Forever @ the New York Theatre Workshop

Forever, a poignant semi-autobiographical piece written and performed by Dael Orlandersmith at New York Theatre Workshop, is a harrowing yet somehow uplifting piece on the family you are given, the family you make, and how not one of them ever truly leaves you.

Forever is a stream of thoughts which follow Orlandersmith’s journey through her life, focusing primarily on her oft drunk and always complicated mother. Orlandersmith passionately and eloquently details her abuse, her growth, the lessons she’s learned, and her journey from a young girl into a woman.  She speaks to the greats who most believe are lost (Morrison, Balzac, Piaf, and many others) and encourages the audience to listen for their voices.  She encourages you to believe that those who have died are always there, watching, interacting, whispering to you.  If you let yourself become comfortable, you will believe with her, and the journey through Forever will be all the more rewarding.

Vital to bringing the entire piece together is Orlandersmith’s powerful performance.  The version of herself she presents is brutally honest and open, but somehow still battling for that confidence to which she’s already laid claim. She finds a way to engage and mystify the audience as she weaves her tale through monologues, starting at the Pere Lachaise cemetery, trekking through Harlem, and back to the cemetery, where she converses with those who have gone before. At points, Orlandersmith evokes her mother so strongly you can almost smell the scotch and cigarettes, even though she’s been dead since 1989.

Though at times tough to listen to, Forever brings a realness and power to the stage through Orlandersmith’s words and performance that makes it, unlike anything you’re likely to see in any other theater.  The wide-open set (designed by Takeshi Kata), adorned with photos of her and her mother’s past, brings you into Orlandersmith’s world, where she welcomes you with open arms.  The invitation to post notes on the walls in honor of those who are gone but still touch your life allows you to become a part of a shared world, where the dead still have voices.

Overall, Forever is a dark but touching piece about the ways people can touch your life, even long after they’ve passed.  It is powerful, engrossing and thought provoking, and not to be missed.
Orlandersmith’s journey has the capacity to both touch and break hearts and connect to audience members on a deeply personal level, and that’s exactly what makes it such a unique journey, and one worth taking.

Review By: Jacob R. Hines

It Shoulda Been You @ The Brooks Atkinsons Theatre

Clichéd characters, phoned-in performances, and less-then-memorable music make It Shoulda Been You a wedding best enjoyed after a few drinks or by simply staying home.

 The musical, by Brian Hargrove and Barbara Anselmi, leads us into the chaotic wedding night of Rebecca (Sierra Boggess) and Brian (David Burtka), all being overseen by Rebecca’s sister, Jenny (Lisa Howard).  Throughout the show we’re introduced to the feuding in-laws-to-be, Rebecca’s parents Judy (Tyne Daly) and Murray (Chip Zein), and Brian’s parents Georgette (Harriet Harris) and George (Michael X. Martin), an always competent and always witty wedding planner, Albert (Edward Hibbert), and an apparent former lover of Rebecca’s, Marty (Josh Grisetti). Also featured in the cast are Anne L. Nathan, Nick Spangler, Montego Glover, and Adam Heller.

 While it has all the individual elements of a typical wedding comedy, including prenuptial, a drunk in-law, an underappreciated sister/bridesmaid, and a love triangle, the musical seems to lack drive, and its big twist, though original in the context of this story, seems odd and somewhat totally out of left field.  It lacks the heart of a solid musical, and when it does cling to serious themes, Shoulda can become fairly preachy.

 It is worth noting that Howard’s performance is stellar, delivering the only character that seems well-balanced between comedy and seriousness. Vocally she’s a standout, and she shines brighter than her material. Boggess and Burtka give decent performances, albeit ones not worth the price of admission. 
Daly, who has star power and a stunning career under her belt, walks through the show as if it’s still a rehearsal, never truly giving it her all.  Harris’ performance is much stronger than her counterpart, giving laughs almost every time she appears on stage.

Paired with Hibbert’s sassy and sharp performance, the two easily are the most consistently enjoyable throughout the show.  Glover’s performance as Anne is noteworthy, as well, as she brings both sweetness and hilarity to the role.  It’s also worth noting that Anna Louizos’ set may give one of the best performances, serving as both a spectacle while still and a versatile space fantastic for telling the story at hand. 

Unfortunately, Shoulda tries to be an original wedding comedy – something new and funny – but the space between its wonderful one-liners tends to leave much to be desired, and its many less-than-brilliant performances make this piece one wish you were at a real wedding, because at least there’s usually an open bar.


