"Empire" - A Circus Sideshow Like It Ought To Be

By Judd Hollander

Photo by Thom Kaine

Risqué without being raunchy, and at times absolutely breathtaking, Spiegelworld makes a triumphant return to New York with their latest show Empire.

Upon entering a specially erected tent-like structure on 45th Street and Broadway, the audience is ushered into a sort of carnival world, one filled with performers roaming the aisles, some holding signs saying "Occupy Broadway" or requesting a pair of tickets to The Book of Mormon. There's also a sideshow/revivalist atmosphere of yesteryear present where one expects anything to happen.  

All these pre-show sensibilities and ceremonies come to an end when one of the performers (Elena Lev) steps into a gigantic transparent bubble which descends from the top of the ceiling and executes a series of gymnastic contortions and acrobatic moves that are wondrous to behold, all performed with excellent musical accompaniment.

This sequences slips seamlessly into the arrival of Oscar (Jonathan Taylor), the evening's master of ceremonies. A somewhat drunk sort, he races in while apologizing profusely for being late. He then introduces his wife Fanny (Anne Goldmann), another of the company, while announcing that the two have been rebuilding Spiegelworld from the ground up for this new production, populating the troupe with the best performers they could find. This set up is pretty much all of the narrative the show has to offer, and fortunately, any more than this is really not needed, with one act or presentation quickly succeeding the one that precedes it, all containing impressive feats of agility, movement and at times comedy.

Some memorable highlights include several examples of human pyramids, with members of the company balancing and climbing on each other while using a combination of muscle coordination and strength to hold the different performers in place. There's also a fantastic, and stomach churning sequence where two people on roller skates (Roma Hervida, Sven Rauhe) dance, twirl and lift one another into the air while on a small trampoline placed in the center of the stage. That hi-energy demonstration is followed up by something completely different; as a performer (Rigolo) places pieces of wood together in a complex combination, balancing the entire contraption on one hand with the audience watching in complete silence, almost not even daring to breath as he slowly continues adding pieces to the structure. Other enjoyable sequences include a section using hula hoops, a hair-raising chair balancing act, and one featuring a gigantic wheel with a performer (Yasuaki Yoshikawa) rolling back and forth inside said object.

Empire also contains more than a few burlesque elements, such as a hilarious and sensual number involving an unwitting person plucked from the audience. There's also an extended banana eating sequence which is also quite fun; as well as a act involving performers appearing and disappearing, with it at times being more than the simply the performers, or actually less, that vanish.

What makes the entire show come together with an overall feeling of fun and amazement is the combination of irreverence, standout athletic ability and intense concentration the performers project while presenting their various feats of wonder, all of which make for a nail biting and at times hilarious experience as one questions if everything will come off as planned or if it will all turn into a complete disaster. It's this melding of thrills and awe that leave one either speechless with astonishment or helpless with laughter.

The musical numbers by Lena Hall (Singer) and Martin Hailey (Guitarist) are nicely appropriate. The live singing and musical performances add an extra layer of realism and intimacy to the evening. Lighting effects are alternatively garish and soft when needed. The playing area, a small round stage with its sides made up to look like a Monopoly® game board, is cute and well-utilized.

Empire is a lot of fun and well worth the visit. This is one show to definitely check out.

Empire

Featuring: Anne Goldmann (Clown, wife "Fanny"), Jonathan Taylor (Clown, Impresario "Oscar"), Lena Hall (Singer), Martin Hailey (Guitarist), Anastasiia Gavrylenko (Banqiune - Female Trio), Anastasiia Permiakova (Banqiune - Female Trio), Olena Lomaga (Banqiune - Female Trio), Elena Lev (Aerial Bubble & Hoops), Tariku Degefa (Risley Act), Yonas Alemu (Risley Act - Little Boy), Ludivine Furnon (Adagio Duo - Female), Martin Charrat (Adagio Duo - Male), Yasuaki Yoshikawa (German Wheel)

Roma Hervida (Skater - Female), Sven Rauhe (Skater - Male), Rigolo (Sandornbalance & Spinning Top on Drift Wood), Yuchun Wei (Ballet on Shoulder - Female), Yunming Liu (Ballet on Shoulder - Male), Vladamir Malachkin (Chair Balance)

Presented by Spiegelworld

265 West 45th Street

Info: www.spiegelworld.com

Running Time: 90 Minutes, no intermission

Closed: September 2, 2012

"Harrison, TX: Three Plays by Horton Foote" - A Bountiful Journey Indeed

By Judd Hollander

Photos by James Leynse

Primary Stages at 59E59 Theaters presents three one-acts by the late Horton Foote which run the gamut from the comic to the serious to the guardedly hopeful and the ultimately resigned. These works, appearing under the umbrella title of Harrison, Tx and all set in that location, offer an intriguing look at life in small-town America where everyone knows your name, as well as your business.

First up is Blind Date, the funniest of the bunch, and set in 1928 where Dolores (Hallie Foote) is desperately trying to arrange a date for her visiting niece Sarah Nancy (Andrea Lynn Green). Sarah Nancy being a plain, no-nonsense girl who would rather listen to Rudy Vallee on the radio than make any kind of small talk with a possible beau. Refusing to be dissuaded in her mission, or deal with the needs of her husband Robert (Devon Abner) - Robert being more interested in what's for dinner than Sarah Nancy's love life - Dolores valiantly tries to teach her niece some of the etiquette necessary when meeting a boy for the first time. I.E., be polite, compliment him, talk about the weather, ask him simple questions and never, ever disagree with him. At least not on the first date.

However Sarah Nancy, whose appearance and attitude suggests someone walking the last mile on death row, will have none of this, leading to some rather awkward pauses between her and Felix (Evan Jonigkeit), her perspective date for the evening, while Dolores desperately tries to keep the conversation on a light and happy track. The play nicely recreates one of those uncomfortable evenings just about everyone has been through from time to time, as well as Dolores' desperation to get her niece married off so the younger girl will not wind up an old maid. Though of course, once the ring is on your finger, then you can start to rule the roost, as evidenced by the conversations and retorts between Dolores and Robert.

