Tuesday, September 30, 2014

This Is Our Youth @ The Cort Theatre

1982 was over 30 years ago, but the struggles and attitudes of teens and twenty-somethings haven’t changed that much, as seen in “This is Our Youth,” by Kenneth Lonergan. At times hysterical, at time philosophical, and always entertaining.
“This is Our Youth” tells the story of Warren Smith (Michael Cera) showing up at his friend Dennis’ (Kieran Culkin) Upper West Side apartment with a bag of money that he stole from his rich father after getting kicked out of his own house. What follows is a night of crazy antics, including Warren trying to romance Jessica (Tavi Gevinson). The male characters are both that odd combination of if you knew them in real life, you would probably hate them, but onstage they are likeable and interesting characters. Michael Cera is still solidly in his type of semi-dorky man-childs, but it is a type that he does extremely well. Warren seems very natural and realistic though, and not just a quirky stereotype. Kieran Culkin is riveting as Dennis, with a sharp intellect and a solid control on his physicality. He moves through various emotions with ease and can switch on a dime for great comedic effect. His performance is very reminiscent of Alan Cumming in the best way possible. Cera and Culkin’s relationship has easy banter and chemistry, which is probably honed by them working together before on the cult classic Scott Pilgrim vs. the World. Tavi Gevinson’s work is refreshingly real and honest, portraying the confusing thoughts and emotions of a young adult just trying to figure out what she wants in life.

Anna D. Shapiro superbly directed the show. The exact setting wasn’t apparent visually or tonally until one of the characters mentioned that Ronald Reagan was president. Nothing really specifically dates the show visually, besides the fact that Dennis’ apartment has a record player and a phone with a cord. But this is so understated and natural that the characters could have existed in today’s modern world or any other time period between the two. The themes of the show are never pounded into the audience’s head, but instead come out naturally through the story.
In reference to other production elements, the scenic design by Todd Rosenthal was astounding. I thought for half a second walking into the theater that they had knocked down the back wall and we were looking out onto a real New York apartment building. The lighting design by Brian MacDevitt and sound design by Rob Milburn and Michael Bodeen were subtle enhancements of the mood of the peace. Though specific kudos go out to the beautiful lighting sequence that transitioned Act One to Act Two. Costume design by Ann Roth was a bit generic, adding the universality of the time, though one outfit of Jessica’s character seemed a bit too modern for the era, but that could be explained away because the character studied fashion.

Overall “This is Our Youth” is a hilarious and meaningful production about what it means to be young and have everything, and yet not know what to do with your life. It shouldn’t be missed while playing at the Cort Theatre.

Review By: Chrissy Cody
Photos By: Sara Krulwich

Monday, September 29, 2014

Stalking The Bogeyman @ New World Stages Stage 5

How do you illustrate the life of a man haunted by a childhood horror?
You try.
Based on David Holthouse’s fearless telling of his own story, New World Stages’ Stalking the Bogeyman tried and succeeded. Adapted and Directed by Markus Potter, with additional writing by Shane Zeigler, Shane Stokes and Santino Fontana, Holthouse’s story was thoroughly rendered and had me glued to my seat in shock, horror and awe.

Scenic Designer David Goldstein, Lighting Designer Cory Pattak, and Sound Designer Erik T. Lawson were experts in accentuating the actors’ portrayal of Holthouse’s struggles. Goldstein worked tirelessly to create a stage that placed me in portions of Holthouse’s mind. Pattak was equally meticulous, subtly hinting at scene changes and bringing Goldstein’s details to the forefront.

Markus Potter, Associate Director Michael Rader and Production Stage Manager Anita Ross somehow mastered the chaotic nature of memory to keep the viewer constantly oriented and reminded that this story is very real.

David Holthouse, played by Roderick Hill, took me through an enrapturing journey of a boy grown to a man wrestling with his past through hatred, obsession, revenge and redemption. Able to transition between ages, heavy outlooks and strong feelings, Hill had me thinking “wow, this could have happened to anyone I know.”

Nancy and Robert Holthouse (Kate Levy and Murphy Guyer) were David’s suburban, concerned and loving parents. Levy and Guyer gave the Holthouses the family-next-store element that it needed. I found myself pondering just how many families out there are afflicted by children burdened with these remembrances.

