A COMEDY OF TENORS @ The Papermill Playhouse

In 2013 Paper Mill Playhouse produced Ken Ludwig’s Lend Me a Tenor with director Don Stephenson at the healm. Now, over 3 years later, Stephenson and the original cast are back for its sequel, A Comedy of Tenors. This grand reunion paired with a hilarious script filled with hijinks makes for an evening filled with hysterics.

The title immediately gives you a clue as to what’s in store- borrowing its name from Shakespeare’s A Comedy of Errors, 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 (Michael Kostroff) in a hotel room in Paris attempting to keep his opera performance together. Returning are Max (David Josefsberg) his son-in-law and aspiring opera performer, and world famous Tenor Tito (John Treacy Egan) along with his hot-headed wife Maria (Judy Blazer). Along for the ride is Tito and Maria’s daughter, aspiring actress Mimi (Jill Paice) with her boyfriend, the new opera star Carlo (Ryan Silverman), and Racón (Donna Englisch), 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.

Kostroff, Josefsberg, Egan, and Blazer all reprise their respective roles from Lend Me a Tenor, 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 The Producers, 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 The Producers 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 Tenors 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.

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 Lend Me a Tenor, Stephenson navigates the ridiculous A Comedy of Tenors with skill, stretching out the wacky moments for an optimal amount of laughs, while still letting the heart of the characters come through.

With lots of slapstick, screaming, singing, scandal, and a stirring script, Paper Mill’s A Comedy of Tenors 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.

Review By: April Sigler

Photos By: Jerry Dalia and Kevin Thomas Garcia

Paramour @ The Lyric Theater

Spectacle. Wonderment. Awe-inspiring. These are just a few words that come to mind when thinking of the legendary Cirque du Soleil, the contemporary circus group that focuses on theatricality and is the largest theatrical producer in the world. Having permanent shows in Las Vegas and Florida, Paramour is the group’s venture to take on the Big Apple. The show combines Cirque’s signature circus arts with original songs, dance, and film, to create a new and breathtaking night at the theatre.

Paramour is billed as “A Cirque du Soleil Musical”, being the first of the entertainment company’s productions to have a fully integrated book/story attached to it. The plot follows three main players- renowned film director AJ Golden played by Jeremy Kushnier (Footloose, Rent), Ruby Lewis as redheaded singer striving to be a star Indigo James, and aspiring young songwriter Joey Green played by Ryan Vona (Once). After AJ recruits Indigo to be his new leading lady and enlists Joey to write the perfect love song for his film the three set off on a journey through the Golden Age of Hollywood, deciding between love, art, and one another. The musical features several songs, performed beautifully, but the main attraction of course comes with the circus acts.

Featuring a cast of 40 wonderfully talented artists, the Cirque performers are the real stars of the show. Performing mesmerizing tricks and stunts such as trapeze, contortion, trampolines, juggling, tumbling, and much more, the ensemble steals every moment they set foot on stage. The circus sections are absolutely enthralling and transport you back in time- leaving the audience feeling amazed and filled with wonder and wondering “how is that even possible?”. The dance sequences are extremely enjoyable, as the full cast comes together to show off their specific talents- whether that is singing high notes, doing four back flips in the air, or tap dancing (even in roller skates!). The number “Love Triangle” provides a wonderful hybrid of Paramour’s features, while having the three actors expressing their feelings through song a mirror-set of acrobats provide the physical exemplification of these words through their incredible movements, as the woman travels between one man on the ground and another up high in the trapeze. Identical twin acrobats Andrew and Kevin Atherton, through their absolutely astounding aerial-straps routine, present one of the standouts of the show. The two soar through the air above the audience, contorting their bodies and managing incredible feats, providing the most captivating minutes of the night.

Paramour is an all around spectacle. Aside from the amazing acrobatic and aerial routines, the design is remarkable. Playing at the Lyric Theatre, the second largest Broadway house seating almost 2,000 people, the gorgeous house provides the perfect aesthetic for the Golden Age era of the ‘30s and ‘40s with magnificent sets that transform between film sets, speakeasies, and city rooftops. The film theme is illuminated throughout the show with its use of live video, multimedia projections, and amazing lighting and shadow work, creating an integrated and immersive experience. There is always somewhere to look, around, above, even in the aisles.  

