Bad Cinderella - Well, Yes It Is; But Only Mostly

Reviewed by Judd Hollander 

Bad Cinderella, the new musical at Broadway’s Imperial Theatre, is the latest effort from composer Andrew Lloyd Webber. While the show boasts a very appealing cast, it suffers from numerous problems which severely hobble the work.

In the kingdom of Belleville, most everyone is totally obsessed with beauty. This is chiefly because of the fixation their Queen (Grace McLean) has with the idea. The Queen is also marking the end of a one-year mourning period for her eldest son. The much loved by all Prince Charming (Cameron Loyal).

Just about the only person in the kingdom who does not believe in the necessity of being impeccably beautiful is Cinderella (Linedy Genao). A young woman who has gotten the nickname of the title due to her various protests over the matter. Her most recent effort being the defacement of a statue of the late Prince.

Linedy Genao as Cinderella in "Bad Cinderella".  Photo by Matthew Murphy and Evan Zimmerman

Cinderella’s one true friend is her companion from childhood; the Queen’s second son, Prince Sebastian (Jordan Dobson). The so-called “spare” of the family line who, now that his older and more handsome brother is gone, will someday become King. Though he must first choose a bride. To that end, the Queen decides to hold a grand ball at the palace and invites all the eligible women of the kingdom.

Cinderella regards this wife selection process as disgusting and wants nothing to do with it. Though a large part of her anger is because she has romantic feelings for Sebastian. As does he for her. Though neither has yet broached the subject. Someone who does suspect the truth is Cinderella’s Stepmother (Carolee Carmello). An evil woman, she is determined that one of her two not-so-bright daughters (Sami Gayle, Morgan Higgins) marry Sebastian. The Stepmother is also apparently aware of a secret from the Queen’s past. A point referenced in the musical number “I Know You”.

(L-R) Grace McLean as the Queen and Carolee Carmello as the Stepmother in "Bad Cinderella".             Photo by Matthew Murphy and Evan Zimmerman

Bad Cinderella speaks to the importance of staying true to who you are, along with never sacrificing your identity to conform to the demands of the masses. Something Cinderella herself forgets when she tries to crash the ball. The story also contains a warning on protesting against something without first trying to understand those on the other side. For as she belatedly learns, Cinderella’s crusade against always looking perfect may have cost her more than one ally over the years.

While the show offers an interesting twist on a classic fairy tale, it feels as if the members of the creative team are never on the same page. A problem Webber, lyricist David Zippel, Emerald Fennell (original story & book), Alexis Scheer (book adaptation), and director Laurence Connor must share equally.

Jordan Dobson as Prince Sebastian in "Bad Cinderella". Photo by Matthew Murphy and Evan Zimmerman

An important rule in musicals is never musicalize anything that doesn’t need it. As in an early scene between Cinderella and Sebastian. Hearing them sing the dialogue rather than speak it throws off the entire sequence, and also takes up far more time than if they had just spoken the words.

Another critical issue when creating a show is knowing when to stop. In Bad Cinderella there is one pivotal scene which serves as the show’s climax. By the time it concludes, there are only a few loose ends to tie up. Yet for some reason, we have several scenes and songs to go. All of which cause the entire production to drag. True, much of the material here is enjoyable, but for the sake of pacing, it would have been better to eliminate it, shorten it or place it earlier in the story.

(L-R) Morgan Higgins and Sami Gayle as Cinderella's stepsisters in "Bad Cinderella". Photo by Matthew Murphy and Evan Zimmerman

There are also several plot points which are never explained. Chief among them is the relationship between the Queen and Cinderella’s Stepmother. There’s clearly a history between these characters, but after teasing the audience about it for a good part of the show, the matter is dropped. Also never made clear is the reason for the Queen’s fixation with beauty in the first place or how Cinderella and Sebastian, people from two very different social classes, ever got together as children.

Genao makes a lovely Cinderella. Her performance imbues the character with both honesty and determination. She also has a nice singing voice and good chemistry with Dobson, who does well as the unhappy prince. Dobson also gets to show off some excellent dance moves in “The Village Square,” one of the numbers that belongs far earlier in the show.

McLean is fine as the Queen, while Carmello has some wonderful scenery-chewing moments as the Stepmother. Loyal projects a strong sense of fun as Prince Charming. Christina Acosta Robinson as the Godmother has a good time with the satirical song “Beauty Has a Price”.

Linedy Genao and Jordan Dobson in "Bad Cinderella." Photo by Matthew Murphy and Evan Zimmerman

The score, while pleasant, is not memorable. The music is also often over amplified, making it hard to hear the lyrics. This is particularly true in the opening sequence. Choreography by JoAnn M. Hunter is strong throughout. That and the costumes by Gabriela Tylesova are two of the few technical elements that work as they should.

Bad Cinderella is not bad throughout, but neither is it good.

Featuring:  Linedy Genao (Cinderella), Carolee Carmello (Stepmother), Grace McLean (Queen), Jordan Dobson (Prince Sebastian), Adele (Sami Gayle), Morgan Higgins (Marie), Christina Acosta Robinson (Godmother), Cameron Loyal (Prince Charming), Ben Lanham (Claude - Master of Ceremonies, Duc du Violette), Josh Drake (Arthur), J Savage (Gawain), Dave Schoonover (Dorian), Tregoney Shepherd (Vicar), Savy Jackson (Cinderella at Certain Performances).

