Gypsy

By Joseph Cervelli

Having seen all those ladies who portrayed the one and only Madam Rose on Broadway starting with Angela Lansbury, I never thought anyone could match either Lansbury or the more recent one by the galvanizing Patti LuPone. LuPone's interpretation of the penultimate number "Rose's Turn" was an implosion unlike other interpretations with the fury of the ultimate domineering stage mother. But as the line goes, "Here she is boys, here's Rose" and now we have the most incredible and most moving Rose to date. I am speaking of Audra McDonald in the latest production of "Gypsy" at the Majestic Theatre. I was one of those who thought as wonderful an actor and singer as she is, could she as a soprano render those remarkable songs by Julie Styne and Stephen Sondheim in the style they were designed to be done? They wrote those songs fit for a belter not necessarily a soprano. So how does McDonald do it!? She actually infuses her soprano voice with a belting quality. Quite a feat and it works brilliantly. More on McDonald in a bit. 

Let's get to director George C. Wolfe's production of my favorite musical of all time. For me it is the most perfect musical on so many levels. The illustrious score, the book by Arthur Laurents based on the memoirs of Gypsy Rose Lee, roles that actors can imbue themselves into, etc. Yet, despite the pluses in Wolfe's concept there are several minuses.  First to the postive.   

 

Taking place during the waning days of vaudeville which Rose cannot accept, the variety act she devised for her daughters Baby June (excellently played by understudy Marley Gomes) in the starring role and the older sister Louise (well played by understudy Summer Rae Daney) as part of the ensemble never fully takes off. They travel around the country though never really being successful.  So far things work well with the show under Wolfe's direction. He also makes sure that Rose and the candy salesman Herbie (a wonderful Danny Burstein) who becomes the girls’ agent have a more loving relationship than in other productions of the show. This is the first time that somewhere in the musical I wished the composers had written  a number for him. Burstein would have hit it it "out of the park."

One disappointment is that during the Fourth of July number either Wolfe or choreographer Camille A. Brown decided to do something which falls flat. A small but delightful highlight has always been having the two girls dance in that holiday number with strobe lights on them as they tap to the back of the line transitioning into older versions of themselves. Instead of having June and Louise almost magically appear here they walk out from the strips in the flag. What was always a sparkling occurrence is now uninspired

Brown's choreography is generally fine and Kevin Csolak as Tulsa (the young man whom the teen June leaves with) does a terrific job in the fabulous "All I Need is the Girl." He is joined in the dance number with the now grown Louise (Joy Woods.) 

I admired Woods in "The Notebook" though here I was disappointed. I noticed that her dancing with Csolak just did not work that well. And she was also lackluster in other scenes. Her singing in the  touching "Little Lamb" is just fine but her expression of sadness is not there. But worse yet, and this could be the fault of Wolfe, the problem intensifies. When Rose and the girls go into the Burlesque Theater,  Louise has the opportunity (especially after June departs) to have the one shining moment that Rose wanted for her daughters. Louise is rightfully terrified to break into her stripper number and Woods plays that fear well. But the big problem is that as she travels from one Burlesque Theater to another you see only a moderate change in her personality. She should exude confidence and playfulness, but under Wolfe's unspectacular direction in this part of the show she is sadly quite dull. Her almost halting quality in the role of an established and renowned stripper makes little sense which I am surprised Wolfe was not more attuned to.

The legendary scenic designer Santo Loquasto does a good job in keeping the sets a bit skimpy which falls into place with the demise of vaudeville though there could have been more pizzazz in scenes where Louise performs in larger production numbers as she tours the circuit.  Toni-Leslie James costumes are on target and that long time lighting duo Jules Fisher and Peggy Eisenhauer are always tops in their field. 

Those three crowd pleasing strippers--Mazeppa (Lili Thomas), Electra (Mylinda Hull) and especially Tessie Tura (a hilarious Lesli Margherita) do not fail to disappoint. 

