Once Upon A Mattress @ The Abrons Arts Center

Everyone knows the fairy tale of the Princess and the Pea. Or at least, they think that they do… The outrageous and hilarious retelling of the classic fairy tale, Once Upon a Mattress, is currently raking in the laughs at the Abron Arts Center.

This fractured fairy tale tells the story of a kingdom where no one get married until the Prince Dauntless (Jason SweetTooth Williams) does. Except his overbearing mother Queen Aggravain (John “Lypsinka” Epperson) is determined that no one will ever be perfect enough for her son, or to replace her as Queen. But she may have met her match in your not so typical Princess Winnifred (Jackie Hoffman).

As Winnifred, Jackie Hoffman is a tour de force of broad physical comedy that seems off-the-cuff and natural, but is obviously the hard work and experience of a Broadway comedy veteran. Hoffman stops the show with her side-splitting songs and Ethel Merman-esque belt, particularly in her introductory number “Shy.” John Epperson is almost the exact opposite, exhibiting careful control as the Tyne Daly crossed with Ru Paul Queen. This control is part of the character and makes her a great foil for Winnifred.

The supporting cast is equally as wonderful. Zak Resnick as Sir Harry and Jessica Fontana as Lady Larken have exquisite classical voices and really shine at playing what would normally be the traditional leads in a romance. The Minstrel (Hunter Ryan Herdlicka), the Jester (Cory Lingner) and the King (David Greenspan) provide wonderful, heartfelt comedic relief in a show already bursting with comedy. The ensemble are a collective of funny quirky individuals that each get a moment to shine.

The direction and artistic design of the show really highlights the idea of simple and specific. The scenery is just line drawings of backgrounds that are seemingly tweaked in real time, adding the genuine nature of the production. Director and Transport Group Artistic Director Jack Cummings III really knows when to just let the actors, story and music speak for themselves and knows exactly when to be bombastic and when to just pull back.

In short, Once Upon a Mattress presented by the Transport Group Theatre Company is a hilarious and smart production that has the audience rolling in the aisles. Do not miss out! Once Upon a Mattress will be playing at the Abrons Arts Center until January 3rd.Review By: Chrissy CodyPhotos By: Carol Rosegg

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These Paper Bullets @ The Linda Gross Theater

I may come off as a snob in this review, but when I heard “Billie Joe Armstrong has a new musical coming out and its based off of Shakespeare!” I kind of turned up my nose and thought “it won’t be the end of the world if I miss it.” MAN WAS I WRONG! These Paper Bullets just became my new favorite play! If you enjoy music, if you enjoy Shakespeare, if you enjoy a classic farce, make your way to the Atlantic Theater Company!
The setting is in London, 1964 and the world is going crazy for the boy group, The Quartos, which have a severer resemblance to the Beatles. We meet the band backstage in their dressing room (naturally) after they give a rock star opening! We meet the girls Higgy and Bea, one the model, the other her fashion designer. Then the door opens are we see flying bras and underwear, and the boys make their appearance: Pedro the Drummer, Claude the lead singer, Ben on guitar, and dark mysterious Balth on Bass.
Like any great farce we have rumors, lies, and false identities, which comes to life from this brilliant ensemble! We follow the struggle to marriage for Higgy and Claude who fall in love at first sight, and the commitment issues Ben and Bea experience because both are to stubborn to express their feelings. Ariana Venturi portrays Higgy who does an amazing job at capturing an over dramatic drama queen and yet making her lovable, and polar opposite Claude, played by Bryan Fenkart, who manages to make “straight lace/ average/ boring” type, fun and hilarious. Once we finally get Higgy and Claude on the same page, we have Ben and Bea’s “relationship” hit the fan. Bea played by Nicole Parker is a standout STAR! Her comedic timing was perfection, she commanded the stage, and I couldn’t stop watching her. And then we have her partner Ben, played by the talented Justin Kirk, who had the audience eating out of his hand. He’s the “guys, guy” that all the men want to be friends with, and the sexy man all the ladies want to marry. The cast has so many great comedic actors that you must see this show to see it yourself.
Jackson Gay does a fantastic job directing this piece. The staging was wonderfully done, and the show has so many great stage pictures that if I couldn’t hear I would know what exactly was going on. The show had an amazing balance between Shakespeare and rock n roll, that it helped modernize the piece and honestly made it easier to follow the story line. Everyone should take a note from Rollin Jones, because this is how you successfully modernize Shakespeare and make it a hit!
If you are a fan of great music (thanks Billie) the 1960’s lifestyle, and a good ole farce, make your way to see these paper bullets! It will be a night of fun, and who knows, you might actually meet the Queen of England at a royal wedding.

Review By: Briana Burnside
Photos By: Walter McBride

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Plaid Tidings @ York Theater Company

If you want a fun, warm, feel good musical that takes you back in time, you need to head over to The York Theater Company and see Plaid Tidings. This musical is a special holiday edition to Forever Plaid written and directed by Stuart Ross. Going into this show I was nervous that I haven’t seen the original musical, but the writing was so clever that I did not miss a beat.
Stuart Ross sets the musical in modern time, the Plaid Lads have been brought back to life and try to find the reasons why they have been brought back to earth, and they rely on the audience to help them discover their mission. The crazy plaid boys do a brilliant job of enticing the audience and bringing us along for the adventure.
The company consists of only four actors. We have Frankie portrayed by Bradley Beahen, who grounds the show, he’s the leader of the pack, and has a fantastic reality check with Rudolph the red nose reindeer and Frosty the Snowman. Next, we have Sparky, who lives up to his name. Sparky is played by Jose Luaces who managed to light up the stage whether he was singing, or just crossing the stage. Then we have Jinx, who was the shy plaid, but man did he have a voice! Ciaran McCarty plays this role perfectly, and you can’t help but fall in love with him. And the last Plaid Lad, Smudge. John- Michael Zuerlein plays Smudge, and in my opinion is the heart of the group. He can’t seem to keep up with the choreography and has the best physical comedy bits, but he breaks down and tells us the “uber dream” for the group, which is to have a Christmas Special on broadcast and to make people feel warm and gooey inside. And lets not forget the wonderful pianist, James Followell, who is on stage the entire time and deals with the Plaid Lads, but never misses a beat!
Along with a fantastic cast, the set was very impressive. It took you back in time and you feel like you are in the audience for a live taping. You enter the theater and all you see are Christmas lights and four mics. Little did you know that throughout the show, pop out platforms, and revolving doors would surprise you the entire night. The costumes were classic. They capture the “old school feel” and there was plenty of plaid.
Smudge talks about the Plaids uber dream and making the audience feel warm and gooey, and I must say, mission accomplished! I could not stop smiling during this show. The only thing that would make it better is if I had a cup of hot chocolate, because this space was so intimate, you really feel like you are at home watching a Christmas special on TV. This show was an amazing time, everyone should see it this holiday season, and you are guaranteed a smile and lots of laughs!

Review By: Briana Burnside
Photos By: Carol Rosegg

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Gigantic @ The Acron Theatre @ Theatre Row

Beginning its journey in 2009 at the NYMPF as Fat Camp, Gigantic has finally landed off-Broadway with the Vineyard Theatre at The Acorn, and it is a huge enjoyment. This musical about a group of teenagers at Southern Pennsylvania’s number 3 weight-loss camp is an absolute joy, that will have you laughing the entire night.

Robert (Max Wilcox) is sent off to fat camp, with only one goal in his sight- to get kicked out. That is, until he meets Taylor (Ryann Redmond), and there may be, just may be, a love connection. The two, along with their other fellow campers must work hard to meet Camp Overton’s weight-loss goal so they won’t be shut down and turned into storage units; but they have to face heartbreak, make-out sessions, a “candy ring”, and some hot-headed cheerleaders and new Junior Counselor Brent to get there.
Scott Schwartz’s (Bat Boy, The Hunchback of Notre Dame) direction is nothing short of wonderful. He knows exactly how to extract as much whimsy out of each moment, while maintaining its soul and truthfulness. The music by Matthew roi Berger is pop/rock glory, reflecting the real music that these teens would be listening to, is huge and undeniably joyous, filling everyone with the urge to move and dance. Randy Blair and Tim Drucker’s book creates a colorful cast of characters, each with different quirks. While a show about overweight teenagers at a fat camp feels like it could be contrived or mean-spirited it is far from it. Each character is looked at with sincerity and it is absolutely endearing to see this group of misfits as they work together, learn to accept themselves, and love their individualities.
Aptly, Gigantic is the epitome of a “campy” show- it has no problem with exploiting the ridiculousness of some of the situations or exaggerating obvious punch lines while adding a curveball. Some of the funniest moments come when the characters go meta, like acknowledging that they can’t sing after screeching in attempt or when getting to the titular song stopping all action to point out this fact. Its over-the-top nature is done in a way that it is nothing but pure fun. The show knows it’s campy and isn’t afraid to use that to its advantage, and it is done so with heart and a whole lot of humor, making for a great 2 and a half hours. Even when entering the theatre, you are greeted with a station to write cards to home as if you were at camp, complete with “Hello, my name is ___” nametags, putting you directly in the spirit of the show.
The cast is truly what makes this piece so entertaining and sweet. Everyone plays their part expertly, each adding a different layer of fun. Ryann Redmond’s (If/Then, Bring it On) Taylor is the heart of the show, as you cheer her along on her journey and revel in the beauty of her vocals. Comedic standouts come from Katie Ladner (Heathers) as Britta and Leslie Kritzer (Legally Blonde) as camp counselor Sandy. Kritzer’s timing and energy is positively infectious, with just the right amount of over-the-top for the kooky counselor. Ladner, as super douche Brent’s “loser” sister, steals the show every moment she is on stage. Her facial expressions and inflections (complete with a metal mouthpiece) were perfectly crafted to get as many laughs as possible and the audience ate every bit of it up.
From the first moment the curtain dropped and the music blared to the last sweet seconds of bows a huge smile was plastered on my face. If you’re looking for a feel-good musical that will keep you laughing, run over to The Acorn Theatre at Theatre Row before Gigantic ends its run on December 20. (You might get the last contraband Butterfinger!).
Review By: April SiglerPhotos By: Chad Batka

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Allegiance @ The Longarce Theatre

Allegiance. A patriotic whirl.



