“Prison Dancer: The Musical” – Return to Oz?

By Mark A. Newman

The New York Musical Theatre Festival has done it again. Every time I attend a production, I walk away amazed at the talent on the sparse stages as well as the creative talent behind the scenes. This year the hot ticket is based on a viral YouTube video of Filipino prisoners dancing to Michael Jackson’s “Thriller.” While that tune is nowhere to be found in “Prison Dancer: The Musical,” the tunes that are included are just as dance-worthy.

Written by Romeo Candido (book, music, and lyrics) and Carmen De Jesus (book), two Filipino actors who both appeared in “Miss Saigon,” their goal was to create a show that had Filipinos playing Filipinos on stage. Mission accomplished! While not based on the specific prison in Cebu, the musical tells how the choreography-inspired exercises brought the inmates closer together, reduced violence, and drew a clear distinction between rehabilitation and punishment. The show has a distinct message but tells it in the most entertaining and original manner I have seen in a while.

The cast—some newbies and some Broadway workhorses—get their Pinoy on and all of the characters are surprisingly well drawn. While the entire cast is outstanding, a true diva has been born on the stage of the Theatre at St. Clement. Jeigh Madjus—a Toronto-based actor—plays the titular role of Lola, a cross-dressing inmate who swishes and struts his stuff yet ably puts down the prison thug with ease. I have never heard of Madjus before but he is nothing short of amazing. What could have been a shrill, irritating performance (i.e., most of the characters in “Priscilla: Queen of the Desert”) became a nuanced, sensitive portrayal of a tortured soul who gets through life with a fresh mouth, lacquered lips, and a kick punch that would render you senseless.

The prisoners are somewhat divided into two groups with Lola being the makeshift leader for the feminine “lady boys” that also includes Oo Oo (Nathan Ramos) and Nana (Enrico Rodriguez). The tough guys’ leader is Hookaps (Marc Delacruz), and includes the doomed Tondo (Albert Guerzon), to a lesser degree Shakespeare (Moses Villarama), and the newly imprisoned Christian (Broadway stalwart Jose Llana). The cast is rounded out by Christian’s girlfriend Cherish (Catherine Ricafort) and the Warden (Andrew Eisenam), who takes credit for the prisoner’s sudden internet fame because it was “his idea.”

While Oo Oo and Nana serve more as a Greek chorus to Lola, the other characters are more deeply developed. Shakespeare is the smart one: reasonable, likable, but harboring a harsh and disturbing secret; Tondo is the murderer on death row who finds a new lust for life through dance; Hookaps is the suave cellblock major domo who’s an expert at acquiring contraband getting things done; and Christian is the stoic lovelorn newbie who wants nothing more than to be with Cherish. How these archetypes intertwine and work together to be a part of an Internet sensation is truly a work of art and takes the audience on an interesting journey that is both joyous and heartbreaking.

Guerzon is enlightening as Tondo, the “dead man dancing” who’s new quest to live is at times desperate and joyful. As Hookaps, Delacruz brings a cool authoritative demeanor to the cell block and his realization that prison is the only place he belongs has a sad acquiescence and makes the character vastly likable. Also, Delacruz is a great dancer and is fun to watch. Villarama’s Shakespeare fits the bill as the show’s “everyman” because he’s so darn nice. When you find out why he’s in prison it’s hard to be appalled because by that point you’ve really grown fond of the character. Llana, one of Broadway’s Asian-American stars for over a decade, brings a quiet, resigned dignity to the role of Christian while also seemingly on a constant low boil. Is he going to explode? You never quite know but Llana gets the chance to show off his singing chops nicely in a second act solo that all but rattles the stained glass windows in the sanctuary of the Theatre at St. Clements right out of their leading.

“Prison Dancer” is as innovative and passionate a production you are likely to see on Broadway or off, off, off, off Broadway. With a desire to create a show that is strictly unique to the Philippines, Candido and De Jesus have successfully told a story about a forgotten group of people, but the themes of love, loss, redemption, and forgiveness are universal.

Final performances: Friday, Jul 27th, 2012 at 5:00 pm; Saturday, Jul 28th, 2012 at 5:00 pm; and Saturday, Jul 28th, 2012 at 9:00 pm.

Prison Dancer: The Musical

Theatre at St. Clement’s 423 West 46th Street, New York, NY 10036

Featuring: Marcus Calderon, Marc Delacruz, Andrew Eisenman, Albert Guerzon, Jose Llana, Jeigh Madjus, Nathan Ramos, Catherine Ricafort, Enrico Rodriguez, and Moses Villarama.

Book by Romeo Candido and Carmen De Jesus

Music and Lyrics by Romeo Candido

Director/Choreographer: Jenn Rapp

Scenic Design: Josh Zangen

Costume Design: Sky Switser

Lighting Design: Betsy Adams

Sound Design: John Westin

Musical Director: David Madore

Fight Director: Rick Sordelet

Tickets: nymf.org/prisondancer

http://www.prisondancer.com/

Raissa Katona Bennett Releases New CD, Premieres Concert Version at Feinstein's in August

In her third Feinstein’s engagement, MAC & Bistro Award winner and Broadway’s Raissa Katona Bennett (Christine in Phantom of the Opera) celebrates the release of her latest CD, "Another Kind of Light."  The concert version of the album premieres Tuesday, August 21 at 8pm, playing five shows through August 25.

Produced by the award-winning Ron Abel, with music direction by David Caldwell, the CD releases courtesy of LML Music on August 14.  "Another Kind of Light," includes never-before-recorded songs by prominent songwriters, including two songs written for her by Michael John LaChiusa.  Bennett performs a mix of jazz, pop and theatre songs, and puts a contemporary spin on well-known standards - songs that intelligently explore the human condition. The evening is directed by Eric Michael Gillett.

The weeklong, primetime engagement of “Another Kind of Light” features Bennett’s core musicians from the album -- Sean Harkness on guitar; Ray Marchica on drums; Ritt Henn on bass; and music director David Caldwell on piano.

Other song debuts were contributed by Ron Abel & Chuck Steffan, and David Caldwell.  Also represented are Christine Lavin; Alan Menken & David Spencer; Alan & Marilyn Bergman; Stephen Flaherty & Lynn Ahrens; Michael Mooney & Stephen Hoffman; Scott Frankel & Michael Korie, and Amanda McBroom & Michele Brourman.

Bennett, who performed the role of Christine on Broadway in Phantom of the Opera, and was in the first national tours of Cats and Parade, has been called “a superb vocalist with an impeccable ear for timing and nuance” by David Spencer, in AisleSay.com. David Finkle, writing in Backstage, says she has “a sweet yet sturdy voice – even piercing and fierce when she wants… with a generous helping of intelligence behind what she does.”

Bennett is the Bistro and MAC Award-winning producer and host of “Concerts for City Greens,” a free outdoor concert series whose mission is dedicated to the “greening of cities,” while building new audiences for live music.

