Othello: The Remix @ The Westside Theater (Upstairs)

In recent seasons where hip hop seems to be dominating musical theater, The Q Brothers’ Othello: the Remix fits right in. But these brothers are no strangers to infusing the style into their work.  In the past decade and a half, the production group has created several hip hop adaptations of Shakespeare’s most famous works: The Bomb-itty of Errors, Funk it Up About Nothing, Q Gents, and I <3 Juliet have been produced around the country and Off-Broadway. John Leguizamo’s presentation of Othello the Remix brings the Q Brothers back to New York.

The re-imagining presents Othello (Postell Pringle) as a hip hop mogul, about to embark on a cross country tour to promote the new album for pop-rapper Cassio (Jackson Doran). Fellow artist Iago (GQ) feels betrayed to be the “opener for the opener” on the tour, and sets out to get revenge by ruining Cassio’s career and Othello’s new marriage. Though the plot is modernized, Shakepeare’s themes of jealousy and betrayal are still very apparent.

The Q Brothers incorporate a unique style of comedy into their work. Like a sketch group, there are many characters played by the company of four actors. Wigs, shirt fronts, and hats are used to differentiate the characters. Like an improv troupe, the actors break the fourth wall and make out-there jokes that incite heavy laughs. But where they differ: they do all this in the middle of catchy beats and smart rhymes, just like a hip-hop crew. Move over Hamilton, looks like you have some competition.

JQ stands out as the character actor of the production. In 80 minutes, he becomes tennis-obsessed record producer Loco Vito, Rosie Perez-like groupie Bianca, and lovesick Dungeons & Dragons player Roderigo. Doran’s Cassio is an endearing comic relief: the guy you want to laugh at and feel bad for at the same time. GQ’s Iago is earnest and jealous; he’s the puppet master villain who you almost want to see succeed. Pringle carries the show as leading man Othello, and your hearts breaks right along with him.

Equal parts Shakespeare, Hip hop, and sketch comedy doesn’t sound like a formula that should work. Oh but it does. Even the elderly ladies in the front row were raising the roof.

Othello: The Remix performs at the Westside Theater.

Review By: Kelcie Kosberg
Photos By: Carol Rosegg

Clever Little Lies @ The Westside Theater (Upstairs)

Congratulations to the cast and crew of Clever Little Lies which opened October 12th at the Westside Theatre, and will be running through January 3rd. Both witty and poignant, two-time Tony Award winner, Joe DiPietro, succeeds in delivering a script, using the two-couple ensemble, reminiscent of 60’s sitcoms that audience members find uproariously entertaining. I do wonder, however, whether anyone noticed that the semi-misogynistic teasing of female frailties common to those beloved shows was replaced by the celebration of self-empowered women at the expense of their pusillanimous husbands.

Charming Marlo Thomas, wife of Phil Donahue and best known as creator and star of TV show That Girl, was spot-on as the strategizing and manipulative mother archetype who, despite her claim that all her meddling is for family, is completely self-serving. Did her character go to sleep that fateful night certain that her ends justified the means? I hope not. Throwing her relationship to doting husband, Bill Sr, played by Greg Mullavey, under the bus as penance for her own infidelity was a heart-breaking thing to watch. I felt so bad for him that I nearly jumped on stage to join in a sympathetic nightcap. Obviously, I was pulled in by this show and the persuasive talents!

Director, David Saint was so clever to use, in the opening scene, a heated discussion between Bill Sr and son Billy, played by George Merrick, Honeymoon in Las Vegas (Broadway), so that we audience members could watch the emasculating devolution of this man, who served as a rock for his spoiled wife and entitled son, for whom enough was never enough. Bill Sr is critical of the American milieu which he claims is embedded by design in the Declaration of Independence: “We’ve been promised happiness, so we’re chasing it all the time.” Not quite the perspective we hear promulgated by the declarants of “The American Dream”.

Darling, daughter-in-law Jane, played by Kate Wetherhead, who originated the role in 2013, is so successfully, superficially, supine we barely notice that she has yanked her husband here, then there with her demands and incessant whining about her ever-changing wants and needs. Her character alas redeems herself when she admits that she’s not been showing her “shiny side” and thankfully takes some responsibility in the marriage hiccup that has caused this showdown.

These were such difficult and challenging topics for what is written and performed as a comedy. The four actors were fantastic together and the comedic timing was brilliant. This could have easily been billed as a tragedy, which it is, and they would have knocked that out of the park as well. I was suitably entertained during the show and even days later, I am still reflecting on the nuance of the stories that are unfortunately common to us all, as we, as they, fumble along, screwing up constantly even while trying to do the right thing for ourselves and our loved ones.

Review By: Michele Seven
Photos By: Sara Krulwich

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