Remember the Younger family from Lorraine Hansberry's A Raisin in the Sun? They have bought a house in an all-white Chicago neighborhood, and a member of that neighborhood's homeowners association, Karl Lindner, visits them to try and persuade them not to go through with this. Norris has set his play in that neighborhood, in the home that the Youngers have bought. In this first act, Lindner visits the sellers, Russ and Bev, to plead with them not to sell their house to a black family. Russ will not succumb to Lindner's arguments, not because he is all that hot to promote racial justice but because he is going more than slightly bonkers living in the house where his son has recently killed himself.

The second act flash-forwards fifty years. Clybourne Park is now, predictably, an all-black neighborhood. As blacks moved in, whites moved out. Now, a white family has moved into the house, and plans to renovate it into a "McMansion" – which might lead to "gentrification" – i.e., more white families moving into the neighborhood, thus driving up property values and pricing out black families who live there. A black man and his wife visit the white couple to plead with them not to go thorough with their plans.

Jeremy Shamos and Annie Parisse play Lindner and his wife in the first act, and the white couple in the second. Both are extraordinary, as is FrankWood, who plays Russ. In fact, all the actors are wonderful, under Pam MacKinnon's fine direction.

Don't miss this one!

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Theatre for a New Audience has a production of Shakespeare's Measure for Measure at the Duke Theatre. The play is generally lumped together with Shakespeare's comedies, but it is also known as a "problem play," an appellation I have never fully understood. Anyway, director Arin Arbus has taken a somber approach to the play, emphasizing its angry satire of Puritan hypocrisy but undercutting the comedy.

Jefferson Mays plays Duke Vincentio, who takes a sabbatical from his power to pass in disguise amongst his people in order to learn what is really going on in Venice. He lives his trusted aide Angelo in charge, who proceeds to actually enforce the laws to their letter and turns Venice into a puritanical totalitarian dictatorship.

Mays is terrific as the Duke, and creepy Rocco Sisto is perfectly cast as Angelo. After that, the cast is some good, some not so good. Elizabeth Waterston is OK as Isabella, the novice nun who tried to save her brother Claudio, condemned to death for committing fornication, but she is vocally rather weak. Alfredo Nasciso plays the lowlife Lucio as a goodfella, which means he is just not funny, in a sardonic role which ought to provide much mirth.

I would say, do check out Measure for Measure, though. It is a solid, if uninspired, production of a play we rarely get to see; and Mays, one of our finest stage actors, is superb.

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Good Ol' Girls, a new musical produced by Roundabout in the Black Box, is an odd hybrid of spirited New Country songs and confessional stories. The stories are adapted by Paul Ferguson from material by Lee Smith and Jill McCorkle. The songs are by Matraca Berg and Marshall Chapman, a team of top Nashville songwriters. The show tries hard to be sort of a combination of the caustic wit of A … My Name is Alice (which premiered in this very space years and years ago) and the down-home bonhomie of Pump Boys and Dinettes, but it just winds up being something of a downer.

The songs are terrific, but the stories are all narrative monologues, and the evening just comes to a crashing halt whenever they start up. If they were funny, they might work; but these stories are almost all about very unhappy ladies. They are mostly bummers.

The other problem is the performers, none of whom are real country singers. Which makes the whole evening sound rather bogus. You could skip this one.

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Pearl Theatre Co., now in residence at City Center State II, has a brilliant production up and running of Stephen Jeffreys' dramatization of Charles Dickens' Hard Times. This seems to me an excellent choice, given the hard times we are currently experiencing.

The intrepid cast of six, under J. R. Sullivan's inventive direction, play what seems like a cast of thousands in this story about the denizens of an industrial village in the north of England. There are the haves and the have-nots, caught in the grip repressive laws designed to keep them poor and subservient, and Dickens has a lot to say about the Industrial Age's belief that the only things that matters are facts and figures. The novel, and the play, are an Ode to Joy, and to basic human compassion.

The cast is uniformly wonderful. I enjoyed particularly Pearl veterans Bradford Cover, as a rapacious, soulless industrialist, T.J. Edwards as a local school teacher who believes only in the truth of facts and Sean McCall as his rebellious ne'er-do-well son.

This one's a don't-miss!

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I also enjoyed the new Flying Karamazov Brothers' goof at the Minetta Lane, called 4Play. Paul Magid, the sole original member of the group, a tall, pony-tailed Groucho of a guy, is still throwing them pins as well as he ever did, joined by three young guys who fill in ably for those Brothers now departed.

4Play is a hilarious mix of world-class juggling, goofy dancing and deliberately awful jokes. The little kids in the audience the night I attended the show loved it. These are some wild and crazy guys!

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Craig Wright's new play, Blind, is a modern adaptation of Sophocles' Oedipus Tyrannos. We are in the boudoir of Oedipus and Jocasta. Thebes is going to hell outside. Plagues, starvation, civil unrest – the works. Jocasta wants them to get the hell outta Dodge; Oedipus wants to stay.

Since both characters know from the get-go that "the Gods" have brought all this misfortune on Thebes because Oedipus has killed his father and married his mother, this play lacks the climax of a tragic recognition, and is just mostly wheel-spinning until the King and Queen decide to have torrid sex on the floor, during which she blinds him and he strangles her. Kinky!

