Nosedive Productions presents:
“Just Say Nosedive!”
Their Annual Peer Outreach Debauchery Fundraiser Show
Featuring Comedy, Music, Drinking and Can-Do Attitude
Saturday, February 24 at the EAT Studio Space on 311 West 43rd Street, 5th Floor (between 8th and 9th avenues)
Doors open at 10 p.m., show starts around 11 or so.
$20 at the door, all you can drink
Money for this fundraiser goes to their spring show, Suburban Peepshow.
Friday, February 16, 2007
Thursday, February 15, 2007
Fundraiser - “My First Time” Benefit
CW 11 NEWS AND CENTER STAGE JOIN MY FIRST TIME BENEFIT
SUSAN BLACKWELL HEATH CALVERT RICK CROM JEFFRY DENMAN
ED DIXON HUNTER FOSTER STEPHANIE KURTZUBA
MEGAN REINKING AND ASA SOMERS
JOIN
HUNTER BELL MATTHEW CAVENAUGH ANITA GILLETTE
TERRI KLAUSNER GARRETT LONG MARY TESTA AND JOHN TARTAGLIA
“MY FIRST TIME” An All-Star Concert To Benefit Quality Services for the Autistic Community (QSAC)
Directed by
IGOR GOLDIN
Musical Direction by
DAVID ANDREWS ROGERS
ONE NIGHT ONLY!
MONDAY, FEBRUARY 26 AT NEW WORLD STAGES
TICKETS ON SALE NOW
On Monday, February 26, producers Derek Collard and Gary Maffei are pleased to present “MY FIRST TIME,” an all-star Broadway concert to benefit Quality Services for the Autistic Community (QSAC). Directed by Igor Goldin (”A Ritual of Faith”) with musical direction by David Andrews Rogers, “MY FIRST TIME” will take place at New World Stages (340 West 50th St.) at 7 p.m.
Featuring performances by
Hunter Bell [title of show]
Susan Blackwell - [title of show]
Heath Calvert (Good Vibrations, The Children)
Matt Cavenaugh (Urban Cowboy, Grey Gardens)
Rick Crom (Urinetown, Footloose, The Goodbye Girl)
Jeffry Denman (The Producers, White Christmas)
Ed Dixon (Les Miserables, Under the Bridge)
Hunter Foster (Urinetown, Little Shop Of Horrors, The Producers)
Anita Gillette (Moonstruck, Carnival, Cabaret)
Terri Klausner (Evita, Sophisticated Ladies)
Stephanie Kurtzuba (The Boy From Oz, Mary Poppins)
Garrett Long (The Spitfire Grill, Seussical)
Megan Reinking - (Lestat, Dracula)
Asa Somers (Grey Gardens, Taboo)
John Tartaglia (Avenue Q, Beauty and the Beast)
Mary Testa (On The Town, 42nd Street, Regrets Only)
The Concert will be opened by CW 11 News at 10 Anchor Jim Watkins and closed by students from Center Stage Players from the Center Stage Theatre Company in Westport, CT singing Seasons of Change from RENT joined by a possible surprise guest.
The concert features a variety of first-hand stories and songs from the performers’ own “first” experiences, such as the first show they were in, their first professional stage success or the first show or star that inspired them to follow their hearts to Broadway. Additional performers will be announced soon.
Director Igor Goldin received the 2006 Award for Excellence in Direction for his work on Common Grounds in the 2006 New York Musical Theatre Festival. Previously with NYMF he directed Joseph and David Zellnik’s World War II musical Yank! His Off-Broadway credits include the critically acclaimed New York premieres of A Ritual of Faith”(The Lion Theatre) and the musical The Snow Queen (The Triad).
Tickets for this one-night-only event can be reserved by calling QSAC directly at 212-244-5560 ext. 2035. Tickets are priced at $25, $45 and $65.
For further information on “MY FIRST TIME” and QSAC, please contact Derek Collard at derektravis@mac.com or visit http://benefit.qsac.com/.
Saturday, February 10, 2007
Fundraiser - Love ‘n Courage Benefit
ELAINE STRITCH AND CHARLES BUSCH HEADLINE
“LOVE ‘N COURAGE”
4TH ANNUAL BENEFIT FOR THEATER FOR THE NEW CITY’S
EMERGING PLAYWRIGHTS PROGRAM
ONE NIGHT ONLY - FEBRUARY 12
ONE NIGHT ONLY - FEBRUARY 12
AT THE NATIONAL ARTS CLUB (15 GRAMERCY PARK SOUTH)
ALSO SCHEDULED TO APPEAR:
TAMMY GRIMES, ELI WALLACH, ANNE JACKSON AND BEN HARBURG
PLUS SELECTED SCENES FROM NEW WORKS INCLUDING “NUTCRACKER: RATED R,” AND THE NEW MUSICAL
“THE FURTHER ADVENTURES OF UNCLE WIGGILY: THE WINDBLOWN VISITORS”
AND MUCH MORE!
“‘Love and courage’ are what a playwright needs to thrive in this field, and ‘love and encourage’ is what Theater for the New City does!” - Crystal Field, Theatre for the New City Executive Artistic Director
Theater for the New City presents LOVE ‘N COURAGE, the 4th annual benefit for Theater for the New City’s Emerging Playwrights Program, it has been announced by Crystal Field, Executive Artistic Director of Theater for the New City. Hosted by playwright and actor Charles Busch, and featuring Elaine Stritch, this year’s benefit takes place at the beautiful National Arts Club (15 Gramercy Park South), on Monday, February 12, with cocktails beginning at 6:30pm, followed by dinner and performances.
Emcee Charles Busch, writer and star of such plays as THE LADY IN QUESTION, RED SCARE ON SUNSET and VAMPIRE LESBIANS OF SODOM and author of the Tony Award-nominated play THE TALE OF THE ALLERGIST’S WIFE, will host and sing.
Legendary Tony Award-winner Elaine Stritch will read a selection from a new play. Ms. Stritch is best-known for originating roles on Broadway in COMPANY, SAIL AWAY, GOLDILOCKS, and her Tony Award-winning solo play with music, ELAINE STRITCH AT LIBERTY.
Celebrated actors Tammy Grimes, Eli Wallach and Anne Jackson are also scheduled to appear. Ben Harburg will perform the songs of his grandfather, legendary composer Yip Harburg (FINIAN’S RAINBOW, BLOOMER GIRL, and “The Wizard of Oz”).
Selected scenes from Theater for the New City’s current season will showcase the works of recently discovered artists, including the sexy ballet company The Love Show, who will perform an excerpt from their show NUTCRACKER: RATED R. The evening will also feature scenes from Laurel Hessing’s new musical THE FURTHER ADVENTURES OF UNCLE WIGGILY: THE WINDBLOWN VISITORS with music by Arthur Abrams. LOVE ‘N COURAGE concludes with an open-mic piano bar and sing-a-long accompanied by Mr. Abrams.
Celebrating its 35th year, Theatre for the New City is a long-running bastion for new theatrical works. Often, talented emerging playwrights find themselves competing for funding with more established writers; Theater for the New City’s mission is to offer “love and encouragement” to these struggling artists with its Emerging Playwrights Program, established in 1971. O. Aldon James Jr., head of The National Arts Club, has taken an interest in Theater for the New City’s mission, and the organizations are working together to present this year’s incarnation of LOVE ‘N COURAGE.
“Emerging playwrights are writers of great promise who have yet to fulfill their artistic goals, but whose visions are high,” explains Ms. Field, whose Emerging Playwrights Program takes in fledgling and untried writers, offering a nurturing environment where new authors can flourish, and often realize their first fully produced work at Theater for the New City.
The Emerging Playwrights Program represents 60 percent of the nearly 40 new plays produced annually by Theater for the New City, giving playwrights a professional forum in which to experiment and develop as theater artists, and introducing fresh ideas and energy into the mainstream of American playwriting.
Through the Emerging Playwrights Program, up-and-coming writers meet and have access to experienced designers, directors and performers. The emerging playwright is surrounded by dedicated professionals in an atmosphere of high standards and supportive collaboration. Theater for the New City has an open-door policy towards new work — considering plays of any style, genre and political thrust — and reading every script submitted. The company also produces and commissions plays by some of the better-known American playwrights such as Maria Irene Fornes, Rosalyn Drexler, Sam Shepard, Ronald Tavel, Amlin Gray and Harry Kondoleon.
LOVE ‘N COURAGE is chaired by Betsy von Furstenberg, and the benefit committee includes F. Murray Abraham, Frank Biancamano, Jean Buchalter Vinie Burrows, Charles Busch, Martha Coigney, Myrna Duarte, Rina Elisha, Crystal Field, Assembly Member Deborah Glick, Tammy Grimes, Phillip Hackett, Dina & Ernie Harburg, Kitty Carlisle Hart, Judd Hirsch, Anne Jackson, Uke Jackson, O. Aldon James, Joyce & Seward Johnson, Robert & Celia Kornfeld, Romulus Linney, Eduardo Machado, Councilmember Rosie Mendez, Alberto Minero, Grace Paley, John Roberts, Tim Robbins, Gerald Rupp, Marian Seldes, Elaine Stritch, Jerry Tallmer, Mary Tierney, Jean-Claude Van Itallie, Glyn Vincent, Eli Wallach, and Jonathan Weber.
LOVE ‘N COURAGE, the 4th annual benefit for Theater for the New City’s Emerging Playwrights Program will be held at The National Arts Club (15 Gramercy Park South) on Monday, February 12; Cocktails begin at 6:30pm; dinner at 7:00pm, followed by performances at 8:00pm.
Tickets are $125. For reservations and additional information, please call 212-254-1109.
Monday, February 5, 2007
Interview with Chris Hampton of the WYSIWYG Talent Show
Stage Buzz Interview by Byrne Harrison
Chris Hampton is a blogger and co-creator of the WYSIWYG Talent Show, “a monthly showcase for the oft-overlooked genius of bloggers in or visiting New York City,” which kicks off its fourth season on Valentine’s Day, February 14th, at the Bowery Poetry Club.
BH: Since there are probably quite a few people out there who have no idea what the WYSIWYG Talent Show is, can you tell them how it all came to be?
CH: We’re an all-blogger reading/performance series and we do monthly shows at Bowery Poetry Club. We did our first show in February of ‘04. Andy Horwitz and I were at a party, swapping Valentine’s Day stories, which led to a couple of bad-sex-on-Valentine’s-Day stories, and we got to talking about how everyone has at least one bad sex story, and we started thinking it would make for a really funny show. So we decided to try it, and being bloggers ourselves we thought having all the performers be bloggers would be an interesting angle. The first show was such a big success that we decided to make it a monthly thing. It’s not about bad sex every time — it’s about all kinds of stuff — but we still do that every year as an anti-Valentine’s Day event because it’s just too much fun not to.
BH: So this month’s performance is your anti-Valentine’s Day show, ‘Worst. Sex. Ever. IV.’ Along with the annual gay pride show, this one always sells out. What can a first-time WYSIWYG audience member expect?
CH: Cocktails, lots of laughter and schadenfreude! Your own sex life will suddenly seem SO great by comparison.
BH: You’ve performed in several of the ‘Worst. Sex. Ever.’ shows. What dirty laundry have you aired in the past?
CH: At our very first show I told the story of how a past girlfriend once tried to surprise me with a sexy evening. Except she worked at this group home for developmentally disabled men, so she ended up sneaking me in there for the whole thing. Not very easy to get your groove on when there’s a guy pounding on the door yelling about how he pooped his pants.
BH: Unless that’s your thing, I guess, but let’s not go there. Can you give us a hint about what you’ll be doing for this year’s show?
