Category Archives: Musical

Cambodian Rock Band

Musical, Play, streaming March 20, 2024 Leave a comment

The actions perpetrated by the Khmer Rouge in Cambodia were so extreme they are quite literally incomprehensible to many Americans.  The brutal regime very nearly decimated the cultural heritage of the Southeast Asian nation.  Nearly a quarter of the population was wiped out including the majority of doctors, teachers and artisans.  To this day, it is considered one of the world’s least developed countries by the United Nations.

Lauren Yee’s play with music, Cambodian Rock Band, takes us through the Cambodian Civil War and genocide through the eyes of one family and a prison commander who has finally been brought to trial on charges of Crimes Against Humanity.  It’s 2008 and Chum has arrived in Phenom Penh for a surprise visit with his American-born daughter, Neary.  She has been investigating Duch, who oversaw the murder of so many prisoners that only seven were found alive at the time of liberation.  For reasons that become obvious, Chum has conflicted feelings about his “lost” homeland and would love nothing more than for his child to give up her fact-finding mission, return to the USA and attend law school.  Flashbacks to 1975 complete the picture.  A time when music thrived in the country, these scenes include the amateur recording of the titular rock band with songs by Dengue Fever under the musical direction of Jason Liebson.  (Whether they have you dancing at your seat or tapping your foot with impatience to get on with the story depends very much on your love of tunes from that period.)

The work warmly humanizes the examination of the different ways in which people respond to danger and the instinct to survive. Using Duch as a narrator, Yee never lets us forget that we are watching a play orchestrated by a storyteller who can manipulate the plot.  Along the way, she weaves enough fact into the dialogue to carry everyone along without feeling lectured to.  Director Nelson T. Eusebio III skillfully handles the transitions between history, thriller, and dark comedy.  The ensemble — Eileen Doan, Jojo Gonzalez, Alex Lydon, Shawn Mouacheupao, K Chinthana Sotakoun, and Greg Watanabe — radiate emotional energy.  Many cast members perform dual roles, enhanced by the costume designs of Yoon Bae. The stark set by Riw Rakkulchon keeps our attention on the powerful language with the concert elements, including colorful projections by Caite Hevner, allowing us to breathe or maybe even scream. 

K Chinthana Sotakoun as Neary/Sothea; Photo Credit Wesley Hitt

In light of our own current struggles with authoritarianism and the reevaluation of America’s role on the international stage, the themes explored in Cambodian Rock Band ring even louder than in 2019 when it premiered.  While Yee softens the blows of the story with song, she never blunts the message.  Running time is 2 ½ hours including a 15 minute intermission.  Theatre Squared provides a lounge with a live stream at their venue in Fayetteville, Arkansas for those who need to take a mid-performance break.  There is also the option to stream the production from home, which is how I was able to see it in New York.  Performances continue through March 24.  Visit https://tix.theatre2.org/overview/25509/ for ticket prices and further information.

Young, Gifted, and Black

Live Stream, Musical, Outdoor Venue September 2, 2023 Leave a comment

Young, Gifted and Black lived up to its title with a lineup of talented musicians of color ranging in age from 12 to early 30s.  Most grew up in the neighborhood of the Classical Theatre of Harlem, which produced the evening as part of Bryant Park’s Picnic Performances.  Made available by Bank of America as a free first-come-first-serve live event with a streaming simulcast, the concert was enjoyed by over 4000 people according to Producing Artistic Director, Ty Jones, who hosted with sincere enthusiasm and praise.

The poised 12 year old pianist, Emery Mason, opened with three short pieces punctuated by the rapidly changing tempos of Debussy’s Cakewalk.  She was followed by 16-year-old Kaden Kennedy, a cellist who somehow also finds time to compete in track and field.  His selections honored both beauty with  Camille Saint-Saëns’ “Le Cygne” (“The Swan”) and pain with Élégie, Op. 24, which Gabriel Fauré wrote for his deceased wife.  Kennedy later returned to play Johann Sebastian Bach’s Cello Suite No. 1 in G major, an ambition of his since the age of 7.  Accomplished 15 year old Melissa Mosley — an attendee of the Special Music High School who recently returned from concerts in Canada — closed out the first part of the program with Chopin’s Nocturne in C-sharp minor and the downright jazzy 1984 composition by Nikolai Kapustin, Concert Etude, Op. 40, No. 3: Toccatina.

