Disenchanted @ The Theater at St. Clements

In Disenchanted, an unrelentingly hilarious musical offering at the Theatre at St. Clement’s, some of the most beloved fairy tale princesses have a few choice words to share about their happily every afters.

This musical comedy is hosted by the sassiest of them all, Snow White (Michelle Knight), the ditziest at the ball, Cinderella (Becky Gulsvig), and the most outrageous of narcoleptic royalty, Sleeping Beauty (Jen Bechter).  We learn from them and many other popular princess guest stars that being a princess isn’t all it’s made up to be, and that “One More Happ’ly Ever After” is all it might take to send this very diverse group of strong female royalty over the edge Thelma and Louise style.

Let’s be clear, from the first number, there is no doubt that any of these women can hold their own vocally, each being a powerhouse in their own right.  Knight delivers a belting Snow White so full of attitude it’s hard to believe she’d ever just sit and wait for her Prince to come.  Gulsvig’s Chenno-esque turn as the bright (yet not the brightest candle in the castle) Cinderella displayed excellent timing and a fantastic contrast from Snow.  Of the three hostesses, however, it was Bechter’s booty-shaking, curvy, and super-confident Sleeping Beauty that really gave the show more heart than anyone could have expected.

Lulu Picart’s performance as Hua Mulan may have been one of the most uproariously and consistently funny performances in the show, beginning with a one-on-one with the audience about being the only princess who’s “Without the Guy.”  As both Pocahontas and Princess Badroulbadour (whose costume was a masterpiece among masterpieces designed by Vanessa Leuck) Picart provided insightful and entertaining glimpses at the characters’ opinions on their Disneyfication.  Alison Burns gave strong and varied performances switching between Belle, driven mad by singing utensils, Rapunzel, who wields a riding crop while singing of being pimped out by Disney, and the Little Mermaid, who enjoys her beer almost as much as she hates her decision to trade her fins for six-inch heels.  Last, but definitely not least, Soara-Joye Ross’ talent as the Princess Who Kissed the Frog shines as she rejoices that “Finally” there’s a Black princess.  Perhaps the only true disappointment is how little the show actually utilizes Ross’ talent.

Overall, the musical uses comedic numbers to address notable problems in the Disneyified fairy tales, many stemming from diversity.  The show tackles everything from historical inaccuracy in Pocahontas’ “Honestly,” to the constant problem of body-image standards in the group number “All I Wanna Do is Eat.” Any topic is fair game, and the message rarely bogs down the performance by being too heavy - thanks to Dennis T. Giacino’s well-balanced book, music, and lyrics.

In the end, Disenchanted is a fun comedic piece, but one that carries a message that happily ever after might just be a little more complicated than one might think, and that every princess is perfect, no matter how unique she is.

Review By: Jacob R. Hines

Photos By: Matthew Murphy

Side Show @ The St. James Theatre

From the moment the audience at Side Show is invited to “Come Look at the Freaks,” they’ll be drawn into an odd spectacle they’ll find it hard to resist.  Based on the true story of famed conjoined twins Daisy and Violet Hilton, this story follows the sisters (played by Emily Padgett and Erin Davie respectively) from their lonely lives as a freak show attraction to the height of their vaudeville fame.

Daisy and Violet begin their journey under a big-top in Texas under the controlling Sir (Robert Joy).  Together, Terry (Ryan Silverman) and Buddy (Matthew Hyzdik) whisk the sisters off from a dead-end life as sideshow entertainers and make them the hottest ticket in vaudeville.  From there, the sisters’ experiences in love and fame create a compelling and well-told story about their life together and the lasting bond of sisterhood.

