Hand to God @ The Booth Theater

Robert Askin’s satirical new play, Hand to God, goes to all extremes in a rich look into a religious family’s broken home and the foul-mouthed sock puppet determined to unleash the devil in us all. 

The play mostly takes place within the blue painted cement walls of the church’s basement-a place for hope and God’s love, as the poster’s on the wall would have you believe anyway. Here we open to a puppet class, a welcome distraction for Margery(Geneva Carr) whose husband died six months earlier and is now at a loss as to how to fill her time. Enter Jason(Steven Boyer), shy, good hearted and seriously crushing on hipster Jessica(Sarah Stiles), while Timothy(Michael Oberholtzer) makes snide comments(he after all needs a place to crash during his mother’s 12 step) while simultaneously trying to woo Marg, in a Stacy’s Mom sort of fantasy. The puppet class is hardly something to be proud of with only Jason finished, his sock puppet Tyrone lovingly placed on his left hand and a rendition of “Jesus Loves Me” in his back pocket. Nevertheless, the show must go on as insisted upon Paster Greg(Marc Kudisch), whose “empty arms” need to be filled and whose “empty ears” need to listen. 

All is as it should be until Jason delivers a fabulous rendition of the famous “Who’s on First”  monologue in the hopes of wooing Jessica. Accepted immediately, Jessica wonders aloud if he made that up himself, “Yes.”

“Liar,” replies the previously voiceless Tyrone in what escalates as full out war on morality led by what might be the devil himself.

Boyer shines in his dual personality role, somehow able to convey both party’s emotions and lines. Though we can see his mouth moving the entire time, the audience cannot help but recognize Tyrone as another player. Unable to dismiss the rest of the cast as caricatures despite their hilarious idioms, Stiles deadpan delivery and Oberholtzer’s physical comic timing come to mind, one cannot help but be pulled into their very real struggles. 

The noteworthy Carr delivers as the frantic Texan mother, hell bent(see what I did there) on being good and honoring her dead husband’s memory, but quite unable to quell her very bad decisions. Her decline into humanity is both achingly familiar and entertaining to observe. 

Directed by Moritz von Stuelpnagel this triumphant Cinderella-esque story for theatre, Hand to God started Off-Broadway at the MCC Theatre, only to be enriched on the Broadway stage. Scenic design by Tony award winner Beowulf Borrit, Lighting Design by Jason Lyons, Costume Design by Sydney Maresca, Sound Design by Jill BC Du Boff, and Puppet Design by Marte Johanne Ekhougen. 

Philosophical, at times horror driven, intelligent, and all the while incredibly funny, Hand to God brings a rousing good time to the theatre stage

Review By: Aziza Seven 
Photos By: Joan Marcus

Iow@ @ Playwrights Horizons/Peter Jay Sharp Theater

Jenny Schwartz and Todd Almond find a place to let loose at Playwrights Horizons this spring.  The story of Becca as she deals with her mother’s impromptu engagement, iOW@ is a theatrical soiree into the disjointed world of slam poetry.  With the pending nuptials, Becca is forced to move Iowa – and forced to leave everything she knows and loves.  At 14, that kind of change is world shaking, affecting everything we are and pulling the anchor of our lives out from under us. 
 

Jill Shackner who portrays Becca, connects brilliantly to an underlying storyline and flow that the writing does not offer.  Her acting breathes much needed life into the driving character of iOW@.  Another solid performance comes in Carolina Sanchez.  She delivers every character she has (from the best friend Amanda to a polygamist’s’ wife) with undeniable conviction and presence.  Kolette Tetlow as a young Becca, sets the stage with a solid presence and Annie McNamara steps into the stereotype Cheerleader with wonderful timing.  Lee Sellars is a versatile tour de force on stage as every male character needed.  He transfers from teacher to father to pony (yes pony) in the blink of an eye.  Karyn Quackenbush is a wonderfully crazy Sandy.  As Becca’s mother, although some of her run on monologues land flat, she owns the stage through her electric energy.

