Disenchanted @ The Theater at St. Clements

In Disenchanted, an unrelentingly hilarious musical offering at the Theatre at St. Clement’s, some of the most beloved fairy tale princesses have a few choice words to share about their happily every afters.
This musical comedy is hosted by the sassiest of them all, Snow White (Michelle Knight), the ditziest at the ball, Cinderella (Becky Gulsvig), and the most outrageous of narcoleptic royalty, Sleeping Beauty (Jen Bechter). We learn from them and many other popular princess guest stars that being a princess isn’t all it’s made up to be, and that “One More Happ’ly Ever After” is all it might take to send this very diverse group of strong female royalty over the edge Thelma and Louise style.
Let’s be clear, from the first number, there is no doubt that any of these women can hold their own vocally, each being a powerhouse in their own right. Knight delivers a belting Snow White so full of attitude it’s hard to believe she’d ever just sit and wait for her Prince to come. Gulsvig’s Chenno-esque turn as the bright (yet not the brightest candle in the castle) Cinderella displayed excellent timing and a fantastic contrast from Snow. Of the three hostesses, however, it was Bechter’s booty-shaking, curvy, and super-confident Sleeping Beauty that really gave the show more heart than anyone could have expected.
Lulu Picart’s performance as Hua Mulan may have been one of the most uproariously and consistently funny performances in the show, beginning with a one-on-one with the audience about being the only princess who’s “Without the Guy.” As both Pocahontas and Princess Badroulbadour (whose costume was a masterpiece among masterpieces designed by Vanessa Leuck) Picart provided insightful and entertaining glimpses at the characters’ opinions on their Disneyfication. Alison Burns gave strong and varied performances switching between Belle, driven mad by singing utensils, Rapunzel, who wields a riding crop while singing of being pimped out by Disney, and the Little Mermaid, who enjoys her beer almost as much as she hates her decision to trade her fins for six-inch heels. Last, but definitely not least, Soara-Joye Ross’ talent as the Princess Who Kissed the Frog shines as she rejoices that “Finally” there’s a Black princess. Perhaps the only true disappointment is how little the show actually utilizes Ross’ talent.
Overall, the musical uses comedic numbers to address notable problems in the Disneyified fairy tales, many stemming from diversity. The show tackles everything from historical inaccuracy in Pocahontas’ “Honestly,” to the constant problem of body-image standards in the group number “All I Wanna Do is Eat.” Any topic is fair game, and the message rarely bogs down the performance by being too heavy - thanks to Dennis T. Giacino’s well-balanced book, music, and lyrics.
In the end, Disenchanted is a fun comedic piece, but one that carries a message that happily ever after might just be a little more complicated than one might think, and that every princess is perfect, no matter how unique she is.
Review By: Jacob R. HinesPhotos By: Matthew Murphy

Read More

Side Show @ The St. James Theatre

From the moment the audience at Side Show is invited to “Come Look at the Freaks,” they’ll be drawn into an odd spectacle they’ll find it hard to resist. Based on the true story of famed conjoined twins Daisy and Violet Hilton, this story follows the sisters (played by Emily Padgett and Erin Davie respectively) from their lonely lives as a freak show attraction to the height of their vaudeville fame.Daisy and Violet begin their journey under a big-top in Texas under the controlling Sir (Robert Joy). Together, Terry (Ryan Silverman) and Buddy (Matthew Hyzdik) whisk the sisters off from a dead-end life as sideshow entertainers and make them the hottest ticket in vaudeville. From there, the sisters’ experiences in love and fame create a compelling and well-told story about their life together and the lasting bond of sisterhood.As he sets the scene, Joy’s frightening-yet-fantastic performance as the devilish ringmaster Sir commands attention from the moment he begins to introduce his band of freaks (played wonderfully by Brandon Bieber, Matthew Patrick Davis, Charity Angel Dawson, Lauren Elder, Javier Ignacio, Jordanna James, Kelvin Moon Loh, Barrett Martin, Don Richard, Blair Ross, Hannah Shankerman, and Josh Walker), which includes a bearded lady, the lizard man, a geek, and many others. Davie and Padgett give the sisters powerful life, exuding chemistry and immense talent, even while connected at the hip. As Terry, the greasy vaudeville manager and Daisy’s selfish lover, Silverman gives a near-perfect performance (his only flaw being that he’s almost too likeable). Hyzdik is utterly charming in the role of Buddy, Violet’s conflicted love interest. The ensemble, which includes Derek Hanson, Con O’Shea-Creal, and MichaelJon Slinger, provides powerful vocals and excellent support in various roles throughout the sisters’ journey.Perhaps the only disappointment from the cast comes from David St. Louis portraying Jake, the sisters’ deeply attached caretaker. While he does a tremendous job in many of the numbers, he seems to lack the emotional commitment necessary to play this pivotal character, especially in some of the more touching second-act scenes.It’s notable that this production, helmed by film director Bill Condon, includes new content added by Condon himself to compliment Bill Russell’s original book and lyrics and Henry Krieger’s music. The content gives more historical perspective (including an appearance by Harry Houdini himself) and never allows the show, which is set during the Depression and deals with some very emotional moments for the sisters, to become dreary or sluggish. The set (designed by David Rockwell) is another triumph of the production, adding to the spectacle as it takes us from the a dingy big-top in Texas to the glitter of Vaudeville stages.
The new life breathed into this production paired with the powerhouse performances given by Davie and Padgett alone are truly enough to make this Side Show worth the price of admission. The stellar technical work and supporting performances simply sweeten the deal, and are sure to leave audiences craving a second peek at the spectacle they’ve experienced under the big-top at one of Broadway’s most exciting revivals. Review By: Jacob R. HinesPhotos By: Joan Marcus

Read More

Blank! The Musical @ New World Stages Stage 2

What exactly is Blank! The Musical! about? Envision your fondest memory of the long standing Whose Line is it Anyway? Now, make the cast younger, with musical talent. Next, throw in an adept lighting designer, sound designer and production stage manager. Then, sprinkle a three piece band able to create seemingly timeless music from four simple notes and you have the backbone for Blank! The Musical!
Creators Michael Girts, TJ Shanoff and Mike Descoteaux brought the ever-familiar improv-theater to a different dimension. While audience members were encouraged by host TJ Mannix to shout submissions for key elements of their created musical, top suggestions were added to an application accessible by any smartphone.
Connected to a private WiFi server, the audience and I voted for a title for our musical, three song names, and chose a random one-liner to be featured in the show. In addition, we interactively voted for the speaker of said line, chose the four main notes of the entire show and even named a signature dance move and song style.
Our combined efforts produced the following: Directing One Direction! The Musical! with hit songs I Haven’t Hit Puberty, Peanut Butter Mouth and of course, I’ve Heard This Song Before. We shaped the unforgettable line: What are you doing with that pineapple??? And musical overture consisting of notes C#, A, G, and B were chosen at random. Lastly, the world famous dance The Sticky Casserole was to be performed in the style of Reggae in the completely improvised show.

Mike Descoteaux (piano/musical director), Daniel Bennett (reeds) and Al Vetere (drums) were bolstering with their incredible grasp of music. They accompanied the cast expertly and twisted from our randomly chosen notes an impressive score without an active conductor, sheet music or rehearsal time.
Cast members Katie Dufresne, Nicole C. Hastings, Tessa Hersh, Andrew Knox, Mattew Van Colton and Dougles Widick were the source of the audience’s endless laughter. Outstandingly comfortable with one another, they were able to individually secure a memorable stage presence while enhancing the overall quality of their collective performance.
Musically, each was able to sing with alacrity and be especially self deprecating with their dance moves. The talent was palpable and invariably enjoyable to see which would succumb to another cast member’s efforts to make them lose composure.
Lighting Designer Jeff Croiter, Sound Designer Matt Kraus and Production Stage Manager Katie Kavett were in-tune with the unscripted and unpredictable performance. Somehow they made our created musical special and believable to be worthy of its New World Stages venue. Alas, I cannot share exactly what each cast member’s contributions were as your experience will inevitably be different. However, if you seek a night of laughs that you will feel a part of, take the time to see Blank! The Musical! and share endless inside jokes with your friends for weeks.

Review By: Alex Lipari
Photos By: Jenny Anderson

Read More

Tamburlaine, Parts I and II @ The Polonsky Shakespeare Center @ The Theatre for New Audience

Theater for a New Audience delivers a bloody spectacle in Christopher Marlows’ Tamberlain, parts I and II. Playing at the Polonsky Shakespeare Center through December 21st, the show brings a different kind of red to the holiday season.Tamberlaine is the story of a Scythian shepherd who rises to ever increasing influence through conquest and bloodshed. It is a tale of the insatiable lust and savagery of humanity. Director Michael Boyd holds nothing back in his desire to show us all the sins of man and more.Boyd’s direction allows for a great amount of freedom from the actors. Often, this can lead to some discrepancy between modern and classic styles. This carries into set and props, placing a wooden classic chair for the past queen while giving the soon to be new queen a new, modern chair. He does, however, grant his actors the chance to shine at times and keeps the story moving forward with seamless scene changes (aside from the much needed 30 minute intermission to tidy up the blood)Leading the cast is John Douglas Thompson in the title role of Tamberlaine. His presence on stage led the action with the same authority his character leads the story. Paul Lazar (Mycetes, Soldan of Egypt, Almeda the Jailor) endears himself to the audience early on with his jester like attitude, which he carries with him throughout the piece. In contrast is Steven Skybell (Meander), who’s clever timing adds a hint of comedy early on. A wonderful performance is given by Chukwudi Iwuji (Bajazeth/King of Trebizon). His pomp and conceit as the vain king are wonderfully delivered to the end. The rest of this ensemble cast, totaling 19, do a splendid job of filling in the many roles called for in Marlow’s epic work.Worth special note is Arthur Solari on percussion. His performance in the one man pit is entertaining and extremely well thought out and balanced, adding atmosphere and background for most scenes in an unobtrusive but pervasive way.This piece may not be a date-night worthy event, but if you enjoy classic theater told with a small amount of nonchalance and a large amount of gore, this is the show for you.

Review By: Paul Morin
Photos By: Sara Krulwich

Read More

Our Lady of Kibeho @ The Irene Diamond End Stage Theatre

Mystical history comes to life at The Pershing Square Signature Center in Katori Hall’s Our Lady of Kibeho. Our Lady of Kibeho is based on real life events that transpired in 1981 Rwanda when three young school girls, Alphonsine Mumureke (Nneka Okafor), Anathalie Mukamazimpaka (Mandi Masden) and Marie-Claire Mukangango (Joaquina Kalukango), claimed to see the Virgin Mary. These apparitions cause mayhem amongst the community, both socially and spiritually. Some of the clergy, including Sister Evangelique (Starla Benford), Father Tuyishime (Owiso Odera) and Father Flavia (T. Ryder Smith), find themselves searching for answers from the visionaries, as well as from their own personal faith. Katori Hall’s passion of this story is evident throughout the script and the team working on Our Lady of Kibeho helped to translate that passion to the audience. In tandem with thoughtful direction by Micheal Grief, Hall brings this unique history back to life with an underlying commentary of the need for peace, faith and love. Micheal McElroy’s original music and music direction added just the right amount of emotional enhancements, which were well balanced with the sound design by Matt Tierney. The lighting design by Ben Stanton was creative and the scenic design by Rachel Hauck transported us to 1981 Rwanda with whimsical realism. Credit must also be given to dialect coach Dawn-Elin Fraser, as the central and east African accent was well executed. The three school girls who the story of Our Lady of Kibeho circles around all equally hold their own weight in their respective roles. Though Nneka Okafor is making her Signature Theatre debut in the role of Alphonsine, she commands the stage as the loveable, meek and oppressed teen. Masden delivers Anathalie to the audience with palpable empathy and Kalukango elicits gasps from the audience in almost every scene. Owiso Odera as Father Tuyisime is one of the most relatable characters in the play. Odera portrays the kind hearted though flawed in faith priest with the devotion of a prophet. He is a wonderful counter to Benford’s cantankerous Sister Evangelique. One of the most notable performances in Our Lady of Kibeho is Niles Fitch as Emmanuel. Though only on stage for a few moments at a time, he is captivating, his eyes illuminate with the soul and journey of Emmanuel. Our Lady of Kibeho offers a trip back in time to uncover questions that are still relevant today. Whether you are a skeptic, a mystic or somewhere in between, you will feel the genuine love for this story at the Signature Theatre!