Review By: Jacob Hines
Photos By: Joan Marcus

The Heidi Chronicles @ The Music Box Theatre

The Heidi Chronicles, although a long haul at two and a half hours, still shines thanks to a poignant script and stellar cast.

The Heidi Chronicles (directed by Pam McKinnon) depicts the life of art historian Heidi Holland (Elizabeth Moss), starting at high school in the 1960’s and spanning the next two decades.  While experiencing the changes of Vietnam, the growing feminist movement, and the chronic narcissism of the 1980’s, Heidi struggles with the question “Can women really have it all?”  Along the way, she relies on her longtime friend Susan (Ali Ahn), a charming gay pediatrician Peter (Bryce Pinkham), and her womanizing onetime lover Scoop (Jason Biggs).

Moss shines as Heidi, giving every line all she’s got, and bringing the audience to laughter one moment and tears the next.  She perfectly depicts the complexity and struggles Heidi experiences throughout her life.  As Scoop, Biggs delivers what may well be his best work.  His attitude as the self-important, usually loathsome, and often right Scoop resonates through the performance, helping the audience understand exactly why Heidi bothers to keep someone so self-serving in her life.  Pinkham brings both charm and raw emotion to the stage as Peter, the only person who truly challenges Heidi outright about her escapist attitude.  Ahn’s performance as Sarah is on-point, depicting a wonderfully lighthearted character that often captures the spirit of each time period perfectly.  Also featured in the cast were Tracee Chimo, Leighton Bryan, Elsie Kibler, and Andy Truschinski, each giving strong performances which furthered the delight of The Heidi Chronicles even further.

It’s worth noting that, although The Heidi Chronicles (written by Wendy Wasserstein) first premiered in 1988, it retains its freshness and vitality, still poignant for today’s audiences.  It not only forces us to reflect on the role of women in the decades portrayed, but leaves audiences with an opportunity to view the ways society has both changed and stayed the same with regard to the way women are viewed and view themselves.  It also conveys a wonderfully relevant portrayal of the evolution of queerness and how being queer is viewed in our society.

Technically, Heidi is a delight to watch, as John Lee Beatty (Scenic Design) makes fantastic use of the space with a set that should be listed as a character in and of itself.  Jessica Pabst (Costume Design) presents an array of costumes which brilliantly transport us to each of the depicted time periods.  

Overall, The Heidi Chronicles is a worthwhile and immensely enjoyable drama with both deeply poignant moments and sharp, witty jokes, delivered all but perfectly by a truly exceptional cast.

Review By: Jacob R. Hines
Photos By: Sara Krulwich

John & Jen @ The Clurman Theatre @ Theatre Row

John & Jen is a musical by Tom Greenwald and Andrew Lippa that details the relationships between one woman, Jen (Kate Baldwin), and her brother and her son, both named John (Conor Ryan). The show originally debuted Off-Broadway in 1995, and is now revived twenty years later Off-Broadway at Theatre Row by the Keen Company, directed by Jonathan Silverman.

Baldwin’s performance leaves nothing to be desired, as she has all but perfectly captured the essence of each stage of life, from child to mother, and packaged it into a strong performance.  Her vocals are technically and dramatically brilliant, and even left some in the audience wondering when she found moments to inhale.  Unfortunately, her counterpart Ryan’s performance, though by no stretch of the imagination a bad one, paled in comparison.  While Ryan’s vocal talent was fine enough, there seemed to be a disconnect between the fairly young performer and his two characters. At times, it would have seemed the two separate individuals were totally indistinguishable from each other.  Both actors, though, brought an immense amount of charm to the stage.  The scenic designer, Steven C. Kemp, gave an unusual and conversation-provoking set, and each of Sydney Maresca's costume designs seemed to be spot on.

Perhaps one of the most jarring elements of the performance was the almost nonexistent chemistry between Baldwin and Ryan.  Whether it is simply a difference in the caliber of actors, the source material, or an off day, it is noticeable that the two almost seemed as if they didn’t enjoy each other’s presence on a personal level.

As for the musical itself, the first act trudges from John (Jen’s brother) and Jen’s childhood and adolescence in the seemingly innocent 50’s into the turbulent conflicts of political and personal ideals of the radically different 60’s, but does so neither with a particular sense of enthusiasm nor in a particular hurry.  When the act ends with John’s death, it’s almost hard to care, as the characters have done very little to develop a relationship worth mourning.  The second act brings us through the life of John (Jen’s son) with just as little enthusiasm and even less tonal consistency, adding in an unusual number wherein John and Jen act as daytime talk show hosts and point out every flaw in their relationship, despite having been stressed as a strained relationship to begin with.  

