Stage Buzz

Stage Buzz Review by Patrick Doyle

What do dance and love have in common? Both require confidence and commitment, which Victor and Madoc, the two leads in The Group Theatre Too’s Count to Ten, are sorely lacking.

Victor (Justin Boccitto) is a composer, writer and choreographer, who has been involved in several flops on Broadway. He flees New York and heads to the Starwood Performing Arts Camp to spend time finishing his musical and potentially recharging his career. Madoc (Brian Merker), a camper, is his protégé and the leading player in Victor’s newest musical. What do they have in common? Besides inexperience with women, lack of self confidence, being raised in broken households and their reluctance to show vulnerability…well it’s almost easier to try and find the differences between the two (about 10 years in age). But both the adolescent and camp counselor need to learn a few things about life, love, and growing up. What better place to learn those lessons than in performing arts camp? And as the drama unfolds, the audience is carried along for the ride.

And as every would-be camper knows, you can’t have a summer-themed show without having a love story. This show is no exception. From the innocent crushes between campers to the paternal surrogacy of campers and counselor, this show provides something for everyone. Although at times the story can be predictable, the audience gets exactly what it expects – a happy ending. And who doesn’t love a happy ending?

Brian Merker playing Madoc, is an excellent choice for the 15 year old protégé. He portrays the irrationality that most 15 year old boys exhibit, yet shows enough tenderness that the audience is enamored with him. It’s hard not to identify with him and his struggles.

As Traci, Madoc’s love interest, Lexie Speirs shows a realistic naivety that charms both Madoc and the audience. When Traci later is emotionally hurt, the audience can commiserate with her embarrassment.

Claire Vaughn (Jennifer Avila) provides a wonderful maternal substitute for this hodgepodge of campers, and yet unlike most mothers, still finds the time to fall in love herself. Her relationship with Victor becomes the exact mirror of the camper’s romance…often literally on the stage where one couple stands stage left, and the other stage right.

Steve Varnell (Jacob Burlas) is the bully, intent on terrorizing Madoc until he drops out of the camp show. That being said Burlas plays the role of bully more comically than menacing.

The cast is dynamic in their performances, especially in their tap dance numbers. Counselor and campers meet student and teacher (most of this cast has studied tap dance with the choreographer), and Mr. Blevins should be proud. Not only has he taught them some very difficult numbers, but they have performed them flawlessly. And the specific talents of one particular young lady in the chorus can’t be ignored. Several times, Katelyn Morgan’s voice would carry forth distinctly from the rest of the chorus. At 16 years of age, this young lady has a very good chance of going far with her singing career.

As this play is sharing a performance space with another production, the set is nearly nonexistent except for a few small boxes. This production rather chooses to focus more on the story, the music, and more importantly, the dance performances. And while the music is solid, there aren’t any particular standout hits. The closest is a fun song called ‘Dear Mom and Dad’ sung by the campers. What elevates the musical numbers is the outstanding work on the dancing done by the cast of Count to Ten and Mr. Blevins and the absolute enthusiasm with which the cast approaches their roles.

If you are a fan of tap dance, you should see this show. The tap dance numbers truly remarkable and the rhythmic nature of the show will stick with you for several days. Both young and old will find something to enjoy in Count to Ten.

Book: Michael Blevins
Lyrics: Michael Blevins, Beth Clary
Music: Michael Blevins, Scott Knipe, Bruce Sacks, David Wollenberger
Director: Michael Blevins
Musical Director: Christine Riley
Choreography: Michael Blevins
Wardrobe: Bob Flanagan
Production Manager: Cristina Marie
Lighting Design: Joyce Liao
Stage Manager: Greg Loproto
Art Direction: Alex Maxwell
Percussion: Jeff Brelvi
Technical Director: Paul Gregorio
Associate Producers: Denise Brysett, Doug Francisco, Mary Ann Penzero, Kenny Weiner, Lisa Weiner

Featuring: Justin Boccitto (Victor Chase), Jennifer Avila (Clair Vaughn), Brian Merker (Madoc Dean), Lexie Speirs (Traci Elizabeth Meyers), Jacob Burlas (Steve Varnell), Heather Lightcap (Rosie Busche), Hunter Gross (Nick Russo), Dylan Bush (Inez Glazier), Chris Kinsey (Biz Andrews), Doug Francisco (The Producer), Nick Ardito, Jenna Black, Michael Breslin, Mckenzie Custin, Steven Etienne, Brittany Hoehlein, Roman Micevic, Katelyn Morgan, Brandon Wiener.