Additionally, Russ and Carol Crawford were portrayed as the seemingly clueless parents of a son who had committed a horrific act by John Herrera and Roxanne Hart. Herrera had some difficulty with the proverbial “hombre” accent as Payaso and stumbled through a few lines but these instances had no negative consequences for my enjoyment of the play.

Hart also doubled as Dr. Sarah Leavitt, David’s therapist. Hart showed a doctor attempting to aid her patient clinically while maintaining emotional distance with ease. Each supporting character culminated to make Holthouse’s life story unfold in front of me.

And of course, Erik Heger gave a frighteningly realistic performance of the Bogeyman. Heger managed to make me feel a small level of understanding of his character while also making me grip my seat with hatred for him. I can say no more without spoiling it.

If you know someone who has suffered childhood horrors or have yourself—go see Stalking the Bogeyman. Markus Potter’s way of taking you into Holthouse’s life may bring you some closure or some understanding of a loved one. Be prepared to open your life to a few uncomfortable truths but be brave enough to see Holthouse’s life just as he has been brave enough to allow Potter to share it.

Review By: Alexandra Lipari
Photos By: Jeremy Daniel

You Can’t Take It With You @ The Longacre Theatre

You Can’t Take It With You, the classic Hart and Kaufman play, returns to Broadway this season after a 31-year hiatus with a bang, literally.  This timeless tale of love and happiness delights as it dazzles, with no shortage of imaginative personalities to entertain.  The fireworks onstage match the performances in brilliance.
The story centers around one family in New York City circa June 1936, whose way of enjoying their life pushes the boundaries of what others would consider normal.  As outsiders begin to encroach on the idiosyncrasies the family enjoys, conflicts inevitably ensue.  The first and last come in the form of government intervention into their way or being; while the central conflict focuses on the love between Alice and Tony.  Alice (Rose Byrne) is the “normal” member of the eccentric family where Tony (Fran Kranz) is the son of a Wall Street business man.  As the lovers try to force their two families together, their love is put to the test.  As they must, the lovers triumph in the end with the help of their families.  Grandpa, played by James Earl Jones, finishes his dinner prayer and the show with the epitaph that the show wishes to give: “We’ve all got our health and as far as anything else is concerned, we’ll leave it up to You.”
Scott Ellis delivers a free flowing chaos on stage that is as varied as the personalities that Hart and Kaufman provided.  The comfort that the family has in their house puts the audience at ease immediately, allowing the endearment of the family in all their quirky glory.  This comfort is aided in no small part by the beautifully intricate set design of David Rockwell, as well as the lighting by Donald Holder.
As an ensemble, the cast is a force.  Annaleigh Ashford as Essie steals the show over and over again.  Ashford’s caricature of Essie is hilarious and endearing.  Kristine Nielsen, playing Penelope Sycamore, delivers unerring comedic timing with every facial expression and line.  Reg Rogers as Boris Kolenkhov takes the wonderfully ridiculous to new heights of hilarity.  Supporting the action are Johanna Day, Julie Halston and Elizabeth Ashley as Mrs Kirby, Gay Wellington and Olga respectively.  Each brings a character full of verve and laughter, easily demanding the audience’s attention.
All in all, this is a performance by the entire ensemble that will leave you laughing all the way home; a great show that more than lives up to its great script.

Review By: Paul Morin

Photos By: Sara Krulwich
CrediSara Krulwich

Saturday, September 27, 2014

The Money Shot @ The Lucille Lorte Theatre

A biting farcical brush is painted over Hollywood’s elite in Neil Labute’s newest play, The Money Shot. Karen(Elizabeth Reaser) and Steve(Fred Weller) are desperately trying to hold on to their careers and in doing so, put the relationships with their respective partners, Bev(Callie Thorne) and Missy(Gia Crovatin), and any remaining self-respect, at risk. Directed by Terry Kinney, the show both elicits non-stop laughter and thoughtful silence at all the right beats.