Accompanying the cast is the trio of musicians who make up the pit.  With J Oconer Navarro on the piano (also the musical director), Brian Ellingsen on Bass and Sarah Haines on Viola, Todd Almond’s music couldn’t sound more perfect.  Almond delivers thick and beautiful harmonies akin to a movie score and although most of the songs lack a melodic line, his choir-esc vocal arrangements are a delight to the ear.  Jenny Schwartz adds lyrics to the mix with a Philip Glass like style.  Her writing is poetic as it flows from idea to idea like a series of word associations.  Though Schwartz’s book and lyrics often leave the audience with no clear idea of where the story is, it does always stays true to the language of the verse.

The bare set by Dane Laffrey keeps the visual stimulus simple and plain, allowing time to focus on the language of the show.  Laffrey gets a chance to show the audience a small amount of his ability at the end of the show when we arrive in Iowa, leaving me wishing his talents had been used more throughout.  Arnulfo Maldonado’s costumes are an eclectic variety, complementing the feel of the show perfectly.  Though the physical movement of the show sometimes struggled, it seems clear that Ken Rus Schmoll laid the groundwork for strong character study with the actors, allowing them to give their best.

If you want to see great acting and hear beautiful harmonies, iOW@ is a good night out.  It plays now thru May 10th at the Playwrights Horizons.

Review By: Paul Morin
Photos By: Joan Marcus

Wolf Hall: Parts One & Two @ The Winter Garden Theatre

Adapted to the stage by Mike Poulton and Directed by Jeremy Herrin, Wolf Hall Parts 1 and 2 should be savored slowly and all day. Part 1 tackles the annulment of Catherine of Aragon, Henry’s first wife, as he decides that the younger, more beautiful Anne Boleyn is the only one that can bear him a male heir, after Catherine’s many miscarriages. Denied by the church and unable to bed Anne without marrying her, Henry is at a loss until Thomas Cromwell, blacksmith’s son, and lawyer, comes along with an ingenious plan, have Henry be the head of his own church therefore granting him absolute power over the state of his own marriage. Catherine now in exile, Anne carrying his presumed heir, and Mary declared a bastard, everything seems to go swimmingly until Elizabeth is born and there is no son. Two years later and not only has Anne not been able to carry a son to term, King Henry’s wandering eyes have caught sight of Jane Seymour, and his current wife’s shrew behavior and loose ways are finally brought to the court. And so Part 1 ends, with an audience on the edge of their seats, knowing full well what history has entail for Anne Boleyn but unable to help the indrawn breath that inevitably happens with good theatre.

And so we’re back after a two hour reprieve to recover and savor the previous hours’ entertainment only to find King Henry is in a bit of a moral pickle and Cromwell at a loss as to how to proceed. Henry, convinced Anne is a witch who bewitched him wants another annulment, and Cromwell, well established at court with the respect he never had before, is going to get him one. Cromwell not only finds her “lovers” but in a trial that can only be described as fixed, he manages to find “evidence” of incest, adultery, and ultimately treason effectively tying the noose around the five men accused and Anne Boleyn, herself. In a gripping scene we see the terrible corruption of absolute power as King Henry signs away six lives for immediate execution. King Henry marries Jane 11 days later and once more the audience is left knowing the end, but enraptured nonetheless.

Ben Miles shines at Thomas Cromwell. He portrays the hero protagonist so well that the audience can’t help but remember and question their history lessons. An emotional performance that speaks volumes, Miles is the epitome of virtue, a man with the morals of a saint as he navigates the treacherous waves of the court he grew up so far from filled with the likes that had no respect for his common stock. From losing his mentor, the Chancellor Wulsie(Paul Jesson), to his wife Lizzie(Olivia Darnley), and his daughters, Miles portrays a new, more sentimental anti hero, one that the public can identify with, even as his actions are directly responsible for the death of possible innocents. Bravo Miles!

Lydia Leonard tackles one of the most memorable female characters of history with flourish and grace. Her conniving planning to become Queen of England is admirable even as her fading French accent grates. Playing both innocent ingenue and knowing seductress, she seamlessly floats between personalities, a trait one would most certainly find in the royal women of those days. Her ambition shines through her performance, but there is nothing sympathetic about her character.

