King Lear @ The Polonsky Shakespeare Center @ The Theatre for New Audience

King Lear presented at the Theatre for a New Audience is an intimate, minimalistic portrayal of the Shakespeare classic. Directed by Arin Arbus, whose other Shakespeare credits include, Much Ado About Nothing, The Taming of the Shrew, and Othello, creates a stunning world in which the audience is given only the barest essentials of a set, leaving them able to concentrate on the actors’ imaginations.
Michael Pennington(King Lear) shines, his abundant work in Shakespeare clear as he commands the space around him. Both powerful in his reign as King of Britain and pathetic as his madness takes over his body, Pennington straddles the inconsistencies of his character with grace and ease. Opposite in the roles of his daughters, Rachel Pickup(Goneril), Bianca Amato(Regan), and Lilly Englert(Cordelia) play their parts well. Rachel’s sexual manipulation compliments Bianca’s more political stance and together they are a force to be reckoned with as they plot to bring their father down and claim more power. Unfortunately for them, they sink their claws into the same man and in the end are done in by their own thirst for power and misplaced love. Lilly is the loveliest of the sisters and portrays her part perfectly. Innocence shines through her consistently. Her love for her father is the realest emotion among the women and she holds on to it with everything she is.
Startling performance by Jake Horowitz as the Fool. His energy onstage was a joy to watch. Both comical and wise, joyful and in the end suicidal, Jake navigated a stage full of seasoned actors with a drive that was surprising in one so young. Chandler Williams(Edmund) is a more passive villain. His actions dictated by selfishness rather than pure evil. I found his performance a tad lackluster. Jacob Fisher(Edgar) while bland at the start of the play found his own when he took on the crazed role of Poor Tom after being set up by his brother. On the lam and running from a father that believes wanted to kill him, Jacob adopts the role of poor beggar but falls into the good graces of King Lear and eventually is responsible for leading his blinded father to safety after his brother frames their father for treason.
Other talented cast members include Timothy Stickney(Kent), Terry Doe(King of France), Mark H. Dold(Oswald), Christopher McCann(Gloucester), Saxon Palmer(Cornwall), Graham Winton(Albany), and Robert Langdon Lloyd who all stood out in the parts as excellent speakers and actors. The ensemble includes Benjamin Cole, Jason Gray, Jonathan Hooks, Patrick McAndrew, Ryan McCarthy, Jon Stewart, Jr., Ian Temple, and Ariel Zuckerman.

As with all of Shakespear’s tragedies, this play contains several messages for the audience. Greed, power seeking, lust are just a few things that condemn the players and lead to the demise. Very few players escape death by the end of the play and the sins of those involved are to blame for the early demise of Cordelia and the consequent death of her father, Lear. Reunited briefly, they are only granted a moment respite before Edmund’s assignation order is completed leaving Lear to die of a broken heart after he carries the still body of his youngest onstage. The set design was by far the most interesting tech element, with lights and sound design rounding out the feel of the play. The costumes I found to be incredibly distracting, as they didn’t fit the time that the play was clearly set in. Lastly, the music provided by Michael Attias, Pascal Niggenkemper, and Satoshi Takeishi was gorgeous.
King Lear runs at The Theatre for a New Audience in Brooklyn, NYC until May 4th, be sure to pick up your tickets here.

Review By: Aziza Seven

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Les Miserables @ The Imperial Theater

OH GOD! Go see it!I’m sorry – that was blunt and forceful. In all seriousness now, GO SEE IT! Why haven’t you bought your tickets yet? Go ahead, do it now, don’t worry, I’ll wait. The Imperial Theatre has been taken over by the barricades of 19th century France. Les Misérables, the classic musical based on the famous book by French author Victor Hugo, has taken charge and once again brought to life the classic story that theatre lovers everywhere have come to know and cherish. Set in the bowels of 19th century France and the impending second revolution, Les Misérables (or Les Miz for short) follows the story of the benevolent Jean Valjean (played by Ramin Karimloo) as he travels through life narrowly escaping the grasp of his counterpart, the law enforcing Javert (played by Will Swenson). Covering a span of nearly 20 years, Les Miz shows us the underbelly of the raw streets of France and the hell its citizens go through just to survive.

