Nevermore: The Imaginary Life and Mysterious Death of Edgar Allan Poe @ New World Stages, Stage 1

As a disclaimer, I am not a professed Edgar Allan Poe fanatic. I enjoy his work very much but I cannot claim to be an enthusiast.

Nevermore, written, composed and directed by Jonathan Christenson was a look into the imaginary life and mysterious death of Edgar Allan Poe. Christenson sought to bring the audience into a world where the macabre gears within Poe’s mind churned. Production designer Bretta Gerecke took Christenson’s vision and set a simple stage: six panels and strategic lighting.

Sound designer Wade Staples accentuated the actor’s portrayal of Poe’s compatriots while flaunting very Poe-vian costumes. Eerie ravens, horse heads, large and decrepit hats all came together like a scene out of a Tim Burton film. To me, it was the right amount of eerie and weird.

The play began with Edgar Allan Poe (Scott Shpeley), lost and alone until he is met with strangers who claim to have known his mother. Edgar is confused by their knowledge and asks them to remind him of his past. With this, the audience is taken into an intimate narration of Edgar’s earliest years in Boston and onto his last breath in Baltimore.

Shpeley portrays Edgar as a pessimist trying to battle against his “tender heart and gentle disposition.” Edgar is a tormented man, not just by his own inner visions but from the difficult life that continuously beats him. The musical is a narration of his life.

The audience was left to imagine Edgar’s feelings through each setback, and it reminded me of the emotions that we experience when reading his work. Delving into someone’s mind via art is a imaginary process, I enjoyed that the musical followed that vein.

The performance covered many facets of Edgar’s complicated life. Important female figures such as Edgar’s mother, Eliza Poe (Lindsie VanWinkle), his foster mother Fanny Allan (Beth Graham), his high school sweetheart Elmira Royster (Shannon Blanchet), his cousin-bride Sissy Clemm (Beth Graham), sister Rosalie Poe (Beth Graham), and aunt Muddy Clemm (Lindsie VanWinkle) culminated into the many but sparse lights that at times brought Poe out of his own darkness. Each actress had the right amount of humor attached to the strangeness of their performances that, again, can be described as Poe-vian.

Edgar’s male counterparts included his father, David Poe (Garett Ross), his foster father Jock Allan (Garett Ross), his ever-optimistic brother Henry Poe (Garelan Beatty) and the infamous Rufus Griswold (Ryan Parker). Aside from Henry, the men that influenced Edgar’s development were inclined toward evil, drinking or defamation. Each actor delved into his character and pushed Edgar further toward his odd obsessions.

In addition to their many roles, each actor also participated in the ensemble. Narrating Edgar’s life, the audience was left to look through their own glass to understand Edgar’s deadly inclinations. The musical was an avenue of understanding of Edgar Allan Poe’s life, in a way that was visually appealing and I hummed the music for a few hours after leaving.

I am unsure if an Edgar Allan Poe fanatic would approve of the tribute but I left feeling as if I understood some of Edgar’s torment. The play was strange, odd and a bit long but it held laughter, pity, and eerie decadence very well.

Review By: Alexandra Lipari
Photos By: Joan Marcus

Winners @ Ensemble Studio Theatre

They say that the face of marriage in the United States is deranged. Beneath the many facets of long term relationships lurks some unforgettable moments and unforgivable deeds. Compound the love and marriage of a middle class family with teenage children and a setting for a play filled with laughter and conflict is born. Ensemble Studio Theatre’s Winners comedically captured the modern family and its struggle to cope.

Director Pamela Berlin was granted an outstanding cast by McCorkle Casting & Tom Rowan. Jason Simms’ set was imaginative and brought Maggie Bofill’s play to almost anyone’s living room, kitchen and bedroom. Berlin played to the strengths of each cast member and had the audience laughing and leaning in throughout the entire performance.

The play began with immediate conflict over the proper use of cooking utensils. Which, of course, is a very serious topic. Brian, (Grant Shaud) had engrossed himself in home cooking since the teetering job market had banned him to the stove rather than the suit packed pavement. Shaun was a pleasure to watch and his grasps at frustration while maintaining himself as a father were both relatable and moving.

Mabel, (Florencia Lozano) is Brian’s wife and now sole breadwinner of the household. Faced with added responsibility and a breakdown of marital communication, Lozano depicts a woman struggling to find her new footing and mutual understanding with her husband. Generally discontented and frantic, Lozano captures the dissatisfied wife very well.