“Another Kind of Light” performs Tuesday, Wednesday, Thursday, Friday and Saturday August 21, 22, 23, 24, 25, all at 8pm, at Feinstein’s at the Loews Regency, 540 Park Avenue (at 61st Street).  The music charge is $30, or $50 for premium seating, with a $25 minimum.  (High top tables with no minimum are also available.) All attendees receive a complimentary copy of the new CD.  For the Wednesday and Thursday performances Feinstein’s generously donates its service fee to benefit the non-profit Music and Art for Green. (Please use code GREEN) For information or to order in advance, call 212-339-4095 or visit http://www.feinsteinsatloewsregency.com/

"Twelfth Night" Coming to the Secret Theatre in August

After critically acclaimed productions last season of The Three Sisters, Servant of Two Masters and Ibsen’s Ghosts the Queens players returns to the Secret Theatre stage in this hilarious, groundbreaking new production of William Shakespeare’s Twelfth Night.

Director Alberto Bonilla (who brought new meaning to the word funny with his sell out production of Servant of Two Masters) calls the production “a celebration of the theatre” in which the audience themselves is one of the actors and the whole performance space is part of the stage.

Using elements of clowning, improvisation, and audience interaction allows the cast to explore this classic tale of illusions of love, mistaken identity, and the masks we all wear in joyous new ways.     
In short you'll laugh, you'll cry…and then you’ll probably laugh again really…really…hard.

Featuring: Thom Brown III, Zack Clark, John Cormier, Nicole Davis, Jonathan Emerson, *Kathryn Finch, *Elizabeth Inghram, Marcin Mesa, *Michael Moreno, Kaylyn Scardefield, Mark Weatherup Jr.
*APPEARS COURTESY OF ACTORS EQUITY ASSOC.


Twelfth Night
By William Shakespeare
Produced By Richard Mazda for The Queens Players
Directed by Alberto Bonilla
Producer: Jonathan Emerson                        
Assistant Director: Chrissy Sheehan                               
Co Stage Manager: Luke Rosenthal                                    
Co-Stage Manager: Kenny Broadway                      
Costumes: Terrell Green                              
Photography: Peter Giglio
Videography: Kenny Broadway                                      
Original Music by Will Stackpole

Aug 2-4, 9-12, 16-18@ 8PM              
Matinee Aug 18 @ 2PM

Tickets $18 Door (price includes 1 free drink)
Available online http://www.thequeensplayers.com/  Reservations/Inquiries 718 392 0722

An approved Actors Equity Showcase

UglyRhino Announces Casting for "The Awakening" and "GLAMDROMEDA"

UglyRhino announces casting for their produtions of The Awakening and GLAMDROMEDA, which will take place this August at The Brooklyn Lyceum. UglyRhino’s 2012 micro-season places these mainstages plays at the heart of a larger artistic celebration, providing a variety of events on any given evening. What results is a social experience you can’t find in your traditional theater setting. The third annual micro-season will focus on music, surrounding the two entirely new musical plays developed by the UglyRhino team, with live bands, two free curated cocktails, and a DJ after party following Friday night performances. Both The Awakening and GLAMDROMEDA explore the unifying themes of personal, sexual and creative awakenings through unique musical compositions.

The Awakening, an original play with songs adapted by Bryce Norbitz and Nicole Rosner from the classic novella by Kate Chopin, will feature Michael Bernstein (Nevin Porter in UglyRhino’s Centralia), Leighton Bryan (MFA in acting from NYU, BA from Brown University, and Summer Intensive at RADA), Eric Gravez (NYC debut), Austin Hohnke (Steve Martin’s WASP at Playwrights Horizons), Meghan E. Jones (Annie in The Real Thing with T. Schreiber), Kelsey Landon (Get Gone with The Glass Bandits), Jennifer McVey (Knives and Spoons Go On The Right with 3Roads Productions), Craig Mungavin (Cato at The Flea), Katie Tuminelly (Measure for Measure with The Public Theater),  Harrision Unger (Batz at The Brick/Joe’s Pub). The production will be directed by UglyRhino co-Artistic Director Nicole Rosner with Lighting Design by Catharine DiGirolamo, Original Music by Gisela Fulla-Silvestre, Choreography by Megan Kendzior, Costume Design by Oril Nativ, and Set Design by Kathryn Lieber.

GLAMDROMEDA, a glam rock theatrical experience with Book by Bryce Norbitz, Music by Ben Bonnema, and Lyrics by Christopher Staskel with Additional Lyrics by Zayre Ferrer, will feature Fernando Contreras (Pipeline Theatre Company), Brett Robinson (She Kills Monsters at The Flea), and Steven Schmidt (National Tour of Cabaret). The production will be directed by UglyRhino co-Artistic Director Danny Sharron with Costume Design by Angela Harner, Lighting Design by Mike Inwood, and Set Design by Amy Rubin.

UglyRhino’s 2012 Micro-Season will run August 15-31 at The Brooklyn Lyceum (227 4th Avenue at Union Street, Brooklyn), Wednesday through Friday at 8pm. Tickets ($18 including all the evenings events; $15 for all performances August 15, 16, & 17) are available online at  http://www.uglyrhinonyc.com/. All ticket purchases will include two free curated cocktails. UglyRhino’s 2012 Micro-Season is proudly sponsored by Lagunitas Brewing Company.

UGLYRHINO is a new way to experience theater. Expanding on our high quality productions, we integrate dynamic arts programming ranging from emerging musicians to warehouse parties. UglyRhino curates affordable evenings with a social atmosphere that capture the inimitable spirit of Brooklyn.

“If you’ve always thought theater performances needed more of a party vibe, your day has come.” New York Press

"Regardless of the evening’s fare, be prepared for a night of theater unlike any other." Metro

THE BROOKLYN LYCEUM is a producing arts venue and cultural center on the edge of Gowanus. Originally opened in 1910 as an indoor bathing facility, it now plays host to a range of theater, music, dance, markets and community activities. The Lyceum programs small and large artistic works, working with both local and travelling professional groups, and has an array of activities throughout the year, including our large markets and conventions, zumba classes, a drop down batting cage and weekly jazz. The Lyceum Café is open every day, serving Intelligentsia coffee and fresh house-baked goods, including our famously addictive blueberry muffins and Emmet's homemade bread.

John Paolillo Puts the Tail in Fairy Tales

By Byrne Harrison

There is no shortage of burlesque in New York City.  That said, it's always fun when something new comes around.  The latest is John Paolillo's naughty take on the fairy tales that we all know and love.

What is Humpty Dumpty hiding under that shell?

What is a tuffet, and what will happen if you sit on it?

Is three men in a tub ever really enough?

Did Little Red Riding Hood know the wolf was watching?

You may find out the answers at Hairy Tails & Rhymes, currently being performed Tuesday nights at XL Cabaret.