Ensemble:  Mike Baerga, Raymond Baynard, Lauren Boyd, Tristen Buettel, Kaleigh Cronin, Josh Drake, Ben Lanham, Ángel Lozada, Mariah Lyttle, Sarah Meahl, Christian Probst, Larkin Reilly, Julio Rey, Lily Rose, J Savage, Dave Schoonover, Tregoney Shepherd, Paige Smallwood, Aléna Watters

Bad Cinderella 

Music by Andrew Lloyd Webber

Lyrics by David Zippel

Original Story & Book by Emerald Fennell

Book Adaptation by Alexis Scheer

Scenic & Costume Design: Gabriela Tylesova

Lighting Design: Bruno Poet

Sound Design: Gareth Owen

Hair & Wig Design: Luc Verschueren

Orchestrations by Andrew Lloyd Webber

Choreography by JoAnn M. Hunter

Directed by Laurence Connor

Imperial Theatre

249 West 45th Street

Tickets: 212-239-6200 or www.telecharge.com

Information: https://badcinderellabroadway.com/

Running Time: Two hours, 30 minutes, with one intermission

Open Run

The Sign in Sidney Brustein's Window - When Dreams Die

Reviewed by Judd Hollander

There's a line in the 1939 film "Mr. Smith Goes to Washington" about lost causes being the only ones worth fighting for. This also proves to be the ultimate truth in Lorraine Hansberry’s involving drama The Sign in Sidney Brustein's Window. Written in 1964, the play can be seen at the Brooklyn Academy of Music, in its first major New York revival in over 50 years.

New York City's Greenwich Village in the 1960s may be a hotbed of social and political fervent, but local resident Sidney Brustein (Oscar Isaac) has become a disillusioned idealist. A veteran of dozens of protests, he has seen all of the causes he has fought for come to naught. Now he is content to stay on the sidelines, play his banjo and try to find his place in the world. His latest interest is a failing local newspaper he purchased; which he plans to fill with stories of art, poetry, and like-minded pieces. With the pages containing nothing at all controversial.

Rachel Brosnahan and Oscar Isaac in the Sign in Sidney Brustein's Window.  Photo: Julieta  Cervantes

Things change when his friend Wally (Andy Grotelueschen) decides to challenge the local political machine in an upcoming election and seeks Sidney’s endorsement in the paper. Despite his initial refusal, it’s not long before Sidney finds the fires in his belly rekindling, and he enthusiastically jumps into the fray. An effort which includes organizing rallies, coming up with campaign slogans and placing a large sign supporting Wally in his apartment widow.

Sidney is also a something of a condescending narcissist. He continually belittles his wife Iris (Rachel Brosnahan), who he loves dearly, with backhanded compliments and pointed remarks. He also has an intense dislike of any type of psychiatric therapy. Something Iris, a failed actress turned waitress with massive insecurity issues, has been undergoing for some time. Interestingly, it’s Iris, who came to New York from Oklahoma to escape an unhappy family life, who sees things far more clearly than Sidney. Especially how Wally’s campaign may not be as wonderful as it first appears. Sidney’s continual refusal to heed Iris’ warnings or treat her as an equal not only threaten his marriage, but also eventually force him to realize how he's being used by those in power as a way to keep the status quo in place.

The Sign in Sidney Brustein’s Window deftly combines multiple issues, all of which command the audience’s attention. On the surface the play looks at how the system is rigged against the so-called “little people.” Yet at the same time, Hansberry shows that no matter how many times one is unable to change situations they believe to be unjust, the important thing is to continue to challenge them. For only then can the possibility of change continue to exist.

        Oscar Isaac and Glenn Fitzgerald in The Sign in Sidney Brustein's Window. Photo:  Julieta Cervantes

Just as the ideas of giving up or fighting on are in conflict with one another, so too are other contradictory elements that appear throughout the work. Ones which deal with racism and how it’s perceived; the danger of holding onto an ideal too tightly; and the question of achieving success after decades of disdain for it. The latter conundrum involving David (Glenn Fitzgerald), a struggling playwright and the Brustein’s upstairs neighbor. Other issues explored include the question of memory, as seen through Iris and her sisters Mavis (Miriam Silverman) and Gloria (Gus Birney). All three of whom have attained a different social strata, and each of which have different recollections of their childhood. The play also asks what happens when you go too far to get what you want. As when Iris has a chance to revitalize her acting career, even though it may mean morally prostituting herself in the process.

Most important of all is the way the play takes care never to hit the audience over the head of with any of the issues it presented. Instead it allows them to unfold gradually during the course of the work and let the story speak for itself easily and naturally.

Isaac gives an excellent performance as Sidney. The character a true believer and complex individual who goes from one extreme to another as he realizes what he truly wants in life – and who he wants to share that life with. He also has a terrible problem when it comes to doing math.

                Rachel Brosnahan in The Sign in Sidney Brustein's Window. Photo: Julieta Cervantes

Brosnahan matches Isaac beat for beat as Iris. A woman who desperately wants to fulfill her own dreams, and also find that one place in the world where she truly belongs. Like Sidney, she must first realize her own limitations, something the play notes is not necessarily a bad thing, and then use that realization to move forward.

Silverman does very well as Mavis. At first glance, a rather narrow-minded and bigoted individual, but also a person capable of remarkable insight. Also pivotal to the story is Birney as Gloria as she portrays an utterly lost soul trapped in a dead-end life. A life from which she is determined to escape, at any cost.

The only major problem in the play deals with how the story is structured. While act one nicely sets up the various characters and situations, act two crams in too much exposition, one right on top of the other, which hampers the work’s overall flow. Additionally, the scenes with Gloria, while quite important to the play, go on a bit too long.

               Miriam Silverman in The Sign in Sidney Brustein's Window: Photo: Julieta Cervantes

As topical today as when it was first written, “The Sign in Sidney Brustein’s Window” makes clear how not taking a stand on any issue is the most dangerous choice of all.