CH: This year I’m going to be doing a roundup of all the bad sex I managed to have in 2006. I think I might do a PowerPoint presentation.
BH: Going back to the themes for a moment, WYSIWYG has covered everything from bad roommates to lousy jobs to high school trauma. Any topics that are especially near and dear to you?
CH: The bad roommates one was awesome, in part because of what I think may be my favorite line ever at a WYSIWYG show. One of the perfomers told us all about how his hellish roommate was once in the next room with a guest and he heard, through the wall: “Make a mess for daddy!”
Maybe you had to be there.
BH: Actually, I was. That image was seared into my brain.
CH: I have to say, though, that my favorites are the annual “Worst. Sex. Ever.” and “Extremely Gay Gayness” show. They’re just always hilarious.
BH: Now that WYSIWYG is entering its fourth year, I imagine you’ve seen a lot of talented people perform. Do you have any particular favorites?
CH: Hmm. Maybe Susie Felber’s story from a show about summer camp experiences. Her mother was one of those touchy-feely moms who think ALL children are special — so she innocently and cluelessly signed Susie up for a camp for “special” children. But it’s REALLY hard to pick just one!
BH: Fair enough. What do you think it takes to be a good WYSIWYG performer?
CH: I think you just have to have an interesting story to tell and an ability to put it out there in your own voice.
BH: Not always an easy task, I imagine. If someone wants to take the plunge and perform at WYSIWYG, what do they need to do?
CH: They have to have a blog, since that’s our whole schtick, and they can just visit our website and they’ll find all sorts of info about the show, including upcoming dates and contact information.
BH: What’s planned for the rest of the year?
CH: We’re experimenting with not doing themes each month. I’ve had a lot of people who would be great for the show but didn’t have stories or material that matched any of the upcoming themes, so we’re opening it up and making it something of a free-for-all. So far it’s been really fun!
WYSIWYG Talent Show: “Worst. Sex. Ever. IV.”
Wednesday, February 14th
8 p.m. (Doors open at 7:30)
Bowery Poetry Club
308 Bowery at Bleecker
For advance tickets, click here.
Chris Hampton is a blogger and co-creator of the WYSIWYG Talent Show, “a monthly showcase for the oft-overlooked genius of bloggers in or visiting New York City,” which kicks off its fourth season on Valentine’s Day, February 14th, at the Bowery Poetry Club.
BH: Since there are probably quite a few people out there who have no idea what the WYSIWYG Talent Show is, can you tell them how it all came to be?
CH: We’re an all-blogger reading/performance series and we do monthly shows at Bowery Poetry Club. We did our first show in February of ‘04. Andy Horwitz and I were at a party, swapping Valentine’s Day stories, which led to a couple of bad-sex-on-Valentine’s-Day stories, and we got to talking about how everyone has at least one bad sex story, and we started thinking it would make for a really funny show. So we decided to try it, and being bloggers ourselves we thought having all the performers be bloggers would be an interesting angle. The first show was such a big success that we decided to make it a monthly thing. It’s not about bad sex every time — it’s about all kinds of stuff — but we still do that every year as an anti-Valentine’s Day event because it’s just too much fun not to.
BH: So this month’s performance is your anti-Valentine’s Day show, ‘Worst. Sex. Ever. IV.’ Along with the annual gay pride show, this one always sells out. What can a first-time WYSIWYG audience member expect?
CH: Cocktails, lots of laughter and schadenfreude! Your own sex life will suddenly seem SO great by comparison.
BH: You’ve performed in several of the ‘Worst. Sex. Ever.’ shows. What dirty laundry have you aired in the past?
CH: At our very first show I told the story of how a past girlfriend once tried to surprise me with a sexy evening. Except she worked at this group home for developmentally disabled men, so she ended up sneaking me in there for the whole thing. Not very easy to get your groove on when there’s a guy pounding on the door yelling about how he pooped his pants.
BH: Unless that’s your thing, I guess, but let’s not go there. Can you give us a hint about what you’ll be doing for this year’s show?
CH: This year I’m going to be doing a roundup of all the bad sex I managed to have in 2006. I think I might do a PowerPoint presentation.
BH: Going back to the themes for a moment, WYSIWYG has covered everything from bad roommates to lousy jobs to high school trauma. Any topics that are especially near and dear to you?
CH: The bad roommates one was awesome, in part because of what I think may be my favorite line ever at a WYSIWYG show. One of the perfomers told us all about how his hellish roommate was once in the next room with a guest and he heard, through the wall: “Make a mess for daddy!”
Maybe you had to be there.
BH: Actually, I was. That image was seared into my brain.
CH: I have to say, though, that my favorites are the annual “Worst. Sex. Ever.” and “Extremely Gay Gayness” show. They’re just always hilarious.
BH: Now that WYSIWYG is entering its fourth year, I imagine you’ve seen a lot of talented people perform. Do you have any particular favorites?
CH: Hmm. Maybe Susie Felber’s story from a show about summer camp experiences. Her mother was one of those touchy-feely moms who think ALL children are special — so she innocently and cluelessly signed Susie up for a camp for “special” children. But it’s REALLY hard to pick just one!
BH: Fair enough. What do you think it takes to be a good WYSIWYG performer?
CH: I think you just have to have an interesting story to tell and an ability to put it out there in your own voice.
BH: Not always an easy task, I imagine. If someone wants to take the plunge and perform at WYSIWYG, what do they need to do?
CH: They have to have a blog, since that’s our whole schtick, and they can just visit our website and they’ll find all sorts of info about the show, including upcoming dates and contact information.
BH: What’s planned for the rest of the year?
CH: We’re experimenting with not doing themes each month. I’ve had a lot of people who would be great for the show but didn’t have stories or material that matched any of the upcoming themes, so we’re opening it up and making it something of a free-for-all. So far it’s been really fun!
WYSIWYG Talent Show: “Worst. Sex. Ever. IV.”
Wednesday, February 14th
8 p.m. (Doors open at 7:30)
Bowery Poetry Club
308 Bowery at Bleecker
For advance tickets, click here.
Sunday, February 4, 2007
Review - Apocalypse Neo (NY Neo Futurists and Horse Trade Theatre)
Stage Buzz Review by Byrne Harrison
Those people who’ve only experienced the NY Neo-Futurists through Too Much Light Makes the Baby Go Blind (TMLMTBGB), their late night show featuring thirty plays in sixty minutes, may legitimately wonder if the they can pull off a mainstage production featuring three longer plays and still maintain the same wild energy, innovative spirit, and anarchistic vibe. Good news . . . they can, and remarkably well, at that.
Apocalypse Neo, presented by the NY Neo-Futurists and Horse Trade Theatre and currently playing at the Kraine Theater, is a three-play Neo-Futurist look at the end of the world. It has everything that a TMLMTBGB audience has come to expect: actors playing themselves; confessions; revelations; music; rhythm; audience participation; props; humor; sympathy; pizza; time limits; and the occasional naughty bit. All this in a longer format that allows the audience to completely immerse itself in the plays, something that is harder to do in TMLMTBGB.
The first play, Crystal Skillman’s Revelations of a City of Us, imagines Clay Adams as the last man on Earth. Or rather, it imagines Clay imagining he’s the last man on Earth. The apocalypse hasn’t happened, but Clay is going to give it a dry run to make sure he’s prepared. Joined by the last women on Earth, Tara Perry, Lauren Kincheloe, Sharon Freedman, and Jenny Williams, Clay muses on the nature of the end of the world, survival, Neo-Futurism, pizza and zombies. Along the way the survivors discover that the end of the world may not be too different from the way it is now.
Justin Tolley’s play, In which the end of the world . . . , is the second of the evening, and the one most recognizable as the offspring of TMLMTBGB. It is set up as a debate between two teams: one arguing that the apocalypse will happen during our lifetime; the other arguing that it won’t. Each team gets to make an opening argument, rebuttal, cross-examination, and final concluding rebuttal. Each argument and rebuttal is, in and of itself, a separate play, chosen by the team from several possible plays prepared by the actors in the show. Like TMLMTBGB, no two audiences will see the exactly the same lineup. The evening I saw the show, it featured two particularly good pieces: Popcorn, a video montage showing the horrible things, real and imagined, that are ushering in the apocalypse; and There’s So Much To Do, a piece that is one of the most life-affirming things I’ve seen in a long time. At the end of all the arguments, moderator Rob Neill makes the audience choose which team wins, and in effect, whether we win or not.
The final play, Rob Neill’s Monkeyland II (anatk 21.10), is my favorite one in Apocalypse Neo, and unfortunately, the hardest to describe. It won’t be everyone’s cup of tea; the play has a mythic, avant garde quality that people who prefer representational theatre may not appreciate. However, if you can approach the play with an open and accepting mind, and believe that a windup toy monkey can be a post-apocalyptic wandering hero, it is pretty amazing.
Apocalypse Neo has an extremely limited run - six performances ending Saturday, February 10th. Do yourself a favor; go to one of them before the show closes. And if you attend Friday or Saturday’s show, do yourself another favor; stick around and see Too Much Light Makes the Baby Go Blind. You’ll be glad you did.
Revelations of a City of Us
Written by Crystal Skillman
Directed by Chris Dippel
Performed by Tara Perry, Lauren Kincheloe, Sharon Freedman, Jenny Williams, Clay Adams
In which the end of the world . . .
Created by Justin Tolley
Written and performed by Erica Livingston, Lindsay Brandon Hunter, Emma Gordon, Michael Davis, Jarrod Zayas, Justin Tolley, Rob Neill
Directed by Mark Armstrong
Monkeyland II (anatk 21.10)
Written by Rob Neill
Directed by Jacquelyn Landgraf
Performed by Eevin Hartsough, Ryan Good, Jorge Cordova, Leslie Korein
The Kraine Theater
85 East 4th Street
http://www.nynf.org/
Thursdays, Fridays and Saturdays at 8pm through February 10th
Those people who’ve only experienced the NY Neo-Futurists through Too Much Light Makes the Baby Go Blind (TMLMTBGB), their late night show featuring thirty plays in sixty minutes, may legitimately wonder if the they can pull off a mainstage production featuring three longer plays and still maintain the same wild energy, innovative spirit, and anarchistic vibe. Good news . . . they can, and remarkably well, at that.
Apocalypse Neo, presented by the NY Neo-Futurists and Horse Trade Theatre and currently playing at the Kraine Theater, is a three-play Neo-Futurist look at the end of the world. It has everything that a TMLMTBGB audience has come to expect: actors playing themselves; confessions; revelations; music; rhythm; audience participation; props; humor; sympathy; pizza; time limits; and the occasional naughty bit. All this in a longer format that allows the audience to completely immerse itself in the plays, something that is harder to do in TMLMTBGB.
The first play, Crystal Skillman’s Revelations of a City of Us, imagines Clay Adams as the last man on Earth. Or rather, it imagines Clay imagining he’s the last man on Earth. The apocalypse hasn’t happened, but Clay is going to give it a dry run to make sure he’s prepared. Joined by the last women on Earth, Tara Perry, Lauren Kincheloe, Sharon Freedman, and Jenny Williams, Clay muses on the nature of the end of the world, survival, Neo-Futurism, pizza and zombies. Along the way the survivors discover that the end of the world may not be too different from the way it is now.
Justin Tolley’s play, In which the end of the world . . . , is the second of the evening, and the one most recognizable as the offspring of TMLMTBGB. It is set up as a debate between two teams: one arguing that the apocalypse will happen during our lifetime; the other arguing that it won’t. Each team gets to make an opening argument, rebuttal, cross-examination, and final concluding rebuttal. Each argument and rebuttal is, in and of itself, a separate play, chosen by the team from several possible plays prepared by the actors in the show. Like TMLMTBGB, no two audiences will see the exactly the same lineup. The evening I saw the show, it featured two particularly good pieces: Popcorn, a video montage showing the horrible things, real and imagined, that are ushering in the apocalypse; and There’s So Much To Do, a piece that is one of the most life-affirming things I’ve seen in a long time. At the end of all the arguments, moderator Rob Neill makes the audience choose which team wins, and in effect, whether we win or not.