Choreographer Paolillo has created a show that is funny, dirty, and features some amazingly... um, talented performers.  They're not just pretty faces (and bodies) - these men and women know how to move.  With Paolillo's exciting choreography, these performers give us an athletic striptease that is a pleasure to watch and slyly humorous.

While it's hard to pick out the strongest numbers, the ones that stuck with me were Miss Muffet's, featuring Audry Hamilton (and a very naughty, and persistent spider), and Paolillo's take on Three Men in a Tub, featuring David Gifford, Dave Guggino and Brandon Mason (who was also a terrific Humpty Dumpty).

Hairy Tales also features Sister Goose (Luxury Cartax), who provides some of the filthiest versions of classic fairy tales that I've ever heard.

XL Cabaret is an interesting space, and seems well suited for burlesque.  Hopefully this will turn into a regular event.

Hairy Tails & RhymesCreator/Director/Choreographer - John Paolillo
Cast: Audry Hamilton, Brandon Mason, Pixie, David Thomas Guggino, Jubilee Diamond, Luxury Cartax, Marisa Jo Merless, David Gifford, and Holly Dae

With special guest Molly "Equality" Dykeman
XL Cabaret
512 W. 42nd Street (btw 10th and 11th Ave.)

Tuesdays in July (remaining shows on the 24th and 31st)
8 PM (seating at 7 PM)

Interview - Anthony Johnston of "Tenderpits"

By Byrne Harrison

Anthony Johnston is a New York City based actor and theatre maker, originally from Canada.  He has worked across Canada for some of the country's most important theatres. Credits include; Alan in the Canadian revival of Equus (Citadel), Billy in Edward Albee's The Goat or, Who Is Sylvia? (Centaur, MTC), Brodie in Tom Stoppard's The Real Thing (MTC), Gary in the Western Canadian Premiere of Shopping & Fucking (Pi, Ruby Slipp ers) and Bill Mercer in the Dora-Award winning production of Leaving Home (Soulpepper, Toronto).

In New York, Anthony has worked with NY Theatre Experiment, Stage Left Studio, Ensemble Studio Theatre's Youngblood, 13th St Theatre, the Management Theatre Co. and HorseTrade Theater Group. His original one-man shows have been produced across Canada, in New York City and in New Jersey. Art's Heart was awarded Outstanding Solo Show at the 2009 NY Fringe Festival and Tenderpits was selected as Best Multi-Media Performance at NYC's 2010 United Solo Festival at Theatre ROW. Most recently Anthony participated in The Public Theater’s 2011 Shakespeare Lab, headed by Barry Edelstein, and played the role of ‘Ken’ opposite Joel Leffert in The Public Theatre of Maine’s production of John Logan’s Red. He is represented by The Jim Flynn Agency, NYC.

First of all, congratulations on taking your show, Tenderpits, to the Edinburgh Fringe Festival. When will you be heading to Scotland?

Thanks! We're super excited to be bringing our work there for the first time. We head off on the 31st of July.  And we do the show at Underbelly for the entire festival: Aug 2-26 with just one night off! I'm gonna be exhausted! :)

For those who haven't seen Tenderpits, will you be doing any performances of it before you go?

We are! You can see Tenderpits here in NYC July 24, 25 + 26 at 9PM at 59E59 Theaters-- as part of their "East to Edinburgh Festival".

Tell me a little bit about the show.

Here's some official copy on the show, I think it sums it up pretty well:

"Tenderpits uses a unique combination of stand-up, physical theatre and performance art to spin a dazzling narrative about immigration and magic. On the back of a mystical moose, a young gay wizard journeys from the wilderness of Canada to New York City - where he buys a gun, crashes a Broadway production of Three Sisters, befriends an illegal Mexican immigrant and goes on a psycho-sexual rampage.

Tenderpits was tragically interrupted during its premiere in 2010 when writer/performer Anthony Johnston's sister suddenly passed away. What began as a comic exploration of “the powers of positive thinking” now takes on an immediacy and urgency that touched audience and performer alike. Moving with hyperkinetic speed between worlds of fact and fiction, Tenderpits is an explosive comedy possessed by bouts of unrestrained hopefulness and brutal intimacy."

You recently did a reading of your work in progress, Tenderpits 2: Revenge of the Popinjay. How is that progressing?

"Tpits 2" is kind of on the back burner at the moment as we prepare to bring the original Tenderpits to Edinburgh. But we're looking forward to getting back to work on Revenge of the Popinjay when we return to NYC in September. I'll keep you posted on when you can see more workshops!

I've seen several of your shows now, and they all seem to have an auto-biographical element to them. What is it like for you putting so much of your own story on stage?

I think with Tenderpits, and a lot of the other work me and Nathan (Schwartz; co-artistic dir. of AnimalParts) have been creating, is that we're exploring that line between truth and fiction. Asking ourselves what is true and honest in theatre, and how can we use our art to tell our story, and how can we make an honest connection with our audience...

Tenderpits especially is very autobiographical, and sometimes it's scary to reveal myself in the ways that I do in this show, but I've found that the more specific and true to myself I am - the more people can relate and connect what they see in the show back to their own lives.

You've been in New York for a while now. How is that influencing your art?

I love New York City. My relationship with this city and all of it's magic and mythologies is a big part of what originally inspired Tenderpits. I can't imagine not being greatly influenced by your surroundings- and especially a city as vibrant and diverse and exciting as this one!

In addition to seeing Tenderpits before you leave, how else can people support the show?

Our company, AnimalParts thatre, has just been incorporated and we are accepting tax deductible donations through Fractured Atlas here: https://www.fracturedatlas.org/donate/3686

What's next for you when you get back from Scotland?
Definitely getting back into the rehearsal room with Tenderpits 2. Possibly touring the original Tenderpits (depending on how things go in Edinburgh- fingers crossed!), and creating new stuff too!

Good luck with Tenderpits. I hope you'll let us all know what your experiences are like.

Thanks again, Byrne! I will definitely keep you posted on how things are going over there!
And definitely come check out the show at 59E59 July 24-26 9PM! Would love to see you there!
www.tenderpits.com

Cast Album Round Up

By Mark A. Newman

So far 2012 has seen a wealth of new cast recordings released to keep the iPods of the theater lover full. Here are a few thumbnail reviews of some of the latest offerings.

Bonnie & Clyde: Original Broadway Cast (Broadway Records)

Bonnie & Clyde was a show that definitely did not stay around long enough…while other shows tend to overstay their welcome. The score was rich in melodies that reflect a rural America of yesteryear without sinking to the levels of hokum. This is probably one of Frank Wildhorn’s best scores simply due to its variety of styles and lack of overwrought power ballads (Jekyll & Hyde it ain’t!). As the titular title characters, Jeremy Jordan and Laura Osnes have ample opportunity to shine as do the supporting players especially Melissa van der Schyff who as Blanche comes very close to stealing the show. The show’s score is likable and a nice addition to any theatre fan’s collection whether you like Wildhorn or not.

