Category Archives: Comedy

Archduke

Comedy, Drama, Off-Broadway December 1, 2025 Leave a comment

Of all the action leading up to World War I, the chapter most remembered by students of that era is the assassination of Archduke Franz Ferdinand, heir to the throne of the vast Austro-Hungary empire.  In Archduke, playwright Rajiv Joseph focuses less on explaining the political situation and more on the young, inept members of the assassination team.  Less interested in portraying history than in tinkering with it, Joseph compresses the time frame and leverages the lore surrounding the trio, particularly the role a sandwich played in the mythologizing of the bungled plot.

Set in the days leading up to the murder, there exists in Archduke a backbone of facts, from an overview of essential geography to pairs of uniting black gloves, a nod to the Black Hand nationalist group that aided in the real boys’ training.  Joseph recruits the Serbian Nationalist army officer and likely organizer of the plot, Dragutin Dimitrijević — better known by his nickname Apis — as a main character.  Religion is both a comfort and a tool for manipulation, with dreams, beliefs, and conscience playing roles equal to struggle for state independence.  In concentrating his story on the indoctrination of vulnerable teens, Joseph brings modern depth and understanding to a long-ago event.

Under the direction of Blanka Zizka, the artistic production at Philadelphia’s Wilma Theater in the spring was steeped in Eastern European influence. Serious themes of violence and conflict were mixed with theater of the absurd and old fashioned clowning.  Two middle aged women took on the roles of Gavrilo (Suli Holum) and Nedeljko (Sara Gliko) skillfully infusing their characters with adolescent discomfort.  The third less showy would-be assassin, Trifko, was played with comparable gravitas by Barrymore Award winner Brandon J. Pierce.  Steven Rishard with his Baldwinesque delivery portrayed Apis as a blustering moody fatherly figure.  For the lone female, Apis’s housekeeper  Sladjana, Zizka employed Black company member Melanye Finister, who gave the character a true touch of the Black Arts.

There was heavy emphasis on 3-D imagery designed by Jorge Cousineau to augment Thom Weaver’s traditional lighting that illuminated the vast dark space.  Intense projections reminiscent of the black light shows of the Czech Republic were among the most memorable features. So mesmerizing were the effects and so memorable were Zizka’s choices that the visual impact upstaged whatever was on the page.

I had the opportunity to revisit Archduke as Roundabout’s Off-Broadway fall offering.  Their rendition is directed by Darko Tresnjak who was born in Zemun where much of the action takes place.  As his set designer, he chose to work with frequent collaborator Alexander Dodge who emphasized topographical and language boundaries to set the scene.  More like acrobatics, the fight scenes with movement by Rocío Mendez have dance-like athleticism.  Gavrilo’s haunting visions are given aural presence in Jane Shaw’s sound design, but the images are left to our imagination.  

Patrick Page, Jason Sanchez, Adrien Rolet and Jake Berne in Archduke; photo by Joan Marcus

Tresnjak’s Gavrilo and Nedeljko are Jake Berne and Jason Sanchez, young men making their Off-Broadway debuts.  The third assassin in training is portrayed by Londoner Adrien Rolet in his first professional role.  There is a delightful freshness to all three performances.  As for the calculating Apis, Patrick Page, whose voice has become synonymous with chilly seduction, gives him a lowkey “I’ve got this” vibe.  Another Broadway vet, Kristine Nielsen, gnaws on Sladjana’s lines, coming across like a bewitched herbalist.

That two respected companies in two terrific theater cities — Philly’s Wilma and New York’s Roundabout — chose to include Archduke in their 2025 season is significant.  In a way, the script shares characteristics with the history that inspired its writing.  It isn’t the strongest of Joseph’s work which makes it ripe for differing emphasis and interpretation.  With all the talk of masculine toxicity taking up space in our national conversation, it’s important to be reminded that free will can overcome even the most enticing manipulation.

Archduke continues at the Laura Pels Theatre, 111 West 46th Street, through December 21.  Running time is about 2 hours with one intermission.  Tickets start at $69 and can be purchased at https://www.roundabouttheatre.org/get-tickets/2025-2026-season/archduke.

