Grace @ Cort Theatre

            Religion is a topic that people tend to stay away from when they are sitting around the dinner table.  Everyone has a different idea of how it all began and how it will all end.  One’s opinion can rapidly change if a miracle or tragedy finds its way into their life.  Craig Wright’s new play Grace, shows all of Broadway how easy it is to either find belief or lose it when the quality life starts to change.

            The play is about a young married couple Steve (Paul Rudd) and Sara (Kate Arrington) who move to Florida in hopes of starting a new chain of Gospel themed hotels.  Steve has all of the plans in place, and is waiting to receive money from a wealthy investor in Sweden to give him the necessary money to start construction.  They are visited in the beginning of the play by an exterminator named Karl (Ed Asner) who proclaims them to be “Jesus Freaks” and Steve and Sara learn that not everyone shares their love for God.  Steve is forced to search for another source of funding for his hotel project while he is waiting for the Swedish investor, and turns to his next door neighbor Sam (Michael Shannon).  Sam is a NASA employee whose fiancé died in a car crash and does not feel that he has a need for religion in his life.  Sara and Sam both stay at home all day and quickly become very close with one another.  The events of the play force everyone to rethink their idea of what religion means to them, while they fall in and out of God’s grace.

            Paul Rudd (I Love You Man) leads this star studded cast playing the role of Steve.  After .a lengthy hiatus from the Broadway stage, Rudd returns and is not in the least bit rusty.  Rudd was able to keep all of the light hearted comedic elements in his performance that he is known for, and masterfully blend them with his ability to be completely serious when he needed to be.  The different colors that he is able to put into his performance really allow his character to come to life.  He had great physicality, and it was very nice to see Rudd in a role that was a little more serious than that which he is used to.

            Steve’s next door neighbor Sam is played by Michael Shannon (HBO’s Boardwalk Empire).  Shannon was outstanding in this role.  He was able to capture his character’s injury and mentality almost flawlessly.  Even though Sam is kind of a jerk at first, Shannon does a great job of making the audience fall in love with him, making the end of the play more and more heartbreaking.  Both Rudd and Shannon are famous for a reason, and this play shows off just how good they are at their job.

            The love interest of both of those men in the play is Sara played by Kate Arrington (The American Plan).  In a cast with a great deal of star power, Arrington does a fine job of holding her own.  Arrington was very successful in playing opposite of Rudd.  Her ability to match his energy was superb.  Arrington’s character had a much more passive religious view, where Rudd was actively trying to get people to believe in God, and she did a very good job of providing a balance when he would try to push religion on either Sam or Karl.  Even though she is the least known member of the cast, the performance that she gives is just as good as anyone else.

            7 time Emmy Award winner Ed Asner (Lou Grant) played the role of Karl the exterminator.  Even though he was only on stage in in the beginning and towards the end of the play, his performance was both moving and very funny.   His journey into finding a higher power is possibly the most interesting.  Asner gives everything he says a great deal of importance, and he is just fun to watch while he is performing.

            A great show can only be as great as its director.  Dexter Bullard (Circle Mirror Transformation Victory Gardens Theater) made some tremendous staging choices that served the play very well.  The most important one was having the both Sam’s and Steve’s apartments exist in the same space.  This created moments on stage that would have never been realized if they were physically in two separate parts of the stage.  It was a brilliant choice by both Bullard and scenic designer Beowulf Borrit (The Scottsboro Boys), and the play would have not been as good as it was without the spacing being set up in the manner that it was.

            Grace was most certainly a play that is worth seeing.  It has something for both the people who want to laugh and the people who want to leave the theater thinking about something.  Everyone involved in the production skillfully demonstrates their abilities, and the audience is rewarded with the wonderful piece of theater that the cast and crew has created.

