ConBeCa

An Enemy of the People at the Samuel J. Friedman Theatre

2012-09-13T13:03:00.002-04:00

Manhattan Theatre Club's new production of Ibsen's An Enemy of the People is currently in previews on Broadway with a planned opening on 27 September 2012. Last night I got a chance to check out the show and it certainly was better than the last Ibsen show I saw on Broadway... Roundabout's TERRIBLE production of Hedda Gabler in 2009 (starring Mary Louise Parker.) First things first, the show began at 7pm which made me nervous that I was in for a 3 hour plus production. Not so! This new version of the play moves quickly and clocks in at just 2 hours. The play centers on Dr. Stockmann (Boyd Gaines) who discovers that the water in the local baths is contaminated due to poor planning and financial shortcuts taken by his brother the mayor. Boyd Gaines is terrific in the production and really brings a lot of depth to his performance. As the impact of his discovery tears the town and his life apart, Gaines never fails to keep your attention. Originally written in 1882, Ibsen's play still has much to say on the ideas of mob rule, corporate corruption, and the governments that allow and/or facilitate both. Perhaps MTC also saw parallels to the current debate surrounding fracking in the NYC watershed when they decided to revive this play? In any case, here's a chance to see an Ibsen play that is well-acted, thought-provoking, and only two hours long!

Want to see for yourself? Click here for tickets.

Chaplin at the Ethel Barrymore Theatre

2012-08-31T13:23:00.000-04:00

Chaplin is a new musical now in previews at the Ethel Barrymore Theatre on Broadway. Yesterday I had a chance to catch a performance and it was pretty good!

Certainly the standout was Rob McClure who does an amazing job as Charlie Chaplin. His performance is more than an imitation... he brings real warmth and charm to the role. McClure has a real knack for physical comedy which certainly comes in handy. He sings, dances, and pratfalls to great comedic effect and yet still nails the more dramatic scenes of Act II.

Act II's addition of Hedda Hopper (Jen Colella) and Oona O'Neill (Erin Mackey) finally gives the show some real dramatic tension and Colella and Mackey are excellent in their roles. Chaplin is an unusual musical in that Act II was the stronger of the two acts. I really wondered what was going to happen in Act II as it seemed all had been resolved in Act I. Luckily, the first half closes with HUGE production number that literally had people yelling and cheering. Definitely a great way to make sure no one leaves at intermission! Act II was focused on Chaplin's later career, trouble with women, trouble with Hedda Hopper, and eventual banning from the US. In contrast to Act I where Chaplin's insane (but not dead) mother was a constant ghostly presence, the second half of the show gave Chaplin conflicts with people who were actually there in the room. It definitely took the show from well-funded fluff to interesting musical with heart. Speaking of well-funded, they spent some serious money on this show and it is well used. The costumes, set design, and especially lighting were really well done and effective.

So why didn't I love the show? Part of it was the kid who played young Chaplin who just seemed a little empty and lost... I know, I know "He's just a kid!" but he has more stage time than half of the cast and if they could find all of those amazing kids for Billy Elliot then they should have been able to find someone with a little more presence to play young Chaplin. I am also not a huge fan or admirer of Charlie Chaplin. I definitely gained more appreciation for him from watching the show, but I think the show really hit home with some of the older members of the audience. There was an older gentleman sitting near me that I thought might keel over with excitement he was so delighted with the show. There were a lot of key Chaplin movements, references, and moments that were captured in the show that maybe went over my head, but I don't think this older guy missed a single one. "This show is like Bring It On for the olds!" quipped my friend. Maybe so, but there was plenty to appreciate for Chaplin fans and non-fans of any age.

Want to see for yourself? Buy tickets here.

Dejavu Boutique

2012-08-06T13:37:00.000-04:00

Dejavu Boutique is located on the Upper East Side just a few doors down from Serendipity III. Specializing in unique pieces from designers like Vivienne Westwood and Rebecca Minkoff, Dejavu is a great resource for women who are looking to stand out from the crowd. Speaking of standing out from the crowd, they also sell Mackenzie-Childs including this teapot chandelier:

how whimsical!

While it might not be worth a special trip from Tribeca, it could be a great way to kill some time while waiting for a table at Serendipity!

Dejavu Boutique

223 E 60th Street (between 2nd and 3rd Aves.)

(212) 355-6598 ‎

ilovedejavu.com

Bring It On: The Musical at the St. James Theatre

2012-08-06T13:17:00.001-04:00

Bringing it to Broadway only through early October, Bring It On: The Musical is the rare new show to open in the middle of the busy summer tourist season. The show has already played several cities before coming to New York and is only scheduled for a limited run here in the city. Since the creative team includes Lin-Manuel Miranda (In the Heights), Tom Kitt (Next to Normal), and Jeff Whitty (Avenue Q) I was a little surprised that they would bring the show to Broadway in the summer and for only a limited run. Obviously these Tony Award winners must have created a big fat turkey of a show if they are bringing it to Broadway this way. Whatever its flaws, Bring It On: The Musical is definitely not a turkey. The show is engaging, surprising, and above all, thoroughly entertaining. Perfect for hard-to-please teenagers and musical theatre fans alike.

Want to see for yourself? Click here for tickets.

Jesus Christ Superstar at the Neil Simon Theatre

2012-06-07T13:06:00.000-04:00

Paul Nolan 2012, © Joan Marcus

Do you see that face above? That blank stare is as close as any company member gets to acting in the latest revival of Jesus Christ Superstar on Broadway. Or as my friend's Russian husband said "Jesus Super Christ". The show started life as a concept album and I think I would have enjoyed this production more if I only had to listen to it. These performers can SING... especially Josh Young (Judas) who brings incredible intensity and power to all of his songs. If you are only listening to a recording the vocals would totally be enough. Unfortunately, when you are sitting in the theater watching a show you need a little more than good voices to hold your attention. Director Des McAnuff seems to have decided to solve this problem by loading the stage with giant rolling staircases, flaming torches, tons of lighting instruments, and an energetic chorus of dancers and singers. All of this swirling action distracts (or is meant to distract) from the fact that there is very little acting going on. Perhaps figuring out the blocking for those giant staircases kept him from noticing that Jesus was all alone hiding under a staircase when he scream-sings "Don't CROWD me" during the attack of the lepers? My friend literally burst out laughing during this sequence. Did I mention his face looked basically the same as in the above picture during that sequence? No offense to Paul Young (and his great rock and roll voice) but his Jesus was sorely lacking in charisma. Much like Godspell earlier this season (starring Hunter Parrish) this is a Jesus that you wouldn't follow to the bodega... let alone build a religion around.

Want to see for yourself? Get tickets here.

The Lyons at The Vineyard Theatre

2011-09-24T10:03:00.001-04:00

Despite all the free tickets I get to shows, I still have to shell out some hard-earned cash for many of the shows I see. The Vineyard Theatre is one place I never regret that choice. In fact, I actually ponied up for a membership a couple of years ago and I have never regretted the choice. The Vineyard is home to some of the best, most interesting work you can see in New York. How I Learned to Drive, Avenue Q, The Scottsboro Boys, [title of show], and the even the upcoming revival of On A Clear Day You Can See Forever all played The Vineyard Theatre first (well, for On a Clear Day... it was a ). Nicky Silver's new play The Lyons is just another in a long line of stellar productions from this incredible off-Broadway theater.