George Takei put his soul into Allegiance. Known for being held in an internment camp in his youth, author’s Marc Acito, Jay Kuo and Lorenzo Thione explain that his use of the word “Gaman” (meaning endurance and dignity) was inspiration for Allegiance. George’s deep-seated emotion regarding the 120,000 Japanese incarcerated during WWII was very evident in the play and Jay Kuo’s music and lyrics emulated it.
Directed by Stafford Arima, Allegiance began in 2001, where we meet a seasoned war veteran remembering Pearl Harbor in his old Army uniform. He is then approached by a knock at the door to reveal that his sister, one he has not seen in 50 years, has passed away. The performance then reels backward to Salinas, CA in 1941 where we meet the rest of the cast.
Portions of the play seemed out of order or misplaced until the very end, as its beginning brought the audience to the Kimura’s farm and the traditional Japanese celebration of the harvest. Setting the scene of a proud and boisterous Japanese family, costumes designed by Alejo Vietti and scenic design by Donyale Werle were complimentary and memorable. Lighting an sound by Howell Binkley and Kai Harada were also well matched and ushered in an artistic and historic atmosphere.
The Kimura family is a relatable bunch—a traditional Japanese father, Tatsuo (Christopheren Nomura), a sister forced to become a motherly figure, Kei (Lea Salonga), a brother trying to forge his way into manhood on his own terms, Sammy (Telly Leung) and a laughable and lovable Ojii-chan (grandfather, George Takei). The audience follows this family on their disheartening journey across the United States to their internment camp at Heart Mountain Relocation Center, Wyoming.
Kei (Lea Salonga) is lead on a personal journey throughout her time at the camp. Struggling with the weight of placing herself into a motherly role and stepping into her own, Salonga’s performance matches Kei’s struggles. Kei embodies more than just a woman’s obstacles during war and internment, Salonga brings to life the value of family and duty and how it can be juxtaposed to country.
Sammy (Telly Leung) is on a different path. Furious to think that he is not considered an American, Sammy bursts with energy and drive to bring the camp together and find a way to serve his country. Sammy emerges a national hero and Leung depicts Sammy’s stages of maturity and growth with ease. Sammy is the personification of the thousands of Japanese men who volunteered for service in suicide battalions and fought bravely to try to prove to the government that the Japanese people can be trusted and their families can be released.
Tatsuo (Christopheren Nomura) stood for honor and other traditional Japanese values. Not content to bow to an American government that has placed him in an internment camp, Nomura symbolizes the mental and emotional struggle of the 120,000 around him that have suffered the same fate.

Ojii-chan (George Takei) was my personal favorite. A light-hearted and deprecating Japanese grandfather, Takei brought Ojii-chan into the role of jokester and wise man. Coining the term “Gaman” when the town first arrives at Heart Mountain, Takei is the wayward spirit that brings order to his grandchildren and allows them to pursue the next levels of their lives. Sammy’s lover, Hannah Campbell (Katie Rose Clarke) brought in the American people that were sympathetic to the interned Japanese while Kei’s lover, Frankie Suzuki (Michael K. Lee), showed the ability of the Japanese people to take a stand against the indecency of the American government.
Allegiance’s subject matter is seldom talked about and I appreciated that. Depicting historical events in a musical is always difficult and Allegiance struggled at points but triumphed at others. Truly I have not seen a much better interpretation of the dropping of the atomic bomb. However, the subject matter itself did not seem to leave a lot of room for artistic interpretation by the actors. Choreographer Andrew Palermo’s use of dance as an undercurrent was very well done. Although, costume designer Alejo Vietti did miss the mark on proper military uniform, a personal pet peeve of mine.
In closing, if you are a World War II history buff you may be disappointed. Allegiance was a work of art shedding light on a time of darkness, I enjoyed it but I would not see it a second time.

Review By: Alex Lipari
Photos By: Joan Marcus

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The Comedy of Errors @ The Shiva Theater @ The Public Theater

Have you ever been mistaken for someone else? Have you ever gone looking for something? Have you ever been in love? These are the questions the audience is asked before the show begins. The Public Theatre’s production of The Comedy of Errors was a contemporary look at the Shakespearean classic filled with a lot of life, love, and as the title implies- comedy.

Comedy of Errors follows two sets of identical twins who are separated at birth. Antipholus of Syracuse and his servant Dromio of Syracuse arrive in Ephesus where they are mistaken by the townspeople (including Antipholus of Ephesus’ wife Adriana and her sister Luciana) for their identical counterparts, Antipholus and Dromio of Ephesus. This is the ultimate case of mistaken identities, wrongful accusations, and slapstick humor.

Each Antipholus is played by Bernardo Cubría, with Lucas Caleb Rooney taking on each Dromio. Baseball caps for the boys from Syracuse and cowboy hats for the two Ephesus twins were used to help the audience distinguish between the characters. These two actors are exquisite, able to effortlessly transform between each twin within seconds, making them distinct and captivating. While the entire cast is marvelous and hysterical, these leading men really stand out and are commendable for their portrayals of the twins.

The Shiva theatre is a small intimate space, and the show uses this to its full advantage. The actors interact with the audience, sitting next to them, delivering soliloquies to them, and sometimes even bringing them onto the “stage” to be a part of the action. Seating is general and in the round, but no seat is a bad seat- you are right there with the performers. The only set provided is a square of grass and dirt, with a border-line painted between Syracuse and Ephesus. This allows the audience to really focus on the superb acting and the poetry of the language.

When faced with a Shakespeare show most worry over the long hours they are about to endure, but there is no need to worry here: Running at 90 minutes with no intermission and constantly filled with infectious energy and fun the show breezes by- You can’t help but have a smile on your face for the entire hour and half.

This unique production is part of the Public’s Mobile Shakespeare Unit, which travels the five boroughs (and more) providing free entertainment to those in prisons, homeless shelters, and community centers. Director Kwame Kwel-Armah’s version is filled with contemporary references (border patrol officers, cell phones, etc.) that make it relevant to today and destroy the notion that Shakespeare is something “superior” that not everyone can understand. As is their mission, this production proves that Shakespeare is for everyone, and makes it enjoyable along the way. Now done touring, it is playing at the Public Theatre on Lafayette Street until November 22. If you’re looking for an evening filled with laughs and merriment make your way to The Comedy of Errors!

Review By: April Sigler
Photos By: Joan Marcus

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Lost Girls @ The Lucille Lortel Theater

One of the greatest things about NYC is how culturally diverse it is at any given moment. The tourists, the many who have migrated here and those who were born and raised here, give NYC a feel like no other that often makes us forget there is any other place in the world. However, we are starkly reminded that a world exists outside our stomping grounds in director, Jo Bonney’s hit, Lost Girls.

While some of the details were further from reality (like some of the accents), almost everything else transports you instantly to Manchester, NH. Richard Hoover does an excellent job with the turntable set, complete with such subtle authentic touches like the framed picture of Tom Brady on the wall. The vernacular used, while some may find offensive, was truthful with raw honesty. John Pollono’s writing is modern, conversational and effortless; it is as if you are a fly on the wall in this New England home.
Lost Girls tells the story of Maggie (Piper Perabo), the single mom who lives with her mother, Linda (Tasha Lawrence) who is struggling to make ends meet and Lou (Ebon Moss-Bachrach), her recovering alcoholic ex-husband, and their search for their missing daughter during a winter snowstorm. Maggie awakes to go to work and finds that her car has been stolen. She calls the police to report the car stolen and Lou, who is a police-officer, comes by to take down the police report. He brings his all forgiving, very devout, almost annoyingly perfect new wife, Penny (Meghann Fahy). This quartet proves to be a great source of laughs, as you witness the completely uncomfortable situation of the four of them trying to make the best of this incredible awkwardness. Ms. Lawrence has some great crass moments, and when combined with Ms. Fahy’s holier than thou responses, you cannot stop snickering. When the group realizes that Maggie and Lou’s daughter has actually taken the car, the tone becomes more serious. As the group struggles to figure out the whereabouts of their (grand) daughter, we learn about Maggie and Lou’s rocky past and how they are dealing with the difficulties of co-parenting with a new step-mom in the picture.

The story turns as you meet the young girl (Lizzy DeClement) (who you suspect is the daughter of Maggie and Lou) and boy (Josh Green) who have runaway from their homes. The unnamed duo have run away in an attempt to get the girl down to Florida to meet her significantly older boyfriend (who turns out to be her mom’s ex). They get into some trouble when the boy stands up to a local guy who tries to get too handsy with the girl at a local bar. They hurriedly return to their hotel room where while they are hiding from this tough guy, the boy professes his long time love for the girl. The girl decides to be with the boy and they have sex. They
These two storylines are intermingled together as the set literally revolves to show each story as it unfolds. You learn about Lou’s troubled past, including rough nights on the job and how they translated to his personal life and contributed to his failed marriage. The story unfolds so naturally, with the actors doing a spectacular job of being totally present in the moment, you forget they are just acting. While some of the bigger names might bring you in the door, there was spectacular performances throughout the cast; most notably through Mr. Green’s and Ms. DeClement’s candid performances playing angsty, irrational teenagers who make lifelong decisions about love, even going so far as creating a blood oath. Ms. Fahy and Ms. Lawrence are spectacular as polar opposites that really shine when they come together. And Ms. Perabo and Mr. Moss-Bachrach play excellent parents who are dealing with the fact that they are still in love with one another after all this time. This is definitely one not to miss, so catch it at the MCC Theater at The Lucille Lortel Theater now playing through Nov. 29!
Review By: Renee DemaioPhotos By: Joan Marcus

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On Your Feet! @ The Marquis Theater