The cast shines onstage. It is not a least bit surprising that these actors portrayed their whinier, ego driven characters with an aplomb that can only mean they intimately know the characters they are playing. Elizabeth Reaser(The Twilight Saga) both manages to make fun of herself and “aging” actresses in general as the flighty, dramatic femme. At once calm and collected, at others on the floor in hysterics, she is diva incarnate with a flair that is hard pressed not to enjoy. Fred Weller(Mother and Sons) begins the show as a macho, self-possessed, blustering male, eager to explain away his age with his much younger wife, Missy, and ends the show a great deal more thoughtful than he started when his ignorance becomes too much for Bev, who takes him down several feet of pegs. Weller is fantastic. He drives the script along with the force of an oncoming train, but the points where he really shines are the almost muttered lines of stupidity that are the real catalyst for the tension onstage. Callie Thorne(“Necessary Roughness”; ...Judas Iscariot) was by far the most comfortable onstage. She was so interesting to watch, even when she was silent. Her character refuses to allow even the slightest misinformation slide with Weller while she battles with Reaser regarding their private life. Gia Crovatin(reasons to be pretty) provides much enjoyed humor as the flighty, yet oddly touching younger woman. Trying to be a good wife to misogynistic Weller, her character actually sees the most growth in the play. The least jaded of the group, Crovatin is by no means overshadowed by her more experienced scene partners, but instead delivers quips and cheerleading with the enthusiasm of fresh talent. To say that this cast was perfectly suited to play their counterparts would be an understatement.

As a southern California native, I was pleasantly surprised at the nuances in the play. The set design was beautifully done by Derek McLane, with sound design by Rob Milburn and Michael Bodeen, costumes by Sarah J. Holden, lighting design by David Weiner and stage managed by Christine Lemme.

The world premier of The Money Shot opened at Labute’s resident theatre in the West Village and has an extended run through October 19th. Get your tickets now for a wonderful night in theatre that will have you laughing till your sides hurt.

Review By: Aziza Seven
Photos By: Joan Marcus

Tuesday, September 23, 2014

The Valley of Astonishment @ The Polonsky Shakespeare Center @ The Theatre for New Audience

What if when you listened to music, you saw colors? Or you had enough memorized words in your brain that you could fill a 10,000 page book? These are just some of the brain phenomenons explored in Peter Brooks and Marie-Helenes Estienne unique play "The Valley of Astonishment." 

Synesthesia is a neurological phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway. How does one convey that to an outside listener in a way that they can not only grasp, but relate to? Kathryn Hunter, Marcello Magni, and Jared McNeill take the stage as a mirage of characters that do just that, 

Equally human and brilliant, the characters portrayed bring to life a story both profound and simple. Brilliant minds in ordinary bodies, creating, feeling, and experiencing life at an intensity that invokes fear and awe in "normal" company. Blending stories, characters, accents, mannerisms, the actors are both heartbreakingly vulnerable onstage as they are fascinating to watch. 

Against a bare back drop, minimilistic stage design, and tailored lights by Lighting Designer Philippe Vialatte, there is nowhere for the actors to hide. Their humanity is stripped bare for all the audience to see and while this is the goal of every actor, this cast does it so effortlessly one cannot help but admire it. 

Musicians Raphael Chambouvent and Toshi Tsuchitori add another level of sensory pleasure with their gorgeous accompaniment. 

A three week only event, "The Valley of Astonishment" closes October 5th, so do yourself a favor and go experience synesthesia with a group of people who will let you live it with them. 
Review By: Aziza Seven
Photos By: Pascal Victor

Monday, September 22, 2014

Uncle Vanya @ The Pearl Theatre

Chekhov's masterful way of exonerating a myriad of themes and emotions from the mundane is incredible. A director of such a piece as Uncle Vanya is not charged with presenting the brilliance of the play but emoting its undertones--bringing to life its very nature via his or her interpretations.

Uncle Vanya, as rendered by Artistic Director Hal Brooks at the Pearl Theater could have been more precise with one Chekhov's masterpieces. Relatable and almost satirical themes such as unrequited love, the never-ending search for happiness, taking advantage of hospitality and family, selfishness, jadedness, brilliance inundated by mediocrity, helplessness that change is impossible at an older age, and that death is the ultimate form of peace were all present in Hal Brook's rendition of the play. However, Scenic Designer Jason Simms, Costume Designer Barbara A. Bell, Lighting Designer Seth Reiser, Sound Designer M. Florian Staab and Hal Brooks did not share the same visions of Uncle Vanya.

The costumes were of the late 19th to early 20th century, but the speech was almost modern. The set had difficulty orienting the viewer. The sound of horses was barely audible in some scenes but powerful in others. These discrepancies created unnecessary noise that Production Stage Manager Kevin Clutz and Production Manager and Technical Director Gary Levinson could not manage.

