A Rat Pack Look at Modern Life

By Byrne Harrison

It's a well-worn comic trope that men today are merely washed-out versions of the manly men of yesteryear.  With our minivans, middle management jobs, political correctness, and prolonged adolescence encouraged by TV and movies, we are not the men that our fathers (or maybe grandfathers) were.

In his one-man show, "Mad Man," Mark Giordano invokes the last great period of manly men - the hard drinking, skirt-chasing, wisecracking men of the Rat Pack era.  The men who didn't need a team of stylists to look good, just a rumpled tux and some bourbon.  The ones who knew their place in the world, didn't obsess about their drinking, and started each day with a nice healthy smoke.

Wearing his own rumpled tux, and looking just as rakish as Dino, Sammy and Frankie after a night on the town, Girodano pokes at the insecurities of the men of his generation (of which I am one, so it resonated).  Walking the line between alcoholic and alcohol-ish.  Watching your friends deal with the realities of marriage, while you remain single.  Dealing with a culture that says everyone is special, whether they are or not.  What could easily have turned into a depressive rant about the realities and disappointments of life is kept light and remarkably funny.  Giordano is a nimble performer, leaping from topic to topic, never leaving his audience behind.

While Giordano's monologues are strong on their own, the show features a series of short films starring an alcoholic puppet bending his bartender's ear at the local dive bar.  These vignettes are a great touch (not to mention that using a children's show-style puppet is a nice juxtapostion next to his complaint about modern man's desperate attempt to hold on to adolescence).

In addition to great material and a charming, alcohol-ish leading man, "Mad Man" features quality work from director Peter Michael Marino, who does an expert job with the pacing in this show.

"Mad Man" is the perfect show for men of a certain age who just can't seem to figure out their place in the world.  Or people who just want to laugh and be entertained by a highly amusing and charming performer.


"Mad Man"
Written and performed by Mark Giordano
Directed by Peter Michael Marino
Video production by Jamie Greenberg & Mark Giordano

The People’s Improv Theater
123 East 24th Street (Between Park Ave. & Lexington Ave.)

Tickets are $10.00 and can be purchased by calling 1-800-838-3006 or at http://www.brownpapertickets.com/event/192269

Saturday, September 22nd @ 9:30 pm
Saturday, September 29th @ 9:30 pm

More info at www.thepit-nyc.com and www.markgio.com

The Doctor is Coming

Following in the footsteps of Hotsy Totsy Burlesque’s successful "Mad Men," "Game of Thrones" and Superhero themed shows, Cherry Pitz and Joe the Shark present Doctor Who Returns To Hotsy Totsy.

The Doctor is sick and tired of everyone making a profit off of his name, his face, all over the Internet, and even his brilliant mind can’t find a way to delete every reference.  So embracing his fame he’s decided to host a galactic burlesque show, but like any celebrity soirée, there are a lot of party crashers - Daleks, Weeping Angels, Cybermen, and so forth.  But the Doctor has a message for the nearly naked space monsters – “Run!”

Hotsy Totsy is New York’s only episodic, monthly burlesque show featuring a new script each month and a rotating cast.  Hotsy Totsy is a high camp soap opera featuring some of the best burlesque talent New York has to offer.

This months show features performances by:  Cherry Pitz, Lana Firebird, Lewd Alfred Douglas, Little Motown, Matt Knife, Nasty Canasta, Nelson Lugo, Ruby Solitaire, Teddy Turnaround and Handsome Brad as Dr. Who!

Every third Tuesday of the month, you are invited to the basement of The Home For Wayward Girls and Fallen Women. The residents of the home need money to keep their hotel open and to buy G-strings and glitter. Sadly, the shows have had their technical difficulties and in the past as they’ve had to combat, zombies, gangsters, human-animal hybrids, televangelists and snake oil salesmen. The performers promise you beautiful, clothing-averse women, lots of laughs, spinning tassels, and flying underpants. So join us for Hotsy Totsy Burlesque at The Home For Wayward Girls and Fallen Women where the motto is “We’ve fallen, we can’t get up, and we like it that way!”

