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High Spirits – Jolly Good Fun

noreply@blogger.com (Judd Hollander) — Mon, 16 Feb 2026 22:12:00 +0000

Reviewed by Judd Hollander

In Stockbridge, Massachusetts during the summer of 1984 I had my first and until now, only encounter with a production of the 1964 Broadway musical “High Spirits.” After seeing the show, with book, music and lyrics by Hugh Martin and Timothy Gray, and based on Noel Coward’s 1941 comedy “Blithe Spirit,” I remember thinking how much I enjoyed it overall, but that the book was somewhat uneven.

Having the opportunity to see the recent Encores! production of “High Spirits,” I realized many of my impressions from back then still hold true. That’s not to say this show isn’t worth seeing, as there is certainly quite a lot of enjoyment to be had. Thanks to a superlative cast, a sparkling score, some delightful production numbers and the fantastic work of the Encores! orchestra.

In Hampstead, England, mystery novelist Charles Condomine (Steven Pasquale) and his wife Ruth (Phillipa Soo) are preparing to take part in a séance so Charles can gain some background information for his latest literary effort. Joining them are their friends Dr. Bradman (Campbell Scott), his wife Violet (Jennifer Sánchez) and the medium Madame Arcati (Andrea Martin). However, what is originally envisioned becomes something else entirely when, while trying to contact someone on the other side, Charles’ first wife Elvira (Katrina Lenk), who died seven years earlier, suddenly appears.

Phillipa Soo and Steven Pasquale in "High Spirits." Photo Credit: Joan Marcus

Charles’ astonishment quickly turns into somewhat of a predicament when it becomes obvious that only he can see or hear Elvira, who is upset to find Charles remarried to someone she finds completely unsuitable. It’s not long before the comments between Charles and Elvira grow ever more pointed, with Ruth becoming angrier by the moment as she believes Charles’ remarks are directed at her.

Charles soon realizes Elvira wants him to join her on her side of the veil and is doing her best to make that happen. In a fit of desperation, Charles arranges for Madame Arcadi hold another séance in order to send Elvira away. When her efforts to do so only make things worse, it sets in motion a culmination of events that no one, living or dead, fully sees coming.

Katrina Link and the company of "High Spirits." Photo Credit: Joan Marcus

At its core “High Spirits” offers a gentle lesson about the realities of change and how the past can be viewed quite differently by different people. Despite the intense passion Elvira and Charles shared during their marriage, she apparently cheated on him multiple times. At the same time, while Charles and the more sedate Ruth live quiet contented lives, the thought of his reclaiming what he once hand with Elvira proves to be an almost irresistible temptation.

The dialogue is excellent, the air literally thick with crackling retorts and witticisms which feel perfectly at home in an English drawing room comedy. The problem is that the music and conversations don’t always blend well together. The different numbers, especially when they come after long stretches of speech, often feel jarring and unnecessary as they struggle to mix with the verbal rhythms that have come before.

The irony is that the songs are all quite excellent, many of them getting their message across wonderfully. Among the highlights is “The Bicycle Song,” which gleefully introduces the alternatively mysterious and whimsical Madame Arcati; the robust “Where is The Man I Married?,” where Charles and Ruth wonder what became of the person they once knew - and which would be perfectly at home in the musical “Kiss Me, Kate.” The latter song also hearkens back to the idea of how people change over the years. Two other numbers hitting home are “What In The World Did You Want?” as Charles, Elvira and Ruth take turns lambasting one another as each tries to claim the moral high ground; and the jazz-infused “Faster Than Sound” where Elvira recounts what it’s like to be a ghost and the advantages that come with it.

Steven Pasquale and Katrina Link in "High Spirits." Photo Credit: Joan Marcus

With “High Spirits” Encores! is firmly in its element, that of exploring old musicals which may never be revived except in situations like this. The actors may read from scripts and carry them about, but are totally in character throughout the show, except when someone misses a line or two.

Pasquale is wonderful as Charles, a man who at the outset seems quite happy with his life, but who soon finds himself pinning for the “good old days” before realizing that maybe they weren’t always that good. Something quite apparent at the end of the show when he tries to finally get in the last word.

Soo is delightful as Elvira, a woman suddenly returned to her former existence and not at all happy about what she finds there. Her devil-may-care attitude hiding a more spoiled and calculating air where her own goals and pleasures are most important of all. As she makes clear with the jaunty “Home Sweet Heaven,” where she sings about what it’s like on the other side, name dropping everyone from Homer, Aristotle and Freud to Casinova, Lizzie Borden and Atilla.

(L-R) Jennifer Sánchez, Campbell Scott and Rachel Dratch in "High Spirits." Photo Credit: Joan Marcus

Lenk is excellent Ruth who goes from a posed, confident woman to one hilarious meltdown after another while trying to come to terms with Elvira’s return, which has thrown her ordered world into a continual tizzy. Elvira’s reappearance also triggers Ruth’s hidden anxieties about whether Charles was truly ready to move on and be with her. These fears explored in “Was She Prettier Than I?,” one of the numbers that doesn’t quite jell with the dialogue that has come before.

Martin is absolutely perfect as the scenery chewing Madame Arcati, who never met a spirit she didn’t like. Part mysterious, part beatnik, she attacks her lines and scenes with impervious gusto. Though the character may never be in as control as she might hope, there’s never doubt that no matter the situation, she will give it all.

Andrea Martin and the company of "High Spirits." Photo Credit: Joan Marcus

Rachel Dratch offers a special treat as the Condomine’s mostly silent maid, Edith. With seemingly little more to do than agree with her employers, her every appearance becomes an enjoyable comic treat, with an unexpected talent no one, least of all herself, imagines possible. She’s also excellent in “Where is The Man I Married?” where she’s run ragged as she continually tries to serve Charles and Ruth coffee according to their ever-changing instructions.

The only real casting issue is the use of Scott as both Dr. Bradman and Noel Coward. The latter basically a device to allow him to read stage directions and set each scene properly as part of Billy Rosenfield’s concert adaptation for this production. This premise works well enough initially but starts to become rather tedious as the show goes on. Especially when he is describing some of the more physical actions, which prove a distraction to what is supposedly happening on stage.

Andrea Martin as Madame Arcati in "High Spirits." Photo Credit: Joan Marcus

Choreography by Ellenore Scott is both tight and strong, especially in such numbers as “Where is the Man I Married?” and “Faster Than Sound.” Costumes by Jennifer Moeller come off well and the orchestral work by Harry Zimmerman, with additional orchestrations by Luther Henderson are wonderful to hear. Direction by Jessica Stone is fine, though her efforts are hamstrung at times by some of the aforementioned problems with the book.

Despite the few missteps here and there, this Encores! production of “High Spirits” made for a fun time overall and something quite delightful to behold.

Featuring: Campbell Scott (Noel Coward/Dr. Bradman), Phillipa Soo (Ruth Condomine), Rachel Dratch (Edith), Steven Pasquale (Charles Condomine), Jennifer Sánchez (Violet Bradman), Andrea Martin (Madame Arcati), Katrina Lenk (Elvira), Andrew Kober (Boy), Demarius R. Copes (Rupert), Dana Steingold (Girl).

Ensemble: Brandon Block, Delphi Borich, Marcus Byers, Jr., Demarius R. Copes, Deanna Cudjoe, Sara Jean Ford, Katie Griffith, Benjamin Howes, Caroline Kane, Andrew Kober, Ross Lekites, Devon McCleskey, Jeremiah Porter, Sean Stack, Dana Steingold, Halli Toland, Kamille Upshaw-Darrington, Kristin Yancy

"High Spirits"

Music, Lyrics and Book by Hugh Martin & Timothy Gray

Based upon "Blithe Spirit" by Noel Coward

Orchestrations: Harry Zimmerman

Additional Orchestrations: Luther Henderson

Concert Adaptation: Billy Rosenfield

Scenic Designer: David Zinn

Costume Designer: Jennifer Moeller

Lighting Designer: Bradley King

Sound Designer: Megumi Katayama

High & Wig Designer: Rob Pickens

Makeup Designer: Katie Gell

Magic & Illusions: Skylar Fox

Music Coordinator: Kimberlee Wertz

Production Stage Manager: Cynthia Cahill

Casting by The Telsey Office, Rachel Hoffman, CSA

Choreographer: Ellenore Scott

Featuring: The Encores! Orchestra

Music Director: Mary-Mitchell Campbell

Director: Jessica Stone

Presented by Encores! at New York City Center

131 West 55^th Street

Running time: 2 hours 15 minutes, one intermission

Closed, February 15, 2026

The Jonathan Larson Project - Revealing A Passion That Still Burns Bright

noreply@blogger.com (Judd Hollander) — Sat, 29 Mar 2025 03:11:00 +0000

Reviewed by Judd Hollander

Be it filled with the joy that comes with beginning a new chapter in life, political satire about truth and electability, or a somber ballad of how a musical instrument can restore one’s emotional equilibrium, every offering in the world premiere musical The Johnathan Larson Project has something deeply meaningful to say. Currently at the Orpheum Theatre in Greenwich Village, the show’s selections, some of which have never been performed publicly, help shine a light on a multi-talented artist who at age 35, left this world far too soon.

While the show has no through storyline per se, one can quickly discern how the work is divided into specific sections. The first of which leads off with the rousing “Greene Street,” as the cast of five extolls the joys of being young and hopefully talented enough to make it in New York City. This premise of following one’s dreams continues through the next several songs as they explore the optimistic naivety youth can bring, along with the creeping realization that achieving success is not always as easy or quick as first imagined. Though there is the opportunity to unwind from such pressures via alcoholic relaxation, as shown in comedic gem “Break Out the Booze.”

(L-R) Andy Mientus, Taylor Iman Jones, Lauren Marcus, Jason Tamt in "The Jonathan Larson Project." Photo by Joan Marcus

Juxtaposed with these situations are ones that examine those who exist on the fringes of society, a place where hope has long since become a thing of the past and simply making it through the night can require the sacrifice of ones very soul. These are folks Larson himself could have seen during the years he lived in Greenwich Village.

The final third of the show assumes a more political bent, with offers that run the gamut from over-the-top satire, such as a skit focusing on the creation of the perfect candidate, to something far more grounded in reality, as when two women compare notes about what it takes to make it in a “White Male World.” Also explored is the fragility of our environment, via the almost dirge-like “Iron Mike,” about the 1989 Exxon Valdez oil spill, along with the ultimate question of who you can trust, especially when everyone seems to have their own personal version of the truth. It also helps that the show’s program contains background information on each of the numbers presented, which help to provide an extra layer of depth and understanding as to their origins.

(L-R) Lauren Marcus, Andy Mientus, Jason Tam, Taylor Iman Jones, Adam Chanler-Berat in "The Jonathan Larson Project." Photo by Joan Marcus

Conceived by Jennifer Ashley Tepper, directed by John Simpkins and presented with the support of the Larson family and estate, many of the songs have an almost poetical feel to them as they pull the audience into the stories being told and the characters who inhibit them. Highlights, in addition to those already mentioned, include the ironically named “Valentine’s Day,” which shows how a desperate need for love can lead to a path from which there may be no escape.

Adam Chanler-Berat in "The Jonathan Larson Project." Photo by Joan Marcus

The cast is excellent, with each member of the company getting their own individual moment to shine. Also deserving of mention is the choreography by Bryon Easley, and Charlie Rosen’s work on the musical arrangements and orchestrations.

The show also contains an overall air of poignancy as it recalls, via video clips, the circumstances surrounding Larson’s passing. He died in 1996 of an aortic dissection on the early morning of the first scheduled preview performance for the Off-Broadway run of his musical “Rent,” for which he wrote the book, music and lyrics. “Rent” would earn Larson, among other honors the Pulitzer Prize, and when the show moved to Broadway, three Tony Awards.

(L-R) Andy Mientus, Adam Chanler-Berat, Taylor Iman Jones, Lauren Marcus, Jason Tam in "The Jonathan Larson Project." Photo by Joan Marcus

Previously staged as a concert in 2018, the show pays its subject the ultimate compliment when it notes how not a word of what Larson has written was changed for this production.

With songs that runs a gamut of styles and emotions, The Jonathan Larson Project proves to be a wonderfully entertaining, totally infectious and extremely thought-provoking experience.

Featuring: Adam Chanler-Berat, Taylor Iman Jones, Lauren Marcus, Andy Mientus, Jason Tam

The Jonathan Larson Project

Conceived by Jennifer Ashley Tepper

Scenic Designer: Michael Schweikardot

Costume Designer: Tracy Christensen

Lighting Designers: Adam Honoré, Shannon Clarke

Video Designer: Alex Basco Koch

Sound Designer: Justin Stasiw

Wig and Hair Designer: J. Jared Janas

Music Director: Cynthia Mend

Music Supervision/Orchestration/Co-Arranger: Charle Rosen

Choreographer: Bryon Easley

Director: John Simpkins

Orpheum Theatre

126 Second Avenue

Tickets: https://thejonathanlarsonproject.com/

Running time 1 hour 35 minutes, no intermission

Closes: March 30, 2025

Urinetown – Still Mostly Sharp After All These Years

noreply@blogger.com (Judd Hollander) — Thu, 20 Feb 2025 03:06:00 +0000

Reviewed by Judd Hollander

True believers, no matter where they may be on the political, social or economic spectrum, always believe they are doing the right thing. Even if there are those who refuse to see it that way, due to so-called sacrifices that must be made for the greater good. This is the message at the heart of the deliciously satiric musical, Urinetown. Created by Mark Hollmann (music and lyrics) and Greg Kotis (book and lyrics), the show’s recent run as part of the Encores! series at New York City Center marks its first major staging in the Big Apple in over two decades.

(L-R) Greg Hildreth as Officer Lockstock and Christopher Fitzgerald as Officer Barrel in

the Encores! production of Urinetown at New York City Center (photo by Joan Marcus)

For the last twenty years, the country has been plagued by drought so severe that every bit of moisture is precious. In the wake of this catastrophe, a corporation has arisen - with the tacit approval of the government - that has created a gigantic network designed to collect people’s bodily fluids to be repurposed for later use. The project supported by a tax that people must pay before they can use the Amenity Stations constructed specifically for this function. As Penelope Pennywise (Keala Settle), who runs Amenity #9, “the poorest, filthiest urinal in town,” explains more than once “It’s a Privilege to Pee.” Those who can’t afford the fee and instead use an unsanctioned area to relieve themselves are immediately rounded up by authorities and taken to Urinetown, a place whose name strikes fear in the general public and from which no one has ever returned.

Penelope Pennywise (Keale Seattle) admonishes Old Man Strong (Kevin Cahoon) in the Encores! Production of Urinetown at New York City Center (Photo by Joan Marcus)

The imposition of the latest pee tax turns out to be the match that threatens to explode the angry powder keg the less-fortunate citizenry has become. All they need is a leader, who appears in the persona of Bobby Strong (Jordan Fisher), a young man who works for Pennywise and who recently saw his own father taken away to Urinetown. Bobby has long believed there is nothing he can do to stop the injustice he sees – where those in power get richer and those without get nothing – but his outlook changes after an encounter with the good hearted, if somewhat naive Hope Cladwell (Stephanie Styles), daughter of Cladwell B. Cladwell (Rainn Wilson), the man who created the imposing Urine Good Company and all that has since followed.

With a newly emboldened Bobby opening Amenity #9 for all to pee at no cost, and Cladwell determined to stamp out any source of rebellion before it spreads, he having no desire to return to the chaos of what came before, it is only a matter of time before these two men come into conflict, with Hope caught right in the middle.

Bobby Strong (Jordan Fisher) and the company of Urinetown (Photo by Joan Marcus)

Urinetown’s strength comes from its biting dialogue and absolutely brilliant score - the latter perfectly delivered by the Encores! Orchestra. Each line or lyric capable of provoking one telling realization after another, depending on how deep one cares to look beneath what is being presented on stage. These sentiments include the tenacious grasp one can have on their own personal freedom, questions of culpability, how under the right circumstances most everybody is capable of doing something they would normally consider unthinkable, the dangers of refusing to see the big picture when making a decision, and the understanding that every choice made comes with consequences.

Rainn Wilson (standing on table) as Cladwell B. Cladwell and the company of Urinetown (Photo by Joan Marcus)

For a show of this type to work, the satire it offers needs to be perfectly delivered, which sadly, is not always what happens here. The dialogue at times delivered with an extra pause, or sort of wink to the audience to allow them to be in on the joke. The different characters also need to be played with total seriousness and when they’re not, it destroys the believability of their scenes. Among those with this problem are Greg Hildreth as Officer Lockstock, a character who also serves as the show’s narrator, and whose delivery feels just off enough to made him seem part of the joke, rather than the situation he’s describing. Another person who has this issue is ensemble member John Yi. There are also moments when the show feels a bit rushed and lacking in tension, such as when Bobby and his fellow rebels are regrouping in their secret hideout after their initial clash with Cladwell.

Wilson does a superb job as Cladwell, whose scenery-chewing rendition of “Don’t Be the Bunny” shows him to be a black-hearted realist who has no intention of relinquishing the power and control he wields. Settle does a good turn as Pennywise, a woman seemingly all business until it turns out she has been hiding a secret of her own. Styles and Fisher do well as Bobby and Hope, though more individually than together as the two characters never feel as if they have that strong a connection. Though both have excellent singing voices, with a particular highlight for Fisher being the rousing “Run, Freedom Run!” Teddy Bergman’s directorial work, while adequate, is not strong enough to keep the show running on an even track and bring all the elements together properly. The choreographic work by Mayte Natalio has the same problem, especially when it comes to movements by a captive Hope during the song “Snuff That Girl.”

Jordan Fisher as Bobby Strong and Stephanie Styles as Hope Cladwell in the Encores! production of Urinetown at New York City Center (Photo by Joan Marcus)

There is certainly a lot of good to be found in Urinetown, with an overall message that resonates just as powerfully now than when it was first staged; even more so in some cases. Yet the various missteps throughout all combine to make this production far less than it could be.