Here is what the Vineyard Theatre has to say about their latest show:

Ben Lyons is dying. When his wife, Rita, and grown children gather to say goodbye, they learn that, despite being a family, each of them is utterly isolated. Afraid of closeness and afraid of solitude, they are propelled into foreign territory — human connection. Tony Award®-winners Linda Lavin (BROADWAY BOUND, "Alice") and Dick Latessa (HAIRSPRAY, CABARET) lead the cast of this outrageously funny and poignant new play about a family you will not forget, from playwright Nicky Silver (The Vineyard’s PTERODACTYLS) and director Mark Brokaw (The Vineyard’s HOW I LEARNED TO DRIVE).

It should be said that Linda Lavin was in the Kennedy Center production of Follies that is now on Broadway as well as Lincoln Center's production of Other Desert Cities which is also coming to Broadway. Word is she turned down both transfers to star in this production of The Lyons. She definitely made the right choice. Rita Lyons is a fantastic part and Lavin makes the most of every second of stage time. Her comedic timing is impeccable. Rita Lyons could easily seem too extreme or even cartoonish in less deft hands, but Lavin has created a portrait that is both extreme and totally believable. Her performance alone would be reason enough to buy tickets to see this show. Luckily, there is even more to love about this wonderful production.

I remember reading several of Nicky Silver's plays when I was in college and really liking them, but I had never seen one in performance until last night. Like any good play it was even better on stage. Silver expertly combines humor and pathos to create one of those rare nights in the theater where you really feel a wide range of emotions. The humor heightens the tragic lives of these characters while their unhappiness is supporting the humor. This balancing act works wonderfully and is enhanced by the stellar cast who plays everything full-tilt without ever drifting away from believeability. I can't praise this ensemble enough for their incredible performances. Thank goodness it is a small house so you have the ability to really see every cutting glance, every emotion flickering across their faces. From triumph to tragedy The Lyons sucks you in and refuses to let go until it is through with you.

The Lyons is currently in previews for an October 11th opening with a limited run through October 30th. Don't miss it!

Want to see for yourself? Buy tickets here.

La Cage Aux Folles Revisited

2011-04-15T09:33:00.000-04:00

The Tony Award winning revival of La Cage Aux Folles is scheduled to close May 1, 2011. I just saw the show again for the third time with the third cast. Currently starring Harvey Fierstein and Christopher Sieber this cast of La Cage may be my favorite yet. I saw Kelsey Grammer and the terrific Douglas Hodge and even saw one of the few performances with Fierstein and Jeffrey Tambor (Grammer's original replacement.) Christopher Sieber is my favorite Georges. This was my first visit to this show where I felt I was seeing a believable couple. The relationship between Albin and Georges is warm, loving, playful, and utterly convincing. Having seen Fierstein perform with the anemic Tambor, I was really blown away by how much better Fierstein's performance is with Sieber as Georges. This is also the revival's first Georges who can actually sing, and Sieber really made me appreciate "Song On the Sand" for the first time. Here is a musical theatre performer who can sing the song beautifully while truly acting through the entire number. It really makes a huge difference for the show. You understand why Georges and Albin have been together for such a long time. The warmth and believability of their relationship gives this revival real heart, making the show worth a (repeat) visit. The best of times for this revival truly is now.

Want to see for yourself? Click here for tickets.

The People In The Picture at Studio 54

2011-04-14T16:12:00.000-04:00

It has been a busy few days for me. Tonight I am going to go see my fourth Broadway show in three days. April is always a busy time with many shows opening as close to the cut-off for TONY eligibility as they can. This means a lot of Concierge events as shows try to get some word of mouth going to try and stand out in a crowded marketplace. Roundabout Theatre Company is having a terrific 2011 with their revivals of The Importance of Being Earnest and Anything Goes opening to glowing reviews. I wish I could say that their production of the new musical The People In The Picture (currently in previews for an April 28th opening) is as successful. Even musical theatre powerhouse Donna Murphy isn't enough to make this show worth seeing.

Donna Murphy plays Raisel/Bubbie, a former star of the pre-war Yiddish theatre in Poland. The show is set in the 1970s where Raisel recounts tales of her pre-war life to her granddaughter, Jenny. Raisel's daughter, Red, is completely uninterested in the past and Bubbie's former glory. Red is sick of competing with the Holocaust for attention and sympathy, so she resents her mother. What a nice daughter! Jenny (played wonderfully by 10-year-old Rachel Resheff) is tape recording her grandmother's tales of her past while constantly being reprimanded and scolded by her mother, Red. Who are "The People In The Picture"? They are the members of the Yiddish theatre troupe who are visible to Jenny and Bubbie and act out the stories as Bubbie tells them. Got it? Much like the matryoshka dolls given to Jenny by Bubbie, there are many layers and pieces to this show. Unfortunately, instead of neatly nesting one into the other, these layers end up a jumbled mess. The People In The Picture ends up as some sort of Borscht-Belt Holocaust musical.

The show is plagued by overly complicated lyrics that are too dense to be comprehended. They are given no room to breathe and therefore there is no way for you to be able to comprehend what is being said without falling hopelessly behind. This was especially true in the opening number which sets up the idea of the theatre troupe. There were so many people running around and singing a mix of English, Polish, and Yiddish that it took me a little while to figure out what was going on. The show did not get more enjoyable once I did figure out what was being said. The jokes from the troupe are of the "Take my wife -- Please!" variety. Combine this with daughter/mother bickering (in speech and song), horrific anti-semitic attacks in Poland, and a little soft-shoe and you basically have the gist of The People In The Picture. Oh, did I mention that the book was written by the author of Beaches and the music by one half of the team that wrote the Elvis hit "Hound Dog"? The show just has too many disparate elements that never really come together.

One other gripe. The set features projections on the back wall, but the stage floor is super high-gloss. Every time there is a projection it is marred by a shadow of the performer being reflected by the lights hitting the stage. Why didn't someone think this through?

I have to admit, this is another show I only watched until intermission. I don't regret the decision in the least.

Want to see for yourself? Click here for tickets.

Wonderland at the the Marquis Theatre

2011-04-09T12:45:00.000-04:00

Wonderland, now in previews at the Marquis Theatre before an April 17, 2011 opening, is the latest musical from composer Frank Wildhorn. Wildhorn is the composer of the long-running Jeckyll & Hyde and the very short-running Dracula, The Musical. Dracula was one of the most unintentionally hilarious shows I ever saw on Broadway, so with a few drinks (for strength) I prepared myself for the journey to Wonderland. It would turn out to be a very short trip.
In case it is not clear, I am not really a fan of Wildhorn's work. I find his music to be derivative and at best destined for theme parks and show choirs. Rarely do the songs serve or advance the plot in any way. They are also usually the worst kind of synth-heavy "pop"-style musical theatre music. Anyone who has endured a rendition of "This Is the Moment" (by David Hasselhoff or anyone else) will know exactly what I mean. Wonderland is also burdened with schlocky pointless songs that stop the storytelling dead in its tracks. The lyrics, by Jack Murphy, are equally and sometimes even more atrocious than the music. Murphy also had a hand in writing (along with director Gregory Boyd) the ludicrous book which manages to diminish and weigh down the delightful and rich Lewis Carroll stories by overlaying them with the uninteresting sitcom-esque concerns of a middle-aged mother.

The reason why my trip to Wonderland was cut short was because I left this show at intermission. I already knew that everything would work out in the end (just like any good sitcom.) The following are just a few of my observations from the show:

The mother, Alice (played by Janet Dacal), is under great stress and working long hours because she is the sole bread-winner for the family. Her daughter and mother refer to all the money Alice makes at her job and how emasculating that is for her husband who is unemployed. What is this high-paying job? Bronx public school teacher. This is just the tip of the iceberg when it comes to unlikely plot points that have been heaped upon the fantastic original Alice stories.

