A Bronx Tale @ The Longacre Theater

I feel like I have said this in many shows I review, but I honestly did not know what to expect when I sat down in the Longacre Theatre to watch A Bronx Tale. I did not know it was originally a one man show, and a movie, I am late to the party! It is safe to assume that you are going to watch someone’s tale in the Bronx, Belmont Avenue to be exact.

We follow the story of Calogero. The year is 1960 and we are in a stereotypical Italian “neighborhood.” And what’s a classic neighborhood without some grown men carrying baseball bats and handling some “business”. The young Calogero, played beautifully by Hudson Loverro, witnesses a murder and the show takes off and doesn’t slow down. Calogero decides he’s not a rat and the neighborhoods leader, Sunny, decides he’s one of the guys. Instantly we have a struggle between Sunny, and Calogero’s father. What kind of man will he become?

Did I forget to mention that this show is actually a musical! It’s hard to believe because the show is filled with so much drama, information, and yet the music doesn’t feel forced at all. Some stand out numbers were, Roll em, where we see how Sunny makes a lot of his money, and meet (for lack of a better world) the rest of the mob. Another song I just can’t get out of my head is “I like it” which gives young Calogero a chance to shine and shows us he’s ok with being one of the guys.

We see Calogero grow into a man. And that’s when things get real difficult. The world is changing and so is the neighborhood. Calogero, played by Bobby Conte Thornton does a fantastic job moving this show along, and makes the whole audience fall in love with him. So, it’s obvious he needs a love interest. Enter Jane, a girl from the other side of the neighborhood, Webster Avenue to be exact. Racial tensions rise, fights between the neighborhoods occur, a real Romeo and Juliette vibe.

My only problem with this show was a lot of things we glossed over. I wanted to see more of the love story between Calogero and Jane. I wanted more struggles between Sunny and Lorenzo. I wanted more of Rosina, his mother. I think there might have been too many side plots.

The cast was absolutely amazing. Lorenzo, played by Richard H Blake will absolutely tear your heart out and break it to a million pieces and blow you away with his voice. Lucia Giannetta (Rosina) and Ariana Debose (Jane) both had amazing solos but again, wish I got to see them more! Nick Cordero (Sunny) makes me remember why I will always have a crush on an Italian man. He has such a charm you can’t help but love him and root for him the entire show.
A Bronx Tale has something for everyone. It’s filled with lovely little comedic gems such as a ‘girlfriend test’ and just good ole neighborhood charm that will make anyone reminisce on their youth. This could be… One of the great ones.

Review By: Briana Burnside
Photos By: Joan Marcus

Read More

THIS DAY FORWARD @ The Vineyard Theater

The Vineyard Theatre’s newest installation, This Day Forward, is one show that certainly makes you think. Written by Nicky Silver (Pterodactyls, The Lyons) it is not your typical love story; in fact, it is the lack of love that really is the star of this show.

Set in both 1958 and 2004, the story centers around Irene’s (Holley Fain) love life. The play begins in 1958, in a swank hotel (with trimmings that seriously make me consider hiring scenic designer, Allen Moyer, to re-do my place), on Irene and Martin’s (Michael Crane) wedding night. We immediately are drawn in by Fain’s excellent portrayal of a nervous, fidgety and distressed newlywed. After skirting around for awhile, she finally admits to Martin that she is not in love with him, but instead, is in love with Emil (Joe Tippett), a loud-mouth, brash, gas station attendant she has been forbidden from dating by her mother. Martin, in obvious disbelief, begins to question her about the relationship and why she decided to wait until AFTER their wedding to share this information. Irene explains how the two became acquainted, their subsequent break-up and how Emil was on his way over to pick up Irene after she had seen him earlier that morning. Emil arrives and the three hash it out in the hotel room. The men decide to fight for the right for Irene. While they “take it outside,” Irene is given love advice from Melka (June Gable), the polish immigrant hotel maid, who was in a similar situation. She cautions her from following her heart, as it did not work out in her favor, and urges her to stay with a man who can take care of her and give her the material things she desires. Martin finally returns and with her mind made up, Irene chooses to forgo Melka’s advice and go with love over material wealth and leaves to meet up with Emil.

The second act begins in a totally redesigned space (and again, Moyer’s design of a chic New York apartment makes me question if I could pull that off in suburbia). Major kudos to the run crew who successfully took apart an entire stage in the time it took to check my Facebook. The story begins with Crane, now playing Noah, with his boyfriend, Leo (Andrew Burnap) in a beautiful NYC apartment in 2004. Leo is stressed out because his estranged mother is coming after being picked up by the police at JFK Airport after seemingly having an Alzheimer’s episode. We then meet Noah’s sister, Sheila (Francesca Faridany) who explains just how bad it is living with her mother. When their mother arrives, we realize it is Irene (now played by June Gable), many years later. We learn that even though we saw her exit to follow her heart to be with Emil in Act I, she still wound up with Martin, lived a miserable life with all of the amenities a 20th-century woman could want. This misery trickled down into her children, who both have sabotaged relationships, unstable lives and an affinity for feeling like they were generally unwanted. The play closes with Irene seemingly talking to a ghostly Emil, in which we learn he never met with her that night. Feeling like he was unable to provide her the life she wanted, he decided it was best to let her stay with Martin.

It is in the final moments that this play really shines. Taking on the concept of how failed love shapes people is not something many have done before. Silver does a phenomenal job of making you think about following your heart without being cheesy. Personally experiencing this show with someone who has been divorced was an added treat, as for her, it gave her some closure in her decisions. You can never know what the future holds for you, but this play truly shows you that by playing it safe and not trusting your heart, you may be able to survive, but the life you lead will be riddled with misery, melancholy and general unhappiness that is felt by EVERYONE around you. This will then affect the choices they make for the rest of their lives, causing this cycle to never end.
Playing now through Dec. 18th, this is one show you do not want to miss. Besides the kudos given above, a sincere salute to those cast members that played dual roles. Taking on the challenge of playing two completely different characters and making it believable can be difficult, but the cast makes it appear effortless. For tickets and information, please visit www.vineyardtheatre.org and be sure to check out the lower lobby for added touches that make the play come alive.

Review By: Renee Demaio
Photos By: Julieta Cervantes

CrediJulieta Cervantes

Read More

Othello: The Remix @ The Westside Theater (Upstairs)

In recent seasons where hip hop seems to be dominating musical theater, The Q Brothers’ Othello: the Remix fits right in. But these brothers are no strangers to infusing the style into their work. In the past decade and a half, the production group has created several hip hop adaptations of Shakespeare’s most famous works: The Bomb-itty of Errors, Funk it Up About Nothing, Q Gents, and I have been produced around the country and Off-Broadway. John Leguizamo’s presentation of Othello the Remix brings the Q Brothers back to New York. The re-imagining presents Othello (Postell Pringle) as a hip hop mogul, about to embark on a cross country tour to promote the new album for pop-rapper Cassio (Jackson Doran). Fellow artist Iago (GQ) feels betrayed to be the “opener for the opener” on the tour, and sets out to get revenge by ruining Cassio’s career and Othello’s new marriage. Though the plot is modernized, Shakepeare’s themes of jealousy and betrayal are still very apparent. The Q Brothers incorporate a unique style of comedy into their work. Like a sketch group, there are many characters played by the company of four actors. Wigs, shirt fronts, and hats are used to differentiate the characters. Like an improv troupe, the actors break the fourth wall and make out-there jokes that incite heavy laughs. But where they differ: they do all this in the middle of catchy beats and smart rhymes, just like a hip-hop crew. Move over Hamilton, looks like you have some competition. JQ stands out as the character actor of the production. In 80 minutes, he becomes tennis-obsessed record producer Loco Vito, Rosie Perez-like groupie Bianca, and lovesick Dungeons & Dragons player Roderigo. Doran’s Cassio is an endearing comic relief: the guy you want to laugh at and feel bad for at the same time. GQ’s Iago is earnest and jealous; he’s the puppet master villain who you almost want to see succeed. Pringle carries the show as leading man Othello, and your hearts breaks right along with him. Equal parts Shakespeare, Hip hop, and sketch comedy doesn’t sound like a formula that should work. Oh but it does. Even the elderly ladies in the front row were raising the roof. Othello: The Remix performs at the Westside Theater.

Review By: Kelcie Kosberg
Photos By: Carol Rosegg

Read More

A DOG STORY @ The Loft at the Davenport’s Black Box

A Dog Story, music and lyrics by Gayla D. Morgan is a new musical comedy about a career-driven lawyer and his quest to marry a woman in less than a month in order to secure a promotion. The plot left much to be desired and the character development was almost remiss throughout the show until its final moments.
The play was performed in the Loft at the Davenport’s Black Box theatre. The set was clever. Designed by Lauren Mills, it featured large white cabinets on either side of the stage whose cubbies were opened to reveal different signs to signify scene changes and storage for characters to interact with. A Dog Story was choreographed by Shannon Lewis and directed by Justin Baldridge.

Roland (David Perlman) is our career-driven lawyer that is unable to make partner at his firm. From faulty logic, Roland realizes that others have been promoted before him because of their recent marriages. The rest of Perlman’s performance was filled with his attempt to pull more depth out of an otherwise shallow character.
Roland’s best friend, Guy (Brian Ray Norris) is a womanizer that, despite being in his late thirties, acts as if he is scarcely eighteen. His lewd comments and aggressive nature toward women did not come across as endearing–his creepiness did not set well with the audience either. Norris was unable to harness many defining moments.

Guy and Roland make a trip out to the Hamptons where Guy believes Roland will find his wife, but he must “get a dog!” first. Shortly after his endeavor of obtaining his new companion, he is in pursuit of Blair (Stefanie Brown), a beautiful hedge fund manager that Roland believes is perfect for him. Brown was captivating when she was on stage.
Lastly, realizing that Blair will never love him if his dog misbehaves, Roland hires MIranda (Lindsie VanWinkle) to train his new puppy. VanWinkle is faced with a more developed character surrounded by thin ones and she does her best to compensate.

A Dog Story did what it could to win the audience with its imaginary dog and shaky premise. The cast lacked chemistry and some of their interactions came across as awkward. The show itself had some special moments, that, as a dog lover, I did appreciate.
Review By: Alex LipariPhotos By: Jeremy Daniel

Read More

PARTY PEOPLE @ The Public Theater

Writing this review has been one of the hardest things I have had to do. Not because the show, but because what it stands for and how relevant it is today. With that being said excuse me if this review is a little scattered.

