God Bless You, Mr. Rosewater @ The New York City Center

What happens when a mutli-millionaire starts giving away his money for relatively no reason at all?  People start to question his sanity of course!  That is exactly the case when it comes to Michael Mayer’s God Bless You, Mr. Rosewater.

Originally produced in 1979, Encores! Off-Center at New York City Center’s reprise of Kurt Vonnegut’s funny little play, tells the story of eccentric millionaire, Eliot Rosewater (Santino Fontana), who is the president of the Rosewater Foundation.  The Rosewater Foundation has received notoriety by funding the local artists and business ventures from poetry to science.  It is run by the youngest generation of Rosewaters and its presidency follows suit.  We learn that as president Eliot gives freely and openly to all who request, much to the bane of his father, but also suffers from many breakdowns and bouts of alcoholism.  Eliot grows weary of this life and leaves to find himself, adventuring from volunteer fire brigade to volunteer fire brigade (yes, you read that correctly).  During one drunken evening, Eliot realizes that the way he can find himself is by going back to the town that shares his namesake.  While there, he changes the lives of all of the townsfolk for the better, which of course, catches the attention of newbie lawyer, Norman Mushari (Skylar Astin).  Norman has found a clause in the Foundation’s bylaws that states if Eliot is proven insane, his millions would transfer over to his next of kin.  Mushari, sensing a hefty fee, makes it his personal business to find the other Rosewaters and prove Eliot a basketcase.

Rosewater is presented as a concert performance for just three nights only, and while their scripts were in hand, the cast does a phenomenal job of bringing this play to life.  With music by Alan Menken, you cannot laugh to such hits such as, “Thank God for the Volunteer Fire Brigade”, “Cheese Nips”, and “Rhode Island Tango”.  While the subplots are a bit hard to follow and can sometimes be distracting, the overall storyline of a ridiculously wealthy, World War II veteran with PTSD, who gives up his relationships, his dignity and his character to do everything he can to help out a town everyone forgot make this something worth seeing.  Major kudos goes to the technical team as the subtle touches, such as dimly lighting the “postcard” of the town they were in during a particular scene, really helped round out this performance.

Should you miss this installment, the amount of effort put forth in this Encores! Off-Center show makes me want to come back for more.  This reviewer truly appreciated all of the hard work of those involved.  God Bless You, Mr. Rosewater is playing July 28-30th at the New York City Center.

Review By: Renee Demaio

Photos By: Joan Marcus

The Wild Party @ New York City Center

  

The roaring 20’s incited a wildness that could not be contained—and it is celebrated today with productions such as Encores! Off Center’s The Wild Party. Equipped with an incredible score, Lippa’s The Wild Party brought me into the inner conflicts of abuse and the outer celebration of freedom.

Wild Party’s revival was directed by Leigh Silverman, who capitalized on an all-star cast’s talent to bring a captivating production of the musical to New York City Center’s stage. Scenic Designer Donyale Werle brought the 20’s to the 00’s with a unit set—perfectly showcasing musical director Chris Fenwick’s orchestra.

Costume designer Clint Ramos’ swanky selection emulated the time period with a unique artistic flair, especially when coupled with Sonya Tayeh’s choreography. Mark Bartons’ lighting design pulled the audience in; while Leon Rothenberg’s sound design made sure that no note went unnoticed. With subtleties managed, Queenie began a performance that had a roaring support from the first downbeat.

Sutton Foster (Queenie) brought a world of confusion, delight and the consequences of indecision to life on the Encores! stage. Foster’s powerful performance made the theater into an extension of the wild party ensuing.

Steven Pasquale personified the negative characteristics of strength in his portrayal of Burrs. He carried the rising insanity with him, ushering in the lows of un-contained emotion with  masterful precision.

The life of the party was Joaquina Kalukango, whose rendition of Kate enticed the audience to its feet. Kalukango, like her cast-mates, is a do not miss.

Certainly matching her performance was Brandon Victor Dixon (Black). Harnessing superb chemistry with Foster, Dixon pushed humanity back into Queenie’s reality and an opposing force into Burrs’. Dixon had me out of my seat.

The dynamic duo of Eddie and Mae was played by Ryan Andes and Talene Monahon. Andes’ musical Stallone-esque performance was accentuated by Monahon’s lyrical innocence. All the while, everyone’s favorite lesbian Madelaine True (Miriam Shor) had the audience doubled over from her first line.

The supporting cast, Renée Albulario (Nadine), James Brown III (the Neighbor), Rachel De Benedet (Dolores), Raymond J. Lee (Max), Clifton Oliver (Oscar d’Armano), Charlie Pollock (Sam/The Cop) and Britton Smith (Phil d’Armano), brought life to every note. They did not fall behind the stacked lead roles, rather, they pulled an even stronger performance from them. The ensemble (Penelope Armstead-Williams, Kenita R. Miller, Sydney Morton, Ryan Steele and Samantha Sturm) was no different.

This unforgettable cast harnessed every high expectation; and with this pool of talent, it would be a surprise if there was any portion of the performance that was lacking. A night filled with laughter is seldom forgettable.

Review By: Alexandra Lipari

Photos By: Joan Marcus