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LadyShip at the New York Musical Festival

Musical, Off-Broadway, Uncategorized July 15, 2019 Leave a comment

The 16th New York Musical Festival (NYMF) is underway. This line-up of diverse and daring musical productions, concerts, and readings has given rise to 23 commercial Off-Broadway productions and catapulted four more (including the acclaimed Next to Normal and clever In Transit) all the way to the Great White Way. It’s a specular opportunity for budding artists and audiences alike to experience fresh thinking in a nurturing environment.

This weekend’s offerings included the tuneful LadyShip, with book, music and lyrics by sisters Laura and Linda Good of The Twigs. Inspired by true events that took place from the 1780s to the 1860s, it tells the tale of a sampling of the 25,000 women sentenced by London courts for petty crimes to serve out their time in Australia. The concept was that the city could simultaneously reduce overcrowding of their prisons and accelerate the colonization process by sending females of marriageable age to the new land. The journey was harrowing and many of these women found themselves forced into prostitution in order to afford housing and basic necessities in their new home.

LadyShip does a good job of encompassing many of the grimmer facts. All of the women depicted are victims of a male dominated culture and were reduced to stealing by drunken fathers, gambling husbands, or complete abandonment. The focus is on the orphaned teenage Reed sisters, Alice and Mary, who were caught shoplifting in an effort to feed themselves. As performed by Maddie Shea Baldwin and Caitlin Cohn, their soaring duets such as “No Matter Where We’re Bound” well-represent the tight and loving bond that keeps them moving forward under the most bleak of circumstances. Unfortunately we learn less about the other four convicts. Jennifer Blood’s educated Lady Jane Sharp biggest number is “I Need An Anchor” alongside Quentin Oliver Lee’s Captain, which seems a lost opportunity given her character’s potential for a superior life in an officer’s household. Also sublimated is Lisa Karlin’s bold and witty Abigail Gainsborough, whose know-how might just help her escape traditional fate. The potential for 11 year old Kitty MacDougal (an angelic voiced Noelle Hogan) comes into sharper view with her dreamlike solo “So Many Stars.” Rounding out the group is Brandi Knox as the defeated Mrs. Pickering, who tells rather than sings most of what we learn of her backstory.

Ensemble Cast of LadyShip; photo by Russ Rowland

All of the women develop variations of relationships with the male crew — exemplified by Trevor St. John-Gilberts’s swaggering Lt. Adams and Justin R.G. Holcomb’s perpetually wasted Zeke Cropper — bargaining for writing paper or bribing them with rum. One even establishes a true connection with Jordon Bolden’s charming and sweet Marcus “Finn” Findley, something which did often occur on these transportation voyages. Clear ties are also made to current events including the notion that women and children will be separated upon arrival in their new land and that tougher levels of justice are meted out for the poor. But there is little light shown on the few more hopeful stories of women who were permitted to marry emancipated men and lived more traditional married lives, much less any inclusion of the inspiring rebels such as entrepreneur Mary Reibey. More emphasis on these story elements would have made the optimistic ending feel more earned than it currently does.

The level of talent that went into this production is obvious. Coming from the pens of an indie rock band, the music and lyrics are surprisingly subdued. Under the direction of Simone Allen with Christopher Anselmo on guitar, Charlotte Morris on violin and herself on piano, most of the numbers are dulcet, easy to listen to and filled with luscious harmonies. Karlin leading the women in the rollocking “Only the Strong Survive” is the closest we hear to the anticipated battle anthem. Director Samantha Saltzman keeps the women realistically contained with scenic designer David Goldstein deftly providing the no-frills pieces that make up the dreary London jail, the dark bowels of the ship, and the sparse dockside. Costumes by Whitney Locher appropriately telegraph class and rank, though they all stay a bit too clean throughout. Sam Gordon’s lighting and Patrick Calhoun’s sound go a long way to completing the picture of life at sea.

NYMF continues through August 4 at Alice Griffin Jewel Box Theatre in Pershing Square (480 W 42nd St, New York, NY 10036) and other nearby venues. This is a not-to-be-missed affordable and rewarding chance for fans of musical theater to indulge their passion. Passes for four or more tickets as well as individual tickets are available at http://www.nymf.org.