Paramour on Broadway is so much more than a show, it is an experience. For those new to Cirque, it is a good entryway, providing a sense of story to hold onto in between the incredible circus artistry, which will fill you with a child-like sense of amazement. If you’re looking for a spectacular evening of entertainment, with glitz, glamour, and gigantic talent, then hop, flip, or fly on over to the Lyric Theatre for Cirque du Soleil’s Paramour.

Review By: April Sigler
Photos BY: Sara Krulwich

Smokefall @ The Lucille Lorte Theater

“Time past and time future allow but a little consciousness. To be conscious is not to be in time. But only in time can the moment in the rose-garden, the moment in the arbour where the rain beat, the moment in the draughty church at smokefall. Be remembered; involved with past and future. Only through time time is conquered.” This T.S. Eliot poem from The Four Quartets sets the scene and provides the title for MCC Theater’s Smokefall. What follows is an existential night of theatre moving through life and time while merging realism, fantasy, magic, and even a little bit of vaudeville. 

            At first glance, Smokefall shows a wooden house, a normal family home one has when growing up. The daily routine commences- pregnant mother Violet assembles breakfast, father Daniel gets ready for work, daughter Beauty and grandfather Colonel prepare for their days. What looks like the quintessential “normal” family is quickly struck away, as Footnote, played by Zachary Quinto (The Glass Menagerie, Angels in America American Horror Story, Heroes) narrates the inner workers of each character, including the two unborn twins. What seems happy on the outside harbors some deeper darker secrets.

            The morning unfolds throughout Act 1, as we learn how each family member’s life is about to change forever and the consequences it has on the others. Finally, Violet goes into labor, and we dive into the world of the twins, who exchange views on the world they are about to enter into, leading to hard questions and difficult decisions. Act 2 jumps into the future, as one of the twins has grown and has a son of his own. It is here that Eliot’s poem truly becomes realized, as time constantly shifts back and forth, showing the audience how the past and future coexist and everything comes together. Events from the past play out alongside the characters in the present, and they all interact with one another, showcasing how fragile and simply symbolic time really is.

            The entire cast was moving and provocative, many doubling as several different characters or in various stages of life. The women particularly stood out. Taylor Richardson’s (Annie) Beauty, at 14-years-old shows a tremendous amount of maturity in her performance, specifically in the second act. Robin Tuney (The Craft, The Mentalist, Prison Break) is captivating in her theatrical debut as Violet, as we see her shifting between a hopeful expectant mother, an optimistic young lover, and a woman who has been crushed. Zachary Quinto conquers the most roles, tripling as Footnote, Fetus Two, and Samuel- each distinct in their mannerisms and philosophers. Quinto was particularly enrapturing when he was simply watching the action developing in front or around him; he was constantly engaged and reactive.

            The show runs at 1 hour 40 minutes (including intermission) and the pace is perfect. You are constantly absorbed in what is happening, nothing ever felt slow or dragging. If you’re interested in a show that will warm your heart but also gasp as you’re on the edge of your seat- especially one that will make you think about time and life- check out Smokefall at the MCC Theater’s Lucille Lortel Theatre (231 W 29^th St.) before it blows away March 20^th. 

Review By: April Sigler

Photos By:Tina Fineberg 

The Comedy of Errors @ The Shiva Theater @ The Public Theater

Have you ever been mistaken for someone else? Have you ever gone looking for something? Have you ever been in love? These are the questions the audience is asked before the show begins. The Public Theatre’s production of The Comedy of Errors was a contemporary look at the Shakespearean classic filled with a lot of life, love, and as the title implies- comedy. 

Comedy of Errors follows two sets of identical twins who are separated at birth. Antipholus of Syracuse and his servant Dromio of Syracuse arrive in Ephesus where they are mistaken by the townspeople (including Antipholus of Ephesus’ wife Adriana and her sister Luciana) for their identical counterparts, Antipholus and Dromio of Ephesus. This is the ultimate case of mistaken identities, wrongful accusations, and slapstick humor. 

Each Antipholus is played by Bernardo Cubría, with Lucas Caleb Rooney taking on each Dromio. Baseball caps for the boys from Syracuse and cowboy hats for the two Ephesus twins were used to help the audience distinguish between the characters. These two actors are exquisite, able to effortlessly transform between each twin within seconds, making them distinct and captivating. While the entire cast is marvelous and hysterical, these leading men really stand out and are commendable for their portrayals of the twins.

