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

Application Pending @ The Westside Theatre (Upstairs)

Application Pending is a witty one woman show starring Christina Bianco, Christina Bianco, Christina Bianco and Christina Bianco….

Application Pending is a new comedy about the hilariously cutthroat world of kindergarten admissions at a New York private school. One actress portrays rookie admissions officer Christine and over forty other roles, including all the wild personalities that she has to deal with on her first day on the job.

If you are at all familiar with Christina Bianco, you may have a grasp of her extraordinary talents for celebrity impersonations and vocalizations. Application Pending showcases her gifts in 75 minutes of clever banter! Bianco plays over a dozen characters, all of which interact with her principal character –Christine. Bianco transitions seamlessly between each character regardless of the rapid repartee.  She is engaging, endearing, enjoyable and completely entertaining.  What makes her remarkable is not only how her voice shifts between each character but also how distinctly her body engrosses each persona.  Though solely on stage without an intermission, Bianco approaches the piece with driving energy and unwavering charisma.  The only disappointment was the lack of singing in the production; it would have been nice to hear more of her great voice paired with the zany cast of characters.

Co Authors Andy Sandberg and Greg Edwards are a dynamic writing duo. The material of Application Pending is stocked with keen quips and tender moments that tug at the heartstrings.  The witticism of Application Pending spans from pop culture to religion - with punches reminiscent of a good Saturday Night Live sketch. The writing is smart, contemporary and just flat out funny!

The scenic, sound and costume design of Application Pending is also worth noting. Colin McGurk’s scenic design is clean and comprehensive of a grade school admissions office and is accented perfectly by Jeff Croiter’s lighting design. However, Croiter’s lighting is most prevalent during the character transitions in the play. Croiter defines each character or mood with a specific light, often swiftly switching at the drop of a hat. Bianco’s costume was designed by Michael McDonald. 

Although there are no costume changes, McDonald came up with a simple business casual ensemble for Bianco to wear that flattered the main character of Christina but also supported all of the other characters regardless of age or sex.

Application Pending is a delightful 75 minutes, and Bianco’s unique genius for vocal flare is worth the trip to the Westside Theatre. 

Review by: Staci Morin
Photos by: Joan Marcus

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

Our Lady of Kibeho @ The Irene Diamond End Stage Theatre

Mystical history comes to life at The Pershing Square Signature Center in Katori Hall’s Our Lady of Kibeho.

Our Lady of Kibeho is based on real life events that transpired in 1981 Rwanda when three young school girls, Alphonsine Mumureke (Nneka Okafor), Anathalie Mukamazimpaka (Mandi Masden) and Marie-Claire Mukangango (Joaquina Kalukango), claimed to see the Virgin Mary.  These apparitions cause mayhem amongst the community, both socially and spiritually. Some of the clergy, including Sister Evangelique (Starla Benford), Father Tuyishime (Owiso Odera) and Father Flavia (T. Ryder Smith), find themselves searching for answers from the visionaries, as well as from their own personal faith.

Katori Hall’s passion of this story is evident throughout the script and the team working on Our Lady of Kibeho helped to translate that passion to the audience.  In tandem with thoughtful direction by Micheal Grief, Hall brings this unique history back to life with an underlying commentary of the need for peace, faith and love.  Micheal McElroy’s original music and music direction added just the right amount of emotional enhancements, which were well balanced with the sound design by Matt Tierney.  The lighting design by Ben Stanton was creative and the scenic design by Rachel Hauck transported us to 1981 Rwanda with whimsical realism. Credit must also be given to dialect coach Dawn-Elin Fraser, as the central and east African accent was well executed.

The three school girls who the story of Our Lady of Kibeho circles around all equally hold their own weight in their respective roles.  Though Nneka Okafor is making her Signature Theatre debut in the role of Alphonsine, she commands the stage as the loveable, meek and oppressed teen.  Masden delivers Anathalie to the audience with palpable empathy and Kalukango elicits gasps from the audience in almost every scene.

Owiso Odera as Father Tuyisime is one of the most relatable characters in the play.  Odera portrays the kind hearted though flawed in faith priest with the devotion of a prophet.  He is a wonderful counter to Benford’s cantankerous Sister Evangelique.  One of the most notable performances in Our Lady of Kibeho is Niles Fitch as Emmanuel.  Though only on stage for a few moments at a time, he is captivating, his eyes illuminate with the soul and journey of Emmanuel.