The final play, Rob Neill’s Monkeyland II (anatk 21.10), is my favorite one in Apocalypse Neo, and unfortunately, the hardest to describe. It won’t be everyone’s cup of tea; the play has a mythic, avant garde quality that people who prefer representational theatre may not appreciate. However, if you can approach the play with an open and accepting mind, and believe that a windup toy monkey can be a post-apocalyptic wandering hero, it is pretty amazing.
Apocalypse Neo has an extremely limited run - six performances ending Saturday, February 10th. Do yourself a favor; go to one of them before the show closes. And if you attend Friday or Saturday’s show, do yourself another favor; stick around and see Too Much Light Makes the Baby Go Blind. You’ll be glad you did.
Revelations of a City of Us
Written by Crystal Skillman
Directed by Chris Dippel
Performed by Tara Perry, Lauren Kincheloe, Sharon Freedman, Jenny Williams, Clay Adams
In which the end of the world . . .
Created by Justin Tolley
Written and performed by Erica Livingston, Lindsay Brandon Hunter, Emma Gordon, Michael Davis, Jarrod Zayas, Justin Tolley, Rob Neill
Directed by Mark Armstrong
Monkeyland II (anatk 21.10)
Written by Rob Neill
Directed by Jacquelyn Landgraf
Performed by Eevin Hartsough, Ryan Good, Jorge Cordova, Leslie Korein
The Kraine Theater
85 East 4th Street
http://www.nynf.org/
Thursdays, Fridays and Saturdays at 8pm through February 10th
Thursday, January 18, 2007
Review - The Servant of Two Masters (The New Globe Theatre, Inc.)
Stage Buzz Review by Byrne Harrison
When adapting a piece of classic theatre, many writers tend to modernize the play, either by cutting it mercilessly to better suit those with short attention spans, or by filling it with contemporary language and references for fear the audience might be too dim to follow slightly archaic language. It is a great pleasure to discover that Anne and Stuart Vaughan, in adapting Carlo Goldoni’s masterpiece, The Servant of Two Masters, decided that Goldoni knew what he was doing and left the play virtually intact.
Admittedly, there are times when the overwrought language makes the audience groan, but the characters are groaning right along, because this Servant is performed with a wink and a nod to an audience that is meant to be in on all the jokes.
The linchpin of the play is the wily, and perpetually hungry, servant Truffaldino (Steve Campbell), who signs on as the servant to two gentlemen, hoping to double his wages without either of them figuring out what’s going on. One these gentlemen is, in fact, a woman named Beatrice (Jana Mestecky) disguising herself as her dead brother. “His” arrival in Venice disrupts the engagement of Clarice (Alessandra Ziviani) and Silvio (Grant Kretchik), and kicks off a series of events that lead to wild misunderstandings, secret meetings, curses, a dual, a handful of attempted suicides, and, of course, the inevitable happy ending.
Campbell, as Truffaldino, handles the farce, wordplay, and physical humor well - imagine Matthew Broderick channeling Groucho Marx and you’ll get the idea. Also noteworthy are Gray Stevenson as Clarice’s flirty maid, Smeraldina, Rich Hollman, who gleefully mugs and preens as Beatrice’s lover, Florindo, and Ziviani and Kretchik as the interrupted lovers. Ziviani, in particular, has some wonderful scene-stealing moments.
The production did have a few flaws. Some of the slapstick bits went on too long and started to become stale. At several points, the play seemed to sputter and stall; scenes that should have been fast and frantic were instead filled with pauses and stage business that slowed them down. Mestecky’s Beatrice made no attempt to appear or sound masculine, other than by wearing men’s clothing and pulling her hair into a ponytail. This removed any possibility of exploring the frustration Beatrice must have experienced trying to pass, as well as the liberation the masquerade could provide. But generally speaking, these problems didn’t take too much away from the production.
On the technical side, the show featured a bright and versatile set designed by Bart Healy and some wonderful costumes from designer Martin A. Thaler. Fight director Craig Rising did a marvelous job as well, especially with a humorous swordfight between Beatrice and Silvio.
Despite its minor flaws, this is a generally strong production of a remarkably funny play. If you like classic farce, The Servant of Two Masters is well worth seeing.
Written by Carlo Goldoni
Adapted by Anne and Stuart Vaughan
Directed by Stuart Vaughan
Theatre 33
11 West 43rd Street, 3rd Floor
Through January 21st
Tues.-Sat.: 8 pm
Sat.: 2 pm
Sun: 3 pm
When adapting a piece of classic theatre, many writers tend to modernize the play, either by cutting it mercilessly to better suit those with short attention spans, or by filling it with contemporary language and references for fear the audience might be too dim to follow slightly archaic language. It is a great pleasure to discover that Anne and Stuart Vaughan, in adapting Carlo Goldoni’s masterpiece, The Servant of Two Masters, decided that Goldoni knew what he was doing and left the play virtually intact.
Admittedly, there are times when the overwrought language makes the audience groan, but the characters are groaning right along, because this Servant is performed with a wink and a nod to an audience that is meant to be in on all the jokes.
The linchpin of the play is the wily, and perpetually hungry, servant Truffaldino (Steve Campbell), who signs on as the servant to two gentlemen, hoping to double his wages without either of them figuring out what’s going on. One these gentlemen is, in fact, a woman named Beatrice (Jana Mestecky) disguising herself as her dead brother. “His” arrival in Venice disrupts the engagement of Clarice (Alessandra Ziviani) and Silvio (Grant Kretchik), and kicks off a series of events that lead to wild misunderstandings, secret meetings, curses, a dual, a handful of attempted suicides, and, of course, the inevitable happy ending.
Campbell, as Truffaldino, handles the farce, wordplay, and physical humor well - imagine Matthew Broderick channeling Groucho Marx and you’ll get the idea. Also noteworthy are Gray Stevenson as Clarice’s flirty maid, Smeraldina, Rich Hollman, who gleefully mugs and preens as Beatrice’s lover, Florindo, and Ziviani and Kretchik as the interrupted lovers. Ziviani, in particular, has some wonderful scene-stealing moments.
The production did have a few flaws. Some of the slapstick bits went on too long and started to become stale. At several points, the play seemed to sputter and stall; scenes that should have been fast and frantic were instead filled with pauses and stage business that slowed them down. Mestecky’s Beatrice made no attempt to appear or sound masculine, other than by wearing men’s clothing and pulling her hair into a ponytail. This removed any possibility of exploring the frustration Beatrice must have experienced trying to pass, as well as the liberation the masquerade could provide. But generally speaking, these problems didn’t take too much away from the production.
On the technical side, the show featured a bright and versatile set designed by Bart Healy and some wonderful costumes from designer Martin A. Thaler. Fight director Craig Rising did a marvelous job as well, especially with a humorous swordfight between Beatrice and Silvio.
Despite its minor flaws, this is a generally strong production of a remarkably funny play. If you like classic farce, The Servant of Two Masters is well worth seeing.
Written by Carlo Goldoni
Adapted by Anne and Stuart Vaughan
Directed by Stuart Vaughan
Theatre 33
11 West 43rd Street, 3rd Floor
Through January 21st
Tues.-Sat.: 8 pm
Sat.: 2 pm
Sun: 3 pm
Saturday, January 6, 2007
Review - Nutcracker: Rated R (Angela Harriell and Theater for the New City)
Stage Buzz Review by Byrne Harrison
There are those who will avoid Nutcracker: Rated R based on the title, assuming that this is a snarky parody of the beloved Christmas ballet. The truth of the matter, however, is that Angela Harriell has created a unique and intriguing work that is at once an elegant homage to Tchaikovsky’s original, a sly send up of New York in the 1980s and today, and a showcase for her considerable talents as a choreographer and dramatist and her cast as dancers and actors.
In this version of the Nutcracker, Clara (Juliana Smith) is a rebellious teen attending a Christmas party with her family. Her strange uncle Drosselmeyer (David F. Slone, Esq.) gives her, not a nutcracker, but an album by an androgynous singer from the ‘80s called Firecrotch. Left behind by the drunken partygoers, Clara falls asleep in the restaurant and sees the battle between the Rats (in this version, very sexy rats) and the suited and cellphoned Corporate Soldiers.
Where Tchaikovsky has Clara dance with her nutcracker, Harriell has her dance with the Firecrotch Record, using some very amusing choreography. Imagine how a record would move and you’ll get a sense of it. Drosselmeyer’s record is, of course, magic, and it sends her back in time to New York in the ‘80s. It’s there that Harriell shines as a choreographer, weaving a Spanish block party, Chinese delivery people, strippers, coke addicts, and even street people into amazing dance numbers. Two pieces in particular were spectacular: The Blow Fairies, which showed the highs and lows of cocaine addiction; and Derelicts, a sublime dance featuring two homeless people in Central Park. Eventually, Drosselmeyer shows Clara her parents in their youth and takes her to The Stall Club where she finally gets to meet her idol, Firecrotch.
This remarkable show features a talented ensemble of dancers and actors, all of whom, with the exception of Slone, play multiple roles. Of particular note are Amber Shirley, a beautiful and athletic dancer who plays the Rat Queen, Jesus Chapa-Malacara, who is outstanding in both Derelicts and The Blow Fairies, Clare Tobin, as the Blow Queen, and Joseph Schles, who is amusing as hell as a Chinese delivery boy in Race of the Dragons. The cast also includes Gregory Dubin, Christopher L. Dunston, Christina Johnson, Kimberly Lantz, Kate Lawrence, Adam Pellegrine, Renee Scalise, and Emma Stein.
Hopefully, this is not the last we’ll see of Nutcracker: Rated R.
Choreographed by Angela Harriell
http://www.nutcrackerratedr.com
Theater for the New City
155 First Avenue
There are those who will avoid Nutcracker: Rated R based on the title, assuming that this is a snarky parody of the beloved Christmas ballet. The truth of the matter, however, is that Angela Harriell has created a unique and intriguing work that is at once an elegant homage to Tchaikovsky’s original, a sly send up of New York in the 1980s and today, and a showcase for her considerable talents as a choreographer and dramatist and her cast as dancers and actors.
In this version of the Nutcracker, Clara (Juliana Smith) is a rebellious teen attending a Christmas party with her family. Her strange uncle Drosselmeyer (David F. Slone, Esq.) gives her, not a nutcracker, but an album by an androgynous singer from the ‘80s called Firecrotch. Left behind by the drunken partygoers, Clara falls asleep in the restaurant and sees the battle between the Rats (in this version, very sexy rats) and the suited and cellphoned Corporate Soldiers.
Where Tchaikovsky has Clara dance with her nutcracker, Harriell has her dance with the Firecrotch Record, using some very amusing choreography. Imagine how a record would move and you’ll get a sense of it. Drosselmeyer’s record is, of course, magic, and it sends her back in time to New York in the ‘80s. It’s there that Harriell shines as a choreographer, weaving a Spanish block party, Chinese delivery people, strippers, coke addicts, and even street people into amazing dance numbers. Two pieces in particular were spectacular: The Blow Fairies, which showed the highs and lows of cocaine addiction; and Derelicts, a sublime dance featuring two homeless people in Central Park. Eventually, Drosselmeyer shows Clara her parents in their youth and takes her to The Stall Club where she finally gets to meet her idol, Firecrotch.