EPIC Players’ Little Shop of Horrors

Musical, Off Off Broadway, Uncategorized June 6, 2019 Leave a comment

The American Theatre Critics Association (of which I am a member) promotes theater as a resource to communities throughout the country. EPIC Players takes this goal a step further by opening the craft to an underserved company of performers. An acronym for Empower, Perform, Include and Create, this talented troupe is neuro-diverse: composed of actors over the age of 16 who are on the spectrum of autism. Casting calls are open, though priority is given to company members. Rehearsals are conducted over an extended period, which allows the cast and crew to co-create a particularly supportive environment. The results are not only empowering for the artists, but expansive for the audience as well.

With its sprawling cast and blended genre of horror and comedy, Little Shop of Horrors is a masterful choice for EPIC’s current season. The story follows Seymour Krelborn and Audrey, two fragile outsiders working in a skid row flower shop, and presents them with wit and affection. The pair is brought together by a demanding plant named the Audrey II, who has troubling intentions. The music is by Alan Menken with lyrics and a book by Howard Ashman, the team behind Beauty and the Beast and Aladdin. While the work can be viewed as a piece of social commentary, it is unquestionably a wildly good time.

EPIC Players’ Nicole D’Angelo and Ben Rosloff in Little Shop of Horrors

Equity member Ben Rosloff performs the underestimated Seymour with the gentleness this lead role requires. Slipping into Audrey’s leopard prints is Nicole D’Angelo, who replicates Ellen Green’s ultra-high-pitched speaking voice and sweet singing style. Her sadistic boyfriend is played with glee and a touch of menace by Dante Jayce, who also makes the most hysterical entrance. Michael Buckhout takes on flower shop owner Mr. Mushnik with appropriate slapstick asides. In many productions, the Audrey II is represented by a series of ever-larger puppets. Here, a booming Nick Moscato appears to be having a blast portraying the full grown plant, which heightens the character’s ability to engage. The chorus of street urchins has been expanded to five expressive and funny singer/dancers (Imani Youngblood, Justin Phillips, Aria Renee Curameng, Melissa Jennifer Gonzalez and Kathryn Cristofano) who enliven every moment they are on stage. Music is performed by a live four piece band under the direction of keyboardist Jonathan Ivie. Whitney Blythe, Gianluca Cirafici, Brianna Freeman, Jessy Leppert, Samantha Elisofon, Nick Amodio, Gideon Piankor, and Eric Zimmer are the supporting players with Andrew Kader, Kim Carter, Meggan Dodd, and Amaker Smith making up the ensemble.

The performance I attended was a final dress rehearsal and there were a few timing and technical issues. Even with those difficulties, the production sparkled with imagination. Directed by EPIC’s Executive Artistic Director Aubrie Therrien with assistance from Max Baudisch and Zach Lichterman, the staging makes fabulous use of the Black Box space. Aisles and overhead platforms are filled with residents of the downtown streets and Audrey II’s many admirers. You might even be offered a bag of “cocaine” or gifted with an Audrey II plant clipping. Clever costumes by Cat Fisher include Audrey II’s enticingly and colorful garb. The effective set by Tim Catlett is topped with projection screens that enhance the play with classic horror clips and horticulture documentaries.

This production of Little Shop of Horrors radiates joy from its very roots, serving to shatter any preconceived notions held by uninitiated theater-goers. Noise canceling headphones are available for sensitive audience members, and anyone needing a break is invited to decompress in the lobby. Runtime is 94 minutes with one 10 minute intermission. It plays through Sunday, June 16 in the Black Box Theater at the Sheen Center on Bleecker Street. Tickets are $27-$57 and can be purchased at https://ci.ovationtix.com/34409/production/1007814?performanceId=10390542. EPIC — a 501c3 non-profit — holds auditions year round and provides professional development classes and workshops free of charge to all who are accepted. You can also support their work by visiting https://www.epicplayersnyc.org/support.