Chaplin: The Musical @ The Ethel Barrymore Theatre

From England, to Hollywood, to the Great White Way – come back to a time when a laugh was the most important thing, when the world shined a little brighter, even if it was in black and white. Chaplin the Musical provides a charming insight into one of history’s greatest comedians, and what you may not know is that The Tramp was only the beginning. And, as with any great dish, Chaplin provides that secret ingredient that hits the Great White Way with a spice that has the audience coming back for more.

The show tells the rags to riches story of Charlie Chaplin (Rob McClure) and his break into the movie business. He journey’s to Hollywood to take a chance at the “flickers,” leaving behind his brother Sydney (Wayne Alan Wilcox) and his mother, Hannah (Christiane Noll). Chaplin, becomes swept up in the radically different environment he has found himself in and must now create “something funny” to soothe his new director, the ever demanding Sennett McGraney (Michael McCormick). And thus, The Tramp is born, and thrives – despite Chaplin’s failed marriages, and ever changing contracts. The show takes the audience through Chaplin’s rise to fame and his fall during the Red Scare. At the head of the accusations against Chaplin sits Hedda Hopper (Jenn Colella), a budding Hollywood reporter who is furious for Chaplin’s refusal to be a guest on her radio show. Yet, through all the turns and tribulations Chaplin finds love in Oona O’Neill (Erin Mackey) and their loves holds fast as the two face the end of an era and a whole new world of laughs.

 Rob McClure (Avenue Q) leads this talented cast as Charlie Chaplin. Multitalented does not begin to describe, McClure. It is more accurate to say that this wonderful actor has so many tricks up his sleeves that one could wonder why they aren’t bigger. Between chair juggling, tap dancing on roller skates, and tight rope walking, McClure could have been a show all on his own; and, not to mention, the detailed physicality that McClure displayed when performing as The Tramp. It was if Chaplin himself was on stage, which is the whole point, no? His vocal quality, while not the ringing tenor that Broadway has become so used to hearing, provided a new, interesting sound that gave life to an otherwise silent story. McClure excels in his performance and gives the audience a taste of one of America’s greatest comedic minds.

At the head of the Chaplin family stands Hannah Chaplin, the mother, played by the fantastic Christiane Noll (Urinetown). Noll gave a beautiful depiction of Chaplin’s mentally ill mother, becoming a winding country road that had a new discovery at each bend. Having much of her story told in flashback, Noll portrayed a decline into insanity that tore at the heart. She had a warm, loving touch to her voice that provided a consistent motherly touch to both Chaplin and the audience. When she wept, the audience wept, and what incredible talent it is to have the audience experience what the character experiences, not only physically, but emotionally as well. Brava. Comind out of the same household was actor Wayne Alan Wilcox (The Normal Heart) who provides the supporting net to McClure as Sydney Chaplin. Throughout the show Wilcox becomes the rock that supplies a sense of wisdom in a chaotic world, the classic vanilla scoop in this black and white sundae. His depth and passion provided a strong contrast to the otherwise shallow world of the movie business. Wilcox provided passion and dedication to the role, both strong characteristics in the character of Sydney himself. The audience walked away remembering Chaplin’s brother, who symbolized his roots and provided the path back to reality for the artist.

Hedda Hopper, played by Jenn Colella (High Fidelity), provided a new meaning to the term villain; Colella was lively, mischievous, and a fun to watch. Keeping the audience engaged with her luminous vocal quality. Colella sits in that ever famous category of the villain we love to hate. In the simplest terms, Jenn Colella was fun – fun to watch, fun to listen to, fun to be involved with. She was engaging, pulling the audience into her point of view. The pure power she conveyed as Hedda Hopper was pure magic, and her voice just added dimension to an admirable character. Her performance was a true wonder.  Leveling out the evil with some kindness was Erin Mackey (Anything Goes) as Oona O’Neill. She offset Chaplin’s comedic chaos with a sweet, innocent wisdom that was refreshing to see amongst the cast. Not only was her vocal talent light, and seemingly effortless, but the chemistry between Mackey and McClure was magical. Able to take serious dialogue and seamlessly mix in comedic banter, McClure and Mackey have the makings of a wonderful Broadway couple.