Alice's daughter, Chloe, is young enough to have her mother and grandmother read books to her, but sounds like a 40 year-old when she sings. Seriously. Carly Rose Sonenclar, who plays Chloe has a fantastic voice, but it is incredibly mature sounding. When she and Alice sing a duet, it is Chloe who takes the lower notes! Surely, I can't be the only person who thinks this is kind of weird. Casting (and music writing) for this show was done in a way that may serve the mediocre music, but does not really serve the storytelling.

"Advice From A Catepillar" sung by E. Clayton Cornelius was the only musical number I really enjoyed.

The set, lighting, and costume design is really lavish. I hope the producers get to keep a few pieces of it when all is said and done to make up for all of the money they are surely going to lose on this production.

The cast is generally very strong, and certainly all have fantastic pop voices, but the storytelling in this show is a mess. Thank goodness Alice's Adventures in Wonderland is such familiar material. Without that backbone, it would be really tough to figure out what was going on in the show.

Wonderland was not an enjoyable adventure for me, but it could be appealing for lovers of Frank Wildhorn's music or people who value spectacle over substance.

Want to see for yourself? Click here for tickets.

High at the Booth Theatre

2011-04-09T11:03:00.000-04:00

High is a new play by Matthew Lombardo (Looped) starring Kathleen Turner as an unconventional nun in a rehab center. The producers were kind enough to give me a ticket to a preview performance of the show which opens on April 19, 2011. The poster for High warns of adult content and full male nudity and the warnings are justified. Mamma Mia! this ain't. High is not without its faults, but it is an interesting and engaging play that deserves to be seen.
Kathleen Turner as Sister Jamison Connelly is firmly at the center of High. Remaining on stage for almost the entire two hour running time of the play, she gives a performance that is gripping, nuanced, and by far the finest in the three-person ensemble. Not that she isn't given some tough competition from Broadway newcomer Evan Jonigkeit as the troubled, drug-addicted Cody Randall. He makes the most of his showy role, although at times his performance seemed a little forced or mannered. It wasn't him stripping down physically, but his stripping away all of the artifice and the nakedness of his emotions in his final scene in the play that really convinced me that he was a terrific actor. I only wish he could have brought more of this honesty and connection to his earlier scenes in the play. The third member of the ensemble is Stephen Kunken as Father Michael Delpapp. He is fine, but doesn't leave much of an impression. I am not sure if that is a fault of the script or if Kunken simply doesn't bring the same level of emotional intensity and commitment as his co-stars. I think if he had made Father Delpapp's choices and motivations just a little sharper, pushed things just a little farther, it might have brought more balance to the play.

The twists, turns, and revelations in the script kept me interested and intrigued throughout the play, so I will try to keep the spoilers to a minimum. I would like to discuss a few really unintended questions this play brought up for me. The first one has to do with Kathleen Turner. Her character is described throughout the play as being ugly, or unappealing. She describes her sister as being the beautiful one, but the descriptions kept making me think of this Kathleen Turner:

from Prizzi's Honor (1985)

Or, from a movie my sister must have made me watch at least 100 times when we were growing up... Peggy Sue Got Married:

from Peggy Sue Got Married (1986)

In the 1980s, Kathleen Turner was a total sex symbol as evidenced by her starring roles in movies like Body Heat, Romancing the Stone, and even as the voice of Jessica Rabbit in Who Framed Roger Rabbit? Hearing her describe herself over and over as growing up as the ugly sister in High got me thinking about how strange it must be for her over the course of her life to go from one extreme to the other. I doubt the Kathleen Turner of 1985 could have imagined she would one day be cast as a character that is too ugly to rape (this is in the plot, not some sort of slur.) Not that she is wrong for the role... her gravelly voice and rough appearance in High make her casting mostly believable (she is still quite handsome.) Still, I couldn't stop myself from thinking about the 1985 Kathleen Turner and the life that took her from being cast as one extreme to the other. Maybe I should order her book?

The other unintended question had to do with role of homosexuality in the play. Unfortunately, this is question requires a few spoilers, so skip ahead if you want to avoid them. High is set in a Catholic rehab center and features a Priest, a Nun, and a drug-addicted gay prostitute. The question I had was whether the antiquated ideas about homosexuality in the play were intentional, and whether they were meant to be some sort of commentary on or in support of some old-fashioned gay stereotypes. Cody Randall's mother was a prostitute and one of her regular johns raped Cody when he was very young. People becoming gay by molestation, rape, or recruitment is one of the oldest accusations around. It may be that some gay men were abused when they were younger, but I can't imagine a heterosexual sex-abuse survivor's sexuality being causally linked to the abuse. Seeing this ridiculous claim on stage, even implicitly, I couldn't help feeling annoyed. Since Sister Connelly is at the center of the show, antiquated Catholic ideas of homosexuality frame the action of the play. Of course a nun would think that rape made the boy gay and of course, because the boy is gay he can't really understand love. Cody does find love in his life, but it is not genuine love it is just a repetition of the gay-sex predator behavior that made him gay in the first place. I am by no means suggesting GLAAD stage a protest, and I think there is room for a diverse portrayals of gay life, but it was still annoying to me. Knowing the history of depictions of homosexuality in films and on stage in the past, as soon as it was revealed that he was molested into being gay I turned to my friend and said, "What is this, the 1950s? Bet the gay kid dies before the end of the play." Of course that is exactly what happens. It is just a tired and old-fashioned depiction that, like it or not, has an effect on people's views. I guess I will have to wait for the upcoming production of Larry Kramer's 1985 play The Normal Heart for a more empowering and modern view of homosexuality.

All quibbles and unintended questions aside, High remains a play worth seeing and a great addition to the Broadway season.

Want to see for yourself? Click here for tickets.

Behind HIGH: The Cast & Creative Discusses the Play from High on Broadway on Vimeo.

The Motherf**ker With The Hat at the Gerald Schoenfeld Theatre

2011-03-23T11:10:00.000-04:00

Last night I got a chance to see the new play The Motherf**ker With The Hat at the Gerald Schoenfeld Theatre on Broadway. The show is currently in previews for an April 11th opening and is scheduled for a limited run until June 26, 2011. The Motherf**ker With The Hat marks the Broadway debuts of comedian Chris Rock and Annabella Sciorra (Emmy Nominee for The Sopranos.) It also stars Tony Nominee Bobby Cannavale. Unfortunately for the cast, they script is terrible. Try as they might, the cast is doomed to failure by a script that could have been penned by a first-year playwrighting student. What makes it so terrible? Glad you asked!
If the title wasn't enough of a giveaway, this is a show filled with gratuitous profanity. Don't get me wrong, I am not some sort of prude or anti-cursing zealot. The problem with all of the cursing in The Motherf**ker With The Hat is that it is totally gratuitous. Much of the cursing and dialogue in general only serves to draw attention to the playwright, Stephen Adly Guirgis, who clearly considers himself to be both shocking and clever. I was more inclined to label what I saw on stage as amateurish and predictable. I am guessing I am not alone in my disappointment with the show since there was a blow-in in the Playbill announcing that the performance would be played without the scheduled 15 minute intermission. I suspect this is a move aimed at preventing a half-empty house for Act II. I certainly would have fled given the opportunity.

The Motherf**ker With The Hat begins and ends with yelling. There are no real emotional or vocal dynamics in the show. I am surprised the cast can still speak since it felt like they were just screaming and yelling at each other for the entire two hours. As you might imagine, this gets to be very tiring. It also defeats the purpose of yelling since there is no softer speech to contrast it with. It is like Will Ferrell's character on Saturday Night Live that suffered from voice immodulation. I am not sure if this constant screaming was an acting choice, the result of bad sound design, or a consequence of some of the actors' inexperience on the stage. Whatever the cause, it served primarily to underline the flaws in the script and the show's lack of a true emotional center.