Wright's language is in ineffective mix of the stately and the vulgar, and more than one time this leads to unintended laughs. Mostly, the two actors scream at each other. Of the two, Veanne Cox fares the best. Ordinarily cast in wry comic roles, here she displays the vocal chops and emotional depth of a fine dramatic actress. The Oedipus just comes off as a rather uninteresting juvenile.

I have often wished the Dramatists Guild would declare an Official Moratorium and modern adaptations of Greek tragedies. They never seem to work, mostly because these ancient plays have little in common with what we consider to be effective drama. Even our most abstract plays basically employ psychological realism in characterization.

Craig Wright is usually a wonderful writer, whose plays I have very much enjoyed in the past, but Blind is one of the most insufferable plays I have seen this season.

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CLYBOURNE PARK. Playwrights Horizons, 416 W. 42^nd St.
TICKETS: www.ticketcentral.com 212-279-4200.

MEASURE FOR MEASURE. Duke Theatre, 229 W. 42^nd St.
TICKETS: www.dukeon42.org 646-223-3010.

GOOD OL' GIRLS. Black Box Theatre, Harold & Miriam Steinberg Center for Theatre., 111 W. 46^th St.
TICKETS: www.theatremania.com 866-811-4111.

HARD TIMES. City Center Stage II, 151 W. 55^th St.
TICKETS: 212-581-1212.

4PLAY. Minetta Lane Theatre, 18 Minetta Lane
TICKETS: www.ticketmaster.com 212-307-4100.

BLIND. Rattlestick Playwrights Theatre, 224 Waverly Pl.
TICKETS: www.smarttix.com 212-868-4444.

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For over thirty years Lawrence Harbison was in charge of new play acquisition for Samuel French, Inc., during which time his work on behalf of playwrights resulted in the first publication of such subsequent luminaries as Jane Martin, Don Nigro, Tina Howe, Theresa Rebeck, José Rivera, William Mastrosimone, Charles Fuller, and Ken Ludwig, among many others; and the acquisition of musicals such as Smoke of the Mountain, A…My Name Is Alice, Little Shop of Horrors and Three Guys Naked from the Waist Down. He is a now a free-lance editor, primarily for Smith and Kraus, Inc., for whom he edits annual anthologies of best plays by new playwrights and women playwrights, best ten-minute plays and best monologues and scenes for men and for women. For many years he wrote a weekly column on his adventures in the theater for two Manhattan Newspapers, the Chelsea Clinton News and The Westsider. His new column, “On the Aisle with Larry,” is a weekly feature at www.smithandkraus.com.

He works with individual playwrights to help them develop their plays (see his website, www.playfixer.com). He has also served as literary manager or literary consultant for several theatres, such as Urban Stages and American Jewish Theatre. He is a member of both the Outer Critics Circle and the Drama Desk. He has served many times over the years as a judge and commentator for various national play contests and lectures regularly at colleges and universities. He holds a B.A. from Kenyon College and an M.A. from the University of Michigan.

He is currently working on a book, Masters of the Contemporary American Drama.

"It requires a certain largeness of spirit to give generous appreciation to large achievements. A society with a crabbed spirit and a cynical urge to discount and devalue will find that one day, when it needs to draw upon the reservoirs of excellence, the reservoirs have run dry."

-----George F. Will

So, you may be asking how this relates to your main interest, acting. Let's begin in this way...

E.E. Cummings defined for us what I call "the maze". He says that, in fact, we become trapped in this maze as we think, believe and know. He also says that the path towards escaping from the maze is by "being". And, that when you are "being" you are "nobody but yourself." What do you think he means by "being"? Please take some time to write about that in your journal.

The truth is that this observation about "being" by E.E. Cummings is one side of the coin called "the most fundamental foundation in the craft of acting." We are talking about the ability to simply be who you are - no more and no less. I am saying that without the ability and the courage to be the expression of your truthful point of view in every moment, you are merely an imitation of what has all ready been done. This is always the cliché of performing and it has nothing to do with the art of acting. Of course, this is one of the things I love so much about the Meisner Approach, from the very first steps of the work; it is bolstering your courage and your abilities to be fully who you are!

The other thing E.E. Cummings wisely advises us is that the effort to be "nobody-but-yourself" is the greatest challenge we face in life and keep facing throughout our whole lives. He is talking about pressure from a world which is doing it's best to make us "everybody else!" Here again, I want you to write about this. What does this mean to you, specifically?

Here are the simple equations:

• When You Are Everybody Else = No Acting Possible
• The Moment You Are Being = Acting Becomes Possible

To close our session today, earlier, I told you that:

"This observation about "being" by E.E. Cummings is one side of the coin called "the most fundamental foundation in the craft of acting."

You see, I called "being", or "the moment-by-moment expression of your truthful point of view" one side of the acting fundamentals coin. So, here's my question for you! What's the other side of the coin?

Please send me your emails with your answer to that question and any comments you have about today's session. I will post your comments and you will truly take our conversation to where we will be going next. I am depending on you! Also, the first three teen actors to email me with a response will win a copy of my new book Meisner for Teens: A Life of True Acting as soon as it is available from Smith & Kraus! Again, my email is trueacting@actorscraft.com and you can visit me on my website at www.meisnerteacher.com.