“Longing for Grace” at the East to Edinburgh Festival at 59E59 Theater B
“Longing for Grace” at the East to Edinburgh Festival at 59E59 Theater B Written by Grace Kiley Directed by Austin Pendleton Reviewed by Joseph Verlezza Theatre Reviews Limited
“Longing for Grace” is a short play examining the misfortunes of Grace Kelly during her life as the fairytale princess of Monaco and after marrying Prince Rainier III whom she had met while attending the Cannes Film Festival. There are no surprises in the script of the all too familiar story which hailed major publicity about Grace Kelly’s private life and marriage after she died in an accident in the car she was driving as she was taking her daughter Stephanie to a dance recital.
The unique presentation is what sets this work apart. Actor Grace Kiley, carefully directed by Austin Pendleton, inhabits Grace Kelly as she waits in transition in the afterlife only to see and reflect on her accomplishments and defeats and offer personal explanations. Ms. Kiley captures the brave, rambunctious, outspoken and sometimes wild lifestyle of the infamous Hollywood movie queen and equally supplies the grace and form of royalty both visually and intellectually.
At times, the hour long solo performance becomes stale and trite focusing too much energy on unhappiness and a miserable failed marriage, leaving this critic hoping for some positive reflection on this remarkable character. Possibly because of this flaw in the script, also penned by Ms. Kiley, she experiences moments that are not too convincing, but quickly returns to a stalwart performance. This short and informative look into the intimate affairs of this notable legend is worth a theatergoer’s time and effort and will fare well at the upcoming Edinburg Fringe Festival.
LONGING FOR GRACE
East to Edinburgh runs for a limited engagement through Sunday, July 28. The performance schedule varies. Performances are at 59E59 Theaters (59 East 59th Street, between Park and Madison Avenues). Tickets to each East to Edinburgh show range from $10.00 - $20.00 ($7.00 -$14.00 for 59E59 Members). “The Night I Was Gifted” runs on the following schedule: July 18th and 19th at 7:00 p.m. and July 20th at 2:00 p.m. Tickets are $20.00 and can be purchased by calling Ticket Central at 212-279-4200 or online at www.59e59.org.
Permalink | Posted by David Roberts on Monday, July 22, 2013
“The Linguists” at the Midtown International Theatre Festival at the Jewel Box Theatre
Picture by Victoria K.
“The Linguists” at the Midtown International Theatre Festival at the Jewel Box Theatre Written and Directed by EJ Sepp Reviewed by David Roberts Theatre Reviews Limited
Following in the footsteps of the likes of Samuel Beckett, Eugène Ionesco, Jean Genet, Harold Pinter, Tom Stoppard, Friedrich Dürrenmatt, Alejandro Jodorowsky, Fernando Arrabal, Vaclav Havel and Edward Albee is a formidable task to undertake. Even to attempt to write a play in the absurdist genre is an impressive accomplishment.
EJ Sepp introduced his new (and his first) play to the pre-curtain audience by reminding them that it was all right to be confused; in fact, being somewhat confused during and after viewing his short play would be a good thing indeed. One would only have hoped for a higher degree of confusion resulting in deep thought and the asking of rich questions. What the audience did receive was a somewhat successful foray into the world of the theatre of the absurd.
Edna (played deliciously by Jo Young) steps ever so carefully through the detritus which occupies her home and beyond the borders of her domicile. Aptly named Man (think Every Man), her husband (John Dorcic) does little other than occupy the toilet and read the newspaper (sometimes upside down) and aggravate Edna throughout her quest for those who can – unlike newscasters – properly pronounce ‘Qatar.’ One assumes at least a healthy portion of the detritus is a result of the Man’s unnamed “condition.”
Her sometimes companion in her pilgrimages for linguistic purity and sensitivity is her dead cat (which is not a cat) ‘Fido.” The pair (Edna still trying to avoid life’s dross) encounters a Young Woman (Olivia Cordero) and a Young Man (Kelsey Barnhart) who, though they attempt to sidestep Edna, land themselves in her home where they experience one absurd onslaught after another including afternoon tea consisting of only hot water and repeated queries about the correct pronunciation of the aforementioned “Qatar’ written on pieces of paper extruded from best unmentioned parts of Edna’s anatomy.
The worst assault comes from Edna’s half-Zulu shaman friend (one would have hoped we learned our lesson from the 1939 “King Kong” film but apparently not) who offensively adds to the mix of absurd happenings.
This entire search for linguistic purity and accuracy in pronunciation serves as an interesting trope – here an extended metaphor – for managing all of life’s absurdity and lack of meaning. Whether EJ Sepp’s play is confusing or has the ability to make the audience think is quite another matter and better left in the hands of each audience member who will hopefully have the opportunity to see “The Linguists” in the future.
THE LINGUISTS
“The Linguists” is presented by EJ Sepp and Tsukasa Nakamori in association with the Midtown International Theatre Festival. The cast includes Kelsey Barnhart, Olivia Cordero, John Dorcic, and Jo Young. The art direction is by Victoria Kosheleva and the technical direction by Pamela Salmon.
The Midtown International Theatre Festival (MITF)'s fourteenth season will include a slate of full-length plays and musicals, as well as Short Subjects. The Festival will run from July 15 to August 4, 2013, at the June Havoc Theatre, 312 W. 36th Street, NYC, 1st floor; the Dorothy Strelsin Theatre, 312 W. 36th Street, NYC, 1st floor; the Main Stage Theater, 312 W. 36th Street, NYC, 4th floor; and the Jewel Box Theater, 312 W. 36th Street, NYC, 4th floor. Tickets are $15 for short plays and $18 for longer plays. Tickets are available at www.midtownfestival.org or by phone at (866) 811-4111.
“The Linguists” completed its run at the Jewel Box Theatre (see above) on Sunday July 21st at 5:45 p.m. the running time was 45 minutes.
Permalink | Posted by David Roberts on Monday, July 22, 2013
“Dwight” at the Fresh Fruit Festival at the Wild Project
“Dwight” at the Fresh Fruit Festival at the Wild Project Written and Directed by Nneoma Nkuku Reviewed by David Roberts Theatre Reviews Limited
“Dwight” is an ill-conceived new play about a group of unlikable LGBT friends (well, no one really knows Cash’s precise sexual status) who hang out in Cash’s BIN, recycle, create art from their recycled treasures, and grumble a lot, especially when Dwight is around – which is most of the time. They unfortunately mistake ex-gangbanger Lex as their enemy even though he is Stacey’s new squeeze. Despite Lex’s efforts to “fit in” (his homophobia does create some tension), he expresses his caring by offering Dwight a condom, urging him to stay clean. Not only does this occur after the friends decide to throw Lex out, but Dwight takes great offense (he takes offense about everything) and initiates a fight with Lex. Lex returns later to make amends but is again evicted from the BIN. It is true that the audience needs to see Lex as a scurrilous cur so they can later blame him for shooting Dwight’s father but enough is enough!
There’s more to this tired plot which is driven by uninteresting characters with hopelessly uninteresting conflicts. Even the surprise ending does not prove enough of a pay-off for all that does not happen between these flat, static, under-developed characters. These are among the most unlikable and mean LGBT characters in any play purporting to be supportive of the LGBT community.
I have not identified any of the actors with their respective roles and encourage the writer and director to use this world premier as an opportunity for reimagining and revising her new play. There is nothing that cannot be repaired and certainly Nneoma Nkuku has the ability to do just that.
DWIGHT
“Dwight” is presented by Genti Mullaj, Ina Gjeci, Nneoma Nkuku, and Joy Animashaun in association with the Fresh Fruit Festival at the The Wild Project, 195 East 3rd Street on the Lower East Side (between Avenues A and B, F train to Second Ave.)
Featuring Elyse Beyer, Mercy Elliott, Wes Hager, Chris Holliday, Alexander Mannara, David Mila, and Eva Proum.
The final performance took place on Sunday, July 21st at 2:00 p.m.
Permalink | Posted by David Roberts on Monday, July 22, 2013
“The Pirates of Finance” at the NYMF at the Alice Griffin Jewel Box Theatre
“The Pirates of Finance” at the NYMF at the Alice Griffin Jewel Box Theatre Book and Lyrics by Charles Veley Music by Sir Arthur Sullivan Directed by Gary Slavin Reviewed by David Roberts Theatre Reviews Limited
Things are not always what they seem on the high seas or in the competitive world of finance. The high-flying team of Veley and Sullivan deliver a delicious convoluted plot in Charles Veley’s “The Pirates of Finance” currently running at the Alice Griffin Jewel Box Theatre as part of the New York Musical Theatre Festival.
Charles Veley’s lyrics neatly complement Sir Arthur Sullivan’s music (melodies from at least eight Gilbert and Sullivan musicals) to spin a story about love, finance, dastardly deeds in the boardroom, trickery, treachery, and reconciliation. After inheriting his uncle’s Wall Street investment company, musical conductor Frederick Freemarket (Preston Ellis) sets out to cure the world’s financial woes with his sizable inheritance. Unfortunately his uncle was not the financial wizard everyone assumed he was. Further complications arise when J. Geoffrey Behemoth (Christopher DeAngelis) decides to either buy Freemarket out or find a way to take over his firm. The audience wonders why?
Then there is the wily Elsie Gardener (Heather Lundstedt) who installs a device in Freemarket’s magic money-making machine and seems to both want him and destroy him. Curious conflicts abound between the characters on Freemarket’s team (Huey, Dewey, and Louie) and the characters on Behemoth’s team (April, May, and June) all of which drive the topsy-turvy plot toward a surprise ending where enemies become friends – even family!
All of the songs are pleasant, some like “Hail, Marketplace” outstanding. And one or two seem ill-fit like the odd rap song “Behemoth is my name.” Mr. Veley’s lyrics and book along with Sullivan’s music create an enjoyable old-fashioned musical with a charming ending. The audience enjoyed the Gilbert and Sullivan nuances sprinkled throughout and genuinely enjoyed the musical’s wit and charm.
THE PIRATES OF FINANCE
“The Pirates of Finance” is presented by The New York Musical Theatre Festival and Pirates Musical LLC. Director and Choreographer: Gary Slavin ; Music Director: Brenna Sage; Arrangements/Orchestrations: Brenna Sage; Technical Director: Daniel Jagendorf; Scenic and Lighting Designer: David Goldstein; Costume Designer: Anne Auberjonois and Amy Price; Sound Designer: Mike Tracey; Stage Manager: Miriam Hyfler; Assistant Stage Manager: Stephanie Armitage; General Manager: Suellen Vance; Publicist: Paul Siebold/Off Off PR. Casting by Holly Buczek.
The cast includes Lynn Craig, Christopher de Angelis, Preston Ellis, Amber Nicole Guest, Alex Krasser, Janice Landry, Heather Lundstedt, Carter Lynch, David Macaluso, Sydney Ransom, Deborah Jean Templin, and Jacob Thompson. Music Director Brenna Sage leads a band including John Licari (drums), Dwayne Beach (violin/viola), and Emily Croome (second keys).
“The Pirates of Finance” plays its final performance on Saturday July 20th at 9:00 p.m. at The Alice Griffin Jewel Box Theatre, The Pershing Square Signature Center, 480 West 42nd Street, NYC 10036. Tickets: $25. For tickets, visit nymf.org Direct ticketing link: https://web.ovationtix.com/trs/pr/923685 Runtime: 125 minutes including one fifteen-minute intermission.
Permalink | Posted by David Roberts on Friday, July 19, 2013
“The Year I Was Gifted” at the East to Edinburgh Festival at 59E59 Theater C
“The Year I Was Gifted” at the East to Edinburgh Festival at 59E59 Theater C Written and Performed by Monica Bauer Directed by Carolyn Ladd Reviewed by David Roberts Theatre Reviews Limited
Monica Bauer’s one-woman show “The Year I Was Gifted” deals with the heartfelt and endearing themes of loyalty, integrity, survival, and perseverance. It also highlights what occurs when the antitheses of these themes prevail in any segment of the human community and, particularly, in LGBT community and its community of authentic supporters.
In “The Year I Was Gifted,” the fifteen year old wrong-side-of-Omaha, Nebraska’s-tracks narrator needs to “get out of Dodge” before its cattle-slaughtering milieu not only breaks her spirit but breaks her heart. It is not important whether this narrator is the young Ms. Bauer (one assumes the piece is autobiographical) or another aspiring thespian: what is important is this young woman’s story transcends race, gender, socio-economic and sexual status boundaries.
The narrator decides, at her wealthy high school friend’s suggestion, to apply to the prestigious Interlochen Arts Academy boarding high school in northern Michigan for the remainder of her high school education. Although she lacks all the prerequisites to be accepted (academic and financial), she forges ahead and through a trinity of prevarication, perseverance, and puck achieves admission to and transport to this chance to escape oasis and “find her tribe.”
Unfortunately, the narrator’s escape from mediocrity gets sidetracked by her integrity: while at Interlochen, she discovers the Head of the school is summarily expelling gay young men and sending them back to lives of being bullied and broken. With the support of her “first best friend,” her first gay friend, she composes “Expulsion 34,” a piece that exposes the homophobia of the school’s leader and garners her the reward of losing her scholarship and her return to her adoptive parents who have lied to her all her life and did their best to quench her spirit.
“The Year I Was Gifted” is a remarkable and enjoyable examination of the strength of the human spirit and the grace that ensures when one refuses to betray members of one’s adoptive tribe. Be sure to see this distinguished play before it heads west to Edinburgh.
THE YEAR I WAS GIFTED
East to Edinburgh runs for a limited engagement through Sunday, July 28. The performance schedule varies. Performances are at 59E59 Theaters (59 East 59th Street, between Park and Madison Avenues). Tickets to each East to Edinburgh show range from $10.00 - $20.00 ($7.00 -$14.00 for 59E59 Members). “The Night I Was Gifted” runs on the following schedule: July 18th and 19th at 7:00 p.m. and July 20th at 2:00 p.m. Tickets are $20.00 and can be purchased by calling Ticket Central at 212-279-4200 or online at www.59e59.org.
Permalink | Posted by David Roberts on Thursday, July 18, 2013
“Rubber Ducks and Sunsets” at the Gene Frankel Theatre
“Rubber Ducks and Sunsets” at the Gene Frankel Theatre Written by Catya McMullen Directed by Kate Middleton Reviewed by Theatre Reviews Limited
Bereavement is a lengthy and often painful process. Not only does the “next of kin” need to scramble through the thick underbrush of anger, denial, and bargaining – hoping to accomplish some degree of acceptance – but that person also has to cope with the unraveling of the social system of which he or she has been a part often with deleterious and life-changing results. Catya McMullen’s complex and fascinating “Rubber Ducks and Sunsets” is at its core a play about bereavement and a group of friends’ search for meaning in the madness of loss.
After Al’s death/suicide, Walter (JD Taylor) unravels and re-ravels under the weight of his personal grief and the individual and collective grieving of Al’s sister Amy (Christine Mottram), and his and Al’s long term posse Casey (Anna Stromberg) and Eli (Josh Evans). Additionally, the entire “extended/intentional family” has to dodge the slings and arrows of Al’s diabolical personal assistant Petey (Zac Moon) who turns out to be far more menacing than a wolf in sheep’s clothing.
Twenty-one vignettes configure Ms. McMullen’s “Rubber Ducks and Sunsets” each introduced by/separated by a performance (guitar and commentary – comedy club style) by the grieving Walter. Walter’s performances provide the setting (place, time, and mood) for each of the play’s scenes.
The conflicts between the characters (and there are many) drive a plot that leads to an unexpected climax, a satisfying series of resolutions, and a welcomed catharsis. It would be anticlimactic to rehearse each of the conflicts; however, it is important to report that all of them revolve around unresolved grief: mourning the loss of Al; mourning the loss of control and power; mourning the loss of innocence; and ultimately mourning the loss of twenty-something naiveté as the friends are forced to transition into an age bereft of innocence and overcharged with ennui.
The ensemble cast is uniformly capable and, under Kate Middleton’s supportive and careful direction, uses every ounce of their formidable craft to capture the spirit of Catya McMullen’s script. They give honest performances from places of struggle and pain and uncertainty – places symbolized by the bathtub filled with rubber ducks which served as both Al’s place of comfort and Al’s place of untimely death. (“Which way was he facing when they found him?”) The scenes play on many psychological and emotional levels, some clothed in realism, some drenched in scintillating surrealism. All of them capture a group of friends and acquaintances hell bent on finding a way through their insufferable grief.
All’s well that ends well in this “Friends” like drama. But the path to that end is littered with raw emotion, frayed nerves, bruised faces, battered spirits, and a degree of playfulness which helps to reach the level of redemption and release required of catharsis. There is still work to be done on the script and on the production: it is overly long and struggles to end far too often. However this one minus is overshadowed by a plethora of powerful performances and a well-conceived and well executed premise. See it before it closes on the 27th of July and expect to pay more to see it in the near future. And that is a very good thing.
RUBBER DUCKS AND SUNSETS
Ground UP Productions presents the World Premiere of “Rubber Ducks and Sunsets,” written by Catya McMullen and directed by Kate Middleton, with original music by Reel Big Fish’s Scott Klopfenstein. “Rubber Ducks and Sunsets” runs from July 12 – 27, 2013 in a limited engagement at the Gene Frankel Theatre, located at 24 Bond Street between Lafayette & Bowery in New York City.
The cast includes Josh Evans, Zac Moon, Christine Mottram, Anna Stromberg , and JD Taylor.
The creative team includes NYIT Award nominee Travis McHale (Set Design), NYIT Award winner David Sexton (Lighting Design), Off-Broadway Alliance Award winner Amanda Jenks (Costume Design) and Chris Schardin (Sound Design). Kate August is the Production Stage Manager.
Performances are Wednesdays – Saturdays at 7:00 p.m., Mondays at 7:00 p.m., and Saturdays and Sundays at 2:00 p.m. Tickets are $25.00 and $18.00 for students and seniors and can be purchased online at www.GroundUPProductions.org or by calling 800-838-3006. “Rubber Ducks and Sunsets” contains strong language and adult themes, and is appropriate for mature audiences 18 and up. The running time is 2 hours including intermission. For more information visit www.GroundUPProductions.org.
Permalink | Posted by David Roberts on Thursday, July 18, 2013
“The Love Song of Sidney J. Stein at the Fresh Fruit Festival at the Wild Project
“The Love Song of Sidney J. Stein at the Fresh Fruit Festival at the Wild Project Written and Directed by Brian C. Petti Reviewed by David Roberts Theatre Reviews Limited
“And indeed there will be time To wonder, “Do I dare?” and, “Do I dare?” Time to turn back and descend the stair, With a bald spot in the middle of my hair.” — From “The Love Song of J. Alfred Prufrock” by T. S. Eliot
Brian C. Petti’s “The Love Song of Sidney J. Stein” is an impressive retelling/re-imagining of T. S. Eliot’s “The Love Song of J. Alfred Prufrock” and the third in a trilogy involving the life of Sidney J. Stein. Although the new play is billed as “a gay relationship story for the new millennium,” its rich characters, their hidden motivations, and their sometimes disquieting conflicts drive a plot far more cathartic than a single gay relationship.
The relationship in question is between forty-five year old halfway house employee Sidney J. Stein (Jim Pillmeier) and seventeen year old gay street hustler Dennis (Dalton Gray). Dennis just needs a spot to rest between his paid gigs on the street; however, he runs headlong into Sidney’s intrusive questioning about choice of occupation and prospects for a more sustainable future. Their fragile relationship develops into something no less than love – a place neither of them finds completely comfortable, especially after Dennis moves in with Sidney.
After Dennis fully understands Sidney’s vulnerability and state of health, he offers to stay with Sidney and care for him. Sidney is unable to accept this offer of love and discovers later than Dennis has moved out and stolen his ATM card. In the final scenes of the play, Dennis returns having finished his GED, landed a good job, and “off the streets” to apologize to Sidney and to offer to pay him back. The first installment in the repayment is an invitation to dinner. Whether Sidney will forgive Dennis and accept the offer remains open-ended.
If, as critics proffer, “The Love Song of J. Alfred Prufrock is an examination of the tortured psyche of the prototypical modern man—overeducated, eloquent, neurotic, and emotionally stilted,” then Sidney J. Stein is that prototype as well. Sidney is far more educated than Dennis; he is eloquent beyond eloquent, completely neurotic, and emotionally stilted. At forty-five, he still has been unable to reconcile his past with his present and with his new charge Dennis. Like Prufrock, Sidney repeats what has become his mantra, “Do I dare?”
Dalton Gray gives an impressive performance as the “barely legal” teenage sex worker. Mr. Gray has clearly struggled with his character’s depth and has successfully embodied the richness of a confidently confused young man searching for a connection which might resemble the love he never received from his birth family. Jim Pillmeier is transcendent as the aging and ill Sidney who, like Prufrock, has started to climb the steps toward love far too many times only to remain at the first step in a pool of loneliness.
Brian C. Petti has delivered these actors a complicated and multilayered script which, under his careful direction, they have performed with their eloquence and grace. This is a touching and sometimes terrifying glimpse into places loneliness abides just waiting for the dayspring of dawn of renewal and hope. This play received far too short a run and will surely appear on a New York stage very soon.
THE LOVE SONG OF SIDNEY J. STEIN
The Fresh Fruit Festival presents Brian C. Petti's “The Love Song of Sidney J. Stein” at the The Wild Project, 195 East 3rd Street on the Lower East Side (bet. Aves. A & B, F train to Second Ave.)
The cast of “The Love Song of Sidney J. Stein” features Jim Pillmeier and Dalton Gray, and is written and directed by Brian C. Petti.
Permalink | Posted by David Roberts on Thursday, July 18, 2013
“Life Could Be A Dream” at NYMF at the Alice Griffin Jewel Box Theatre
“Life Could Be A Dream” at NYMF at the Alice Griffin Jewel Box Theatre Written and Directed by Roger Bean Reviewed by Joseph Verlezza Theatre Reviews Limited
The new jukebox musical at the Alice Griffin Jewel Box Theater, presented as part of NYMF, is aptly titled “Life Could Be A Dream” (lyrics from the opening musical number) and is a collection of songs from the late 1950’s Doo Wop era (rather than songs focused on one particular group). The musical numbers are so well integrated that they actually become a part of the clever, comical, endearing but most importantly entertaining script which exhibits a fast paced seamless flow. It is your all American feel good musical that captures your heart, keeps your toes tapping, and vocal chords humming some fond memories. If you have any connection to this distinctive era it is a celebration not to be missed.
