tag:blogger.com,1999:blog-83552619705304912742024-03-06T01:08:34.218-05:00Entertainment HourA Theatre Review Blog@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.comBlogger321125tag:blogger.com,1999:blog-8355261970530491274.post-54741407992054784062017-03-22T11:20:00.000-04:002017-03-22T11:20:05.465-04:00A Mouth is Not for Talking: La Voix humaine @ National Sawdust <div class="MsoNormal">
Most people would admit they wished they used their
smart-phones less. Just last week NPR’s Fresh Air broadcasted an interview
(linked to below) about how addictive technology that at first seems like a
social boon can turn into an isolating element. The idea of technology
interfering with interpersonal relationships is not new. In 1928 Jean Cocteau
penned a monodrama “La Voix humaine” (translated to “The Human Voice”)
centering on an anonymous woman, Elle (“she” in English), by herself in a room
having the final heart-rending conversation over the telephone with her soon to
be ex-lover. Isolation pervades the piece. The audience not only never meets
the lover but never hears his voice or his side of the story. To add insult to
injury, interruptions frequently interfere with the phone line that functions
as the final, tenuous, unreliable link between the two lovers.<o:p></o:p></div>
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For Francis Poulenc, who towards the end of his life set a
reduced version of the play for orchestra and soprano, the play’s themes of isolation
and abandonment struck a personal chord. Poulenc feared that Louis Gautier, a 29-year-old
lover he had recently met, would abandon him in his final years. In a letter to
his publisher written while composing “La Voix humaine”, Poulenc wrote “Blanche
[referring to the protagonist in his masterpiece “Dialogues des Carmélites”]
was me, and Elle is me again, and Louis, by anticipation. Life will necessarily
take him from me in one way or another, that angel. He is exquisite to me and
is a tender, polite, and deferential son (except at certain moments!)”<sup>1</sup>
Elle’s outbursts, expressing Poulenc’s personal trepidation, are deeply felt
and without irony.<o:p></o:p></div>
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Billed as “A Mouth is Not for Talking: La Voix humaine”
referring to a poem entitled “Forget the World” written by the popular 13<sup>th</sup>
century mystic poet Rumi, this invigoratingly imaginative production of
Poulenc’s “La Voix humaine” mounted at National Sawdust for one night only
starred soprano Laura Bohn as Elle and pianist Mila Henry in the dual role of
Poulenc’s orchestra and Elle’s counterpart. Directed by Mary Birnbaum with projection
design by Hannah Wasileski and lighting design by Bruch Steinberg, the
production is part of the National Sawdust’s 2017 SPRING REVOLUTION Festival.
The festival is geared towards “two female attributes: empowerment, and
discourse” explored through music and conversation.<o:p></o:p></div>
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Ms. Birnbaum setup the production’s comedic point of view in
the show’s first moments. Ms. Henry entered and set a laptop in the middle of
the stage, calling to the tech crew to make sure things were ready. The
familiar sounds of a Skype conversation bubbled up and Ms. Bohn as her
real-life self was projected onto the back wall. She seemed to be in a bedroom
or hotel room and claimed that she had missed her flight from Amsterdam. They
would have to perform the opera remotely. Bohn kept her promise ripping sheets
of supertitles off a pad displayed on an easel next to her bed as she finished
each phrase or two. <o:p></o:p></div>
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Then, as anyone who has relied on Skype would expect, the video
began cutting out before dropping the call entirely. Flustered, Ms. Henry
called up to the crew. Then her cell phone rang. The opera begins with a
crossed phone line interfered with by an unwanted stranger. <span style="mso-spacerun: yes;"> </span>Ms. Henry answered the phone and sang the
opening of the piece herself as though she were trying but still failing to
connect to Elle; a deliciously layered moment of meta-drama that set the stage
for a diverting evening devoid of art-music pretension.<o:p></o:p></div>
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The drama revolves around Elle, and in a traditional
production, with the help of the orchestra, is entirely Elle. Agitated, angry,
and woeful, Laura Bohn’s Elle treaded through the thick conflict hoisted upon
her by her relentlessly untender lover. We never see the lover nor hear his
voice yet Ms. Bohn projected him clearly to the audience as an overbearing
force indifferent to her suffering. Musical passages that allow for tenderness
were delivered with venom. Hardly any affection remained between the couple.<o:p></o:p></div>
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Ms. Bohn’s Elle was driven by desperation – her lover
possesses an essential part of her that she struggles to leave behind – but she
was hardly tethered by the allure of potentially recovered sensuality. Ms. Bohn
trimmed the lush musical passages of their fat eschewing rubato in favor of a
stricter interpretation of musical time. Elle describes falling asleep after
taking too many sleeping pills, dreaming that her lover abandoned her. She
awakes glad to have merely dreamt the scene but immediately her gladness morphs
to horror as she realizes their relationship is in fact over. Poulenc summons
the forces of Verdi and Mussorgsky writing full throated passages for a voice
like Renata Tebaldi’s (for whom early on Poulenc considered writing the piece).
But Ms. Bohn and Ms. Henry pushed determinedly through the passages in strict
tempo suggesting that Elle cannot indulge an ounce of sentimentality for this
man.<o:p></o:p></div>
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A daring and impactful directorial move, Ms. Birnbaum wholly
integrated pianist Mila Henry into the dramatic structure of the work as an
essential supporting character. Ms. Henry disabled Elle’s avoidance tendencies
acting as an antagonistic spirit guide, like a best friend calling out Elle on
the hard truths to protect her long-term spiritual needs. Ms. Henry bristled
when Elle was spineless or unnecessarily self-deprecating. She related to
Elle’s nightmare, projecting tough-love sympathy as Elle exasperatedly exclaimed
“Quelle comédie”, the absurdity of it all. Ms. Henry’s character had hard edges
too, acting out violently at Elle’s self-pity, throwing Elle to the ground when
it seemed like Elle might need her most.<o:p></o:p></div>
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In an astonishing moment, Elle tackled Ms. Henry off her
piano bench halting the music. The two wrestled furiously on the ground. Ms.
Henry on her way to the floor yelped, “I’m trying to help!” eliciting from the
audience cautious laughter tempered by the genuine violence of the encounter
and the justified frustration of both women. Never approaching glibness or
ironic detachment, Ms. Henry’s character grounded Elle’s journey and
facilitated the audience’s experience.<o:p></o:p></div>
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Musically, Ms. Henry communicated the orchestration clearly
when possible. It is a shame that the piece is rarely produced with its
original instrumentation. Listen to a recording – the orchestration is
masterful. <o:p></o:p></div>
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From Ms. Bohn, one hoped for clearer phrase direction and a more
savory legato of which she is clearly capable. Her voice bloomed beautifully in
its top which, in a piece so full of limited-ranged speech rhythm, only
increased the desire for her to lean into the vocally expansive moments. The
highest note of the piece occurring in the climactic setting of “je devenais
folle!” whizzed by with a whiplash effect. With an extended accelerando
preceding the climax, the voice at its top and the piano playing a full fisted
chord buffered the next beat by extreme low bass octaves, the phrase surely
calls for expansion, the rubato written into the musical markings. <o:p></o:p></div>
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But these technicalities are often a function of comfort and
with only one performance are easily forgiven. One hopes that the production
will see more performances and continue to evolve. The staging is genuinely
inventive and the highly capable musicians, director and technical team clearly
have a close artistic and interpersonal rapport and distinctive dramatic vision.<o:p></o:p></div>
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Link to the Fresh Air interview:<o:p></o:p></div>
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<a href="http://www.npr.org/sections/alltechconsidered/2017/03/13/519977607/irresistible-by-design-its-no-accident-you-cant-stop-looking-at-the-screen">http://www.npr.org/sections/alltechconsidered/2017/03/13/519977607/irresistible-by-design-its-no-accident-you-cant-stop-looking-at-the-screen</a><o:p></o:p></div>
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<sup><span style="font-family: "Century Schoolbook"; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">1</span></sup><span style="font-family: "Century Schoolbook"; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">From <u>Francis Poulenc</u>
by Benjamin Ivry</span><!--EndFragment-->
<br />
<span style="font-family: "Century Schoolbook"; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><br /></span>
<span style="font-family: "Century Schoolbook"; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Review By: </span><span style="font-family: Helvetica; font-size: 12px;">Jeremy Hirsch</span>@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-73869322055842689212017-02-10T01:39:00.002-05:002017-02-10T01:39:50.545-05:00ALCINA @ OPERAROX<div class="MsoNormal">
<span style="color: white;">The fledgling company OperaRox Productions, founded by Kim Feltkamp
and Jaimie Appleton as an offshoot of the OperaRox tumblr page, produced a
sold-out two-show run of G.F. Händel’s <i style="mso-bidi-font-style: normal;">Alcina</i>,
directed by Maayan Voss de Bettancourt, at the Player’s Theater in the West
Village on Friday and Sunday, February 3<sup>th</sup> and 5<sup>th</sup>.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: white;">The source material of <i style="mso-bidi-font-style: normal;">Alcina</i>’s
libretto is <i style="mso-bidi-font-style: normal;">Orlando Furioso</i>, an early
16<sup>th</sup> century epic poem by Ludovico Ariosto. The list of composers
that have used the poem as the basis for operas is long and includes Lully,
Rameau, Caccini, Haydn, Vivaldi, Thomas and others. Händel himself has two
other canonical operas using the poem’s stories (<i style="mso-bidi-font-style: normal;">Orlando </i>and <i style="mso-bidi-font-style: normal;">Ariodante</i>).<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: white;">The plot of <i style="mso-bidi-font-style: normal;">Alcina </i>can
seem convoluted on paper, though once the characters’ names, alter-egos and
genders become familiar, things become clear. OperaRox offered a succinct
synopsis that’s worth quoting:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: .5in; margin-top: 0in; text-indent: -.5in;">
<span style="color: white;"><span style="mso-tab-count: 1;"> </span><span style="font-size: 10.0pt; line-height: 107%; mso-bidi-font-size: 11.0pt;">Alcina is a sorceress with her own
island. Her sister, Morgana, is in a relationship with Oronte, but falls for
Bradamante, who is dressed as her own brother so she can save her fiancé,
Ruggiero, from Alcina’s clutches. Melisso, Ruggiero’s commanding officer,
accompanies Bradamante to the island and helps Oberto find her lost father.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: white;">That’s the gist. What the synopsis leaves out is that Alcina
has a pesky habit, when her temper flares, of turning former lovers and people at
large into beasts and inanimate objects. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: white;">OperaRox comes to the table with a specific production
mission. The company is clear about wanting to provide meaningful performance
opportunities for young singers that generally haven’t sung their assigned
role, create an environment that encourages experimentation, pay its cast and
crew, and build general interest in opera, particularly among younger audiences.
OperaRox seems to successfully hit these marks.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: white;">The opening of the production made clear that neither the
director nor her actors would be sheepish about physical intimacy. In the first
moments, a domineering Alcina drags on a handsy, sex-slave-like Ruggiero, the two
of them necking and making out. The opening was a good preparation for the bumping
and grinding, sexual massage, and other raunchy action coming later. The
confidence with which the young actors dove into the sensuality was refreshing.
The amount of sexuality was abundant but not gratuitous.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0vw6rCCttULhFGt5QWsKCvnygMZjg5xb2TW96p1yVllxiaCo89x0nSvbekpP1nTCvrPtMH1wHATZSe1ctnM8MmeUSLhj9xJiUT-YnMNnUjHE1ogGfE8od2DAUQl17fsA_uX1mhs4OQxuc/s1600/13580393-614975138670211-6836110699664692363-o_orig.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0vw6rCCttULhFGt5QWsKCvnygMZjg5xb2TW96p1yVllxiaCo89x0nSvbekpP1nTCvrPtMH1wHATZSe1ctnM8MmeUSLhj9xJiUT-YnMNnUjHE1ogGfE8od2DAUQl17fsA_uX1mhs4OQxuc/s320/13580393-614975138670211-6836110699664692363-o_orig.jpg" width="192" /></span></a><span style="color: white;">Morgana, played by soprano Anna Slate, radiated a contagious
delight. She championed the show’s comedic elements with her insatiable but
winningly naïve sexual appetite. Slate’s recitatives flowed easily and idiomatically,
neither overly spoken nor sung. Her Morgana had a sympathetic core that
remained throughout the character’s journey to self-knowledge. One hoped that
she would escape the fate to which her foil, Alcina, seemed destined.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="color: white;">Tenor Eric Alexieff proved a sympathetic Oronte. Alexieff
was particularly charming as the jaded, abandoned lover commiserating with
Ruggiero during his Act I aria. Popping open one beer after another, he elbowed
and teased Ruggiero with the tough love of an older sibling.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: white;">Mezzo-soprano Melanie Ashkar commanded her musical material
as Bradamante. Ashkar sang with both an even and agile tone, handling the
difficult coloratura of her arias with poise and clarity. She maintained a calm
and focused presence on stage, grounding her scenes by listening and reacting
intently and in the moment.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: white;">Baritone Kevin Miller portrayed a paternal, well-meaning
Melisso. Perhaps too meek to convincingly play a drill sergeant, Miller’s
earnestness did add to the show’s heart and fit well with the company’s overall
encouraging demeanor and supportive mission.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: white;">Mezzo-soprano Chloë Schaaf played Ruggiero, the backbone of
the opera, with deep commitment. Responsible for the bulk of the opera’s
emotional heavy lifting, Schaaf broke down into forceful convulsions, scolded
by his sergeant Melisso for having wronged his wife-to-be Morgana. Schaaf also
managed a deft act of emotional subtlety in her act II aria in which Ruggiero
convinces Alcina that he is in love, though under his breath mutters, not with
Alcina herself. With Schaaf’s portrayal, one couldn’t help but wonder whether
Ruggiero felt deeply attached to both Morgana and Alcina and was heart-broken
wronging either of them.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpk37tiPCFv0CZL6rBHIzS7AnvzTOl418-XsSzvbQfgrO1ZlzvSC2puMR2a705UeBKNiZacB-LJIsy6UiCNICSY5rxevSKdM_HZ6qyaY3tx6UQUrF51AWZG3czcZUvCGKfBKZE4-saS9fL/s1600/img-4085-crop-edit_orig.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpk37tiPCFv0CZL6rBHIzS7AnvzTOl418-XsSzvbQfgrO1ZlzvSC2puMR2a705UeBKNiZacB-LJIsy6UiCNICSY5rxevSKdM_HZ6qyaY3tx6UQUrF51AWZG3czcZUvCGKfBKZE4-saS9fL/s400/img-4085-crop-edit_orig.jpg" width="400" /></span></a><span style="color: white;">As the title role, soprano Zen Wu bounded around the stage
confidently, singing voluminously but at times unwieldly. She played an Alcina
thirsty for vengeance and blinded by lust.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: white;">Ginny Weant, as the young boy Oberto, sang her final aria
with momentum and dexterity.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: white;">Made up of the cover cast, the chorus sang with a
well-honed, appropriately sized mezzo-forte sound. They functioned as Alcina’s
semi-sedated minions, most useful as reflections of the sorceress’s state of
mind during arias.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: white;">The band, led by Dmitry Glivinskiy at an electric keyboard,
filled out by Katie von Braun on violin and Spencer Shen on cello, executed the
concise orchestration with proficiency and understated style. Cuts to the score
were judicious, though more were possible; Bradamante’s act III aria “All’alma
fedel” could have mercifully been cut, as it slowed the opera’s pace in the
home stretch.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
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<span style="color: white;"> There were other weak spots in the production – a handful of
out of place swear words in the supertitles garnering cheap laughs, varying
levels of musical, linguistic, and vocal fluency, some clumsy staging
particularly with the chorus, and hardly any set to speak of – regardless, it was
a strong effort from a young cast and budding company of bright, hardworking
opera devotees.</span><br />
<span style="color: white;"><br /></span>
<span style="color: white;">Review: Jeremy Hirsch</span><br />
<span style="color: white;">Photos: OperaRox Official Site</span><br />
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@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-7451700902184042652017-02-07T14:12:00.001-05:002017-02-07T14:13:17.044-05:00A COMEDY OF TENORS @ The Papermill Playhouse<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzx4algb9BWWXSeM2qlZ_3u54B2hZniF1Y1a62aYM0xWKJw04avf3w30BXKvLCwpUJWgUndO7691QOqPcKBknZGNfZd5Kvi6Dhd-9HjEf5ZSSkpP1Zb9jbkYFG_qxYAvVWwuZ07O3WFNhk/s1600/90-2.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzx4algb9BWWXSeM2qlZ_3u54B2hZniF1Y1a62aYM0xWKJw04avf3w30BXKvLCwpUJWgUndO7691QOqPcKBknZGNfZd5Kvi6Dhd-9HjEf5ZSSkpP1Zb9jbkYFG_qxYAvVWwuZ07O3WFNhk/s320/90-2.jpeg" style="cursor: move;" width="320" /></a></div>