The entire cast is quite good. Abner does a nice turn as the alternately cranky and bemused Robert. Green is a lot of fun as Sarah Nancy, a girl who just wants to be left alone, at least initially; and Foote nicely projects the feeling of the era depicted as a wannabe matchmaker, seeing it as her duty to save Sarah Nancy from the "evils" of spinsterhood. The dialogue is nicely realistic and the direction by Pam Mackinnon is even handed, helping to bring forth actions from the characters that seem completely relaxed and natural in every way, rather than forced or tired sounding.

Things take a much darker turn in The One-Armed Man. This story is also set in 1928, where C.W. Rowe (Jeremy Bobb), the manager at a cotton gin, meets with McHenry (Alexander Cendese), a young man who lost his arm in a machinery accident on the premises. McHenry now wants C.W. to return the arm, a physical impossibility, leading to a confrontation between the philosophical C.W. and the angry McHenry.

The lynchpin of the story is C.W., a seemingly benign fellow who enjoy placing his points of view and values on others, whether they want to hear them or not; and always pointing out how, with a little care and common sense, everyone can live happily and profitably. A situation explored when C.W. dresses down his bookkeeper Pinky (Devon Abner) on the state of the latter's finances. Though C.W. soon finds out that sometimes all the words in the world won't help a situation, such as when McHenry demands retribution for his loss. Showing the limits people will go to get what they want, or to simply stay alive, The One-Armed Man is short, striking, and ultimately chilling to watch. The play is very nicely acted by Bobb, Abner and Cendese, and tightly directed by MacKinnon.

Things wind up with The Midnight Caller, set in a 1952 boarding house populated mostly by women. These folks include Rowena Douglas (Jayne Houdyshell), an elderly schoolteacher and a bit of a dreamer; "Cutie" Spencer (Andrea Lynn Green), a young career girl; and Alma Jean Jordan (Mary Bacon), a noisy sort who falls between Rowena and Alma age-wise, and who is more concerned with social propriety than about people in general. Alma Jean is also shocked by two new arrivals at the boarding house. Ralph Johnston (Jeremy Bobb), a divorced man; and Helen Crews (Jenny Dare Paulin), a woman trying to rebuild her life in the wake of a scandal involving her former fiancée. Said person being Harvey Weems (Alexander Cendese), a man who gets drunk most nights and ends up crying for his ex-love. Helen and Harvey had planned to be married, but were eventually pulled apart by Harvey's drinking habits, and by the machinations of their respective mothers, both women being dead set against the match.

The Midnight Caller is the most multi-layered play of the three, offering a detailed study of the human spirit. Each of the characters showing what is most important to them, as well as illustrating how they are all stuck in an endless loop of empty solitude; sitting on the front porch, watching as life passes them by. It's only those who are willing to risk change and upsetting the status quo that have a chance to begin again. Even though there's a definite risk of being hurt by doing so.

Despite the potential heavy-handedness of the subject matter, the cast treats the material with a deep understanding of its story-telling potential, with resulting performances that all ring perfectly true. The play also features Hallie Foote as the owner of the boarding house.

What ties each of the different stories together is the slow, leisurely pace in which they're presented, all with dialogue and attitudes from another era. Yet at the same time, many of the emotions and situations explored are all easily translatable to today's world. It's this ability Foote had of making his plays so specific, yet at the same time so universal, which allows the audience to emphasize with the scenarios presented and characters involved.

The sets by Marion Williams nicely recreate the feelings of the different locations. An especially good touch was the doilies on the couch in The Midnight Caller. Direction by MacKinnon was good throughout, with none of the plays really overstaying their welcome.  The lighting, however, in The Midnight Caller could have been a bit sharper when differentiating the various locations in the story.

Harrison, TX offers three gentle yet telling looks at a time long gone, with more than a few poignant land mines dwelling just underneath the surface.

Harrison, TX: Three Plays by Horton Foote

Act I: Blind Date

Featuring: Devon Abner (Robert), Andrea Lynn Green (Sarah Nancy), Hallie Foote (Dolores), Evan Jonigkeit (Felix)

Act II: The One-Armed Man

Featuring: Jeremy Bobb (C.W. Rose), Devon Abner (Pinkey), Alexander Cendese (McHenry)

Act III: The Midnight Caller

Featuring: Mary Bacon (Alma Jean Jordan), Andrea Lynn Green ("Cutie Spencer"), Jayne Houdyshell (Miss Rowena Douglas), Hallie Foote (Mrs. Crawford), Jeremy Boob (Mr. Ralph Johnston), Jenny Dare Paulin (Helen Crews), Alexander Cendese (Harvey Weems)

Written by Horton Foote

Directed by Pam MacKinnon

Set Design: Marion Williams

Costume Design: Kaye Voyce

Lighting Design: Tyler Micoleau

Original Music and Sound Design: Broken Chord

Prop Master: Susan Barras

Production Stage Manager: Kyle Gates

Production Supervisor: PRF Productions

Presented by Primary Stages

59E59 Theaters

59 East 59th Street

Tickets: 212-279-4200 or www.primarystages.org

Running Time: 1 Hour, 45 Minutes, no Intermission

Closes: September 15, 2012

New Girl In Town -Interesting Look at O'Neill

By Judd Hollander

Photos by Carol Rosegg

The Irish Repertory Theatre has pulled an interesting curio out of mothballs, that being the musical New Girl In Town (book by George Abbott, music and lyrics by Bob Merrill). Based on Eugene O'Neill's drama Anna Christie, the show ran on Broadway for 431 performances between 1957 and 1958. However while New Girl In Town has a mostly good story and some wonderful acting, it does have one serious stumbling block towards the end.

In a New York City waterfront bar frequented by sailors, circa 1926, Swedish barge captain Chris Christopherson (Cliff Bemis), known to all as "Dutchy", receives the news that his daughter Anna (Margaret Loesser Robinson), whom he hasn't seen in years, will be coming to visit him. Dutchy, a hard-living man who likes his drink, music and the company of a good woman, is determined to clean up his act for his daughter's sake. This includes his getting rid of Marthy (Danielle Ferland), a former lady of the evening who is now his live-in love, so as not to expose Anna to such an influence. Needless to say, Marthy does not take the news well and sees Anna as a sort of rival for Dutchy's affections.

