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

THIS DAY FORWARD @ The Vineyard Theater

The Vineyard Theatre’s newest installation, This Day Forward, is one show that certainly makes you think. Written by Nicky Silver (Pterodactyls, The Lyons) it is not your typical love story; in fact, it is the lack of love that really is the star of this show.

Set in both 1958 and 2004, the story centers around Irene’s (Holley Fain) love life. The play begins in 1958, in a swank hotel (with trimmings that seriously make me consider hiring scenic designer, Allen Moyer, to re-do my place), on Irene and Martin’s (Michael Crane) wedding night.  We immediately are drawn in by Fain’s excellent portrayal of a nervous, fidgety and distressed newlywed.  After skirting around for awhile, she finally admits to Martin that she is not in love with him, but instead, is in love with Emil (Joe Tippett), a loud-mouth, brash, gas station attendant she has been forbidden from dating by her mother.  Martin, in obvious disbelief, begins to question her about the relationship and why she decided to wait until AFTER their wedding to share this information.  Irene explains how the two became acquainted, their subsequent break-up and how Emil was on his way over to pick up Irene after she had seen him earlier that morning.  Emil arrives and the three hash it out in the hotel room. The men decide to fight for the right for Irene.  While they “take it outside,” Irene is given love advice from Melka (June Gable), the polish immigrant hotel maid, who was in a similar situation.  She cautions her from following her heart, as it did not work out in her favor, and urges her to stay with a man who can take care of her and give her the material things she desires.  Martin finally returns and with her mind made up, Irene chooses to forgo Melka’s advice and go with love over material wealth and leaves to meet up with Emil.

The second act begins in a totally redesigned space (and again, Moyer’s design of a chic New York apartment makes me question if I could pull that off in suburbia).  Major kudos to the run crew who successfully took apart an entire stage in the time it took to check my Facebook.  The story begins with Crane, now playing Noah, with his boyfriend, Leo (Andrew Burnap) in a beautiful NYC apartment in 2004.  Leo is stressed out because his estranged mother is coming after being picked up by the police at JFK Airport after seemingly having an Alzheimer’s episode.  We then meet Noah’s sister, Sheila (Francesca Faridany) who explains just how bad it is living with her mother.  When their mother arrives, we realize it is Irene (now played by June Gable), many years later.  We learn that even though we saw her exit to follow her heart to be with Emil in Act I, she still wound up with Martin, lived a miserable life with all of the amenities a 20th-century woman could want.  This misery trickled down into her children, who both have sabotaged relationships, unstable lives and an affinity for feeling like they were generally unwanted.  The play closes with Irene seemingly talking to a ghostly Emil, in which we learn he never met with her that night.  Feeling like he was unable to provide her the life she wanted, he decided it was best to let her stay with Martin.  

It is in the final moments that this play really shines.  Taking on the concept of how failed love shapes people is not something many have done before.  Silver does a phenomenal job of making you think about following your heart without being cheesy.  Personally experiencing this show with someone who has been divorced was an added treat, as for her, it gave her some closure in her decisions.  You can never know what the future holds for you, but this play truly shows you that by playing it safe and not trusting your heart, you may be able to survive, but the life you lead will be riddled with misery, melancholy and general unhappiness that is felt by EVERYONE around you.  This will then affect the choices they make for the rest of their lives, causing this cycle to never end.  

Playing now through Dec. 18th, this is one show you do not want to miss.  Besides the kudos given above, a sincere salute to those cast members that played dual roles. Taking on the challenge of playing two completely different characters and making it believable can be difficult, but the cast makes it appear effortless.  For tickets and information, please visit www.vineyardtheatre.org and be sure to check out the lower lobby for added touches that make the play come alive.

Review By: Renee Demaio
Photos By: Julieta Cervantes 

CrediJulieta Cervantes

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

PARTY PEOPLE @ The Public Theater

Writing this review has been one of the hardest things I have had to do. Not because the show, but because what it stands for and how relevant it is today.  With that being said excuse me if this review is a little scattered.

Party People takes place now. We follow the Journey of Malik and Jimmy, two millennial’s who are putting on a show to celebrate the party. (The party meaning Black panthers and Young Lords) The opening scene we see Malik (Christopher Livingston) practicing a monologue expressing his anger of never being good enough to be a Black Panther like his father. Enter his right hand man Jimmy (William Ruiz) who has an alter ego Primo but we will get to that later. Jimmy gives Malik a pep talk on how they are prepared for this show and just like that we find ourselves back in the 60’s in the middle of the civil rights movements.

We see Black Panthers and Young Lords fighting together using slam poetry, jazz, hip hop to have their voices heard. It took everything in me to not chant with them. IT AINT JUST! Throughout these flash backs we come to see each revolutionary and all the struggles they went through with the corrupt world we live in and with each other in the party. By intermission we come back to the present and we see the revolutionaries enter the show, which is all about them. They make small talk, until deep secrets rise. 

Act two we learn about spies and betrayal in the party, but we mostly focus on our new generation. How are we fighting for what is just! Do we just hide behind a hashtag and a keyboard? The party calls us weak, lazy, because we use a Facebook status to voice our opinion. What will we DO! How will we make Black lives matter?  “They don’t want us truly free, that’s how a man like Donald Trump is elected president”.

Party People is the most honest, truthful, realistic show in New York right now. The cast is filled with an amazing talented ensemble. And is truly an ensemble piece. The use of multi media is used to perfection and helps show the difference between generations and how we are all evolving.

Leaving the show I was emotionally drained. Walking down the stairs at the Public I heard some people say, “it was good, but really long”. I don’t know why but that stuck with me. It was long, yes, but it was necessary. Just like how these next four years will be long. Just like how we are still fighting for people to be equal. When will it end? IT AINT JUST!