The cherry on top of this magnificent sundae would have to be Zachary Unger (Off-Broadway’s Merrily We Roll Along), who gave a remarkable performance as a Young Charlie. The ability to reach the deep emotional levels at such a young age was incredibly impressive, and it doesn’t hurt that he is cute as a button! Unger is a talented young man and we look forward to seeing where his promising career will lead him.

Christopher Curtis (television’s A Wedding Story) and Thomas Meehan (The Producers and Hairspray) provided the Book, Music and Lyrics. The thing that was great was that unlike any other new musical on Broadway, Chaplin’s music did not over power the depth of the book. Although a lot of the music wasn't memorable, the music and book were very well put together. Warran Carlyle (Hugh Jackman: Back on Broadway) directed and choreographed this visually stunning production. Although the choreography seemed out of place at first, it created a great way to show passing time and traditions; but, the big show stopping number was the Charlie Chaplin Look Alike Contest, where Carlyle through in tons Little Tramp acts such as: the hat spinning on the cane, causing havoc on rolling skates, and the ever famous Dancing Little Man. Job well done!

The design team for Chaplin appeared to have an incredible collaboration going on because the tech was truly inspiring. When thinking about Charlie Chaplin, people tend to thinks about not only silent movies, but black and white silent movies. Everything from the huge set pieces to the minor detail of the drinks was put in black, whites and grays.  Beowulf Borritt (Rock of Ages) was responsible for this inspiring set. Borritt created two worlds inside of each other, One where the "Making of Chaplin" was being filmed in a studio, but also the entire world inside following Chaplin through life. Ken Billington (Scottsboro Boys) was the light designer. Even the lighting was done in all "Black and White" – with  pale blues and ambers to keep the audience drawn in. The costumes were done by Martin Paklendinaz (Nice Work If You Can Get It) and Amy Clark (Second Stage’s Animals Out of Paper), and were stunning throughout the entire show. Paklendinaz should be proud that his last show came out so beautifully, Broadway is going to miss your exceptional designs.

"Come see Charlie Chaplin!" His rise and fall will make millions laugh, cry, and stand with admiration. Chaplin is here to stay, so don't miss out and head to the Ethel Barrymore Theater to catch the "Little Tramp!"

Forbidden Broadway: Alive and Kicking @ The 47st Theatre

            “So come with us on an Omni Bus to...” the 47^th Street Theatre where Forbidden Broadway has opened its doors again after three years. Forbidden Broadway is finally back after a long hiatus with fresh new skits making fun of all the beloved Broadway stars. George Alessandrini waited until the scene was ripe for the pickings again to bring back the fan favorite.

Forbidden Broadway first started teasing the stars way back in 1982. Since then, it has had a number of revivals, with new numbers about new shows constantly popping up. Forbidden has spoofed every show imaginable from The Phantom of the Opera to RENT. Actors themselves aren’t safe with spoofs about Carol Channing to Liza Minnelli to Stephen Sondheim. Forbidden Broadway consists of two men and two women who are charged with the difficult task of impersonating the men and women of Broadway.  In this current edition, the spoofers are Natalie Charlé Ellis (Off-Broadway’s Rated P for Parenthood), Scott Richard Foster (Brooklyn the Musical), Jenny Lee Stern (National Tour of Jersey Boys), and Marcus Stevens (author of Yo, Vikings!). The show has produced ten albums and has had over 9000 performances of the show in all is variations.