This remarkable show features a talented ensemble of dancers and actors, all of whom, with the exception of Slone, play multiple roles. Of particular note are Amber Shirley, a beautiful and athletic dancer who plays the Rat Queen, Jesus Chapa-Malacara, who is outstanding in both Derelicts and The Blow Fairies, Clare Tobin, as the Blow Queen, and Joseph Schles, who is amusing as hell as a Chinese delivery boy in Race of the Dragons. The cast also includes Gregory Dubin, Christopher L. Dunston, Christina Johnson, Kimberly Lantz, Kate Lawrence, Adam Pellegrine, Renee Scalise, and Emma Stein.
Hopefully, this is not the last we’ll see of Nutcracker: Rated R.
Choreographed by Angela Harriell
http://www.nutcrackerratedr.com
Theater for the New City
155 First Avenue
Sunday, December 3, 2006
Review - Outing Wittgenstein (Castillo Theatre)
Stage Buzz Review by Byrne Harrison
Douglas Adams’ The Hitchiker’s Guide to the Galaxy introduces a drink called the Pan Galactic Gargle Blaster — the best alcoholic drink in existence — the effect of which is “like having your brains smashed out by a slice of lemon wrapped round a large gold brick.” The same can be said of the Castillo Theatre’s production of Fred Newman’s play Outing Wittgenstein; the show is rich, dense, and tart, but after nearly two hours of getting hit over the head with it, you’re ready for rehab.
Most of this is due to the play itself, not the work of the Castillo Theatre, which does a good job with the unconventional show. In the play, Austrian philosopher Ludwig Wittgenstein is brought back to life in order to appear on Sally McNally’s talk show, ‘This Is Your Death.’ And since any good ‘This Is Your Life’ knock-off has to feature friends of the guest, Sally’s team brings back an assortment of people from Ludwig’s life, including Bertrand Russell, Adolf Hitler, and Carmen Miranda. Wittgenstein is also joined by Wiggy, his flamboyantly gay alter-ego, who is intent on letting the world know that Wittgenstein was gay.
With me so far? Okay. Now throw in a condensed version of Wittgenstein’s philosophy from Tractatus to his theories on language, a story about his last words, a dance number featuring Carmen Miranda with Bertrand Russell as one of her backup dancers, an appearance by Gretl, Wittgenstein’s sister who is, oddly enough, Sally McNally’s alter ego, and there you have Outing Wittgenstein. At least the first act.
The second act moves from the television studio to Central Park where a group of friends are discussing Wittgenstein, his philosophy, his sexuality, and his appearance on Sally McNally’s show. Sexual secrets come to light and reality is turned on its head as the true nature of Wittgenstein, Wiggy, Sally, and any number of the other characters, is revealed in an incredible twist. That’s ‘incredible’ as in implausible to the point of eliciting disbelief.
This brings up the major problem of the play: it’s a farce that’s trying a little too hard to be educational — or perhaps vice versa. Newman wants his audience to come away from this play with an understanding of the basics of Wittgenstein’s philosophy, life, and influences, while addressing the nature of sexuality and identity. But he wants to do it in a rollicking and outrageous farce, full of wild characters and absurd situations. Unfortunately, the two do not combine well. This is especially obvious in the first act, where the absurdity of bringing a dead man (not to mention his gay alter ego) back to life for a talk show, then having a guest appearance by Hitler and a dance number with Carmen Miranda, is undercut by dialogue that sounds like a lecture in Philosophy 101.
The second act is better integrated, primarily because all of the philosophy and background has already been presented. As a result, the action moves faster, allowing the absurdity to shine.
The large cast is generally good, and features several outstanding performances. Chief among these are Kenneth Hughes as Herman, the randy announcer on ‘This Is Your Death,’ James Arden as Wittgenstein’s flamboyantly gay alter ego, and Gary Patent as Eddie Thomas, one of the friends in Central Park. If the actors in the show can be said to have any one problem, and this is more in the first act, it is that several of them seem unsure what they are supposed to do when not speaking. Some shut down, quietly marking time until their next line. One or two resorted to mugging for the audience. A firmer grip by director Dan Friedman could have helped manage this.
Castillo Theatre deserves high marks for the production values in Outing Wittgenstein. The decision to use two different theatre spaces, one for the talk show, another for Central Park, forces set designer Joseph Spirito to do double duty and he responds admirably, creating two very well-done sets. Alexander Casagrande’s lighting design complements both of them nicely. Also worth noting is Barry Z. Levine and Joseph Spirito’s video design used in ‘This Is Your Death’, which helped cement the illusion of being on a real talk show soundstage.
One final note about the production. It features several actors from Youth Onstage!, the youth theatre of the All Star Project, which brings performance-based educational programs to inner city youth in Newark and New York City. Castillo Theatre is to be commended for giving these talented youth an opportunity to be part of the Off-Off Broadway scene and part of an unusual and challenging play like Outing Wittgenstein. Considering how many young actors don’t get to do anything more challenging than Arsenic and Old Lace or Pippin in high school, this is a great thing. Here’s hoping that these young actors continue to pursue theatre in the future.
Written by Fred Newman
Directed by Dan Friedman
Castillo Theatre
543 West 42nd Street
Through December 3rd
Douglas Adams’ The Hitchiker’s Guide to the Galaxy introduces a drink called the Pan Galactic Gargle Blaster — the best alcoholic drink in existence — the effect of which is “like having your brains smashed out by a slice of lemon wrapped round a large gold brick.” The same can be said of the Castillo Theatre’s production of Fred Newman’s play Outing Wittgenstein; the show is rich, dense, and tart, but after nearly two hours of getting hit over the head with it, you’re ready for rehab.
Most of this is due to the play itself, not the work of the Castillo Theatre, which does a good job with the unconventional show. In the play, Austrian philosopher Ludwig Wittgenstein is brought back to life in order to appear on Sally McNally’s talk show, ‘This Is Your Death.’ And since any good ‘This Is Your Life’ knock-off has to feature friends of the guest, Sally’s team brings back an assortment of people from Ludwig’s life, including Bertrand Russell, Adolf Hitler, and Carmen Miranda. Wittgenstein is also joined by Wiggy, his flamboyantly gay alter-ego, who is intent on letting the world know that Wittgenstein was gay.
With me so far? Okay. Now throw in a condensed version of Wittgenstein’s philosophy from Tractatus to his theories on language, a story about his last words, a dance number featuring Carmen Miranda with Bertrand Russell as one of her backup dancers, an appearance by Gretl, Wittgenstein’s sister who is, oddly enough, Sally McNally’s alter ego, and there you have Outing Wittgenstein. At least the first act.
The second act moves from the television studio to Central Park where a group of friends are discussing Wittgenstein, his philosophy, his sexuality, and his appearance on Sally McNally’s show. Sexual secrets come to light and reality is turned on its head as the true nature of Wittgenstein, Wiggy, Sally, and any number of the other characters, is revealed in an incredible twist. That’s ‘incredible’ as in implausible to the point of eliciting disbelief.
This brings up the major problem of the play: it’s a farce that’s trying a little too hard to be educational — or perhaps vice versa. Newman wants his audience to come away from this play with an understanding of the basics of Wittgenstein’s philosophy, life, and influences, while addressing the nature of sexuality and identity. But he wants to do it in a rollicking and outrageous farce, full of wild characters and absurd situations. Unfortunately, the two do not combine well. This is especially obvious in the first act, where the absurdity of bringing a dead man (not to mention his gay alter ego) back to life for a talk show, then having a guest appearance by Hitler and a dance number with Carmen Miranda, is undercut by dialogue that sounds like a lecture in Philosophy 101.
The second act is better integrated, primarily because all of the philosophy and background has already been presented. As a result, the action moves faster, allowing the absurdity to shine.
The large cast is generally good, and features several outstanding performances. Chief among these are Kenneth Hughes as Herman, the randy announcer on ‘This Is Your Death,’ James Arden as Wittgenstein’s flamboyantly gay alter ego, and Gary Patent as Eddie Thomas, one of the friends in Central Park. If the actors in the show can be said to have any one problem, and this is more in the first act, it is that several of them seem unsure what they are supposed to do when not speaking. Some shut down, quietly marking time until their next line. One or two resorted to mugging for the audience. A firmer grip by director Dan Friedman could have helped manage this.
Castillo Theatre deserves high marks for the production values in Outing Wittgenstein. The decision to use two different theatre spaces, one for the talk show, another for Central Park, forces set designer Joseph Spirito to do double duty and he responds admirably, creating two very well-done sets. Alexander Casagrande’s lighting design complements both of them nicely. Also worth noting is Barry Z. Levine and Joseph Spirito’s video design used in ‘This Is Your Death’, which helped cement the illusion of being on a real talk show soundstage.
One final note about the production. It features several actors from Youth Onstage!, the youth theatre of the All Star Project, which brings performance-based educational programs to inner city youth in Newark and New York City. Castillo Theatre is to be commended for giving these talented youth an opportunity to be part of the Off-Off Broadway scene and part of an unusual and challenging play like Outing Wittgenstein. Considering how many young actors don’t get to do anything more challenging than Arsenic and Old Lace or Pippin in high school, this is a great thing. Here’s hoping that these young actors continue to pursue theatre in the future.
Written by Fred Newman
Directed by Dan Friedman
Castillo Theatre
543 West 42nd Street
Through December 3rd
Thursday, November 9, 2006
Review - The Bronx Balmers (Off The Leash Productions)
Stage Buzz Review by Byrne Harrison
Picture it: The Bronx, 1969. An idyllic Jewish neighborhood that hasn’t changed in decades suddenly finds itself on the fast track to the future, whatever that may be. The right people are moving up, the wrong people are moving in, and the people who are in the middle are just trying to figure out what to do next.
The Balmers and the Minkoffs are in that middle group. Rose Balmer (Dorcey Winant) desperately wants to move up: the Masada on Grand Concourse. Irving and Sylvia Minkoff (Michael DeNola and Goldie Zwiebel) want to move out: Long Island. Harry Balmer (Larry Greenbush) wants to see the world: Africa. Rose and Harry’s daughter, Debra (Amanda Nichols), just wants to come home. Well, maybe wants is too strong a word. But come home she does, with a little surprise for the family.
The Bronx Balmers is a fairly conventional family comedy/drama. But considering this is playwright Jeremy Handelman’s first play, that’s not a bad thing. It could easily have been a nostalgic memory play about the good old times in the Bronx. Instead, Handelman chooses to show this family as it is, warts and all. Rose is a schemer who isn’t above using blackmail and betrayal to get what she wants. Irving’s a racist, not that he would ever consider himself to be, who has a secret that could ruin his life. Harry is tired of his life and wants something more, but when push comes to shove, he’s not willing to fight for it. Debra’s a spitfire who wants to shake things up. They are crazy, angry, happy, sad, and above all, they are believable.
As expected, there were the usual glitches that face newly opened shows in small theatres: flubbed lines, awkward blocking, a chuppa that seemed determined to fall over (okay, that’s not exactly a ‘usual’ glitch). But the main problem with the play is that it wants to tackle every issue that the family is facing. It deals with racism, anti-Semitism, adultery, betrayal, the Mets vs. the Yankees, urban flight, the disintegration of social groups, the disintegration of families, and the inevitable change that the 1960s heralded throughout the country. Unfortunately, trying to deal with so many topics makes the play seem a little heavy, especially in the second half where the characters attend what is probably the most awkward party ever thrown in Bronxville. While most of the play works, it would likely run smoother if it had a tighter focus.