As it turns out, Dutchy need not have worried about showing Anna a seamier side of life, as such elements have been her constant companions for quite some time. Anna having experienced abuse, prison and working in her own house of ill-repute; all of which have turned her into a hard and somewhat broken woman. One who has come to New York not just to visit her father, but also to find a new home and hopefully a second chance at life. Just as Dutchy does not want Anna to see the man he actually is, so too Anna wants to protect Dutchy from her own sordid past.

Upon meeting, father and daughter take tentative steps toward reaching out to one another, with Anna then joining Dutchy on a boat trip. All is going smoothly when, one night at sea, the crew rescues several shipwrecked sailors. One of them, a strapping fellow named Matt (Patrick Cummings), instantly having eyes for Anna, while she finds herself feeling something for him. This does not sit well with Dutchy, who refuses to allow his daughter to become involved with a sailor. With storm clouds threatening the young couple before they can even get started, things take an even darker turn when someone from Anna's past emerges, causing Matt to realize his beloved is not as sweet and innocent as he thought, and as she desperately wanted him to believe.

There are certainly a lot of dramatic elements to work with here - this is not a musical comedy - and the show does a good job in keeping the feel of O'Neill's story. Musically, the various ensemble numbers are quite good, such as "Roll Yer Socks Up" and "At the Check Apron Ball". It also helps tremendously that the entire cast has a wonderful chemistry together, and one can feel the emotions of love, lust and desire between Robinson and Cummings, both of whom brilliantly bring their characters and situations to life - both in spoken word and in song.

Robinson's portrayal of Anna calls to mind Blanche DuBois, another lost soul trying to start her life again. But where Blanche cloaks her view of the world in illusion and denial, Anna is battling both naked bitterness and total emotional exhaustion. A good insight into Anna's character is when she's on her father's boat for the first time, completely exhilarated to be away from the sounds and smells of the city, and undergoing a sort of rebirth. Cummings has a trickier time with Matt, having to make the character appear both somewhat naive and unsympathetic on occasion, though he pulls the trick off surprisingly well, through the sheer power of his performance and the twinkle in his eye in the lighter moments. Bemis is very good at Dutchy, a formerly absent father trying to make up for his past choices, but at the same time is so overprotective, he threatens to keep his daughter from what may be her last chance at happiness. Ferland is good as Marthy, a sometimes comic relief, as well as a woman determined to hang on to her own piece of happiness and not willing to let anyone usurp it, for any reason.

The only problem with the show comes in its conclusion. After setting up the story and characters, putting many of them at cross purposes with ever-shifting alliances and feelings, the musical abruptly changes gears for an ending that seems to have been tacked on so as to wrap everything in a nice, neat package via a single song. However this feels markedly out of kilter for all that has come before. Since the show was conceived in a time before dark musicals were the norm on Broadway, the creators may have felt a happier finish was essential in order to appeal to audiences, but having gone so far in one direction, the sudden alteration, with no real explanation for such transition, makes the finale feel almost like a cheat, and as a result, the work ends up being far less than it could be.

The rest of the cast, many of whom play multiple roles, all do their jobs quite well. The various sets by James Morgan are excellent and the costumes by China Lee are enjoyable. Charlotte Moore's direction is nice and tight, allowing the show to move from the dramatic to the musical moments and back again. Choreographic work by Barry McNabb is also strong. Lighting by Mary Jo Dondlinger is good, especially when helping to create the scenes taking place on the water. Same is true for the sound design work by Zachary Williamson.

New Girl In Town is an enjoyable play with performances that are wonderful to see. It's just that things might have been better had the last ten minutes of the show been rewritten, or at least added to in order so that the final denouement could have made a little more sense. Still on the whole, it's enjoyable.

Also in the cast are Dewey Caddell, Abby Church, Matt Gibson, Kimberly Dawn Neumann, Alex Paulette, Amber Stone and Stephen Zinnato.

New Girl in Town

Featuring: Cliff Bemis (Chris Christopherson, a.k.a. "Dutchy"), Danielle Ferland (Marthy), Margaret Loesser Robinson (Anna), Patrick Cummings (Matt), Dewey Caddell (Larry/Ensemble), Abby Church (Pansy/Ensemble), Matt Gibson (Patrick/Ensemble), Kimberly Dawn Neumann (Pearl/Ensemble), Alex Puette (Oscar/Ensemble), Amber Stone (Lily/Ensemble), Stephen Zinnato (Charlie Clancy/Ensemble)

Orchestra: John Bell (Conductor/Keyboard), Jeremy Clayton (Reeds), Don Peretz (Percussion), Nick Russo (Guitar, Banjo), Orchestrations by Josh Clayton

Music and Lyrics by Bob Merrill

Book by George Abbott

Based on Eugene O'Neill's Anna Christie

Directed by Charlotte Moore

Music Direction by John Bell

Choreograph by Barry McNabb

Set Design: James Morgan

Costume Design: China Lee

Lighting Design: Mary Jo Dondlinger

Sound Designer: Zachary Williamson

Hair and Wig Design: Robert-Charles Vallance

Props: Rich Murray

Dialect Coach: Stephen Gabis
Video Design: Richard DiBella

Casting: Deborah Brown

Production Stage Manager: Christine Lemma

Assistant Stage Manager: Arthur Atkinson

Press Representative: Shirley Herz Associates

Production by Ciarán O'Reilly

Irish Repertory Theatre

132 West 22nd Street

Ticket: 212-727-2737 or www.irishrep.org

Running Time: Two Hours, with one intermission

Closes: September 14, 2012

"JAWS: The Musical" Will Take a Bite Out of Your Heart

By Byrne Harrison

One of my favorite Mad magazine movie parodies was a musical version of Jaws which featured the shark's first victim singing a spoof of "The Impossible Dream" from "Man of LaMancha."  I can still sing the lyrics now, decades later.  So I was more than game to see "JAWS: The Musical," currently in production at The Broadway Comedy Club.

According to the program notes, the genesis of the show was this question: "What is the stupidest possible idea for a musical?"  While I don't agree that "Jaws" is the stupidest possible idea for a musical (I've seen stupider... much, much stupider), it is an unusual one.