Review By: Staci Morin
Photos By: Sara Krulwich

Read More

Grand Concourse @ Playwrights Horizons

Generally, I enjoy when a piece of theatre or any other form of media decides to focus on characters and relationships instead of just moving along a plot. I enjoy when it’s just two characters onstage talking to each other and showing an audience just what their relationship is. Sometimes, it works really beautifully and becomes a great, touching study on human relationships. Grand Concourse tries to do this, but doesn’t 100% pull it off.Grand Concourse, written by Heidi Schreck, tells the story of a Bronx soup kitchen run by a nun, Shelley (Quincy Tyler Bernstine), and what happens when Emma (Ismenia Mendes) begins volunteering at the soup kitchen. Also featured are the soup kitchen’s handyman/”security man” Oscar (Bobby Moreno) and frequent visitor of the soup kitchen, Frog (Lee Wilkof). Essentially, the presence of Emma causes twists and turns to appear in the lives of the other characters, for better or worse.The main relationship of Shelley and Emma is the most interesting, and most grounded relationship that’s examined. Bernstine and Mendes have a natural way of playing off of each other that feels grounded and realistic and really like we’re just watching two people get to know each other and become friends. And when everything falls apart later, we actually feel something for these two characters knowing that their great relationship has been damaged. It’s the odd relationship that happens between Emma and Oscar where things become rocky acting-wise. Moreno is great at playing a cool, likeable and slightly flirty character with a lot of thought and depth. It’s just when Mendes starts playing with Emma’s attraction to Oscar that her acting starts to feel a lot less grounded and more “schmacty.” Emma is obviously a mentally unstable character in some respects, but her “seduction” of Oscar feels forced and not truthful at all. This made things murky with how the relationship is supposed to be. Is there supposed to be a mutual attraction? It’s unclear, because Moreno and Mendes appear to be playing at different levels, and it makes the relationship ring less true. There’s a way to make crazy appear truthful and honest-Wilkof does an excellent job with the paranoia and instability prevalent in Frog, albeit at a comical level. Mendes’s crazy seems a bit more on the fake side. Whether this is intentional, it’s hard to tell.Director Kip Fagan does a fine job weaving these characters together and never having the story slow down for too long. There’s a great sense of the balance between hope and struggle that Fagan highlights. Coupled with the witty, natural writing of Heidi Shreck’s script, the characters are well defined. There seems to be an attempt at a message of the nature of forgiveness and betrayal, but it’s not as well defined as it could be. Fagan and Schreck seem to both want to say something important, but that exact thing is lost in execution. Other design elements worked wonderfully, particularly the scenic design by Rachel Hauck, which makes the non-descript kitchen seem interesting and practically a character in itself.Grand Concourse will be playing at Playwrights Horizons at 416 W 42nd Street, between 9th and 10th Avenues, until November 30, 2014.

Review By: Chrissy Cody
Photos By: Joan Marcus

Read More

The Lost Lake @ New York City Center Stage 1

We all want to be seen and to be heard. And those of us who need it most are often the ones who are least likely to get it. We’re cold, or prickly, or dirty, or losers at life as society defines it. Lost Lake by David Auburn and directed by Daniel Sullivan, starring John Hawkes and Tracie Thoms is an “and, and, and, and” paying tribute to that bittersweet irony. Together, this team of seasoned and award-winning performers and enablers, demonstrate the often gritty nature that we, as mere mortals, can be reduced to when faced with our own insufficiencies. Interestingly enough, it is in that reduction that we often find the very thing we so desperately need- a cup of coffee and a donut offered to us by a friendly face with a willing ear. Such has become the state of things in our society, where the quest for better and more has replaced what is meaningful and sincere. The set design by J. Michael Griggs is special. People actually walked slowly past the stage as they exited the theater, commenting upon it as they might the storefront window displays of the department stores during the holiday season. Don’t go see this show to be entertained. Yes, you will giggle at times and laugh at others. But rather go because we all have moments when we feel unworthy, and unloved, wishing desperately for someone who will stand in the gap, taking us from our most base nature to a place of principled peace, where we can foster relationships that provide hope that we can be better than what we are at the moment.I love the shows that Manhattan Theatre Club puts out- they are often painfully and acutely astute in their revelation of the tragic loss that is the human condition. I know we here in the US would all like to think life is wonderful, but behind closed doors, it’s filled with heartache within merely one degree of separation. The goal really ought to be to close the gap.Lost Lake opened November 11 and will be running through December 21 at the New York City Center.

Review By: Michele Seven
Photo By: Joan Marcus

Read More

Father Comes Home from the Wars Parts 1, 2, and 3 @The Public Theater @ The Anspacher Theater

While hundreds of thousands of Americans died in the bloodiest war in its history, there was an emotional war brewing in the hearts and minds of African American slaves in the South. Playwright Suzan-Lori Parks gathered these narratives to create an interesting twist on the unfortunately familiar story of slavery in Parts 1, 2, and 3 of Father Comes Home from the Wars.
Daring to question any definition of freedom, Suzan-Lori Parks crafted a tale of a strong and capable slave, Hero (Sterling K. Brown), and his strict adherence to morality. Hero oddly believed that it was his moral obligation to remain a slave and not run. Hero reasoned that his monetary worth stopped him from “stealing” his independence.
This welcome twist had me interested from the start. History aside, I have never considered such a moral dilemma before. The consequences of Hero’s blind following of his inner compass affected everything in his life and made for a compelling story. Director Jo Bonney brought this tale to life with the help of Scenic Designer Neil Patel, Costume Designer Esosa, and Lighting Designer Lap Chi Chu. Nestled near a modest cabin, the stage brought me to a modest Texas planation in the early spring of 1862 in Parts 1 and 3 and in 2, a camp in late summer where the cabin was replaced with a small wooden cell.
Music Director Steven Bargonetti accentuated each mood change with a strum of his guitar and the occasional welcome tune, which was acknowledged and sometimes even joined by cast members. Namely, the Chorus of Less Than Desirable Slaves, Russell G. Jones, Julian Rozzell Jr., Tonye Patano, and Jacob Ming-Trent.
Each slave gambled on Hero’s choice of whether or not to follow their master to war. They roused laughter and pulled me into a world where the wager of a simple spoon or boot has more worth than any other. The band of less than desirables may have used some 21st Century language but this did not diminish their presence.
The Oldest Old Man and Hero’s adopted father was played by Peter Jay Fernandez. This oldest man was a proud and concerned father with unsteady hands, a long gray beard, the inability to hold back thoughts and a modern pair of crocs. Fernandez was the first character to question liberty and its price: Should Hero turn away from this war if he is promised freedom at its end?
Penny (Jenny Jules), Hero’s lover, questioned him further and helped to create this overtone of liberation. Should Hero refuse and take a stand against the Confederate mission to preserve slavery? Jenny Jules attempted to manipulate Hero’s principles and her chemistry with Brown made the exchange more captivating.
Homer, played by Jeremie Harris, was a character whose presence was a constant reminder to Hero of his choices. Harris’ dynamic with Brown was that of palpable hostility. This negativity was a pull away from Hero’s belief that running is stealing, but not strong enough to change his mind.
I wanted to see how Hero’s morality held against a stronger onslaught. Louis Cancelmi played Smith, a captive Union soldier who began this attack. Surely a Union soldier with his own freedom and tales of a better land could rattle Hero’s resolve? Cancelmi portrayed a free “white” man wrestling with Hero’s choice to remain a slave with poise.
My fascination with Hero’s belief system and the general overtone of self-determination was mildly slowed by Ken Marks’ character, Hero’s owner. Marks, a Colonel in the Rebel Army, attempted and succeeded in emulating the convictions of the white male population of the Confederacy at large. Marks effortlessly embodied white supremacy, the belief in the importance of the spread of slavery and even muttered “Thank God I was born a white man.” This was, however, a lot to fit into one character.
The comic relief was Hero’s Dog, Odyssey, hilariously played by Jacob Ming-Trent. Revealing himself in Part 3, this surprisingly talking dog expertly drew the air from my lungs. A dog for Hero to have dominion over, Ming-Trent retells Hero’s tale with a wagging tail of his own. Both believable and thought-provoking, Sterling K. Brown’s rendition of Hero was well done. The story of slavery has been told in many ways and often it is mired with a history lesson–lacking freshness. Hero’s unique moralistic qualities had a new fragrance.
I enjoyed The Public Theater in association with American Repertory Theater’s presentation of Father Comes Home from the Wars. It made me question my own ethical framework and definitions of freedom. Albeit, I would have further enjoyed it if the theme was more concentrated on its unique aspects.

