Blank! The Musical @ New World Stages Stage 2

What exactly is Blank! The Musical! about? Envision your fondest memory of the long standing Whose Line is it Anyway? Now, make the cast younger, with musical talent. Next, throw in an adept lighting designer, sound designer and production stage manager. Then, sprinkle a three piece band able to create seemingly timeless music from four simple notes and you have the backbone for Blank! The Musical!

Creators Michael Girts, TJ Shanoff and Mike Descoteaux brought the ever-familiar improv-theater to a different dimension. While audience members were encouraged by host TJ Mannix to shout submissions for key elements of their created musical, top suggestions were added to an application accessible by any smartphone.

Connected to a private WiFi server, the audience and I voted for a title for our musical, three song names, and chose a random one-liner to be featured in the show. In addition, we interactively voted for the speaker of said line, chose the four main notes of the entire show and even named a signature dance move and song style.

Our combined efforts produced the following: Directing One Direction! The Musical! with hit songs I Haven’t Hit Puberty, Peanut Butter Mouth and of course, I’ve Heard This Song Before. We shaped the unforgettable line: What are you doing with that pineapple??? And musical overture consisting of notes C#, A, G, and B were chosen at random. Lastly, the world famous dance The Sticky Casserole was to be performed in the style of Reggae in the completely improvised show.

Mike Descoteaux (piano/musical director), Daniel Bennett (reeds) and Al Vetere (drums) were bolstering with their incredible grasp of music. They accompanied the cast expertly and twisted from our randomly chosen notes an impressive score without an active conductor, sheet music or rehearsal time.

Cast members Katie Dufresne, Nicole C. Hastings, Tessa Hersh, Andrew Knox, Mattew Van Colton and Dougles Widick were the source of the audience’s endless laughter. Outstandingly comfortable with one another, they were able to individually secure a memorable stage presence while enhancing the overall quality of their collective performance.  

Musically, each was able to sing with alacrity and be especially self deprecating with their dance moves. The talent was palpable and invariably enjoyable to see which would succumb to another cast member’s efforts to make them lose composure.

Lighting Designer Jeff Croiter, Sound Designer Matt Kraus and Production Stage Manager Katie Kavett were in-tune with the unscripted and unpredictable performance. Somehow they made our created musical special and believable to be worthy of its New World Stages venue.

Alas, I cannot share exactly what each cast member’s contributions were as your experience will inevitably be different. However, if you seek a night of laughs that you will feel a part of, take the time to see Blank! The Musical! and share endless inside jokes with your friends for weeks.

Review By: Alex Lipari
Photos By: Jenny Anderson

Stalking The Bogeyman @ New World Stages Stage 5

How do you illustrate the life of a man haunted by a childhood horror?

You try.

Based on David Holthouse’s fearless telling of his own story, New World Stages’ Stalking the Bogeyman tried and succeeded. Adapted and Directed by Markus Potter, with additional writing by Shane Zeigler, Shane Stokes and Santino Fontana, Holthouse’s story was thoroughly rendered and had me glued to my seat in shock, horror and awe.

Scenic Designer David Goldstein, Lighting Designer Cory Pattak, and Sound Designer Erik T. Lawson were experts in accentuating the actors’ portrayal of Holthouse’s struggles. Goldstein worked tirelessly to create a stage that placed me in portions of Holthouse’s mind. Pattak was equally meticulous, subtly hinting at scene changes and bringing Goldstein’s details to the forefront.

Markus Potter, Associate Director Michael Rader and Production Stage Manager Anita Ross somehow mastered the chaotic nature of memory to keep the viewer constantly oriented and reminded that this story is very real.

David Holthouse, played by Roderick Hill, took me through an enrapturing journey of a boy grown to a man wrestling with his past through hatred, obsession, revenge and redemption. Able to transition between ages, heavy outlooks and strong feelings, Hill had me thinking “wow, this could have happened to anyone I know.”

Nancy and Robert Holthouse (Kate Levy and Murphy Guyer) were David’s suburban, concerned and loving parents. Levy and Guyer gave the Holthouses the family-next-store element that it needed. I found myself pondering just how many families out there are afflicted by children burdened with these remembrances.