How best to approach the transition of "Jaws" from screen to stage?  Well, for Wayne Henry, the bookwriter, composer and lyricist of "JAWS: The Musical" the answer is pretty much toss most of the movie's plot and focus on the love story.

What love story?

Well, the one between the shark and the girlfriend of its first victim, of course.

Clearly, Henry's "JAWS" is meant to be fun and silly, and it succeeds in that respect.  The music is well-done, the writing is strong, and the show delivers plenty of laughs.  In the end, however, "JAWS" seems a little light (more like a long SNL sketch) and with a running time of less than 40 minutes, I left wishing there had been little more to it.

What makes the show for me is the terrific cast.  Laura Daniels and Brett Douglas are excellent as the doomed (well, half-doomed) couple, coming to the beach for fun and frolic.  Douglas's turn as Chad's ghost in the latter part of the show is particularly memorable.  Jason Salmon, Wayne Henry and Suzanne Stein's take on Brody, Hooper and Quint are fantastic (particularly Stein, who garnered laughs just by walking onstage).  But the outstanding performance is John Flynn as Jaws.  How do you make a shark funny and sympathetic?  Ask Flynn because he nailed it.

Clare Cooper's musical direction is great (and she gets the first laugh of the show).  Steven McElroy does a good job with direction, especially given the difficulty of working on the very small stage at The Broadway Comedy Club.

If you're looking for a fun way to spend an hour, "JAWS: The Musical" is just the ticket.  Consider it the perfect date night event.  Where else are you going to get a touching romantic comedy and grusome shark attacks?

"JAWS: The Musical"
Book, Music & Lyrics by Wayne Henry
Musical Direction by Clare Cooper
Directed by Steven McElroy

The Broadway Comedy Club
318 W. 53rd Street

Final performances
Saturday, September 15th @ 5:30 pm
Friday, September 21st @ 6:30 pm

“Into the Woods” - Where The Journey Is Everything

By Judd Hollander

Be sure the wish you wish for is the wish you actually want. So goes the message of Into the Woods (book by James Lapine, music and lyrics by Stephen Sondheim) presented by the Public Theater, and casting its spell at the Delacorte Theater in Central Park while providing a gentle yet thought-provoking look at dreams versus reality and what can happen after "happily ever after" has come and gone.

In the present day, a young boy (Jack Broderick), angry at his single father who is usually too busy working to spend any time with him, runs away from home. Hiding out in a wooded area, he begins to read a book of fairy tales before falling asleep as the characters come to life. Among those appearing include Cinderella (Jessie Mueller), Little Red Ridinghood (Sarah Stiles), Jack - of Jack and the Beanstalk fame (Gideon Glick), Rapunzel (Tess Soltau) and of course, a Witch (Donna Murphy).

At the center of it all is the Baker (Denis O'Hare) and the Baker's Wife (Amy Adams). A couple who are unable to have a child, due to a curse by the Witch in retaliation for the actions of the Baker's long-deceased parents, and which also has something to do with Rapunzel and a Mysterious Man (Chip Zien). In order to lift the spell, the Witch sends the Baker, accompanied by his Wife and against his wishes, on a quest to find a series of objects. As the two begin their journey, they encounter, both separately and together, others in the woods on missions of their own. There's Red Ridinghood on her way to visit her Grandmother (Tina Johnson), that is, if she can avoid a rather hungry and surprisingly sensual Wolf (Ivan Hernandez); the lonely Cinderella who would love to go to the festival thrown by the Prince (Hernandez) if she could only get away from her wicked Stepmother (Ellen Harvey) and Stepsisters (Bethany Moore and Jennifer Rias); Rapunzel, who's locked away in a lonely tower; a somewhat simple boy named Jack who's on his way to sell his beloved cow; and two Princes (Hernandez & Paris Remillard), bothers and mirror images of one another, each looking for maidens to rescue and caught up in the passion of the chase.

Surprisingly each of the characters, even the Witch to a degree, seem to get exactly what they want. However once you have attained your wildest dreams, what does one do next? This is the question posed at the beginning of act two. It also turns out there are always consequences for one's actions, such as Jack chopping down the beanstalk and sending a giant hurtling to his death. The sudden rise of discontent, unease and fear among the characters also leads to issues of mob mentality, shifting alliances and the ultimate realization that parents must be very careful of what they do or say; for their children will remember and act accordingly when it comes their time to venture into the woods. Said woods being a metaphor for life and the wondrous magic and incredible danger it offers.

The strong story is helped immeasurably by the equally good score. While few of the numbers are all that memorable, other than the chorus of the title tune, and most probably won't work in any setting other than the context of the musical itself, in that context they are powerfully able to bring home the message and emotions the text sets forth. The choreographic work is also very well presented with the group numbers making good use of the set created at the Delacorte; the backdrop of Central Park also making a nice fit for the musical.

The only real problem comes with the cast, where it's a case of supporting characters being more effective than the leads. Neither O'Hare or Adams are all that sympathetic. The Baker being especially unlikable at times, coming off as a sort of medieval man in terms of his mindset on the roles of women. This may be appropriate for the character, but O'Hare isn't able to make the Baker's qualities translate into anything with which the audience can emphasize. Working a bit better is Donna Murphy as the Witch, while Mueller does a wonderful turn as Cinderella; a woman who talks to birds and who, like several others, is seeking something somewhere in-between the hard and good times she has experiences thus far. Remillard and Hernandez offer good comic relief and the occasional bursts of truth as the Princes, two fellows with their heads continually in the clouds, and to whom the journey itself is more important than what can be found at its end. Stiles does well as the alternatively naive and sarcastic Red Ridinghood, while Zien has fun with the Mysterious Man character. Trivia note: Zien played the Baker in the original 1987 production of the show on Broadway. Broderick is good as the boy/narrator who helps guide the story - at least up to a point.

It should be noted that Lapine and Sondheim used as their source material the original Grimm's Fairy Tales, ones quite graphic in terms of retribution and payback, and thus some of the scenes in the show, especially those with Red Ridinghood and the Wolf, may not be suitable for younger children.