For her solo, 14 year old Roen Jones, who has performed in prominent public spaces including the Metropolitan Museum, chose Violin Partita No. 3 in E major by Johann Sebastian Bach, a work she said has made her a better violinist.  Wrapping up the instrumental portion was the extraordinary violinist/composer/teacher Edward W. Hardy.  He began with his own composition, Evolution, which required employing a variety of styles in a single song.  Commencing with musical phrases from Wading in the Water and inspired by the evolution of Black music, the piece was included in the opening night program at the Smithsonian’s African American Museum in Washington D.C.  After a smooth re-arrangement of Chopin and a swirling Tennessee Whiskey dedicated to his “Colorado Family” at the University of Northern Colorado, Hardy switched gears. As a child, his mother had encouraged him to play his violin in the subway as a way to build confidence in front of a crowd.  So he reached back to his hits previously heard in the 103rd street station.  Shouts of “OK!” and grass-muted toe-taps accompanied his rendition of If I Ain’t Got You by Alicia Keys.  He ultimately brought the crowd to its feet with his mind-blowing twist on Freddie Mercury’s Bohemian Rhapsody.   

As a coda to a lovely evening, Tony nominee Crystal Lucas-Perry interpreted a monologue from “Mother to Son” by Langston Hughes.  The words honored those who have smoothed the way and the power of a community to elevate others.  Then the mezzo-soprano ended on a literal high note with her performance of Greatest Love of All by Michael Masser.

With its approachable blend of classical and modern selections, The Classical Theatre of Harlem’s Young, Gifted and Black fulfilled its goal of shining a well-earned spotlight on the exceptional Black youth of New York City.  The full show is available to stream on demand at https://bryantpark.org/calendar/event/the-classical-theatre-of-harlem/2023-09-01.

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.

Petunia’s Big Day – Streaming On Demand

Musical, On Demand January 23, 2022 Leave a comment

Children experiencing everyday anxiety and stress have a fluffy new role model.  With her fuchsia skin and sky blue ponytail, Petunia (creator Laura Kay Clark) is a sweet relatable “Everychild.” Chatting with her friend Pumpkin Duck (puppeteer John Pickup; voice T.J. Bolden) she is excitedly picking out a jacket for her first day of school.  But before she can eat her chocolate chip pancakes, the Anxiety Monster (Christopher Isolano) arrives with his alluring backup troupe.  He conjures images of mean teachers and unfriendly classmates until all she wants to do is get back into bed.  Fortunately Mom (Renee Titus), who has regular doubts of her own, comes to the rescue with a series of mindfulness exercises. Petunia is only too grateful to learn new skills and even experiences the joy of passing them on to a new friend (Amanda Spencer). 

Petunia (Laura Kay Clark) confronts the Anxiety Monster (Christopher Isolano); photo provided by Party Claw Productions

After regrettably having to cancel in-person performances for safety reasons, New Ohio Theatre has made Petunia’s Big Day available On Demand.  The Party Claw co-production is warm from the first note, with the cast greeting us at the door and leading us through the auditorium accompanied by upbeat piano.  The book by Laura Kay Clark is based on her own Petunia’s Playhouse, an award-winning web series she created to give young children tools to better cope with the stress brought on by the COVID pandemic.  With the shift to an online format, this lively show can now be experienced by families around the country.

On Safari, the video streaming was very stable and the audio well mixed with just a slightly muted mic on Petunia.  While some of the opportunities for interactivity with younger audience members has been lost, the ability to see the details of the puppets (designed by Puppet Kitchen artist Eric Wright with additional puppets by designer Myra G. Reavis) and the fabulous touches in Petunia’s bedroom are improved from the cameras’ vantage points.  As directed by Christina Rose Ashby, Petunia is in a window above the tiled stage so that she and her human cast-mates can see eye to eye.  The brightly colored bedroom set designed by Reavis with its drawn-on doors and bed frame build on the musical’s storybook feel.  The company of six (Puppeteer Julia Fein also lends a hand… BOTH) ably delivers the serviceable songs by Billy Recce.  And there are still moments when a child at home can breathe along with the heroine or warn her of approaching Tummy Butterflies.  

