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Michael Feingold

On The Town … with Chip Deffaa: Jerry Herman and Michael Feinstein

January 3, 2020

Composer/lyricist Jerry Herman was, of course, a Broadway legend.   He gave us such unforgettable shows as "Hello, Dolly!," "Mame," and "La Cage Aux Folles." These musicals were all  huge hits, brimming with songs that audiences quickly took their heart--songs like "We Need a Little Christmas," I Am What I Am," "If He Walked into My Life," "The Best of Times," and, of course, two of the most enduringly popular title-songs in Broadway history: "Hello, Dolly!" and "Mame."  Among his other Broadway shows: “Milk and Honey,” “Mack and Mabel,” “The Grand Tour,” “Dear World,” “Jerry’s Girls,” “An Evening with Jerry Herman.”  He also contributed material to both “Ben Franklin in Paris” and “A Day in Hollywood/A Night in the Ukraine.” [more]

Berlin to Broadway with Kurt Weill: A Musical Voyage

February 15, 2017

One of the remarkable things about the theater songs of Kurt Weill is that like the later songs of Stephen Sondheim they are all really little one act plays which give the performers a great deal of latitude in how to perform them. As sung by Karl Josef Com, Rachel de Benedet, Michael Halling and Meghan Picerno and as narrated by Brian Charles Rooney, Berlin to Broadway with Kurt Weill is an extraordinary musical voyage through some of the greatest theater songs of all time written by among the best talents of the 20th century. [more]

Saloons: Some Enchanted Evenings

May 14, 2016

Cabaret has always been a mixed bag. The golden age is gone. However, in today's schizo world of nightclubs, things are looking pretty good. It is a milieu unique in the entertainment industry. And, it continues to reinvent itself. The late cabaret critic Martin Schaeffer wrote in Back Stage in 1993,“There cannot be a better night of classic American music than a Bobby Short gig at The Carlyle.” He was right; especially if you're a purist of the Great American Songbook. [more]

The Killer

June 11, 2014

Much of the work of the play is left to the smoke and lights added by the designers but these elements fail to create mood on TFANA's stage. Matthew Richards' lighting is suitable without becoming a real character in the play even when the scenes are performed on a bare stage. The off-stage noises created by sound designer Jane Shaw don't go far enough as Ionesco intended them to fill the stage with the off-stage crowds, locales and events that we don't see. [more]