You don’t need to go to Madison Square Garden to hear great music this fall. Just head over to the Marquis Theatre and hear the amazing music of Gloria and Emilio Estefan, woven together with an incredible heartfelt story.The plot of On Your Feet! is explained right in its subtitle: it’s “the story of Emilio & Gloria Estefan.” Stylistically, it’s as if Beautiful and In the Heights had a baby who was raised surrounded by a lot of glitter. There’s the biographical element of singing the songs of the show’s main character while the singer is performing, a la Beautiful and Jersey Boys. But some songs follow the more traditional musical theatre element of just telling the story with a popular song like Mamma Mia or All Shook Up. On Your Feet shines because it brings in the heartwarming aspect with an emphasis on family and following your dreams.Ana Villafañe makes her Broadway debut as Gloria, and even though she’s only 19, she packs a lot of punch. Her voice is absolutely incredible and she does a wonderful job approaching the role as an actress just playing a person instead of just giving a great Gloria Estefan impression. She’s full of fire and love and passion and you can’t help but smile when she sings. The one downside of her youth is that visually it was sometimes hard to see her as an older woman, just because she looks so fresh faced. She seems stuck at the same age, even though Gloria ages a fair amount in the show. Josh Segarra is a much more subtle creature as Emilio, with a rough and soft-spoken vocal quality that was a wonderful constrast to Villafañe. Their chemistry together was white-hot and really helped sell the relationship.As great as Villafañe and Segarra were – and they were excellent – Andréa Burns playing Gloria Fajardo walked away with the show. Every time she was onstage, I couldn’t pay attention to anyone else. She is a force to be reckoned with. Commanding, sarcastic, heartbreaking, she can do no wrong. Alma Cuervo as Consuelo also brings a lot of fun and warmth to her role as Gloria’s bombastic grandmother Consuelo.The music of the show supported by the choreography by Sergio Trujillo is vibrant and fun. It is very much like going to a concert with the energy of the performers and bright lights on the stage that frequently go out and over the audience. The orchestra performs visibly onstage much of the time, and since many members of the orchestra were original members of the Miami Sound Machine (Gloria Estefan’s band) there’s an extra element of passion and adrenaline that accompanies any moment they are onstage.Director Jerry Mitchell deftly helmed the production, keeping with the bright colors and sequins grounded with the heart-warming aspect of the importance of family. The audience was with the story every step of the way. Every laugh landed, lines got applause in the middle of the show, and there was plenty of cheering throughout. You could particularly see the joy in the Act I finale of “Conga” when the audience got directly pulled into the action, literally.In short, On Your Feet! is a bombastic, feel god story with an amazing cast and fantastic music pulling everyone along for the ride. Do not miss out! On Your Feet! is playing at the Marquis Theatre for an open ended run.

Review By: Chrissy Cody
Photos By: Matthew Murphy

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That Bachelorette Show @ The Copacabana

That Bachelorette Show is a highly entertaining 90 minute experience that takes you back to your glory days as you dance the night away with your girlfriends. Although, it is much more of an excuse to dress up, have some drinks, dance in a circle (in shoes that hurt after 10 minutes) and see some good looking men vying for your vote than it is is a piece of theater.
While you dance the night away at the famous Copacabana, you meet our bachelorette, Adriana Orlando, your typical gum smacking stereotype from Long Island, who has just broken up with her boyfriend, Giovanni Giovanni. They have been together for 23 years, having apparently met on the playground. When their most recent anniversary ended in Giovanni going to “AC with the boyz”, Adriana finally called it off. She decides to be a contestant on the show in order to find her forever husband with the help of the 200 plus women in the audience. We learn all of this in the first 10 minutes and that is about as much talking as the show has throughout the night.

During the pre-show the guys are already out on the dance floor, chatting up the ladies. Once it begins, we are introduced to the 10 contestants. They are a mix of race, wealth, intelligence and even, gender. Each are a very clear-cut archetype of what women apparently think are the ideal man. You meet the dumb but sexy surfer dude, the successful hedge fund banker, an Indian prince, a cardiologist, an English rocker, the awkward nerd (complete with fanny pack) and so on.You are instructed to use your cell phones to vote by logging onto their live site and choosing your favorite so that can make it to the next round. The music begins and the cast heads out into the crowd trying to win your vote by chatting you up, dancing with you and in the case of the highly inebriated (and desperate) lady, grind up on you to the point where I’m surprised there isn’t a weekly medical exam for the actors. After about 10 minutes or so, the guys are called back up on stage and the results are tallied. This happens about 3 times until there are only 2 contestants left.
Although, the technology they use for the live voting is actually really impressive, the problem I had was that you didn’t get to learn anything about these guys unless you sought them out. It really then became a competition of looks or what quality the women deemed was the most important when looking for a husband. While most audience members weren’t looking for a full on spectacle, I was hoping to learn more about these characters through scripted events throughout the night. The possibility was there, as Giovanni makes an attempt to woo Adriana by signing up as one of the contestants, but the conflict never came. There was no attempt made by any of the guys to woo Adriana, instead they were sent out on the dance floor to woo you. Kudos goes to the gentlemen however, as they spend the entire night holding conversations as their characters with women who can hardly string two words together.
Overall, the show is a great excuse to have a great time. Even if you have no interest in the actual show, the DJs, Andrew Andrew, keep you pumped to classic 80s, 90s and 00s hits. It is highly recommended for the precursor to your bachelorette party and you can easily head upstairs to the dance floor when it is done to continue dancing until your heart’s content (admission is included in your ticket). That Bachelorette Show is currently running open-ended on Saturday nights only.

Review By: Renee Demaio
Photos By: Jeremy Daniel

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*mark @ The Sheen Center

*mark: a trip to Sunday school.
Set in a blackbox theater, this one person straight play attempted to reenact key passages in the New Testament. Beginning with a red/blue police light with George Drance entering and somewhat hiding from the police, the audience was brought along his one-person journey in the beginnings of A.C. times. The entire play was conceived and performed by Drance and is named *mark to evoke a question: how has the Gospel left its mark on you? The play is inspired by Pope Francis’ “The Joy of the Gospel.”
Reciting the Bible almost verbatim, Drance also used the floor and walls to draw pictures of Jesus’ journey and parables with chalk he had in a zip up hoodie he wore. The stage itself had bags of garbage, a lamp and coffee table nearby in an attempt to set the scene of a modern day alleyway. Drance used the coffee table and a bucket as props and would periodically check his “ancient” cell phone for messages that were never shared with the audience.
Drance did not preach and did convey the New Testament with a level of his own flair, however, I believe he wanted to stay very true to the words of the Bible and allow them to speak for themselves. This resulted in the performance feeling like a lecture you would find at CCD or other Sunday School with some laymen’s terms sporadically making the audience giggle.
Director Luann Jennings and George Drance produced a Biblical play and kept it very Biblical. If you are very religious I would suggest attending. However, if you are looking for an eye-catching play about Jesus and his vast journeys before he was crucified you will be disappointed.

Review By: Alexandra Lipari

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Who’s Your Baghdaddy? Or How I Started the Iraq War @ The Actor’s Temple

I typically do not read reviews or director’s notes before I see a show of any kind. I want to have an unadulterated opinion of what I see and hear- my own experience. Ironically, I happened to see “Who’s Your Baghdaddy? Or How I Started the Iraq War” with two people I have done civil disobedience activism with for several years. None of us had any idea what to expect. I was simply told that the play is offensive. Well it’s about fucking time! Thank you Charlie Fink and Lee Seymour for adapting the screenplay by J.T. Allen and his gutsy and creative approach to the human errors that were at the root of a now fourteen year long war that has displaced millions of people with hundreds of thousands dead. Humans. Who cares within what arbitrary lines these people were born, they are human beings. Or they were. I mention the director’s review because, in this case, the note inside the playbill from Mr. Fink is spot-on in his criticism of how “we” got into this mess, intimating that there is culpability and responsibility by all of us to heal the world from the destruction we have caused. Of the dozens of Broadway and Off-Broadway shows I’ve seen, this was one of my favorites. From the moment I walked into the Actor’s Temple Theatre, I was greeted by the sweetest doorman and theatre manager. The actors served wine and donuts to audience members as though we were guests, freeing us all up from any stuffiness so we could relax into their fun and amusement. It worked for me…I twirled back from the loo…and I am shy with an audience. But the eight actors disrupted any pretense of formality, so our voyeurism into their “group” therapy was transformed into a shared experience. With the self-indulgent mantra “We deserve better” that has become embedded in the American narrative, the cast, made up of Brennan Caldwell, Jason Collins, Bob D’Haene, Brandon Espinoza, Nehal Joshi, Olli Haaskivi, Claire Neumann, and Larisa Oleynik gives a sardonic portrayal of the events brought about by a succession of wrong decisions made, not by governments, but by people, which led to the invasion of Iraq and subsequent devastation to millions of people. People’s whose lives were destroyed- the collateral damage of hubris and conceit run amok. Thank-you for engaging me with your singing and dancing while you carried me along the journey of selfishness that gave rise to self-loathing- not the self-satisfaction and praise sought after by each player. Directed by Marshall Pailet, who also did the music and with lyrics by A.D. Penedo, this play, really should be performed in schools as a warning against unchecked ambition and the role of personal accountability; and in churches where worshipers have sadly foregone grace to pledge allegiance to their new god, the State, which has instilled within us all a fear of our fellow man. Yes, humor is often the best way to impart a difficult lesson that requires we look at ourselves. I really wish there had been a Q & A afterward in order to hear if and how others were impacted. As for my friends and I, we were moved and reinvigorated to be more humble and gracious and will think twice before acting on that lie we’ve accepted as a truism: We deserve better…even if it’s at the expense of others. You can catch this must-see show at The Actor’s Temple on W 47th through November 22nd. Although perfectly acceptable for all ages, I suggest over sixteen. It is quite a heady show. Definitely get dinner or dessert afterward and discuss and chew on how you can repair the world. If a succession of decisions can bring about devastation, change can and does begin with just one and we can end the trend together, one thought and choice at-a-time.