Ajijaak on Turtle Island

Musical, Off-Broadway, Uncategorized March 3, 2019 Leave a comment

In Ajijaak on Turtle Island, chicks are hatched, buffalo dance, and butterflies flutter overhead to the delight of young theater-goers. The multimedia piece is the creation of Heather Henson in collaboration with an array of First Nations performers and her famed father Jim Henson’s Creature Shop. Storytelling is imparted through song, dance, and projections in addition to the expected marvelous marionettes.

A synopsis is included in the program and should be shared with children before the curtain rises to help them get the most from the experience. We are on Turtle Island — now known as North America — at a time when animals could talk to one another. A young whooping crane named Ajijaak has been separated from her parents during a fire. Her journey to find them on the Gulf Coast puts her in touch with deer, buffalo, coyotes, crabs and a few two-legged beings. Each interaction teaches her something valuable and contributes to her “medicine bundle.” These lessons will help her heal the world when the time comes to confront Mishibizhiw, the violent creature who is awakened from sleep whenever the earth is being exploited.

The visuals are quite stunning and work in harmony. Multimedia images of nature are combined with music and movement in support of the environmental message. Indigenous pieces by Dawn Avery & Larry Mitchell, Kevin Tarrant and Ty Defoe are punctuated by two drummer/chanters along with conventional instruments. The script — also by Ty Defoe based on a story by Heather Henson — is episodic, as is typical of a work geared to children. The narrative breaks down in spots and some of the dialogue is stilted. These weakness are largely overcome by the charm and warmth of the narrator Grandma Moon as embodied by Joan Henry. Mishibizhiw’s entrance happens without an inciting incident, which seems a lost opportunity to really hit home the overarching theme. A highlight comes shortly after when the audience participates in the unique song meant to restore balance to the world. It is a tune you will hear little voices continuing to sing throughout your walk to the subway, briefly pushing Baby Shark to the back of your mind.

Complementing Ms. Henry is Henu Josephine Tarrant who gives Ajijaak a soaring angelic voice worthy of a bird. The remainder of the performers — Tony Enos, Wren Jeng, Adelka Polak, Sheldon Raymore — are uneven in skill, but all provide enthusiasm and heartwarming interaction with the audience. Dancers Jake Montanaro, Jennifer Sanchez, Euni Shim and Dormeshia Ward fill the background and theater aisles, uplifting spirits, sometimes with the aid of kites representing, birds, butterflies and such. Traditional dances choreographed and performed by Tarrant, Raymore and Enos add spark and authenticity.

The set by Christopher and Justin Swader features six drum heads representing the heartbeat of Turtle Island. These also function as screens for the dramatic projections designed by Katherine Freer. Rather than the all-black garb favored by most puppeteers, these artists sport bright colors in their wardrobe designed by Lux Haac with some pieces by Donna Zakowska. This is in keeping with the cultural roots of the characters and plays up the relationship between the animals and their handlers.

Presented by Ibex Puppetry, an entertainment company founded by Heather Henson that creates spectacles promoting themes in support of a healthy planet, Ajijaak on Turtle Island is intended as family entertainment. Adults firmly in touch with their inner child should find enough to engage with here. The recommended age is 7 and up, though I saw many pre-schoolers in attendance.. Your child should be able to sit still for 75 minutes, not interfere with performers in the aisles, and hold questions until the curtain falls. There is an opportunity for them to participate in support of Aijijaak in the way past generations clapped in order to keep Tinkerbell alive. Performances run through March 10 at the New Victory Theater. For information and to purchase tickets visit https://newvictory.org.

Head Over Heels

Broadway, Musical, Uncategorized July 26, 2018 Leave a comment

Like one of its stars, Peppermint, Head Over Heels has a refreshing sense of self. A blend of 16th Century verse, music by 1970s pop stars The Go-Go’s, and an ultra modern “love is love is love” message, Broadway’s newest musical eludes “pegging”. Based loosely on The Arcadia by Sir Philip Sidney, the story follows King Basilius as he attempts to defy a prophecy delivered to him by Pythio, the Oracle of Delphi. She declares four tragedies will befall his kingdom, each one signaled by a veil falling from the sky. Should all come to pass, the land is doomed. Determined to cheat fate, Basilius packs up his citizens and travels deep into the woods. Anyone who knows their way around a Greek myth can predict how successful the well-meaning ruler’s plan will be.