Ramin Karimloo leads the cast as Jean Valjean, with an incredible presence and air, if it’s not to bold to say he does original Colm Wilkinson proud. Karimloo was benevolent and beautiful. The highest moment in the show belonged to his rendition of “Bring Him Home”, a powerful ballad sung to Marius in the desperation of battle at the barricades. It was a true moment in which the audience knew something great was happening. It brought the height of desperation and humility. Caissie Levi brought an incredible grace to Fantine, the down-on-her-luck mother of young Cosette. Levi was eloquent, bringing new life into this tragic character. “I Dreamed a Dream” sounded like nothing else, both powerful and heart breaking. Andy Mientus as Marius and Samantha Hill as Cosette were complimentary as our young lovers. Mientus was innocent and quite enjoyable to watch, instantly loved and respected from the moment he walks on stage. Hill was gracefully naïve and brought a wonderful softness to this raw world. As adorable the young lovers were to watch, Kyle Scatliffe was a nice contrast of empowerment as Enjorlas, the brave rebellion leader. A stand out moment was not only his death, but the lighting of his lifeless body hanging off the back of a cart; so incredibly sad, with a scent of hopelessness. Nikki M. James plays a gripping Eponine, the tough, street-wise, back alley girl, who harbors a secret love for Marius. Her rendition of “On My Own” is another high point in the production and, oh gosh, was it heart wrenching to see her pass to a beautiful “A Little Fall of Rain”. Joshua Colley is wonderfully mischievous as Gavoroche, the king of street rats. But please, bring “Little People” back into the fold. With a Gavroche as adorable as Colley the audience pleads for more of him. Another highlight, in a glorious production was Will Swenson and his rendition of “Stars”. If Valjean is known for his benevolence, then Javert is known for his black and white loyalty to the law. He is a stoic character and Swenson plays him in a fine manner. And of course, who could forget the Thenardier’s! Played by Cliff Saunders and Keala Settle, Thenardier and his feisty spouse are larger than life and properly ridiculous scene stealers. Saunder’s Master of the House is a wonderful moment that leaves you wanting to join the debauchery occurring on stage. It’s a crowd pleaser and it is not hard to see why. Les Miz is such a classic, well-known musical. Aspiring musical theatre aficionados have cherished it for years and will continue to do so. This revival is a wonderful addition to a famous legacy. Filled with beautiful moments and deep sincerity, it’s safe to say that Cameron Mackintosh has done a splendid job. The set was remarkable, setting Broadway caliber to a new height – with the creative use of beautiful projections that deserve special mention. The lighting was raw, with stark beams of light outlined in smoked used for special effect.

The whole experience was raw, dirty, urban, real, and incredibly astonishing.

Review By: Morgan Mack
Photos By: Matthew Murphy

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Heathers: The Musical @ New World Stages Stage 1

Hold onto your hats 80’s cult movie fans! A new musical adaptation of your favorite 80’s movie Heathers has been turned into a stage musical and is the must see Off-Broadway production of the 2014 season! Filled with memorable songs, a hilarious script and ridiculously talented cast, Heathers: The Musical restores your faith in the theatre world’s ability to take a known movie title and transfer it into a success stage production.

Heathers: The Musical, which features a book, music and lyrics by Kevin Murphy and Laurence O’Keefe, is essentially your Mean Girls of the 1980s. Its September 1989 at Westerberg High School and the entire school is being terrorized by the “Heathers”. These girls manage to get away with just about anything until newcomer J.D. Dean comes along and decides to put them in their place. With the help of Veronica Sawyer, together J.D. and Veronica help destroy the high school society’s they know only to learn even more things they wish they never knew in this hilarious new musical loving ripped off of the screenplay of the same title by Daniel Waters. There is major credit that needs to be given to Murphy and O’Keefe who have just landed an A plus across the board when it comes to the score and script with this production. The focus is clear. The piece moves very well and you never find yourself waiting for another musical number. Oh, about the musical numbers. They deliver memorable song after memorable song with a score of A plus tunes. You can tell O’Keefe has put his classic charming touch onto the songs with it being about something ridiculous only to come across with a lyric that smacks you right in the face. “You are the only right thing about this broken world” sticks out in my mind.

Barrett Wilbert Weed stars as Veronica Sawyer and gives a stand out performance with strong acting choices and solid vocals throughout the entire piece. She is a knockout and clear force of talent. Weed wins you over from the very beginning as she narrates her journey from average girl to Heather sidekick to God or Gods unwilling assistant as her and J.D. takes matters into their own hands over time. Speaking of, J.D. Dean played by Ryan McCartan is a strong force to be reckoned with as the productions leading man. He makes bold acting choices throughout the pieces and also enjoys some really beautiful moments throughout the score. Weed and McCartan share a beautiful chemistry on stage you can’t help but love.

The Heathers, played by Jessica Keenan Wynn (Heather Chandler), Elle McLemore (Heather McNamara) and Alice Lee (Heather Duke) are over the top ridiculous in all the ways you want them to be. From their first entrance to songs like “Candy Store”, they are your quintessential plastics of high school. They’re so evil in what they do; you can’t help but love them. Evan Todd who stars as Kurt and Jon Eidson who stars as Ram deliver hilarious performances as your typical high school jocks. They’re over the top choices and ridiculous antics show just how far we’ve come since the 1980’s but the nonsense we can still manage to get away with in high school.

The ensemble is filled with all of your typical high school stereotypes (Nerds, Goth, Cheerleaders) that also double as adult roles throughout the piece. The ensemble is consistently present but not in the way where they become bothersome or distracting. They only add to the story with their vocals and help bring to life some of the largest and most vibrant numbers of the entire production.

Heathers: The Musical not only scores when it comes to the production’s talent but also it’s technical elements. Timothy R. Mackabee provides a simple and yet adequate scenic design that allows for characters to move freely about and doesn’t leave us crammed for when it comes to the bigger production numbers. Amy Clark gives us a beautiful costume design and Jonny Massena’s sound design is spot on when it comes to not only mixing in the band with the vocals but for the special cues as well. The be all to end all of the technical elements is the ridiculous lighting design provided by Jason Lyons. His lighting designs shines (No pun intended) as bright as the stars themselves or even brighter as he hits you with cue after cue of rolling effects, beautiful mixes and fantastic marks.
Do yourself a favor and make sure to get to experience Heathers: The Musical now in performances at New World Stages. It will restore your faith in musical theatre film adaptations but more importantly, it will restore your faith in theatre. Heathers not only brings to life a hilarious cult movie on the stage but an important topic in society with youngsters and how we define ourselves. While I’ll let them be sure to teach you everything you need to know, all you need to know from me is that like the anthem of this production, it is Beautiful.