Their son, Tommy (David Gelles) is battling his sixteen year old fog while gripping for adulthood and the meaning of responsibility. Gelles and his sister, Gabby (Arielle Goldman) have great chemistry together.

Gabby is hiding her ten ear old fall into reality with a quirkiness that was endearing—she quickly became my favorite character. Goldman’s ability to capture Gabby’s strange tint was well executed.

An old colleague of Brian’s, Bill (Scott Sowers) is a manager at a nearby Gap store. Bill’s mysterious choice to liken his managerial role to a civic duty made his intentions questionable. Sowers certainly made me grip my seat, but you’ll have to see the play to understand why.

Bill’s wife, Lilly (Polly Lee) is the touched by God employee of Saint Mary’s private school. In charge of the Christmas play, Lee endures Gabby’s very dark renditions of Christmas night with trained astonishment; super hero capes and all. Lee presents a holy conservative woman whose fabric is somewhat shaken by the Winners family.

And lastly, the comic relief to the otherwise laughter inducing play—the cat and dog. Of the two, my personal favorite was Marie Antoinette (Stephanie Hsu). Hsu truly conveyed every facial expression I would expect to see from a cat-human hybrid. A beatnik and ballerina cat was a perfect addition to the play.

Of the most cherished characters was Buck (Curran Connor). Connor played the household dog with a constant smile and big dog mannerisms—happiness, playfulness, eating garbage and the intense need to pee. Connor’s monologue in Act II has me looking at my own dog differently.

Ensemble Studio Theatre and the Radio Drama Network’s presentation of Winners was a pleasure. The play runs from Wednesday, January 14th to Sunday, February 8th. Grab a ticket and go enjoy yourself for an evening.
Review By: Alex Lipari
Photos By: Gerry Goodstien

Honeymoon in Vegas @ The Nederlander Theater

Romance, scandal, comedy and music collide in Honeymoon in Vegas.

The show tells the story of Jack, a Brooklynite with an extreme fear of marriage, who finally gets up the nerve to ask his girlfriend Betsy to marry him. But when smooth-talking gambler Tommy — looking for a second chance at love — falls head over heels for Betsy, Jack must go to extreme heights to win back the love of his life. A romantic romp from New York to Vegas to Hawaii, HONEYMOON is non-stop, laugh-out-loud Broadway fun!

Composer & Lyricist Jason Robert Brown, who is best known for dramatic works such as The Last 5 Years, Parade and Bridges of Madison County steps outside his comfort zone to bring us a musical comedy! While some of the score reflects melodies found in some of JRB’s other works, most of Honeymoon in Vegas is a surprisingly fresh detour. Jason Robert Brown’s lyrics are both witty and a hilarious cliché. The audience roared for numbers such as “Never Get Married”, “Friki-Friki” and “Higher Love”, while tunes like “You Made the Wait Worth While” counter the laughs with a simplistic sweetness.

The orchestra, led by Tom Murray, starts the show off with a bang. At the top of the show the band is center stage-turning the typical overture into a standout Vegas style performance.  The music is energizing and sets the palpable emotional whirlwind of the show.

Rob McClure plays Jack with a nerdy likability and Nancy Opel is hilarious as Jack’s overbearing dead mother. Tommy Korman is reminiscent of characters many of us have seen Tony Danza play before, making him seem like an obvious choice for the role. Danza does a technically fine job singing and dancing but his charming charisma might be more easily captured on film.  Every moment Brynn O’Malley is on stage as Betsy she is fully present and engaging. David Josefsberg is a delight as both Buddy Rocky and nearly stops the show as Roy Bacon. The ensemble of Honeymoon in Vegas is stellar. They shine in their individual moments but also bring the dance and vocal numbers to life with ease. The choreography by Denis Jones is vibrant, but what really sells the movement is the unique personality each ensemble member brings to their respective character.

Director Gary Griffin knows how to squeeze every last possible laugh out of each scene. Sometimes outrageous and sometimes understated, Griffin seems to have found the perfect blend to compliment Andrew Bergman’s book. Brian Hemesath’s costume designs are fun and completed with the hair and wig designs by Charles G Lapointe. The scenic and projection design by Anna Louizos is top notch as is the seamless sound design by Scott Lehrer and Drew Levy.

Honeymoon in Vegas is overall an enjoyable show. It will leave you with a smile on your face. Go see it! The team over at the Nederlander made it worth the while!

Review By: Staci Morin
Photos By: Sara Krulwich

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