Featuring: Jenni Barber, Josh Breckenridge, Yeman Brown, Kevin Cahoon, Jordan Fisher, Christopher Fitzgerald, Pearl Scarlett Gold, Joshua Grosso, Greg Hildreth, Jeff Hiller, Tiffany Mann, Daniel Quadrino, Geena Quintos, Graham Rowat, Keala Settle, Stephanie Styles, Myra Lucretia Taylor, Rann Wilson, John Yi.

Scenic Designer: Clint Ramos

Costume Designer: Sophia Choi

Lighting Designer: Justin Towsend

Sound Designer: Nevin Steinberg

Hair, Wig & Makeup Design: Tommy Kurzman, Suki Tsujimoto

Music Coordinator: Kimberlee Wertz

Production Stage Manager: Cynthia Cahill

Casting by: The TRC Company, Kevin Metzger-Timson CSA

Choreographer: Mayte Natalio

Featuring: The Encores! Orchestra

Music Director: Mary-Mitchell Campbell

Director: Teddy Bergman

Urinetown

Presented at New York City Center

131 West 55th Street

Running time: 2 hours, 30 minutes, with one intermission

Closed: February 16, 2025

Maybe Happy Ending - Where The Finish May Be The Beginning

noreply@blogger.com (Judd Hollander) — Wed, 11 Dec 2024 15:28:00 +0000

Reviewed by Judd Hollander

“The feeling of love lasts a maximum of 4 years, and then it’s just inertia and fear of being alone that keeps people together,” exclaims a character in the delightful new Broadway musical Maybe Happy Ending. Created by Will Aronson and Hue Park, the show presents a fascinating exploration of two beings who, as they contemplate the end of their existence, find something they never thought possible.

For the past 12 years jazz enthusiast Oliver (Darren Criss) has been living in a tiny apartment at the Helperbot Yards near Seoul, South Korea, with no one but his plant HwaBoon to talk to, and the occasional piece of mail as he waits for his owner to return. Oliver is a Series 3 Helperbot, an artificial being capable of independent thinking created to assist humans in whatever task they need. All the rage in certain circles, Helperbots can also become almost literal extensions of their owners, acting as their confidants and sounding boards. However, as with all things automated, newer models are developed, with those that came before discarded and left to themselves until self-repair is no longer possible and they cease to function.

Oliver (Darren Criss) with HwaBoon in the Broadway musical Maybe Happy Ending at the Belasco Theatre. Photo Credit: Matthew Murphy and Evan Zimmerman.

One day Oliver is startled by a frantic knock on his front door, opening it to find Claire (Helen J Shen), a Helperbot Series 5 cast-off, and his next-door neighbor, who begs to borrow his personal charger as her own has become defective. After some hesitation and verbal sparring, there apparently being some kind of animosity between the Series 3 and 5, he agrees.

With Claire coming by each day to borrow Oliver’s charger, the two soon settle into a comfortable routine. Oliver shares his love of jazz with Claire, and she offers him housekeeping tips in return. We also learn Claire and Oliver were abandoned not because they were becoming obsolete, but because they had become so much a part of their respective owner’s lives, other members of the owner’s families felt neglected. Upon learning Oliver is planning to visit his former owner, Claire, for reasons of her own, decides to come with him, even as she worries Oliver may not get the joyful reunion he has so profoundly envisioned.

Helen J Shen as "Claire" in the Broadway musical Maybe Happy Ending at the Belasco Theatre. Photo Credit: Matthew Murphy and Evan Zimmerman.

A story where a meet cute turns into something far more, thanks in part to a road trip and a magical firefly encounter, Maybe Happy Ending explores two very basic needs – that of being wanted by another and the attempts we are prepared to go through to avoid being alone. As Claire and Oliver bond over their experiences, they begin to wonder if it’s possible to take the next step in their relationship and become more than friends, especially in the face of an ending neither wants to contemplate. An inevitably every couple must someday face as they get older and realize their time together is finite, which makes it all the more precious.

The entire experience is shot through with a laidback jazzy feel, thanks to singer Gil Brentley (Dez Duron), a crooner who calls to mind Dean Martin or Perry Como, and whose almost effervescent presence adds an extra integral layer to the story, as he effortlessly delivers Aronson and Park’s tunes and helps set the show’s overall tone, even though this character is technically not part of the ongoing narrative.

Dex Duron as "Gil Brentley" in the Broadway musical Maybe Happy Ending at the Belasco Theatre. Photo Credit: Matthew Murphy and Evan Zimmerman.

Adding important touches to the proceedings are the video effects by Dane Laffrey and George Reeve, whose efforts offer windows to Claire and Oliver’s past; and the lighting by Ben Stanton and sound design by Peter Hylenski. Director Michael Arden is able to bring the story vibrantly to life by alternatively emphasizing moments of humor, pathos and outright comedy. A good example of the latter shown when Claire and Oliver try to have an argument once they have become a couple. There’s also Oliver’s habit of being too literal, as evident during a stay at a less than reputable motel where he and Claire spend the night during their trip.

Criss is perfect as sheltered Oliver, secure in the knowledge things will turn out the way he expects – as shown via the song “World Within My Room.” It isn’t until he meets Claire that he finds in himself a spontaneity he didn’t know he’d been lacking, and a willingness to face unpleasant truths when it comes to his own life. Oliver is also the character who matures the most over the course of the musical.

With an excellent singing voice, Shen is superb as the more realistic Claire. The character having connected with a network of her fellow Helperbots, some of whom she knows well. Equipped with social skills Oliver lacks, she is in her own way far more alone when the two first meet and eventually sees in Oliver a chance to have a very special adventure while she still can.

Helen J Shen and Darren Criss in the Broadway musical Maybe Happy Ending at the Belasco Theatre. Photo Credit: Matthew Murphy and Evan Zimmerman.

Showing both the fragility and durability of love, and with some heart-wrenching twists, Maybe Happy Ending presents an infectious tale that offers exactly what the title says. Which is all anyone in love can ultimately hope for.

Featuring: Darren Criss (Oliver), Helen J Shen (Claire), Marcus Choi (James, Junseo & Others), Dez Duron (Gil Brentley), Arden Cho (Jiyeon), Young Mazino (Suhan), Jim Kaplan (Young Junseo), HwaBoon (HwaBoon).

Additional Voices: Michael Arden, Will Aronson, Caroline Fairweather, Nikki M. James, Andy Mientus.

Maybe Happy Ending

By Will Aronson and Hue Park

Scenic & Additional Video Design: Dane Laffrey

Costume Design: Clint Ramos

Lighting Design: Ben Stanton

Sound Design: Peter Hylenski

Video Design: George Reeve

Hair & Wig Design: Craig Franklin Miller

Makeup Design: Suki Tsujimoto

Orchestrations: Will Aronson

Music Director: John Yun

Music Coordinator: Kimberlee Wertz

Music Supervisor: Deborah Abramson

Directed by Micheal Arden

The Belasco Theatre

111 West 44th Street

Tickets: 212-239-6200 or www.telecharge.com

Running time: 1 hour 45 minutes, no intermission

Open run

Jelly’s Last Jam – Hopefully Not Truly The Last

noreply@blogger.com (Judd Hollander) — Sat, 02 Mar 2024 03:06:00 +0000

Reviewed by Judd Hollander

The trick when presenting a biographical vehicle is to make sure the audience is able to relate to the subject in question. Especially if that subjects happen to be, in the words of director Robert O’Hara, “sexist, prejudiced, colorist, misogynist and elitist.” Fortunately, the Encores! production of the 1992 Broadway musical Jelly’s Last Jam, about the life of jazz pioneer Ferdinand Le Menthe “Jelly Roll” Morton (1891-1941), is able to do exactly that, and more. Strongly directed by O’Hara, this deeply stirring presentation can be seen at New York City Center through March 3rd.

The story takes place at The Jungle Inn, “a run-down club somewhere's ‘tween heaven n’ hell,” where Jelly Roll Morton (Nicholas Christopher) has been summoned in the immediate aftermath of his death. He’s greeted upon his arrival by the no-nonsense Chimney Man, (Billy Porter, in a superlative performance); a being who will make the determination of exactly where Jelly will spend eternity. Chimney also has no patience for Morton’s airs of self-assurance and superiority. Both of which Jelly wears like a protective second skin. Not to mention his habit of continually stretching the truth. Like how he claimed to have invented jazz.

Nicholas Christopher in the Encores! production of Jelly's Last Jam at New York Center. Photo: Joan Marcus

As Jelly waits to learn his fate, he finds himself reliving pivotal moments from his past. Such as the passion when he first hears musician Buddy Bolden (Okieriete Onaodowan) playing the cornet one night in New Orleans; the joy at reconnecting with an old friend (John Clay III); and the anger he feels when he believes himself betrayed by those closest to him. There’s even a moment of wonder when he finds himself face to face with himself as a young man (Alaman Diadhiou). The younger Jelly having the same amount of swagger and bravado as his older self.

More than just a straight through-line story of Jelly Roll Morton, the musical paints a picture of the title character as a deeply tormented soul. One with a fear of rejection so acute, he instinctively pushes away anyone he fears might someday hurt him. This fear stems in part from a long-ago trauma when, as a teenager, he was disowned by his grandmother (Leslie Uggams) for playing in a local bar and disgracing the family lineage. Morton’s continual fixation of his Cajun roots from that point on, and thus seeing himself as “better” than other people of color with whom he interacted with, might also have been an attempt to reclaim that part of his heritage he feels was taken from him.

Leslie Uggams in the Encores! production of Jelly's Last Jam at New York City Center. Photo: Joan Marcus

We also see flashes of Jelly’s artistic integrity throughout the story. As evidenced by his musical contributions to the art form of jazz; and also his strong business sense. He often refusing to sign deals with record companies unless he had control over his material. It was an arraignment that worked well when he was turning out hits. However as times and musical styles changed and other jazz greats began coming up through the ranks, Jelly finds his star power beginning to wane.

While the story offers more than enough material to hold one’s attention, George C. Wolfe’s book does feel a bit rushed at points. Particularly in the much shorter second act. What makes the show stand out is the excellent orchestrations by Luther Henderson, (additional orchestrations by Daryl Waters and William David Brohn), Edgar Godineaux’s marvelous choreography, and a top-notch cast.

Nicholas Christopher and the company of the Encores! production of Jelly's Last Jam at New York City Center. Photo: Joan Marcus

Christopher is perfect as Jelly Roll Morton. The actor imbuing the character with a strong sense of style and swagger, plus more than a bit of narcissism and ego. All of which hide the insecurities he carries inside. These sometimes competing factors show Jelly to be a complicated individual always striving for the next big thing. While at the same time always running from what he has lost.

Joaquina Kalukango is excellent as Anita, the great love of Jelly’s life, and also someone who can give as good as she gets whenever they have an argument. She’s also the only person Jelly is comfortable enough with to confide in. Their quiet moments together offer the audience an important bit of insight into Jelly’s tightly controlled persona. Elsewhere, Clay is nicely amicable as Jelly’s longtime friend Jack the Bear; while Diadhiou does a nice job as Young Jelly. Also quite good is Onaodowan, who gives an effective performance as Bolden.

Nicholas Christopher and Joaquina Kalukango in the Encores! production of Jelly's Last Jam at New York City Center. Photo: Joan Marcus

Among the highlights in the score is the torch song "Play The Music For Me," beautifully sung by Kalukango. Other memorable tunes include "Michigan Water," in a rendition by Onaodowan and Tiffany Mann; the rousing "The Whole World's Waitin' to Sing Your Song", delivered by Christopher and Diadhiou; and the poignant "The Banishment, strongly put across by Leslie Uggams. Also quite good is the mournful “The Last Chance Blues,” sung by Christopher and Kalukango. Though there are a few times when the music tends to drown out the lyrics, thus lessening the number’s overall impact.

From the performances to the music to the message, there is quite a lot to unpack in the Encores! production of Jelly’s Last Jam and it is certainly worth checking out.

Jelly’s Last Jam

Featuring: Nicholas Christopher (Jelly Roll Morton), John Clay III (Jack the Bear), Alaman Diadhiou (Young Jelly), Mamie Duncan-Gibbs, Stephanie Pope Lofgren, Allison M. Williams (The Hunnies), Joaquina Kalukango (Anita), Tiffany Mann (Miss Mamie), Okieriete Onaodowan (Buddy Bolden), Billy Porter (Chimney Man), Leslie Uggams (Gran Mmi)

Ensemble: Raymond Baynard, Shawn Bowers, Amanda Castro, Joshua Dawson, John Edwards, Ari Groover, Morgan McGhee, Jodeci Milhouse, Ramone Nelson, Paul Niebanck, James Patterson, Antonia Raye, Salome Smith, Taylor Mackenzie Smith, Funmi Sofola, Jordon Simone Stephens, Renell Anthony Taylor, Nasia Thomas, Sir Brock Warren, Chanse Williams

Book by George C. Wolfe

Music by Jelly Roll Morton

Lyrics by Susan Birkenhead

Musical Adaptation & Additional Music Composed by Luther Henderson

Arrangements & Orchestrations: Luther Henderson

Additional Orchestrations: Daryl Waters & William David Brohn

Scenic Designer: Clint Ramos

Costume Designer: Dede Ayite

Lighting Designer: Adam Honoré

Sound Designer: Megumi Katayama

Hair & Wig Designer: J. Jared Janas

Music Coordinator: Kimberlee Wertz

Production Stage Manager: Karen Moore

Casting by The Tesley Office, Destiny Lilly, CSA

Score Consultant: Daryl Waters

Choreographer: Edgar Godineaux

Tap Choreographer: Dormeshia

Featuring: The Encores! Orchestra

Guest Musical Director: Jason Michael Webb

Directed by: Robert O’ Hara

Presented at New York City Center

131 West 55th Street

Tickets: 212-581-1212 or www.nycitycenter.org

Running time: 2 hours, 20 minutes, with one intermission

Closes: March 3, 2024

Once Upon A Mattress - Sheer Perfection

noreply@blogger.com (Judd Hollander) — Fri, 02 Feb 2024 13:04:00 +0000

Reviewed by Judd Hollander

Every once in a great while, all the elements in a theatrical production align perfectly. So it is with the Encores! Production of the 1959 musical comedy, Once Upon A Mattress. Based on the Hans Christian Anderson fairy tale The Princess and the Pea, the show - with music by Mary Rodgers, lyrics by Marshall Barer and book by Jay Thompson, Dean Fuller and Marshall Barer - can be seen at New York City Center through February 4.

The year is 1428 and there is great unhappiness among the people in a far-off mythical kingdom. For until Prince Dauntless (Michael Urie) takes a wife, no one in the realm is permitted to marry. Though there were many princesses from neighboring kingdoms who sought the Prince’s hand, everyone candidate so far has failed a test of character set by his mother, Queen Aggravain (Harriet Harris).

(L-R) Harriet Harris, Michael Urie, Cheyenne Jackson and Nikki Renée Daniels in Encores! "Once Upon A Mattress." Photo: Joan Marcus.

The laws of the kingdom also state that once the Prince weds, he becomes King; therefore the current King and Queen must abdicate. But Queen Aggravain has no intention of ever ceding power. Her husband, King Sextimus the Silent (David Patrick Kelly) has nothing to say on the matter. This due to the fact he was struck mute years earlier as the result of a curse. Much of the backstory explained by the court's Jester (J. Harrison Ghee), who also serves as the narrator of the piece as he works to separate fact from fiction regarding unfolding events.

Harry (Cheyenne Jackson), a Chivalric Knight of the Realm, is determined to marry his true love, Lady Larken (Nikki Renée Daniels), and so sets off to find a suitable bride for the Prince. Harry and his Lady's efforts born of desperation when she learns she is going to have a baby. Fortunately, Harry is able to find an available princess. However it soon becomes apparent the woman in question, one Princess Winnifred (Sutton Foster), may not exactly be royalty material.

Sutton Foster in Encores! "Once Upon A Mattress." Photo: Joan Marcus.

Princess Winnifred comes from a less-than-fashionable domain. One filled with marshes and swamps. Where the biggest thrill is watching mosquito larvae; and where items such as soap and houses with roofs are considered luxuries. Her first meeting with Queen Aggravain, Prince Dauntless and rest of the royal court - this after she swims the castle moat in her eagerness to meet the Prince - calls to mind the Beverly Hillbillies crashing a fancy ball in a Jane Austin novel. The Queen is horrified beyond words at Winnifred’s unkempt appearance and lack of proper etiquette. Prince Dauntless, one the other hand, is instantly smitten with her. An attraction the Princess quickly returns.

Determined Winnifred will never marry her son, the Queen plans to place a tiny pea underneath 20 mattresses upon which the Princess will spend the night. If Winnifred does not feel the pea when she goes to sleep, she will be have failed the test and be sent on her way. Though determined as the Queen may be that the Princess fail, there are those just as determined she succeed. This leads to a continual battle of wits with the future happiness of the kingdom hanging in the balance.

Sutton Foster in Encores! "Once Upon A Mattress." Photo: Joan Marcus.

Once Upon A Mattress can best be described as a cheerful romp where everybody gets exactly what they deserve. Eventually. Also stressed is the need to stand up for whatever and whoever you believe in, regardless of the consequences for doing so. It also has a book extremely on the lightweight side. Thankfully, the production’s other creative elements make it all imminently watchable. Especially thanks to its winning cast.

From the moment she first appears, Foster completely nails the role of Princess Winnifred. The character equal part determination and homespun naiveté. Most importantly, Foster is able to bring forth the extensive physical comedy required for the part. From struggling to climb the castle wall to wrestling with the 20 mattresses as she tries to find a comfortable place to sleep.

(L-R) Michael Urie and Sutton Foster in Encores! "Once Upon A Mattress." Photo: Joan Marcus.