Friends! The Unauthorized Musical Parody

Comedy, Musical, Off-Broadway November 24, 2025 Leave a comment

My friends will confirm:  I am not a Carrie, Miranda, Charlotte or Samantha.  I am a Monica.  If that doesn’t conjure up a distinct image, Friends! The Unauthorized Musical Parody is not for you.  If I have to explain that the plot revolves around six 20-somethings living a suspiciously upscale lifestyle in 1990s Manhattan, you are unlikely to be in on the jokes.  From the Smelly Cat cocktail onward, this two-hour jovial send-up is for fans who indulged in repeated TV viewings (thank you streaming).  The current open-ended Off-Broadway run began in 2021 and has spawned productions across the country and overseas.

The current core cast members — Francesco DiFlora, Anthony Gjelaj, Corinne Holland, Piper Loebach, Sam Massey, and Briana Sky Riley — remind us how gifted actors give their all for love of the craft in its myriad forms.  They have wonderfully clear voices and terrific timing beyond what is required for a light-as-a-feather production like this one.  DiFlora in particular must be eating his Wheaties (or whatever kids do these days) taking on a host of supporting roles along with the much beloved Chandler Bing.  And Holland’s Phoebe gets that hopeful opening guitar strum just right every time.  Andie Angel played the suitably thankless role of Gunther at the performance I attended.

The book by Bob and Tobly McSmith isn’t particularly clever, instead leaning into token tributes to every trope and tag line of Friends’ 10 year run.  Their lyrics set to Asaf Gleizner’s music are sharper, with the winking “495 Grove Street – How Can We Afford This Place?,” an ode to Pivoting, and a salute to salaries — set to a tune quite similar to one sung by a very different group of buddies — providing highlights.  The pre-recorded back-up chorus (sound design by John Hartman and Brad Sievers) adds depth in the shallow house.

Director Ryan Barto keeps things moving on the singular set with flipping panels that switch between Central Perk — New York City’s only coffee shop — and Monica’s spotless apartment complete with purple front door. There is not much in the way of character development.  The assumption is you know these people as well as you know your actual friends.  But the wigs by Conor Donnelly do more than the usual share of heavy lifting when it comes to helpful visual reminders.  

Friends! The Unauthorized Musical Parody is to the performing arts as Cheez Doodles are to Époisses de Bourgogne.  It offers suitable bang for the buck and goes down well with a Janice Double Wine.  The show is playing at the Jerry Orbach Theater, 210 West 50th Street, 3rd Floor.  The seats are softer than a sofa found in an alleyway, but the staff is as warm and gracious as the one at the newly reopened Waldorf.  Running time is approximately 2 hours with one intermission.  Content is PG-13 and will be funniest to those fluent in Friends culture.  Tickets are currently on sale through January 1 at https://www.friendsoffbroadway.com/ which often has BOGO offers.

Appraisal (Preview)

Comedy, Off-Broadway, Play June 20, 2024 Leave a comment

Plato said, “One of the penalties for refusing to participate in politics is that you end up being governed by your inferiors.”  This sagacious line — quoted about halfway through the dark comedy Appraisal — summarizes Nicky’s worst fear as she enters the political minefield of her annual review. Her evaluation will be conducted by Jo, a man she’s privately told others is lazy among other shortcomings.  Nicky has admitted to making a few missteps in her ten years of supervising her team.  Like many office workers, she’s frustrated by the amount of paperwork and meetings that have chewed up her time.  But by traditional standards, she is a caring and dedicated employee who delivers measurable results.  Unfortunately for Nicky, Jo isn’t applying traditional standards.  His professional agenda — which falls somewhere below his desire for a better golf swing — is revealed turn by turn.  

As constructed by playwright Tim Marriott, who also portrays Jo, Appraisal travels some well-known pathways.  Having us settle into a rhythm of comfortably nodding our heads only serves to make the arrival at less familiar territory more jarring.  Director Margarett Perry has given the affable Marriott some wonderfully revealing staging.  He increasingly displays the physicality and emotional intelligence of a spider.  With a baring of his teeth that he hopes passes for a smile and some inappropriately chummy body language, Jo is off-putting even when he’s delivering something of a compliment.  Alex Sunderhaus’s Nicky is, engagingly, harder to peg.  The only questionable artistic decision is to dress her in a sleeveless yellow striped pantsuit (presumably from the actresses’s own closet since no costume design credit is given) topped off with messy hair held back by dime store barrettes.  It’s an incongruous look for an astute corporate player and an unnecessary distraction from a strong edgy performance.