That’s not all; now let’s get to the good stuff - the cast. It is pure joy to watch such young, gifted and well trained actors perform their jobs with such proficiency and also exhibit excellent music skills with strong confident voices that tackle some of the tightest harmonies of classic Doo Wop music. They create and occupy their characters extremely well which results in a friendly relationship with their audience, removing the fourth wall and allowing them to be part of the action. Daniel Tatar as Denny is the dreamer and the glue for the group, always ready to overcome obstacles and push through. He gives Denny a soul and a conscience which constantly moves the action forward. His vocals are clear, strong and easy on the ear. Ryan Castellino is a goody two shoes with hidden desires as he develops into Wally who is always prim and proper as the minister’s son and a choirboy until he periodically unravels. He croons a solid, pleasant and pure vocal tone which compliments his character. Skip, the bad boy from the other side of the tracks is convincingly portrayed by Doug Carpenter with intelligence and vulnerability. His soaring bass baritone leads the group and wins the heart of Lois played with earnest sensitivity by Victoria Matlock. Her big Broadway voice fills the theater and boasts charm and authenticity. Finally, Jim Holdridge as the goofy, geeky, adorable Eugene steals your heart and keeps you laughing. His unique characteristics exude from every cell of his body and are accompanied by a skilled sweet tenor voice topped by an awesome falsetto.
The entire creative team deserves kudos for putting together a most enjoyable two hours of wonderful entertainment which appeared to be effortless. There is not much wrong with this production and with some fine tuning here and there it should have a very favorable future as part of the New York theater scene. This critic only hopes this incredible cast will find its way into the hearts of many more New York audiences and has a long bright future.
LIFE COULD BE A DREAM
“Life Could Be A Dream” is presented by The New York Musical Theatre Festival and Denny’s Basement NYC, LLC. Director: Roger Bean; Music Director: Michael Borth¬¬¬¬¬¬¬¬¬¬¬¬; Musical Arrangements: Roger Bean and Jon Newton; Additional Arrangements: Steve Parsons and Michael Borth; Choreographer: Lee Martino; Lighting Designer: Grant Yeager; Scenic Designer: Michael Carnahan; Costume Designer: Bobby Pearce; Sound Designer: Cricket S. Myers; Projection Design: Hana Kim; Production Stage Manager: Matthew Kurtis Lutz; Assistant Stage Manager: Ashley K. Singh; General Manager: Samantha Levenshus; Publicist: Dale Heler/Heller Highwater LLC.
The cast includes Doug Carpenter, Ryan Castellano, Jim Holdridge, Victoria Matlock, and Daniel Tatar. The band includes Michael Borth (Keyboard 1), Emily Croome (Keyboard 2), Dan Erben (Guitar), Jeff Schiller (Reeds), and Adam Wolfe (Drums).
“Life Could Be A Dream” played its final performance on Sunday July 17th at 5:00 p.m. at The Alice Griffin Jewel Box Theatre, The Pershing Square Signature Center, 480 West 42nd Street, NYC 10036. Tickets: $25. For information on NYMF, visit nymf.org. Runtime: 120 minutes with one intermission.
Permalink | Posted by David Roberts on Thursday, July 18, 2013
“Trapped” at the Midtown International Theatre Festival at the June Havoc Theatre
“Trapped” at the Midtown International Theatre Festival at the June Havoc Theatre Written and Directed by Henriette Rise Reviewed by David Roberts Theatre Reviews Limited
There is a remarkable gem playing at the June Havoc Theatre as part of the Midtown International Theatre Festival which needs more audience attention than it received at its first performance. Henriette Rise’s “Trapped” is a provocative, mind-bending play about the importance of not allowing creativity and freedom to be trapped by “structure, normality, society, and authority.”
Some characters like painters Raoul Dufy and Pablo Picasso and his mistress Dora Maar might be easily identifiable as is feminist Claude Cahun. They are cubist representations of themselves and “parts” of each other. It is not important to “identify” who these characters are; rather, it is essential to attempt to understand what they represent.
It is akin to reading T. S. Eliot’s “Wasteland” and not being satisfied unless ever reference is understood: if the reader gets lost in the minutiae of Eliot’s text, the reader will get lost and miss the poem’s major themes. Yes, it is important to understand the use of the camera in “Trapped” is a reference to Claude Cahun’s photographic work; however, the snapping of pictures could just be the characters’ need to capture significant moments in the movements on the play.
What is important in “Trapped” is playwright Henrietta Rise’s unyielding attempt to enable the audience to face its own entrapment in culture’s prisons. Rise’s surreal text, characters, and staging allow the audience to delve into its individual and collective unconscious to ferret out long buried images of freedom of expression and freedom of spirit.
Achieving true independence from restrictive cultural norms sometimes requires re-creating, revolution, and revision of the past. However, even these extreme measures are sometimes temporary. It seems easier for society to “treat” the problems it creates than to “change the water,” change the nourishing environment of its citizens. Classrooms remain stale and do not allow students to ask rich questions of themselves and one another; financial institutions continue to oppress and impoverish those they are supposed to serve. People are not allowed to love the person they choose to love and homophobia and sexism continue to enslave and destroy the human spirit. Women are in danger of losing control of their own bodies.
Survival requires change and this powerful message of “Trapped” resounds throughout its ninety minute span. Kudos to actors Anne Bisgaard (Hannah), Laila Faris (Dora), Casper Hare (Raoul), Peter Lidegaard (Pablo), and Maria Kjaergaard (Claude) for the courageous and life-affirming work they create on the stage of the June Havoc Theatre. And kudos to playwright and director Henriette Rise who reminds the audience that the horrific things that happen to women happen “to others every day” and that in order to survive each artist (are we not all artists) must create a space to create.
TRAPPED
With: Anne Bisgaard (Hannah), Laila Faris (Dora), Casper Hare (Raoul), Peter Lidegaard (Pablo), and Maria Kjaergaard (Claude).
The Midtown International Theatre Festival (MITF)'s fourteenth season will include a slate of full-length plays and musicals, as well as Short Subjects. The Festival will run from July 15 to August 4, 2013, at the June Havoc Theatre, 312 W. 36th Street, NYC, 1st floor; the Dorothy Strelsin Theatre, 312 W. 36th Street, NYC, 1st floor; the Main Stage Theater, 312 W. 36th Street, NYC, 4th floor; and the Jewel Box Theater, 312 W. 36th Street, NYC, 4th floor. Tickets are $15 for short plays and $18 for longer plays. Tickets are available at www.midtownfestival.org or by phone at (866) 811-4111.
“Trapped” runs at the June Havoc Theatre (see above) on the following schedule: Wednesday July 17th at 8:00 p.m.; Friday July 19th at 6:00 p.m.; Saturday July 20th at 8:15 p.m.; and Sunday July 21st at 1:00 p.m. the running time is 90 minutes with a five-minute interval for a scene change.
Permalink | Posted by David Roberts on Tuesday, July 16, 2013
“Swiss Family Robinson” at the New York Musical Theatre Festival at the Linney Theatre
“Swiss Family Robinson” at the New York Musical Theatre Festival at the Linney Theatre Book by John Kennedy and Patrick Kennedy Music and Lyrics by John Kennedy Reviewed by David Roberts Theatre Reviews Limited
“It will make me happy to think that my simple narrative may lead some [children] to observe how blessed are the results of patient continuance in well-doing, what benefits arise from the thoughtful application of knowledge and science, and how good and pleasant a thing it is when brethren dwell together in unity, under the eye of the parental love.” – William (Father) in Johann David Wyss’ “The Swiss Family Robinson”
In Johann David Wyss’ “The Swiss Family Robinson,” the worst disaster in their ten-year stay is the loss of their donkey to a thirty-foot boa constrictor. There are no donkeys and not one boa constrictor in John and Patrick Kennedy’s reimagining/retelling of Wyss’ classic children’s story. There is another family with a daughter and there are anti-pirates – though the family here is quite different and quite unique (a group of orphans who have grown up on the island with their housemother/queen) and the pirates are a group of rogue French sailors who arrived on the island in a different scenario but are equally fearsome.
John Kennedy’s music serves his lyrics well and the lyrics and book move the story forward with clarity and interest. Sometimes the music has a sameness about it but the styles vary enough to make the score interesting: there are Latin American beats (calypso, tango, etc) and other easily identifiable musical genres. All of the numbers are easy listens and some are near perfection: Elizabeth’s (Elisa Van Duyne) “Upon This Peaceful Little Island” and the Family/Hufi/The French “High Atop a Banyan Tree” are exquisite and of Broadway quality. On the other hand, “Jungle Drums” is less than satisfying and warrants review and revision.
The story’s original themes of “brotherhood,” tolerance, acceptance, and love of knowledge abound in this production and are complimented with Emily’s (Jessie Shelton) Eastern theme of being “here and now” and her brilliant monologues on sexual equality and equal rights – which she does not have to attain in traditional ways.
Kiku (Barbara Tirell), Lulu (Sam Tedaldi), Zizi (Emily Shoolin), and the Hufi (Heidi Kloster, Danielle Gimbal, Meg Schneider) are orphans-now-grown who readily accept their introduction to a world of “invaders” inhabited by Elizabeth and John (Paul DeBoy) and their sons. These sons are picture perfect and serve Wyss’ original “wholesome” image well. Indeed, some tousled hair would have been nice to see on Fritz (Sergio Pasquariello), Jack (Matt Mundy), and Ernst (Michael Lorz.) The French are fabulous: Francois DuBois (Patrick Oliver Jones) and Monsieur Spoo (James Patterson) strive valiantly to be known as anything but pirates.
The conflicts drive a pleasing plot and, in the end, tolerance wins out: almost everyone pairs up and is married by Emily’s father who returns to rescue her and it appears that everyone lives happily ever after. What could be better than that?
This is a solid piece of musical theatre with respectable production values and a uniformly outstanding ensemble cast. One expects to see more of this new musical after it completes its NYMF run. I would expect its final performance to be sold out so call for tickets today.
SWISS FAMILY ROBINSON
Swiss Family Robinson is presented by The New York Musical Theatre Festival. Director: Patrick Kennedy; Music Director/Orchestrations: Matt Aument¬¬¬¬¬¬¬¬¬¬¬¬; Technical Director: Tom Donohue; Choreographer: Walter Kennedy; Fight Choreographer: Ron Piretti; Lighting Designer: Cory Pattak; Scenic Designer: Lewis Folden; Costume Designer: Cheryl McCarron; Sound Designer: Randy Bobo; Stage Manager: Denise Wilcox; Assistant Stage Manager: Kristine Schlachter; General Manager: Suellen Vance; Photographer/Videographer: Seth Walters; Publicist: Paul Siebold/Off Off PR. Casting by Michael Cassara, CSA.
The cast includes Tom Bozell, William James Daniels, Paul DeBoy, Alexander Ferguson, Danielle Gimbal, Patrick Oliver Jones, Heidi Kloster, Michael Lorz, Matt Mundy, Sergio Pasquariello, James Patterson, Jessie Shelton, Barbara Tirrell, Meg Schneider, Emily Shoolin, Sam Tedaldi, and Elisa Van Duyne.
“Swiss Family Robinson” plays its final performance on Wednesday July 17th at 9:00 p.m. at The Romulus Linney Courtyard Theatre, The Pershing Square Signature Center, 480 West 42nd Street, NYC 10036. Tickets: $25. For tickets, visit nymf.org Direct ticketing link: http://www.nymf.org/Show-2144.html Runtime: 120 minutes with one intermission.
Permalink | Posted by David Roberts on Monday, July 15, 2013
“Expiration Date” at the East to Edinburgh Festival at 59E59 Theater C
“Expiration Date” at the East to Edinburgh Festival at 59E59 Theater C Written by Rosemarie Brandwein Directed by Cheryl King Previewed by David Roberts Theatre Reviews Limited
"Expiration Date," a serio-comic play that explores what it means to be human by Rose-Marie Brandwein, will be presented by Picaresque Players Theatre Company as part of the East to Edinburgh Festival at 59 E 59 Theaters prior to its engagement at the Edinburgh Fringe in August. Cheryl King directs a seasoned cast that includes Jean Brookner, V. Orion Delwaterman, KC Weakley, Dara O’ Brien, and Emil G. Keller.
The year is 2113 and our world is a radically different one. People no longer venture outdoors to experience the “true” beauty of nature yet technological advancements have made it possible to extend life forever. Now having reached the age of 150, Mildred, once an ordinary American housewife, continues to cling to her 20th century habits and memories for comfort. Most of her loved ones have “expired” and even though Mildred still lives with her family—husband Arthur and son Albert--his presence seems to irritate rather than to comfort her. Albert, a total product of this bleak new era, is throwing a birthday party for Mildred, and at the same time reminding her that at her milestone age, a compulsory decision enforced by the government makes it necessary to transition into another life form known as People-Pods. Old friends Burt and Alice provide their perspective on being “P-Pods,” encouraging Mildred to transition rather than to disappear into the ether. What would you do?
“Expiration Date” runs in the East to Edinburgh Festival at 59E59 Theaters (59 East 59th Street between Park and Lexington) through July 21 in Theater C. Performance schedule is as follows: Sat. July 20 at 7PM and Sun. July 21 at 2PM. Tickets are $18 and $12.60 for 59E59 members. To purchase tickets go directly to http://www.59e59.org/ or call Ticket Central at (212) 279-4200. Also call 59E59 Box Office at (212) 753-5959 ext. 102 between noon and 6PM. Tickets may also be purchased directly at the 59E59 Box Office.
Permalink | Posted by David Roberts on Monday, July 15, 2013
“The Dead Legend” at the New York Musical Theatre Festival at PTC Performance Space
“The Dead Legend” at the New York Musical Theatre Festival at PTC Performance Space By Michael Gilboe in Collaboration with the Students of the University of Great Falls Directed by Michael Gilboe Reviewed by David Roberts Theatre Reviews Limited
Contestants in television competition shows (talent, dance, culinary, etc.) often find themselves in the “bottom three” or in some other penultimate elimination category. Once there, these contestants have to perform, dance, cook, and bake for their lives. They are granted “one more chance” to move on to stardom, success, fame, and fortune. This chance figuratively gives them the opportunity to transition from a near death performance purgatory to a new life.
In like manner, the celebrity performances never stop at The Dead Legend, an afterlife nightclub emceed by Harry Houdini. But when a mysterious woman dangles the chance for someone to “move on,” these legends must perform like never before, in this original musical written and performed by the musical theatre students of University of Great Falls, Montana. Running Time: 2 hours 15 minutes with intermission. For more information, visit http://www.nymf.org/tickets/2013-events/dead-legend/
THE DEAD LEGEND
The New York Musical Theatre Festival and the University of Great Falls (UGF) present the New York premiere production of Michael Gilboe’s “The Dead Legend” created in collaboration with the students of The University of Great Falls. “The Dead Legend” is directed by Michael Gilboe.
The production stars 18 UGF Students playing the following roles: Bela Lugosi, Errol Flynn, Frank Zappa, Sid Vicious, Harry Houdini, Humphrey Bogart, Chris Farley, Jim Henson, William Shakespeare, Minnie Pearl, Janis Joplin, Lucille Ball, Eartha Kitt, Judy Garland, Elizabeth Taylor, Marilyn Monroe, Clara Bow, Gloria Swanson, Amy Winehouse, and Mysterious Woman.
The production features set design by Rebecca M. Quirk and E.J. Moran, costume design by Vicki Turnbull, and lighting design by April Wendt. Marisa Barnes is the sound designer and Mariah Hodge is the stage manager.
“The Dead Legend” will play three performances only as part NYMF at the PTC Performance Space (555 West 42nd Street). Performances are Friday July 12th at 4:30 p.m. and 8:00 p.m. and Saturday July 13th at 12:00 p.m.
Permalink | Posted by David Roberts on Saturday, July 13, 2013
“After the Chairs” at the Fresh Fruit Festival at the Wild Project
“After the Chairs” at the Fresh Fruit Festival at the Wild Project By David Koteles Directed by Jason Jacobs Reviewed by David Roberts Theatre Reviews Limited
All goes extremely well in David Koteles’ “After the Chairs” - his inventive reimagining/retelling of Ianesco’s “The Chairs” - until the otherwise well constructed play’s end. Marc (Allen Warnock) and his partner Richard (Don Cummings) are unique re-tellings of Ianesco’s Old Man and Old Woman. Here the couple is trapped in an absurdist cycle of caregiver-patient conversation that serves as an extended metaphor for the madness and meaningless of life outside the hospital room as well. The couple, for example, looks out the window at the decay of autumn which counterpoints the decay of Marc’s disease-ridden body and soul.
Marc is determined to give the performance of his life (he admits to abandoning his dream of the stage for the money of the workplace) and he and Richard wonder “who will visit them.” Marc intends to perform “a one-man show” featuring “the highlights of his life.” Amidst their banter, the invisible guests begin to arrive and Richard scurries to fill the hospital room with chairs to accommodate the guests – all somehow related to Marc.
The audience “meets” Karen Marc’s first girlfriend; Charles Marc’s first boyfriend; Elizabeth the first person Marc came out to; Marc’s sister Pam; Marc’s drag queen friend Kevin (Terri-Yaki) and his cohort of drag queens; and Marc’s boss Bob and his boss. The conversation with these non-existent guests continues the theme of meaninglessness and absurdity: Karen can neither hear nor see; Pam is only worried about the gathering dissolving into a gay orgy; and Charles dissolves into life-threatening laughter when anyone mentions a musical he has not seen.
Marc’s performance, including his recounting the story of his relationship with his now-deceased mother parallels the story of his current life. He wanders about the room (stage) uttering nonsense words and phrases: “XYZ, XY, XYZ) which lead to the significant question he asks: “Why?” Marc’s performance is interrupted by the anticipated arrival of his friend David (Chris Van Strander) who will complete Marc’s performance. Here is where the problems begin. In a matter of a few minutes, Marc disconnects himself from his IV (commits suicide?), his bed becomes his bier, and David delivers a five-second eulogy for Marc as Richard sits sobbing in the last row of chairs. Ianesco felt the end of “The Chairs” was the most important part of the play, leaving the Couple and the audience pondering the phrase, "It's you who are responsible." The end of “After the Chairs” seems to lack any importance.
How responsible are we for the world’s dysfunction? What precisely is the world’s dysfunction? Allen Warnock and Don Cummings give honest and endearing performances in “After the Chairs” and, under Jason Jacob’s fluid direction, convey a sense of loss and ennui that certainly pervades the twenty-first century. Unfortunately, the ending of the play does not serve the rest of the script. To feel meaninglessness is one thing; for the end to be meaningless is quite another. Despite this one puzzling flaw, “After the Chairs” ought to be on your calendar for July 13th and 14th.
AFTER THE CHAIRS
Award-winning playwright David Koteles’ play “After the Chairs,” directed by Jason Jacobs is an official selection of the 2013 All Out Arts, Inc.’s Fresh Fruit Festival, and will be presented July 10th – 14th at The Wild Project (195 E. 3rd Street).
The cast includes Don Cummings (Richard), Chris Van Strander (David), and Allen Warnock (Marc).
The creative team includes Kristy Bodall (production stage manager) and Nick Moore (sound design).
Tickets are $18 and can be purchased by visiting www.freshfruitfestival.com. Remaining performances are on Saturday, July 13 at 7:00 p.m. and Sunday, July 14 at 4:30 p.m. Running time is 75 minutes with no intermission.
Permalink | Posted by David Roberts on Thursday, July 11, 2013
“Bette Davis Ain’t For Sissies” at East of Edinburgh at 59E59 Theater C
“Bette Davis Ain’t For Sissies” at East of Edinburgh at 59E59 Theater C Written by and Featuring Jessica Sherr Directed by Janice Orlandi Reviewed by David Roberts Theatre Reviews Limited
“Her hair is Harlow gold, her lips sweet surprise / Her hands are never cold, she's got Bette Davis eyes.” (Donna Weiss, Jackie DeShannon)
Jessica Sherr has those Bette Davis eyes along with remarkable Davis lookalike hair and lips. This actor utilizes all of these assets to create a winning retrospective of Bette Davis’ personal life and career. The 1939 Academy Awards ceremony on February 29, 1940 serves as bookends to an alluring and earnest memory trail of events from the actor’s rise to success. After Davis leaves the Award ceremony (having discovered from the leaked Los Angeles “Times” article she forfeits the Oscar to Vivien Leigh), she returns home where she reminisces about the vicissitudes of her dark victory.
Ms. Sherr gives performances that are both comedic and dramatic and each of them displays Bette Davis’ feisty demeanor and her distaste for weakness and persons who have nothing “to be passionate about.” Through a series of flashbacks and memories, Jessica Sherr moves the audience through Bette Davis’ experiences with and relationships with film director Willie Wyler, Carl Leammle, George Arliss, Jack Warner, Busby Berkeley, her mother Ruthie, her “sissy” husband Harmon O. Nelson, and her lover Howard Hughes.
Following the credo of the star she portrays, Jessica Sherr displays her willingness to take big gambles throughout her ninety-minute performance. It is not an easy task to embody a star as “big” as Bette Davis but Sherr manages to shy away from “playing it safe.” Her willingness to “go out on a limb” pays off. There are times the actor’s delivery loses the bite of the Yankee Davis but overall her performance is authentic and gracious. Ms. Sherr proves beyond any shadow of a doubt that “you cannot keep a good Yankee down.”
The vignettes are prompted by and separated by sound and lighting cues which, unfortunately, all too often are not precise and become intrusive. Sound cues cut off so abruptly the audience envisions a stage manager fumbling with script and soundboard while searching for the correct lighting cues. Sound running throughout the performance with appropriate crescendo/decrescendo cues would work better and serve the performance more creatively. Director Janice Orlandi is clearly capable of making these fixes.
