Tag Archives: BroadwayHD

Puffs (On Demand)

Off Off Broadway, Off-Broadway, On Demand, Uncategorized August 14, 2023 Leave a comment

Imagine being one of the likely terrified lesser-known students at Hogwarts during the time of Harry Potter’s attendance.  That is the delightful conceit of Matt Cox’s Puffs, or Seven Increasingly Eventful Years at a Certain School of Magic and Magic, which ended its very successful New York run in August of 2019.  Wonderfully captured on film by its stage director Kristin McCarthy Parker with support from VirtualArtsTV, the show is coming to BroadwayHD beginning August 15.  Though performed with farcical pace and style, like the Boy Who Lived, Puffs never loses its soul.  The sendups are executed with obvious love for the original world and characters, which makes them far more potent and enjoyable for the true fans that make up the target audience.  

We are guided through the 7-year journey by a narrator (a quick and snappy A.J. Ditty) whose identity will eventually be revealed.  Around the time of Mr. Potter’s birth, another boy, Wayne Hopkins (a warm and sweet Zac Moon) was born and orphaned in England and then whisked away to his Uncle Dave in New Mexico.  One day, a passing owl drops a letter into their living room inviting the nerdy child to a school in his home country.  He finds himself sitting under a famed hat which determines he is a Puff, a House of seeming misfits. They are led by a very polite Cedric (an amusingly servile James Fouhey) and live in the school’s basement somewhere near the kitchen.  Wayne and his new friends Oliver Rivers (adorkable Langston Belton) and Megan Jones (Julie Ann Earls on the right side of edgy) hope to distinguish themselves and contribute to Cedric’s goal of “third place or nothing”.

(Front row) Jessie Cannizzaro, Zac Moon, James Fouhey, Stephen Stout, (Back row) Madeleine Bundy, Langston Belton, Andy Miller, Eleanor Philips (L-R); photo by HUNTER CANNING

Their story plays out Rosencrantz and Guildenstern-like, with that of Harry (a pointedly irritating Madeleine Bundy), Hermione (a wig) and Ron (a mop) unspooling in the background.  Cast members take on over three dozen characters with admirable range and assurance.  A knowledge of the Harry Potter film series is essential for truly appreciating the hilarious and multilayered impressions from Stephen Stout’s spot-on Alan Rickman as a Certain Potions Teacher to Eleanor Philips as a squeamish Death Eater.  Familiarity with a certain 2008 rom-com will add laughs to Nick Carrillo’s wild about-last-night improv.  The ensemble is rounded out by Jessie Cannizzaro and Andy Miller playing opposite ends of the outcast spectrum among other roles.

Cox’s inventive script is a total triumph. The visual wizardry emanates from director Parker’s stagecraft along with the talents of her remarkable artistic team. Magical elements  — including a Dementor so smartly designed it should get its own standing-o — are made possible by sets, props and costumes all impressively conceived by Madeleine Bundy.  These clever and colorful elements are supported by lighting effects by Herrick Goldman and original music by Brian Hoes that recalls just enough of John William’s themes.

Shown in theaters for only two nights, Puffs, or Seven Increasingly Eventful Years at a Certain School of Magic and Magic will be available On Demand at BroadwayHD.  The production is recommended for those 13+ and runs just short of 2 hours.  The mid-credit outtakes add an extra sprinkle of joy to the fun-filled viewing.

Peter Pan Goes Wrong

Comedy, On Demand May 15, 2023 1 Comment

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

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

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

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

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

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

Elaine Stritch At Liberty – On Demand

On Demand, West End February 28, 2023 Leave a comment

Elaine Stritch At Liberty is available to stream just in time for Women’s History Month.  A true dame in all the best connotations of that word, Stritch adds song-and-dance sparkle to deeply personal storytelling in her one-woman show.  This performance was captured at London’s Old Vic, where it played after development at New York’s Public Theater and a Tony-winning run on Broadway.  It received two Emmys when it ran in prime time nearly 20 years ago and is a gift to her fans and anyone else with a love of show business.