All my babbling aside, I encourage every human to see this show. It is so powerful, inspiring, and important! I promise you will leave the theatre fired up and ready to make a change, and not hide behind a hash tag.

Review By: Briana Burnside

Photos By: Sara Krulwich

A Taste of Things to Come @ The York Theater Company

A Taste of Things to Come has enjoyed its first New York debut at The York Theatre Company at St. Peter’s. Taste is a welcome adventure through time—exploring the dichotomy of a woman’s life in the 1950’s vs. the 1960’s. The book, music and lyrics by Debra Barsha and Hollye Levin brought the pervasive experiences of women; friendship, desire, marriage, societal pressures, oppression and more—to life.

Director/choreographer Lorin Latarro utilized Steven C. Kemp’s fully stocked kitchen with moving blocks of counters mirroring the style of their respective decades. In Act I we are greeted with the 1957 kitchen, complete with a window/computer screen that accompanied the cast with television clips from the 50’s and more.

In Act II, the scene opens up to reveal the all-women band behind the counters (Gillian Berkowitz/Piano and Conductor, Ann Klein/Electric and Acoustic Guitar, Barbara Merjan/Drums and Percussion, Sue Williams/Upright and Electric Bass), a living room complete with a shag rug and other iconic 60’s pieces. Lighting Design by Nathan W. Scheuer and Costume Design by Dana Burkart was notable throughout the performance.

The play explores the lives of four women, Joan Smith, Agnes Crookshank, Dottie O’Farrell, and Connie Olsen. Each one represents different personas of the time periods. While Act I was quite whitewashed, Act II hit home with a touching exploration of the issues of women, race and status; creating a much deeper connection to the heart of the audience.

Joan Smith (Paige Faure) is the ring-leader—the organizer of the Winnetka women. Highly intelligent but limited as a woman—Faure does not struggle to personify her character’s growth into the age of feminism. It is Faure that is the glue of the performance.

One of Joan’s best friends (just don’t tell the others) is Connie Olsen (Autumn

Hurlber). Connie is blonde haired and blue eyed with the “perfect” marriage. Faced with the ultimate form of “limbo,” Hurlber explores interracial issues in the second act. Her connection with her character was as powerful as her chemistry with the cast.

Agnes Crookshank (Janet Dacal) is the forever-single woman of the group. Refusing to accept the overall zeitgeist of the 1950’s, Crookshank pushes all of the envelopes she encounters and Dacal encompasses the early dents in the glass ceiling in the form of defiance. This blossoms into success in finding her place in the world outside of Illinois and Dacal more than just “passes” in her role.

Dottie O’Farrell is the personification of feminine zeitgeist. A suburban mother of four (or was it six?), Allison Guinn hilariously pulls the proud mother almost left behind in the 1960’s to the forefront of the play. As an audience, we are reminded that motherhood is just as powerful as any other life path; and that the sexual revolution did wonders for everyone. Guinn was perfect for the role.

A Taste of Things to Come hit almost every major social and political event for women of 50’s and 60’s—from “Dear Abby” to the pill. It was an incredible journey that I was charmed to be a part of. Debra Barsha and Hollye Levin created a play that is not only reflective but inclusive.

Review By: Alex Lipari

Photos By: Carol Rosegg

Coriolanus from Man to Dragon @ Italy Time Theatre

Coriolanus from Man to Dragon adapted by Omri Kadim and presented by Shakespeare in the Square and Combative Theatre Co. is an interesting look at Shakespeare’s Ancient Rome.

The play was presented in somewhat of a thrust fashion and the audience was made to stand and be a part of the production for roughly 65% of the play. Cast members utilized the stage and space in front of it, with a ramp leading down. Members of the Fight Core frequently spoke to audience members as if they were Roman citizens, ushering them to different parts of the floor. It was an immersive dynamic experience that director Yuriy Pavlish attempted to utilize to bring a different element to Coriolanus. Also I must note that the cast was a healthy mix of genders, another new take on the play.

We begin with dozens of fight scenes, the cast in tattered togas with strips of leather to accentuate a character’s status. It seems costume designer Fan Zhang worked with a budget as best as possible. At times it was a struggle to tell which group fighting were Roman soldiers and which were the Volscians. This issue was not assuaged by the passage of time and the lessening of violence—this made the play somewhat muddled.

Members of the cast entered the scene from three different points, one at each portion of the thrust. Sounds of battle were heard behind the curtain shielding audience members from the seats they would gain access to when the performance allowed. Every avenue was used to express different portions of the play.

The combat scenes were filled with death and the scathing sound of metal on metal or metal to spear. The cast was able to utilize a host of weapons—swords, spears, hidden daggers and dirks. The theatrics were well placed, the stances and fighting style commensurate with warriors of Ancient Rome. However, most cast members found it difficult to fight at speed and many moves came across as contrived. The exception were battles between Coriolanus (Jefferson Reardon) and Aufidius (Chris Dooly)—both men were very well suited to battle at speed and it was a pleasure to watch.

Each cast member had a solid hold of the Shakespearean prose, not faltering with its heft. The play also had a healthy dose of comedic relief mostly doled out by Menenius (Felix Birdie). Other notable performances include Volumnia (Patricia Black) and Brutus (Oliver Palmer). Black was engaging and each time she entered the stage she was welcome. Palmer held many roles aside from Brutus and in each he excelled at bringing the audience in. Reardon (Coriolanus) channeled his rage and anger very well, his performance palpable.

In all, the performance was difficult to follow at times because of the similarity of costume but was a unique take on Coriolanus.

Review By: Alex Lipari

Photos By: Emilio Madrid-Kuser