<span style="background-color: black;"><span style="color: white;"><br /></span></span>
<span style="background-color: black;"><span style="color: white;"><br /></span></span>
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<span style="background-color: black;"><span style="color: white;"><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In 2013 Paper Mill Playhouse produced Ken Ludwig’s </span><span style="font-family: "arial"; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Lend Me a Tenor </span><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">with director Don Stephenson at the healm. Now, over 3 years later, Stephenson and the original cast are back for its sequel, </span><span style="font-family: "arial"; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">A Comedy of Tenors. </span><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">This grand reunion paired with a hilarious script filled with hijinks makes for an evening filled with hysterics.</span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl7vqJbGGJ-UCQa45sltvfpkbyZISDcjhnaqJ1wJgK-V5gGvGECCEFCMEj-Sm129ef0FhnLhwOh0swldARHvPAEgkkG6bbjNIhEig4DPRkGoXYGg_5BTklynyaQxVcYf7ELEerqIvG05sf/s1600/tn-500_comedyoftenorsphoto1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="background-color: black;"><span style="color: white;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl7vqJbGGJ-UCQa45sltvfpkbyZISDcjhnaqJ1wJgK-V5gGvGECCEFCMEj-Sm129ef0FhnLhwOh0swldARHvPAEgkkG6bbjNIhEig4DPRkGoXYGg_5BTklynyaQxVcYf7ELEerqIvG05sf/s200/tn-500_comedyoftenorsphoto1.jpg" width="200" /></span></span></a></div>
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<span style="background-color: black;"><span style="color: white;"><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The title immediately gives you a clue as to what’s in store- borrowing its name from Shakespeare’s </span><span style="font-family: "arial"; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">A Comedy of Errors</span><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, Ludwig’s sequel has all of the trademarks of an outrageous farce. From mistaken identities, to slamming doors, lots of sex, a little bit of opera, and of course a wedding to tie everything up, this 2-hour long show is a fast paced wild ride. Set 2 years after the events of the original, we find producer Saunders (</span><span style="font-family: "arial"; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Michael Kostroff</span><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">) in a hotel room in Paris attempting to keep his opera performance together. Returning are Max (</span><span style="font-family: "arial"; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">David Josefsberg</span><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">) his son-in-law and aspiring opera performer, and world famous Tenor Tito (</span><span style="font-family: "arial"; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">John Treacy Egan</span><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">) along with his hot-headed wife Maria (</span><span style="font-family: "arial"; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Judy Blazer</span><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">). Along for the ride is Tito and Maria’s daughter, aspiring actress Mimi (</span><span style="font-family: "arial"; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Jill Paice</span><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">) with her boyfriend, the new opera star Carlo (</span><span style="font-family: "arial"; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Ryan Silverman</span><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">), and Racón (</span><span style="font-family: "arial"; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Donna Englisch</span><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">), a former fling of Tito’s. With Tito already feeling jealousy that his stardom is being outshone by bright Tenor Carlo, things escalate when he mistakenly believes his wife is having an affair with the young singer, not knowing he is actually the secret boyfriend of his beloved daughter. Shenanigans ensue, while Saunders tries to keep everyone from strangling each other and get them ready to sing for a soccer stadium full of fans.</span></span></span></div>
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<span style="background-color: black;"><span style="color: white;"><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Kostroff, Josefsberg, Egan, and Blazer all reprise their respective roles from </span><span style="font-family: "arial"; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Lend Me a Tenor</span><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, and they excel in them. Their familiarity with the characters allows for lots of nuances within the absurdity and a real sense of connection between one another. Egan particularly shines, tackling a duel role. Much like his portrayal of Franz Liebkind in Paper Mill’s recent production of </span><span style="font-family: "arial"; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Producers</span><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, he is able to deftly navigate moments of over-the-top absurd anger and moments of pure joy and silliness; and here his voice is allowed to soar even more in the few operatic occasions featured. Egan is certainly the standout, commanding the stage for the majority of the evening. Also returning from </span><span style="font-family: "arial"; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Producers</span><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> are Kostroff and Josefsberg who had been Max Bialystock and Leo Bloom respectively. It is fun to see these two teamed up again and show off their deft comedy skills. The final returning cast member from the original </span><span style="font-family: "arial"; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Tenors</span><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> is Judy Blazer as Maria, whose fierce hot-headed Italian attitude is especially delightful, and I only wish there had been even more of her throughout the show. The three new characters are all amusing, but it is Ryan Silverman as Carlo who really stands out. His voice is incredible, and he proves a skilled comedic actor as he serves as the catalyst for all the wacky goings-ons. </span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOV3-ibtCju9tfovGox3GZoquktxsUnvncT9puSJZ54yVURFOx0nrh95v0gPWczDtZHA1EmNcteTy3IRyn7WZkbDkxaMclfbeTjEYCyoCYoFeG20Gn7VRsFCrYCnFBPlDpalSUMwAPxvN5/s1600/tn-500_comedyoftenorsphoto3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="background-color: black;"><span style="color: white;"><img border="0" height="143" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOV3-ibtCju9tfovGox3GZoquktxsUnvncT9puSJZ54yVURFOx0nrh95v0gPWczDtZHA1EmNcteTy3IRyn7WZkbDkxaMclfbeTjEYCyoCYoFeG20Gn7VRsFCrYCnFBPlDpalSUMwAPxvN5/s200/tn-500_comedyoftenorsphoto3.jpg" width="200" /></span></span></a><span style="background-color: black;"><span style="color: white;"><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">All of this crazy action takes place in a hotel room in Paris, with Michael Schweikardt’s scenic design setting a wonderful grand atmosphere, with luxurious adornments and a gorgeous terrace featuring the Parisian sky and a view of the Eiffel Tower. The lighting design by Stephen Terry was quite appropriately simple for the room, but its prowess was shown through the terrace. Subtly, throughout the progression of the play, the outside sky began to change color, effectively communicating the passage of time and providing an insight of urgency to the audience that time was running out for everything to come together for the fast approaching opera concert. Paper Mill favorite and returning director from </span><span style="font-family: "arial"; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Lend Me a Tenor</span><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, Stephenson navigates the ridiculous </span><span style="font-family: "arial"; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">A Comedy of Tenors</span><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> with skill, stretching out the wacky moments for an optimal amount of laughs, while still letting the heart of the characters come through. </span></span></span></div>
<span style="background-color: black;"><span style="color: white;"><span id="docs-internal-guid-b30d1f52-19f9-d5fb-41fe-a7d7f32b594c"></span><br /></span></span>
<div dir="ltr" style="line-height: 2.4; margin-bottom: 10pt; margin-top: 0pt; text-indent: 36pt;">
<span style="background-color: black;"><span style="color: white;"><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">With lots of slapstick, screaming, singing, scandal, and a stirring script, Paper Mill’s </span><span style="font-family: "arial"; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">A Comedy of Tenors</span><span style="font-family: "arial"; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> is a fun night of laughter and entertainment. If you were a fan of Ludwig’s original show and want to see how these zany characters end up, or if you’re a newcomer looking for a farce check out this uproarious comedy before it ends its limited run on Sunday, February 26.</span></span></span></div>
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<span style="font-family: "arial";"><span style="background-color: black; color: white; white-space: pre-wrap;">Review By: April Sigler</span></span></div>
<div dir="ltr" style="line-height: 2.4; margin-bottom: 10pt; margin-top: 0pt; text-indent: 36pt;">
<span style="background-color: black;"><span style="color: white;"><span style="font-family: "arial";"><span style="white-space: pre-wrap;">Photos By: </span></span><a href="http://www.broadwayworld.com/people/Jerry-Dalia/" style="-webkit-transition: all 0.2s; border: 0px; box-sizing: border-box; font-family: Montserrat, Arial, sans-serif; font-size: 15px; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; text-indent: 0px; transition: all 0.2s; vertical-align: baseline;">Jerry Dalia</a><span style="font-family: Montserrat, Arial, sans-serif; font-size: 15px; text-indent: 0px;"> and Kevin Thomas Garcia</span></span></span></div>
@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-78284999388319906372017-01-20T10:41:00.002-05:002017-01-20T10:41:24.524-05:00THE PRESENT @ the ETHEL BARRYMORE THEATRE<div class="MsoNormal">
<span style="color: white;">It’s hard to review this show without just writing a love
letter to the entire cast and crew. So to start off I will say, The Present is
a show that will stick with you, that will challenge you, that will make you
think days after seeing it, and will over all just blow your mind. Most people
see the name Anton Chekov and either roll their eyes or jump for joy.
Personally I have always been on the fence. I am a lover of the classics but I
also have ADD so I have a short attention span. (It’s a curse) Writer Andrew
Upton manages to take one of Chekhov’s early works and turns it into this
modern high speed chase of love, life, passion, and of course vodka.<span style="mso-spacerun: yes;"> </span>I honestly don’t think I have ever been so
entranced with a show, and that’s saying a lot since this one is four acts! <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiULaiUVLvn2IBbzPnBHEiPYS82WHROHbot7j6HcSrYbw-t30snWfZXookwPLBe4pXZzrlVnecElAs00mQVbXKZoVWEFa0bP9vx3oKnMuVOMbq91qUZkmJMHuIOVrwUSX4Jni4bjOZHBAv/s1600/image.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiULaiUVLvn2IBbzPnBHEiPYS82WHROHbot7j6HcSrYbw-t30snWfZXookwPLBe4pXZzrlVnecElAs00mQVbXKZoVWEFa0bP9vx3oKnMuVOMbq91qUZkmJMHuIOVrwUSX4Jni4bjOZHBAv/s320/image.jpg" width="320" /></span></a><span style="color: white;">The playbill is key in this production because Mr. Upton
gives you some backstory of these characters if you are unfamiliar with
Chekhov’s work. But beyond the stellar writing, director John Crowley has
staged this production so beautifully.<span style="mso-spacerun: yes;">
</span>Upton and Crowley have managed to make Chekhov actually funny.<span style="mso-spacerun: yes;"> </span>We have a cast of 13 very different
characters and Crowley gave each of them shinning moments and it never felt,
crowded or upstaged, it was perfect chaos. <o:p></o:p></span></div>
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<span style="color: white;">Now, let me gush my love for the actors. Bare with me
because, after this show I feel as I know them, and we are all now
friends.<span style="mso-spacerun: yes;"> </span>Cate Blanchett! Cate Blanchett!
CATE BLANCHETT! I could watch her on stage just sitting doing nothing and she
would manage to make it interesting some how. She has this ease, and effortless
about her that is just memorizing. And just when you think she is just
perfectly poised, she gets up on a table and dances to punk rock! I was with
her on her entire journey of her 40<sup>th</sup> birthday. <o:p></o:p></span></div>
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<span style="color: white;">And then we have Mr. Richard Roxburgh. Who in my opinion
steals the show. He starts off as this classic flighty playboy; all the girls
love him (on and off stage) and then becomes the most grounded character. He
manages to make you laugh in inappropriate situations and you can’t help but
love him. And when he’s with Ms. Blanchett its pure magic! <o:p></o:p></span></div>
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<br /></div>
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<span style="color: white;">The ensemble is filled with so many stars its hard to talk
about them all. Toby Schmitz (Nikoli) has a spark that whenever he was on stage
I couldn’t stop watching.<span style="mso-spacerun: yes;"> </span>Chris Ryan
(Sergei) is probably the most loveable character on stage, and I just rooted
for him through the show.<span style="mso-spacerun: yes;"> </span>Jacqueline
McKenzie (Sophia) plays the perfect balance of a hot mess. Every actor on stage
did beautiful work! <o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="color: white;">If you are looking for a show to make you make you laugh,
cry, and honestly feel better about your friends and family, head to the Ethel
Barrymore Theatre and see The Present! <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal">
<span style="color: white;">Review: Bri Burnside</span></div>
<div class="MsoNormal">
<span style="color: white;">Photo Credit: Joan Marcus</span></div>
@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-9979075900769985252017-01-20T10:26:00.001-05:002017-01-20T10:27:10.385-05:00APARTMENT COMPLEX @ THE BARROW GROUP w. the NOW Collective<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQwifrxs0TDNJ6_AmLNLe3JZvvQaxl90bdKv7imBduv4L2dWxllk-eyNg20ByPxDcQdUEXuLernY0QhifyvYPMrEEA_1Q3gdUMJTw0gyHGTtucP_r3koW419P_-YpTsI0r7c9q8easUbVS/s1600/15940948_605150896337147_5342384196621983955_n.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQwifrxs0TDNJ6_AmLNLe3JZvvQaxl90bdKv7imBduv4L2dWxllk-eyNg20ByPxDcQdUEXuLernY0QhifyvYPMrEEA_1Q3gdUMJTw0gyHGTtucP_r3koW419P_-YpTsI0r7c9q8easUbVS/s320/15940948_605150896337147_5342384196621983955_n.jpg" width="213" /></a></div>
<br />
<span style="color: white;">Self produced and self shaped theatre is very much a living,
breathing entity clamoring under rug swept by the glitz and sparkle of
Broadway. But its there. You just have to find it. Theatre makers are taking
the industry into their own hands, arthritic from self promotion on any and
every social media medium, and shaping their fates. I know, I know, easier said
then done. And beyond that? Easier said then done WELL.</span><br />
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<span style="color: white;"><o:p></o:p></span></div>
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<span style="color: white;">You know who does it well? The NOW Collective- a new group
of graduate apprentices from The Barrow Group. Their mission is to provide a
collaborative environment for emerging artists like themselves to get stoked
and work on new pieces together. And if their current show, Apartment Complex,
is any indicator as to the work we can expect from this group, I anticipate a
bright future ahead.<o:p></o:p></span></div>
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<span style="color: white;">Apartment Complex is a series of shorts by various
playwrights and actors within the group about, you guessed it; the trials,
tribulations and absolute thrills of living in one of the best cities in the
entire world. And what a smart move that was for this fledgling company. Their
first big show off the bat was material that invites an audience in, almost as
if they too were a part of the ensemble, because as people of New York, we
could identify with it ALL.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1PW_PLiYFL1ezo13MGSM2Jgd5OYRo5ULvu0xsN09P_pAxFs-Lws2MbBp2zGvJlgvNX8zggOZR6RbkeQuAwm1mOCIotVmWFv4ZgEslTYHsfE72oE6NbtDRoNrow6uZUHdUczQ0tjJTeuVx/s1600/16174924_605662826285954_8265151150894549469_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1PW_PLiYFL1ezo13MGSM2Jgd5OYRo5ULvu0xsN09P_pAxFs-Lws2MbBp2zGvJlgvNX8zggOZR6RbkeQuAwm1mOCIotVmWFv4ZgEslTYHsfE72oE6NbtDRoNrow6uZUHdUczQ0tjJTeuVx/s320/16174924_605662826285954_8265151150894549469_n.jpg" width="213" /></span></a><o:p><span style="color: white;"> </span></o:p></div>
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<span style="color: white;">The evening truly got kicked off when actress/playwright Sam
Evans found a bedbug on her sweater, which hilariously segued into a
performance art piece where the actress, in a garbage bag and rain boots,
destroyed everything in her apartment. Evans was absolutely captivating and had
the audience convulsing in their laughter. A highlight of the evening for sure.<o:p></o:p></span></div>
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<span style="color: white;">Next up is Adrian Burke, an extremely talented gentleman we
need to be tracking. He had two plays up in the night, one of which Burke himself
was in, and not only were they really frigging funny, they were poignant and
satiated the audience on a different level. Hallways was particularly brilliant.