Review By: Alex Lipari
Photos By: Sara Krulwich

Read More

Disgraced @ The Lyceum Theatre

Bravo Kimberly Senior, director of Pulitzer Prize winning play, Disgraced, by Ayad Akhtar. How gutsy are you to dare to challenge an audience with such brazen ideas as: maybe the US had some culpability in the terrorist attacks on September 11, 2001 or, that Muslims are the new “niggers”. Wow! Talk about shocking. People don’t even suggest such things in the privacy of their own homes, in the company of close friends…as was demonstrated in the staged dinner party on the fateful evening when secrets were revealed and lives changed forever.
But it wasn’t the revelation of the secrets themselves that was so horrifying; it was how the words spoken mirrored the inner thoughts we all have but don’t wish to admit to ourselves or our loved ones. And those thoughts, though intentionally provocative, only served to demonstrate how in this society, this so-called “free society”, we are trapped by convention and fear- damned if we do; damned if we don’t. Does one perpetuate the lie he lives, thereby being accused of duplicity; does she accept that which she’s not earned, taking full advantage of a work places need for a “token”? What is worse- to live a lie and get what we want, or be honest and lose what we never really had? Seems easy enough, except that we are all liars- made so by the conventions of so-called “polite society” which is really just a cover-up- gracious hospitality has replaced plain old grace which is the one thing needed for us to truly get along and which was lacking by all of the characters in this must-see play.
Hari Dhillon as Amir endears us with his all-too-pitiful desire to please and then takes us straight into an abyss that is his innermost sanctuary as he plays the accuser and accused. Gretchen Mol gives a believable performance as Emily, a waspy liberal whose naiveté would be charming if it wasn’t so self-serving. Danny Ashok, Hussein, AKA “Abe” provides a fair representation of a twenty-something whose youthful bliss is at odds with the harsh realities for a young Arab man in post 911 era in the US. Playing opposite of the couple are Josh Radnor as Issac, a pretentious and weak-willed man whose apparent strong convictions are simply a mimicry of what society has told him to believe. Conveniently, his wife, played by the gorgeous and talented Karen Pittman as Jory, lets him be pretty with his pictures while she clearly and unapologetically claws her way to the top of the law firm where she and Amir are associates.
The Lyceum Theatre is the oldest in the City and is charming with its reflection of the lavishness of turn-of-the-century New York. Seats and loos are tiny so leave your shopping bags elsewhere. I will be very surprised if this does not win a Tony for best production, direction, acting. If it doesn’t, meh, blame it on the Jews. And if you think that comment is inappropriate, you better buckle up because that’s nothin’!
Be sure to get your tickets here!
Review written by: Michele SevenPictures by: Joan Marcus

Read More

The Fortress of Solitude @ The Public Theater @ The Newman Theater

The Public Theater bills itself as the “only theater in New York that produces Shakespeare and the classics, musicals, contemporary and experimental pieces in equal measure.” As such, the theater takes more risks than more commercial theatres and this is readily apparent in the world premiere of The Fortress of Solitude, a new musical written by Itamar Moses, with music and lyrics by Michael Friedman, that bends reality and fantasy to tell a unconventional coming of age story of two boys growing up in Brooklyn in the late 1970s-and what happens after those boys are all grown up.The Fortress of Solitude revolves around Dylan Ebdus (Adam Chanler-Berat), a boy whose parents move him into Gowanus, Brooklyn at a young age, because his mother Rachel (Kristen Sieh) feels that Brooklyn is where things were going to happen. At first, Dylan feels ostracized by being one of the only white boys on the block, he quickly develops a strong friendship with his neighbor, Mingus Rube (Kyle Beltran) after Rachel suddenly leaves her husband and son with no intention of coming back, unbeknownst to Dylan. Mingus’s father Barrett Rude Junior (Kevin Mambo) used to be a successful R&B singer, but now only sings back-up. Dylan and Mingus are close friends, playing and putting Mingus’s graffiti “tag” everywhere they can, until life and tragedy drive them apart.The performances in general are top notch. Adam Chanler-Berat deftly leads the fairly large cast with his normal adorkable charm and flawless vocals. He nimbly ages Dylan from a young boy to a young man with subtlety, and showing all the emotional highs and lows skillfully. Kyle Beltran also shows an amazing journey from awkward child to a beaten-down young adult in a masterful way, reminiscent at times of Donald Glover in Community. The most vocally impressive was Kevin Mambo as Junior-his voice made my hair stand up, and hit amazing heights every time he sang a note, particular when he first shows off those tones in “Superman.” The ensemble is wonderful too, stepping in and out of multiple roles and vocal styles with ease. Particular praise goes to the Greek chorus, the Subtle Distinctions (Britton Smith, Akron Watson, and Juson Williams). The only slight misstep in the story was the characters of Dylan’s parents (Sieh & Ken Barnett), neither of who were really distinctive in the narrative, so the audience doesn’t really seem to care about them. Thematically it makes sense to have Rachel stick around in Dylan’s subconscious, particularly in a musical, but at times she seemed unnecessary and boring.The music and lyrics by Michael Friedman, most know for Bloody Bloody Andrew Jackson are both contemporary and era appropriate mixes of emotion and passion. The music really drives the story on, as good musical theatre should do. No song particularly stands out, particularly since many blend together, making it hard to figure out where one ends and another began, but none are clunkers either. One particular lyric in “The One I Remember” sums up the music with the ine “Everyone’s singing a different song / But if they all sing together / it can’t be wrong.” And the mix of songs really does work well together, weaving in and out of Itmar Moses’s book, guided by the smooth and careful direction of Daniel Aukin.
Officially opening on October 22, The Fortress of Solitude is only running at the Public Theatre until November 2, so get your tickets now to see this fierce and awesome new musical.Review By: Chrissy CodyPhotos By: Joan Marcus

Read More

Belle of Amherst @ The Westside Theater (Upstairs)

If you have ever wanted to have an intimate conversation with Emily Dickinson, you now have the chance in The Belle of Amherst. In The Belle of Amherst, Emily Dickinson welcomes audiences into her lifelong Amherst homestead in mid-19th century Massachusetts. While Dickinson found solace in solitude through much of her life, acclaimed playwright William Luce weaves her poems, diaries, and letters into a one-woman portrait of one of America’s greatest and most prolific poets, mixing Dickinson’s encounters with close friends and family with the poet’s own, often amusing observations. Playwright William Luce completely embraces and compliments the language and poetry of Emily Dickinson with The Belle of Amherst. Through his writing, Luce is able to take the audience on an interesting, heartfelt and quirky journey through Dickinson’s life. The play begins with Emily (Joely Richardson) welcoming us (the audience) into her home as if we are established friends. The conversation is casual and also intimate, though Richardson is the only person speaking in this one woman performance. Luce also incorporates multiple memories of Dickinson that are acted out through a solitary “dialogue”. He should be applauded not just for his witty use of Dickinson-like speech and the thought provoking depth he gives to Emily, but also for the excellent ways he weaves in the works of Dickinson. Joely Richardson as Emily Dickinson is a delight to watch on stage. She has the perfect blend of grace and humility that captivates the audience. Performing for 100 minutes alone on stage is no easy feat, but Richardson is more than up to the challenge. Even though it seems she may have had a bit of a cold, Richardson still harnesses and evokes the passion that Emily had for the written word. Director Steve Cosson gave Richardson a lot of room to unfold her character. Though it was just her on stage, the set never felt empty or overbearing. Cosson and Richardson together explored every corner of Emily’s space and brought it into motion. The beautiful scenic design by Antje Ellerman is simplistically detailed. For example, the wall paper which contains birds (one of Emily’s favorite creatures) is a subtle and appropriate nod to the heroine. The lighting design by David Weiner flatters Ellerman’s scenic design wonderfully and also offers a surprise for the audience. Richardson’s costume by William Ivey Long is tasteful and elegant. Long’s ivory palette also enhances Weiner’s lighting design. All these elements with Luce’s book, Dickinson’s poetry, Richardson’s fire and Cosson’s vision meld together and present a lovely night with Emily. If you are longing for romanticized and eloquent language delivered to you through the stage, be sure to see The Belle of Amherst. After all- “the heart wants what it wants” ~ Emily Dickinson

Review By: Staci Morin

Read More

Big @ York Theater Company

When thinking of a musical named “Big,” audiences wouldn’t immediately think of a bare-bones production in a very intimate theater. However, the York Theatre Company’s production of Big (which is part of their Fall 2014 Mufti Series) definitely delivers a performance that is anything but small.Every kid dreams of the life they’ll have when they’re grown up, and Big, the musical adaptation of the 1988 classic comedy film, sets out to show that growing up isn’t always as great as it seems. Big tells the magical story of Josh (Hayden Wall), a twelve-year-old boy who makes a wish on a carnival machine to be grown up. When his wish comes true, he finds a job with a toy company owned by George MacMillan (Richard Maltby, Jr.) and meets the jaded Susan (Kerri Butler), a woman whose poor luck in love has gotten the better of her. Of course, the now “big” Josh (John Tartaglia) soon learns that the perks of being grown up don’t come without some downsides.Though the cast took the show from script to stage in less than two days, every individual gave a bright and energetic performance, and they all clearly had a great time. Tartaglia brings humor and refreshing sincerity to Josh, a child suddenly in a grown man’s body. Butler shines from the moment she enters as Susan, and shows great depth as she takes the character from a cold executive to a jaded woman who had forgotten how wonderful life could be. Of course, Janet Metz gives an endearing and emotional portrayal of Josh’s mother, a woman who suddenly found herself dealing with the disappearance of her child. Jeremy Shinder gives a solid comedic performance as Josh’s pre-teen friend Billy. Finally, it is worth noting that Maltby, known for being a director and lyricist, gave a commendable performance as MacMillan, the kind-hearted owner of a huge toy corporation. Maltby was added to the cast following a last-minute cancellation, and was a welcome addition.The rest of the cast (James Ludwig, Rhyn Saver, Tom Lucca, Elainey Bass, Liam Forde, Trista Dollison, and Whitney Brandt) each play multiple characters, and give fun and enjoyable performances in each unique role they take on. Overall, the cast of this stripped-down production of Big, under the direction of Michael Unger and the musical direction of Eric Svejcar, gives audiences an unexpectedly satisfying treat that certainly lives up to its name.

Review By: Jacob R. Hines

Read More

While I Yet Live @ The Duke on 42nd Street

All families have some sort of degree of dysfunction to them, and most of the time, those families try to make the best of that dysfunction and still find happiness and peace. “While I Yet Live” showcases one particularly dysfunctional, and yet resilient, family, inspired by the real life experience of playwright Billy Porter. “While I Yet Live” tells the story of a family living in Pittsburgh, where amongst a host strong women, Calvin (Larry Powell) a young gay man is trying to become the man he wants to be-which just so happens to be a gay man who loves musical theatre in a very Christian house. But that’s not the only issue brewing-everyone has secrets and is fighting their own battle-against cancer, disability, abuse, old feuds, or just trying to live their own life. The house is run by Maxine (S. Epatha Merkerson), but there are a plethora of women living their lives there as well, including Calvin’s younger sister, Tonya (Sheria Irving), grandmother Gertrude (Lillias White), great-aunt Delores (Elain Graham), friend of the family Eva (Sharon Washington) and Maxine’s husband Vernon (Kevyn Morrow). Each character is a realistic, vibrant character fully realized by each of the actors. All of the performers are obviously skilled, deftly navigating the heavy dramatic moments of the show with the comedic moments that maintain the constant hope and love the family dynamic brings. Sheria Irving was a particular standout, transitioning smoothly between narrator, a young girl, and growing up into a young woman with ease and great specificity. S. Epatha Merkerson does a wondrous job of maintaining faith and poise in difficult situations, without ever forgetting about humor. Some particular escapades with a motorized scooter were particularly effective. The script itself very neatly walks the line between intense drama and some more light-hearted moments. Especially evident is the great love and respect Porter has for every single character-none are neglected by the narrative and each have a chance to shine. The direction by Sheryl Kaller, is neatly done. While the action may be in one room of the house, there is always something happening in other rooms, so that the visual is always interesting and dynamic. The other design elements of the play like the wonderful set design by James Noone, coupled with costume design by Esosa, lighting design by Kevin Adams, and sound design by Leon Rothenberg. “While I Yet Live” deftly walks the line between heart wrenching drama and lovely moments between a close family. Playing for a limited six week engagement at The Duke on 42nd Street, don’t miss it.
Review By: Chrissy Cody
Photos By: James Leynse