Our Lady of Kibeho offers a trip back in time to uncover questions that are still relevant today.  Whether you are a skeptic, a mystic or somewhere in between, you will feel the genuine love for this story at the Signature Theatre!

Review By: Staci Morin
Photos By: Sara Krulwich

Belle of Amherst @ The Westside Theater (Upstairs)

If you have ever wanted to have an intimate conversation with Emily Dickinson, you now have the chance in The Belle of Amherst.

In The Belle of Amherst, Emily Dickinson welcomes audiences into her lifelong Amherst homestead in mid-19th century Massachusetts. While Dickinson found solace in solitude through much of her life, acclaimed playwright William Luce weaves her poems, diaries, and letters into a one-woman portrait of one of America’s greatest and most prolific poets, mixing Dickinson’s encounters with close friends and family with the poet’s own, often amusing observations.

Playwright William Luce completely embraces and compliments the language and poetry of Emily Dickinson with The Belle of Amherst. Through his writing, Luce is able to take the audience on an interesting, heartfelt and quirky journey through Dickinson’s life. The play begins with Emily (Joely Richardson) welcoming us (the audience) into her home as if we are established friends. The conversation is casual and also intimate, though Richardson is the only person speaking in this one woman performance. Luce also incorporates multiple memories of Dickinson that are acted out through a solitary “dialogue”. He should be applauded not just for his witty use of Dickinson-like speech and the thought provoking depth he gives to Emily, but also for the excellent ways he weaves in the works of Dickinson.

Joely Richardson as Emily Dickinson is a delight to watch on stage. She has the perfect blend of grace and humility that captivates the audience. Performing for 100 minutes alone on stage is no easy feat, but Richardson is more than up to the challenge. Even though it seems she may have had a bit of a cold, Richardson still harnesses and evokes the passion that Emily had for the written word. Director Steve Cosson gave Richardson a lot of room to unfold her character. Though it was just her on stage, the set never felt empty or overbearing. Cosson and Richardson together explored every corner of Emily’s space and brought it into motion.

The beautiful scenic design by Antje Ellerman is simplistically detailed. For example, the wall paper which contains birds (one of Emily’s favorite creatures) is a subtle and appropriate nod to the heroine.  The lighting design by David Weiner flatters Ellerman’s scenic design wonderfully and also offers a surprise for the audience. Richardson’s costume by William Ivey Long is tasteful and elegant. Long’s ivory palette also enhances Weiner’s lighting design. All these elements with Luce’s book, Dickinson’s poetry, Richardson’s fire and Cosson’s vision meld together and present a lovely night with Emily.  

If you are longing for romanticized and eloquent language delivered to you through the stage, be sure to see The Belle of Amherst. After all- “the heart wants what it wants” ~ Emily Dickinson

Review By: Staci Morin

Money Grubbin’ Whores @ The Lion Theater @ Theatre Row

Don’t let the title fool you, Money Grubbin’ Whores is surprisingly relatable for everyone!

First comes love, then comes marriage, then comes a messy divorce negotiated in the downstairs party room of a Northern New Jersey pizza joint. In this new dark comedy, NYC union plumber Matt and his gorgeous, Israeli wife Aviva are getting divorced. The back-room deal is mediated by Matt’s best friend Frankie, and Aviva’s cousin Moshe. As the couple battles it out through cultural differences, mixed messages, and high passions, one question remains…what is the price of love?

Sean J Quinn’s writing is smart, honest, funny, touching and a bit brash. Money Grubbin’ Whores opens with an overload of F-bombs and other profanities; so many that they are a bit distracting to the story line at first and hinder the laughter the script demands.  But after about 20 minutes, the characters begin to shift and the audience becomes desensitized to all of the obscenities, allowing the truth of the plot and personalities to shine.

Adam Mucci (Matt), Carmit Levité (Aviva), James Andrew O’Connor (Frankie), and Penny Bittone (Moshe) give outstanding performances. This is truly an ensemble piece. Each actor flavors it with their own individual spice yet stay consistently in perfect balance with each other. Mucci provides just the right amount of fire necessary to portray the passionate New Jersey Irishman. O’Connor delivers the quintessential Tri-state area Italian flawlessly. Bittone is a joy to watch as the smarmy Moshe and Levité breathes depth and sincerity into all of Aviva’s motions.