Timothy Sheader's direction is good, but he's ultimately unable to guide some of the actors so that their characters emotionally connect with the audience. Scenic design by John Lee Beatty and Soutra Gilmour wonderfully sets the moment and place depicted, while the puppetry skills of Rachel Canning work handsomely when it comes to the appearance of the Giant. Lighting by Ben Stanton was nicely done and the orchestrations by Jonathan Tunick were excellent. The set also does a good job concealing the onstage musicians so as not to cause their presence to distract from the various storylines.

While the show does have some problems, Into the Woods is still a nice production that wonderfully fits into the sounds of summer. There have been rumors of the show moving to Broadway and if that is the case, one hopes the production changes up the cast a bit before it makes the move. In case that doesn't happen, or even if it does, do your best to see it before it ends its run at the Delacorte.

Into the Woods

Book by James Lapine

Music and lyrics by Stephen Sondheim

Directed by Timothy Sheader

Co-Directed by Liam Steel

Featuring: Amy Adams (Baker's Wife), Jack Broderick (Narrator), Glenn Close (The Voice of the Giant), Victoria Cooke (Harp/Gretel/Snow White), Gideon Glick (Jack), Paris Remilliard (Rapunzel's Prince), Cinderella's Stepmother (Ellen Harvey), Cinderella's Prince/Wolf (Ivan Hernandez), Little Red Ridinghood's Granny (Tina Johnson), Josh Lamon (Steward), Bethany Moore (Florinda), Jessie Mueller (Cinderella), Donna Murphy (Witch), Johnny Newcomb (Woodsman), Denis O'Hare (Baker), Jennifer Rias (Lucinda), Laura Shoop (Cinderella's Mother), Laura Shoop (Cinderella's Mother), Tess Soltau (Rapunzel/Sleeping Beauty), Sarah Stiles (Little Red Ridinghood), Eric R. Williams (Hansel), Kristine Zbornik (Jack's Mother), Chip Zien (Mysterious Man)

Originally Directed on Broadway by James Lapine

Scenic Design: John Lee Beatty and Soutra Gilmour

Costume Design: Emily Rebholz

Lighting Design: Ben Stanton

Sound Design: Acme Sound Partners

Puppetry: Rachel Canning

Wig Design: Leah Loukas

Movement Direction: Liam Steel

Orchestrations: Jonathan Tunick

Music Director: Paul Gemignani

Production Stage Manager: Lori Lundquist

Stage Manger: Pamela Salling

Dance Captain: Jennifer Rias

The production is based on the Regent's Park Open Air Theatre London Production

produced by Timothy Sheader and William Village for Regent's Park Theater Ltd.

Musicians:
Michael Atkinson: French Horn

Emily Brausa: Cello

Richard Brice: Viola

Bass: Lisa Chin

Violin: Sylvia D'Avanzo

Trumpet: Doninic Derasse

Annbritt Du Chateau: Keyboard/Associate Conductor

Elizabeth Mann: Flute/Piccolo

Don McGeen: Bassoon

Les Scott: Clarinet

Percussion: Thad Wheeler

Delacorte Theater

81st Street at Central Park

Admission: Free

Information: www.publictheater.org

Running time: 3 hours, one intermission

Closes: September 1, 2012

Richard III - "An acting tour-de-force, and a good production too"

By Judd Hollander

Hypocrisy, thy name is Richard, a truism quickly proved in the absolutely brilliant production of William Shakespeare's Richard III at the Public Theater. Presented by the Public's Mobile Shakespeare Unit, this production is a stripped-down version of the Bard's classic tale, one which has previously toured New York City's jails, homeless shelters and centers for the elderly. Using no set to speak of, with minimal props and lighting, the show leaves the basic story intact, with the strong performances and direction ultimately carrying the day. The show also gets a very important boost from the excellent work by Ron Cephas Jones in the title role.

In not-so-merry England, the multi-generational so-called "War of the Roses" between the houses of Lancaster and York has finally ended, leaving King Edward IV (Kevin Kelly) as ruler. However, Edward's brother Richard (Jones), a valiant warrior in battle and a man deformed in both arm and leg, is not pleased with this outcome and so begins scheming to put himself upon the throne. In short order, he turns the now-ailing Edward against their other brother George Clarence (Miriam A. Hyman), arranges for Clarence to be sent to his death and, upon the King's own passing, has Edward's two young sons (Alex Hernandez, Michelle Beck) murdered; all the while continuing to sew the seeds of discontent among the various members of the court. Richard also finds an ally to his cause in the scheming Duke of Buckingham (Michael Crane), as well as the more toadyish civil servant Catesby (Kelly). Yet for all his machinations, Richard is still not safe. For despite his best efforts, there are those, both living and dead, who continue to defy him. All of which leads to a final confrontation where Richard must not only battle his mortal enemies, but also struggle against the effects of a bitter curse handed down by Queen Margaret (Suzanne Bertish), a formerly banished woman who has returned in the name of revenge.

The conclusion to the Shakespeare history cycle, one which began several plays earlier with Richard II, Richard III is, at its heart, a look at the evilness of man and his ability and ultimate willingness to be corrupted. The work is also a satire on the art of manipulation. Building on themes inherent in the play, Jones imbues his Richard with a liberal dash of black humor, portraying the character as a combination cold-blooded killer and smiling confidence man, someone who freely admits his past sins, all the while surrounding himself with an air of malicious yet somehow attractive hypocrisy. It's this supremely confident and knowing attitude that makes Richard almost endearing to the audience, the character reaching the height of audacity when he dons, at Buckingham's urging, the bearing and attitude of pious and somber fellow, complete with prayer book, while letting himself be "forced" by the Lord Mayor of London (Bertish) and others into accepting the position of King, one which he has not-so-secretly coveted all along.

Jones is also able to mix a strong dose of sensuality into his character, as evident with his scene with Lady Anne (Beck), Richard having slain her husband in battle before the play began. However after explaining that he did this out of his own love for her, Richard is able to reduce Anne from a woman spitting verbal venom to one overcome by the passion of the moment. The position Anne finds herself in, that of almost wanting to believe Richard speaks the truth, is repeated when Richard approaches Queen Elizabeth (Lynn Hawley), the late King Edward's wife, after murdering her two sons and asking for her help so that he may now woo and win her daughter (Hyman).

