Second Stage’s shows are always impressive. They use some of the best technical people in the business. Sound, sets, and lights are always top-notch. The shows themselves, while not always fully matching their own technically impressiveness, are always solid, if not great. This much hyped revival of Eric Bogosian’s hit, Suburbia, has the potential to match it’s impressive exterior.

I saw the show in it’s second preview, meaning, the second time the show has ever been performed in front of an audience. I like seeing shows in previews because often, the actors are at their freshest and most energetic. This was the case, but also, I found that the production hadn’t quite yet found it’s rhythm. It hasn’t had time to “gel” yet. But I’m sure, given a few weeks of runs, it will find it’s inner heartbeat.

The show tackles issues that are as relevant today as they were ten years ago, when it premiered at Lincoln Center. A group twentysomethings in suburbia hang out outside a convenience store over the course of one night and into the following morning. What ensues is a discussion on lonliness, isolation, lack of purpose, art, love, money, racism, ineffectiveness, violence, and life in general. We watch as the characters make desisions, or fail to make decisions, and some are rewarded while others are punished for it. It’s amazing that so many important, far-reaching, intense subjects are all handled well, and despite it’s complexity and the number of issues being addressed, it never feels busy. It just feels real.

One complaint is that they felt the need to update the production. They updated the pop culture references and incorporated the use of cell phones for this production. I find that a bit insulting, as if I wouldn’t have understood the references of ten years ago. I wish they had chosen to keep the play within the time period in which it was written. The references would have been dated, but the play would have been just as effective, and I appreciate a piece of art as a representation of the time in which it was written. It was unnecessary to update it for the sake of a modern audience.

The acting, from an ensemble group of young, mostly film actors, is solid throughout. Standout performance from Kieran Culkin as the skater punk stoner character Buff - an excellently real casting choice (although how much acting was really going on here?) Regardless of his seeming similarity to his character, his comic timing and naivite was perfect for the role.

Gaby Hoffman as Sooze (a last minute replacement of Kelli Garner) has really grown up since we last saw her as the little girl who gets the hot dog stuck in her throat in Field of Dreams! She plays the role with the necessary maturity and realism, yet with a comic sensibility.

Halley Feiffer as BeeBee was tragically sweet. A nice, normal young girl who we learn is alcoholic and suicidal, and paralyzed by lonliness and her inability to really get people to listen to her. I loved her in The Squid and the Whale as the girlfriend character. She plays the unpretty misfit ingenue quite well. Easily the most sympathetic character.

I also enjoyed Michael Esper as Pony, the kid they used to know who grew up and became a rock star. His innocent, unintentional artistic superiority complex comes through loud and clear. In addition, Esper is a good singer and guitarist who performs throughout the show (even if his friends didn’t ask).

Another stand out star of the show is the music. The sound system at Second Stage is gorgeous to hear. The live music that Pony performs during the show is excellent (unable to find composer) and MTV worthy. And the soundtrack of the show; the pre-show music and the scene-change music, was all well-chosen. This was the one aspect of the show that I didn’t mind had been updated - it was all modern music, and such good choices that I didn’t mind they were all from today. Mostly modern and indie rock with a dark edge (such as a Sleater Kinney song) mixed with some good hip-hop.

The set, as always, is excellent. Designed by Richard Hoover, we are instantly transported into the world that exists outside the convenience store. An actual store, complete with halogen lighting outside, and large refrigerators filled with drinks, exists on a concrete lot, with a concrete curb, and actual working streetlights encased in more concrete. So there is no stage - just a curb and store. Excellently realistic.

Overall I would say it is a good revival of an excellent play - but given time, the performances could match the brilliance of the writing.

I had wanted to see this show, after understanding that it was a circus, but operating within the aesthetic of a 1930s German cabaret-ish feel. Luckily, I scored some $20 tickets (normally $60) through my membership with TDF, which is well worth the $25 yearly fee.

The Australian traveling variety show, known as Absinthe, has taken up residence in the Speigeltent, known as “the world’s most beautiful traveling venue.” Not sure where it will end up after it leaves NYC’s South Street Seaport, but the venue is a perfect match for many of the acts is seems to be hosting, such as last weeks Asylum Street Spankers show and the upcoming gigs from The World Inferno Friendship Society. It’s a gorgeous, circular wooden tent, ornate and gothicly dark interior. Complete with delicious, fresh beer from the attached beer garden and booth seating, this is an awesome place to hang out regardless of the evening’s entertainment. But my oh my, was Absinthe some of the most entertaining stuff I’ve ever seen.

Essentially what is being performed is a series of burlesque acts. Albeit, the most creative, erotic, funny, physically demanding and impressive burlesque I’ve ever seen. There’s a singing diva, Camille, a well known cabaret performer, with a powerful presence and vocal rasp usually only seen in rock stars. There’s a strip show being performed on a trapeeze. There’s cirque de soleil-quality physical acts, but with costume and comedy. There’s magic. There’s nudity. There’s excellent, excellent music, in the vein of Tom Waits and The Tiger Lillies. There’s bizzare freak-show stuff. The list goes on. Basically there’s something for every taste in this show, men, women, conservative or not, this show is undeniably entertaining and impressive. I’ve never cheered so hard. Also helping was the fact that you can bring your drinks to your seat, so the Sunday night audience was pretty loose. It’s in your face, unabashed, bold entertainment and I cannot say enough good things about it. Everyone in the world - do yourselves a favor and go see this show.