The Connelly Theatre
220 East 4th Street
Between Avenue A & B

Closed March 16

Stage Buzz Review by Patrick Doyle

Sir Isaac Newton said for every action, there is an equal and opposite reaction, and although he was defining physics, this same law can be applied to the everyday emotional struggles that happen in our lives. A new relationship can often throw our lives out of balance, but eventually the balance will return, whether we want it or not. Michael Bennett, Cy Coleman, and Dorothy Field’s Seesaw, presented by Justin Boccito and The Group Theater Too at The Connelly Theatre, explores just how far off balance Gittel Mosca’s (Cristina Marie) life can go before the inevitable reaction takes place.

Gittel is a street smart urban dwelling, dancer with a poor track record in relationships. She’s poor, uneducated, involved in the arts, yet fiercely independent, proud, and able to adapt to her situation. Jerry Ryan (Tim Falter) is a Midwestern lawyer, recently separated from his wife, who meets Gittle at a party. He’s educated (although naïve about city life), financially secure, and yet dependent on his former father in-law. He’s the exact opposite of Gittel in nearly every way, yet calls her to ask her out on a date. Can opposites really attract? Can they stay together? The audience certainly hopes so.

Bennett’s book (which was nominated for a Tony Award) is a well written look at a brief love affair. His story, set in New York City in the early 1970’s is ironically not much different than present day New York…although less expensive. His main story proves to be most interesting, yet he introduces additional characters to hold our interest, exploring sexuality, multiculturism, and gender identity issues.

The character of David (Brian Duryea), a choreographer and dancer, who happens to be a master of interior decorating, is not surprisingly the gay sidekick. However, his homosexuality is only a matter of fact, and not a source of comedy. In fact, quite the opposite, his sexuality is defended by the heroine of the show. Duryea’s comedic stereotypical portrayal however provides just the right amount of lightheartedness needed to keep the story moving towards its inevitable conclusion.

Michael Blevins choreography and direction are set to show audience members exactly how talented his cast is. From the intricate tap dancing numbers, to the grace of his leading players, the audience is given a complete tour of the talents that each of these actors hold. Of particular interest is Tim Falter’s dancing, which he makes seem effortless, often reminiscent of Gene Kelly or Fred Astaire. His technique is smooth and nearly fluid in movement.

The set, although sparse is ingenious in design, and utilized well. Painting opposite sides of the furniture different colors (pink and blue emphasizing balance in both storyline and production) provides multiple uses, while allowing less time between scene changes. These changes are completed quickly, with chorus members providing short dance pieces to keep the audience members entertained while set pieces are moved onto the stage.

Vangeli’s costume design provides excellent glimpses into the 1970’s with all it’s garish couture. Shimmering fabric with pant suits are back and fully help transport the audience back into the “Studio 54″ nightclub scene. Additionally Vangeli puts the chorus in “Fosse styled” black outfits, which both reveal the dancers abilities and refrain from upstaging the storyline. Balance is what is most important in this show, and the company of Seesaw provides just that. A balanced performance that leaves the audience wanting to see just a bit more.

Book by Michael Bennett
Music by Cy Coleman
Lyrics by Dorothy Fields
Directed by Michael Blevins
Stage Manager: Kelly Varley
Choreographer: Michael Blevins
Costume Designer: Vangeli
Musical Director: Christine Riley
Assistant Stage Manager: Mary Ann Penzero
Accompanist: Christine Riley
Second Keyboards: Sol Bloch
Bass: Scott Thorton
Percussion: Satch Vivenzio

Featuring: Jerry Ryan (Tim Falter), Gittel Mosca (Cristina Marie), David (Brian Duryea), Sophie (Janelle Neal), Julio Gonzales (Ryan Gregorio), Sparkle (Paul Aguirre), Ethel (Crystal Chapman), Sara Andreas, Ann Ehnes, Kevin B. Johnson, Stephanie Long, Geoffrey Mergele, Emily Knox Peterson, Jennifer Sanchez, Stacey Sipowicz, Sidney Erik Wright.

The Connelly Theatre
220 East 4th Street
New York, NY 10009
Between Avenue A & B

Closed March 15

Click the thumbnail above to find out about a cabaret fundraiser for the St. Bart’s Players on February 29th and March 1st, featuring Stage Buzz contributor David Pasteelnick.

Stage Buzz Review by Byrne Harrison

There are two shows called Austentatious currently playing at the Julia Miles Theater. One of them is a horrifyingly bad adaptation of Jane Austen’s ‘Pride and Prejudice’ being put on at a local community theatre by a group of mediocre thespians. The other is the fun musical about the birth of that production with music and lyrics by Matt Board and Joe Slabe, and book by Board, Slabe, Jane Caplow, Kate Galvin and Luisa Hinchliff. The former is as deliciously terrible as the latter is clever and amusing.

