Make Me Gorgeous!—A Dazzling Star Turn

By Joseph Cervelli

I must confess that I never heard of Kenneth Marlowe the gay icon and "trailblazer" from the 1960's. It was not only a very difficult time to be gay but  becoming trans a nightmare. At that time it was called sex reassignment. The most famous was Christine Jorgensen who gained most of the notoriety. 

The funny but mostly very moving new play by Donnie (full name is Donald Horn) "Make Me Gorgeous!" at Playhouse 46 at St. Luke's is blessed with a knockout performance by the amazingly gifted Wade McCollum. McCollum flirts and jokes with the audience while telling about his gay life in both an amusing and then a touching manner that almost can bring tears to your eyes. He by no means plays it over the top as he could easily have. Sure, he camps it up here and there but knows when to rein it in. 

His alcoholic mother always wanted a girl so for the first three years dressed him as such. This would be difficult for a young boy at any time but 1926 in Iowa had to be devastating. It did not help that his father who was a sanitation worker (garbageman at the time) left the family in disgust. Kenneth was starting to have sex at age 14 in bathrooms. He is lucky he lived as long as he did.

Eventually, he moves to California to live with his aunt and uncle. He met  60 year old Charley a man that Kenneth found almost repulsive but he needed him to support himself. McCollum's imitation of the older man is startlingly realistic. Charly never had sex with Kenneth but just liked  having him around and always gave  him money. Things don't even turn sour when he finds out that Kenneth has been bringing men to his apartment in Long Beach until he has had enough with Charley. What is surprising is that how Kenneth was so involved in Bible studies (even becoming a Catholic missionary!) which was so out of place in the gay world especially at that time. 

He really finds his niche sexually that is in the gay area of LA called Pershing Square. He then moves to Chicago and becomes a beautician. He moves further south and deals dice at a club owned (unbeknownst to Kenneth) by a mobster. This is where he becomes a female impersonator doing a made up song. McCollum does a fine job as a drag performer even though he admits the song is not very good. That is true but still fun. I would have preferred if he did only two not three performances in drag during the  moving 90 minutes. But understand why director Donnie decided upon this.  I did enjoy his impersonation of Sally Rand though it was filmed in too dark blue light even though the rest of the lush lighting is perfectly designed by Jamie Roderick. Escaping from a mobster is not easy,  and he almost does not make it as Kenneth goes to Indianapolis. 

There is a heartbreaking scene as he is gang raped after being drafted and the audacity at the time of being dismissed with a dishonorable discharge. 

He moves to LA and meets his mother who is now a recovering alcoholic. Things become comical as he runs Mr. Madam Answering Service setting up sexual meetings between various people who call in. How he accomplished this probably on his own was quite an achievement. 

He then became a hairdresser to the stars including Phyllis Diller and Lucille Ball. Shortly, thereafter when he sees a pamphlet about sex assignment he decides to have it done. The issue is it was far from easy at that time. He arranged for a fund raiser and was able to raise $8000.

There is nothing mentioned about the end of his life which is unnecessary.

Jeffrey Hinshaw's costume design is astonishingly varied from simple to glorious dresses and Walt Spangler has designed a lovely set that mostly features Kenneth's dressing table. 

The evening certainly belongs to the remarkable and unforgettable McCollum. With his sweet, bright wide eyed grin to his moments of fear knowing what is going to happen to a young gay man when accosted by a group of men he could not be better. He lived life to the fullest even writing 9 books.

After the show the writer/director Donnie  spoke to me and his coming to NY from Portland.  Lovely, unassuming man. He told me the show would run longer but McCollum is appearing in a new Broadway show. McCollum has provided additional material to the show.

Photos: Maria Baranova

Tickets are available at Playhouse 46 at St. Luke's 308 West. 46th Street. 

Dracula A Comedy of Terrors

By Joseph Cervelli

In the delightfully silly and infectious "Dracula A Comedy of Terrors" at the New World Stages you will find that "terror"does not apply in any way. What it is will provide is  a lot of laughter which we most certainly need at this juncture of current conditions. After laughing myself into a near stupor at the wonderful revival of "Spamalot" it was a pleasure to head into another show that provided enough good humored laughs. 

When we think of Count Dracula a young man with the body and looks of a Chippendale dancer does not immediately come to mind but that is what James Daly playing the title role certainly resembles. But he is not just eye candy. He is quite funny and bumbling. His looks with a smirky aside to the audience just when he is about to aim for the jugular of some unsuspecting character is on target.  

His entrance while in Transylvania has the other cast members using aerosol cans portraying fog, of course,  to greet him while he beams while dressed (the terrific costume design is by Tristan Raines). He has a broker the quiet (but just wait until later) Jonathan (an always welcome Andrew Keenan-Bolger) who shows Dracula  the photo his fiancee the beautiful Lucy (an excellent Jordan Boatman). Well, that clinches that. He knows where he will be setting those fangs of his.

They travel to England via a ship and when they come into a storm water appears thanks to the spray bottles. Writers Gordon Greenberg and Steve Rosen are at not loss for clever antics here. 

In England we meet an array of different characters. There is the crazed bug eating Renfield (Ellen Harvey) who plays Dr. Westfeldt (Lucy's dad) among others. Harvey is an expert at making so many costume changes and split second moves from one area behind the stage to another. While the entire cast is a joy I am almost reluctant but need to say that Arnie Burton practically steals the show playing several roles. The major one is the not so attractive Mina (Lucy's sister) who is sex craved and in lust with Dracula who wants nothing to do with her. Burton is a hoot to say the least. With his blondish red curly wig designedly Ashely Rae Callahan he reminds one of a Baby Jane. His lascivious characteristics (loved the finger in his mouth) caused me to laugh out loud on a number occasions. And instead of having a male Dr. Van Helsing, she is now a Gestapo like female played to the hilt by Burton. 