Aimed at theater-goers aged 6-12, Petunia’s Big Day is childlike, but not childish. The demonstrated tools are practical and easy to apply.  It contains an important reminder that the practice of self-care isn’t only essential when there’s a virus circling. The common events depicted may even stimulate conversation about how to manage other uncomfortable emotions. 

Running less than half an hour, the production is streaming On Demand through February 6.  Tickets are $25 per household and can be purchased at https://watch.eventive.org/newohiotheatre/play/61d8bc1cc9d1230044fa7ff2.  You’ll have 7 days from the time of purchase to start watching, and 24 hours to complete your viewing.

Emmet Otter’s Jug-Band Christmas – NYC and On Demand

Musical, Off-Broadway, On Demand December 20, 2021 Leave a comment

In 1977, Jim Henson showed the world how expansive his unique puppets’ universe could be by developing a charming television special based on the book Emmet Otter’s Jug-Band Christmas by Russell and Lillian Hoban.  Well-meaning Emmet and his devoted and somewhat naive Ma are scraping by: taking in laundry and doing odd jobs around their town of Frogtown Hollow.  When they hear about a Christmas Eve talent contest, they each take a risk in order to try to win the $50 grand prize and buy a special present for the other.  

31 years later, the Jim Henson Company expanded Emmet’s world again by creating a live adaptation with iTheatrics.  Henson’s wondrous Creature Shop creatures performed alongside humans outfitted in imaginative woodland costumes.  With folksy songs by Paul Williams and a straightforward book by Timothy Allen McDonald and Christopher Gattelli, this musical production is currently playing for a reduced capacity audience at the New Victory Theater on famed 42nd Street.

Under Gattelli’s direction, the work makes full use of the New Victory’s space.  The beloved Henson Creatures add humor, with bits that also serve to break the story into bite-sized chunks easily digested by younger audience members.  The characters are all appropriately sweet including puppeteer Anney Ozar’s crusty old Mrs. Possum who shows a caring side while at her piano.  Even the members of the Riverbottom Nightmare Band are more mild bad boys than genuine hoodlums.  Likewise, the actors are warm and low key.  While newcomer Colin Trudell’s Emmet and Cass Morgan’s Ma ground the center of the story, it is LaVon Fisher-Wilson who kicks up the energy singing “Born In a Trunk” as Mrs. Mink, the Ma Rainey of Waterville. (She also takes on the role of Mrs. Squirrel whose puppet children perform the other show stopper, “Trust That Branch.”) 

Jiffy Squirrel, Skippy Squirrel, Nutella Squirrel, and Tiny Squirrel (Anney Ozar, James Wilson, Jordan Brownlee and Matthew Furtado) join Emmet (Colin Trudell) Photo Credit: Richard Termine

The entire look and feel of the show is in Jim Henson’s Creature Shop’s trademark style.  Anna Louizos’s set of dusky sky over rippling water, Matt Kraus’s soundscape of whispering winds, Gregg Barnes’s whimsical wardrobe and Melissa Munn’s clever make up design all work together to bring Emmet’s world to colorful life.

Like cocoa topped with marshmallows, Jim Henson’s Emmet Otter’s Jug-Band Christmas will warm up a wintery afternoon.  It is recommended for family members age 5 and older.  Tickets start at $25 and there are no bad seats in the house.  Proof of full vaccination is required for everyone over 12 (one dose for children 5-11) and face masks must be worn at all times.  A 72 hour On-Demand pass is also available for $25.  Although you may miss the electric charge of sharing the experience with strangers, with the four camera streaming version you get close-ups of those delightful puppets and sign interpretation and audio description are easily accessed.  Running time is 75 minutes live and 80 minutes on demand with a brief introduction and outro.  The production runs through January 2, 2022.  For more information and to purchase tickets visit https://newvictory.org/tickets-and-events/2122-live-performance-emmet-otters-jugband-christmas/.

Estella Scrooge – Streaming on Demand

Musical, On Demand November 29, 2021 Leave a comment

A sophisticated entry in the field of holiday offerings, Estella Scrooge: A Christmas Carol With A Twist is a Christmastime musical with plenty of Easter eggs for Dickens fans.  The production was meticulously shot using green screen and video effects to blend a seasoned cast with eye-popping images.  The result combines the best elements of a Broadway show with a movie spectacular.