The Go-Go’s repertoire —including Mad about You, Cool Jerk and Vacation — contains many catchy ear-worms, but they are hardly known for their deep meaning. While the dialogue is often witty, characters sometimes tee-up the next production number by delivering forced lines. If hearing that what makes this kingdom distinctive is that they’ve “got the beat” makes you cringe, you should have second thoughts about purchasing tickets. On the other hand, if you find yourself going along with the playfulness, there is more where that came from.

There is none of the over amplification which dominates rock musicals and every word is clearly articulated. Many eyes will be on the aforementioned Peppermint, a fierce RuPaul Drag Race competitor and first “out” trans actress to develop a lead of a Broadway musical. Her Pythio may be the only character to literally sparkle, but she is not alone in that quality of performance. The cast – some of whom have been with the production since its early days at the Oregon Shakespeare Festival – is uniformly strong and everyone seems to be having one heck of a good time. In particular, Andrew Durand steals every scene he’s in as the sweet shepherd Musidorus on his road to self discovery and empowerment. Bonnie Milligan making her Broadway debut is another standout as the difficult and vain Pamela, the older of the king’s two daughters. She ably avoids becoming a tedious “fat joke” by infusing her character with gentle confusion which elicits compassion. She is well paired with Taylor Iman Jones’s Mopsa, her several-steps-ahead admirer.

Taylor Iman Jones in the San Francisco Production of Head Over Heels

Director Michael Mayer has his cast members veer towards the hammy, a superfluous move with this broad book created by Jeff Whitty and adapted by James Magruder. The moments that are less heavy handed are also more visually exciting, including a seduction scene accomplished in shadows. The production design wonderfully captures the glow and fizz of The Go-Go’s heyday as well as the bejeweled styling of the court of Queen Elizabeth I. Scenic designer Julian Crouch’s amusing backdrops include fake curtains and two dimensional trees in a pallet that is pure disco. Arianne Phillips picks up this mixture in her costume design in which half naked male suitors are topped with metallic ruffs, and bows are painted onto the princesses’ elaborate dresses. Hair and makeup by Campbell Young Associates complete the look to whimsical perfection.

Familiarity with The Go-Go’s is not essential, but it adds to those moments when distinctive guitar licks foreshadow an upcoming production number. Sadly, though, something is off with Kai Harada’s sound. It is admirable that the creative team chose to use only female band members, but their output lacks sufficient depth and energy. This becomes particularly noticeable upon exit when the original article can be heard throughout the lobby.

Perhaps because it’s a fun and flashy romp, Head Over Heels is attracting a particularly undisciplined audience to the Hudson Theater. The young woman next to me crackled her way through a large bag of gummy bears throughout the 2 hour 15 minute runtime, while the 60-something woman behind me got so drunk that by Act Two she was discussing the quality of the house wine with her friends in what can only be described as her outdoor voice. It may help you get into the proper mood by imagining yourself at the Globe with sawdust under your feet and jolly old England just outside the door. Tickets are on sale now through June 30, 2019 at https://headoverheelsthemusical.com.

A Letter to Harvey Milk

Musical, Off-Broadway, Uncategorized March 9, 2018 Leave a comment

A Letter to Harvey Milk is a slightly flawed gem of a musical, giving voice to some little seen characters. The work is based on a Lesléa Newman’s short story which follows mildly eccentric but loving Jewish characters as they discover and embrace their identities as lesbians. In this case the seeker is Barbara, a Connecticut transplant earning a little extra money by teaching a writing class at the JCC in San Francisco. Her unexpected partner in self exploration is Harry, a widowed retired butcher who finds himself drawn to her classroom and her energy. What binds them is the titular letter that Harry composes as an assignment. The honest love and sincere appreciation expressed to his activist friend pulls Barbara into Harry’s story. She revels in the company of someone who is seemingly so comfortable with his choices. Their developing friendship takes them both to unexpected places.