It was a two man bit satirizing how we grieve and how we are allowed to grieve
in our current climate. These points were punctuated perfectly and with care by
actors Andrew Dobbie and Morgan Bartholick. <o:p></o:p></span></div>
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<span style="color: white;">Sean T McGrath’s Dinner Party was also very well received
within the audience. Dinner Party took us on an emotional rollercoaster, even
in such a brief amount of time, which is super admirable. Kasey Lee Huizinga was
heartbreaking in her pursuits of trying to maintain homeostasis in financial
insecurity, a feeling we all know far too well. <o:p></o:p></span></div>
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<span style="color: white;">Catch this show in it’s last weekend at The Barrow Group
Studio Theatre over on 36<sup>th</sup>. In this current political climate, we
all need a friggin laugh…and more importantly, support the arts. Don’t allow
them to get evicted from their homes.<o:p></o:p></span></div>
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<o:p><span style="color: white;">Review: Brittany Goodwin</span></o:p></div>
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<o:p><span style="color: white;">Photos: Kyle LeMaire Photography</span></o:p></div>
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<!--EndFragment-->@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-18835920700002225502016-12-04T17:55:00.000-05:002017-02-10T01:42:35.891-05:00A Bronx Tale @ The Longacre Theater<span style="background-color: black;"><span style="color: white;"><br /></span></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4HNr7W4mNVhNpUuEU4fCMNCGriX9UYt_MK_bp0xz4gIGgZedaRcxUYBLAH9HtGdJUGsndBqEGHPNVzKmDOoyrXKBrI4Hkl9PQii3KR5eaYLLtmOtkdJEjmNpJ8gRLwBitW6qI0dNJcK4J/s1600/82858-2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="background-color: black;"><span style="color: white;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4HNr7W4mNVhNpUuEU4fCMNCGriX9UYt_MK_bp0xz4gIGgZedaRcxUYBLAH9HtGdJUGsndBqEGHPNVzKmDOoyrXKBrI4Hkl9PQii3KR5eaYLLtmOtkdJEjmNpJ8gRLwBitW6qI0dNJcK4J/s320/82858-2.jpg" width="207" /></span></span></a><span style="background-color: black; font-family: "cambria"; font-size: 12pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: white;">I feel like I have said this in many shows I review, but I honestly did not know what to expect when I sat down in the Longacre Theatre to watch A Bronx Tale. I did not know it was originally a one man show, and a movie, I am late to the party! It is safe to assume that you are going to watch someone’s tale in the Bronx, Belmont Avenue to be exact. </span></span></div>
<b id="docs-internal-guid-00bdac5c-1ac9-35cd-2b95-d279e4114a6f" style="background-color: black; font-weight: normal;"><span style="color: white;"><br /></span></b>
<br />
<div dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: black; font-family: "cambria"; font-size: 12pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: white;">We follow the story of Calogero. The year is 1960 and we are in a stereotypical Italian “neighborhood.” And what’s a classic neighborhood without some grown men carrying baseball bats and handling some “business”. The young Calogero, played beautifully by Hudson Loverro, witnesses a murder and the show takes off and doesn’t slow down. Calogero decides he’s not a rat and the neighborhoods leader, Sunny, decides he’s one of the guys. Instantly we have a struggle between Sunny, and Calogero’s father. What kind of man will he become? </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkVPaLJWY8Hww5bxo06Lvyj0Bk18gvjgE7pLFj60rV-UPaoqxkb9SjVHJnOoJrX1irPaKwwvvBrPt-esHnC_vOA3h1p2Dp0kJbhkOoeb9zJHC8IOnuA_5VqsEXFuYtiUBeYBhn_H6PS64Z/s1600/15BRONX-TALE-master768.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="background-color: black;"><span style="color: white;"><img border="0" height="105" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkVPaLJWY8Hww5bxo06Lvyj0Bk18gvjgE7pLFj60rV-UPaoqxkb9SjVHJnOoJrX1irPaKwwvvBrPt-esHnC_vOA3h1p2Dp0kJbhkOoeb9zJHC8IOnuA_5VqsEXFuYtiUBeYBhn_H6PS64Z/s200/15BRONX-TALE-master768.jpg" width="200" /></span></span></a><span style="background-color: black; font-family: "cambria"; font-size: 12pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: white;">Did I forget to mention that this show is actually a musical! It’s hard to believe because the show is filled with so much drama, information, and yet the music doesn’t feel forced at all. Some stand out numbers were, Roll em, where we see how Sunny makes a lot of his money, and meet (for lack of a better world) the rest of the mob. Another song I just can’t get out of my head is “I like it” which gives young Calogero a chance to shine and shows us he’s ok with being one of the guys. </span></span></div>
<b style="background-color: black; font-weight: normal;"><span style="color: white;"><br /></span></b>
<br />
<div dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: black; font-family: "cambria"; font-size: 12pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: white;">We see Calogero grow into a man. And that’s when things get real difficult. The world is changing and so is the neighborhood. Calogero, played by Bobby Conte Thornton does a fantastic job moving this show along, and makes the whole audience fall in love with him. So, it’s obvious he needs a love interest. Enter Jane, a girl from the other side of the neighborhood, Webster Avenue to be exact. Racial tensions rise, fights between the neighborhoods occur, a real Romeo and Juliette vibe. </span></span></div>
<b style="background-color: black; font-weight: normal;"><span style="color: white;"><br /></span></b>
<br />
<div dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: black; font-family: "cambria"; font-size: 12pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: white;">My only problem with this show was a lot of things we glossed over. I wanted to see more of the love story between Calogero and Jane. I wanted more struggles between Sunny and Lorenzo. I wanted more of Rosina, his mother. I think there might have been too many side plots. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0zPf41sTAtAghYN31-_TAWiCujA3uzAki1kvvQJ9C0-UVDRLMqKukBtJ7ROuJJDvMsSysbQT3X1182jyOJ-vrVwrDBnEaHk_Ts1bqhQPbqcDLcW_N-GOKRxIwtveFAgCoQlg_hS4_JR27/s1600/a-bronx-tale-broadway.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="background-color: black;"><span style="color: white;"><img border="0" height="112" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0zPf41sTAtAghYN31-_TAWiCujA3uzAki1kvvQJ9C0-UVDRLMqKukBtJ7ROuJJDvMsSysbQT3X1182jyOJ-vrVwrDBnEaHk_Ts1bqhQPbqcDLcW_N-GOKRxIwtveFAgCoQlg_hS4_JR27/s200/a-bronx-tale-broadway.jpg" width="200" /></span></span></a><span style="background-color: black; font-family: "cambria"; font-size: 12pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: white;">The cast was absolutely amazing. Lorenzo, played by Richard H Blake will absolutely tear your heart out and break it to a million pieces and blow you away with his voice. Lucia Giannetta (Rosina) and Ariana Debose (Jane) both had amazing solos but again, wish I got to see them more! Nick Cordero (Sunny) makes me remember why I will always have a crush on an Italian man. He has such a charm you can’t help but love him and root for him the entire show. </span></span></div>
<span style="background-color: black;"><span style="color: white;"><br /><span style="font-family: "cambria"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">A Bronx Tale has something for everyone. It’s filled with lovely little comedic gems such as a ‘girlfriend test’ and just good ole neighborhood charm that will make anyone reminisce on their youth. This could be… One of the great ones.</span></span></span><br />
<span style="background-color: black; font-family: "cambria"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"><span style="color: white;"><br /></span></span>
<span style="background-color: black; font-family: "cambria"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"><span style="color: white;">Review By: Briana Burnside</span></span><br />
<span style="background-color: black; font-family: "cambria"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"><span style="color: white;">Photos By: Joan Marcus</span></span>@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-90779132078311619922016-12-04T13:29:00.000-05:002017-02-07T13:34:06.198-05:00THIS DAY FORWARD @ The Vineyard Theater<span style="background-color: black;"><span style="color: white;"><br /></span></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcw9q8dsZh4w8VoThTMQdVDDdQ3_wrHDWMqbDGpJRV4pEh20cDI7SZgvZO6Emd7cUYj-fsrhMxhfmEPbOFZLQOupPqMSulxE7KhjRmJeWesUoxwrCcZ5gadAX_GowAlVlqxQy4K8UeM8Lg/s1600/features-large_FWD-keyart1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="background-color: black;"><span style="color: white;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcw9q8dsZh4w8VoThTMQdVDDdQ3_wrHDWMqbDGpJRV4pEh20cDI7SZgvZO6Emd7cUYj-fsrhMxhfmEPbOFZLQOupPqMSulxE7KhjRmJeWesUoxwrCcZ5gadAX_GowAlVlqxQy4K8UeM8Lg/s320/features-large_FWD-keyart1.jpg" width="320" /></span></span></a><span style="background-color: black;"><span style="color: white;"><span style="font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Vineyard Theatre’s newest installation, </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">This Day Forward</span><span style="font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, is one show that certainly makes you think. Written by Nicky Silver (</span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Pterodactyls, The Lyons</span><span style="font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">) it is not your typical love story; in fact, it is the lack of love that really is the star of this show.</span></span></span></div>
<b id="docs-internal-guid-1cc11a7a-19d6-35e9-3bfa-782c36f99ba8" style="background-color: black; font-weight: normal;"><span style="color: white;"><br /></span></b>
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<span style="background-color: black;"><span style="color: white;"><span style="font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Set in both 1958 and 2004, the story centers around Irene’s (Holley Fain) love life. The play begins in 1958, in a swank hotel (with trimmings that seriously make me consider hiring scenic designer, </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Allen Moyer, </span><span style="font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">to re-do my place), on Irene and Martin’s (</span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Michael Crane</span><span style="font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">) wedding night. We immediately are drawn in by Fain’s excellent portrayal of a nervous, fidgety and distressed newlywed. After skirting around for awhile, she finally admits to Martin that she is not in love with him, but instead, is in love with Emil (</span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Joe Tippett), </span><span style="font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">a loud-mouth, brash, gas station attendant she has been forbidden from dating by her mother. Martin, in obvious disbelief, begins to question her about the relationship and why she decided to wait until </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">AFTER</span><span style="font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> their wedding to share this information. Irene explains how the two became acquainted, their subsequent break-up and how Emil was on his way over to pick up Irene after she had seen him earlier that morning. Emil arrives and the three hash it out in the hotel room. The men decide to fight for the right for Irene. While they “take it outside,” Irene is given love advice from Melka (</span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">June Gable), </span><span style="font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">the polish immigrant hotel maid, who was in a similar situation. She cautions her from following her heart, as it did not work out in her favor, and urges her to stay with a man who can take care of her and give her the material things she desires. Martin finally returns and with her mind made up, Irene chooses to forgo Melka’s advice and go with love over material wealth and leaves to meet up with Emil.</span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHEugH-YwWv8hfzomQNRb6AzYdMxhmXasI22l151x3BTQvWiyhc3lzWsWdm68tIDXwoILp35Ttktep1mibDPfw8Gqw1fh9kSYZDNmVcOatF62c9yJE7jN5mqMtObESP5mMtx973W60neok/s1600/thisdayforward0154.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="background-color: black;"><span style="color: white;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHEugH-YwWv8hfzomQNRb6AzYdMxhmXasI22l151x3BTQvWiyhc3lzWsWdm68tIDXwoILp35Ttktep1mibDPfw8Gqw1fh9kSYZDNmVcOatF62c9yJE7jN5mqMtObESP5mMtx973W60neok/s200/thisdayforward0154.jpg" width="200" /></span></span></a><span style="background-color: black;"><span style="color: white;"><span style="font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The second act begins in a totally redesigned space (and again, Moyer’s design of a chic New York apartment makes me question if I could pull that off in suburbia). Major kudos to the run crew who successfully took apart an entire stage in the time it took to check my Facebook. The story begins with Crane, now playing Noah, with his boyfriend, Leo (</span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Andrew Burnap)</span><span style="font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> in a beautiful NYC apartment in 2004. Leo is stressed out because his estranged mother is coming after being picked up by the police at JFK Airport after seemingly having an Alzheimer’s episode. We then meet Noah’s sister, Sheila (</span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Francesca Faridany) </span><span style="font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">who explains just how bad it is living with her mother. When their mother arrives, we realize it is Irene (now played by </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">June Gable)</span><span style="font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, many years later. We learn that even though we saw her exit to follow her heart to be with Emil in Act I, she still wound up with Martin, lived a miserable life with all of the amenities a 20th-century woman could want. This misery trickled down into her children, who both have sabotaged relationships, unstable lives and an affinity for feeling like they were generally unwanted. The play closes with Irene seemingly talking to a ghostly Emil, in which we learn he never met with her that night. Feeling like he was unable to provide her the life she wanted, he decided it was best to let her stay with Martin. </span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI_7eftUXBiKOjhSljZfN-nb0MHtZmabYKS0Xi10xJC9Z4H-ir-DtMnVMyl6rv0Wijh7-qg9uY3goUM5UUcB3kkp9rQJ5JEsGpC0yav5jR3aliI6uFleAAhaRfOXy-cdRKcL3AyZar7ai0/s1600/22THISDAY-superJumbo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="background-color: black;"><span style="color: white;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI_7eftUXBiKOjhSljZfN-nb0MHtZmabYKS0Xi10xJC9Z4H-ir-DtMnVMyl6rv0Wijh7-qg9uY3goUM5UUcB3kkp9rQJ5JEsGpC0yav5jR3aliI6uFleAAhaRfOXy-cdRKcL3AyZar7ai0/s200/22THISDAY-superJumbo.jpg" width="200" /></span></span></a><span style="background-color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: white;">It is in the final moments that this play really shines. Taking on the concept of how failed love shapes people is not something many have done before. Silver does a phenomenal job of making you think about following your heart without being cheesy. Personally experiencing this show with someone who has been divorced was an added treat, as for her, it gave her some closure in her decisions. You can never know what the future holds for you, but this play truly shows you that by playing it safe and not trusting your heart, you may be able to survive, but the life you lead will be riddled with misery, melancholy and general unhappiness that is felt by EVERYONE around you. This will then affect the choices they make for the rest of their lives, causing this cycle to never end. </span></span></div>
<span style="background-color: black;"><span style="color: white;"><br /><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Playing now through Dec. 18th, this is one show you do not want to miss. Besides the kudos given above, a sincere salute to those cast members that played dual roles. Taking on the challenge of playing two completely different characters and making it believable can be difficult, but the cast makes it appear effortless. For tickets and information, please visit </span><a href="http://www.vineyardtheatre.org/" style="text-decoration: none;"><span style="font-family: "arial"; font-size: 11pt; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">www.vineyardtheatre.org</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> and be sure to check out the lower lobby for added touches that make the play come alive.</span></span></span><br />
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<span style="background-color: black; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><span style="color: white;">Review By: Renee Demaio</span></span><br />
<span style="background-color: black;"><span style="color: white;"><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Photos By: </span><span style="font-family: , "georgia" , "times new roman" , "times" , serif; font-size: 11px;">Julieta Cervantes</span><span style="font-family: , "georgia" , "times new roman" , "times" , serif; font-size: 11px;"> </span></span></span><br />
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<span class="visually-hidden" style="border: 0px; clip: rect(0px , 0px , 0px , 0px); color: #999999; font-family: , "georgia" , "times new roman" , "times" , serif; font-size: 11px; height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; width: 1px;">Credi<span style="background-color: white;">Julieta Cervantes</span></span>@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-40990929084813462332016-11-21T17:49:00.000-05:002017-02-07T17:53:34.905-05:00Othello: The Remix @ The Westside Theater (Upstairs)<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje5g_fQMUamN_Hzb7G9USGjP_QvUTPjktrXB-3C82DJUZ6IPNpBp9o14YP0lzHUX3x6Iau28P_YPYsZj7DA53dclxbUX1eeSiPWockTM4mcMMotwRYgdc7wHlVM9CIEYJY4ASdfBo6jMPt/s1600/title_art_lg.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="background-color: black;"><span style="color: white;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje5g_fQMUamN_Hzb7G9USGjP_QvUTPjktrXB-3C82DJUZ6IPNpBp9o14YP0lzHUX3x6Iau28P_YPYsZj7DA53dclxbUX1eeSiPWockTM4mcMMotwRYgdc7wHlVM9CIEYJY4ASdfBo6jMPt/s320/title_art_lg.jpg" width="320" /></span></span></a><span style="background-color: black;"><span style="color: white;"><span style="font-family: 'Times New Roman'; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In recent seasons where hip hop seems to be dominating musical theater, The Q Brothers’ </span><span style="font-family: 'Times New Roman'; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Othello: the Remix</span><span style="font-family: 'Times New Roman'; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> fits right in. But these brothers are no strangers to infusing the style into their work. In the past decade and a half, the production group has created several hip hop adaptations of Shakespeare’s most famous works: </span><span style="font-family: 'Times New Roman'; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Bomb-itty of Errors, Funk it Up About Nothing, Q Gents, </span><span style="font-family: 'Times New Roman'; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">and </span><span style="font-family: 'Times New Roman'; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">I <3 Juliet</span><span style="font-family: 'Times New Roman'; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> have been produced around the country and Off-Broadway. John Leguizamo’s presentation of </span><span style="font-family: 'Times New Roman'; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Othello the Remix </span><span style="font-family: 'Times New Roman'; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">brings the Q Brothers back to New York. </span></span></span></div>
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<span style="background-color: black; font-family: 'Times New Roman'; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: white;">The re-imagining presents Othello (Postell Pringle) as a hip hop mogul, about to embark on a cross country tour to promote the new album for pop-rapper Cassio (Jackson Doran). Fellow artist Iago (GQ) feels betrayed to be the “opener for the opener” on the tour, and sets out to get revenge by ruining Cassio’s career and Othello’s new marriage. Though the plot is modernized, Shakepeare’s themes of jealousy and betrayal are still very apparent. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqCoS0uRLuVBwubi99mG2M4GZZOFTVXXl7eViIoOvY77LUTNDWqz1OnwWisQbqi977pdZmGY8PFRMcbadJl2ms9K6_EMZv7BNX7bPxBy9FNAOxmblrS1ansaTfyMsFHG5nNLtkVgrl2jn0/s1600/tn-500_othelloremix0115.jpg" imageanchor="1" style="background-color: black; margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqCoS0uRLuVBwubi99mG2M4GZZOFTVXXl7eViIoOvY77LUTNDWqz1OnwWisQbqi977pdZmGY8PFRMcbadJl2ms9K6_EMZv7BNX7bPxBy9FNAOxmblrS1ansaTfyMsFHG5nNLtkVgrl2jn0/s320/tn-500_othelloremix0115.jpg" width="320" /></span></a></div>
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<span style="background-color: black;"><span style="color: white;"><span style="font-family: 'Times New Roman'; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Q Brothers incorporate a unique style of comedy into their work. Like a sketch group, there are many characters played by the company of four actors. Wigs, shirt fronts, and hats are used to differentiate the characters. Like an improv troupe, the actors break the fourth wall and make out-there jokes that incite heavy laughs. But where they differ: they do all this in the middle of catchy beats and smart rhymes, just like a hip-hop crew. Move over </span><span style="font-family: 'Times New Roman'; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Hamilton, </span><span style="font-family: 'Times New Roman'; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">looks like you have some competition. </span></span></span></div>
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<span style="background-color: black; font-family: 'Times New Roman'; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: white;">JQ stands out as the character actor of the production. In 80 minutes, he becomes tennis-obsessed record producer Loco Vito, Rosie Perez-like groupie Bianca, and lovesick Dungeons & Dragons player Roderigo. Doran’s Cassio is an endearing comic relief: the guy you want to laugh at and feel bad for at the same time. GQ’s Iago is earnest and jealous; he’s the puppet master villain who you almost want to see succeed. Pringle carries the show as leading man Othello, and your hearts breaks right along with him. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijLLv4NSHviIIsDEIvxPRT82KFVn8y-_OQXYUhFlOyYpuRch_73PvouC3Q75Zl0_J9VXZwvhF2s2FBKIjqw9QRJon8xqTG98z-Ns8rI82VQNAWPopGMN5E1rsVM7kNmILQ7MmCaETnKyso/s1600/90-2.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="background-color: black;"><span style="color: white;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijLLv4NSHviIIsDEIvxPRT82KFVn8y-_OQXYUhFlOyYpuRch_73PvouC3Q75Zl0_J9VXZwvhF2s2FBKIjqw9QRJon8xqTG98z-Ns8rI82VQNAWPopGMN5E1rsVM7kNmILQ7MmCaETnKyso/s320/90-2.jpeg" width="320" /></span></span></a><span style="background-color: black;"><span style="color: white;"><span style="font-family: 'Times New Roman'; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="font-family: 'Times New Roman'; font-size: 12pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Equal parts Shakespeare, Hip hop, and sketch comedy doesn’t sound like a formula that should work. Oh but it does. Even the elderly ladies in the front row were raising the roof. </span></span></span></div>
<span id="docs-internal-guid-bedc46f0-1ac4-638d-0cab-d988513ad76f" style="background-color: black;"><span style="color: white;"><span style="font-family: 'Times New Roman'; font-size: 12pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Othello: The Remix </span><span style="font-family: 'Times New Roman'; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">performs at the Westside Theater.</span></span></span><br />
<span><span style="background-color: black; font-family: 'Times New Roman'; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: white;"><br /></span></span></span>
<span><span style="background-color: black; font-family: 'Times New Roman'; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: white;">Review By: Kelcie Kosberg</span></span></span><br />
<span><span style="background-color: black; font-family: 'Times New Roman'; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: white;">Photos By: Carol Rosegg</span></span></span>@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-11958162884028784252016-11-17T13:51:00.000-05:002017-02-07T13:54:52.696-05:00A DOG STORY @ The Loft at the Davenport’s Black Box<span style="background-color: black;"><span style="color: white;"><br /></span></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL1mpIAuKnzBuTnHl9B8rgyJFp5HkYvF9JOQTkjlUt7p-2Ji-VF6UefaN58fYBV5nU23URGfrzvnqF5zXVmQXznN7yWvcW2GvwPSl5QgBi2GvQJMOzSMZ0Bsbz_2TGy9fVXgD-09mEGKbc/s1600/90.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="background-color: black;"><span style="color: white;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL1mpIAuKnzBuTnHl9B8rgyJFp5HkYvF9JOQTkjlUt7p-2Ji-VF6UefaN58fYBV5nU23URGfrzvnqF5zXVmQXznN7yWvcW2GvwPSl5QgBi2GvQJMOzSMZ0Bsbz_2TGy9fVXgD-09mEGKbc/s320/90.jpeg" width="320" /></span></span></a><span style="background-color: black;"><span style="color: white;"><u>A Dog Story</u>, music and lyrics by Gayla D. Morgan is a
new musical comedy about a career-driven lawyer and his quest to marry a woman
in less than a month in order to secure a promotion. The plot left much to be
desired and the character development was almost remiss throughout the show
until its final moments. <o:p></o:p></span></span></div>
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<span style="background-color: black;"><span style="color: white;">The play was performed in the Loft at the Davenport’s Black Box
theatre. The set was clever. Designed by Lauren Mills, it featured large white
cabinets on either side of the stage whose cubbies were opened to reveal
different signs to signify scene changes and storage for characters to interact
with. <u>A Dog Story</u> was choreographed by Shannon Lewis and directed by
Justin Baldridge. <o:p></o:p></span></span></div>
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<span style="background-color: black;"><span style="color: white;">Roland (David Perlman) is our career-driven lawyer that is
unable to make partner at his firm. From faulty logic, Roland realizes that
others have been promoted before him because of their recent marriages. The
rest of Perlman’s performance was filled with his attempt to pull more depth
out of an otherwise shallow character. <o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7brian74AP-yd5Au7ZdqYKHwkOXptiyCdEZWy6Jfik2b1XCPrbt56L2jol5DRPlfHgi2TmWxLPnR7L_x39g0nKHC6TcHtErWbowwCOckgPH083WL7lucNcAJAzQ3iH9SdeyJMKfyKe9Pw/s1600/tn-500_adogstory_8268.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="background-color: black;"><span style="color: white;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7brian74AP-yd5Au7ZdqYKHwkOXptiyCdEZWy6Jfik2b1XCPrbt56L2jol5DRPlfHgi2TmWxLPnR7L_x39g0nKHC6TcHtErWbowwCOckgPH083WL7lucNcAJAzQ3iH9SdeyJMKfyKe9Pw/s320/tn-500_adogstory_8268.jpg" width="320" /></span></span></a><span style="background-color: black;"><span style="color: white;">Roland’s best friend, Guy (Brian Ray Norris) is a womanizer
that, despite being in his late thirties, acts as if he is scarcely eighteen.
