By: Darryl Reilly
“Is this a new direction?” asks illustrious gallerist Sidney Janis of his client Abstract Expressionist Franz Kline regarding an impending Manhattan exhibition early on in playwright Carl Kline’s fond and zesty biographical fantasia A Part of the Noise. The soundtrack is heavy on Dave Bruebeck and bongos.
It is 1959 and the American born Kline after years of poverty-stricken obscurity had become acclaimed for his black and white paintings. He now intends to include two experimental color works in his new show. The canny Janis strongly advises against this for commercial reasons. Art versus commerce is once again debated.
Carl Kline is Franz Kline’s nephew and met him once in childhood before his death in 1962 at the age of 51 from heart failure due to his hard living. Carl Kline delivers a swirling, nostalgic, and euphoric take on the 1950s New York artworld scene laced with facts. It is mostly set at the historic bohemian Greenwich Village artist haunt the Cedar Tavern, “the cathedral of ideas.” The slew of counterculture characters smoke, drink, recite poetry, sing songs, and engage in existential discussions, the unseen Jack Kerouac looms. There are also haunting flashbacks of Kline’s marriage to an English dancer and simulations of him painting.
A Part of the Noise is Mr. Kline’s first play, and this lively premiere production reveals it to be engaging and stage worthy. The passionate dialogue includes searing passages of struggling artists’ deprivation, and the historical panorama is compelling. Arguably it would benefit from a tauter construction; over the two acts there is repetitiveness and digressions which dilute momentum.
Virtuoso director Joe John Battista’s vigorous and redolent physical staging beautifully evokes the idealistic milieu through perpetual motion, lovely stage pictures, and striking tableaus. That is all complemented by the presence of sunny guitarist’s Claudio Paciocco’s grand playing.
The Cedar Tavern’s mythic grandeur is visualized by scenic designers Mark Marcante and Lytza Colón’s simple yet illustrative configuration of wooden chairs, checkered clothed tables, and a long and detailed bar on the expansive stage; the floor replicates a Kline painting. Alexander Bartenieff’s shimmering lighting design connotes the past with hazy and crimson hues and fadeouts into dimness. Costume designer Christine Weiss’ gorgeous array of garments achieves a vintage dimension. Composer David Amram’s original music has a wistful quality. The ensemble is glorious.
With his soulful countenance and melodious voice Ryan Tramont sincerely channels Kline through his moving performance. Shaven-headed and bearded Tony Del Bono is a whirlwind of comedy and pathos as the tavern’s sympathetic owner. Mesmerizing Zoe Anastassiou is majestic as Kline’s troubled wife. Bubbly Alexandra Laliberte offers two distinctive characterizations.
Possessing old-time character actor flair, Mike Meth is sharply pragmatic as Sidney Janis and charmingly rueful as Kline’s doctor. Magnetic Alex Elmaleh is winningly sardonic as a journalist interviewing Kline. The lean, lanky, and charismatic Michael John Gross commands attention as an artistic friend of Kline’s. Vivacious Skye Themeda Goss is regal and saucy as Kline’s supportive companion. Cheery Olivia J. Talian appears as the animated barback.
A Part of the Noise is a welcome and joyous glimpse of one of Manhattan’s golden ages.
A Part of the Noise (through October 25, 2026)
Theater for the New City, 155 First Avenue, in Manhattan
For tickets, visit www.theaterforthenewcity.net
Running time: two hours including one intermission