The second act frames the issues to come when Jen gives her son her dead brother’s name, clothes, baseball, catcher’s mitt, and personality in an attempt to make reparations for the relationship so feebly established and demolished in the first act, whether he wants these things or not. For a two person cast, the two hour runtime is a very long haul, and eventually the songs seem to become very redundant, lacking strong (read: enjoyable or noticeably varied) melodies and strong (read: interesting and coherent) lyrics.

Overall, though Baldwin gives a remarkable performance and Ryan gives his all, their individual charm isn’t enough to save John & Jen from itself. Its poor pacing, forgettable songs, and overly long runtime make it a musical that could either use some long overdue rewrites or another twenty-year break.

Review By: Jacob R. Hines

Photos By: Carol Rosegg

Disenchanted @ The Theater at St. Clements

In Disenchanted, an unrelentingly hilarious musical offering at the Theatre at St. Clement’s, some of the most beloved fairy tale princesses have a few choice words to share about their happily every afters.

This musical comedy is hosted by the sassiest of them all, Snow White (Michelle Knight), the ditziest at the ball, Cinderella (Becky Gulsvig), and the most outrageous of narcoleptic royalty, Sleeping Beauty (Jen Bechter).  We learn from them and many other popular princess guest stars that being a princess isn’t all it’s made up to be, and that “One More Happ’ly Ever After” is all it might take to send this very diverse group of strong female royalty over the edge Thelma and Louise style.

Let’s be clear, from the first number, there is no doubt that any of these women can hold their own vocally, each being a powerhouse in their own right.  Knight delivers a belting Snow White so full of attitude it’s hard to believe she’d ever just sit and wait for her Prince to come.  Gulsvig’s Chenno-esque turn as the bright (yet not the brightest candle in the castle) Cinderella displayed excellent timing and a fantastic contrast from Snow.  Of the three hostesses, however, it was Bechter’s booty-shaking, curvy, and super-confident Sleeping Beauty that really gave the show more heart than anyone could have expected.

Lulu Picart’s performance as Hua Mulan may have been one of the most uproariously and consistently funny performances in the show, beginning with a one-on-one with the audience about being the only princess who’s “Without the Guy.”  As both Pocahontas and Princess Badroulbadour (whose costume was a masterpiece among masterpieces designed by Vanessa Leuck) Picart provided insightful and entertaining glimpses at the characters’ opinions on their Disneyfication.  Alison Burns gave strong and varied performances switching between Belle, driven mad by singing utensils, Rapunzel, who wields a riding crop while singing of being pimped out by Disney, and the Little Mermaid, who enjoys her beer almost as much as she hates her decision to trade her fins for six-inch heels.  Last, but definitely not least, Soara-Joye Ross’ talent as the Princess Who Kissed the Frog shines as she rejoices that “Finally” there’s a Black princess.  Perhaps the only true disappointment is how little the show actually utilizes Ross’ talent.

Overall, the musical uses comedic numbers to address notable problems in the Disneyified fairy tales, many stemming from diversity.  The show tackles everything from historical inaccuracy in Pocahontas’ “Honestly,” to the constant problem of body-image standards in the group number “All I Wanna Do is Eat.” Any topic is fair game, and the message rarely bogs down the performance by being too heavy - thanks to Dennis T. Giacino’s well-balanced book, music, and lyrics.

In the end, Disenchanted is a fun comedic piece, but one that carries a message that happily ever after might just be a little more complicated than one might think, and that every princess is perfect, no matter how unique she is.

Review By: Jacob R. Hines

Photos By: Matthew Murphy

Side Show @ The St. James Theatre

From the moment the audience at Side Show is invited to “Come Look at the Freaks,” they’ll be drawn into an odd spectacle they’ll find it hard to resist.  Based on the true story of famed conjoined twins Daisy and Violet Hilton, this story follows the sisters (played by Emily Padgett and Erin Davie respectively) from their lonely lives as a freak show attraction to the height of their vaudeville fame.

Daisy and Violet begin their journey under a big-top in Texas under the controlling Sir (Robert Joy).  Together, Terry (Ryan Silverman) and Buddy (Matthew Hyzdik) whisk the sisters off from a dead-end life as sideshow entertainers and make them the hottest ticket in vaudeville.  From there, the sisters’ experiences in love and fame create a compelling and well-told story about their life together and the lasting bond of sisterhood.