Austentatious the musical follows the birth of Austentatious the play being performed by the Central Riverdale Amateur Players. Their long-time creative director has left to do bigger and better things – dinner theatre – leaving the company without a leader. Hoping to fill that gap is Emily (Stacey Sargeant), a dancer/playwright/behind the scenes director, who has written Austentatious and is staging it with the help of Dominic (Stephen Bel Davies), a pretentious, wannabe director who has little knowledge of the theatre and even less of ‘Pride and Prejudice’ (he owns the DVD and is shocked to discover they made a book out of it).

The production is plagued by problems from the beginning. Only five people show up for the audition: Emily, who plans to star in the show she’s written; Jessica (Lisa Asher), a veteran of the Central Riverdale Amateur Players; Blake (Paul Wyatt), a young man with a bit of a drug habit who is using the play to get out of his group therapy sessions; and a couple, Lauren and David (Amy Goldberger and George Merrick) – she plans to play Elizabeth and he’s there to help her, not to audition. David, of course, ends up as Mr. Darcy, while Emily is cast as Elizabeth by her boyfriend, Dominic. Watching over them all is Sam (Stephanie D’Abruzzo), the stage manager. She is above the egos and the in-fighting. She only wants to see the show succeed.

What follows is a little bit of ‘Waiting for Guffman’ with some Noises Off thrown in. Along the way there are some wonderful songs, a love story, a full-fledged meltdown by the overworked and underappreciated Sam, and a dance-off between Elizabeth Bennet and her sister, the Pirate Queen, on 42nd Street in New York City (seriously). It’s a fun, silly, crazy adventure that culminates in an awful, but wildly amusing production of the play.

For a musical, however, Austentatious seems a little light on music. Board and Slabe’s songs are good, especially Sam’s “I Manage,” David’s sweet “By the Book,” and the full company number “Tech,” which shows the technical rehearsal before the play opens. But several of the songs merely peer into the characters’ inner lives and motivations, which is interesting, I suppose, but in most cases doesn’t cover anything that the book and the actors themselves haven’t conveyed.

In addition, it’s worth noting that the most hilarious portion of the musical, the actual performance of Austentatious has no musical numbers, other than the dance-off.

Acting is solid throughout the production, with particularly good work by Stephanie D’Abruzzo, Stephen Bel Davies, and Paul Wyatt.

Austentatious, like most of the musicals in the festival, shares its space with other productions. Given that limitation, set designer Jesse Poleshuck and lighting designer Jeff Croiter do an excellent job. Also commendable is Sarah Maiorino’s costume design. The costumes for the play within the play were marvelous, and the street clothes worn by the actors seemed to fit each one’s personality to a tee.

Austentatious is a fun musical with a few flaws that might bother critics, but probably won’t interfere with your enjoyment of the show. It’s well worth a look.

Music and Lyrics by Matt Board and Joe Slabe
Book by Matt Board, Jane Caplow, Kate Galvin, Luisa Hinchliff, and Joe Slabe Directed by Mary Catherine Burke
Musical Director: Matt Castle
Choreographer: Rhonda Miller
Asst. Choreographer: Jennifer Littlefield
Stage Manager: Leah McVeigh
ASM/Prop Master: Marianne Ward
Scenic Design: Jesse Poleshuck
Lighting Design: Jeff Croiter
Lighting Programmer: Ku’uipo Curry
Costume Design: Sarah Maiorino
Costume Assistant: Elizabeth Ektefaei
Technical Supervisor: Nathan Watson
Set Construction: No Time for Love Productions, Ken Larson Company
Publicity: Sun Productions, Inc.
Producing Consultant: David Carpenter

Featuring Lisa Asher (Jessica), Stephen Bel Davies (Dominic), Stephanie D’Abruzzo (Sam), Amy Goldberger (Lauren), George Merrick (David), Stacey Sargeant (Emily), Paul Wyatt (Blake)

Featured Musicians: Matt Castle (Piano), Christopher Downes (Bass), Michael Klopp (Drums)

Julia Miles Theater
424 W. 55th Street

Closed Sunday, September 29th

Stage Buzz Review by Byrne Harrison

Science fiction films from the ’50s and ’60s have provided marvelous fodder for parodists. Their bright-eyed optimism, cheesy special effects and unabashed anticommunist messages seem to be especially fertile ground – witness such shows as Little Shop of Horrors, The Rocky Horror Picture Show, Zombie Prom, and Reefer Madness (okay, not technically sci fi based, but it has the right vibe). Also consider Mystery Science Theater 3000, a show created to mock these over-earnest, over-acted films.

For The Brain From Planet X, writers Bruce Kimmel and David Wechter have created a show that is, at its best, a kitschy send-up of those sci fi groaners. Unfortunately, due primarily to a weak book, static direction by Kimmel, some lame borscht belt one-liners and sight gags, and a rather uncomfortable audience participation segment, the show never really lives up to its full potential.