There are a number of sight gags including a re-creation of the Abbey Road cover. 

Greenberg who directed knows how to keep the pace going for a very fast moving 90 minutes. You almost wish that the show would have run longer. 

If there is ever another revival of the rollicking "Rocky Horror Show " Daly would be a perfect Frank-N-Furter.

I urge to you get to see this daffy show before it closes on January 7.

PHOTOS: Michael Murphy

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

The Great Gatsby

    By Joseph Cervelli

When you first enter The Paper Mill Playhouse you notice the foreboding scrim of the sea and and Long Island mansion in the background (set design by Paul Tate DePoo III) swept in an ominous darkness. Of course, anyone familiar with the classic novel "The Great Gatsby" will be aware of the tragic ending to the American Dream which is what the book is all about. 

While the novel does lend itself to be turned into a musical that should dazzle and involve the audience with the tragedy of what transpires to these very wealthy people in 1922 "The Great Gatsby" musical  fails on both levels. It is overbloated with too many songs, perfunctory production numbers and diluted characterizations. The mostly forgettable 26 or so songs has one exception being the gorgeous "For Her" which is unnecessarily reprised two times. The serviceable score by Jason Howland with rather mediocre lyrics by Nathan Tysen should propel the storyline not make it stagnant which is the case.  I am surprised that the lyrics were not far better since Tysen co-wrote the excellent ones to the underrated musical "Paradise Square" along with much better Howland music.

Book writer Kait Kerrigan has decided to not make the actual main character Nick Carroway (Noah J. Ricketts) the narrator of the story as in the book. This is fine but what Kerrigan has done is for some inexplicable reason turned Carroway into an almost throwaway character and seems misdirected by Marc Bruni.  So, Ricketts is a definite talent yet the way he is written here disappointingly makes him feel strangely insignificant.  It is hard to think a character which stood at the forefront of the story has almost turned into what feels like a secondary one. 

The show does have a promising beginning with Gatsby (Jeremy Jordan in tremendous voice does well as the enigmatic Gatsby) singing the excellent opening number "Roaring On" about the end of the war and time to move on. The tableau of the ensemble is very Fosse as choreographed by Dominique Kelley. While the lyrics especially "don't know 'bout you but I'm done with the Spanish Flu" are a bit silly it is a scintillating number and  probably the best of the production numbers. There really is no need for "New Money" which is a facsimile of "Roaring" sung soon after the opening one.  

Nick returning from the war and wanting to pursue a career in New York visits his cousin Daisy Buchanan (a wonderful Eva Nobelezada) who like Jordan has an incredible vocal range and can belt out songs beautifully. She is married to the obnoxiously wealthy and almost brutish Tom Buchanan (a perfectly nasty John Zdrojeski) but has always been in love with Gatsby whom she has not seen for five years and unaware that he is the owner of the nearby mansion.

For some inexplicable reason the lesser important annoying character Ol' Owl Eyes (Colin Cunliffe) is given the unnecessary "The Great Gatsby" which thankfully only has a few lines but is rather foolish. And Cunliffe overplays the role. 

The philandering Tom has a girlfriend unbeknownst to Daisy named Myrtle (well played by Sara Chase) wanting the life that Daisy has but is stuck living with her lifeless husband George (a sympathetic Paul Whitty) who runs a garage which is a front for the crooked Meyer Wolfsheim (an excellent Stanley W. Mathis). Nick considers the life that Myrtle and George living a "valley of ashes" which makes sense but what does not is that Whitty sings  the unnecessary "Valley of Ashes" which adds nothing to the story.  

And the metaphorical billboard of what is assumed to be an eye doctor has little meaning here. Of course, Myrtle must have her own number which is the overstaged  "Secondhand Suit" when Tom brings her to an exclusive  store where she purchases a new dress. And then comes the dreadful scene in which Tom  brings Myrtle to an apartment in Harlem for sex which is owned by a couple who run it like a brothel. Along for the ride is the unsuspecting Nick who is accosted by the lecherous co-owner Mr. Mckee (Dan Rosales). 

One of the other characters is the brash golfer Jordan Baker (a very effective Samantha Pauly) who develops a relationship with Nick. Only in time does Nick begin to see how shallow all these people really are. 

The last song "My Green Light" at the end of the overlong first act means nothing here unless you are familiar with the book. 

The second act concentrates a bit more on the characters which is helpful though  frequently interrupted by inconsequential songs and one very routine production number "Bootstraps" which is saved  by the familiar though well done tap dancing. George's "God Sees Everything" falls flat. While the final number is "Beautiful Little Fool" is sung superbly by Noblezada though it doesn't like others really fit in after her final scene with Nick. 

The funeral scene (no spoiler here) should be a stirring account of the life of those realizing their dreams have collapsed but instead of climatic it becomes a huge letdown with one silly, unnecessary moment. Bruni is an otherwise fine director who should have guided this scene much more effectively.  

The set design is sumptuous although the entranceway to Gatsby's mansion with its art deco design is a bit reminincent of Radio City Music Hall. One of the two cars (both move succinctly around the stage) is a gorgeous yellow Rolls Royce convertible. Also, DePoo III does a great job with his projection design especially the scene where Tom and company drive from Long Island going into New York City. 