Mostly, the cast was humorous and enjoyable; albeit loud. Ivan Petrovich (Vanya), played by Chris Mixon, had me laughing each time his red faced character barged in. Mixon conveyed an envious 47-year old convinced that he had despairingly dedicated his life to the wrong ideals with gusto.

Similarly, Mikhail Lvovich Astrov's (Bradford Cover) playfulness and smooth interaction with the cast was always welcome. Cover made the dichotomy of the brilliant, idealist doctor stuck in the sticks believable. Sonya (Michelle Beck), Vanya's niece, showed the folly of unrequited love, youth and plainness while eliciting a reaction between laughter and pity.

Ilya Ilych Telegin (Waffles) an impoverished neighbor with a knack for the guitar played by Brad Heberlee; Marina, the Eastern Orthodox and affable family nurse played by Robin Leslie Brown; and Mrs. Voinitsky (Carol Shultz), the intelligence worshipping and ashamed mother of Vanya aided the cast in rendering the air of a country farm arrested by its unruly house guests: a young wife Yelena (Rachel Botchan) and her husband, Vanya's brother-in-law, Retired Professor “His Excellency” Alexander Serebriakov (Dominic Cuskern).

Cuskern presented Serebriakov easily as the unknowingly self-absorbed academic. Contrarily, Botchan’s Yelena lacked chemistry with the cast. Yelena was not portrayed as the type of woman able to seduce an entire household with her charm. At times she even seemed awkward on the stage. 
In all, I certainly laughed and enjoyed my first Chekhov experience. Although, the magic from his captivating prose was not fully captured by Hal Brooks. 

Review By: Alexandra Lipari
Photos By: Al Foote III

Saturday, September 20, 2014

Almost Home @ The Acorn Theatre @ Theater Row

In an hour and twenty minutes, Almost Home, by Walter Anderson, does what not even the activists of OWS could do: demonstrate how the State, whether the federal government or the local police force is at the very core coercive, fraudulent, and the corrupter of men’s souls. Wow! Every Millennial should go see this production to know what road not to take.
Set in the Bronx in 1965, Joe Lisi (Take Me Out, London production) as Harry, a pathetic, loser-of-a-man whose dignity hangs in the hopes of his equally pathetic son, Johnny, played by Jonny Orsine (The Nance) demonstrates how repeated compromises of one’s moral principles, assuming one has them to begin with, has collateral damage spanning beyond oneself. A poor example of a man and a father, he is able to blame the indecency of war for his shortcomings. And his son follows right in his footsteps.
James McCaffrey (“Rescue Me”) plays the dirty cop, Pappas, and serves as a contrast to the women in these men’s lives. Wife and mother, Grace, appropriately named, is played by Karen Ziemba (Tony Award winner for Contact). She is seamless in her portrayal of patience, kindness, and forgiveness. Together with young Johnny’s former teacher, Luisa, played by Brenda Pressley (The Lyons) who is steadfast in her commitment to education as well as Johnny’s well-being, these women demonstrate the bravery that is required to tolerate the misdeeds of foolish men who are beholden to fraternal brotherhoods at the root of evil perpetrated by government.
I look forward to reading the play to see if the intent by the writer was so clearly subversive or if director, Michael Parva (Murder in the First) took license. Either way, with nearly 100 years of continual war by the US Government, the tragedy, loss, and devastation is as relevant whether set in 1945, 1965, or 2015. Kudos for your not-so-subtle attack on the puppeteers and the men who volunteer.
Set design by Harry Feiner looked like something out of “Ozzy and Harriet” with a genuine 1965 Corn Flakes cereal box atop the fridge. Michael McDonald did costume design and together with Leah J. Loukas who did wig and makeup, did a particularly lovely job on the ladies. Lighting by Graham Kindred served as an equal element to the production. Sadly the sound done by Quentin Chiappetta was undermined by the exterior street noise- I suggest house right.
Opening night was September 18th and is set to run through October 12th. So take mom and dad to The Acorn Theatre and then prepare yourself for exciting dinner conversation to follow.