Marriott and Sunderhaus in Appraisal; photo by Carol Rosegg

The power struggle between Jo and Nicky is relatable even to those who have never held an executive position.  There is a universality in the desire to be heard and valued and a general loathing of the dysfunctional hierarchies that seemingly weed out talent.  Another strength of Marriott’s lightly humorous script is the succinct yet vivid descriptions of characters we never get to see including Nicky’s child, Sam, and her co-workers, Cassie and Kat.  

With an peppy work-related soundtrack (Morning Train, Nine to Five, Manic Monday), 59e59 Street Theaters sets the tone for a pleasant and distracting hour of entertainment fitting for a hot summer evening.  Appraisal continues through June 30 in their Theater B as part of their Brits Off Broadway Season. Tim Marriott’s Smokescreen, a contemporary issues-based production company, co-produces with Twilight Theatre Company, a non-profit that supports the development of new works primarily by emerging UK artists.  Tickets are $30 for members and $44 for non-members.  Due to the intimacy of the space, there is no late seating and no reentry.  For more information visit https://www.59e59.org/shows/show-detail/appraisal/

Coach Coach

Comedy, Off Off Broadway, Play June 11, 2024 Leave a comment

Dr. Meredith Martin is not just any old coach.  She is an esteemed coach coach running a very exclusive program for coaches who are struggling.  Her current retreat — held in an aging and overstuff rental home centered between an airport for convenience and the woods for aesthetics — is so exclusive there are only four attendees.  Each of the participants hopes Dr. Martin will elevate her practice and perhaps even give her a place on the insider team.  

This is the set-up of Bailey Williams’ new comedy Coach Coach, the second entry of  Clubbed Thumb’s 2024 Summerworks.  Commissioned by the daring incubator, the script is not as wholly satisfying as some of their past offerings.  Williams has fun playing with the language of psycho babble and marketing spin and earns many chuckles, but the work could be far more expansive in its views of what is admittedly a poorly regulated speciality and more probing in its observations about the sway of some players within it.  While each soliloquy highlights an aspect of a character’s struggle, collectively they give a choppiness to the unfolding of events without significantly varying the tone or the emotional undercurrent.  

Despite its shortcomings it is, in the words of one CT insider, very “on brand”: thoughtful, explorative, and marching to the beat of its own rhythm section.  Also in keeping with Clubbed Thumb’s deserved reputation, all the artistic elements are of high quality.  The cast  — Purva Bedi, Cindy Cheung, Becca Lish, Kelly McAndrew, Susannah Millonzi and Zuzanna Szadkowski — is terrific both as individuals and as a well orchestrated ensemble. Even when the characters are not fully listening to one another, the actresses clearly are.  Director Sarah Blush has mined the recursive dialogue for maximum impact, for example having death coach Velma (Millonzi) slither over the furniture with reptilian delight and often leaving the deflated Patti (Cheung) perched at the end of her chair as if she isn’t sure she deserves to even sit.  Dan Wang’s costumes are color coded for each specialty: green for business, hot pink for romance, black for death and so on.  His initial wardrobe choice for assistant coach Margo (Szadkowski) received its own round of applause.  Scenic designer Colleen Murray’s selection of furnishing styles lends the right oppressive air. And lighting design by Masha Tsimring and sound design by Johnny Gasper lean heavily into the eeriness of the ill-fated gathering.  

Margo (Zuzanna Szadkowdki) contemplates her options in Clubbed Thumb’s Coach Coach; photo by Maria Baranova

Coach Coach runs through June 13 at the Wild Project on 3rd Street between Avenues A and B.  Running time is 75 minutes with no intermission.  Evening performances are almost completely sold out, but there are newly posted 3:00pm matinees on June 12 and 13.  Tickets are $25 for students, $30 for general admission, and $40 for a reserved seat (highly recommended.)  You can also “pay it forward” for $60.  And if you find yourself too late to secure a spot for this very limited run, consider being ahead of the curve for Crystal Finn’s Find Me Here opening on June 19.  With its starry cast and notable design team, this final entry of the season is sure to be a Clubbed Thumb treat.  Visit https://www.clubbedthumb.org/productions/2024/ for more tickets and information.