The story hits all the well-known beats of the classic about a miser who learns a lesson, but frames them in a way that is fresh and original.  In this reimagining, Scrooge is the CEO of Bleak House, a predatory financial company.  Their health insurance policies never pay out and their mortgages are designed for easy foreclosure.  The overworked and underpaid Cratchet makes an appearance in the form of Scrooge’s devoted assistant, Betty, mother to the sickly Tammy.  But in this instance, Estella’s journey to enlightenment begins when she returns to her childhood home of Pickwick.  She arrives unannounced on Christmas Eve in order to foreclose on a hotel that has been serving as housing for those in need.  The current owner is her old flame Philip “Pip” Nickleby.  When a snow storm strands Ms. Scrooge at his establishment, Philip and the other residents — who include the usual ghosts of Christmases Past, Present and Future — seize their opportunity to change “Esty’s” hardened heart.

Lauren Patton as Dawkins in Estella Scrooge

John Caird  and Paul Gordon flesh out the book to reflect the current socio-economic challenges that sadly echo those of Dickens’ time. Rising well above many modern musicals, Gordon’s score contains a wide variety of song styles, each well suited to the person who performs it.  The recurring ballad “Almost a Family” is a captivating earworm that eloquently describes the bonds that can form between people who are not necessarily blood relatives.  In “Trickle Down,” economics are showcased in a jazzy number.  And the Ghost of Christmas Past uses hard rock to hammer home her point.  Many of the lyrics are calls to other Dickens’ classics including Hard Times, Great Expectations, and A Tale of Two Cities. 

The production’s look has been skillfully retooled for the online world.  Caird’s careful direction helps mimic the sense of connection and of space you would get at a live performance.  Fanciful costumes provided by Somie Pak cleverly combine period with high fashion.  Hair and makeup make use of Dena Olivieri’s experience with SFX.  Production design by Zach Wilson fittingly fuses elements of realism and fantasy.  The green screen is high quality and the actors do appear as if on the set.  Some of the special effects add zest, though the work in the ghostly scenes is inferior and distracting. The sound is too low for a laptop and the work as a whole is probably better enjoyed cast onto a larger screen.

The sprawling cast is uniformly terrific.  Betsy Wolfe’s Estella softens in both look and tone as she is confronted with the impact of the life she has chosen.  There is a sweet relationship displayed between Clifton Duncan’s caring Nickleby and his vulnerable residents, including Em Grosland’s delicate Smike and Lauren Patten’s punkish and very artful Dawkins.  The rest of the stand-out line-up includes Patrick Page, Carolee Carmello, Megan McGinnis, Adam Halpin , Sarah Litzsinger, Tom Nelis , Phoenix Best , David Bryant , Gabrielle Reid , Samuel Lee Roberts, Michael Francis McBride , Michele Lee, Kristen Faith Oei , Meg Gibson, William Youmans, Kevyn Morrow, Joziyah Jean-Felix , Brooklyn Shuck, Willow McCarthy and  2020 Tony Award Winner Danny Burstein as Estella’s great great great great grandfather Ebenezer.

The irresistible work of Charles Dickens has long made a good springboard, but not every iteration flies this high.  Estella Scrooge is a captivating family entertainment that couldn’t have returned at a better time. It is available to stream on Broadway on Demand (www.BroadwayOnDemand.com and Streaming Musicals (www.StreamingMusicals.com). A 48 hour rental is $14.99 (a more sensible price than the original $29.99).  The 2 hour runtime flies, though may make it unsuitable for very young children.

Starting Here, Starting Now – SF Playhouse and On Demand

Live Stream, Musical, On Demand, Revue September 16, 2021 Leave a comment

Closing out the San Francisco Playhouse’s 2020-2021 season is Starting Here, Starting Now, comprised of 24 songs with lyrics by Richard Maltby Jr. and music by David Shire.  The lively and upbeat musical review was originally created to save the Manhattan Theater Club’s then-new nightclub space.  The songs are taken from shows that either never got produced or closed prematurely, so they have that familiar-yet-not feel.  Maltby directed the original production while Shire shored up the work with newly created connective tissue.  Performed in this instance by a cast of four (one more than the original production) the show is an often humorous exploration of relationships of various dimensions, some made modern with a gender-bending twist.  Each piece is sung in character — though those change throughout — so they require solid actors to make them work.  Equally important to their success is the jazzy trio, placed behind them right on the stage.