BETTE DAVIS AIN’T FOR SISSIES
East to Edinburgh began on Tuesday, July 9 for a limited engagement through Sunday, July 28. The performance schedule varies. Performances are at 59E59 Theaters (59 East 59th Street, between Park and Madison Avenues). Tickets to each EAST TO EDINBURGH show range from $10 - $20 ($7 -$14 for 59E59 Members). Tickets can be purchased by calling Ticket Central at 212-279-4200 or online at www.59e59.org. Tickets for “Bette Davis Ain’t For Sissies” are sold out for the two-performance run on July 7 and July 11 at 7:00 p.m.
Permalink | Posted by David Roberts on Wednesday, July 10, 2013
“sExtOrtiOn” at the Fresh Fruit Festival at the Wild Project
“sExtOrtiOn” at the Fresh Fruit Festival at the Wild Project By Patrick Thomas McCarthy Directed by Christopher Caines Reviewed by David Roberts Theatre Reviews Limited
The eleventh annual Fresh Fruit Festival launched its All Out Theatre offerings with Patrick Thomas McCarthy’s “sExtOrtiOn” a complex, multi-layered drama which tackles morally ambiguous themes with a stunning cast portraying equally morally ambiguous characters. In some ways this is an odd “place” for the Festival to begin: the gay characters in this interesting ninety-minute play are neither likable nor lovable (there is a difference).
The only out boy at his high school, Quin Quimby (Joshua Warr) narrates the harrowing tale of sexting gone wrong – terribly wrong. Were his narration merely about teen sexting and the concomitant extortion it often generates, there would be nothing new in Mr. McCarthy’s text and any attempt to stage that script would fall flat. Fortunately, “sExtOrtiOn” is about more than its title suggests.
Eschewing comfortable simplicity for more challenging complexity, ‘sExtOrtiOn” wrestles with the themes of bullying, pack behavior, sexual identity, and teen sexual experimentation. Its strength, however, is its willingness to tackle the weightier issues of motivation and the hidden violence extant on the underbelly of those themes.
The conflicts are equally complex: for example, the audience discovers – in a delicious twist – that bully Buck Cumming’s (yes, the character’s name really is Buck Cummings, played brilliantly by Seth Shirley) conflict with his bully buddy Ben Benjamin (played with equal brilliance by Andrew Gelles) is the central conflict which drives the plot seemingly dominated by outsider Donny Doirko’s (Spencer Scott) sextortion scheme and Bradley Michael White (Justin Garascia) and Brenda Fenton Flair’s (Julia Hochner) BFF-BMW dedicated relationship.
Under Christopher Caines’ careful direction the entire cast, rounded out by Joshua David Bishop (the desperately seeking someone Brent Dodge), Jeff Ronan (the somewhat creepy and culpable Mr. Zee), and Chantal Thomson (the Brittany Gray Valley Girl accomplice in all things friendship) brings Mr. McCarthy’s script to the stage with honest and gracious performances. Mr. McCarthy and Mr. Caines should indeed be pleased to have engaged this dedicated cast. Together, they share a story of how oppressive systems (schools, religious institutions, the military, and sometimes the family) can deprive the individual’s opportunities for self-discovery, self-expression, and self-acceptance. Without these and the non-judgmental and unconditional love that fosters them, all hell can - and often does - easily break loose.
It would be interesting to see this play without the gratuitous sexting scenes. This reviewer understands that witnessing these explicit and often exploitative scenes enables the audience to “see” themselves in each of the characters and in fact comprehend they are “part of them;” however, to witness the scene, then have the character unpack its significance, and then have a narrator rehearse the scene one final time is simply unnecessary. Already a winner, “seXtOrtiOn” trimmed to a lean and mean sixty or seventy minutes could be a b-boy slam dunk.
SEXTORTION
Can’t Sleep, Inc. presents “sExtOrtiOn” by Patrick Thomas McCarthy with direction by Christopher Caines; set, costume, and lighting design by Caines; fight direction by Galway McCullough; music by Ethan Gold; and projections design by Katherine Hammond. Stage managed by Veronica Gheller.
“sExtOrtiOn’s” cast includes: Joshua Warr as Quin Quimby, the only out gay kid at Middle Falls High School; Spencer Scott as Donny Doirko, a troubled loner; Seth Shirley as Buck Cummings, a bullying jock with control issues; Justin Garascia as Bradley Michael White, the BMW, the golden boy athlete promised to Brenda; Joshua David Bishop as Brent Dodge, marching band geek; Andrew Gelles as Ben Benjamin, Buck’s lieutenant; Julia Hochne) as Brenda Fenton Flair, the BFF, cheerleader, promised to Brad; Chantal Thomson as Britany Gray, cool girl, school monitor; and Jeff Ronan as Mr. Zee, school administrator.
At the ALL OUT ARTS Fresh Fruit Festival, at The Wild Project, 195 E. 3rd St @ Ave. B (near Ave. B and Houston St.; F train to 2nd Ave.) on Monday, July 8 @ 7pm, Tuesday, July 9 @ 9pm, and Sunday, July 14 @ 2pm. Tickets: $18 at OvationTIX.com . For more information on the Festival visit FreshFruitFestival.com
Permalink | Posted by David Roberts on Tuesday, July 9, 2013
"My Machine Is Powered by Clocks" The Ice Factory at the New Ohio Theatre
Photo by Lauren Rayner
“My Machine Is Powered by Clocks” The Ice Factory at the New Ohio Theatre Written by B. Walker Sampson Directed by Calla Videt Reviewed by David Roberts Theatre Reviews Limited
“Regret that will make you want to set back the clock. And change things— “ (Jenny Glover)
In a re-telling/re-imagining of Robert Heinlein’s 1958-1959 short story “All You Zombies,” B. Walker Sampson’s “My Machine Is Powered by Clocks” tackles weighty concepts using a treasure trove of rhetorical schemes and tropes. The artful syntax of parallelisms, juxtapositions, and antitheses (schemes) are perfect stylistic devices for a play dealing with time travel. That futuristic concept is also handily supported by Sampson’s artful diction which makes use of metaphor (the beach, the bus), simile, personification, and hyperbole.
In fact, Sampson’s script is an extended metaphor for self-knowledge, self-acceptance, issues of regret and self-forgiveness, and the inter-connectedness of all living beings and the land they share. His play, though unnecessarily more esoteric than Heinlein’s straightforward tale, has recognizable merit. The audience easily connects to a theme which challenges the understanding of personal identity (who are we, after all?) and human finitude and responsibility.
Glover speaks for the collective unconscious of the audience when he admonishes Frank (himself, in fact) with, “Look, I have spent a lot of time obsessing over different possible outcomes. Alternatives to messes I’ve made I’ve wanted undone. Mistakes I keep making no matter how much I try to stop myself. But I believe, I want to believe, we’re not our own unstoppable forces. Somehow we can still change our minds.”
This is powerful writing which, unfortunately, is not equally powerfully dramatized on the New Ohio Theatre stage by the young and capable cast. Here, in this second Ice Factory Festival offering, the cast seems anesthetized and without any affect. The characters seem not to care about themselves or about the previous/future lives they experienced. Being one’s own birth mother and progeny simultaneously is a remarkable time-travel feat! Unfortunately, Grandpa and Frank and the others seem not only trapped in time but trapped in an emotionless vacuum.
Perhaps the cast lost its initial energy level when Grandpa (as bar tender) had to re-start his performance because front of house staff was deeply concerned about filling two empty seats a full fifteen minutes after curtain time. That might have been enough to bollix up the clockworks. Lamentably, the opening night audience will never know.
MY MACHINE IS POWERED BY CLOCKS
“My Machineis Powered by Clocks” is presented by SIGHTLINE (Producers: Natalie Gershstein, Lauren Rayner, and Calla Videt) at the New Ohio Theatre as part of the Ice Factory 2013 Season. It is written by B. Walker Sampson and directed by Calla Videt. The choreography is by Rick and Jeff Kuperman.
With: Merrie Jane Brackin, Isabel Carey, Melanie Comeau, Rick Kuperman, Jeff Kuperman, Tatiana Pavela, and Avery Pearson.
The creative team includes: lighting design by Mary Ellen Stebbins and Jon Cottle; video design by Victoria Crutchfield; set design by Grace Laubacher; graphic design by Jaki Bradley; stage management by Sofie Seymour; dramaturgy by Megan O'Keefe; assistant direction by Teis Jorgenson, Lily Glimcher, and Matt Stone.
Ice Factory 2013 takes place at the New Ohio Theatre, located at 154 Christopher Street between Greenwich and Washington Streets in New York City. Ice Factory 2013 will celebrate its 20th Anniversary with six new works over six weeks, running from June 26 – August 3, 2013. Performances are Wednesdays - Saturdays at 7pm. Tickets are $18 and $15 for students and seniors, and can be purchased online at http://www.NewOhioTheatre.org or by calling the Vendini ticket line at (888) 596-1027. For more info on the festival visit http://www.NewOhioTheatre.org, and for up-to-the-minute festival updates, follow on Twitter at @NewOhioTheatre.
Permalink | Posted by David Roberts on Thursday, July 4, 2013
"Buyer & Cellar" at the Barrow Street Theatre
“Buyer & Cellar” at the Barrow Street Theatre Starring Michael Urie Written by Jonathan Tolins Directed by Stephen Brackett Reviewed by Joseph Verlezza Theatre Reviews Limited
Reality collides with fantasy in Jonathan Tolins’ new play “Buyer & Cellar” resulting in a near-nuclear reaction of comedy, sentimentality, and sheer brilliance.
Some rich and impressive collaboration has ignited the stage of the Rattlestick Playwrights Theater with the opening of Jonathon Tolins’ new play aptly titled “Buyer and Cellar.” First is the combination of the fascinating, well structured script and the compelling solo performance of Michael Urie. Next is the extremely competent and confident story telling which melds with the variety of characters the actor manages to inhabit during the ninety minute escapade. Finally, the story is simple and enlightening: the characters are clear, intelligent and thoughtful as well as clever and vulnerable. They never appear as a parody or impersonation but are brought to life with subtle physical nuance and enormous emotional content. Michael Urie gives a tour de force performance that is engaging and endearing.
The premise revolves around Alex More, an unemployed LA actor who is hired as the only store clerk for the shopping mall resembling Winterthur, which Barbra Streisand constructed in the basement of the barn on her infamous estate which she paid homage to with a coffee table book entitled “My Passion for Design,” written, photographed and for a price sometimes signed by you know who. This shopping arcade embracing the feel of that historic decorative arts museum in Delaware contains a doll shop, antiques store, gift shoppe, costume and antique clothing store and so on. There are no customers but, if by chance, Barbra is inclined to shop the experience must be real and nothing less than perfect; therefore the need for a store clerk to provide assistance. What transpires throughout the various scenes is a remarkable, almost provoking battle between fact and fiction capturing the audience in a suspension of disbelief.
This is theater in the purest form. The set is a clean low ceiling room clad in neutral tones of grey sparsely furnished with a small end table, simple desk and a single chair all in stark glossy white. At times the walls are covered with projections to suggest a different space but with nothing definitive. There are no set or costume changes (except the removal of a sweater) but through the consummate artistry and technique of Mr. Urie, personalities, objects and places miraculously appear. He floods the stage with colorful images, quirky dialogue infused with vulnerable tension which seeps from the crevices of well defined characters and a joy of life that shouts loud enough to create an emotional tremor. He is nothing less than brilliant. Go spend some time with Alex and Barbra, have some fun and delight in the opportunity to experience an exuberant, skillfully executed performance, attentively directed by Stephen Brackett and supported by a well qualified and competent creative team.
BUYER & CELLAR
The set design for “Buyer & Cellar” is by Andrew Boyce; costume design is by Jessica Pabst; lighting design is by Eric Southern; sound design is by Stowe Nelson; projection design by Alex Hoch. The production stage manager is Hannah Woodward; the assistant stage manager is Sam Horwith.
“Buyer & Cellar” plays Tuesday through Sunday at 7:30 p.m.; Saturday and Sunday at 2:30 p.m. at the Barrow Street Theatre, 27 Barrow Street, east of Seventh Avenue South. Nearby subway stops are the 1 at Christopher Street (walk one block south on Seventh Avenue South to Barrow) and the A, C, E, B, D, F, and M at West 4th Street (walk west on West 4th Street, left on Barrow). Tickets are $75 and may be purchased by phoning 212 868-4444 or by visiting www.smarttix.com. The Barrow Street Theatre box office opens daily at 1pm. For more information about “Buyer & Cellar,” visit www.buyerandcellar.com.
Permalink | Posted by David Roberts on Tuesday, July 2, 2013
"The Orpheus Variations" at HERE
“The Orpheus Variations” at HERE Conceived and Directed by Adam J. Thompson Developed by the Deconstructive Theatre Project Company Reviewed by David Roberts Theatre Reviews Limited
“By means of this double, and precisely stratified, dislodged and dislodging, writing, also mark the interval between inversion, which brings low what was high, and the irruptive emergence of a new "concept," a concept that can no longer be, and never could be, included in the previous regime.” - Jacques Derrida, “Positions” (The University of Chicago Press, 1981), p. 42
No text - including the text of the myth of Orpheus and Eurydice in the Underworld - has one meaning; in fact meanings are multiple and even contradictory. Deconstructionists take apart a text and its critical tradition and display its inconsistencies. The Deconstructive Theatre Project Company counterpoints this theory of literary criticism with a brain-freezing frenzy in its reprised production of “The Orpheus Variations” running at HERE through June 30, 2013. The project received its world premiere at Brooklyn’s Magic Futurebox in October of 2012.
What is “taken apart” in this production is not only the text but the underlying (or overlying) creative process itself satisfying Jacques Derrida’s understanding that what the audience experiences is “a new ‘concept,’ a concept that can no longer be, and never could be, included in the previous regime.” In short, this Company with Adam J. Thompson, have created a myth of Orpheus which is unlike any that preceded it and provide the audience with an array of variations satisfying to every critical ear.
The audience eavesdrops on the voyeuristic Company as it deconstructs then reconstructs Orpheus’ journey into the “house” he once shared with his beloved Eurydice. His mythic journey into the underworld is here his journey into the grief-laden caverns of memory. This creative process looks very much like the sound stage of a movie studio in the pre-computerized sound effects and filming era. And the product is displayed on a large screen center stage. The audience watches the muse-abandoned Orpheus as he “scrapes away layers of the past” in an attempt to create a future without Eurydice.
At times this scraping away veers very close to madness and one thinks oddly of “The Yellow Wallpaper” by Charlotte Perkins Gilman. The images on stage and screen parallel the images created in the collective mind of the audience as it struggles to resist the scraping away the layers of its past. The spirit of Virginia Woolf consumes the theatre as the Company creates a room of Orpheus’ own illuminated by his stream of consciousness recollection of his past.
Resist as it might, the audience falls prey to the temporary dissolution of its ego strength and swims freely in the surreal seams of the Id where it finds unexpected surcease and comfort. Orpheus and the audience experience catharsis, redemption, and release and emerge ready to re-enter life’s stage.
With only two performances remaining, the reader is encouraged to use the production information below to reserve a place for a “bumpy ride” into salvific serenity.
THE ORPHEUS VARIATIONS
The Deconstructive Theatre Project presents “The Orpheus Variations,” conceived by Adam J. Thompson and developed collaboratively among company members. Adam J. Thompson directs cast members Jessica Annunziata, Jen Browne, Stephen Conroy, Amanda Dieli, Sarah Isaacson, Meghan E. Kennedy, Robert Kitchens, and Peter Van Hyning.
The creative team of “The Orpheus Variations includes Associate Director: Meghan E. Kennedy; Composer: Ryan Homsey; Media Design: Phillip Gulley; Properties Design: Katie Fleming; Costume Design: Sydney Gallas; Sound Design: Steve Piteo; Production Stage Management: Denise Lum; and Dina Paola Rodriguez. The musicians for the show include Randy Conrado, Ryan Homsey, and Adrianna Mateo.
Five performances will be held at HERE, 145 6th Avenue (1 block south of Spring Street) in New York City from June 27-30, 2013. The performance schedule for “The Orpheus Variations” is Thursdays - Saturdays at 8:30 p.m., Saturdays and Sundays at 4 p.m. Tickets are $15. For tickets and information, visit here.org or call 212-352-3101.
Permalink | Posted by David Roberts on Saturday, June 29, 2013
"Sontag: Reborn" at the New York Theatre Workshop
“Sontag: Reborn” at the New York Theatre Workshop Based on the Books by Susan Sontag and Edited by David Rieff Adapted and Performed by Moe Angelos Directed by Marianne Weems Reviewed by David Roberts Theatre Reviews Limited
“So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee.” – William Shakespeare (Sonnet 18)
Globally, it is an easy time to quit. It is an easy time to quit believing in equality under the law; to quit believing in justice; to quit believing in freedom, equal pay for equal work, or the freedom to vote. It might also be an easy time to quit believing that “everything matters.” In 1946, when she was just sixteen years old, Susan Sontag affirmed, “I intend to do everything. I shall anticipate pleasure everywhere and find it too for it is everywhere! Everything matters!"
The importance of “Sontag: Reborn” currently playing at the New York Theatre Workshop is that this impressive production affirms Sontag’s mantra “everything matters” in every powerful scene. The audience watches a projected image of Susan Sontag watching the young Susan on stage who is reflecting on her early life in real time. Ms. Angelos’ real time performance counterpoints her electronic performance as the older Sontag affirms that her journals were a way of “creating herself.” Ms. Sontag, not unlike Shakespeare, was able to be “reborn” through writing.
Director Marianne Weems and The Builders Association have created a theatrical experience of significant measure. Ms. Angelos’ stage performance combined with Austin Switser’s video design, Dan Dobson’s sound design, Laura Mroczkowski’s lighting design, and Joshua Higgason’s scenic design create an emotionally-laden tribute to Susan Sontag and her legacy as one of America’s – indeed the worlds – preeminent literary icons and activists.
SONTAG: REBORN
The video design for “Sontag: Reborn” is by Austin Switser; sound design is by Dan Dobson; lighting design is by Laura Mroczkowski; scenic design is by Joshua Higgason; costume design is by Andreea Mincic; and makeup design is by Dick Page. The production stage manager is Lindsey Turteltaub.
“Sontag: Reborn” plays at New York Theatre Workshop, 79 East 4th Street, between Second Avenue and Bowery. The regular performance schedule is Tuesday and Wednesday at 7:00pm; Thursday and Friday at 8:00pm; Saturday at 3pm and 8pm; Sunday at 2pm and 7pm. “Sontag:Reborn” runs through June 30, 2013. Tickets start at $65 and may be purchased online at www.ticketcentral.com, 24 hours a day, seven days a week or by phoning Ticket Central at (212) 279-4200, noon – 8pm daily. For exact dates and times of performance, visit www.nytw.org.
Permalink | Posted by David Roberts on Thursday, June 27, 2013
"The Two-Character Play" at New World Stages Theatre 5
“The Two-Character Play” at New World Stages Theatre 5 By Tennessee Williams Directed by Gene David Kirk Reviewed by David Roberts Theatre Reviews Limited
At the interval of the Saturday June 22nd performance of Tennessee Williams’ “The Two-Character Play,” a seemingly perplexed patron approached a member of the house staff at New World Stages and asked if she could “go into one of the other theatres because this play is not my cup of tea.” The staff person informed her she could only re-enter the theatre she was ticketed for. Although she chose not to return, the rest of the audience took their seats for the second scene and experienced the remarkable performances of two actors portraying the dissolution of the human psyche and the human spirit.
Amanda Plummer (Clare) and Brad Dourif (Felice) are brother and sister who, after (perhaps) witnessing the murder of their mother and suicide of their father, have teetered on the brink of insanity (sanity?) for all of their adult lives. Ms. Plummer clearly (Clare) configures her character caught in an emotional prison with “no place to return to” and delivers Mr. Williams’ text with unparalleled skill. Her character Clare instructs her brother on the boundaries of prevarication with “a simple lie is one thing, the opposite of truth is another.” Mr. Dourif’s character attempts to remain happy (Felice) in the face of hopelessness. He offers Clare ways out of the dysfunctional dyad, an offer she cannot accept. “FELICE. You couldn’t stop any more than I could, Clare. CLARE. If you’d stopped with me, I could have. FELICE. With no place to return to, we have to go on, you know.”
The madness exposed on stage counterpoints with the madness still unexposed in the audience. Ego strength gives way to the matrix of unbridled images (think: the opening of Pandora’s Box) imprisoned in layers of consciousness lurking far below Freud’s Id. Alice Walkling’s somewhat surreal set is an appropriate space for the inter-cranial conversations between sister and brother abused by and confined by fear.
Felice’s words serve as bookends to Williams’ powerful play: “To play with fear is to play with fire. No, worse, much worse, than playing with fire. Fire has limits. It comes to a river or sea and there it stops, it comes to stone or bare earth that it can’t leap across and there is stopped, having nothing more to consume. But fear – Impossible! Fear! The fierce little man with the drum inside the rib cage. Yes, compared to fear grown to panic which has no — what? — limits, at least none short of consciousness blowing out and not reviving again, compared to that, no other emotion a living, feeling creature is capable of having, not even love or hate, is comparable in — what? — force? — magnitude?”
Director Gene David Kirk cautiously but bravely moves Ms. Plummer and Mr. Dourif across the mindscape of Ms. Walkling’s set as they play cat-and-mouse with the “the fierce little tin man with the drum inside the rib cage” hoping perhaps this time to terminate the endless performance of Felice’s script.
Like George and Martha before them, however, Felice and Clare cannot jettison out of their Saṃsāra. They know they are destined to re-enter Felice’s script repeatedly until death do them part. And they refuse the soothing relief of the same murder-suicide that precipitated their Dali-esque existence in which one is unable to “understand the other’s confusion” or neither can “hear the same thing at the same time.”
“The Two-Character Play” is one of Tennessee Williams important works and one of the most important plays currently running Off-Broadway. Do not miss the opportunity to see this production.
THE TWO-CHARACTER PLAY
“The Two-Character Play” features Amanda Plummer and Brad Dourif and is directed by Gene David Kirk. The creative team for The Two-Character Play is comprised of Alice Walkling (scenic design & London costume design), Lara DeBruijn (NY costume design), Phillip Hewitt (sound design & London lighting design), Jake Fine (NY lighting design) and Rick Sordelet (fight choreography).