Review By: Michele Seven
Photos By: Jeremy Daniels

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Trip of Love @ Stage 42

A Trip of Love takes a new twist to a classic jukebox musical. For one it is a dance musical that means NO DIALOGUE. Honestly I was a little hesitant seeing this production, I am not a huge jukebox musical fan, nor am I a dancer. But I was proven wrong by the entire cast and creative team.
As you enter Stage 42 you are automatically transformed into the 1960’s. The entire theatre is covered in flowers, butterflies, and hearts. The stage looks like a whimsical wonderland, which is fitting because the opening number and almost the entire plot have themes of Alice in Wonderland. We follow Caroline, portrayed by Kelly Felthous, and her quest to find love. On her adventure we find other vibrant characters that help her along the way as well as finding love of their own.
This entire show is spectacle. The set has so many fun pieces from, a giant mushroom, swings, huge surfboards, and a hot air balloon! The lighting was trippin (get it). So many fun colors and spotlights, it made you feel like you were at a rock concert. Now, my favorite part of the show, the costumes! The 60’s and 70’s wardrobe was amazing!
Act one took place in the 60’s, that being said everything was light hearted and fun. I found myself smiling the entire time and wanting to sing along. Act two however took a dark turn. It took place in the 70’s and brought up the war and recruitment. We see how war affected the lives of the loved ones left behind as well as the solders fighting. We find ourselves back to the beginning, like we took one huge trip.
Laurie Wells does a fantastic job grounding the show; she has a power belt that is to die for! Dionne Figgins has a stage presence that is so wonderful I could not take my eyes off her. David Elder brought a great comedic charm to the show, and plays a great stud that it was hard not to love him. And Kelly Felthous does a fantastic job carrying the show and telling this story through dance, and what a voice she has. The entire ensemble is filled with amazing talent. The choreography was to die for! A stand out number was, wipeout! The use of the set was creative with layers of waves making the dance both above and under water.
Overall this show was a lot of fun. If you enjoy hit songs from the 60’s and 70’s this is the show for you. If you enjoy some good ole musical theatre magic this show is for you. If you enjoy amazing dancing and story telling this show is for you. If you want to see a show that will make you laugh, smile, and maybe even cry, head over to stage 42 and see Trip of Love. It will be a magical trip.
Review By: Briana BurnsidePhotos By: Getty Images

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Boogie Stomp @ The Electra Theater

Boogie Stomp claims it is a two hour musical adventure of past and present piano masters who shaped the music of today. Written by John Campana, this show promises an exciting, “get-up-and-dance” experience, while taking an historical and academic tour of American music. While it is certainly exciting and dance-worthy, the show fails to deliver any sort of lasting knowledge and instead feels more like a college course fused with an episode of VH1’s Behind The Music.
The show begins with the highly talented pianists, Bob Baldori and Arthur Migliazza, taking the stage at the Elektra Theater in front of their grand pianos with their backs to the audience. We are immediately entertained with their incredibly advanced musical skills and the promise of a good time begins to glint on the horizon until, they stop playing. The show becomes a weird mix of their long list of (albeit, impressive) musical venues they’ve sold out at or the stars they have played with during their careers and what sounds like a poorly planned final thesis presentation. We are told we are going to learn about how boogie, jazz and the blues paved the way for music today and are even given three points in which it all breaks down into; however, this lesson doesn’t occur. The attempt is made to infuse education into the show by use of projections and informational monologues, but is blended with anecdotes of Mr. Baldori’s experience with Chuck Berry and the weird sexual tension that comes from Mr. Migliazza’s attempt to woo the cougars in the audience by asking them for rent money and sharing his Tinder profile.
Overall, there is certainly no shortage of talent with these gentlemen. You definitely want to get up and dance with a lot of their music. You want to participate, hoot, holler and bark (yes, bark) but sitting in the dark in the back of the house you are immediately removed from their set. You want to be at a pub table with a drink in hand and lowered inhibitions; unfortunately, the seating at the Elektra Theater just does not lend itself to this.
If you are looking for exciting piano players and impressive harmonica skills, come out to the show; on the other hand, you can probably find a little hole in the wall bar on the L.E.S. with talented pianists and use the money you saved on tickets prices to buy another round of drinks.
Review By: Renee Demaio

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Catch the Butcher @ The Cherry Lane Theater

A serial killer is stalking the streets of Texas. He’s already kidnapped and killed eleven women. And in the first 5 minutes of Catch the Butcher, Bill (Jonathan Walker) kidnaps Nancy (Lauren Luna Vélez) to make his kill list an even dozen. But the tables have turned: Nancy wanted to be kidnapped. Thus starts a hilarious dark comedy full of twists and turns.The script itself, written by Adam Seidel, is a seriously dark comedy that could easily devolve into something plodding and dark or silly and nonsensical. The show delightfully straddles that line. Laughs come easily, particularly after the story gets rolling. One of the main themes seems to be a play on Stockholm Syndrome, and in this case, that concept gets flipped on its head with Nancy the “victim” winning her captor over and eventually putting herself completely in charge.Most of the show is a two hander between Walker and Vélez. They have an easy chemistry with one another, elevating the slightly stilted beginnings between Bill and Nancy that develops into an almost childish romance that quickly shifts to a battle of wills. It’s a wide range of relationships to be sure, but Walker and Vélez combat each shift with ease and a wholeheartedness that just makes you want to grin. Credit should also be given to director Valentina Fratti for guiding and navigating the scenes in interesting ways. Some of the twists I didn’t see coming, including one surprising turn involving a fork, and it’s a combination of both the actors and the director that keep things interesting and non-predictable. A fun interlude to the isolation of Bill and Nancy is the uproariously colorful Joanne (Angelina Fiordellisi). Joanne bursts in the last 3rd of the play and brings a ton of fun and comedy and joy to the proceedings, keeping things from becoming seriously grim and unwittingly pushing Nancy to turn the tables on Bill and move things towards the finale. Fiordellisi has an amazing amount of punch and vigor that was a refreshing change onstage. Both Nancy and Bill have an undercurrent of calm running through them, and Joanne disrupts that in the best way.The design elements and theater itself bring a great intimacy and immediacy to the action going onstage. The theater is small and intimate, so you can see every detail. The scenic design by Lauren Helpern places you right in the spaces with cool and dark detail, aided by the mix of shadows and light created by lighting designer Graham Kindred. Costume designer Brooke Cohen helps navigate the different scene tones with her full color palette of costumes.If you’re looking to laugh at some great dark humor, look no further than Catch the Butcher. It will be playing at the Cherry Lane Theatre at 38 Commerce Street through October 30th.

Review By: Chrissy Cody
Photos By: Carol Rosegg

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Clever Little Lies @ The Westside Theater (Upstairs)

Congratulations to the cast and crew of Clever Little Lies which opened October 12th at the Westside Theatre, and will be running through January 3rd. Both witty and poignant, two-time Tony Award winner, Joe DiPietro, succeeds in delivering a script, using the two-couple ensemble, reminiscent of 60’s sitcoms that audience members find uproariously entertaining. I do wonder, however, whether anyone noticed that the semi-misogynistic teasing of female frailties common to those beloved shows was replaced by the celebration of self-empowered women at the expense of their pusillanimous husbands. Charming Marlo Thomas, wife of Phil Donahue and best known as creator and star of TV show That Girl, was spot-on as the strategizing and manipulative mother archetype who, despite her claim that all her meddling is for family, is completely self-serving. Did her character go to sleep that fateful night certain that her ends justified the means? I hope not. Throwing her relationship to doting husband, Bill Sr, played by Greg Mullavey, under the bus as penance for her own infidelity was a heart-breaking thing to watch. I felt so bad for him that I nearly jumped on stage to join in a sympathetic nightcap. Obviously, I was pulled in by this show and the persuasive talents!
Director, David Saint was so clever to use, in the opening scene, a heated discussion between Bill Sr and son Billy, played by George Merrick, Honeymoon in Las Vegas (Broadway), so that we audience members could watch the emasculating devolution of this man, who served as a rock for his spoiled wife and entitled son, for whom enough was never enough. Bill Sr is critical of the American milieu which he claims is embedded by design in the Declaration of Independence: “We’ve been promised happiness, so we’re chasing it all the time.” Not quite the perspective we hear promulgated by the declarants of “The American Dream”. Darling, daughter-in-law Jane, played by Kate Wetherhead, who originated the role in 2013, is so successfully, superficially, supine we barely notice that she has yanked her husband here, then there with her demands and incessant whining about her ever-changing wants and needs. Her character alas redeems herself when she admits that she’s not been showing her “shiny side” and thankfully takes some responsibility in the marriage hiccup that has caused this showdown. These were such difficult and challenging topics for what is written and performed as a comedy. The four actors were fantastic together and the comedic timing was brilliant. This could have easily been billed as a tragedy, which it is, and they would have knocked that out of the park as well. I was suitably entertained during the show and even days later, I am still reflecting on the nuance of the stories that are unfortunately common to us all, as we, as they, fumble along, screwing up constantly even while trying to do the right thing for ourselves and our loved ones.

Review By: Michele Seven
Photos By: Sara Krulwich

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The Gin Game @ The Golden Theater

D.L. Coburn’s play The Gin Game is story of never giving up. The wonderfully stoic James Earl Jones as Weller Martin opposite the great Cicely Tyson as Fonsia Dorsey provides the audience with enough chemistry that the room may have exploded. Champion Casting hit a gold mine with these two actors, and they were enough to have the audience on their feet at the beginning of play. However, these two actors truly earn their early applause. Leonard Foglia directs these two to the moon and back.
Set in an old folks’ home, two elderly characters find themselves alone on their visitor’s day again and again. Weller sees Fonsia, sitting alone and offers, or should I say, demands that she play gin with him. Throughout the many games of gin the two entail, we learn that Weller and Fonsia were both looking for some answers as to how they ended up in this low-end elderly facility, and with no visitors to boot. The audience is gifted time and time again with winsome witticisms delivered impeccably by James Earl Jones, and the captivating comedic timing of Cicely Tyson. Their characters wistfully take turns calling each other out before their time on this Earth is up. Its up to Weller and Fonsia to help each other learn that they only have themselves to blame for the way things turned out.
Truthfully, The Gin Game could be set with James Earl Jones and Cicely Tyson performing on an empty black stage, and the play still would be a smash. However, by the graces of set designer Riccardo Hernandez, the audience is enriched with an alluring set that transforms the Golden Theatre into the backyard porch of an old rural farmhouse. There are piles of useless items on the back porch, which give Weller many entertaining places to lose his gin rummy scorekeeping sheet. The set design reiterates from the dialogue of the play, that there is more to life than all of the material things you collect in your life. Those objects mean nothing without you there to describe them and eventually those materials will end up abandoned at the bottom of someone else’s junk pile. Ricardo Hernandez helps deliver that message with his beautifully intricate set design, which even includes the rain of a Summer afternoon thunderstorm glistening off the porch roof (illuminated beautifully by Lighting Designers: Peggy Eisenhower and Jules Fisher). It feels like a place we’ve all visited before, and sets the mood for reflection while mirroring the many people inside the home left behind by their loved ones.
The set may stay the same through both acts, but the stage management and crew deliver seamless costume changes throughout the play and deserve to be commended. Each day that Fonsia grows fonder of Weller, so do her adorable costumes.
The only complaint was that the audio was too loud at moments of the play, and it takes away from the importance of the lines. Tyson’s voice is very soft and delicate compared to the booming voice of Darth Vader and Mufasa. Other than that one small detail, the play is phenomenal. The cast and crew give us an endearing journey into the lives of two beautiful characters who teach us that you are never too old to stop living your life. Now go visit your parents and grandparents, hug them, and thank them by taking them to see The Gin Game at the Golden Theatre!
Review By: Kira Redzneck
Photos By: Joan Marcus

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Hard Love @ The Beckett Theatre @ Theater Row

Written by Israeli playwright Motti Lerner, Hard Love, is an eye opening peek into the lives of a culture many of us have not had the chance to understand. Director Scott Alan Evans and The Actors Company Theatre(TACT) respectfully took the audience of the Beckett Theatre on an emotional journey filled with relentless passion and controversy.