Review By: Michele Seven
Photos By: Carol Rosegg

Friday, September 19, 2014

Bedbugs! The Musical @ The ArcLight Theater

What happens when a girl with harsh chemicals meets her hated foe the bedbug?  Bedbugs!!! the musical of course!  This tale of love and world domination is brought to you by the writing duo of Paul Leschen (Music) and Fred Sauter (Book & Lyrics).  Told in an ’80 rock style, this sci-fi musical is a wonderful submersion into the campy movies of the time.  Leschen’s music is well crafted and entertaining, perfectly paired with the wit and satire of Sauter’s lyrics, when they can be clearly heard through the muddy sound.  Coming in at 2 hours and 15 minutes (with a 15 minute intermission), the book had some wonderful moments but might have been better served in a shorter timeframe.
The cast lent an extraordinary talent to this production.  Leading the way is Grace McLean (Carly).  McLean commands the stage with a hard edged rock sound.  Brian Charles Rooney (Dionne Salon) soars in his role as the parody of Canadian pop legend Celine Dion.  Rooney plays the role with casual ease and owns the audience the way Dionne owns her fans.  Equally excellent is Chris Hall (Cimex).  Hall could revival Tim Curry’s legendary Dr. Frank’N’Furter with each of his rock anthems.  Tracey Conyer Lee (Belinda, Consuela, Bedbug) catches the eye whenever she is on stage, drawing your attention through sheer force of character.  Rounding out the show are Nicholas Park (Burt), Danny Bolero (Dexter/Menachem/Bedbug), Gretchen Wylder (Mother/Joan/Diner Lady/Bedbug), Barry Shafrin (Mason/Bedbug) and ensemble members Courtney Bassett and Colin Scott Cahill.
Robert Bartley’s direction and choreography were exactly what Bedbugs!!! needed.  Bartley uses the space to its fullest and truly draws the audience into the fray.  Adam Demerath lends us a perfect environment for the filthy, soon to be apocalyptic New York City and Kirk Fitzgerald adds the ideal accents in lighting.  The bedbugs themselves find glorious life through the costumes by Philip Heckman.  Heckman makes each bug, and the rest of the characters, unique and a visual delight.
All in all, if you enjoy campy sci-fi and somebody you know enjoys rock musical, team up and go see Bedbugs!!! together at The ArcLight Theater.

Review By: Paul Morin
Photos By: Rex Bonomell

Thursday, September 18, 2014

Love Letters @ The Brooks Atkinson Theatre

I traded my first “love letter” with Jason Forrester in 2nd grade. We passed notes back-and-forth in Mrs. Black’s class, hoping not to get caught but elated when we did and had to sit in detention alone together. I had forgotten all about that memory until I saw “Love Letters” by A.R. Gurney (The Dining Room) at the fabulous Brooks Atkinson Theatre. Opening September 18th with the ageless Mia Farrow (Rosemary’s Baby) as Melissa Gardner, a precocious, wild child who time reveals to be damaged and fragile, with an incredible sensitivity, whose letters from Andrew Makepeace Ladd III, embodied by “the man” Brian Dennehy (Tony Award winner for lead in Death of a Salesman), whose voice remains commanding and defies mortality, provide the only real sense of stability in her whimsical and sometimes chaotic life.
Thought to be a dream job for actors who sit upon the stage alone as they trade turns reading five decades worth of letters, I am unconvinced if anyone claims it to be an easy task. The trip that the playwright and these two stellar actors took me on, under the direction of Gregory Mosher (former director of the Lincoln Center Theater) was an epic journey of missed opportunities until the eventual realization of one true thing. My heart was broken into a million pieces. I can hardly wait to do it again! And I will with each of the pairs who will grace the stage over the next three months: Carol Burnett, Candice Bergen, Diana Rigg, and Angelica Huston coupled with Brian Dennehy, Alan Alda, Stacy Keach, and Martin Sheen.
A simple set designed by John Lee Beatty, with Jane Greenwood doing costume, Peter Kaczorowski lighting, and Scott Lehrer sound, these professionals have obviously honed their craft, practicing incredible self-restraint, doing nothing to compete with the artistry of the actors’ voices nor the sentiment of two people experiencing a lifetime of emotions, experiences, and love through the letters they exchanged. Thank you for your subtlety. And thanks to Karen Armstrong, stage manager, for keeping it all on task. This show is for everyone who has ever dared to put pen to paper to scroll “I like you. Do you like me?”

Love Letters officially opened on September 18th, after previews starting September 13th and will run through February 1st at the Brooks Atkinson Theater.