His lewd comments and aggressive nature toward women did not come across as
endearing--his creepiness did not set well with the audience either. Norris was
unable to harness many defining moments.<o:p></o:p></span></span></div>
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<span style="background-color: black;"><span style="color: white;">Guy and Roland make a trip out to the Hamptons where Guy
believes Roland will find his wife, but he must “get a dog!” first. Shortly
after his endeavor of obtaining his new companion, he is in pursuit of Blair
(Stefanie Brown), a beautiful hedge fund manager that Roland believes is
perfect for him. Brown was captivating when she was on stage. <o:p></o:p></span></span></div>
<div class="normal">
<br /></div>
<div class="normal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeIcwICT-zxbReWib7hj-wzekl-jLqwToon9aHg7Os4UDkkb7TepUGH6EziDP5tjKIWMi2N1LbcRi5EBpwrvz_WIohx0itqjAEWX6hCoHbdTkPZgoLPOGhRAZDLSKBFirKD2gWMlgkJuHa/s1600/tn-500_dog6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="background-color: black;"><span style="color: white;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeIcwICT-zxbReWib7hj-wzekl-jLqwToon9aHg7Os4UDkkb7TepUGH6EziDP5tjKIWMi2N1LbcRi5EBpwrvz_WIohx0itqjAEWX6hCoHbdTkPZgoLPOGhRAZDLSKBFirKD2gWMlgkJuHa/s200/tn-500_dog6.jpg" width="200" /></span></span></a><span style="background-color: black;"><span style="color: white;">Lastly, realizing that Blair will never love him if his dog
misbehaves, Roland hires MIranda (Lindsie VanWinkle) to train his new puppy.
VanWinkle is faced with a more developed character surrounded by thin ones and
she does her best to compensate. <o:p></o:p></span></span></div>
<div class="normal">
<br /></div>
<div class="normal">
<span style="background-color: black;"><span style="color: white;"><u>A Dog Story</u> did what it could to win the audience with
its imaginary dog and shaky premise. The cast lacked chemistry and some of
their interactions came across as awkward. The show itself had some special
moments, that, as a dog lover, I did appreciate. <o:p></o:p></span></span></div>
<div class="normal">
<span style="background-color: black;"><span style="color: white;"><br /></span></span></div>
<div class="normal">
<span style="background-color: black;"><span style="color: white;">Review By: Alex Lipari</span></span></div>
<div class="normal">
<span style="background-color: black;"><span style="color: white;">Photos By: <span style="font-family: Montserrat, Arial, sans-serif; font-size: 13px; font-weight: 700;">Jeremy Daniel</span></span></span></div>
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@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-54226715946005315892016-11-16T13:41:00.000-05:002017-02-07T13:47:34.540-05:00PARTY PEOPLE @ The Public Theater<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="background-color: black; color: white;">Writing
this review has been one of the hardest things I have had to do. Not because
the show, but because what it stands for and how relevant it is today.<span style="mso-spacerun: yes;"> </span>With that being said excuse me if this review
is a little scattered. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP69GUTPCQP_FKBc_cYTYnWJXkwr7kTZ1sJxW4ZqV1RCnpAmUUyBHnV645PKwMvIrhBFElYPo_LHoMn_uQmAKMIRGLNMZzW1EEvezKszyGh0lfNoS6UhikXA3kx0LCqtalXqWSgRT6Twpp/s1600/16PARTYPEOPLE-master768.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="background-color: black; color: white;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP69GUTPCQP_FKBc_cYTYnWJXkwr7kTZ1sJxW4ZqV1RCnpAmUUyBHnV645PKwMvIrhBFElYPo_LHoMn_uQmAKMIRGLNMZzW1EEvezKszyGh0lfNoS6UhikXA3kx0LCqtalXqWSgRT6Twpp/s320/16PARTYPEOPLE-master768.jpg" width="320" /></span></a><span style="background-color: black; color: white;">Party
People takes place now. We follow the Journey of Malik and Jimmy, two
millennial’s who are putting on a show to celebrate the party. (The party
meaning Black panthers and Young Lords) The opening scene we see Malik
(Christopher Livingston) practicing a monologue expressing his anger of never
being good enough to be a Black Panther like his father. Enter his right hand
man Jimmy (William Ruiz) who has an alter ego Primo but we will get to that
later. Jimmy gives Malik a pep talk on how they are prepared for this show and
just like that we find ourselves back in the 60’s in the middle of the civil
rights movements. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="background-color: black; color: white;">We
see Black Panthers and Young Lords fighting together using slam poetry, jazz,
hip hop to have their voices heard. It took everything in me to not chant with
them. IT AINT JUST! Throughout these flash backs we come to see each
revolutionary and all the struggles they went through with the corrupt world we
live in and with each other in the party. By intermission we come back to the
present and we see the revolutionaries enter the show, which is all about them.
They make small talk, until deep secrets rise.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="background-color: black; color: white;">Act
two we learn about spies and betrayal in the party, but we mostly focus on our
new generation. How are we fighting for what is just! Do we just hide behind a
hashtag and a keyboard? The party calls us weak, lazy, because we use a
Facebook status to voice our opinion. What will we DO! How will we make Black
lives matter? <span style="mso-spacerun: yes;"> </span>“They don’t want us truly
free, that’s how a man like Donald Trump is elected president”. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWJ5YLE3eQov1gAxDIwsvAZyKwin-DmyqhzRLEHshZHwecHRG8-94b3FUPCU28pi3R0tFIVYUDAHVtrMJlsmWFlUoliOwRUkU1AUMu9kIAv_1QfETdzwPWRkzt8boi1aRh58SxTJrgrn86/s1600/image.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="background-color: black; color: white;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWJ5YLE3eQov1gAxDIwsvAZyKwin-DmyqhzRLEHshZHwecHRG8-94b3FUPCU28pi3R0tFIVYUDAHVtrMJlsmWFlUoliOwRUkU1AUMu9kIAv_1QfETdzwPWRkzt8boi1aRh58SxTJrgrn86/s320/image.jpg" width="320" /></span></a><span style="background-color: black; color: white;">Party
People is the most honest, truthful, realistic show in New York right now. The
cast is filled with an amazing talented ensemble. And is truly an ensemble
piece. The use of multi media is used to perfection and helps show the
difference between generations and how we are all evolving. <o:p></o:p></span></div>
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<br /></div>
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<span style="background-color: black; color: white;">Leaving
the show I was emotionally drained. Walking down the stairs at the Public I
heard some people say, “it was good, but really long”. I don’t know why but
that stuck with me. It was long, yes, but it was necessary. Just like how these
next four years will be long. Just like how we are still fighting for people to
be equal. When will it end? IT AINT JUST! <o:p></o:p></span></div>
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<br /></div>
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<span style="background-color: black; color: white;">All
my babbling aside, I encourage every human to see this show. It is so powerful,
inspiring, and important! I promise you will leave the theatre fired up and
ready to make a change, and not hide behind a hash tag. <o:p></o:p></span></div>
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<span style="background-color: black; color: white;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="background-color: black; color: white;">Review By: Briana Burnside</span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="background-color: black; color: white;">Photos By: <span style="font-family: nyt-cheltenham-sh, georgia, 'times new roman', times, serif; font-size: 11px;">Sara Krulwich</span></span></div>
@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-18384127608462413792016-11-13T14:22:00.000-05:002017-02-07T14:25:36.026-05:00A Taste of Things to Come @ The York Theater Company<span style="background-color: black;"><span style="color: white;"><u>A Taste of Things to Come</u> has enjoyed its first New York
debut at The York Theatre Company at St. Peter’s. <u>Taste</u> is a welcome
adventure through time—exploring the dichotomy of a woman’s life in the 1950’s
vs. the 1960’s. The book, music and lyrics by Debra Barsha and Hollye Levin
brought the pervasive experiences of women; friendship, desire, marriage,
societal pressures, oppression and more—to life.</span></span><br />
<div class="Body">
<br /></div>
<div class="Body">
<span style="background-color: black; color: white;">Director/choreographer Lorin Latarro utilized Steven C. Kemp’s
fully stocked kitchen with moving blocks of counters mirroring the style of
their respective decades. In Act I we are greeted with the 1957 kitchen,
complete with a window/computer screen that accompanied the cast with
television clips from the 50’s and more. <o:p></o:p></span></div>
<div class="Body">
<br /></div>
<div class="Body">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxGTQQyaA3vAyvXA1qwkkw7LJ085H8e7klO7dzPGHYG9aOHdNRfNWfOFZfN6ZeTU5mZN2uSz7xYCyRK63MsUwMpmwWr0-zLguCxxAC9sWhKRALWWEgV-GHNlllhIs2YRncOowfv0LVNbo4/s1600/a-taste-of-things-to-come-production-photo-6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="background-color: black; color: white;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxGTQQyaA3vAyvXA1qwkkw7LJ085H8e7klO7dzPGHYG9aOHdNRfNWfOFZfN6ZeTU5mZN2uSz7xYCyRK63MsUwMpmwWr0-zLguCxxAC9sWhKRALWWEgV-GHNlllhIs2YRncOowfv0LVNbo4/s320/a-taste-of-things-to-come-production-photo-6.jpg" width="320" /></span></a><span style="background-color: black; color: white;">In Act II, the scene opens up to reveal the all-women band behind
the counters (Gillian Berkowitz/Piano and Conductor, Ann Klein/Electric and
Acoustic Guitar, Barbara Merjan/Drums and Percussion, Sue Williams/Upright and
Electric Bass), a living room complete with a shag rug and other iconic 60’s
pieces. Lighting Design by Nathan W. Scheuer and Costume Design by Dana Burkart
was notable throughout the performance. <o:p></o:p></span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span style="background-color: black; color: white;">The play explores the lives of four women, Joan Smith, Agnes
Crookshank, Dottie O’Farrell, and Connie Olsen. Each one represents different
personas of the time periods. While Act I was quite whitewashed, Act II hit
home with a touching exploration of the issues of women, race and status;
creating a much deeper connection to the heart of the audience. <o:p></o:p></span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span style="background-color: black; color: white;">Joan Smith (Paige Faure) is the ring-leader—the organizer of the
Winnetka women. Highly intelligent but limited as a woman—Faure does not
struggle to personify her character’s growth into the age of feminism. It is
Faure that is the glue of the performance. <o:p></o:p></span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span style="background-color: black; color: white;">One of Joan’s best friends (just don’t tell the others) is Connie
Olsen (Autumn <o:p></o:p></span></div>
<div class="Body">
<span style="background-color: black; color: white;">Hurlber). Connie is blonde haired and blue eyed with the
“perfect” marriage. Faced with the ultimate form of “limbo,” Hurlber explores
interracial issues in the second act. Her connection with her character was as
powerful as her chemistry with the cast. <o:p></o:p></span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span style="background-color: black; color: white;">Agnes Crookshank (Janet Dacal) is the forever-single woman of the
group. Refusing to accept the overall zeitgeist of the 1950’s, Crookshank
pushes all of the envelopes she encounters and Dacal encompasses the early
dents in the glass ceiling in the form of defiance. This blossoms into success
in finding her place in the world outside of Illinois and Dacal more than just
“passes” in her role. <o:p></o:p></span></div>
<div class="Body">
<br /></div>
<div class="Body">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZTmgynQcgenck-zqJ44Dl0wENZHRvOZtnQjasSgXVd5Yu3RO2IaL0P97efRa8iDCnpT1E9flFWB0WcC26G0ETg2LyVJI83JE32WzodXxoSGC_SFv9iVhPT1bH9hfLtpJZnQXvylLpDZwc/s1600/a-taste-of-things-to-come-production-photo-8.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="background-color: black; color: white;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZTmgynQcgenck-zqJ44Dl0wENZHRvOZtnQjasSgXVd5Yu3RO2IaL0P97efRa8iDCnpT1E9flFWB0WcC26G0ETg2LyVJI83JE32WzodXxoSGC_SFv9iVhPT1bH9hfLtpJZnQXvylLpDZwc/s320/a-taste-of-things-to-come-production-photo-8.jpg" width="320" /></span></a><span style="background-color: black; color: white;">Dottie O’Farrell is the personification of feminine zeitgeist. A
suburban mother of four (or was it six?), Allison Guinn hilariously pulls the
proud mother almost left behind in the 1960’s to the forefront of the play. As
an audience, we are reminded that motherhood is just as powerful as any other
life path; and that the sexual revolution did wonders for everyone. Guinn was
perfect for the role. <o:p></o:p></span></div>
<div class="Body">
<br /></div>
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<div class="Body">
<span style="background-color: black; color: white;"><u>A Taste of Things to Come</u> hit almost every major social
and political event for women of 50’s and 60’s—from “Dear Abby” to the pill. It
was an incredible journey that I was charmed to be a part of. Debra Barsha and
Hollye Levin created a play that is not only reflective but inclusive. <o:p></o:p></span></div>
<div class="Body">
<span style="background-color: black; color: white;"><br /></span></div>
<div class="Body">
<span style="background-color: black; color: white;">Review By: Alex Lipari</span></div>
<div class="Body">
<span style="background-color: black; color: white;">Photos By: Carol Rosegg</span></div>
@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-70874863929951901372016-11-12T14:17:00.000-05:002017-02-07T14:19:57.813-05:00Coriolanus from Man to Dragon @ Italy Time Theatre <span style="background-color: black;"><span style="color: white;"><br /></span></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-bP4v4svxKuXn96YBWOLWJ7bajeXBPAUfbh1-x80lP79q-KE0V9I4d8lAwnF2RShcdIhdOnB3_5W_5PEPsDiVYAdhKdKbhjaeyvf-TcU4SGyxXK4wAnPM1kIYgQkvmPI8-zN9F-ikkK6H/s1600/iconsquareCoriolanusPoster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="background-color: black;"><span style="color: white;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-bP4v4svxKuXn96YBWOLWJ7bajeXBPAUfbh1-x80lP79q-KE0V9I4d8lAwnF2RShcdIhdOnB3_5W_5PEPsDiVYAdhKdKbhjaeyvf-TcU4SGyxXK4wAnPM1kIYgQkvmPI8-zN9F-ikkK6H/s320/iconsquareCoriolanusPoster.jpg" width="240" /></span></span></a></div>
<div class="Body">
<span style="background-color: black;"><span style="color: white;"><u>Coriolanus from Man to Dragon</u> adapted by Omri Kadim and
presented by Shakespeare in the Square and Combative Theatre Co. is an
interesting look at Shakespeare’s Ancient Rome. <o:p></o:p></span></span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span style="background-color: black;"><span style="color: white;">The play was presented in somewhat of a thrust fashion and the
audience was made to stand and be a part of the production for roughly 65% of
the play. Cast members utilized the stage and space in front of it, with a ramp
leading down. Members of the Fight Core frequently spoke to audience members as
if they were Roman citizens, ushering them to different parts of the floor. It
was an immersive dynamic experience that director Yuriy Pavlish attempted to
utilize to bring a different element to <u>Coriolanus</u>. Also I must note
that the cast was a healthy mix of genders, another new take on the play. <o:p></o:p></span></span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span style="background-color: black;"><span style="color: white;">We begin with dozens of fight scenes, the cast in tattered togas
with strips of leather to accentuate a character’s status. It seems costume
designer Fan Zhang worked with a budget as best as possible. At times it was a
struggle to tell which group fighting were Roman soldiers and which were the
Volscians. This issue was not assuaged by the passage of time and the lessening
of violence—this made the play somewhat muddled. <o:p></o:p></span></span></div>
<div class="Body">
<br /></div>
<div class="Body">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjqxmOFrbMcmT2NKBJU-lKtp057RTYg_9jHC7uTDun5Hkx0aX90SMCfe7pNsd8zlLIgcYQerYcjDXyc4MtWCdCZrZw-h1vP65QGTQSaiWOguuef8q8jYLibQG9v00YBlQu8zwJn5Zo4wB-/s1600/Coriolanus-3-Photo-Credit-Zach-Terry.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="background-color: black;"><span style="color: white;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjqxmOFrbMcmT2NKBJU-lKtp057RTYg_9jHC7uTDun5Hkx0aX90SMCfe7pNsd8zlLIgcYQerYcjDXyc4MtWCdCZrZw-h1vP65QGTQSaiWOguuef8q8jYLibQG9v00YBlQu8zwJn5Zo4wB-/s320/Coriolanus-3-Photo-Credit-Zach-Terry.jpg" width="320" /></span></span></a><span style="background-color: black;"><span style="color: white;">Members of the cast entered the scene from three different
points, one at each portion of the thrust. Sounds of battle were heard behind
the curtain shielding audience members from the seats they would gain access to
when the performance allowed. Every avenue was used to express different
portions of the play. <o:p></o:p></span></span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span style="background-color: black;"><span style="color: white;">The combat scenes were filled with death and the scathing sound
of metal on metal or metal to spear. The cast was able to utilize a host of
weapons—swords, spears, hidden daggers and dirks. The theatrics were well
placed, the stances and fighting style commensurate with warriors of Ancient
Rome. However, most cast members found it difficult to fight at speed and many
moves came across as contrived. The exception were battles between Coriolanus (Jefferson
Reardon) and Aufidius (Chris Dooly)—both men were very well suited to battle at