Featuring:  Oscar Isaac (Sidney Brustein), Rachel Brosnahan (Iris Parodus Brustein), Gus Birney (Gloria Parodus), Julian De Niro (Alton Scales), Glenn Fitzgerald (David Ragin), Andy Grotelueschen (Wally O’Hara), Miriam Silverman (Mavis Parodus Bryson), Nash Thompson (Max)

The Sign in Sidney Brustein’s Window

by Loraine Hansberry 

Scenic Design: dots

Costume Design: Brenda Abbandandolo

Lighting Design: John Torres

Sound Design: Bray Poor

Hair & Wig Design: Andrew Diaz

Casting: Taylor Williams, CSA

Script Supervisor: Joi Gresham

Dramatrug: Amanda Thomas

Movement Director: Sonya Tayeh

Voice Coach: Kate Wilson

Production Stage Manager: Ralph Stan Lee

Directed by Anne Kauffman

 

Presented at the Brooklyn Academy of Music

BAM Harvey Theater

651 Fulton Street

Tickets: 718-636-4100 or www.bam.org

Running time: three hours, one intermission

Closes: March 24, 2023

 

Some Like It Hot- A Rollicking Good Time

Reviewed by Judd Hollander

The classic 1959 film "Some Like It Hot" gets the Broadway treatment and comes out running on pretty much all cylinders. Thanks in no small part to an excellent score, some very strong directorial efforts, an absolutely wonderful cast, and a tour-de-force performance by J. Harrison Ghee.

Things start off in 1933 Chicago during the waning days of Prohibition. Joe (Christian Borle) and Jerry (Ghee), close friends since childhood, are two out of work musicians/tap dancers. Jerry is the hard-working sort; inclined to keep his head down, do his job, and not make waves. However, Jerry’s efforts are all too often scuttled by the more abrasive Joe. Joe, who comes from a family of con artists, repeatedly pushes things too far in his attempts to get he and Jerry their big showbiz break. Joe's continual roving eye for the ladies also doesn’t help. He having left a string of broken hearts and promises in his wake.

(l-r) Christian Borle and J. Harrison Ghee in SOME LIKE IT HOT. Photo credit: Marc J. Franklin

Thanks to some quick talking and fast dancing, Jerry and Joe land a gig at a nightclub owned by mobster Spats Colombo (Mark Lotito). Not long after, the two find themselves at the wrong place at the wrong time when they witness Spats and his henchman commit murder. Forced to flee for their lives, Joe comes up with the idea to dress up as women so they can get safely out of town. Sought by both the mob and the police, the duo, now calling themselves “Josephine” and “Daphne”, join up with the Society Syncopators, an all-girl band about to go out on tour. The band is headed by Sweet Sue (NaTasha Yvette Williams). A Chicago fixture who has her own reasons for wanting to leave Chicago.

Also with the band is lead singer, Sugar Kane (Adrianna Hicks). A woman whose chronic lateness, fondness for the bottle and desire to be a film star puts her at odds with the rest of the band. While Joe and Jerry initially plan to stick with the group until it gets to San Diego, and then head for Mexico, complications arise which make them each reconsider. Joe finds himself drawn to Sugar, whose superior attitude masks a deep insecurity. Jerry meanwhile has become more and more comfortable in his female persona as he quickly becomes “just one of the girls”. A situation he is not ready to give up. However once they get to San Diego ,it’s “Daphne” who runs into romantic complications when she catches the eye of millionaire Osgood Feilding III (Kevin Del Aguila).

                          Adrianna Hicks in SOME LIKE IT HOT. Photo credit: Marc J. Franklin

Some Like It Hot works not only due to the comedic situations and enjoyable musical numbers, but also because of the more the somber moments crafted by bookwriters Matthew López and Amber Ruffin. Elements which crystallize perfectly in act two, where Osgood notes how "the world reacts to what it sees" but "doesn't have very good eyesight". A reference to peoples’ habit of taking everything and everyone at face value. Without trying to see what might be underneath.

This is a lesson learned by several of the characters. When Joe defends Sugar against hurtful comments from the other girls in the band, he begins to realize how he himself has treated women in the past. At the same time, Sugar begins to see in "Josephine" her first true female friend. One who can, ironically, see her for who she truly is. Meanwhile Jerry, who realizes how important getting in touch with his feminine side has become, realizes he has to stop simply following Joe’s lead and start to live life on his own terms.

The music by Marc Shaiman and lyrics by Scott Wittman & Shaiman are excellent. Several of their contributions (i.e. “You Can’t Have Me (If You Don’t Have Him)” and “Vamp” brought brilliantly to life thanks to the sterling musical, verbal, and physical interplay between Borle and Ghee. Casey Nicholaw’s direction and choreography is also a main contributor to the show’s success. Particularly enchanting is a graceful dance number between Joe and Sugar (“Dance the World Away”), which calls to mind a Fred Astaire/Ginger Rogers ballroom sequence.

                 Kevin Del Aguila and the cast of SOME LIKE IT HOT. Photo credit: Marc J. Franklin

When looking at Ghee as Jerry/Daphne it‘s hard to imagine anyone else in the part. This is a case of the performer fitting the role so perfectly, that the moment Daphne comes into being, it’s as if the actor and character have fused into one. The resulting performance is touching, comical and completely believable. The character also makes the number You Coulda Knocked Me Over With a Feather” into a truly show-stopping experience.

Borle make a perfect Joe, a heel when it comes to women, who learns the value of finding something more permanent. Hicks is very good as Sugar, a woman with a weakness for saxophone players who has constructed a cynical shell of protection due to bitter past experience. Hicks also powerfully delivers with the ballads “A Darker Shade of Blue” and “Ride Out the Storm”. Along with the quietly wistful “At the Old Majestic Nickel Matinee”.