Adam Heller and Julia Knitel with Aury Krebs in the background. Photo by Russ Rowland

The book by by Jerry James, Ellen M. Schwartz, Cheryl Stern and Laura I. Kramer provides enough detail to follow both Harry’s and Barbara’s struggles with love and loneliness. Throughout are two culturally significant threads about homosexuality and Judaism through time and in context. There are a few small gaps in logic such as how Barbara can be making any money with only one student, but those are easy to set aside. What doesn’t come through with sufficient clarity is the critical figure of Harvey Milk. He is painted in such broad strokes, those unfamiliar with his ground-breaking achievements will see a badly dressed kook with terrible eating habits. Perhaps the script suffered from too many cooks. Lyrics by Ellen M. Schwartz work better to move the story along and provide atmosphere. Music by Laura I. Kramer isn’t very memorable, but it does suit the words, particularly the Yankee Doodle Dandy treatment of some of Harvey’s most famous speeches.

Generally, the women in the cast outshine the men. Julia Knitel — who previously starred as Carole King in the touring company of Beautiful — has a soothing voice and magnificent articulation as she shapes Barbara’s story. As Frannie, Harry’s deceased wife who is by his side for the journey, co-lyricist Cheryl Stern is the comic relief, delivering Elaine Stritch-style patter and emphasis. And in her one big number, Aury Krebs is a dream. Michael Bartoli captures Harvey Milk’s patterns and mannerisms, but as described earlier, he isn’t given enough to work with. Supporting players Jeremy Greenbaum and CJ Pawlikowski do a fine job playing multiple roles. The weak link is Adam Heller who was off key as a singer and lacked sufficient variation as an actor. He has extensive Broadway experience, so perhaps it was just an off night.

Evan Pappas’s staging is clever, especially in the more intimate moments. The charming set by David L. Arsenault captures the feel of the Castro district of San Francisco complete with muted colors and a big Bay window. The orchestra, under the direction of Jeffrey Lodin, is perched on a balcony above so they are in view and adding to the ambiance. The costumes by Debbie Hobson are pitch-perfect, notably Barbara’s anklets and sweater vest and Frannie’s tidy suit. Christopher Akerlind’s lighting effectively changes color palette to the match the mood of each scene.

While A Little to Harvey Milk is still at a “great potential” stage of development, it is already a genuine crowd pleaser (for the right crowd) and impressive bang for the buck. Struggling with shame and the need for self-truth resonants even with those who are straight and/or gentile. It runs through May 13, 2018 at the Acorn, part of Theater Row. Tickets are $79 – $99 and can be purchased at Telecharge.com or by calling 212-239-6200.

Groundhog Day

Broadway, Musical, Uncategorized July 29, 2017 Leave a comment

Groundhog Day August Wilson Theatre As Broadway musicals go, the small scale charmer of a flick Groundhog Day doesn’t seem the most obvious of inspiring sources. The comedic drama relies heavily on Bill Murray’s ability to deliver a stinging blow that is somehow forgivable. With the film’s move to the stage, that burden falls on Olivier Award winner Andy Karl as weatherman Phil Conners. He is charismatic and a joy to watch, but his wonderful performance isn’t quite enough to balance out the slightness of the material. The overall experience is theatrical cotton candy: ultimately sweet and instantly vanishing.

Director Matthew Marchus has done a wonderful job of bringing to life the near cartoon-like nature of the movie. It is rare in the second paragraph of a review to call out those in tiny print such as video designer Andrzej Goulding, Finn Caldwell who created the car chase movement, and Paul Kieve who conceived the illusions. Yet it is those behind-the-scenes team members who best exploit the story’s limitations with imaginative results that are in direct conflict with the general “wowness” one expects to see on the Great White Way.

Karl pulls off the slights of hand and other body parts with wonderful energy. His song-styling brings out the most in the accompanying gleeful lyrics. Unfortunately, Barrett Doss as Connor’s love interest Rita Hanson does not reach his level of skill. Despite a number in which she recites the highlights of her story, the character remains thinly drawn. It is simply not believable that this woman could pull this man out of his destructive cycle. The rest of the cast is solid and there are some terrific running gags.

The lack of balance between the two main characters is one of several key points in Danny Rubin’s book that seem to rely on memories of the original (which Rubin co-wrote with Harold Ramis) to bring them to fruition. I’m not at all sure that someone who has no familiarity with the movie would completely follow the plot. The content is also problematic in that it is too risqué for general family viewing and it doesn’t have enough meat on its bones to be a full adult experience. Additionally, I had a personal problem with the scenes poking fun at alcoholism. Surely we live in a time when drinking and driving is not the stuff of lighthearted jesting.