As with this and all past productions, you know that Rose loves her daughters and wants to make especially one a big star, but somehow you always had a feeling she was living her own theatrical aspirations through them. But here I never really got the feeling she wanted stardom for herself until the last few moments of her final number which is a refreshing change. When Rose started singing "Rose's Turn" she seemed so unsure of her life. Tears resulting from all the hard work she put into her daughters' careers  (one successful and one not) come flowing with the grateful realization that one of her daughters became a star.  Shortly thereafter in the number frustration that maybe she herself could have had a stage career comes to fruition. The overflowing of all the varied feelings she has during this scene is the most believable and moving I have encountered. 

Despite the reservations in this production, there are none concerning Audra McDonald. She delivers the role with a locomotive determination and yet never over the top. Miss her at your own peril.

PHOTOS: Julieta Cervantes

Tickets are available at the Majestic Theatre 245 West 45th Street. 

 

Mama, I'm a Big Girl Now!

By Joseph Cervelli

If you have seen all the new shows that have recently come in and in need of something different and may I add quite delightful, I urge you to get to New World Stages to see the very enjoyable "Mama, I'm a Big Girl Now!" 

The musical runs about 80 or so minutes and you will certainly be very entertained especially more so if you are acquainted with the three wonderful female perfomers. The show stars three of the women who were leads in one of the most joyous Broadway musicals in decades "Hairspray." Of course, I am referring to Marissa Jaret Winokur, Laura Bell Bundy and Kerry Butler. The three also wrote and co-directed  "Mama."  Winokur won a well deserved Tony for that role while the other two were nominated for shows they hadappeared in. I don't know the dynamics of what happens when shows close or whether performers stay in touch or not but these three have been friends for 22 years. 

All three wanted to be stars as youngstersand they have certainly achieved their goals. Bundy started out as a beauty pageant child and was Miss Pee Wee Hemisphere which gets some laughs. She did look quite adorable as you can see in the video screen behind the performers. She speaks about her mother not realizing how those young girls were exploited without any knowledge of that. Bundy is certainly the most athletic with her baton twirling and mimicing among others Judy Garland. Her most famous role for which she rightfully was Tony nominated was in "Legally Blond:  The Musical." I don't recall whom she ran against but she gave a dynamo performance in that not great but fun filled musical. Sorry I missed her in "Ruthless"  for which she was nominated for Outer Critics Circle and Drama Desk awards. She really sings and dances up a storm in her big number from "Blond." She has not lost her abundance of energy. 

Winokur tells three anecdotes about when she was in "Hairspray" and they were a bit upsetting. One dealing with salary, another with the producers and their demands about her clothing and Liza Minelli's backhanded (not intentional) remark about Winokur's weight. Her voice is as strong if not even stronger than when she appeared in that show. She breaks into "Some People" and a few notes from "Rose's Turn." She does more than an admirable job. Maybe, the next "Gypsy" after the current one on Broadway will be one she will audition for. She calls up an audience member whom I am sure was pre-selected to play the character of Linc from "Hairspray" and this young man did a great job. Not sure if he is an actor but might consider audtioning for some roles. 

Butler played in about 12 shows when their Playbill covers were shown on the video screen. And what a difference between all of them. Her voice while excellent is less of a belter than the other two ladies but that is a good counterbalance. I am grateful she sang the more subdued and lovely "Somewhere That's Green" from "Little Shop of Horrors." She was wonderful in that production and she was superlative in both "Xanadu" (Tony Nod) and the underappreciated "Beetlejuice."

Besides singing and dancing (they must have choreographed, wonderfully may I add, since no choreographer is listed) they speak about their friendships and family. Winokur had the very upsetting news about having cancer at the start of "Hairspray" and thankful is now cancer free. It was very sweet to see photos of their children and spouses. 

Near the end of the show they sing a few bars of "Old Friends" and you really believe they most definitely are. You will walk away feeling like they could be your friends, too.

The show happily is now extended till December 21.

PHOTO: Russ Rowland

Tickets are available at New World Stages 340 West 50th Street

 Another Shot 

By Joseph Cervelli

"Another Shot" playing at the Signature Theater can have two meanings. The most obvious one is another shot of alcohol at a bar or another shot at rehab. In the case of this honest and deeply affecting play written by Spike Manton and Harry Teinowitz with very convincing performances both meanings could apply though it mostly refers to the first one.  