    NaTasha Yvette Williams and the cast of SOME LIKE IT HOT. Photo credit: Marc J. Franklin

Williams is enjoyable as Sweet Sue, a brassy, no-nonsense, take-charge woman. Aguila is a perfect fit as Osgood. Someone who initially only seems there for comic relief, but eventually proves far to be more intuitive than expected. Angie Schworer is fun as Minnie. A member of the band who has a continual habit of confusing apartment numbers. Lotito has a nice scenery chewing role as Spats.

The only thing that doesn’t work as well as it should are some of the chase scenes. Most done in full tap dancing mode; and which are sometimes a bit more slapstick than necessary. The various sets by Scott Pask are enjoyable. Costumes by Gregg Barnes nicely fit the period, though they’re not all that memorable.

Some Like It Hot may not be completely perfect, but it comes pretty darn close.

Kevin Del Aguila, J. Harrison Ghee, NaTasha Yvette Williams, Adrianna Hicks, Christian Borle and the company of SOME LIKE IT HOT. Photo credit: Matthew Murphy

Featuring: NaTashya Yvette Williams (Sweet Sue), Christian Borle (Joe/Josephine), J. Harrison Ghee (Jerry/Daphne), Devon Hadsell (Nellie), Casey Garvin (Mack), Jarvis B. Manning, Jr. (Sonny), Mark Lotito (Spats), Adam Heller (Mulligan), Charles South (Toothpick Charlie), Angie Schworer (Minnie), TyNia René Brandon (Dolores), Kayla Pecchioni (Ginger), Jenny Hill (Vivian), Adrianna Hicks (Sugar), K.J. Hippensteel (Bar Manager, Man with Suitcase), Kevin Del Aguila (Osgood).

Society Syncopators: TyNia René Brandon, Gabi Campo, Devon Hadsell, Jenny Hill, Abby Matsusaka, Amber Owens, Kayla Pecchioni.

Gangsters, Porters, Bellhops, et, al.: K.J. Hippensteel, Casey Garvin, Jarvis B. Manning, Jr., Brian Martin, Charles South, Brendon Stimson, Julius Williams, Richard Raz Yoder.

Some Like It Hot

Book by Matthew Lopez and Amber Ruffin

Music by Marc Shaiman

Lyrics by Scott Wittman and Marc Shaiman

Based on the Metro-Goldwyn-Mayer Motion Picture "Some Like It Hot"

Scenic Designer: Scott Pask

Costume Designer: Gregg Barnes

Lighting Designer: Natasha Katz

Sound Deign: Brian Ronan

Hair Design: Josh Marquette

Makeup Design: Milagros Medina-Cerdeira

Additional Material by Christian Borle and Joe Farrell

Orchestrations: Charlie Rosen and Bryan Carter

Vocal Arrangements: Marc Shaiman

Dance & Incidental Music Arrangements: Glen Kelly

Music Director: Darryl Archibald

Music Coordinator: Kristy Norter

Directed and Choreographed by Casey Nicholaw

 

Sam S. Shubert Theatre

225 West 44^th Street

Tickets: 212-632-6200 or www.telecharge.com

Information: www.SomeLikeItHotMusical.com

Running Time: 2 Hours, 40 minutes with one intermission

Open Run

 

Heaven – What Does It Mean To You?

Reviewed by Judd Hollander 

When it comes to Eugene O’Brien’s drama Heaven, the story begins and ends with the play’s final line. Presented by Fishamble, this intriguing work about past choices and second chances can be seen through January 29th at 59E59Theaters.

Mal (Andrew Bennett) and Mairead (Janet Moran) are a married couple in their early 50s. Together for close to 30 years they have returned to their mutual hometown, located in the midlands of Ireland, for the wedding of Mairead’s sister. The town itself is little more than a couple of shops and a number of empty buildings. Basically, it's one of those places progress has passed by. Though Mairead actually describes the town in somewhat more colorful terms. Still, the place holds important memories for both her and her husband. Recollections each of them has been unwilling to face, or perhaps even acknowledge, until now.

                         Andrew Bennett in "Heaven" at 59E59 Theaters.  Photo Credit: Ste Murray 

Mairead and Mai’s union can best be described as “safe”. While they certainly love and depend on one other for stability, whether they are actually still in love is another story. In addition, any real passion between them has since long vanished. Part of it due to Mal’s heart surgery of several years previous; and part because of his attempts to deny decades of his own desires when it comes to his own sexual preference. As a result, Mairead, a passionate woman with no outlet for her own needs, finds herself remembering her youthful encounters with Breffni, a long ago lover who still lives in the town. A subsequent meeting between the two quickly makes clear these old feelings still exist, with only the smallest push needed to ignite the flames once more. As the various wedding events begin, images of something old and possibilities of something new emerge for both Mal and Mairead. Ones which may be too tempting to resist.

With a title that means different things to the different people involved, Heaven asks what happens when someone starts to feel suffocated by what their life has become? Hand in hand with this is the idea of how any attempt to break free of that yoke can come with a high price. Something both Mal and Mairead learn on their very personal journeys of discovery.

                       Janet Moran in "Heaven" at 59E59 Theaters.  Photo Credit: Ste Murray

O’Brien's text conjures up a detailed picture of time, place and personal need. Images and emotions all brought brilliantly to life by Bennett and Moran. The two do an excellent job not only in making their own characters come across as fully formed, but the also the different characters they interact with during the play.

The work itself is basically a series of extended monologues. Mal and Mairead never verbally interact with one another, although they may be at the same place at the same time. Each of them in turn relating events from their own perspective. Jim Culleton’s direction is also a key element. His efforts help keep the story tightly focused and the tension continually rising, as the audience is drawn into this very absorbing tale.

