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Lincoln Center Theater Presents "Dada Woof, Papa Hot" at the Mitzi E. Newhouse
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Lincoln Center Theater Presents "Dada Woof, Papa Hot" at the Mitzi E. Newhouse

- Backstage with the Playwrights


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Lincoln Center Theater
At the Mitzi E. Newhouse
Andre Bishop: Producing Artistic Director
212.239.6200

Presents:
Dada Woof, Papa Hot
(Dada Woof, Papa Hot Web Page)
By Peter Parnell

With:
Tammy Blanchard, Patrick Breen, John Benjamin Hickey
Alex Hurt, Kellie Overbey, John Pankow, Stephen Plunkett

Directed by Scott Ellis

Sets: John Lee Beatty
Costumes: Jennifer von Mayrhauser
Lighting: Peter Kaczorowski
Original Music and Sound: John Gromada
Stage Manager: Cambra Overend
Casting: Daniel Swee
Exec. Dir., Development & Planning: Hattie K. Jutagir
Director of Marketing: Linda Mason Ross
General Press Agent: Philip Rinaldi
Managing Director: Adam Siegel
General Manager: Jessica Niebanck
Production Manager: Paul Smithyman


Dr. Roberta E. Zlokower
November 11. 2015


Three New York couples’ lives intersect, while dining, confiding, seducing, complaining, and so on, and, to add some spice, there’s a paramour on the periphery. Cue the cameras, it’s another prime time sitcom. But, wait, it’s a live production at the Mitzi Newhouse, and this layered plot will play out eight times a week. Rob (Patrick Breen), a psychotherapist, and Alan (John Benjamin Hickey), a writer, are married with a pre-school child, heard from offstage, named Nicola. They meet up with Scott (Stephen Plunkett), a financier, who’s married to Jason (Alex Hurt), an artist, fathers of two boys. The third couple, friends of Alan and Rob, Michael (John Pankow) and Serena (Kellie Overbey), have an about to unravel (or maybe not) marriage, with that paramour, Julia (Tammy Blanchard), secretly hooking up with Michael. So, like all breezy sitcoms, conversation can turn from a child’s favorite father to a rationale for betrayal, and then there’s a children’s bedtime story or a father’s bedtime revelation.

The cast makes the most of Peter Parnell’s new play, Dada Woof, Papa Hot, with credible emotionality and gestural personas. Mr. Breen seemed the most fascinating, with a nuanced and sensitive performance as a therapist, who can’t manage his own husband’s feelings of paternal rejection. Mr. Hickey, as that rejected father, whose child never calls for him, exuded some poignancy. Mr. Plunkett, the well dressed and refined banker, was pleasant, although his role took a predictable plotline. Mr. Hurt, the more casual and edgy painter, had a nervous, less upbeat demeanor. Mr. Pankow and Ms. Blanchard, as the husband on a fling and his tart actress, were straight out of daytime television. Ms. Overbey, as the cheated-upon wife, relied on a thinly drawn role, akin to Mr. Plunkett’s. Scott Ellis directed for a bit of humor and a bit of pathos, in this seamless, intermission-less production.

John Lee Beatty’s sets kept my eyes riveted on the fine, contemporary-styled apartments, while Jennifer von Mayrhauser’s costumes delineated each character’s lifestyle and mood. Peter Kaczorowski’s lighting brought portions of adjoining rooms into focus, before the sets shifted for fuller views. John Gromada’s sound was sharp as always. The play’s title refers to the first words that Nicola spoke at home, referring to her two dads, dog, and radiator.









For more information, contact Dr. Roberta E. Zlokower at zlokower@bestweb.net