Urie is great fun as Prince Dauntless. A misfit who proves the old adage there is somebody perfect for everyone. A point made clear in his scenes with Winnifred. Dauntless is also the character who matures the most as he learns to step away from his mother’s control and become a man in his own right.

Harris wonderfully embodies Queen Aggravain, the comedic villain of the piece. A woman determined to keep a tight hold on her power by any means necessary; yet also the perfect straight woman for Foster ("you swam the moat?") and anyone else in her orbit.

J. Harrison Ghee in Encores! "Once Upon A Mattress." Photo: Joan Marcus.

Ghee is a real treat as the Jester. A person who basically owns the stage whenever seen on it. Striding rather than walking, with a "try to get in my face and see what happens" air, Ghee imbues the Jester with an attitude of loyalty to those who deserve it: an insider’s knowledge of exactly what is going on at all times: and an unassuming ability to make sure events turn out the way they are supposed to. This despite anyone's plans to the contrary.

Daniels and Jackson work well as Lady Larken and Harry. Two people very much in love, though it's Larken who has more on the ball mentally. Harry a bit more befuddled, in a good-natured way and also perhaps a bit too obsessed with his title. Elsewhere, David Patrick Kelly does a nice turn as the silent King and plays off well against Ghee and Urine in their scenes together.

(L-R) Harriet Harris and Francis Jue in Encores! "Once Upon A Mattress." Photo: Joan Marcus.

The direction by Lear Debessonet is excellent. Her efforts reveal a firm grasp of the material as she takes things almost but not quite over the top into parody. As well as reining in the cast just enough to make the characters and situations real enough to care about. Credit must also go to Lorin Latarro's enjoyable choreographic work and Andrea Hood's costumes. The latter of which add vibrant splashes of color to the proceedings.

The score is fun, if not particularly memorable. Highlights include Foster singing "Happily Ever After," a riff on other fairy tales heroines; and “Shy,” a comical ballet where she proves Winnifred is anything but. There’s also Ghee's delightful work in "Very Soft Shoes," a wistful number calling to mind the Jester's father. Also quite good is the comic love duet "Yesterday I Loved You," as sung by Larken and Jackson. A tune which has more than a few echoes of “You’re Awful” from the 1949 movie version of On The Town.

Michael Urie, Sutton Foster and the company of Encores! "Once Upon A Mattress."

Photo: Joan Marcus.

Once Upon A Mattress offers fluff and merriment, with a batch of songs and a gentle morale or two. To its credit, the show doesn’t try to be anything more, and for this production, that is all that’s needed.

Featuring: Nikki Renée Daniels (Lady Larken), Sutton Foster (Princess Winnifred), J. Harrison Ghee (Jester), Harriet Harris (Queen Aggravain), Cheyenne Jackson (Sir Harry), Francis Jue (Wizard), David Patrick Kelly (King Sextimus the Silent), Michael Urie (Prince Dauntless)

Ensemble: Shavey Brown, Demarius R. Copes, Kaleigh Cronin, Cicily Daniels, Ben Davis, Ta’nika Gibson, Gaelen Gilliland, Jaquez, Andrea Jones-Sojola, Paul Kreppel, Amanda Lamotte, Abby Matsusaka, Adam Roberts, Ryan Worsing, Kristin Yancy, Richard Riaz Yoder

Once Upon A Mattress

Music by Mary Rodgers

Lyrics by Marshall Barer

Book by Jay Thompson, Dean Fuller & Marshall Barer

Scenic Designer: David Zinn

Costume Designer: Andrea Hood

Lighting Designer: Amith Chandrashaker

Sound Designer: Kai Harada

Hair & Wig Designer: J. Jared Janas

Physical Comedy & Effects: Skyler Fox

Music Coordinator: Kimberlee Wertz

Production Stage Manager: Cody Renard Richard

Casting by The Telsey Office, Bernard Telsey, CSA, Craig Burns, CSA

Orchestrations by Hershy Kay, Arthur Beck & Carrol Huxley

Concert Adaptation by Amy Sherman-Palladino

Choreographer: Lorin Latarro

Featuring The Encores! Orchestra

Music Director: Mary-Mitchell Campbell

Director: Lear Debessonet

Presented by Encores! at City Center

131 West 55th Street

Tickets: 212-581-1212 or www.nycitycenter.org

Running time: 2 hours, 20 minutes, with one intermission

Closes February 4, 2024

A Matter of Faith - Where Just Having Conviction Is Not Enough

noreply@blogger.com (Judd Hollander) — Tue, 30 Jan 2024 12:50:00 +0000

Reviewed by Judd Hollander

The question of faith and what it represents can be found at the core of Ian Richard Barnes' very intense and sometimes talky drama, A Matter of Faith. Presented by Reckless Few Theatrical Productions at the Chain Theatre, this is definitely not a work for the faint of heart.

The story opens in the squalid basement home of Seamus (Henry Frontini), a longtime drug addict. Seamus has fallen so far, he has completely given up on life and just wants everything to end. Temporary salvation arrives, ironically, in the form of his supplier, Kenley (Barnes). Seamus it seems, owes him money and Kenley has no intention of letting him go anywhere until matters between the two are resolved.

(L-R) Ian Richard Barnes and Henry Frontini in "A Matter of Faith." Photo credit: Matt Weinberger.

The story eventually shifts to The Beacon, a rehabilitation facility/halfway house where Kenley has now been living for over a year. He claims his triumph over his own demons occurred once he learned to let Jesus into his life. Though Izzy (Ava Paris Locknar), a recovering addict who works The Beacon overnight shift, clearly doubts this. Kenley seemingly just talking the talk when it comes to salvation, rather than actually having done the work necessary for recovery. Not to mention his trying to flirt with Izzy while keeping out of sight from people still looking for him. Izzy also considers the place where Kenley claims to have started his rehabilitation process a questionable one at best.

Matters come to a head with the arrival of Seamus' brother, Patrick (Frontini). A former priest and current alcoholic, Patrick is wracked with guilt over his refusal to be his brother’s lifeline until he gets serious about fixing himself. Now the only thing Patrick wants is to find comfort through the teachings of the Bible. Kenley however, who is seeking his own form of forgiveness, has other ideas.

(L-R) Henry Frontini and Ava Paris Locknar in "A Matter of Faith." Photo credit: Matt Weinberger.

As the play makes clear, the idea of finding something to believe in, be it faith, self-awareness or whatever you want to call it, means nothing unless one is willing to do the work needed to begin the process of healing. Something Kenley and Patrick have yet to come close to achieving. It’s a credit to the story that for all the continual talk about what faith does or does not mean, one never gets the feeling the playwright is trying to impose his own particular point of view on the characters he's created.

While much of what unfolds is very good, with the audience often on the edge of their seats as they wait for the next potential explosion to occur, the show’s quieter moments tend to drag somewhat. The various discussions in regards to the different perceptions of faith, while involving, could easily have been trimmed as a sameness in these conversations soon emerges. In addition, the opening sequence between Seamus and Kenley might have worked better if it were folded in later as a sort of flashback and interspersed with the action at The Beacon rather than a standalone scene. Something for the creative team to think about before the play’s next incarnation.

Barnes is the standout of the cast. His performance embodies Kenley with an angry nature that continually simmers just below the surface. One which threatens to erupt at any moment. Conversely, he’s also someone you want to like at times, with his wisecracks and seemingly jovial attitude, but also a person you do not want as an enemy. Especially as his so-called attempts to make amends can be quite disconcerting, to say the least.

(L-R) Ian Richard Barnes and Henry Frontini in "A Matter of Faith." Photo credit: Matt Weinberger.

Frontini is riveting as Seamus, a tormented soul who knows that he has destroyed his life. The scene where he swears that the "fix" he is about to give himself will really and truly this time be the last one he ever takes is heartbreaking in its intensity. He also does well as Patrick, a man who carries feelings of anger inside he never knew he had, and ones he must be willing to face before he can finally begin his own healing process.

Henry Frontini in "A Matter of Faith." Photo credit: Matt Weinberger.

Barnes and Frontini's performances are helped tremendously by director Augustus Childres' understanding of exactly what these two characters are capable of and allowing the actors to play off each other brilliantly in their scenes together.

Locknar is fine as Izzy, the bit of stability Kenley and Patrick revolve around. A woman who has learned to temper her compassion for her fellow addicts with a no-nonsense resolve when it comes to rule-breaking on her watch. While also never afraid to open up about her own struggles, and admitting there is still much that she can learn.

A Matter of Faith looks at the process broken people go through as they try to reclaim their lives. Not an easy play to watch, it offers a powerful message about healing, recovery and what must be done before becoming whole is even a possibility.

Featuring: Ava Paris Locknar (Izzy), Ian Richard Barnes (Kenley), Henry Frontini (Seamus & Patrick).

A Matter of Faith

An original play by Ian Richard Barnes

Presented by Reckless Few Theatrical Productions

Production Stage Manager: Kimberly Van Vo
Sound Design: Sam Henry
Lighting Design: Lauren Lee

Directed by Augustus Childres

The Chain Theatre

312 West 36th Street, 4th Floor

Tickets: www.eventbrite.com

Running time: 1 hour, 40 minutes, no intermission

Closes: February 4, 2024

SCENE PARTNERS - It's Never Too Late, or Is It?

noreply@blogger.com (Judd Hollander) — Tue, 21 Nov 2023 18:21:00 +0000

Reviewed by Judd Hollander

“The past isn’t as frightening with one foot in the present.” So says a character in Scene Partners, the new comedy-drama by John J. Caswell, Jr., now at the Vineyard Theatre.

The year is 1985. Following the long-awaited passing of her abusive husband (though she refers to him in far more colorful terms), 75 year-old Meryl Kowalski (Dianne Wiest) is at last celebrating her independence. Determined to become an internationally famous film star, she heads for Hollywood and the promise of new beginning. Left behind is her former home, her drug-addicted daughter, and a lifetime of painful memories.

After a train ride to Los Angeles, with a possible detour through Russia, Meryl arrives at her destination. Determined to no longer be ignored, and thanks to some fast talking, iron determination and a loaded gun, she soon signs with an agent. From there, it’s a quick step to an acting class where she immediately bonds with the instructor, one Hugo Lockerby (Josh Hamilton). Hugo seeing in Meryl a brilliant untapped potential.

Dianne Wiest in Scene Partners. Photo by Carol Rosegg.

While she is seemingly on her way and set to become a star via a documentary about her life, Meryl’s past keeps trying to intrude in her new existence. Including appearances by her late husband, who possesses the bodies of those around her. His purpose, to let Meryl know she will never be free of him. Meryl also finds herself guided by the essence of her long-lost father; who once tried to make it in show business, but failed. His attempts to do so cost him his family and for Meryl, eliminated any possibility of a happy childhood.

Scene Partners offers a lot to unpack. On one level, it focuses on how it’s never too late to follow through on your dreams. With Meryl intent on grabbing as much as can from life in the time she has left. Also stressed is the importance of being able to come to terms with the past. As well as one's subsequent actions or inactions therein.

Also explored is the need to remove oneself from those who threaten to consume you via their own self-destructive natures. Several of these points explored during a long overdue heart to heart talk between Meryl and her younger half-sister, and former actress, Charlize (Johanna Day).

Josh Hamilton in Scene Partners. Photo by Carol Rosegg.

The play also offers a hilarious send-up of the world of show business. Particularly thanks to Hamilton's wonderfully over-the-top portrayal of a temperamental acting guru. He of multiple accents, with a habit of throwing cans of Diet Coke whenever he becomes angry. The scene where Meryl gets herself an agent also calls to mind similar, though not so outrageous stories, recounted in Hollywood lore from time to time.

However as things progress, one starts to wonder how much of the story is only taking place in Meryl's mind. As she has begun to show signs of a medical condition which may be warping her perceptions of reality. This not only adds an extra layer of context to the play, but also increases Meryl urgency to realize her goals. It’s a testament to the script that just when you think you’ve figured out what’s actually happening, the ground shifts just enough to make one question these assumptions.

(L-R) Dianne Wiest and Johanna Day in Scene Partners. Photo by Carol Rosegg.

Wiest gives a fantastic performance as a woman determined to make it in a business where so many others have failed. Including several in her own family. The way she juggles her character's different emotional situations - ones ranging from anger and determination to happiness and introspection - comes across very, very well. All the while never making Meryl an object of ridicule.

It must also be pointed out that this is not a perfect show. The use of various video clips and TV monitors, coupled with possible non-linear sequences, can at times feel rather disjointed. In addition, the opening and closing scenes of the play feel somewhat dragged out. Also a scene where Meryl recounts her life story, as told via several other cast members, would have worked better if shortened somewhat.

The cast, many of whom play multiple rules, all do strong work here. Rachel Chavkin’s direction, like the play itself, moves in fits and starts.

(L-R) Dianne Wiest and Eric Berryman in Scene Partners. Photo by Carol Rosegg.

Part tale of rebirth and new beginnings, part performance/multi-media piece, “Scene Partners” leaves one with much to ponder. Thanks to an interesting idea and a standout turn by Wiest.

Featuring: Eric Berryman (Chuck + Others), Johanna Day (Charlize), Josh Hamilton (Hugo + Others), Carmen M. Herlihy (Cassie + Others), Kristen Sieh (Pauline + Others), Dianne Wiest (Meryl Kowalski).

Scene Partners

A New Play by John J. Caswell, Jr.

Scenic Design: Riccardo Hernández

Costume Design: Brenda Abbandandolo

Lighting Design: Alan C. Edwards

Sound Design: Leah Gelpe

Video & Projection Design: David Bengali

Hair, Wig & Makeup Design: Leah Loukas

Props Supervisor: Andrew Diaz

Video Producer: Anne Troup

Fight Choreographer: J. David Brimmer

Tapestry Design: Patricia Marjorie

Music Director: Nehemiah Luckett

Choral Arranger: Orion Johnstone

Dialect Coach: Beth McGuire

Directed by Rachel Chavkin

Vineyard Theatre

108 East 15th Street

Tickets: 212-353-0303 or https://Vineyardtheatre.org/shows/scene-partners

Running time: 1 hour, 45 minutes, no intermission

Closes: December 17, 2023

The Writing on the Stall - Potty Humor of the Highest Caliber

noreply@blogger.com (Byrne Harrison) — Fri, 22 Sep 2023 19:51:00 +0000

Review by Byrne Harrison
Photo by Arin Sang-Urai

Caitlin Cook provides an evening of bathroom humor and touching truth in her show The Writing on the Stall, currently running at the SoHo Playhouse. Those familiar with Ms. Cook's Tik Tok have already seen and heard some of her humorous songs based on bathroom graffiti, and the songs in this show do not disappoint. However the true treat is her ability to create an intimate, touching and insightful evening of theatre around the concept.

Ably directed by A. J. Holmes, Ms. Cook weaves together a history of graffiti, the human need for connection, and confessional truths about the hardest days in her life. Using sight gags, audience interaction, and some terrific slideshows, The Writing on the Stall is a captivating piece of theater, and one that manages to be self-reflective, without being overly self-indulgent.

The Writing on the Stall
Written and Performed by Caitlin Cook
Directed by A. J. Holmes
Produced by Ali Gordon
Creative Consulting: Chase Brantley, Amanda Faye Martin, David Goldsmith

SoHo Playhouse
15 Vandam Street
Through September 23

Back to the Future: The Musical - An Unnecessary Trip

noreply@blogger.com (Judd Hollander) — Sat, 09 Sep 2023 22:35:00 +0000

Reviewed by Judd Hollander

The Broadway graveyard is filled with musical efforts that sprang from movies. Groundhog Day, Mrs. Doubtfire, Rocky and Pretty Woman among some of the more recent internees. While it’s too early to consign Back to the Future: The Musical, based on the hit 1985 film of the same name, to the same fate, it may soon be headed in that direction. This despite some pretty strong special effects. As well as a very appealing lead performance.

It’s 1985 in Hill Valley, California and high school student Marty McFly (Casey Likes), whose rock-n-roll band just failed their latest audition, is terrified of ending up like his family. His mother Lorraine (Liana Hunt) is an alcoholic; his older brother and sister (Daryl Tofa, Amber Ardolino) have lives on the fast track to nowhere; and his father George (Hugh Coles) is a beaten-down milquetoast who is terrified of confrontation. George is also is constantly harassed by his former high school nemesis Biff Tannen (Nathaniel Hackman), who is now his supervisor at work.

(L-R) Roger Bart and Casey Likes in Back to the Future: The Musical. Photo Credit: Matthew Murphy and Evan Zimmerman (2023)

One evening Marty’s friend Doc Brown (Roger Bart), the town crackpot, announces he has invented a time machine and wants Mary to document an upcoming test run. Doc intends to use the machine himself, which he has built inside a DeLorean. However before he can start on his journey, Doc collapses due to exposure to plutonium. The element used to power the vehicle. In a panic, Marty jumps into the DeLorean to go for help, but once the car reaches 88 miles an hour, the time circuits activate and send Marty thirty years in the past.

Shortly after his arrival in 1955 Hill Valley, and while searching for the Doc Brown of that time, Marty encounters his parents as teenagers. He also inadvertently interferes with their first meeting. One which initially kindled their romantic feelings for each other. Now before he can attempt to return to his own time, Marty has to get his parents to fall in love. Otherwise, neither he nor his siblings will ever be born. Matters become even more complicated when Lorraine starts having romantic feeling for Marty. Much to the fury of the overbearing Biff, who sees Lorraine as his personal girlfriend. Even though Lorraine wants nothing to do with him.

(L-R, top row) Victoria Byrd, Jonalyn Saxer, Becca Peterson. (L-R, bottom row) Casey Likes, Liana Hunt in Back to the Future: The Musical. Photo Credit: Matthew Murphy and Evan Zimmerman (2023)

There is certainly enough material here for a stage adaptation. The core idea of the show being how one small event can change the future forever. Tied in with this is the importance of never settling when it comes to what's really important in life. Be it deciding to run for political office or choosing to stand up for someone you care about.