Elaine Stritch at Liberty was recorded at The Old Vic in London

The intro is so stuffed with detail, it’s hard to believe there’s more to tell.  Costumed in a man’s dress shirt, dark tights, and dance shoes selected by designer Paul Tazewell, Ms. Stritch shares life stories from her sheltered Catholic upbringing in Michigan through her early acting classes in New York to her professional experiences on stage and in film and television.  New Yorker Magazine staff writer and theater critic John Lahr developed the script under Stritch’s watchful eye.  (The credits describe their collaboration as “Constructed by” and “Reconstructed by” respectively.)   Monologues are arranged to provide a constant shift in mood.  There’s a farcical account of a time she had a significant role in an out of town production concurrent with serving as understudy to the great Ethel Merman on the Great White Way.  But she is also brutally honest about her history with alcohol and less-than-wise choices of lovers.  Over her 50 years in the industry, she had brushes with many stars including Marlon Brando, Judy Garland, and Rock Hudson.  Though she is a clever mimic, many she mentions are not as well known to today’s audiences and those not immersed in theatrical lore might need to keep their IBDB page open.

Singing in more of a patter style, Stritch could still strut her stuff well into her 70s.  Jonathan Tunick mixes solo piano numbers reminiscent of Stritch’s sessions at the famed Carlyle Room with full orchestral pieces designed to bring down the house.  The expected songs from Ladies Who Lunch to Zip are all here, along with ones that played a role in her development into an unusual leading lady.  Some of the lyrics would not make the cut today and should be appreciated in context. 

Seasoned vet George C. Wolfe directed for the stage and gives life to the work even when Stritch is sitting still in a chair against a brick wall.  In an unusual agreement, five people have screen directing credit (documentary filmmaker Rick McKay along with Nick Doob, Chris Hegedus, D.A. Pennebaker, and Andy Picheta).  Certainly the visuals captured by a full complement of 11 cameras are varied given the intimate setting.  The differentiation of surroundings is further defined by the lighting design of Jules Fisher and Peggy Eisenhauer. 

At nearly 2 ½ hours long, Elaine Stritch At Liberty is a lot to take in, but so was the lady herself.  By turns funny, bitter, and vulnerable, she never wavers in her devotion to the path she chose.  The On Demand special is available beginning March 1, 2023 on BroadwayHD (https://www.broadwayhd.com/).

Pipeline – Streaming on Demand

On Demand, Play February 4, 2023 Leave a comment

Pipeline is one of those thrilling intimate dramas that pulls you into its core with genuine emotion and basic human truths.  Written by Dominique Morisseau and presented at Lincoln Center Theater one year after the completion of her famed trilogy, The Detroit Project, it won the Edgerton Foundation New Play Award.  Every one of the well-drawn characters has an arguable viewpoint, proving that the most provocative and intelligent questions rarely have straight answers.

The entire cast of six is perfectly calibrated to provide an affecting high-energy 90 minute ride.  Each character is under pressure, but despite their shared sense of oppression they simply can’t manage to give each other a break.  The story opens on an earnest Karen Pittman as Nya, a teacher in a typically underfunded public school.  Although she is fiercely dedicated to creating relatable materials for her inner-city students, she has agreed to send her only child Omari —  an appropriately grave Namir Smallwood — to a private boarding school.  He is clearly bright enough to compete academically, but privilege isn’t contagious and Omari has been undone by the environment.  His long-brewing rage has boiled over during a lesson on Richard Wright’s Native Son, a controversial book often criticized for bolstering a destructive stereotype of young black men.

As mother and son work along their distinct paths in search of conflict resolution, we also meet two of Nya’s co-workers: Tasha Lawrence as a frustrated and mouthy white fellow teacher, Laurie, and Jaime Lincoln Smith’s Dun, a caring security guard who has history with Nya.  Providing some lightness to the mood is a delightfully sincere Heather Velazquez as Omari’s girlfriend, Jasmine.  Perhaps most critical to setting all the events in motion is Morocco Omari’s Xavier, Nya’s ex-husband who is out of step with both her and their son.

Namir Smallwood as Omari and Karen Pittman as Nya in Lincoln Center Theater’s Pipeline.

Thanks to a partnership between LCT and BroadwayHD, the work is currently available to viewers nationwide with rewarding results.  Blending recordings from August 22 and 24 of 2017, Habib Azar’s direction for the screen(from stage direction by Lileana Blain-Cruz) draws the audience even deeper into the profound rage and passing joys of the characters.  Significant details from a bandaid to a tremor are more visible in closeup.  The short scenes are keep flowing by using film clips as bridges.   Presented in three-quarter round with the audience as a classroom, this production also serves as an introduction to the jewel box of a house that is the Mitzie Newhouse.