R-Bar   *   218 Bowery (between Prince and Spring)
8pm   *   September 18, 2012   *   $10

www.hotsytotsyburlesque.com
Advanced tickets available on Brownpapertickets.com
Sponsored by Sailor Jerry Spiced Rum who promise drink specials and awesome swag!

Upcoming Shows:
Oct. 16th --  Cherry Pitz:  Vampire Hunter.
Nov. 20th -- A Charlie Brown Burlesque Thanksgiving.
Dec. 18th -- Hotsy Totsy Tribute to the Star Wars Holiday Special!

Photo by Ben Trivett - Handsome Brad and Cherry Pitz

"Nymph Errant" - Lovely to Look At and to Listen To

By Judd Hollander

Cole Porter's 1933 musical Nymph Errant (music and lyrics by Cole Porter, adapted & with new libretto by Rob Urbinati, based on the original novel by James Laver, and the original libretto by Romney Brent), presents a scenario whereby sex is the constant byword; with more subtle themes about love, following your dreams and getting to know oneself also present. The show finally makes its long-delayed American debut at Theatre Row Studios, as presented by the Prospect Theater Company. While not top-notch Porter, as the show is rather dated, even with the revisions to the book – along with the score being somewhat quaint at times - there is no denying power of the music and lyrics. Plus this is a wonderful chance to hear these tunes on stage.

Matters start off in Oxford, England where a group of young female students have just completed their final year of finishing school under the tutelage of Miss Pratt (Cady Huffman). All of the now-free girls have planned out what they believe their futures will hold, the common idea being to experiment fully with life and love while they're still young, preferably doing so among the dens of inequity in France and elsewhere. Eve (Jennifer Blood) on the other hand, is preparing to go home and marry her true love Oliver (Andrew Brewer), the gardener on her family's estate, eschewing all other worldly temptations, sure of her lot in life. However at the last minute, she too has a change of heart and decides to see what the world has to offer. Her adventures start soon after when she meets Andre De Croissant (Sorab Wadia), a producer of the Follies shows in France and who sees in Eve his next new star. Intrigued, Eve goes off with Andre, after she makes him promise that he will never try to take advantage of her.

Eve quickly decides that the life of a Follies star is not for her and finds herself falling for, in short order, a suicidal Russian composer (Abe Goldfarb), an Italian count (Goldfarb), a Greek magnate named Constantine (Wadia), and an American plumber (Brewer); while also meeting up with Clarissa (Huffman), a gracefully aging cocotte; a blues singer from Memphis (Natalie E. Carter), and a murderous Turkish bandit (Goldfarb) with a penchant for designer clothing. Eve also ends up in a German nudist colony, becomes trapped in a harem - courtesy of the white slave trade, and also manages to bump into every one of her former classmates during her travels while seeing how their lives have turned out.

Somewhere during this period, the play taking place over approximately a year's time, Eve's determination to abstain from sex, as she's saving herself for the loyally waiting Oliver, vanishes completely and she transforms into someone rather eager for a good time in the sack. Though in true musical comedy fashion, one never can get what one wants when one wants it. Constantine for example, is much more concerned with ancient stone statues; the Emir who holds Eve captive with the other girls in his harem, will take some time to get through his list of nubile concubines before she can have her turn; and her plumber friend is perhaps a bit too dense to know what Eve truly needs. Or perhaps he actually does understand, and that's why he refuses her.

Even with the updating of the Nymph Errant book, the gestation process explained in the program notes, there's no getting over dated feeling of the work. Plus, with the libretto's entire through line of sex, it being so much more overt here than in most of Porter's other shows, it's easy to see how this play might have been deemed too controversial or not mainstream enough for American audiences of the time. Eventually of course, the emotion of love takes center stage, with its gentle morality lesson about what's truly important in life.

In a nice touch by the cast and director Will Pomerantz, the company, instead of trying to hide the limitations of the script, embraces them wholeheartedly; putting some of the quaint elements front and center while still allowing the show as a whole to feel fresh and immediate. While much of the story only exists as an intro to the various musical numbers, the combined earnest and sometimes over the top characterizations help to make the production quite enjoyable.