The music and lyrics by Tim Minchin are spirited, although there are a few numbers that add to the running time more than the storyline. I was not alone in questioning the selection of “Seeing You” as the song chosen for the Tony broadcast. I can understand not wanting to give away the funnier moments including “Stuck” (featuring some hilarious healers). But there are other songs that reveal Phil’s slow evolution from his sarcastic womanizer beginnings that are more entertaining and well executed by the company.

Groundhog Day offers plenty of smiles and a striking lead in Andy Karl. It’s important to remember that the movie version was a modest success that earned about $70M in its initial run. It has been only through the eyes of film history that it became a classic and gave rise to the term “Groundhog Day” meaning the feeling of repeating the same experience. It should therefore not be a surprise that the show is a mild entertainment and perhaps not the best fit for $200 per ticket territory. It is scheduled to play at the August Wilson theater through January 7, 2018. (http://www.groundhogdaymusical.com/tickets/).

Come From Away

Broadway, Musical, Uncategorized March 12, 2017 Leave a comment

[4]_Jenn Colella and the cast of COME FROM AWAY When the air space above New York closed on 9/11, nearly 7000 passengers were diverted to Newfoundland off the coast of eastern Canada. That airport had retained several large runways dating from a time when flights between the United States and Europe had to stop and refuel. Suddenly inhabitants of this 43,000 square foot island had to prepare to double their population for an unknown duration.

A new musical, Come From Away, follows some of their stories, as weary and frightened travelers engage with small town residents. There aren’t many unexpected plot twists here. But following their emotional detour is a generally delightful experience. Frankly in our current often divisive climate, it feels good to be reminded that even at the darkest moments strangers can find many ways to come together. Perhaps with this in mind, the production has added a page to their website where audience members can dig deeper into the history that inspired such an unlikely Broadway offering. (I recommend at the very least pulling up the photo of the air strip with 38 jumbo jets parked nose to tail.)

This is very much an ensemble piece. Each actor portrays multiple characters, usually switching roles with the addition of a hat or jacket and a change of accent. (Special acknowledgement goes to dialect coach Joel Goldes for helping the actors capture the special Newfoundlander cadence and to costume designer Toni-Leslie James for supplying the perfect wardrobe pieces.) The entire cast is strong and it is to their credit that within a short period we feel for each and every one. Past Obie winner Joel Hatch represents two mayors who pitch in with different styles and equal verve. Jenn Colella takes on a pioneering airline pilot and an oft-smitten assistant principal with the same amount of compassion and insight. It falls to Q. Smith as Hannah to carry the weight of the desperate mother who doesn’t know the whereabouts of her firefighter son. One by one the voices of many cultures are heard.

Christopher Ashley’s staging is remarkably clever, using mostly lights and a few chairs to convey many locations from inside a plane to inside a schoolhouse. Lovers of big musical numbers may be disappointed, however. The work by Irene Sankoff and David Hein is more of the storytelling-set-to-tunes variety. Dance Captain Josh Breckenridge has provided some movement, but nothing that could be called a dance number. Lyrics do their job in moving the plot forward, but aren’t particularly clever or catchy. Songs are nicely executed and have wonderful echoes of the Irish ancestry shared by the majority of Newfoundlanders, but there isn’t a great deal of variation. In fact, it wasn’t until the post-bow jam session that I was able to fully appreciate the band’s talent.

Judging from the prolonged standing ovation, I’m not the only one who thinks Come From Away is a welcome addition to lineup for this season. The show is recommended for ages 10 and over and for a change I can say that entire age range will be engaged by what they see and hear. Running time is a compelling 100 minutes. Tickets for the run at the Gerald Schoenfeld Theater are available for the remainder of 2017 at http://comefromaway.com.