The play begins 20 years after the divorce of childhood sweethearts, Hannah and Zvi. Reuniting becomes necessary when they discover that their children, from each of their second marriages, have fallen in love.The romantic connection of their two children however, is promptly overshadowed by a lot of unfinished business between Hannah and Zvi.
Right from the beginning, the play took the form of one giant, resounding argument. Many of the scenes felt awkward and rushed. In the beginning of the play there was a lack of chemistry on stage. However, Victoria Mack’s portrayal of Hannah brought the scenes back to a nice flow throughout the play. The passion thankfully amplified between Hannah and Zvi as they became more comfortable with one another, they allowed Lerner’s writing style to shine. Lerner flawlessly adds a new detail in each piece of dialogue, adding a new twist to intensify the connection between the two characters. Throughout the constant loud moments, there were a lot of beautiful quiet moments delicately delivered between both Victoria Mack and Ian Kahn. Their abilities really shown in the less violent moments of the play. It gave time for the audience to to get a much needed breath, and let the affinity Hannah and Zvi have for one another be the focus.
The scenic design by John McDermott was perfect. One act took place in Hannah’s simple, neat, and humble apartment in the Me’a She’arim district. The only thing that really decorated the room was a bowl of brightly lit apples, which we later learn connect to Zvi. The other act takes place in a drastically different apartment in the heart of Tel Aviv. The apartment is full of clutter and mess, clearly depicting the mind of a confused writer. People saythat you can learn a lot about a person by looking at how they keep their nest. McDermott seamlessly delivered that in his portrayal of Hannah and Zvi’s homes.
Hard Love is a unique story and worth the trek to the intimate Beckett Theatre at Theatre Row. The show runs approximately 90 minutes with a ten minute intermission. Hard Love closes Halloween Night so be sure to get your tickets soon.

Review By: Kira Redzneck
Photos By: Clack Kim

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Perfect Arrangement @ The Duke on 42nd Street

Perfection is the only word that can describe Primary Stages’ Perfect Arrangement. Somehow, a show set in the 1950s is fun, contemporary and completely relevant to today. Topher Payne’s script engages, makes you laugh, and also cry, as you follow the lives of Bob and Norma and their seemingly perfect marriages.

Robert Eli (Bob) and Julia Coffey (Norma) play two U.S. State Department officials during the Red Scare, who are tasked with removing anyone from their ranks who is considered a “threat” to the U.S. government, ie: anyone practicing lewd behavior, sluts and homosexuals. The catch? Bob and Norma are both gay who are living next door to one another in sham marriages. During times when guests visit, it appears that Bob and his wife, Mikaela Feely-Lehmann (Millie), and Norma and her husband, Christopher J. Hanke (Jim), have ideal marriages, when in reality the couples are Millie and Norma and Jim and Bob who cross back and forth between the two houses seamlessly through a secret door hidden in their closet. This provides a lot of room for hilarity as they constantly have to think quickly when someone asks about their supposed spouses’ whereabouts.
The watershed moment comes when we meet the sexually adventurous, U.S. State Department translator, Barbara Grant, (Kelly McAndrew), and learn she is someone from Millie’s past who knows about her all too well. We see the families blackmailed; the worry of Bob and Norma’s boss, Mr. Sunderson (Kevin O’Rouke), who’s main argument for starting this crusade now coming to a sharp reality. The lines get drawn once again as we see the dynamic between the societal advantages of men and women during the 50s come into focus. The two couples come up with separate plans to stifle this blackmailer which only leads to more trouble and eventual destruction of everything they worked so hard to achieve.
This show keeps you laughing until suddenly, you’re crying. You start to scream silently in your head as their “perfect arrangement” becomes unraveled and the only thing you can do is stand by and watch. The entire cast does a wonderful job of pulling you in and making themselves a part of your lives. You leave, forever changed, viewing the world today just a bit differently than you did before.
The Duke on 42nd Street is an intimate black-box theater that has been transformed by Neil Patel into a beautiful stereotypical 1950’s home that reminds you just a bit too well of the room in your grandmother’s house where you couldn’t touch anything. The hair and wig design by J. Jared Janas and costumes, by Jennifer Caprio, add the touch of authenticity this play calls for. Kudos to the entire company and crew for a show that is nothing short of excellence. Perfect Arrangement runs for a limited engagement through November 6th so get your tickets today before it’s too late.
Review By: Renee DemaioPhoto By: James Leynse

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Barbecue @ The Public Theater

Barbecue. A welcome intervention.
Barbecue, written and hilariously introduced by Robert O’Hara was an utterly unique and thought provoking look into stereotypes, similarities and racial identities. Receiving its debut at the Public Theater, Barbecue was a real treat.
Jason Lyons and Clint Ramos brought terrific lighting and a masterfully colored stage to life, bringing the audience into a picnic/barbecue setting in a lusciously green forest. Paul Tazewell hit every cultural note with his costume design and Director Kent Gash, Artistic Director Oskar Eustis and Executive Director Patrick Willingham found a way to emulate O’Hara’s conveyance of the striking similarities between inner city black and trailer park white trash families with a severe plot twist in the middle.
Allow me to explain without giving away too much. Barbecue is a play about a family, the O’Mallerys, that is trying to stage an intervention for their “crack head ho” sister, Barbara or as they prefer to call her: Zippity Boom and just how far that story goes.
Barbara (Tamberla Perry and Samantha Soule) is the tail-end of any memory regarding a jail cell, running from the police, working a corner—she has gotten to a level in her life where her family, particularly her sister Lillie Ann, cannot handle. The caveat: both a black family and white family are performing the exact same story but with their own cultural twang, complete with “The Nae-Nae” graciously performed by the white family.
Both Tamberla Perry and Samantha Soule took a character with generally un-relatable characteristics and made her relatable to almost any family at large. I found that I put Barbara right in with the “crazies” in my family quite easily and the rest of the O’Mallery family were no exception.
Opening the play was James T. (Marc Damon Johnson and Paul Niebanck), the sole brother of the family and not without his own problems. “Addicted” to weed and alcohol, James T. is upset about trying to convince Zippity Boom to do anything as she is volatile and dangerous. Johnson and Niebanck both allow James T. to culminate into the ever-concerned but wary of showing it brother.
Beginning the setup of the barbecue was Lillie Ann (Becky Ann Baker and Kim Wayans). Lillie Ann is the sister that has chosen to overcompensate for her family’s drug and alcohol addicted madness. Both Baker and Wayans brought to life a character that will stop at nothing to get her family back on track and the twist at the second act is worth a watch!
Her other two sisters, Adlean (Constance Shulman and Benja Kay Thomas) and Marie (Arden Myrin and Heather Alicia Simms) both added to the ruse-filled barbecue. Adlean, wrought with cancer and addicted to pain pills becomes the brother or sister that has fallen into our overwrought medical system. Both Shulman and Thomas were hilarious to watch bring so many stereotypes to life.
Marie was the sister that judges others but somehow finds herself under the radar of being judged. Also “recreationally addicted” to crack and quite the alcoholic, Marie tries to escape her own intervention by participating in Barbara’s. Yet again, Myrin and Simms made Marie that weird aunt that believes that canned corn causes cancer and that the Middle East is responsible for all of our problems.
Steppenwolf Theater Company did not miss a beat in commissioning Barbecue’s world premier. Not every family has these levels of issues and obstacles but this stereotypical and analytical look into the lives of two culturally dichotomous families in a side-by-side way is a look into the American Family and its values. If for nothing else, see the play for an evening of laughter and a real look at what the line between cultures is.
Review By: Alexandra LipariPhotos By: Joan Marcus

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Fool for Love @ The Samuel J. Friedman Theatre

Most Broadway shows run about two and a half hours. This time lets people escape from their lives into a well plotted story. But then there are shows that don’t just let you escape-they pull you into a crazy world and shove you back out again in half that time and leave you blinking. With 75 minutes of beautifully orchestrated tension, Fool for Love does just that.

Fool for Love, written by Sam Shepard is a simple concept – two people in a hotel room talking to each other. But that simple concept becomes so much more when those two people are Eddie (Sam Rockwell) and May (Nina Arianda) locked in a mess of emotional, sexual, and romantic texture that simmers under every word. Watching the scene unfold is The Old Man (Gordon Joseph Weiss), who has a secret connection to Eddie and May and is removed from the action (mostly) by time and space, and Martin (Tom Pelphrey) who just wants to take May on a date and has no idea what mess he is walking into.

Both Nina Arianda and Sam Rockwell are forces to be reckoned with. They weave in and out of the frenzy of emotions onstage with amazing specificity and total control. Their interpretations of the characters are very complementary to each other. Rockwell has Eddie live mostly in stillness and slow movements, but with a violent streak that bursts out like dynamite in a flurry of movement. Nina’s May is the complete opposite – May is almost constantly a whirlwind of movement and emotion, which makes her moments of stopping unbelievably powerful. It almost goes without saying that the chemistry between these two characters and actors is off the charts – if there wasn’t, there would be no play.

Gordon Joseph Weiss is almost all stillness in his role as a narrator and storyteller of the past. It would be easy to just sit back and watch, but Weiss is always raptly paying attention to the story unfolding with great focus. Tom Pelphrey injects a delightful mix of awkward, funny tension to the stew onstage, with his slightly dorky confusion at just what is up with these two other people.

Fool for Love’s pot of tension and drama is wonderfully guided and controlled by the direction of Daniel Aukin. The play is supposed to be relentless – and it is – but Aukin still is able to find moments of pause that let the audience breathe for just a second, before diving right back in. The scenic design by Dane Laffrey, lighting by Justin Townsend and sound by Ryan Rummery all work seamlessly together to create a tense, almost claustrophobic environment. Costume design by Anita Yavich is simple and yet speaks volumes about every character.
Fool for Love is a fast paced, high tension roller coaster of emotions that is immensely captivating. Do not miss this amazing production produced by the Manhattan Theatre Club at the Samuel J. Friedman Theatre at 261 W. 47th Street.

Review By: Chrissy Cody
Photos By: Joan Marcus

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Cloud Nine @ The Linda Gross Theater @ Atlantic Theater Company

At its core, theater lifts one out of their own life and allows them to be immersed in a new world. It inspires questions, dialogue and discussion relating to how it this piece of work relates to one’s own life and experiences. Unfortunately, for Atlantic Theater Company’s revival of Caryl Churchill’s Cloud Nine, the questions that we were left with had nothing to do with our lives, but instead, were about the subject matter, the direction, the casting and the writing itself.