The Brain From Planet X, predictably, deals with an invasion from outer space. It’s 1958 and aliens have set their sights on the San Fernando Valley. They won’t stop until all mankind is enslaved. The Brain (Barry Pearl), with sidekicks Yoni (Alet Taylor) and Zubrick (Cason Murphy) in tow, has the ultimate weapon, a Mind-Bending Ray, that saps the will from anyone who gets zapped by it. Only the Bunson family - good, upstanding, God-fearing Americans - stand in their way. Can the Bunsons stop the invasion and save mankind? Probably. But it’s the how and when that make it fun.

The show is certainly not without its charms. Foremost among these are Bruce Kimmel’s delightful songs. The opening number “The Brain from Planet X” gets the show off to a rousing start, aided by some able choreography by Adam Cates. Kimmel shows good range throughout the show with such songs as “Good Girl/Bad Girl,” “The World of Tomorrow,” his ironic look at the future from the standpoint of the ’50s, the fun and Sondheim-styled “Things Are Gonna Be Changing Around Here,” a duet featuring Amy Bodnar and Rob Evan, and the wild, though totally inappropriate for the show, “The Brain Tap,” a tap dance number which sounds like it could easily find a home in The Drowsy Chaperone.

Even the book has its moments. The role of the Narrator (played with mock seriousness by Benjamin Clark) is spot on. From his notice that a nurse is standing by to assist those whose constitutions might too weak for a show this terrifying to his explanation of the wonder of Feel-O-Rama (a brilliant touch by Kimmel and Wechter), he pokes fun at the terrific excesses of these films. Indeed, when the dialogue is following or even slightly mocking the overwrought dialogue from the ’50s films, it works. It’s when the show veers toward total camp, cheesy one-liners, and novelty songs that it loses steam.

Even when the book doesn’t come through, the acting goes a long way toward making up for it. Of particular note are Merrill Grant as Donna Bunson, the good girl who really wants to be bad, Alet Taylor as the man-hungry space alien, Yoni. The pixyish Grant shows off her athletic ability and comic timing in “Good Girl/Bad Girl,” while trying her best to seduce her beatnik boyfriend (Paul Downs Colaizzo). Taylor shines at several points, most notably during her song “I Need An Earthman.” Chad Harlow deserves praise for his work as Private Partz, a non-speaking role that he plays with much aplomb. A mere roll of his eyes is enough to get the audience laughing.

Also worth noting is the herculean effort put forth by Barry Pearl as the Brain. Covered from neck to feet by a black sheath and wearing a gigantic brain helmet (one of many wonderful costumes designed by Jessa-Raye Court) so he appears to be a giant floating brain, he nonetheless manages to be dynamic and amusing.

The Brain From Planet X has its share of flaws, but if you are a fan of the old sci fi movies it sends up, or just want to enjoy some good music, it’s worth checking out. If you have a low tolerance for cheesy one-liners, this one probably isn’t for you.

Book by David Wechter and Bruce Kimmel
Music and Lyrics by Bruce Kimmel Directed by Bruce Kimmel
Choreographed by Adam Cates
Scenic Design: Heather Wolensky
Costume Design: Jessa-Raye Court
Lighting Design: Jason Scott
Sound Designer: Sara Even
Orchestrations: Larry Moore
Additional Vocal and Dance Arrangements: Lawrence Goldberg
Technical Director: Travis Walker
Stage Manager: Rachel Maier
Music Direction/Conductor: Lawrence Goldberg
Casting: Michael Cassara Casting
Publicist: Sun Productions, Inc.
General Management: Martian Entertainment, Carl D. White, Lauren P. Yates

Featuring Amy Bodnar (Joyce Bunson), Benjamin Clark (Narrator/Professor Leder), Paul Downs Colaizzo (Rod), Rob Evan (Fred Bunson), Merrill Grant (Donna Bunson), Chad Harlow (Private Partz/Ensemble), Joe Jackson (Ensemble), Naomi Kakuk (Ensemble), Cason Murphy (Zubrick), Denise Payne (Ensemble), Barry Pearl (The Brain), Richard Pruitt (General Mills), Alet Taylor (Yoni), Erin Webley (Ensemble), Steven Wenslawski (Ensemble)

Featured Musicians: Lawrence Goldberg (Keyboard 1), Brian Cimmet (Keyboard 2), Greg Thymius (Reeds), Marc Schmied (Bass), Aaron Russell (Drums)

Acorn Theatre
410 W. 42nd Street

Closes Sunday, September 30th, see www.nymf.org for schedule and tickets