Moran does a fine job as Mairead, a neglected wife who yearns for the passion that has been missing from her existence for far too long. She seeing in Breffni a chance to enjoy the life she believes she should have had and now, may finally attain. Yet even as she contemplates making the change, reality intrudes upon the rosy picture she has painted for herself. As an unexpected chance to make a different type of connection threatens to change everything.

Andrew Bennett and Janet Moran in "Heaven" at 59E59 Theaters.  Photo Credit: Ste Murray

Bennett has the more restricted role here as the perennially repressed Mal. He feeling trapped not only from what he has denied for so many years, including to himself, but also from a medical condition which has forced him to insulate himself even more from things that may give him pleasure. Yet it’s his slow awakening to his own passions – with a little help from various stimulants -  that is quite powerful to behold. Mal finding himself willing for forsake everything he has in order to embrace who he has the chance to finally become. Though the path which is now determined to take comes with multiple risks. Including the possibility of reaching a point of no return.

Zia Bergin-Holly’s set on the small theatre stage nicely matches the intimacy of the piece, while Saileóg O’Halloran’s costumes and lighting by Sinéad McKenna all work well within the atmosphere of the story.

An intimate tale about desperately wanting to start your life anew, Heaven shows how doing so requires far more than simply taking the first step. Especially when there's a chance that what one envisions may not turn out as planned.

Featuring: Andrew Bennett (Mal), Janet Moran (Mairead)

Heaven

By Eugene O’Brien

Set Design: Zia Bergin-Holly

Costume Design: Saileóg O’Halloran

Lighting Design: Sinéad McKenna

Music & Sound Design: Carl Kennedy

Stage Manager: Heather Klein

Dramaturg: Gavin Kostick

Directed by Jim Culleton

 

Presented by Fishamble: The New Play Company

59E59Theaters

59 East 59^th Street

Tickets: https://www.59e59.org/shows/show-detail/heaven/#schedule-and-tickets

Running Time: 90 Minutes, with no intermission

Closes: January 29, 2023

A Child's Christmas in Wales - The Power of Memories

Review by Judd Hollander

Vivid recollections of a time long ago often strike a poignant note. Especially to those who never experienced them but wish so much that they could. Such a case in point is A Child's Christmas in Wales. Written by Dylan Thomas in 1952 and subsequently adapted as a musical by Charlotte Moore, artistic director of the Irish Repertory Theatre, this marks the show's sixth return engagement to the Irish Rep stage, following its premiere there in 2002.

The cast of six, with music director David Hancock Turner providing accompaniment on the piano, present a story awash with wistfulness and nostalgia. They each taking turns to relate, via the viewpoint of a 12-year-old Thomas, the Christmas traditions and celebrations he experienced as a child. A time when it was "always snowing" in December and how, no matter the memory, everything always seemed to be so much bigger.

Kylie Kuioka, Dan Macke, Ali Ewoldt, Kerry Konte, Jay Aubrey Jones and Ashley Robinson in "A Child's Christmas in Wales". (Photo Credit: Carol Rosegg) 

What makes the tale so universal, is how the text constantly conjures up situations with which one can emphasize. Such as having to interact with relatives you only saw once a year. Or getting a chance to taste such delicacies that warmed both your stomach and your soul. Along with those you would rather die before trying a second time. The latter humorously recalled with the song "Miss Fogarty's Christmas Cake".

There were also the promises and pleas children made to God as they apologized for anything they might have done which could cause them to forfeit the Christmas gifts they were hoping to receive. Not to mention always having to be grateful for any "useless presents" they were given. "Useless” in this case defined as items more functional (i.e., a sweater or pair of mittens) than anything resembling fun. Mixed in with the frivolity is a bit of sadness when the story mentions relatives so old and fragile they looked like they might break. One can’t help but wonder if such persons were present simply because they were family, or because they had nowhere else to go.

Thomas has a firm grasp of imagery in his writing. Something Moore clearly understood when she chose to bring the story to life on stage. The tale offering a window into a child's view of a world filled with endless adventures. Ones which range from throwing snowballs at cats, to going caroling and winding up at a mysterious old house where who knows what, or who, may dwell inside. Most importantly, it was where one's home was always a sanctuary to whatever dangers or mysteries may exist outside its walls.

Kylie Kuioka, Ali Edoldt, Jay Aubrey Jones, Dan Macke, Ashley Robinson, Kerry Conte in "A Child's Christmas in Wales". (Photo Credit: Carol Rosegg)

As it is when it comes to memories, details tend to blur and merge. For as is pointed out, "one Christmas was so much like another in those years"; and "I can never remember whether it snowed for six days and six nights when I was twelve or whether it snowed for twelve days and twelve nights when I was six". Of course, it isn't always important exactly how or when a special memory occurred, but rather only that it did happen.

Moore's adaptation, which she also directed, offers an enjoyable mix of story and song. The show featuring holiday carols both traditional and those written especially for the production. Musical highlights include "Take My Hand, Tomorrow's Christmas" and "Open Your Eyes", both written by Moore; "I Don't Want a Lot for Christmas", where two of the cast recite their dream list of presents, including the one thing they really want; and classic holiday carols "A-Soling (Hey, Ho, Nobody Home"), sung perfectly by the entire cast; and "In the Bleak Midwinter". In a nice touch, the program contains a glossary which lists some of the Welsh terms used during the performance. Several of the songs presented are also sung in Welsh.