Not that there isn't supposed to be an emotional center. At the heart of the show is the tempestuous and toxic relationship between Jackie (Cannavale) an ex-con in AA and his addict girlfriend, Veronica (played by Elizabeth Rodriguez). We are told these two are in love, but all we see is an unrelenting series of betrayals and hate-filled rants. This is not a relationship to root for, making the dramatic stakes pretty low. Was I supposed to wonder if things would work out for them? I kept hoping one would kill the other so the house lights could come up. I never felt even a tiny bit invested in this story emotionally which makes for a pretty hollow evening of theatre.

Rock and Sciorra play Jackie's sponsor Ralph and his wife Victoria. As you might expect, they are also tangled up in the toxic Jackie / Veronica relationship. This leads to a "fight" between Cannavale and Rock that must be the single worst piece of fight choreography I have ever seen on Broadway. The two tumbled and threw themselves around the stage so ridiculously and unbelievably that I burst out laughing. Maybe it could have worked with cameras, a Foley artist, and a really skilled editor, but it did not work at all on stage. Rock is much smaller than Cannavale and yet pushed him down and across the room by poking him with two fingers. Totally ridiculous. It was just one more amateurish element in this half-baked production.

The Motherf**ker With The Hat is still in previews, so there is still time for them to work out some of the kinks, tighten up the fight, and find more nuance in their characters. Still, I just don't think it will be enough to overcome the truly lackluster script.

Want to see for yourself? Click here for tickets.

THE MOTHERF**KER WITH THE HAT from The Motherf**ker with the Hat on Vimeo.

Arcadia at the Ethel Barrymore Theatre

2011-03-10T12:01:00.001-05:00

Last night I was invited to a preview performance of the current revival of Tom Stoppard's Arcadia on Broadway. I have seen several amateur productions of this show and was excited to see what a top-notch Broadway cast would be able to do with this complex and challenging play. Arcadia is not for the faint of heart. This is a long, complex, and intellectually challenging play. A play about academics for academics. But if you are willing to be patient and pay attention it is well worth your time.
Since the show doesn't open until March 17th, it wouldn't be fair to do a real review. Instead, here are some thoughts on what I saw...

The Cast - Because the show is so cerebral and wordy it really takes a great cast to bring it to life. This cast rises to the occasion. Raúl Esparza is, as always, terrific delivering a subtle and completely believable performance as Valentine Coverly. Despite the complexity of the material he seems natural and not at all like an actor in the role. Mr. Esparza actually kept his hands firmly in his pockets during an entire scene and yet it totally worked. Really impressive work in one of the least showy parts. Also fantastic is Billy Crudup as the self-important academic Bernard Nightingale. Nightingale is abrasive, rude, cocksure, and completely believable as portrayed by Billy Crudup. The character on the page could easily seem flat or one-note, but Crudup has created a fully fleshed-out performance that allows you to see the underlying insecurity behind all of Nightingale's bluster. Bel Powley (Thomasina), Margaret Colin (Lady Croom), Tom Riley (Septimus Hodge) and Grace Gummer (Chloë Coverly) all deliver excellent performances though not quite as fully formed as those of Esparza and Crudup.

The Script - Watching Arcadia is like putting together a jigsaw puzzle. The first half of the evening (before intermission) is spent laying each piece out on the table. Some are grouped by shape, some by color, but it is not entirely clear what the final result will be. After intermission, the pieces start going into their correct places and the picture begins to take shape. This takes time, patience, and attention all of which are no longer regularly asked (or required) of Broadway audiences. At nearly three hours long, Arcadia is twice as long as last season's Red and bucks the trend of short, intermission-less plays. For those willing to undertake the task, it is time well spent.

Who Should See This - Arcadia is not a show I would recommend to someone looking for a big, splashy Broadway show or a light comedy. If, however, you are looking for superb acting and a thought-provoking and challenging play Arcadia is a great choice.

Arcadia is in previews with an opening date set for March 17, 2011. This limited engagement ends its run June 19, 2011.

Want to see for yourself? Click here for tickets.

ARCADIA Pre-Roll from Arcadia Broadway on Vimeo.

The Book of Mormon at the Eugene O'Neill Theatre

2011-03-03T11:31:00.002-05:00

Broadway's Spring season is officially underway and promises to be a great one. Every house is full, and it looks like there will be serious competition in the Best Musical category at this year's Tony Awards. Judging by the preview performance I saw last night, one of the likely nominees is sure to be The Book of Mormon.

A musical about Mormon missionaries in Africa is not the most traditional topic for a musical. Matt Stone and Trey Parker (of "South Park" fame) have teamed with Robert Lopez (Tony winner for Avenue Q) to create just that. And it works. The show is currently in previews with an opening date set for March 24, 2011 so it is still a little rough around the edges. Much like Avenue Q or South Park: Bigger, Longer, and Uncut part of what makes the show so entertaining is the element of surprise. I will do my best to talk about what I liked and what needed work without too many spoilers.

Things that I really liked:
The Cast - Pulling off a show like this requires an unwavering commitment to character. They are outlandish, ridiculous, pathetic, over-the-top, farcical, and yet completely engaging and believable. This is a real testament to the cast who manage to "go there" without commenting on or distancing themselves from their characters. Josh Gad as Elder Cunningham, Andrew Rannells as Elder Price, Nikki M. James as Nabulungi, and Rory O'Malley as Elder McKinley were particular standouts. The ensemble was also very strong and handled their multiple roles expertly.
The Music - Here is the rare new Broadway show where I can't wait for a cast recording. The music is clever, funny, full of pastiche and utterly winning. The combination of almost schmaltzy showtune music with biting lyrics is a hallmark of all three creators and they definitely deliver.
The Choreography - Somehow Casey Nicholaw has taken the cheesiest moves from theme parks, show choirs, cruise ships, and Broadway and mashed them together to create some fantastic dance numbers. As ridiculous as they sometimes are, they totally work with the story and characters.
The Costumes - Clever and totally appropriate. Keep your eye out for an ingenious use of some household corn-husk brooms.
The "Play within a Play" - I don't want to give anything away, but this was a real showstopper. At least three solid minutes of cheers and applause at the end of this hilarious number.
The Story - The book of The Book of Mormon is stronger and more engaging than it needs to be. Julie Taymor should definitely take a break from the perpetually delayed (and awful) Spider-Man: Turn of the Dark to come take a look at this show to see what really story telling looks like. All of the above mentioned strengths of the show are built on the storyline of the show. It is a solid foundation that keeps the show from feeling like a string of gags or sketches. Despite all of the off-color humor, at its heart The Book of Mormon really has heart and a positive message.

Things that still need work:
The Tech - This was a preview, so rough tech is to be expected, but many technical elements of the show seemed decidedly unfinished. Worst of these was the lighting with improperly focused lights, missed/dropped cues, and an overall lackluster design. The lighting design needed to be pushed as far as the other elements. It was either too heavy-handed or not heavy-handed enough. It lacked the panache of many of the other elements of the show. Ditto the set in the scenes outside of Africa. I was also distracted by people pulling on and running into curtains during the show... not really something you expect to see in professional theatre.
"Spooky Mormon Hell Dream" - This number really was the weakest in the show. It needs to be tightened up and maybe shortened. It just seemed to go on and on. A real slow point in the show's pacing.

Overall, this was a fantastic show that is sure to only get better as they move towards opening night. The thunderous applause and cheers that greeted the curtain call were beyond any I have heard at a Broadway show in quite some time. There are discount tickets available while the show is in previews (I used an offer from Playbill Club) and I would suggest taking advantage of them to get tickets soon as this will be a tough ticket to get once the show opens. This show is definitely not appropriate for children, the easily offended, or devout Mormons, but I will certainly recommend it to my more adventurous hotel guests.

