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Leenya Rideout

Lone Star

June 11, 2019

Such lukewarm response may be attributable, at least in part, to the changing times. Lone Star focuses on a not-so-old Good Ol’ Boy from rural Texas named Roy (de Rogatis). He’s a Vietnam veteran who drunkenly bullies his younger brother, Ray (Chris Loupos), outside the back of a local bar called Angel’s. Roy also bedevils a former high school classmate named Cletis, aka “Skeeter” (Michael Villastrigo), a nerdy nincompoop who has long envied Roy for his swagger and alleged popularity with women. At one point in the show, Roy enumerates for Ray the ugly atrocities against Vietnamese citizens that he saw during the war, in essence bragging about his capacity to endure it all. In a culture that has become increasingly sensitive about the horrors of Post-Traumatic Stress Disorder, there’s little room now for humor surrounding such content. Perhaps, too, audiences are simply less amused than they used to be by depictions of rural Texans as dung-kicking buffoons, which is probably a good thing. [more]

Wild Abandon

October 8, 2018

What our mothers owe us - and what we owe them - is at the heart of Leenya Rideout's one-woman autobiographical show, "Wild Abandon." In it, the prodigiously accomplished singer, songwriter, playwright, actor, and multi-instrumentalist comes to terms with both her mother's life and her own. Perhaps these twin goals converge a bit too neatly, especially given the harrowingly true complications Leenya introduces along the way, but there are so many hard-earned and poignant insights in "Wild Abandon" that the end result is successful nonetheless. [more]

Before We’re Gone

July 24, 2018

Its maddening structure, extraneous scenes and superfluous characters diminish but do not totally obliterate the potency of playwright Jerry Small’s romantic drama, "Before We’re Gone." What could have been a focused and poignant work in the manner of William Gibson’s duologue "Two for the Seesaw" is instead an erratic jumble. [more]

As You Like It (CSC)

October 2, 2017

Known as the Shakespeare play with the most song lyrics, the production also includes a deliciously bouncy new score by Stephen Schwartz in different musical styles from the 1920’s – 1950’s, including setting some of Orlando’s mash notes to Rosalind which are usually spoken in verse. The musical numbers are mostly reassigned to the musical theater veterans like de Shields and Stillman who plays an onstage, upright piano, with Leenya Rideout on violin and double bass, and other members of the cast occasionally joining in on guitar and triangle. All of this adds to the festive, light-hearted atmosphere. Originally announced as a Jazz Age interpretation, that concept seems to have gone by the wayside. [more]

Company

December 28, 2006

Raul Esparza, the dynamic young actor who made great impressions in such not so great shows as Taboo and Chitty Chitty Bang Bang , plays Robert, whose tainted attitudes about attachment and commitment to women, and specifically to his three concurrent girl friends, appear the direct result of observing his friends' disintegrating relationships. Esparza delivers the insecurities of his character with a brio and confidence that also drives his two big songs "Marry Me a Little" (not in the original show, but restored here as it was in the earlier revival) and "Being Alive." Pivotal as he is, Robert often stands at the outside of his friends' lives as they are revealed in a series of skittish skits. [more]