Moore uses her directorial skills to lovingly create both a warm homey atmosphere and the feeling of a performance piece. One where the actors may go a bit over the top as they relate some of the more comical lyrics and situations. However in the end they accomplish the desired effect - to bring the audience quite willingly into the story, while allowing them to feel a part of what is happening on stage.

Dan Macke, Ali Ewoldt, Jay Aubrey Jones, Ashley Robinson and Kerry Conte in "A Child's Christmas in Wales". (Photo Credit: Carol Rosegg)

The cast is quite enjoyable, with the standouts including Kerry Conte, who has an absolutely wonderful singing voice; Ashley Robinson as Thomas' father, and Dan Macke in the Dylan Thomas role.

The set by John Lee Beatty is filled with Christmas trees and lights, all of which beautifully capture the yuletide sprit. While also giving the impression of being in an outdoor cathedral. Costumes by David Toser fit perfectly with the holiday season.

In what has become a perennial favorite, A Child's Christmas in Wales recalls a time and place that only existed for perhaps a select few, but which brilliantly taps into the universal longing of home, family and being together at the holidays.

Featuring: Kerry Conte (Ensemble), Ali Ewoldt (Ensemble) Jay Aubrey Jones (Ensemble), Kylie Kuioka (Ensemble), Dan Macke (Ensemble), Ashley Robinson (Ensemble)

A Child's Christmas in Wales

by Dylan Thomas

Adapted and Directed by Charlotte Moore

Music Supervision by John Bell

Music Direction by David Hancock Turner

Setting Designed by John Lee Beatty

Costume Design by David Toser

Lighting Design: Michael Gottlieb

Presented by the Irish Repertory Theatre

132 West 22nd Street

Tickets: 212-727-2337 or https://irishrep.org

Running time: 75 minutes, no intermission

Closes: December 31, 2022

 

 

Nothing But Thunder - Gods Behaving Badly

Review by Byrne Harrison
Photo credit: Duncan Pflaster Photography and Graphic Design

Dionysus.  God of theatre and wine.  Son of Zeus.  A man who can drive women to the heights of ecstasy or madness.  And a complete spoiled brat.

In Duncan Pflaster's latest classically-inspired romp, NOTHING BUT THUNDER, Dionysus (Spencer Gonzalez) has a chance to fulfill his greatest desire - to finally ascend to Olympus and become a full god.  To do so, all he has to do is find his dead mother in Tartarus, where she is being tortured for sleeping with Zeus and offending his wife Hera, and bring her back to the land of the living.

A difficult feat, to be sure, but one that other demigods have accomplished.  The only thing standing between him and his goal is his own hubris, and a burly shepherd, Prosymnus (Kenny Wade Marshall), with an eye for beautiful men, who knows exactly what Dionysus needs to become the god he is meant to be, instead of the self-serving hedonist that he has always been.

Kenny Wade Marshall (L) as Prosymnus and Spencer Gonzalez (R) as Dionysus

Helped by his loyal, sardonic slave Xanthias (Matt Biagini), his former wife Ariadne (Olivia Kinter), and eventually his mother Semele, (Alyssa Simon) Dionysus travels a road to self-discovery that leads to an unexpected, but ultimately fulfilling climax.

NOTHING BUT THUNDER once again demonstrates playwright Duncan Pflaster's talent for making modern plays in classical styles.  As he did with his Shakespeare-inspired sequels, THE THYME OF THE SEASON and MALVOLIO'S REVENGE, or his Chekhovian comedy THE STARSHIP ASTROV, Pflaster demonstrates his gift for comedy, his talent for capturing the spirit of the genre or playwright, and especially in this play, his gift for raunchy and extremely witty humor.  There is plenty of X-rated wordplay in NOTHING BUT THUNDER, and a fair amount of nudity, too.

Spencer Gonzalez as Dionysus

The cast does a marvelous job, with most of the actors portraying multiple characters and serving as the chorus.  Biagini hits just the right notes as the often put-upon servant of Dionysus.  With a sly smile, he often scores a point or two on his master, not that Dionysus is self-aware enough to realize.  Gonzalez, as Dionysus, shows remarkable range as his character develops.  The Dionysus he presents in the final scenes is such a far cry from the callow youth he starts out as. His portrayal of Dionysus's sinuous sexuality, and his utter bewilderment when it that sexuality doesn't seem to work on Prosymnus and his down-to-earth sister Adelpha (played with sly wink by Katrina Dykstra), is a delight to watch.  Kenny Wade Marshall's Prosymnus is more than what he first appears, and Marshall does a great job portraying the man and the mentor that Dionysus needs, as well as Hades in later scenes.  Alyssa Simon is a stellar Semele, especially in her quieter moments of the play when she starts to realize the pitfalls of being alive again and where she might finally fit in.  Olivia Kinter likewise does a great job as Ariadne, as complex a woman as would be expected for someone like Dionysus.

Rounding out the cast is Eric Hedlund who plays Hermes, Zeus and a scene-stealing Sisyphus (with rock).  A dynamic physical actor, he add movement and drama to his many scenes.

As is typical both for festivals and opening nights, there were some technical issues and the timing seemed a bit off, but frankly nothing that won't get evened out as the performances move forward.   Director Aliza Shane goes big with her direction, the play is full of movement, both in terms of utilizing the space, and in how the actors perform.  They bend, they move, the come together in posed portraits, and when they are still they command attention.  It is kinetic and fascinating to watch.

NOTHING BUT THUNDER is another worthy addition to Plaster's body of work.  Presented as part of the Dream Up Festival at Theater for the New City, remaining performances are Wednesday, September 14th and Sunday, September 18th.