Party People takes place now. We follow the Journey of Malik and Jimmy, two millennial’s who are putting on a show to celebrate the party. (The party meaning Black panthers and Young Lords) The opening scene we see Malik (Christopher Livingston) practicing a monologue expressing his anger of never being good enough to be a Black Panther like his father. Enter his right hand man Jimmy (William Ruiz) who has an alter ego Primo but we will get to that later. Jimmy gives Malik a pep talk on how they are prepared for this show and just like that we find ourselves back in the 60’s in the middle of the civil rights movements.
We see Black Panthers and Young Lords fighting together using slam poetry, jazz, hip hop to have their voices heard. It took everything in me to not chant with them. IT AINT JUST! Throughout these flash backs we come to see each revolutionary and all the struggles they went through with the corrupt world we live in and with each other in the party. By intermission we come back to the present and we see the revolutionaries enter the show, which is all about them. They make small talk, until deep secrets rise.

Act two we learn about spies and betrayal in the party, but we mostly focus on our new generation. How are we fighting for what is just! Do we just hide behind a hashtag and a keyboard? The party calls us weak, lazy, because we use a Facebook status to voice our opinion. What will we DO! How will we make Black lives matter? “They don’t want us truly free, that’s how a man like Donald Trump is elected president”.
Party People is the most honest, truthful, realistic show in New York right now. The cast is filled with an amazing talented ensemble. And is truly an ensemble piece. The use of multi media is used to perfection and helps show the difference between generations and how we are all evolving.

Leaving the show I was emotionally drained. Walking down the stairs at the Public I heard some people say, “it was good, but really long”. I don’t know why but that stuck with me. It was long, yes, but it was necessary. Just like how these next four years will be long. Just like how we are still fighting for people to be equal. When will it end? IT AINT JUST!

All my babbling aside, I encourage every human to see this show. It is so powerful, inspiring, and important! I promise you will leave the theatre fired up and ready to make a change, and not hide behind a hash tag.

Review By: Briana BurnsidePhotos By: Sara Krulwich

Read More

A Taste of Things to Come @ The York Theater Company

A Taste of Things to Come has enjoyed its first New York debut at The York Theatre Company at St. Peter’s. Taste is a welcome adventure through time—exploring the dichotomy of a woman’s life in the 1950’s vs. the 1960’s. The book, music and lyrics by Debra Barsha and Hollye Levin brought the pervasive experiences of women; friendship, desire, marriage, societal pressures, oppression and more—to life.

Director/choreographer Lorin Latarro utilized Steven C. Kemp’s fully stocked kitchen with moving blocks of counters mirroring the style of their respective decades. In Act I we are greeted with the 1957 kitchen, complete with a window/computer screen that accompanied the cast with television clips from the 50’s and more.
In Act II, the scene opens up to reveal the all-women band behind the counters (Gillian Berkowitz/Piano and Conductor, Ann Klein/Electric and Acoustic Guitar, Barbara Merjan/Drums and Percussion, Sue Williams/Upright and Electric Bass), a living room complete with a shag rug and other iconic 60’s pieces. Lighting Design by Nathan W. Scheuer and Costume Design by Dana Burkart was notable throughout the performance.

The play explores the lives of four women, Joan Smith, Agnes Crookshank, Dottie O’Farrell, and Connie Olsen. Each one represents different personas of the time periods. While Act I was quite whitewashed, Act II hit home with a touching exploration of the issues of women, race and status; creating a much deeper connection to the heart of the audience.
Joan Smith (Paige Faure) is the ring-leader—the organizer of the Winnetka women. Highly intelligent but limited as a woman—Faure does not struggle to personify her character’s growth into the age of feminism. It is Faure that is the glue of the performance.

One of Joan’s best friends (just don’t tell the others) is Connie Olsen (Autumn Hurlber). Connie is blonde haired and blue eyed with the “perfect” marriage. Faced with the ultimate form of “limbo,” Hurlber explores interracial issues in the second act. Her connection with her character was as powerful as her chemistry with the cast.

Agnes Crookshank (Janet Dacal) is the forever-single woman of the group. Refusing to accept the overall zeitgeist of the 1950’s, Crookshank pushes all of the envelopes she encounters and Dacal encompasses the early dents in the glass ceiling in the form of defiance. This blossoms into success in finding her place in the world outside of Illinois and Dacal more than just “passes” in her role.
Dottie O’Farrell is the personification of feminine zeitgeist. A suburban mother of four (or was it six?), Allison Guinn hilariously pulls the proud mother almost left behind in the 1960’s to the forefront of the play. As an audience, we are reminded that motherhood is just as powerful as any other life path; and that the sexual revolution did wonders for everyone. Guinn was perfect for the role.


A Taste of Things to Come hit almost every major social and political event for women of 50’s and 60’s—from “Dear Abby” to the pill. It was an incredible journey that I was charmed to be a part of. Debra Barsha and Hollye Levin created a play that is not only reflective but inclusive.
Review By: Alex LipariPhotos By: Carol Rosegg

Read More

Coriolanus from Man to Dragon @ Italy Time Theatre

Coriolanus from Man to Dragon adapted by Omri Kadim and presented by Shakespeare in the Square and Combative Theatre Co. is an interesting look at Shakespeare’s Ancient Rome.
The play was presented in somewhat of a thrust fashion and the audience was made to stand and be a part of the production for roughly 65% of the play. Cast members utilized the stage and space in front of it, with a ramp leading down. Members of the Fight Core frequently spoke to audience members as if they were Roman citizens, ushering them to different parts of the floor. It was an immersive dynamic experience that director Yuriy Pavlish attempted to utilize to bring a different element to Coriolanus. Also I must note that the cast was a healthy mix of genders, another new take on the play.

We begin with dozens of fight scenes, the cast in tattered togas with strips of leather to accentuate a character’s status. It seems costume designer Fan Zhang worked with a budget as best as possible. At times it was a struggle to tell which group fighting were Roman soldiers and which were the Volscians. This issue was not assuaged by the passage of time and the lessening of violence—this made the play somewhat muddled.
Members of the cast entered the scene from three different points, one at each portion of the thrust. Sounds of battle were heard behind the curtain shielding audience members from the seats they would gain access to when the performance allowed. Every avenue was used to express different portions of the play.

The combat scenes were filled with death and the scathing sound of metal on metal or metal to spear. The cast was able to utilize a host of weapons—swords, spears, hidden daggers and dirks. The theatrics were well placed, the stances and fighting style commensurate with warriors of Ancient Rome. However, most cast members found it difficult to fight at speed and many moves came across as contrived. The exception were battles between Coriolanus (Jefferson Reardon) and Aufidius (Chris Dooly)—both men were very well suited to battle at speed and it was a pleasure to watch.
Each cast member had a solid hold of the Shakespearean prose, not faltering with its heft. The play also had a healthy dose of comedic relief mostly doled out by Menenius (Felix Birdie). Other notable performances include Volumnia (Patricia Black) and Brutus (Oliver Palmer). Black was engaging and each time she entered the stage she was welcome. Palmer held many roles aside from Brutus and in each he excelled at bringing the audience in. Reardon (Coriolanus) channeled his rage and anger very well, his performance palpable.


In all, the performance was difficult to follow at times because of the similarity of costume but was a unique take on Coriolanus.
Review By: Alex LipariPhotos By: Emilio Madrid-Kuser

Read More

Tick Tick Boom @ The Acorn Theater @ Theatre Row

Before Rent, there was Tick, Tick… BOOM! This autobiographical musical, by the Pulitzer Prize and Tony Award winning Jonathan Larson, is the story of an aspiring composer questioning his life choices on the eve of his thirtieth birthday. His girlfriend wants to get married and move out of the city, his best friend is making big bucks on Madison Avenue, but Jon is still waiting on tables and trying to write the great American musical. This exhilarating, funny, and moving work by the late Larson will speak to anyone who’s ever gotten lost on their way to finding their dreams.

“Tick, Tick…BOOM!” has book, music and lyrics by Jonathan Larson. David Auburn serves as Script Consultant and Joey Chancey is Musical Director. Jonathan Silverstein directs, with choreography by Christine O’Grady.
The cast of “Tick, Tick…BOOM!” includes Nick Blaemire, Lilli Cooper (begins 11/22), Ciara Renée (thru 11/20), and George Salazar. The creative team of “Tick, Tick…BOOM!” includes Steven Kemp (set design), Jennifer Paar (costume design), Josh Bradford (lighting design), Julian Evans (sound design), and Ricola Wille (prop design). Joanna Muhlfelder is production stage manager.
Tick, Tick… BOOM! opened with Keen Theater Company on October 20th 2016 and plays through December 18th, 2016. This revival is a must see, make sure you catch it before Ciara Renee’s final performance.

Photo By: Joan Marcus

Read More

Les Liasions Dangereuses @ The Booth Theater

Since its initial 1987 Broadway debut with Lindsay Duncan and Alan Rickman, Les Liasions Dangereuses has returned to the Booth Theatre starring Janet McTeer and Liev Schreiber. A performance filled with the underbelly of intrigue and sexual manipulation of ancien régime France comes from Christopher Hampton’s adaptation of Choderlos de Laclos’ 1787 novel.
Directed by Josie Rourke, Dangereuses witty lines and scintillating tales scurry across the stage in beautiful period garb designed by Tom Scutt. Scutt also designed the unit set that resembles an old art gallery—the walls peeling and gorgeous paintings lying about, waiting to be properly marveled at.
Janet McTeer plays La Marquise de Merteuil, a happily widowed aristocrat who gains her pleasure from the power she imposes on others—her success measured only by the misery and destruction that falls before her. Expertly, she hides her intentions behind her perfect mannerisms and military-like strategy. Her aim is to exercise the only power she can possibly possess as a woman and achieve its ends better than a man. Her competitor is Liev Schreiber, Le Vicomte de Valmont, serially unwed and searching for the highest conquests to earn him fame and legend (from his loins). His intentions only hidden by his quick wit and easy command of a woman’s virtue (or lack thereof).
Their major victims are a 15-year-old virgin, Cecile Valanges (Elena Kampouris), her true love Le Chevalier Danceny (Raffi Barsoumian), and a happily married and virtuous woman Madame de Tourvel (Birgitte Hjort Sorensen). La Marquise desires revenge on a former lover and tasks Valmont to deflower Cecile before her impending marriage and Valmont wishes to become an irresistible yearning of Madame de Tourvel; enough for her to drop her religious afflictions and leave her husband. A feat he views as the height of his career; so impossible that only he can achieve its end.
What ensues is Schreiber and McTeer commanding the stage and performance. Each one pulled from the audience a sense of overarching foreboding and hopelessness. Rourke was careful to include comedic relief wherever possible. The acting was without flaw and the play itself a dark undertaking where characters shed their innocence, their feelings of true love and desires for the art of the game.
Difficult as it is to bring all aspects of a novel to life, Les Liaisions Dangereuses does its best and is graced with a very capable cast. While there was a lot of comedy and talent to bridge the gaps of a thin plot and overt hideous intentions that did not always run deeper, Dangereuses opened an eye to the musical chairs of lovers and destroyers of pre-revolution France.