speed and it was a pleasure to watch. <o:p></o:p></span></span></div>
<div class="Body">
<br /></div>
<div class="Body">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8bLeNmWUvZsHC8UjXOE-5q7Ch0bGIO6NXcvhRSOSfRCT7meNsZLWyqI07MCMWImlhv9PjhPE3bnKT8wWcDeAij05e7sMnXVIkC7NOD9SdwSiVSeugl8kPGLvEXm2o_zBNGzKUFfixjomE/s1600/2_Coriolanus.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="background-color: black;"><span style="color: white;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8bLeNmWUvZsHC8UjXOE-5q7Ch0bGIO6NXcvhRSOSfRCT7meNsZLWyqI07MCMWImlhv9PjhPE3bnKT8wWcDeAij05e7sMnXVIkC7NOD9SdwSiVSeugl8kPGLvEXm2o_zBNGzKUFfixjomE/s320/2_Coriolanus.jpg" width="320" /></span></span></a><span style="background-color: black;"><span style="color: white;">Each cast member had a solid hold of the Shakespearean prose, not
faltering with its heft. The play also had a healthy dose of comedic relief
mostly doled out by Menenius (Felix Birdie). Other notable performances include
Volumnia (Patricia Black) and Brutus (Oliver Palmer). Black was engaging and
each time she entered the stage she was welcome. Palmer held many roles aside
from Brutus and in each he excelled at bringing the audience in. Reardon
(Coriolanus) channeled his rage and anger very well, his performance palpable. <o:p></o:p></span></span></div>
<div class="Body">
<br /></div>
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<div class="Body">
<span style="background-color: black;"><span style="color: white;">In all, the performance was difficult to follow at times because
of the similarity of costume but was a unique take on <u>Coriolanus</u>. <o:p></o:p></span></span></div>
<div class="Body">
<span style="background-color: black;"><span style="color: white;"><br /></span></span></div>
<div class="Body">
<span style="background-color: black;"><span style="color: white;">Review By: Alex Lipari</span></span></div>
<div class="Body">
<span style="background-color: black;"><span style="color: white;">Photos By: <em style="border: 0px; font-family: 'PT Serif', arial, sans-serif; font-size: 15px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Emilio Madrid-Kuser</em></span></span></div>
@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-68532520642550424602016-11-02T18:03:00.000-04:002017-02-07T18:15:44.422-05:00Tick Tick Boom @ The Acorn Theater @ Theatre Row<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW8dvoDznLc3eckoPUdO_fFfcYzGu4evBIbTCN7ejIZ-FiNLWdwDjwaIHHAZSSs86UcI4NOzS18WSbdMaNZ7_pU7QZia-g0nhI6k7krMIpyPgKS5MwZDsZdO9JqQwdjZek0rz26g9A6Er1/s1600/Tick-Tick-Boom-Musical-Off-Broadway-Show-Tickets-176-091916.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW8dvoDznLc3eckoPUdO_fFfcYzGu4evBIbTCN7ejIZ-FiNLWdwDjwaIHHAZSSs86UcI4NOzS18WSbdMaNZ7_pU7QZia-g0nhI6k7krMIpyPgKS5MwZDsZdO9JqQwdjZek0rz26g9A6Er1/s1600/Tick-Tick-Boom-Musical-Off-Broadway-Show-Tickets-176-091916.jpg" style="cursor: move;" /></a></div>
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<span style="background-color: black;"><span style="color: white;"><span style="font-family: "varela round"; letter-spacing: 0.5px;">Before </span><em style="font-family: 'varela round'; letter-spacing: 0.5px;">Rent</em><span style="font-family: "varela round"; letter-spacing: 0.5px;">, there was </span><em style="font-family: 'varela round'; letter-spacing: 0.5px;">Tick, Tick… BOOM!</em><span style="font-family: "varela round"; letter-spacing: 0.5px;"> This autobiographical musical, by the Pulitzer Prize and Tony Award winning Jonathan Larson, is the story of an aspiring composer questioning his life choices on the eve of his thirtieth birthday. His girlfriend wants to get married and move out of the city, his best friend is making big bucks on Madison Avenue, but Jon is still waiting on tables and trying to write the great American musical. This exhilarating, funny, and moving work by the late Larson will speak to anyone who's ever gotten lost on their way to finding their dreams. </span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiTDm8mOnNm7n2EI_DZqJOIhzeeU_SN_o9EHg9dK96JuyyEpevvoWA6w9fVU0EyOBo7PBUOUIAJMZfLqGRl0Tki_LExSJD708B2E2MluHUVDvb-aACdNNodu8GqYvUHYm18KZ5J2JnSQul/s1600/tn-500_ticktick041.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiTDm8mOnNm7n2EI_DZqJOIhzeeU_SN_o9EHg9dK96JuyyEpevvoWA6w9fVU0EyOBo7PBUOUIAJMZfLqGRl0Tki_LExSJD708B2E2MluHUVDvb-aACdNNodu8GqYvUHYm18KZ5J2JnSQul/s320/tn-500_ticktick041.jpg" width="320" /></a><span style="background-color: black;"><span style="color: white;">“Tick, Tick…BOOM!” has book, music and lyrics by Jonathan Larson. David Auburn serves as Script Consultant and Joey Chancey is Musical Director. Jonathan Silverstein directs, with choreography by Christine O’Grady.</span></span></div>
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<span style="background-color: black;"><span style="color: white;">The cast of “Tick, Tick…BOOM!” includes Nick Blaemire, Lilli Cooper (begins 11/22), Ciara Renée (thru 11/20), and George Salazar. The creative team of “Tick, Tick…BOOM!” includes Steven Kemp (set design), Jennifer Paar (costume design), Josh Bradford (lighting design), Julian Evans (sound design), and Ricola Wille (prop design). Joanna Muhlfelder is production stage manager. </span></span></div>
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<span style="background-color: white;"><i style="background-color: black; color: white; font-family: '"arial"', '"helvetica"', sans-serif; letter-spacing: normal;">Tick, Tick... BOOM! </i><span style="background-color: black;"><span style="color: white;"><span style="font-family: arial, helvetica, sans-serif;">opened with Keen Theater Company on October 20th 2016 and plays through December 18th, 2016. This </span><span style="font-family: "arial", "helvetica", sans-serif;">revival</span><span style="font-family: arial, helvetica, sans-serif;"> is a must see, make sure you catch it before Ciara Renee's final performance.</span></span></span></span><br />
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<span style="background-color: white;"><span style="background-color: black;"><span style="color: white;"><span style="font-family: arial, helvetica, sans-serif;">Photo By: Joan Marcus</span></span></span></span><br />
<span style="background-color: white; font-family: "varela round"; font-size: 14px; letter-spacing: 0.5px;"><br /></span>@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-41658201224414516392016-10-31T17:43:00.000-04:002017-02-07T17:48:04.102-05:00Les Liasions Dangereuses @ The Booth Theater<div dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_KqgqA82LLG5p2RLCH_OyrugormGWEY4VWf2R8lT5GuMNU0xAK4B2Hl2RQE42SLU5cokgSPX9iDanVcd_u9n25WPoUfSP9DtgMGYQ0hDWz8vbKjf2-v4ORbAgdVhQ3PC0XoQ0K3yGlzc6/s1600/82660-1.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_KqgqA82LLG5p2RLCH_OyrugormGWEY4VWf2R8lT5GuMNU0xAK4B2Hl2RQE42SLU5cokgSPX9iDanVcd_u9n25WPoUfSP9DtgMGYQ0hDWz8vbKjf2-v4ORbAgdVhQ3PC0XoQ0K3yGlzc6/s320/82660-1.jpeg" width="206" /></a><span style="background-color: black;"><span style="color: white;"><span style="font-family: 'Helvetica Neue'; font-size: 11pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Since its initial 1987 Broadway debut with Lindsay Duncan and Alan Rickman, </span><span style="font-family: 'Helvetica Neue'; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Les Liasions Dangereuses</span><span style="font-family: 'Helvetica Neue'; font-size: 11pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> has returned to the Booth Theatre starring Janet McTeer and Liev Schreiber. A performance filled with the underbelly of intrigue and sexual manipulation of ancien régime France comes from Christopher Hampton’s adaptation of Choderlos de Laclos’ 1787 novel. </span></span></span></div>
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<span style="background-color: black;"><span style="color: white;"><span style="font-family: 'Helvetica Neue'; font-size: 11pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Directed by Josie Rourke, </span><span style="font-family: 'Helvetica Neue'; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Dangereuses</span><span style="font-family: 'Helvetica Neue'; font-size: 11pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> witty lines and scintillating tales scurry across the stage in beautiful period garb designed by Tom Scutt. Scutt also designed the unit set that resembles an old art gallery—the walls peeling and gorgeous paintings lying about, waiting to be properly marveled at. </span></span></span></div>
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<span style="background-color: black; font-family: 'Helvetica Neue'; font-size: 11pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: white;">Janet McTeer plays La Marquise de Merteuil, a happily widowed aristocrat who gains her pleasure from the power she imposes on others—her success measured only by the misery and destruction that falls before her. Expertly, she hides her intentions behind her perfect mannerisms and military-like strategy. Her aim is to exercise the only power she can possibly possess as a woman and achieve its ends better than a man. Her competitor is Liev Schreiber, Le Vicomte de Valmont, serially unwed and searching for the highest conquests to earn him fame and legend (from his loins). His intentions only hidden by his quick wit and easy command of a woman’s virtue (or lack thereof). </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7jG_8kftztVKMtYq9iP7Q_wZT96Qp133peJkffLbo9lLR0vvJfJxPATU1Z9wCCVSUQiD0XeAQYYJ1CWaQV4LLQIyNtiF2K37p5sJHYb4JtwPPQfWKXwsnRv6X_e132zqeW-w6b0t1kJLu/s1600/Lia1650.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="background-color: black;"><span style="color: white;"><img border="0" height="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7jG_8kftztVKMtYq9iP7Q_wZT96Qp133peJkffLbo9lLR0vvJfJxPATU1Z9wCCVSUQiD0XeAQYYJ1CWaQV4LLQIyNtiF2K37p5sJHYb4JtwPPQfWKXwsnRv6X_e132zqeW-w6b0t1kJLu/s200/Lia1650.jpg" width="200" /></span></span></a><span style="background-color: black; font-family: 'Helvetica Neue'; font-size: 11pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: white;">Their major victims are a 15-year-old virgin, Cecile Valanges (Elena Kampouris), her true love Le Chevalier Danceny (Raffi Barsoumian), and a happily married and virtuous woman Madame de Tourvel (Birgitte Hjort Sorensen). La Marquise desires revenge on a former lover and tasks Valmont to deflower Cecile before her impending marriage and Valmont wishes to become an irresistible yearning of Madame de Tourvel; enough for her to drop her religious afflictions and leave her husband. A feat he views as the height of his career; so impossible that only he can achieve its end. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpJ-n9gF36EC57fzagxeosJutIXc4u91Q3W-eNRtKuvrMxEf9fXBGJFS0xLBJ4wddsM0TzUiUzMJfbDU24aI4K1u5dPZYUnDq9AQCjKHYrYxdT7TTAxHmQSHxgz9jNWutjRdwRqME2uos7/s1600/90.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="background-color: black;"><span style="color: white;"><img border="0" height="112" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpJ-n9gF36EC57fzagxeosJutIXc4u91Q3W-eNRtKuvrMxEf9fXBGJFS0xLBJ4wddsM0TzUiUzMJfbDU24aI4K1u5dPZYUnDq9AQCjKHYrYxdT7TTAxHmQSHxgz9jNWutjRdwRqME2uos7/s200/90.jpeg" width="200" /></span></span></a><span style="background-color: black; font-family: 'Helvetica Neue'; font-size: 11pt; font-style: normal; font-variant-alternates: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="color: white;">What ensues is Schreiber and McTeer commanding the stage and performance. Each one pulled from the audience a sense of overarching foreboding and hopelessness. Rourke was careful to include comedic relief wherever possible. The acting was without flaw and the play itself a dark undertaking where characters shed their innocence, their feelings of true love and desires for the art of the game. </span></span></div>
<span style="background-color: black;"><span style="color: white;"><br /><span style="font-family: 'Helvetica Neue'; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Difficult as it is to bring all aspects of a novel to life, </span><span style="font-family: 'Helvetica Neue'; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Les Liaisions Dangereuses </span><span style="font-family: 'Helvetica Neue'; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">does its best and is graced with a very capable cast. While there was a lot of comedy and talent to bridge the gaps of a thin plot and overt hideous intentions that did not always run deeper, </span><span style="font-family: 'Helvetica Neue'; font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Dangereuses </span><span style="font-family: 'Helvetica Neue'; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">opened an eye to the musical chairs of lovers and destroyers of pre-revolution France.</span></span></span><br />
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<span style="background-color: black; font-family: 'Helvetica Neue'; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="color: white;">Review By: Alex Lipari</span></span><br />
<span style="font-family: 'Helvetica Neue'; font-size: 11pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="background-color: black;"><span style="color: white;">Photos By: Joan Marcus</span></span></span><br />
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@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-91346191241952366002016-10-20T11:41:00.000-04:002016-10-20T11:41:05.211-04:00OH HELLO @ THE LYCEUM THEATRE<div style="font-size: 13px; margin: 0px;">
<span style="color: white; font-family: Trebuchet MS, sans-serif;">A few minutes into “Oh, Hello” I noticed in front of me a well dressed older man with a disinterested posture. Maybe he wasn’t a fan of the stand up comedy of John Mulaney or Nick Kroll or the sketches from Kroll Show, the latter’s Comedy Central series that birthed the characters of two stylized curmudgeons from the Upper West Side who were now lighting up the historic Lyceum Theater. Maybe he had already decided this was a pop culture cash in and there was nothing for him here, but as the two began their descent into a near perfect deconstruction of the theater (surprise surprise, the show is wonderful), one thing became clear: It wasn’t IF they’d break through to the stiff man in front of me, but when. </span></div>
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<span style="color: white; font-family: Trebuchet MS, sans-serif;">Mulaney and Kroll play George St. Geegland and Gill Faizan, two decades long best friends who are thrown to the wind after the comfort of their rent stabilized apartment is taken away. The plot doesn't dig much deeper, but the story itself is just a springboard for the two to completely dismantle both cliches of the theater and New York in a rapid fire series of disjointed vignettes. The narrative is broken constantly, peppered with asides to the audience, requests for bathroom breaks, criticism from one another about their delivery, etc. It’s the slapdash, shooting-from-the-hip vibe that gives it all a special charm, with all the silliness enhanced by the fever dream of a set, a cobbled together collection of props and other memorabilia from previous shows at the Lyceum that seems to constantly remind us not to take this too seriously.</span></div>
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<span style="color: white; font-family: Trebuchet MS, sans-serif;">The result is a laugh on nearly every line thanks to the incredibly polished script and endearing characters the two have delicately crafted, as well as something all too rare to Broadway, playful moments of improvisation that, thanks to their obvious friendship and comfortability, is (gasp!) actually just as funny as the dialogue. No moment overstays its welcome as the two pin ball their way from discussing their origin story to chewing out their unpaid intern in the booth for delayed sound cues to introducing genuine surprise celebrity guests for an impromptu talk show to addressing specifically expensive set pieces as specifically expensive set pieces, all culminating in a final bow that leaves the audience satisfied that there is not one more drop of humor to be squeezed from the evening. </span></div>
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<span style="color: white; font-family: Trebuchet MS, sans-serif;">When the man in front of me eventually let out a satisfied laugh (during a very small moment when Mulaney’s Geegland showed genuine contempt for the audience for not being into Steely Dan enough to enjoy the show) I could tell he finally agreed he wasn’t seeing some flash in the pan novelty act, but something completely different. He relaxed like he was listening to an exotic instrument he had never heard before but that he couldn’t deny was fine tuned and being played with perfection. You don’t have to already love Kroll and Mulaney to find something special here, though like listening to copious amounts of Steely Dan it’s better for you in the long run. </span></div>
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<span style="color: white; font-family: Trebuchet MS, sans-serif;">Review: Dave Columbo</span></div>
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<span style="color: white; font-family: Trebuchet MS, sans-serif;">Photo: Dave Kotinksy</span></div>
@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-81131425703275020232016-10-20T11:33:00.001-04:002016-10-20T11:33:03.405-04:00GYPSY @ PHOENIX RED BANK<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4pxUumIbzt9xGgXgjCK5eCHJAW05AXecpouEcd9zgl6TfrPSUiw5Nce98QyFL-AEMchPd6k9JlGFRwiM4CItbcDxibcHgoJLWAyNBK8PwUA9PTJJPpZ2i9J7PSgtFWSBoFGN1RgL0jHlw/s1600/14333771_1272642072766790_5578785068982366655_n.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4pxUumIbzt9xGgXgjCK5eCHJAW05AXecpouEcd9zgl6TfrPSUiw5Nce98QyFL-AEMchPd6k9JlGFRwiM4CItbcDxibcHgoJLWAyNBK8PwUA9PTJJPpZ2i9J7PSgtFWSBoFGN1RgL0jHlw/s320/14333771_1272642072766790_5578785068982366655_n.jpg" width="244" /></a><span style="color: white;">I’d imagine there is a lot of pressure associated with
staging, what most consider to be, the GREATEST American musical of all time.