NOTHING BUT THUNDER
Written by Duncan Pflaster
Directed by Aliza Shane
Assistant Director/Stage Manager Roberto Alexander
Intimacy & Fight Consultant Sharon Litwinoff
Photography and Graphic Design by Duncan Pflaster

Cast
Matt Biagini - Xanthias
Katrina Dykstra - Adelpha / Chorus 1
Olivia Kinter - Ariadne / Dryad / Chorus 2
Alyssa Simon - Semele / Chorus 3
Spencer Gonzalez - Dionysus
Eric Hedlund - Hermes / Sisyphus / Zeus / Chorus 4
Kenny Wade Marshall - Prosymnus / Hades

NOTHING BUT THUNDER is a phone-free performance.  Yondr provides secure pouches for mobile devices.

Belfast Girls - Hope, Hypocrisy and Grim Reality

Reviewed by Judd Hollander

In the late 1840's the colonial government of Ireland, in the face of a severe famine and resulting economic crisis, came up with the Orphan Emigration Scheme. Capitalizing on the severe shortage of woman in Australia, the Irish authorities shipped over 4,000 women there with the promise of a better life. These historical events forming the basis of Jaki McCarrick's involving drama Belfast Girls, now at the Irish Repertory Theatre.

The story takes place in 1850 on board the sailing ship Inchinnan, which is transporting approximately 200 women to the land down under. As the ship makes ready to sail, five women find themselves sharing a partitioned space for the journey. Judith (Caroline Strange), originally from Jamaica and the de facto leader of the group; Hannah (Mary Mallen), whose father sold her to a pimp; Ellen (Labhaoise Magee) a refugee from the prison workhouses who likes to draw; Sarah, (Sarah Street) a country girl whose brother has preceded her to Australia; and Molly (Aida Leventaki) who yearns to perform on the stage and is constantly reading books. Over the course of their three-month voyage friendships will be formed, tested and torn apart as these women are forced to confront secrets they've desperately tried to keep hidden.

(L-R) Caroline Strange, Labhaoise Magee & Mary Mullern in Belfast Girls. Photo by Carol Rosegg.

Belfast Girls is first and foremost, a tale of second chances. Where each of the five has the chance to remake themselves into anything they wish and become "mistress of their own destiny". At least on the journey. Some of the girls using this time to broaden their intellectual horizons. Such as Judith, who secretly yearns to be a teacher, and finds herself infected with Molly's passion for learning. Or Molly, who talks about women’s rights and how things are changing in the world; and also how they now have the chance to be a part of that change.

At the same time the play continually calls forth a feeling of cynicism. One lurking just beneath its hopeful surface. For example, exactly how were some of the women able to secure passage on the ship? Many of the 200 older and far less innocent than what the government advertisements were supposedly seeking. There’s also the ultimate realization that these woman weren't so much escaping Ireland, but actually "spat out" by those who used Australia's need as a chance to empty the workhouses and poorhouses so they could become someone else's problem. The story also takes a swipe at the "rose-colored glasses" effect nostalgia brings forth when the women talk about missing the beauty of Ireland. Even though most of them experienced far more suffering, misery and heartbreak there than anything else.

                     (L-R) Aida Leventaki and Sarah Street in Belfast Girls.  Photo: Carol Rosegg.

It's also interesting to see how, during the voyage, the women become part of a closed-off world. They dividing themselves into different cliques and gangs, each wary and untrusting of the others. Which is why, even before the play begins, Judith, Hannah and the rest have positioned their luggage to create a barrier in their space to separate themselves from the others. All in an attempt to remain isolated and safe. Yet even among the group of five, class and economic prejudices begin to show as the girls wonder just who exactly is to blame for the miseries that have brought them to this point. Eventually these hatreds come bubbling to the surface, as those seeking someone to blame begin to lash out.

Although some of the women come off as more fully formed than others, each character has an clear individual personality and back story. Any one of which could be the basis for a play of its own. Strange gives Judith a nice world-weary and dangerous quality. Leventaki projects just the right amount of wide-eyed hopeful innocence as Molly. Magee, Street and Mallen show their characters to be well-versed in the practices of denial and forgiveness, though as one comes to find out, their efforts can be misplaced at times.

Also key to the story is director Nicola Murphy's careful pacing, which realistically imparts the impression of a long and claustrophobic voyage. The women suffering through everything from seasickness, sweltering heat to violent storms as they try to get along while not getting on each other’s nerves. Yet through it all, there are some on the boat who never want the journey to end. For once it does, all that will be waiting for them is an uncertain future. The use of traditional Irish songs also adds a nice touch.

(L-R) Labhaoise Magee, Mary Mallen, Caroline Strange, Sarah Street and Aida Leventaki in Belfast Girls. Photo: Carol Rosegg.

Belfast Girls, the title taken from the place the five ladies embarked on the voyage, tells the story of women who risked everything for the hope life would be better on the other side of the world. By the time the journey is over, one's feel like they've taken the entire voyage with them, and can't help but root for them to find the peace and happiness they've been seeking.

Featuring: Aida Leventaki (Molly Durcan), Labhaoise Magee (Ellen Clarke), Mary Mallen (Hannah Gibney), Caroline Strange (Judith Noone), Sarah Street (Sarah Jane Wylie).

Belfast Girls

by Jaki McCarrick

Scenic Design: Chika Shimizu
Costume Design: China Lee
Lighting Design: Michael O'Connor
Sound Design: Caroline Eng
Music Consultant: Gregory Grene
Properties: Brandy Hoang Collier
Fight & Intimacy Director: Leana Gardella
Movement Director: Erin O'Leary
Dialect Coach: Julie Foh
Hair & Wig Design: Rachael Geier
Production Stage Manager: Avery Trunko
Assistant Stage Manager: Mary Garrigan
Press Representative: Matt Ross Public Relations
General Manger: Lisa Fine
Directed by Nicola Murphy

Presented by the Irish Repertory Theatre
132 West 22^nd Street
Tickets: 212-727-2737 or www.irishrep.org
Running Time 2 hours, ten minutes, with one intermission
Closes: June 26, 2022

Judd Hollander is a reviewer for the Epoch Times and a member of the Drama Desk and Outer Critics Circle.