Review By: Chris Luner
Photos By: Chad Batka

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Beyond Therapy @ The Beckett Theatre @ Theatre Row

Christopher Durang’s Beyond Therapy finds its way back to New York City this spring at the Beckett Theatre. The Actors Company Theatre (TACT) has revived this piece for the first time on a New York City stage in thirty-two years. Though a laudable effort to bring back a piece from a writer who has had recent success and popularity, Beyond Therapy should, perhaps, have been left in the vaults.Beyond Therapy is a story about two lost souls, Prudence and Bruce, on the Upper East Side looking for their special somebody in 1982. Both are in therapy and have decided that the personal ads are the best chance they have. They meet and do not get along, but when re-encouraged to try the personal ads, they find each other again. This leads them to take a bit more time to get to know one another and in the end, to start a relationship. There are some complications though. Prudence’s therapist Stuart has already slept with her and is incredibly jealous of another man coming into the picture. His inadequacies are laid bare for all to see in his often role reversed sessions with Prudence, culminating in discussions about his problems with premature ejaculation. Bruce’s therapist Charlotte is absent-minded enough to give Bruce advice that she may have meant for another. Deciphering that advice is hard enough with Charlotte forgetting common words and then losing her thoughts completely while trying to think of the word she missed. If all that is not enough, there is always Bob…Bruce’s live in lover. Did I mention Bruce was bisexual? All of this adds up to one crazy mess as the characters try to navigate through their daily relationships.Now delivered as a period piece, Beyond Therapy holds all the potential to be a relevant work for our time. The complications of third party dating connections, of complex relationships, of people in authority taking advantage of you or being just as lost as you; All of these ring true for audiences of a modern time, whether they are delivered through kitchy 80’s pop references or through every day persons. Unfortunately, in order to be relevant to any audience, you must first connect with them. Beyond Therapy turns everything it touches to unabashed satire. This makes for some amusing comic punch lines while leaving any connection to actual life or to its characters at the door.Content aside, the cast tries with all their might to inject some real life and flair to their characters. Liv Rooth as Prudence and Mark Alhadeff as Bob will the audience to want something for their characters. It is obvious that they did a great deal of work to add depth to characters that have little by writing alone. Their performances are solid and nearly succeed in buying our investment, though sometimes to the detriment of comedic timing. Rooth’s outbursts are hilarious, however; truly well set up and executed.The therapists, played by Cynthia Darlow (Charlotte) and Karl Kenzler (Stuart) are the source of the running gags and antics. Their over the top performances and often child like responses are exactly what the satire needs to elicit hearty laughter from the audience.The flow of the show is a delight, with credit going mainly to Scott Alan Evans. The scene changes, delivered like campy ‘60s TV sitcom dance breaks, are inspired and are a pleasant distraction while also keeping the audience engaged in the action.Despite some truly thoughtful performances and imaginative directing, in the end the show is nothing more than cheap laughs that ring hollow just past the doors to the theater.

Review By: Paul Morin
Photos By: Marielle Solan Photography

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Rocky @ The Winter Garden Theater

“And now for the main event!”

Whether you are a hardcore fan or have never heard of the movie, ROCKY on Broadway is a must see!
Somewhere in downtown Philadelphia, a down-and-out fighter named Rocky Balboa struggles to stay on his feet. But when the chance of a lifetime comes along, he takes his best shot at becoming a champion… and his last shot at finding first love. The iconic underdog story ROCKY has inspired an innovative new stage production, brought to extraordinary life by a five-time Tony Award®-winning creative team, including director Alex Timbers (Peter and the Starcatcher), songwriting team Lynn Ahrens and Stephen Flaherty (Ragtime), and book writers Thomas Meehan (The Producers) and Sylvester Stallone (Rocky, the Oscar®-winning Best Picture).

Any ROCKY fan will agree that Alex Timbers direction does the film justice and far exceeds expectations. He transfers the movie into a fantastic three dimensional realization, breaking the “fourth wall” left and right. Timbers also includes the obligatory training montage in the most clever and seamless way possible. The music and lyrics by Ahrens and Flaherty keeps a steady thread throughout the piece, successfully folding in classic ROCKY themes as if they were simply part of their own score. The piece as a whole however is not as lush or compelling as some of their other works.
Andy Karl as Rocky Balboa is quite possibly the hardest working man on Broadway. He brings Rocky to life, infused with anticipated Stallone inspired bites while also brightening up the character with Karl’s own flare. His physical performance seems to equate to the stamina needed for competing in an Ironman Triathlon. His super hero-like showcase is most obvious in the scene where Karl is belting out some impressive vocals while easily doing pull-ups. This combination of mental, vocal and physical demands would bring most actors to their knees, but it highlights Karl’s strength and talent.

