Category Archives: Musical

Welcome to the Big Dipper

Musical, Off-Broadway November 26, 2024 Leave a comment

Almost ten years ago, playwright Catherine Filloux took a break from delivering hard hitting dramas that deeply examine the human condition and began working on something far lighter.  The genesis was an episode from her mother’s life involving a busload of Amish and another carrying a troupe of crossdressing singers.  These vastly different groups were forced to stay at the same motel during a snowstorm.  

Now complete with music and lyrics by Jimmy Roberts (I Love You, You’re Perfect, Now Change) and a book co-written by John Daggett, the musical Welcome to the Big Dipper is having its World Premiere directed by DeMone Seraphin at the Theatre at St. Jeans.  Even with this unique origin story, almost everything about the dialogue, songs, and movement evokes memories of other shows.  Whether you find this humdrum or comforting will depend very much on your love of the musical form in general.

Strictly religious widower Amos King (Robert Cuccioli) is returning from a wedding with his daughter Rebecca (Mia Pinero) and their neighbor, Sarah (Jillian Louis).  Trans choreographer Carly (Jayae Riley, Jr.) is taking the Sirens of Syracuse (Pablo Torres and and Darius Harper) fronted by Jacky/Jake Barnes (Michael Yeshion) to The Ladies of the Lake singing contest.  After their buses collide during a blinding blizzard not far from Niagara Falls, the city of Bigelow finds them shelter at the Big Dipper Inn.  The inn’s owner — Black single mother Joan Wilkes (Debra Walton) — was about to sell her treasured family property to a development firm represented by Bonnie (Jennifer Byrne) in order to cover the cost of college for her brilliant son Dez (Christian Magby).  But she removes the “closed” sign from her desk and agrees to provide sanctuary to the travelers.  Though they have brought few possessions, there’s baggage aplenty.

Jillian Louis, Mia Pinero, Robert Cuccioli, Pablo Torres, Darius Harper, Jayae Riley, Jr., Michael Yeshion; Photo by Carol Rosegg

Despite their proximity and the wild set-up, there is almost no catalytic energy among the guests.  Doorways on wheels in Brian Pacelli’s scenic design facilitate moving between narratives, though the static elements of the set don’t meld easily with all storylines.  Slavery, religious devotion, personal ambition, and romantic attachments whiz by without much investigation.  Filloux’s drive to understand how people respond to one another in crisis occasionally pokes a hole in the thin fabric of plot.  The casting by Michael Cassara is deliberately and appropriately inclusive.  But with so many tropes employed, it is hard to determine who is being lifted up and who is being sent up.  This is not a reflection on the actors, who all seem committed to the constructs provided.  Musical numbers are delivered with polish and passion.  Post-performance discussions with represented community members including transgender social organization CDI and the production’s Amish consultant, J.P. Miller, should add much needed perspective. It’s just unfortunate not to be able to experience more of it directly from the work.

If the rush of the modern world has you feeling anxious, settling into the snowy surroundings of the Big Dipper Inn and the singing talents those walls contain provides 90 minutes of shelter from the storm.  Though little ground is broken, the kindness of the characters and bow-wrapped epilogue are well-suited to the holiday season. 

Welcome to the Big Dipper continues through December 29 at The Theatre at St. Jeans, 150 East 76th Street, between Third and Lexington. (No performance Thanksgiving or Christmas Day.) Tickets can be purchased at https://web.ovationtix.com/trs/cal/34375/1730433600000.  $20 senior and student Rush tickets are available in-person beginning one hour prior to performances, subject to availability. The York Theatre’s Gen York program also offers $30 tickets for patrons under 35. 

We Live in Cairo

Musical, Off-Broadway November 12, 2024 Leave a comment

In 2011, a number of Egyptian youth groups gathered together in Tahrir (Liberation) Square to protest the corrupt authoritarian rule of President Hosni Mubarak.  His 30 year stranglehold on power had led to economic stagnation, human rights violations, and media restrictions.  The young peoples’ acts of civil disobedience in concert with a series of labor strikes forced Mubarak’s resignation and brought about a democratic election.  Their victory was short lived, however, and Egypt now stands at a miserable 18 out of 100 on the Freedom House scale.  