Review By: Alex Lipari
Photos By: Joan Marcus

Read More

OH HELLO @ THE LYCEUM THEATRE

A few minutes into “Oh, Hello” I noticed in front of me a well dressed older man with a disinterested posture. Maybe he wasn’t a fan of the stand up comedy of John Mulaney or Nick Kroll or the sketches from Kroll Show, the latter’s Comedy Central series that birthed the characters of two stylized curmudgeons from the Upper West Side who were now lighting up the historic Lyceum Theater. Maybe he had already decided this was a pop culture cash in and there was nothing for him here, but as the two began their descent into a near perfect deconstruction of the theater (surprise surprise, the show is wonderful), one thing became clear: It wasn’t IF they’d break through to the stiff man in front of me, but when.
Mulaney and Kroll play George St. Geegland and Gill Faizan, two decades long best friends who are thrown to the wind after the comfort of their rent stabilized apartment is taken away. The plot doesn’t dig much deeper, but the story itself is just a springboard for the two to completely dismantle both cliches of the theater and New York in a rapid fire series of disjointed vignettes. The narrative is broken constantly, peppered with asides to the audience, requests for bathroom breaks, criticism from one another about their delivery, etc. It’s the slapdash, shooting-from-the-hip vibe that gives it all a special charm, with all the silliness enhanced by the fever dream of a set, a cobbled together collection of props and other memorabilia from previous shows at the Lyceum that seems to constantly remind us not to take this too seriously.
The result is a laugh on nearly every line thanks to the incredibly polished script and endearing characters the two have delicately crafted, as well as something all too rare to Broadway, playful moments of improvisation that, thanks to their obvious friendship and comfortability, is (gasp!) actually just as funny as the dialogue. No moment overstays its welcome as the two pin ball their way from discussing their origin story to chewing out their unpaid intern in the booth for delayed sound cues to introducing genuine surprise celebrity guests for an impromptu talk show to addressing specifically expensive set pieces as specifically expensive set pieces, all culminating in a final bow that leaves the audience satisfied that there is not one more drop of humor to be squeezed from the evening.
When the man in front of me eventually let out a satisfied laugh (during a very small moment when Mulaney’s Geegland showed genuine contempt for the audience for not being into Steely Dan enough to enjoy the show) I could tell he finally agreed he wasn’t seeing some flash in the pan novelty act, but something completely different. He relaxed like he was listening to an exotic instrument he had never heard before but that he couldn’t deny was fine tuned and being played with perfection. You don’t have to already love Kroll and Mulaney to find something special here, though like listening to copious amounts of Steely Dan it’s better for you in the long run.
Review: Dave ColumboPhoto: Dave Kotinksy

Read More

GYPSY @ PHOENIX RED BANK

I’d imagine there is a lot of pressure associated with staging, what most consider to be, the GREATEST American musical of all time. One must dissect the elements that make it to be just that: the greatest. Well, here she is boys, Phoenix of Red Bank’s stellar production of Gypsy at the gorgeous Count Basie Theatre, shining in all it’s glory.

Bernadette Peters once compared the character of Momma Rose to “the female equivilant of King Leer.” Under the ginger care of director Tom Martini, Loretta Boyle lead the cast with the verve and doggedness every Momma must possess.



The diadem of this production, however, was within her daughter Louise, played by Kathryn Pentek. Pentek explored a vulnerability who’s depths jarred the audience. We watched her transform from the overlooked tomboy cast aside by her mother, to a sexualized demigoddess casting her mother aside. Miss Pentek’s performance was nothing short of heartbreaking, thoroughly embodying the spirit of the piece.
Bob Sammond musically directs a show with tight knit harmonies very reminiscent of the vaudevillian days. Elise Klinger’s choreography matches that same level of grace and historical accuracy.
Stand out performances littered the show with every twist and turn. Chris Lorenc took on the role of Tulsa, leaving every single person in my row breathless, and for good reason. His mastery of the time period nuances, execution of the dance and sheer chemistry with every single person on stage was certainly infectious and memorable. Mikayla Petrilla lit up the whole stage with infallible energy as Electra and led her fellow strippers to victory in a hilarious rendition of “You Gotta Get a Gimmick.”’

Its always a wonderful feeling when you see a classic just done right. Phoenix Red Bank undoubtedly provided that sense of nostalgia and a toetapping good time.
Review: Brittany GoodwinPhotos by: Rick Kowalski

Read More

ALL THE WAYS TO SAY I LOVE YOU @ THE LUCILLE LORTEL THEATRE

My English teacher once admitted every story is a variation of a handful of tired archetypes. “The beauty,” she said, “is in a familiar narrative being told in an exciting way.”
This was on my mind while watching “All The Ways To Say I Love You” at the Lucille Lortelle theater, thanks to the skills of playwright Neil Labute, director Leigh Silverman, and particularly Judith Light who all deliver us Mrs. Johnson, an English teacher bound by her curiosity of a student’s obtuse question about lying, her intrigue with the fluidity of the truth, and by her burden of transgressions she admits to but can’t in good conscience condemn.

In a few minutes the familiarity of the rather simple story is clear, but malaise has no time to set in thanks to Judith Light’s portrayal. Her seemingly fragile frame is betrayed by a powerful drum beat of a performance, complete with moments of delicate calm interspersed with erratic explosions of movement and force. Her honesty is palpable and often moves faster than she can, resulting in us piecing the story together less from her enthusiasm but in the moments she recoils at simple words spoken before she’s fully ready to meet their emotional weight, leaving us with multiple pregnant pauses and the uneasiness that this teacher, who also acts as the school’s guidance counselor, is as in need of guidance as any of us.
There is an argument that the tone of her performance borders on unmotivated at times. She clenches her hands, clutches her stomach, and bellows air out of her like an animal, and some of these events do more to disrupt the pace than accent a moment, though all I had to do was remember the unpredictability of some of the more colorful teachers I’ve had the pleasure of knowing and suddenly these jarring outbursts seemed in the realm of possibility. On a few occasions though even I was thrown off by some of these choices, along with stiff motivations of movement around the small set that lacked the honesty of the rest of her performance.

The claustrophobia of the set is telling, as we are treated to merely a portion of her classroom office lit by a lone ceiling light, and equally sterile office windows covered by blinds, the room cluttered and busy, framed tightly in about half the available space the of the theater which cuts off the proscenium to allow just enough space to let her move, but not enough to let her find comfort for longer than a moment.
It’s hard to imagine this play working without Judith Light. LaBute’s writing is solid and specific as usual, but it’s Judith’s energy that coerces us to listen and her pain that we take with us on the ride home. This story has been told many times, but never quite this way.

Review: Dave ColumboPhoto: Joan Marcus

Read More

THE PRODUCERS @ PAPERMILL PLAYHOUSE

The Producers is old-school musical comedy gold. Following the antics of two men who set out to produce the worst show in town so they can pocket the rest of the money, the night is filled with lots of glam, glitz, schtick, and hilarity. One of the hottest tickets in town during its time, winning a record 12 Tony awards, has had Susan Stroman’s original direction and choreography wonderfully recreated by Bill Burns and Don Stephenson (respectively) at a venue holding its very own Tony award- New Jersey’s own Papermill Playhouse. Robin Wagner’s scenery and William Ivey Long’s costumes were also based on the record-breaking production’s original designs, but still feel dazzling. While all of the designs are incredible, the main draw is the brilliant and hilarious cast.
With so many elements harkening to the 2001 show it is impossible not to draw comparisons, particularly to its two stars. Nathan Lane and Matthew Broderick are synonymous with The Producers, but the two men taking on the roles here handle them remarkably. Michael Kostroff tackles “that slimy, sleazy” Max Bialystock opposite David Josefberg’s Leo Bloom. This dynamic duo has great chemistry and talent between them, working wonderfully together to take on their iconic roles in a way that alludes to Lane and Broderick while still making it their own. Kostroff particularly stands out in the monstrous second-act number “Betrayed”, which he hilariously remarks mid-song as a “son-of-a-bitch”, and Josefberg’s “I Wanna Be a Producer” dazzles as he is flanked by the very talented members of the ensemble.
While the titular couple lead the show spectacularly, it’s the featured colorful cast of characters that steal the scenes. Ashley Spencer’s Ulla is super Swedish, stretching out vowels to the extreme. While slightly difficult to understand at times, her Ulla is sweet, sultry, and spectacular. Spencer draws one of the biggest applauses of the night as she belts incredibly in “If You Got it Flaunt it”, her voice stunning and powerful. The Nazi pigeon-loving Franz Liebkind is given a gruff treatment by John Treacy Egan, who finds a nice balance with the character’s sensitive moments with his birds (which provided hilarious backup during “Der Guten Tag Hop-Clop”) and his more aggressive side. Some of the funniest moments come courtesy of the fabulous Kevin Pariseau and Mark Price as Roger De Bris and Carmen Ghia (respectively). Price’s elongated “S’sssss” is hyssssssterical and he certainly knows how to exit the room. Pariseau’s turn as the führer in the standout “Springtime for Hitler” is captivating and utterly marvelous, with the 10-minute number being a major highlight of the evening.
While a show that most theatergoers have seen and loved, Papermill’s production adds plenty of nuances to make it their own, at the same time still providing the iconic moments you expect to see. Many members of the cast have performed in The Producers in one of its various iterations, whether the original, tour, film, etc. and their expertise and closeness to the show allow for an expert handling of the material, knowing what to take liberties with and make things fresh, and milking every moment they can for as much laughs as possible.



The Producers is certainly a fun night at the theatre; it is impossible to leave without a smile on your face. The energy in the room from the performers to audience is infectious and exuberant, putting everyone in a good mood. If you’re looking for an evening filled with laughs check out 2016’s recipient of the Regional Theatre Tony Award, which provides Broadway-quality entertainment right in New Jersey, where a classic show has been brought to life again. Running now through October 23, make sure you head over to Paper Mill Playhouse before this riot says “Goodbye!” for good!
Review by April SiglerPhotos by Billy Bustamante

Read More

TALK RADIO @ CHATHAM PLAYHOUSE

I’ve heard it said that talk is cheap, though that cliche goes out the window to anyone willing to shoot 40 minutes out of the city down the NJ Transit line to the Chatham Playhouse to see cult favorite ‘Talk Radio’ by Eric Bogosian, a play in which we find ourselves in the middle of the hurricane that is Barry Champlain– the mouthpiece of a talk radio show in the late 80’s as he juggles callers on the line, management and romantic interference, his own sense of safety, and eventually comes to question the point of all the noise around him.