While the character of Richard clearly takes and owns the center stage, the entire cast, many of them playing multiple roles, are all quite good. In addition to Beck's strong turn as Lady Anne, there's Suzanne British's scenery-chewing work as Queen Margaret, a woman who has lost everything, but who is determined to set her curse upon Richard and others at court, watching with sadistic pleasure as what she proclaims unfolds. She also has a great final speech, one she delivers with gusto once her work is done. Hawley does well as Elizabeth, changing in attitude from a Queen in her own right to one who sees her entire world falling apart. Crane is enjoyable as Buckingham. Someone who, like Richard, is determined to get the riches and position he feels is due him.

The direction by Amanda Dehnert is spot-on, the production making full use of the relatively playing space while keeping the emphasis on characterization. Under her tutelage, every scene is full of emotion; whether pent up, held in check or busting at the seams with righteous fury or full-on malevolence. Thomas Schall's fight direction is also very good, especially as used during Richard's final battle.

Due to the streamlining of the show, which usually runs close to three hours, not all of the characters are as fully defined as they could be, and some of the plot points also suffer a bit, especially with explanations at times going by so quickly that if one's attention waivers for a moment, a key piece of information may be lost. Still, to those familiar with the world of Shakespeare, this version of Richard III should be an enjoyable experience; and for those not all that intimate with the Bard, it's a good place to get started, and hopefully whet one's appetite for more.

Richard III
Featuring: Ron Cephas Jones (Richard), Suzanne Bertish (Brakenbury, Queen Margaret of Anjou, Lord Mayor of London), Miriam A. Hyman (George Clarence, Lord Grey, Bishop of Ely, Young Elizabeth), Keith Eric Chappelle (Hastings, Tyrrel), Michelle Beck (Lady Anne, Young York), Lynne Hawley (Queen Elizabeth), Michael Crane (Corpse of King Henry IV, Buckingham) Kevin Kelly (King Edward IV, Catesby), Alex Hernandez (Lord Rivers, Prince Edward, Richmond), Members of the Company (Messengers, Guards, Servants)

Written by William Shakespeare

Directed by Amanda Dehnert

Scenic and Costume Design: Linda Roethke

Original Music: Amanda Dehnert

Fight Director: Thomas Schall

Text Coach: Susan Finch

Production Stage Manager: Anne McPherson

Violin: Alex Hernandez

Stage Manager: Lily Perlmutter

Presented by The Public Theater

425 Lafayette Street

Tickets: 212-967-7555 or www.publictheater.org

Running Time: 1 hour, 45 minutes – no intermission

Closes: August 25, 2012

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"Christmas Story, The Musical!" Coming to Broadway This Holiday Season

Christmas Story, The Musical! will arrive on Broadway at The Lunt-Fontanne Theatre just in time for the 2012 holiday season.  The producers have announced that the new musical, based on the 1983 movie perennial, will play a November 5 – December 30 holiday engagement.  Opening night is Monday, November 19.

 

America’s #1 holiday movie came to hilarious life onstage when A Christmas Story, The Musical! launched a tour in 2011 with stops in Hershey, PA; Detroit, MI; Raleigh, NC; Tampa, FL; and Chicago, IL;  The musical features a bright holiday score by composer/lyricist team Benj Pasek and Justin Paul and a witty book by Joseph Robinette based on the writings of radio humorist Jean Shepherd and the 1983 holiday film favorite. Tony Award winner John Rando (Urinetown) directs the production with Warren Carlyle (Chaplin, Follies, An Evening With Hugh Jackman) choreographing.  Casting is soon to be announced.

 

A Christmas Story, The Musical! features scenic design by Walt Spangler; costume design by Elizabeth Hope Clancy; lighting design by Howell Binkley; sound design by Ken Travis; wig design by Tom Watson; orchestrations by Larry Blank; music direction and  supervision by Ian Eisendrath; dance music arrangements by Glen Kelly; and vocal arrangements by Justin Paul. 

 

The Chicago Sun Times described A Christmas Story, The Musical! “an enchanting holiday gem…an altogether beguiling…luminous musical comedy,” while Variety called it “a slick, undeniably enjoyable musical,” and The Chicago Tribune heralded it as “a moving celebration of family.” The Detroit Free Press raved “the cast practically triple-dog-dares you not to enjoy yourself. Time Out Chicago predicted “A Christmas Story, The Musical! has the potential to be a new perennial favorite.” 

 

The story from a cherished movie classic that’s enchanted millions is now a musical spectacular. In 1940’s Indiana, a bespectacled boy named Ralphie has a big imagination and one wish for Christmas—a Red Ryder BB Gun. A kooky leg lamp, outrageous pink bunny pajamas, a cranky department store Santa, and a triple-dog-dare to lick a freezing flagpole are just a few of the obstacles that stand between Ralphie and his Christmas dream. Co-produced by the film’s original Ralphie, Peter Billingsley, A Christmas Story, The Musical! is holiday entertainment that captures a simpler time in America with delicious wit and a heart of gold.

 

A Christmas Story, The Musical! is produced by Gerald Goehring, Roy Miller, Michael F. Mitri, Pat Flicker Addiss, Peter Billingsley, Mariano Tolentino, Louise H. Beard, Michael Filerman, Scott Hart, Timothy Laczynski, Bartner/Jenkins Entertainment, Angela Milonas, Bradford W. Smith.

A Christmas Story, The Musical!  is based upon the motion picture "A Christmas Story"© 1983 Turner Entertainment Co., distributed by Warner Bros.,written by Jean Shepherd, Leigh Brown and Bob Clark, and "In God We Trust, All Others Pay Cash" written by Jean Shepherd.  A Christmas Story, The Musical! is produced with permission of Warner Bros. Theatre Ventures, Inc. and Dalfie Entertainment, Inc.

“More Of Our Parts” - A very satisfying and informative whole

By Judd Hollander

Photos by Carol Rosegg

Theater Breaking Through Barriers, a company which uses artists with disabilities and able-bodied performers in their productions, and who presented a winning collection of one-acts last year with Sum Of Our Parts, had another success this past June with More Of Our Parts, billed as "six new plays (all world premieres) about disability in 70 minutes", at Theatre Row Studios with topics ranging from the funny to the satirical to the very touching.