The creative team has supported the required fast pace.  Scenic designer Matt Saunders defines the space with a wall of white washed concrete masonry and simple set pieces.  Location is further established using projections by Hannah Wasileski.  Yi Zhao’s variations of light and shadow along with Justin Ellington’s sound work together to increase emphasis of key moments.  

At a time when public schools are increasingly lacking in financial and community support, Pipeline draws sharp lines from a personal story to the bigger picture.  The questions it raises are sure to linger in your heart and mind long after the last curtain call.  In honor of Black History Month, Pipeline is featured with a stellar line-up that also includes 2010 Tony Award-winner for Best Musical, Memphis; American masterpiece, Porgy and Bess recorded in San Francisco’s splendid War Memorial Opera House; and the incomparable Audra McDonald in Lady Day at Emerson’s Bar & Grill.  Learn more by visiting https://www.broadwayhd.com/categories/celebrating-black-artists.

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.

MCC’s Space Dogs on BroadwayHD

Off-Broadway, streaming December 7, 2022 Leave a comment

Over the last few years in particular, streaming theater has developed into a genuine and distinct art form.  Done right, it marries the excitement of attending a singular event in person with a profound level of intimacy.  Many shows have traveled well from one medium to the other.  Some — like MCC’s Space Dogs — are arguably even better viewed up close and personal.

Developed and performed by actors/musicians Van Hughes and Nick Blaemire, Space Dogs covers in impressive detail the story behind the early days of the Space Race.  In order to learn the effects of lower gravity and increased radiation on life, Russia’s Sputnik program took 40 stray dogs off the streets of Moscow and used them for testing.  The most famous of these is Laika, who was the first animal to orbit the Earth.  But Space Dogs takes great care to honor each and every one of these four-legged heroines.  (Yes, they were all female.)

Anyone familiar with Laika’s story will be aware that this tale doesn’t have a happy ending.  However, there is still a great deal of joy to be experienced throughout the show’s 90 minute running time.  Against a six paneled projection wall designed by Stefania Bulbarella and Alex Basco Koch, the good-natured and talented duo guided by stage director Ellie Heyman fly through dozens of roles with high-energy and knowing winks.  Among his line-up, Blaemire gives gentle voice to Laika, an unwitting participant to scientific history. And as part of his array, Hughes takes on the role of Sergei Korolev, known contemporaneously only as The Chief Designer, portraying him as a man torn between his compassion for his trusting “volunteer” and the hectic pace and lack of funds imposed on him by Nikita Khrushchev and the Soviet State.  The dogs are wonderfully represented by malleable stuffed animals that have been given tremendous personality by creator Amanda Villalobos.  

The actors employ cameras and use miniatures and green screen in order to bring the audience into sections of their small scale fuzzy world.  It is these techniques that allow Joe Lukawski, who directed the production for the screen, to more easily expand the audience to include those of us from home.  Footage from the four main cameras in the theater are fluidly mixed with the direct feeds already integrated into the performance.  This level of rapport with our storytellers is a perfect match for a script built around secrets.  And the simple technical effects and stripped down props fit this unique lens.

Van Hughes, Little Gnat, Laika, and Nick Blaemire in MCC Theater’s 2022 production of SPACE DOGS; Photo by Daniel J Vasquez

Based on classified documents that were only released in 2002, the story of political intrigue — AND DOGS — is clear and enlivened with humor, making it appropriate for older children as well as adults.  The varied score with intricate lyrics incorporates rock, electronic dance, rap and ballads.  “A Brief History of Dogs” loudly celebrates those special supporting characters.  “Fill the Void” creates an enveloping soundscape worthy of outer space travel.  And “Fuzziest Loneliest” sung from Laika’s point of view presents a particularly poignant moment.  A taste of the full cast album is still available at https://mcctheater.org/tix/space-dogs/.

A thoroughly gratifying and impactful entry to the BroadwayHD library, Space Dogs manages to be not only informative but playful, and not just because of the dogs.  It can also serve to introduce a world wide audience to the marvelous MCC, one of New York’s leading nonprofit Off-Broadway companies.  Captured live in MCC’s Susan and Ronald Frankel Theater and available exclusively to BHD subscribers, this production was made possible through a collaboration with HMS Media.  The holiday rate of $99.99 for a full year of membership is available through December 8 ($129 after that date.) Visit https://www.broadwayhd.com for more information.

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.