Linda Cho's costume design as always is on spot as well as Cory Pattak's lighting. Brian Ronan's sound design tends to be overmiked.

The show would be far more successful if the book was reworked concentrating more on the development of the characters and greatly trimming the score.  On the positive side you have some very fine performances notably Jordan but even more so in Noblezada. 

In its current state it is a letdown. 

PHOTOS: JEREMY DANIEL

Tickets are available at the Paper Mill Playhouse, Millburn, NJ.

Swing State

By Joseph Cervelli 

There are some plays that just grab you from that very first scene and you are in their throes from then till the very end. This is true of quite a few classics,  but when it occurs with a new play it is a rare treat. One that comes to mind was the unforgettable two hander "The Light" back in 2019 about the tenuous relationship between a young couple. "Downstate" from last season was another.  Seeing as many shows as I do during the year if even one has this effect on me I am thrilled and if two do, ecstatic. 

Well, the new theater season which  started basically this past May and the first play that had that effect on me was "Saviour" at the Irish Rep. The very first scene was mesmerizing and the play along with the actors never let up. Well, thankfully, another has just come my way. 

    

At the Audible Minetta Lane Theatre comes the incredibly moving and emotionally exhausting "Swing State by Pulitzer Prize finalist Rebecca Gilman. It is not a political play thought does have to do with the government and purchase of prairie land in the state of Wisconsin. It is mainly the relationship between a depressed widow,Peg (an amazingly realistic Mary Beth Fisher)  in her early 60's or so and a deeply troubled young man in his early 20's  Ryan (an unforgettable Bubba Weiler) whom she and her late husband befriended since he was a child. Both his parents died when he was a youngster. At least, one of them died from alcholism which has plagued Ryan through the years. The play deals with  believing in someone and giving that person support and love hoping that the person makes something of their life. Despite troubles you never want that feeling of goodness you have  to wither away.   

From the first scene "Chekhov's gun" comes into mind. Only here, while Peg is in the kitchen (well designed by Todd Rosenthal)  making zucchini bread she contemplates suicide by playing around with a knife. As she puts it down,  Ryan comes charging in like a gale force wind. This deeply high-strung fellow who currently is driving a truck after he was released from prison for felony. He has to make sure he does not fall back into drinking habits which leads to associating with undesirable ex-friends. 

He becomes unhinged when he finds out that Peg whom is truly like a mother to him has made out her will. He wants no part of hearing any of this. Just focusing on Weiler with an expression of someone who is totally lost will break your heart.   

Things only get worse when Peg discovers that someone broke into her barn and stolen  prized tools and a rifle belong to her late husband. Of course, when Sheriff Kris (an excellent Kirsten Fitzgerald) who hates Ryan holding him responsible for the death of her son hears about this she is ready to arrest Ryan immediately. There is one other character that being the sheriff's niece and recently appointed deputy Dani (a lovely Anne E. Thompson). A kind of bond forms between Ryan and a caring Dani. Won't go any further.

Under the expert and immensely intense direction by the always wonderful Robert Falls, everything in this beautifully constructed play with both Fisher and Weiler giving performances (they play off each other with such believability) that will not leave you for a long time coming. 

No better play for me this season, thus far, than this one. 

Photos: Liz Lauren. 

Tickets are available at the Audible  Minetta Lane Theater 18 Minetta Lane. Limited engagement ends October 28. 

Dig

By Joseph Cervelli

Theresa Rebeck has always been a very reliable and versatile playwright. No two of her works ever seem the same. And she has always had excellent casts. While I found her latest "Dig" at 59E59 engrossing there were a number of reservations I had with it. One problem is I am not sure if she is as adept at directing as playwriting. I would loved to have seen what another director would have done to better shape this play.

The unusual title refers to a small and lovely looking plant shop (cozily designed by Christopher Swader and Justin Swader.) Roger (Jeffrey Bean) is the proprietor and it appears that the shop is his whole life. He learned the love of plants from his mother at an early age and lives a solitary life. You get the feeling he has few friends or relatives that he associates with. Bean plays the part well although has a tendency to shout a bit more than necessary. Still he is believable and likable as the withdrawn Roger. Well, withdrawn, that is, until in the more explosive second act. His one acquaintance more than friend is Lou (a very believable Triney Sandoval) who also acts as his bookkeeper. Lou seems mostly unhappy and for good cause. His daughter Megan (a superb Andrea Syglowski) has attempted suicide either purposely or by accidentally overdosing on pills and vodka. And to make matters worse we shortly find out (no spoiler here) that through a customer Molly (Mary Bacon) Megan  left her young son in her car and he succumbed to the heat. It is apparent that Lou has had his share of grief with raising the adopted Megan. He claims he loves her and when they in the presence of Roger he shows affection for her. When she is not he castigates her for her behavior through the years. He also has two biological boys who apparently were perfect children. With the amount of anger he shows it is no wonder she has grown into a woman with a great deal of issues. It becomes Roger who starts to give her a chance and forgiveness starts to change this angry woman's persona. 

Another character is Roger's driver Everett (Greg Keller)  who spends his time delivering plants while being stoned. I have admired Keller far more in other plays than here. Not really his fault because Rebeck has him being constantly on pot acting too doltish which becomes very annoying and unnecessary after a while. It also leads to something much more serious in the second act.