College Fun

Comedy, Fund-raiser, Off Off Broadway May 22, 2023 Leave a comment

When I heard there was a theater troupe called the Frog & Peach, I simply had to see what they were up to.  Though they were founded in large part to make Shakespeare more accessible to a broad audience, their most recent production, College Fun, is a 35 minute long sharp-edged satire written by founding company member Ted Zurkowski.  With its setting at an elite university in Southern California and its relentless puncturing of a certain brand of authority figure, it reflects many of the qualities of Beyond the Fringe, the innovators of the routine about the world’s most revolting restaurant.

A lifetime member of The Actors Studio, Mr. Zurkowski has recently been focused on the musical portion of his career.  It would appear that for the creation of College Fun, he drew on his past experience as a teacher of theater history. The objects of his ire are those in the education community who employ the language of Diversity, Equity, and Inclusion without embracing or even understanding the movement.  Buzz words like “unpack,” “curate,” and “thought leader” are tossed around as if their mere use can take the place of their intended, beneficial goals.  

The cast features DazMann Still as the Everyman Teacher appropriately named Professor Jones, a black member of the theater department who who has somehow triggered one of his rich white students.  Alyssa Diamond’s wildly inappropriate Dr. Ram is the first to confront him, though she won’t even tell him the nature of the offense or who filed the complaint.  Filling in some of the blanks is Jonathan Reed Wexler as the over-the-top flamboyant Dr. Queeg.  It falls to the questionable power figure Dr. Pane, portrayed by Anuj Parikh, to complete the increasingly ridiculous picture. 

DazMann Still, Anuj Parikh, Alyssa Diamond and Jonathan Reed Wexler in College Fun

The one-night performance of College Fun was made possible in part by the NYC Department of Cultural Affairs. It was staged at the Marjorie S. Deane Little Theatre, a 145 seat house in the West Side YMCA near Lincoln Center.  As explained on the Frog & Peach Theatre’s website, the charming co-founder Lynnea Benson was chosen as the director because she’s the “least hammy and most wily” among them.  She made use of the physicality of her actors and a well-chosen wardrobe to give color to the simple set of a few wooden chairs, two tables, and a sad potted plant as background.  Diamond, Wexler, and Parikh previously worked together in the company’s production of As You Like It, giving them a familiarity that is useful to Still as his character navigates a progressively surreal landscape.  At key points, Professor Jones speaks directly to the audience as if to acknowledge that any discussion with his idiotic interrogators is pointless.

Zurkowski and Benson are now developing a new work, Verbatim, with Estelle Parsons and Austin Pendleton, so stay tuned.

Peter Pan Goes Wrong

Comedy, On Demand May 15, 2023 1 Comment

Conceived in 2008 by students at the London Academy of Music and Dramatic Arts and nourished during an Edinburgh Fringe Festival, the Olivier Award winning Mischief Theatre has made being silly into a sincere mission.  Their Goes Wrong… series has won dedicated fans around the English-speaking world.  Fortunately for those who don’t have one of their creations nearby, several of their plays are available for streaming.  Just added to the line-up is Peter Pan Goes Wrong, the kind of crowd pleaser that gets nominated for three Broadway.com Audience Choice Awards.  

The performance on BroadwayHD originally aired on BBC1 on New Years Eve of 2016. It features David Suchet as the narrator, a role currently portrayed by Neil Patrick Harris in the Broadway production that was inspired by this special.  Using five cameras, the show was filmed in front of a very enthusiastic and in-the-know live audience. Director Dewi Humphreys made use of the television studio setting to add comedic elements. Close-ups that reinforce the physical gags are the trade-off for not being able to take in the entire stage.  The colorful staging earned a lighting award for designer Martin Kempton.  