Inspired by a photo of several of the activist artists, brothers Daniel and Patrick Lazour wrote We Live in Cairo, developing the score and book over ten years.  The results are inconsistent in their ability to sway the audience, primarily carried along on waves of tuneful music.  Most numbers combine instruments and musical themes from Egypt with traditional structures including love ballads and rock anthems.  Director Taibi Magar joined the collaboration to add depth and movement to song.  The voices of the all-Arab ensemble blend beautifully (vocal arrangements by Madeline Benson) even when their characters falter.  For the scene depicting the toughest days of uprising, the musicians join the actors center stage, enveloping them with melody.

Michael Khalid Karadsheh, Ali Louis Bourzgui, Rotana Tarabzouni, Nadina Hassan, Drew Elhamalawy and John El-Jor in WE LIVE IN CAIRO at New York Theatre Workshop; Photo by Joan Marcus

The atmosphere developed by the design team wraps the audience in the sights and sounds of the struggle for freedom.  Tilly Grimes’ set is kept simple with a collection of pillows, rugs, lamps and household items filling a few shelves. The visual emphasis is on the evocative projections designed by David Bengali, some of which appear overhead.  He and lighting designer Bradley King added their graphical layers to the look and feel when they joined the crew during the run at A.R.T. in Boston.

Unfortunately, the story, though it was restructured several times, lacks the same level of vibrancy.  While the idea of looking at this revolution through varying lenses of artistry, policy, and simple human compassion is an interesting concept, the issues are all frustratingly abbreviated and the actions poorly motivated. Initially apolitical and fearful, Layla (Nadina Hassan) suddenly turns her entire life inside out based on exposure to a single image.  The societal significance of her boyfriend, Amir (Ali Louis Bourzgui), and his brother Hany (Michael Khalid Karadsheh) living as Coptic Christians in the majority Muslim country is mentioned, but never meaningfully explored.  Fadwa (Rotana Tarabzouni) is so driven by her identity as the child of dissidents that her every opinion becomes a cause which muddies their significance.  The attraction between the majestic Karim (John El-Jor) and the tentative Hassan (Drew Elhamalawy) is covered over as quickly as one of Karim’s satiric murals.  The vagaries of this critical thread border on homophobic.  Even the impact from country’s former status as a British colony doesn’t receive more than a single line.

New York Theater Workshop, which has been helping to nourish this production for nearly 7 of the 10 development years, has done what they can to broaden the world of the play beyond the walls of the theater.  E-tickets include the promotion of local Egyptian restaurants, invitations to post-show topical talkbacks at their sister space, and lighter cultural fare like a hummus-making contest.   A brief historical timeline and the “origin story” of the production are inserted into the program.

Like the ending of the Arab Spring it depicts, We Live in Cairo ultimately fizzles.  But it leaves behind a feeling of purpose that makes the experience worthwhile at this delicate point in our own history.  The Off-Broadway premiere continues through November 24 at New York Theatre Workshop, 79 East 4th Street in Manhattan. The performance runs 2 ½ hours with one intermission and contains images and sounds of a violent nature.  Tickets begin at $49 and can be purchased at https://www.nytw.org/show/we-live-in-cairo/tickets/ or by calling the NYTW box office at 212-460-5475.  You will get a better sense of place seated further back from the stage.  This is the first play of four in the NYTW 2024-25 season and subscriptions are still available for as little as $230.

Lifeline

Musical, Off-Broadway September 5, 2024 Leave a comment

If you combined a biopic with a public service announcement and a Scottish jam session, you’d have Lifeline, the musical that opened Wednesday night at the Pershing Square Signature Theater.  Lifeline tells the story of Alexander Fleming, the Scottish microbiologist who stumbled upon Penicillin and introduced the world to the lifesaving power of antibiotics.  From the outset, Fleming recognized that if used incorrectly his discovery could lead to the formation of “superbugs,”: bacteria that becomes resistant to the drugs.  In tandem with Fleming’s history is the fictional tale of a rising musician, Aaron, and his childhood sweetheart now his attending physician, Jess.  While out on his first tour, Aaron had developed serious digestive issues and began taking antibiotics to relieve his symptoms.  Eventually seeking proper medical attention at Jess’s hospital, he underwent successful surgery, but developed a post-operative infection that won’t abate.  