The cast, most playing multiple roles, does quite nicely with the material, with many of the company effectively switching between various accents. Standouts include Hoffman as Miss Pratt and Clarissa; Goldfarb as Alexei (the Russian) and Vassim (the Turk); and Wadia as Andre and Heinz, the latter a member of the nudist colony. Blood is okay as Eve, but she's hamstrung by the virginal blandness of the part and never really gets a chance to break through as she should. As for the various girls of the finishing school, their characters are also somewhat limited, though Amy Jo Jackson is fine as the German student Bertha.

The score, which Porter called his best effort for the stage, is quite fun indeed, ranging from ballads to more bouncy numbers. Great credit must go to Frederick Alden Terry for his music arrangements and orchestrations, and to Pomerantz for his choreographic work, all of which help to make the different numbers come sprightly alive. Among the song highlights are "The Boyfriend Back Home" wonderfully delivered by Henrietta (Sara Jayne Blackmore), another of Eve's former finishing school classmates; "Dizzy Baby" and "You're Too Far Away", both quiet ballads sung by the waiting at home Oliver; and the more risqué "Experiment", sung by the girls upon graduation; and "Red Hot and Blue", sung by Pidge (Laura Cook), another of Miss Pratt's recent graduates, and the girls who work in a Paris nightclub. There's also the cute number "Ruins", warbled by a group of British tourists in Greece. Unfortunately, the score is limited by the awkwardness of the book, revised though it may be. Porter may have thought quite highly of his work here, but in terms of melding the score and story as compared to such other Porter vehicles as Anything Goes or Kiss Me Kate, Nymph Errant is nowhere in the same league.

As mentioned above, Pomerantz handles the directing chores nicely, making the numerous scenes and situations move from one to the other as quickly as possible without feeling rushed, and also allowing the performers to take their roles as far as they need for maximum effect. Also deserving of mention is the fine work by scenic designer Brian Prather, who uses basically one set to recreate all the various locations in the story. There's also a great use of props to create the atmosphere for a desert scene. Lighting by Cory Pattak is fine, and the sound design by Eric Madison is superb.

Costumes by Whitney Locher all work well for the periods and places depicted. The penultimate scene in a Parisian nightclub, which brings most of the show's characters together again, another of many referred to coincidences in the show, is well handled.

Although one of the characters is glaringly absent, leaving a plot threat hanging which perhaps should not be thus. The final scene also contains an enjoyable sense of closure and naughtiness; showing, as Porter loved to do, the sometimes wild, hidden sides of the most ordinary and unassuming people.

A very pleasant look at a long-lost musical gem, one hopes Nymph Errant will not soon slip into obscurity again and that it will also be recorded for succeeding generations to enjoy.

Cole Porter's Nymph Errant

Featuring: Sara Jayne Blackmore (Henrietta), Jennifer Blood (Eve), Andrew Brewer (Oliver, Ben), Natalie E. Carter (Aunt Ermyntrude, Haidee), Laura Cooke (Pidge), Abe Goldfarb (Pithers, Alexei, Ferdinand, Vassim), Cady Huffman (Miss Pratt, Clarissa, Mrs. Bamberg, Professor Krauthammer), Amy Jo Jackson (Bertha), Aubrey Sinn (Madeline) Sorab Wadia (Andre, Heinz, Constantine, Ali)

Band:
James Bassi (Conductor/Piano)

Bruce Doctor (Drums/Percussion)

Josh Johnson (Reeds)

Dennis Michael Keefe (Bass)

Yury Shubov (Violin)

Music and Lyrics by Cole Porter

Adapted & with New Libretto by Rob Urbinati

Based on the Original Novel by James Laver

and the Original Libretto by Romney Brent

Scenic Design: Brian Prather

Costume Design: Whitney Locher

Lighting Design: Cory Pattak

Sound Design: Eric Madison

Musical Director James Bassi

Stage Manager: Emily Ballou        

Music Arrangements & Orchestrations: Frederick Alden Terry

Director & Choreographer: Will Pomerantz

Presented by Prospect Theater Company

Theatre Row Studios

410 West 42nd Street

Running Time: 2 Hours, 30 minutes, one intermission

Closed: July 29, 2012

"Lady and the Champ" - Not Always a Knockout, but Lands a Few Good Punches

By Judd Hollander

Photo by Michael Weintraub

Lady and the Champ, now at the Richmond Shepard Theatre off-Broadway, offers a chance to see a true living legend: Jake LaMotta - former middleweight champion of the world, bar owner, writer, and all-around raconteur. Unfortunately, much of what is presented on stage doesn't quite live up to the pre-show publicity hype.