Nathaniel Parker as King Henry VIII is an overworked, petulant boy/man. His sole desire is to be in love with a family full of heirs, but can’t seem to find a wife suitable to his growing religious needs. Parker also creates an empathetic character, one the audience hopes will be happy with his current state, but who know that it is an impossible feat. Bending, breaking, and ignoring the rules, he breaks down in what can only be called a paradox of character, when he must sign the death warrant of Francis Weston. “Weston? But he’s so young…” the line trails into silence as the quill is put to paper. Rules are rules, and if one must be erased for a monarch’s pleasure, than they all must be.

What is a show without the myriad of actors that make up all the other players? It should be noted that this troupe is filled with talent and skill. Eight hours of theatre is no easy feat and this cast was impeccable. Their timing, both comedic and dramatic kept the audience engaged to the very end and I cannot help but applaud such fortitude.

A character unto itself, the scenic and costume design by Tony and Olivier winner, Christopher Oram is flawless. The set is minimalistic providing a backdrop for movable set pieces that create and break down each scene perfectly. The solid greyness of the walls provide the canvas for the impeccably designed period costumes to be displayed against. Academy Award winning composer Stephen Warbeck’s music is breathtaking. One cannot help being acutely aware of the music heightening one’s feelings, while also being helpless to it’s pull.

Ironic laughter and hushed silence is what awaits you at The Garden State Theater for this fifteen week engagement.

Review By: Aziza Seven
Photos By: Johan Persson

Gigi @ The Neil Simon Theatre

Neil Simon Theatre’s Gigi was remarkable, and not because of Vanessa Hudgens. Director Eric Schaeffer was blessed with an incredible cast and decidedly talented scenic designer Derek McLane, costume designer Cathrine Zuber, lighting designer Natasha Katz, and sound designer Kai Harada. Heidi Thomas’ adapted play Gigi was a pleasing look into 1900 Paris; where all the Parisians are obsessed with love and we are privy to a journey to find out why.

The allure of 20th century Paris was accentuated by moving set pieces, miniature but nevertheless lifelike versions of the Eiffel tower, and adroit use of color and lighting. The stage was an impeccable enhancement to the performance.

This all-star cast was led by Vanessa Hudgens, whose vocal ability was amateur compared to her more seasoned supporting cast. This difference was mitigated by her comfortable portrayal of Gigi, a coming of age girl grappling with the truth of her lot—she must become desirable to secure comfort in her later years but resents this impending reality of her gender.

Corey Cott presented the reluctantly famous Gaston Lachaille. Equally disgruntled as Gigi over his expectations in society, Gaston would rather strive for furthering his mind than his loins. Enrolled into the Parisian obsession with love and love affairs, Cott fell into his role of Gaston with an ease that was reflected on the stage, his voice equally as strong as his compatriots.  

Gigi’s caretaker, affectionately known as Mamita by Gaston is masterfully played by Victoria Clark. Exceedingly deserving of her Tony award for The Light in the Piazza, Clark was met by resounding silence when she entered the stage. The beauty of her voice took any other from the room, my breath included.

Where Mamita was the affectionate grandmother that only wished for Gigi to aim for happiness instead of social status, her great aunt Alicia (Dee Hoty) had different aims for her niece. Tony nominated for Footloose, The Best Little Whorehouse Goes Public and The Will Rogers Follies, Hoty brought an easy lightness to the stage. High in chemistry with Clark, Hoty evoked laughter from the audience and assuaged us into her plan to force Gigi into a high status life, full of fights with lawyers and multiple men to mistress.

Close with Mamita in their distant past, the dapper Honoré Lachaille (Howard McGillin) was the uncle of Gaston. A “will not marry” man, Honoré propels his nephew into the limelight of his considerable fortune-backed fame and freedom to pursue many women. McGillin, perhaps best known for his record-setting run in The Phantom of the Opera, did not disappoint. Like Victoria Clark, McGillin’s voice and performance were exceptionally memorable.

Gaston’s most acclaimed mistress, Liane d’Exelmans was played by Steffanie Leigh. Only interested in the pursuit of Parisian high societal attention, Leigh pulled the eyes of the stage with her throughout her scandalous performance. Her presentation of the airy Liane was precise.