Teinowitz was a popular sports-radio announcer in Chicago before he was arrested for DUI. Not very smart when a cop stops you and your response to his "Are you drinking?" is "Are you buying?" Your first impulse might be a chuckle but then it is pointed out that of 25 million alcoholics only 5% are in rehab. Dan Butler who played the hilarious womanizer on the tv series "Frasier" does very well as Harry. Butler portrays Harry as a wisecracking (the real Harry was a stand up comic, too) guy who thinks he is full of humor. He acts as both narrator and one of the alcoholics in the rehab center (set design by Beowulf Boritt.) He like many who first come to rehab for either alcohol or drug addiction are  in denial. Something clicks later on in the show which is extremely touching that makes Harry realize he must get sober. This is where Butler really excels. He has the comedic touch but fights back tears when he receives something in the mail from one of his daughters.    

It is wonderful having the always excellent Gregg Mozgala back on stage here portraying Isaiah the OxyCodin addicted pharmacist. Just hearing the choice he made between choosing between his partner and pills is heartbreaking.  

Andrea (a fine Samantha Mathis) has been in and out of rehab and who feels lost with a mother she calls a "bitch." Her life seems consumed more by alcohol than communicating with friends. I wish we got to know more about her than what is told here.

Chike Johnson is superb as Vince someone also fighting alcoholism for a good part of his life but this time he seems to have gotten himself together. Laughing and joking he appears to be on his way to recovery despite being in and out of rehab.  Married with two young kids he is determined to make a huge change in his life despite the obstacles of liquor.

A wonderful Portia (Barb) is the  rehab therapist who oversees this group as someone herself who had a severe drinking issue and now is in charge of group meetings. She also handles individual issue of the five assigned to her group. She knows enough about the consequences of the disease and those afflicted with it, since she was a patient once herself. 

The youngest of the group George (a very believable Quentin Nguyen-Duy) seems to be having a very difficult time staying sober and just when you think he has made it, he returns from a bike ride inebriated with his bike destroyed.  When he and two others decide to go to Walgreens your first thought might be what can be the harm in that.  Portia knows the havoc that can be caused when someone addicted decides to go to any pharmacy. 

During scene changes, names are flashed on the back and side walls with the amount of time they are been sober along with sharing their voices with brief statements about what it was like while alcoholics. 

 Jackson Gay's notable direction give perfect authenticity to the play confirming the fact that alcoholism and drug addiction are truly diseases and not choices.  I must say I was one of those people when in my 20's  thought well "can't they just stop." Quite naive in my thinking until I had some friends who just could not stop without any kind of intervention. 

This is not the kind of play where all things come to a happy ending, unfortunately. And the humorous moments that were evident earlier in the play dissipate and become tragically real.  This despite the fact that you find yourself cheering them on and hoping they all become recovering addicts. 

Some of the writing in the first 30 minutes or so has a stereotypical feel but then this important work becomes more intense and stirring as it moves on. 

PHOTOS: Joan Marcus

Tickets are available at The Pershing Square Signature Center 480 West 42nd Street. 

Sunset Blvd

By Joseph Cervelli

There is no doubt that Nicole Scherzinger's singing in the chaotic, concert like feel of Jamie Lloyd's  interpretation  of the classic "Sunset Blvd." at the St. James Theatre is certainly unforgettable. Too bad most of the show which has an over indulgent feel is not so memorable. 

Nicole Scherzinger is astounding in her rendition of two of Andrew Lloyd Webber's beautiful songs in his  gorgeous score (lyrics and book by Don Black & Christopher Hampton) first heard when the original with sets and costumes premiered back in 1994. Scherzinger's  "With One Look" has her hitting notes that I could not imagine be replicated, but they are when she sings the 11 o'clock number "As If We Never Said Goodbye" which she knocks the audience out with. 

What Lloyd fails at is capturing the essence of the storyline which captures the mental breakdown of the once famous Norma Desmond (Scherzinger) when she begins to realize that her fame as a silent film star is gone and there will be no comeback. Under Lloyd's direction  there is no feel of allegiance to the essence of the storyline. It is told fleetingly and unless you are familiar with the movie or original Broadway production you will be lost. I understand he wanted to create something original on his own terms but call it something entirely different. 