Waitress

Broadway, Musical, Uncategorized February 5, 2017 Leave a comment

Waitress MUSICALORIGINAL BROOKS ATKINSON THEATRE 256 W. 47TH ST. The sweet story of a sorrowful originator, the soaring melodies of Sara Bareilles, and the soulful voice of Jessie Mueller blend like butter, sugar, and flour. Together they produce a tasty joy-inducing creation that was nominated for four Tony Awards in 2016. Regular readers of this column know I am not the world’s biggest fan of modern day musicals, but I honestly can’t wait to see Waitress again. And I’m not just saying that because the entire theater smells like pie.

The movie on which it is based is among my favorites. It may not possess a philosophical depth worthy of extensive examination, but at its core is some spirited girl-power. I was therefore quite trepidatious when I heard it was coming to Broadway at all much less in musical form. But Bareilles’s music and lyrics along with the book by Jessie Nelson have preserved all of Adrienne Shelly’s original laughs, aches and gentle twists and added an extra layer of celebration in song that — puns aside — hits all the right notes. The numbers are so genuinely stirring, it’s fitting that the cast hosts regular karaoke nights for audience members who want to take a turn singing one. (Remembering my mishap while attempting to replicate Baby’s leap at the end of Dirty Dancing, I refrained.)

In the lead role of Jenna, the unhappy pregnant waitress who escapes into her pie recipes, is Mueller, still with a touch of Carole King in her phrasing. Despite her radiance, the rest of the company is so terrific that she’s in constant danger of being upstaged. Her inappropriate love interest is portrayed with endearing charm by Drew Gehling. The perky Caitlin Houlahan and booming Charity Ang´el Dawson play her two co-workers Dawn and Becky like perfect bookends. Each has a solo that threatens to bring down the house. But it is Drama Desk and Outer Critics Circle winner Christopher Fitzgerald as Dawn’s besotted beau Ogie that elicits the loudest round of cheers for his eccentric rhymes and original dance moves.

The team is in the mighty hands of director Diane Paulus, who also steered the Tony winning revival of Pippin. Using Scott Pask’s welcoming diner setting as an anchor, she moves her cast fluidly through their small southern town, adding wonderful touches of physical comedy to each performance. Christopher Akerlind’s lighting and Jonathan Deans’ sound keep the audience focused. (At least that’s why I think I missed seeing an entire band on stage for the first 15 minutes.) Suttirat Anne Larlarb’s costumes are appropriately whimsical.

The inclusion of decidedly PG-13 material causes the show to be a little awkward for some families, but the blend of playfulness indulged and lessons learned makes Waitress a generally appealing choice in these overwhelming times. Tickets for the open-ended run are available at http://www.brooksatkinsontheater.com.

In Transit

Broadway, Musical, Uncategorized December 28, 2016 Leave a comment

In Transit is a delightful bon-bon box of a musical. A loose structure of interconnected stories holds together 11 appealing New Yorkers and 16 catchy production numbers. A prerecorded introduction by the producers reminds us that all the sounds we hear are created by human voice. The pieces are performed a cappella and the “orchestra” is a beatboxing whiz appropriately named Boxman.

As evidenced by the many hearty laughs and heartfelt claps, the tales told are highly relatable. It’s not so much new ground broken as old ground covered in a fresh way. A few of the jokes might be missed by those unfamiliar with the eccentricities of the New York subway. But the human elements touched on are universal.

The foot-tapping melodies are filled with clever rhythmic wording. The feel-good energy comes from proven sources. The book, music and lyrics come with a warm and friendly pedigree having been created by Kristen Anderson-Lopez of Frozen fame along with James-Allen Ford, Russ Kaplan and Sara Wordsworth. Deke Sharon who worked on Pitch Perfect — the movie that brought “aca” to a wider audience — developed the splendid vocal arrangements, which tease out all the details.

In the central part of inspiring actress Jane, is the engaging Margo Seibert. Last seen on Broadway in Rocky, she fittingly knows when to punch a note. As her agent, Trent, Justin Guarini brings sensitivity and thought to his every line. James Snyder is her slightly beaten-down puppy of a love interest with the gentle tone. Their emotionally spot-on duet “But, Ya Know” is a highlight. Providing abundant humor and attitude is Moya Angela in her roles as a boss, a mother and a station agent.