Directed by Susi Damilano with choreography by Nicole Helfer, this incarnation moves breezily along for 90 minutes not including intermission.  Though the cast members are all seasoned performers, it is Keith Pinto who demonstrates the most strength from his perfect articulation of rapid lyrics to his physical antics and sincere engagement with the audience.  He elicits laughs in We Can Talk to Each Other and knowing nods in I Don’t Remember Christmas. Wilson Jermaine Heredia, who won the Tony Award for his turn as Angel in Rent, provides a gentler and more touching tone in solos including A Girl Should Know.  Rinabeth Apostol adds bad ass energy in I’m Going to Make You Beautiful and several duets.  Melissa Wolfklain rounds out the ensemble with quick wit, though she sometimes missed a note. (She sings my favorite in the line-up, Crossword Puzzle.) 

Starting Here Starting Now Cast sings “I Don’t Believe It”; Photo by Jessica Palopoli

Costume designer Rachael Heiman has wisely outfitted the cast elegantly in pure white, the better to project whatever is needed as they move swiftly from character to character.  The set designed by Heather Kenyon has a touch of nightclub flair, especially as lit by Kurt Landisman in an array of rainbow shades.  The musical trio, under the musical direction of David Dobrusky on piano with Amanda Wu on bass and Russ Gold handling percussion, is top notch and well suited to sharing the spotlight.

Like aural chicken soup for your tired soul, Starting Here, Starting Now goes down easy and leaves a warm feeling behind.  There is no twisted plot to follow or deep roles to keep straight, just pleasing harmonies, light movement, and plenty of charm.  It is playing at the San Francisco Playhouse at 450 Post Street in San Francisco with strict COVID-19 protocols in place ( https://www.sfplayhouse.org/sfph/covid-safety/. )  It is also available to stream online, which is how I was able to enjoy it all the way in New York City.  Tickets are available for either format at sfplayhouse.org for performances though October 2.  In-person tickets are $30-$100; with access to the On Demand video starting at $15.

Romeo & Bernadette: A Musical Tale of Verona and Brooklyn

Musical, Off-Broadway, Uncategorized January 23, 2020 Leave a comment

A much-needed good time can be had at Romeo & Bernadette, a lighthearted musical spin on Shakespeare’s tragic love story.  At opening, a Brooklynite is attempting to get his date back in the mood for love after a performance of Romeo and Juliet leaves her teary eyed.  He spins a tale of Romeo’s post-curtain exploits, weaving himself into the plot as Romeo’s newfound best friend, Dino Del Canto.  In this new and evolving chapter, the young lover is propelled out of place and time to 1960s Brooklyn in search of Bernadette, a woman with whom he crossed paths in Verona.  Bearing an uncanny resemblance to his deceased beloved, she stole his heart during their brief encounter.  Upon arrival on Bernadette’s shores, Romeo learns that she is the daughter of famed mob boss Sal Penza.  Now he once again finds himself torn between two warring families, this time with Dino at his side for guidance.

Nikita Burshteyn and Michael Notardonato Photo credit: Russ Rowland

Nikita Burshteyn (Romeo) and Michael Notardonato (Dino) in Romeo & Bernadette. Photo credit: Russ Rowland

With a book and lyrics by Mark Saltzman, the piece is filled with the good natured sweetness you’d expect from someone who began his New York career with the Muppets.  The script blends iambic pentameter, modern colloquialisms, and humor as broad as Interstate 278.  The music, adapted from classic Italian melodies and wonderfully orchestrated by Steve Orich, is tuneful and uplifting.  Story and song are delivered smoothly by the adept cast.  Making his Off-Broadway debut as Romeo, Nikita Burshteyn hits both literal and figurative high notes.  Recent college graduate Anna Kostakis manages to soar even while bringing a slightly nasal whine to Bernadette’s solos.  And Michael Notardonato, also making his Off-Broadway debut, gives us plenty to wink and nod at as Dino and our narrator.  Also doing double duty is newcomer Ari Raskin as Bernadette’s edgy BFF Donna and the Brooklyn Girl on a date observing the action.  The more seasoned veterans in the company  —  Carlos Lopez, Michael Marotta, Judy McLane, Troy Valjean Rucker, Zach Schanne, and Viet Vo  —  are strong in their supporting roles.  The story sags at the beginning of Act 2 with too many side bits allowing some of the good mood felt at intermission to dissipate.  But just like its plucky heroine, the production pulls itself together to deliver a satisfying finish.