Act 1 starts off with a funny little skit about two men ending up in the dreaded “Off Broadway” theater where Forbidden Broadway first happened. They quickly get right to the point and start their impressions; Stevens starts off the night with his Ricky Martin impression spoofing the well-known revival of Evita. They move on to, one of the favorites of the night, “Nice Song If You Can Sing It” – Broadway’s Nice Work If You Can Get It. Again, Marcus’s impression of Matthew Broderick was spot on – voice and mannerisms were all there. Following close behind was an updated skit about ancient Granny Annie (Stern). Act 1 flies by with its impressions and jokes flying fast and hitting the mark almost every time. Some other note-worthy new skits in Act 1 include Once (a bit where the actors plead for the producers to hire a band so they can just focus on acting), Anything Goes (with a great impersonation of Sutton Foster by the talented Stern), and Newsies.

Act 2 was full of Tony award winning spoofs such as the current revival of The Gershwin’s Porgy and Bess and The Book of Mormon. Ellis performed a stunning impersonation of Audra McDonald; she has a beautiful voice which was amazingly just like Audra’s powerful stunner. Also, Stern’s skit about Diana Paulus was truly something hysterical and memorial. Another memorable moment in Act 2 was the Spider Man: Turn Off the Dark fight between Julie Taymore (Ellis) and Bono (Foster). The two well known’s go at it as they fight over whose production it actually is. 

Although the show was full of new updated material, Alessandrini kept some of the well-known skits from past productions for shows that are still “Alive and Kicking” on Broadway. Ellis takes her turn at “Feed the Burbs” based off of Mary Poppins. In addition to Mary Poppins, there was Rafreakey from the Lion King, Frankie Valli and the Four Seasons from Jersey Boys, and the ever popular Wicked, taking a stab at Idina Mendel’s vocal power. In an interview with Alessanderini, he mentioned that Forbidden Broadway made spoofs and skits about anything covering Broadway, which also means that anything having to do with Broadway was free game. So with no hesitation, he goes after the production of Into the Woods in Central Park, where Donna Murphy and Amy Adams are singing “Agony” about their outrageous costumes. The hit television show Smash that looks at the makings of a Broadway production was also not safe as Alessandersini took “Let Me Be Your Star” and turned it to be “Let Me Be Sub-Par,” which had the audience rolling as Katherine McPhee and Megan Hilty battled it out.

 All in all, the show was a fantastic way to spend two hours. The audience was in constant fits of laughter. The actors did a brilliant job of finding the little nuances, voices, and facial expressions that remind us of favorite actors. When the performance of "Alive and Kicking" is over, Broadway is incontestably beaten and scorned. “TaTa Folks.”

Bring It On @ St. James Theatre

Elle Woods had law school and Lysistrata Jones had basketball, but the gang currently at the St. James theatre has … cheerleading! That is right, the hit films in the Bring It On franchise have been retooled, reworked, and re-mastered by some of Broadway’s finest to create the next cheese ball comedy that is hard to resist! This quirky cast of characters cheers and flips their way into the hearts of the audience! Is Bring It On: The Musical the next “best” musical? No. But, is it fun, full of energy, extremely witty, and well worth the price of admission? Hell to the yes! This Broadway underdog is pure fun!

Forget everything you know about the Bring It On film series because this musical is completely different … except for the cheerleading, of course.  Meet Campbell, a senior high school student who has recently been given the coveted position of cheer captain.  Everything is going her way – she is popular, has a hot boyfriend, and is leading the squad to victory. Before she has time to blink, however, her dreams are crushed when she is suddenly relocated to a different school; and, not just any school – it is Jackson High! Enter Danielle – the “it girl” at the rough and tough Jackson (where everything is reversed).  Soon, it becomes clear that these two girls from completely different worlds will have to join forces and become friends.  Through all of the backstabbing, laughs, lies, love, and flips, Campbell and Danielle will soon learn just what it takes to get through the dreaded high school years.

