyan O’Connell, costumes by Kate Palame and properties by Virginia Brannon successfully transport us to a union hall in 1935.

The question continues to surface: “Does Buffalo have too many theaters?” With the emergence of this first rate production by a relative newcomer to the scene, I would have to answer, “Not for me!” Waiting for Lefty is captivating, provocative and enormously engaging. If Subversive Theatre Collective can begin to attract an audience, they could be a welcome presence on the scene for years to come.

TWELVE ANGRY MEN

Meanwhile, in a similar vein at the venerable Kavinoky Theatre, the 1957 Reginald Rose play, Twelve Angry Men, is certainly a descendent of the Group Theatre and Clifford Odets. First produced on television, the play follows 12 jurors who discuss the merits of a case in which a young man from some never-named disenfranchised group has been poorly defended in a murder trial. A single juror sways the votes for acquittal.

Like Waiting for Lefty, Twelve Angry Men is more admired for the opportunities it affords actors than for its literary merit. The twists of the plot will be well familiar to any fan of Murder She Wrote. The Kavinoky Theatre, however, has packed the jury with marvelously talented actors and the evening provides riveting entertainment—including one of the those arresting moments when the audience sustains perfect, heart-stopping, cough-less silence as they hold their collective breaths and wait to see what will happen. Such moments are exceedingly rare in the theater, and this one, under the direction of Brian Cavanagh, is well-earned.

Christian Brandjes is appealing as the contrary juror. John Buscaglia, Louis Colaiacovo, Don Gervasi, Peter Jaskowiak, Phil Knoerzer, Gerry Maher, Jim Maloy, Norm Sham, Paul Todaro, Guy Wagner, Doug Weyand—each has his moments. Each clearly defines the character type that Rose has mapped out for him. Even Steve Nassif acquits himself admirably as the guard.

Twelve Angry Men and Waiting for Lefty both continue through this weekend.