Staged in the round, Cloud Nine tells the story of sexuality; coming to terms with it, acting out on it and what “roles” we must play in relationship to the time period. Set in two different time periods, the play’s first act takes place in colonial Africa. We subsequently meet the family, one by one, and realize that most actors are playing the opposite sex. The story continues, very soap opera-esque, in which most of the characters are love someone that time period believes they “shouldn’t”. From the neighbor, to the husband’s best friend, to the little boy (yes, statutory rape), the characters go through an exploration of their sexual desires finally arriving at their sense of honor, duty and what society deems is “right”. Most is presented with a comedic tone, with the action happening so fast you forget to stop and think about what you are watching. In other points, the play drags on and has such verbal diarrhea you have to stop and think about what you are watching, essentially missing the next point, since you are too busy figuring out the last.
According to the script, the second act brings the play forward in time 25 years for the characters, however it is set almost 100 years later in physical time. We see the characters have grown up and now the children are going through their own sexual exploration; what is means to be gay and sexual freedom in the 1970s. While the same set of actors play the characters in the second act, they are now played by different people, which causes some confusion. The writing has the first set of characters visiting the characters of this time period near the end of the second act in an ethereal echo to the past. This proves for some nice moments in which we see the connection to the past and how the present characters have become the person they are because of that connection.
While there were some nice chances for the character’s connections to the past to be solidified through the casting, director James Macdonald missed the mark with most of them. We were often left wondering “who is this person and what is their purpose?” However, the stand out performance goes to Brooke Bloom. As Edward, we see her as the young boy struggling with what it means to be a man in colonial times, his sexuality and his place in the world. As Betty, we see her after she has left her husband, struggling what it means to be a woman without a man. We watch her go from dutiful wife in the first act to the present character who is free to make her own money, do as she chooses and masturbate as many times as she would like without feeling guilt. The echoes from the past really knock it out of the park with this character as she is visited by her mother, who gives her guilt and the final moment visited by her younger self in which nothing is said, but with just a look, you understood it all. Cloud Nine is currently playing through Nov. 1st at the Atlantic Theater Company, Linda Gross Theater. The stadium seating built to support the show in the round, although cushioned, can get quite uncomfortable for this lengthy play. The seating is also a bit short, so anyone over 5’4” is cautioned to buy an aisle seat. Note that there is no late seating or re-entry. It is also suggested to wear a light layer as the 100+ lighting package really heats up the intimate space.
Review By: Renee DemaioPhotos By: Doug Hamilton

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Daddy Long Legs @ The Davenport Theatre

Looking to resuscitate long lost feelings of love? Step into the Davenport Theatre, transformed into an intimate parlor, and a postcard will fall out of your program and attached will be a matching pen. After you write a postcard, to your true love of course, it will be stamped and mailed for you at the box office, then the show will begin.

And just like all the great, timeless love stories, Daddy Long Legs begins with a letter.
Megan McGinnis brilliantly portrays Jerusha Abbott, the oldest orphan girl at the John Grier Home. One day, she receives a letter from a cryptic man who came into the orphanage, who she described as tall and lanky like a Daddy Long Legs (get it?). In this letter, he states that he will send her to college but in return, she must write him once a month. Jerusha channels these letters into a personal diary, accounting + itemizing every thing that happens to her at school. Daddy Long Legs, played by Paul Alexander Nolan, begins to fall in love with her and throughout the play, tried to muster the confidence to expose his true identity- her roommate’s uncle. And as you can imagine, his identity is exposed at long last and they are to be wed, as all great, timeless love stories end.
Nolan’s performance is ever so notable because his role is so reactionary to all of Jerusha’s letters. We always know how he is feeling when he is silent, upstage at his desk. And McGinnis? Well, she really WAS Jerusha Abbott. The tears and truth to her each and every letter is reason alone to pick up a ticket.
John Caird’s staging was so simplistically charming- huge trunks all over the downstage playing area that transformed into a bed, a mountain, and storage area for lots and lots of books and letters. You used your imagination just as Jerusha did to muse about what her Daddy Long Legs looked like.
If you are in search of a charming evening, look no further than the Davenport Theatre and this production of Daddy Long Legs. Not only is it endearing and syrupy sweet, it is a lovely break from the modern world of texts and tweets and may inspire you to write a letter of your own.
Review By: Brittany GoodwinPhotos By: Jeremy Daniel

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Spring Awakening @ The Brooks Atkinson Theatre

The beautiful thing about theatre is that it gives you the freedom to push limits, bring up important issues in the world, and get conversations started. This revival of spring awakening takes a huge step in artist freedom and brings deaf actors and hearing actors on the same stage to tell an amazing story. Michael Arden and the entire creative team manage to take a story that is set in the 1890’s and make it so relevant to our lives.

As you enter Brooks Atkinson Theatre there is silence and as it gets closer to curtain you start hearing vibrations and a humming noise. The set is dimly lit and gives a presence of darkness and loneliness. Slowly the actors start to appear on stage dress only in their white undergarments. The actors continue to warm up, greet each other, living life, as they had no problems in the world. We see center stage a mirror and actress Sandra Mae Frank who plays Wendla makes her first inter action with her ‘voice” actress Katie Boeck. They have a beautiful moment seeing each other in the mirror and helping each other dress. We quickly understand their relationship, the “voice’ actors seem to resemble their voice inside their heads and almost represent how they wish they could be.

This cast is beyond amazing! There is so much talent on stage that you don’t know where to look! Austin P. McKenzie does a fantastic job carrying this show; he brings this energy on stage that you can’t take your eyes off him. Katie Boeck who voices Wendla has such a unique voice and it was so refreshing to hear her make it her own. Daniel N Durant who plays Moritz gave a haunting performance. Watching him sign in his last scene repeating “so dark” over and over in silence will forever leave an image in my mind, truly a powerful moment. Again, I can’t stress how talent this cast is; seriously they are all rock stars!

Visually this show was stunning, from the lights, costumes, to choreography. The lighting went from realistic to a rock concert to magical romantic, to absolutely haunting. I loved how the costumes for the voices symbolized how they would like to dress if they weren’t stuck in such a regimented world. And I loved the choreography; the actors signing basically took over their body and made a beautiful dance. The entire show moved so well that I wasn’t ready for it to end. There were so many great stage pictures that if I only saw pictures in order of the show I would understand what was going on and again I need to give Michael Arden credit for directing this wonderful piece of theatre.

Everyone needs to see this show, you will leave the theatre feeling so many emotions but hopefully you will leave feeling inspired as I did. This production is an exciting step for Theatre, giving more artists opportunity to share their gift, it is an exciting time!
Review By: Briana BurnsidePhotos By: Joan Marcus

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The Legend of Georgia McBride @ The Lucille Lortel Theatre

Mike Donahue and the MCC Theater have given New York a romp of a good time in their current production of The Legend of Georgia McBride. Matthew Lopez’s script is hilarious in its brazen honesty. It is a wonderful and positive story about finding your inner strength to follow your own destiny. Mike Donahue’s direction helps us smoothly move through the story with carefree ease and laughter, setting up the heartfelt moments for greater impact.The cast is simply dynamite. Dave Thomas (Casey/Georgia) plays a perfectly humanized hero. His innocence and charisma on stage are the perfect combination for the struggling Elvis turned drag queen. He is a joy to watch transform and you will fall in love with his every persona. Thomas’ chemistry with Afton Williamson (Jo) is stellar. Williamson is perfectly cast as the loving and nagging wife of Dave. She is lovely with an air of Zoe Saldana about her. Wayne Duvall (Eddie) plays the club owner (who is always looking to make a buck) with ease. We should want to hate him, but you just can’t help loving every moment he is on stage. Keith Nobbs (Rexy/Jason) is hilarious as both characters - showcasing his deadpan humor as Jason and countering it with Rexy’s alcoholic, shade induced comebacks. Last and certainly not least is Matt McGrath (Tracy). McGrath plays to the audience akin to Charles Bush, laying out quips, puns and movie homages like it is Christmas. The ease which McGrath lands each line and gesture is perfection.The production team for The Legend of Georgia McBride stepped up to match the brilliance of the cast. The lighting design, delivered by Ben Stanton, would do any rock band proud. Donyale Werle’s set was so well designed, I spent the first ten minutes sitting in the theater before the show started wondering what the actual space looked like and what was the set. This set is as detailed as Disney themes its attractions. The sound by Jill B C Du Boff was had just the right balance. Top that off with a diverse and eccentric costume design from Anita Yavich complimented by makeup and wig design by Jason Hayes and you have yourself one of the best shows in New York City.There are only a few shows that I would say you will be sorry you missed and this one is right up there at the top. It also features some of the best lip-syncing you will ever see. Go. It is fun with a soul. More theater should be like this.

Review By: Paul Morin
Photo By: Sara Krulwich

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Hamlet in Bed @ The Rattlestick Theater

Tucked away in Greenwich Village, far, far away from the lights + noise of Times Square lives a beautifully intelligent and emotionally driven new work called Hamlet in Bed.
Written and starring the brilliant Michael Laurence, this play supersedes expectations of “yet another new interpretation of the classic.”
The theatre is laid out in such a way that you feel a part of the set and story. Complete with exposed green room, set shop and yes, you even go visit the powder room on the stage if need be; one certainly feels at home in the atmosphere.
At the top of show, we are presented with a problem: Michael thinks he IS Hamlet. Silly, yes, but then we come to find out the thought process behind his rational. Michael, an adopted native New Yorker buys a diary at a thrift store penned by an the actress named Anna playing Ophelia. Through this journal, we find out that Anna gets pregnant by the actor playing Hamlet and after she delivers the baby and gives him up for adoption, the father kills himself. The date is Michael’s birthday. Michael believes that Anna must be his mother, finds her and casts her as Gertrude in his production of “Hamlet in Bed.” During the rehearsal process is a series of isolated vignettes that showcase their journeys culminating to their production. They agree that Michael must be Anna’s son and they both feel a little bit more complete than they have before.
This two character powerhouse really explores the inner mechanics of how the actor prepares while providing a fascinating story that everyone was so invested in. Michael Laurence is absolutely heartbreaking in his delivery and demeanor. We see how broken a person can be without a paternal figure and how it translates into their everyday choices. Annette O’Toole is equally as heartbreaking and chilling as a woman who let one choice ruin her entire path. She drips pathos and heart ache throughout all her solo moments and the strong woman she tries to be when she’s around Michael.
“I got all these beds because I think Hamlet would be in bed. So depressed he can’t get out so he does the whole play here” Michael explains.
For a thought provoking night out, I strongly advise you to check out HAMLET IN BED. Special pieces such as these come around once every few seasons. You’ll never quite look at Hamlet the same way again.
Review By: Brittany Goodwin
Photos By: Tristan Fuge

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Isolde @ The Polonsky Shakespeare Center @ The Theatre for New Audience

The ephemeral quality of memory and relationships are just a fact of life – memories shift and change, just as relationships grow over the course of time. And both memories and relationships can be lost – a quality that Isolde, a new play written and directed by Richard Maxwell displays beautifully.