Review By: Michele Seven

Photo By: Todd Heisler

Monday, September 15, 2014

Mighty Real: A Fabulous Sylvester Musical @ The Theatre at St. Clement’s

Mighty Real: A Fabulous Sylvester Musical is a high energy, glamorous, and riotous story of the life of Sylvester, the “Queen of Disco” through all of its twists, turns, and fabulous outfits. Sylvester’s life started off rough and ended in a hard place as well, but Mighty Real proves the idea that you can reach the highest heights by remaining true to who you are and never extinguishing a fiery passion. The most fun from this production comes from Sylvester’s music like “Mighty Real” and “Do You Wanna Funk”, as well as other popular disco and soul hits like “Raining Men,” “Respect” and “Proud Mary.”
The book of the show isn’t the most original, ground-making material, but the music and the cast more than make up for any shortcomings. All of the performers were phenomenal singers and performers. Anthony Wayne, as Sylvester, has amazing charisma that makes him shine literally every moment he is onstage. And his voice is absolutely incredible – hitting those high notes seems effortless. And the passion that Wayne has for the project, as he is also the co-Director, book writer and producer, really shines through. The other members of the show get their moments as well. Anastacia McClesky (Izora) and Jacqueline B. Arnold (Martha) bring the house down with the classic “Raining Men,” while Deanne Stewart (Sylvester Singer) steals the show for a brief moment with her appropriately wild rendition of “Proud Mary.” The fantastic band gets their moments to shine as well, with a short number in the last third of the show where each band member gets a second to solo. The audience is an additional cast member as well. Reflecting the gospel and church influence of disco music, there is a lot of response from the audience with murmurs of approval, “Amen’s” and cheers whenever the audience feels like it. The setting of the theatre in an actual church helps support this, and their energy and enthusiasm help drive the show.
All the production elements came together to fully realize the story of Sylvester’s life. The costume design by Kendrell Bowman, who’s also the co-director and a producer, really helps establish the glitz and glam that Sylvester’s life was full of. David Lander’s lighting and scenic design reinforced that glam as simply as possible-proving that you don’t need a million dollar Broadway budget to still feel fabulous. Hair & Wig design by Porsche Waldo and Make-up by Meghan Yarde was also excellent and disco-era appropriate.
Mighty Real: A Fabulous Sylvester Musical officially opened on September 14th, after previews starting September 5th and will run through October 5th at the Theatre at St. Clements, located at 423 W. 46th Street.

Review By: Chrissy Cody
Photos By: Joan Marcus

Wednesday, September 10, 2014

Bootycandy @ Playwrights Horizons’ Mainstage Theater

Shocking hilarity and poignant intimacy entwine to reveal Robert O’ Hara’s Bootycandy!
Sutter is on an outrageous odyssey through his childhood home, his church, dive bars, motel rooms and even nursing homes. A kaleidoscope of sketches that interconnect to portray growing up gay and black, Robert O’Hara’s subversive, uproarious satire crashes headlong into the murky terrain of pain and pleasure and... BOOTYCANDY
Please note that I am being cautious to steer clear of spoilers of any kind as I feel that the unexpected is the heart and beauty of the show!
Stepping into the Playwrights Horizons Theatre, one cannot possibly be prepared for all of the surprises Bootycandy has in store. The play consists of several shorts; each is approximately 10 minutes in length and the title of each is elegantly displayed via projection above the stage. The first sketch in Bootycandy shares a title by the same name. From the moment the stage lights up the audience ignites with uproarious laughter. O’Hara’s comedic writing cocktailed with the comedic talents of Phillip James Brannon, Jessica Frances Dukes ,Jesse Pennington, Benja Kay Thomas and Lance Coadie Williams are a force that lasso the viewers into submission. The supremely-satirical costume and scenic designs by Clint Ramos are complimented by the supremely-satirical hair and make-up designs by Dave Bova.  
The 1st act may deceive the audience into thinking they are just in for an evening of several humorous short plays (with a dash of drama thrown in for good measure). And, if you’re like me, you may almost be at your wits end with the copious amounts of four letter words and the shorts that just seem to be brazen racial stereotypes. But hold on. Right before intermission Bootycandy will flirt with a depth and an unexpected throughline that will only be revealed in Act II. Be prepared to have chills by the time the sketch “iPhone” is finished (if you haven’t already)!
Bootycandy breaks the fourth wall left and right, consistently mind melding. It will give you an intimate and yet perverse look at family, sexuality, politics and ethics. Above all, it will make you laugh until you choke.

Review By: Staci Morin
Photos By: Joan Marcus