Unfortunately in transferring the story to a new medium, the creative team, which includes Bob Gale as the bookwriter, who also co-wrote the script for the original film, all seem to have forgotten an important step in the process. That being, to make sure the new property is different enough from the original to warrant its creation in the first place. Yet what ends up on stage feels more like a tired retread. With many scenes and dialogue copied almost beat for beat.
It doesn’t help that the creators have also forgotten the “less is more” principle. Specifically as it applies to the characters of Doc Brown and George McFly.

Roger Bart in Back to the Future: The Musical. Photo Credit: Matthew Murphy and Evan Zimmerman

Doc, played by the usually reliable Bart, is so over the top in both eras, there’s no real character development or backstory for the audience to latch onto. Here, he fritters to and fro and rarely varies his vocal cadence. Even worse, Bart’s verbal interactions with Likes often mimic the Burns and Schreiber “taxicab” routine. The only time Doc becomes anything more than a caricature is when Bart sings “For the Dreamers”. A quiet ballad which offers a fleeting glimpse behind his fast-talking facade as he realizes that finally, he has a chance to be something more than a laughingstock.

The character of George has similar problems. A hapless sad sack with no confidence whatsoever, Marty must try to teach him to stand up for himself. However George’s laugh, facial tics, hand gestures and efforts to try to follow Marty’s advice are so exaggerated, they quickly become annoying. This is a case of someone trying too hard to be funny and instead becoming painful to watch. As with Doc, George’s portrayal would have worked far better if we were given some history on the character as to why he is the way he is.

Another issue is that the score by Alan Silvestri and Glen Ballard is not all that memorable. The strongest numbers in the musical ones that were in the original film. Additionally, the first act finale just falls apart, instead of giving the audience a reason to return for act two. One of the few new numbers to really stand out is “Gotta Start Somewhere”, which boasts a very strong performance by Jelani Remy as Goldie Wilson.

Jelani Remy and the cast of Back to the Future: The Musical. Photo Credit: Matthew Murphy and Evan Zimmerman (2023)

Likes does quite well in the lead role, coming across as a beleaguered sort who you don’t mind spending time with. He also looks alternatively terrified and frustrated as he tries to fit into 1955 Hill Valley, while continually trying to dodge Lorraine’s evermore amorous advances. Additionally, he nicely put across all of the songs he is tasked with. Including a killer rendition of “Johnnie B. Goode”. Other good performances include Mikaela Secada as Marty’s girlfriend, Hunt as Lorraine and Remy as both Goldie Wilson and Marvin Berry.

John Rando’s direction is uneven. He’s on point when it comes to the more dramatic moments, but his efforts fall flat when it comes to the comedy. Attempt at which feel awkward, uncomfortable, and continually distract from the stronger elements in the story.

The one especially strong aspect in the show are the special effects, Especially when it comes to having a full-size car appear to travel 88 miles an hour on a Broadway stage. Designer Tim Hatley and the rest of the team also come up with a finale that is superb. Sadly, these final moments don’t make up for all of the pitfalls that have come before. Indeed, it would be great if the DeLorean really did allow one to travel through time. That way, Gale, Rando, et. al., could have gone back to the beginning of the creative process and this time, tried to get it right.

Casey Likes in Back to the Future: The Musical. Photo Credit: Matthew Murphy and Evan Zimmerman (2023)

Featuring: Casey Likes (Marty McFly), Jelani Remy (Goldie Wilson/Marvin Berry), Merritt David Janes (Principal Strickland/Lou Carruthers/Mayor Red Thomas/Sam Baines), Mikaela Secada (Jennifer Parker), Nathaniel Hackman (Biff Tannen), Hugh Coles (George McFly), Daryl Tofa (Dave McFly/Slick), Amber Ardolino (Linda McFly/Stella Baines), Liana Hunt (Lorraine Baines), Roger Bart (Doc Brown), Victoria Byrd (Betty/Pretty Baby Trio), Becca Petersen (Babs/Pretty Baby Trio), Will Branner (3D), Jonalyn Saxer (Clocktower Woman/Pretty Baby Trio), Nick Drake (Reginald (Starlighter #1)), Kevin Curtis (Starlighter #2), Joshua Kenneth Allan Johnson (Starlighter #3)

Ensemble: Amber Ardolino, Will Branner, Victoria Byrd, Brendan Chan, Kevin Curtis, Nick Drake, Marc Heitzman, Merritt David Janes, Hannah Kevitt, JJ Niemann, Becca Peterson, Emma Pittman, Jonalyn Saxer, Mikaela Secada, Daryl Tofa

Back to the Future: The Musical
Book by Bob Gale
Music & Lyrics by Alan Silvestri & Glen Ballard

Based on the Universal Pictures/Amblin Entertainment film
Written by Robert Zemeckis & Bob Gale

Fight Director: Maurice Chan
Wigs, Hair and Make-Up: Campell Young Associates
Musical Supervisor: Vocal & Music Arrangements: Nick Finlow
Music Director: Ted Arthur
Orchestrations: Ethan Popp & Bryan Crook
Dance Arrangements: David Chase
Sound Designer: Gareth Owen
Lighting Designers: Tim Lutkin & Hugh Vanstone
Video Director: Finn Ross
Illusion Designer: Chris Fisher
Choreographer: Chris Bailey
Designer: Tim Hatley
Directed by John Rando

Winter Garden Theatre
1634 Broadway
Tickets; 212-239-6200, www.telecharge.com
Information: www.backtothefuturemusical.com
Running Time: 2 hours, 35 minutes, with one intermission
Open Run

Camelot - Where ideals and human nature collide

noreply@blogger.com (Judd Hollander) — Sun, 07 May 2023 19:57:00 +0000

Reviewed by Judd Hollander

Some people will always be resistant to change. Though if said changes are truly worthwhile, one should never stop trying to make them a reality. This is the message at the heart of the 1960 Alan Jay Lerner and Frederick Loewe musical, Camelot. A revival of which is now at Lincoln Center’s Vivian Beaumont Theater .

Based on T.H. White’s “The Once and Future King,” Camelot takes place in a mythical medieval England during the reign of King Arthur (Andrew Burnap). After a long and bitter war with France, the two countries have agreed to a peace treaty. One contingent upon Arthur marrying the French princess Guenevere (Phillipa Soo). Initially against this royal union, Guenevere soon finds herself intrigued by Arthur, who is unlike any royal she’s ever known.

Arthur is rather unique when it comes to royalty, as he is not of noble blood and only ascended the throne after he pulled out a sword embedded in a large stone. A feat thousands of others had tried and failed. Despite feeling ill-suited to his position, and remembering how harshly the kingdom’s knights and others in power have treated the masses, Arthur has a vision of a new era. One where knights are defenders of justice, honor, and chivalry. Though it soon becomes apparent many of those who formerly enjoyed almost unlimited power, and the pleasures it afforded, are not happy with these new guidelines.

Jordon Donica, Phillipa Soo (background), Andrew Burnap and the company in Lincoln Center Theater's production of CAMELOT. Photo Credit: Joan Marcus

Other potential trouble appears in the form of Lancelot du Lac (Jordon Donica); a Frenchman of great courage, virtue, and strength. Something he continually reminds himself, and everybody else. Lancelot’s greatest desire is to become a knight in the service of King Arthur. While he quickly succeeds in this, his overwhelming arrogance alienates him from the rest of the knights. At the same time, Guenevere finds herself becoming attracted to this new arrival. An attraction which quickly becomes mutual and threatens the stability of the kingdom.

Further danger arrives thanks to Arthur’s illegitimate son Mordred (Taylor Trensch). Bitter and angry at his father, Mordred is determined to destroy the King and the legacy he had hoped to create.

Camelot looks at the different sides of human nature while showing how the baser elements of humanity often impede moral progress. As continually pointed out, most people often have to be forced to accept something new, whether it is the better treatment of women, or that the coach carrying a royal bride may now stop at the top of a bottom of a hill rather than the top. Also explored is the danger of implementing change too quickly. For such upheaval may not only threaten those who would do anything to maintain the status quo, but it can also destroy closely held traditions many have lived by all their lives. Yet through it all is the message that it is possible for us to become better. Plus even if we do not achieve everything we hoped, the next generation will be able to build on what this one has begun.

Phillipa Soo, Andrew Burnap, Dakin Matthews, Jordan Donica, and company in Lincoln Center Theater's production of CAMELOT.Photo Credit: Joan Marcus.

The Lerner and Loewe score, backed here by a 30-piece orchestra, never fails to soar. Highlights include the whimsical title tune, the haunting “If Ever I Would Leave You,” and the comic numbers “The Lusty Month of May,” and “I Wonder What the King is Doing Tonight?” Also a standout is “What Do the Simple Folk Do?”. A culmination of a verbal fencing match between Arthur and Guenevere, the song illuminates the importance of communication between partners and the danger from a lack thereof.

The only real weak point is the show’s revised book by Aaron Sorkin. While Sorkin has attempted to make the original Learner text more palatable to today’s audiences, some of his efforts are rather questionable. Such as making Arthur’s longtime adviser Merlyn (Dakin Matthews) and Mordred’s mother Morgan Le Fey (Marliee Talkington) scientists instead of wizards. This removal of the magical element from the story makes the work feel a bit more pedestrian.

Andrew Burnap as Arthur in Lincoln Center Theater's production of CAMELOT. Photo Credit: Joan Marcus

Soo makes a fine Guenevere. A woman with a strong inner core who projects a sense of responsibility, passion, and a desire for a better world. Burnap works well as Arthur. A man initially unsure of himself, we see him grow into both the office and character of King during the course of the production.

Donica makes a powerful as Lancelot. His first number (“C’est Moi”) drips with irony as he sings about virtue and honor, even though he falls for a married woman. His character one you initially dislike for his arrogance, yet eventually come to understand. Trensch makes a strong villain as Mordred, and Matthews is good in the comedic yet wise roles of Merlyn and Pellinore.

Phillipa Soo (center) and company in Lincoln Center Theater's production of CAMELOT. Photo Credit: Joan Marcus.jpg

Bartlett Shers’s direction makes effective use of the vast playing space, while Michael Yeargan’s set, coupled with 59 Productions’ projection work, nicely enhances the story.

Camelot is not perfect, but with a strong message, an appealing cast, and a wonderful score, it makes for quite a fulfilling experience.

Featuring: Anthony Michael Lopez (Sir Dinadan), Danny Wolohan (Sir Lionel), Fergie Philippe (Sir Sagramore), Dakin Matthews (Merlyn, Pellinore), Andrew Burnap (Arthur), Phillipa Soo (Guenevere), Holly Gould, James Romney (Pages), Jordan Donica (Lancelot du Lac), Paul Whitty (Dap), Ann Sanders (Clarius), Tesia Kwarteng (Lady Catharine). Delphi Borich (Lady Sybil), Taylor Trensch (Mordred), Marilee Talkington (Morgan Le Fey). Camden McKinnon (Tom of Warwick)

Ensemble: Delphi Borich, Matías De La Flor, Ṣọla Fadiran, Christian Mark Gibbs, Holly Gould, Edwin Joseph, Tesia Kwarteng, Ann Sanders, Britney Nicole Simpson, Frank Viveros, Paul Whitty

Camelot

Lyrics by Alan Jay Lerner

Music by Frederick Loewe

Book by Aaron Sorkin

Based on the original book by Alan Jay Lerner

Based on "The Once and Future King" by T.H. White

Sets: Michael Yeargan

Costumes: Jennifer Moeller

Lighting: Lap Chi Chu

Sound: Marc Salzberg & Beth Lake

Projections: 59 Productions

Hair & Wigs: Cookie Jordan

Fight Director: B.H. Barry

Vocal & Dialect Coach: Kate Wilson

Orchestrations: Robert Russell Bennett & Philip J. Lang

Dance & Choral Arrangements; Trude Rittmann

Music Direction: Kimberly Grigsby

Choreography: Bryon Easley

Directed by: Bartlett Sher

Vivian Beaumont Theater at Lincoln Center Theater

150 West 65^th Street

Tickets: 212-239-6200 or www.ticketmaster.com

Information: www.camelotbway.com

Running time: 2 hours, 55 minutes, one intermission

Open run

Shucked - A down-home treat

noreply@blogger.com (Judd Hollander) — Thu, 27 Apr 2023 02:02:00 +0000

Reviewed by Judd Hollander

Shucked, the new musical comedy at Broadway’s Nederlander Theatre has far too many corn-related puns, references, and innuendos to count. It’s also corn-poppingly funny.

The musical offers a retelling of a Cob County legend. Cob County was founded about 500 years ago when a band of Pilgrims, who didn’t agree with the Puritan way of doing things, were looking for a place to call their own. Which they found in “miles of unclaimed, Non-Native American owned land.” Mistrustful of outsiders, they planted rows of corn that would grow as “high as an elephant’s eye” and completely surround the town to keep its inhabitants safe from those who had no business being there. This plan worked for generations, with corn and all its variations – including moonshine – becoming their major food source and economic engine. Until the day the corn began to die.

With no one able to understand why this is happening, local farmer Maizy (Caroline Innerbichler), feels they must seek help from the outside world. However, most of her neighbors and friends, including Maizy’s beau, Beau (Andrew Durand) who she is about to marry, reject the idea out of hand.

The cast of Shucked. Photo by Matthew Murphy & Evan Zimmerman

Determined not to see her beloved farm, crops and home all dry up and blow away, and with some encouragement from her cousin Lulu (Alex Newell), a resolute Maizy sets out on her journey. Eventually she reaches Tampa , Florida , where she stumbles upon a self-proclaimed “corn doctor” named Gordy (John Behlmann).

Gordy is actually a failed conman, disowned by his family due to his inability in the trade. At first, Gordy has no desire to help Maizy. Until the stones in the antique bracelet she wears catches his eye. After initially confirming the stones value, and how abundant they are in Cob County , Gordy assures Maizy he can fix their corn problem. It’s not long before complications arise when Gordy runs afoul of Lulu. A person who pretty much has a built in radar when it comes to liars; even as she begins to feel an attraction for this outsider Maizy has brought into their midst. Meanwhile Maizy finds herself torn between her love for Beau and her growing feelings towards Gordy

Alex Newell in Shucked. Photos by Matthew Murphy & Evan Zimmerman

For all its corn-spun humor – not surprising considering bookwriter Robert Horn’s first kernel of an idea for this show came from the television series “Hee-Haw” – at its core, Shucked stresses the importance of honesty, respect, and family. Family in this case referring not only to those related by blood, but those who are part of an extended community, all of whom depend on each other. There’s also the importance of not being afraid to consider something new, just because it may be different from what has gone before. A point illustrated in the ballad “Walls,” as beautifully sung by Innerbichler. This early number also establishes the show as something more than an elongated comedy sketch. Though to be fair, just about every third line in the show ends in a quip, pun or homily guaranteed to make the audience laugh, groan or nod in agreement. Many of these moments coming from Beau, his brother Peanut (Kevin Cahoon), and the show’s Storytellers (Ashley D. Kelley and Grey Henson).

Shucked isn’t so much a message show as a show with a message; and there is an important difference. That being the musical, which also has passing references to climate change and the current political environment, doesn’t repeatedly hit you over the head with what it wants to say. Rather, it tells a story with a few moral lessons embedded therein and leaves the audience to derive from it what they will.

The cast of Shucked. Photo by Matthew Murphy & Evan Zimmerman

The score by Brandy Clark and Shane McAnally is excellent, with highlights ranging from the over-the-top opening sequence “Corn,” to the comic “Bad.” There’s also the soulful “OK,” put forth by Durand; the rousing “Best Man Wins;” and the fantastic “Independently Owned.” That last, a powerful blues number by Newell, quite literally stops the show in its tracks and garners the performer a well-deserved standing ovation.

Innerbichler does a wonderful job as Maizy, a strong-willed though occasionally naive sort determined to save the town and get the respect she deserves. Durand works well as Beau, an earnest if somewhat stereotypical hayseed type. Behlmann is fine as Gordy, who learns there’s more to life than coming out on top. Newell is a wonder as Lulu. A cautious but caring cynic who learns to open herself up to the unexpected. Indeed, by the show’s end, all of the characters are significantly changed due to what they’ve experienced.

The cast of Shucked. Photo by Matthew Murphy & Evan Zimmerman

Jack O’Brien’s direction keeps the show moving nicely while never going off the rails into either parody or preaching. Sarah O’Gleby’s choreographic work is enjoyable from start to finish. Scott Pask’s set, basically a huge barn with all the requisite trimmings, nicely fits the show’s atmosphere. Also deserving of credit is Jason Howland’s excellent orchestrations.

Shucked offers jokes, music, a love quadrangle, and a bit of gentle moralizing. Most of all, it’s a lot of fun.

Featuring: John Behlmann (Gordy), Kevin Cahoon (Peanut), Andrew Durand (Beau), Grey Henson (Storyteller 2), Caroline Innerbichler (Maizy), Ashley D. Kelley (Storyteller 1), Alex Newell (Lulu).

Ensemble: Jimmy Brewer, Audrey Cardwell, Dwayne Clark, Rheaume Crenshaw, Jaygee Macpugay, Scott Stangland, Yasmeen Sulieman, Quinn Vanantwerp

Shucked

Book by Robert Horn

Music & Lyrics by Brandy Clark & Shane McAnally

Scenic Design: Scott Pask

Costume Design: Tilly Grimes

Lighting Design: Japhy Weideman

Sound Design: John Shivers

Wig Design: Mia Neal

Music Supervision, Music Direction, Orchestrations and Arrangements: Jason Howland

Choreographed by Sarah O’Gleby

Directed by Jack O’Brien

Nederlander Theatre

208 West 41st Street

Tickets: 212-239-6200 or www.ticketmaster.com

Info: www.ShuckedMusical.com

Running time: 2 hours, 20 minutes, one intermission

Open run

The Strange Undoing of Prudencia Hart - A Wondrous Journey of the Soul

noreply@blogger.com (Judd Hollander) — Mon, 17 Apr 2023 22:51:00 +0000

Reviewed by Judd Hollander

The aim of immersive theatre is to have the audience feel they’re actually a part of the story. So it is with the National Theatre of Scotland’s funny, poignant, and very involving The Strange Undoing of Prudencia Hart. A revival of which is now at The Club Car at the McKittrick Hotel.