All performances are at New World Stages (340 West 50th Street) on the following schedule: Monday at 8:00 p.m.; Wednesday at 2:00 and 8:00 p.m.; Thursday and Friday at 8:00 p.m.; Saturday at 2:30 and 8:00 p.m.; Sunday at 3:00 p.m.
Tickets are $72.50 - $126.50 and are available for purchase via Telecharge.com or by calling 212-239-6200, as well as in person at the New World Stages box office (340 West 50th Street). Box office hours are Monday 12:00 p.m. – 8:00 p.m., Tuesday 1:00 p.m. – 7:00 p.m., Wednesday 10:00 a.m. – 8:00 p.m., Thursday and Friday 1:00 p.m. – 8:00 p.m., Saturday and Sunday, 10:00 a.m. – 8:00 p.m.
Permalink | Posted by David Roberts on Tuesday, June 25, 2013
"Rantoul and Die" at the Cherry Lane Theatre
“Rantoul and Die” at the Cherry Lane Theatre By Mark Roberts Directed by Jay Stull Reviewed by Joseph Verlezza Theatre Reviews Limited
The new play “Rantoul and Die” is playwright Mark Roberts’ debut with the Amoralists and one can only hope that this outstanding collaboration is only the beginning of a long relationship. This latest production now playing at the Cherry Lane Theatre strikes a perfect chord in the harmony between script and actor while still completely supporting the theatre company’s mission statement. The intimacy of the studio space allows the audience to eavesdrop on the situation with such intense involvement that betimes reality is morphed to surrealism. The rapid fire dialogue bites, cuts and stings, bleeding profusely with feeling and emotion, while infecting the audience member with unavoidable laughter to ease the pain. It is not a question whether the audience wants to connect but rather how involved they become. It sounds like the play is the thing, but wait.
The cast takes this material, absorbs the dialogue, and creates characters that sweat emotion and turmoil from every pore, until they are left exhausted from exposure. Matthew Pilieci as the sly, sneaky Gary exudes a kinetic energy at every turn. Derek Ahonen is able to coerce endless sympathy while aptly inhabiting a worthless Rallis. Sarah Lemp develops a strong warrior in Debbie only to be defeated in battle when her thick armor is pierced by undeniable guilt. Vanessa Vaché serves Callie with a calm and innocent exterior like a dormant volcano and when it erupts she does not explode but lets her pain flow out like hot molten lava, only to cool down and become solid like a rock. This ensemble understands what it is to be human and embraces the flaws that ignite their souls and sets their emotions on fire. They are simply brilliant.
Like the characters on stage, the set by Alfred Schatz is beaten up and deteriorating but still standing and providing shelter and comfort. Lighting by Evan Roby is honest and exposes all in clear real light where nothing can hide in the shadows. The deft direction of Jay Stull exhibits excellent timing and pacing. Do not waste any time finding a ticket to this remarkable Amoralist production. You will not be disappointed.
RANTOUL AND DIE
The cast of “Rantoul and Die” features Derek Ahonen, Sarah Lemp, Matthew Pilieci and Vanessa Vaché and is directed by Jay Stull. The creative team includes Alfred Schatz (Sets), Evan Roby (Lighting), Jaime Torres (Costumes), Jeanne Travis (Sound) and Nick Trotta (Associate Director).
Performances of “Rantoul and Die” will take place through July 20 at the Cherry Lane Theatre on the following schedule: June 26-29, July 1, 3, 5, 6, 8, 10-13, 15, 17-20 at 7pm; July 7, 14 at 2pm. The running time is 90 minutes with one intermission. The Cherry Lane Theatre is located at 38 Commerce Street in New York City. Tickets are $50 and can be purchased by visiting theamoralists.com or calling 866.811.4111.
Permalink | Posted by David Roberts on Monday, June 24, 2013
Rattlestick Playwrights Theater Announces 2013 - 2014 Season
Season Preview by David Roberts Theatre Reviews Limited
Rattlestick Playwrights Theater Artistic Director David Van Asselt and Managing Director Brian Long have announced the company’s 2013-14 season—its 19th—will include world premieres by Halley Feiffer, Charles Fuller, Samuel D. Hunter, Craig Lucas, Lucy Thurber, and Ken Urban. As the first part of its 19th season, Rattlestick will present The Hill Town Plays, a cycle of five plays by Lucy Thurber that will be produced simultaneously at five different West Village theaters, including Rattlestick Theater, Cherry Lane Mainstage Theatre, Cherry Lane Studio Theatre, Axis Theatre, and the New Ohio Theatre. The Hill Town Plays comprise the inaugural season of Theater: Village, what will become an annual theatrical event of five plays centered around one playwright or theme running simultaneously in five different West Village venues.
The Rattlestick 2013-14 Season opens with: The Hill Town Plays Written by Lucy Thurber August 14 - September 28; opening September 5 Theater: Village
The Hill Town Plays tell the story of a woman who works her way into a new life from a troubled childhood. Each play examines a pivotal stage of the character’s life--from a childhood of poverty, alcoholism, and abuse in a western Massachusetts mill town through adulthood as a successful author. The Hill Town Plays investigate where we come from, what we dream of becoming, and who we are.
The Hill Town Plays include:
"Scarcity"
Presented by Rattlestick Playwrights Theater and Cherry Lane Theatre Directed by Daniel Talbott August 14-September 28 Cherry Lane Studio Theatre
"Where We’re Born"
Directed by Jackson Gay August 14-September 28 Rattlestick Playwrights Theater
"Killers and Other Family"
Presented by Rattlestick Playwrights Theater and Axis Company Directed by Caitriona McLaughlin August 14-September 28 Axis Theatre
"Ashville"
World Premiere Directed by Karen Allen August 21-September 28 Cherry Lane Theatre, Mainstage
"Stay"
Presented in association with the New Ohio Theatre Directed by GT Upchurch August 21-September 28 New Ohio Theatre
Rattlestick’s 2013-14 Season will continue with:
"One Night…"
World Premiere Produced by Cherry Lane Theatre and Rattlestick Playwrights Theater Written by Charles Fuller; Directed by Clinton Turner Davis October 16 – December 7; opening o/a October 30 At Cherry Lane Theatre, Mainstage
One Night… takes an unflinching look at what has happened to women in the US Armed Forces when their decision to serve their country exposes them to an unforeseen battle against their fellow soldiers. Home from war, One Night… explores the lingering effects of trauma and injustice and one woman’s recompense. One Night... was commissioned by the Cherry Lane Theatre.
"How to Make Friends and then Kill Them"
World Premiere Written by Halley Feiffer; Directedby Kip Fagan October 23 - December 14; opening o/a November 7 At Rattlestick Playwrights Theater
Left to their own devices by their alcoholic mother, Ada and Sam cultivate an insular world into which they soon draw a third wheel – a pockmarked, limping wallflower named Dorrie. In the years spanning childhood to young adulthood, these three troubled girls learn to lean on each other completely, finding ways to fill each other up and to tear each other down. But when a horrible accident turns their reality upside down, they find they must decide whether they will continue to foster their familiar, codependent cycle, or whether they will break free, with or without each other's aid.
"The Correspondent"
World Premiere Written by Ken Urban; Directed by Stephen Brackett February 5 – March 23; opening o/a February 20 At Rattlestick Playwrights Theater
A grieving husband hires a dying woman to deliver a message to his recently deceased wife in the afterlife. When he receives letters signed by his wife, describing events that only she could know, he’s faced with determining if the correspondence is from a con artist or actually from a ghost.
"Ode to Joy"
World Premiere Written and directed by Craig Lucas February 12 – April 12; opening o/a February 27 At Cherry Lane Theatre, Mainstage
Ode to Joy tells the story of love, heartbreak, addiction, and illness through the eyes of Adele, an audacious painter and her destructive relations with Mala and Bill, her two lovers.
"The Few"
World Premiere Written by Samuel D. Hunter; directed by Davis McCallum April 16 – May 31; opening o/a May 1 At Rattlestick Playwrights Theater
Four years ago Bryan abandoned his labor of love, a newspaper for truckers. Now he's returned--with no word of where he's been--and things have changed. His former lover is filled with rage, his new coworker is filled with incessant adoration, and his paper is filled with personal ads. As he considers giving up for good, Bryan searches for what he couldn't find on the road: a way to keep faith in humanity.
Memberships for Rattlestick’s 2013-2014 season are now on sale and can be purchased at www.rattlestick.org/membership or by phoning the theater at 212.627.2556 (Monday through Friday 11am – 4pm). Rattlestick has specially priced memberships available for students, under 30 patrons, and theater artists.Rattlestick Playwrights Theater is located at 224 Waverly Place (off Seventh Avenue South – between West 11th & Perry Streets). Cherry Lane Theatre is located at 38 Commerce Street, two blocks below Bleecker Street.
Currently playing at Rattlestick Playwrights Theater through June 29th is Jessica Dickey’s Charles Ives Take Me Home, directed by Daniella Topol, and at Cherry Lane Theatre through June 22nd is Mando Alvarado’s Basilica, directed by Jerry Ruiz. The Rattlestick production of Buyer & Cellar, written by Jonathan Tolins, directed by Stephen Brackett, and starring Michael Urie is currently playing a commercial run at the Barrow Street Theatre following a critically-acclaimed, sold-out run at Rattlestick.
Permalink | Posted by David Roberts on Sunday, June 23, 2013
"Charles Ives Takes Me Home" at The Rattlestick Playwrights Theatre
“Charles Ives Takes Me Home” at The Rattlestick Playwrights Theatre By Jessica Dickey Directed by Daniella Topol Reviewed by Joseph Verlezza Theatre Reviews Limited
In the new play “Charles Ives Takes Me Home,” playwright Jessica Dickey tackles an old theme of parent child conflict choosing to elaborate on the relationship between a professional violinist father and a strong willed, sports minded, basketball playing daughter who are both consumed with their individual passion. The twist lies in the introduction of a third character, the composer Charles Ives who exists in the mind of the father John who is struggling with his musical success or for that matter life failures. He is the perfect narrating referee, since Mr. Ives was a star athlete at Yale before becoming one of Americas most noted composers. His works intricately involved polytonality, which blends solo parts composed in different keys creating dissonant harmonies. Daughter, coach Laura and her father have distinct aspirations that certainly exist in different keys searching for some sort of harmonious relationship. This clever device and the rapid fire comic but strained dialogue keep the 85 minute conflict moving but unfortunately does not provide any valid substance to the plot. It is merely one collision after another.
What make this a worthwhile trip to The Rattlestick Playwrights Theater are the remarkable performances of all three actors. Kate Nolan inhabits her character with sheer intensity capturing passion and competitive aggression with incredible comedic ability, while still sustaining undeniable vulnerability. Drew McVety turns in a convincing performance of a wounded soul trying to recover from disappointment and regret, still struggling for success as a father and a musician. Henry Stram as Charles Ives exudes charm and intelligence even when quietly observing the action from the sidelines. Both these actors also display their musical ability playing violin and piano respectively. The script has a few problems and the concept is old but the integrity of the performances brings life and interest to a tired situation.
“Charles Ives Take Me Home” Written by Jessica Dickey; directed by Daniella Topol; set designer Andromache Chalfant; costume designer Michael Krass; lighting by Austin Smith; sound by Broken Chord; production manager Eugenia Furneaux.
“Charles Ives Take Me Home” runs a limited engagement through June 29th. The performance schedule is Mon, Wed, Thur, 7pm; Fri, Sat, 8pm; Sat, Sun, 3pm. Performances are at The Rattlestick Playwrights Theater, 224 Waverly Place. Tickets are $55.
Permalink | Posted by David Roberts on Wednesday, June 19, 2013
"Charles Ives Takes Me Home" at The Rattlestick Playwrights Theatre
“Charles Ives Takes Me Home” at The Rattlestick Playwrights Theatre By Jessica Dickey Directed by Daniella Topol Reviewed by Joseph Verlezza Theatre Reviews Limited
In the new play “Charles Ives Takes Me Home,” playwright Jessica Dickey tackles an old theme of parent child conflict choosing to elaborate on the relationship between a professional violinist father and a strong willed, sports minded, basketball playing daughter who are both consumed with their individual passion. The twist lies in the introduction of a third character, the composer Charles Ives who exists in the mind of the father John who is struggling with his musical success or for that matter life failures. He is the perfect narrating referee, since Mr. Ives was a star athlete at Yale before becoming one of Americas most noted composers. His works intricately involved polytonality, which blends solo parts composed in different keys creating dissonant harmonies. Daughter, coach Laura and her father have distinct aspirations that certainly exist in different keys searching for some sort of harmonious relationship. This clever device and the rapid fire comic but strained dialogue keep the 85 minute conflict moving but unfortunately does not provide any valid substance to the plot. It is merely one collision after another.
What make this a worthwhile trip to The Rattlestick Playwrights Theater are the remarkable performances of all three actors. Kate Nolan inhabits her character with sheer intensity capturing passion and competitive aggression with incredible comedic ability, while still sustaining undeniable vulnerability. Drew McVety turns in a convincing performance of a wounded soul trying to recover from disappointment and regret, still struggling for success as a father and a musician. Henry Stram as Charles Ives exudes charm and intelligence even when quietly observing the action from the sidelines. Both these actors also display their musical ability playing violin and piano respectively. The script has a few problems and the concept is old but the integrity of the performances brings life and interest to a tired situation.
“Charles Ives Take Me Home” Written by Jessica Dickey; directed by Daniella Topol; set designer Andromache Chalfant; costume designer Michael Krass; lighting by Austin Smith; sound by Broken Chord; production manager Eugenia Furneaux.
“Charles Ives Take Me Home” runs a limited engagement through June 29th. The performance schedule is Mon, Wed, Thur, 7pm; Fri, Sat, 8pm; Sat, Sun, 3pm. Performances are at The Rattlestick Playwrights Theater, 224 Waverly Place. Tickets are $55.
Permalink | Posted by David Roberts on Wednesday, June 19, 2013
"Botallack O'Clock at 59E59 Theater C
“Botallack O’Clock” at 59E59 Theater C Written and Directed by Eddie Elks With Dan Frost and Rhys King Reviewed by David Roberts Theatre Reviews Limited
Surrealism collides with abstract expressionism in Eddie Elks “Botallack O’Clock” currently running at 59E59 Theater C as part of the “Brits Off-Broadway” Festival. Mr. Elks’ dramatic canvas reinvents and reimagines the brush strokes of Roger Hilton’s richly complex life and the result is performance art at its best.
Eddie Elks’ palette includes paint pots full of real interviews with Hilton (Dan Frost), imaginary radio interviews on Desert Island Discs “at the worst time of night,” stream of consciousness, a man in a bear’s costume portraying a female bear (replete with red nails), a wife upstairs who does not respond to Hilton’s call bell, memories, fantasies, nightmares, dreams, crystal clear thoughts, delusional thoughts, and pertinent pedagogy.
All of this splashes on the canvas of the stage with remarkable sensitivity and empathy for Hilton’s craft and for his herculean struggles with the madness of sanity. Actors Mr. Frost and his radio-bear-friend Rhys King create a sensitive tribute to an important figure in the world of art. In so doing, they permit the audience to explore its own struggles with the same madness of sanity. Like Hilton, the audience member “has failing electrical appliances, paper thin walls, and cats drinking his water.” And, like Hilton, the audience member knows “he will carry on anyway, because he must.”
The play ends as it begins with lines from W. S. Graham’s “The Lines on Roger Hilton’s Watch” written following Hilton’s death. These lines have an eerie allusive quality re-membering Salvador Dali’s “Persistence of Memory.” I have not seen any reference to this allusion in other reviews; however, it seems to be fitting: two watches connecting abstract expressionism, surrealism, and the belief of both artists that there is no “fixed cosmic order.” These words from Roger Hilton: “It is your internal life which counts. The outside things, the ephemera, are something to be fended off – like dogs, chickens, or fowls.”
“Botallack O’Clock” is a remarkable and exhilarating foray into the “internal life” of artist Roger Hilton. Its success rests in its honesty, its bravery, and its relevance. Everyone in the audience can see a bit of themselves in Hilton’s attempts to sort out meaning in existence. The points at which laughter rings out are perhaps the most telling and the most serious.
BOTALLACK O’CLOCK
“Botallack O’Clock” runs for a limited engagement through Sunday, June 9. The performance schedule is Tuesday – Thursday at 7:30 PM; Friday at 8:30 PM; Saturday at 2:30 PM & 8:30 PM; and Sunday at 3:30 PM. Performances are at 59E59 Theaters (59 East 59th Street, between Park and Madison Avenues). Tickets are $25 ($17.50 for 59E59 Members). To purchase tickets, call Ticket Central at (212) 279-4200 or go to www.59e59.org.
Permalink | Posted by David Roberts on Thursday, May 30, 2013
"Bunty Berman Presents" Presented by The New Group at the Acorn Theatre
Nick Choksi (L) and Lipica Shah (R) Portray Saleem and Shambervi
“Bunty Berman Presents” Presented by The New Group at the Acorn Theatre on Theatre Row Book and Lyrics by Ayub Khan Din Music by Ayub Khan Din and Paul Bogaev Reviewed by David Roberts Theatre Reviews Limited
There are only five more opportunities to see “Bunty Berman Presents” presented by The New Group at the Acorn Theatre on Theatre Row through Saturday June 1, 2013. Ayub Khan Din’s new musical counterpoints traditional Bollywood music and dance with its more traditional Euro-American cinematic counterparts as it carefully unfolds the story of film producer Bunty Berman (Ayub Khan Din)who is facing a crisis of truly epic proportions. Berman’s audience share is dwindling and he does not have enough capital to finish the movies planned for release. Part of Berman’s problem is his longtime friend and leading man Raj Dhawan (Sorab Wadia) who is far past his prime and refuses to step down.
Interesting conflicts drive interesting plots in this charming musical and all these plots collide in a pleasing climax. Bunty Berman slowly realizes he does not need a mobster investor to make things work: Berman just needs to look around and see he has all the resources he needs in his adoring assistant Dolly (Gayton Scott), the talented tea boy Saleem (Nick Choksi), and Saleem’s love interest Shambervi (Lipica Shah). Once Berman accepts this good fortune, everything is in place to finally “Make a Movie.”
“Bunty Berman Presents” is much more than a Bollywood spoof: this musical is an extended metaphor for discovering the power of unconditional and nonjudgmental love. The audience can best appreciate what Ayub Khan Din was attempting to accomplish by just sitting back and enjoying the sights, sounds, movie history allusions, and the wonder of the theatre.
BUNTY BERMAN PRESENTS
Presented by The New Group, the cast of “Bunty Berman Presents” includes Raja Burrows, Nick Choksi, Katie Chung, Ayub Khan Din, Sevan Greene, Andrew Ramcharan Guilarte, Shoba Narayanan, Lyn Philistine, Gayton Scott, Lipica Shah, Debargo Sanyal, Pallavi Sastry, Alok Tewari, and Sorab Wadia. The creative team includes Derek McLane (set design), William Ivey Long (costume design), and David Lander (lighting design).
“Bunty Berman Presents” runs on the following schedule through Saturday June 1, 2013: Monday through Wednesday at 7:00 p.m.; Thursday and Friday at 8:00 p.m.; and Saturday at 2:00 p.m. and 8:00 p.m. All performances are at the Acorn Theatre on Theatre Row, 410 West 42nd Street in Manhattan. Individual tickets at $61.25 are available by visiting http://www.telecharge.com/Off-Broadway/Bunty-Berman-Presents/Overview or by calling Telecharge at 212-239-6200 or by visiting the theatre box office at the above address. For further information please visit www.thenewgroup.org
Permalink | Posted by David Roberts on Wednesday, May 29, 2013
"Broadway on 22nd" at the Metropolitan Room
“Broadway on 22nd” at the Metropolitan Room Reviewed by David Roberts Theatre Reviews Limited
Monday May 13th marked the first anniversary of “Broadway on 22nd,” the now annual star-studded Cabaret Series produced by Joseph Macchia at the iconic Metropolitan Room. This Series gives Broadway performers the opportunity to share their craft in a cabaret setting and gives the audience the opportunity to see some of their favorite stars in a more intimate and interactive setting. The audience heard performers from “Brooklyn,” “The Lion King,” “In the Heights,” “The Producers,” Dreamgirls,” Finian’s Rainbow,” “Imaginary Friends,” “Sweet Smell of Success,” “Jesus Christ Superstar,” “Ragtime,” “Chicago,” and others. The assembled talent almost begged belief.
This year’s event included stellar performances by Romelda Teron Benjamin (“Time Heals Everything”) including a duet with Jared Joseph (“Ain’t No Mountain High Enough”); Gabriel Croom (“Sway”); Quinn M. Bass (“Feelin’ Good” and a track accompanied “You’ll Never Walk Alone”); Blanca Camacho (“Broadway Baby” and “Let’s Call the Whole Thing Off”); Liz McKendry (“Take Your Time Like Betty Crocker” and “Here Alone”); Bernard Dotson (“Don’t Let the Sun Catch You Crying); Tony Chiroldes (“Piragua” and “Only Heaven Knows”); Will Perez (“Audition Medley”); Kwame Remy (“Mr. Bojangles” and “I Was Born the Day before Yesterday”); and Eric Michael Gillett (“I Was Here” ).
Although it is difficult (and perhaps unnecessary) to single out any performer among these captivating and engaging performances, this critic was especially appreciative of Romelda Teron Benjamin’s and Jared Joseph’s phrasing and rich tones; Gabriel Croom’s swaggy “Sway;” Blanca Camacho’s self-effacing and hilarious renditions of “Broadway Baby” and “Let’s Call the Whole Thing Off;” Liz McKendry’s soulful and haunting rendition of “Here Alone;” Kwame Remy’s interpretation of Jerry Jeff Walker’s “Mr. Bojangles;” and Bernard Dotson’s spot on and inventive styling in his brilliant interpretation of “Don’t Let the Sun Catch You Crying.”
All of these performances speak of life’s vicissitudes and energize the audience to “jump high” and “click the heels” of its collective soul.