Currently running in the black box Mezzanine Theatre at A.R.T., the work is given plenty of room to breathe.  The direction and dance moves provided by Justin Ross Cohen are energetic and appropriately playful.  Walt Spangler’s striking all white set has several purposeful sections including a small second story that serves as additional rooms and (naturally) a balcony.  Costumes designed by Fabio Toblini and Joseph Shrope capture the spirited mood of the 1960s and give key scenes their own color coding.   Fabulous hairstyles top off each look.

Romeo & Bernadette: A Musical Tale of Verona and Brooklyn delivers on its implied promise of mixing styles to humorous effect.  The limited engagement is scheduled through February 16 at the Mezzanine Theatre at A.R.T./NY Theatres (502 West 53rd Street between 10th and 11th.)  Runtime is approximately 2 hours with one 10 minute intermission.  Tickets are priced at $49-$69 and can be purchased online at www.amasmusical.org/romeo-bernadette or by calling (866) 811-4111.

Modern Māori Quartet’s Two Worlds

Musical, Off-Broadway, Uncategorized January 10, 2020 Leave a comment

Modern Maori Quartet Two Worlds

If you already feel the glow of your holidays fading, consider a trip to Two Worlds, the latest offering from the award winning Modern Māori Quartet.  In a swiftly moving 70 minutes, four delightful performers will take you on an exploration of indigenous New Zealand culture through storytelling, song and movement.  

At opening, WWII veteran Koro (Matu Ngaropo), 1960s gadabout Uncle (Jamie Mccaskill), and 1980s lounge musician Big Bro (Maaka Pohatu) have been trapped in limbo for decades.  The unseen Miss (Kura Forrester) introduces them to the newly arrived Bub (Matariki Whatarau), a small town boy.  They must now must work together as a quartet to earn the right for each one of them to pass on. Only the truth can truly set them free.  This set-up emphasizes the need for cooperation represented in the strong harmonies that bind this heartwarming work together.  

Though pieces are performed in both English and Māori, all of the emotions are so genuinely expressed they are not only understandable but relatable.  The culture these men share brings distinction to their back stories, shedding light on the struggles of an indigenous people whose culture has been marginalized and submerged.  But their tales also encompass universal themes of seeking connection and acceptance.

Two Worlds developed from a production written by James Tito, Matariki Whatarau, Maaka Pohatu, and Francis Kora and originally presented in 2012.  The current incarnation fits the cast as well as their snazzy black and red suits.  The music is tuneful and transportive.  Accompanying themselves on guitar and percussion, each voice is pure and well blended for the space by Matthew Eller + Square.  Well produced sound effects successfully fill in for scenery.  Movement choreographed by the troupe uniquely combines smile-inducing boy band steps with traditional Māori gestures creating something that is simultaneously fresh and familiar.

Modern Māori Quartet’s Two Worlds runs through January 18, 2020.  This moving and joyful cabaret-style musical is currently playing at The Soho Playhouse (15 Vandam Street near 6th and Spring) as part of their annual Fringe Encore series.  The curated festival presents the best of the Fringe from around the world, offering the artists opportunity for an extended run in New York City and perhaps beyond.  Upcoming performances of Two Worlds are January 11 at 5:00 PM, January 12 at 5:00 PM, January 14 at 7:30 PM, January 16 at 9:00 PM, January 17 at 9:00 PM, and January 18 at 9:00 PM.  It is running in repertory with two other productions with Kiwi flair and perspective.  To view the entire lineup and purchase Individual tickets ($39) visit FringeEncoreSeries.com.  Reduced-price ticket packages are also available.