As he sets the scene, Joy’s frightening-yet-fantastic performance as the devilish ringmaster Sir commands attention from the moment he begins to introduce his band of freaks (played wonderfully by Brandon Bieber, Matthew Patrick Davis, Charity Angel Dawson, Lauren Elder, Javier Ignacio, Jordanna James, Kelvin Moon Loh, Barrett Martin, Don Richard, Blair Ross, Hannah Shankerman, and Josh Walker), which includes a bearded lady, the lizard man, a geek, and many others.  Davie and Padgett give the sisters powerful life, exuding chemistry and immense talent, even while connected at the hip.  As Terry, the greasy vaudeville manager and Daisy’s selfish lover, Silverman gives a near-perfect performance (his only flaw being that he’s almost too likeable).  Hyzdik is utterly charming in the role of Buddy, Violet’s conflicted love interest.  The ensemble, which includes Derek Hanson, Con O’Shea-Creal, and MichaelJon Slinger, provides powerful vocals and excellent support in various roles throughout the sisters’ journey.

Perhaps the only disappointment from the cast comes from David St. Louis portraying Jake, the sisters’ deeply attached caretaker.  While he does a tremendous job in many of the numbers, he seems to lack the emotional commitment necessary to play this pivotal character, especially in some of the more touching second-act scenes.

It’s notable that this production, helmed by film director Bill Condon, includes new content added by Condon himself to compliment Bill Russell’s original book and lyrics and Henry Krieger’s music.  The content gives more historical perspective (including an appearance by Harry Houdini himself) and never allows the show, which is set during the Depression and deals with some very emotional moments for the sisters, to become dreary or sluggish.  The set (designed by David Rockwell) is another triumph of the production, adding to the spectacle as it takes us from the a dingy big-top in Texas to the glitter of Vaudeville stages.

The new life breathed into this production paired with the powerhouse performances given by Davie and Padgett alone are truly enough to make this Side Show worth the price of admission.  The stellar technical work and supporting performances simply sweeten the deal, and are sure to leave audiences craving a second peek at the spectacle they’ve experienced under the big-top at one of Broadway’s most exciting revivals.

Review By: Jacob R. HinesPhotos By: Joan Marcus

Big @ York Theater Company

When thinking of a musical named “Big,” audiences wouldn’t immediately think of a bare-bones production in a very intimate theater.  However, the York Theatre Company’s production of Big (which is part of their Fall 2014 Mufti Series) definitely delivers a performance that is anything but small.

Every kid dreams of the life they’ll have when they’re grown up, and Big, the musical adaptation of the 1988 classic comedy film, sets out to show that growing up isn’t always as great as it seems.  Big tells the magical story of Josh (Hayden Wall), a twelve-year-old boy who makes a wish on a carnival machine to be grown up.  When his wish comes true, he finds a job with a toy company owned by George MacMillan (Richard Maltby, Jr.) and meets the jaded Susan (Kerri Butler), a woman whose poor luck in love has gotten the better of her.  Of course, the now “big” Josh (John Tartaglia) soon learns that the perks of being grown up don’t come without some downsides.

Though the cast took the show from script to stage in less than two days, every individual gave a bright and energetic performance, and they all clearly had a great time.  Tartaglia brings humor and refreshing sincerity to Josh, a child suddenly in a grown man’s body.  Butler shines from the moment she enters as Susan, and shows great depth as she takes the character from a cold executive to a jaded woman who had forgotten how wonderful life could be.  Of course, Janet Metz gives an endearing and emotional portrayal of Josh’s mother, a woman who suddenly found herself dealing with the disappearance of her child.  Jeremy Shinder gives a solid comedic performance as Josh’s pre-teen friend Billy.  Finally, it is worth noting that Maltby, known for being a director and lyricist, gave a commendable performance as MacMillan, the kind-hearted owner of a huge toy corporation.  Maltby was added to the cast following a last-minute cancellation, and was a welcome addition.

The rest of the cast (James Ludwig, Rhyn Saver, Tom Lucca, Elainey Bass, Liam Forde, Trista Dollison, and Whitney Brandt) each play multiple characters, and give fun and enjoyable performances in each unique role they take on.

Overall, the cast of this stripped-down production of Big, under the direction of Michael Unger and the musical direction of Eric Svejcar, gives audiences an unexpectedly satisfying treat that certainly lives up to its name.

Review By: Jacob R. Hines