Without giving much away, there is another character who appears in the second act. It takes a bit of time before you find out what he has to do with the play. It is possible that you might conclude  what happens understandable as what makes Megan behave the way she does or have a completely different viewpoint. I admire Rebeck for making us think about Megan's rationale.   While the play certainly deals with forgiveness shown by both Roger and Molly, it also has to do with being a victim. There are some who feel they have no right to be happy and vicimization plays a dangerous part in their lives. I admired that aspect of the play. I had wished the interaction between Megan and this other figure could have been more fully been developed than it was. 

The ending was a bit too tidy but still satisfactory. 

There is a lot to discuss and comprehend here. While not all successful, it is still worth a visit. 

PHOTOS: #1 and 4 Justin Swader; #2 and #3 James Leynse

Tickets are available at Primary Stage Production 59E59 Theater A at 59 East 59th Street As of this writing the limited engagement ends October 22. 

 

The Saviour--A Staggering New Play

    By Joseph Cervelli

That mischievous smile with the sparkling eyes while smoking a cigarette in bed does not belong to a young woman. In Deirdre Kinahan's staggering new play "The Saviour" at the Irish Repertory Theatre the astonishing Marie Mullen portrays the elderly Maire in the bed with that sheepish grin remembering her sexual evening with the unseen Martin. He is supposedly downstairs in the kitchen making her a birthday breakfast. Rarely, and unfortunately so, do we see an older person discuss their enjoyment of sex and refreshing that it is expressed so realistically here. When she speaks about the sex with  Martin being gymnastic rather than mechanical which she was used to you can't help but smile and feel so happy for her. 

The first 25 or so minutes of this 70 minute play is her monologue reminiscing about her life. She has a few children but you never get the feeling she has had a very warm relationship with them. She speaks about her late husband fleetingly but mostly about how he loved her long hair. While speaking about him you see her brushing her hair delighting in the memory. There are moments when you are not quite sure to make of her somewhat narcissistic manner. But still her winning demeanor makes you entranced by her. She then becomes quite serious speaking about her difficult childhood whose mother died when she was very young and her father placing her in a harsh convent along with the untimely death of her best friend. Being a very religious woman she frequently speaks to Jesus even about her sex with Martin. 

Then without giving away any spoilers things turn almost immediately. Her son Mel  (superbly played by Jamie O'Neill) is shocked that his mother is still in bed and even more upset with hearing about her having sex with this fellow Martin. He needs to have a discussion with her about this man in her life not that she is in the mood for that. 

In the very efficient small turntable set by designer Ciara Bagnall we are in the kitchen and Mel brings her a birthday gift which is a doll that at first makes you think what a strange gift to give his mother. However, it is a very thoughtful one dealing with a doll she had as a young girl. He is also there to inform her about what Martin is really like and it is worse than she can imagine. Of course, she is blinded by her desire for this man so won't believe any of what Mel has proven to her. Suddenly, we hear things about Maire revealed by Mel that we are startled by including her abusiveness as a parent and her homophobia. O'Neill does an incredible job as Mel trying to convince his mother to give up Martin calmly and then with an almost explosive rage when she delves into his personal life. 

Louise Lowe has directed the play so magnificently that, at times, the encounter between mother and son digs deep into your soul. Just watch very carefully the last scene with Maire looking out at the audience with a different facial appearance than what you remember from that very first scene. It is hypnotic. 

PHOTOS: CAROL ROSEGG

Tickets are available at the Irish Repertory Theatre 132 West 22nd Street.

 

Primary Trust--A Beautifully Subtle New Play

        By Joseph Cervelli

Watching Eboni Booth's beautifully subtle and very touching new play "Primary Trust" at The Laura Pels Theater,  I was reminded of playwright Thornton Wilder. In its own way this work has the same very quiet effects of Wilder's plays most notably "Our Town." Very different certainly, but the meaning of the play creeps up on you very slowly. I kept wondering where exactly this was going but hopeful that  Booth would not disappoint us. And the playwright never does. My regret was not seeing her prior play "Paris."

When you enter the theater there is a guitar player (Luke Wygodny) on stage who also plays other instruments and marks the play's passage of time by tapping a bell. The time of the play the program states is "before cell phones." The miniature sets of a restaurant, shoe store, church, etc. are cleverly designed by Marsha Ginsberg. 

Kenneth (an unforgettable William Jackson Parker) is a genial young man in his late 30's who had a very difficult early life with his single mother dying when he was a youngster. He stayed with her body for quite a while in their home until someone came. He grew up in foster care with no friends not even in later life. 

However, he does have one friend Bert (a very good Eric Berryman.) The only issue here is Bert exists in his head. Yes, your mind will go to the show "Harvey" but this is not the same. Bert helps our hero keep it together. They have many conversations which are humorous and when Kenneth gets upset it is Bert who keeps him grounded. 

The always wonderful Jay O. Sanders as Sam (playing a variety of characters) offers Kenneth a job at his bookstore. He forms a familial relationship with Kenneth and his wife and works for him for about 20 years before Sam announces he is closing up shop and moving to Arizona for health reasons.  

Sanders also portrays Clay who works for the bank Primary Trust and  interviews Kenneth for the job. Although he has no experience Clay takes a liking to him and Kenneth becomes the shining star of the bank.

The other character is the server at the neighborhood restaurant/bar Wally's superbly played by April Matthis. In a difficult role she changes her persona from one server to the next. It is done so easily that you are taken back how adept she can do this. Even when she is a customer in the bank she switches from female to male customer. 