 

The Lehman Trilogy - A complex tale made breathtakingly clear

Reviewed by Judd Hollander

Told in what can best be described as a continual stream of consciousness, the Broadway play The Lehman Trilogy recounts the rise and fall of what would become a global financial institution. As seen through the eyes of those who made it possible - for better and for worse. 

Winningly adapted by Ben Power from Stefano Massini's sprawling novel, the tale begins in 1844 when German immigrant Heyum Lehmann (Simon Russell Beale) steps off the boat in New York. Heyum, now Henry Lehman thanks to some confusion with a customs officer, makes his way to Montgomery, Alabama where he operates a dry goods shop. It's there he's joined by his younger brothers Emanuel (Adrian Lester) and Mayer (Adam Godley).  All different in temperament, the three form a sort of cohesive whole as they find ways to grow their business by learning to adapt to changing times and circumstances. Their can-do attitude and willingness to consider new opportunities enables them to survive economic upheavals caused by the Civil War, the Great Depression and the beginnings of the computer age, among others.

(l-r) Adam Godley, Simon Russell Beale, and Adrian Lester; photo by: Julieta Cervantes.

However the stronger and more diversified the entity that will eventually be known as Lehman Brothers becomes, the more tentacles are required to keep its fingers on the pulse of its ever-increasing endeavors.  Dry goods, cotton, computers and railroads being only a few of their involvements.  The ever-increasing need for the company to deliver huge profits and continually be on the cutting edge of the next big thing eventually becoming its undoing.

Examining the idea of capitalism at its most basic, The Lehman Trilogy is a tale of the American Dream and it what can represent. A premise explored through those who first become successful, and then do whatever is necessary to retain everything they have achieved. Also present is the innate desire for one to do better than those who have come before. Something visible not only in the Lehman family, but in the offspring of a Greek diner owner and a Hungarian lamp maker. Each determined to reach as high as they can and find their own personal pot of gold. At the same time, the play also shows the bitter reality that no matter how much one may have earned – either in capital or respect - a new generation will always replace the old. A reality that becomes laced with more than a little irony when those who cast the original Lehman founders aside eventually find themselves in that same situation.

Also evident is an ever-growing cynicism about how one must operate in order to continue to succeed. Especially when the concepts of marketing and public relations are introduced. Along with the premise of getting people to buy what they don't need. This truth is also mixed in with humor when one of the family begins to question concepts others have long accepted as tradition. As well as when one of the Lehman clan comes up with a long check list of items necessary in a potential wife. (Love not being on the list.)

(l-r) Adam Godley, Simon Russell Beale, Adrian Lester. Photo by Julieta Cervantes.

Told with just three principal actors, each playing multiple rules and alternating as the narrator, the performers are not only able to bring to life their various characters, but also the eras in which they inhabit. Beale, who along with Godley came over from the original London production, is particularly striking as Henry. The scene when he first sets foot in America is particularly emotional. Lester is fine as Emanuel, a man determined to make his own mark and who is more excited by seeing first-hand the results of his efforts rather than a concept someone is describing; but at the same time quick to realize the potential profit in something new. Godley makes a good fit as Emanuel, the quietest of the bothers yet just as smart and determined in his own way.

The actors are helped tremendously by the strong use of Luke Hall's video design. Images which range from the cotton fields of Alabama to the concrete canyons of New York City. All of which serve to enhance the story rather than distract from it. Just as important is Nick Powell’s meticulous sound design, offering music which moves faster and faster as the story heads to its final denouncement. Jon Clark’s lighting work also perfectly compliments the production. Sam Medes’ direction is completely on-target, nicely handling a mix of dramatic, comedic and introspective moments. All helped by Es Devlin’s minimalist (and revolving) set. with just enough scenery to do the job.

Taking a complex multi-generational tale and stripping it down to its bare essentials, The Lehman Trilogy is magnificent as it highlights elements of pride, determination and a person's insatiable need be a part of something bigger than themselves.

                         Adrian Lester. Photo by Julieta Cervantes

Featuring: Simon Russell Beale (Henry Lehman), Adam Godley (Mayer Lehman), Adrian Lester (Emanuel Lehman), Aaron Krohn (Janitor)

Pianist: Candida Caldicot

Alternate Pianist: Gillian Berkowitz

Associate Music Coordinator: Kimberlee Wertz

The Lehman Trilogy

by Stefano Massini

Adapted by Ben Power

Costume Design: Katrina Lindsay

Video Design: Luke Halls

Lighting Design: Jon Clark

Composer and Sound Design: Nick Powell

Co-Sound Design: Dominic Bilkey

Music Director: Candida Caldicot

Movement: Polly Bennett

Associate Director: Zoe Ford Burnett

U.S. General Manager: Wagner Johnson Productions

U.K. General Manager: Jack Bull

Casting: Wendy Spon CDG & Jim Carnahan CSA

Press Representative: DKC/O&M

Production Manager: Aurora Productions & Jim Leaver

Production Stage Manager: David Lober

Associate General Manager: Megan Curren

Company Manager: Deirdre Murphy

Scenic Design: Es Devlin

Directed by Sam Mendes

 

The Nederlander Theatre

208 West 41st Street

Tickets: www.ticketmaster.com

Running time 3 hours, 25 minutes, with two intermissions

Closes: January 2, 2021