Isolde tells the story of Isolde and Patrick, a married couple. He’s a contractor of a construction company and she’s a famous actress. But Isolde is having trouble remembering her lines recently. So Patrick tries to ease her troubles by letting her build her dream home, but things become shaky after Massimo, an award-winning architect becomes involved in the project.

Isolde was played very charmingly by Tory Vazquez, in a way the blended a mature woman with a very open and almost child-like outlook on the world. Her many wanderings around the room, as well as wandering thoughts always appeared to have some purpose, even if that purpose wasn’t clear to us. Jim Fletcher portrayed Patrick as a guy who clearly loves his wife, but is struggling to control the path in which his life appears to be wandering down.

As Massimo, Gary Wilmes alternates between dry commentary on life and then switching to grand sweeping soliloquies about the design for Isolde’s dream home. This duality shows why exactly Massimo is so intriguing for Isolde, as he captures the audience’s attention as well. Though the main scene stealer of the night was Brian Mendes as Uncle Jerry, a man of not too many words, but one who expertly knows how silence and the right facial expression can speak (hilarious) volumes.

The direction and writing of this play are both done by Richard Maxwell, which leads to a great melding of text and movement on the stage. The scenes blend seamlessly like memories do. Sometimes the dialogue can become stilted and very definitively staged, but the scenes and actions just keep rolling. Scenes change almost like dreams, you blink, and something else has shifted, someone has changed costumes, and a week in the play has gone by. It’s in this way that the show moves quicker than “realistic” life. Maxwell believes deeply in experimenting onstage and Isolde may not score a touchdown on everything, but no one can say it’s traditional.

The minimalism of the scenic/lighting design by Sascha Van Riel cooperates well with the costume designs by Romy Springsguth and Kaye Voce. Again, the simplicity speaks to how memories fade with time until only the most important and basic details remain.
Highly original and intriguing, Isolde leads its charmed existence only briefly, which is fitting considering the story itself. It will only be running until September 27 at Theatre for a New Audience at the Polonsky Shaekspeare Center in Brooklyn.

Review By: Chrissy Cody
Photos By: Gerry Goodstein

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Cymbeline @ The Delacorte Theatre w/ Public Theatre

Despite varied reviews on The Public Theatre’s Cymbeline, we were blown away by the whimsy, ingenuity and overall fun of the production. Cymbeline, a play most directors don’t touch with a ten foot pole, was thoughtfully executed capturing the true melodramatic nature of the text and circumstance. Embodied by a fine ensemble of actors and directed brilliantly by Daniel Sullivan, Cymbeline will tickle your funnybone and touch your heart with its music, aesthetic and of course, message.
While the title refers to King Cymbeline, the real stars of the show are Princess Imogen and Posthumus, who are marvelously brought to life by Tony-nominated (and American Horror Story alum) Lily Rabe and Hamish Linklater. These two simply soar and inject passionate energy every moment they are on stage. Rabe provides a feisty spirit to a character who could veer too prim and proper, all the while still maintaining her innocence that Imogen is noted for having. Linklater is one of several actors who double their roles, as he takes on both Imogen’s lover Posthumus and her betrothed lover/stepbrother Cloten. He effortlessly balances both characters by making them distinctly different (and with the aid of a silly wig reminiscent of Moe a la the 3 Stooges), while also exposing the similarities and differences between the two. This combination provides an intriguing antithesis of each of their relationships with the princess. Linklater is absolutely hysterical as the Queen’s dimwitted son, punching all of the correct moments to elicit laughs, while also sweet, strong, and heroic as Posthumus. His morning woo-ing song left the audience in stitches for a long while!
Raul Esparza is a deliciously evil Iachimo, decked out in a gangster-esque suit at the poker table in Italy. He exudes a despicable and cunning air as he wagers with Posthumus that he can seduce his virtuous and loyal Imogen. Esparza, who has a wide range of credits in theatre, film, and television, is able to show off his extraordinary singing skills thanks to music provided by Tom Kitt (Next to Normal).
This adaptation of Cymbeline is driven by its modern folk rock score which kept your feet tapping the entire duration of the play. Mimi Lieber choreographs bright and bonnie dances that mirror the lighthearted nature of this melodrama. Overall, Sullivan has assembled and directed an amazing team of actors and coached them brilliantly to bring to light one of Shakespeare’s “problem pieces”. It was certainly melodramatic, all the while seeing two sides to every story from the way he doubled the characters. The play is about forgiveness and trust and we certainly saw that culminate through all the journeys reaching their end at the conclusion of the play.
When one thinks of Shakespeare the likes of Romeo and Juliet or A Midsummer Night’s Dream usually come to mind. The late-romance of Cymbeline is not as well-known, and yet this production has gotten one of the most well-received reactions from an audience we have ever experienced. The laughs were long and constant and everyone rose to their feet in the concluding dance of an amazing evening. Head on over to the Delacorte and share the joy of love and language!
Review By: Brittany GoodwinPhotos By: Michelle V. Agins

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Amazing Grace @ The Nederlander Theatre

Amazing Grace, how do I begin to praise this production. First off, I had no idea what to expect… A musical about the song, Amazing Grace? Great, it’s going to be a long history lesson with musical breaks in between. I was so completely wrong.

Let’s talk about the set. This amazing, amazing set was used so creatively and used every inch of space. The most creative aspect of the set was the ship. Even though there was never a physical ship, they used ropes and pillars and traps, it was so beautifully orchestrated, and you felt that you were actually on the ship.

The one scene that was completely breath taking was how they staged a shipwreck and showed members of the crew drowning in the water. The lighting was wonderful, the choreography in the harnesses was wonderful, and I just sat there in amazement not even able to communicate my feelings.

Stage combat was a big part of this show, lots of history means lots of battles. And I thought the staging of that was very clever, using the slow motion and then switching to rapid speeds, again, the lighting was spot on and added to the wonder theatre magic. The choreography was great as well. We had beautiful tribal and African dancing which was so refreshing to see and only enhanced telling the story.

Now, this cast is so talented it’s hard to pick just one standout moment. Josh Young, who plays the lead, John Newton. Man can belt his face off and carry a show! Erin Mackley plays the wonder Mary, who may seem sweet and proper, but she manages to challenge the stereotypical idea of a woman, and Erin finds the perfect balance. Chuck Cooper!! Mr. Cooper portrays Thomas, who is John’s servant, and his performance left me speechless. I could not stop watching him, his voice so powerful, yet soft at the same time. His journey with John will stay with me forever. And this cast had some Broadway debuts! Nanna who was played by Laiona Michelle left me crying, her last song is so powerful, she’s a star. And actress Rachel Ferrera who plays Yema, was so much fun to watch. She used so much of her body to communicate her story that she didn’t even need to speak. The entire cast was phenomenal!
Again, I had no idea what to expect from this musical, and did they fool me! From the beginning with the happy go lucky opening number, truly alive, I thought “ok this will be cute’ and then the next scene we learn about auctioning slaves. This production found a balance where you can have a spirit of musical along with a deep meaning and actually learn about history. I think it is important that everyone sees this production. I left with an array of emotions, and of course singing amazing grace, how sweet the sound. (Which surprisingly they only sing twice.) This show is a must see!

Review By: Briana Burnside
Photos By: Joan Marcus

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The Absolute Brightness of Leonard Pelkey @ The Westside Theatre (Downstairs)

The Absolute Brightness of Leonard Pelkey was an absolute joy. After a sold-out and critically acclaimed run earlier this year at Dixon Place, Absolute Brightness has returned for a limited 12-week engagement, and it is certainly not something to be missed. Its new home, downstairs at the Westside Theatre, provides an intimate experience and allows the audience to be right in the action and one with the story, while also connecting with their fellow audience members. It demonstrates one of the piece’s points that we are all linked to one another and can have an effect on each other.
The play follows detective Chuck DeSantis as he investigates the disappearance of Leonard Pelkey, a flamboyant 14-year-old. Through his investigations he encounters several of the townspeople in their small town on the Jersey Shore who have all been profoundly affected by Leonard, as they explore what this young boy who was not afraid to be himself taught them about life.
While some may be wary of a one-man show, they have nothing to fear, as Absolute Brighness is marvelously helmed and performed by James Lecesne. Lecesne is able to command the stage every second of the 90-minute piece, being absolutely engaging and keeping the energy high. His comedic timing is impeccable, eliciting laughs at all the right moments, while also being able to hit the hard and serious moments. Effortlessly switching between voices and wonderful physicality, Lecesne plays no less than seven different and distinct characters – from a Jersey hairstylist, her sheepish 16 year old daughter, an eccentric drama school owner, an old ex-mob wife, an old clock shop owner, and a teen boy gamer, to the “main” character of Chuck the detective. While one is aware that it is all the same actor, it never feels that way, as Lecesne effortlessly breathes distinct life into each. His talent is absolutely palpable and unbelievable, bringing wonderment and utter admiration.
What is even more astonishing than Lecesne’s wondrous performance, is the fact that he also wrote the piece. This personal investment and connection shined throughout his performance, as you could tell he cared deeply for the story he was telling, and was proud to be sharing it with the world. Lecesne’s myriad of talents and accomplishments include being the screenwriter for the Academy Award winning film Trevor and a co-founder for The Trevor Project, a non-profit organization dedicated to suicide-prevention for LGBT youth. When purchasing tickets through telecharge, a portion of full price and premium tickets are donated to the organization. While the piece obviously deals with the subject of LGBT issues in today’s society, it never feels preachy or imposing. Rather, it is realistic, meant to make people think- have things really changed?
The scenic design by Jo Winiarski is minimal, consisting of a table laid out with artifacts of Leonard’s that are now pieces of evidence and a few chairs is effective, as it keeps the focus on Lecesne’s spectacular acting and supports him when necessary. Similarly are the effects of Aaron Rhyne’s projection design, which enlarges the various exhibits in Leonard’s case, showcasing how he is connected to each of the different townspeople. The play features original music by Duncan Sheik (Spring Awakening); this along with sound design by Christian Frederickson and Matt Richards’ lighting, easily characterize the different settings that each character resides in, and set the world and tone as the story shifts.
While Absolute Brightness is centered around a tragedy, at its core it is a heartwarming tale. This seemingly contradictory nature is what makes the play so profound and intriguing. Theatre is the perfect medium for this story, as it allows a human connection between performer and audience, and truly encourages and invites audience members to reflect on relationships within their own lives. As Lecesne took his bow, the audience leapt to its feet, smiles beaming on every face, all of us impacting by Leonard’s story just as those in the show were. Not only is The Absolute Brightness of Leonard Pelkey brilliantly conceived and performed, but it makes you think, laugh, and examine the brightness that exists around us. Head over to the Westside Theatre before Absolute Brightness disappears on October 4. Be inspired. Be bright.
Review By: April SiglerPhotos By: Michelle V. Agins