Want to see for yourself? Buy tickets here.

The Book of Mormon- Now Playing on Broadway! "Dear God, How Do I Get Tickets?" from The Book of Mormon on Vimeo.

Elling at the Ethel Barrymore Theatre

2010-11-20T09:51:00.004-05:00

Elling -- now in previews at the Ethel Barrymore Theatre on Broadway -- opens with Brendan Fraser getting out of bed in boxer shorts and a dirty tank top. This elicited perhaps the biggest reaction of the night as the entire audience gasped at the sight of Fraser's giant belly. There were also laughs during the course of this comedy but they were fewer and farther between than you might imagine considering the all-star cast.

Elling tells the story of a pair of roommates, recently released from a mental institution, adjusting to life on the outside. Denis O'Hare makes the most of his turn as Elling, the neurotic, agoraphobic half of the pair. His tightly-wound performance strikes a nice balance between mania and heart. Even at its most over-the-top, his performance is rooted in a clearly defined character. Every action has motivation which keeps O'Hare's performance from turning into a string of theatrical hysterics. Unfortunately, the same can not be said for Brendan Fraser's performance as Kjell Bjarne. Fraser is once again playing the big dumb oaf role we have seen him play in his many comedic movies. He just doesn't seem to be listening and reacting in the moment. Instead, we see him mugging and "acting goofy" in a way that looks and feels hollow on stage. His reactions seem to come just a fraction of a second too late creating really noticeable issues with the timing and pace of the show. If this were a film he would have the benefit of editing... but it is not. To be fair, this is his Broadway debut and I saw the show during previews, so there is still time for the pacing and timing to be tightened.

Although Fraser and O'Hare share top billing, the person I really wanted to see was Jennifer Coolidge. Coolidge plays several roles in the show, but her real talent lies in her ability to play spacey bombshells like her character in the movie Best In Show. In fact, Coolidge is so linked to those blonde bombshells that her first appearance in Elling as a nurse in a bobbed brown wig went unnoticed by the audience. Her entrance applause didn't come until she returned to the stage with her signature blonde curls showing. Those curls signaled the return of the type of character she does best, and her performance didn't disappoint. Despite not having much to work with in the script, Coolidge brings the laughs. Much like O'Hare, she manages a real believability in her performance, no matter how outlandish. She may not have the range of someone like O'Hare (think of his chilling performance on True Blood for instance) but what she does, she does better than anyone else.

Despite a couple of fine performances, something just doesn't click with Elling. After the show, I kept wondering which aspect of the show was to blame. Was it the script, which is serviceable but mining a well-worn situation? Was it the acting, which is marred by Fraser's awkward/poor timing? Perhaps the director, Dough Hughes (who helmed both the amazing Doubt and the terrible Oleanna) is to blame for not addressing the imbalances in the cast's performances? Wherever the blame may lie, the end result is a play that is amusing, but will only leave you talking about how fat Brendan Fraser is.

Want to see for yourself? Click here for tickets.

Elf at the Al Hirschfeld Theatre

2010-11-11T15:08:00.003-05:00

George Wendt in Elf

Ah, Christmas! Is there a better time for crass commercialism? Not for the producers of Elf, a new musical created with only one goal in mind: separating unwitting tourists and families from their hard-earned cash.
This show was so uninspired that I can't bring myself to write a full review. Here are the things that stood out:

PRODUCT PLACEMENT - Notice that bag of Doritos beside Santa in the above picture? That is from the
opening scene. Later there is an entire number devoted to the Magic of Macy's.

"LOCAL" JOKES - This show is obviously designed for a road tour. As such, there are sections for "local" jokes. Huge chunks of dialogue that will obviously be replaced with jokes about Topeka or Akron or wherever they decide to bleed the populace dry. Here in New York this section included a joke about the large number of "Original Ray's Pizza" places in the city (and the location of the original.) This type of worn-out joke is one of the show's signatures.

WASTED TALENT - Many talented people are involved in this terrible creation: Casey Nicholaw (Director/Choreographer), Thomas Meehan and Bob Martin (Book), Amy Spanger, Beth Leavel, and George Wendt (to name just a few.) Unfortunately, the show still feels like it was created by a committee of road tour producers.

"FAMILY FRIENDLY" - This is a family show, but I was surprised to hear a bit of cursing. Perhaps it is PG? The row in front of my own featured a few families with small children. All of these children were dead asleep before intermission and their parents looked nearly as bored. For some reason the first act really dragged along. When intermission finally arrived I could not believe only an hour had passed. It felt like an eternity.

ICE SKATING - And now for no reason, the chorus will ice skate in circles on a rink no bigger than a dining room table. Then the principals will awkwardly try to finish their scene/musical number on the ice. The audience (those who are still awake) will wonder if they are about to see someone break something.

UNDERLYING CREEPINESS - In the movie, Will Ferrell plays Buddy the non-elf elf as a child in a grown man's body. Ferrell is famous for his ability to play these "man child" roles. Sebastian Arcelus (who plays Buddy in the musical) will not become famous for the same. It is not for want of trying... Arcelus is onstage and dripping with sweat from beginning to end. It is just that there is something that feels a bit "off" about his Buddy. It is no small feat to keep the "man child" character firmly in the land of heterosexuality (or at least asexuality) and the addition of a lot of singing and dancing in tights really stacks the deck against Mr. Arcelus.

HILARIOUS CHORUS - The chorus members of this show really seem to be having a blast. An obvious understudy for the Santa-bodied roles gamely dons his tights to join the kickline beside a past-her-prime former Vegas showgirl. During one number a chorus member creates an entire emotional arc for his character from a blink-and-you'll-miss-it interaction with Buddy in the song's opening. I know I was supposed to be watching the leads, but the chorus kept drawing my attention time and time again. Whether they are playing out mini dramas, throwing tinsel through the air, or dancing on their knees, this is a chorus that is making the most out of what it has been given.

The show is still in previews so there is hope that it could improve. Maybe that should be my Christmas wish!

Want to see for yourself? Click here for tickets.

Rain: A Tribute to The Beatles at the Neil Simon Theatre

2010-11-11T11:15:00.003-05:00

Rain: A Tribute to The Beatles is exactly what you might expect... a very good cover band serving as a way for a theater owner to make a little money while waiting for a new show. This limited engagement runs through 11 January 2011 at which point the Neil Simon Theatre will get ready for its next tenant (the new musical Catch Me If You Can.) In the meantime, lovers of The Beatles are sure to have a great time at this show. In fact, the grown man beside me was openly weeping during one of the songs. I was less moved.

Want to see for yourself? Click here for tickets.

Morgan Library and Museum

2010-11-07T13:45:00.001-05:00

I recently stopped by the Morgan Library and Museum to check out the newly renovated and reopened McKim building. If you haven't been to the Morgan (or haven't been lately) now is the perfect time to visit. The building is spectacular. Every bookcase is filled with priceless treasures. My favorite? A love letter handwritten by a young Queen Elizabeth I. Talk about an amazing signature! Pictures of the renovation after the jump...

Mr. Morgan's Library (East Room). The Morgan Library & Museum. Photography by Graham Haber, 2010.

Mr. Morgan's Study (West Room). The Morgan Library & Museum. Photography by Graham Haber, 2010.

Though it may be hard to believe, these gorgeous photographs don't even do the renovation justice. It simply has to be seen to be believed! The Morgan Library and Museum is open Tuesday through Sunday and Adult Admission is $12. You may purchase tickets ahead of time by clicking here.