We piece the story together in the din of at first disconnected conversations (akin to discovering the message unfolding in the seeming chaos in a Cohen Brothers film,) and it clips along with frenetic energy thanks to the superb direction of Michael J. Hegarty, who wastes none of our time and none of the stage telling Barry’s story solidly.
Barry is brought to life by Dominick DeNucci, a gifted actor on his feet who achieves something even more special when behind his desk. There is a subtly to his work to be commended, whether he’s adjusting his watch, flicking a cigarette, or adjusting the microphone.
It’s hard to take your eyes off him, though when you do, you are greeted by the rest of the staff; all cleverly staged behind glass during most of the proceedings, allowing us to always see their reactions to the constant influx of drama. They act as his satellites and all have moments to shine in telling their side of the story that led them to this fateful night, from his friend Stu, loyal yet sarcastic Joey Caramanno, his boss Dan, sheepish yet powerful Dale Monroe Jr, and his secretary Linda, vulnerable yet decisive Christine Talarico. Chip Prestera, Michael Sundberg, Ginger Kipps, and Brittany Goodwin are the talented voices we hear of those calling in, and their versatility breathe life into characters we only hear, but wholly believe exist in this world. Christopher Frazier brilliantly rounds out the cast as Kent in a most memorable performance that may be the only thing that leaves Barry speechless.

Robert Lukasik’s set is a marvel. Every detail of an 80’s radio station is on display: ashtrays, coffeemaker, a computer displaying the green glow of the next callers, and my favorite, the partially obscured posters framed along the back hallway of other talk shows on the network only barely mentioned in the narrative itself. The love and care put into the believability of this set cant go unnoticed, all enhanced by the lighting design of Richard Hennessy, illuminating what needs our attention and leaving the rest in brooding, lonely shadow.
A special mention must also go to the stellar sound design by Joe DeVico. Discussing politics, morality, and the meaning of life would be a handful in ideal situations, much less in dialogue between actors on stage and their counterparts calling into the show. All of this is expertly handled by DeVico, who seamless suppliments these intense conversations with music cues, news reports, and originally composed commercials.

Good theater can sometimes happen on accident, but GREAT theater, and consequently an evening worthy of your time, can only come with the dedication on display by the Chatham Players. The cast, the crew, and the director are putting on a show worth talking about!
Review: Dave ColumboPhotos: Howard Fischer

Read More

WHAT DID YOU EXPECT? @ THE PUBLIC THEATRE

Oh the Public Theatre has done it again!
The other night I had the privilege to witness greatness, which was the second installment to; The Gabriel’s: Election year in the life of one family. Now you might think, “I can’t see it because I didn’t see the first play.” FALSE! I didn’t see the first play and I wasn’t lost at all. The play takes place 6 months after the first play, Hungry. We are all sat in the kitchen with the Gabriel family as they prepare dinner.

How can you keep an audience entertained for 90 minutes with no intermission with a setting of just a kitchen? Well, playwright and director, Richard Nelson, delivers such a flavorful and natural script that you feel like you are almost intruding on this family, but you can’t look away! By the end of the show I felt like I was a part of this family.

Now what is a family diner without a little drama? We discover that the Gabriel’s are short on money and have to help bail out their 82-year-old mother who has been scammed. This results in the family going through Thomas’ novels seeing if any will sell, and selling the family piano. Tension runs high and we see fights between siblings but ultimately we are just witnessing a family in grief after their brother/ husband/ sons death.

Mary Ann Plunkett (Mary Gabriel, Thomas’ wife) really drives the show. She brings up stories and old work and delivers each line with such ease. She was hauntingly beautiful. Her last line of the show will leave you in tears and speechless. Next we have Lynn Hawley (Hannah, sister in law) who is quite the opposite. She brings a zest to the mix and will have you on the floor laughing with her jabs. And good ole George, the brother everyone wishes they had, played by Jay O Sanders. You can’t help but love George and all his wild stories. We can’t forget about spunky sister Joyce portrayed by Amy Warren, who consistently plays devil advocate but in the kindest way that doesn’t make you hate her. And to add a little more drama, Thomas’ first wife, Karen (Meg Gibson) moves in. And lastly, Patricia Gabriel (mom) played by Roberta Maxwell, who may be silent most of the show but she speaks volumes!

This show will sweep you off your feet. It’s witty, relevant to what’s going on in our world without forcing it down your throats, and over all heart warming. And for the love of god, please Hilary, BE HUMAN! Run to the Public Theatre and see, What did you expect!

Review: Briana BurnsidePhotos: Joan Marcus

Read More

MARIE AND ROSETTA @ ATLANTIC THEATRE CO.

What a wonderful journey. Marie and Rosetta, starring Kecia Lewis and Rebecca Naomi Jones was an authentic and soul-warming trip to 1946 Mississippi’s gospel scene.

SCK Sound Design left nothing to be desired of both Lewis and Jones–whose voices were not the only elements of the performance that were memorable. Guitarist Felicia Collins and pianist Deah Harriott played coyly in the backdrop.
Set in a funeral home, this gospel musical begins with Marie Knight (Rebecca Naomi Jones) playing with Sister Rosetta Tharpe (Kecia Lewis) for the first time. A gospel sensation but falling down the rankings, Tharpe is trying to recapture a more “old church” vibe with Knight. The ensuing 90 minute journey explores multiple facets of young black women in gospel music during the late 40’s.

Sister Rosetta Tharpe (Kecia Lewis) is a surefire and connivingly sultry gospel singer whose gifts on guitar go unhidden in her career. Lewis captures Tharpe’s spunk and “hips” with gusto, bringing the entire audience with her in each musical number. The house shook on every 2 and 4.
Marie Knight (Rebecca Naomi Jones) pulled the audience into her seemingly innocent spirit and healthy fear of God. Afraid of “hips” and “swing,” Jones walks through Knight’s development into a gospel sensation as it’s woven into the story. Her voice alone pulled everyone in, but Jones and Lewis together had almost every head bopping to the beat.

Both Jones and Lewis were adept at “playing” their instruments (guitar and piano, respectively) but by the end of the performance they couldn’t keep up with Felicia Collins and Deah Harriott’s keying and strumming. Together, all four women made the performance gallop across the room, the audience clapping and stomping by its completion.


Jason Michael Webb’s musical direction makes Marie and Rosetta a must-hear. Director Neil Pepe captured George Brant’s work expertly. If you are looking for a night of music and a story that will bring you to tears as you remember the important friendships in your life then take the time to see Marie and Rosetta.

REVIEW: ALEX LIPARDI
PHOTOS: AHRON R. FOSTER

Read More

THE ROUNDS @ ALCHEMICAL THEATRE LAB

Hmmm- this is a tough one.

As a reviewer, I owe it to you all to speak of the quality, aesthetic, and pathos of the stories we are invited to see. And I do sit there, vigilantly, as if at a news site, absorbing all I can for you. But sometimes, things hit so close to home, your pen detaches from your psyche and you’re left alone.
Justin Moriarty’s “The Rounds” is a simple script. A simple story touching on the war on drugs and the soldiers who fight for their own survival. But an incredible young gentleman, Jonathan Schwolsky, took this story and devised a horrifyingly accurate world. And I would know, because I’ve lived in it.

With its origins in Maine, the troupe has traveled to Alchemical THEATRE LABto deliver a chilling production of soundscape, chilling movement and words that don’t leave you. The ensemble of three explore the exchangeability between patient and doctor; who is administering the drugs and who is taking them. And these are true stories from a real place, Spring Harbor Mental Facility, south Portland, Maine, you’d never think you’d ever hear.
I sat down with John for a bit after the show and he reminisced about the first time they performed this piece for the patients at the facility. “Someone after the show said to me ‘You hit this right on the head. Its interesting to see a doctor character suffering. He’s not a lowlife’ and all I could say was ‘neither are you.’”

Schwolsky did tremendous amounts of field work for this piece. “It was an extremely immersive project. I lived alone for a long while and only surrounded myself with addicts.” This was more than evident in his genius traffic patterns and heavy movement pieces. It seemed to me that this wasn’t a director blocking, this was a therapist or friend telling a story, so streamlined, so nuanced and absolutely chilling.
The ensemble of three worked very well together, but the stand out performance of the evening was by Liz Carlin. Carlin had a lengthy monologue that concluded the show, which, while surveying my row, left people physically stiff while being completely engaged by her self examination and shifting essence.

Mike Deering’s compositions propelled the piece and kept it flowing. Deering sat in the corner and did it all live, punctuating every vignette and shift, and let me tell you- it was brilliant. Ashley Petix’s design was so damned smart and served the piece so well. Everything about the set was colorful yet sterile, a perfect mirror to a pediatrics office, catering to infantile wants and needs.


I leave you with this: just yesterday, another member of my circle has passed from an overdose. Can we please start allowing art to heal us? Schwolsky suggests that theatre now a days should be a social commentary and accessible to all. Go. Start with The Rounds. It may save a life.

Review: Brittany GoodwinPhotos: Jonathan Schwolsky

Read More

AUBERGINE @ PLAYWRIGHTS HORIZONS

Everyone loves food. How can you not? You need it to survive. But what happens when you think about food? You start to have a certain relationship with it, a relationship which turns to stories, those stories then turn into memories, those memories comprise the wonderful story that is your life.

It’s hard to picture, but think about it. What is your favorite food? When I was five years old I was living in Washington, I was just playing tetherball with my brother and he hit the ball so hard I had no time to block my face and suddenly I tasted blood. The ball knocked out my front tooth. I ran into the house crying and my Dad gave me some salt water and calmed me down, but my mom, she made me mac n cheese with the swiggly noodles and alfredo sauce. I remember playing with the noodles in my gap and hearing my family all laugh. All of these memories flood in my mind from a simple box of mac n cheese. Julia Cho manages to write a beautiful story about love, loss, and the beauty that comes after. Aubergine is a play that everyone must see!
Lights fade up on a woman who shares a touching story about her love for the perfect pastrami sandwich that she will never taste because her father was the only one who could make it. He passed away from cancer. This monologue sets up the entire story.

Enter Ray (Tim Kang), who we see in a hospital watching his father die. After the doctor told him to take his dad home we transition to his home, which surprisingly the only room where the hospital bed would fit is the dining room. We are introduced to Lucien (Michael Potts) the hospice nurse who is a breath of fresh air in a lifeless room. He grounds the show and even though he is always surround by death, he grabs the light of life and radiates. Once Lucien forces Ray out of the house we learned more about his personal life, as we are introduced to his ex girlfriend, Cornelia (Sue Jean Kim). Cornelia represents the wall around Ray, and his emotional state. He can’t let anyone in. But that wall slowly breaks down once Cornelia gets in touch with Ray’s uncle who lives in Korea. Uncle who only speaks Korean brings Rays culture back to his life, which also brings up bad memories. We relive in some flashbacks seeing that Rays father never supported his cooking career. His uncle is convinced his dying brother wants turtle soup, and forces Ray to cook one last meal.
Tim Kang delivers a flavorful performance. He never leaves the stage, its as we are watching a meal be prepared in front of us. We see the ingredients he uses and mixing all these different relationships together, and finally after watching the food bake, we see this beautiful result. Yes, it might be missing a piece, but the meal is savory and leaves you wanting more, or just makes you look forward to your next meal. Most people are trained to think death is the end, but really it’s another beginning.