Taking place in a sort of nightclub setting, the plot, such as it is, has a reporter from a boxing magazine meeting LaMotta by chance and, after getting over his astonishment that the man is still alive, conducts an interview with him. LaMotta answers all of the queries with a combination of honesty, bemusement and wry sense of humor. In these question and answer sessions, spread out over three segments during the course of the show, LaMotta talks about his childhood in the Bronx, where he and fellow future boxer Rocky Graziano used to steal things beginning with the letter "A", (i.e. "a car, a fur coat"). LaMotta also elaborates on his specific boxing style and why he switched from being a lefty to righty. He also recalls his fights with Sugar Ray Robinson and gives his opinion of actor Robert De Niro, who portrayed LaMotta in the 1980 film "Raging Bull", the title also being LaMotta's nickname. He also makes an interesting comment or two about some of his former wives. LaMotta has been down the aisle six times so far, and has been engaged to Denise Baker for 17 years; a woman who he lovingly refers to as future wife "lucky #7". Baker is also a part of the show, singing various musical numbers and talking about the two's first meeting, as well as offering some information about her own brief career in theatre; in the short-lived 1976 Broadway musical revue Let My People Come. Baker also handles the directing chores for Lady and the Champ.

For a quiet looking, elderly man of few syllables, LaMotta certainly has a lot to say, filling his somewhat brief responses not only with passion, but also recreating to a degree the atmosphere and era his words describe. A fascinating subject, the show also includes film clips from his various fights, showing what a power he was in the ring. LaMotta also explains how he got the nickname "Bull", (first "Bronx", then "Raging"), due to the fact that he never backed down during a fight. He even gives a shadowboxing demonstration of his pugilistic style and shows that he still has the moves to carry it off.

Sadly, what's missing from the production is a fully well-rounded look at LaMotta and his life. It would have been nice, for example, to see more of what happened later on with him after he retired from boxing. There is also no mention of his current legal battle with MGM, the studio that made the De Niro film and who is trying to stop the filming of "Raging Bull II", based on LaMotta's memoir of the same name, citing unfair competition to the 1980 movie.

Additionally, while the affection between LaMotta and Baker is quite evident and touching to watch, Baker's song interludes take the focus away from the main portion of the show, which is LaMotta and what he has to say. Also, one is sorry to point out, Baker's singing voice is not really all that good and the numbers she performs, while not painful to hear in any sense of the word, really don't connect emotionally. The two do however have a nice time with "Lady and The Champ", a variation of Sinatra's "Lady and the Tramp", which features the couple doing a nice dance routine together.

Musical accompaniment is fine and Baker's direction is okay; though the bit with the reporter really isn't needed, as it would have been fine had LaMotta simply told his stories sitting in front of the audience. Still and all, Lady and The Champ is a rare chance to see and hear a figure from a time almost gone and one who, at the tender young age of 90, still has a fountain of information to impart to a new generation, and who does so with a great care, love and respect for what has gone before.

Jake LaMotta and Denise Baker in "Lady and the Champ"

Lady and the Champ

Starring: Jake LaMotta & Denise Baker

With: Carl Shimkin & Patrick Jude

Guitar: Mark Bosch

Written by Bonnie Lee Sanders & Denise Baker

Directed by Denise Baker

Music Direction by Joel Diamond

Set Design & Production Stage Management: Mark Spada

Richmond Shepard Theatre

301 East 26th Street (at 2nd Avenue)

Running Time: 65 minutes, no intermission

Closed: July 29, 2012

"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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