Starting things off was The Ahhh Factor by Bruce Graham. With a script that had the feel of a work by David Mamet, the play features a meeting between Robert (Warren Kelley), a director, and Jerry (Jonathan Todd Ross), a writer, regarding Jerry's film script and how a deaf character, to be played by a deaf actress, should be presented on screen. Robert, not quite comfortable with the whole idea, goes way over the line in political correctness so as to not offend anybody, while Jerry urges the character be treated just like any another person. A satire on liberal guilt, the author shows what can happen when one tries to overcompensate for something you don't want to deal with and letting your own fears and prejudices cloud the issue. Nicely written, and well directed by Russell Treyz, the play really hits home thanks to some hilarious lines uttered in perfect deadpan earnest by Kelley.

Definitely the most poignant piece of the group was Jeffrey Sweet's A Little Family Time. Eli (Shawn Elliott), a respected sixty-something writer, is unable to deal with the fact he has a mentally disabled son named Lewis (Joshua Eber), even concealing it from Annette (Donna Bullock), the woman he intends to marry. When Lewis appears unannounced and uninvited at speech Eli is about to give, the two make small talk, Eli desperately trying to ignore the elephant in the room, one growing ever larger as the conversation progresses - something quite apparent to both Annette and Nell (Blair Wing), Lewis' companion at the assisted living center where they both stay. Great credit must go to Elliott in making Eli come off as a completely three-dimensional person and not just a simple caricature. A heart-wrenching story about denial in the face of truth, the moment when Lewis embraces his father and Eli can't bring himself to respond is shattering. The play is directed with strong respect for the subject matter by Patricia Birch.

After Breakfast, Maybe by Bekah Brunstetter presents an interesting look at a somewhat strained mother and daughter relationship. As the play begins, Marcy (Shannon DeVido) who's unemployed and living with her mother, is planning to take over the world via the internet, while her mom, the almost computer illiterate and somewhat overprotective Diane (Melanie Boland), questions exactly what her daughter is doing and why she is attempting it. Yes Marcy realizes this idea is all a fantasy, but it's her fantasy and she's determined to carry it through, using her mind and imagination to do what her body cannot. While Marcy continues plotting her elaborate scheme and Diane continually interrupts with various mundane comments, such as the fact she's made pancakes with smiling faces for breakfast, the play presents a scenario of a seeming inability or unwillingness to learn new things and move forward from one's present position, due to an overriding fear of failure and looking stupid - a fear that does far more damage than any actual limitation. While a bit clichéd at times and ending just a bit too abruptly, the piece takes the characters from a forced co-existence to one with perhaps just a bit of hope for the future.

Playwright Neil LaBute's penchant of looking at the dark side of human nature is evident once again with his work The Wager, where a Guy (Nicholas Viselli) and Gal (Tiffan Borelli), an upscale white couple, are leaving a party when they're accosted by a Homeless Dude (Shawn Randall) a wheelchair bound black man, who asks them for change. Guy, who's not a nice fellow to begin with, quickly begins belittling the Homeless Dude unmercifully, claiming the Dude should get a job and find ways to earn money instead of begging for it, all the while ignoring Gal's pleas that the two just leave. As Guy continues to push things further and further, and the situation becomes more and more explosive, it seems violence and disaster will surely result. However, there is a twist here, more than one actually, none of which the audience sees coming, whereby motives and assumptions turn out to be not at all what they seem. An involving story about perceptions, the most interesting moment of the play occurs when the Homeless Dude asks Guy to join him for a drink; an offer Guy hurriedly dismisses out of hand, the Dude's usefulness to him being over.

A.R. Gurney's The Interview takes place during a car ride where Ken (Stephen Drabicki) a deaf teenager, is telling his father Howard (Nicholas Viselli) about his interview for acceptance at a prestigious college. The meeting may not have gone as well as hoped since Ken didn't reveal his condition to the interviewer, Ken not wanting to be accepted at the college, or in life, solely because he is deaf. However Howard urges that since being deaf is a part of who his son is, he should not hide that fact and if need be, sometimes actually use that condition to show just how special he is. As with many of the plays in this collection, all of which deal with opposite points of view with the truth being somewhere in between, Gurney provides a gentle lesson on how honesty will only get you so far, and that it's one's abilities that get you the rest of the way. Like the LaBute play before it, the circumstances are more involving than the characters involved, but all in all, it's an interesting morality tale.

Last up is Samuel D. Hunter's Geese, an amusing, if somewhat pedestrian piece about the difference between people's public and private personas. Ben (David Marcus), is a city worker who has to remove geese from a park and take them away to be killed, they being a danger to airplanes. However Ben may not have the heart to do so, especially when he meets Melanie (Shannon DeVido), a woman in a wheelchair who claims to love the birds, even though she's eating chicken salad for lunch. This piece takes a look at the question of perception, as well as how much power a person in a wheelchair can have sympathy-wise, and how people can unconsciously overcompensate when talking to such a person. Stronger than the script itself are the various acting performances, which ultimately show Geese to be the most politically incorrect play of the bunch. Especially enjoyable were the reactions of a pair of joggers (Melanie Boland, Tiffan Borelli) who happen to wander into an argument Ben and Melanie are having. The play also stars Shawn Randall and Jonathan Todd Ross.

It's a testament to the various writers, directors and performers that each work was able to pretty much grab the audience almost immediately and hold their attention throughout. Additionally, the premises from many of these pieces could easily be expanded significantly were the playwrights so desirous. As with any collection such as this, some of the shows worked better than others, with The Ahhh Factor, A Little Family Time and The Wager being the most interesting, but all were enjoyable to varying degrees. Best of all was the seamless way the different performers interacted with each other, treating their conditions and situations as part of the story when needed, and ignoring it when not.