Read More

It's Only A Play @ The Gerald Schoenfeld Theatre

It’s Only A Play is a star-studded comedy revival about the ups and downs of a new play’s opening night on Broadway. Originally, the play ran off-Broadway in 1986, but the highly topical, name-dropping jokes couldn’t have been updated more perfectly. It’s Only a Play tracks a group of show people through an evening of anxiously awaiting reviews for Broadway’s newest flop of a play.At start, curtains rise on the opening night party for “The Golden Egg,” a new American play written by the hopeful, though somewhat overly so, Peter Austin (Matthew Broderick). The director of the play is British golden boy Frank Finger (Rupert Grint), who can apparently do no wrong by critics. The play is produced by the spacey and spastic first-time producer Julia Budder (Megan Mullaly), and stars the ankle monitor-toting actress Virginia Noyes (Stockard Channing). Of course, the television star, James Wicker (Nathan Lane), for whom the leading role was written is in attendance, as is the aspiring-actor-slash-coat-boy, Gus (Micah Stock). Finally, it wouldn’t be a proper party if the least receptive theatre critic, Ira Drew (F. Murray Abraham), weren’t in attendance.The plot is fairly straightforward, depicting the hours immediately following the play’s opening in Budder’s gorgeously designed (thanks to Scott Pask) New York bedroom. As the characters await the reviews for the new play, friendships are tested, lessons are learned, and, most importantly, hilarity ensues. The comedic style of the play depends highly on at least a somewhat basic knowledge of theatre personalities and celebrities. The play generates the most laughs at the expense of names like Kelly Ripa, Shia LaBeouf, and Harvey Firestein. These jokes, which in the original production were references to celebrities of the 1980’s, have been perfected to be timely and fitting for new audiences.As for the performers themselves, it’s amazing to see so many huge personalities on stage at the same time. Lane, Channing, and Mullaly particularly shine, showing off their comedic chops with perfectly timed and delivered zingers. Abraham delivers what is perhaps the most welcome surprise as the critic, who, despite his reputation as a brutal snob, can be downright zany. Perhaps the only two disappointments in my mind were Stock, who has either chosen to be the most brutally awkward character to appear on stage or simply isn’t comfortable quite yet in his role, and Broderick, whose ostentatiousness is difficult to grow accustomed to in a room full of such sharp and immediately likeable comedic personalities. It is worth noting, though, that Broderick’s performance is wonderful once you become accustomed to it. It is also worth mentioning that at two and a half hours, the runtime may seem somewhat long, especially considering (as the title suggests) it’s only a play.Overall, It’s Only a Play shines as a comedy about an evening with the best people in the world, theatre people. It shows the moments of suspense leading up to the first reviews, and gives the audience a great variety of hilarious personalities to entertain them. Anyone who loves the theatre, and has at least some idea who Harvey Firestein is, will likely find themselves thoroughly satisfied.

Review By: Jacob R. Hines
Photos By: Joan Marcus

Read More

Indian Ink @ The Laura Pels Theatre

Indian Ink, playing at the Laura Pels Theatre paints a fragrant view of a 1930’s love affair in India where the stakes were high and the temperatures more so. Playwright Tom Stoppard (The Real Inspector Hound) provides a beautiful structure for the characters to laugh and have joy amidst the tragedies that envelop their lives, not because of them, but in spite of them. The set design and lighting transcend us from the basement of the playhouse to an exotic land where the taste of forbidden fruit is to be both worshipped as well as cause for disgrace.Rather than describe the reasons why you should go see this gorgeous and erotic production, let me elucidate the reasons why the reviewers who “didn’t get it” didn’t get it. They are emotionally stagnant; they’re accustomed to in-your-face, pornographic, over-the-top, let us tell you what you need to think and feel storylines…oh but they are excited about Rosemary Harris because their first year drama teacher told them to be; and most importantly, they’ve not experienced the juxtaposition of circumstances that life offers us if we are at all daring. Screw them. See the play. It’s smoldering as restraint confines desire and longing.
The costuming and props were simple and honest which was in stark contrast to the reality of the tellers of the tale who told more with what they didn’t say than what they did. I loved it! And obviously the audience of seasoned theater-goers did as well as they applauded at intermission- something I’ve not experienced but once or twice in many years of seeing shows.Directed by Carey Perloff are Rosemary Harris (The Road to Mecca) as Eleanor Swan who is the beloved of her departed sister, Flora Crewe played by Romola Garai (I Capture the Castle). Though separated by two different worlds, they share verve and an acceptance of their life’s limitations whilst living more, within those limitations, than the entire rest do without. The best thing that the men in the performance do is provide a structure for these ladies just as a canvas gives a platform for a painting- without it, there can be no real art. Bravo men for having the fancy footwork directed by dance captain, Claire Brownell, be mirrored in the way you beautifully provide a frame to allow these women to dance and twirl. Put up by the Roundabout Theatre Company, the show runs through November 30 and should be seen by lovers and romantics alike.

Review By: Michele Seven
Photos By: Joan Marcus

Read More

Can Can @ The Paper Mill Playhouse

An old Cole Porter classic finds it was over to Papermill this fall. Can-Can delivers thrilling combat, stunning talent and the highest kicks you have ever seen. Kate Baldwin leads this high flying cast in a production that would make Cole Porter proud.

Set in the year 1893, Can-Can tells the tale of Paris dance hall owner, La Mome Pistache, and her battle with a self-rightious judge, Aristide, who is determined to shut her business down. The sexy Can-Can dance has become popular and Judge Aristide is determined to stop it. When Judge Aristide investigates the Bal du Paradis, La Mome Pastache seduces him and the two eventually fall in love. By the time her case comes to trial, Aristide has had a change of heart and works to win her acquittal.



Kate Baldwin leads the cast as Madame Pistache, the owner of the Paris dance hall. Baldwin knocks this performance out of the park. She was sincere, strong and sexy, and has the vocal talent of a god. Jason Danieley played Aristide, the new judge in town the is trying to shut down Madame Pistache’s night club. Daniely’s performance started out rocky but as the show went on, he won the audience over with his smooth baritone vocals. Overall this cast was extremely well developed, each person had a equally memorable character, a truly strong performance by all.

The one person who truly deserves a bow every night would have to be Patti Colombo, choreographer. Colombo created an exciting display of organized chaos which left the audiences jaws on the floor.

Can-Can opened at Paper Mill Playhouse on October 5th, 2014 and plays through October 26th, 2014. Hurry up and get your tickets for this Broadway ready performance.

Review By: James Russo
Photos By: Matthew Murphy

Read More

The Country House @ The Samuel J. Friedman Theatre

In the midst of tragedy and heartache, we can find ourselves focused inward in a way, which to the outside observer, seems ridiculously narcissistic, but in fact, is a survival mechanism- some things are just too painful to feel. Blythe Danner (Butterflies Are Free) as Anna Patterson, joins her family at the anniversary of her daughter’s death of cancer in The Country House by Donald Margulies. Ms. Danner elegantly walked that fine line of self-respect with vulnerability and self-centered, emotional detachment, demonstrating a sublime womanness. Playing her funny and sassy, college-age grand-daughter, Susie, is Sarah Steele (Slowgirl). There was a fun and authentic play between the senior and junior actors. She will be a fun one to watch. Her deceased mother’s brother, Uncle Elliot, is played by Eric Lange (“Weeds”). He courageously dove right off the cliff and into the abyss of self-loathing, taking us with him and everyone else too, including his brother-in-law Walter Keegan, played by David Rasche (Lunch Hour), blockbuster movie maker who has “sold out” and ended up with the money and the girl. The girl just so happens to be the one Elliot has always wanted, Nell McNally. Katie Jennings Grant (The Lyons) had a difficult task. It cannot be easy to be “the replacement” to a woman who had been loved and adored by all but she utilizes grace and humility to do so with aplomb. And in the midst of this family chaos is the dashing Michael Astor played by Daniel Sunjata (Cyrano de Bergerac) who was loved by three generations of women in this family and envied by the men. You walk away knowing he and Walter will of course be the happiest in life as they are the ones who merely skim the surface and can always be found on top. Daniel Sullivan (The Snow Geese) took us on a difficult journey, peppering it with laughter and joy. And isn’t that life anyway- an attempt to find meaning and joy amidst the confusion and disappointments? John Lee Beatty (Knock Knock) did scenic design; lighting was done by Peter Kaczorowski (Tales From Red Vienna); a fantastic costumer, Rita Ryack (Casa Valentina) and sound designer Obadiah Eaves (The Assembled Parties).The original music was done by Peter Golub (The Hieress). Fight director…yes there is a fight was Thomas Schall (This Is Our Youth) and the stage manager was Danny Maly (Casa Valentina).Put on by Manhattan Theatre Club, one of the leading nonprofit producers of contemporary theatre, Opening Night was October 2nd at the Samuel J. Friedman Theatre and will be playing through November 23rd.

Review By: Michele Seven
Photos By: Joan Marcus

Read More

Riding the Midnight Express @ The Barrow Street Theatre

Through November 30th of this year, The Barrow Street Theater plays host to the storytelling of Billy Hayes as he recounts his early life in Riding the Midnight Express. The presentation runs about 70 minutes with a 20 minute Q & A following. Starting from the time that he left college until just after his escape from a Turkish Prison, Hayes relates the experiences and discoveries he finds along the way. Hayes talks about the decisions he makes that cause his incarceration, mainly his experience smuggling Hashish out of Istanbul. He shows us the levels of inhumanity our souls can bare before beginning to corrupt. Hayes relates the pain as he had to turn his head while others were beaten, lest he make his own enemies. Talking about his friend who dies in Germany while trying to earn money to help him escape prison, Hayes is stricken with the guilt of this loss. While trying to form a plan to escape, Hayes spends time in a prison for the insane with the hope that it will be easier to make his breakout. Instead, he finds his own sanity begin to slip. With less than 2 months until his freedom, Hayes stoically delivers the real story of his court sentencing of 30 years more in jail. Not fraught with the anger portrayed in the film by the same title, he shows us a peace and forgiveness hard to imagine in our own everyday lives. Finally making his way to the island of Imrali, he delivers himself out of his imprisonment in an epic trip across the sea and land all the way to Greece.Hayes is a natural weaver of tales. His life and journey are extraordinary, and he delivers them as such. Hayes relates his story with almost a Socratic objectivity and insight, while still remaining emotionally true and vulnerable at times. With no more tools than his voice, a stool and a bottle of water, Hayes keeps the audience interested to the end. Though the aid of sound or lighting to better effect the audience would have made Hayes’s job easier, he prevailed through sheer personality.
A truly marvelous tale, Riding the Midnight Express is an enlightening evening for anyone who is willing to take a moment and use another’s trials to aid in their own self-discovery.Review By: Paul MorinPhotos By: Carol Rosegg

Read More

Money Grubbin’ Whores @ The Lion Theater @ Theatre Row

Don’t let the title fool you, Money Grubbin’ Whores is surprisingly relatable for everyone!First comes love, then comes marriage, then comes a messy divorce negotiated in the downstairs party room of a Northern New Jersey pizza joint. In this new dark comedy, NYC union plumber Matt and his gorgeous, Israeli wife Aviva are getting divorced. The back-room deal is mediated by Matt’s best friend Frankie, and Aviva’s cousin Moshe. As the couple battles it out through cultural differences, mixed messages, and high passions, one question remains…what is the price of love?Sean J Quinn’s writing is smart, honest, funny, touching and a bit brash. Money Grubbin’ Whores opens with an overload of F-bombs and other profanities; so many that they are a bit distracting to the story line at first and hinder the laughter the script demands. But after about 20 minutes, the characters begin to shift and the audience becomes desensitized to all of the obscenities, allowing the truth of the plot and personalities to shine.Adam Mucci (Matt), Carmit Levité (Aviva), James Andrew O’Connor (Frankie), and Penny Bittone (Moshe) give outstanding performances. This is truly an ensemble piece. Each actor flavors it with their own individual spice yet stay consistently in perfect balance with each other. Mucci provides just the right amount of fire necessary to portray the passionate New Jersey Irishman. O’Connor delivers the quintessential Tri-state area Italian flawlessly. Bittone is a joy to watch as the smarmy Moshe and Levité breathes depth and sincerity into all of Aviva’s motions.Under the direction of Brian Cichocki, this stellar cast wins over the audience. Though the scenery never changes, Cichocki’s pictures are always interesting and natural. Patrick Rizzotti’s detailed scenic design also aids in keeping the dull at bay. From the colorful party banners to the stacks of pizza boxes, everywhere you look there is something inviting you deeper into the North New Jersey Pizzza Joint. If you have ever been through a divorce, a break-up, been in love or made mistakes, then you will connect with the heart of Money Grubbin’ Whores… see it before you can say you’re sorry!