One must dissect the elements that make it to be just that: the greatest. Well,
here she is boys, Phoenix of Red Bank’s stellar production of Gypsy at the
gorgeous Count Basie Theatre, shining in all it’s glory.<o:p></o:p></span></div>
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<span style="color: white;">Bernadette Peters once compared the character of Momma Rose
to “the female equivilant of King Leer.” Under the ginger care of director Tom
Martini, Loretta Boyle lead the cast with the verve and doggedness every Momma
must possess.</span></div>
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<span style="color: white;"><o:p> </o:p>The diadem of this production, however, was within her
daughter Louise, played by Kathryn Pentek. Pentek explored a vulnerability
who’s depths jarred the audience. We watched her transform from the overlooked
tomboy cast aside by her mother, to a sexualized demigoddess casting her
mother aside. Miss Pentek’s performance was nothing short of heartbreaking,
thoroughly embodying the spirit of the piece.</span></div>
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<span style="color: white;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUwDDhs0J1oxzLF2Cy9oc_wCZ6UcipMR-pQS2URotnZYdvzcBJw7RnXRNS4s-aHU1egZplkrGtDIAYg9SwiOPlppYP1o5uhJeFfy0a0Ddlkvk-30ahaPTAgDBRXSZFw-nZNoLOxiSDOAZY/s1600/14492491_1280755838622080_1883375405258424584_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUwDDhs0J1oxzLF2Cy9oc_wCZ6UcipMR-pQS2URotnZYdvzcBJw7RnXRNS4s-aHU1egZplkrGtDIAYg9SwiOPlppYP1o5uhJeFfy0a0Ddlkvk-30ahaPTAgDBRXSZFw-nZNoLOxiSDOAZY/s320/14492491_1280755838622080_1883375405258424584_n.jpg" width="320" /></span></a></div>
<div class="MsoNormal">
<span style="color: white;">Bob Sammond musically directs a show with tight knit harmonies very reminiscent of the vaudevillian days. Elise Klinger's choreography matches that same level of grace and historical accuracy. </span></div>
<div class="MsoNormal">
<span style="color: white;"><br /></span></div>
<span style="color: white;">Stand out performances littered the show with every twist
and turn. Chris Lorenc took on the role of Tulsa, leaving every single person
in my row breathless, and for good reason. His mastery of the time period
nuances, execution of the dance and<span style="mso-spacerun: yes;">
</span>sheer chemistry with every single person on stage was certainly
infectious and memorable. Mikayla Petrilla lit up the whole stage with
infallible energy as Electra and led her fellow strippers to victory in a
hilarious rendition of “You Gotta Get a Gimmick.”’<o:p></o:p></span><br />
<div class="MsoNormal">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal">
<span style="color: white;">Its always a wonderful feeling when you see a classic just
done right. Phoenix Red Bank undoubtedly provided that sense of nostalgia and a
toetapping good time.</span></div>
<div class="MsoNormal">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal">
<span style="color: white;">Review: Brittany Goodwin</span></div>
<div class="MsoNormal">
<span style="color: white;">Photos by: Rick Kowalski</span></div>
<div class="MsoNormal">
<o:p></o:p></div>
@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-27247751566460512682016-10-08T11:41:00.000-04:002016-10-08T11:41:04.941-04:00ALL THE WAYS TO SAY I LOVE YOU @ THE LUCILLE LORTEL THEATRE<div style="margin: 0px;">
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<span style="color: white; font-family: inherit;">My
English teacher once admitted every story is a variation of a handful of tired
archetypes. "The beauty," she said, "is in a familiar narrative being told in an
exciting way."</span></div>
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<span style="color: white; font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiff-ZySa_k7NJBb1hj4-vpTqjn7TtYBr7T3T_isV79PotcrwDDDMzev__jW6_VJ1l0LaVL5JQJKQ1t4kWyoD0UoQR81ghVEylTEUMFp1TD1Jin-JaVhpMj9234w3mTJM4QhIQDdyjgtbUS/s1600/118127.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiff-ZySa_k7NJBb1hj4-vpTqjn7TtYBr7T3T_isV79PotcrwDDDMzev__jW6_VJ1l0LaVL5JQJKQ1t4kWyoD0UoQR81ghVEylTEUMFp1TD1Jin-JaVhpMj9234w3mTJM4QhIQDdyjgtbUS/s320/118127.jpg" width="213" /></span></a><span style="color: white; font-family: inherit;"> This was on my mind while watching “All The Ways To Say I Love
You” at the Lucille Lortelle theater, thanks to the skills of playwright Neil
Labute, director Leigh Silverman, and particularly Judith Light who all deliver
us Mrs. Johnson, an English teacher bound by her curiosity of a student’s
obtuse question about lying, her intrigue with the fluidity of the truth, and
by her burden of transgressions she admits to but can’t in good conscience
condemn. <o:p></o:p></span></div>
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<br /></div>
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<span style="color: white; font-family: inherit;">In
a few minutes the familiarity of the rather simple story is clear, but malaise
has no time to set in thanks to Judith Light’s portrayal. Her seemingly fragile
frame is betrayed by a powerful drum beat of a performance, complete with
moments of delicate calm interspersed with erratic explosions of movement and
force. Her honesty is palpable and often moves faster than she can, resulting
in us piecing the story together less from her enthusiasm but in the moments she
recoils at simple words spoken before she’s fully ready to meet their emotional
weight, leaving us with multiple pregnant pauses and the uneasiness that this
teacher, who also acts as the school’s guidance counselor, is as in need of
guidance as any of us.<o:p></o:p></span></div>
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<br /></div>
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<span style="color: white; font-family: inherit;">There
is an argument that the tone of her performance borders on unmotivated at
times. She clenches her hands, clutches her stomach, and bellows air out of her
like an animal, and some of these events do more to disrupt the pace than
accent a moment, though all I had to do was remember the unpredictability of
some of the more colorful teachers I’ve had the pleasure of knowing and
suddenly these jarring outbursts seemed in the realm of possibility. On a few
occasions though even I was thrown off by some of these choices, along with
stiff motivations of movement around the small set that lacked the honesty of
the rest of her performance. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="color: white; font-family: inherit;">The
claustrophobia of the set is telling, as we are treated to merely a portion of
her classroom office lit by a lone ceiling light, and equally sterile office
windows covered by blinds, the room cluttered and busy, framed tightly in about
half the available space the of the theater which cuts off the proscenium to
allow just enough space to let her move, but not enough to let her find comfort
for longer than a moment. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: white;"><span style="font-family: inherit;">It’s
hard to imagine this play working without Judith Light. LaBute’s writing is
solid and specific as usual, but it’s Judith’s energy that coerces us to listen
and her pain that we take with us on the ride home. This story has been told
many times, but never quite this way. </span><span style="font-family: arial, sans-serif; font-size: 11px;"><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="color: white; font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span style="color: white; font-family: inherit;">Review: Dave Columbo</span></div>
<div class="MsoNormal">
<span style="color: white; font-family: inherit;">Photo: Joan Marcus</span></div>
<!--EndFragment--></div>
@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-19110300447221207092016-10-08T11:33:00.001-04:002016-10-08T11:33:33.995-04:00THE PRODUCERS @ PAPERMILL PLAYHOUSE<div class="MsoNormal" style="line-height: 200%;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxbNUQ9ByeHo3bNNwFfyfTkaOY1Ui5kAiXWxnRszP_yk5FVhBzPYkH3NEbofWSTX7Crknn6ip_pjNqw2mZGoYTIvBJak_DFm726-dV7teg_aM2X2N939Ow_aEe3n_XM0xIp9kEVmRD5_45/s1600/-07b7269485aa6f75.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxbNUQ9ByeHo3bNNwFfyfTkaOY1Ui5kAiXWxnRszP_yk5FVhBzPYkH3NEbofWSTX7Crknn6ip_pjNqw2mZGoYTIvBJak_DFm726-dV7teg_aM2X2N939Ow_aEe3n_XM0xIp9kEVmRD5_45/s320/-07b7269485aa6f75.jpg" width="320" /></a><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"><span style="color: white;"><i style="mso-bidi-font-style: normal;">The
Producers</i> is old-school musical comedy gold. Following the antics of two
men who set out to produce the worst show in town so they can pocket the rest
of the money, the night is filled with lots of glam, glitz, schtick, and
hilarity. One of the hottest tickets in town during its time, winning a record
12 Tony awards, has had Susan Stroman’s original direction and choreography
wonderfully recreated by Bill Burns and Don Stephenson (respectively) at a
venue holding its very own Tony award- New Jersey’s own Papermill Playhouse.
Robin Wagner’s scenery and William Ivey Long’s costumes were also based on the
record-breaking production’s original designs, but still feel dazzling. While
all of the designs are incredible, the main draw is the brilliant and hilarious
cast.</span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: 'Times New Roman'; line-height: 200%; text-indent: 0.5in;"><span style="color: white;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="color: white;"><span style="font-family: 'Times New Roman'; line-height: 200%; text-indent: 0.5in;">With so many elements harkening to the 2001
show it is impossible not to draw comparisons, particularly to its two stars. Nathan
Lane and Matthew Broderick are synonymous with </span><i style="font-family: 'Times New Roman'; line-height: 200%; text-indent: 0.5in;">The Producers</i><span style="font-family: 'Times New Roman'; line-height: 200%; text-indent: 0.5in;">, but the two men taking on the roles here handle them
remarkably. Michael Kostroff tackles “that slimy, sleazy” Max Bialystock
opposite David Josefberg’s Leo Bloom. This dynamic duo has great chemistry and
talent between them, working wonderfully together to take on their iconic roles
in a way that alludes to Lane and Broderick while still making it their own.