More Of Our Parts

The Ahhh Factor

Featuring Warren Kelley (Robert), Jonathan Todd Ross (Jerry)

Written by Bruce Graham

Directed by Russell Treyz

A Little Family Tree

Featuring Donna Bullock (Annette), Joshua Eber (Lewis), Shawn Elliott (Eli), Blair Wing (Neil)

Written by Jeffrey Sweet

Directed by Patricia Birch         

After Breakfast, Maybe

Featuring Melanie Boland (Diane), Shannon DeVido (Marcy)

Written by Bekah Brunstetter

Directed by Christina Roussos

The Wager

Featuring Tiffan Borelli (Gal), Shawn Randall (Homeless Dude), Nicholas Viselli (Guy)

Written by Neil LaBute

Directed by Ike Schambelan

The Interview

Featuring Stephen Drabicki (Ken), Nicholas Viselli (Howard)

Written by A.R. Gurney

Directed by Ike Schambelan

Geese

Featuring Melanie Boland (Jogger 1), Tiffan Borelli (Jogger 2), Shannon DeVido (Melanie), David Marcus (Ben), Shawn Randall (Husband 1), Jonathan Todd Ross (Husband II)

Written by Samuel D. Hunter

Directed by Christopher Burris

Set Designer: Nicholas Lazzaro

Costume Designer: Kristine Koury

Lighting Designer: Jeffrey Collier

Sound Designer: Donald short

Prop Designer: Sego Marchand Lazzaro

Dramaturg: Julius Novick

Fright Director; J. David Brimmer

Production Stage Manager: Brooke Elsinghorst

Stage Manager: Adrianna Nicolé Perlman

Production Supervisor: Nicholas Lazzaro
Wardrobe Supervisor: Jamie Bertoluzzi

Clurman Theatre

410 West 42nd Street

Closed: July 1, 2012

Info: tbtb.org

Interview - Jeanette Bonner of "Love. Guts. High School."

By Byrne Harrison

Jeanette Bonner's recent New York credits include original one-acts with Magic Futurebox Productions, Ars Nova and Primary Stages, and A Christmas Carol (Ghost of Christmas Past) at the DeBaun Performing Arts Center. She has toured nationally in Sesame Street Live,The Bully (Vital Theatre Company), and Spell in the Well and Other Tales (Shoestring Players). She is a company member of National Comedy Theater and performs in their weekly improv comedy show. Jeanette received a BA in Theater and Dance from Trinity College in Hartford, CT, and is currently writing a full-length farce about all the things that could go wrong on stage, and do.  www.jeanettebonner.com

Her play Love. Guts. High School. is currently in production at the Midtown International Theatre Festival.

Tell me a little about Love. Guts. High School.

Love. Guts. High School. is a 60-minute semi-autobiographical show about falling big for your high school crush.......who doesn't like you in "that way."


How did you come up with the concept?

I knew I wanted to write a solo show before I knew what it would be about, so I enrolled in a class taught by playwright Matt Hoverman.  When discussing the potential topics of our shows, he asked us to consider if we had any unanswered Life Questions: "if this particular thing hadn't happened in my life, would I still be who I am today?"  I think we all know immediately what that one Thing is, and for me is was the story of this crazy high school relationship.

How did Peter Michael Marino become involved in the development of the show?

Last fall, my classmates and I decided to showcase the 30 minutes of material that we had from class in a performance at Stage Left Studio.  We got together a few times to talk about how to approach this strange new art form.  I literally had no idea that I needed to hire a director; I was thinking, "Can't I just direct myself?"  Thankfully, my classmates set me straight.  I asked a few friends but they were too busy to take on a new project, so I turned to a Facebook page called Solo Show Artists Unite and asked around.  Peter was recommended to me, and we worked so well together instantly that I never even interviewed anyone else!

Is this your first solo show?

YES!

What has it been like working in this genre?

I really love creating my own work.  It has been extremely empowering, especially after many years in the audition circuit.  What's nice about being the playwright and the actor is, I can stop myself in the middle of rehearsal and go:  "I would never say that!" and delete or change whatever I had written.  You definitely dont' have to justify any weird language or thoughts, which can come up alot when acting out another playwright's language.  I also dearly love being able to rehearse any time of day in any location.  I have rehearsed with my kitchen table in my bathing suit (it was like 90 degrees in my apartment, in my defense), and at midnight in my bedroom!  I even ran lines on Ellis Island once, no joke.  But mostly I am in love with telling MY story. 

Producing it myself is a whole nother story.........it has given me a lot of anxiety!  But it has taught me SO MUCH as well.  You really don't "get it" till you try to do it yourself.

Any advice for someone who wants to do their own solo show?

DO IT.  Take Matt's class and do it.  It's ultimately so rewarding, in a thousand ways. 

What else is coming up for you this year?

Well, I'll admit that my show has eaten up my life a bit so I've fallen off the wagon in terms of auditioning for projects after the show ends!  But I do have another play I've been developing, it's a full length farce, and I'm contemplating producing it myself (a glutton for punishment, aren't it??).  In addition, I shot a short film in May called "Fetus Envy" and we are hoping it will gain momentum.

And one that's just for fun... if you could go back to high school again, what would you do differently?

Ha, this question is REALLY relevant to my show.  If I could go back to high school and tell my younger self not to get involved with that one boy... would I?  I don't know.  I believe that experience made me stronger, and makes me who I am today.  I think he helped show me how I deserve to be treated in a relationship, and helped me to discover that I deserve to be loved.  It seems every young woman needs that one heartbreaking relationship so that when her true love comes along, she can recognize it and appreciate it for what it is.  So would I go back and do it all over again differently?  No doubt I'd want to.  But knowing what I know now, I'd have to say, I can't.

Love. Guts. High School.

Written & performed by Jeanette Bonner

Developed with Peter Michael Marino

Dorothy Strelsin Theatre in the Abingdon Arts Complex
312 West 36th Street, 1st Floor. (Btw 8^th & 9^th Avenues)

Tickets are $15 to $18 and can be purchased at www.web.ovationtix.com/trs/cal/27845 https://web.ovationtix.com/trs/cal/27845 or by calling 866-811-4111.

Show Dates                                                                  

Tuesday, July 17^th @ 7:30pm                                                      
Wednesday, July 25th @ 7:30pm
Friday, July 27^th @ 7:30pm
Thursday, August 2^nd @ 9:15pm

More information can be found at www.lovegutshighschool.com orwww.midtownfestival.org.