The Shiva theatre is a small intimate space, and the show uses this to its full advantage. The actors interact with the audience, sitting next to them, delivering soliloquies to them, and sometimes even bringing them onto the “stage” to be a part of the action. Seating is general and in the round, but no seat is a bad seat- you are right there with the performers. The only set provided is a square of grass and dirt, with a border-line painted between Syracuse and Ephesus. This allows the audience to really focus on the superb acting and the poetry of the language.

            When faced with a Shakespeare show most worry over the long hours they are about to endure, but there is no need to worry here: Running at 90 minutes with no intermission and constantly filled with infectious energy and fun the show breezes by- You can’t help but have a smile on your face for the entire hour and half.

This unique production is part of the Public’s Mobile Shakespeare Unit, which travels the five boroughs (and more) providing free entertainment to those in prisons, homeless shelters, and community centers. Director Kwame Kwel-Armah’s version is filled with contemporary references (border patrol officers, cell phones, etc.) that make it relevant to today and destroy the notion that Shakespeare is something “superior” that not everyone can understand. As is their mission, this production proves that Shakespeare is for everyone, and makes it enjoyable along the way. Now done touring, it is playing at the Public Theatre on Lafayette Street until November 22. If you’re looking for an evening filled with laughs and merriment make your way to The Comedy of Errors!

Review By: April Sigler
Photos By: Joan Marcus

The Absolute Brightness of Leonard Pelkey @ The Westside Theatre (Downstairs)

The Absolute Brightness of Leonard Pelkey was an absolute joy. After a sold-out and critically acclaimed run earlier this year at Dixon Place, Absolute Brightness has returned for a limited 12-week engagement, and it is certainly not something to be missed. Its new home, downstairs at the Westside Theatre, provides an intimate experience and allows the audience to be right in the action and one with the story, while also connecting with their fellow audience members. It demonstrates one of the piece’s points that we are all linked to one another and can have an effect on each other.

The play follows detective Chuck DeSantis as he investigates the disappearance of Leonard Pelkey, a flamboyant 14-year-old. Through his investigations he encounters several of the townspeople in their small town on the Jersey Shore who have all been profoundly affected by Leonard, as they explore what this young boy who was not afraid to be himself taught them about life.

While some may be wary of a one-man show, they have nothing to fear, as Absolute Brighness is marvelously helmed and performed by James Lecesne. Lecesne is able to command the stage every second of the 90-minute piece, being absolutely engaging and keeping the energy high. His comedic timing is impeccable, eliciting laughs at all the right moments, while also being able to hit the hard and serious moments. Effortlessly switching between voices and wonderful physicality, Lecesne plays no less than seven different and distinct characters – from a Jersey hairstylist, her sheepish 16 year old daughter, an eccentric drama school owner, an old ex-mob wife, an old clock shop owner, and a teen boy gamer, to the “main” character of Chuck the detective. While one is aware that it is all the same actor, it never feels that way, as Lecesne effortlessly breathes distinct life into each. His talent is absolutely palpable and unbelievable, bringing wonderment and utter admiration. 

What is even more astonishing than Lecesne’s wondrous performance, is the fact that he also wrote the piece. This personal investment and connection shined throughout his performance, as you could tell he cared deeply for the story he was telling, and was proud to be sharing it with the world. Lecesne’s myriad of talents and accomplishments include being the screenwriter for the Academy Award winning film Trevor and a co-founder for The Trevor Project, a non-profit organization dedicated to suicide-prevention for LGBT youth. When purchasing tickets through telecharge, a portion of full price and premium tickets are donated to the organization. While the piece obviously deals with the subject of LGBT issues in today’s society, it never feels preachy or imposing. Rather, it is realistic, meant to make people think- have things really changed?  

The scenic design by Jo Winiarski is minimal, consisting of a table laid out with artifacts of Leonard’s that are now pieces of evidence and a few chairs is effective, as it keeps the focus on Lecesne’s spectacular acting and supports him when necessary. Similarly are the effects of Aaron Rhyne’s projection design, which enlarges the various exhibits in Leonard’s case, showcasing how he is connected to each of the different townspeople. The play features original music by Duncan Sheik (Spring Awakening); this along with sound design by Christian Frederickson and Matt Richards’ lighting, easily characterize the different settings that each character resides in, and set the world and tone as the story shifts.