If all of this sounds like not much is happening you are right because what you are seeing is basically a slice of life account of a young man whose life is very uneventful. But then something occurs during the latter part of the play that turns things around. Your first thought is that our hero is going to fall in love with the server. I won't reveal if that is the way Booth is going but this is not an everyday love story. It is about the love and confidence that you first need to find in yourself. How a play that begins with such simplicity can evoke a lot of discussion at the end is the knack of a playwright who can delve into the soul of her character in which you actually wish you knew this man is a rare feat. 

But that is due primarily to Harper whose various emotions grip you from the start. Kenneth is such an amenable character that you feel his has overcome his difficult childhood and having this alter ego is a great asset. Well, we can only rely on someone real or imaginary for a while but need to find our own way in the world which he has not done until forced to. Suddenly, Kenneth displays another side of himself when he know things cannot be the same, and Harper is so believable that he makes you want to reach out and comfort his character. 

The title of the plays is a very smart one since it not only refers to the name of the bank, but something else more meaningful which if you give it some thought will discover at the conclusion of the 95 minutes. 

Directed with charm and poignancy by Knud Adams the  play is one to embrace and a performance by Harper we need to cherish. 

PHOTOS: JOAN MARCUS

Tickets are available at the Laura Pels Theatre 111 West 46th Street. As of this writing the show's limited engagement ends July 2.  

 The Fears

       By Joseph Cervelli

I don't find the need to mention the producer of shows I have reviewed but in the case of Emma Sheanshang's askew new play "The Fears," I feel I should. The superb director Steven Soderbergh ("Sex, Lies, Videotape", "Erin Brockovich," and "Traffic" among others) is listed as the producer of this play at The Pershing Square Signature Center. I doubt if he had taken over the reins of director instead of Dan Algrant it would have made much difference. It seems like the playwright is unsure what she is aiming for. 

I do have to say I was perplexed by the loud audience laughter during the early scenes. Try as I might I did not find anything that was funny--maybe, mildly amusing but that is saying a lot. Actually, the funniest part happens offstage with the foul mouthed people on the street and the jack-hammering drowning out the members' meditation. 

Not knowing much about Buddhism I heard a lot of terms which never were fully explained yet the real issue is that it was difficult to believe that those attending the meeting at a Buddhist Center in New York would act like this array of people. Meditation is one of the main ingredients in that religion yet the cast of characters seem to need more help than that. Some were definitely in need of therapy which the leader of the group Maia (Maddy Corman) could not possibly supply. 

Except for newcomer Thea (Kerry Bishe) all the other five attendees have been here a number of times. And Thea is completely confused what is being offered since she never received the email explaining things to her. 

Rosa (Natalie Woolams-Torres) has a great deal of emotional issues including leaving her young son alone who ends up in the hospital. During one of her panic attacks she states that she is "130" whatever that is referring to.  

Fiz (Mehran Khaghani) a gay man has some very humorous moments in describing his sister whom he despises and cannot understand why she has invited him to her wedding. It is a given that some of his dialogue is funny but after a while you feel for what he has been through. 

Katie (Jess Gabor)  is Goth who has more problems than anyone in this group could possibly help her with. She is a member of the cult COD (Children of Death.) 

Mark (Carl Hendrick Louis) has a relationship going with one of the other members that should have been revealed to the Maia because apparently that is a no-no along with no phones, not saying  your sorry and no asking questions of when someone is speaking. Needless to say, he has his own emotional issues involving his mother. 

Suzanne (Robyn Peterson) is an angry middle aged woman who was raped by her priest. She mellows for some moments but is filled with a great deal of anger, especially towards Fiz for reasons not really explained. 

And getting back to Thea you find that her issues were somehow intertwined with the death of her mother dying in the Pan Am 73 flight. Yet, she blames the United States for part of this. And according to her  to her one of the people that caused her emotional dishevel was Alexander the Great. That led into other invaders in history which she is quite adept at. 

Unless you are into Buddhism I am afraid that hearing "Ashland is Leidenkrantz" and "Roykritz is Plum Lotus"will leave you as bewildered as I was. 

Also, not so sure what is funny about "want some Himalayan cashews," but I did not find the humor as some audience members did.  

I would think that Maia's comment about finding forgiveness in those that were harmful by imagining them as a five year old child is based on truth although when anger erupts in one or two of them her suggestion about wanting to plant a tree should have been delved into further. 

And what does not work is the title of the play. Maia suggests that they write down their fears just "not the big one." That would have been a great start to have the play move into a direction where issues could coalesce but it falls flat. The playwright seems to be move interested in writing dialogue than actually have matters come to some semblance of fruition. And the change in Katie seems phony based on what she states made the difference. 

I cannot fault the performances at all. They are the only saving grace to this haphazard play. 

PHOTOS: Daniel Rader

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

 Oliver!--A Truly Glorious Production 

       By Joseph Cervelli

I have to admit that I never saw a live production (not even at a community theater) of the beloved musical "Oliver!" I only saw the lavish film version. So, was thrilled to attend the Encores! presentation of it.  Encores! tends to be more scaled down in terms of production design (although David Rockwell's two tiered setting works perfectly for this show) but this is certainly an ebullient, stunning production thanks to the sublime cast.  Despite some grimmer moments this basically family musical would be a welcome edition on Broadway. It originally had a lengthy Broadway run in the ‘60’s. It is too joyous a show to have only a two week run.

I cannot imagine anyone unfamiliar with the Charles Dickens’ array of such varied characters as he created in all his novels. The downtrodden, the wealthy, the kind, the vicious. And quite important the social inequities of classes along with corruptness of the system. And this show has it all.