The Bronx Balmers features a talented cast. Dorcey Winant’s Rose is a strong, opinionated woman, and Winant seems to delight in playing her highs and lows without making her two-dimensional. As Irving, Michael DeNola manages to be sleazy but fairly likeable. Goldie Zwiebel is charming as the patient and sweet Sylvia. Harry Balmer, ably played by Larry Greenbush, is frustratingly passive, until he reaches his breaking point. The same can be said of George Santana’s Pop, who comes across as a sweet teddy bear, until faced with being used by his daughter. Rounding out the cast is the lovely Amanda Nichols as Harry and Rose’s exasperated daughter, Debra. She was at her best when working to choke back her anger at her family’s hypocrisy.
While The Bronx Balmers has some flaws, it shows the potential that Handelman has, especially if he continues to work with a talented cast and crew. And if he keeps exploring his Bronx roots, New York audiences can expect bigger and better things from him in the future.
Written by Jeremy Handelman
Directed by Linda Burson
Turtle Shell Theatre
300 W. 43rd St., 4th Floor
Through November 19
http://www.bronxbalmers.com/
Picture it: The Bronx, 1969. An idyllic Jewish neighborhood that hasn’t changed in decades suddenly finds itself on the fast track to the future, whatever that may be. The right people are moving up, the wrong people are moving in, and the people who are in the middle are just trying to figure out what to do next.
The Balmers and the Minkoffs are in that middle group. Rose Balmer (Dorcey Winant) desperately wants to move up: the Masada on Grand Concourse. Irving and Sylvia Minkoff (Michael DeNola and Goldie Zwiebel) want to move out: Long Island. Harry Balmer (Larry Greenbush) wants to see the world: Africa. Rose and Harry’s daughter, Debra (Amanda Nichols), just wants to come home. Well, maybe wants is too strong a word. But come home she does, with a little surprise for the family.
The Bronx Balmers is a fairly conventional family comedy/drama. But considering this is playwright Jeremy Handelman’s first play, that’s not a bad thing. It could easily have been a nostalgic memory play about the good old times in the Bronx. Instead, Handelman chooses to show this family as it is, warts and all. Rose is a schemer who isn’t above using blackmail and betrayal to get what she wants. Irving’s a racist, not that he would ever consider himself to be, who has a secret that could ruin his life. Harry is tired of his life and wants something more, but when push comes to shove, he’s not willing to fight for it. Debra’s a spitfire who wants to shake things up. They are crazy, angry, happy, sad, and above all, they are believable.
As expected, there were the usual glitches that face newly opened shows in small theatres: flubbed lines, awkward blocking, a chuppa that seemed determined to fall over (okay, that’s not exactly a ‘usual’ glitch). But the main problem with the play is that it wants to tackle every issue that the family is facing. It deals with racism, anti-Semitism, adultery, betrayal, the Mets vs. the Yankees, urban flight, the disintegration of social groups, the disintegration of families, and the inevitable change that the 1960s heralded throughout the country. Unfortunately, trying to deal with so many topics makes the play seem a little heavy, especially in the second half where the characters attend what is probably the most awkward party ever thrown in Bronxville. While most of the play works, it would likely run smoother if it had a tighter focus.
The Bronx Balmers features a talented cast. Dorcey Winant’s Rose is a strong, opinionated woman, and Winant seems to delight in playing her highs and lows without making her two-dimensional. As Irving, Michael DeNola manages to be sleazy but fairly likeable. Goldie Zwiebel is charming as the patient and sweet Sylvia. Harry Balmer, ably played by Larry Greenbush, is frustratingly passive, until he reaches his breaking point. The same can be said of George Santana’s Pop, who comes across as a sweet teddy bear, until faced with being used by his daughter. Rounding out the cast is the lovely Amanda Nichols as Harry and Rose’s exasperated daughter, Debra. She was at her best when working to choke back her anger at her family’s hypocrisy.
While The Bronx Balmers has some flaws, it shows the potential that Handelman has, especially if he continues to work with a talented cast and crew. And if he keeps exploring his Bronx roots, New York audiences can expect bigger and better things from him in the future.
Written by Jeremy Handelman
Directed by Linda Burson
Turtle Shell Theatre
300 W. 43rd St., 4th Floor
Through November 19
http://www.bronxbalmers.com/
Tuesday, October 17, 2006
Review - Stranger Than Fiction: Three Plays Based on Fact (Turtle Shell Productions)
Stage Buzz Review by Byrne Harrison
Stranger Than Fiction offers an evening of short plays by playwright Norman Beim, all based (more or less) in fact. While the evening doesn’t always show Beim’s well-written plays in their best light, the good outweighs the bad.
The first short play is the endearing A Love Story, an epistolary tale of a platonic love shared by Frieda (Rachel Eve Moses), a young Polish girl, and Mr. Fischel (Christopher Henney), the man who cared for her and her family during World War I. Considering that the action of the play consists of nothing more than two people sitting at writing desks writing letters, the play is remarkably engaging. This is due in large part to the charming Moses, whose expressive face and voice create a totally believable and lovable character. Henney, as the proper storekeeper who loves the young Frieda like a daughter, has a shy awkwardness that is endearing.
The second play of the evening, A Queen’s Revenge, is the weakest of the three. This over-the-top story of John (Henney), an aging gay man whose younger lover, Jack (Matthew Schmidt), leaves him for Jill (Moses) feels incomplete. The climax, a cruel and vindictive punishment straight out of urban legend that John visits upon the young lovers, occurs in the play’s final moment. This abrupt ending leaves all the interesting stuff (how Jack and Jill react to a terrible violation, what they do to John, etc.) unexplored.
Another problem in this play was Henney’s portrayal of John. As the title of the play suggests, John should be a queen: flamboyant, witty, and cruel. Instead, Henney plays him as a mild, gay gentleman, somewhat arch, but ultimately harmless. As a result, the revenge seems out of character, and worse, his moderate interpretation doesn’t give his fellow actors much to react to in the moments that are supposed to be intense and dramatic.
The final play, The Deserter, offers a fascinating look into the last moments of Private Eddie Slovik, the only American soldier executed for desertion in World War II. Beim imagines a priest (Henney) taking confession from the soon-to-die Private (Ian Campbell Dunn). Along the way, the Private voices his opposition to war and how it conflicts with his Christian faith, while the Father shrugs off his concerns and arguments with justifications that are decidedly more Army than Vatican. While this play would be stronger if Henney were more expressive as the priest, Dunn’s portrayal of the unsure Private Slovik makes this a moving piece of theatre.
As would be expected from an evening with three plays, the sets are spare and easily changed. That being said, the technical team (John W. Cooper, Maya Animayka, Lisa Weinshrott, Michael L. Kimmel and Sarah Mariece) do much with little. The sets, lighting and sound enhance each of the plays nicely.
If you are a fan of the prolific Norman Beim, Stranger Than Fiction is not to be missed. And despite the problems with the second play, The Love Story and The Deserter make this a production worth attending.
Written by Norman Beim
Directed by Norman Beim
Turtle Shell Productions
300 W. 43rd St., 4th Floor
Stranger Than Fiction offers an evening of short plays by playwright Norman Beim, all based (more or less) in fact. While the evening doesn’t always show Beim’s well-written plays in their best light, the good outweighs the bad.
The first short play is the endearing A Love Story, an epistolary tale of a platonic love shared by Frieda (Rachel Eve Moses), a young Polish girl, and Mr. Fischel (Christopher Henney), the man who cared for her and her family during World War I. Considering that the action of the play consists of nothing more than two people sitting at writing desks writing letters, the play is remarkably engaging. This is due in large part to the charming Moses, whose expressive face and voice create a totally believable and lovable character. Henney, as the proper storekeeper who loves the young Frieda like a daughter, has a shy awkwardness that is endearing.
The second play of the evening, A Queen’s Revenge, is the weakest of the three. This over-the-top story of John (Henney), an aging gay man whose younger lover, Jack (Matthew Schmidt), leaves him for Jill (Moses) feels incomplete. The climax, a cruel and vindictive punishment straight out of urban legend that John visits upon the young lovers, occurs in the play’s final moment. This abrupt ending leaves all the interesting stuff (how Jack and Jill react to a terrible violation, what they do to John, etc.) unexplored.
Another problem in this play was Henney’s portrayal of John. As the title of the play suggests, John should be a queen: flamboyant, witty, and cruel. Instead, Henney plays him as a mild, gay gentleman, somewhat arch, but ultimately harmless. As a result, the revenge seems out of character, and worse, his moderate interpretation doesn’t give his fellow actors much to react to in the moments that are supposed to be intense and dramatic.
The final play, The Deserter, offers a fascinating look into the last moments of Private Eddie Slovik, the only American soldier executed for desertion in World War II. Beim imagines a priest (Henney) taking confession from the soon-to-die Private (Ian Campbell Dunn). Along the way, the Private voices his opposition to war and how it conflicts with his Christian faith, while the Father shrugs off his concerns and arguments with justifications that are decidedly more Army than Vatican. While this play would be stronger if Henney were more expressive as the priest, Dunn’s portrayal of the unsure Private Slovik makes this a moving piece of theatre.
As would be expected from an evening with three plays, the sets are spare and easily changed. That being said, the technical team (John W. Cooper, Maya Animayka, Lisa Weinshrott, Michael L. Kimmel and Sarah Mariece) do much with little. The sets, lighting and sound enhance each of the plays nicely.
If you are a fan of the prolific Norman Beim, Stranger Than Fiction is not to be missed. And despite the problems with the second play, The Love Story and The Deserter make this a production worth attending.
Written by Norman Beim
Directed by Norman Beim
Turtle Shell Productions
300 W. 43rd St., 4th Floor
Saturday, August 26, 2006
Review - Autumn Moon (Wings Theatre Company)
Stage Buzz Review by Byrne Harrison
Judging by the audience at this evening’s performance of Autumn Moon, which is being billed as a ‘rock thriller musical,’ there seemed to be two general reactions. First, and sadly the one shared by much of the audience, was head-scratching befuddlement. But those of us of a certain age, say mid-to-late thirties, knew exactly what this show was: a sly and dead-on homage to the horror films of the 1980s (Fright Night, The Howling, American Werewolf in London, etc.).
Lycan Weir (and let’s face it, short of calling him Wolfy McWerewolf, this is the perfect name to bring the audience up to speed) is a troubled young man (normally played by David Weitzer, Lycan was played by understudy Jeremy Jonet tonight). Approaching his 25th birthday, he’s having troubling nightmares. Unable to exorcise his demons by writing down his dreams, and only temporarily calmed by his loving wife, Esmay (Mishaela Faucher), he does the only thing that anyone in his situation would do: he turns to a gypsy fortune-teller, Beta (Dana Barathy), for help.
Beta tells him of a curse placed on his family generations ago, when one of his ancestors made a pact with Minion (Jesse Easley), a lord of the underworld. On his 25th birthday, he, like his forefathers, will turn into a savage, blood-thirsty beast and will continue to do so with each full moon. But Beta offers him a way out. Using magic and his cursed blood, she can send him back in time, back to the time of the curse, where he can take the place of one of his ancestors and save his family from destruction. All he has to do is find Isis (also played by Mishaela Faucher), a young gypsy girl, save her from death at the hands of Lawrence (Scott Richard Foster), and the curse will be lifted.
Maybe.
But even if it is, will Lycan ever return to his own time? And are any of these people who they seem to be?
Even though Lycan’s own time is present day, and the time he travels back to is the mid-1800s, everything about the production screamed The Eighties. David Velarde’s score featured power ballads that Meatloaf would dig (Isis and Lycan’s ‘All of My Life’) and rock/new wave songs (Minion’s ‘Shout It Out’) that were just begging for Billy Idol’s sneer. Lauren Cozza’s choreography was perfectly in sync with the style of each song and the general ’80s vibe.