Review By: Staci Morin
Photos By: Zack DeZon

Read More

This Is Our Youth @ The Cort Theatre

1982 was over 30 years ago, but the struggles and attitudes of teens and twenty-somethings haven’t changed that much, as seen in “This is Our Youth,” by Kenneth Lonergan. At times hysterical, at time philosophical, and always entertaining. “This is Our Youth” tells the story of Warren Smith (Michael Cera) showing up at his friend Dennis’ (Kieran Culkin) Upper West Side apartment with a bag of money that he stole from his rich father after getting kicked out of his own house. What follows is a night of crazy antics, including Warren trying to romance Jessica (Tavi Gevinson). The male characters are both that odd combination of if you knew them in real life, you would probably hate them, but onstage they are likeable and interesting characters. Michael Cera is still solidly in his type of semi-dorky man-childs, but it is a type that he does extremely well. Warren seems very natural and realistic though, and not just a quirky stereotype. Kieran Culkin is riveting as Dennis, with a sharp intellect and a solid control on his physicality. He moves through various emotions with ease and can switch on a dime for great comedic effect. His performance is very reminiscent of Alan Cumming in the best way possible. Cera and Culkin’s relationship has easy banter and chemistry, which is probably honed by them working together before on the cult classic Scott Pilgrim vs. the World. Tavi Gevinson’s work is refreshingly real and honest, portraying the confusing thoughts and emotions of a young adult just trying to figure out what she wants in life.
Anna D. Shapiro superbly directed the show. The exact setting wasn’t apparent visually or tonally until one of the characters mentioned that Ronald Reagan was president. Nothing really specifically dates the show visually, besides the fact that Dennis’ apartment has a record player and a phone with a cord. But this is so understated and natural that the characters could have existed in today’s modern world or any other time period between the two. The themes of the show are never pounded into the audience’s head, but instead come out naturally through the story. In reference to other production elements, the scenic design by Todd Rosenthal was astounding. I thought for half a second walking into the theater that they had knocked down the back wall and we were looking out onto a real New York apartment building. The lighting design by Brian MacDevitt and sound design by Rob Milburn and Michael Bodeen were subtle enhancements of the mood of the peace. Though specific kudos go out to the beautiful lighting sequence that transitioned Act One to Act Two. Costume design by Ann Roth was a bit generic, adding the universality of the time, though one outfit of Jessica’s character seemed a bit too modern for the era, but that could be explained away because the character studied fashion.
Overall “This is Our Youth” is a hilarious and meaningful production about what it means to be young and have everything, and yet not know what to do with your life. It shouldn’t be missed while playing at the Cort Theatre.

Review By: Chrissy Cody
Photos By: Sara Krulwich

Read More

Stalking The Bogeyman @ New World Stages Stage 5

How do you illustrate the life of a man haunted by a childhood horror? You try. Based on David Holthouse’s fearless telling of his own story, New World Stages’ Stalking the Bogeyman tried and succeeded. Adapted and Directed by Markus Potter, with additional writing by Shane Zeigler, Shane Stokes and Santino Fontana, Holthouse’s story was thoroughly rendered and had me glued to my seat in shock, horror and awe.
Scenic Designer David Goldstein, Lighting Designer Cory Pattak, and Sound Designer Erik T. Lawson were experts in accentuating the actors’ portrayal of Holthouse’s struggles. Goldstein worked tirelessly to create a stage that placed me in portions of Holthouse’s mind. Pattak was equally meticulous, subtly hinting at scene changes and bringing Goldstein’s details to the forefront.
Markus Potter, Associate Director Michael Rader and Production Stage Manager Anita Ross somehow mastered the chaotic nature of memory to keep the viewer constantly oriented and reminded that this story is very real.
David Holthouse, played by Roderick Hill, took me through an enrapturing journey of a boy grown to a man wrestling with his past through hatred, obsession, revenge and redemption. Able to transition between ages, heavy outlooks and strong feelings, Hill had me thinking “wow, this could have happened to anyone I know.”
Nancy and Robert Holthouse (Kate Levy and Murphy Guyer) were David’s suburban, concerned and loving parents. Levy and Guyer gave the Holthouses the family-next-store element that it needed. I found myself pondering just how many families out there are afflicted by children burdened with these remembrances.
Additionally, Russ and Carol Crawford were portrayed as the seemingly clueless parents of a son who had committed a horrific act by John Herrera and Roxanne Hart. Herrera had some difficulty with the proverbial “hombre” accent as Payaso and stumbled through a few lines but these instances had no negative consequences for my enjoyment of the play.
Hart also doubled as Dr. Sarah Leavitt, David’s therapist. Hart showed a doctor attempting to aid her patient clinically while maintaining emotional distance with ease. Each supporting character culminated to make Holthouse’s life story unfold in front of me.
And of course, Erik Heger gave a frighteningly realistic performance of the Bogeyman. Heger managed to make me feel a small level of understanding of his character while also making me grip my seat with hatred for him. I can say no more without spoiling it.
If you know someone who has suffered childhood horrors or have yourself—go see Stalking the Bogeyman. Markus Potter’s way of taking you into Holthouse’s life may bring you some closure or some understanding of a loved one. Be prepared to open your life to a few uncomfortable truths but be brave enough to see Holthouse’s life just as he has been brave enough to allow Potter to share it.

Review By: Alexandra Lipari
Photos By: Jeremy Daniel

Read More

You Can’t Take It With You @ The Longacre Theatre

You Can’t Take It With You, the classic Hart and Kaufman play, returns to Broadway this season after a 31-year hiatus with a bang, literally. This timeless tale of love and happiness delights as it dazzles, with no shortage of imaginative personalities to entertain. The fireworks onstage match the performances in brilliance.The story centers around one family in New York City circa June 1936, whose way of enjoying their life pushes the boundaries of what others would consider normal. As outsiders begin to encroach on the idiosyncrasies the family enjoys, conflicts inevitably ensue. The first and last come in the form of government intervention into their way or being; while the central conflict focuses on the love between Alice and Tony. Alice (Rose Byrne) is the “normal” member of the eccentric family where Tony (Fran Kranz) is the son of a Wall Street business man. As the lovers try to force their two families together, their love is put to the test. As they must, the lovers triumph in the end with the help of their families. Grandpa, played by James Earl Jones, finishes his dinner prayer and the show with the epitaph that the show wishes to give: “We’ve all got our health and as far as anything else is concerned, we’ll leave it up to You.”
Scott Ellis delivers a free flowing chaos on stage that is as varied as the personalities that Hart and Kaufman provided. The comfort that the family has in their house puts the audience at ease immediately, allowing the endearment of the family in all their quirky glory. This comfort is aided in no small part by the beautifully intricate set design of David Rockwell, as well as the lighting by Donald Holder.As an ensemble, the cast is a force. Annaleigh Ashford as Essie steals the show over and over again. Ashford’s caricature of Essie is hilarious and endearing. Kristine Nielsen, playing Penelope Sycamore, delivers unerring comedic timing with every facial expression and line. Reg Rogers as Boris Kolenkhov takes the wonderfully ridiculous to new heights of hilarity. Supporting the action are Johanna Day, Julie Halston and Elizabeth Ashley as Mrs Kirby, Gay Wellington and Olga respectively. Each brings a character full of verve and laughter, easily demanding the audience’s attention.All in all, this is a performance by the entire ensemble that will leave you laughing all the way home; a great show that more than lives up to its great script.

Review By: Paul Morin
Photos By: Sara Krulwich
CrediSara Krulwich

Read More

The Money Shot @ The Lucille Lorte Theatre

A biting farcical brush is painted over Hollywood’s elite in Neil Labute’s newest play, The Money Shot. Karen(Elizabeth Reaser) and Steve(Fred Weller) are desperately trying to hold on to their careers and in doing so, put the relationships with their respective partners, Bev(Callie Thorne) and Missy(Gia Crovatin), and any remaining self-respect, at risk. Directed by Terry Kinney, the show both elicits non-stop laughter and thoughtful silence at all the right beats.
The cast shines onstage. It is not a least bit surprising that these actors portrayed their whinier, ego driven characters with an aplomb that can only mean they intimately know the characters they are playing. Elizabeth Reaser(The Twilight Saga) both manages to make fun of herself and “aging” actresses in general as the flighty, dramatic femme. At once calm and collected, at others on the floor in hysterics, she is diva incarnate with a flair that is hard pressed not to enjoy. Fred Weller(Mother and Sons) begins the show as a macho, self-possessed, blustering male, eager to explain away his age with his much younger wife, Missy, and ends the show a great deal more thoughtful than he started when his ignorance becomes too much for Bev, who takes him down several feet of pegs. Weller is fantastic. He drives the script along with the force of an oncoming train, but the points where he really shines are the almost muttered lines of stupidity that are the real catalyst for the tension onstage. Callie Thorne(“Necessary Roughness”; …Judas Iscariot) was by far the most comfortable onstage. She was so interesting to watch, even when she was silent. Her character refuses to allow even the slightest misinformation slide with Weller while she battles with Reaser regarding their private life. Gia Crovatin(reasons to be pretty) provides much enjoyed humor as the flighty, yet oddly touching younger woman. Trying to be a good wife to misogynistic Weller, her character actually sees the most growth in the play. The least jaded of the group, Crovatin is by no means overshadowed by her more experienced scene partners, but instead delivers quips and cheerleading with the enthusiasm of fresh talent. To say that this cast was perfectly suited to play their counterparts would be an understatement.
As a southern California native, I was pleasantly surprised at the nuances in the play. The set design was beautifully done by Derek McLane, with sound design by Rob Milburn and Michael Bodeen, costumes by Sarah J. Holden, lighting design by David Weiner and stage managed by Christine Lemme.
The world premier of The Money Shot opened at Labute’s resident theatre in the West Village and has an extended run through October 19th. Get your tickets now for a wonderful night in theatre that will have you laughing till your sides hurt.