BROADWAY ON 22ND
The Metropolitan Room is located at 34 West 22nd Street in Manhattan. There is a per person Music Charge and a Two Drink Minimum for each performance. For further information visit http://metropolitanroom.com/
Permalink | Posted by David Roberts on Tuesday, May 28, 2013
"The Drawer Boy" at The SoHo Playhouse
“The Drawer Boy” at The SoHo Playhouse Written by Michael Healey Directed by Alexander Dinelaris Reviewed by David Roberts Theatre Reviews Limited
On Tuesday May 14, the SoHo Playhouse hosted a talkback following the performance of the critically acclaimed “The Drawer Boy” by Michael Healey. The topic of the talkback was “The Making and Fate of Off-Broadway.” Ironically, just two days following the talkback on May 16, The SoHo Playhouse and Artistic Director Darren Lee Cole announced the premature closing of “Drawer Boy” for Sunday May 19. I saw this extraordinary play on Saturday May 18, the day before it closed. Surprisingly, the super-charged performances belied no lack of energy or spirit on the part of the three outstanding actors, all who gave bravura performances. Haunted by the power of the play, I continue to be equally haunted by the power economic factors can have on the success of Off-Broadway theatre.
Playwright Michael Healey creates dynamic images in “The Drawer Boy” and it is tempting to connect those images to other texts about significant relationship between unlikely friends (and family): protagonists/antagonists Joe and “Ratso,” George and Lenny, Raymond and Charlie Babbitt easily come to mind when watching Morgan (Brad Fryman) and Angus (William Laney) toddle about their kitchen and farm. Like all of these fictional pairs, they are both completely alone without each other, and a genuine bond has developed between these two men.
However, “The Drawer Boy” is about so much more than relationships: this play is about the power of the spoken work and the power of the theatre. Morgan and Angus have been working their farm in rural Ontario together for years. Lifetime friends, they served in the war together where Angus was wounded by shrapnel, leaving him with memory and functional challenges which keep him somewhat childlike and vulnerable. Over the years, Morgan has constructed a story to protect his friend from the truth of what really happened after Angus was struck by the shrapnel. Angus struggles to remember the story and longs to hear his friend re-tell it over and over.
This entire obfuscation works until Miles (Alex Fast) comes from Toronto to visit the men hoping to find the realism he needs to construct a script about life on a farm. Miles is the catalyst for change in this well-balanced relationship which thrives on a seemingly benign dose of deception. After overhearing Morgan tell Angus “the story,” Miles later recreates the scene for Angus playing the “role” of Morgan. Morgan overhears this reenactment and threatens to evict Miles from their home unless he agrees not to interfere. Morgan has worked too long and too hard to have his family system disrupted by the truth.
Undaunted, Miles continues to engage Angus by his reenactment of scenes from “Hamlet” and, with every “performance,” Angus begins to reconnect with his past and discover what really happened after his injury. It is the power of theatre that revives Angus and gives him the chance for a life without fear and dependence/co-dependence. Life imitates art and art imitates life here and the words that tumble from Miles’ mouth gently fall on Angus’ memory with the rich rain of the renewal of spirit. Angus was the boy who drew and becomes the man who draws strength from the truth about his past.
Under Alexander Dinelaris’ well-paced direction, Alex Fast, Brad Fryman, and William Laney deliver spellbinding performances that generously allow Mr. Healey’s script to unfold naturally and powerfully to its conclusion. Storytelling can be healing and storytelling can imprison the soul – it all depends on the motivation of the storyteller. Healing theatre, like “The Drawer Boy,” ought to have had a long life at the SoHo Playhouse. Its truth has the power to set audiences members free.
DRAWER BOY
The SoHo Playhouse and Darren Lee Cole, Artistic Director of the SoHo Playhouse, have announced that “The Drawer Boy” closed on Sunday, May 19. “The Drawer Boy,” written by Michael Healey, directed by Alexander Dinelaris and starring Alex Fast, Brad Fryman, and William Laney, began performances at the SoHo Playhouse on April 19.
Permalink | Posted by David Roberts on Tuesday, May 28, 2013
"Basilica" Presented by Rattlestick Playwrights Theatre at the Cherry Lane Theatre
“Basilica” Presented by Rattlestick Playwrights Theatre at the Cherry Lane Theatre By Mando Alvarado Directed by Jerry Ruiz Reviewed by David Roberts Theatre Reviews Limited
On the surface, “Basilica” is about choices gone awry: Father Gil (Alfredo Narcisco) chooses to return to his hometown to pastor the Basilica of the National Shrine of Our Lady Of San Juan del Vale in San Juan, Texas; despite the admonition from Lela Garza, his high school sweetheart, the good Father chooses to make a connection with Ray Garza (Jake Cannavale) the son he fathered with Lela as a teenage boy and abandoned shortly thereafter; Ray’s assumed father Joe Garza (Felix Solis) has chosen to marry Lela, accept Ray as his own son, and forego football for family; Ray chooses to leave San Juan to distance himself from the mother lode of dysfunction that threatens to dehumanize him; and his mother Lela chooses to give her life in a redemptive act of suicide.
Beneath that surface, on the rough and rich underbelly of Mando Alvarado’s play is the richer theme of motivation. In ancient Rome, the basilica was a large oblong building used as a hall of justice and as a public meeting space. And it is in San Juan’s Basilica that years of sadness, dysfunction, and keeping secrets are brought out into the open and adjudicated.
Weary of the dishonesty in his own life, Father Gil returns to San Juan, Texas as the pastor of the town’s basilica. Telling his parish he is returning because he feels he can be of help, Gil’s true motivation is to bare his soul to Lela, ask for her forgiveness, and reunite with the son who does not know Gil is his birth father. This event wreaks havoc on Lela and Joe and their family system which has become overlaid with years of deception, sadness, and regret. Dysfunction can hold a family system hostage for as long as no one in the system opts out and refuses to cease the cycle of collusion. Father Gil’s return to San Juan sets in motion a matrix of massive mine detonations triggered by a mélange of motivations.
These motivations are at the core of “Basilica’s” complex structure and the resulting conflicts drive one of the most interesting plots on stage currently. The audience strains to understand, for example, why Joe’s sister Lou (Rosal Colon) continues to operate the family bar despite its deleterious effect on her brother and his family. And why does Joe’s boyhood friend Cesar Cantu (Bernardo Cubria) continue to carouse with Joe at the expense of his own family life? And what motivates Jessica (Yadira Guevara-Prip), Lela and Joe’s daughter, to search for her imaginary friend and kill the neighbor’s cat (among other forays into metaphysical fantasy)?
Nothing will end the cycle of defeat except a sacrifice, some redemptive act, something of salvific proportion. That act is Lela’s decision (motivated by unconditional and nonjudgmental love) to remove herself from the dysfunctional family system. Her death, whether suicide or an accidental confrontation with a moving car in front of the basilica, sets in motion a series of parallel redemptive acts which begins to restore health and life to the Garza and Cantu families and to Father Gil and to the town of San Juan itself.
Under Jerry Ruiz’s inventive and careful direction, the ensemble cast of “Basilica” offers the audience the opportunity to explore the psychological depths of an American family which at its core is not unlike any other American family attempting to make sense of what they have been given and what they ultimately chose to do with that dynamic. “Basilica” will amaze you, enrage you, capture you, and leave you unchanged. It is a must see.
BASILICA
“Basilica” by Mando Alvarado is presented by Rattlestick Playwrights Theatre and is directed by Jerry Ruiz. The cast includes Jake Cannavale, Rosal Colon, Bernardo Cubria, Selenis Leyva, Yadira Guevara-Prip, Alfredo Narciso, and Felix Solis.
The scenic design for “Basilica” is by Raul Abrego; costume design is by Carisa Kelly; lighting design is by Burke Brown; sound design is by Jane Shaw; property design is by Andrew Diaz;fight direction is by David Anzuelo. The production manager is Eugenia Furneaux; the production stage manager is Michael Denis; the assistant stage manager is Andrew Slater.
“Basilica” plays through Sunday June 16 on the following schedule: Tuesday through Friday at 8pm; Saturday 2pm and 8pm; Sunday at 3pm at Cherry Lane Theatre, 38 Commerce Street. Tickets are $75.00 for general admission, $25.00 for patrons under 30 and $20.00 for students (with valid ID), and are available through www.rattlestick.org or by calling Ovationtix at 866.811.4111.
Note on the Basilica: The Basilica of the National Shrine of Our Lady of San Juan del Valle can be found at 400 N Virgen de San Juan Blvd. (Leopard St.), San Juan, Texas. It was designated a Marian Shrine in 1998 and Pope John Paul II dedicated it as a minor Basilica. Currently, it is one of the most visited shrines in the United States.
Permalink | Posted by David Roberts on Friday, May 24, 2013
"Bull" at 59E59 Theater B
“Bull” at 59E59 Theater B Written by Mike Bartlett Directed by Clare Lizzimore Reviewed by David Roberts Theatre Reviews Limited
Lifeboat Ethics collides with and colludes with evolutionary theory’s “survival of the fittest” and places the audience adrift in a moral sea in Mike Bartlett’s “Bull” currently playing at 59E59 Theater B.
On the surface, “Bull” seems to be about office downsizing drama. Tony’s (Adam James) team of two – Isabel (Eleanor Matsuura) and Thomas (Sam Troughton) – are a triad soon to become a dyad. Two of them will be spared their positions in their company, one cast out into the utter darkness of a job search replete with the weeping and gnashing of teeth which accompanies the realization there are no jobs to be found in an economic culture in which downsizing far outpaces hiring.
Isabel and Tony have determined that Thomas is the one to go and have concocted a diabolical scheme to push Carter so far to the edge of ego strength that when Carter (Neil Stuke) the company boss enters to announce his downsize decision, Thomas presents himself as a helpless, whining victim of bullying. When Thomas attempts to defend himself by making “an official complaint of harassment and bullying,” Carter suggests that Thomas should simply “stand up for himself.” Thomas continues to protest that Isabel and Tony are attacking him; however, ultimately he is let go.
Beneath the surface, Mike Bartlett’s intriguing play is all about rhetoric and the power of persuasion. Rhetorical techniques (tropes) can be used for good or for ill and the audience here has the rare opportunity to see persuasiveness at it best or worst depending on the audience member’s point of view.
The pre-performance adrenaline-pumping music and Soutra Gilmour’s innovative design establish the parameters of the struggle: this is a boxing match – or rather a gladiator match – of epic proportions and nothing less than the death of a scapegoat will satisfy the onlookers. Tony leaves Isabel behind to “mop up” after Thomas is fired and the exchange between the two is as exhilarating as it is vile. Isabel lashes out at Thomas proclaiming, “If we see someone who’s going to bring down the whole tribe or culture because they’re stupid or slow or weak or thin or short or ugly or has dandruff or something you have the desire somewhere deep within you to take them down first to get rid of them and strengthen the tribe.” Eleanor Matsuura (Isabel) and Sam Troughton (Thomas) make this match so intense the audience reacts with visible discomfort.
As the game rules become crystal clear, when, at Tony’s bidding, Isobel stays behind in the ring to “mop up,” those standing at the rail are visibly shaken. Some, who were totally engaged during the first forty minutes, backed away from the set as far as they could: others stared in disbelief as Isabel excoriated Thomas leaving him face down, perhaps dead, in a set flooded with water.
Perhaps it is true that human beings really cannot stand one another and will do whatever needs to be done to climb ladders of success over the backs of others caring little for them or their demise. “Bull” raises the possibility that this might be true and that is no bull.
BULL
The cast of “Bull” features Adam James; Eleanor Matsuura; Neil Stuke), and Sam Troughton.
“Bull” runs for a limited engagement through Sunday, June 2. Performances are at 59E59 Theaters (59 East 59th Street, between Park and Madison Avenues). The single ticket price is $45.00 seated, $35.00 standing ($30.00 - $24.50 for 59E59 Members). Tickets are available by calling Ticket Central at 212-279-4200 or online at www.59e59.org. For more information, visit www.britsoffbroadway.com.
Permalink | Posted by David Roberts on Thursday, May 23, 2013
"I'm A Stranger Here Myself" at The York Theatre
“I’m A Stranger Here Myself” at The York Theatre Written and Created by Mark Nadler Directed by David Schweizer Reviewed by David Roberts Theatre Reviews Limited
I do not care if that day arrives/That dream need never be, If the ship I sing doesn't also bring/My own true love to me, If the ship I sing doesn't also bring my own true love to me. “My Ship” (from “Lady in the Dark”) by Kurt Weill and Ira Gershwin
Music has given humankind strength, hope, and courage to do remarkable deeds. Strangers in strange lands, people in exile, people oppressed, people torn by war, people hated simply because of their identity all sang songs which helped bind them together and often led them to freedom.
Among the most important music of this genre was and remains the music of the Weimar Republic, democratic Germany before the reign of Adolf Hitler. Mark Nadler, in his impressive “I’m A Stranger Here Myself,” has researched the music of this era and created a remarkable work of theatre which focuses on the music created by composers who found themselves strangers in their own land and targeted for extinction by a ruthless and maniacal leader. This music – this veritable ship – transported a relatively small number of Jews and homosexuals to safety in America and other locations.
“I’m A Stranger Here Myself” chronicles this important music. Mark Nadler’s vocals and piano capture the spirit of the plaintive music and lyrics of Kurt Weill and Bertolt Brecht (“Bilbao Song”); Kurt Weill, Jazques Deval and Roger Fernay (“J’attends un navire”); Arno Billing, Kurt Schwabach and Jeremy Lawrence (“The Lavender Song”); and Kurt Weill and Ogden Nash (“I’m A Stranger Here Myself”); and others. Accompanied by violin and accordion (Jessica Tyler Wright and Franca Vercelloni), Mr. Nadler manages to counterpoint the exile of past victims of being strangers in a strange land with his own journey and the journeys of each audience member from exile to freedom. The true love of self acceptance, self-empowerment, and freedom will arrive on the many songs we sing.
One wonders how effective music can continue to be in transforming society in the way the music of the Weimar has been able to do. Far too much of humankind remains without the basic needs for survival, without freedom, without true equality, without being able to be themselves (“Be Myself,” written by Arthur Schwartz and Harold Dietz). Many in these United States are strangers here themselves: gay men and lesbians still are without equal justice under Federal Law. “Oh just suppose” the Marriage Equality Act became a reality (“Oh Just Suppose” by Frederick Hollander).
I’M A STRANGER HERE MYSELF
With Mark Nadler, Franca Vercelloni, and Jessica Tyler Wright. The creative team includes James Morgan (Set Design), Mary Jo Dondlinger (Lighting Design), Kimothy Cruse (Production Stage Manager) and Meg Friedman (Assistant Stage Manager).
“I’m A Stranger Here Myself” runs for a limited engagement on the following schedule through May 19: Tuesday at 7:00 p.m., Wednesday through Friday at 8:00 p.m., Saturday at 2:30 p.m. & 8:00 p.m. and Sunday at 2:30 p.m.
Tickets are priced at $67.50 and are available online at www.yorktheatre.org, by calling (212) 935-5820, or in person at the box office at the York Theatre at Saint Peter’s (Citicorp Building, entrance on East 54th Street, just east of Lexington Avenue), Monday through Friday (12:00 -6:00 p.m.).
Permalink | Posted by David Roberts on Friday, May 17, 2013
"The Girl I Left Behind Me" at 59E59 Theater C
“The Girl I Left Behind Me” at 59E59 Theater C By Neil Bartlett and Jessica Walker Directed by Neil Bartlett Performed by Jessica Walker with Musical Direction by Joe Atkins Reviewed by David Roberts Theatre Reviews Limited
“After the ball is over/After the break of morn After the dancers’ leaving/After the stars are gone Many a heart is aching/If you could read them all Many the hopes that have vanished/After the ball.” “After the Ball,” Charles K. Harris (1892)
A group of brave and talented women left hearts aching after their performances: aching men’s hearts; aching women’s hearts; aching celebrity hearts including those of Bea Lillie, Tallulah Bankhead, and Joan Crawford. What sort of women had this kind of broad audience appeal? What sort of songstress had the ability to leave so many aching hearts behind when on and off the stage?
And why did Annie Hindle, Ella Wesner, Ella Shields, Hetty King, Gladys Bentley, and Vesta Tilley leave the girl behind them, “dress as Gents,” and perform as male impersonators in England and America in the late eighteenth and early nineteenth centuries? Jessica Walker attempts to answer these questions in “The Girl I Left Behind Me” currently playing at 59E59 Theater C as part of “Brits Off Broadway.”
Ms. Walker, also donning trousers and a variety of typically male accessories, does more than successfully answer the above questions in her brilliant sixty-five minute performance; she challenges the audience to reconsider all prior misconceptions, preconceptions, and prejudgments about gender and human relationships.
Performing seventeen songs and providing significant historical information about the women who performed as men, Ms. Walker questions whether Annie and her counterparts “playing” was suggestion, provocation, substitution, or even identification. This sophisticated performance includes songs the public does not identify with the male impersonators who made them famous: “Down by the Old Mill Stream;” “Baby Won’t You Please Come Home;” and “After the Ball.” “After the Ball” is the popular song written in 1891 by Charles K. Harris. In the song, a classic waltz in three-quarter time, an older man tells his niece why he has never married. At a ball, he saw his sweetheart kissing another man and he refused to listen to her explanation. Many years later, after the woman had died, he discovered that the man was in fact her brother and not another suitor. How powerful this song becomes when sung originally by Vesta Tilley and now by Ms. Walker. The layers of gender-bending beauty seem endless. "After the Ball" became the most successful song of its era, which at that time was gauged by the sales of sheet music. In 1892 it sold over two million copies of sheet music. Its total sheet music sales exceed five million copies, making it the best seller in Tin Pan Alley's history. Mr. Harris was the first composer to earn one million dollars in royalties.
Perhaps the most touching story is that of Annie Hindle who married her female dresser Miss Annie Ryan. Giving her name as Charles Hindle, the “groom” gave the clergyperson no other choice but to marry the pair. This story empowers audiences to examine gender and culture issues in a new and significant way. What does it mean to be ‘masculine’ and ‘feminine?’ More profoundly, what does it mean to be ‘male’ and ‘female?’ At the end of her performance, Ms. Walker thanks the women who left their girls behind and explored a vast territory of important gender-related issues. We need to thank Ms/ Walker and Brits Off Broadway for bringing compelling and engaging theatre to New York City.
Indeed, Brits Off Broadway’s annual visit to New York City demonstrates the importance of collaboration in theatre across geographic boundaries. It is a pleasure to see gifted actors and challenge audiences with their craft, their commitment to live theatre, and their insistence on perfection.
THE GIRL I LEFT BEHIND ME
“The Girl I Left Behind Me” is at 59E59 Theaters (59 East 59th Street, between Madison and Park Avenues) and is presented by the Jess Walker Music Theatre.
“The Girl I Left Behind Me” runs for a limited engagement through Sunday, May 19. The performance schedule is Tuesday – Thursday at 7:30 PM; Friday at 8:30 PM; Saturday at 2:30 PM & 8:30 PM; and Sunday at 3:30 PM & 7:30 PM. Performances are at 59E59 Theaters (59 East 59th Street, between Park and Madison Avenues). Tickets are $25 ($17.50 for 59E59 Members). To purchase tickets, call Ticket Central at (212) 279-4200 or go to www.59e59.org.
Permalink | Posted by David Roberts on Thursday, May 16, 2013
Sundance Institute Selects Seven Projects for 2013 Theatre Lab at Sundance Resort, July 8-28
New York, NY — Sundance Institute today announced the seven projects selected to participate in the 2013 Theatre Lab, July 8-28 at the Sundance Resort in Utah. Under the supervision of Philip Himberg, Artistic Director, and Producing Director Christopher Hibma, the Theatre Lab is the centerpiece of the Sundance Institute's Theatre Program's year-round work and is designed to support emerging and established artists and to create a place where their original work can be effectively mentored and challenged.
The seven playwrights selected for the 2013 Theatre Lab in Sundance, Utah are: Adam Bock (The Colby Sisters of Pittsburgh, Pennsylvania), Jackie Sibblies Drury (Really Really Really Really Really), Taylor Mac (The Fre), Mona Monsour (The Vagrant), Qui Nguyen (War is F**king Awesome). Mfoniso Udufia (Sojourners), and Paula Vogel (The Vengeance Project). Seven East African theater makers will join the Lab community as well.
"The work that comes to the lab for development needs to be strong to withstand an intense and challenging process," said Keri Putnam, Executive Director of Sundance Institute. "There is nothing more exciting than seeing passionate, committed storytellers take risks and push their work to be the best it can be."
The Lab environment is an atmosphere solely focused on development in which mentors (Creative Advisors), dramaturgs, actors in the Lab ensemble, and Sundance Institute artistic staff work with Fellows to address the compelling needs of her/his text. The Theatre Lab provides rehearsal space, dramaturgical support, an acting company, and stage management for playwrights, directors, choreographers, composers, solo performers and ensembles. The Lab's unique day-on, day-off rehearsal structure provides Fellows the time to explore revising their work, without the pressure of daily rehearsals, as well as freedom from commercial attention. The three-week residency culminates in a closed presentation of each project for Lab participants, followed by a collaborative and specifically tailored feedback session.
The seven East African Fellows who participated in the 2012 Theatre Stage Directors Workshop in Addis Ababa, Ethiopia and are traveling to Sundance, Utah, will divide their time between mentorship sessions with director Liesl Tommy and rehearsals of Lab projects to experience first-hand how play development processes function. These artists are: Habiba Issa (Tanzania), Aida Mbowa (Uganda), Rogers Otieno (Kenya), Wesley Ruzibiza (Rwanda), Freddy Sabimbona (Burundi), Azeb Worku Sibane (Ethiopia) and Surafel Wondimu (Ethiopia).
Fellows at the Lab will be supported by a team of advisors and colleagues who provide feedback on the material and process. Dramaturgs for the Lab are Janice Paran (Senior Program Associate), Elissa Adams (Minneapolis) and Jocelyn Clarke (Dublin, Ireland). Creative Advisors for the Lab are: Playwright Lynn Nottage and Artistic Director of Tricycle Theatre in London Indhu Rubasingham. The seven projects were selected with input from an Advisory Committee including: Program Associates Liesl Tommy and Mame Hunt Octavio Solis, Stephen Wadsworth and Senior Program Associate Janice Paran.