Costume designer Stephen Smith followed the theme by creating classic punk rock outfits for Minion and Lawrence, and some truly inspired outfits for The Pack, the supporting ensemble. The makeup and hair (the big, teased, moussed hair) was well-suited for the period, and brought to mind several fashion disasters from my own youth.
Taking it up a notch was the marvelous lighting design by Julie Seitel. Her work was delightfully over the top in the more music video-type numbers like ‘Lycan’s Dream’ and ‘Shout It Out’.
The acting and singing were generally strong, though understudy Jeremy Jonet sounded tentative in several of his numbers, especially those with Mishaela Faucher, whose strong voice occasionally overpowered his. Faucher had the most poignant song of the evening, the sweet lullabye ‘Dream Catcher’, which she delivered wonderfully. As Beta, Dana Barathy easily stole every scene she was in, not just because of her smokin’ hot costume, but because of her distinctive voice and the Eartha Kitt lilt in her delivery. Her scenes with Jesse Easley’s rough and cocky Minion featured a dangerous, yet playful, give and take between the two actors. Scott Richard Foster is to be commended for his strong falsetto which he was called upon to demonstrate again and again; he was up to the challenge each time. The Pack (William Broyles, Sara Fetgatter, Marissa Lupp, Rebecca Riker and Amber Shirley) were uniformly good as actors, singers and dancers. The women of The Pack shone in the ‘Gypsy Theme’ instrumental number, which featured some nice, athletic choreography. Broyles is worth mentioning as well for his outstanding physical work (especially as a grotesque homunculus serving Beta) which was backed up by a strong speaking and singing voice.
Director Jonathan Stuart Cerullo kept the pacing quick, the blocking interesting and generally did a very good job with the production.
The primary weakness in this show was in the book and the lyrics, also by David Velarde. The dialogue was stilted and forced, featuring some groaners that sounded like they were taken from bodice-ripper romance novels. The lyrics (which were often drowned out by the overly loud music) seemed to set a mood more than advance the story. The story itself was overly complicated and several key scenes were under explained. The twist at the end (and all good ’80s horror films had a twist at the end) was great, but the explanation was abrupt, leaving more than a few audience members lost.
If you go into this musical with an open mind and an appreciation for the genre that Velarde is paying tribute to, you will probably have a pretty good time. If this all sounds like a little too much for you, or you are looking for a ‘traditional’ musical, then this one is probably not for you.
Want to find out more? Autumn Moon has a website with photos of the cast, other info about the production, and clips of many of the songs. You can even order the cast album. The show runs through September 2nd.
Book, Music and Lyrics by David Velarde
Directed and Staged by Jonathan Stuart Cerullo
Wings Theatre Company as part of its New Musicals Series
Judging by the audience at this evening’s performance of Autumn Moon, which is being billed as a ‘rock thriller musical,’ there seemed to be two general reactions. First, and sadly the one shared by much of the audience, was head-scratching befuddlement. But those of us of a certain age, say mid-to-late thirties, knew exactly what this show was: a sly and dead-on homage to the horror films of the 1980s (Fright Night, The Howling, American Werewolf in London, etc.).
Lycan Weir (and let’s face it, short of calling him Wolfy McWerewolf, this is the perfect name to bring the audience up to speed) is a troubled young man (normally played by David Weitzer, Lycan was played by understudy Jeremy Jonet tonight). Approaching his 25th birthday, he’s having troubling nightmares. Unable to exorcise his demons by writing down his dreams, and only temporarily calmed by his loving wife, Esmay (Mishaela Faucher), he does the only thing that anyone in his situation would do: he turns to a gypsy fortune-teller, Beta (Dana Barathy), for help.
Beta tells him of a curse placed on his family generations ago, when one of his ancestors made a pact with Minion (Jesse Easley), a lord of the underworld. On his 25th birthday, he, like his forefathers, will turn into a savage, blood-thirsty beast and will continue to do so with each full moon. But Beta offers him a way out. Using magic and his cursed blood, she can send him back in time, back to the time of the curse, where he can take the place of one of his ancestors and save his family from destruction. All he has to do is find Isis (also played by Mishaela Faucher), a young gypsy girl, save her from death at the hands of Lawrence (Scott Richard Foster), and the curse will be lifted.
Maybe.
But even if it is, will Lycan ever return to his own time? And are any of these people who they seem to be?
Even though Lycan’s own time is present day, and the time he travels back to is the mid-1800s, everything about the production screamed The Eighties. David Velarde’s score featured power ballads that Meatloaf would dig (Isis and Lycan’s ‘All of My Life’) and rock/new wave songs (Minion’s ‘Shout It Out’) that were just begging for Billy Idol’s sneer. Lauren Cozza’s choreography was perfectly in sync with the style of each song and the general ’80s vibe.
Costume designer Stephen Smith followed the theme by creating classic punk rock outfits for Minion and Lawrence, and some truly inspired outfits for The Pack, the supporting ensemble. The makeup and hair (the big, teased, moussed hair) was well-suited for the period, and brought to mind several fashion disasters from my own youth.
Taking it up a notch was the marvelous lighting design by Julie Seitel. Her work was delightfully over the top in the more music video-type numbers like ‘Lycan’s Dream’ and ‘Shout It Out’.
The acting and singing were generally strong, though understudy Jeremy Jonet sounded tentative in several of his numbers, especially those with Mishaela Faucher, whose strong voice occasionally overpowered his. Faucher had the most poignant song of the evening, the sweet lullabye ‘Dream Catcher’, which she delivered wonderfully. As Beta, Dana Barathy easily stole every scene she was in, not just because of her smokin’ hot costume, but because of her distinctive voice and the Eartha Kitt lilt in her delivery. Her scenes with Jesse Easley’s rough and cocky Minion featured a dangerous, yet playful, give and take between the two actors. Scott Richard Foster is to be commended for his strong falsetto which he was called upon to demonstrate again and again; he was up to the challenge each time. The Pack (William Broyles, Sara Fetgatter, Marissa Lupp, Rebecca Riker and Amber Shirley) were uniformly good as actors, singers and dancers. The women of The Pack shone in the ‘Gypsy Theme’ instrumental number, which featured some nice, athletic choreography. Broyles is worth mentioning as well for his outstanding physical work (especially as a grotesque homunculus serving Beta) which was backed up by a strong speaking and singing voice.
Director Jonathan Stuart Cerullo kept the pacing quick, the blocking interesting and generally did a very good job with the production.
The primary weakness in this show was in the book and the lyrics, also by David Velarde. The dialogue was stilted and forced, featuring some groaners that sounded like they were taken from bodice-ripper romance novels. The lyrics (which were often drowned out by the overly loud music) seemed to set a mood more than advance the story. The story itself was overly complicated and several key scenes were under explained. The twist at the end (and all good ’80s horror films had a twist at the end) was great, but the explanation was abrupt, leaving more than a few audience members lost.
If you go into this musical with an open mind and an appreciation for the genre that Velarde is paying tribute to, you will probably have a pretty good time. If this all sounds like a little too much for you, or you are looking for a ‘traditional’ musical, then this one is probably not for you.
Want to find out more? Autumn Moon has a website with photos of the cast, other info about the production, and clips of many of the songs. You can even order the cast album. The show runs through September 2nd.
Book, Music and Lyrics by David Velarde
Directed and Staged by Jonathan Stuart Cerullo
Wings Theatre Company as part of its New Musicals Series
Monday, August 21, 2006
Review - Moral Values: A Grand Farce, or Me No Likey The Homo Touch-Touch (NY International Fringe Festival)
Stage Buzz Review by Byrne Harrison
It’s the very near future and the conservatives’ nightmare has come true: gay marriage has been made legal. Not only that, but the President has gone so far as to legislate that every family in the United States take in a gay, married person for two weeks as part of the new program called GESS (Gays Educating Scared Straights).
Despite his rabid patriotism, John Smith (Josh La Casse) is having none of it. The very thought of having one of ‘those people’ in his house is enough to make him want to . . . well, jump through a plate glass window, as it turns out. He doesn’t want to risk having his adoring wife, Margaret (Carrie McCrossen), jock son, Michael (Roger Lirtsman), innocent daughter, Stacy (Maria McConville), and adorable moppet, Billy, perverted by a deranged homosexual. Never mind, of course, that Margaret is about to leave him for Estaban (Graham Skipper), the mailman. Or that Michael is a steroid freak and Stacy has an internet sex show. And Billy . . . well no one can really remember the last time they saw him. But they’re sure he’s fine.
Enter the deranged homosexual, Steve (Isaac Oliver), who as it turn out is a meek, normal looking guy who is not in the least bit trying to destroy Western civilization. While being menaced by John, who starts spinning out of control, Steve attempts to bond with the rest of the family, as mandated by law. After becoming friends with the kids, he confesses his big secret. He’s straight. The government didn’t have enough homosexuals to participate in their GESS program (even after forcing all of them to), so it resorted to drafting men who were suspected of being gay. Metrosexuals beware.
As would be expected in a show with ‘farce’ in the title, much of this show is deliciously over-the-top. In fact, the main weakness is that it doesn’t let itself go nearly as much as it could. The most ludicrious moments, John leaping through a window, Estaban ripping open his shirt to expose his bull tattoo, the introduction of Binky, John’s childhood toy and voice of reason, all of those were hilarious. The finale of the play, an ecstatic dance number that had the audience clapping and laughing, had the prolonged intensity that the rest of the play only had in flashes. And ultimately, this play needed more of that.
Ian McWethy’s script was good and he dealt with complicated and touchy subjects with a deftly amusing hand, though at times it seemed that he wrote it while channeling Seth MacFarlane. Director Jeffrey Glaser did a good job, though the show would have been better had he really pushed the absurd aspects.
The cast was excellent. As John, Josh LaCasse was a dervish of anger and red-faced frustration. The scene where he relived, or possibly imagined, a homosexual encounter from his college days was priceless. Carrie McCrossen was funny as Margaret, especially in her scenes with Estaban, but it was as an Automated Voice on a phone menu that she truly excelled. Roger Lirtsman and Maria McConville played well off on another, and they had the teenage sibling relationship down perfectly. Graham Skipper was amusing as Estaban, but a little of that character went a long way. As Binky, the wise plush toy who tries to pull John from the edge of madness, he was brilliant. Isaac Oliver’s Steve was inoffensively amusing in a Jon Cryer sort of way. His bemused frustration was fun to watch and his phone scene with McCrossen was wonderful.
Richardon Jones, who played damn near everyone else in the show, was fantastic. His turn as a predatory frat boy was hilarious. With respect to LaCasse, I would have liked to have seen what Jones would have done with John Smith. Looking older, he might have been a more appropriate choice for that role than the young-looking LaCasse.
Production values for the show were not great. The lighting especially was disappointing and often left characters delivering their lines from shadows. I imagine this had more to do with the show having to share its space with other productions, rather than a poorly thought out lighting design. At least the lack of scenery made set changes quick and they didn’t skimp on Binky’s costume with was great.
All in all, this was an amusing play and a solid production. With a little more time and money, and a ‘throw caution to the wind’ attitude, it could have been even better.
Take a minute to visit the website. It’s really nicely done.
Written by Ian McWethy
Directed by Jeffrey Glaser
New York International Fringe Festival
It’s the very near future and the conservatives’ nightmare has come true: gay marriage has been made legal. Not only that, but the President has gone so far as to legislate that every family in the United States take in a gay, married person for two weeks as part of the new program called GESS (Gays Educating Scared Straights).