Review By: Aziza Seven
Photos By: Joan Marcus

Read More

The Valley of Astonishment @ The Polonsky Shakespeare Center @ The Theatre for New Audience

What if when you listened to music, you saw colors? Or you had enough memorized words in your brain that you could fill a 10,000 page book? These are just some of the brain phenomenons explored in Peter Brooks and Marie-Helenes Estienne unique play “The Valley of Astonishment.”
Synesthesia is a neurological phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway. How does one convey that to an outside listener in a way that they can not only grasp, but relate to? Kathryn Hunter, Marcello Magni, and Jared McNeill take the stage as a mirage of characters that do just that,
Equally human and brilliant, the characters portrayed bring to life a story both profound and simple. Brilliant minds in ordinary bodies, creating, feeling, and experiencing life at an intensity that invokes fear and awe in “normal” company. Blending stories, characters, accents, mannerisms, the actors are both heartbreakingly vulnerable onstage as they are fascinating to watch.
Against a bare back drop, minimilistic stage design, and tailored lights by Lighting Designer Philippe Vialatte, there is nowhere for the actors to hide. Their humanity is stripped bare for all the audience to see and while this is the goal of every actor, this cast does it so effortlessly one cannot help but admire it.
Musicians Raphael Chambouvent and Toshi Tsuchitori add another level of sensory pleasure with their gorgeous accompaniment.
A three week only event, “The Valley of Astonishment” closes October 5th, so do yourself a favor and go experience synesthesia with a group of people who will let you live it with them. Review By: Aziza Seven
Photos By: Pascal Victor

Read More

Uncle Vanya @ The Pearl Theatre

Chekhov’s masterful way of exonerating a myriad of themes and emotions from the mundane is incredible. A director of such a piece as Uncle Vanya is not charged with presenting the brilliance of the play but emoting its undertones–bringing to life its very nature via his or her interpretations.
Uncle Vanya, as rendered by Artistic Director Hal Brooks at the Pearl Theater could have been more precise with one Chekhov’s masterpieces. Relatable and almost satirical themes such as unrequited love, the never-ending search for happiness, taking advantage of hospitality and family, selfishness, jadedness, brilliance inundated by mediocrity, helplessness that change is impossible at an older age, and that death is the ultimate form of peace were all present in Hal Brook’s rendition of the play. However, Scenic Designer Jason Simms, Costume Designer Barbara A. Bell, Lighting Designer Seth Reiser, Sound Designer M. Florian Staab and Hal Brooks did not share the same visions of Uncle Vanya.

The costumes were of the late 19th to early 20th century, but the speech was almost modern. The set had difficulty orienting the viewer. The sound of horses was barely audible in some scenes but powerful in others. These discrepancies created unnecessary noise that Production Stage Manager Kevin Clutz and Production Manager and Technical Director Gary Levinson could not manage.
Mostly, the cast was humorous and enjoyable; albeit loud. Ivan Petrovich (Vanya), played by Chris Mixon, had me laughing each time his red faced character barged in. Mixon conveyed an envious 47-year old convinced that he had despairingly dedicated his life to the wrong ideals with gusto.
Similarly, Mikhail Lvovich Astrov’s (Bradford Cover) playfulness and smooth interaction with the cast was always welcome. Cover made the dichotomy of the brilliant, idealist doctor stuck in the sticks believable. Sonya (Michelle Beck), Vanya’s niece, showed the folly of unrequited love, youth and plainness while eliciting a reaction between laughter and pity.
Ilya Ilych Telegin (Waffles) an impoverished neighbor with a knack for the guitar played by Brad Heberlee; Marina, the Eastern Orthodox and affable family nurse played by Robin Leslie Brown; and Mrs. Voinitsky (Carol Shultz), the intelligence worshipping and ashamed mother of Vanya aided the cast in rendering the air of a country farm arrested by its unruly house guests: a young wife Yelena (Rachel Botchan) and her husband, Vanya’s brother-in-law, Retired Professor “His Excellency” Alexander Serebriakov (Dominic Cuskern).
Cuskern presented Serebriakov easily as the unknowingly self-absorbed academic. Contrarily, Botchan’s Yelena lacked chemistry with the cast. Yelena was not portrayed as the type of woman able to seduce an entire household with her charm. At times she even seemed awkward on the stage. In all, I certainly laughed and enjoyed my first Chekhov experience. Although, the magic from his captivating prose was not fully captured by Hal Brooks.

Review By: Alexandra LipariPhotos By: Al Foote III

Read More

Almost Home @ The Acorn Theatre @ Theater Row

In an hour and twenty minutes, Almost Home, by Walter Anderson, does what not even the activists of OWS could do: demonstrate how the State, whether the federal government or the local police force is at the very core coercive, fraudulent, and the corrupter of men’s souls. Wow! Every Millennial should go see this production to know what road not to take. Set in the Bronx in 1965, Joe Lisi (Take Me Out, London production) as Harry, a pathetic, loser-of-a-man whose dignity hangs in the hopes of his equally pathetic son, Johnny, played by Jonny Orsine (The Nance) demonstrates how repeated compromises of one’s moral principles, assuming one has them to begin with, has collateral damage spanning beyond oneself. A poor example of a man and a father, he is able to blame the indecency of war for his shortcomings. And his son follows right in his footsteps. James McCaffrey (“Rescue Me”) plays the dirty cop, Pappas, and serves as a contrast to the women in these men’s lives. Wife and mother, Grace, appropriately named, is played by Karen Ziemba (Tony Award winner for Contact). She is seamless in her portrayal of patience, kindness, and forgiveness. Together with young Johnny’s former teacher, Luisa, played by Brenda Pressley (The Lyons) who is steadfast in her commitment to education as well as Johnny’s well-being, these women demonstrate the bravery that is required to tolerate the misdeeds of foolish men who are beholden to fraternal brotherhoods at the root of evil perpetrated by government. I look forward to reading the play to see if the intent by the writer was so clearly subversive or if director, Michael Parva (Murder in the First) took license. Either way, with nearly 100 years of continual war by the US Government, the tragedy, loss, and devastation is as relevant whether set in 1945, 1965, or 2015. Kudos for your not-so-subtle attack on the puppeteers and the men who volunteer.Set design by Harry Feiner looked like something out of “Ozzy and Harriet” with a genuine 1965 Corn Flakes cereal box atop the fridge. Michael McDonald did costume design and together with Leah J. Loukas who did wig and makeup, did a particularly lovely job on the ladies. Lighting by Graham Kindred served as an equal element to the production. Sadly the sound done by Quentin Chiappetta was undermined by the exterior street noise- I suggest house right. Opening night was September 18th and is set to run through October 12th. So take mom and dad to The Acorn Theatre and then prepare yourself for exciting dinner conversation to follow.

Review By: Michele Seven
Photos By: Carol Rosegg

Read More

Bedbugs! The Musical @ The ArcLight Theater

What happens when a girl with harsh chemicals meets her hated foe the bedbug? Bedbugs!!! the musical of course! This tale of love and world domination is brought to you by the writing duo of Paul Leschen (Music) and Fred Sauter (Book & Lyrics). Told in an ’80 rock style, this sci-fi musical is a wonderful submersion into the campy movies of the time. Leschen’s music is well crafted and entertaining, perfectly paired with the wit and satire of Sauter’s lyrics, when they can be clearly heard through the muddy sound. Coming in at 2 hours and 15 minutes (with a 15 minute intermission), the book had some wonderful moments but might have been better served in a shorter timeframe.The cast lent an extraordinary talent to this production. Leading the way is Grace McLean (Carly). McLean commands the stage with a hard edged rock sound. Brian Charles Rooney (Dionne Salon) soars in his role as the parody of Canadian pop legend Celine Dion. Rooney plays the role with casual ease and owns the audience the way Dionne owns her fans. Equally excellent is Chris Hall (Cimex). Hall could revival Tim Curry’s legendary Dr. Frank’N’Furter with each of his rock anthems. Tracey Conyer Lee (Belinda, Consuela, Bedbug) catches the eye whenever she is on stage, drawing your attention through sheer force of character. Rounding out the show are Nicholas Park (Burt), Danny Bolero (Dexter/Menachem/Bedbug), Gretchen Wylder (Mother/Joan/Diner Lady/Bedbug), Barry Shafrin (Mason/Bedbug) and ensemble members Courtney Bassett and Colin Scott Cahill.Robert Bartley’s direction and choreography were exactly what Bedbugs!!! needed. Bartley uses the space to its fullest and truly draws the audience into the fray. Adam Demerath lends us a perfect environment for the filthy, soon to be apocalyptic New York City and Kirk Fitzgerald adds the ideal accents in lighting. The bedbugs themselves find glorious life through the costumes by Philip Heckman. Heckman makes each bug, and the rest of the characters, unique and a visual delight.All in all, if you enjoy campy sci-fi and somebody you know enjoys rock musical, team up and go see Bedbugs!!! together at The ArcLight Theater.

Review By: Paul Morin
Photos By: Rex Bonomell

Read More

Love Letters @ The Brooks Atkinson Theatre

I traded my first “love letter” with Jason Forrester in 2nd grade. We passed notes back-and-forth in Mrs. Black’s class, hoping not to get caught but elated when we did and had to sit in detention alone together. I had forgotten all about that memory until I saw “Love Letters” by A.R. Gurney (The Dining Room) at the fabulous Brooks Atkinson Theatre. Opening September 18th with the ageless Mia Farrow (Rosemary’s Baby) as Melissa Gardner, a precocious, wild child who time reveals to be damaged and fragile, with an incredible sensitivity, whose letters from Andrew Makepeace Ladd III, embodied by “the man” Brian Dennehy (Tony Award winner for lead in Death of a Salesman), whose voice remains commanding and defies mortality, provide the only real sense of stability in her whimsical and sometimes chaotic life. Thought to be a dream job for actors who sit upon the stage alone as they trade turns reading five decades worth of letters, I am unconvinced if anyone claims it to be an easy task. The trip that the playwright and these two stellar actors took me on, under the direction of Gregory Mosher (former director of the Lincoln Center Theater) was an epic journey of missed opportunities until the eventual realization of one true thing. My heart was broken into a million pieces. I can hardly wait to do it again! And I will with each of the pairs who will grace the stage over the next three months: Carol Burnett, Candice Bergen, Diana Rigg, and Angelica Huston coupled with Brian Dennehy, Alan Alda, Stacy Keach, and Martin Sheen.A simple set designed by John Lee Beatty, with Jane Greenwood doing costume, Peter Kaczorowski lighting, and Scott Lehrer sound, these professionals have obviously honed their craft, practicing incredible self-restraint, doing nothing to compete with the artistry of the actors’ voices nor the sentiment of two people experiencing a lifetime of emotions, experiences, and love through the letters they exchanged. Thank you for your subtlety. And thanks to Karen Armstrong, stage manager, for keeping it all on task. This show is for everyone who has ever dared to put pen to paper to scroll “I like you. Do you like me?”

Love Letters officially opened on September 18th, after previews starting September 13th and will run through February 1st at the Brooks Atkinson Theater.