The moment that the simply wonderful Benjamin Pajak (this young actor is going places) takes to the stage you sit up and notice. Pajak was a delight in "The Music Man" yet here he really comes into his own. The character of Oliver while not a minor one because he is the central force here, only has one big number with comes at the beginning of the show after he leaves the workhouse where the orphans live to become an apprentice to the miserable undertaker Mr. Sowerberry (Thom Sesma) along with his equally cruel wife (Rashidra Scott). His heartrending rendition of the gorgeous "Where is Love?" is so honest and moving that it is one of the highlights of the show. Pajak not only is a confident performer but has this ability to convey sadness (watch the almost quivering look on his face while being escorted from the orphanage) to happiness which comes much later. He also has the necessary feistiness when a young employee of Mr. Sowerberry insults his deceased mother and he starts to pummel him. Physically, Pajak is thin and enhances this so he brings a waif like character to Oliver. The realism he brings to the stage at such a young age in quite an accomplishment.

As the master of the workhouse Mr. Bumble, Brad Oscar is perfectly blusterous and Mary Testa is a fine counterpart to him as the mistress of the workhouse, Mrs. Bumble. 

When Oliver escapes the Sowerberry's clutches he ends up meeting an experienced older pickpocket, The Artful Dodger (a winning Julian Lerner) who takes him to meet his fellow young thieves in the hideaway of the unforgettable character Fagin (the incomparable Raul Esparza). Fagin is a devious, though quite appealing character who has a genuine fondness for his "boys" and Esparza brings an unusual warmth in caring for them. Esparza is an experienced enough actor to know when to pull back so he does not "chew up the scenery." But he has the ability to take the stage by storm and still never overdoing it. His "You've Got to Pick a Pocket or Two" is fancifully and zestfully performed as he prances around showing the inexperienced Oliver how to go about doing it. There is one particularly touching moment when he gently places the sleepy Oliver on a space to sleep as he looks over him to make him as comfortable as possible lying on a wooden floor. Esparza has this ability to in a moment's notice change his character's demeanor. I will never forget extraordinary performance of Bobby in "Company." His rendition of "Being Alive" is still the best I have heard to this date.   His last number "Reviewing The Situation" when he has lost the boys and his livelihood varies from humor to sadness. He dances around the stage in a state of dilemma which never for a moment feels out of place. He is quite the eccentric character with his unkempt hair and clothing which is a pastiche of whatever he possibly found (excellent costumes by Sarafina Bush). And that last moment when realization takes place and he knows he is on his on is almost startling. He looks out knowing he is lost and must move one. He makes for an unforgettable Fagin. 

Lilli Cooper is a robust and perfectly delightful Nancy who was one of Fagin's older members of the pickpocket group. She is madly in love with the psychopathic Bill Sikes (a truly menacing Tam Mutu). Even though there is a brutal scene where Nancy meets an unfortunate end director Lear Debessonet's razor sharp direction makes sure it occurs basically offstage. I am not sure how much grittier this production is from what I have read it to be,  having not seen previous ones. But glad Debessonet kept things intact. I did wonder (again only based on this production) if Nancy might be feistier than other actors who played the part but it works here for her love for Oliver and for the insidious Sikes is her ultimate downfall.  

Besides the unsurpassed skill of the performers, the key to making this show work is the rousing score  of composer Lionel Bart. His luscious score from the snappy "Consider Yourself" to the moving "As Long as He Needs Me" is always balanced. Being the bookwriter for the original show he makes sure that  neither the comedic moments nor the dramatic ones overshadow each other. They all blend together perfectly. 

Great credit must be given to choreographer Lorin Altar for her exhilarating staging. One number that was a standout was the youngsters creating a carriage by holding white parasols as wheels  in which Nancy and Dodger driving around as wealthy members of society. Also, the Youth Ensemble which is made up of 20 public school children come out for only one number, the buoyant "Consider Yourself." It certainly was a treat. 

Everything in this vividly acted and sung production works to perfection. Let's hope some producers bring this to Broadway where it most definitely belongs.

PHOTOS: Joan Marcus 

Tickets are available at City Center 131 West 55th Street. The show runs till May 14.

 Best Shows of the Second Half of the 2022-2023 Theater Season

           By Joseph Cervelli

I had previously  listed shows which I considered the best from May of 2022 to December. Here are those I feel are the best which opened from January 2023 to April. 

Again, I am listing them in no particular order. 

It is hard to believe that Betty Smith who wrote "A Tree Grows in Brooklyn" never had her radiant 1931 play "Becomes a Woman" published nor produced. A feminist story about a determined young woman with inner strength and fortitude to make something of her life. There is a bravura performance by Emma Pritzer Price who plays the leading role. Thankfully, she has been nominated for Best Lead in an Off Broadway play from the Outer Critics Circle.    

I was very moved by Anthony Rapp's "Without You." A one person musical based on his memoir he was one of the leads in the mega hit "Rent." In this show of love and loss he discusses the making of the show in a very poignant manner. The show may have first premiered off Broadway in 1996, but he speaks of it in such a loving manner that you have the feeling it only opened recently. My first thought was that the "without you" refers to a lost romantic love. Not at all. It is a wonderfully touching tribute to his mother who was the inspiration in his life.   

 

Suzan Lori-Parks brings the popular 1972 crime film "The Harder They Come" to the stage and it was a terrific show. It takes place in Kingston, Jamaica, where a young aspiring singer (an amazing Natey Jones) tries to make something of himself but has to deal with a corrupt music magnate. If a show should move from off Broadway to Broadway this is certainly on the top of my list. 