Despite his rabid patriotism, John Smith (Josh La Casse) is having none of it. The very thought of having one of ‘those people’ in his house is enough to make him want to . . . well, jump through a plate glass window, as it turns out. He doesn’t want to risk having his adoring wife, Margaret (Carrie McCrossen), jock son, Michael (Roger Lirtsman), innocent daughter, Stacy (Maria McConville), and adorable moppet, Billy, perverted by a deranged homosexual. Never mind, of course, that Margaret is about to leave him for Estaban (Graham Skipper), the mailman. Or that Michael is a steroid freak and Stacy has an internet sex show. And Billy . . . well no one can really remember the last time they saw him. But they’re sure he’s fine.
Enter the deranged homosexual, Steve (Isaac Oliver), who as it turn out is a meek, normal looking guy who is not in the least bit trying to destroy Western civilization. While being menaced by John, who starts spinning out of control, Steve attempts to bond with the rest of the family, as mandated by law. After becoming friends with the kids, he confesses his big secret. He’s straight. The government didn’t have enough homosexuals to participate in their GESS program (even after forcing all of them to), so it resorted to drafting men who were suspected of being gay. Metrosexuals beware.
As would be expected in a show with ‘farce’ in the title, much of this show is deliciously over-the-top. In fact, the main weakness is that it doesn’t let itself go nearly as much as it could. The most ludicrious moments, John leaping through a window, Estaban ripping open his shirt to expose his bull tattoo, the introduction of Binky, John’s childhood toy and voice of reason, all of those were hilarious. The finale of the play, an ecstatic dance number that had the audience clapping and laughing, had the prolonged intensity that the rest of the play only had in flashes. And ultimately, this play needed more of that.
Ian McWethy’s script was good and he dealt with complicated and touchy subjects with a deftly amusing hand, though at times it seemed that he wrote it while channeling Seth MacFarlane. Director Jeffrey Glaser did a good job, though the show would have been better had he really pushed the absurd aspects.
The cast was excellent. As John, Josh LaCasse was a dervish of anger and red-faced frustration. The scene where he relived, or possibly imagined, a homosexual encounter from his college days was priceless. Carrie McCrossen was funny as Margaret, especially in her scenes with Estaban, but it was as an Automated Voice on a phone menu that she truly excelled. Roger Lirtsman and Maria McConville played well off on another, and they had the teenage sibling relationship down perfectly. Graham Skipper was amusing as Estaban, but a little of that character went a long way. As Binky, the wise plush toy who tries to pull John from the edge of madness, he was brilliant. Isaac Oliver’s Steve was inoffensively amusing in a Jon Cryer sort of way. His bemused frustration was fun to watch and his phone scene with McCrossen was wonderful.
Richardon Jones, who played damn near everyone else in the show, was fantastic. His turn as a predatory frat boy was hilarious. With respect to LaCasse, I would have liked to have seen what Jones would have done with John Smith. Looking older, he might have been a more appropriate choice for that role than the young-looking LaCasse.
Production values for the show were not great. The lighting especially was disappointing and often left characters delivering their lines from shadows. I imagine this had more to do with the show having to share its space with other productions, rather than a poorly thought out lighting design. At least the lack of scenery made set changes quick and they didn’t skimp on Binky’s costume with was great.
All in all, this was an amusing play and a solid production. With a little more time and money, and a ‘throw caution to the wind’ attitude, it could have been even better.
Take a minute to visit the website. It’s really nicely done.
Written by Ian McWethy
Directed by Jeffrey Glaser
New York International Fringe Festival
Sunday, May 21, 2006
Review - Blonde Bloggers Bitching (The Duplex Cabaret Theatre)
Stage Buzz Review by Jere Williams
These friends came to the Big Apple from Northwestern University with stars in their eyes and hope in their hearts … only to find out that life in Manhattan isn’t exactly all Sex in the City. So they took to the internet to bitch about their love lives, or lack thereof, on their blogs. And a cabaret show was born.
Clarice Mazanec and Kat Voboril’s Blonde Bloggers Bitching is roughly based on their real-life experiences dating a variety of losers and wannabes on their quest for that elusive Mr. Right. Wow! Who would ever have thought that even stunning blonde goddesses would have trouble finding a date?
Highlights included a priceless opening medley of showtunes representing dating life in NYC. These two hooked me right away and I was laughing hysterically at their contemporary takes on some musical theatre classics, as well as more modern fare. The popular favorite with the crowd was a rendition of Rent’s “Take Me As I Am,” which was later brought back as an encore at the end of the evening.
There was clever juxtaposition afoot when the ladies chose a little-known song by George Gershwin, Otto Harbach, and Oscar Hammerstein II called “Vodka” to follow the Fred Barton perennial “Pour Me A Man” from Miss Gulch Returns. Despite it’s pedigree, I wasn’t familiar with “Vodka,” a paean to the eponymous liquor, but it went along swimmingly with Barton’s comic, drunken ode to liquor as a substitute for people of the male persuasion.
Voboril and Mazanec ran the gamut from classic show tunes to more contemporary musical theatre (even including a song from one of this season’s Best Musical nominees, The Color Purple) to pop. There were even original compositions from musical director Robby Stamper, who ably abetted the ladies on the piano.
Flaws were few … sure, the second half of the show is a little too ballad heavy and could use an uptempo number here and there, but each and every ballad was well chosen and well sung. Voboril, the shorter of the two ladies, needs to be careful that the microphone stand isn’t so high that the mic blocks her face. And some of the between-song patter, especially the prerecorded stuff, needs to be reconsidered as it tends to veer the evening a bit too preciously close to Sarah Jessica Parker’s Carrie Bradshaw and her sometimes ponderous Sex and the City voice overs.
I definitely recommend checking this show out whenever Voboril and Mazanec book a return engagement. Keep an eye out for them. These blondes are going places.
Further information: Blonde Bloggers Bitching runs approximately 54 minutes and started 11 minutes late at the performance that I attended. If you are interested in checking out the blogs that inspired the show, Clarice Mazanec’s is called Sometimes A Blonde Just Needs To Vent and Kat Voboril’s is Real Emotional Girl.
These friends came to the Big Apple from Northwestern University with stars in their eyes and hope in their hearts … only to find out that life in Manhattan isn’t exactly all Sex in the City. So they took to the internet to bitch about their love lives, or lack thereof, on their blogs. And a cabaret show was born.
Clarice Mazanec and Kat Voboril’s Blonde Bloggers Bitching is roughly based on their real-life experiences dating a variety of losers and wannabes on their quest for that elusive Mr. Right. Wow! Who would ever have thought that even stunning blonde goddesses would have trouble finding a date?
Highlights included a priceless opening medley of showtunes representing dating life in NYC. These two hooked me right away and I was laughing hysterically at their contemporary takes on some musical theatre classics, as well as more modern fare. The popular favorite with the crowd was a rendition of Rent’s “Take Me As I Am,” which was later brought back as an encore at the end of the evening.
There was clever juxtaposition afoot when the ladies chose a little-known song by George Gershwin, Otto Harbach, and Oscar Hammerstein II called “Vodka” to follow the Fred Barton perennial “Pour Me A Man” from Miss Gulch Returns. Despite it’s pedigree, I wasn’t familiar with “Vodka,” a paean to the eponymous liquor, but it went along swimmingly with Barton’s comic, drunken ode to liquor as a substitute for people of the male persuasion.
Voboril and Mazanec ran the gamut from classic show tunes to more contemporary musical theatre (even including a song from one of this season’s Best Musical nominees, The Color Purple) to pop. There were even original compositions from musical director Robby Stamper, who ably abetted the ladies on the piano.
Flaws were few … sure, the second half of the show is a little too ballad heavy and could use an uptempo number here and there, but each and every ballad was well chosen and well sung. Voboril, the shorter of the two ladies, needs to be careful that the microphone stand isn’t so high that the mic blocks her face. And some of the between-song patter, especially the prerecorded stuff, needs to be reconsidered as it tends to veer the evening a bit too preciously close to Sarah Jessica Parker’s Carrie Bradshaw and her sometimes ponderous Sex and the City voice overs.
I definitely recommend checking this show out whenever Voboril and Mazanec book a return engagement. Keep an eye out for them. These blondes are going places.
Further information: Blonde Bloggers Bitching runs approximately 54 minutes and started 11 minutes late at the performance that I attended. If you are interested in checking out the blogs that inspired the show, Clarice Mazanec’s is called Sometimes A Blonde Just Needs To Vent and Kat Voboril’s is Real Emotional Girl.
Tuesday, May 16, 2006
And the nominees are . . .
2006 Tony Awards nominees were announced today.
Best Play
The History Boys
The Lieutenant of Inishmore
Rabbit Hole
Shining City
Best Musical
The Color Purple
The Drowsy Chaperone
Jersey Boys
The Wedding Singer
Best Revival of a Play
Awake and Sing!
The Constant Wife
Seascape
Faith Healer
Best Revival of a Musical
The Pajama Game
Sweeney Todd
The Threepenny Opera
Best Book of a Musical
The Color Purple, Marsha Norman
The Drowsy Chaperone, Bob Martin and Don McKellar
Jersey Boys, Marshall Brickman and Rick Elice
The Wedding Singer, Chad Beguelin and Tim Herlihy
Best Original Score (Music and/or Lyrics)
The Color Purple, Music & Lyrics: Brenda Russell, Allee Willis, Stephen Bray
The Drowsy Chaperone, Music & Lyrics: Lisa Lambert and Greg Morrison
The Wedding Singer, Music: Matthew Sklar, Lyrics: Chad Beguelin
The Woman in White, Music: Andrew Lloyd Webber, Lyrics: David Zippel
Best Performance by a Leading Actor in a Play
Ralph Fiennes, Faith Healer
Richard Griffiths, The History Boys
Zeljko Ivanek, The Caine Mutiny Court-Martial
Oliver Platt, Shining City
David Wilmot, The Lieutenant of Inishmore
Best Performance by a Leading Actress in a Play
Kate Burton, The Constant Wife
Judy Kaye, Souvenir
Lisa Kron, Well
Cynthia Nixon, Rabbit Hole
Lynn Redgrave, The Constant Wife
Best Performance by a Leading Actor in a Musical
Michael Cerveris, Sweeney Todd
Harry Connick, Jr., The Pajama Game
Stephen Lynch, The Wedding Singer
Bob Martin, The Drowsy Chaperone
John Lloyd Young, Jersey Boys
Best Performance by a Leading Actress in a Musical
Sutton Foster, The Drowsy Chaperone
LaChanze, The Color Purple
Patti LuPone, Sweeney Todd
Kelli O’Hara, The Pajama Game
Chita Rivera, Chita Rivera: The Dancer’s Life
Best Performance by a Featured Actor in a Play
Samuel Barnett, The History Boys
Domhnall Gleeson, The Lieutenant of Inishmore
Ian McDiarmid, Faith Healer
Mark Ruffalo, Awake and Sing!
Pablo Schreiber, Awake and Sing!
Best Performance by a Featured Actress in a Play
Tyne Daly, Rabbit Hole
Frances de la Tour, The History Boys
Jayne Houdyshell, Well
Alison Pill, The Lieutenant of Inishmore
Zoe Wanamaker, Awake and Sing!
Best Performance by a Featured Actor in a Musical
Danny Burstein, The Drowsy Chaperone
Jim Dale, The Threepenny Opera
Brandon Victor Dixon, The Color Purple
Manoel Felciano, Sweeney Todd
Christian Hoff, Jersey Boys
Best Performance by a Featured Actress in a Musical
Carolee Carmello, Lestat
Felicia P. Fields, The Color Purple
Megan Lawrence, The Pajama Game
Beth Leavel, The Drowsy Chaperone
Elisabeth Withers-Mendes, The Color Purple
Best Direction of a Play
Nicholas Hytner, The History Boys
Wilson Milam, The Lieutenant of Inishmore
Bartlett Sher, Awake and Sing!