There is no set to speak of rather a black background with lots of smoke along with a huge screen that frequently has the actors' faces cast upon them. Different members of the ensemble walk around holding  cameras with lights on both sides as the actors look into them showing up in dramatic close ups on the screen. You can almost see the pores of their skin which makes for some comic moments. 

Tom Francis sings beautifully as Joe Gillis a struggling screen writer who meets with his agent Sheldrake (Tyler Davis) and his assistant Betty Schaefer (a very good Grace Hodgett Young). When they are not going to accept his script he leaves with no money and escapes from the repo guys by parking his car in Desmond's driveway. In this production unless you listen very carefully you could be lost during these scenes. So, it helps if you are not a novice to the show. Unfortunately,  Francis’s  acting is on the bland side. His relationship with Norma lacks all chemistry and even the eventual relationship with Betty falls flat. What Lloyd has decided which does not help is have the actors at various times not speaking directly to each other but out to the audience. 

Max von Mayerling (David Thaxton) also has a strong voice though as Norma's butler and former husband I was not sure if he was playing his role for laughs. His anger comes through almost in a ferociously gangster manner as you see him grimacing on the oversized screen. Thankfully, he does a tender job of "The Greatest Star of All." 

Scherzinger as mentioned has an unforgettable voice though her acting especially in the first act is frequently silly bouncing on the floor, meowing (remember she was once part of the Pussycat Dolls) and making these bizarre faces (flashed on screen) as she announces to Joe she wants to play the 16 year old Salome although she is actually 40. She does get better in the second act when she has her unfortunate breakdown. However, you should be able to see this deterioration in her. Lloyd seems not to care about this. He is more concerned about originality and have the actors in constant state of motion. One scene that makes no sense is when Norma and Joe are dancing in her house on New Year's Eve while Betty is walking through. 

The ensemble wearing street clothes is adequate enough although some of the choreography like squirming all around on their backs and stomachs (choreography by Fabian Aloise) is bizarre. 

What makes even less sense is how Lloyd has staged the title number which opens the second act. You might sit there in disbelief as it begins with Joe walking backstage passing dressing rooms passing one cardboard figure of Andrew Lloyd Webber and a mug with Jamie Lloyd Productions and as he walks downstairs to the exit of the theater you see members of the ensemble kissing. He then walks down 44th Street through Shubert Alley singing "Sunset Blvd." Did some commmitte change the name of both for the run of this show.

If you never saw the show before you might enjoy it, but if you know the story well Lloyd's dismantlement turning it more concert than theater with little understanding for the tragic plight of Norma Desmond and almost no emotional impact will be seriously disconcerting. 

PHOTOS: Marc Brenner

Tickets are available at the St. James Theater 246 West 44th Street. 

Fatherland

By Joseph Cervelli

In the program, "Fatherland" playing at New York City Center Stage II  states the show is verbatim theater which means "every word comes from court  evidence, public statements and the official transcript of THE UNITED STATES VS. GUY WESLEY REFFITT." In the event the name is not familiar (as it was not to me) he was the first person to be convicted in the January 6, 2021 attack on the Capitol. What makes it even more incredible is that he was turned in by his nineteen year old son, Jackson (beautifully played by Patrick Keleher). 

Before you think this is a staid reading of court transcripts think again. "Fatherland" is a powerful, emotionally gritty and upsetting rendering of what occurred on that infamous day that we should never forget. 

What conceiver and director Stephen Sachs so expertly accomplishes is to do his best to present Reffitt (played brilliantly and exhaustingly by Ron Bonitta) as a manic ultra right wingbeliever in former President Trump and/or as his lawyer (well played by Larry Poindexter) stated someone suffering from severe emotional issues and taking Xanax proving he is not well. Anna Khaja portrays the U.S. Attorney a bit too laidback.