Two other performances to take note of are Terance Archie as Apollo Creed and Margo Seibert as Adrian. Archie oozes with charisma as the arch nemesis Apollo. His portrayal is perfect, leading us to hate Apollo while we smile uncontrollably each time Archie’s rich voice sings or speaks. Margo Seibert’s Adrian has a wonderful character arc; the more that Adrienne grows in the storyline, the more Seibert’s vocals shine with the reflection of her character. Archie, Seibert and the rest of the cast ignite the streets of Philadelphia with fiery passion.
The set, designed by Christopher Barreca, is everything that we have come to expect from a big ticket Broadway show. The audience is drawn into the day to day life of each character with very detailed and intricate sets. We see Rocky’s worn wallpaper, fish swimming in a wall of aquariums in Adrian’s pet shop and Creed’s sleek mirrored business office. In the end, the set transforms to draw the audience into the action of the boxing ring. This set allows the audience to develop an intimate connection with each character and then leaves you feeling as if you didn’t just see a Broadway show, but that you were actually part of a boxing event! It is ingenious, not only in appearance but in functionality.

The fight choreography in this piece is probably the most impressive you will ever find in any Broadway show. Even sitting in the front row it is impossible to see “staged” punches. All of it looks authentic and is executed like a perfectly synced ballet. It is so real that the audience can’t help being swept into cheering for their favorite contender.

This tremendous spectacle brings the classic movie to life in the most sensational way possible. ROCKY will leave you feeling exhilarated and wanting more. Don’t miss it!

Review By: Staci MorinPhotos By: Chad Batka

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Tales from Red Vienna @ New York City Center Stage 1

Travel back in time to Vienna to experience a wonderful story filled with comedy, hope and romance in the world premiere production of Tales From Red Vienna at New York City Center’s Stage 1 produced by Manhattan Theatre Club.

Tales From Red Vienna is written by David Grimm and tells the story of a young woman, Helena, who finds herself living a double life. After her husband’s death, Helena does what she must to keep herself functioning in society. However, how society views her as compared to how her friends view her are two entirely separate looks. However, when Bella Hoyos shows up, he has the chance to ruin everything and expose Helena for who she actually is.
Nina Arianda stars as Helena Altman and once again proves herself on the New York Stage. Arianda, best known for her Tony Award winning performance in Venus in Fur, captivates the audience from moment one and brings forth an instant connection we can all make. She is outstanding and she hits every emotional spectrum throughout the piece and brings to life the young girl trapped in a life she clearly never planned for. Michael Esper stars opposite as the lovable Bella Hoyos who you can’t help but fall for. While at first he may appear slimy in his ways, hang in there. Esper proves not only himself but the character in the end showing that there is more to people than we see at first.

Tina Benko stars as the hilarious Mutzi von Fessendorf who can’t seem to get enough of life despite having it all. She proves as a comedic force throughout the piece with her consistent over the top appearances. Speaking of comedy, Kathleen Chalfant, who stars as Edda Schmidt, will have you laughing nonstop during her time on stage. From consistently drinking to her hilarious one-liners, Chalfant makes most of her time on stage bringing the audience to joyous moments repeatedly. Lucas Hall makes the most of his minimal time on stage starring as Karl Hupka. During his short time on stage, his character brings to life someone the audience not only grows to dislike but doesn’t want to see as he looms over the production making statements and gestures we unfortunately know people deal with in real life relationships daily. Michael Goldsmith stars as the adorable Rudy Zuckermaier. Despite his short appearance as well, his moments on stage matter in the sense of relationships and a sense we have all felt before; hopelessness. He is an important stepping-stone in this show’s gradual rise to it’s ending.
The show is performed in three acts with two intermissions. You will be transported to Vienna in the 1920’s through the scenic design provided by John Lee Beatty and the costume design by Anita Yavich. Peter Kacorowski’s lighting design plays perfectly off the scenic and costume elements given to him and create beautiful pictures throughout much of the piece. Rob Milburn and Michael Boddeen provide a great sound design with fantastic music that appear consistently throughout the production.


One may never know if the Tales From Red Vienna are true or not. While a tale is defined as a story that is imaginatively recounted, I think the recounting here is in what is the most important things that matter in our every day lives. People matter. Connections matter. What we do and what we do not do matters. But most importantly, love matters.