A zesty example of Mischief’s body of work, Pan stars David Hearn, Henry Lewis, Charlie Russell, Jonathan Sayer, Henry Shield, and Nancy Zamit who are still with the company.  Current members in smaller roles are Harry Kershaw, Bryony Corrigan and Mike Brodie.  The ensemble is rounded out by Chris Leask, Ellie Morris, Adam Meegido (who directed the original stage version), Greg Tannahill.  It is hard to single out any one performer since they are so interdependent.  But my admiration is boundless for Zamit who flies through more than just Tinkerbell with the aid of break-away costumes by Roberto Surace.  Songs by Mischief’s Rob Falconer and Richard Baker remind us of the shear talent of this troupe.

Nancy Zamit, Greg Tannahill, and Dave Hearn in Peter Pan Goes Wrong

Mischief members Henry Lewis, Jonathan Sayer, and Henry Shields liberally adapted J.M. Barrie’s story of the boy who wouldn’t grow up.  Their loose interpretation opens backstage where Suchet introduces us to the fictional Cornley Drama Society mockumentary style, providing background for jokes that will unfold over the course of the show.  Some of the well-known story elements remain: Peter Pan comes to the Darlings’ home to retrieve his shadow.  The children fly away with him to Neverland where the nasty Captain Hook seeks revenge for the loss of his hand to a crocodile.  But as the piece’s title would suggest, the production is plagued by issues from actors who forget their lines to designer Harry Banks’s fanciful sets that don’t work as intended.  It is quite a feat to pretend to be so terrible while being genuinely funny.  Even when you sense a set-up, the pay-off is always somewhere to the left of what you expected.  Several bits have their origins in “panto,” a comedic British theatrical form that uses well-known fairytales and encourages the audience to shout out to the players.  Some reactions were practiced, but one particularly witty off-the-cuff heckle was left in the final cut.

With a run-time of just over an hour and an emphasis on physical humor, Peter Pan Goes Wrong is a true family entertainment.  Also available on BroadwayHD are The Goes Wrong Show —12 half hour episodes — and A Christmas Carol Goes Wrong co-starring the magnificent Diana Rigg and Derek Jacobi.  You can learn more at https://www.broadwayhd.com/categories/recently-added.

Chicken & Biscuits

Comedy, Off Off Broadway, Play, streaming May 8, 2023 Leave a comment

Theatre Squared continues to make their season available to a nationwide audience with a lively recording of their opening night of Douglas Lyons’ family dramedy Chicken & Biscuits.   It’s another cohesive and enjoyable ensemble production from the Fayetteville, AK based non-profit and winner of a special 2022 Obie Award. 

I saw a Zoom reading of the work in March of 2021.  As was typical of that time and medium, it was messy, but I enjoyed the interrelationships and the realistic tension between characters.  In its final form, the story unfolds almost entirely in one-on-one conversations, so it doesn’t flow so much as interconnect.  Many of the rough edges have been sanded down so that the understandable conflicts are aired and settled at an almost unnatural pace.   But the comedic exchanges and not-so-gentle ribbing remain in place.  Whether you will find this satisfying or frustrating depends on how much you value resolution over the journey to get there.

Baneatta and Beverly are two dramatically different sisters brought together by the death of their much-loved father.  It is clear from Baneatta’s opening prayer that the siblings are poles apart in style, attitude, and social position.  Quite simply, they drive each other crazy.  They even compete over who can feel more grief over the loss of a parent.  A gap between expectation and reality divide the other family members as well: mothers and children, sister and brother, partners and parents.  But the snipes stem more often from wanting the target to have the best life possible rather than deliberate viciousness.  As one character observes, “miscommunication ruins a lot of love.” 

Director Denise Chapman digs as deeply as she can to find the heart and humanity of each personality.  The vivacious cast brings a warm energy to the entire proceeding.  Robert Denzel Edwards is a stand out as Kenny, in part because his character is given the most vivid speech about his inner life.  With his sincere ability to listen, Edwards helps Justin Mackey as his white Jewish boyfriend Logan and Candace Jandel Thomas as Ken’s wounded sister Simone shine in their scenes togethers.  In another sequence, Maura Gale as Brianna covers 40 years of emotional history, providing a strong core to the plot and perhaps the toughest role.  She plays well against Kathy Tyree and Tameka Bob, respectively keeping Baneatta and Beverly in their defined lanes.  Michael A Jones lends solemnity as Baneatta’s husband Reggie, while Jordan Taylor sits on the other end of the spirit seesaw as Beverly’s Tik Tokking daughter La’Trice.