With a book by Becky Hope-Palmer and music and lyrics by Robin Hiley and his songwriting partner James Ross, Lifeline was brought to New York by Hiley’s Charades Theatre Company, a charity that promotes community and social issues through their work.  The production started life at the Edinburgh Fringe as “The Man Behind the Mould,” and continued to evolve over six years as it toured London and D.C. among other stops.  The current rendition is described as “reinvented” and quotes from critics who reviewed the earlier two-time sell-out do not rightfully represent this run.

Drawing inspiration from practicing doctors and scientists who have engaged with the piece, the playwright does a splendid job of underlining the parallels between Fleming’s findings and current events.  Though the storyline is tough to witness and the outcome telegraphed from the outset, the first act of Hope-Palmer’s time-hopping script moves along briskly, buoyed by the musical talents of and chemistry between Scott McClure’s Aaron and Kirsty MacLaren’s Jess and the sincerity of Matthew Malthouse as the grounding Alexander Fleming.  (McClure doubles as Fleming’s war buddy, Clowes.) Alone, it would have been enough to amplify the threat that antimicrobial resistance (AMR) poses for the entire world.   Act II goes deeper into Fleming’s past and the aftermath of Aaron’s failed treatment.  But except for “I’ve Done All that I Can”, a song about the proliferation of antibiotics in our food and water delivered by Julian (Robbie Scott) a politician friend, there is little that adds to our understanding of the problem. And at a running time of 2:35, the endeavor becomes relentless — more likely to overwhelm than impress — and ends in a way that may be pure but is not satisfying.  The most thrilling twist, revealed in the last moments, concerns some of the cast members rather than the characters they portray.

In its current form, the production also seems better suited to a much larger space.  The leads are backed by five ensemble players and a rotating chorus of twelve.  A spirited band performs upstage throughout.  Alice McNicholas’s set is anchored by an illuminated turntable.  It so dominates the stage that Alex Howarth’s direction is primarily comprised of walking in circles and standing back to back while Wayne Parsons’ dance numbers featuring alter-egos and younger selves are forced to be nearly vertical.  The scenic arrangement also requires the cast to repeatedly hoist Aaron’s hospital bed on and off the platform.  Wonderfully creative visuals by Will Monks blend film, hand drawing, and helpful facts.  They are projected onto hospital privacy curtains to fill out the look, though some of Monks’ lighting is nearly blinding mid-house.

Aaron/Clowes (Scott McClure) is assisted by medical staff in Lifeline; photo by Andrew Patino

In light of a movement to have drug companies sell medications directly to patients, Lifeline provides palatable critical counsel about a rarely discussed healthcare crisis.  As a celebration of medical professionals, it’s superior to the beating of pots and pans.  As an introduction to Fleming and his achievements, it’s a shame that the whimsy of the original piece has been shed in favor of glum earnestness.  

It would be easier to recommend Lifeline as a daring artistic experiment if regular tickets were not $72 and premium seating $91, though that is understandable given the number of professionals involved who deserve to be making more than bus fare. The show continues through September 28 at the Alice Griffin Jewel Box at 480 West 42nd Street in New York.  Tickets are available at https://www.lifelinemusical.com/.   The current run is ironically sponsored in part by biopharma company GSK and pharmaceutical giant Merck.  Despite requests to turn off your phone in the lobby, don’t.  The only way to access the Playbill is with a QR code.  

Three Houses

Musical, Off-Broadway May 23, 2024 Leave a comment

For a play named after a family dwelling, Dave Malloy’s Three Houses has surprisingly little structure.  Set in a magical cocktail bar with an orchestra that can follow along in any key, three strangers share their experiences in a confessional open-mic night.  When the pandemic broke out, each one of them had just gone through a break-up with a partner and found themselves secluded and struggling mentally.  While there are similar strands within their tales, their ordeals only lightly touch, like their pinkies when they finally share a table.  Along the way, there are some wonderfully creative moments and beautiful melodies.  But like the current drive along the crumbling Highway 1 in Big Sur, a final point remains illusive.