This crazy talented ensemble is forced to go where no ensemble has gone before – they not only sing, act, and dance, they have to lift, flip, and fly through the air.  Leading this ensemble are Taylor Louderman (Muny’s Legally Blonde) and Adrienne Warren (Apollo/U.S. Dreamgirls tour) as Campbell and Danielle respectively.  These two women work wonders together on stage with their strong dance moves, sweet voices, and killer comedic chops.  Louderman takes center stage from the beginning to the end doing a lovely job of separating Campbell, a popular blonde, from all of the other popular blondes surrounding her.  Warren gives rough and tough Danielle tons of heart – making her the character that the entire audience can relate to.  Surrounding these two are a series of strong female performances from Kate Rockwell (Hair) and Janet Krupin (teen.com’s The Click Clique) as the popular girls that everyone loves to hate to Elle McLemore (television’s The Middle) as the newcomer to the squad with that “killer instinct” to Ryann Redmond (Playwright Horizon’s Children of Eden) as Bridget, the girl who might be a bit over-weight, but still knows her way around a dance floor.  Believe it or not, there are males in Bring It On: The Musical too.  Jason Gotay () takes on the role of Randall, Campbell’s extremely attractive mentor.  While Gotay is sweet, his performance falls a bit flat, allowing the rest of the ensemble to wash him out – a quality not too good for a leading man.  However, Gregory Haney (Memphis) and Neil Haskell (9 to 5: The Musical) have plenty of time to take some of the spotlight away from the girls.  Haney leaves a lasting impression as La Cienega, the cross-dressing dance crew diva; he is smarty, funny, and absolutely perfect for this break out role.  Haskell takes on Campbell’s hunky boy toy Steven; he is hilarious and is given the chance to show off all of his So You Think You Can Dance moves.  As a whole, this ensemble gels very well together, and knows just how to deliver the material handed to them by some of Broadway’s best and brightest.

What does Avenue Q, Next to Normal, and In the Heights all have in common?  Well, all three have Tony Awards, and now they all have each other.  Director and choreographer Andy Blankenbuehler (choreographer of the upcoming Annie) brings together a top-notch creative team to ensure that what many were speculating to be a flop, is in fact a sure fire hit!  A show like this needed both an “all-American Broadway” feel and a “hip-hop” beat; therefore, Blankenbuehler enlisted not one or two musical geniuses, but three: Tom Kitt (Next to Normal), Lin-Manuel Miranda (In the Heights), and Amanda Green (High Fidelity).  Together, these three come together to create a diverse score that is refreshing, up beat, and just plain old fun!  Don’t get to crazy; of course, some of the songs are weak-ish and could use some improvement; however, overall, the score is a crowd pleaser.  Adding to the fun is libretto writer Jeff Whitty of Avenue Q fame.  Whitty’s work is … well … witty.  It is extremely funny, but the whole time is leading up to a moral that all can relate to.  Blankenbuehler does not hold back on his design team either enlisting the help of scenic designer David Korins (the recent Godspell revival), costume designer Andrea Lauer (American Idiot), and lighting designer Jason Lyons (Rock of Ages).  All three work extremely well together to bring the feel of both stage and arena together into one.  Much like the score, this design is a beautiful fusion.  Blankenbuehler does a lovely job of staging this new musical and giving it the high-powered dance and cheer moves that it needs!

Bring It On: The Musical will probably never sweep the Tony Awards; however, it does something that few musicals are doing these days – giving the audience permission to forget about their lives and just have some plain old fun at the theatre!  The ensemble is full of energy, the score and libretto are swell, and the design is fantastic – making this a wonderful new musical that the entire family can enjoy! Bring the kids, bring the wife, bring the husband, and (most importantly) bring it on!

The Last Smoker In America @ The Westside Theatre (Upstairs)

With the current election race afloat, the entire country is turning to see what the government has to say.  Better yet, the whole country is looking to see if the government says the right things … though depending on the person, those thoughts vary.  There is one thing that is crystal clear, however, about the view currently being taken in the new musical comedy The Last Smoker in America – the govern has no right to stop us from doing what makes us happy, even if that happiness harms us … or do they?  Okay.  So, maybe the point is not so crystal clear.  But, in this uncertainty, this hilarious musical does exactly what it needs to do – make Americans think.  Whether you are pro-smoking or anti-smoking, you are bound to enjoy this fresh, funny, and innovative American musical.