If you are in need of some type of closure, in need to feel some sense of home, or in need of some beautiful theatre, make your way to Playwrights Horizons and see, Aubergine. Guaranteed to resonate with every generation and leaving you full of… well… That’s up to you.

Review: Briana Burnside
Photos: Sara Krulwich

Read More

FIORELLO @ THE E13th ST THEATRE

You know his name (or like, you’ve at least been to the airport named after him…) His name’s LaGuardia, L-A-G-U-A-R-D-I-A! And if you have no clue who this is, change it! and make your way to the Berkshire Theatre and see Fiorello. This classical musical takes you back to the 1920’s in the prime of election season, providing a glimpse of political corruption and women’s rights at an all time low. (Wait, is this 2016?) Fiorello takes you on the life journey of New York City’s mayor, Fiorello LaGuardia, and how he came to power. We get a glimpse of political corruption, and woman’s suffrage.

Seeing that we are in the prime of election season, it seems all too fitting that this show is up, and we, by default, are comparing it to the issues today. The show opens on women striking for better pay, and just about one minute into to the show, a woman is arrested for “soliciting” when she was protesting peacefully. (Again, a “period piece”) . This gives way to introduce LaGuardia, the little flower, who fights for New York. We see his passion in the love he has for this city and his fight to make the world a better place.
Throughout the performance, we somehow glaze over hard issues, and are distracted by musical numbers, such as “Politics and Poker” where we see a group of men searching for their next representative. Led by Rylan Morsbach playing Ben, LaGuardia’s political partner; he manages to find the comedy in the corruptness, and honestly was a highlight of the show.

The show itself lacks a narrative arc; I cant shake the fact that we simply glaze over so many important issues. One issue being the love story of Dora, a hardworking woman who was on strike, falling in love with a cop! Chelsea Cree Groen gives an amazing performance, especially in her big number, “I love a cop”, but I just wanted more. We get a small glimpse as her cop husband holds a party and witness a plan to hurt LaGuardia during his big speech. Does the cop do anything? Nope. Do we see a failing out between them? Nah. Just glaze over the dirtiness and move on. Much like today.
The cast is made up of mostly young actors who are making their debut. You can feel the energy bounce off them, which was refreshing, but that can’t save a script. Austin Scott Lombardi (LaGuardia) did a fine job bringing such a large political character to life, and I found myself rooting for him the entire time. Matt McLean (Miles) plays the right hand man to perfection, and has such a charm to him that I think I might have fallen in love. Rebecca Brudner (Thea) will break your heart in the most beautiful way. And Katie Birenboim (Marie) will relate to every person who has just wanted to find love and fight for it!


In the end, Fiorello is a nice musical that has beautiful choreography and catchy songs, but at the end of the day make you question if we are actually doing anything to make our world a better place. Maybe, that was the point of a lack of narrative arc, or maybe this is just another millennial complaining.

Review: Briana Burnside
Photos: Emma Rothenberg-Ware

Read More

TWELFTH NIGHT @ THE DELACORTE THEATRE (PUBLIC WORKS)

There is nothing I love more in this world than a good update on a classic. Now, as of late I have found myself trapped in many a discussion on the validity of a modern interpretation. But as I was taught and as I have known, I always come prepared to an argument with an arsenal of facts, site source material and the good ol’ gizmo (bam!)

Here’s a perfect example of a modern update of a Shakespearean classic that happened this past weekend right in the heart of our city, Central Park. The Public Theatre’s Public Works Program put up a SMASHING production of Twelfth Night at the Delacorte and let me tell you, not one toe was left untapped, not one soul left unenraptured by the brilliant coming togethers of the average Joe and Tony Award winning stars.
We know the story (or we’ve seen She’s the Man…) but here, Kwame Kwei-Armah and Shaina Taub do something so special with the text; a modern/classic fusion so flavorful, rich and comforting, all the while keeping its roots which perfectly mirrors their Illyria, New Orleans.

And I get it. Some updates are super forced and out of left field (There’s a production of Antony and Cleopatra back in Chichester that haunts me to this very day) but to declare “If music be the food of love, play on” and not think of New Orleans in all its music, art and sex appeal, there’s simply no hope in ever changing your minds. Frillies and plumes to you all!
Nikki M. James shines as Viola, mastering the language with coolness and ease. Jose Llana is a perfect Orsino, oozing incredulous amounts of love and angst, all in a man-bun, no less! Nanya-Akuki Goodrich’s Olivia was so spirited and jovial, a refreshing change to a character we know to wail on.

Audiences fell in love with Sir Toby Belch, Mr. Jacob Ming-Trent, a Public Theatre (and Entertainment Hour!) favorite as well as Andrew Kober’s side splitting Malvolio. Every single audience member in that sold out house was with these captivating performers one hundred percent, laughing at every nuance, radio silent at every touching moment.

One of the community groups that took part in this production was the New York Deaf Theatre. They served the role as the unspoken words inside Viola’s head when she wants to tell Orsino that she’s a woman and she loves him. Feste, played by Ms. Taub herself , sings “Is this not Love?” while the group dances and signs around Viola and Orsino. Certainly an absolutely gorgeous inclusion that I will never be able to forget.

I urge you all to support the Bard in all its forms and veneers wherever it pops up! Because God knows I won’t shut up about it.

Review: Brittany GoodwinPhotos: Sarah Krulwich

Read More

THE MAGICAL ADVENTURES OF BENNY AND GRIFF: THE MUSICAL @ The Producer's Club

A review takes a lot of time and thought. I find myself highlighting and crossing out a myriad of words and sounds that my brain dictated to my hand in the moment, and I sit here, hours later, deciphering my own thoughts and thinking to myself: wtf?

But when my buddy Benny told me their Magical Adventure of Benny and Griff: the Musical was nearly sold out Saturday and had a few seats left on Friday, I rushed to my computer in a valiant attempt to notify the masses (hey, that’s you!)
I can not say bigger or better things about Benny and Griff’s bizarre, vaudevillian variety show nor their troupe that pushes the story backwards, forwards, in a cave (dressed in GARBAGE BAGS, btw), through the ocean and right back to The Royal Theatre at The Producer’s Club. They unearth crowd favorites (no seriously, people are clapping and singing along) as they tackle a new magical adventure, never been seen before.

Oh, let me tell you about Benny and Griff! Benny and Griff look like Snap and Crackle and the missing POP is in their amazing energy and countless unified personas. They are everything you wanted to be in the 90s. Dave Columbo is Benny and Griff’s incredible Salesman, who is hilariously reminiscent of the dead Oxyclean Guy. Columbo also plays Dave, a pivotal character in Benny and Griff’s world, but I wont tell you why- you’ll have to find out for yourself.
Rounding out the ensemble is the brilliant Nolan Hennelly playing Captain Barry, a sexy pirate exploring his base range, fighting off River Beasts and Dark Ones all with a martini glass/boxed wine/tall boy in hand. Matt Leary and Eric Dolan each play a ridiculous range of characters quickly, tremendously and unapologetically.


For more on Benny and Griff’s magical adventures- check in on them on all forms of social media. So don’t be a Gallump- go check them out NOW!


Review: Brittany Goodwin
Photos: Dave Columbo

Read More

Reliving the Memory: Cats at the Neil Simon Theatre

The original 1982 production of Cats was a game-changer for the Broadway musical. It was one of the first mega-hits of New York theatre, and quickly became the must-see musical. The run lasted nearly 18 years, and held the title of Longest Running Broadway Musical for some time, and you know what? With good reason. The concept was simple, the intent was sweet. Based on TS Eliot’s 1939 poetry collection “Old Possum’s Book of Practical Cats,” which introduces an array of feline characters, each with their own unique attributes. Add a show-stopping score from Sir Andrew Lloyd Webber, memorable choreography by Gillian Lynne, and lauded direction from Trevor Nunn, and you’ve got a recipe for a hit. It was a musical that appealed to a wide audience: seasoned theatergoers and new young audiences alike flocked to the Winter Garden to see Cats. It was a production audiences would see multiple times, which until then was not common. After winning 7 Tonys and giving 7485 performances, it became a beloved, iconic piece of musical theatre.

& now, its back!
When I was 8 years old, my mother took me to the Winter Garden for my first Broadway musical. That performance of Cats has stayed with me to this day. The cats coming into the audience and one of them rubbing its head on my knee. Mungojerrie and Rumpelteazer’s double-cartwheel. The cats using their findings in the junkyard to dress up as dogs. Victoria, the white cat’s solo that I tried to recreate in my living room for months after seeing the musical. So when it was announced Cats was making its return to Broadway, I pounced (no pun intended). Cats was responsible for my falling in love with theatre. I had to relive the ‘Memory’ (pun absolutely intended).
The new Broadway production of Cats now lives in the Neil Simon Theatre, once again under the direction of Trevor Nunn, with new choreography by Andy Blankenbuehler, holding true to the original work by Gillian Lynne. The junkyard set was just as I remembered it, now stretching throughout the theater into the mezzanine. When the overture began and the glowing green eyes started appearing in the aisles, an eruption of applause began, and I realized I was not the only one reliving the beloved theatre experience of The Jellicle Ball.
Broadway revivals will commonly reimagine the original production, with new staging or concepts, like when the West End run of Cats last year updated Rum Tum Tugger from the Elvis-esque character to a hip-hop star; too much criticism from the purists. However, I was pleasantly surprised to find Nunn kept this production nearly identical to his original (giving us back the well Rum Tum Tugger we know and love). A smart move by the director, as there are so many iconic moments and beloved nuances.
Nunn’s changes are few but subtle, and they work well. He simply enhanced the theatrical experience by utilizing the advancements in theatrical technology, showcasing the incredible dancers of our generation, more props, more bells, more whistles.
Before, “Bustopher Jones: the Cat About Town” was a throwaway number about a fat cat. Now we get to see the fat cat (played by Christopher Gurr) dining in restaurants and clubs, which is much more interesting to watch. The deletion of the arguably racist song “Growltiger’s Last Stand,” is another smart move by Nunn, who now utilizes “The Awefull Battle of the Pekes and the Pollicles” as Gus the Theatre Cat’s (once again Gurr) return to the stage. Even then, there still is a questionable line from Gus, which Jellicle right-hand cat Munkustrap (Andy Huntington Jones) plays off in a very similar fashion to the way you say “Don’t mind grandma, she’s from a different time.” Production numbers that were always regarded as show-stoppers, like “Mungojerrie and Rumpelteazer” or “Magical Mister Mistoffelees” have somehow been made more impressive with Blankenbuehler’s new choreography. I got my fix of the double cartwheel, but Mungojerrie (Jess LeProtto, of Newsies and So You Think You Can Dance fame), and Rumpelteazer (Shonica Gooden, fresh from mega-smash Hamilton) showed off so many more impressive tricks, I was reminded why that was always my favorite scene. So You Think You Can Dance winner Ricky Ubeda is given the opportunity to show his incredible range as a dancer as Mister Mistoffelees, in a number that includes several dance styles, more magic tricks, and a noteworthy update to the light-up jacket the character has always been known for.
British pop singer Leona Lewis makes her Broadway debut as Grizabella the Glamour Cat, the role which made Betty Buckley famous and introduced the world to probably the most well-known Broadway ballad of all time, “Memory.” It seems an odd choice to have the old, washed up cat played by someone so young and beautiful, and Lewis at times seems a little too well put together to be a cat fallen from her prime. It sometimes shows that Lewis is not a “theatre performer” in the way she moves onstage, but it works for the character, who supposed to be out of touch with the other cats. Lewis absolutely delivers with her vocal abilities, getting a roar of applause during that iconic key-change in “Memory.” What at first seemed like an odd casting choice now made sense.
I went into Cats looking to be reminded of fond memories, and I was. I was reconnected with familiar characters and scenery that brought back the same feeling I had seeing the show at age 8 with my mother. And then, in the seat in front of me, I spotted a young girl around age 8 with her mother, and every time a cat would come up and interact with her, she would squeal with delight. And then it made sense as to why Cats, a musical that is literally about a group of singing and dancing cats, has become so adored by audiences now for 34 years; because there is a certain magic to it that you can’t help but enjoy yourself. This revival reminds old fans why they love it, and allows new fans fall in love with live musical theatre.
Cats opened at the Neil Simon Theatre on July 31, 2016Review By: Kelcie KosbergPhotos By: Christophe Ena