In House #1, Susan (Margo Seibert) had been researching her next novel in Finland when COVID hit.  Unable to get back to the United States, she retreats to her grandmother’s abandoned house in the Latvian woods.  In a haze of red current wine, weed, and OCD, she uses the time to learn what she can about her ancestor.  House #2 is set to more uptempo tunes as we move from the deep woods to the sunny desert.  When her aunt returns to Korea leaving her New Mexico home unoccupied, Sadie (Mia Pak) takes refuge there.  Painfully missing her girlfriend, she further retreats into a SIM she has meticulously modeled on memories of her grandparents.  House #3 is actually a small basement apartment into which Beckett (J.D. Mollison) has moved after the end of his marriage.  On every level, it becomes the darkest of the dwellings, especially after he learns that his grandparents have just passed away in Ireland and paranoia sets in.  

Three Houses is the final piece of Malloy’s trilogy which includes Ghost Quartet and the memorable Octet.  Having written the music, lyrics, book and orchestrations, this work completely embraces his usual fascination with fables.  As they grapple with the effects of isolation and regret, each of our storytellers develops a relationship with a fictional being represented by puppets with tremendous personality designed by James Ortiz.  Elements of The Three Little Pigs play key roles and even show up in a sweater.  But when the inevitable wolf finally makes it to the door, he is dressed in grandma’s nightgown, which for fairytale purists will be perplexing.  

Mia Pak (with Pookie the Household Dragon) and Margo Seibert in Three Houses

All three soloists are terrific and support each other vocally and energetically.  Henry Stram and Ching Valdes-Aran appear as all of the mystical grandparents.  Scott Stangland rounds out the cast exuding something between command and menace as the bartender/MC Wolf.  However, Annie Tippe’s direction is both mystifying and maddening, especially given her assured hand with Octet.  The same black box space has been splendidly designed by the imaginative team of dots to feel warm and inclusive and a tad old-fashioned.  Fabric is draped all along the mezzanine, and the orchestra members sit in armchairs adorned with crocheted throws.  Center stage is an elaborate wooden bar, but even from the middle of the side section — normally a great spot in ¾ round — I could not make out what was on the changing backdrop behind it.  The vast majority of the staging is forward facing with the actors sometimes positioned side-by-side blocking each other from view.  Lighting designer Christopher Bowser has added some attention-getting effects and Haydee Zelideth costumes are a likewise literally colorful component that visually adds to the stories.  Nick Kourtides envelops the audience with his sound design, which appropriately alternates between feeling comforting and smothering.

Ultimately, Three Houses is more like a trio of discontinuous chapters of an unfinished novel than a fully fleshed out musical.  While the emotive songs and fanciful imagery of Octet have carried over, the clear interconnection of  those characters is missing here.  But there is some interesting terrain explored in finding discipline amid chaos and all the ways in which you can and can’t get to know someone else and — through them — yourself: vast themes to cover in a mere 100 minutes.  The production runs through June 9 at the Signature Theatre  (480 West 42nd Street) where Malloy is Premiere Resident.  Tickets ($49 – $124) and information are available at https://signaturetheatre.org/show/three-houses/

EPIC Players’ Spring Awakening

Musical, Off-Broadway May 11, 2024 Leave a comment

For their current musical production, EPIC  — an acronym for Empower, Perform, Include and Create — has chosen Spring Awakening.  Boasting memorable harmonies by Duncan Sheik and scathing lyrics by Steven Sater, it was a Tony winner for the original Broadway production and nominated again for its revival.  It famously gave rise to the careers of Jonathan Groff and Lea Michele.  But despite its starry origins, it is best remembered for the bluntness with which it explores abuse, neglect, and desperation. The seemingly insurmountable challenges of adolescence are what resonated particularly strongly with the neurodivergent cast, whose community is often desexualized, infantilized, and sometimes even mistreated.  (Cast members are all over the age of 16 and on the spectrum of autism.) 

Based on a 19th century work by German playwright Frank Wedekind that was subtitled A Children’s Tragedy, there are unfortunate ripples in today’s world in which healthcare for women and protections for the queer community are being restricted.  The Romeo and Juliet of sorts are Melchior (William Ketter) and Wendla (Sydney Kurland), his former childhood friend.  Her deeply repressed childhood has left her ill-equipped to take care of herself and longing to feel absolutely anything.  In a classroom where there is no room for critical thinking, he has read so much unsanctioned material that he has figured out the mysterious world of sex.  Their collision course is set.