What works so very well is that the show does not exclusively play in the courtroom (only a few chairs and two tables as designed by Joel Daavid) which basically occurs at the end of the 80 minutes. At first you hear Reffitt  speaking about his prosperous job as someone who has worked on an oil rig and then that job collapsed throwing the family into ruin. He makes a statement which many of the more radical followers of Trump follow which is he provides an "outlet" for them to basically say and do what they want and need. I have several good friends who do support the former President who are quite intelligent and just feel he will be a better leader. But then there are those who are almost psychotic in their beliefs as in Reffitt. 

Jackson recorded the conversations before and after his father marches to the Capitol. This is why the play feels like it not just from transcripts. They re-enact what is on the tape. And I liked the fact Sachs have them moving around the stage almost using the table as furniture in their home. 

There is not doubt that as crazed Refitt has become he still loves his son but his devotion to the cause of those extremists supporting Trump has him accosting his son threatening to kill him if he finds out he has turned him in. Jackson pulls no punches calling his dad a traitor and there is sadly no reasoning with him.

What is scary is seeing all the rounds of ammunition in boxes that Reffitt decides to bing to the Capitol. 

What is brought out and might  not bring a shining light on Jackson is that he has arranged for a GoFund page for himself which raised over $150,000. Reffitt's lawyer questions this especially emphasizing the money was exclusively for himself despite Jackson's claim his mother and sister turned it down. 

What I found very touching is when Reffitt in his final statements shows Jackson squirming in his chair fighting about tears thinking what his father has become. And what is frightening is when Reffitt speaks slowly in a normal voice until his frighteningly prophetic  that next time they will not be so "cordial." That truly gave one shivers.

"Fatherland" is so well acted and pure theater that don't let the fact that it comes from transcripts, etc. deter you. You owe it to yourself to see this mighty new play. 

PHOTOS: Maria Baranova

Tickets are available at the New York City Center Stage II 131 West 55th Street.

 

The Counter

By Joseph Cervelli

Meghan Kennedy's new play "The Counter" at The Roundabout at Laura Pels Theatre starts off on a slow path and then ends unsuccessfully about a server Katie (Susannah Flood) at a coffee shop in upstate New York and a patron Paul (Anthony Edwards)who is the first early morning customer arriving for a coffee six days a week. He has been coming there for two years the amount of time that Katie has been employed. I have to say that coffee might be the only thing I would order in Walt Spangler's minuscule and dingy looking coffee shop.

In the early part of the play, Paul has a bombshell request for Katie which really doesn't go anywhere and then for the rest of the 75 minute show the dialogue becomes mostly mundane. Strangely, Paul and Katie know each other for so long, and yet I never felt any kind of camaraderie between them. Granted there is no love interest on either part, but it does feel like they should know some things after spending time alone for two years just about every day until other patrons came into the diner. If there were other customers I would understand a lack of communication, but Paul is especially talkative so it would make sense if they would have some small talk.  Katie comes out with a rather unfeeling remark to Paul about his being there is just "until" the next person arrives meaning he is not really a special patron but then expresses her concern when he misses a day due to his having a cold..  Before he asks her to do something for him he wants to know if they can be friends within the diner but not really outside of it.  He reveals his secret about being a recovering alcoholic for 11 years (he is retired) and then his having an affair with the town doctor Peg (Amy Warren) while her husband was battling cancer. 

Katie divulges a rather unusual secret being she has 27 emails she has not deleted from her phone from her ex-boyfriend for the past two years. While we never see the boyfriend but hear his voice  (Will Brill)  from his emails it seems rather disconcerting.  They were dating for a while but nothing much seemed to have occurred between them because he wanted to put her "on a pedestal" and treat her as almost untouchable. Instead of just ending the relationship she moves away to the current location. That seems a bit far fetched unless he made threats to her. And why not just break it off and contact the authorities if he starts to harass her.  What makes even less sense is whys kept those emails unless she has some strong feelings for him. 

Peg visits the diner and there is a brief encounter between her and Paul. She reveals some information to Katie about Paul (he saved a family in a fire, took care of his ailing mother and brother and joined the Peace Corps). 

I wish Kennedy would have explored this further in conversation between both of them. 