Projects selected for the 2013 Sundance Institute Theatre Lab are:
The Colby Sisters of Pittsburgh, Pennsylvania By Adam Bock Directed by Trip Cullman Meet the Colby sisters of Pittsburgh, Pennsylvania. Five sisters, "It girls" slightly past their time, living in New York City, trying to figure out how to put up with each other. Family. What are you going to do?
The Fre By Taylor Mac Directed by Lisa Peterson
This project is part of Mac's "Kothornos Festival" (four plays that will premiere separately but ultimately be performed in an all-day festival mirrored after the Greek Dionysia). It is an all-ages play written in the form of Old Comedy. It is the story of an intellectual aesthete, who is trapped inside a mud pit in the middle of a swamp, and his desperate attempt at escaping the swamp's fatuous inhabitants who call themselves, the Fre. Commissioned by the Children's Theater Company.
Really Really Really Really Really By Jackie Sibblies Drury Directed by Dan Rothenberg
Sibblies Drury's play centers on two women (the Mother and the Girlfriend of a conceptual artist who has vanished) leaving them to sort through his overwhelming body of work. It is a piece about artists, legacy and photography that asks about what we try to leave behind, what we actually leave behind, and how we deal with being left.
Sojourners By Mfoniso Udufia Director TBD
Abasiama Ekpeyoung came to America with high hopes for her arranged marriage and her future, intent on earning a degree and returning to Nigeria. But when her husband is seduced by America, she is forced to choose between the Nigerian or the American dream.
The Vagrant By Mona Monsour Directed by Mark Wing-Davey
England/London 1982. Part three of a trilogy. As Arab émigré, Adham faces his last hurdle to secure a coveted permanent position at university, a wave of "domestic terrorism" hits his chosen city, while at the same time, the family he's left behind in the Middle East faces their own escalating horrors. The life Adham has created threatens to unravel, destroying the political and personal equilibrium he's spent 15 years perfecting.
The Vengeance Project By Paula Vogel Directed by Rachel Taichman
Vogel's latest play follows the circuitous path of Scholem Asch's play God of Vengeance from 1905 Warsaw to 1951 Stamford Connecticut. It chronicles a contentious work written by a young man during the Yiddish Renaissance: from the fights in the salon after its first reading in Warsaw to its triumph on Second Avenue New York—and onward to 1923 Broadway. What should be the pinnacle of the Yiddish theatre crossing over to the Great White Way becomes a spectacle of scandal: prosecution for obscenity, struggles over anti-Semitism, and oh yes, the first kiss between two women on the American stage. When does one fight to produce a manuscript? When does prudence dictate a manuscript stays in the drawer? And when should an author burn his/her own script?
War is F**king Awesome By Qui Nguyen Directed by Liesl Tommy
A politically incorrect action-comedy following the life of Unity Spencer, a young colonial girl imbued with immortality but cursed to fight in every American conflict from the American Revolution to present day and beyond.
Permalink | Posted by David Roberts on Monday, May 13, 2013
"Chemistry of Love" at La MaMa First Floor Theatre
Photo: Emily Boland
“Chemistry of Love” at La MaMa First Floor Theatre Written by Jill Campbell Directed by George Ferencz Reviewed by David Roberts Theatre Reviews Limited
Oscar Wilde’s belief that “Life imitates art, more than art imitates life” was confirmed during the performance of Jill Campbell’s “Chemistry of Love” currently playing at the La MaMa First Floor Theatre. As the cast struggled on stage to make sense of Ms. Campbell’s script about the meaning of making art and how the making of art counterpoints with the rise and fall of relationships, several audience members – completely confused or just completely insensitive to any attempt at creativity – concocted a few interesting love potions themselves.
Two young women decided to act inappropriately throughout the performance: they ate soup (passing the container back and forth) during the first act. They were, of course, right in the front row on the aisle. The same pair decided to block that aisle with their oversize hand bags which they regularly visited for a variety of items during both acts. At the end of the intermission, one pulled out a sizeable laptop, turned it on, and attached her cell phone for a much-needed charging. The laptop remained on for most of the second act until she determined the phone was fully charged whereupon she bent over and did all the disconnecting of USB paraphernalia and shut the unit down. Indeed, one cannot make this artsy stuff up. But there is more.
An inebriated man stumbled past me at the start of the intermission proclaiming with alcohol-laden breath, “Boy, that’s hard to watch.” He left his leather jacket on the seat and returned at some point during the second act from a different door, never reclaiming his seat or his jacket. I assume the second act was as difficult for him to process as was the first. It was for the rest of us. But there is more.
There was a group of attendees who knew each other: maybe producer types or families or one of those bunches of people whose assumed importance manages to disrupt any attempt at the creative process since what they are saying and doing is obviously more important than what might be happening on stage. One of these “dignitaries” decided, after nine minutes of the ten minute intermission, she needed to exit the theatre. As had the drunken man before her, she needed to push past me to exit. After the lights went down (and the computer screen), she needed to re-enter but instead of pushing past me again, one of her important friends rearranged the seats in the front row so she could sit down in the second. All this scuffling about occurred in the dark as the cast scuffled back on stage to challenge the audience one more time to “get” Ms. Campbell’s play.
Why such detail about audience antics? Unfortunately, there was little difference between what was going on in the audience and what was transpiring on stage. One wonders if what the actors were viewing deeply affected their performance. Life was imitating art imitating life imitating art, etc. One also wonders where the La MaMa staff was. A light board operator was above audience right and had to see the whole front row food fest. Why were these two not expelled from the theatre?
Undoubtedly, there was something important the creative team of “Chemistry of Love” wanted to explore. Absurdist theatre is not easy to produce. It needs rich round characters navigating interesting (not necessarily believable) conflicts. It also needs some thematic structure to interface with. These elements seemed missing in “Chemistry of Love” and what emerged seemed pretentious rather than pertinent.
For information on the cast, creative team, and production information, please visit http://chemistryoflove.net/
Permalink | Posted by David Roberts on Friday, May 10, 2013
"Collapse" at New York City Center Stage II (New Home of the Women's Project Theater)
“Collapse” at New York City Center Stage II (New Home of the Women’s Project Theater) Written by Allison Moore Directed by Jackson Gay Reviewed by David Roberts Theatre Reviews Limited
Things fall apart (Chinua Achebe) and the center sometimes just does not hold (W. B. Yeats). For Hannah (Hannah Cabell) and David (Elliot Villar) the center fails when the collapse of the I-35W Mississippi River Bridge in 2007 sends David’s car into the river (almost drowning) and the so-called Global Financial Crisis of 2008 threatens Hannah’s position at her law firm. David is suffering from PTSD and feels he is inadequate as a husband and helpmate and Hannah has gone into caregiver overdrive, exacerbating David’s feelings of insecurity and inadequacy. They each feel the other is ready to bolt and neither is communicating their fears with any degree of adequacy. Things are in a heightened state of collapse. David admits, “Things collapse. Bridges. Companies. Marriages.”
Adding to the implosion is the unannounced arrival of Hannah’s sister Susan (Nadia Bowers) at the couple’s home and the seductive presence of sex addict Ted (Maurice McRae). Both of these characters serve as effective foils to Hannah’s and David’s attempts to transcend their crippling fear of abandonment and re-find their love for each other. They are both stuck and do not know how to escape their terror. David tells Hannah, “I can’t let go, okay? I can’t go up, I can’t go down, I’m just stuck here. I’m just so sick of it, the disappointment, and the pity, and the panic all the time, in parking ramps, and airplanes, and elevators.” And Hannah confesses to David, “I am so lonely, David. I’m sorry, and I’m not trying to justify. I just, I miss you.”
Hannah and David misunderstand each other in their journeys to health and it is David’s decision to go back to the bridge and climb it that results in the beginning of healing. When Hannah discovers David has chosen to climb the bridge (trope for overcoming his fear), Hannah rushes to the bridge and tells David, “But obviously you don’t need a meeting! You don’t need any help! You can just call in sick, or drink some more beer, or climb the fucking bridge! What a great idea! Why didn’t I think of that? Maybe if we both climb the bridge that will fix everything!” And that is what they do: climb the bridge together.
In a way, their climbing the bridge together works for them. It does not solve their problems completely but the shared act marks a beginning. After coming down from the bridge, David is able to share with Hannah, “It’s like I’m waiting for us to fall, I know it’s coming but I don’t know how to stop it.” Hannah replies, “Maybe we can’t. Maybe we just figure out how to fall together.” “Collapse” is about two persons in crisis trying to find a way to cope, to process angst, to move forward in life and relationship.
The playwright, the director, and the cast deliver a deliciously dramatic bait and switch. Dining room farce slap-stick humor reminiscent of some of the best sitcoms in the recent past keeps the audience busy while the climax of Allison Moore’s “Collision” creeps up with a cathartic clout so powerful not even the actors are prepared for the impact. Under Jackson Gay’s direction, the ensemble cast effectively transforms the collapse of a bridge and the near collapse of a relationship to an examination of all things that have the potential to collapse, unwind, fragment, or topple. Perhaps David and Hannah’s decision to “fall together” is the best humanity can do as well. Listening carefully to one another, respecting one another, opening the self to the other is the beginning of redemption.
COLLAPSE
The New York Premiere of “Collapse” is presented by the Women’s Project Theatre under the direction of Jackson Gay. The creative team of “Collapse” includes Lee Savage (Scenic Design), Oana Botez (Costume Design), Paul Whitaker( Lighting Design), and Jill BC Du Boff (Sound Design).
The cast of “Collapse” features Nadia Bowers (Susan), Hannah Cabell (Hannah), Maurice McRae (Ted), and Elliot Villar (David).
“Collapse” performs Tuesday through Saturday evenings at 7:30pm with matinees Saturday and Sunday at 2:30pm through Sunday May 19. All performances are at New York City Center Stage II, 131 West 55th Street (between 6th and 7th Avenues). Single tickets ($60.00+) can be purchased online at www.NYCityVenter.org, by calling CityTix at 212-581-1212, or at the New York City Center Box Office.
Permalink | Posted by David Roberts on Monday, April 15, 2013
"Southern Discomfort" in the Huron Club at the SoHo Playhouse
Photo by Rick Gilbert
“Southern Discomfort” in the Huron Club at the SoHo Playhouse Written and Performed by Elisabeth Gray Directed by Daniel Zimbler Reviewed by David Roberts Theatre Reviews Limited
“Which of us has known his brother? Which of us has looked into his father's heart? Which of us has not remained forever prison-pent? Which of us is not forever a stranger and alone?” – Thomas Wolfe, “Look Homeward Angel”
Being strangers in a strange land and being forever alone haunt the six intriguing characters in Elisabeth Gray’s “Southern Discomfort” currently playing the Huron Club at the SoHo Playhouse. Their stories illuminate the ennui and discomfit of a people who somehow lost a significant piece of their history and culture in the Era of Reconstruction following the America Civil War.
Prison-pent, Ms. Gray’s characters are not only lonely and construct a variety of tactics to address their loneliness; these memorable characters who are based on actual Southerners Gray has met and known in her years growing up in the South are also abused and abashed and adept at sublimating the depths of their considerable emotional pain. With the change of a costume and the modulation of her voice’s timbre, Ms. Gray portrays the characters she creates with a remarkable degree of ethos and pathos.
Ninety-one year old Penelope Weaver is nursing home bound (prison-pent) and suffering from dementia. Her stories (“The Mind Odyssey” and “The Homecoming”) reflect not only her personal difficulties processing reality; her stories serve as extended metaphors for the dementia and racism of a region of the United States and, indeed, the dementia and racism of an entire nation which seems to be losing its way and forgetting its equal rights mission.
In her second story, Penelope thinks Josh is her “daddy.” In fact, Josh Robinson Riddle is the nineteen year old who volunteers at Penelope’s nursing home when not working the Dixie Gun Show with the father who earlier in life shot off Josh’s right hand during a Civil War battle reenactment. As readily as Josh is able to forgive his father for an act which seems to have been mean-spirited and intentional, Josh is incapable of forgiving the intentionality and inherent mean-spiritedness of war.
Uncomfortably stacked between Penelope’s bookend stories of sadness, are Julia Hanover’s disturbing story of why her eyes are not aligned (“Crooked”), Jonny Stutts story of love’s labor lost (“Big Jim’s Tow and Go”), Cheri Kane’s story of affirmative action gone awry in a local historical society (“Olive Branch Mississippi Women’s Historical Society”), and sixty-three year old William Ernest Fells’s (“Gymnasium Eulogy”) farewell to his wife. After years of a contentious and unfulfilling marriage and a seemingly loveless life with Louanne, mechanical engineer William remembers his wife after she commits suicide with one of the tools of her trade – a curling iron in her bathtub. Luanne had told William he was “the kind of person that makes you want to be dead.” William wonders mechanically, “How two people end up so lonely together?”
This is the question for William, for all the characters in “Southern Discomfort” and, by extension, for all humankind. How precisely does racism, sexism, homophobia (and other issues of race and gender) “end us up” so lonely together on this planet? Why would a father shoot off his son’s hand? Why would a mother press down so heavily on her pre-natal daughter that her child’s eyes were not level? Why would it take eight years for an African-American (Cheri Kane strives to be politically correct) to be inducted into membership in an otherwise all-white women’s historical society?
Ms. Gray’s touching and often disturbing stories of life in South and North Carolina, Alabama, Tennessee, Mississippi, and Georgia transcend regionalism and cultural bias. Indeed, her stories are replete with rhetorical strategies that make a sustainable argument that racism, sexism, homophobia, fear, and doubt transcend borders and boundaries of all description. And the playwright’s brilliant portrayals of these characters challenge her audience to make rich and deep connections to their stories, their attempts to cope, and their endeavors to build new futures.
SOUTHERN DISCOMFORT
The creative team includes Matt Brogan (NYC Production Design), Rome Brown (Lighting Design), and George Martinat (Costume Design).
Presented by New Umbrella, “Southern Discomfort" plays at the SoHo Playhouse, 15 Vandam Street, on Mondays at 8:00 p.m. through May 27, 2013. Written and performed by Elisabeth Gray. Directed by Daniel Zimbler. The running time is approximately 70 minutes without an intermission. Tickets are available for $20.00. To purchase tickets, visit: www.sohoplayhouse.com or call (866) 811-4111.
Permalink | Posted by David Roberts on Friday, April 12, 2013
"Devin Bing and the Secret Service" at the Metropolitan Room
“Devin Bing and the Secret Service” at the Metropolitan Room Reviewed by David Roberts Theatre Reviews Limited
Devin Bing is on a journey to success. It is important for this delightful and talented crooner to decide soon which “road” will be the best choice for him. His engaging appearance at the Metropolitan Room on Sunday April 7, 2013 suggests at least three important choices that might need to be made.
Mr. Bing has a pleasant jazz-blues-rock voice which he effectively presses into service to deliver the meaning behind the lyric in any of these three musical genres. However, he seems most contented when he enters the jazz and blues zone, accompanying himself at the piano. Devin truly shines here and makes his deepest connection to the audience and to his material. This ability to consociate and captivate is most evident in his renditions of “My Funny Valentine” inspired by the Chet Baker Recording of the 1937 Rogers and Hart show tune from “Babes in Arms” and “You’d Be So Nice To Come Home To” (Cole Porter, Arr. by Devin Bing).
This is not to imply that Mr. Bing’s vocal forays into the more rock genre are not successful: for this critic, they are just not as pleasing. Further, Devin seems clearly more connected to the lyrics and better interprets them when he is singing in the jazz and blues sphere.
When Devin Bing and the Secret Service (Gavi Grodsky, guitar; Michael Feinberg, bass; and Blaise Lanzetta, drums) enter the rock genre, the balance between vocalist and band becomes problematic – at least this was true during the April 7 performance – and the drums (especially) completely overpower the rest of the ensemble.
Mr. Bing’s arrangements were evident in all eleven songs in the evening’s set including the encore (“Rock with You” by Michael Jackson). And when he writes and arranges songs, his stamp - his emerging identity as an artist - becomes even more tangible. These songs (“I’m Feelin,’” “Just Surrender,” I’m So Happy,” and “Be All Right” among others) sport a tenderness in voice and lyric which is satisfying to the ear and to the heart. One wishes for perhaps more sophisticated lyrics given Devin’s obvious talent as a songwriter.
This songwriter’s skills are equally evident in his performance of the standards in the program which include “Angel Eyes” (Matt Dennis) and “Feel Like Making Love” (Eugene McDaniels).
Devin Bing is clearly on his way to an impressive career as a crooner. He needs to choose his personal songbook carefully and continue to ensure his considerable craft matches his choice of material. Along with his Secret Service, Mr. Bing is definitely worth the look and listen. Do all you can to catch one of his remaining four performances at the iconic Metropolitan Room in New York City and be on the lookout for the release of his upcoming studio album.
DEVIN BING AND THE SECRET SERVICE
Devin Bing will appear at the Metropolitan Room on Friday May 10, 2013 at 7:00 p.m. He will return on June 13, July 18, and August 15 at 9:30 p.m. The Metropolitan Room is located at 34 West 22nd Street (between 5th and 6th Avenues) and is easily accessible by public transportation. There is a $20.00 per person Music Charge and a Two Drink Minimum with a $5.00 discount for MAC/Industry Members. For further information visit http://metropolitanroom.com/
Permalink | Posted by David Roberts on Thursday, April 11, 2013
"Bullet Catch" at 59E59 Theater C
“Bullet Catch” at 59E59 Theater C Written and Directed by Rob Drummond Co-Directed by David Overend Reviewed by David Roberts Theatre Reviews Limited
“I've looked at clouds from both sides now from up and down and still somehow/ It's cloud's illusion I recall, I really don't know clouds at all. I've looked at love from both sides now from give and take and still somehow/ It's love's illusion I recall I really don't know love at all. I've looked at life from both sides now from win and lose and still somehow/ It's life's illusion I recall. I really don't know life at all.” – “Both Sides Now” by Joni Mitchell
Leave it to an illusionist to work diligently for seventy-five minutes to achieve the essence of reality. Rob Drummond (a.k.a. William Wonder) reads minds, levitates a small table, proffers games of chance to audience members, and tells the remarkable story of the illusionist William Henderson who was inadvertently killed by a volunteer from the audience while performing the Bullet Catch illusion in London in 1912.
This intriguing story – replete with readings from books, a memo from the 59E59 staff, and even more baffling illusions – eventually seduces a member of the audience to participate in the Bullet Catch illusion right on stage in 59E59 Theater C. Mr. Drummond is as skilled in the nuances of rhetoric as he is in the nooks and crannies of illusion and he successfully lures the audience into his spell of wonder. His wit, his grace, and his charm embrace the audience as closely and tightly as the hug he requests from the volunteer.
Rob Drummond’s “Bullet Catch” is a remarkable magical lullaby which transports the audience from the throes of nihilism (was that Henderson’s ticket to suicide?) to the nurturing arms of unconditional and non-judgmental love. Perhaps that is what magic ought to be about: close up, personal, transformative, and forgiving.
One wonders what Mr. Drummond’s next illusion will be and how he will continue to enrapture audiences with hope for the future. Rob Drummond wants his audience to look around and make a connection with those around them locally and globally. He wants to move from recalling just the illusions of cloud, love, and life to authentically knowing the up and down of clouds, the give and take of love, and the win and lose of life. That only happens when one truly looks around and agrees to be hugged and to hug.
As William Wonder reminds his audience early on, humankind – when encountering the other human –non-consciously decides to either fight (KILL), flee (SAVE), or “mate” (LOVE). After spending seventy-five minutes with the wonder-full Rob Drummond, it seems clear that the best decision is the greatest of those three: LOVE.
BULLET CATCH
59E59 Theaters (Elysabeth Kleinhans, Artistic Director; Peter Tear, Executive Producer) welcomes Glasgow-based The Arches to Brits Off Broadway with the US premiere of BULLET CATCH, written and performed by Rob Drummond and directed by David Overend.
The creative team for “Bullet Catch” includes Francis Gallop (stage design), Ross Ramsay (sound design), Simon Hayes (lighting design), Amy Kaskeski (AEA stage manager), and Deanne Jones (stage manager).
Part of the Scotland Week celebrations in New York, BULLET CATCH runs for a limited engagement through Sunday, April 21. The performance schedule is Tuesday – Thursday at 7:30 PM; Friday at 8:30 PM; Saturday at 2:30 PM & 8:30 PM; and Sunday at 3:30 PM & 7:30 PM. Performances are at 59E59 Theaters (59 East 59th Street, between Park and Madison Avenues). Tickets are $25 ($17.50 for 59E59 Members). To purchase tickets, call Ticket Central at (212) 279-4200 or go to www.59e59.org.
Permalink | Posted by David Roberts on Wednesday, April 10, 2013
"Cougar the Musical" at St. Luke's Theatre
“Cougar the Musical” at St. Luke’s Theatre Written by Donna Moore Directed by Lynne Taylor-Corbett Reviewed by David Roberts Theatre Reviews Limited
Sometime success comes in simple packages. A successful new musical needs interesting characters; these characters need engaging conflicts; the action of the musical needs to take place in a variety of inviting settings; and, finally, the plot driven by the conflicts must feature important themes. Donna Moore’s “Cougar the Musical,” currently running at St. Luke’s Theatre in Manhattan, addresses all four literary elements and brings to the boards a successful and entertaining theatrical experience.
Recently divorced from Gary, Lily (Mary Mossberg) wonders if a younger love interest would relieve her self-esteem woes. Clarity (Cheryl Freeman) is working on her Master’s thesis at NYU which explores the dynamic of older women dating much younger men. Mary-Marie (Babs Winn) owns a bar catering to such women. All three are “On the Prowl” in one way or the other and are exploring what it means to be a ‘cougar.’
Lily quickly finds true love with the young and handsome Buck (Danny Bernardy). Clarity (aptly named), shifts her focus from the critical view to the cougar view when she meets a hot younger man with the same name (Julio) as her battery-powered “plastic friend.” And uber-cougar Mary-Marie prefers a variety of young men which, unfortunately, lands her a date with Naked Peter who turns out to be her son. The versatile Danny Bernardy plays all the male roles and the wonderful role of Eve, manicurist to the cougars.