Read More

Inferno: A New Work about Sin @ the FLEA

Ever since man could pick up a pen, the muses have inspired countless accounts of hell in all its grotesque grandeur. Why? Who knows. We are forbidden fruit junkies I guess. But every once in a while, you come across someone illustrating hell as maybe something smaller… not necessarily in scale but in concept. Like maybe there’s a little hell right inside you clamoring to get out?

Justin Giachetti wrote and directed a marvelous NEW work about sin called Inferno. Absolutely no current topic has been spared in the writing and editing of this masterful piece. I found myself squirming in my chair as images of bulimia, police brutality and a school shooting danced before my eyes in the intimate Flea Theatre down in TriBeCa.
Darin Earl II leads the ensemble as, you guessed it, Damian- a misunderstood giant of the devil incarnate. We find Earl appearing in vignette after vignette (a Sgt. General father , a pothead, a schizophrenic voice…) all the while commanding control and sophisticate nuance the duration of the sinners stories as well as his own.

Liz Carlin plays his angelic opposite Phoebe- the love of his life who sacrificed herself. Carlin is an amazing antithesis to the collection of angst-ridden sinners and provides a new scope of suicides in the afterlife. Dressed all in white against a sea of black, Phoebe quickly becomes our voice box as to what is wrong in our world.
Other stand out performances are Joe Piserchio as Gus, a heavyset boy struggling with his homosexuality in the 1950s. Piserchio’s entire demeanor encapsulates that sugar sweet generation and the evils that lie beneath. Heather Baisley and Eme Bentancur led the ensemble of lost souls with eerie finesse. Baisley’s “Mama Rose” embodiment paired with Bentancur’s alcoholic father persona could shake even the hardest of hearts to the core. Deborah Bjornsti plays a heartbreaking shell of a ballerina, Paul Rahter has his finger to the pulse on current police brutality, Dylan Scifo makes a damned good druggie, and Jenna Moschella will scare the shit out of you.

I found myself leaving the Flea a bit wiser and a bit more at ease. With all the goings on in the world these days, we need to find answers within art and communication. This is it guys. Will I see you in hell?
Here’s a little teaser, complete w. cast/playwright interviews: https://youtu.be/Oz9vDK9RARY

Oh, & here’s the dates:Thursday, August 4 at 7pm

Friday August 5 at 7pmSaturday, August 6 at 2pm

Saturday, August 6 at 7pmSunday, August 7 at 2pm

Sunday, August 7 at 7pmWednesday, August 10 at 7pm

Thursday, August 11 at 7pmFriday, August 12 at 7pm

Saturday, August 13 at 2pm
Saturday, August 13 at 7pm

Read More

Small Mouth Sounds @ The Romulus Linney Courtyard Theatre @ Pershing Square Signature Center

In musicals, we sing because words cannot express how we feel, and when singing fails us our body takes over and we dance. What people fail to realize is that the most powerful thing we can do is be silent. (Kind of odd an odd statement since our world is a scary violent place right now.) Small Mouth Sounds brings everyone in the audience back to neutral. It’s a therapeutic retreat that none of us signed up for, yet you feel like a part of the show, and end up questioning your own self.
The space is bare, except for six chairs. The only music you here is coming from pure nature, raindrops, rustling of the bushes, and a casual audience member. As we anticipate how this show is going to start, Max Baker (Jan) enters and simply sits. We watch him for what feels like an eternity just sit there. Yet I couldn’t look away. Slowly but sure we see the rest of the cast file in, and get just enough exposition to learn what is going on before we go on the journey of, silence.
This show has an incredible team of actors. Marcia DeBonis (Joan) gives a heart breaking yet hopeful performance. She manages finding the light even in the darkest times and you can’t help but smile along with her. Opposite DeBonis, we have, Quincy Tyler Bernstine, who somehow made me feel like I was listening to her talking. The way you watch her body transform from beginning to end is unbelievable. She took me on a journey I was not prepared for, and it was breathtaking. Every show needs a consistent heartbeat and Max Baker did exactly that. He only says about five words total the entire show, but they are the most powerful. Watching Mr. Baker on stage made me feel comfortable and warm and all I wanted to do was hug him. He was the heart of the show. Every show needs a little comedy, and Babak Tafti (Rodney) fulfills that playing a true yogi. He perfects the physical comedy, and talk about great comedic timing, which is even more impressive, because they are silent! Matching his comedic chops we have, Zoe Winters (Alicia). She plays a woman who clearly on the verge of a breakdown, might be a little snobby, yet you can’t NOT root for her. And lastly, rounding out the cast, Brad Heberlee (Ned). Herberlee is the only actor on stage that gets a full monologue. And IT BLOWS YOUR MIND! He has such ease to his performance; you almost feel you are intruding in his personal space. From his comedic moments, to his deep secrets, you can’t take your eyes off him.
It’s fascinating when you lose the power of speech, how every movement you make tells a story. How you sit, stand, even sleep. We also see how much noise we can actually make by not making any. Small Mouth Sounds was truly a beautiful piece of theatre. It was refreshing, inspiring, and even spiritual. Thank you Small Mouth Sounds. You have changed me.


Review By: Briana Burnside
Photos By: Sara Krulwich

Read More

God Bless You, Mr. Rosewater @ The New York City Center

What happens when a mutli-millionaire starts giving away his money for relatively no reason at all? People start to question his sanity of course! That is exactly the case when it comes to Michael Mayer’s God Bless You, Mr. Rosewater.

Originally produced in 1979, Encores! Off-Center at New York City Center’s reprise of Kurt Vonnegut’s funny little play, tells the story of eccentric millionaire, Eliot Rosewater (Santino Fontana), who is the president of the Rosewater Foundation. The Rosewater Foundation has received notoriety by funding the local artists and business ventures from poetry to science. It is run by the youngest generation of Rosewaters and its presidency follows suit. We learn that as president Eliot gives freely and openly to all who request, much to the bane of his father, but also suffers from many breakdowns and bouts of alcoholism. Eliot grows weary of this life and leaves to find himself, adventuring from volunteer fire brigade to volunteer fire brigade (yes, you read that correctly). During one drunken evening, Eliot realizes that the way he can find himself is by going back to the town that shares his namesake. While there, he changes the lives of all of the townsfolk for the better, which of course, catches the attention of newbie lawyer, Norman Mushari (Skylar Astin). Norman has found a clause in the Foundation’s bylaws that states if Eliot is proven insane, his millions would transfer over to his next of kin. Mushari, sensing a hefty fee, makes it his personal business to find the other Rosewaters and prove Eliot a basketcase.
Rosewater is presented as a concert performance for just three nights only, and while their scripts were in hand, the cast does a phenomenal job of bringing this play to life. With music by Alan Menken, you cannot laugh to such hits such as, “Thank God for the Volunteer Fire Brigade”, “Cheese Nips”, and “Rhode Island Tango”. While the subplots are a bit hard to follow and can sometimes be distracting, the overall storyline of a ridiculously wealthy, World War II veteran with PTSD, who gives up his relationships, his dignity and his character to do everything he can to help out a town everyone forgot make this something worth seeing. Major kudos goes to the technical team as the subtle touches, such as dimly lighting the “postcard” of the town they were in during a particular scene, really helped round out this performance.
Should you miss this installment, the amount of effort put forth in this Encores! Off-Center show makes me want to come back for more. This reviewer truly appreciated all of the hard work of those involved. God Bless You, Mr. Rosewater is playing July 28-30th at the New York City Center.
Review By: Renee DemaioPhotos By: Joan Marcus

Read More

Paramour @ The Lyric Theater

Spectacle. Wonderment. Awe-inspiring. These are just a few words that come to mind when thinking of the legendary Cirque du Soleil, the contemporary circus group that focuses on theatricality and is the largest theatrical producer in the world. Having permanent shows in Las Vegas and Florida, Paramour is the group’s venture to take on the Big Apple. The show combines Cirque’s signature circus arts with original songs, dance, and film, to create a new and breathtaking night at the theatre. Paramour is billed as “A Cirque du Soleil Musical”, being the first of the entertainment company’s productions to have a fully integrated book/story attached to it. The plot follows three main players- renowned film director AJ Golden played by Jeremy Kushnier (Footloose, Rent), Ruby Lewis as redheaded singer striving to be a star Indigo James, and aspiring young songwriter Joey Green played by Ryan Vona (Once). After AJ recruits Indigo to be his new leading lady and enlists Joey to write the perfect love song for his film the three set off on a journey through the Golden Age of Hollywood, deciding between love, art, and one another. The musical features several songs, performed beautifully, but the main attraction of course comes with the circus acts. Featuring a cast of 40 wonderfully talented artists, the Cirque performers are the real stars of the show. Performing mesmerizing tricks and stunts such as trapeze, contortion, trampolines, juggling, tumbling, and much more, the ensemble steals every moment they set foot on stage. The circus sections are absolutely enthralling and transport you back in time- leaving the audience feeling amazed and filled with wonder and wondering “how is that even possible?”. The dance sequences are extremely enjoyable, as the full cast comes together to show off their specific talents- whether that is singing high notes, doing four back flips in the air, or tap dancing (even in roller skates!). The number “Love Triangle” provides a wonderful hybrid of Paramour’s features, while having the three actors expressing their feelings through song a mirror-set of acrobats provide the physical exemplification of these words through their incredible movements, as the woman travels between one man on the ground and another up high in the trapeze. Identical twin acrobats Andrew and Kevin Atherton, through their absolutely astounding aerial-straps routine, present one of the standouts of the show. The two soar through the air above the audience, contorting their bodies and managing incredible feats, providing the most captivating minutes of the night. Paramour is an all around spectacle. Aside from the amazing acrobatic and aerial routines, the design is remarkable. Playing at the Lyric Theatre, the second largest Broadway house seating almost 2,000 people, the gorgeous house provides the perfect aesthetic for the Golden Age era of the ‘30s and ‘40s with magnificent sets that transform between film sets, speakeasies, and city rooftops. The film theme is illuminated throughout the show with its use of live video, multimedia projections, and amazing lighting and shadow work, creating an integrated and immersive experience. There is always somewhere to look, around, above, even in the aisles. Paramour on Broadway is so much more than a show, it is an experience. For those new to Cirque, it is a good entryway, providing a sense of story to hold onto in between the incredible circus artistry, which will fill you with a child-like sense of amazement. If you’re looking for a spectacular evening of entertainment, with glitz, glamour, and gigantic talent, then hop, flip, or fly on over to the Lyric Theatre for Cirque du Soleil’s Paramour.