THE RIDE a new New York experience

2010-10-31T13:20:00.001-04:00

Those who've visited Times Square recently may have noticed a strange bus travelling around filled with tourists staring out of large glass windows. This, ladies and gentlemen, is THE RIDE a new experience that combines theatre, sightseeing, comedy, and multimedia elements to create something unique and highly entertaining.

Our evening started out at the New York Marriott Marquis where we sipped cocktails at The View, New York's only revolving rooftop restaurant. Drinking cocktails in a slightly too warm space that is slowly spinning is a perfect way to feel tipsy really, really quickly. After a brief speech from the CEO of The Ride it was time to head down to the bus. Judging from the boisterous group of Concierges who boarded the bus, we weren't the only ones feeling a little tipsy.

ready to begin the journey

The bus is one of the coolest things about The Ride. The side-facing, stadium-style seating immediately lets you know that this will not be your average New York City bus tour. This is further enhanced by the incredible number of video monitors of various sizes embedded into what feels like every inch of available space. These are used throughout the ride for everything from historical video clips to karaoke. The bus is also equipped with a powerful sound system and hidden cameras which are cleverly used to add to the many surprises during The Ride.

Your experience (the CEO was very clear that they do not consider this a "tour") is hosted by two very perky tour guides who add historical information, point out important sights, tell jokes, and expertly vamp during traffic delays. They also set-up and interact with the various performers on the street who are really the most interesting piece of the overall Ride experience. Throughout the bus journey, the audience encounters various "people of New York" who perform on the sidewalk. These performances take place while the real people of New York are hurriedly making their way down the sidewalks. As you might imagine, people react in a variety of ways to someone beside them suddenly bursting into song and/or dance. Some stop and listen or watch, some shoot dirty looks, some take pictures, and some walk by completely unfazed by the nonsense going on around them. The reactions of the regular people on the street are priceless. The interior of the bus stays pretty bright, so the people outside can see the audience very clearly making it fun to wave and point as you make your way around midtown. Every stoplight, every performance, is another chance to scan the crowds for people to interact with. Whether on the inside or the outside, everyone really seems to get a kick out of the seeing this glass-walled bus make its way down the streets.

confused pedestrians (as seen from The Ride)

I would love to go into more detail about the various performances during The Ride, but part of the fun is not knowing what is going to happen next. Every person you see becomes a potential source of entertainment as you wonder "is that guy just walking to work or is he about to do a tap dance?" I would hate to ruin the fun for anyone by spoiling the surprises. That said, it seems to me it would be fairly easy for the operators of The Ride to make changes in the performances along the way, so there is great potential for The Ride to be an ever-evolving experience. I hope they choose to do this, because I would love to be surprised again!

The Ride helped me see and appreciate the City in an entirely new and entirely entertaining way. At $65 for peak-time tickets ($59 off-peak) the ride isn't cheap, but you will certainly get your money's worth. I will definitely be recommending The Ride to my guests as a great alternative to traditional sight-seeing tours.

Want to see for yourself? Click here for tickets.

Colin Quinn Long Story Short at the Helen Hayes Theatre

2010-10-28T13:59:00.002-04:00

Colin Quinn recently moved his solo show Colin Quinn Long Story Short to Broadway after a brief engagement Off-Broadway at the 45 Bleeker Theater in NoHo. The show is currently in previews for a November 9th opening. I am no fan of Colin Quinn, but this show does have its moments. The first moment was when I arrived to pick up my comp tickets and they came with a drink ticket. Score!
My friend and I grabbed our souvenir cups full of vodka and headed to our seats. The Helen Hayes is a small house, so even though the seats were towards the back and side they were still decent. As we sipped our cocktails I started imagining how much nicer the Hayes might be with a little restoration work. I was telling my friend about the Belasco's renovation as we guessed what might be hiding under the Hayes' thick red paint. This daydreaming was short lived as the lights quickly dimmed and the show began.

Colin Quinn Long Story Short uses world civilizations as a jumping off point for an extended stand up act. The Greeks, Romans, Chinese, Mayans, French, and various other civilizations are used as a point of reference for 75 minutes of observational humor. Some of these bits are quite funny, some like a bit about Snooki losing her cellphone fall completely flat. My friend and I definitely laughed more than we expected and had quite a few "that is so true!" moments as well. Others in the audience, including a gentleman somewhere in the balcony, sounded dangerously close to wetting themselves from laughing so hard. My guess is they are also the type to race home to watch those reruns of Seinfeld that are always advertised on the subway (Jerry Seinfeld, by the way, is the shows director.) I have not considered watching an episode of Seinfeld since sometime in the mid-90s, but I still had a good time. The show was short enough to end before my vodka buzz had worn off.

This whole run seems like publicity for the inevitable filmed comedy special that is sure to come... "Direct from a hit run on Broadway..." It might actually be better on TV where they could flesh it out a bit with sketches or animation. Even without improvements, there is no compelling reason to see the show live unless you are a die-hard Colin Quinn fan. Save your $98 and spend it on a DVD and some vodka. If you laugh/drink hard enough, you just might wet yourself.

Want to see for yourself? Click here for tickets

The Scottsboro Boys at the Lyceum Theatre

2010-10-17T15:58:00.002-04:00

Kander and Ebb's newest musical The Scottsboro Boys is the most interesting musical I have seen on Broadway since the Pulitzer-prize winning Next to Normal opened two seasons ago. Under the superb direction (and choreography) of Susan Stroman this harrowing tale of racial injustice becomes a witty, thought-provoking, and thoroughly entertaining new musical.

The history of the real Scottsboro Boys is long and complicated. The short version is that nine black boys between the ages of 13-19 were pulled from a train and accused of raping two white women. News of the attack stirs up the local community and leads to an all-white grand jury indicting the boys for rape. The group is dubbed "The Scottsboro Boys" and their subsequent trial becomes a national news story. The book of the musical The Scottsboro Boys, as written by David Thompson, follows the story of the boys from arrest through the many twists and turns of the trials. Their story is told succinctly yet powerfully and packs in a lot of information while also managing to humanize and individualize the boys. The story of The Scottsboro Boys would make for a really moving play on its own, but it is the creative team's ingenious choice to stage this story as a musical that really makes The Scottsboro Boys a must-see show.

Kander and Ebb have a knack for taking dark subject matter and turning it into truly entertaining Broadway fare. Cabaret deals with the rise of Nazi Germany, Chicago tackles the corrupt Chicago justice system, and now, The Scottsboro Boys successfully takes on injustice in the racially divided south. Each of these shows uses a distinct theatrical format/style as a device to frame the show. For Cabaret the show uses a nightclub cabaret structure, for Chicago the choice is Vaudeville. With The Scottsboro Boys the choice is even bolder. The show is structured as a minstrel show, a now-taboo format that is most famous for its use of blackface. Minstrel shows were the most popular type of show in post-Civil War America and created/enforced stereotypes of African Americans as lazy and ignorant, but also great with song and dance. The shows, like Vaudeville, usually consisted of a mix of songs, sketches, variety acts, and dance. In creating The Scottsboro Boys the creative team stayed true to the minstrel show format. Mr. Tambo, Mr. Bones, and the Interlocutor -- all stock minstrelsy characters -- are all present in this production. Also present are the racist attitudes of minstrelsy, not just against blacks, but really against anyone deemed an "other." More importantly, the show is infused with a sense of merriment, vitality, and humor that gradually darkens as the evening progresses. The minstrel show format expertly underlines the societal racism faced by the boys. As they begin to rebel against the confines of blackface and the minstrel show format begins to break down we see these boys, now men, as part of the larger struggle for civil rights. The minstrel show as a frame for the story is a daring choice that really pays off. The Scottsboro Boys is incredibly entertaining, challenging, thought-provoking, moving, and funny... all in less than 2 hours.