Bring it On! The Musical: Original Cast EP (Ghostlight Records)

So far the only taste of the new Lin-Manuel Miranda/Tom Kitt/Amanda Green musical is via a three-song sampler available as downloads on iTunes and amazon.com. What a tease these tunes turn out to be. Since I haven’t seen the show I can only hazard to guess that “It’s All Happening” is the show’s opener as it ably sets the tone with an athletic, driving rhythm infused with Miranda’s trademark rhymes and urban beats. The other two tunes—“Ain’t No Thing” and “Enjoy the Trip”—are equally enjoyable but it was the excitement of “It’s All Happening” that hooked me. Broadway is getting another taste of the genius behind In the Heights and I for one cannot wait. (I’ll leave my pom poms at home!)

Evita: New Broadway Cast (Sony Masterworks)

The new recording of the Evita revival will likely cause many arguments among theatre aficionados, some of whom will rally behind Patti and Mandy while others are ready for a new take on a show that is over 30 years old. I fall somewhere in between. Does Ricky Martin sing the songs as well and Mandy Patinkin? Well—to borrow from the show—yes. And no. And yes. Either you like Patinkin’s vocal histrionics or you don’t. Personally I enjoyed Martin’s Latin swagger and if he can’t hit the high notes like yesterday’s Che, I can live with it. I am an admirer of Patinkin’s but it’s nice to hear the role of Che sung without the actor’s often-noted and eloquently parodied overindulgence. Elena Roger’s Evita is an altogether different animal than LuPone’s with a shrewish quality not unlike Elaine Page but, in my mind, probably more in line with the actual Eva Peron (Roger is also Argentinian). The real standout is Michael Cerveris as Juan Peron who brings a depth to this thankless role. You can hear both the ambition and pain as Cerveris ably demonstrates the politico’s many sides. Also, the new orchestrations and arrangements are hands down better than the over-synthesized recordings from the 1970s. What a treat to hear actual musical instruments that don’t need to be plugged in!

Lysistrata Jones: Original Broadway Cast (Broadway Records)

Lysistrata Jones was an adorable little show that I had the opportunity to see twice. Did it belong on Broadway? Probably not. Had it stayed in a cozy off-Broadway house it would likely still be playing to packed houses rather than closing much too soon. The score by Lewis Flynn is one of those tightly knit tapestries that is a blast in the theater, but doesn’t fare as well on the recording. The energy of the hardworking cast is evident but leaves the listener lacking. Some cast albums either get repeated listens or get put on the shelf as a token of a lovely night at the theatre. I’m afraid this recording falls into the latter category. There are some amazing voices, most notably Patti Murin, Liz Mikel, and the underused Jason Tam, but the music had more of a “wow factor” in the theater than it does on my headphones. This would’ve been one of the few cast albums that would have benefited from a live recording.

Newsies: Original Broadway Cast (Ghostlight Records)

Alan Menken and Jack Feldman’s Tony-winning score to Newsies has been an audience favorite since the movie musical first bombed across America in the early ‘90s. The new Broadway cast recording is akin to having your favorite room exquisitely remodeled with improvements you didn’t know you needed. Wisely, the creators have ditched the wobbly tunes sung by Ann Margaret in the film and replaced them with peppier replacements sung by the same character in the persona of Capathia Jenkins. In his second cast recording this year Jeremy Jordan again shines, this time as Jack Kelly, an enigmatic paperboy with dreams of artistic greatness and wanderlust (granted, “Santa Fe” is a great song but set your sights higher, Jack!). With anthems like “Seize the Day,” “King of New York,” “The World Will Know,” “Once and For All,” and the show- and heartstopping opener “Carrying the Banner,” Newsies translates nicely onto CD or into an iPod. While some of the energy that is so prevalent in the theater is not as obvious on the recording, the score won the Tony for a reason: it was the best music and lyrics of the 2011 – 2012 season.

“Ghost: The Musical” – A spirit in the material world wanders the Great White Way

By Mark A. Newman

Granted, saying that a musical is much better than you expected is not exactly high praise but that’s exactly how I’ve been describing Ghost: The Musical currently at the Lunt-Fontanne Theatre on Broadway. The story is familiar, the cast is likable, the music is inoffensive if forgettable, the direction by Matthew Warchus is quickly paced and presents the story of ill-fated lovers Sam (Richard Fleeshman) and Molly (Caissie Levy) in a tidy, overproduced package that will please casual theatergoers and offend theater aficionados.

The story is pretty much the same story from the movie starring Patrick Swayze and Demi Moore: banker Sam and artist Molly are deeply in love, Sam is murdered and wanders around the afterlife until he stumbles upon storefront psychic Oda Mae Brown (a show-stopping Da’Vine Joy Randolph), whom he gets to communicate with Molly while he discovers who killed him and why. The bad guys get what’s coming to them and the moral of the story is, I guess, love conquers all…even when one of the lovers is an apparition.

Despite my faint praise above, Ghost would not be as remotely entertaining without the triumphant performance of Randolph or the splashy special effects that include ghostly illusions, LED walls, and manic projections, not to mention lighting and cable tricks thrown in for good measure. Randolph, the only Tony-nominated aspect of this show, is a star in the making in what has now become the obligatory “sassy black diva” role. She conveys fear, anger, confusion, and even greed in a way the ropes the audience in and keeps them on her side.

While the leads are certainly likable and talented enough, there’s really nothing outstanding about either one of them, aside from Fleeshman’s abs which are prominently featured in ads for the show but only make a single appearance. Note to the director: Your audience is young girls and gay men. Ripped abs are to be showcased, not hidden in the shadows. Miss Saigon taught us all that. But I digress…

As Carl, Sam’s slimy co-worker who may or may not be complicit in his demise, Bryce Pinkham really brings on the smarm. He has a creepiness to him that is offputting and he even vaguely resembles Tony Goldwyn who played the role in the movie. Even when he reveals his own chiseled torso there’s still an ick factor present that sent a collective shiver through the audience. Also, Michael Balderamma as thug Willie Lopez shines in the largest role I’ve ever seen him in. Typically a dance captain or featured dancer (Movin’ Out, In the Heights, etc.), Balderamma shows off considerable acting chops.

Sadly, the score by The Eurythmics’ Dave Stewart along with Glenn Ballard is pretty underwhelming. The tunes all seem to run together and don’t really have a cohesive link. They could be in a musical about lab rats, the life of Martin Van Buren, or a musicalization of  The Poseidon Adventure. Other than the overused and often-inserted “Unchained Melody”—oddly how often that song pops up to remind Molly of her dearly departed Sam—the score is unimaginative, dull, and forgettable.

Luckily the show rises above its tunes, but only on the shoulders of Randolph’s hilarious star turn and some of the most advanced special effects on Broadway. Still, it’s not the worst show of the season (that would be the bilious Leap of Faith), nor is it the best. But for a night at theatre, you could do a lot worse.   