Review By: Michele Seven
Photo By: Todd Heisler

Read More

Mighty Real: A Fabulous Sylvester Musical @ The Theatre at St. Clement’s

Mighty Real: A Fabulous Sylvester Musical is a high energy, glamorous, and riotous story of the life of Sylvester, the “Queen of Disco” through all of its twists, turns, and fabulous outfits. Sylvester’s life started off rough and ended in a hard place as well, but Mighty Real proves the idea that you can reach the highest heights by remaining true to who you are and never extinguishing a fiery passion. The most fun from this production comes from Sylvester’s music like “Mighty Real” and “Do You Wanna Funk”, as well as other popular disco and soul hits like “Raining Men,” “Respect” and “Proud Mary.” The book of the show isn’t the most original, ground-making material, but the music and the cast more than make up for any shortcomings. All of the performers were phenomenal singers and performers. Anthony Wayne, as Sylvester, has amazing charisma that makes him shine literally every moment he is onstage. And his voice is absolutely incredible – hitting those high notes seems effortless. And the passion that Wayne has for the project, as he is also the co-Director, book writer and producer, really shines through. The other members of the show get their moments as well. Anastacia McClesky (Izora) and Jacqueline B. Arnold (Martha) bring the house down with the classic “Raining Men,” while Deanne Stewart (Sylvester Singer) steals the show for a brief moment with her appropriately wild rendition of “Proud Mary.” The fantastic band gets their moments to shine as well, with a short number in the last third of the show where each band member gets a second to solo. The audience is an additional cast member as well. Reflecting the gospel and church influence of disco music, there is a lot of response from the audience with murmurs of approval, “Amen’s” and cheers whenever the audience feels like it. The setting of the theatre in an actual church helps support this, and their energy and enthusiasm help drive the show.All the production elements came together to fully realize the story of Sylvester’s life. The costume design by Kendrell Bowman, who’s also the co-director and a producer, really helps establish the glitz and glam that Sylvester’s life was full of. David Lander’s lighting and scenic design reinforced that glam as simply as possible-proving that you don’t need a million dollar Broadway budget to still feel fabulous. Hair & Wig design by Porsche Waldo and Make-up by Meghan Yarde was also excellent and disco-era appropriate.Mighty Real: A Fabulous Sylvester Musical officially opened on September 14th, after previews starting September 5th and will run through October 5th at the Theatre at St. Clements, located at 423 W. 46th Street.

Review By: Chrissy Cody
Photos By: Joan Marcus

Read More

Bootycandy @ Playwrights Horizons’ Mainstage Theater

Shocking hilarity and poignant intimacy entwine to reveal Robert O’ Hara’s Bootycandy!Sutter is on an outrageous odyssey through his childhood home, his church, dive bars, motel rooms and even nursing homes. A kaleidoscope of sketches that interconnect to portray growing up gay and black, Robert O’Hara’s subversive, uproarious satire crashes headlong into the murky terrain of pain and pleasure and… BOOTYCANDYPlease note that I am being cautious to steer clear of spoilers of any kind as I feel that the unexpected is the heart and beauty of the show!Stepping into the Playwrights Horizons Theatre, one cannot possibly be prepared for all of the surprises Bootycandy has in store. The play consists of several shorts; each is approximately 10 minutes in length and the title of each is elegantly displayed via projection above the stage. The first sketch in Bootycandy shares a title by the same name. From the moment the stage lights up the audience ignites with uproarious laughter. O’Hara’s comedic writing cocktailed with the comedic talents of Phillip James Brannon, Jessica Frances Dukes ,Jesse Pennington, Benja Kay Thomas and Lance Coadie Williams are a force that lasso the viewers into submission. The supremely-satirical costume and scenic designs by Clint Ramos are complimented by the supremely-satirical hair and make-up designs by Dave Bova. The 1st act may deceive the audience into thinking they are just in for an evening of several humorous short plays (with a dash of drama thrown in for good measure). And, if you’re like me, you may almost be at your wits end with the copious amounts of four letter words and the shorts that just seem to be brazen racial stereotypes. But hold on. Right before intermission Bootycandy will flirt with a depth and an unexpected throughline that will only be revealed in Act II. Be prepared to have chills by the time the sketch “iPhone” is finished (if you haven’t already)! Bootycandy breaks the fourth wall left and right, consistently mind melding. It will give you an intimate and yet perverse look at family, sexuality, politics and ethics. Above all, it will make you laugh until you choke.

Review By: Staci Morin
Photos By: Joan Marcus

Read More

Revolution in the Elbow of Ragnar Agnarsson Furniture Painter @ The Minetta Lane Theatre

Revolution in the Elbow of Ragnar Agnarsson Furniture Painter is a surreal and philosophical story of a small and somewhat naïve nation located in the elbow of Ragnar Agnarsson and their desire for greatness. Roiled by passion and great ambition, what will this once-idyllic community find… riches, ruin or redemption? The heart of Revolution in the Elbow of Ragnar Agnarsson Furniture Painter lies in its songs, which were written over the course of several years by Ívar Páll Jónsson — a gifted Icelandic songwriter who pursued fronting a rock band several years ago and released an album, but felt confined in the spotlight. He worked as a journalist but kept writing songs, and ultimately, with the encouragement of his younger brother Gunnlaugur, found his comfort zone behind the curtain. He wrote the entire score and, with his brother, the book for the musical.
Revolution is like no musical you have ever seen before, it’s comparable to Urinetown: The Musical but edgier and a more intense score. Leading the cast is Cady Huffman(The Nance) as the “evil” Mayor of Elbowville. Huffman is seductive, satanic, and just all around perfect. Kate Schindle(Wonderland) stops the show with her legendary vocals. Marrick Smith, Graydon Long, and Brad Nacht are the perfect brothers, that is until they betray one another. Smith’s incredible range leaves the audience in awe. Jesse Wildman is adorable, sweet, and sexy. This cast as an ensemble is a straight up knock out.
Set & projection design were done by Petr Hloušek. Hloušek delivers a truly stunning atmosphere, that at first glance leave the audience uncomfortable as we watch Ragnar Agnarsson sleeping on his couch, then as the show opens and the show goes on, his designs prove to be brilliant. Costume design is by Hrafnhildur Arnardottir and Edda Gudmundsdottir were different, riskay and groundbreaking. Rounding out the design team was lighting design by Jeff Croiter (Tony winner for Peter and the Starcatcher) and Cory Pattak which brought the entire show together as a whole.
Revolution in the Elbow of Ragnar Agnarsson Furniture Painter began performance on July 31st at the Minetta Lane Theatre and it official opening night took place on August 13th, 2014.
Review By: James RussoPhotos By: Carol Rosegg

Read More

Phoenix @ The Cherry Lane Theatre

Phoenix, written by Scott Organ and directed by Jennifer Delia is a two-person play starring Julia Stiles (Oleanna) as Sue and James Wirt (Let’s Kill Grandma This Christmas) as Bruce. It takes place in New York City and Phoenix though it really could be a story told anywhere in the United States. A one-night-stand with a consequential outcome serves as the catalyst for these two people’s very unlikely, and even curiously awkward, relationship.Cherry Lane Theatre is set on a quaint street in SoHo and is certainly a place I’ll visit again. There is not a bad seat in the house, but do bring a sweater as the AC was set for a menopausal woman. Yikes! Caite Hevner Kemp did the set design which was hip and contemporary and together with Rick Carmona who did the lighting design, Janie Bullard who did the sound design, and Burton Machen who was the scenic artist, created an aesthetically pleasing view even if it did not make sense nor lend itself to a better understanding of the plot. Amit Gajwani costumed the two characters so they could really be any 20 or 30 something which is fitting with the American culture that serves as foundation to the storyline.The ethical dilemmas that arise when you have two completely contradictory goals is present in the script though the articulation missed the mark. I could not tell if Sue was an emotionally vacant and self-consumed woman or if she was simply portrayed that way. And Bruce, bless his heart, seemed to be a well-intentioned man, but definitely a door mat for this woman who seemed to equate “the right to her body” with the right to be rude, abusive, vacillating between a femme fatale and “my way or the highway” gavel pounder. The severity of the issues: unwanted pregnancy, abortion, death, loss of hope, heartbreak, loneliness were hardly impressed upon the audience beyond sarcasm, yelling, or a science fiction fantasy story, more whimsical than tragic. There is a lot that can be done with this play and I really felt that the audience was pulling for Julia and James even if not for Sue and Bruce- the two have chemistry between them.Along with Rose Riccardi, production state manager, Katie Fergerson, assistant stage manager, Jeremy Duncan Pape, production manager, Brierpatch Productions, general management, there was a host of producers: Nicholas Jabbour, Julie Pacino, Poverty Row Entertainment, Rian Patrick Durham, and Rattlestich Playwrights Theater. Get tickets for this one-act play with a limited engagement through August 23rd.

Review by: Michele Seven
Photos by: Harry Fellows

Read More

King Lear @ The Delacorte Theatre

The Public Theater has revisited William Shakespeare’s currently popular drama King Lear this summer with all the glorious tragedy the sad ruler deserves. And they have done the Bard proud.

The staging at the Delacorte by director Daniel Sullivan lends itself beautiful and smoothly to the space and the piece, transporting us back to the days of not only the great King himself, but the old common English theater as well. Accessible and sarcastically comical, the lens through which Sullivan allows us to glimpse Lear hoists the tragedy on us in a mercurial swing of moods not unlike those of the mad and foolish that are portrayed. An awe inspiring vision, softening us just enough to allow the depth of the loss and pain to dig into our skin like loose soil; where it can grow and flourish, mirrored in our modern day.

As aid to the work, there are solid and insightful portrayals throughout the cast. John Lithgow is a strong and versatile Lear, leading the way in his descent into madness. He humanizes the epic King, leaving no wonder to the cause and purpose of his spiraling transformation. Eric Sheffer Stevens’ delivery of Edmund is second to none. His casual wit and charisma endears him to the audience even as his actions horrify. Stevens shines in this role, owning the stage. He gives us an Edmund that cannot be turned away from the moment he is left alone with his audience. Other notable contributions come in the dynamic delivery of Steven Boyer as the fool, a pleasing balance of laughter and insight. Clarke Peters as the Earl of Gloucester gives a well-grounded performance, a wonderful support in his paralleling tragedy with Lear. Edgar, played by Chukwudi Iwuji, is free and vulnerable with nothing standing between him and his viewers.

Somewhat disappointing were the three sisters. Annette Bening (Goneril) seemed uncomfortable with the language. Jessica Hecht (Regan), though she elicited some laughs, was often ludicrous with her more serious moments. Neither woman looked comfortable with their space on the stage. Jessica Collins as Cordelia allowed herself to be immediately emotional available for the audience, but left little room for growth.

The scenic design of John Lee Beatty and costumes by Susan Hilferty are rustically elegant. The use of drummed metal sheets, as well as the additional music completes the simple yet perfectly rendered environment.