It's a snowy December 21, 2010 , the time of the winter solstice – said snow gleefully provided on cue by the audience – and 28 year-old postgraduate student Prudencia Hart (Charlene Boyd), is on her way to a conference in the Scottish town of Kelso . Something of an introvert, Prudencia has followed in her father’s footsteps of collecting. Where her dad collected books, Prudencia is a collector of songs. In particular, Scottish Border Ballads, of which she has become something of an authority.

After the conference, Prudencia and the other speakers find themselves stranded by the heavy snowfall. With nowhere else to go, Prudencia and her adversarial colleague Dr. Colin Syme (Ewan Black) take shelter in a local pub, where it's karaoke night. Feeling out of her depth, Prudencia heads into the cold snowy night looking for the bed and breakfast Colin had just booked. Unfamiliar with the area, she soon finds herself lost in the gigantic whiteout. Until a fellow named Nick (Gavin Jon Wright) appears and offers her aid.

Charlene Boyd in "The Strange Undoing of Prudencia Hart". Photo Credit: Lena Nicholson

Aside from the harsh weather, there’s another reason one shouldn't be outside on the winter solstice. According to legend, it’s the one time of year when the barriers between our world and hell weaken, allowing the Devil to seek unsuspecting souls to take to the underworld. Which is exactly what befalls Prudencia.

While Prudencia at first refuses to believe her fate, she soon realizes Nick is indeed the Devil in human form, and intends to keep her prisoner for eternity. Prudencia’s protests, however, vanish when she beholds her gilded cage. A gigantic library that contains “every book that’s ever been.” At first Prudencia’s new life seems a dream come true. Until she realizes the truth about what being in hell really means.

The Strange Undoing of Prudencia Hart explores the universal pain of loneliness. This includes Prudencia, who has buried herself in her work; Colin, whose glib banter hides a heartfelt secret; and Nick who, despite all the power he commands, must always be apart from everyone. Yet as made clear, only when one breaks down the walls they’ve built can they let others in. Coupled with this is the importance of not looking down on what you don’t care about. A failing of Nick for his attitude toward mortals in general. As well as Prudencia for her disdain towards karaoke and so-called “new age” methods, such as rap, of telling stories. Or how she regards anyone who doesn't care about the things she does.

Charlene Boyd in "The Strange Undoing of Prudencia Hart". Photo Credit: Lena Nicholson

The show also notes that though work can be one’s passion, it shouldn’t be the total sum of an existence. Something Prudencia learns after untold years of research in Nick’s library as she attempts to prove her composition theories. Her joy at finally doing so tempered by the realization no one will ever see the results.

A great asset of the production is its use of language. The characters continually switching from prose to poetry, often with rhyming couplets. While quite funny throughout, it also leads to some very touching moments between Prudencia and Nick as she tries to bridge the gap between them. Their encounters causing both to change in a way neither expected. For Prudencia’s “undoing” is not so much a fall or humiliation, but rather a realization of what it is to be mortal, with a limited time on this earth. An awareness also visible in the change of Prudencia’s outward appearance over the course of the show.

The production's intricate staging is wonderfully executed. The actors at times right next to, or on top of the tables where the audience is seated. They also sometimes use said audience members as props for the story. Including a motorcycle. By the second act, everyone is so totally invested in what's unfolding, they sing and clap with unbridled enthusiasm whenever prompted. The space itself also gives off a charming old world feel.

Gavin Jon Wright and Charlene Boyd in "The Strange Undoing of Prudencia Hart".

Photo Credit: Lena Nicholson

The cast, many who play multiple roles, feels like a well-oiled machine. Boyd is perfect as Prudencia and takes her character through a complete metamorphosis as she becomes more understanding of the world and those in it. Black projects a strong, if somewhat stereotypical macho air as Colin. Who proves to be far more dependable than first given credit. Wright is exceptionally good as Nick. An initially amicable sort with a quiet, smoldering aura, but a deadly foe when crossed. Charlie West works well as one of Nick’s other forms while Natali McCleary cuts a haunting figure as a mysterious woman Prudencia encounters in the snow.

The Strange Undoing of Prudencia Hart tells a stirring tale of love, loss, loneliness and tells it oh so very well.

Featuring: Ewan Black, Charlene Boyd, Natali McCleary, Charlie West, Gavin Jon Wright

The Strange Undoing of Prudencia Hart

Co-created by David Greig writer & Wils Wilson (director)

Designer: Georgia McGuinness

Music Director and Composer: Alasdair Macrae

Movement Director: Janice Parker

Associate Movement Director: Jack Webb

Associate Director (Scotland): Andrea Cabrera Luna

Associate Director (U.S.): Hunter Bird

Producer for Double M Arts & Events: Neil Murray and Michael Mushalla

Casting Director: Laura Donnelly CDG

Production Manager: Craig Fleming

Costume Supervisor: Alisa Munro

Company Stage Manager: Millie Hannah Jones

Assistant Stage Manager: Scott Ringan

The Club Car at The McKittrick Hotel

542 West 27^th Street

Tickets: www.mckittrickhotel.com

Running Time: Two hours, 30 minutes, one intermission

Closes: April 30. 2023

Grief: A One Man ShitShow

noreply@blogger.com (Judd Hollander) — Wed, 12 Apr 2023 23:28:00 +0000

Reviewed by Judd Hollander

The hard truth is that every one of us will someday be ripped apart by the unspeakable pain of losing someone near and dear. That is, if it hasn’t to you happened already. Be it by murder, disease, accident, overdose, suicide, or natural causes; eventually, “everybody dies.” Something writer/director Colin Campbell states at the beginning of his very personal work, "Grief: A One Man ShitShow, now at Theatre Row.

Mr. Campbell is quite intimately acquainted with the title subject. He has been since the time, nearly four years ago, when he, his wife Gail, their 14 year-old son Hart and 17 year-old daughter Ruby were in a car when it was struck by a drunk driver. Campbell, who was driving, survived. So did his wife. Their children did not.

While that tragedy serves as the catalyst for the show, the work itself is two-pronged. One tranche explores how Colin has learned to move through his pain since then, while the second looks at the issue of grief itself and the white elephant in the room that comes with it.

Colin Campbell in "Grief: A One Man ShitShow". Photo by Rebecca Asher.

Said elephant is actually a question. Specifically, what do you say when interacting with someone who is grieving? To the non-griever, it can feel as if trying to step through a virtual minefield. Where anything from "how are you feeling" to "nice day, isn't it" can be the wrong thing to say. Even such well-intentioned attempts as "what can I do to help" or "there are no words" – that last expression a particular anathema to Colin – can fall short. Coupled with this seeming inability to connect are the endless gifts (i.e., books on grieving, links to emotional support groups, or bottles of alcohol) from non-grievers that often do little to ease the pain. Colin, in a moment of particularly biting sarcasm, also points out how a gift of liquor is not really a good idea when the recipient's children have been murdered by a drunk driver.

As for Colin, he wants to talk about what happened. For by him continuing to relive the tragedy and acknowledge the resulting pain, it proves to him he is still alive inside - rather than drinking or drugging himself into oblivion. More importantly, his speaking about Hart and Ruby and the stories he tells about them allows his children to become more than just images in an onstage photograph. Plus, it reaffirms the fact that they existed. And still do for him.

Colin Campbell in "Grief: A One Man ShitShow". Photo by Rebecca Asher.

Colin also examines the many levels of grief and how different grief experiences result in different reactions from others. For example, the response to one who has lost a family member to a drunk driver is different than if that person had died due to a drug overdose, or by suicide. Also explored is the fact that, despite any initial thoughts of how no one can understand the pain you’re going through, one eventually realizes there are a great many sufferers out there who have it far worse than you.

Other areas touched on include the myth that close to 90% of marriages fall apart after the sudden death of a child, as well as the "what if"/if only" scenario. In the latter case, Campbell describes how he imagines what he could have done differently to prevent the deadly crash. These mental gymnastics serve as another way for him to keep his children alive. A version of “survivor's guilt,” it also goes hand in hand with Colin wondering when and how he and his wife should resume their everyday lives in the wake of what happened. This process of attempting to do so, or even to broach the subject, serves as another grief white elephant and examines the importance of communicating one’s feelings to their significant other.

Colin pulls no punches in telling this story. The piece, a literal showcase for his rage, pain, and the love he feels for his children. Sprinkled with more than a bit of humor, there is no doubt the process of writing and performing the show is for him cathartic. Yet while Colin may have found a way to come to terms with his grief, his effort to translate all this to the audience at times falls short. While one can certainly connect with how he feels, the show sometimes has the air of a well-researched case study rather than a more intimate tragedy.

Colin Campbell in "Grief: A One Man ShitShow". Photo by Rebecca Asher.

In addition, his suggestion of addressing the white elephant in the room when it comes to talking about grief doesn't really work, as each person's experience with the subject is different. As is each person's attempt at a solution. Even if every single person in the audience tried to have a one-on-one conversation with Campbell on the matter, each one would be different due to the multiple parties involved.

In the end, one learns about Colin Campbell’s story rather than actually feeling they’ve experienced it. As for all those who have been lucky enough not to experience any such sort of grief as this, they are profoundly grateful.

Grief: A One Man ShitShow

Written and performed by Colin Campbell

Directed by Michael Schlitt

Stage Manager: Sloane Fischer

Production Manager: Eric Nightengale

General Mangers: Form Theatricals: Antony Francavilla & Reed Ridgley

Song: Heroes

Music by David Bowie

Lyrics by David Bowie and Brian Eno

Translation and Additional Lyrics by Rubén Martínez

Performed by Rubén Martínez, Juan Perez and Rosalie Rodriguez

Presented at Theatre Row, Studio Theatre

410 West 42nd Street

Tickets & Information: www.griefaonemanshitshow.com

Running time: 80 minutes, no intermission

Closes: April 23, 2023

Bad Cinderella - Well, Yes It Is; But Only Mostly

noreply@blogger.com (Judd Hollander) — Fri, 07 Apr 2023 16:24:00 +0000

Reviewed by Judd Hollander

Bad Cinderella, the new musical at Broadway’s Imperial Theatre, is the latest effort from composer Andrew Lloyd Webber. While the show boasts a very appealing cast, it suffers from numerous problems which severely hobble the work.

In the kingdom of Belleville, most everyone is totally obsessed with beauty. This is chiefly because of the fixation their Queen (Grace McLean) has with the idea. The Queen is also marking the end of a one-year mourning period for her eldest son. The much loved by all Prince Charming (Cameron Loyal).

Just about the only person in the kingdom who does not believe in the necessity of being impeccably beautiful is Cinderella (Linedy Genao). A young woman who has gotten the nickname of the title due to her various protests over the matter. Her most recent effort being the defacement of a statue of the late Prince.

Linedy Genao as Cinderella in "Bad Cinderella". Photo by Matthew Murphy and Evan Zimmerman

Cinderella’s one true friend is her companion from childhood; the Queen’s second son, Prince Sebastian (Jordan Dobson). The so-called “spare” of the family line who, now that his older and more handsome brother is gone, will someday become King. Though he must first choose a bride. To that end, the Queen decides to hold a grand ball at the palace and invites all the eligible women of the kingdom.

Cinderella regards this wife selection process as disgusting and wants nothing to do with it. Though a large part of her anger is because she has romantic feelings for Sebastian. As does he for her. Though neither has yet broached the subject. Someone who does suspect the truth is Cinderella’s Stepmother (Carolee Carmello). An evil woman, she is determined that one of her two not-so-bright daughters (Sami Gayle, Morgan Higgins) marry Sebastian. The Stepmother is also apparently aware of a secret from the Queen’s past. A point referenced in the musical number “I Know You”.

(L-R) Grace McLean as the Queen and Carolee Carmello as the Stepmother in "Bad Cinderella". Photo by Matthew Murphy and Evan Zimmerman

Bad Cinderella speaks to the importance of staying true to who you are, along with never sacrificing your identity to conform to the demands of the masses. Something Cinderella herself forgets when she tries to crash the ball. The story also contains a warning on protesting against something without first trying to understand those on the other side. For as she belatedly learns, Cinderella’s crusade against always looking perfect may have cost her more than one ally over the years.

While the show offers an interesting twist on a classic fairy tale, it feels as if the members of the creative team are never on the same page. A problem Webber, lyricist David Zippel, Emerald Fennell (original story & book), Alexis Scheer (book adaptation), and director Laurence Connor must share equally.

Jordan Dobson as Prince Sebastian in "Bad Cinderella". Photo by Matthew Murphy and Evan Zimmerman

An important rule in musicals is never musicalize anything that doesn’t need it. As in an early scene between Cinderella and Sebastian. Hearing them sing the dialogue rather than speak it throws off the entire sequence, and also takes up far more time than if they had just spoken the words.

Another critical issue when creating a show is knowing when to stop. In Bad Cinderella there is one pivotal scene which serves as the show’s climax. By the time it concludes, there are only a few loose ends to tie up. Yet for some reason, we have several scenes and songs to go. All of which cause the entire production to drag. True, much of the material here is enjoyable, but for the sake of pacing, it would have been better to eliminate it, shorten it or place it earlier in the story.

(L-R) Morgan Higgins and Sami Gayle as Cinderella's stepsisters in "Bad Cinderella". Photo by Matthew Murphy and Evan Zimmerman

There are also several plot points which are never explained. Chief among them is the relationship between the Queen and Cinderella’s Stepmother. There’s clearly a history between these characters, but after teasing the audience about it for a good part of the show, the matter is dropped. Also never made clear is the reason for the Queen’s fixation with beauty in the first place or how Cinderella and Sebastian, people from two very different social classes, ever got together as children.

Genao makes a lovely Cinderella. Her performance imbues the character with both honesty and determination. She also has a nice singing voice and good chemistry with Dobson, who does well as the unhappy prince. Dobson also gets to show off some excellent dance moves in “The Village Square,” one of the numbers that belongs far earlier in the show.

McLean is fine as the Queen, while Carmello has some wonderful scenery-chewing moments as the Stepmother. Loyal projects a strong sense of fun as Prince Charming. Christina Acosta Robinson as the Godmother has a good time with the satirical song “Beauty Has a Price”.

Linedy Genao and Jordan Dobson in "Bad Cinderella." Photo by Matthew Murphy and Evan Zimmerman

The score, while pleasant, is not memorable. The music is also often over amplified, making it hard to hear the lyrics. This is particularly true in the opening sequence. Choreography by JoAnn M. Hunter is strong throughout. That and the costumes by Gabriela Tylesova are two of the few technical elements that work as they should.

Bad Cinderella is not bad throughout, but neither is it good.

Featuring: Linedy Genao (Cinderella), Carolee Carmello (Stepmother), Grace McLean (Queen), Jordan Dobson (Prince Sebastian), Adele (Sami Gayle), Morgan Higgins (Marie), Christina Acosta Robinson (Godmother), Cameron Loyal (Prince Charming), Ben Lanham (Claude - Master of Ceremonies, Duc du Violette), Josh Drake (Arthur), J Savage (Gawain), Dave Schoonover (Dorian), Tregoney Shepherd (Vicar), Savy Jackson (Cinderella at Certain Performances).

Ensemble: Mike Baerga, Raymond Baynard, Lauren Boyd, Tristen Buettel, Kaleigh Cronin, Josh Drake, Ben Lanham, Ángel Lozada, Mariah Lyttle, Sarah Meahl, Christian Probst, Larkin Reilly, Julio Rey, Lily Rose, J Savage, Dave Schoonover, Tregoney Shepherd, Paige Smallwood, Aléna Watters

Bad Cinderella

Music by Andrew Lloyd Webber

Lyrics by David Zippel

Original Story & Book by Emerald Fennell

Book Adaptation by Alexis Scheer

Scenic & Costume Design: Gabriela Tylesova

Lighting Design: Bruno Poet

Sound Design: Gareth Owen

Hair & Wig Design: Luc Verschueren

Orchestrations by Andrew Lloyd Webber

Choreography by JoAnn M. Hunter

Directed by Laurence Connor

Imperial Theatre

249 West 45th Street

Tickets: 212-239-6200 or www.telecharge.com

Information: https://badcinderellabroadway.com/

Running Time: Two hours, 30 minutes, with one intermission

Open Run

The Sign in Sidney Brustein's Window - When Dreams Die

noreply@blogger.com (Judd Hollander) — Wed, 08 Mar 2023 00:13:00 +0000

Reviewed by Judd Hollander

There's a line in the 1939 film "Mr. Smith Goes to Washington" about lost causes being the only ones worth fighting for. This also proves to be the ultimate truth in Lorraine Hansberry’s involving drama The Sign in Sidney Brustein's Window. Written in 1964, the play can be seen at the Brooklyn Academy of Music, in its first major New York revival in over 50 years.

New York City's Greenwich Village in the 1960s may be a hotbed of social and political fervent, but local resident Sidney Brustein (Oscar Isaac) has become a disillusioned idealist. A veteran of dozens of protests, he has seen all of the causes he has fought for come to naught. Now he is content to stay on the sidelines, play his banjo and try to find his place in the world. His latest interest is a failing local newspaper he purchased; which he plans to fill with stories of art, poetry, and like-minded pieces. With the pages containing nothing at all controversial.