Ghost: The Musical

Featuring: Caissie Levy (Molly), Richard Fleeshman (Sam), Da’Vine Joy Randolph (Oda Mae), Bryce Pinkham (Carl) and Michael Balderamma (Willie Lopez), with Moya Angela, Jason Babinsky, James Brown III, Stephen Carrasco, Sharona D'Ornellas, Jeremy Davis, Josh Franklin, Albert Guerzon, Afra Hines, Carly Hughes, Karen Hyland, Alison Luff, Tyler McGee, Vasthy Mompoint, Jennifer Noble, Joe Aaron Reid, Lance Roberts, Constantine Rousouli, Jennifer Sanchez, Daniel Watts, and Jesse Wildman.

Book & Lyrics by Bruce Joel Rubin

Music by Dave Stewart and Glenn Ballard

Sound design: Bobby Aitken

Video and projection design: Jon Driscoll

Costume & Scenic design: Rob Howell

Illusions Designer: Paul Kieve

Lighting Designer: Hugh Vanstone

Choreographer: Ashley Wallen

Director: Matthew Warchus

Orchestrations: Christopher Nightingale

Music Direction: David Holcenberg

Lunt-Fontanne Theatre

205 West 46^th Street

New York, NY 10036

Maltby & Shire's “Closer Than Ever” - Better Than Closer - it's Here!

By Judd Hollander

Photo by Carol Rosegg

The 1989 musical revue Closer Than Ever (lyrics by Richard Maltby, Jr., music by David Shire, conceived by Richard Maltby Jr. and Steven Scott Smith), which looks at the ins and outs of relationships, their beginning, middle and possible endings, makes a welcome return to New York City with a somewhat updated production at the York Theatre Company.

More than simple songs, (the production is 99% musical numbers) just about every one of the pieces performed tells a story about the afore-mentioned subjects and people in crisis, bliss or transition because of it. If there's a through line here, it would be one of time and progression, with such issues as change, love, death, growing older and combinations of all of the above coming to the fore at different points. How the specific stories are emotionally presented depends on those performing the songs in question, the four member cast (Jenn Colella, George Dvorsky, Christiane Noll, Sal Viviano) mostly hitting all the right notes.

While the score of the show is simply wonderful to hear, since most of the songs were written over twenty years ago, there's often a slight feeling of things being just a bit out of date, coupled with an ever-present element of nostalgia, rather than something seemingly more on the cutting edge. In perhaps in recognition of this fact, some new songs have been added for this production, with at least one number being cut. Maltby and Shire have also updated a few things here and there, with a reference to Dan Quayle replaced by one of Glenn Beck, and a $50,000 salary mention changed to $90,000. At the same time, it's interesting to note that the issues raised and situations explored are pretty universal and could be taking place in just about any era or setting.

It's also worth noting that the slower and more somber pieces in Closer Than Ever have the stronger emotional effect, such as when Noll sings "Life Story" and "Patterns", both pieces showing the path a person's life has taken and how perhaps, with a little change things might have been quite different. In the same vein, Viviano powerfully delivers the angst-ridden "One of the Good Guys", about a man who has always done the right thing yet now sometimes finds he is more content than truly happy. Elsewhere, Dvorsky beautifully carries off "If I Sing", and he and Viviano do a wonderful job with "Fathers of Fathers," the former looking at life from son to father, and the latter looking from father to child.

Some of the faster numbers that come off well are "I'll Get Up Tomorrow Morning", sung by Dvorsky, a satirical look at a man pushed to the breaking point by numerous responsibilities; while Colella, Noll and Dvorsky have fun with the cute, if somewhat kitschy "Three Friends". Also worthy of mention is the opening number "Doors", the at times all-too-true "The March of Time", and "Back on Base", a somewhat risqué number featuring Colella and base player Danny Weller. It should also be noted that Weller, and piano player Andrew Gerle - who is also the show's music director, do a great job providing musical accompaniment for the production.

The four actors all do pretty well with the material, with each having numerous moments to shine, holding the audience's attention and belting out the numbers when it really counts. There were however, a few misfires in the show, including Viviano with "What Am I Doin'?", a number about lovesickness carried to the extreme. Done for comic effect, the piece might have resonated better with some more emotional shading. There was also "Miss Byrd", sung by Colella about a supposedly ordinary woman with a secret, with the actress not doing enough to really sell the two sides of the woman via the song.

Maltby handles the directing chores and for the most part does the job quite well, allowing for quick transitions between the songs and not letting any one story or number overstay its welcome. The one glaring exception being "There's Nothing Like It", a song about physical fitness, which unfortunately goes too far over the top more than once. Kurt Stamm does fine with the chorography, making good use of the stage playing area. The set by James Morgan, basically a lot of doors, are nice.

An enjoyable musical revue which has a surprisingly large amount to say, Maltby & Shire's Closer Than Ever may not hit a total home run, but still is a major game winner this summer theatre season.

Closer Than Ever

Featuring: Jenn Colella, George Dvorsky, Christiane Noll, Sal Viviano

Lyrics by Richard Maltby, Jr.

Music by David Shire

Conceived by Richard Maltby, Jr. and Steven Scott Smith

Scenic Design: James Morgan

Costume Design: Nicole Wee

Lighting Design: Kirk Bookman

Technical Design: Wyatt Kuether

Dance Captain: Jenn Colella

Associate Choreographer: Emily Morgan

Casting: Mungioli Theatricals: Arnold J. Mungioli, CSA

General Press Representative: O&M Co.

Marketing: Red Rising Marketing
Co-Directed by Steven Scott Smith

Assistant Stage Manager: Niki Armato

Production Stage Manager: Bernita Robinson

Additional Vocal Arrangements: Patrick Scott Brady

Music Direction/Piano: Andrew Gerle

Bass: Alan Stevens Hewitt; Danny Weller

Associate Direction: & Choreography: Kurt Stamm

Directed by Richard Maltby, Jr.

Presented by the York Theatre Company

St. Peter's Church

619 Lexington Avenue

Tickets: 212-935-5820
Information: http://www.yorktheatre.org/
Running time: 2 hours, 20 minutes with one intermission

Closes: August 25, 2012

“Wear It Like A Crown” - Uneasy Are The Ones That Watch

By Judd Hollander

Photos by Jack Vartoogian

Wear It Like A Crown, presented by the Swedish troupe Cirkus Cikör at the Brooklyn Academy of Music is, as explained in the show program notes, all about risk taking. Risking one's life and limb, the risk of looking stupid when you're performing and the risk of having one's heart broken over and over again - as one of the troupe demonstrates continually via her sad countenance and broken hearted airs while exiting the stage multiple times during the first part of the show. Yet despite some rather interesting stunts and acrobatics, the entire experience never really takes off, becoming more of a "circus light" affair rather than anything truly amazing.