Photography at Theatre2 of Kathy Tyree and Tameka Bob in Chicken & Biscuits, Fayetteville, Arkansas on April 4, 2023.

As usual for T2, the artistic team supports the overall vision while keeping budget in mind.  Working almost entirely in black, costumer designer Devario D. Simmons gives us terrific textural queues about each character’s dominant qualities.  Marie Laster’s airy church set dominated by a rose window, illuminated cross and arched doorways creates a flexible space that is defined and refined by Athziri Morales’s soft lighting.  

According to American Theatre Magazine, Chicken & Biscuits was the 2nd most performed play across the USA in the 2022-23 season (right behind Clyde’s by Lynn Nottage).  The banter and relatability make for a pleasant viewing experience and sometimes that’s just what’s needed in these psychically exhausting times.  It runs though May 14 at TheatreSquared (477 W. Spring St., Fayetteville).  Live performances are at 7:30pm Tuesday through Saturday with 2pm matinees on Saturday and Sunday.  Digital streamers are available for 24 hours beginning at noon Central Time on the selected date.  Customer service is first rate.  Tickets run from $20-$54 and can be purchased by calling (479) 777-7477 or by visiting theatre2.org.

Kiss Me Kate on BroadwayHD

Broadway, Comedy, Musical, On Demand, streaming January 14, 2023 Leave a comment

Wonderful news for those who missed the Tony Award winning 1999 revival of Kiss Me Kate.  Its sister 2001 West End production, nominated for 8 Olivier Awards, will arrive on BroadwayHD this Sunday, with a stellar creative team and four gifted stars in the leads.  Initially winning for Best Musical in 1949, Kiss Me Kate took home awards for Bella and Samuel Spewack’s  snappy script and Cole Porter’s witty songs, some of which might sound familiar even if you didn’t know their origin.  The original cast recording is so woven into our cultural fabric, it resides in the Library of Congress’s National Recording Registry.

The vehicle is a welcome addition for lovers of big splashy musicals since the action revolves around a big splashy musical.  It is the Baltimore opening night of a new musical production based on William Shakespeare’s The Taming of the Shrew, conceived, directed and starring the dedicated but egotistical Fred Graham.  Despite their tumultuous relationship, he has asked his ex-wife Lilli Vanessi to play Katherine to his  Petruchio, hoping that her brief stint in Hollywood films will attract financial backers.  Graham has also started a flirtation with Lois Lane, the actress playing Bianca.  She in turn is involved with cast member Bill Calhoun who, using Graham’s name, has racked up a large debt to a loan shark.  Viewers will benefit from doing as the song says and brushing up their Shakespeare in order to follow the threads from Taming of the Shrew as the focus swings back to the Fred and Lilli storyline.  Period should be kept in mind since many plot points hinge on way-pre-#metoo era behavior.

Captured during its London run and adapted by Michael Blakemore from his own stage work, the streaming production is flowingly directed by Chris Hunt using a team of 7 high-def cameras.  His mixture of perspectives never breaks the illusion that we are watching a proscenium stage.  This is particular noticeable during the flashy dance numbers set to songs that actually forward the story and character development.  In a twist, the theater audiences is used as Graham’s opening night house.  Captivating choreography by Kathleen Marshall makes the most of the skillful ensemble, blending slinky dance styles with pure athleticism. Scenic designer Robin Wagner defines sense of place by flattening the Shrew sets and coloring them in storybook fashion while keeping the representation of backstage realistic and stark.  All the better to bring out the brilliant detailing of Martin Pakledinaz’s Tony Award winning on and off stage wardrobes (particularly Lois’s peek-a-boo outfits) and Paul Huntley’s delightful wig and hat designs.  

Rachel York as Lilli/Katherine and Brent Barrett as Fred/Petruchio in Kiss Me Kate. Photo provided by BroadwayHD.