Review By: Chris LunerPhotos By: Sara Krulwich

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No Exit @ The Pearl Theater

“Hell is other people” is a line from Jean-Paul Sartre’s No Exit which sums up the entire plot and feeling of the play itself.The Pearl Theatre Company presents a translation of Sartre’s No Exit written by Paul Bowles, which is directed by Linda Ames Key, and starring Jolly Abraham (Inez), Sameerah Luqmaan-Harris (Estelle), Bradford Cover (Cradeau) and Pete McElligott (Valet). The show looks at the idea of Hell being just a room that you are trapped in…with other damned souls picked specifically to push your buttons.It’s apparent right off the bat that all of the actors are highly talented and fully invested in their characters. All of the characters are distinctly unique from each other, from the way they stand and move to the cadences and rhythms of each of their speeches. Abraham (Inez) is very grounded and moves like a cat stalking her prey while always having fire in her voice. Luqmaan-Harris (Estelle) flits around the stage with an affected upper class quality to her voice. Cover (Cradeau) is loose and lugubrious with his body and sarcastic and unaffected in his speech. McElligott (Valet) makes good use of his limited stage time with a distant, no nonsense, clipped quality to his voice and physicality. One of the main problems of the play comes from the writing. Sartre was a philosopher as well as a playwright, so many of the characters lines end up being long lugubrious philosophical monologues, or long monologues examining life back on earth. While this is certainly part of style of the play, it made the show feel a lot longer than its relatively short length of 95 minutes. Things would considerably speed up and became more enjoyable whenever the characters were allowed to play with each other. But it depends on what we go to the theatre for. If it’s for entertainment, No Exit is a bit heavy. But if it is to examine our lives and see them reflected in a thought-provoking way, then No Exit is the right show to go see.Part of the heaviness of the show comes from the very quick shifts of atmospheres and emotions. One minute, the characters will be flirting with each other, then they would be screaming and angry and then suddenly they were laughing once more. The shifts were a bit jarring, but that could have been the point the director Linda Ames Key, wanted to make. The intimate space of the theatre made the audience really feel each emotion, and felt very claustrophobic. But that’s what the characters are feeling as well.The additional crew of No Exit includes: Technical Director and Production Manager Gary Levinson, Production Stage Manager April Ann Kline, Interim Artistic Director and Dramaturg Kate Farrington, Sound Designer Jane Shaw, Scenic Designer Harry Feiner, Lighting Designer Ann G. Wrightson, Costume Designer Devon Painter and Fight Director Rod Kinter.If you want to see a show that really makes you think, No Exit is certainly not something you should miss. It will only be at The Pearl Theatre Company until March 30th.

Review By: Chrissy Cody
Photos By: Al Foote III

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All The Way @ The Neil Simon Theater

Bryan Cranston delivers a polished performance of presidential politics in Robert Schednkkan’s All the Way!BRYAN CRANSTON, the Golden Globe® and three-time Emmy Award®-winning star of “Breaking Bad,” makes his Broadway debut in an electrifying portrayal of one of the most controversial, ambitious and exciting presidents of the 20th century: PRESIDENT LYNDON BAINES JOHNSON.This STRICTLY LIMITED ENGAGEMENT of the gripping and suspenseful new play from Pulitzer Prize-winning playwright Robert Schenkkan features a company of 20 distinguished stage actors playing some of history’s most dynamic figures: J. Edgar Hoover; Martin Luther King, Jr.; Governor George Wallace; Senator Hubert Humphrey; Secretary of Defense Robert J. McNamara and LBJ himself.1964: A pivotal year in American history—a landmark civil rights bill was passed, America began its involvement in Vietnam…and one man sat at the center of it all, determined to lift the country out of the ashes and rebuild it into The Great Society—by any means necessary. Hero. Bully. President. He played whatever part it took to win the day. It’s not personal, it’s just politics. Don’t miss Bryan Cranston in the theatrical role of a lifetime, in the play about our lifetime. STRICTLY LIMITED ENGAGEMENT now playing at the Neil Simon Theatre.Cranston makes his Broadway debut look like a twenty time Tony Award winner performance. He displays all of the arrogance, charm, charisma, and fiery passion of a politician with ease. The rest of the twenty four cast members also give exceptional performance, most of them playing multiple roles. The visuals of the play may create a struggle for some audience members. There are multiple scenes in various settings and many shift quickly or blend together, however there is only one set piece that remains on stage for the majority of the play. The scene locations are typically indicated by a screen projection, but not consistently. Some of the projections are pictures of the area the scene is taking place in while others state in written form the location and time period. Some of the elderly patrons (as well as some younger ones) were having difficulty following along. History teachers, drama teachers as well as history buffs and actors will love this piece. Not only does the story cover vital turning points in American history with a slew of historical figures, but there is also an in depth study guide available on the show’s website (www.allthewaybroadway.com). This study guide has articles, activities, and other teaching tools to help teach students about history around 1964 and also how history can be incorporated into drama.Though this is a historical piece and you may gain some knowledge of American history, watching this show does not feel like a three hour history lesson. It is faced paced and packed with real emotions. While the storyline circles some deep, haunting, historical topics, it is presented with a bushel of laughter and stellar performances.

Review By: Staci Morin
Photos By: Evgenia Eliseeva

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Stockholm @ 59E59 B

Stockholm both a place and a state of mind. The play by Bryony Lavery and directed by Nick Flint is an intellectually stimulating look at abusive relationships and the devastating affects they will have if perpetuated.

Christina Benne Lind plays Kali, a wonderfully passionate woman bent on enjoying life to the utmost. Without once losing the intensity of a woman deeply in love, we see her passion become raging manipulation and abuse towards Todd played by Richard Saudek. A game which they have played for years, wherein she become jealous of some past lover of his, convinces herself he is going to leave her and then seeks to destroy his will. The story is old, domestic abuse. It is a rarity though, in which we see it displayed from this perspective. Richard’s transitions from man in love to caged animal is both seamless and heartbreaking. Christina and Richard sizzle onstage. Their chemistry and tension so clear you can see it shimmering between them, a chord that tightens, both in love and inevitably, hate.

Typical Bryony Lavery style, the script is static. Jumping between third person narratives and dialogue, it takes a moment for the audience to understand who the story is about. A ploy that is both confusing and yet, highly stimulating. This is clearly not just a story about a couple, but rather an inside glimpse into an abusive household and how it will affect the next generation.
Natalie Lomonte’s choreography compliments both the actors abilities and the script. A particularly beautiful piece near the end of the play is breathtaking to watch as we see this couple, whom we have come to know, start their abuse cycle all over again.