The production starts off promisingly enough, with the performers entering and exiting the playing area via a door that is pushed in a circular motion around the middle of the stage by one of the company. This leads in to several acrobatic efforts, including one, which has the Mistress of Mayhem (Anna Lagerkvist) maneuvering on a long pole in the center of the stage and stopping herself from falling with only the strength of her leg muscles as she rapidly descends perpendicular to the floor.

Unfortunately, the entire work quickly becomes bogged down with continual ramblings about risks and the right and left side of the brain, as mentioned by the Wizard of Wonder (Henrik Agger). Less of an explanation than it is incoherently sounding sentences, and told in a halting and incomplete manner, the effect serves to derail again and again any momentum the show might have otherwise built. Indeed, at times one feels as if in a lecture hall rather than a performance space. All of which does nothing to help one feel immersed or involved in what is unfolding. Nor does the repeatedly alluded to idea of risk-taking come to prominence in many of the sequences demonstrated, with one often waiting for something more to happen than what actually occurs.

To be sure, some of the exhibitions are quite enjoyable, such as a knife-throwing act – with a performer strapped to a spinning wheel as the blades hurtle towards her. There's also a hilarious ping pong ball sequence between two of the company (David Eriksson and Fouzia Rakez) which includes juggling and spitting said object from their mouths. Another nice touch is when knives come falling from the ceiling or when Nerves of Steel (Jesper Nikolajeff) starts tossing around chain saws.

Things also pick up a bit after the intermission, with some rather interesting and occasionally risqué trapeze action, but the entire experience never really comes together to create an overall feeling of astonishment, enjoyment or humor. There's also little connection between the performers and the audience members, though there is some audience participation at one point.

The show sets, all of which have a sort of used circus feel to them, are nicely appropriate to the context of the production, as are the costumes and makeup work. The choreography and direction are more of a mixed bag, enjoyable when they work and feeling more than a little stagnant when they don't.

Wear It Like A Crown is certainly not a bad show in any sense of the word. However it's sadly not that good enough to warrant a strong recommendation.

Wear It Like A Crown

Featuring: Henrik Agger (Wizard of Wonder), Louise Bjurholm (Miraculous and Supernatural), David Eriksson (Marvel of the Century), Fouzia (Fofo) Rakez (Wild Weird and Wonderful), Jesper Nikolajeff (Nerves of Steel), Anna Lagerkvist (Mistress of Mayhem)

Presented by Cirkus Cikör

Music and Lyrics by Rebekka Karijord

Set Design by creative team and ensemble

Costume Design by Anna Bonnevier

Lighting Design by Ulf Englund

Dramaturgy by Camilla Damkjaer

Chorography by Molly Saudek, Cilla Roos

Film and Projection Design by Johan Bååth

Hair and Makeup Design by Helena Andersson

Props/Décor Tomas Helsing

Director's Assistant: Hanna Reinius

Circus Rigging and Construction Ulf Poly Nylin, Anders Freudendahl

Constructor: Joel Jedström

Sound Technician: Alex Angelflod

Tour Leader: Camilla Hammarström

Props Assistant: Sara Brobert

Directed by Tilde Björfors

Presented by the Brooklyn Academy of Music
BAM Howard Gilman Opera House

30 Lafayette Avenue

Running time: Two Hours, with intermission
Closed: June 3, 2012

“Cock” - A Damn Good Theatrical Experience

By Judd Hollander

While one may wonder why playwright Mike Bartlett chose to title his show the way he did, there's no denying the ultimate power of the work, one which puts three individuals, and at times a fourth, on a collision course over relationships, peace of mind and, more importantly, the question of personal identity in this taut, intermissionless comedy-drama. The play, which began life at the Royal Court Theatre in London in 2009, is now making its New York stage debut at the Duke on 42nd Street.

John (Cory Michael Smith) and his boyfriend M (Jason Butler Harner) have been in a long-term relationship, but over time their passion has been supplemented by arguments and quarrels, not to mention continual nit-picking over most every little thing. Finally fed up, John decides to end his romance with M, an action which leaves M devastated. However, it's not long before John returns, wanting to give things another go. Yet John is not running back to M because he loves him, but rather because he's running away from something else. For during his absence, John has become intimately involved with a woman, designated as "W" (Amanda Quaid) - other than John, there are no proper names used - W not only being surprisingly sexually compatible with John, especially since she knows about his proclivity for men, but also seemingly the answer to all his hopes and dreams. John and W having many of the same tastes and attitudes, and both surprisingly wanting to move things forward into a more permanent situation.

Needless to say, M is somewhat flummoxed at this turn of events, a trend which doesn't halt upon John's return, as he continues to see W and M simultaneously, all the while denying he's bisexual and telling each exactly what they want to hear; thus keeping them both dangling while they wait for him to make a decision. Eventually M ends up inviting W over for dinner, determined to meet his rival, only to find out she is not at all what he expected, either in appearance or attitude. As W and M trade verbal barbs and inquires and John wishes desperately he could be anywhere else, it's safe to say that what follows will be an evening none of them will ever forget.

The first thing one notices when walking into the space is how the theatre has been set up, it being done in the round in a stadium style manner; the audience looking down upon the small playing area which the actors will use. The atmosphere reminding one of a gladiator arena or perhaps where a cock fight would be held; a bell sounding every so often to end the various scenes and sending the participating actors to neutral corners before beginning again.

This up close and personal feeling continues throughout the play as the story dances around the one question John refuses to confront: just what is it exactly that he wants. Is he in fact gay, as all have assumed and accepted as such, or just going through a phase? Does he want a life as a "normal" person, with a wife and kids, or does he just want to go through the motions, simply gliding through his existence and falling into the category in which everyone seems to think he belongs? The only obvious truism that quickly emerges is that John is definitely not happy, but whether he has the courage to confront and fix the situation is another thing entirely. Indeed it's not long before the question of sexual preference and genetic disposition begins to take a back seat to issues of happiness and contentment.

Smith is perfectly cast as John, a fellow who just wants things to be simple, but who is ultimately terrified of making a decision, telling lies to both W and M, trying not to hurt anyone and not wanting to burn bridges until it becomes obvious he has to just that in order for any of them to be able to move on. At first a seemingly weak individual, he eventually bursts forth with a searing explanation of angst as to how he is so tired of being what everyone expects him to be and just wants to be himself. Yet at the same time he's often afraid to do the hard work that usually comes with achieving that goal.

Harner is very strong as M, a somewhat sarcastic sort who loves John dearly and who uses humor as both a defense and weapon, and thus delivers some of the funniest and most telling lines in the play. In addition, just like John, M may find himself settling for something less than what he ultimately wants if he's not careful.

Quaid is excellent in the pivotal role of "the other woman." Both a companion and mother type to John, the two characters having a wonderful chemistry, with their love-making scene handled with taste, humor and honest emotional impact. At the same time, W is nobody's fool, thus making her a perfect foil for M in their scenes together. She's also realistic enough to know what she faces in her struggle to have a life with John.