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The Wild Party @ New York City Center

The roaring 20’s incited a wildness that could not be contained—and it is celebrated today with productions such as Encores! Off Center’s The Wild Party. Equipped with an incredible score, Lippa’s The Wild Party brought me into the inner conflicts of abuse and the outer celebration of freedom.
Wild Party’s revival was directed by Leigh Silverman, who capitalized on an all-star cast’s talent to bring a captivating production of the musical to New York City Center’s stage. Scenic Designer Donyale Werle brought the 20’s to the 00’s with a unit set—perfectly showcasing musical director Chris Fenwick’s orchestra.
Costume designer Clint Ramos’ swanky selection emulated the time period with a unique artistic flair, especially when coupled with Sonya Tayeh’s choreography. Mark Bartons’ lighting design pulled the audience in; while Leon Rothenberg’s sound design made sure that no note went unnoticed. With subtleties managed, Queenie began a performance that had a roaring support from the first downbeat.
Sutton Foster (Queenie) brought a world of confusion, delight and the consequences of indecision to life on the Encores! stage. Foster’s powerful performance made the theater into an extension of the wild party ensuing.
Steven Pasquale personified the negative characteristics of strength in his portrayal of Burrs. He carried the rising insanity with him, ushering in the lows of un-contained emotion with masterful precision.
The life of the party was Joaquina Kalukango, whose rendition of Kate enticed the audience to its feet. Kalukango, like her cast-mates, is a do not miss.
Certainly matching her performance was Brandon Victor Dixon (Black). Harnessing superb chemistry with Foster, Dixon pushed humanity back into Queenie’s reality and an opposing force into Burrs’. Dixon had me out of my seat.
The dynamic duo of Eddie and Mae was played by Ryan Andes and Talene Monahon. Andes’ musical Stallone-esque performance was accentuated by Monahon’s lyrical innocence. All the while, everyone’s favorite lesbian Madelaine True (Miriam Shor) had the audience doubled over from her first line.
The supporting cast, Renée Albulario (Nadine), James Brown III (the Neighbor), Rachel De Benedet (Dolores), Raymond J. Lee (Max), Clifton Oliver (Oscar d’Armano), Charlie Pollock (Sam/The Cop) and Britton Smith (Phil d’Armano), brought life to every note. They did not fall behind the stacked lead roles, rather, they pulled an even stronger performance from them. The ensemble (Penelope Armstead-Williams, Kenita R. Miller, Sydney Morton, Ryan Steele and Samantha Sturm) was no different.

This unforgettable cast harnessed every high expectation; and with this pool of talent, it would be a surprise if there was any portion of the performance that was lacking. A night filled with laughter is seldom forgettable.
Review By: Alexandra LipariPhotos By: Joan Marcus

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Gloria @ The Vineyard Theater

Are you a recent college graduate trying to figure out what you want to do with the rest of your life? Or are you in your late twenties working for a company not sure about the career path you are taking? Or are you in your forties well into your career and realize this isn’t the life you want? If you answered yes to any of these questions then you need to make your way to The Vineyard Theatre and see, Gloria.

If you answered no to any of these questions, still go see this play, its THAT good! Before I praise the actors I must praise the playwright, Branden Jacobs- Jenkins. What seems like a typical story about a couple twenty somethings trying to figure out life turns into so much more. From the effortless banter, and quick pace wit, I was taken on an emotional roller coaster. Branden Jacobs- Jenkins’ script at first makes you feel like its ok to be lost and not sure about where life is taking you and then takes a brutal turn and makes you question if you would be able to live with your choices.
Direction by Evan Cabnet was simplistic and near perfection. The staging of this production was fantastic, and that’s hard to do when most of the set is cubicles. It seems like basic theatre knowledge that directors would use levels, but in this production it seemed so naturalistic and creative. It also helps that the sets were absolutely stunning, and so detailed, that it would have been like a playground working in that space.
Now lets talk about the amazing cast. This production really is an ensemble piece, and it was so entertaining to watch how everyone played of each other and how their relationships developed. Again I can’t stress enough how simplistic this production was. It was so refreshing to watch actors listen and react to each other. Everything was raw and realistic.
Ryan Spahn, who played Dean, gave such a moving performance. I went from believing this guy is a jerk; to he’s just a slacker, to rooting for him. He gave such a balanced performance with his comedic timing, to his powerful and saddening aftermath in act two. Catherine Combs, who portrayed Ani, is effortless. She has a presences that is unforgettable. I found myself watching her when she was just listening to her fellow actors. Jennifer Kim gives so much life to her character Kendra. Her comedic timing is perfection, and her bantering and rants are hysterical, and hit home because most of what she says is the sad truth. Kyle Beltran who plays the quiet intern Miles, is anything but quiet. He might have not said much in the first act, but I was always aware of where he was. He also shows impressive character work in the second act. Jeanine Serralles plays Gloria, and she managed to make me laugh, scream, and so scared I had to close my eyes for a second. Michael Crane played the sad character Lorin. He managed to give a hysterical performance but it turn into one of the saddest story lines.
This show will make you feel almost every emotion possible. It makes you think, ask questions, and truly figure out what you want out of life. I didn’t want it to end, and with that, I will see it again because… its THAT good!

Review By: Briana Burnside
Photos By: Carol Rosegg

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The Tempest @ The Delacorte Theater w/ The Publice Theater

Shakespeare in the Park’s production of The Tempest certainly took us by storm. It was imaginative and sensory, brought to life by fantastical masters of the language. The actors were superb and wonderfully showcased a large skill set, creating a fascinating environment provided by Michael Greif’s direction.
From moment one, the production captures your focus and places you into the shipwreck- no longer in Central Park, New York, New York. Being outdoors allows you to experience the elements as the characters are, and truly elevates the sensibility.
The scenic design by Riccardo Hernandez was beautifully simplistic, and offered a fresh change in locale as the play goes on, married to David Lander’s gorgeous lighting design. The Public withheld its amazing standards even in the outdoor elements. Emily Rebholz designed costumes that mirrored the surrealistic, timeless quality of the adaptation of the piece, thus further allowing the story to feel contemporary and relevant to our modern audience. Arthur Solari’s percussion underscored the action beautifully, giving the piece a heart beat.
Sam Waterston leads the show as Prospero, the exiled ex-duke of Milan, in a brilliantly captivating manner. He embodies a man driven by both passion and logic, and the audience is able to see his pain and triumphs with every character he meets. The star vehicle, Jesse Tyler Fergusen as Trinculo, certainly does not disappoint. He injected comedy and whimsy into the scene, forcing the audience to be fixated on his hilarious reactions and commentary to the given circumstances. Other standout performances include Louis Cancelmi as Caliban, who tells his story not only verbally, but also giving a chilling and utterly compelling physicality to his tale. Chris Perfetti’s attention to the language and essence of a spirit was irresistible as Ariel. His focus and movements were ethereal, enrapturing the audience’s eye as he moved across the stage. Ensemble troupe members were able to showcase their various talents, whether it be silk dancing, contortion, or glorious and haunting harmonies. Everyone’s talent and mastery of the Shakespearean language were demonstrated through the fact that it flowed effortlessly and felt like you were watching a modern tale.
The Public Theatre provides a unique thought-provoking free experience for the general public to enjoy and appreciate. The crowd rose to its feet at the conclusion of the show and voiced their endless appreciation for the actors’, designers’ and directors’ work. So pack up your picnic basket and head on down to the Delacorte Theatre in Central Park! May only an actual tempest deter you from running to see this production.

Review By: Brittany Goodwin
Photos By: Joan Marcus

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Be More Chill @ Two Rivers Theater Company

The World Premier of Be More Chill, opened at the Two River’s Theatre this June. An inventive musical with a fantastic cast of Broadway’s young finest, Be More Chill deserves to be seen and appreciated!
Young Jeremy is a loser, he’s barely able to get through high school, he doesn’t have a girlfriend, and his father wanders the house without his pants on. Enter in “The Squib,” a super computer that enters in your bloodstream and invades your consciousness to give you all the tools to succeed at life, but as we all know, there is always a price.
Will Connolly(Once) stars as Jeremy. With poignancy and teenage innocence, we see him transformed from the lovable nerd to the kid at the top of the food chain. Eric William Morris(Mamma Mia) plays his squib, bent on world domination. Oozing sex appeal, he commands the stage and is the epitome of chill. Stephanie Hsu(Girl Code) demonstrates the vivacity that high school drama geeks are known for with flair and kick-ass converse. Also starring: Jake Boyd, Gerard Canonico, Katlyn Carlson, Katie Ladner, Lauren Marcus, George Salazar, and Paul Whitty.
Be More Chill is full of choreography and music reminiscent of Green Day’s’ American Idiot, with just enough musical theatre to paint it’s tonality. But the one number that stood out was “Michael in the Bathroom,” performed by the incredibly talented George Salazar. If, and I hope this is the case, Be More Chill continues its climb to the Broadway stage, I hope they do not change one iota of this ballad. It was perfect.
Do yourself a favor and make your way down to the Jersey Shore for this piece of theatre conceived by Joe Iconis and Joe Tracz and directed by Stephen Brackett. It’s a misfist’s dream and captures high school, friendship, and what it means to be an individual with laser definition. Be More Chill runs until June 21st.

Review By: Aziza Seven
Photos By: T. Charles Erickson

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