Rachel Brosnahan and Oscar Isaac in the Sign in Sidney Brustein's Window. Photo: Julieta Cervantes

Things change when his friend Wally (Andy Grotelueschen) decides to challenge the local political machine in an upcoming election and seeks Sidney’s endorsement in the paper. Despite his initial refusal, it’s not long before Sidney finds the fires in his belly rekindling, and he enthusiastically jumps into the fray. An effort which includes organizing rallies, coming up with campaign slogans and placing a large sign supporting Wally in his apartment widow.

Sidney is also a something of a condescending narcissist. He continually belittles his wife Iris (Rachel Brosnahan), who he loves dearly, with backhanded compliments and pointed remarks. He also has an intense dislike of any type of psychiatric therapy. Something Iris, a failed actress turned waitress with massive insecurity issues, has been undergoing for some time. Interestingly, it’s Iris, who came to New York from Oklahoma to escape an unhappy family life, who sees things far more clearly than Sidney. Especially how Wally’s campaign may not be as wonderful as it first appears. Sidney’s continual refusal to heed Iris’ warnings or treat her as an equal not only threaten his marriage, but also eventually force him to realize how he's being used by those in power as a way to keep the status quo in place.

The Sign in Sidney Brustein’s Window deftly combines multiple issues, all of which command the audience’s attention. On the surface the play looks at how the system is rigged against the so-called “little people.” Yet at the same time, Hansberry shows that no matter how many times one is unable to change situations they believe to be unjust, the important thing is to continue to challenge them. For only then can the possibility of change continue to exist.

Oscar Isaac and Glenn Fitzgerald in The Sign in Sidney Brustein's Window. Photo: Julieta Cervantes

Just as the ideas of giving up or fighting on are in conflict with one another, so too are other contradictory elements that appear throughout the work. Ones which deal with racism and how it’s perceived; the danger of holding onto an ideal too tightly; and the question of achieving success after decades of disdain for it. The latter conundrum involving David (Glenn Fitzgerald), a struggling playwright and the Brustein’s upstairs neighbor. Other issues explored include the question of memory, as seen through Iris and her sisters Mavis (Miriam Silverman) and Gloria (Gus Birney). All three of whom have attained a different social strata, and each of which have different recollections of their childhood. The play also asks what happens when you go too far to get what you want. As when Iris has a chance to revitalize her acting career, even though it may mean morally prostituting herself in the process.

Most important of all is the way the play takes care never to hit the audience over the head of with any of the issues it presented. Instead it allows them to unfold gradually during the course of the work and let the story speak for itself easily and naturally.

Isaac gives an excellent performance as Sidney. The character a true believer and complex individual who goes from one extreme to another as he realizes what he truly wants in life – and who he wants to share that life with. He also has a terrible problem when it comes to doing math.

Rachel Brosnahan in The Sign in Sidney Brustein's Window. Photo: Julieta Cervantes

Brosnahan matches Isaac beat for beat as Iris. A woman who desperately wants to fulfill her own dreams, and also find that one place in the world where she truly belongs. Like Sidney, she must first realize her own limitations, something the play notes is not necessarily a bad thing, and then use that realization to move forward.

Silverman does very well as Mavis. At first glance, a rather narrow-minded and bigoted individual, but also a person capable of remarkable insight. Also pivotal to the story is Birney as Gloria as she portrays an utterly lost soul trapped in a dead-end life. A life from which she is determined to escape, at any cost.

The only major problem in the play deals with how the story is structured. While act one nicely sets up the various characters and situations, act two crams in too much exposition, one right on top of the other, which hampers the work’s overall flow. Additionally, the scenes with Gloria, while quite important to the play, go on a bit too long.

Miriam Silverman in The Sign in Sidney Brustein's Window: Photo: Julieta Cervantes

As topical today as when it was first written, “The Sign in Sidney Brustein’s Window” makes clear how not taking a stand on any issue is the most dangerous choice of all.

Featuring: Oscar Isaac (Sidney Brustein), Rachel Brosnahan (Iris Parodus Brustein), Gus Birney (Gloria Parodus), Julian De Niro (Alton Scales), Glenn Fitzgerald (David Ragin), Andy Grotelueschen (Wally O’Hara), Miriam Silverman (Mavis Parodus Bryson), Nash Thompson (Max)

The Sign in Sidney Brustein’s Window

by Loraine Hansberry

Scenic Design: dots

Costume Design: Brenda Abbandandolo

Lighting Design: John Torres

Sound Design: Bray Poor

Hair & Wig Design: Andrew Diaz

Casting: Taylor Williams, CSA

Script Supervisor: Joi Gresham

Dramatrug: Amanda Thomas

Movement Director: Sonya Tayeh

Voice Coach: Kate Wilson

Production Stage Manager: Ralph Stan Lee

Directed by Anne Kauffman

Presented at the Brooklyn Academy of Music

BAM Harvey Theater

651 Fulton Street

Tickets: 718-636-4100 or www.bam.org

Running time: three hours, one intermission

Closes: March 24, 2023

Some Like It Hot- A Rollicking Good Time

noreply@blogger.com (Judd Hollander) — Sun, 12 Feb 2023 14:18:00 +0000

Reviewed by Judd Hollander

The classic 1959 film "Some Like It Hot" gets the Broadway treatment and comes out running on pretty much all cylinders. Thanks in no small part to an excellent score, some very strong directorial efforts, an absolutely wonderful cast, and a tour-de-force performance by J. Harrison Ghee.

Things start off in 1933 Chicago during the waning days of Prohibition. Joe (Christian Borle) and Jerry (Ghee), close friends since childhood, are two out of work musicians/tap dancers. Jerry is the hard-working sort; inclined to keep his head down, do his job, and not make waves. However, Jerry’s efforts are all too often scuttled by the more abrasive Joe. Joe, who comes from a family of con artists, repeatedly pushes things too far in his attempts to get he and Jerry their big showbiz break. Joe's continual roving eye for the ladies also doesn’t help. He having left a string of broken hearts and promises in his wake.

(l-r) Christian Borle and J. Harrison Ghee in SOME LIKE IT HOT. Photo credit: Marc J. Franklin

Thanks to some quick talking and fast dancing, Jerry and Joe land a gig at a nightclub owned by mobster Spats Colombo (Mark Lotito). Not long after, the two find themselves at the wrong place at the wrong time when they witness Spats and his henchman commit murder. Forced to flee for their lives, Joe comes up with the idea to dress up as women so they can get safely out of town. Sought by both the mob and the police, the duo, now calling themselves “Josephine” and “Daphne”, join up with the Society Syncopators, an all-girl band about to go out on tour. The band is headed by Sweet Sue (NaTasha Yvette Williams). A Chicago fixture who has her own reasons for wanting to leave Chicago.

Also with the band is lead singer, Sugar Kane (Adrianna Hicks). A woman whose chronic lateness, fondness for the bottle and desire to be a film star puts her at odds with the rest of the band. While Joe and Jerry initially plan to stick with the group until it gets to San Diego, and then head for Mexico, complications arise which make them each reconsider. Joe finds himself drawn to Sugar, whose superior attitude masks a deep insecurity. Jerry meanwhile has become more and more comfortable in his female persona as he quickly becomes “just one of the girls”. A situation he is not ready to give up. However once they get to San Diego ,it’s “Daphne” who runs into romantic complications when she catches the eye of millionaire Osgood Feilding III (Kevin Del Aguila).

Adrianna Hicks in SOME LIKE IT HOT. Photo credit: Marc J. Franklin

Some Like It Hot works not only due to the comedic situations and enjoyable musical numbers, but also because of the more the somber moments crafted by bookwriters Matthew López and Amber Ruffin. Elements which crystallize perfectly in act two, where Osgood notes how "the world reacts to what it sees" but "doesn't have very good eyesight". A reference to peoples’ habit of taking everything and everyone at face value. Without trying to see what might be underneath.

This is a lesson learned by several of the characters. When Joe defends Sugar against hurtful comments from the other girls in the band, he begins to realize how he himself has treated women in the past. At the same time, Sugar begins to see in "Josephine" her first true female friend. One who can, ironically, see her for who she truly is. Meanwhile Jerry, who realizes how important getting in touch with his feminine side has become, realizes he has to stop simply following Joe’s lead and start to live life on his own terms.

The music by Marc Shaiman and lyrics by Scott Wittman & Shaiman are excellent. Several of their contributions (i.e. “You Can’t Have Me (If You Don’t Have Him)” and “Vamp” brought brilliantly to life thanks to the sterling musical, verbal, and physical interplay between Borle and Ghee. Casey Nicholaw’s direction and choreography is also a main contributor to the show’s success. Particularly enchanting is a graceful dance number between Joe and Sugar (“Dance the World Away”), which calls to mind a Fred Astaire/Ginger Rogers ballroom sequence.

Kevin Del Aguila and the cast of SOME LIKE IT HOT. Photo credit: Marc J. Franklin

When looking at Ghee as Jerry/Daphne it‘s hard to imagine anyone else in the part. This is a case of the performer fitting the role so perfectly, that the moment Daphne comes into being, it’s as if the actor and character have fused into one. The resulting performance is touching, comical and completely believable. The character also makes the number You Coulda Knocked Me Over With a Feather” into a truly show-stopping experience.

Borle make a perfect Joe, a heel when it comes to women, who learns the value of finding something more permanent. Hicks is very good as Sugar, a woman with a weakness for saxophone players who has constructed a cynical shell of protection due to bitter past experience. Hicks also powerfully delivers with the ballads “A Darker Shade of Blue” and “Ride Out the Storm”. Along with the quietly wistful “At the Old Majestic Nickel Matinee”.

NaTasha Yvette Williams and the cast of SOME LIKE IT HOT. Photo credit: Marc J. Franklin

Williams is enjoyable as Sweet Sue, a brassy, no-nonsense, take-charge woman. Aguila is a perfect fit as Osgood. Someone who initially only seems there for comic relief, but eventually proves far to be more intuitive than expected. Angie Schworer is fun as Minnie. A member of the band who has a continual habit of confusing apartment numbers. Lotito has a nice scenery chewing role as Spats.

The only thing that doesn’t work as well as it should are some of the chase scenes. Most done in full tap dancing mode; and which are sometimes a bit more slapstick than necessary. The various sets by Scott Pask are enjoyable. Costumes by Gregg Barnes nicely fit the period, though they’re not all that memorable.

Some Like It Hot may not be completely perfect, but it comes pretty darn close.

Kevin Del Aguila, J. Harrison Ghee, NaTasha Yvette Williams, Adrianna Hicks, Christian Borle and the company of SOME LIKE IT HOT. Photo credit: Matthew Murphy

Featuring: NaTashya Yvette Williams (Sweet Sue), Christian Borle (Joe/Josephine), J. Harrison Ghee (Jerry/Daphne), Devon Hadsell (Nellie), Casey Garvin (Mack), Jarvis B. Manning, Jr. (Sonny), Mark Lotito (Spats), Adam Heller (Mulligan), Charles South (Toothpick Charlie), Angie Schworer (Minnie), TyNia René Brandon (Dolores), Kayla Pecchioni (Ginger), Jenny Hill (Vivian), Adrianna Hicks (Sugar), K.J. Hippensteel (Bar Manager, Man with Suitcase), Kevin Del Aguila (Osgood).

Society Syncopators: TyNia René Brandon, Gabi Campo, Devon Hadsell, Jenny Hill, Abby Matsusaka, Amber Owens, Kayla Pecchioni.

Gangsters, Porters, Bellhops, et, al.: K.J. Hippensteel, Casey Garvin, Jarvis B. Manning, Jr., Brian Martin, Charles South, Brendon Stimson, Julius Williams, Richard Raz Yoder.

Some Like It Hot

Book by Matthew Lopez and Amber Ruffin

Music by Marc Shaiman

Lyrics by Scott Wittman and Marc Shaiman

Based on the Metro-Goldwyn-Mayer Motion Picture "Some Like It Hot"

Scenic Designer: Scott Pask

Costume Designer: Gregg Barnes

Lighting Designer: Natasha Katz

Sound Deign: Brian Ronan

Hair Design: Josh Marquette

Makeup Design: Milagros Medina-Cerdeira

Additional Material by Christian Borle and Joe Farrell

Orchestrations: Charlie Rosen and Bryan Carter

Vocal Arrangements: Marc Shaiman

Dance & Incidental Music Arrangements: Glen Kelly

Music Director: Darryl Archibald

Music Coordinator: Kristy Norter

Directed and Choreographed by Casey Nicholaw

Sam S. Shubert Theatre

225 West 44^th Street

Tickets: 212-632-6200 or www.telecharge.com

Information: www.SomeLikeItHotMusical.com

Running Time: 2 Hours, 40 minutes with one intermission

Open Run

Heaven – What Does It Mean To You?

noreply@blogger.com (Judd Hollander) — Thu, 26 Jan 2023 00:22:00 +0000

Reviewed by Judd Hollander

When it comes to Eugene O’Brien’s drama Heaven, the story begins and ends with the play’s final line. Presented by Fishamble, this intriguing work about past choices and second chances can be seen through January 29th at 59E59Theaters.

Mal (Andrew Bennett) and Mairead (Janet Moran) are a married couple in their early 50s. Together for close to 30 years they have returned to their mutual hometown, located in the midlands of Ireland, for the wedding of Mairead’s sister. The town itself is little more than a couple of shops and a number of empty buildings. Basically, it's one of those places progress has passed by. Though Mairead actually describes the town in somewhat more colorful terms. Still, the place holds important memories for both her and her husband. Recollections each of them has been unwilling to face, or perhaps even acknowledge, until now.

Andrew Bennett in "Heaven" at 59E59 Theaters. Photo Credit: Ste Murray

Mairead and Mai’s union can best be described as “safe”. While they certainly love and depend on one other for stability, whether they are actually still in love is another story. In addition, any real passion between them has since long vanished. Part of it due to Mal’s heart surgery of several years previous; and part because of his attempts to deny decades of his own desires when it comes to his own sexual preference. As a result, Mairead, a passionate woman with no outlet for her own needs, finds herself remembering her youthful encounters with Breffni, a long ago lover who still lives in the town. A subsequent meeting between the two quickly makes clear these old feelings still exist, with only the smallest push needed to ignite the flames once more. As the various wedding events begin, images of something old and possibilities of something new emerge for both Mal and Mairead. Ones which may be too tempting to resist.

With a title that means different things to the different people involved, Heaven asks what happens when someone starts to feel suffocated by what their life has become? Hand in hand with this is the idea of how any attempt to break free of that yoke can come with a high price. Something both Mal and Mairead learn on their very personal journeys of discovery.

Janet Moran in "Heaven" at 59E59 Theaters. Photo Credit: Ste Murray

O’Brien's text conjures up a detailed picture of time, place and personal need. Images and emotions all brought brilliantly to life by Bennett and Moran. The two do an excellent job not only in making their own characters come across as fully formed, but the also the different characters they interact with during the play.

The work itself is basically a series of extended monologues. Mal and Mairead never verbally interact with one another, although they may be at the same place at the same time. Each of them in turn relating events from their own perspective. Jim Culleton’s direction is also a key element. His efforts help keep the story tightly focused and the tension continually rising, as the audience is drawn into this very absorbing tale.

Moran does a fine job as Mairead, a neglected wife who yearns for the passion that has been missing from her existence for far too long. She seeing in Breffni a chance to enjoy the life she believes she should have had and now, may finally attain. Yet even as she contemplates making the change, reality intrudes upon the rosy picture she has painted for herself. As an unexpected chance to make a different type of connection threatens to change everything.

Andrew Bennett and Janet Moran in "Heaven" at 59E59 Theaters. Photo Credit: Ste Murray

Bennett has the more restricted role here as the perennially repressed Mal. He feeling trapped not only from what he has denied for so many years, including to himself, but also from a medical condition which has forced him to insulate himself even more from things that may give him pleasure. Yet it’s his slow awakening to his own passions – with a little help from various stimulants - that is quite powerful to behold. Mal finding himself willing for forsake everything he has in order to embrace who he has the chance to finally become. Though the path which is now determined to take comes with multiple risks. Including the possibility of reaching a point of no return.

Zia Bergin-Holly’s set on the small theatre stage nicely matches the intimacy of the piece, while Saileóg O’Halloran’s costumes and lighting by Sinéad McKenna all work well within the atmosphere of the story.

An intimate tale about desperately wanting to start your life anew, Heaven shows how doing so requires far more than simply taking the first step. Especially when there's a chance that what one envisions may not turn out as planned.

Featuring: Andrew Bennett (Mal), Janet Moran (Mairead)

Heaven

By Eugene O’Brien

Set Design: Zia Bergin-Holly

Costume Design: Saileóg O’Halloran

Lighting Design: Sinéad McKenna

Music & Sound Design: Carl Kennedy

Stage Manager: Heather Klein

Dramaturg: Gavin Kostick

Directed by Jim Culleton

Presented by Fishamble: The New Play Company

59E59Theaters

59 East 59^th Street

Tickets: https://www.59e59.org/shows/show-detail/heaven/#schedule-and-tickets

Running Time: 90 Minutes, with no intermission

Closes: January 29, 2023

A Child's Christmas in Wales - The Power of Memories

noreply@blogger.com (Judd Hollander) — Sun, 18 Dec 2022 21:45:00 +0000

Review by Judd Hollander

Vivid recollections of a time long ago often strike a poignant note. Especially to those who never experienced them but wish so much that they could. Such a case in point is A Child's Christmas in Wales. Written by Dylan Thomas in 1952 and subsequently adapted as a musical by Charlotte Moore, artistic director of the Irish Repertory Theatre, this marks the show's sixth return engagement to the Irish Rep stage, following its premiere there in 2002.

The cast of six, with music director David Hancock Turner providing accompaniment on the piano, present a story awash with wistfulness and nostalgia. They each taking turns to relate, via the viewpoint of a 12-year-old Thomas, the Christmas traditions and celebrations he experienced as a child. A time when it was "always snowing" in December and how, no matter the memory, everything always seemed to be so much bigger.