While Absolute Brightness is centered around a tragedy, at its core it is a heartwarming tale. This seemingly contradictory nature is what makes the play so profound and intriguing. Theatre is the perfect medium for this story, as it allows a human connection between performer and audience, and truly encourages and invites audience members to reflect on relationships within their own lives. As Lecesne took his bow, the audience leapt to its feet, smiles beaming on every face, all of us impacting by Leonard’s story just as those in the show were. Not only is The Absolute Brightness of Leonard Pelkey brilliantly conceived and performed, but it makes you think, laugh, and examine the brightness that exists around us. Head over to the Westside Theatre before Absolute Brightness disappears on October 4. Be inspired. Be bright.

Review By: April Sigler

Photos By: Michelle V. Agins

Doctor Zhivago @ The Broadway Theater

Doctor Zhivago is based on Boris Pasternak's novel and its 1965 film. It takes place in Russia during the Russian Revolution of 1917 through the beginnings of World War 1. The aristocratic Zhivago is a doctor and a poet, who is thrown into the war as he becomes torn between his wife and childhood friend Tonya and the mysterious Lara, whom several men also pine for. The story is a romantic epic, throwing the audience directly into the warzone, experiencing its tragedies and moments of tenderness along with the characters. The book is by Michael Weller (Ragtime), music by Lucy Simon (The Secret Garden), and lyrics by Michael Korie (Grey Gardens).

The moment you walk into the theatre you are immediately transported into another world. The stack of chairs piled high center and the black and white checkered floor gave just a tease of the spectacular scenery that was to come, while setting the tone of Czarist and revolutionary Russia. Each place in the show was distinct, thanks to the amazing use of the sike - which utilized various multimedia to really set the locations. Video imaging on the sike and large set pieces on either side of the stage wee used to transform the space into lavish mansions, Russian streets, the countryside, war lines, etc. all with beauty and ease. 

I was absolutely enamored by the spectacle the entire show, both in set and performances. My focus was captured constantly, as I wanted nothing more than to see how the lives of these characters would unfold. While the show is dense and dark, and has a running time of 2 hours and 40 minutes (incl. intermission) it didn't feel long or dragging. Something was consistently happening to keep you invested in the action. The story is the pure definition of epic, with explosions and tremendous journeys taking place. It is not light-hearted, though it has its sweet romantic moments, Doctor Zhivago is not afraid of handling its heavy material, and does so in a manner that is riveting and affecting. The only reason I ever wanted a break was so I could talk with my fellow theatregoers about the wonder that was occurring on the stage.

Tam Mutu and Kelli Barrett were wonderful as the two leading lovers. Zhivago's internal struggle of what kind of man he wants to be was touching and gripping, as Mutu's resounding voice carried the show's beautiful tunes and captivated the audience's attention every moment he was on stage (which was a majority of the night). 

The standout performance came from Paul Alexander Nolan as Pasha/Strelnikov. His vocals soared, and Nolan got to show off his impressive dancing skills in one of the show's most fun and unexpected numbers- "It's a Godsend". Nolan wonderfully traversed Pasha's tragic journey, from the enthusiastic young lover of Lara who only wants equality in Russia to a hardened commander and killer. He was absolutely enthralling, and I intend to follow Nolan's career, as he was a wonder.

You do not need to be a fan of the original novel/film, or even familiar with it (as I went into this show completely fresh) to be invested in the action. Adding to the cinematic feeling are the titles that appear above the stage, identifying the time and place that the upcoming scene is happening. This allows everyone to know exactly what is going on at all times. If you are a longtime fan, it is amazing to see how this story is transformed on the stage, and for newcomers it is just as amazing to see the epic unfold.

One word of discretion: There are postings when you enter the theatre warning about realistic gun shots and explosions. They mean it. The show is littered with the booms (helpfully and stunningly adding to the gruesomeness and violence of the times) but some can be quite startling. Along these lines, there is an abundance of blood and gore (and vomit at one point), so those with weaker constitutions should use discretion and sit further away or know when to look away.

Overall, I left the theatre absolutely amazed by the majesty I had just seen. The story was riveting, the sets and effects spectacular, and the performances beautiful and overflowing with talent. It was so filled with passion and glory and was a moving piece that transported me back in time. This truly was an epic night of theatre that I cannot stop talking about. So Doctor ZhivaGO see this show.

Review By: April Sigler
Photos By: Sara Krulwich

CredSara Krulwich