It is always thrilling to see a stage filled with a large company such as the ensemble of 13 who here play Graham’s troupe.  The cast members led by Broadway veterans Brent Barrett and Rachel York all sing clearly with nuanced interpretation.  Nancy Anderson and Michael Berresse as Lois and Bill give us the playful duet Why Can’t You Behave.  The two strong opening act numbers — Another Op’nin’, Another Show and  Too Darn Hot — feature Kaye E. Brown as Lilli’s assistant Hattie and Nolan Frederick as Fred’s man Paul.  Even Jack Chissick and Teddy Kempner as two gangsters have their moment in the spotlight’s glow.

Kiss Me Kate is engaging family entertainment in traditional style.  Director Hunt eliminates intermission and uses movie-like blackouts to replace scene changes, so runtime is cut to 2 hours and 27 minutes.  This streaming exclusive will be available to BroadwayHD subscribers beginning January 15, 2023.  Visit https://www.broadwayhd.com for pricing options.

Mr. Saturday Night on BroadwayHD

Broadway, Comedy, Musical, On Demand, streaming December 3, 2022 Leave a comment

Launched in 2015 by veteran producers Stewart F. Lane and Bonnie Comley, the intention of online platform BroadwayHD is to replicate the Broadway experience for those who do not have access to the Great White Way.  Added to initial listings like She Loves Me are now hundreds of shows including family favorites like Kinky Boots and classics from the Royal Shakespeare Company.  The service provides a comfortable entry for those who don’t want to gamble $125 per person to introduce family members to the theater as an entertainment option.

Their latest addition is Mr. Saturday Night, a musical comedy starring the always amiable Billy Crystal who also serves as Executive Producer.  Filmed live at the Nederlander Theater on August 31, 2022, the production is based on Crystal’s self-directed 1992 movie of the same name.  It follows the career of Buddy Young Jr., a fictional Borscht Belt comedian who rose to stardom hosting a Saturday evening television variety show.  His reputation in tatters after an on-air incident, he is now performing before disengaged nursing home residents.  But his mistaken inclusion in the “In Memoriam” portion of the Emmy’s brings him much needed attention from a surprising source.

Whether this offering leaves you kvelling or plotzing will depend in large part on the level of admiration you hold for classic comics such as Phil Silvers, Totie Fields and Buddy Hackett.  (Thanks to YouTube, this admiration needn’t be restricted to those of a certain age.)  The revised script by Billy Crystal, Lowell Ganz, and Babaloo Mandel doesn’t solve the problem of the original film and Buddy remains a character that is hard to like much less root for.  However, Mr. Crystal’s live performance allows the audience to bathe in his suburb timing and delivery.  In his hands, even the broadest of jokes makes it easy to admire the craft even if it’s not your preferred style of humor.  It should be noted that some of the material is quite blue and may not be suitable for younger family members. 

Crystal has surrounded himself with a terrific, energetic cast.  Shoshana Bean lends her soaring expressive voice to the role of Buddy’s struggling daughter, Susan, while Randy Graff brings deep dimension to Buddy’s loyal-to-a-fault wife Elaine.  The reliable David Paymer reprises his Oscar nominated performance in the more stereotypical role of jealous brother, Stan.  Jordan Gelber, Brian Gonzales, and Mylinda Hull do a lot of heavy lifting playing several roles apiece and giving variation to each.  While the charming Chasten Harmon overflows with warmth as Annie Wells, a young and exuberant agent trying to help Buddy rise again.  In a wonderful twist on the original casting, the adults play their teenage selves.

The company of Mr. Saturday Night; photo by Matthew Murphy

As is true with most streaming productions, the show has two directors.  Tony winner John Rando handled the stage production and Matthew Diamond translated it for the home screen.  Sometimes presenting camera angles that would not be seen by a live audience, Diamond— who previously directed The Wiz Live for NBC — employs a style more similar to a television show than a recreation of a theatrical experience.  But this is a musical that relies more on exchanges among two or three characters and less on big production numbers.  Clever projections by Jeff Sugg that enhance a set designed by Scott Pask are well incorporated by the camera work.  And Diamond’s more intimate framing allows home viewers to observes details such as the framed photo of Crystal and his Comic Relief cohorts on the walls of the Friar’s Club set as well as enjoy the moving facial expressions of the entire ensemble.  There are also moments when the live audience is included in a shot and their enthusiastic responses are contagious.  Putting the end credits over individual actor’s faces is a nice touch.  Uptempo music by Jason Robert Brown with lyrics by Amanda Green supply enjoyable interludes in the storytelling.  The players’ annunciation is excellent, but there are easy-to-read captions available.