Kylie Kuioka, Dan Macke, Ali Ewoldt, Kerry Konte, Jay Aubrey Jones and Ashley Robinson in "A Child's Christmas in Wales". (Photo Credit: Carol Rosegg)

What makes the tale so universal, is how the text constantly conjures up situations with which one can emphasize. Such as having to interact with relatives you only saw once a year. Or getting a chance to taste such delicacies that warmed both your stomach and your soul. Along with those you would rather die before trying a second time. The latter humorously recalled with the song "Miss Fogarty's Christmas Cake".

There were also the promises and pleas children made to God as they apologized for anything they might have done which could cause them to forfeit the Christmas gifts they were hoping to receive. Not to mention always having to be grateful for any "useless presents" they were given. "Useless” in this case defined as items more functional (i.e., a sweater or pair of mittens) than anything resembling fun. Mixed in with the frivolity is a bit of sadness when the story mentions relatives so old and fragile they looked like they might break. One can’t help but wonder if such persons were present simply because they were family, or because they had nowhere else to go.

Thomas has a firm grasp of imagery in his writing. Something Moore clearly understood when she chose to bring the story to life on stage. The tale offering a window into a child's view of a world filled with endless adventures. Ones which range from throwing snowballs at cats, to going caroling and winding up at a mysterious old house where who knows what, or who, may dwell inside. Most importantly, it was where one's home was always a sanctuary to whatever dangers or mysteries may exist outside its walls.

Kylie Kuioka, Ali Edoldt, Jay Aubrey Jones, Dan Macke, Ashley Robinson, Kerry Conte in "A Child's Christmas in Wales". (Photo Credit: Carol Rosegg)

As it is when it comes to memories, details tend to blur and merge. For as is pointed out, "one Christmas was so much like another in those years"; and "I can never remember whether it snowed for six days and six nights when I was twelve or whether it snowed for twelve days and twelve nights when I was six". Of course, it isn't always important exactly how or when a special memory occurred, but rather only that it did happen.

Moore's adaptation, which she also directed, offers an enjoyable mix of story and song. The show featuring holiday carols both traditional and those written especially for the production. Musical highlights include "Take My Hand, Tomorrow's Christmas" and "Open Your Eyes", both written by Moore; "I Don't Want a Lot for Christmas", where two of the cast recite their dream list of presents, including the one thing they really want; and classic holiday carols "A-Soling (Hey, Ho, Nobody Home"), sung perfectly by the entire cast; and "In the Bleak Midwinter". In a nice touch, the program contains a glossary which lists some of the Welsh terms used during the performance. Several of the songs presented are also sung in Welsh.

Moore uses her directorial skills to lovingly create both a warm homey atmosphere and the feeling of a performance piece. One where the actors may go a bit over the top as they relate some of the more comical lyrics and situations. However in the end they accomplish the desired effect - to bring the audience quite willingly into the story, while allowing them to feel a part of what is happening on stage.

Dan Macke, Ali Ewoldt, Jay Aubrey Jones, Ashley Robinson and Kerry Conte in "A Child's Christmas in Wales". (Photo Credit: Carol Rosegg)

The cast is quite enjoyable, with the standouts including Kerry Conte, who has an absolutely wonderful singing voice; Ashley Robinson as Thomas' father, and Dan Macke in the Dylan Thomas role.

The set by John Lee Beatty is filled with Christmas trees and lights, all of which beautifully capture the yuletide sprit. While also giving the impression of being in an outdoor cathedral. Costumes by David Toser fit perfectly with the holiday season.

In what has become a perennial favorite, A Child's Christmas in Wales recalls a time and place that only existed for perhaps a select few, but which brilliantly taps into the universal longing of home, family and being together at the holidays.

Featuring: Kerry Conte (Ensemble), Ali Ewoldt (Ensemble) Jay Aubrey Jones (Ensemble), Kylie Kuioka (Ensemble), Dan Macke (Ensemble), Ashley Robinson (Ensemble)

A Child's Christmas in Wales

by Dylan Thomas

Adapted and Directed by Charlotte Moore

Music Supervision by John Bell

Music Direction by David Hancock Turner

Setting Designed by John Lee Beatty

Costume Design by David Toser

Lighting Design: Michael Gottlieb

Presented by the Irish Repertory Theatre

132 West 22nd Street

Tickets: 212-727-2337 or https://irishrep.org

Running time: 75 minutes, no intermission

Closes: December 31, 2022

Nothing But Thunder - Gods Behaving Badly

noreply@blogger.com (Byrne Harrison) — Tue, 13 Sep 2022 02:19:00 +0000

Review by Byrne Harrison
Photo credit: Duncan Pflaster Photography and Graphic Design

Dionysus. God of theatre and wine. Son of Zeus. A man who can drive women to the heights of ecstasy or madness. And a complete spoiled brat.

In Duncan Pflaster's latest classically-inspired romp, NOTHING BUT THUNDER, Dionysus (Spencer Gonzalez) has a chance to fulfill his greatest desire - to finally ascend to Olympus and become a full god. To do so, all he has to do is find his dead mother in Tartarus, where she is being tortured for sleeping with Zeus and offending his wife Hera, and bring her back to the land of the living.

A difficult feat, to be sure, but one that other demigods have accomplished. The only thing standing between him and his goal is his own hubris, and a burly shepherd, Prosymnus (Kenny Wade Marshall), with an eye for beautiful men, who knows exactly what Dionysus needs to become the god he is meant to be, instead of the self-serving hedonist that he has always been.

Kenny Wade Marshall (L) as Prosymnus and Spencer Gonzalez (R) as Dionysus

Helped by his loyal, sardonic slave Xanthias (Matt Biagini), his former wife Ariadne (Olivia Kinter), and eventually his mother Semele, (Alyssa Simon) Dionysus travels a road to self-discovery that leads to an unexpected, but ultimately fulfilling climax.

NOTHING BUT THUNDER once again demonstrates playwright Duncan Pflaster's talent for making modern plays in classical styles. As he did with his Shakespeare-inspired sequels, THE THYME OF THE SEASON and MALVOLIO'S REVENGE, or his Chekhovian comedy THE STARSHIP ASTROV, Pflaster demonstrates his gift for comedy, his talent for capturing the spirit of the genre or playwright, and especially in this play, his gift for raunchy and extremely witty humor. There is plenty of X-rated wordplay in NOTHING BUT THUNDER, and a fair amount of nudity, too.

Spencer Gonzalez as Dionysus

The cast does a marvelous job, with most of the actors portraying multiple characters and serving as the chorus. Biagini hits just the right notes as the often put-upon servant of Dionysus. With a sly smile, he often scores a point or two on his master, not that Dionysus is self-aware enough to realize. Gonzalez, as Dionysus, shows remarkable range as his character develops. The Dionysus he presents in the final scenes is such a far cry from the callow youth he starts out as. His portrayal of Dionysus's sinuous sexuality, and his utter bewilderment when it that sexuality doesn't seem to work on Prosymnus and his down-to-earth sister Adelpha (played with sly wink by Katrina Dykstra), is a delight to watch. Kenny Wade Marshall's Prosymnus is more than what he first appears, and Marshall does a great job portraying the man and the mentor that Dionysus needs, as well as Hades in later scenes. Alyssa Simon is a stellar Semele, especially in her quieter moments of the play when she starts to realize the pitfalls of being alive again and where she might finally fit in. Olivia Kinter likewise does a great job as Ariadne, as complex a woman as would be expected for someone like Dionysus.

Rounding out the cast is Eric Hedlund who plays Hermes, Zeus and a scene-stealing Sisyphus (with rock). A dynamic physical actor, he add movement and drama to his many scenes.

As is typical both for festivals and opening nights, there were some technical issues and the timing seemed a bit off, but frankly nothing that won't get evened out as the performances move forward. Director Aliza Shane goes big with her direction, the play is full of movement, both in terms of utilizing the space, and in how the actors perform. They bend, they move, the come together in posed portraits, and when they are still they command attention. It is kinetic and fascinating to watch.

NOTHING BUT THUNDER is another worthy addition to Plaster's body of work. Presented as part of the Dream Up Festival at Theater for the New City, remaining performances are Wednesday, September 14th and Sunday, September 18th.

NOTHING BUT THUNDER
Written by Duncan Pflaster
Directed by Aliza Shane
Assistant Director/Stage Manager Roberto Alexander
Intimacy & Fight Consultant Sharon Litwinoff
Photography and Graphic Design by Duncan Pflaster

Cast
Matt Biagini - Xanthias
Katrina Dykstra - Adelpha / Chorus 1
Olivia Kinter - Ariadne / Dryad / Chorus 2
Alyssa Simon - Semele / Chorus 3
Spencer Gonzalez - Dionysus
Eric Hedlund - Hermes / Sisyphus / Zeus / Chorus 4
Kenny Wade Marshall - Prosymnus / Hades

NOTHING BUT THUNDER is a phone-free performance. Yondr provides secure pouches for mobile devices.

Belfast Girls - Hope, Hypocrisy and Grim Reality

noreply@blogger.com (Judd Hollander) — Mon, 13 Jun 2022 22:20:00 +0000

Reviewed by Judd Hollander

In the late 1840's the colonial government of Ireland, in the face of a severe famine and resulting economic crisis, came up with the Orphan Emigration Scheme. Capitalizing on the severe shortage of woman in Australia, the Irish authorities shipped over 4,000 women there with the promise of a better life. These historical events forming the basis of Jaki McCarrick's involving drama Belfast Girls, now at the Irish Repertory Theatre.

The story takes place in 1850 on board the sailing ship Inchinnan, which is transporting approximately 200 women to the land down under. As the ship makes ready to sail, five women find themselves sharing a partitioned space for the journey. Judith (Caroline Strange), originally from Jamaica and the de facto leader of the group; Hannah (Mary Mallen), whose father sold her to a pimp; Ellen (Labhaoise Magee) a refugee from the prison workhouses who likes to draw; Sarah, (Sarah Street) a country girl whose brother has preceded her to Australia; and Molly (Aida Leventaki) who yearns to perform on the stage and is constantly reading books. Over the course of their three-month voyage friendships will be formed, tested and torn apart as these women are forced to confront secrets they've desperately tried to keep hidden.

(L-R) Caroline Strange, Labhaoise Magee & Mary Mullern in Belfast Girls. Photo by Carol Rosegg.

Belfast Girls is first and foremost, a tale of second chances. Where each of the five has the chance to remake themselves into anything they wish and become "mistress of their own destiny". At least on the journey. Some of the girls using this time to broaden their intellectual horizons. Such as Judith, who secretly yearns to be a teacher, and finds herself infected with Molly's passion for learning. Or Molly, who talks about women’s rights and how things are changing in the world; and also how they now have the chance to be a part of that change.

At the same time the play continually calls forth a feeling of cynicism. One lurking just beneath its hopeful surface. For example, exactly how were some of the women able to secure passage on the ship? Many of the 200 older and far less innocent than what the government advertisements were supposedly seeking. There’s also the ultimate realization that these woman weren't so much escaping Ireland, but actually "spat out" by those who used Australia's need as a chance to empty the workhouses and poorhouses so they could become someone else's problem. The story also takes a swipe at the "rose-colored glasses" effect nostalgia brings forth when the women talk about missing the beauty of Ireland. Even though most of them experienced far more suffering, misery and heartbreak there than anything else.

(L-R) Aida Leventaki and Sarah Street in Belfast Girls. Photo: Carol Rosegg.

It's also interesting to see how, during the voyage, the women become part of a closed-off world. They dividing themselves into different cliques and gangs, each wary and untrusting of the others. Which is why, even before the play begins, Judith, Hannah and the rest have positioned their luggage to create a barrier in their space to separate themselves from the others. All in an attempt to remain isolated and safe. Yet even among the group of five, class and economic prejudices begin to show as the girls wonder just who exactly is to blame for the miseries that have brought them to this point. Eventually these hatreds come bubbling to the surface, as those seeking someone to blame begin to lash out.

Although some of the women come off as more fully formed than others, each character has an clear individual personality and back story. Any one of which could be the basis for a play of its own. Strange gives Judith a nice world-weary and dangerous quality. Leventaki projects just the right amount of wide-eyed hopeful innocence as Molly. Magee, Street and Mallen show their characters to be well-versed in the practices of denial and forgiveness, though as one comes to find out, their efforts can be misplaced at times.

Also key to the story is director Nicola Murphy's careful pacing, which realistically imparts the impression of a long and claustrophobic voyage. The women suffering through everything from seasickness, sweltering heat to violent storms as they try to get along while not getting on each other’s nerves. Yet through it all, there are some on the boat who never want the journey to end. For once it does, all that will be waiting for them is an uncertain future. The use of traditional Irish songs also adds a nice touch.

(L-R) Labhaoise Magee, Mary Mallen, Caroline Strange, Sarah Street and Aida Leventaki in Belfast Girls. Photo: Carol Rosegg.

Belfast Girls, the title taken from the place the five ladies embarked on the voyage, tells the story of women who risked everything for the hope life would be better on the other side of the world. By the time the journey is over, one's feel like they've taken the entire voyage with them, and can't help but root for them to find the peace and happiness they've been seeking.

Featuring: Aida Leventaki (Molly Durcan), Labhaoise Magee (Ellen Clarke), Mary Mallen (Hannah Gibney), Caroline Strange (Judith Noone), Sarah Street (Sarah Jane Wylie).

Belfast Girls

by Jaki McCarrick

Scenic Design: Chika Shimizu
Costume Design: China Lee
Lighting Design: Michael O'Connor
Sound Design: Caroline Eng
Music Consultant: Gregory Grene
Properties: Brandy Hoang Collier
Fight & Intimacy Director: Leana Gardella
Movement Director: Erin O'Leary
Dialect Coach: Julie Foh
Hair & Wig Design: Rachael Geier
Production Stage Manager: Avery Trunko
Assistant Stage Manager: Mary Garrigan
Press Representative: Matt Ross Public Relations
General Manger: Lisa Fine
Directed by Nicola Murphy

Presented by the Irish Repertory Theatre
132 West 22^nd Street
Tickets: 212-727-2737 or www.irishrep.org
Running Time 2 hours, ten minutes, with one intermission
Closes: June 26, 2022

Judd Hollander is a reviewer for the Epoch Times and a member of the Drama Desk and Outer Critics Circle.

The Lehman Trilogy - A complex tale made breathtakingly clear

noreply@blogger.com (Judd Hollander) — Sun, 28 Nov 2021 00:03:00 +0000

Reviewed by Judd Hollander

Told in what can best be described as a continual stream of consciousness, the Broadway play The Lehman Trilogy recounts the rise and fall of what would become a global financial institution. As seen through the eyes of those who made it possible - for better and for worse.

Winningly adapted by Ben Power from Stefano Massini's sprawling novel, the tale begins in 1844 when German immigrant Heyum Lehmann (Simon Russell Beale) steps off the boat in New York. Heyum, now Henry Lehman thanks to some confusion with a customs officer, makes his way to Montgomery, Alabama where he operates a dry goods shop. It's there he's joined by his younger brothers Emanuel (Adrian Lester) and Mayer (Adam Godley). All different in temperament, the three form a sort of cohesive whole as they find ways to grow their business by learning to adapt to changing times and circumstances. Their can-do attitude and willingness to consider new opportunities enables them to survive economic upheavals caused by the Civil War, the Great Depression and the beginnings of the computer age, among others.

(l-r) Adam Godley, Simon Russell Beale, and Adrian Lester; photo by: Julieta Cervantes.

However the stronger and more diversified the entity that will eventually be known as Lehman Brothers becomes, the more tentacles are required to keep its fingers on the pulse of its ever-increasing endeavors. Dry goods, cotton, computers and railroads being only a few of their involvements. The ever-increasing need for the company to deliver huge profits and continually be on the cutting edge of the next big thing eventually becoming its undoing.

Examining the idea of capitalism at its most basic, The Lehman Trilogy is a tale of the American Dream and it what can represent. A premise explored through those who first become successful, and then do whatever is necessary to retain everything they have achieved. Also present is the innate desire for one to do better than those who have come before. Something visible not only in the Lehman family, but in the offspring of a Greek diner owner and a Hungarian lamp maker. Each determined to reach as high as they can and find their own personal pot of gold. At the same time, the play also shows the bitter reality that no matter how much one may have earned – either in capital or respect - a new generation will always replace the old. A reality that becomes laced with more than a little irony when those who cast the original Lehman founders aside eventually find themselves in that same situation.

Also evident is an ever-growing cynicism about how one must operate in order to continue to succeed. Especially when the concepts of marketing and public relations are introduced. Along with the premise of getting people to buy what they don't need. This truth is also mixed in with humor when one of the family begins to question concepts others have long accepted as tradition. As well as when one of the Lehman clan comes up with a long check list of items necessary in a potential wife. (Love not being on the list.)

(l-r) Adam Godley, Simon Russell Beale, Adrian Lester. Photo by Julieta Cervantes.

Told with just three principal actors, each playing multiple rules and alternating as the narrator, the performers are not only able to bring to life their various characters, but also the eras in which they inhabit. Beale, who along with Godley came over from the original London production, is particularly striking as Henry. The scene when he first sets foot in America is particularly emotional. Lester is fine as Emanuel, a man determined to make his own mark and who is more excited by seeing first-hand the results of his efforts rather than a concept someone is describing; but at the same time quick to realize the potential profit in something new. Godley makes a good fit as Emanuel, the quietest of the bothers yet just as smart and determined in his own way.

The actors are helped tremendously by the strong use of Luke Hall's video design. Images which range from the cotton fields of Alabama to the concrete canyons of New York City. All of which serve to enhance the story rather than distract from it. Just as important is Nick Powell’s meticulous sound design, offering music which moves faster and faster as the story heads to its final denouncement. Jon Clark’s lighting work also perfectly compliments the production. Sam Medes’ direction is completely on-target, nicely handling a mix of dramatic, comedic and introspective moments. All helped by Es Devlin’s minimalist (and revolving) set. with just enough scenery to do the job.