Kostroff particularly stands out in the monstrous second-act number “Betrayed”,
which he hilariously remarks mid-song as a “son-of-a-bitch”, and Josefberg’s “I
Wanna Be a Producer” dazzles as he is flanked by the very talented members of
the ensemble.</span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: 'Times New Roman'; line-height: 200%;"><span style="color: white;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: 'Times New Roman'; line-height: 200%;"><span style="color: white;">While the titular couple lead the
show spectacularly, it’s the featured colorful cast of characters that steal
the scenes. Ashley Spencer’s Ulla is super Swedish, stretching out vowels to
the extreme. While slightly difficult to understand at times, her Ulla is
sweet, sultry, and spectacular. Spencer draws one of the biggest applauses of
the night as she belts incredibly in “If You Got it Flaunt it”, her voice
stunning and powerful. The Nazi pigeon-loving Franz Liebkind is given a gruff
treatment by John Treacy Egan, who finds a nice balance with the character’s
sensitive moments with his birds (which provided hilarious backup during “Der
Guten Tag Hop-Clop”) and his more aggressive side. Some of the funniest moments
come courtesy of the fabulous Kevin Pariseau and Mark Price as Roger De Bris
and Carmen Ghia (respectively). Price’s elongated “S’sssss” is hyssssssterical
and he certainly knows how to exit the room. Pariseau’s turn as the führer in
the standout “Springtime for Hitler” is captivating and utterly marvelous, with
the 10-minute number being a major highlight of the evening.</span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"><span style="color: white;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;"><span style="color: white;">While a show that most theatergoers
have seen and loved, Papermill’s production adds plenty of nuances to make it
their own, at the same time still providing the iconic moments you expect to
see. Many members of the cast have performed in <i style="mso-bidi-font-style: normal;">The Producers</i> in one of its various iterations, whether the
original, tour, film, etc. and their expertise and closeness to the show allow
for an expert handling of the material, knowing what to take liberties with and
make things fresh, and milking every moment they can for as much laughs as
possible. <o:p></o:p></span></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFZdAyuTgiVIcrSNaMxy8PcKd20lB9UEYW63RsNDMkKQ2NR2XkeXEIWqcRa6ghOILXDfkdnPgK1oJKOGsV6YNnIqKhAQbFBjOtfk90ycGcwqpMp1oUK_YIMZD3s5gsKKhkK8oJURb5TR5R/s1600/-5b88cb58681c7eb8.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFZdAyuTgiVIcrSNaMxy8PcKd20lB9UEYW63RsNDMkKQ2NR2XkeXEIWqcRa6ghOILXDfkdnPgK1oJKOGsV6YNnIqKhAQbFBjOtfk90ycGcwqpMp1oUK_YIMZD3s5gsKKhkK8oJURb5TR5R/s320/-5b88cb58681c7eb8.jpg" width="320" /></span></a></div>
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<span style="color: white;"><i style="font-family: 'Times New Roman'; line-height: 200%;">The
Producers</i><span style="font-family: 'Times New Roman'; line-height: 200%;"> is certainly a fun night at the theatre; it is impossible to
leave without a smile on your face. The energy in the room from the performers
to audience is infectious and exuberant, putting everyone in a good mood. If
you’re looking for an evening filled with laughs check out 2016’s recipient of
the Regional Theatre Tony Award, which provides Broadway-quality entertainment right
in New Jersey, where a classic show has been brought to life again. Running now
through October 23, make sure you head over to Paper Mill Playhouse before this
riot says “Goodbye!” for good!</span></span></div>
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<span style="font-family: 'Times New Roman'; line-height: 200%;"><span style="color: white;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: 'Times New Roman'; line-height: 200%;"><span style="color: white;">Review by April Sigler</span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: 'Times New Roman'; line-height: 200%;"><span style="color: white;">Photos by Billy Bustamante</span></span></div>
@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-25002461456828100862016-10-01T08:57:00.000-04:002016-10-01T08:57:08.062-04:00TALK RADIO @ CHATHAM PLAYHOUSE<div style="font-size: 13px; margin: 0px;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIFOjSvcNoD3R2_xpsay35PJhho1T35UYqydXjX19uynUorSRmcWktI4jZFdwdKjR1IQvab7WMZ9IfO6LxR_zN2yyM1hRs_ielZqF6q22MCVqQqKVT5W73-JoaWnfAjCyRTasXOV1RacPq/s1600/14390720_10153681294656580_3242785780251726094_n.jpg" imageanchor="1" style="clear: right; color: #222222; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIFOjSvcNoD3R2_xpsay35PJhho1T35UYqydXjX19uynUorSRmcWktI4jZFdwdKjR1IQvab7WMZ9IfO6LxR_zN2yyM1hRs_ielZqF6q22MCVqQqKVT5W73-JoaWnfAjCyRTasXOV1RacPq/s320/14390720_10153681294656580_3242785780251726094_n.jpg" width="320" /></a><span style="color: white;">I’ve heard it said that talk is cheap,
though that cliche goes out the window to anyone willing to shoot 40 minutes
out of the city down the NJ Transit line to the Chatham Playhouse to see cult
favorite ‘Talk Radio’ by Eric Bogosian, a play in which we find ourselves in
the middle of the hurricane that is Barry Champlain-- the mouthpiece of a talk
radio show in the late 80’s as he juggles callers on the line, management and
romantic interference, his own sense of safety, and eventually comes to
question the point of all the noise around him. <o:p></o:p></span></div>
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in the din of at first disconnected conversations (akin to discovering the
message unfolding in the seeming chaos in a Cohen Brothers film,) and it clips
along with frenetic energy thanks to the superb direction of Michael J. Hegarty, who
wastes none of our time and none of the stage telling Barry’s story
solidly. </span></div>
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<span style="color: white;">Barry is brought to life by Dominick
DeNucci, a gifted actor on his feet who achieves something even more special
when behind his desk. There is a subtly to his work to be commended, whether
he’s adjusting his watch, flicking a cigarette, or adjusting the
microphone. <o:p></o:p></span></div>
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<span style="color: white;">It’s hard to take your eyes off him,
though when you do, you are greeted by the rest of the staff; all cleverly
staged behind glass during most of the proceedings, allowing us to always see their
reactions to the constant influx of drama. They act as his satellites and all have moments to
shine in telling their side of the story that led them to this fateful night,
from his friend Stu, loyal yet sarcastic Joey Caramanno, his boss Dan, sheepish
yet powerful Dale Monroe Jr, and his secretary Linda, vulnerable yet decisive
Christine Talarico. Chip Prestera, Michael Sundberg, Ginger Kipps, and Brittany Goodwin are the talented voices we hear of those calling in, and their
versatility breathe life into characters we only hear, but wholly believe exist
in this world. Christopher Frazier brilliantly rounds out the cast as Kent in a most memorable
performance that may be the only thing that leaves Barry speechless. <o:p></o:p></span></div>
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<span style="color: white;"><br /></span></div>
<div class="MsoNormal" style="color: #222222;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixPxT3sDmjIdK7Qw2JrlXKHtP3ENnV0poUzTuQ6kiqG1oP0u7XrHA0JiHt4HFhhpTrg4bnwgiK8G9UJIZsCelWfvJD5-8EfWtuD0aFJ-KwLyAIU8Pa6lPwflupFaESU9fkL1vQQx_iz_zm/s1600/14502967_10153681294011580_5231213050959083317_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixPxT3sDmjIdK7Qw2JrlXKHtP3ENnV0poUzTuQ6kiqG1oP0u7XrHA0JiHt4HFhhpTrg4bnwgiK8G9UJIZsCelWfvJD5-8EfWtuD0aFJ-KwLyAIU8Pa6lPwflupFaESU9fkL1vQQx_iz_zm/s320/14502967_10153681294011580_5231213050959083317_n.jpg" width="320" /></span></a><span style="color: white;"> </span></div>
<div class="MsoNormal" style="color: #222222;">
<span style="color: white;">Robert Lukasik’s set is a marvel.
Every detail of an 80’s radio station is on display: ashtrays, coffeemaker, a
computer displaying the green glow of the next callers, and my favorite, the
partially obscured posters framed along the back hallway of other talk shows on
the network only barely mentioned in the narrative itself. The love and care
put into the believability of this set cant go unnoticed, all enhanced by the
lighting design of Richard Hennessy, illuminating what needs our attention and
leaving the rest in brooding, lonely shadow. <o:p></o:p></span></div>
<div class="MsoNormal" style="color: #222222;">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal" style="color: #222222;">
<span style="color: white;">A special mention must also go to the
stellar sound design by Joe DeVico. Discussing politics, morality, and the
meaning of life would be a handful in ideal situations, much less in dialogue
between actors on stage and their counterparts calling into the show. All of
this is expertly handled by DeVico, who seamless suppliments these
intense conversations with music cues, news reports, and originally composed
commercials. <o:p></o:p></span></div>
<div class="MsoNormal" style="color: #222222;">
<br /></div>
<div class="MsoNormal" style="color: #222222;">
<span style="color: white;">Good theater can sometimes happen on
accident, but GREAT theater, and consequently an evening worthy of your time,
can only come with the dedication on display by the Chatham Players. The cast,
the crew, and the director are putting on a show worth talking about!<o:p></o:p></span></div>
<div class="MsoNormal" style="color: #222222;">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal" style="color: #222222;">
<span style="color: white;">Review: Dave Columbo</span></div>
<div class="MsoNormal">
<span style="color: white;">Photos: Howard Fischer</span></div>
</div>
<div>
<b><br /></b></div>
@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-68794232771089966192016-09-25T22:00:00.003-04:002016-09-25T22:00:56.540-04:00WHAT DID YOU EXPECT? @ THE PUBLIC THEATRE<span style="color: white;"><span style="text-align: center;">Oh the Public Theatre has done it again! <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA1Rz3ndguL4MuwGqjXiMQutO0rtw3CdxQHjezfGoO8hUtkJYim660EEBo8DuW0x64rfC9LxS30R_HaH3Bl6C1nu7nr8LnoVcrf_zSc5M9ULLr0yVAHdfCXaPq0_d6s5s0GCjTFjR8q4g5/s1600/90-2.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA1Rz3ndguL4MuwGqjXiMQutO0rtw3CdxQHjezfGoO8hUtkJYim660EEBo8DuW0x64rfC9LxS30R_HaH3Bl6C1nu7nr8LnoVcrf_zSc5M9ULLr0yVAHdfCXaPq0_d6s5s0GCjTFjR8q4g5/s320/90-2.jpeg" width="320" /></a></div>
<br />
The other night I had the privilege to
witness greatness, which was the second installment to; The Gabriel’s: Election
year in the life of one family. Now you might think, “I can’t see it because I
didn’t see the first play.” FALSE! I didn’t see the first play and I wasn’t
lost at all. The play takes place 6 months after the first play, Hungry. We are
all sat in the kitchen with the Gabriel family as they prepare dinner.</span></span><div class="MsoNormal">
<span style="color: white;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: white;">How can you keep an audience entertained for 90 minutes with
no intermission with a setting of just a kitchen? Well, playwright and
director, Richard Nelson, delivers such a flavorful and natural script that you
feel like you are almost intruding on this family, but you can’t look away! By
the end of the show I felt like I was a part of this family. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: white;">Now what is a family diner without a little drama? We
discover that the Gabriel’s are short on money and have to help bail out their 82-year-old
mother who has been scammed. This results in the family going through Thomas’
novels seeing if any will sell, and selling the family piano. Tension runs high
and we see fights between siblings but ultimately we are just witnessing a
family in grief after their brother/ husband/ sons death. <o:p></o:p></span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhWbq-hxYyrCB4vH2SguLl1m7tdr-nDsi1aavvPtD3cSdO2_dYECz2WK4eZXsCZYZewDZqiY8oxpzUi8oeiPisPegq_IHBxWQuxfgN3kK15aQ3kVh_IrePdX4FOxK6e904e_tzPEqzyomu/s1600/90-3.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhWbq-hxYyrCB4vH2SguLl1m7tdr-nDsi1aavvPtD3cSdO2_dYECz2WK4eZXsCZYZewDZqiY8oxpzUi8oeiPisPegq_IHBxWQuxfgN3kK15aQ3kVh_IrePdX4FOxK6e904e_tzPEqzyomu/s320/90-3.jpeg" width="320" /></span></a><o:p><span style="color: white;"> </span></o:p></div>
<div class="MsoNormal">
<span style="color: white;">Mary Ann Plunkett (Mary Gabriel, Thomas’ wife) really drives
the show. She brings up stories and old work and delivers each line with such
ease. She was hauntingly beautiful. Her last line of the show will leave you in
tears and speechless.<span style="mso-spacerun: yes;"> </span>Next we have Lynn
Hawley (Hannah, sister in law) who is quite the opposite. She brings a zest to
the mix and will have you on the floor laughing with her jabs.<span style="mso-spacerun: yes;"> </span>And good ole George, the brother everyone
wishes they had, played by Jay O Sanders. You can’t help but love George and
all his wild stories. We can’t forget about spunky sister Joyce portrayed by
Amy Warren, who consistently plays devil advocate but in the kindest way that
doesn’t make you hate her. And to add a little more drama, Thomas’ first wife,
Karen (Meg Gibson) moves in. And lastly, Patricia Gabriel (mom) played by
Roberta Maxwell, who may be silent most of the show but she speaks volumes! <o:p></o:p></span></div>
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<span style="color: white;">This show will sweep you off your feet. It’s witty, relevant
to what’s going on in our world without forcing it down your throats, and over
all heart warming. And for the love of god, please Hilary, BE HUMAN! Run to the
Public Theatre and see, What did you expect! <o:p></o:p></span></div>
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<span style="color: white;"><br /></span></div>
<div class="MsoNormal">
<span style="color: white;">Review: Briana Burnside</span></div>
<div class="MsoNormal">
<span style="color: white;">Photos: Joan Marcus</span></div>
@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-63163730074330558672016-09-21T11:28:00.000-04:002016-09-21T11:28:04.959-04:00MARIE AND ROSETTA @ ATLANTIC THEATRE CO.<div class="MsoNormal" style="line-height: 115%;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0jYmsn4DJtyzVTCrVfSASgn4SH1fyB9_liFPkgiTJUA6N8ZW0V98N8X5wk2jFNpNUb9Xrdr6lyqhAp-QMj4rGZqWrk0j7jmrM9m9sRUNk1XFi0_JzLhYzEiXxkrpA5SSVJ1qenPAVzjW_/s1600/90.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0jYmsn4DJtyzVTCrVfSASgn4SH1fyB9_liFPkgiTJUA6N8ZW0V98N8X5wk2jFNpNUb9Xrdr6lyqhAp-QMj4rGZqWrk0j7jmrM9m9sRUNk1XFi0_JzLhYzEiXxkrpA5SSVJ1qenPAVzjW_/s320/90.jpeg" width="320" /></a><span style="font-family: Arial; font-size: 11pt; line-height: 115%;"><span style="color: white;">What a
wonderful journey. <u>Marie and Rosetta</u>, starring Kecia Lewis and Rebecca
Naomi Jones was an authentic and soul-warming trip to 1946 Mississippi’s gospel
scene. <o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-family: Arial; font-size: 11pt; line-height: 115%;"><span style="color: white;">SCK Sound
Design left nothing to be desired of both Lewis and Jones--whose voices were
not the only elements of the performance that were memorable. Guitarist Felicia
Collins and pianist Deah Harriott played coyly in the backdrop. <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 115%;">
<span style="font-family: Arial; font-size: 11pt; line-height: 115%;"><span style="color: white;">Set in a
funeral home, this gospel musical begins with Marie Knight (Rebecca Naomi
Jones) playing with Sister Rosetta Tharpe (Kecia Lewis) for the first time. A
gospel sensation but falling down the rankings, Tharpe is trying to recapture a
more “old church” vibe with Knight. The ensuing 90 minute journey explores
multiple facets of young black women in gospel music during the late 40’s. <o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-family: Arial; font-size: 11pt; line-height: 115%;"><span style="color: white;">Sister
Rosetta Tharpe (Kecia Lewis) is a surefire and connivingly sultry gospel singer
whose gifts on guitar go unhidden in her career. Lewis captures Tharpe’s spunk
and “hips” with gusto, bringing the entire audience with her in each musical
number. The house shook on every 2 and 4. <o:p></o:p></span></span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgSpmOwS9XlUp4S72UdogPBEVN-yN6EjGZxXoMvXkwvnvckTSeTDWO3C7eI4hWssNHBikOmQbEVCwn2chFmMh_25GuAO0riRQwWqUCQ10WETXur1RQqVtMnEM8inGDAnczEg7E-9mRpiiS/s1600/90+copy.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgSpmOwS9XlUp4S72UdogPBEVN-yN6EjGZxXoMvXkwvnvckTSeTDWO3C7eI4hWssNHBikOmQbEVCwn2chFmMh_25GuAO0riRQwWqUCQ10WETXur1RQqVtMnEM8inGDAnczEg7E-9mRpiiS/s320/90+copy.jpeg" width="320" /></span></a><span style="font-family: Arial; font-size: 11pt; line-height: 115%;"><span style="color: white;">Marie
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spirit and healthy fear of God. Afraid of “hips” and “swing,” Jones walks
through Knight’s development into a gospel sensation as it’s woven into the
story. Her voice alone pulled everyone in, but Jones and Lewis together had
almost every head bopping to the beat. <o:p></o:p></span></span></div>
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<span style="font-family: Arial; font-size: 11pt; line-height: 115%;"><span style="color: white;">Both Jones
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respectively) but by the end of the performance they couldn’t keep up with
Felicia Collins and Deah Harriott’s keying and strumming. Together, all four
women made the performance gallop across the room, the audience clapping and
stomping by its completion. <o:p></o:p></span></span></div>
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<span style="color: white;"> <span style="font-family: Arial; font-size: 11pt; line-height: 115%;">Jason
Michael Webb’s musical direction makes </span><u style="font-family: Arial; font-size: 11pt; line-height: 115%;">Marie and Rosetta</u><span style="font-family: Arial; font-size: 11pt; line-height: 115%;"> a must-hear.