One interesting thing that David Cromer has done as director is have the light change color and spotlight (lighting design by Stacy Derosier)  the characters when are having an internal monologue or when Peg and Paul have one brief intimate moment. 

The performances are good though not memorable. 

What is extremely disappointing is the ending of the play. It has an unfinished feel to it. Almost like Kennedy did not know what more to say about her characters . What makes little sense is what Katie decides to do in a blink of the eye even though Paul gives his go ahead which I did not believe for a moment. And the bombshell request I briefly mentioned just fizzles out. Has Paul reconsidered? There’s really nothing to convey keeping  his decision or changing it. 

Somewhere there is a honest and moving play here but as presented left me feeling completely unfulfilled. 

PHOTOS: Joan Marcus

Tickets are available at the Laura Pels Theatre 111 West 46th Street.

 Forbidden Broadway: Merrily We Stole a Song

By Joseph Cervelli

Creator, writer and director Gerard Alessandrini rightly received a Lifetime Achievement Award from the Drama League for keeping his "Forbidden Broadway" series going for four decades. His creativity in lampooning so many shows over the years is quite astounding. Yes, some of his shows are better than others and while all cannot be a laugh riot from beginning to end there are more moments of hilarity than misses. 

His current one "Forbidden Broadway: Merrily We Stole a Song" playing at Theater 555 has a few more misses than I would have thought but that does not mean you should not make a visit to see this mostly joyous romp.

The opening although you are not quite sure if it is or not because the house lights are on and a very rigid "usher' played by an intimidating Jenny Lee Stern warns the audience to sit in their seats and stop blocking the aisles. All sung to "Sit Down Your Blocking the Aisles" a take off of the song from "Guys and Dolls." While she is doing this cast member Chris Collins-Pisano portraying an audience member is not quite listening trying to get more Playbills. At first, you are not quite sure if this is part of the act but when you realize she is turning into Patti LuPone with her admonishment of audience members who do not turn off their phones you know the show has begun. 

As for the best numbers the top of the list is Danny Hayward's superb take on the three actors who played the unforgettable role of the Emcee in "Cabaret." There is a quieter but slightly menacing Joel Grey who originated the role. Then he becomes the sleazy but brilliant Alan Cumming. Lastly, the disastrous turn currently played by Eddie Redmayne. He accurately depicts him as an almost laughable Emcee dressed  like a clown and captures Redmayne's ineffectual performance. A shame because Redmayne is an excellent actor. 

Stern again scores with a Betty Boop portrayal of Bernadette Peters. A little worn but it works. 

Nicole Vanessa Ortiz is superb portraying Audra McDonald in the upcoming "Gypsy." 

Chris Collins-Pisano almost steals the show in his portrayal of Mary Todd Lincoln dressed in the same gown as Cole Escola from the screamingly funny "Oh, Mary." 

There is a great scene in which cast spoofs Ariana DeBose who starred as Anita in the recent film version "West Side Story" by singing "A Girl Like That Who Ruined the Tonys." This, of course, refers to her disastrous turn as host this past year. Unfortunate, because DeBose was a highlight the previous times she hosted. 

Collins-Pisano impersonating Ben Platt at the Palace by wearing the robe the singer did at his concert at the Palace was hilarious. 

There were a number of let downs. As good as Stern is do we really need another "Ladies Who Lunch" doing a superior but dated take off of LuPone. And her Hillary Clinton (one of the producers of "Suffs") goes nowhere.

Hayward and Collins-Pisano are funny in an unfunny skit "Back to Back to the Future" in which they visit Oscar Hammerstein's home and see Sondheim (Stern) as a youngster who is more interested in the DeLorean rather than writing music.

Ortiz is delightful in her impersonation of Cynthia Erivo as Elphaba from the upcoming film "Wicked" though the sketch is not as funny. 

A big plus having this play Theater 555 is that it is a larger stage which works much better than other venues the show has played in the past. Dustin Cross's costume design and Glenn Bassett's set design are all spot on.

Even a less than stellar "Forbidden Broadway" is better than none and there is enough here to please everyone. 

Tickets are available at Theater 555 555 West 42nd Street. 

PHOTOS: CAROL ROSEGG