Cotter Smith works well as M's father (designation: "F") whom M invites to the dinner for emotional support and who quickly throws his own opinions into the mix, urging John to stay with his son, though F's feelings may be colored because of his emotional involvement with both men and also because of his possible, almost unconscious attraction to W.

Director James MacDonald deserves great credit here for taking the script and running with it, making the different scenes and emotional circumstances play off each other nicely until they all combine in a tangled web of energy where hot button issues are brought to the fore with W, F and M and alternatively battling each other and then allying together against John, until John realizes it's up to him to make the final move.

Michael Buether's set works perfectly, nicely setting the scenes and structure where, completely absent of props, the four performers must rely on their acting skills and the power of the script to tell this tale. One with an ending that is completely believable and quite surprisingly satisfies the requirements the story has set up.

Playwright Bartlett expertly tells a multilayered and emotionally laden story about finding out who one is and what one really wants out of life. Saddled with a perhaps unnecessary title, Cock is nonetheless, quite a strong piece of theatre.

Cock

By Mike Bartlett

Featuring: Cory Michael Smith (John), Jason Butler Harner (M), Amanda Quaid (W), Cotter Smith (F).

Scenic and Costume Design: Miriam Buether

Lighting Design: Peter Mumford

Sound Design: Darron L West

Directed by James MacDonald

The Duke on

42^nd Street

229 West 42nd Street

Tickets: 646-223-3010 or http://www.new42ndstreet.org/

Information: http://www.cockfightplay.org/

Running Time: 90 minutes, no intermission

Closes: October 7, 2012

You're gonna need a bigger piano - Jaws: the Musical has two more performances this weekend

Just when you thought it was safe to go to the theatre…a shark swims right into your heart.

JAWS: the Musical

Resurfaces July 6th, 7th, 13th & 15th at The Broadway Comedy Club

Book, music & lyrics by Wayne Henry
Musical direction by Clare Cooper
Directed by Steven McElroy

This time he’s out for love.

Jaws: the Musical  is an over the top love story where a Manhattanite falls in love with a shark, people get eaten and marine biologists break into songs. Get hooked on the campiest, funniest, new musical to hit our shores! Featuring the songs “Fishing the Great White Way,”  “At Night He Swims Home to Me,” and “When A Shark Attacked My Heart.” 

The cast features; Laura Daniel, Brett Douglas, John Flynn, Wayne Henry, Jason Salmon & Suzanne Stein.

Jaws: the Musical won the 2002 Strawberry One-Act Festival (40 play elimination tournament) and was featured in Emerging Artists Theater’s 2007 Notes from a Page musical development series. The show has now resurfaced and with new music and extended material. 

All performances take place at The Broadway Comedy Club, 318 West 53rd Street (btw 8th & 9th Avenues), http://www.broadwaycomedyclub.comsubways/: C or E train to 50th St. 1 or 9 train to 50th St.  N, R, W, or Q train to 57th St
Tickets are $10 at the door (cash only) plus 1 drink minimum. To make a reservation e-mail, JawsTickets@gmail.com with your name, number in your party, and date of performance.
Running time: 40 minutes
Show Dates
Friday, July 6th @ 6:30 pm
Saturday, July 7th @ 6:00 pm
Friday, July 13th @ 6:30 pm
Sunday, July 15th @ 3:00 pm   

Jaws: the Musical stars the original cast with John Flynn (Oh, Hey Guys, UCB) in the title role. Brett Douglas (My Big Gay Italian Wedding) plays his unfortunate victim, while Wayne Henry (The Collin Quinn Show, The Play About the Naked Guy), Jason Salmon (30 Rock & MTV) & Suzanne Stein (Our D.A.M.N. Show, Laughter On the 23rd Floor) take on Hooper, Brody & Quint. Laura Daniel (NYMF Award for The Tragic and Horrible Life of the Singing Nun) is the cast’s only newcomer in the role of Sally, the object of Jaw’s affection. Clare Cooper (Tony 'n' Tina's Wedding, Memphis)tackles music, with Steven McElroy (What Happened Was...) playing director to this cast of high-energy hams!

Songs in the Key of LGBT: A Cabaret Benefit for Ali Forney Center

SONGS IN THE KEY OF LGBT: A Cabaret Benefit for ALI FORNEY CENTER

This Sunday, July 8, 2012, at 7:00 PM

One night only!

Featuring the amazing:

Eric Michael Gillett

La Tanya Hall

Marieann Meringolo

Carolyn Montgomery-Forant

 Julie Reyburn

Arbender Robinson

Nina Siegel

Niki & Viki Sorrentino

Cookie Stark

KT Sullivan

Special Surprise Guests!

Produced and Musical Directed by Jeff Cubeta

Direction by Eric Michael Gillett

Hosted by Carolyn Montgomery-Forant

Ali Forney Center provides housing and social services for homeless LGBT youth. It is the only housing organization in the nation that identifies itself as a "safe space" for these young people. Five weeks ago, the mayor presented a budget that would eliminate 160 of Ali Forney Center's 250 beds. (And there are over 3000 homeless youth identifying as LGBT in New York City alone.)

Please join us as we support this incredible organization.

SONGS IN THE KEY OF LGBT

A Cabaret Benefit for Ali Forney Center

Sunday, July 8, 2012, at 7:00 PM

Doors open at 6:00 PM

Laurie Beechman Theatre

407 West 42nd Street, 10036

$20 Music Charge (Proceeds benefit Ali Forney Center, a non-profit organization)

$15 Food/Drink Minimum

Reservations: 212-695-6909 (after 12:00 PM)

If you would like to attend but are unable, perhaps you might consider making a donation to Ali Forney Center. Please feel free to click here for more information.

“The Bad and the Better” from The Amoralists

By Olivia Jane Smith

Cops who shoot first and plant loaded guns on their victims later. Developers who commit mass murder to realize a dream of clean energy. Peace-loving anarchists who agree to commit violent crimes rather than run out of the cash they need in order to survive.

There’s more: Husbands betray wives, undercover agents pose as lovers—cheating on the real loves of their lives in the process—and no one can be certain which side anyone’s really on. Then the bodies start to pile up so fast we might as well be in Act V of a Shakespeare tragedy.

Welcome to Derek Ahonen’s “The Bad and the Better,” currently showing in a physically superb production by The Amoralists, thanks largely to Alfred Schatz’ set design, Natalie Robin’s lights, and some virtuosic staging by director Daniel Aukin. While the show looks great and, with 26 actors, wows in terms of sheer size, the script’s attempt to veer from tragedy to comedic satire to serious moral commentary doesn’t entirely work.

It may be possible to pull this off. But here, the heightened send-ups—of police, politicians, secretaries, people from Long Island—make it impossible to take a lot of the drama seriously, which the show seems to be asking us to do. It’s billed as a “detective noir.” While films of the genre can read like parody, coming off as unintentionally funny to our modern eyes, they’re played straight up (which is how they manage to make us chuckle without losing their dramatic edge). That may be partly what went awry here. Some characters seem written only for laughs, and come off as caricatures. In trying to tackle serious themes in what can feel like a comic-book style, the show doesn’t earn its more earnest moments. We’re left with a fairly entertaining evening, but not one that makes much of a dramatic impact.