Daniel Sullivan, Rabbit Hole
Best Direction of a Musical
John Doyle, Sweeney Todd
Kathleen Marshall, The Pajama Game
Des McAnuff, Jersey Boys
Casey Nicholaw, The Drowsy Chaperone
Best Choreography
Rob Ashford, The Wedding Singer
Donald Byrd, The Color Purple
Kathleen Marshall, The Pajama Game
Casey Nicholaw, The Drowsy Chaperone
Best Orchestrations
Larry Blank, The Drowsy Chaperone
Dick Lieb and Danny Troob, The Pajama Game
Steve Orich, Jersey Boys
Sarah Travis, Sweeney Todd
Best Scenic Design of a Play
John Lee Beatty, Rabbit Hole
Bob Crowley, The History Boys
Santo Loquasto, Three Days of Rain
Michael Yeargan, Awake and Sing!
Best Scenic Design of a Musical
John Lee Beatty, The Color Purple
David Gallo, The Drowsy Chaperone
Derek McLane, The Pajama Game
Klara Zieglerova, Jersey Boys
Best Costume Design of a Play
Michael Krass, The Constant Wife
Santo Loquasto, A Touch of the Poet
Catherine Zuber, Awake and Sing!
Catherine Zuber, Seascape
Best Costume Design of a Musical
Gregg Barnes, The Drowsy Chaperone
Susan Hilferty, Lestat
Martin Pakledinaz, The Pajama Game
Paul Tazewell, The Color Purple
Best Lighting Design of a Play
Christopher Akerlind, Awake and Sing!
Paul Gallo, Three Days of Rain
Mark Henderson, Faith Healer
Makr Henderson, The History Boys
Best Lighting Design of a Musical
Ken Billington and Brian Monahan, The Drowsy Chaperone
Howell Binkley, Jersey Boys
Natasha Katz, Tarzan
Brian MacDevitt, The Color Purple
Special Tony Award
Sarah Jones, Bridge & Tunnel
Special Tony Award for Lifetime Achievement in Theater
Harold Prince
Regional Theater Tony Award
Intiman Theater, Seattle
Best Play
The History Boys
The Lieutenant of Inishmore
Rabbit Hole
Shining City
Best Musical
The Color Purple
The Drowsy Chaperone
Jersey Boys
The Wedding Singer
Best Revival of a Play
Awake and Sing!
The Constant Wife
Seascape
Faith Healer
Best Revival of a Musical
The Pajama Game
Sweeney Todd
The Threepenny Opera
Best Book of a Musical
The Color Purple, Marsha Norman
The Drowsy Chaperone, Bob Martin and Don McKellar
Jersey Boys, Marshall Brickman and Rick Elice
The Wedding Singer, Chad Beguelin and Tim Herlihy
Best Original Score (Music and/or Lyrics)
The Color Purple, Music & Lyrics: Brenda Russell, Allee Willis, Stephen Bray
The Drowsy Chaperone, Music & Lyrics: Lisa Lambert and Greg Morrison
The Wedding Singer, Music: Matthew Sklar, Lyrics: Chad Beguelin
The Woman in White, Music: Andrew Lloyd Webber, Lyrics: David Zippel
Best Performance by a Leading Actor in a Play
Ralph Fiennes, Faith Healer
Richard Griffiths, The History Boys
Zeljko Ivanek, The Caine Mutiny Court-Martial
Oliver Platt, Shining City
David Wilmot, The Lieutenant of Inishmore
Best Performance by a Leading Actress in a Play
Kate Burton, The Constant Wife
Judy Kaye, Souvenir
Lisa Kron, Well
Cynthia Nixon, Rabbit Hole
Lynn Redgrave, The Constant Wife
Best Performance by a Leading Actor in a Musical
Michael Cerveris, Sweeney Todd
Harry Connick, Jr., The Pajama Game
Stephen Lynch, The Wedding Singer
Bob Martin, The Drowsy Chaperone
John Lloyd Young, Jersey Boys
Best Performance by a Leading Actress in a Musical
Sutton Foster, The Drowsy Chaperone
LaChanze, The Color Purple
Patti LuPone, Sweeney Todd
Kelli O’Hara, The Pajama Game
Chita Rivera, Chita Rivera: The Dancer’s Life
Best Performance by a Featured Actor in a Play
Samuel Barnett, The History Boys
Domhnall Gleeson, The Lieutenant of Inishmore
Ian McDiarmid, Faith Healer
Mark Ruffalo, Awake and Sing!
Pablo Schreiber, Awake and Sing!
Best Performance by a Featured Actress in a Play
Tyne Daly, Rabbit Hole
Frances de la Tour, The History Boys
Jayne Houdyshell, Well
Alison Pill, The Lieutenant of Inishmore
Zoe Wanamaker, Awake and Sing!
Best Performance by a Featured Actor in a Musical
Danny Burstein, The Drowsy Chaperone
Jim Dale, The Threepenny Opera
Brandon Victor Dixon, The Color Purple
Manoel Felciano, Sweeney Todd
Christian Hoff, Jersey Boys
Best Performance by a Featured Actress in a Musical
Carolee Carmello, Lestat
Felicia P. Fields, The Color Purple
Megan Lawrence, The Pajama Game
Beth Leavel, The Drowsy Chaperone
Elisabeth Withers-Mendes, The Color Purple
Best Direction of a Play
Nicholas Hytner, The History Boys
Wilson Milam, The Lieutenant of Inishmore
Bartlett Sher, Awake and Sing!
Daniel Sullivan, Rabbit Hole
Best Direction of a Musical
John Doyle, Sweeney Todd
Kathleen Marshall, The Pajama Game
Des McAnuff, Jersey Boys
Casey Nicholaw, The Drowsy Chaperone
Best Choreography
Rob Ashford, The Wedding Singer
Donald Byrd, The Color Purple
Kathleen Marshall, The Pajama Game
Casey Nicholaw, The Drowsy Chaperone
Best Orchestrations
Larry Blank, The Drowsy Chaperone
Dick Lieb and Danny Troob, The Pajama Game
Steve Orich, Jersey Boys
Sarah Travis, Sweeney Todd
Best Scenic Design of a Play
John Lee Beatty, Rabbit Hole
Bob Crowley, The History Boys
Santo Loquasto, Three Days of Rain
Michael Yeargan, Awake and Sing!
Best Scenic Design of a Musical
John Lee Beatty, The Color Purple
David Gallo, The Drowsy Chaperone
Derek McLane, The Pajama Game
Klara Zieglerova, Jersey Boys
Best Costume Design of a Play
Michael Krass, The Constant Wife
Santo Loquasto, A Touch of the Poet
Catherine Zuber, Awake and Sing!
Catherine Zuber, Seascape
Best Costume Design of a Musical
Gregg Barnes, The Drowsy Chaperone
Susan Hilferty, Lestat
Martin Pakledinaz, The Pajama Game
Paul Tazewell, The Color Purple
Best Lighting Design of a Play
Christopher Akerlind, Awake and Sing!
Paul Gallo, Three Days of Rain
Mark Henderson, Faith Healer
Makr Henderson, The History Boys
Best Lighting Design of a Musical
Ken Billington and Brian Monahan, The Drowsy Chaperone
Howell Binkley, Jersey Boys
Natasha Katz, Tarzan
Brian MacDevitt, The Color Purple
Special Tony Award
Sarah Jones, Bridge & Tunnel
Special Tony Award for Lifetime Achievement in Theater
Harold Prince
Regional Theater Tony Award
Intiman Theater, Seattle
Tuesday, April 11, 2006
Review - For a Good Time Call . . . (The Duplex Cabaret Theatre)
Stage Buzz Review by Byrne Harrison
One’s a cute blonde with a killer smile. The other’s a tall, sultry redhead. Both have voices that are equally at home belting or crooning. And they sure know how to work a crowd.
Even though For a Good Time Call . . . marks the cabaret debut of its stars, Melissa Driscol and Hannah Ingram, that’s not to say that the girls are inexperienced. Both are proud members of the USO World Show Troupe, “The Liberty Belles,” and have performed for military audiences all over the country. They also have a solid background in musical theatre, having performed in shows from My Fair Lady to Beauty and the Beast.
The eclectic mix of songs in For a Good Time Call . . . nicely shows off Driscol and Ingram’s talents. Their versions of Hoagy Carmichael’s “Billy-A-Dick” and Cole Porter’s “Friendship” show that they can swing and jive with the best of them. They demonstrate a similar talent for introspection with Ingram’s quiet and contemplative “As Long As I Can Dream,” by their accompanist, Robby Stamper, and Driscoll’s heartbreaking take on “You’re Beautiful” by James Blunt.
But where Driscol and Ingram really shine is in their comic numbers. In Zina Goldrich and Marcy Heisler’s “Nothing I Wouldn’t Do,” the ladies are being wooed by the same man and are willing to go to hilarious extremes to outdo each other. Ingram sings of her attraction to the follicly-challenged in “I Want Them . . . ” (also by Goldrich and Heisler) and does it so well that no doubt several men in the audience thought of heading to a barber. Driscol follows up with Julie Brown’s “‘Cause I’m a Blond,” a tribute to the girl who knows all the boys want her and all the girls want to be her. Their final comic duet is the uproarious “Making Love Alone” by Marilyn Miller and Cheryl Hardwick. Suffice it to say, it’s about exactly what you think it’s about.
Driscol and Ingram promise a good time and they certainly deliver in this enjoyable show.
Performed by Melissa Driscol and Hannah Ingram
The Duplex Cabaret Theatre
Mondays, April 3, 10, 17, 24 and May 8 at 9:30 pm
One’s a cute blonde with a killer smile. The other’s a tall, sultry redhead. Both have voices that are equally at home belting or crooning. And they sure know how to work a crowd.
Even though For a Good Time Call . . . marks the cabaret debut of its stars, Melissa Driscol and Hannah Ingram, that’s not to say that the girls are inexperienced. Both are proud members of the USO World Show Troupe, “The Liberty Belles,” and have performed for military audiences all over the country. They also have a solid background in musical theatre, having performed in shows from My Fair Lady to Beauty and the Beast.
The eclectic mix of songs in For a Good Time Call . . . nicely shows off Driscol and Ingram’s talents. Their versions of Hoagy Carmichael’s “Billy-A-Dick” and Cole Porter’s “Friendship” show that they can swing and jive with the best of them. They demonstrate a similar talent for introspection with Ingram’s quiet and contemplative “As Long As I Can Dream,” by their accompanist, Robby Stamper, and Driscoll’s heartbreaking take on “You’re Beautiful” by James Blunt.
But where Driscol and Ingram really shine is in their comic numbers. In Zina Goldrich and Marcy Heisler’s “Nothing I Wouldn’t Do,” the ladies are being wooed by the same man and are willing to go to hilarious extremes to outdo each other. Ingram sings of her attraction to the follicly-challenged in “I Want Them . . . ” (also by Goldrich and Heisler) and does it so well that no doubt several men in the audience thought of heading to a barber. Driscol follows up with Julie Brown’s “‘Cause I’m a Blond,” a tribute to the girl who knows all the boys want her and all the girls want to be her. Their final comic duet is the uproarious “Making Love Alone” by Marilyn Miller and Cheryl Hardwick. Suffice it to say, it’s about exactly what you think it’s about.
Driscol and Ingram promise a good time and they certainly deliver in this enjoyable show.
Performed by Melissa Driscol and Hannah Ingram
The Duplex Cabaret Theatre
Mondays, April 3, 10, 17, 24 and May 8 at 9:30 pm
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