Taking a complex multi-generational tale and stripping it down to its bare essentials, The Lehman Trilogy is magnificent as it highlights elements of pride, determination and a person's insatiable need be a part of something bigger than themselves.

Adrian Lester. Photo by Julieta Cervantes

Featuring: Simon Russell Beale (Henry Lehman), Adam Godley (Mayer Lehman), Adrian Lester (Emanuel Lehman), Aaron Krohn (Janitor)

Pianist: Candida Caldicot

Alternate Pianist: Gillian Berkowitz

Associate Music Coordinator: Kimberlee Wertz

The Lehman Trilogy

by Stefano Massini

Adapted by Ben Power

Costume Design: Katrina Lindsay

Video Design: Luke Halls

Lighting Design: Jon Clark

Composer and Sound Design: Nick Powell

Co-Sound Design: Dominic Bilkey

Music Director: Candida Caldicot

Movement: Polly Bennett

Associate Director: Zoe Ford Burnett

U.S. General Manager: Wagner Johnson Productions

U.K. General Manager: Jack Bull

Casting: Wendy Spon CDG & Jim Carnahan CSA

Press Representative: DKC/O&M

Production Manager: Aurora Productions & Jim Leaver

Production Stage Manager: David Lober

Associate General Manager: Megan Curren

Company Manager: Deirdre Murphy

Scenic Design: Es Devlin

Directed by Sam Mendes

The Nederlander Theatre

208 West 41st Street

Tickets: www.ticketmaster.com

Running time 3 hours, 25 minutes, with two intermissions

Closes: January 2, 2021

"Apollo 13: The Dark Side of the Moon" - An Enlightening Journey Into Darkness

noreply@blogger.com (Judd Hollander) — Sat, 28 Nov 2020 21:16:00 +0000

Reviewed by Judd Hollander

In the closing narration of the classic Twilight Zone television episode "Where is Everybody?" series creator Rod Serling talks about isolation, the barrier of loneliness and the vastness of space. The U.K.-based Original Theatre Company extrapolates on these same elements by tying them to an event which riveted the entire world, with their online production of "Apollo 13: The Dark Side of the Moon".

The film opens in 2020 where former U.S. astronauts Jim Lovell (Philip Franks) and Fred Haise (Geoff Aymer) talk with a Researcher (Poppy Roe) about their ill-fated space mission of 50 years earlier. When, approximately 56 hours after launch, an explosion in one of the ship's oxygen tanks forced the cancellation of their journey to the moon and thrust Lovell, Haise (played in 1970 by Christopher Harper and Michael Salami respectively), along with fellow astronaut Jack Swigert (Tom Chambers), into a desperate effort simply to stay alive. For much of the next four days, the men lived in an almost totally frozen and dark spacecraft - it being shut down to save power - as they hurtled through space. Their travels taking them around the dark side of the moon before starting their trajectory home. During the 25 minutes it took their craft to traverse the back of the moon Lovell, Haise and Swigert were cut off from all communications from home as they traveled farther away from Earth than anyone has ever gone, before or since.

(L-R) Michael Salmi as Fred Haise, Christopher Harper as Jim Lovell and Tom Chambers as Jack Swigert in "Apollo 13: The Dark Side of the Moon".

One of the film's greatest strengths is its ability to place the audience directly into the story. The use of grainy archival footage in the beginning, such as showing the liftoff of the Apollo 13 spacecraft, helps bring home the enormity of the entire project; and the realization of just how dangerous space travel is - both then and now. The different technical elements of the film are all the more impressive when one learns that, due to the pandemic, much of the action showing the astronauts in space was filmed separately. The actors shooting their own footage, guided by their technical counterparts looking on via various monitoring devices. Co-Directors Alastair Whatley and Charlotte Peters showing a strong understanding of the storyline they are ultimately putting forth.

The most effective parts of the film are its emotional aspects. Lovell showing, more in expression than words, the great disappointment he still feels at never being able to set foot on the surface of the moon. Additionally, there's a clear combination of wistfulness and deeply remembered exultation when describes the Apollo 13 liftoff process, in a rocket "a shade taller than the Statue of Liberty". One can also hear the irony when Lovell and Haise talk about a film they made for broadcast while on the way to the moon. A film no network initially wanted to air because, by 1970, space travel had become pretty much old news. Of course when disaster occurred, then everyone was interested. There was also the feelings of fear and frustration when the three space travelers suddenly find themselves in a situation they could no longer control. All they could do was work to mitigate the accident's effects as best as they could. A similar situation to what's happening now as the world attempts to navigate the ongoing pandemic.

Geoff Aymer as Present Day Fred Haise in "Apollo 13: The Dark Side of the Moon".

The time the astronauts spend on the dark side of the moon constitutes the emotional heart of the film. While the conversation depicted may be fiction - something explained early on - the elements explored are quite real. Much of this is tied into writer Torben Betts' decision to make Haise an African-American. This is not an instance of color-blind casting, but rather a way for the character, by calling attention to his skin color, to ask questions and comment on issues a non-minority could not. At least not with the same level of passion or cultural believability. The back and forth between the astronauts - particularly Haise and Swigert - force the audience to take a long hard look at racial and political events going on at the time, with clear parallels to what is happening in the world today. The 2020 Haise noting how the entire experience made him feel far more connected to the world and how "we're all in this life together". The film also offers a sobering glimpse of reality in its the final moments when Lovell and Haise put on their face masks after they have finished speaking to the Researcher and get ready to leave.

Philip Franks as Present Day Jim Lovell in "Apollo 13: The Dark Side of the Moon".

Franks and Aymer nicely show the gravitas of two old men who have been repeatedly asked the same questions time and time again, yet still manage to keep their answers fresh and non-condescending. Even if there are certain moments of their time in space they still won't talk about publicly. Roe does well as the Researcher, a woman who attempts to guide the conversation along while trying not to sound too far out of her depth. Harper, Salami and Chambers are fine as the 1970 astronauts, while Jenna Augen does a good job of always keeping things professional as the voice of CAPCOM.

Apollo 13: The Dark Side of The Moon

Featuring: Christopher Harper (Jim Lovell), Michael Salami (Fred Haise), Tom Chambers (Jack Swigert), Philip Franks (Present Day Lovell), Geoff Aymer (Present Days Haise), Poppy Roe (Researcher Patricia Cooper).

Written by Torben Betts

Directed by Alastair Whatley and Charlotte Peters
Designed by David Woodhead
Edited by Tristan Shepherd
Sound design by Dominc Bilkey
Original music composed by Sophie Cotton
Movement direction by Simon Pittman
Casting by Ellie Collyer-Brisow CDG.

Produced by Original Theatre Company.
Tickets: Starting at ₤20
Available through December 31
Running time: approximately 75 minutes
Reservations: originaltheatreonline.com

Book Review: The Understudy

noreply@blogger.com (Judd Hollander) — Tue, 14 Jul 2020 17:33:00 +0000

Reviewed by Judd Hollander

If you're looking for a complicated dissertation on what it takes to be an actor, then The Understudy, a novel by Ellen Tovatt Leary, is not for you. Though if you happen to prefer something which combines elements of a Harlequin romance ("her heart plunged like an elevator that slipped its cable") and a virtual love letter to the theatre, get set for an enjoyable read.

The Understudy - Cover Artwork: Harrison Houlé

Nina Landau, a 32 year-old New York actress, has toiled for more than a decade in stock, regional and Off-Broadway venues, but has yet to make her Broadway debut. However this may all change when she lands an audition for a new comedy set to open on the Great White Way. Trying out for the female lead, she is instead offered the chance to understudy the role; along with playing a minor character with only one line. At first Nina is hesitant about taking such a part, which she see as beneath her, but after fervent urging from her close friends, she agrees.

Leary toiled for years in the theatre trenches and clearly knows of what she writes. She taking the story, with the starting point the terror that comes from an important audition - a process Nina refers to as being led to the gallows - to the frantic yet controlled chaos of the rehearsal process, all the way to a Broadway opening night and beyond. Each step along the way filled with dozens of details about the theatre. Such as insights on theatrical superstitions - i.e. never quote from Macbeth or even say the title aloud - to an exploration of the different techniques actors use to understand their characters. As well as a discussion of just how important the job of an understudy is to the production at large. All of this information delivered in an easy, conversational manner, without ever feeling tedious or overly descriptive.

Hand-in-hand with this intricately crafted atmosphere is Nina's budding romance with Matt Ryland, the show's leading man. A known name in television circles, he and Nina are instantly attracted to one other. While Nina has a string of failed love affairs behind her, and recently turned down a proposal from her on-again, off-again boyfriend, she begins to see Matt as the person she is truly meant to be with. Now if she could only get over her phobia of commitment, and the fear that just when she has everything she's ever wanted, it will all be taken away. It doesn't help that Matt is bringing his own emotional baggage to the relationship. Including having a girlfriend in California.

The Understudy takes place in the 1970s and the material gives off just the right nostalgic feel. Though there are some items that will probably have to be explained to younger readers, such as bus tokens and answering machines. The book also offers a loving salute to New York City, with vivid descriptions of places ranging from Central Park and Broadway - complete with traffic patterns - to Chinatown and the Metropolitan Museum of Art.

Ellen Tovatt Leary. Photo Credit: Gene Klavan

One can also find certain moral lessons present in the text. In particular, the realization no relationship is always filled with fun and passion. The author pointing out how everybody has their own personal issues to deal with and, in order to make things work, one must take the good with the bad. As Nina's best friend remarks, "pain is the price we pay for love... [b]ut it doesn't mean it isn't worth it". Another avenue explored is what can happen when one is unprepared to deal with sudden success, and the resulting turmoil that can occur. Leary also includes several harsh theatrical realities in her tale. Including the need for a show to have a star as the lead in order to draw ticket buyers, and the importance of receiving a good review in The New York Times.

While a good portion of the plot, not to mention many of the characters, does play out along predicable lines (yes, Nina eventually goes on for the star; and yes, the show's company includes a temperamental actress and a womanizing director), Leary takes the overall tale much further. The story exploring what happens after "happily ever after", when it comes time for both Nina and Matt to move on to other jobs. These changes causing Nina to wonder if she and Matt can manage a long-distance relationship. Tied in with this is a detailed account of a summer theatre tour which does not go at all well. The company traveling by bus from one motel to another, and where what passes for a good meal is often whatever food can be had at a local bar.

Though the story itself is quite engaging, the characters themselves are a little thin. Other than Nina and Matt, none of the others come close to being three dimensional. Even much of Matt's backstory is revealed in a way that feels just a bit too contrived. Still, the overall tale works well enough to hold the reader's interest.

Part theatrical love letter and part romance novel, The Understudy shows that while true love is never completely perfect, it can come pretty darn close if all parties involved are willing to work at it.

The Understudy

Written by Ellen Tovatt Leary

Published by Hansen Publishing Group (www.hansenpublishing.com)

$16.00 (USD)

258 pages

ISBN: 978-1-60182-344-1

The Woman in Black - Where Innocence Meets The Unexplainable

noreply@blogger.com (Judd Hollander) — Fri, 20 Mar 2020 03:20:00 +0000

Reviewed by Judd Hollander

(Originally scheduled to run through April 19th, The Woman in Black, as well as all other live performances at the McKittrick Hotel have been suspended until further notice due to the coronavirus pandemic. Please check the McKittrick website - noted below - for updates.)

Any good writer knows the true power of a ghost story comes not from what is written down, spoken aloud, or even presented for all to see; but rather from the ominous silences and pregnant pauses that fall in-between. These suggestive moments used to further stimulate the already overactive imaginations of those immersed in the tale. Thus making any coming revelation all the more terrifying. So it is with Susan Hill’s 1983 novel, The Woman in Black. A stage version of which has been running in the U.K. for over 30 years. After making a brief off-Broadway appearance in 2001, the play has finally returned to these shores and can now be seen at the McKittrick Hotel.

Englishman Arthur Kipps (David Acton) is a bright young man with an even brighter future. He's an up-and-coming solicitor at a London law firm, and has a fiancée he loves dearly. One day he's called into his superior's office and given an assignment which will take him to the remote town of Crythin Gifford. Once there, he will begin dealing with the estate of the recently diseased Mrs. Drablow, and represent the firm at her funeral.

Initially seeing this as just another responsibility handed off to a junior member of the firm, upon his arrival Kipps is surprised to find himself treated as something of a pariah. The townspeople giving him strange looks and quite unwilling to talk to him once his purpose becomes known. It's as if they're all hiding something, which they absolutely refuse to discuss. Such is the case with Mr. Jerome, the local estate agent. A seemingly innocent question from Kipps at the funeral being enough to send the man into a fit of terror.

L-R) David Acton and Ben Porter. Photo Credit: Jenny Anderson for The McKittrick Hotel

Determined to do the job to which he has been assigned, and with no patience for any apparent local superstitions, Kipps heads out to the Drablow home, an isolated place known as Eel Marsh House. Kipps describing his first sight of the structure as if it was "rising out of the water itself. A tall gaunt house of grey stone with a slate roof.” The entire area surrounded by marshland and accessible only by a long narrow causeway at low tide.

While sorting through the endless papers Mrs. Drablow left behind, Kipps soon begins to feel a strange, ominous presence. A sensation followed soon after by a series of unexplainable noises. Sounds which lead him to a mysterious locked room. Shaking Kipps even further are sudden screams of terror coming from the marshes. It's not long before this once firm believer in the logical and explainable begins to fear for his very sanity, as an oft-repeated horror which stretches back more than a generation begins to unfold about him.

The Woman in Black is told on two parallel tracks. The first reveals a now-aged Kipps trying to tell his story about that long ago experience. One which haunts him to this day. The second is Kipps' tale actually recreated, thanks to an Actor (Ben Porter) who is determined to inject some passion into what Kipps has put down on paper. During this process, The Actor assumes the role of younger Kipps, while Kipps himself takes on the various secondary roles his story calls for. The two men occasionally breaking character to converse with each other as these events play out.

Ben Porter. Photo Credit: Jenny Anderson for The McKittrick Hotel

Adapter Stephen Mallatratt wisely mixes the earlier moments of the production with bits of humor, as we see Kipps, the lawyer by trade, having no idea of the difference between simply speaking a story aloud and actually presenting it to an audience. Something The Actor, due to his trade, is quite well-versed in. Mallatratt, director Robin Herford and the rest of the creative team also taking full advantage of the “show, don’t tell” adage when it comes to actually putting forth Kipps’ tale. They jettisoning much of his various descriptions and substituting sound-recordings, lighting effects and some nicely atmospheric props. The methods used to suggest a “pony-trap” (horse and carriage) being particularly amusing.

The story, already foreboding in the beginning, turns much darker in act two as Kipps finds himself increasingly left to his own devices as he stumbles from one horror to the next. His own terror projected out into the audience as they wait for the next shoe to drop. Or the next door to open, or flash of light to illuminate what lurks in the shadows.

The material also offers a stark warning about the danger of obsession. Be it a determination to do one’s job, the love one has for another, or the fear of avoiding a scandal. Holding too tightly onto anything, as the show ultimately points out, has a tremendous potential for tragedy. The story also shows what happens when one is so deeply immersed in their own pain, they lose the ability to forgive. So much so that even those who had nothing to do with the original circumstances are now forced to pay the price.

Ben Porter. Photo Credit: Jenny Anderson for The McKittrick Hotel

Acton does a wonderful job as Kipps. Purposefully awkward and ill at ease when trying to tell his story aloud, he later comes brilliantly alive when assuming the various different personas in the tale. Porter is excellent as The Actor. He perfectly portraying the younger Kipps with just the right amount of enthusiasm and naiveté during his ill-fated trip, and later breaking down completely when faced with the ultimate truth.

The program bills the show as “a ghost story in a pub”. The Club Car space at the McKittrick nicely set up to project that initially relaxed atmosphere. However, the way the show is staged is not always conducive to the work.

Just as the proper use of silence can be used to heighten tension, too often here it provokes laughter. As evident during a sequence where Kipps is seemingly roaming about the Drablow house in a desperate search. This process taking too long and would have worked far better had Porter been slowly approaching something on stage, rather than walking between the rows of tables where the audience is sitting.

The show would have also been better served without an intermission. Breaking the work into two sections only serves to halt the buildup of growing terror, and also somewhat dilutes the overall effect. The use of Herford’s direction clearly off at points, with a definite need for things to be played much more sharply. This is especially true in the initial going, where the early banter between The Actor and Kipps could easily have been pared down a bit. Designer Michael Holt’s sets are fine, especially the aforementioned locked room and what is eventually found there. Also completely essential to the show, each in their own way are the excellent lighting effects by Anshuman Bhatia, and the sound design efforts by Sebastian Frost.

Ben Porter. Photo Credit: Jenny Anderson for The McKittrick Hotel

There’s no doubt The Woman In Black is a powerful story. Although there is certainly a lot to experience with the McKittrick production, its actual presentation falls a bit short of the mark.

Featuring: David Acton (Arthur Kipps), Ben Porter (The Actor), Guy Balotine (Standby for Arthur Kipps), James Evans (Standby for The Actor).

Susan Hill’s The Woman in Black: A Ghost Story in a Pub

Adapted by Stephen Mallatratt

Director: Robin Herford
Production Stage Manager: Carolyn Boyd

Designer: Michael Holt
Stage Manager: Emily Roth

Lighting Designer: Anshuman Bhatia

Assistant Stage Manager: Deidre Works

Sound Designer: Sebastian Frost

Vision Productions: Imogen Finlayson

Original Sound Design: Rod Mead

General Managers: Tim Smith & Martin Platt

Associate Director: Magdalene Spanuello

Casting Director: Laura Stanczyk

Presented by The McKittrick Hotel

Address: 530 West 27th Street

Tickets: www.mckittrickhotel.com

Running Time: Two Hours, including one intermission