Nick Flint’s direction smooths over much of Bryony’s static style making the show relatable to an audience. I found the actors speaking in tandem to be a bit disconcerting because they were not completely in sync with each other, a direction I understand thinking back on the show, but one that confused the audience during the production.

Crew includes, Techincal Director Lou Albruzzese, Composer Estelle Bajou, Sound Designer Janie Bullard, Scenic Designer James Dardenne, Lighting Designer Mike Rigs, and Costume Designer Kenisha Kelly.

Both erotic and disturbing, Stockholm is not a show to be overlooked, but a piece to be savored and discussed. This play is only running through March 29th, so be sure to get your tickets here.

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Hand To God @ The Lucille Lortel Theatre

Looking for a riotous and raucous night of religious slander and sock puppets? If so, Hand to God is the place to be! Jason (Steven Boyer) is going through a difficult time in his life with the death of his father. Lucky for him, he has Tyrone, his sock puppet, to help him through it. It becomes clear quickly that this may not be lucky at all. Between offending, Jessica (Sarah Stiles), the girl Jason is interested in and straining the relationship with Jason’s mother Margery (Geneva Carr), Tyrone causes Jason continual heartache. Jason hopes to end his friendship with Tyrone. Tyrone, however, has other ideas. As the story unfolds, will the local bad boy Timothy (Michael Oberholtzer) get pushed too far? Will Pastor Greg (Marc Kudisch) be able to handle what looks to be a possession? Find out with this wonderfully offensive comedy that pushes the envelope of what might be appropriate in a Trey Parker/Matt Stone style.Robert Askins’ script delivers humor on many levels. His writing enraptures the audience, grabbing laughs like a shopping spree while simultaneously connecting the audience with all of the characters tragedies. He is helped in this enterprise in no small way by the extraordinary cast. Kudisch delivers the axiomatic Pastor with ease, giving us just the right hints into his deeper motives. Oberholtzer is perfectly believable as the confused, love struck bully. Stiles execution of dry humor makes for a hilarious counterpoint to the high chaos around her while Carr takes that volatile energy to new heights with her emotional tirades.Boyer delivers both Jason and Tyrone with frightful ease. His incredible versatility is simply awesome, a flawless Jekyll and Hyde act. He delivers hilarity and horror with literally the same breath, an elite talent.The production deserves its accolades as well. Kudos must be given to scenic designer Beowulf Boritt and lighting designer Jason Lyons. The set is peppered with amusingly appropriate religious propaganda at the start and transforms into a hilarious setting for the second half of the show. The poster over Jason’s bed is especially enjoyable. The lighting effects as well as set design are fully believable and help draw the audience even further in.All in all, you will not be disappointed with Hand to God. It is a road down insane hilarity that should not be missed.

Review By: Paul Morin
Photos By: Gerry Goodstein

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Sex Tips for Straight Women from a Gay Man @ The 777 Theater

Sex Tips for Straight Women from a Gay Man was written by Dan Anderson and Maggie Berman. First published in 1997 – before TV shows and films such as “Will and Grace,” “Sex and the City” and My Best Friend’s Wedding reflected the straight girl/gay guy friendship in mainstream pop culture; and years before the “Queer Eye” guys introduced the world to the notion of better living through gay advice – the book instantly became a national best-seller. Now it has hit New York City with a live interactive bang, leaving the audience, laughing, full of knowledge and thoroughly turned on!
This new comedy is set inside a local university auditorium, where the featured event is an interactive discussion with the author of Sex Tips for Straight Women from a Gay Man. With the help of Stefan, a hunky stage assistant, author Dan Anderson encourages the shy and studious moderator of the event, Robyn, to follow her dreams while following his tips. Based on the international best-selling book, this world premiere production welcomes audiences into a fun-filled world of foolproof moves and insider advice that could only be culled from that most insightful of individuals: the gay man.
The cast includes Jason Michael Snow (Book of Mormon, South Pacific, Saved) as Dan, Lindsay Nicole Chambers (Lysistrata Jones, Forbidden Broadway, “Submissions Only”) as Robyn, and Andrew Brewer (Cougar The Musical) as Stefan. These three drag the audience in and capture their undivided attention for a hysterical ninety minutes. Chambers is adorably awkward, Snow is quick, sharp and incredibly sassy and lastly Brewer is sexy as hell. This stunning talent combined with the lighting, sound, audience participation, awkward sex talk, and a strip tease on the moon leaves the audience begging for more.


Sex Tips for Straight Women from a Gay Man is now playing Off-Broadway at The 777 Theater. This show is highly encouraged for audiences over the age of 18, gay, straight, married or single, its a great show for everyone.
Review By: James RussoPhotos By: Jeremy Daniel

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The Architecture of Becoming @ The New York City Center Stage II