Meet Pam.  Pam is a loving wife and mother.  Her husband, Ernie, dreams of writing the next great rock anthem.  Her son, Jimmy, is a typical teen – lost, confused, into rap and video games.  All in all, Pam is a normal, average, everyday housewife.  Until, new strict laws on the use of smoking tobacco make Pam the official last smoker left in America.  Now, Pam faces the ultimate decision – quit smoking or fight against the powers that be.  One lets her life stay on track; the other lands her in jail.  While she might want to rebel, know-it-all, Jesus-loving, anti-smoke leader, Phyllis is her next-door neighbor.  Between the crazy coming from Phyllis, the concern coming from Ernie, and the teen-angst coming from Jimmy, all Pam could really use, is the one thing that she is not allowed to have – a cigarette.

Four actors dominate the Westside Theatre on a weekly basis, delivering hilarious performances that can knock the cigarette out of one’s very own hand.  Leading lady, Farah Alvin (off-Broadway’s The Marvelous Wonderettes), takes control of the stage from scene one and never lets go!  She is smart, funny, and deeply moving.  No matter what one’s stance on smoking currently is, Alvin makes you forget all about it, and route for her right to light up!  The man of the house is brought to life brilliantly by John Bolton (Curtains).  Ernie may be a fully-grown adult, but he sure does not act like it – Bolton brings all of the youth and energy needed when playing this role, especially while belting out songs in the style of Aerosmith! Rounding out the family tree is Jake Boyd (off-Broadway’s Carrie) as Jimmy.  Boyd does a lovely job of conveying the difficulties of being a teenager in today’s society.  From his insane rap number to his need to wear high-heels, Jimmy is a fun character that Boyd totally tapped into.  Rounding out this crazy talented ensemble is Avenue Q veteran Natalie Venetia Belcon as the crazy ass next-door neighbor, Phyllis.  Whether decked out in her Sunday best, gangster gear, or Irish step uniform, Belcon delivers a truly unforgettable performance!  Her soulful voice carries across the theatre and into the hearts of the audience, even when she is singing lyrics on crack.  Together, these four actors form a tight knit ensemble that lands every joke, hits every note, and delivers each shocking punch!  A true joy to watch on stage!

This wild new musical was conceived by Bill Russell (Side Show) on book and lyrics and Peter Melnick (Adrift in Macao at Primary Stages) on music.  If shock is what this team was going for, then they nailed it!  With each new word and lyric crazier than the next, infused with wild music styles from gospel to rock to rap, The Last Smoker in America might not be mainstream theatre, but it is sure as hell fun and entertaining to watch!  All of this wildness is under the direction of Andy Sandberg (producer of the current Broadway smash The Best Man).  While Sandberg’s direction was not superior, often leading the cast in awkward circles and poses, he did manage to form a fabulous creative team.  Charlie Corcoran (Master Class) delivers a wildly colorful set design that looks both futuristic and hauntingly modern, like this world is not to far away, at the same time.  Lightly this world is master lighting designer Jeff Croiter (Peter and the Starcatcher).  Drawing on traditional lighting, rock concert lighting, and theme park lighting, Croiter creates this brilliant fusion of styles that takes both the set and book to a whole new level.  Also shining is costume designer Michael McDonald (Hair), who has the task of creating hundreds of different looks from 80s glam to gangster to Elvis.  Rounding out the team is choreographer AC Ciulla (Footloose) who proves fun and energetic moves that fill the stage and bring the songs the breath of life needed to make them pop!  This team delivers one crazy, insane, wild night of theatre!

Similar to the likes of Avenue Q and The Book of Mormon, this brand new musical is shocking, funny, full of heart, and does not give two damns whether or not you agree with its message (as the advertisements say, it’s “unfiltered”).  The Last Smoker in America is an off-Broadway triumph – with great performances and wonderful design – not to be missed!