Review By: April Sigler
Photos BY: Sara Krulwich

Read More

The Total Bent @ The Public Theater

Attention all dreamers, outcasts, idealists, and rebels! Make your way to The Public Theater immediately and see, The Total Bent! If you are looking for a piece of theatre to question all your beliefs look no further! The Total Bent will take you on a ride that will make you rethink who you truly are as a person.

We are set into what looks like an old recording studio and all we see is a microphone with a single light. All of a sudden are ears are filled with the soothing voice of Joe Roy (Vondie Curtis Hall). The creators set you up to feel relaxed and then BAM! The band kicks in and a gospel rock fills the theater and he belts “That’s why he’s Jesus, and you’re not, whitey”. We find out that Joe is a popular preacher in Alabama and his son; Marty (Ato Blakson Wood) is quite the opposite. The time is 1960 in the heat of the civil rights movement and Marty wants his father to make an album about protest. Throughout the show we see their struggle grow and intensify. Luckily with the brilliant music by, Stew and Heidi Rodewald they manage to give the show a satire feel with dark comedy undertones.

Ato Blankson-Wood (Marty) gives an outstanding performance. He gives off a magnetic energy that makes you root for him the entire show. We follow his journey from a teen that doesn’t like his father but too shy to truly stand up for himself, to a full on rebel (or in this case, sinner. Marty has the sex appeal to make every woman and man desire him, a true rock n roll STAR! In seeking revenge on his father, enter a sleazy music producer Byron Blackwell (David Cale) who manages to take everyone’s beliefs and throws it out the door. He loves black gospel rock and yet he asks why out of all the people in the world “why do black people still believe in god?” This causes the final break and Marty and Joe go to war. Vondie Curtis Hall (Joe Roy) gives you almost a cheesy car salesman vibe but he’s selling Jesus. “I’m a hoe and God is my pimp.” Despite his shallowness about making money and self-absorption, you still don’t hate him. Mr. Curtis Hall delivers a monologue towards the end about shooting the television (he’s a TV preacher) because everything is a lie, essentially bringing us back to the beginning of who are we, what is our identity.

I know this seems like a lot of drama! But Thank goodness for the friends turned back up singers/dancers Andrew (Jahi Kearse) and Abee (Curtis Wiley). They bring us comedic relief whether it is a funny one liner or complete fear of papa Joe. The band also interjects with the plot and with the audience, giving us the feeling of history with the character and its not just background music.
The Total Bent will change your life, mind and question everything you ever thought. It re- educated me and I didn’t even realize I needed the lesson. Which is a sad truth about most people today. Make your way to the Public Theater to see this important piece of theatre!

Review By: Briana Burnside
Photos By: Joan Marcus

Read More

You’re a Good Man Charlie Brown @ York Theatre Company

You’re a Good Man Charlie Brown was an uplifting adventure. The York Theatre Company, for the first time ever, assembled a cast of professional young actors to portray our Peanut friends and they took the performance into their own crafts.

Director Michael Unger sought to pay homage to Schulz’s 17,897 strips with a Peanuts stage designed by Brian Prather. Each element, from the spinning grand piano in the center that held Snoopy’s infamous doghouse to the comic-esque grass drawn on the ground was a scene set within one of Schulz’s mini stories.

Charlie Brown (Joshua Colley) was as we all remember—facing seemingly childish internal struggles that simply grow more complex as we age. Colley’s voice radiated the stage and his well-earned young talent was palpable.

Lucy (Mavis Simpson-Ernst) captivated that big, bold, pushy and psychiatrically-inclined character that resonates with anyone from any culture. Simpson-Ernst commanded the stage with professional ease.

Sally’s (Milly Shapiro) comedic timing was impeccable. Smart, sassy and always prepared with a comeback, Shapiro expertly maneuvered the stage and emulated her character right from one of Shulz’s strips.

Linus (Jeremy T. Villas) dragged his little blanket, shouted wise anecdotes and sucked his thumb in deep contemplation. Villas captured the deceptive depth of his character and graced the audience with a taste of his dancing in “My Blanket and Me.”

Schroeder (Gregory Diaz) was his usual, Beethoven-obsessed self. Diaz’s performance was riddled sarcasm and intelligence. He pulled us all into his musically enchanted world and made me remember that childlike innocence we all face when admiring the greats we one day want to be.

Lastly, Snoopy (Aidan Gemme), was the comedic tie of the show. Gemme’s performance was a cherished hilarity. With well-placed howls and barks, Gemme put his own deviant approach to Snoopy that I thoroughly enjoyed.
The York Theatre Company’s young professional approach is a welcome success. Assembling a cast of multi-cultural and highly versatile actors coupled with expert staging made for an excellent performance. If you are able, take the time to catch You’re a Good Man Charlie Brown at The Theatre at St. Peter’s.

Review By: Alex Lipari
Photos By: Sara Krulwich

Read More

A Dolls House and The Father @ The Polonsky Polonsky Shakespeare Center

A good piece of theater will leave its audience walking away with something to talk about. A great piece of theater will leave its audience having a full-out discussion. Theatre For A New Audience’s productions of Strindberg’s The Father and Thornton Wilder’s translation of Ibsen's A Doll’s House in repertory leaves its audiences having full out debates!
Both productions are presented on a transverse stage, with the audience both in front and behind the stage, allowing us a more natural way to observe these two stories, both focusing on the issues in two marriages. It is rumored that Strindberg’s The Father was written in response to Ibsen's A Doll’s House. Though on the surface both shows appear to be opposites of one another, they actually go hand in hand. They present opposing viewpoints on very similar issues: how a marriage is affected by money, children, power, respect, and, arguably, mental health.
TFNA’s staging for A Doll’s House is mostly bright and refreshing (which is not how I interpreted the play when I read it back in high school!). Maggie Lacey’s portrayal of Nora begins effervescent and carefree. Lacey is onstage for about 90% of the show, and spends most of her time in motion. As it is revealed that Nora has a secret about just how she earned the money to cover expenses for her husband’s recovery from illness, we see a change in Nora. She does not want Torvald (portrayed by an extremely charming John Douglas Thompson) to find out she forged a signature for the loan, and we see her demeanor transform. Torvald’s status as the president of a bank would be ruined if it were revealed his wife committed a forgery to get money. We see Nora go from blissfully unaware, to panicked, to a full depressive state. Until this point, Nora was kept mostly in the dark about “serious” matters: she never was to worry of handling money or watching her own children. Her life is set in front of her in such a way that she does not need to make any heavy decisions. Thompson’s Torvald is sincere; it is very clear he loves his wife and only wants to take care of her. But when he learns of Nora’s forgery, his reaction is not to think that his wife wanted to take care of him for change, but that his life is over because his reputation is tarnished. In this moment we the audience (and Nora) realize this marriage is not based on mutual respect. Nora then makes a decision heavier than any other she has had to in her life. The final moments of the play are a jarring and emotional experience.
The Father, similarly, comments on the importance of mutual respect between husband and wife, but on a more severe level. Adolph (again by Thompson) is a successful Cavalry Captain and a scientist who holds power in all aspects of his life except in his own household. His wife Laura (portrayed by a now fiery Lacey), argues with him on the life path they each want for their daughter Bertha (Kimber Monroe, who somehow seems to be the perfect blend of Thompson and Lacey). Adolph wants a sensible, responsible life for his daughter: to become a teacher so she can support herself if she remains unmarried and to know good skills if she chooses to become a mother. Laura, alternately, wants her only child to remain home and focus on her art. Laura is so headstrong in her desire; she will stop at nothing to get her way. She is manipulative to the point where it’s almost abusive. As a last resort, she plants the seed in Adolph’s mind that he may not even be the father of her child. This sends Adolph in a downward spiral, because it is pointed several times throughout the text that a man could never truly know whether or not a child is actually his. Adolph’s change in demeanor is much more sudden and apparent than Nora’s; it is established that both Adolph and Laura have known for years they have lost mutual respect in their relationship. “What happened to us?” he asks. She replies simply with, “Marriage.” We see Adolph spiral swiftly into the madness Laura has been telling doctors he has, to the point of moments that are heart-wrenching. One particular moment between Adolph and Bertha elicited a collective gasp from the audience. Whether Adolph’s madness has been present all along as Laura suggests, or if it had developed from the emotional abuse is unclear. That does not make his downfall any less upsetting to watch.
TFANA’s mission as a company is to bring classic works of theater to audiences who are younger or not as familiar with the pieces in a way that is engaging and memorable. Running A Doll’s House and The Father in rep leads to a unique theater experience. TFANA created two pieces of theater that very easily inspire a dialogue. I attended on a day where both plays were being performed, which resulted in a deep discussion with my guest of how each script related to the other on our trip back home. A talk back after the matinee of A Doll’s House went from a typical Q & A to the actors about their experience to a full-out debate on Nora’s maturity, possible narcissism, and the validity of her decisions. THIS is the mark of an exceptional piece of theater: memorable, thought-provoking, able to ignite a passionate discussion.
Thompson and Lacey give some of the most distressing, high-energy portrayals of husband and wife since Burton and Taylor in Who’s Afraid of Virginia Woolf? Though each production easily stands on its own, it is highly recommended to see both, if for nothing else than to see the lead actors each play two very different characters with the same level of ease and finesse.
A Doll’s House and The Father run through June 12th.
Review By: Kelcie KosbergPhotos By: Gerry Goodstein

Read More

Benny & Griff's Wonderful Universe: The Musical Experience @ The Duplex

The best thing about theatre is the various shapes and sizes you find it in. Blocks and blocks down from box stepping leggy blondes on Broadway are these beautiful blips of theatrical time that we catch and treasure for a long while.

