Tag Archives: New Victory Theater

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

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

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

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

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

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

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

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

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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.

Ajijaak © 2018 Richard Termine

Ajijaak on Turtle Island © 2018 Richard Termine

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.

William Shakespeare’s Long Lost First Play (abridged)

Off-Broadway, Play, Uncategorized March 4, 2018 Leave a comment

06 New Vic_RSC_LongLost3_cTeresa Wood

Reduced Shakespeare Company’s Tichenor, Spencer and Martin as The Weird Sisters, ©️Teresa Wood

Since 1981, the Reduced Shakespeare Company has been delighting audiences of all ages with their mixture of classical theater, history, clowning, improv, and general silliness.  On the occasion of their 35th anniversary, this RSC (definitely not to be confused with the one based in Stratford-Upon-Avon) developed William Shakespeare’s Long Lost First Play (abridged).  The fanciful premise of their latest offering is that in a parking lot in Leicester, the company’s three members found the long lost first play written by William Shakespeare.  (This location is in fact where the skeleton of Richard III minus his feet was found not long ago.)  In this treasured manuscript, the then 17-year-old playwright first created his most famous characters, blending them Infinity Wars style into one sprawling nonsensical story.

The “war” at the center of this fictional work is a battle of magical wits and styles between Ariel from The Tempest and Puck from Midsummer Night’s Dream.  They duke it out using some of Shakespeare’s favorite ploys including mistaken identity, instant attraction, and shipwrecks.  The RSC playwrights use the opportunity provided by this mashup to include some audience favorites who have limited stage time in Shakespeare’s originals.  About two-thirds of the script is bona fide Bard generously blended with pop culture references and vaudeville schtick.  As a believer in the ‘loyalté me lie‘ vision of Richard III, I was particularly gratified by the acknowledgment in the script that Shakespeare portrayed his queen and her family in a good light and their enemies in a far less flattering one.

All of the 45+ characters are brought to buoyant life by co-writers and co-directors Reed Martin and Austin Tichenor along with boyish player Teddy Spencer.  The three are whizzes at delivering iambic pentameter and rimshot worthy jokes in equal measure.  They even interact with the audience, at once point providing the front row with water pistols to simulate a storm.  The entire piece is performed in front of a single cloth backdrop created by Tim Holtslag.  Sounds including trumpet blasts and ocean waves along with strategically placed spotlights help set locations. Character definition is highly dependent upon the contextually brilliant Halloween Warehouse level costumes and outrageous wigs provided by designer Skipper Skeoch.  Also invaluable are the even cruddier looking props cooked up by “goddess” Alli Bostedt.  Kudos to stage manager Elaine M. Randolph and her curtain-call shy team for the amazingly quick changes behind the scenes.

William Shakespeare’s Long Lost First Play (abridged) simultaneously provides an engaging introduction for older children and laughs for culture nerds.  It is currently in its off-Broadway premiere run at The New Victory Theater, through March 11, 2018, as part of a 20-city tour throughout the United States. Tickets start at $16 and are available online ( http://www.newvictory.org/boxoffice ) and by phone (646.223.3010).  The theater may offer booster seats, but the recommended age of 10 and over should be heeded to avoid excessive seat-back kicking and squeals of fatigue from your own little Mustardseeds and Peaseblossoms.