Now on to specifics. The cast is outstanding. Joshua Henry creates a powerful stage presence both vocally and physically as the defiant Haywood Patterson. Christian Dante White, a standout as the Scarecrow in the recent production of The Wiz at City Center, makes a fantastic Broadway debut as Charles Weems and the boys' accuser Victoria Price. His performance of the reprise of "Alabama Ladies" manages to be funny, devastating, and impressive all at once. Another performer who stands out is the young Jeremy Gumbs who, as Eugene Williams, performs an "electrifying" dance number during a nightmare he has in prison about being sent to the electric chair. Gumbs sings and dances at a level beyond his years. I only wish his acting weren't so heavily influenced by his time spent playing Young Simba in The Lion King. As he matures, I hope he can find more depth in his acting performance. I think he has great potential to become a real powerhouse performer. Perhaps he could spend a little time with theatre legend John Cullum. Cullum plays the Interlocutor with an ease and naturalness that serves as a perfect contrast to the energetic performances he constantly demands of the boys. Colman Domingo (Mr. Bones) and Forrest McClendon (Mr. Tambo) are required by the minstrel show format and the Interlocutor's demands to work the hardest. These men have the unenviable task of delivering the majority of the show's racist jokes (and a shockingly anti-semitic song) and do so with the perfect light-hearted tone. Their work really gives the show its minstrelsy feel, and therefore a large portion of its power. It is thankless work at times, but invaluable. The rest of the ensemble dances, sings, and acts their hearts out. Each creates a clearly drawn portrait of their individual "boy", humanizing them and helping the audience connect with their stories and struggles. Every member of the cast is clearly working in service of the story and memory of the real-life Scottsboro Boys.

The rest of the show's elements support this storytelling without distracting from it. The set for the show is minimal, consisting mainly of chairs that are arranged and rearranged to evoke a variety of locations. I especially liked how tambourines were placed along the chair legs to serve as train wheels in one of the early scenes. Subtle, yet totally genius. Ms. Stroman's sometimes subtle staging choices are contrasted by her explosive choreography. Combining minstrelsy dance forms such as the cakewalk with contemporary musical theatre styles she deserves much credit for creating the exuberance and joy that surrounds the dark tale at the center of the show.

Kander and Ebb's songs for The Scottsboro Boys are knockouts. They serve the story while keeping the show entertaining. This was clearly a goal for the production, and one that they achieve. Despite the heavy material, watching the show never felt like a chore. If anything, the show was more fun to watch, more entertaining, than Women on the Verge of a Nervous Breakdown which had a farce as its source material. This is a real testament to the savvy of the production team, and their excellent work in crafting this show.

In case I haven't been clear, this is a must-see show for anyone interested in thought-provoking, challenging, and above all entertaining musical theatre. The Scottsboro Boys is currently in previews for an opening on 31 October 2010.

Want to see for yourself? Click here to buy tickets.

Matthew Bourne's Swan Lake at NY City Center

2010-10-17T11:50:00.007-04:00

I did not get a chance to see Matthew Bourne's Swan Lake when it originally appeared on Broadway in 1998. I was excited to hear that the tour would bring the show back for a limited engagement at New York City Center. The show feels fresh and transgressive, even 12 years later.

This is not your typical ballet. Combining modern dance, lavish production, comedy, and pantomime Matthew Bourne creates a wholly re-imagined version of Tchaikovsky's late-19th Century ballet. The show features no dialogue, but is so expertly danced, staged, and pantomimed that you can imagine exactly what each character sounds like. Add to all this a bare-chested, aggressive, all-male corps of swans and it becomes very clear that this is not your traditional (stodgy) ballet.

The cast we saw was quite good, although I imagine it wasn't quite what it must have been on Broadway 12 years ago. The dancers were fairly strong, but sometimes seemed just a little off. For instance, the dancer playing the Girlfriend looked little too old for the role, but she still created a character so vivid that I could hear her accent in my mind. Any quibbles I had were relatively minor and did not detract from the power of the expressive choreography and production design. I also had the feeling that the entire cast was performing with every fiber of their being which makes it difficult to not feel engaged and entranced by any production.

There was another element that really made me engage with this show on a deeper level. I saw this production after a wave of anti-gay violence and suicide here in the city and across the country and I think it brought the themes of the show into even sharper focus. The Prince, after dancing and falling in love with the swan, is mocked and rejected when he makes an attempt to woo the young von Rothbart (a man, danced by the same dancer who plays the lead swan). His rejection by young von Rothbart (aka The Swan) and the attacks and insults of the members of the royal court clearly causes The Prince great emotional distress. In the final scene, the conflicted/dejected/depressed Prince is shown confined to an asylum where he is attacked and tormented by the corps of swans who also attack his lover, the lead Swan. This eventually leads to the Prince killing himself. His mother, the Queen, sobs when she discovers his body. The show ends with a tableau of the Prince and his lead Swan together (finally) in death. In the wake of the tragic suicide of Rutger's student Tyler Clementi the themes of anti-gay violence, homophobia, and the sense of isolation many gay teens feel really stood out for me. Matthew Bourne's Swan Lake is a powerful show on its own, but its relevancy to current tragedies really made it even more thought-provoking for me.

This is a very engaging production and well worth seeing before its limited run ends on November 7, 2010.

Want to see for yourself? Click here for tickets.

Lalique-Haviland Boutique

2010-10-16T13:47:00.000-04:00

I was recently invited to an event at the Lalique-Haviland Boutique on Madison Avenue near 58th Street. This new(ish) boutique brings together two of the biggest names in luxury goods in one well-designed, modern space.

The spokesman for Lalique North America gave us a brief history of the brand and its offerings while the courteous staff kept the Perrier-Jouet flowing. In honor of the 150th Anniversary of Rene Lalique's birth they have brought back several previously retired designs as well as modern re-interpretations of classic Lalique designs. Apparently Lalique has a very devoted group of collectors and this is a prime opportunity to pick up a few pieces that have been prohibitively expensive in the past. Lalique is not exactly to my taste, but there is no denying the care and craftsmanship that goes into each of the pieces. The boutique offers a full range with jewelry, perfume, curios, vases, sconces, and even a table all crafted by their artisans. My favorite piece, by far, was the crystal Victoire.

Lalique "Victoire"

The focus of the night was really on Lalique, but the Haviland offerings are quite extensive as well. The boutique offers the complete Haviland product line, as well as unique Haviland pieces featuring the designs of Rene Lalique. There were many beautiful china patterns available all made in Limoges, France. The boutique offers a Wedding Registry as well as free delivery for hotel guests. It is definitely worth a trip, especially for serious Lalique collectors.

Lalique Boutique NYC

609 Madison Avenue (near 58th St)

New York, NY 10022

(212) 355-6500

newyork@lalique.com

Lombardi at Circle in the Square

2010-10-10T16:43:00.003-04:00

Do you know a straight man who is DYING to see a Broadway show? Do you have a special love for Wisconsin, Football, or people who can yell for (at least) an hour without going hoarse? If so, Lombardi is the show for you!

Okay, I will admit, I knew nothing about Vince Lombardi prior to seeing this show. I mean, I knew he had something to do with football, but apparently that is like saying Thomas Jefferson had something to do with the United States. My bad. I guess I should have studied up before the show by reading the FAQ on the Lombardi website. Or better yet, I could have taken advantage of the study guide (conveniently available as a .pdf!) that is also available on the show's website. Sadly, I did not take advantage of either of these resources. Nor did I understand that the memorabilia/lobby display was a "museum-quality" installation (courtesy of the NFL, one of the producers of the show.) I did, however, have enough forethought to invite a football lover along as my guest to the show. That really helped fill in some of the blanks for me.