A jaunt through history is a piece of cake for The Architecture of Becoming, a delightfully woven story that tells the tale of the New York City Center through the artists’ eyes of those looking in from the outside, longing to be a part of something more. The story is an ode to those seeking inspiration and who, through fate or determination, have found their way to New York City to find it. We watch each of these tales, written in turn by five playwrights, as they pass the baton of history from one to another with perfect precision. The romance of New York is tarnished in the eyes of each of the characters by the difficult decisions that each is faced with. This struggle demonstrates the respect the show has for the true artists of the city. The show’s target audience demographic seems a bit narrow but the flowing timelessness that it presents allows a connection to a broader base of people.The cast delivers a delightfully, ever changing performance. Stand out performances by all five of them can be seen throughout the show. Vanessa Kai’s stoic Tomomi Nakamura drags at the heart strings while later roles throw the chains of “Gaman” away and reveal a new side of Kai. Christopher Livingston hands us the keys to his soul as a graffiti artist who longs to set the music free. Jon Norman Schneider’s tragic Loco-Loco and Shun Nakamura are like looking into the eyes of our friends and loved ones in pain, while we are simply helpless bystanders. Danielle Skraastad, as the Grande Dame is precisely what her name implies – larger than life. Add to that her romantic roles and she puppeteers the audience for the evening. Claudia Acosta’s out of town innocence lends itself to new arrivals of the city. Her seemingly genuine disorientation allows the audience to join the ride.The playwrights, Kara Lee Corthron, Sarah Gancher, Virginia Grise, Dipika Guha and Lauren Yee, deliver a beautifully intertwined series of stories told through an abstract, inner viewing lens. The lighting and sound (Justin Townsend and Elisheba Ittoop respectively) act as the glue that ties these stories into one. A thoughtful and genuine piece, the Architecture of Becoming will possibly leave you inspired to tackle your own obstacles. At the least, it should allow you to appreciate the trials of those who give to their calling each day.

Review By: Paul Morin
Photos By: Carol Rosegg

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The Bridges of Madison County @ The Gerald Schoenfeld Theatre

Kelli O’Hara and Steven Pasquale enrapture the audience in The Bridges of Madison County.
The Bridges of Madison County tells the story of photographer Robert Kincaid (Steven Pasquale) and his life-changing, four-day love affair with Iowa farm wife Francesca Johnson (Kelli O’Hara). For those that are familiar with the novel or film versions of Bridges of Madison County, it may be a shock to see two people as young as Kelli’O Hara and Steven Pasquale in the roles of Francesca and Robert. This typical coming of “middle” age story is now given a new life and new depth with its younger leads. They are old enough to have experienced life but not yet passed their prime; giving a vibrant sensual energy to this piece.


Kelli O’Hara (The Light in the Piazza) steals hearts as the discontented housewife Francesca. Her sweeping vocals could rival those of angels and immediately engross the audience into Francesca’s soul. You care about her, her dreams, her past and her future. With every movement down to the smallest gesture O’Hara makes, she is Francesca. Her flawless performance is equally matched by Steven Pasquale. Pasquale decorates Robert with a rugged yet sincere charm delivered with swoon worthy vocals. Hunter Foster also gives a note-worthy performance as Francesca’s husband, Bud. Foster finds a delicate balance of arrogance, ignorance and love,giving Bud an inner complexity many actors might err to demonstrate.

Bartlett Sher’s direction for the ensemble is unique. They not only support the story as characters of the small Iowa town, but they remain the prying, peering community as they openly move sets and props. The ensemble is also seated on the side of the stage for the majority of the show. These elements allow the audience to empathizewith Francesca, feeling the fishbowl effect of 1960’s Iowa life.

Jason Robert Brown’s score lends an eclectic blend of music to Bridges. The styles range from songs with a true 1950’s quality, to a Joni Mitchell sound, to a Bluegrass Blues-like number and of course the contemporary Broadway style show stoppers. There are some majestic moments and highlights of this piece are arguably his best work, including “Falling Into You”, “One Second and a Million Miles” and “It All Fades Away”. However, there are also moments where the music or lyrics shackle the momentum of the storyline.
The Bridges of Madison County will make you fall in love with the love of Francesca and Robert and leave your heart aching for more. A must see for any hopeless romantic!

Review By: Staci Morin
Photos By: Joan Marcus

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Antony and Cleopatra @ The Public Theater's Anspacher Theater

Tarell Alvin McCraney reimagines Shakespeare’s classic in The Public Theatre’s production of Antony and Cleopatra. The play tells of the scandalous love affair between the Roman general Mark Antony and the Egyptian queen Cleopatra and how their blind passion leads to their ultimate downfall and deaths. Mark Antony, Octavius Caesar and Lepidus are the joint rulers of the known world. Anthony, however, is captivated by Cleopatra and neglects his duties to spend time with her in Alexandria. This scandal creates a rift between Antony and young Octavius Caesar. McCraney calls this piece “a hybrid, being both a tragedy and a history”. However, the audience may consider McCraney’s Antony and Cleopatra a hybrid for different reasons. The story revolves around a Roman general and an Egyptian queen, yet McCraney has chosen to transform Anthony into a French soldier and Cleopatra into a Haitian princess. The French speak with British accents while the Haitians speak in American creole. The setting is very ethereal with a blend of Calypso music filling the air amid the white draped fabric, Roman columns and pools of water. Haitian dancing, voodoo and some haunting vocals are also thrown into the mix. These choices present a lot of blurred lines, some of which meld brilliantly to captivate the audience and some with the dissonance of oil and water creating confusion for the average theatre goer.