The conflicts of Lily, Clarity, and Mary-Marie are engaging and deeply connected to the audience of predominately (but not exclusively) middle-aged women. The three women meet their boy-toys in Mary-Marie’s cougar lounge as well as other settings. Fourteen delicious songs (with music by a variety of composers) counterpoint with Ms. Moore’s book and result in a clever and thoughtful musical. Lynne Taylor-Corbett directs and choreographs “Cougar the Musical” with precision and grace. And the orchestra (Jana Zielonka, piano and Sean Dolan, drums) ably maneuvers its way through the songs.
All three women are on their own paths toward clarity and each ends up in an emotional terrain far different from where their journeys began. “At the End of the Day” each discovers that what is important is self-discovery, self-love, and self-empowerment – all important themes. These characters are dynamic, not static, and their growth challenges the audience to grow as well. Everyone – women and men of all ages – need to understand that real love is ageless and that they need to “Say Yes” to their authentic needs and futures.
“Cougar the Musical” transcends the images its title conjures up. This is a sweet and engaging musical for everyone to see and enjoy.
COUGAR THE MUSICAL
The cast of “Cougar the Musical” includes Danny Bernardy, Cheryl Freeman, Mary Mossberg, and Babs Winn. The Creative team includes Jana Zielonka (Musical Director), Josh Iacovelli (Set Designer, Sound Designer), and Dustin Cross (Costume Designer).
“Cougar the Musical” runs through June 2, 2013 at St. Luke’s Theatre (308 West 46th Street). The performance schedule is Friday at 8:00 PM; Saturday at 2:00 PM; and Sunday at 2:00 PM. Tickets are $39.50 - $89.50 and are available through Telecharge.com or by calling (212) 239-6200. The running time is 90 minutes with no intermission. For videos of the musical and more information, visit www.cougarthemusical.com.
Permalink | Posted by David Roberts on Sunday, April 7, 2013
"Parade" at The Carnegie (Covington. Kentucky)
“Parade” at The Carnegie (Covington, Kentucky) Reviewed by Rafael de Acha, April 5, 2013 Theatre Reviews Limited
"Parade" - Jason Robert Brown (music); Alfred Uhry (book ) A co-production of The Carnegie and the Musical Theatre Department of the University of Cincinnati’s College-Conservatory of Music. Dee Anne Bryll and Ed Cohen (Directors); Steve Goers (Music Director); Dana Hall (Scenic Designer); Wesley Richter (Lighting Design); Janet Powell (Costumes); Kevin Semancik (Sound Designer); Jillian Floyd (Wig and Makeup Designer) In the cast: Collin Kessler (Leo Frank), Jenny Hickman (Lucille Frank), and ensemble. At The Carnegie, Covington, Kentucky 5.4.13 (RDA)
The 1913 trial of Leo Frank, a factory superintendent convicted of raping and murdering a thirteen-year-old employee, is the subject of Jason Robert Brown’s "Parade." Brown’s music, set to his own words, and librettist Alfred Uhry’s deeply personal connections to this tragic story about anti-Semitism in early 20th century America’s South give a modicum of dramatic thrust and moral gravity to this stage work, but the authors should have considered turning this work into something other than a Broadway show, in which case "Parade" might have met with a more fortuitous reception from the 1983 Broadway critics and audiences. With its through-composed structure, rhapsodic ballads and sweeping choral numbers "Parade" longs to be something much grander and keep company with Bernstein and Weill, but at pivotal moments it appears to apologize for all its doom and gloom, and so throws in a little cakewalk or Boston Waltz or Lindy Hop to lighten the proceedings.
"Parade" is nearly three hours long. Uhry and Brown could have said what they now say and then say again and again in these two lengthy acts in the space of one single act filled with solid musical and dramatic ideas. Again and again "Parade" gets oh so near and yet so far from packing the kind of visceral punch which we all long for in a theatrical experience. When now and then the work achieves one of those few and rare moments that truly grab one in the gut, Brown and Uhry soften the blow and interpolate some quaint number or other about good ol’ Southern folks makin’ music. The results are dispiriting and deflating.
The 1902 Beaux Arts building that is now the Carnegie was initially a library and a meeting place for political rallies and for theatrical offerings of the time. Once designated by the National Register in 1971 as having historical value, its architectural integrity had to be preserved - both a blessing and a curse. The theatre space seats – one’s guess – around three hundred theatergoers, with the orchestra seats situated five or more feet below stage-level. The closer one is seated to the action (third row for me and my companion) the harder it becomes to watch the show without experiencing some eye and neck strain. The theatre’s management may want to explore some solutions to this problem, for theirs is a charming venue ideally suited to intimate theatrical offerings.
No stage work is ever truly finite, so here is "Parade," paraded back to life after its untimely demise at the hands of the implacable New York reviewers, in a new production, helmed by the fine work of directors De Ann Bryll and Ed Cohen, the excellent conducting of musical director Steve Goers and vividly realized by a cast of C-CM’s young talents.
The inspired pairing of Collin Kessler and Jenny Hickman as Leo and Lucille Frank anchors the drama. Kessler gives a hypnotic portrayal of the unjustly accused Brooklyn Jew transplanted to life in early 1920’s Atlanta – his demeanor appropriately uptight and rigid as that of a fish out of water, his ringing baritone ever supple and memorable: an insightful characterization from a young man years younger than the role he plays to the hilt. Jenny Hickman is the long-suffering, Georgia-girl wife with a spine of steel and a voice that ranges from a lovely mezzo to a pin-you-to-your seat belt and a “don’t you forget-it” wail on top. Among the other fine performers in the cast, Noah Ricketts is memorable in the role of the guilty Jim Conley, a coiled, convulsive chain-gang prisoner with fathomless anger, giving voice to the antagonist part in a clarion tenor.
At his rare best Brown’s music digs deep into our collective consciousness, especially in the two-person scenes for Frank and Lucille, in which the music hews closest to early 20th century opera in a mostly-tonal compositional style not far from the folksy idioms of Virgil Thompson and Aaron Copland. The lyrics are a good fit most of the time and, once-in-a-while, stunningly good as in All the wasted time, retaining throughout a colloquial, direct, essentially American working-class tone. At such moments Kessler and Hickman are completely convincing as singing actors, imbuing their work with utter sincerity and heartbreaking pathos.
Alfred Uhry’s book brings into relief the callousness and opportunism of the press that made the trial a media circus and the weakness and corruption of a legal system that repeatedly failed to uphold the law. Playwright Uhry’s uncle was the owner of the factory where Frank worked and, as a Jew growing up in Atlanta in the 1940s and 1950s, brings to this work the same unique insights about living as a minority in the American South that he brought to his plays The Last Night of Ballyhoo and Driving Miss Daisy.
When Frank's death sentence was commuted by Georgia Governor Slaton, Leo Frank was kidnapped, spirited to Marietta, Georgia, and lynched. The Jewish Anti-Defamation League came into being as a response to these events. Works like Parade keep the memory of these past horrors fresh in our minds, saying, “Never Again!” in the way only theatre can cry out such words.
Permalink | Posted by David Roberts on Sunday, April 7, 2013
"Good with People" at 59E59 Theater B
“Good with People” at 59E59 Theater B Written by David Harrower Directed by George Perrin Reviewed by David Roberts Theatre Reviews Limited
An overturned chair on an otherwise bare carpeted stage “speaks” volumes about the current status of the Seaview Hotel in Helensburgh Scotland. Upright that same chair and the audience is transported back in time to a flashback of epic proportions. Move the chair about the stage during the flashback and the scenes change disclosing a tryst between two persons, two generations, two histories, and two agendas.
This kind of precision and clarity marks the entire 55 minute performance of “Good with People” running at 59E59 Theater B through Sunday April 21. In David Harrower’s enchanting and mesmerizing play, Helen Hughes recalls one of the last visits made to the Seaview Hotel, the visit which markedly changed her life and the way she deals with people – herself and others. Memories, particularly this memory owned by Helen, is a different kind of memory, one through which space and time give way to substance and terrain: the substance of revenge gone missing and the terrain of unrequited albeit unconditional love.
Tales told from the point of view of an unreliable narrator are perhaps the most tantalizing. We only know how good Helen and Evan are with people through Helen’s lens and that creates a cauldron of suspense and redemption.
Ostensibly, Evan Bold (Andrew Scott-Ramsay) returns to Helensburgh to attend the re-marriage of his parents. Evan has been volunteering with the Red Cross as a nurse in Pakistan. After refusing to release a Taliban soldier from the hospital, two Taliban “guys who patrolled the hospital” beat Evan up in the school playground” injuring his shoulder. Evan chooses to stay at the hotel where he knows Helen Hughes (Blythe Duff) works. As a child, Evan had participated in bullying Helen’s son Jack. Despite refrains of “I hardly know you” and “You don’t know me,” it becomes clear during the course of the play that this meeting is more than a chance occurrence: Evan and Helen need to meet to work out things from the past, to participate actively in the process of confession, forgiveness, and reconciliation and to fall in unconditional love.
As these two unlikely but star-crossed companions jockey for position, power, and possibility, secrets of the past and worries for the future emerge. Accusations are made (“j’accuse”), including Helen’s to Evan, “You have a strange way with people.” However, both of these remarkable characters make their “bid for freedom.” And both are renegades. Evan Bold says is most succinctly: “People who weren’t content with their lot in life. Who looked beyond their immediate situation. Who wanted to make things better for themselves and others. The renegades. The idealists. Troublemakers.” Through the course of the play, Evan and Helen recognize they are both incurable renegades and equip the audience to identify with the renegade and the idealist in each member of the audience.
Under George Perrin’s meticulous and bold direction, Blythe Duff and Andrew Scott-Ramsay give electrifying life to David Harrower’s script. Tantalizing tropes teach the audience almost every moment. External struggles counterpoint the inner struggles of each character. And their conflicts mirror the conflicts between nation states and those between the individual and the world. This is a play about the power of forgiveness, the power of redemption, and the overwhelming power of love.
GOOD WITH PEOPLE
Good with People” launched the 2013 Brits Off Broadway festival at 59E59 Theaters and is produced by the Traverse Theatre Company and Datum Point in association with Paines Plough. “Good with People” began performances on Wednesday, March 27 for a limited engagement through Sunday, April 21.
The cast includes Blythe Duff and Andrew Scott-Ramsay. The creative team includes Ben Stones (designer), Scott Twynholm (sound designer), Tim Deiling (lighting designer), Raynelle Wright (AEA stage manager), Kevin McCullum (production manager), and Gemma Turner (stage manager
The performance schedule is Tuesday – Thursday at 7:15 PM; Friday at 8:15 PM; Saturday at 2:15 PM and 8:15 PM; and Sunday at 3:15 PM and 7:15 PM. Performances are at 59E59 Theaters (59 East 59th Street, between Park and Madison Avenues). Tickets are $35 ($24.50 for 59E59 Members). To purchase tickets, call Ticket Central at (212) 279-4200 or go to www.59e59.org.
Permalink | Posted by David Roberts on Thursday, April 4, 2013
"I Know What Boys Want" at the WorkShop Theater
“I Know What Boys Want” at the WorkShop Theater Written by Penny Jackson Directed by Joan Kane Reviewed by David Roberts Theatre Reviews Limited
It is difficult to identify the real antagonist in Penny Jackson’s new play “I Know What Boys Want” running at the WorkShop Theater through April 13. The conflicts are as numerous and entangled as the over-the-top tangle of cell phones dangling from the “ceiling” of the set. The main conflict which drives the predominant plot is between Vicky Walker (Sara Hogrefe) and, oddly enough, a cell phone: she needs to confiscate the cell phone of Oliver (Nick Vennekotter) who surreptitiously filmed Vicky in a compromising sexual tryst with her beau Roger (Liam Rhodes). It is not clear (and it needs to be less ambiguous) whether the act was consensual or not and whether in fact a date rape drug was used. These are significant details – not to be used to lay blame but to identify the precise sources of Vicky’s understandable and appropriate rage against Oliver and Roger.
There are also conflicts in the play between Vicky and her mother Margaret Walker (Dara O’Brien), her father, her stepmother, the world, and herself. These drive interesting sub plots but sometimes inadvertently detract from the main conflict involving how Vicky can restore her reputation. And these sub plots spin themes which remain unresolved: has bad parenting somehow contributed to Vicky’s situation and has Vicky’s mother’s fuzzy understanding of feminism resulted in an exacerbation of that less-than-admirable parenting? Who is Emma (Kimberly Diamond) and is her character really needed?
None of this detracts from the play’s importance in raising the issues of bullying, date rape, and the pandemic misuse of social media in the lives of teenagers. Whether or not Vicky should have had sex with her boyfriend is not the point: that is her choice and her responsibility. The point is Roger should not have allowed Oliver to tape the tryst and – out of revenge – post the clips on the internet. Vicky will have to struggle the rest of her life against the images that will remain of and re-surface on the internet for years to come. Such abuse can result in suicide and there is a reference in the script to the suicide Tyler Clementi the 18 year-old Rutgers who jumped off the George Washington Bridge in 2010.
One only wishes that Vicky’s bravery would have surfaced earlier and not been diluted in a mire of victimization. One also wishes the issues of parenting would have been clearer: how does parenting affect children’s behavior? Vicky and her roommate Lin Chang (Janice Amano) seem to long for more structure and better role models. But is Lin’s mother’s addiction to Xanax an excuse for Lin’s dependence on drugs and her lack of interest in academic excellence? Is Vicky’s mother’s self-absorption responsible for Vicky’s problems as a young adult?
Most of the performances given by the ensemble cast are adequate and serve the script well. Two performances stand out: the engaging and believable performances of Lauren D. Salvo as Hannah and Teddy Lytle as Ted serve collectively as a Super Ego for the rest of the teens. Both of these California transplants are bullied by their peers because they are “different.” Hannah sports a yellow rain slicker and yellow rain boots and her single mom is a neurosurgeon and Ted’s father has recently come out, left his wife, and formed a relationship with his male partner. If the entire cast could have reached the authentic level of performance of these two young actors, “I Know What Boys Want” would already be at a different level.
Joan Kane’s direction is adequate but uninspired. Perhaps she needs to spend more time around high school students, particularly wealthy and privileged high school students. The bullying that occurs – and there is a significant amount of bullying in this play - would be in real life much more aggressive and horrific. Ms. Kane’s characters need a rougher edge and a darker side. Although Oliver is a despicable human being, in reality such a person would be cruel to the point of exhaustion. When directorial and performance issues are addressed, this new play has a good chance of an extended life beyond its current run. Penny Jackson has developed an important script and her new play deserves an appreciative look in its current incarnation at the WorkShop Theater.
I KNOW WHAT BOYS WANT
Ego Actus (Bruce A! Kraemer and Joan Kane producers) presents “I Know What Boys Want,” a new drama by award winning playwright Penny Jackson at the WorkShop Theater through April 13. Joan Kane directs.
The cast features Sara Hogrefe, Dara O’ Brien, Janice Amano, Kimberly Diamond, Lauren D. Salvo, Liam Rhodes, Teddy Lytle and Nick Vennekotter.
The creative team includes Scarlet Jacobs (set design), Bruce A! Kraemer (lighting design), Cat Fisher (costume design), Ian Wehrle (sound design), and Kim Marie Jones (stage manager).
“I Know What Boys Want” plays at the WorkShop Theater (312 W. 36th Street, 4th FL.) from Thursday, March 28 thru Saturday April 13. Performances are Thursday thru Saturday at 8PM with Saturday matinees at 3PM. General admission is $18.00. For tickets go to http://iknowwhatboyswant.brownpapertickets.com/
Permalink | Posted by David Roberts on Tuesday, April 2, 2013
"Shaheed: The Dream and Death of Benazir Bhutto" at Culture Project at 45 Bleecker Street
“Shaheed: The Dream and Death of Benazir Bhutto” at Culture Project at 45 Bleecker Street Written and Performed by Anna Khaja Directed by Heather de Michele Reviewed by David Roberts Theatre Reviews Limited
Point of view percolates a delicious brew of intrigue in Anna Khaja’s “Shaheed: The Dream and Death of Benazir Bhutto” playing at Culture Project at 45 Bleecker Street. Through the points of view of eight characters, Khaja’s engaging play focuses on the life and death of Benazir Bhutto and this literary device allows the audience member to have access to a variety of understandings of Bhutto’s controversial personal and political history.
Under Heather de Michelle’s thoughtful and sedulous direction, Ms. Khaja plays all eight characters in an episodic rather than a chronological fashion: Sara an American college student; The United States Secretary of State from 2005 until 2009 Condoleezza Rice; Daphne Barak an international journalist; Quasim a professor at Boston University; Benazir’s niece Fatima Bhutto; Shamsher an auto-rickshaw driver in Rawalpindi; Afshan a student in Islamabad; and Benazir Bhutto herself who secures the penultimate point of view to her own story.
Ms. Khaja’s transformation from one character to another is not a conscious act. The actor morphs into her characters unconsciously and through an inner process. In other words, Anna Khaja does not “do” the characters; she “is” the characters intrinsically and precisely.
At the beginning of the play, Sara an American college student in Rawalpindi (Pindi) Pakistan shares her belief that the international focus should be on the Pakistani people who just want healing for themselves and for their country. A simple credo but one which all too often remains far removed from action. The international community would rather focus on what how what happens in Pakistan might benefit the world political community.
Benazir Bhutto’s story – her dream and her death – can be seen as an extended metaphor for the struggle of all dreamers to fulfill what they determine to be their life’s purpose. What do the members of their family think of them? What do their peers thin k of them? How important are their dreams in the larger scheme of human affairs? Perhaps the most significant question comes from Bhutto’s niece, [As a dreamer], “when and how does corruption creep up on you?”
Finally, this important play raises the deep and rich questions that have yet to be answered: How do dreamers and their dreams correlate with the disturbing history of dreamers meeting their deaths in less than natural ways? What is worth dying for and how effective have the deaths of dreamers proven to be historically? Join this important conversation counterpointed in the brilliant and imperious performance of Anna Khaja.
SHAHEED: THE DREAM AND DEATH OF BENAZIR BHUTTO
Culture Project’s Women Center Stage (Allan Buchman, Founder and Artistic Director) presents the Off-Broadway premiere of “Shaheed: The Dream and Death of Benazir Bhutto” written and performed by Anna Khaja and directed by Heather de Michele . Performances continue through April 21 at Culture Project at 45 Bleecker Street (at Lafayette Street) in New York City.
The creative team includes Maureen Weiss (set design), John Zalewski (sound design), Sam Saldivar (projection design), Phillip Young and Colyn Emery (composers), Will Hansen (lighting design), and Caitlin Lyons (production stage manager).
“Shaheed: The Dream and Death of Benazir Bhutto” will play the following performance schedule: Fridays, Saturdays at 7:30 p.m., Sundays at 2:00 p.m. and Mondays at 7:30 p.m. Tickets are priced at $35 ($55 premium), and with student tickets at $25 (with valid I.D.) Tickets are available online at cultureproject.org or via phone by calling OvationTix at (866) 811-4111.
Permalink | Posted by David Roberts on Sunday, March 31, 2013
Marissa Mulder in "Tom ... in His Words" at the Metropolitan Room
Marissa Mulder in “Tom … in His Words” at the Metropolitan Room Directed by Lauren Fox Reviewed by David Roberts Theatre Reviews Limited
Most of Marissa Mulder’s patter is not patter at all. Her spoken words introducing songs or connecting songs in “Tom … in His Words” are the words of Tom Waits. This performance choice for her current appearance at the Metropolitan Room results in an engaging evening of song where Ms. Mulder proves unequivocally that exquisite vocal interpretation is more about something one is as opposed to something one does.
This maxim also holds true of the musically articulate work of Mulder’s accomplished band which includes Jon Weber (piano and music direction), Mike Rosengarten (guitar), and Ritt Henn (bass) who, with Ms. Mulder, form a formidable ensemble of epic proportion. These four artists sing and play together with such synchronicity that voice and string are sometimes indistinguishable. This successful collaboration is particularly evident in three songs in Ms. Mulder’s program: “Jersey Girl” (from the 1980 LP: “Heart Attack and Vine”); “Day after Tomorrow” (with Kathleen Brennan from the 2004 album: “Real Gone”); and “Heart of Saturday Night” (from the 1974 LP: “Heart of Saturday Night”).
In all three songs, as well as in the other songs in her program, Ms. Mulder showcases her remarkable ability to interpret the song’s lyrics with precision, her impressive vocal range and control, and her accomplished phrasing. When Mulder sings “And I call your name, I can’t sleep at night,” the listener can experience the visceral longing of the speaker of the song for his “little angel … on the Jersey side.” Perhaps the most haunting song in her program is the “protest song” “Day after Tomorrow” in which the speaker croons “You can't deny/ The other side/ Don't want to die/ Any more than we do/ What I'm trying to say, / Is don't they pray/ To the same God that we do?” It is difficult to imagine lyrics that more clearly exemplify the moral ambiguity surrounding war and Mulder delivers these lyrics with impressive intelligence and pathos.
Tom Waits’ songs are pure poetry and Ms. Mulder “speaks” his words in scintillating song in her rendition of “The Heart of Saturday Night.” “And you got paid on Friday/ And your pockets are jinglin'/ And you see the lights/ You get all tinglin' cause you're cruisin' with a 6/ And you're looking for the heart of Saturday night.” Waits use of repetition, internal rhyme, and figurative language make this song vibrate with realism and Mulder’s phrasing places that reality squarely in the hearts of the listeners.
Directed by Lauren Fox, “Tom … in His Words” delivers the work of Tom Waits with exceptional power and delectable grace. The word ‘perfection’ pours all too easily off the critic’s tongue; however, in this case, it is perhaps the best word to describe Marissa Mulder’s and her band’s foray into the fractured world of fantasy that is Tom Waits.