Every other part is brought to life by a large cast gifted singers. There is unmatched support needed when every lead is also someone else’s backup. Holding them all together is Boxman, alternately played by Chesney Snow and Steven “HeaveN” Cantor. I saw Snow handle the immense and intense responsibility of this Greek chorus/human sound machine and can well understand why it would take at least two sets of vocal chords to cover 8 performances a week.

The production is directed and choreographed with high energy by three-time Tony winner Kathleen Marshall. She makes terrific use of her deep bench and the 3/4 round stage. Donyale Werle creates myriad public and private spaces, and of course train cars, using brightly colored plastic seats, lighted stairways and a moving belt. And costume designer Clint Ramos has provided easy looks plus a show-stopping gown of MTA cards.

If like me you are more than ready to inject a little joy in your day, In Transit is the perfect pick-me-up. Running a lively 100 minutes, the show is a fit for many tastes and ages. Tickets are currently available through June 25, 2017 at http://www.intransitbroadway.com/. All seats at The Circle and the Square have terrific sightlines, so $89 will get you there.

Natasha, Pierre and the Great Comet of 1812

Broadway, Musical, Uncategorized December 17, 2016 Comments: 2

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photo by Chat Batka

When it comes to Natasha, Pierre and the Great Comet of 1812, I am of two minds. My first mind was captivated by the elaborate and imaginative stagecraft. The scenic design by Mimi Lien reaches all the way to the back row of the theater, with drapery-covered walls dotted by family portraits. Throughout the mezzanine, golden end tables adorned with artificial candlelight are placed every fourth seat. Down below, the stage is divided into several sections representing Pierre’s study as well as the salons and ballrooms of other aristocratic homes in Moscow. Each area has audience and orchestra members interspersed. A maze of platforms and ramps allow dancers and singers to encircle viewers with ecstatic performance. This has the added benefit of ensuring an immersive experience no matter where you sit. For Rachel Chavkin’s inspired undertaking of direction alone, I would recommend this upbeat event to some.

However, my second mind was numbed by Dave Malloy’s pedantic and instantly forgettable musical numbers. I have experience playing in a Renaissance orchestra and I’ve studied jazz piano, so I’m pretty good at picking up a tune. Yet there was not one number from this show that I could remember by the time I reached 7th Avenue. Using phrases from Russian folk tunes is clever, but it is simply irritating when long stretches of dialogue are set to the same five note pattern.

I attended on a night that Josh Groban was unavailable. His standby Scott Strangland, who sang the role of Pierre in Boston, is a more solid figure with a similar vocal style. (To those thinking perhaps this is why I am less praiseful than some, I quickly add that this is very much an ensemble piece.) Standouts in the cast include the expressive Amber Gray who purrs as Hélène a manipulative adulteress and a delicious Lucas Steele as her rakish brother Anatole. Both are holdovers from the Ars Nova production. On the other end of the spectrum is Grace McLean who for her Broadway debut has been taught that a pitchy screech is a great way to communicate high emotion in her role as matron Marya D.

To the credit of the entire cast, I heard each and every line. I would still recommend that anyone unfamiliar with War and Peace read the synopsis and study the family tree provided in the program. The primary source for the libretto is a 1922 translation by Aylmer and Louise Maude. Covering a mere 70 pages of the classic work, the plot stops at a major turning point for the lead characters, which isn’t a very satisfying place at which to end. While I admire Malloy’s ambition, his lyrics are insipid with little clever turns of phrase beyond the opening number. I don’t expect everyone to be Lin-Manuel, but I did anticipate shrewder storytelling.

There are times when Bradley King’s lighting and Nicholas Pope’s sound are so frantic their design feels like being on a date with someone who’s already won you over but keeps trying so hard that you start questioning your initial impressions. Paloma Young’s costume topped off with Leah J. Loukas’s hair and wig design are as period-punk-playful as necessary to support Ms. Chavkin’s creative vision as well as the exuberant movement of the ensemble.

Natasha, Pierre and the Great Comet of 1812 is certainly a joyful one-of-a-kind experience though built around a sadly bland musical score. It is playing at the newly curtailed and quite comfortable Imperial Theater. A new block of tickets through September of 2017 is on sale at http://greatcometbroadway.com.

The Unforgettable Line