Michael Thurber’s music under the direction of Akintayo Akinbode is a driving force in transporting the audience. It sets the scene, conjures panic, soothes and lifts spirits. Chivas Michael’s angelic vocals add great texture to stark scenes. Gelan Lambert’s choreography is intriguing and appropriate for the setting of the story, though it has some peculiar moments. Joaquina Kalukango is perfect as Cleopatra. She bewitches not only Mark Antony but the entire audience as well. Kalukango gives Cleopatra the perfect blend of charm, insanity and seductiveness. Jonathan Cake’s performance of Mark Antony was strong though he induced some awkward chuckles from the audience during vulnerable moments. Samuel Collings gives a breathtaking performance as Octavius Caesar. Collings evokes a true depth behind every glance and is fascinating to watch even in the scenes where he is not the center focus. Most of the other company members portray 2-3 different roles throughout the show and each delivers their characters with newly defined complexity. While McCraney’s Antony and Cleopatra may leave the audience with mixed reviews it certainly breathes a welcome freshness into this 407 year old classic.

Review By: Staci Morin
Photos By: Joan Marcus

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Stage Kiss @ The Playwrights Horizons/Mainstage Theater

Ever wondered at the chemistry onstage between scene partners? How two people who, perhaps, had never met, or were old lovers, or even interested in different genders than their characters are, could make an audience believe in the power of love through a kiss? Aptly named, Stage Kiss, the new play from Sarah Ruhl, brings the audience behind the scenes in this touching, life comedy of an actress thrust, literally, into the arms of an old lover when they are unknowingly cast in the 1930s melodrama and the consequences of their “showmance.”

She(Jessica Hecht) is an actress come out of retirement. Hecht, who was nominated for a Tony for her performance in A View From Here, continues to deliver. Equal parts narcissistic and compassionate, naive and wise, flighty and yet grounded, she pulls the audience in immediately with her nervous ticks and ethereal speech patterns. He(Nurse Jackie’s Dominic Fumusa) is a “still struggling” actor and the ex lover of twenty years. Domineering and passionate, Fumusa is the perfect sensitive bad boy until you realize, he’s just an overgrown child, a seamless transition that was effortless to experience. Their chemistry is so real, you find yourself drawn in to their romance even as you are left gasping for breath at the dialogue they are being forced to perform in the awful play they were cast in.

Helping them along is an ensemble full of rich, comedic characters that fill out the storyline. The amount of talent on the Mainstage Theatre stage was breathtaking. Featuring the talents of Todd Almond, Clea Alsip, Michael Cyril Creighton, Dominic Fumusa, Emma Galvin, Daniel Jenkins,
Patrick Kerr. Todd Almond’s original score accompanies the well written script creating a perfectly molded theatric experience.



Superbly directed by Rachel Taichman, crew includes Scenic Design by Neil Patel, Costume Design Susan Hilferty, Lighting Design Peter Kaczorowski, Sound Design Matt Hubbs, Hair & Wig Design Tom Watson, Choreography Sam Pinkleton, Production Stage Manager Cole P. Bonenberger.

Stage Kiss is running through March 23rd. Buy your tickets immediately!

Review By: Aziza Seven
Photos By: Joan Marcus

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Intimacy @ The Acorn Theatre @ Theatre Row

Thomas Bradshaw’s new play, Intimacy, directed by Scott Elliott, is a rocket ship of emotion. Both titillating, shocking, and thought provoking, Intimacy explores the hypocrisy concealed within a wealthy suburb and consequently the American middle class.

Three families, inter-connected, are forced into absurd clashes as each family becomes aware of the other’s sexual perversions, so to speak. The absurdly wealthy, albeit stingy, James (Daniel Gerroll) has found God after his wife’s death. Despite his constant chastisement and prayer, he still struggls with an addiction to masturbation - an addiction that leads him to find his neighbor’s daughter, Janet (Ella Dershowitz) in a porn magazine. Meanwhile, his son, Matthew (Austin Cauldwell) sees no problem with gratuitous masturbation and even spies on Janet while also fooling around with Sarah (Dea Julien), their contractor’s daughter. Sarah’s father, Fred (David Anzuelo) will preach hard work and support his wife’s decision to work at Wal-Mart on 16 hour shifts and then turn around and masturbate to gay porn. Ever supportive and sexually liberated Pat (Laura Esterman), finds her daughter’s career choice admirable, while Jerry (Keith Randolph Smith), struggles with the growing fact that his daughter is working in an industry he previously supported, but now can’t imagine his little girl participating in.

While the script certainly sets up for a thought provoking piece of theatre, the grotesque theatrics, including needless nudity, bodily fluids flying across stage, and graphic sex, make the show less than what it could be. Kudos to Bradshaw and Elliott who sought to expand the minds of their audience with blatant disregard of social norms, but it lacks credibility and takes away from the truth in the script.
Special mention to Gerroll, Smith, and Esterman. Their performances make the show. Gerroll completely sells the over-wrought, crazy, middle aged, Christian finatic obsessed with finding inner peace while destroying everyone else’s. Smith’s drunken monologue is brilliant. And Esterman’s dead pan humor, compassion, and bubbliness make her the most interesting person onstage.
Intimacy includes set design by Derek McLane, costume design by Scott Elliott, lighting design by Russell H. Champa, sound design by Shane Rettig and video design by Olivia Sebesky. The associate costume designer is Kristine Koury.

Intimacy will be at the Acorn Theatre through March 8th.
Review By Aziza Seven
Photos provided by broadwayworld.comPhoto by Monique Carboni

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