Under the direction of Brian Cichocki, this stellar cast wins over the audience. Though the scenery never changes, Cichocki’s pictures are always interesting and natural. Patrick Rizzotti’s detailed scenic design also aids in keeping the dull at bay. From the colorful party banners to the stacks of pizza boxes, everywhere you look there is something inviting you deeper into the North New Jersey Pizzza Joint.

If you have ever been through a divorce, a break-up, been in love or made mistakes, then you will connect with the heart of Money Grubbin’ Whores… see it before you can say you’re sorry!  

Review By: Staci Morin
Photos By: Zack DeZon

Bootycandy @ Playwrights Horizons’ Mainstage Theater

Shocking hilarity and poignant intimacy entwine to reveal Robert O’ Hara’s Bootycandy!

Sutter is on an outrageous odyssey through his childhood home, his church, dive bars, motel rooms and even nursing homes. A kaleidoscope of sketches that interconnect to portray growing up gay and black, Robert O’Hara’s subversive, uproarious satire crashes headlong into the murky terrain of pain and pleasure and... BOOTYCANDY

Please note that I am being cautious to steer clear of spoilers of any kind as I feel that the unexpected is the heart and beauty of the show!

Stepping into the Playwrights Horizons Theatre, one cannot possibly be prepared for all of the surprises Bootycandy has in store. The play consists of several shorts; each is approximately 10 minutes in length and the title of each is elegantly displayed via projection above the stage. The first sketch in Bootycandy shares a title by the same name. From the moment the stage lights up the audience ignites with uproarious laughter. O’Hara’s comedic writing cocktailed with the comedic talents of Phillip James Brannon, Jessica Frances Dukes ,Jesse Pennington, Benja Kay Thomas and Lance Coadie Williams are a force that lasso the viewers into submission. The supremely-satirical costume and scenic designs by Clint Ramos are complimented by the supremely-satirical hair and make-up designs by Dave Bova.  

The 1st act may deceive the audience into thinking they are just in for an evening of several humorous short plays (with a dash of drama thrown in for good measure). And, if you’re like me, you may almost be at your wits end with the copious amounts of four letter words and the shorts that just seem to be brazen racial stereotypes. But hold on. Right before intermission Bootycandy will flirt with a depth and an unexpected throughline that will only be revealed in Act II. Be prepared to have chills by the time the sketch “iPhone” is finished (if you haven’t already)!

Bootycandy breaks the fourth wall left and right, consistently mind melding. It will give you an intimate and yet perverse look at family, sexuality, politics and ethics. Above all, it will make you laugh until you choke.

Review By: Staci Morin
Photos By: Joan Marcus

The Lion @ New York City Center Stage II

Sometimes the best stories are the bitter-sweet memories we offer as lessons for others, no matter the cost in the telling. 

The Lion, both honestly written and performed by Benjamin Scheuer, is among that precious group.  A story of growing up, physically and emotionally, of loss and of finding yourself, of seeing the world in all its shades of white and black, The Lion delivers an insightful monologue through its story and music.

In the beginning Scheuer approaches the stage very comfortable and casual. So casual that you may find yourself wondering if he harbors the ability to be as emotionally vulnerable as his script allows. However, as each story and each song unfolds so does Ben. Layer by layer Scheuer welcomes us deeper into some very personal and intimate details of his life.  By the end you will feel that you know him, that you were not at a show- but chatting with a close friend as he plunked around on his guitar while telling you secrets. This casualness is the beauty of Scheuer’s relationship with the audience, a refreshing breath of comfortable honesty rather than a dramatized spectacle.

Scheuer’s music, be it folk or rock, gets right to the core of his life, engaging us along.  Though sometimes simple in lyric and tune, Scheuer delivers his song with heart and genuine self, making it akin to a full orchestra of sound and pain and laughter and tears. This style of musicianship leaves audience members questioning if he has other recorded music out there to get (which he does of course).  

He artfully travels the stage, making use of his veritable army of guitars, as he travels through his own life.  The scenic design, by Neil Patel, was a perfectly un-intrusive studio space.  The apartment bore the precise detail to make it seem livable and it’s curved wall opened the focus for the three sided audience.  The walls were colored in just right to accent the simple but elegantly effective  lighting by Ben Stanton. Scheuer ’s pace and movement lent to an excellent flow to the short piece, a testament to Sean Daniels.

The Lion runs a little over an hour with no intermission, playing now through July 13th at MTC Stage II at the New York City Center.  The Lion is a must see thought-provoking masterpiece…but bring tissues for this one!

Review By: Staci Morin & Paul Morin

Photo By: Matthew Murphy