Though modestly produced by Broadway standards, Mr. Saturday Night is lifted by Billy Crystal’s generally appealing performance.  And the central theme of second chances is given unusual spin.  Runtime is two and a half hours, though Act II is clearly marked if you need a stretch break.  Exclusive to BroadwayHD subscribers, this production was made possible by a special arrangement with Warner Bros. Theatre Ventures.  Visit https://www.broadwayhd.com to sign up for a special holiday offer of $99.99 for one year (available through December 8) or dip your toe in their stream for $11.99 a month.  The fees make it possible to offer the entire catalogue ad and interruption free.

Tiger Style – Arkansas and Streaming

Comedy, On Demand March 22, 2022 Leave a comment

In Mike Lew’s Tiger Style, Albert Chen is the congenial, underperforming younger brother of Jenny, a first rate doctor with a third rate love life.  The 30-something Chinese Americans share the burden of navigating the chasm between being born in Southern California yet being viewed as exotic in the case of Jenny or muted as Albert is. They vow to get out of their boxes even though they have no experience in out-of-the box thinking.  What they lack in rebellious nature, they make up for in their bond to one another.  But is “you and me against the world” enough of a force to create change? Certainly the characters swing for the fences, going all the way to another country in search of the right tools.  Act II takes place primarily in Shenzhen, China where they have familial roots.  While the tone expectantly shifts, the direction of that shift is surprising and the work veers towards farce.  

Director Chongren Fan expertly steers the action through the varying beats.  The stage is triangular, with two sides often hosting different scenes.  The set by Chika Shimizu incorporates multiple doors and revolving walls that help us move quickly to each location.  These pieces take on a mood elevating function in the more physical Act II.  Simple elements define each location: a Beyoncé quotation over Jennifer’s couch, a chaise in the therapist’s office, and a wooden bar and chairs in the parents’ home. Costume design by YuanYuan Liang is similarly stripped down, with an Oscar the Grouch T-shirt and matching plaid jackets helping to define characters.  Sparkling fabrics make their arrival in the second half of the play when the siblings’ outfits also undergo subtle changes.  While these likely began as budgetary requirements, the effect helps to draw parallels between Jenny’s and Albert’s American lives and their experiences in China.  They are essentially living in the same apartment with the same “baggage.”  Yi-Chung Chen’s light design includes chase lights around the floor tiles which cleverly add definition and sense of place.

Brandon Ruiter, Brian Kim McCormick, and Eileen Rivera perform well in multiple roles, but with little differentiation.  The impact of this creative decision puts the weight of success squarely on the shoulders of the two central characters.  The appealing Hyunmin Rhee plays Albert with warmth and charming bewilderment while the sharp Stephanie Shum finds heart at the center of the frustrated Jenny.  The dynamic between them has the perfect balance of friction and affection.  Making the most of Lew’s nicely crafted banter, the two actors bounce off each other in genuine rhythm that functions as a metronome holding the disparate tones of the work together.  

Stephanie Shum and Hyunmin Rhee in Tiger Style at TheatreSquared; Photo by Wesley Hitt

Tiger Style begins boldly as an exploration of cultural inheritance and racial profiling.  It’s a heavy lift for a generally light script that concludes with physical comedy and word play.  The experience is certainly enjoyable, but lacks some of the lasting impact of Lew’s Teenage Dick.  Performances run through April 10 in the West Theatre at TheatreSquared, 477 W. Spring Street in downtown Fayetteville, Arkansas.  Tickets range from $20-$54 and can be purchased at  theatre2.org.  As an alternative, a 24 hour digital pass starts at noon on your chosen day which is how I was able to enjoy the work all the way in New York City.  Live runtime is 2 hours and 15 minutes (1:54 when streamed without intermission.)