Sydney Kurland and William Ketter

More lost to each other are Mina Cuesta’s Ilse and Reuben Baron’s Moritz.  Both have been abandoned by family, but she has found freedom and shelter within an artistic community, while he is utterly adrift.  Arguably the most charismatic pair are Hanschen played by deaf actor Samuel Langshteyn and his voice emotively interpreted by Chloe Rose Solomon.  Their literal intertwining provides many of the most bewitching moments.  All are backed by a chorus exemplifying range and expressiveness. 

Chloe Rose Solomon and Samuel Langshteyn

EPIC has always excelled in their musicality and this production is no exception.  The orchestra under musical director Blake Bauer is lyrical and clear.  Cast member Laisha Gonzalez delivers Martha’s solo in “The Dark I Know Well” with an Amy Winehouse soulfulness.  Cuesta provides Ilse with the voice of an angel complete with a wing-like shawl (costumes by Nicole Zausmer) that she bestows on a thoroughly dispirited Moritz in “Blue Wind”. And in an Act II showstopper, “Totally Fucked”, Ketter grabs a hand-mic to transform into full-on rock idol.

Mina Cuesta and Reuben Baron

Director Travis Burbee has placed his cast down the middle of the black box space so the attendees provide support from both sides.  The layout constricts the range of motion possible by the large troop of actors, but it boost the level of intimacy with the audience. Burbee also handles the violence in a way that is visceral without being unnecessarily graphic. (The team worked with a Mental Health Counselor, an Access Coordinator, and an Intimacy and Fight Director to support the cast throughout the development process.)  The set by designer Matthew Imhoff is centered around a long plot of earth, which at times symbolically nourishes the affection-starved teens.  Soft banks of lights by Cameron Filepas rise like plantings on either end.  

Deeply meaningful to a generation, Spring Awakening gives the EPIC cast a darker voice.  A content warning is announced before the lights dim.  Noise cancelation headphones are available and audience members are invited to decompress in the lobby if needed. Running time is 2 hours and 10 minutes.  Performances are Wednesday through Sunday until May 19 at ART/ NY’s The Mezzanine Theatre, 502 West 53rd Street, 2nd floor.  General admission Tickets start at $35. $20 Video streaming tickets will be available during the second week of shows. All tickets can be purchased online at https://epicplayers.ticketspice.com/epic-players-presents-spring-awakening-.

EPIC Players’ Spring Awakening

CAST:
Wendla: Sydney Kurland 
Martha: Laisha Gonzalez 
Thea: Rachel Barcellona 
Anna: Katherine Tepan 
Ilse: Mina Cuesta
Melchior: Will Ketter
Moritz: Reuben Baron
Hanschen: Samuel Langshteyn
Ernst: Josh Cartagena
Georg: Rafiq Tate
Otto: Shafer Gootkind
Adult Women 1:  Shoshanna Gleich
Adult Women 2: Samantha Elisofon
Adult Man 1: Gerard Riley
Adult Man 2: Max Tunney
Ensemble: Henry Houghton
Ensemble: Emy Ramos
Voice of Hanschen: Chloe Rose Solomon 

CREATIVE TEAM AND CREW:

Director: Travis Burbee
Assistant Director:  Gabe Girson 
Music Director: Blake Brauer
Choreographer: Miles Butler
Stage Manager: Sydnee Davis
Production Manager: William Morris
Assistant Stage Manager: Carol Hoverman
Assistant Stage Manager: Cassidy Kaye
Director of Artistic Sign Language: Kailyn Aaron-Lozano
Intimacy and Fight Director: Hannah “Rock” Roccisano
Intimacy and Fight Assistant: Scarlet Yousif
Scenic Designer: Matthew Imhoff
Sound Designer: Sean Ramos
Costume Designer: Nicole Zausmer
Props Designer: Madisen Frazier
Light Designer: Cameron Filepas 

Executive Artistic Director: Aubrie Therrien
Front of House:  Talia Eapen
Access Coordinator: Jamie Rose Hays
Mental Health Counselor: Taupa Fogo-Toussaint

Production Photos: Zui Gomez

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.