MARISSA MULDER IN TOM … IN HIS WORDS
Marissa Mulder will appear at The Metropolitan Room on Friday March 29th and Saturday March 30th at 7:00 p.m. Doors open 45 minutes prior to performances. The Metropolitan Room is located at 34 West 22nd Street in Manhattan. There is a $20.00 per person Music Charge and a Two Drink Minimum with a $5.00 discount for MAC/Industry Members. For further information and to make reservations visit http://metropolitanroom.com/
Permalink | Posted by David Roberts on Friday, March 29, 2013
"Hit the Wall" at the Barrow Street Theatre
“Hit the Wall” at the Barrow Street Theatre Written by Ike Holter Directed by Eric Hoff Original Music by Dan Lipton Reviewed by Joseph Verlezza Theatre Reviews Limited
An important piece of theater aptly entitled “Hit the Wall” is consuming the small stage at The Barrow Street Theater in New York City’s West Village. Ike Holter’s new play examines the incidents which occurred at the birth of the gay movement at the nearby Stonewall Inn where riots erupted on the night of Judy Garland’s funeral on June 26th 1969 and where police raided that ever so popular watering hole frequented by the diverse and in control gay community residing in Greenwich Village. This is an historical event which introduced the open protests of gay Americans to achieve equal rights as upstanding citizens of the United States. However, there is not simply one bona fide account of the actual event but many conflicting reports depending on where and when participants and bystanders witnessed the conflict.
Rather than attempting to be an historical drama, “Hit the Wall” takes theatrical liberties necessary to present this evolution as an entertaining and informative piece of theater that easily appeals to an all inclusive audience without ever diminishing the severity or importance of that event. As a literary work, it might at times falter with weak dialogue and stereotypical characters, but then again this might have been the time when these certain types were introduced and established the mainstream society. Borrowing appearances and language from different eras might also be a liberty taken in an attempt to reach a broader audience, even though these might not be historically accurate.
This 90 minute drama is filled with inexhaustible energy and the undivided commitment of a devoted ensemble cast. They electrify the multi level, multi faceted stage with profound, intricate and brutal choreography accompanied by live heart pounding music reminiscent of the popular hard rock from the era. These actors encompass your being, infiltrate your mind and transport you to their time and place, so you become part of the action, you are there. All are superb but Nathan Lee Graham who inhabits Carson the transvestite as she mourns Judy’s death, transcends beauty, courage and rage to portray the persecuted everyman with pride, grace, humility and intelligence. Also of mention is Rania Salem Manganaro who manages to give the lonely lesbian Peg a brave soul as she reveals pain that captures the senses of the audience as she stands her ground. It is certain that these performances could not occur without the incredible support of the entire cast.
“Hit the Wall” is a drama that needs to be seen if only to remind us that the struggle and challenge continues in order to achieve equal rights for the gay community. For an older generation it might rekindle a memory and for the younger audience the play will teach the bravery of the forefathers of this endeavor and the importance of respect and dignity. Throughout the play we here the mantras “I was there” and “The reports of what happened next are not exactly clear.” How appropriate. This reviewer feels all who are still struggling “were there” and “are here.” What happens next is certainly not exactly clear, but we are hopeful. Spend some time to experience a powerful, exciting and enlightening theatrical event.
HIT THE WALL
Hit the Wall is presented Off-Broadway at the Barrow Street Theatre by Scott Morfee, Jean Doumanian, Tom Wirtshafter, Patrick Daly, Burnt Umber, Roger E. Kass, Starry Night Entertainment, BarLor Productions, Christian Chadd Taylor, Marc and Lisa Biales.
The ensemble of Hit the Wall features Nick Bailey, Jessica Dickey, Ben Diskant, Nathan Lee Graham, Matthew Greer, Gregory Haney, Sean Allan Krill, Rania Salem Manganaro, Jonathan Mastro, Ray Rizzo, Carolyn Michelle Smith, Arturo Soria and Indigo Street. Ms. Manganaro and Mr. Soria reprise their roles from the critically acclaimed World Premiere of Hit the Wall, developed and produced in 2012 by The Inconvenience as part of Steppenwolf’s Garage Rep. Series in Chicago.
The creative team includes Lauren Helpern (Set), David Hyman (Costumes), Keith Parham (Lighting), Daniel Kluger and Brandon Wolcott (Sound), J. David Brimmer (Fight Director), and Pat McCorkle (Casting). The Production Stage Manager is Bethany Russell.
Tickets for Hit the Wall are $35 - $75 and can be purchased online at www.smarttix.com, on the phone at 212-868-4444, or in person at the Barrow Street Theatre box office, open at 1:00 PM daily. The performance schedule is Tuesday – Friday at 7:30 PM, Saturday and Sunday at 2:30 PM & 7:30 PM. Student Rush tickets are priced at $20 (with valid student I.D.) and available on the day of performance.
The Barrow Street Theatre is located at 27 Barrow Street at 7th Avenue South in the heart of Greenwich Village. Nearby subway stops are the 1 at Christopher Street (walk 1 block South on 7th Avenue to Barrow) and the A, C, E, B, D, F and M at West 4th (walk West on 4th Street, left on Barrow).
Permalink | Posted by David Roberts on Thursday, March 28, 2013
"Honky" at Urban Stages
“Honky” at Urban Stages Written by Greg Kalleres Directed by Luke Harlan Reviewed by David Roberts Theatre Reviews Limited
“Unless you are honest with yourself, you cannot be honest with the people who love you.”
Sigmund Freud would have loved “Honky,” Greg Kalleres’s new play running at Urban Stages through April 14th. This play is chock full of repression, transference, hysteria, projection, and it makes people laugh. Freud loved humor and posited in his 1905 “Jokes and Their Relation to the Unconscious” that humankind tells jokes about and laughs about things about which it is uncomfortable. Perhaps the top three things which make us uncomfortable are the power vectors race, sex, and money. “Honkey” bravely tackles these issues with humor, grace, and style.
Sky Shoes executive Davis (Philip Callen) wants to expand the market of shoe designer Thomas’s (Anthony Gaskins) sneaker from the successful all-urban (AKA black) market to the wannabe white retail market. Philip does not really like the look of the sneaker but he likes the money it makes for his company. The conversation between executive and designer uncovers the mother lode of repressed racism. This conversation is counterpointed in those between Peter (Dave Droxler) and his fiancé Andie (Danielle Faitelson) and between Thomas and Emilia (Arie Bianca Thompson) and these conversations, though, humorous, contain deeper meaning.
Beneath (or embedded in) the humor are truths demanding attention and action. Racism in America (and elsewhere) persists in being pandemic and a dangerous impediment to celebrating true equality for all Americans. The playwright’s suggestion that Dr. Driscoll’s (Scott Barrow) pill that eradicates racism is effective because it “replicates brain damage” is telling. In other words, racism is not only pandemic; it might be immune to reason.
At the core, however, is the issue of honesty, particularly the individual’s ability to be honest about his or her racist feelings. In “Honky,” the Sky Shoes new sneaker is an effective trope (here an extended metaphor) for the issue of racism and honesty about the characters’ authentic feelings.
At the play’s beginning, Davis asks Thomas if he would wear the sneaker he designed and has become the object of controversy and a murder. After successfully revealing his authentic feelings about race and relationships with Andie, Thomas places the sneakers on his feet and symbolically claims both his identity and his honest feelings about that identity. It is only after claiming and celebrating his identity that he can return to Andie and begin an authentic interracial relationship.
There are three important scenes which take place in a subway car which feature impressively staged dream ballets (“danced” beautifully by Kid 1 and Kid 2 played by Chris Myers and Reynaldo Piniella respectively) which serve as metaphors for the particular character’s (Davis, Peter, and finally Thomas) conflict with and resolution about racism. Significant, too, are the scenes including visits from Abraham Lincoln and Frederick Douglas which equally powerfully confront characters with deep questions about racism.
Under Luke Harlan’s careful direction, the ensemble cast of “Honky” skillfully utilizes humor to handily tackle the important issues of racism and honesty and extends the conversation about racism to the important theatre audience.
HONKY
Urban Stages (Frances Hill, Founding Artistic Director; Peter Napolitano, Producing Associate) presents the World Premiere of Greg Kalleres’ comedy “Honky,” directed by Luke Harlan.
The creative team includes Roman Tatarowicz (set design), Sarah Thea Swafford (costume design), Miriam Nilofa Crowe (lighting design), Brandon Wolcott (sound design), Caite Hevner (projection design), Sean Hagerty (production manager), and Brian D. Gold (production stage manager). The cast includes Scott Barrow, Philip Callen, Dave Droxler, Danielle Faitelson, Anthony Gaskins, Chris Myers, Renaldo Piniella, and Arie Bianca Thompson.
“Honky” will run through Sunday, April 14, 2013 at Urban Stages (259 West 30 Street). The performance schedule is Tuesday through Saturday at 8:00 p.m. and Sunday at 3:00 p.m. There are Saturday matinee performances at 3:00 p.m. on March 23 and April 6. Tickets are $40.00 and are available at www.Smarttix.com or by calling 212.868.4444. Student Rush with valid ID 10 minutes before curtain (based on availability). Running time: 90 Minutes NO intermission.
Permalink | Posted by David Roberts on Thursday, March 28, 2013
"Not as Cute as Picture" at the Duplex
“Not as Cute as Picture” at the The Duplex Written and Performed by J. D. Cerna Directed by Nick Demos Reviewed by Joseph Verlezza Theatre Reviews Limited
A slice of gay life or for that matter any selective lifestyle is the scenario that plays out in J. D. Cerna’s solo show “Not as Cute as Picture” taking the stage at the historic Duplex in Greenwich Village. Rather than the common coming out or coming of age drama this falls more into the finding myself category in which Cerna plays himself and a multitude of other colorful characters. The show opens with some powerful energy and slick choreography from the disco eighties that delivers the audience to a place and time where the journey begins. It brought to mind the kinetic energy of an early David Drake whose word, movement, and focus defined his performance.
Cerna wastes no time introducing the first of many unique individuals he will inhabit throughout the evening. It becomes instantly obvious that his astute talent lies in physically and vocally morphing into a vast array of distinctive persona. He is quick, precise and energetic although sometimes stereotypical. The material does not provide enough substance to elicit any compassion so instead of characters they remain as personalities. When the written word is tenacious and trusted the result is effective characterization. Andy, a past companion dying of AIDS who repeatedly appears in a letter or a phone call with no physical incarnation, becomes one of the strongest characters and captures the audience’s emotional involvement. The number of characters, speed of transformation and unnecessary presence and dialogue allows for confusion and lends no insight to the storyline. Perhaps less is more.
J. D. Cerna is a talented performer and skillful illusionist who provides an enjoyable evening of entertainment. With more focus on fewer characters his story could reach deeper into the minds and hearts of his audience and perhaps have them leave the performance feeling inspired by an incredible piece of theater.
NOT AS CUTE AS PICTURE
“Not as Cute as Picture” ran at the Duplex. 61 Christopher Street, through March 22, 2013. For more information on the show, visit http://www.notascuteaspicture.com/
Permalink | Posted by David Roberts on Tuesday, March 26, 2013
"No Expectations" - Parker Scott and Wells Hanley at the Metropolitan Room
“No Expectations” at the Metropolitan Room Parker Scott and Wells Hanley with Rubin Kodheli, Cello Musical Direction by Wells Hanley Directed by Gerry Geddes Reviewed by David Roberts Theatre Reviews Limited
The trio of talent at The Metropolitan Room on Monday February 25, 2013 - Parker Scott, Wells Hanley, and Rubin Kodheli – creates a synchronicity of sound that outreaches perfection. There are times when the voices coming from these three sources are indistinguishable and easily could be one voice.
We have said almost all that can be said about Parker Scott’s voice and his unique interpretive skills: the adjectives compound and sometimes serve to show simply the paucity of our critical vocabulary. Those adjectives are important for Parker’s ongoing review of his practice and for the overall health of the theatre (including cabaret). Adjectives like ‘distinctive’ and ‘unique’ are precise descriptions of Parker’s reprise performance of “No Expectations” on Monday evening. He reaches new heights in this performance: bluesy, jazzy tones counterpoint with operatic exactitude creating an auspicious vocal matrix.
But I believe we need to begin to honor Parker for the unique contribution he has made to the industry and to the genre. What follows is a stream of consciousness review of “that side” of my friend Parker and all that he continues to do for us. The “review” will make direct and subtle reference to his current performance at the wonderful Metropolitan Club.
We meet. These meetings are intentional, serendipitous, welcomed, dreaded. But meet we will and meet we must. Whatever the reason for the meetings, what is significant is what happens during the time we spend with those others who brush up against our lives. Walt Whitman’s “Leaves of Grass” meets “An American Hymn” (Molly Ann Leikin/Lee Holdridge) in Parker’s haunting rendition of this song based on an arrangement by Dick Gallagher.
Visiting a place where we’ve been before and wanting to go back because we liked it and enjoyed it is a commendable goal. But most of the time when we revisit we enjoy the same things and see the same things but rarely do we venture down a new street or into a new area. Parker’s performance on Monday takes him down new streets, new alleys. The reason we go back in the future is because there will be even more to explore and to learn. That’s what happened at the Metropolitan Room and what will happen when Parker finally visits Paris this summer. His deep and rich understanding of “Non, je ne regretted rien” (Michael Vaucaire/Charles Dumont) and “Hymne a l’amour” (Edith Piaf/Marguerite Monnot) honor not only the magic and mystery of Edith Piaf but also celebrate the wonder of unconditional and timeless love.
It’s All Right with Me” (Cole Porter) from the 1953 “Can-Can “showcases a collaboration between Parker Scott, pianist Wells Hanley, and cellist Rubin Kodheli which far transcends mere collaboration. This song along with “Taking the Wheel” (John Bucchino, based on an arrangement by Dick Gallagher) and “You Are Here” (Gerry Geddes/Anthony Gaglione, based on an arrangement by Dick Gallagher) showcases a team of professionals who work tirelessly to reach and share musical performance perfection.
As always, Parker Scott’s naming of his performances is more than random. In “No Expectations,” Mr. Scott invites the audience in every musical number to forego the “back seat” and “start dreaming again.” This lyric from John Bucchino’s “Taking the Wheel” encourages the listener to begin “dreaming again,” to “think, feel, and [take] action. This is a performance for making the dreams of 2012 the realities of 2013.
Parker Scott appeared at The Metropolitan Room on Monday February 25th at 7:00 p.m. The Metropolitan Room is located at 34 West 22nd Street in Manhattan. For further information visit http://metropolitanroom.com/
Permalink | Posted by David Roberts on Tuesday, February 26, 2013
"On the Head of a Pin" at 59E59 Theater B
“On the Head of a Pin” at 59E59 Theater B Written and Directed by Frank Winters Reviewed by David Roberts Theatre Reviews Limited
When people want to express the total pointlessness of something, they sometimes say that thing is as silly as "arguing over how many angels could dance on the head of a pin." The familiar phrase is also a rather cynical description of what might be considered a tedious concern with irrelevant details. For Caliban (a civilian version of Taliban perhaps), the civilian contractor overseeing operations at Fathoum Prison in Iraq, it is pointless to tell the truth. Worrying whether prisoners are tortured during interrogation is a tedious concern with irrelevant details: what matters to Caliban’s onsite manager Kathleen Crane (Jen Tullock) is that her untrained and unprepared interrogators get what she needs to secure convictions. Breaking down Sarah Kennedy (Emily Fleischer) who wants to blow the whistle on what goes on at Fathoum is also an irrelevant detail even if it results in Sarah committing suicide.
And when those who would do all they can to “break” those who would, through their heroic actions, prove that (in fact) “some things are worth saving,” they might charge that those heroes are simply arguing over how many angels could dance on the head of a pin. Those who can do whatever they want to do (governments, for example) need to dismiss as irrelevant anything that is done to save something worth saving, anything that is done to protect something worth protecting. Frank Winters’ engaging and important “On the Head of a Pin,” currently running at 59E59 Theater B, serves up characters and conflicts that drive a detailed and driving plot which moves from past (2004, a few miles south of Baghdad Iraq) to present (2007, New York City) in carefully crafted counterpoint.
Frank Winters’ script makes it clear that what is worth saving is honesty, integrity, and moral responsibility. Freedom of the press is worth protecting in the United States and in other democracies. Lily Strauss (Sofia Lauwers) wants her reporting job back at The New York Guardian and comes to acting editor Jon Lowe (James Ortiz) with a story that will save the paper from financial ruin. Her story is that of the torture of prisoners at Fathoum Prison. The problem is: Lily cannot reveal her source and the last time she convinced The Guardian to print one of her disclosures cost her not only her job but her paper’s reputation and subscriber base.
The remarkable story of Lily’s return, her collaboration with Henry Sullivan (Will Gallacher), Gwen Post (Devin Dunne Cannon), and Russell Clark (Marcus Callender), and her conflicted decision to print the story after the source is confirmed is captivating and each member of this brilliant cast helps to bring Mr. Winters’ tale to a successful climax and conclusion. Not even the likes of the government’s Allison Howe (Jennifer Loring) can dissuade Lily and her team to break. Lily’s relationship with Gwen is the only event that almost dissuades her. Actors Sofia Lauwers and Devin Dunne Cannon portray the loving relationship between Lily and Gwen with sensitivity and passion. Their story further heightens the play’s exploration into the meaning of commitment and cause.
Set designer James Ortiz makes full use of the playing area in 59E59 Theater B. There is an office cubicle downstage left that is difficult to light; however, this area is only used for transitions off and on the stage. Ortiz’s well-designed set allows director Frank Winters to move his actors from one scene to another seamlessly. Zach Pizza’s sparse but effective lighting further enhances the transition from one set location to another and from present to past. And Amanda Kullman’s costume design is pefect.
Strangemen & Company’s “On the Head of a Pin” is an impressive drama and stands a good chance at having a future. There needs to be some judicious paring in length but clearly Frank Winters is up to that task. This is a play to place on your “must see” list.
ON THE HEAD OF A PIN
Strangemen & Co. presents the world premiere of ON THE HEAD OF A PIN, written and directed by Frank Winters which runs for a limited engagement through Sunday March 10, 2013.
The cast features Jason Ralph (Peter and the Starcatcher on Broadway), Emily Fleischer (No Exit at the Secret Theater), Devin Dunne Cannon (30 Rock), James Ortiz (El Gato Con Botas with Tectonic Theatre), Sofia Lauwers (Off Broadway debut), Jen Tullock (The Projectionist with NY Stage & Film), Will Gallacher, Marcus Callender (Blue Bloods on CBS), and Jennifer Loring (Off Broadway debut).
The design team includes James Ortiz (sets), Zach Pizza (lighting), Sarah Dowling (props), and Amanda Kullman (wardrobe). The stage manager is B. Bales Karlin.
The performance schedule is Tuesday – Thursday at 7:15 PM; Friday and Saturday at 8:15 PM; and Sunday at 3:15 PM. Performances are at 59E59 Theaters (59 East 59th Street, between Park and Madison Avenues). Tickets are $18 ($12.60 for 59E59 Members). To purchase tickets, call Ticket Central at (212) 279-4200 or go to www.59e59.org.
Permalink | Posted by David Roberts on Tuesday, February 26, 2013
Kevin Dozier - "Love's Never Lost" at the Metropolitan Room
Kevin Dozier – “Love’s Never Lost” at the Metropolitan Room Musical Direction by Alex Rybeck Reviewed by David Roberts Theatre Reviews Limited
There was so much talent on the stage of the Metropolitan Room for Kevin Dozier’s “Love’s Never Lost” CD Launch that Kevin quipped, “I have no room to move.” Kevin’s new CD, produced by Paul Rolnick, features arrangements and musical direction by Alex Rybeck. Kevin said “The songs I’ve selected are about the many stages of love. They range from Edward’s and Raleigh’s ‘Wonderful! Wonderful!’ and Ann Hampton Callaway’s ‘Perfect’ to the first commercial release of Ahrens and Flaherty’s ‘Love’s Never Lost’ from their musical ‘A Man of No Importance’ and ‘Hold to My Hand ‘ an original song by Carol Hall and Alex Rybeck.”
Accompanied by musical director Alex Rybeck, drummer John Redsecker, bassist Jered Egan, guitarist Sean Harkness, and cellist Yoed Nir Kevin’s song list for this February 11, 2013 launch event at the Metropolitan Room included all 15 songs from the CD although he sang them in an order different from that on the CD.
Throughout the evening, Kevin approached each song with his unique styling and interpretation. No lyric escaped his keen understanding, delivered with his distinctive confident, smooth, and clear vocal tones reminiscent of Johnny Mathis. Although Kevin’s remarkable vocal craft was evident in each of the 15 songs, it reached the level of sheer brilliance in his pairing of “Always” (Irving Berlin, 1925) with Mabel’s “Time Heals Everything” from “Mack and Mable” (Jerry Herman, 1974). After a few enticing bars from “Always,” hauntingly accompanied by Mr. Rybeck’s piano and Mr. Nir’s cello, Kevin seamlessly transitions into “Time Heals Everything” with remarkable phrasing.
Equally distinguished was Kevin Dozier’s delivery of “What a Funny Boy He Is” (Michael Stewart/Alex Rybeck), “Love’s Never Lost” a song cut from “A Man of No Importance” (Lynn Ahrens/Stephen Flaherty, 2002), “Falling Out of Love” (Jed Leiber/Jerry Leiber/ Burt Bacharach), and “The Journey” (Julie Gold – who was in the audience).
The lyrics from Ann Hampton Callaway’s “Perfect” counterpoint precisely with Mr. Dozier and his understanding of perfection. He, too, lives for “sight, taste, touch, and sound.” He not only allows his audience to see him and taste his delicious craft; he also allows the audience to feel his warmth and hear his glorious voice. Kevin, time might heal everything; however, it will never heal our loving you. Thank you!
KEVIN DOZIER - LOVE’S NEVER LOST
Joining Kevin on stage at The Metropolitan Room will be Musical Director/pianist Alex Rybeck with John Redsecker on drums, Jered Egan on bass, Sean Harkness on guitars, and Yoed Nir on cello.
Kevin Dozier’s new show “Love’s Never Lost” (launching his new CD by the same name) played for one performance on Monday, February 11th at 7:00 p.m. at The Metropolitan Room, 34 West 22nd Street, NYC. For further information visit http://metropolitanroom.com. For more information about Kevin, go to www.kevindozier.com.
Permalink | Posted by David Roberts on Saturday, February 23, 2013
CEOExpress