That’s where we meet Benny and Griff.

Benny & Griff’s Wonderful Universe: The Musical Experience is like a f^cked up art song by operatic puppets and troubadours, a celebration and an outcry of the millennial generation. Jam-packed with color, satanic chants, and the occasional interjection, (a la 90s Saturday cartoon mornings) this CLEARLY translates to an awesome time, no?
We walk in to a set that looks like a mildly sinister bible school basement? A storage house for Yo Gabba Gabba rejected scenery? But whatever, because it perfectly reflects what we are in for for the evening. Dave Columbo, our energized emcee, charges the stage stating that “we are living in weird times right now, and we need something like this show.” And it’s totally true.
Benny and Griff are our musical storytellers for the evening, performing catchy, campfire-y, inane tunes about being friends with animals and not going to school, all the while in pursuit of finding the queen so they can sing her a kick ass song for her birthday.

Rounding out the ensemble are these hysterical entities that take on bizarre personalities along the way. Notable moments were the beautiful and hilarious Stephanie Windland becoming the Gallump, a dilapidated puppet who lost his family and hates a hand up his ass. Nolan Hennelly became the River Beast, an afeared beast made from two green pizza boxes and some PVC pipe, which he tackled with humanity and grace.
The duo certainly have a following, as everyone bursting at the seams of the Duplex’s basement were swaying and singing along to their infectious tunes. We all take a friendship pledge at the end of the show, so I know I’ll see a lot of familiar faces next go around.

Their next event, 2 Birds, 1 Stoned is June 1st @ 8 over at the Parkside Lounge (317 E Houston St). Special pieces like these don’t come along all the time, so go over, make the pledge, and have a killer time! Follow the guys on fb/insta/whatever : BennyandGriff / bennyandgriff.com
Review By: Brittany Goodwin

Read More

Tuck Everlasting @ The Broadhurst Theatre

Are you feeling down in the dumps? Are your adult responsibilities draining you? Well, head down to the Broadhurst Theatre and see, Tuck Everlasting… immediately! As you enter the theatre you are immersed into a magical forest. You can’t help but awe at the stars and this giant tree (which I had to physically restrain myself from climbing.) The entire creative team does a fantastic job crafting a world we want to live in.
The show tackles the timeless question: IF you could live forever, would you? We follow the adventure of Winnie Foster, who stumbles upon a family that is a little odd and discovers a secret about them that she can never break! Winnie Foster played by the amazing Sarah Charles Lewis, manages to make the entire audience fall in love with her! You can’t help but smile every time she’s on stage, and boy does she have a voice! Oh, did we mention she is only eleven years old?
The Tuck family has more baggage than anticipated but you can’t blame them, they are over one hundred years old! They are led by Mom (Carolee Camello) who brings a sweetness yet stern presence to the stage. Dad(Michael Park) who manages to make dad jokes actually funny (who knew?). And rounding out the family are oldest brother Miles (Robert Lenzi) who grounds the Tuck family and Jesse (Andrew Keegan Bolger) whose energy bounces off stage, making you want to go wherever he goes!
We can’t forget about comedy duo Hugo (Michael Wartella) and Constable Joe (Fred Applegate). Following their case to find Winnie is sugar sweet, charming and hilarious. In addition, Winnie’s Mother (Valerie Wright) and Nana (Pippa Pearthree) serve memorable moments; you wish they were somehow incorporated more! Tough cookie Nana almost steals the show!
Jesse Tuck and Winnie Foster capture your hearts early in the show. Once they climb a tree, you are sucked into this whimsical forest. The whimsy was at its peak during the Fair. Everything from the set, costumes, lighting, DANCING, captured the true magic of the show. It made every child gasp in the audience. It made every adult reminisce a childhood memory.

This show has something for everyone, every type of person, every type of dreamer, at any age. We have adult humor that goes over the kids’ heads, and we have spectacle to keep them entertained. It was truly a great night of musical theatre. Tuck Everlasting will make you smile throughout the entire show… until the end. There is something for every generation, just watch out for the evil banana.

Review By: Briana Burnisde
Photos By: Greg Mooney

Read More

Daphne's Dive @ Romulus Linney Courtyard Theatre @ The Pershing Square Signature Center

You gotta love a show where you feel a part of the atmosphere, invited into the culture, all the while moved with the rhythm of the story, as if you lived it and it were your own. That, my friends, is the feeling you feel watching Daphne’s Dive over at the Signature Theatre.
We meet Ruby (an astounding Samira Wiley) at 11 years old and grow with her and the rest of the dive bar ensemble over the course of 18 years. Daphne (Vanessa Aspillaga) runs the bar and adopts Ruby after bar regular Pablo (Matt Saldivar) finds her in the dumpster while he was in pursuit of trash for his art. Ruby grows very fond of another bar regular Jenn, (KK Moggie) a fanciful social activist who rents from Daphne’s politician brother-in-law Acosta (Carlos Gomez) and sister (Daphne Rubin-Vega). Midway through the story, Pablo has an art exhibition of his trash and we find out that Jenn has taken her own life during one of her protests. Ruby is destroyed by this, and we watch her and the ensemble’s response to loss, grief and the healing process.
Director Tommy Kail and Playwright Quiara Alegria Hudes work hand in hand again, after their success with In The Heights. Kail perfectly masters the pacing of the vignettes, keeping us on our toes as to what will happen next to this poor community.
You undoubtedly come to see this play for Samira Wiley’s contributions to the piece. She is the heart, soul and liver of the bar and you simply cannot take your eyes off her. We feel a part of her characters development as we watch the world harden her as a child, as a teenager, and as an adult in all different capacities of the heart. Her performance is simply unmatched and gives the play a unique foreground to build itself upon.
Go on and have a drink at Daphne’s Dive and bring a friend- you’ll have a lot to discuss and a lot to reminisce about- just don’t forget to tip your bartender.
Review By: Brittany Goodwin Photos By: Joan Marcus

Read More

Indecent @ The Vineyard Theater

It’s a rarity that when one sees a play, one is touched on every level and every sensory organ satiated. But when you are talking about religion, forbidden sex and theatre history- what else does one need?
Indecent by Paul Vogel and Rebecca Taichman over at the Vineyard Theatre is nothing short of absolute brilliance. The audience communally sat in awe- laughing quickly at every nuance and sharing heartbreak as it came, which culminated to us leaping to our feet at the final blackout.
Indecent is based on a true story : the development of Yiddish playwright Sholem Asch’s God of Vengeance in early 1900s Poland. We see the play’s origins (first table read, assembly of cast, its performances around Europe) and how it takes flight all the way to NYC where the actors are arrested for the controversial content in its edits. They had no playwright to defend them because he hid away in shame that he could not learn English to defend his play. Lemmi, the stage manager and the hero of the story, takes the acting troupe back home and unfortunately back to a Nazi ridden land. They try to keep the play alive in attics and act for food, but are taken during act 2, the controversial love scene between the two girls. The ending could rip your heart out when we see what happens to each of these characters. But you’ll have to see it for yourself, as its painful to write on.
The cast is exceptional. Richard Topol acts as the narrator of his story, weaving us seamlessly through moment to moment of the story, all the while knowing his recollection of that “blink in time.” Adina Verson plays a few different carnations of the female lead flawlessly, simply accenting them with a scarf or sweater, but drastically stepping into different personas. Katrina Lenk, Verson’s lover, was stunning and captivating in every single move she made.
The director by co-creator Rebecca Taichman perfectly embodied the piece’s humor, history and vaudevillian homage to the times. Christopher Akerlind’s lighting design was particularly amazing; creating shadows and intimacy all the while maintaining the aesthetic of old playhouses. Super smart indeed. Lisa Gutkin and Aaron Halva’s music moved the story along, as the actors danced and moved the set pieces.
A play with this much heart and history needs an audience and begs to be heard. We say time and time again “history repeats itself,” and we do all we can to prevent it. This play not only shows an inside look of the Holocaust and the Jewish people, but prolonged censorship in the theatre. We are so fortunate to see all we see without anyone stifling our voice. Go downtown and hear the voices over at the Vineyard. Learn our history.
Review By: Brittany GoodwinPhotos By: Carol Rosegg

Read More

A Better Place @ The Duke on 42nd Street

Calling all dreamers! A Better Place, presented by The Directors Company in association with Pascal Productions reflects issues of trust, family and overcoming the struggles of comparison, all the while looking into our own notions of grandeur as we seek our next horizon.

Director Evan Bergman has a thrust stage as her personal canvas to present the story of two families seeking a better place. Scenic Designer David L. Arsenault created two apartments for the audience to peer into—one quaint and small living room pre-war walkup and the other “better place” hi-rise apartment equipped with a sitting room, hallway and office.
We begin by looking into Les Covert’s (Bob Maitner) mind of “if only I lived across the street in that apartment, my life would be perfect.” Maitner conveys Les as the self-limited middle-aged waiter faced with his own past. His character was funny and relatable.
Covert’s lover and life partner, Sel Trevoc (John Fitzgibbon) is a philosophy professor five years into waiting for his tenure. Fitzgibbon created a mirror for Maitner’s character and offered the comic relief and introspection needed to drive his inner conflicts to fruition. The two had good chemistry and Fitzgibbon’s character was the only one philosophically at peace with his life and choices. Across the way, the Roberts family struggles with gambling addiction, familial envy and growing into adulthood. Husband and wife Mary and John Roberts are looking to sell their hi-rise and move to Florida while their daughter, Carol, is left to find her way in New York City without them.
Mary Roberts (Judith Hawking) struggles with her suspicions that her husband may not want to sell and finally retire to a more Southern climate. She consistently harps on her daughter Carol about beginning life as an adult rather than a dependent 28-year-old and prances around the set mumbling relatable and funny anecdotes.
Her husband, John (Edward James Hyland) has a horse gambling addiction that seems to always end in winning. He ushers himself to provide for his family in ways that he can and is meticulous about the luscious upgrades he has made to the hi-rise. His love for his wife shows through in his performance.
Their daughter Carol (Jessica DiGiovanni) holds a strange fetish. Needing to concentrate on her better place, she is only attracted to real estate brokers and will open herself to their affections only after they have described upscale apartments in ways that excite her. She is seen with many renditions of Michael Satow and their taking to the stage was always met with laughter.
The play was introspective (yet somewhat predictable) and showed the inner turmoil that many of us all face in our search for the next beginning.
Review By: Alex LipariPhotos By: Jenny Anderson

Read More