Another problem is that we can see many (though not all) of the twists coming, and the show’s moral conundrums aren’t such conundrums at all—or at least, the play doesn’t illuminate them in a way that really causes us to think deeply about whether it’s worth it to commit a triple murder to avenge your family’s death, or to go corporate if the corporation is one that makes the world a better place. And with few exceptions, most of the 20-plus characters we meet aren’t people you’d want to be your new best friend. Of the poles in the show’s title, “better” is substantially underrepresented among this bunch.

One of the few “better” ones is Matilda (Cassandra Paras), who tends an immaculately rendered bar—right down to the handwritten credit card minimum poster, a pay phone, and a “No Spitting” sign on the restroom door—that is known as a place frequented exclusively by members of the NYPD. Her boyfriend is a cop, of course, though he’s on an undercover assignment and she hasn’t seen him in a while. His brother, Lang (William Apps), is also a cop of the Sam Spade-Philip Marlowe ilk. His rather too devoted secretary, Miss Hollis (Sarah Lemp) makes sure to replace the empty whiskey bottle in his drawer with a full one. His wife, Connie (Judy Merrick) and daughter Julie (Sarah Roy) are minor characters here, which is good, because they’re written and played as such depressing and predictable stereotypes that we wouldn’t want to see much more of them.

We also meet the improbably named Venus (David Nash), a playwright studying up on the habits of student protestors by haunting an anarchist bookstore where he meets Faye (Anna Stromberg, in my favorite performance of the night—she struck the right chord, sincere and heightened at once, of the best of the film noir genre). She leads him to a den of neon-wearing professional demonstrators, lead by Charity (Selene Beretta) and Justice (James Kautz), a stoic wonder-twin duo of potential mayhem. They’re the ones calling the anarchists’ shots, but who is really pulling the strings, via pay phone calls that can’t be traced?

There is also the requisite evil businessman, real estate developer Zorn (Clyde Baldo) and the gubernatorial candidate in his pocket, Moretti (David Lanson); written as pure parody, the character adds little to the show. And people keep dying on in a nature preserve on Long Island. Is it a plot to wrest control of a vital piece of coastline? (I’m thinking yes.)

But for all the show’s missteps, there are also some strokes of brilliance. Ahonen’s weaving together of so many characters and cleverly plotted turns and reveals can be a fun ride, especially when combined with Aukin’s adept staging. A dance-protest scene begins with the band of anarchists moving in slow motion at the very front of the playing area, in silence (their movement to me evoked a chain gang, or a group of slaves about to be auctioned). Suddenly, the picture bursts into real time, music blaring and everyone dancing up to speed. Simultaneously, Matilda and the cops at the bar are watching the action unfold on TV, leading to an unpleasant revelation, before the protest devolves into a chaotic fight with police. The series of moments is so well directed, and executed; it’s an exciting piece of theater muscle and magic.

Schatz’s set is just as impressive, managing with almost no moving around of furniture to evoke a bar, a bookstore, a detective’s office, an anarchists’ lair, and various other apartments and dimly lit offices. It’s a tall order, especially when all of it is so richly detailed, from bottles to books. I also counted more than 20 lamps glowing through their shades during pre-show. Then, in the opening scene, Matilda flicks on the lights in the bar, and instantly the space is transformed, with colored lanterns hanging above the libations, and holiday twinkle lights crisscrossing the space’s ceiling. Later, in an early party scene, the back wall of the space is suddenly illuminated—it’s bright yellow, instantly changing the entire space. It’s easy to forget how the right set and lights can create their own drama and surprise. Here, they came close to stealing the show. (Moira Clinton’s costumes were also strong; Phil Carluzzo did the sound design, and Judy Merrick designed the props).

“The Bad and the Better” is cleverly plotted and at its best, engaging. The ensemble cast is mostly good, and the show is worth seeing for the direction and scenery alone. If there is a takeaway it’s that we’re pretty much all awash in moral ambiguity by the time we get out of bed every morning (or even if we don’t). But then again, most of us knew that already.

From left, Selene Beretta, Chris Wharton, Regina Blandón,
Nick Lawson, Byron Anthony, David Nash, Anna Stromberg

THE BAD AND THE BETTER, presented by The Amoralists
through July 21, 2012
The Peter Jay Sharp Theater
416 West 42nd Street

Written by Derek Ahonen
Directed by Daniel Aukin

The Cast (in alphabetical order)
Byron Anthony NINO
William Apps LANG
Clyde Baldo ZORN
Reuben Barsky PROTESTER/STUDENT
Selene Beretta CHARITY
Penny Bittone LENNY
Regina Blandon INEZ
Ugo Chukwu GUN DEALER/DETECTIVE BECKER/LEON
Wade Dunham COP 3
Edgar Eguia COP 1
James Kautz JUSTICE
Chris Lanceley JOHN MARCH
David Lanson EUGENE MORETTI
Nick Lawson SCOTTY
Sarah Lemp MISS HOLLIS
Judy Merrick CONNIE
David Nash VENUS
Cassandra Paras MATILDA
James Rees COP 2/HOMELESS MAN/ZORN’S ASSISTANT
Sarah Roy JULIE
Dan Stern NEWS ANCHOR
Anna Stromberg FAYE
Kelley Swindall JANE MARCH
Jordan Tisdale JULIO
Vanessa Vache MEDICAL EXAMINER/STUDENT/ASH
Chris Wharton EDMOND

The Creative Team
Assistant Directors Sam Shane & Joanna Tomasz
Set Designer Alfred Schatz
Costume Designer Moria Clinton
Lighting Designer Natalie Robin
Sound Designer Phil Carluzzo
Props Designer Judy Merrick
Costume Assistant Christopher Metzger
Assistant Lighting Designer Jenna Lloyd
Fight Choreographer Lisa Kopitsky
Artwork Danica Novgorodoff
Graphic Designer Alexis Buatti-Ramos

The Production Team
Producer Kelcie Beene
Producer Form Theatricals (Anthony Francavilla & Zachary Laks)
Director of Production Sean Bauer
Director of Development & Events Caroline Hendrix
Director of Marketing Seena Hodges
Spiritual Advisor Larry Cobra
Spiritual Advisor Matthew Pilieci
Production Stage Manager Whitney Dearden
Assistant Stage Manager Nick Trotta
Assistant Stage Manager Christina Bracco
Master Electrician Amanda Clegg Lyon
Press Representative David Gibbs (DARR Publicity)
Assistants to the Producers Katie Kopajtic & Jenny Soo
Development & Communications Assistant Ryan Leach
Marketing Assistants Theresa Speziale & Caroline Cincaruk
Production Assistants Arshia Panicker, Alex Pepperman, Nicole Richards & Vassilea Terzaki