I was not a huge fan of one of my favorite composer's Jason Robert Brown's shows "Parade" when it first opened at Lincoln Center in 1999. Despite an excellent cast it just never clicked for me despite the engrossing book by Alfred Uhry. However, under Michael Arden's superlative direction this Broadway production which is based on the imprisonment and hanging of Leo Frank a Jewish man in Atlanta, Georgia, after being found guilty of the murder of a young girl who was one of his employees is first rate. The witnesses were all bamboozled into lying. Jews were not exactly welcomed down there in 1913. With the anti-Semitic attacks happening now the show resonates. While I had some issues with Ben Platt's sometimes too laid-back performance, I was most impressed by Micaela Diamond who portrays his wife. 

"Life of Pi" based on the famous book and film is a thrillingly vibrant account of a young man's months at sea on a boat with a Bengal tiger. Almost a phantasmagorical tale it combines philosophy and spirituality in a wonderous tale with lifelike puppetry and incredible staging. Hiran Abelsekara gives a monumental and exhausting performance.  

 

Bravo to Josh Groban for his surprisingly exciting performance as that demon barber of Fleet Street in the must see revival of Stephen Sondheim's brilliant "Sweeney Todd."Some have complained he was not as menacing as his predecessors who played the role. Not sure what they wanted more of because he was frightening enough. And his pure, lucious voice was perfect for this role, Gaten Matarrazzo was one of the best if not the best Toby I have seen; Jamie Jackson the best Judge Turpin; and John Rapson a very different and smarmy Beadle. As much as I do like Annaleigh Ashford I found her performance too cartoonish. No need for some of those antics. Not sure if it was the fault of director Thomas Kail or Ashford's concept for the role. It did not work for me. Everything else certainly did.   

"Shucked" is quite simply the best musical of the season. Hysterically funny with rapid fire one liners by the incomparable book writer Robert Horn (no justice if he does not win for every nomination he obtains) it is also a lovely tribute to people in a small town who just get along wonderfully. There are star turns by so many including a knockout performance by Alex Jewell. Everything in this laugh a minute show works.  

It is always a pleasure having Laura Linney and Jessica Hecht on stage and having them in the same play is a real treat. Such is the case in David Auburn's ("Proof") lovely "Summer, 1976" about a friendship between two very different women. Watching this two hander I began thinking of various friendships in my life. Those that lasted and why some never did. Notice the almost lyrical lighting design by Japhy Weideman. The play breaks the fourth wall which tends to annoy me but here the monologues they speak to the audience works beautifully. 

Sean Hayes gives a brilliant performance as the famed raconteur and classical pianist Oscar Levant in "Good Night, Oscar." He captures all the tics and emotional despair that the late Levant who was addicted to alcohol and prescription drugs went through. The play basically is one of many appearances he made on the Jack Paar talk show which was a must see during the 50's. The only fault I found was that Ben Rapporport was too animated as Paar who was more laidback as I recall. Emily Bergl was excellent as Levant's supportive wife.

 

I had mixed feelings about the musical "New York, New York" in the first act because of too many subplots, but it redeemed itself in the second. Based on the not very good film of the same title this is a vast improvement. A few of the numbers by John Kander and Fred Ebb still are in the show and Lin-Manuel Miranda has provided lyrics for the new ones. While bookwriters David Thompson and Sharon Washington are aiming for a Valentine to New York and building the dreams of those coming here  it would have been better to eliminate one or two storylines in the first act. The second act is so much better focusing on the two stars Anna Uzele and Colton Ryan who  not only have tremendous singing voices but have a wonderful charisma so their relationship works completely. And the set design by Beowulf Borritt whom I have sung the praises of for quite a few years and Susan Stroman's choreography are exemplary. 

PHOTO CREDITS IN ORDER

Todd Ceveris

Russ Rowland

Joan Marcus

Joan Marcus

Matthew Murphy and Evan Zimmerman

Matthew Murphy and Evan Zimmerman

Matthew Murphy and Evan Zimmerman

Jeremy Daniel

Joan Marcus

Paul Kolnik

 

Life of Pi--The Most Wondrous Show Broadway Has Seen In a Long Time

By Joseph Cervelli

Anyone who read the novel "Life of Pi" by Yann Martel most likely was very excited when it was turned into a film and an excellent one at that. Yet, as good as that was, the extraordinary stage production with book adapted by Lolita Chakrabarti at the Schoenfeld Theater surpasses it. The expression "nothing like live theater" certainly applies here. I can easily see why the show won the Olivier Award for Best Play and Best Actor (Hiran Abeysekera) who reprises his role here. He alternates the exceptionally demanding role both in an emotional and physical sense with Adi Dixit. I saw Abeysekera who indeed was amazing and Tony worthy.

 

The play which combines realism with fantasy and whimsy (your decision what is real and what is not ) starts out quite sedately. Taking place in a hospital room in Mexico 1978 a nurse comes in speaking Spanish and addressing someone who is not in the bed. Is this where fantasy begins? And then comes in a woman (Kirstin Louie)  from the Canadian Embassy and a man (Daisuke Tsuji)  from the Japanese Ministry of Transport. They want to know how Pi (Abeysekera) who is actually hiding under the bed survived by himself for over one hundred days at sea when the cargo  ship he was on with his family sunk. Pi (a name he gave himself) is a spunky and impish seventeen year old who delights in being both serious and silly. 