I didn't hate Lombardi as a play. In fact, there was quite a bit about the show that was enjoyable. The performances were strong and the design used projections and old football film/TV footage to great effect. Dan Lauria (Lombardi) and Judith Light (Marie Lombardi) are both excellent . Lauria's Lombardi is larger than life, loves to shout, and storms around the stage in what (I gather) is a pretty convincing portrait of the real Lombardi. Marie, his wife, is almost his complete opposite as portrayed by Light. Her use of stillness combines with a naturalistic acting style to create a great counterpoint to the bombast of Lauria's Vince Lombardi. Partly because of this contrast I found myself surprisingly engaged in the story (it was all new to me!) even though it was clear that many, many, of the jokes and references were going right over my head. There were people in the audience (some wearing Packers jerseys) who definitely experienced the show on a much deeper level than I did.

Lombardi is another in a line of shows not really aimed at the traditional Broadway audience. These shows are usually pitched as being for an under-served, untapped, or non-traditional audience. I wonder how this audience was envisioned by the producers...

Despite many, many past examples, producers seem to think "new audience"="the next Rent" when usually what it really means is "not going to be able to pay rent." So, Lombardi is probably not going to run for a year, but there is still some sort of market for it? If not, I think the NFL has deep enough pockets to keep the show open as long as they want. And I have to applaud the NFL for taking a risk and trying to bring a new audience to Broadway. Unfortunately, that won't really happen unless Broadway producers consistently produce better work, and lower ticket prices (but I digress.)

All told, I basically had a nice time at Lombardi. It didn't change my life, but I learned a couple things, I laughed, I got to watch a living room spin around and it was over after 90 minutes.

Oh, about that spinning living room.... Circle in the Square is designed for performances "in the round" with the audiences surrounding a central performance space. This is one of the great theatrical challenges of the ages and has inspired many strange choices in design and direction. Last season for The Miracle Worker all of the family's furniture dangled over the performers during the show, dropping from the sky as needed. For Lombardi the designers have kept the set pieces to a minimum except for a couch, chair, and end table that are used as the Lombardi's living room. Unfortunately, my seats were behind the couch. Which sometimes made me feel a bit like a sofa table spying on the proceedings. Late in the show, during an extended couch scene, the whole living room actually spun around 360 degrees, rotating just fast enough to make it totally pointless. They should really just close the section of seats directly opposite the entrance to the theater and simply perform the show in a 3/4 thrust set up. Most of the show seems like it was directed from the control booth (on the same side as the entrance) so it would not even require any changes to the staging. They would lose seats and therefore potential revenue, but they would eliminate the disappointment that comes from feeling like a sofa table. If you are buying tickets to the show, avoid seats in the 400s!

Despite its issues, I will still recommend Lombardi to my guests. The positives outweigh the negatives, especially for people from Wisconsin.

Want to see for yourself? Click here for tickets.

Women on the Verge of a Nervous Breakdown at the Belasco Theatre

2010-10-09T10:29:00.004-04:00

Last night I saw the first preview performance of the new musical Women on the Verge of a Nervous Breakdown at the newly renovated Belasco Theatre. I never intended to go to the first preview of this show, but after they cancelled several performances I ended up as one of the first people to see this new work. Unlike many new musicals, Women... didn't have an out-of-town tryout. All the tweaking and re-working that would normally be done before arriving in New York will presumably be done during their preview period, making their preview performances more like rehearsals and perhaps less indicative of the final product. This was especially true last night.

The night began with a curtain speech from Director Barltett Sher explaining that not only was this their first preview performance, but it was also going to be their first run through (!) since they were unable to make it all the way through the show the night before (!!). GLAD I PAID $126 TO WATCH A REHEARSAL! I mean, it is part of the risk when you buy a ticket for a preview performance, but I was hoping to see something a little more polished than a first run through. Still, there was much to enjoy in this show despite the numerous battles with the set, conveyor belts, and other technical issues. The performers did a great job of working through the hiccups and ad-libbing during some of the more obvious foul ups.

Things that I loved:
Laura Benanti - As Candela, a model, she finds the perfect balance of outrageousness and believability. Her big Act I number "Model Behavior" was the only real show stopper of the evening. Unfortunately, the song is structured in a way that made the audience think it was over several times before it was actually over. When the real ending arrived it seemed a little false and tacked on. More an afterthought than part of a cohesive whole.

"Invisible" - Patti LuPone (as Lucia) sings this beautiful number in Act II. It doesn't really move the plot forward, but she acts the hell out of it.

The Design - The overall look of the show is perfect. The lighting design creates boxes and shadows on the stage to great effect. The overall look is very colorful and lively. Very 80s.

Things that needed work:
The Score - David Yazbek's score is serviceable, with a few real standout numbers. He seems to have trouble figuring out how to end each number. Sometimes the last word is spoken, sometimes people leave the stage as the song trails out, sometimes (like "Model Behavior") there is a strange tacked on ending. Also, the numbers are surprisingly down tempo for what I thought was more of a farce.

Tone - Is this a serious show or a farce? Laura Benanti is in a farce, Brian Stokes Mitchell is in a drama (I guess... he seems a bit lost overall). I think the show needs a faster pace and lighter touch. Changing some of the musical numbers could go a long way in solving this problem. The best parts of the show are the lightest parts.

Entrances - This is a cast full of stars, but the opening group number and a series of other awkward entrances didn't allow the audience to clap for the stars as they appeared. Instead we were left with odd smatterings of applause interrupting dialogue and songs.

These are just a few of my observations. I would definitely consider returning to the show once it has opened to see it once it has gotten its sea legs. There is a lot of potential in this show. At its heart it has an interesting, charming, and potentially funny story as well as a killer cast. Hopefully the team can figure out how to take advantage of all that potential and create a truly great show.

Want to see for yourself? Click here for tickets

Tourneau TimeMachine

2010-10-02T09:51:00.004-04:00

I bought a new watch. This came after several glasses of rose Champagne (courtesy of Artisanal) and a surprisingly interesting tour of the Tourneau TimeMachine on 57th Street near Madison Avenue.

First off, the place is HUGE. It is the "World's Largest Watch Store" (I saw the plaque from Guinness to prove it.) They carry watches from every brand in every style imaginable. The most expensive watches are upstairs - brands I am too poor to even recognize. The main floor featured TAG Heuer, Movado, Rado, Breitling, Tourneau and a nice selection of certified pre-owned watches. On the lower level the store features watches from Tissot, Hamilton, Victorinox/Swiss Army, and many fashion brands. The lower level also features a gallery of images from Tourneau advertising through the years along with the now vintage watches depicted in the ads. Some of the old watch styles were really great. There was one from the 60s that was such a past vision of the future (in the best way possible.) There is also a larger gallery space that they use for rotating exhibits.

My watch came from the lower level. Kyle, my excellent salesman, was incredibly helpful. I told him I was looking for a nice watch that was classic, not too sporty, and could be worn with anything from jeans to a suit. I also did not want to spend more than $500-$600. He immediately took me to the Victorinox counter and showed me two watches that I loved right away. This is a major feat and excellent service on his part... I do not like to spend money, and usually have such a strong fear of being disappointed with my big-ticket purchase that I will become overwhelmed by all of the options. Left to my own devices, I could have wandered the store for days on end looking at watches and weighing their pros and cons. Kyle eliminated all of that by listening to what I was looking for and using his excellent knowledge of the products offered to take me right to a winner. I love my new watch and will definitely recommend Tourneau TimeMachine to my guests.