Additionally, Russ and Carol Crawford were portrayed as the seemingly clueless parents of a son who had committed a horrific act by John Herrera and Roxanne Hart. Herrera had some difficulty with the proverbial “hombre” accent as Payaso and stumbled through a few lines but these instances had no negative consequences for my enjoyment of the play.

Hart also doubled as Dr. Sarah Leavitt, David’s therapist. Hart showed a doctor attempting to aid her patient clinically while maintaining emotional distance with ease. Each supporting character culminated to make Holthouse’s life story unfold in front of me.

And of course, Erik Heger gave a frighteningly realistic performance of the Bogeyman. Heger managed to make me feel a small level of understanding of his character while also making me grip my seat with hatred for him. I can say no more without spoiling it.

If you know someone who has suffered childhood horrors or have yourself—go see Stalking the Bogeyman. Markus Potter’s way of taking you into Holthouse’s life may bring you some closure or some understanding of a loved one. Be prepared to open your life to a few uncomfortable truths but be brave enough to see Holthouse’s life just as he has been brave enough to allow Potter to share it.

Review By: Alexandra Lipari
Photos By: Jeremy Daniel

Murder for Two @ New World Stages, Stage 5

        Why is it that every murder mystery is set in New England? Why does the detective himself always have his own dark secret? Why are there always questions but no answers?

            In the intimate space of New World Stages, musical mystery duet Murder For Two keeps us all guessing "whodunit" in a case of the murder of a scandalous novelist who has secrets on everyone in his normally sleepy small town. A simple set, with a bare back wall, two small doors, some "Clue"-esque murder weapons, and a Steinway center stage, becomes the surprise party that quickly develops into the scene of the crime.

            Jeff Blumenkrantz, equipped with not much more than a pair of glasses and a raised eyebrow, almost magically transforms into every guest of the party - the main suspects. From suppressed wife Mrs. Whitney, sultry ballerina Barette Lewis, and over achieving niece Steph, Blumenkratz makes each character so distinct that often you forget most of the time he's talking to himself. As officer (wannabe detective) Marcus, Brett Ryback embodies the spirit of the song-and-dance style of Old Broadway. Ryback gives us a leading man reminiscent of Seymour Krelborn; you want him to pull through because you feel kind of bad for him. Marcus shows off his knowledge in a song on the "Protocol" of being a detective while "accidentally" calling the chief.  "You've been listening this whole time?" he squeals. "How embarrassing!" Both actors remain onstage for the 90-minute length of the show, with so much energy they could give all those Newsies a run for their money.

            What's most impressive about Murder for Two is how well in-sync everyone is with every detail. Blumenkrantz and Ryback switch off playing piano so seamlessly, even performing an intricate duet with both their eyes shut. Jill BC DuBoff's sound design employs sound effects timed so well they feel natural. Jason Lyons' primarily green-and-purple lighting, changes so subtly creating a new scene immediately. The production is so well-rehearsed that it comes off spontaneous, and that's no easy feat, especially with how often the fourth wall is broken. The audience is addressed as "Lou," Marcus' partner. An unsuspecting patron is brought onstage to participate in a death scene. Even better, the actors were able to work through breaking character onstage (then again who wouldn't find the sultry ballerina playing the piano with her foot hilarious?).  It is very apparent this production has been a labor of love, based on how effortless is all comes off. It makes for a better experience as an audience member when it's clear how much those involved in the production are enjoying themselves.

            Murder for Two gets it right, because of how self-aware it is; we are allowed to indulge in just how ridiculous musical comedy can get through clever wordplay and snappy dialogue. Mainstream Broadway is satirized (a choir boy names examples of things he's seen worse than murder, stating "We saw a show called Mamma Mia!"). A dramatic scene ends with "Hatcha! Whoopee! Jazz!" a la Chicago. And in possibly the best anti-cell phone announcement, homage is paid to Patti Lupone's infamous show-stopping Gypsy meltdown.  At one point, a suspect notes that in addition to the murder, "We've already seen the slow, painful death of the American Theatre." On the contrary, Murder for Two is one of the most original pieces I've seen in quite some time, ironically, bringing life back into musical theatre. Many of us walked out of the theatre still laughing from a truly entertaining and memorable piece of work.

            Murder for Two began performances at New World Stages on November 6, and has extended its run from January 5 to March 16.

Photo's By: Joan Marcus
Review By: Kelcie Kosberg