His story begins with the run down zoo his family owns in India and their need to escape to Canada because of riots in the streets. Pi is a mischievous lad who decides to get a too close up look at the Bengal tiger which Pi's father has named Richard Parker (you will find out why in this  amusing running joke). He barely escapes. Pi is quite funny as he decides he will adapt several faiths--Muslim, Judaism and Christianity along with Hinduism. There may be a few others thrown in there. The family board the not very conducive cargo ship filled with a crew of undesirables and several animals from the zoo. Now, while this is more than a bit questionable, dispel rationale beliefs and just go with the show for full enjoyment. Pi is an exceptionally bright young  man who delights in discussing philosophical ideas with a family that is more interested in surviving. A storm ensues and the superb lighting by Tim Lutkin, sets and costumes by the always wonderful Tim Hadley along with the ominous sound design by Carolyn Downing makefor a breathtaking experience. But most important are the realistically designed puppets by Nick Barnes and Finn Caldwell with movement by Caldwell and associate Scarlet Wilderink. 

The ship sinks and all are lost except for a few of the animals which include the organtuan, hyena, zebra and the frightful tiger. You know immediately that the only one of those animals that will survive will be the latter. So, how does Pi not fall to this prey. That is part of the story which is almost lovely in its simplicity. Abeysekera pulls off the very difficult feat of near starvation and dehydration so realistically. His listlessness is incredibly believable as one can imagine. 

There are so many scenes of visual wizardry including one when Pi just into the sea and goes under. And great praise to all the puppeteers too many to mention but each is an expert at what they are able to accomplish. You might, at first, wonder why the hospital bed appears on the boat Pi escapes to but when you give it some thought as my companion and I did it really does make perfectly good sense. 

While visually you will be entranced there is much more here dealing with faith, love and goodness in the way you celebrate each.

Under the brilliantly inventive direction by Max Webster, this is the most wondrous show Broadway has seen in a very long time. 

PHOTOS: Matthew Murphy and Evan Zimmerman

Tickets are available at the Gerald Schoenfeld Theatre 236 West 45th Street.

Becomes a Woman--One of the Season's Best

     By Joseph Cervelli

It is amazing and sad that Betty Smith's vivid and extremely engaging 1931 play "Becomes a Woman" was never published nor produced. Well, until now that is, thanks to the ever wonderful Mint Theater Company's presentation at City Center Stage ll. 

So many of the Mint productions of shows have not been seen for decades and yet when you now see them are taken back by how apropos they are to today's times. 

The plays starts off in a rather light hearted manner at Kress's Dime Store chain. While the action here take place in Brooklyn the actual Kress's never opened in there. And two of the characters Leonard Kress Sr and Jr. who play prominent roles bear no semblance to the original owner Samuel Henry Kress who remained unmarried. The carefree atmosphere clearly becomes more serious in the next two acts and most definitely had to cause a startling sensation when it was written. 

The lovely first act set by Vicki R. Davis who has provided her craft for many past Mint Productions has a section of the store filled with artificial flowers and another with  a piano along with a counter with mounds of sheet music. When customers come in to purchase the music they can not only hear the song being played by the piano player Florry (Pearl Rhein) but also have a singer there performing what they choose. Not exactly the nicest person with a flippant personality Florry is envious of the younger and more alluring singer nineteen year old Francie Nolan (Emma Pritzer Price.) She is the main reason   so many of the young men enter the store. The petite Francie dressed in a stunning black dress with fringes not only has a lilting voice perfect to sing the songs of the times but is attractive enough to be asked out by many of the male customers. The play takes a rather unflattering view of the male gender. In Smith's eyes most are interested in basically sex and not much else. 

Francie beautifully played by Price (keep an eye open for this exceptionally fine young actor) is not a fool by any means but is a sweet and kind young woman dealing with both male customers who call her "baby" and a family life we are soon to see which is none too happy. She seems very vulnerable and is, but as the title suggests she indeed becomes a woman and learns the hard way how to deal with what happens to her. The other character who plays a more prominent role in the second and third acts is the very likable and kind Tessie (Gina Daniels) who has had misfortune with men herself. 

Without giving too much away, the second act takes place in the slightly rundown home of Francie where she lives with her mother Ma Nolan (Antoinette LaVecchia) totally domineered by her obnoxious police officer husband Pa Nolan (Jeb Brown). He is both verbally and physically abusive to her and soon his behavior towards Francie is abhorrent. Living in the home are her two unlikable brothers played by Tim Webb and Jack Mastrianni (both men play customers in the first act)  who bear the wrath of their vile father. Brown does a good job of show how callous his character is. He could lower the volume because the theater is small so his bombastic voice does become a bit piercing. Also living upstairs as a boarder, is the lovable Tessie who proves what a source of help and inspiration she is to Francie.

It is the third act that is the pivotal moment in the play in which we meet two other characters. Both of whom try to manipulate Francie, but it is here where she lives up to the title of the play. Her subordinate nature can no longer rule her. She knows she needs to be a strong individual for several reasons. 

Britt Berke has directed with such clarity and hard-edged honesty which is what the play intends. 

While the performers are all fine it is indeed the radiant presence of Price whose character goes through a difficult transformation that she becomes the shining star of this production. 

The play concentrates on the inner strength and fortitude to get thought difficult times with the help of even one or two good friends to get you through. It may not be family at all but friends who reach out and help to make you survive what feels like insurmountable difficulties.  And besides that you need your own inner determination which Francie is ingrained with. 

Bravo to the Mint for presenting among the finest shows of the current season. 

Photos: Todd Cerveris

Tickets are available at City Center Stage ll 131 West 55th Street.