King Lear, given life at The Public Theater, is an ideal night of theater for both those well versed in or new to Shakespeare, giving all something to take away. Running through August 17th, this limited engagement should not be missed.Review By: Paul MorinPhotos By: Joan Marcus

Read More

Piece of My Heart, The Bert Berns Story @ The Pershing Square Signature Center/Irene Diamond Stage

“Being lonely is the only way with a clock ticking in your ear.” This sad elegance embodies the spirit of the legendary songwriter of such hits as “Twist and Shout”, who paradoxically has remained virtually unknown until the persistent efforts of two of his children, combined with the collaboration of an amazing team of talent, lead by playwright Daniel Goldfarb, brought Piece of My Heart, The Bert Berns Story to audiences in Bert’s hometown of Manhattan at the Irene Diamond Theater. Directed and choreographed by Denis Jones (Popesical), he masterfully off-sets the grueling self-exploration of the characters in a time of revolution with the physical interpretation of the music through dance and movement.
Starring as the 30 something-year-old Bert Burns is Zak Resnick (Momma Mia), who’s personification of a man who lived, desperate to be known as one of the great songwriters and who matured into the man who died with the meaningful desire to be known by his children through the music he left behind, chokes me up even as I write this. I’d also have him sing his version of “I Want Candy” over any other, any day! De’Adre Aziza (Passing Strange) portrays the inspiration for the song and damn, what a dame! Smart, sassy, sexy, the character lights him up and sets him straight before generously sending him off while allowing herself to be left behind. This story is as much about the women in his life as it is about the man.
The pairing of Leslie Kritzer (Legally Blonde) who plays Jessie, the youngest child and only daughter of Bert and his wife, Ilene, played by Linda Hart (Hairspray) is honest. Leslie humbly portrays a woman who is lost and directionless, without the advantage of having grown up with a father, while Linda is fearless, personifying a woman who was and is today one of the most important women in the music industry- no small feat especially in the context of her time. I wanted to hate them both: the one for being so whiny and self-consumed and the other for being intoxicated with her own sense of self-importance. Instead I fell in love with them as together they found reconciliation, integrating their feelings of abandonment with their intricate desperation for the love of this man who they thought gone forever, but who through the journey of his music found peace within themselves and purpose in their love for each other as Jessie found her father, as he wanted, through his gift of song.
Joseph Siravo (Jersey Boys) and Bryan Fenkhart (Memphis) play Wazzel, elder and younger respectively. Beautiful job synching the mannerisms and subtleties of one another, I really thought I was looking at the real life younger version of Siravo/Wazzel. What an interesting man he must have been with his gangster-like exterior ensconcing a heart of gold who’s vulnerability and grace gave him the courage to reveal his shame, intent on making things right.
Best friend of Bert was Hoagy Lands, played by Derrick Baskin (Memphis). His soulful voice emits pain and suffering while almost demanding that we rise above our circumstances and overcome- a perfect match to interpret Bern’s lyrics as a tribute to his legacy. Bravo! Teal Wicks (Wicked) cast as young Ilene was believable as the young Jewish dancer clawing to escape the humiliation of poverty but who set aside her own ambitions for the hope of the love of a man and happy-ever-after.
The ensemble, featuring Carleigh Bettiol who is a gorgeous dancer, melds into the story making them almost forgettable but without whom the telling of the tale would have no flavor. Thank-you Teresa Gattison, Shonica Gooden, Sydney James Harcourt (+1 for facial expressions), Jessica McRoberts, Ralph Meitzler, Harris Milgrim, Michael Millan, Heather Parcells, Gabrielle Ruiz, Amos Wolff, and the man who played what’s his name…Jerry something, Mark Zeisler. This production is clearly a labor of love with the entire team pulling for this man, who until now, has been forgotten, even as we all sing along to his songs whenever we hear them four decades later. The supporting cast was gracious as they consistently sacrificed themselves to elevate the star, not Zak, but rather a man who has been dead since 1967. (Interesting to note is that Otis Redding died only days before him and we all know who he is by name.)
And last, but certainly, not least, Piece of My Heart Orchestra…It must really be something to be playing the music written by one who’s tunes who served as an inspiration since their youth. Like the actors, they played to create an ambiance where this man’s struggle to have meaning in his life, through his talent and hard work, could be told in such a way that we were all left cheering for him. With their help, the next stop for Bertrand Russle Berns- Rock-N-Roll Hall of Fame!
This show is a must see for anyone who has sung along to “Brown Eyed Girl”, “Under the Boardwalk”, or the gut-wrenching song “Piece of My Heart” as well as for those who appreciate a great story of overcoming and quest. Stage manager, Matthew DiCarlo has this in the bag! Opening night was July 21 with a run time of one month, go now…and then take your mom. Get your tickets here!!
Review by: Michele Seven
Photo By: Jenny Anderson

Read More

Wayra: Fuerza Bruta @ The Daryl Roth Theatre

S2BN Entertainment and OZONO Productions bring the hit off-Broadway show, Fuerza Bruta, back to New York City with Wayra, the electrifying and innovative immersive theater experience. Wayra takes the audience on an 80-minute thrill ride from beginning to end, with heart thrashing fun, fast paced and upbeat live music, on-stage musicians, and breathtaking aerial displays. The newly designed set and scenes are sure to present fans of the previous incarnations (and new fans alike) with fresh experiences, and guarantee that Wayra will be a theatrical thrill that floods the senses.

Fuerza Bruta is back and it is better then ever! Wayra forces the audience to stand become part of a world like they have never seen before. This new experience brings everyone’s favorite acts from the last Fuerza Bruta and mixes it with complete new ideas as well as live band. This is a show that seriously CANNOT be missed.


Wayra began performances at the Daryl Roth Theatre (101 E. 15th Street, NYC) on Friday, June 27, 2014. and The official opening night for Wayra is set for Tuesday, July 8, 2014. Fuerza Bruta is here to stay folks, this production is flawless.

Review By: James Russo
Photos By: Brian Harkin

Read More

Atomic @ The Acorn Theater @ Theater Row

Dreamingful Productions and Graymatter Entertainment’s “Atomic”, book and lyrics by Danny Ginges and Gregory Bonsignore, directed by Damien Gray was a very fascinating look at some of the key physicists and inventors of the Manhattan Project. Refreshingly, “Atomic” was not a political stab against the creation of the atomic bomb but a very historical look into “the idea that shook the world.”

The musical began with a man and woman traditionally seated in the Japanese fashion across from each other conversing. The lack of foreign language translation was a more dramatic undertone for the upcoming sound of an atomic bomb paired with flashes of light behind nearby sliding doors. This was a unique opening to J. Robert Oppenheimer’s (Euan Morton) seated figure protesting the interrogation of a Congressional Committee for what is presumed as war crimes. Euan Morton depicted Mr. Oppenheimer as a sarcastic jokester. Morton was met with many laughs and an entertaining Oppenheimer came to life as the narrator of the creation of the atomic bomb.
Oppenheimer introduced the main scientist in the atom bomb’s creation: Leo Szilard (Jeremy Kushnier). Szilard, a Hungarian physicist and inventor (conceived the nuclear chain reaction, nuclear reactor and the electron microscope) was depicted as a passionate scientist by Kushnier. An all-work and no-play personality came through in Kushnier’s performance. However, while Kushnier began with a great and believable Hungarian accent that even carried through to his music—about halfway through the play he lost it. The accent gave him a foreign flare that deepened his character’s non-American presence. It is a shame that he could not maintain it.

Szilard’s wife, Trude Weiss Szilard (Sara Gettelfinger) was a physicist turned medical doctor whose only true love was her husband. Gettelfinger’s rendition of a brilliant wife who simply misses her more passionate about his work husband was very relatable. Mrs. Szilard plays off of Leo to aid him through is struggles of deciding to defy Lord Rutherford’s theory that the atom cannot be split, his fight to return to the Manhattan Project after being fired and his decision to begin a petition to the President not to drop the atomic bomb. She comfortably presented Leo with a moral compass that he returned to. Both Gettelfinger and Kushnier had good chemistry together and it was not a stretch that a marriage such as theirs would survive husband and wife rarely seeing one another.
A colleague of Szilard’s was Edward Teller (“the father of the hydrogen bomb”), played by Randy Harrison. Harrison brought Teller’s character to life as a proverbial scientist that doesn’t know what to do with the ladies. His few funny lines about Leona Woods’ brilliance and the minds of other physicists on the project possibly giving him a complex was entertaining. As Teller, Harrison had great chemistry with the cast and his Hungarian accent made for more laughter and reprise from the heavy subject of the atomic bomb.

An equally well known physicist, Enrico Fermi was hilariously played by Jonathan Hammond. This Italian-American physicist (awarded Nobel Prize in Physics in 1938 and worked on Chicago Pile-1 first ever nuclear reactor) was presented as a scientist/playboy with a possibly unhealthy obsession with bedding each woman aside from his wife; whom he describes as your oldest set of woolen pajamas that at night you wonder why you’ve kept all these years. His accent reigned true throughout his performance and he never lost his distinctly Italian flare and flamboyant suits. Each time Hammond entered the stage the audience was ready for a good laugh.

The liaison of the Manhattan Project to General Groves was the American physicist (awarded Nobel Prize in Physics in 1927, discovery of the Compton Effect) Arthur Compton (David Abeles). Abeles seemed awkward at times and it was almost as if he was unsure what to do with his arms. This may have been an artistic flare to show the awkward nature of a physicist but if it was it fell a bit short. His booming voice created a stage presence for him, however, it would have been much more dynamic if he gave his character a more confident posture.

Working closely with Arthur Compton and much to Fermi’s disbelief is the non-secretary but brilliant physicist (famous for utilizing Geiger counters in testing Chicago Pile-1 and solving problem of xenon poisoning in Hanford plutonium) Leona Woods (Alexis Fishman). Leona has a few funny lines and represents the very rare woman in a man’s profession. Holding her own with the men, Fishman portrays Leona as a somewhat sarcastic and down-to-earth physicist. Her Midwestern accent also carried on throughout the performance and she was able to distinctly change her character’s likeness whenever she played an ensemble member.
Harrison’s depiction of Paul Tibbets seemed a very accurate rendition of a recruit turned Colonel (retired as a Brigadier General) who eventually dropped the atomic bomb on Hiroshima from the Enola Gay. With a very entertaining song illustrating his “f*ck em’” attitude, Tibbets’ decision to drop the bomb on “numbers” rather than people was very believable.

Mae (Grace Stockdale) and Fritz (James David Larson) seamlessly integrated themselves with the cast as secretaries and “no-name” scientists. Stockdale and Larson also participated in the ensemble and maintained strong stage presence throughout the performance.
Scenic designer Neil Patel and lighting designer David Finn worked very well together and gave the cast artistic props and dynamic lighting for their performance. However, Philip Foxman’s music and lyrics fell short of expectations as each musical number began to sound like the last. In addition, sound designer Jon Weston did not take into account the small size of The Acorn Theater. Most of Foxman’s lyrics were drowned out by his music.

The inventor’s regret and inner turmoil regarding their decision to back the dropping of the atomic bomb on innocent lives was also very well done. The only complete mishap of the play was the actual dropping of the bomb. Strangely, Szilard came on stage and in a slow motion fight with stop-light strobes to oddly step on and hit the two beginning Japanese characters for an uncomfortable period of time. The audience giggled at Kushnier’s frozen and slow-motion faces. There are much more dramatic approaches to illustrating a bomb that killed hundreds of thousands within a minute.
This non-political performance presented the debate on whether or not to drop the bomb in a very objective light. The audience was even reminded of America’s “C Plan” to drop the bomb on an uninhabited city to demonstrate the power of the United States rather than killing innocent lives. Oppenheimer’s vehement rejection of this option as the bomb had the possibility of not detonating was very accurate. Conversely, it was not a stretch to think that Leo Szilard would not only contract cancer from his work with radiation but would be sickened by the sheer power of the bomb he helped create.

In closing, if you have a healthy respect for history and a free two hours and fifteen minutes on a Sunday take some time to see “Atomic.” You’ll certainly have a few laughs and walk away knowing just a little bit more about the scientists that changed the world forever.“Atomic” is playing at Theater Row’s The Acorn Theater Tuesday, Wednesday and Thursday at 7pm, Friday at 8pm, Saturday at 2pm and 8pm and Sunday at 3pm and 7pm from Saturday July 12thto Sunday July 20th.
Review By: Alex LipariPhoto By: Carol Rosegg

Read More