Director Neil Pepe captured George Brant’s work expertly. If you are looking
for a night of music and a story that will bring you to tears as you remember
the important friendships in your life then take the time to see Marie and
Rosetta.</span></span><br />
<span style="color: white;"><span style="font-family: Arial; font-size: 11pt; line-height: 115%;"><br /></span></span>
<span style="color: white;"><span style="font-family: Arial; font-size: 11pt; line-height: 115%;">REVIEW: ALEX LIPARDI</span></span><br />
<span style="color: white;"><span style="font-family: Arial; font-size: 11pt; line-height: 115%;">PHOTOS: AHRON R. FOSTER</span></span>@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-44314930197733251442016-09-19T09:36:00.002-04:002016-09-19T09:37:09.213-04:00THE ROUNDS @ ALCHEMICAL THEATRE LAB<div class="MsoNormal">
<span style="color: white;">Hmmm- this is a tough one.<o:p></o:p></span></div>
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<span style="color: white;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQaCbjGvdNy3V166HuOfo1gWHvAp2UrOIWtVxFkN_1Fq2XgVRK72bMg0a0pHR6MOxt2V7-OrXigtwzU2HbtolOPx2ZL6ucdzplAO3e6JQaGjCO5xI-s2lwVanc4g1Mnes_DRn3Hxo03EZr/s1600/unnamed.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQaCbjGvdNy3V166HuOfo1gWHvAp2UrOIWtVxFkN_1Fq2XgVRK72bMg0a0pHR6MOxt2V7-OrXigtwzU2HbtolOPx2ZL6ucdzplAO3e6JQaGjCO5xI-s2lwVanc4g1Mnes_DRn3Hxo03EZr/s320/unnamed.jpg" width="320" /></span></a></div>
<div class="MsoNormal">
<span style="color: white;">As a reviewer, I owe it to you all to speak of the quality,
aesthetic, and pathos of the stories we are invited to see. And I do sit there,
vigilantly, as if at a news site, absorbing all I can for you. But sometimes,
things hit so close to home, your pen detaches from your psyche and you’re left
alone. <o:p></o:p></span></div>
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<span style="color: white;"><br /></span></div>
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<span style="color: white;">Justin Moriarty’s “The Rounds” is a simple script. A simple
story touching on the war on drugs and the soldiers who fight for their own
survival. But an incredible young gentleman, Jonathan Schwolsky, took this
story and devised a horrifyingly accurate world. And I would know, because I’ve
lived in it.<o:p></o:p></span></div>
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<span style="color: white;"><br /></span></div>
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<span style="color: white;">With its origins in Maine, the troupe has traveled to
Alchemical THEATRE LABto deliver a chilling production of soundscape, chilling
movement and words that don’t leave you. The ensemble of three explore the exchangeability
between patient and doctor; who is administering the drugs and who is taking
them. And these are true stories from a real place, Spring Harbor Mental
Facility, south Portland, Maine<span style="font-size: 16.0pt;">, </span>you’d
never think you’d ever hear.<span style="font-size: 16.0pt;"><o:p></o:p></span></span></div>
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<span style="color: white;"><br /></span></div>
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<span style="color: white;">I sat down with John for a bit after the show and he
reminisced about the first time they performed this piece for the patients at
the facility. “Someone after the show said to me ‘You hit this right on the
head. Its interesting to see a doctor character suffering. He’s not a lowlife’
and all I could say was ‘neither are you.’” <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="color: white;"><br /></span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPv46opvtT8hyzwm3bvxK6Y1-Jzev5DZgmHpjMLxASAKOZe9DqcgsXt5nHvbGhNfYjn71ZTwDS01C1ueYg-_qz4uFfYB__cULDhAl-zJGCnVghfD3Kzs6tA_2OdH6dyjQT5XqlgJ1ERa5j/s1600/DSC_0123.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPv46opvtT8hyzwm3bvxK6Y1-Jzev5DZgmHpjMLxASAKOZe9DqcgsXt5nHvbGhNfYjn71ZTwDS01C1ueYg-_qz4uFfYB__cULDhAl-zJGCnVghfD3Kzs6tA_2OdH6dyjQT5XqlgJ1ERa5j/s320/DSC_0123.JPG" width="320" /></span></a><span style="color: white;">Schwolsky did tremendous amounts of field work for this
piece. “It was an extremely immersive project. I lived alone for a long while
and only surrounded myself with addicts.” This was more than evident in his
genius traffic patterns and heavy movement pieces. It seemed to me that this
wasn’t a director blocking, this was a therapist or friend telling a story, so
streamlined, so nuanced and absolutely chilling.<o:p></o:p></span></div>
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<span style="color: white;"><br /></span></div>
<div class="MsoNormal">
<span style="color: white;">The ensemble of three worked very well together, but the
stand out performance of the evening was by Liz Carlin. Carlin had a lengthy
monologue that concluded the show, which, while surveying my row, left people
physically stiff while being completely engaged by her self examination and
shifting essence. <o:p></o:p></span></div>
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<span style="color: white;"><br /></span></div>
<div class="MsoNormal">
<span style="color: white;">Mike Deering’s compositions propelled the piece and kept it
flowing. Deering sat in the corner and did it all live, punctuating every vignette
and shift, and let me tell you- it was brilliant. Ashley Petix’s design was so
damned smart and served the piece so well. Everything about the set was
colorful yet sterile, a perfect mirror to a pediatrics office, catering to
infantile wants and needs.<o:p></o:p></span></div>
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<span style="color: white;"><br /></span></div>
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<!--EndFragment--><br />
<span style="color: white;"><br /></span>
<div class="MsoNormal">
<span style="color: white;">I leave you with this: just yesterday, another member of my
circle has passed from an overdose. Can we please start allowing art to heal
us? Schwolsky suggests that theatre now a days should be a social commentary
and accessible to all. Go. Start with The Rounds. It may save a life.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal">
<span style="color: white;">Review: Brittany Goodwin</span></div>
<div class="MsoNormal">
<span style="color: white;">Photos: Jonathan Schwolsky</span></div>
@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-59531981331005214252016-09-13T00:09:00.001-04:002016-09-13T17:31:21.487-04:00AUBERGINE @ PLAYWRIGHTS HORIZONS<div class="MsoNormal">
<span style="color: white;">Everyone loves food. How can you not? You need it to
survive. But what happens when you think about food? You start to have a
certain relationship with it, a relationship which turns to stories, those
stories then turn into memories, those memories comprise the wonderful story
that is your life. <o:p></o:p></span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ViKU1gixCK0TZDeo4XwdbM5_7wNkDqN_1tJmZv-sHZ3AB2RMEgQJQV4ccD5OFa-lKU8K2TcfRdQL7T1vxl-mjz-MUWEw_rpw_Oy5VgI8jr9RhvOUx5tUm27yvhEdJH4fTa-URi7mD08E/s1600/13AUBERGINE-master768.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ViKU1gixCK0TZDeo4XwdbM5_7wNkDqN_1tJmZv-sHZ3AB2RMEgQJQV4ccD5OFa-lKU8K2TcfRdQL7T1vxl-mjz-MUWEw_rpw_Oy5VgI8jr9RhvOUx5tUm27yvhEdJH4fTa-URi7mD08E/s320/13AUBERGINE-master768.jpg" width="320" /></span></a><span style="color: white;"><br /></span></div>
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<span style="color: white;">It’s hard to picture, but think about it. What is your
favorite food? When I was five years old I was living in Washington, I was just
playing tetherball with my brother and he hit the ball so hard I had no time to
block my face and suddenly I tasted blood. The ball knocked out my front tooth.
I ran into the house crying and my Dad gave me some salt water and calmed me
down, but my mom, she made me mac n cheese with the swiggly noodles and alfredo
sauce.<span style="mso-spacerun: yes;"> </span>I remember playing with the
noodles in my gap and hearing my family all laugh. All of these memories flood
in my mind from a simple box of mac n cheese. Julia Cho manages to write a
beautiful story about love, loss, and the beauty that comes after. Aubergine is
a play that everyone must see! <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal">
<span style="color: white;">Lights fade up on a woman who shares a touching story about
her love for the perfect pastrami sandwich that she will never taste because
her father was the only one who could make it. He passed away from cancer. This
monologue sets up the entire story. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQRmxkVEDRuNbQbUiu2gRtM4sukJF9oiWwQ6G9biwaoAFZPumuGj4IZ1-heMtffQBjU0eseyfguyPKnqLfEe-xF4CQMweTz8chjK7TGUzchVSqRs5hYFqdq9EtdREn4sxYA0tRmnFxJL-a/s1600/13AUBERGINEJP-master675.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQRmxkVEDRuNbQbUiu2gRtM4sukJF9oiWwQ6G9biwaoAFZPumuGj4IZ1-heMtffQBjU0eseyfguyPKnqLfEe-xF4CQMweTz8chjK7TGUzchVSqRs5hYFqdq9EtdREn4sxYA0tRmnFxJL-a/s320/13AUBERGINEJP-master675.jpg" width="320" /></span></a><span style="color: white;">Enter Ray (Tim Kang), who we see in a hospital watching his
father die. After the doctor told him to take his dad home we transition to his
home, which surprisingly the only room where the hospital bed would fit is the
dining room. We are introduced to Lucien (Michael Potts) the hospice nurse who
is a breath of fresh air in a lifeless room. He grounds the show and even
though he is always surround by death, he grabs the light of life and radiates.
Once Lucien forces Ray out of the house we learned more about his personal
life, as we are introduced to his ex girlfriend, Cornelia (Sue Jean Kim).
Cornelia represents the wall around Ray, and his emotional state. He can’t let
anyone in. But that wall slowly breaks down once Cornelia gets in touch with
Ray’s uncle who lives in Korea. Uncle who only speaks Korean brings Rays
culture back to his life, which also brings up bad memories. We relive in some
flashbacks seeing that Rays father never supported his cooking career. His
uncle is convinced his dying brother wants turtle soup, and forces Ray to cook
one last meal. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal">
<span style="color: white;">Tim Kang delivers a flavorful performance. He never leaves
the stage, its as we are watching a meal be prepared in front of us. We see the
ingredients he uses and mixing all these different relationships together, and
finally after watching the food bake, we see this beautiful result. Yes, it
might be missing a piece, but the meal is savory and leaves you wanting more,
or just makes you look forward to your next meal. Most people are trained to
think death is the end, but really it’s another beginning. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: white;"><br /></span></div>
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<div class="MsoNormal">
<span style="color: white;">If you are in need of some type of closure, in need to feel
some sense of home, or in need of some beautiful theatre, make your way to
Playwrights Horizons and see, Aubergine. Guaranteed to resonate with every
generation and leaving you full of… well... That’s up to you. <o:p></o:p></span><br />
<span style="color: white;"><br /></span>
<span style="color: white;">Review: Briana Burnside</span><br />
<span style="color: white;">Photos: Sara Krulwich</span></div>
@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-7818634951507517372016-09-13T00:05:00.001-04:002016-09-13T17:30:17.147-04:00FIORELLO @ THE E13th ST THEATRE<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWEq08Ilis7GEN6A3AnRcFrI_QE9IGRCHFflnss7XSED7TqlpPGNQQ6uoDM_B5AJF92EvTlKwtlknVV0ckY34pJKyoJxp6OMXhCppYXqwUPfO0XRil9kSnIT3injyyG4g20WU3GTh7LBCs/s1600/90-1.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWEq08Ilis7GEN6A3AnRcFrI_QE9IGRCHFflnss7XSED7TqlpPGNQQ6uoDM_B5AJF92EvTlKwtlknVV0ckY34pJKyoJxp6OMXhCppYXqwUPfO0XRil9kSnIT3injyyG4g20WU3GTh7LBCs/s320/90-1.jpeg" width="320" /></a><span style="color: white;">You know his name (or like, you’ve at least been to the
airport named after him…) His name’s LaGuardia, L-A-G-U-A-R-D-I-A! And if you
have no clue who this is, <span style="mso-spacerun: yes;"> </span>change it! and
make your way to the Berkshire Theatre and see Fiorello. This classical musical
takes you back to the 1920’s in the prime of election season, providing a
glimpse of political corruption and women’s rights at an all time low. (Wait,
is this 2016?) Fiorello takes you on the life journey of New York City’s mayor,
Fiorello LaGuardia, and how he came to power. We get a glimpse of political
corruption, and woman’s suffrage. <o:p></o:p></span></div>
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<span style="color: white;"><br /></span></div>
<div class="MsoNormal">
<span style="color: white;">Seeing that we are in the prime of election season, it seems
all too fitting that this show is up, and we, by default, are comparing it to
the issues today. The show opens on women striking for better pay, and just
about one minute into to the show, a woman is arrested for “soliciting” when
she was protesting peacefully. (Again, a “period piece”) . This gives way to
introduce LaGuardia, the little flower, who fights for New York. We see his
passion in the love he has for this city and his fight to make the world a
better place. <o:p></o:p></span></div>
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<span style="color: white;"><br /></span></div>
<div class="MsoNormal">
<span style="color: white;">Throughout the performance, we somehow glaze over hard issues,
and are distracted by musical numbers, such as “Politics and Poker” where we
see a group of men searching for their next representative. Led by Rylan Morsbach
playing Ben, LaGuardia’s political partner; he manages to find the comedy in
the corruptness, and honestly was a highlight of the show. <o:p></o:p></span></div>
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<span style="color: white;"><br /></span></div>
<div class="MsoNormal">
<span style="color: white;">The show itself lacks a narrative arc; I cant shake the fact
that we simply glaze over so many important issues. One issue being the love
story of Dora, a hardworking woman who was on strike, falling in love with a
cop! Chelsea Cree Groen gives an amazing performance, especially in her big
number, “I love a cop”, but I just wanted more. We get a small glimpse as her
cop husband holds a party and witness a plan to hurt LaGuardia during his big
speech. Does the cop do anything? Nope. Do we see a failing out between them?
Nah. Just glaze over the dirtiness and move on. Much like today. <o:p></o:p></span></div>
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<span style="color: white;"><br /></span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO4NHYKTSGyrRIP01Db4l-QIMqGSKHrCnhpBT8rt26ZBc8fd0tBHWxfk67Jq3oWQHxgC0BdYNE1DNIDwVtV_HACA31WjWasLIpdf3yHdJpHF8G9GdqBg3UmzydE4hLb547BCZ8m1fDxPPc/s1600/90.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO4NHYKTSGyrRIP01Db4l-QIMqGSKHrCnhpBT8rt26ZBc8fd0tBHWxfk67Jq3oWQHxgC0BdYNE1DNIDwVtV_HACA31WjWasLIpdf3yHdJpHF8G9GdqBg3UmzydE4hLb547BCZ8m1fDxPPc/s320/90.jpeg" width="320" /></span></a><span style="color: white;">The cast is made up of mostly young actors who are making
their debut. You can feel the energy bounce off them, which was refreshing, but
that can’t save a script. Austin Scott Lombardi (LaGuardia) did a fine job
bringing such a large political character to life, and I found myself rooting
for him the entire time. Matt McLean (Miles) plays the right hand man to
perfection, and has such a charm to him that I think I might have fallen in
love. Rebecca Brudner (Thea) will break your heart in the most beautiful way.
And Katie Birenboim (Marie) will relate to every person who has just wanted to
find love and fight for it! <o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="color: white;">In the end, Fiorello is a nice musical that has beautiful
choreography and catchy songs, but at the end of the day make you question if
we are actually doing anything to make our world a better place. Maybe, that
was the point of a lack of narrative arc, or maybe this is just another
millennial complaining.<o:p></o:p></span><br />
<span style="color: white;"><br /></span>
<span style="color: white;">Review: Briana Burnside</span><br />
<span style="color: white;">Photos: Emma Rothenberg-Ware</span><br />
<br /></div>
@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0tag:blogger.com,1999:blog-8355261970530491274.post-266325083387277222016-09-12T23:50:00.003-04:002016-09-13T17:32:57.335-04:00TWELFTH NIGHT @ THE DELACORTE THEATRE (PUBLIC WORKS)<div class="MsoNormal">
<span style="color: white;">There is nothing I love more in this world than a good
update on a classic. Now, as of late I have found myself trapped in many a
discussion on the validity of a modern interpretation. But as I was taught and
as I have known, I always come prepared to an argument with an arsenal of
facts, site source material and the good ol’ gizmo (bam!)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ4BB3VSpO0_fkDy4v67I_HPRVe3IGHddokYI38-Q94LhNNmpuYZyEq9WoSEKcfQDQqcJrk2_nsEBdt1SehoJhWLjxFnEroMz_upJbAoTQa6L-ucwVV7nZ6ibWYNNudp33folbYqNehW8_/s1600/05TWELFTH-SUB-superJumbo.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: white;"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ4BB3VSpO0_fkDy4v67I_HPRVe3IGHddokYI38-Q94LhNNmpuYZyEq9WoSEKcfQDQqcJrk2_nsEBdt1SehoJhWLjxFnEroMz_upJbAoTQa6L-ucwVV7nZ6ibWYNNudp33folbYqNehW8_/s320/05TWELFTH-SUB-superJumbo.jpg" width="320" /></span></a><span style="color: white;">Here’s a perfect example of a modern update of a
Shakespearean classic that happened this past weekend right in the heart of our
city, Central Park. The Public Theatre’s Public Works Program put up a SMASHING
production of Twelfth Night at the Delacorte and let me tell you, not one toe
was left untapped, not one soul left unenraptured by the brilliant coming
togethers of the average Joe and Tony Award winning stars.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal">
<span style="color: white;">We know the story (or we’ve seen She’s the Man…) but here,
Kwame Kwei-Armah and Shaina Taub do something so special with the text; a
modern/classic fusion so flavorful, rich and comforting, all the while keeping
its roots which perfectly mirrors their Illyria, New Orleans.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal">
<span style="color: white;">And I get it. Some updates are super forced and out of left
field (There’s a production of Antony and Cleopatra back in Chichester that
haunts me to this very day) but to declare “If music be the food of love, play
on” and not think of New Orleans in all its music, art and sex appeal, there’s simply
no hope in ever changing your minds. Frillies and plumes to you all!<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal">
<span style="color: white;">Nikki M. James shines as Viola, mastering the language with
coolness and ease. Jose Llana is a perfect Orsino, oozing incredulous amounts
of love and angst, all in a man-bun, no less! Nanya-Akuki Goodrich’s Olivia was
so spirited and jovial, a refreshing change to a character we know to wail on.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: white;"><br /></span></div>
<div class="MsoNormal">
<span style="color: white;">Audiences fell in love with Sir Toby Belch, Mr. Jacob
Ming-Trent, a Public Theatre (and Entertainment Hour!) favorite as well as
Andrew Kober’s side splitting Malvolio.<span style="mso-spacerun: yes;">
</span>Every single audience member in that sold out house was with these
captivating performers one hundred percent, laughing at every nuance, radio
silent at every touching moment.<o:p></o:p></span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHnhPZquhFlv9ePY9JxSFfNYYYQvn1fWHC9Wpij4baBDcAATaxpTVpw4YAb3B6-GqcCsq8DJgfOKfyuwlCK7wZTgzW40eWxXTz2fIwdIE1eUlOW08higwuQSqsbTKsF-0cJ0BhjTpT1UW5/s1600/05TWELFTH1-master675.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHnhPZquhFlv9ePY9JxSFfNYYYQvn1fWHC9Wpij4baBDcAATaxpTVpw4YAb3B6-GqcCsq8DJgfOKfyuwlCK7wZTgzW40eWxXTz2fIwdIE1eUlOW08higwuQSqsbTKsF-0cJ0BhjTpT1UW5/s320/05TWELFTH1-master675.jpg" width="320" /></span></a><o:p><span style="color: white;"> </span></o:p></div>
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<span style="color: white;">One of the community groups that took part in this
production was the New York Deaf Theatre. They served the role as the unspoken
words inside Viola’s head when she wants to tell Orsino that she’s a woman and
she loves him.<span style="mso-spacerun: yes;"> </span>Feste, played by Ms. Taub
herself , sings “Is this not Love?” while the group dances and signs around
Viola and Orsino. Certainly an absolutely gorgeous inclusion that I will never
be able to forget.<o:p></o:p></span></div>
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<span style="color: white;"><br /></span></div>
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<span style="color: white;">I urge you all to support the Bard in all its forms and
veneers wherever it pops up! Because God knows I won’t shut up about it. <o:p></o:p></span></div>
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<span style="color: white;"><br /></span></div>
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<span style="color: white;">Review: Brittany Goodwin</span></div>
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<span style="color: white;">Photos: Sarah Krulwich</span></div>
@entertainhourNYChttp://www.blogger.com/profile/09550940649096090514noreply@blogger.com0