As he sets the scene, Joy’s frightening-yet-fantastic performance as the devilish ringmaster Sir commands attention from the moment he begins to introduce his band of freaks (played wonderfully by Brandon Bieber, Matthew Patrick Davis, Charity Angel Dawson, Lauren Elder, Javier Ignacio, Jordanna James, Kelvin Moon Loh, Barrett Martin, Don Richard, Blair Ross, Hannah Shankerman, and Josh Walker), which includes a bearded lady, the lizard man, a geek, and many others.  Davie and Padgett give the sisters powerful life, exuding chemistry and immense talent, even while connected at the hip.  As Terry, the greasy vaudeville manager and Daisy’s selfish lover, Silverman gives a near-perfect performance (his only flaw being that he’s almost too likeable).  Hyzdik is utterly charming in the role of Buddy, Violet’s conflicted love interest.  The ensemble, which includes Derek Hanson, Con O’Shea-Creal, and MichaelJon Slinger, provides powerful vocals and excellent support in various roles throughout the sisters’ journey.

Perhaps the only disappointment from the cast comes from David St. Louis portraying Jake, the sisters’ deeply attached caretaker.  While he does a tremendous job in many of the numbers, he seems to lack the emotional commitment necessary to play this pivotal character, especially in some of the more touching second-act scenes.

It’s notable that this production, helmed by film director Bill Condon, includes new content added by Condon himself to compliment Bill Russell’s original book and lyrics and Henry Krieger’s music.  The content gives more historical perspective (including an appearance by Harry Houdini himself) and never allows the show, which is set during the Depression and deals with some very emotional moments for the sisters, to become dreary or sluggish.  The set (designed by David Rockwell) is another triumph of the production, adding to the spectacle as it takes us from the a dingy big-top in Texas to the glitter of Vaudeville stages.

The new life breathed into this production paired with the powerhouse performances given by Davie and Padgett alone are truly enough to make this Side Show worth the price of admission.  The stellar technical work and supporting performances simply sweeten the deal, and are sure to leave audiences craving a second peek at the spectacle they’ve experienced under the big-top at one of Broadway’s most exciting revivals.

Review By: Jacob R. HinesPhotos By: Joan Marcus

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

Tamburlaine, Parts I and II @ The Polonsky Shakespeare Center @ The Theatre for New Audience

Theater for a New Audience delivers a bloody spectacle in Christopher Marlows’ Tamberlain, parts I and II.  Playing at the Polonsky Shakespeare Center through December 21st, the show brings a different kind of red to the holiday season.

Tamberlaine is the story of a Scythian shepherd who rises to ever increasing influence through conquest and bloodshed.  It is a tale of the insatiable lust and savagery of humanity.  Director Michael Boyd holds nothing back in his desire to show us all the sins of man and more.

Boyd’s direction allows for a great amount of freedom from the actors.  Often, this can lead to some discrepancy between modern and classic styles.  This carries into set and props, placing a wooden classic chair for the past queen while giving the soon to be new queen a new, modern chair.  He does, however, grant his actors the chance to shine at times and keeps the story moving forward with seamless scene changes (aside from the much needed 30 minute intermission to tidy up the blood)

Leading the cast is John Douglas Thompson in the title role of Tamberlaine.  His presence on stage led the action with the same authority his character leads the story.  Paul Lazar (Mycetes, Soldan of Egypt, Almeda the Jailor) endears himself to the audience early on with his jester like attitude, which he carries with him throughout the piece.  In contrast is Steven Skybell (Meander), who’s clever timing adds a hint of comedy early on.  A wonderful performance is given by Chukwudi Iwuji (Bajazeth/King of Trebizon).  His pomp and conceit as the vain king are wonderfully delivered to the end.  The rest of this ensemble cast, totaling 19, do a splendid job of filling in the many roles called for in Marlow’s epic work.

Worth special note is Arthur Solari on percussion.  His performance in the one man pit is entertaining and extremely well thought out and balanced, adding atmosphere and background for most scenes in an unobtrusive but pervasive way.

This piece may not be a date-night worthy event, but if you enjoy classic theater told with a small amount of nonchalance and a large amount of gore, this is the show for you.

Review By: Paul 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