Gigi’s ensemble consisted of Justin Prescott (Charles), Amos Wolff (Sandomir), Ashley Yeater (Marie-Louise), James Patterson (Dufresne), Manny Stark (Bonfils), Max Clayton (Martel) and the Parisians (Preceding and Madeleine Doherty, Ashley Blair Fitzgerald, Hannah Florence, Brian Ogilvie, Tanairi Sade Vazquez).

The most notable was Justin Prescott as Charles; who portrayed the snooty butler. Prescott made a show of pulling chairs from under unsuspecting lawyers and other antics that I thoroughly enjoyed.

Also noteworthy, was Joshua Bergasse. Gigi’s dance sequences were a mix of traditional and laugh eliciting entertainment. His choice of choreography to announce gossip at Maxim’s was both disjointed and somehow perfect for the occasion.

See Gigi, it lives up to its hype.

Review By: Alexandra Lipari
Photos By: Margot Schulman

Disenchanted @ Westside Theatre (Upstairs )

This show is overflowing with hilarity, wit, great music and astounding talent. Disenchanted features many of the Disney princesses like you’ve never seen them before.  Writer/composer Dennis T. Giacino delivers this un-fairytale production under the direction of Fiely A. Matias with non-stop laughter cocktailed with the sweeping music. The classic Disney princesses are taking a stand against “the princess complex” for the night. They are tired of having to be perfect, thin, sweet, objectified and a list of other gripes .  They are less the typical Disney princesses and more feminist ambassadors. With witty banter and multiple 11:00 numbers, this show delights the audience’s ears and funny bones.

The original Disney princess Snow White, played by Michelle Knight, leads this troupe of surprising royalty with her domineering looks. With her over expressive eyes Knight seems to have invented the phrase “if looks could kill”. Becky Gulsvig portrays Cinderella as a ditzy, sweet, blonde with incredible comedic timing and adorableness.  Sleeping Beauty, played by Jen Bechter, may not be the stereotypical ideal Disney princess but she is perfect as the narcoleptic girl who loves herself just as she is.

Alison Burns plays Belle, The Little Mermaid and Rapunzel. Belle has gone insane from dishes singing to her (among other things) with frazzled hair, crazy eyes and even a strait jacket. Ariel has become an alcoholic who longs to trade her legs for fins. And her Rapunzel will have you rolling in the aisle as the angry German forcing the audience into a sing-off!  Rounding out the cast is Anthea Neri portraying Mulan and Pocahontas and Soara-Joye Ross as The Girl Who Kissed the Frog.  All of Neri’s songs are power ballads seasoned with laughs and Ross can give Beyonce a run for her money in the diva department.

All of these women are nothing short of fierce. Their vocals soar easily even on the highest belt notes, their stage presence is captivating and their chemistry rivals each other in the best way possible.

Costumes by Vanessa Leuck are a nod to the classic Disney fairytale wardrobe but are also reinvented with fresh sass. The costumes help to keep the audience connected to the traditional stories but also allow the imagination to play in this over the top production.  The lighting design by Graham Kindred keeps the mood appropriately groovy and dramatic. Keeping the music on point is musical director Michael Raabe.  Raabe plays keyboard, with Bobby Brennan om electric bass and Gregg Monteith  on percussion. They might be a trio but the sound is as full as a symphony.

The only thing that could have made this show a little more poignant would have been to swap the personality traits of Cinderella and Sleeping Beauty. Cinderella still possesses many traditional princess qualities (dainty, girly, thin), while Sleeping Beauty is portrayed as breaking the princess mold (crude, loud and curvy).  Sleeping Beauty’s sings a songs titled “Perfect” which is about loving oneself regardless of social expectancies. This message may have been stronger if Cinderella (the classic Disney beauty) exuded a crude and loud vibe while Sleeping Beauty (the curvy girl) exuded a dainty and girly essence.  It would have been nice to see not just the “Disney princess” stereotype broken down but also the “character actress” stereotype broken simultaneously.

This 95 minute show is a riot, go see Disenchanted you will love every second of it!

Review By: Staci Morin
Photos By: Matthew Murphy