Archive

Sally Darling: “Perspectives”

July 29, 2015

Sally lays out her heart and soul onto the stage and her chemistry with the talented composer and pianist, Matthew Martin Ward, is unmistakable. At the end of the show, she turned to him and said, “What would I do without you?” to which he replied, “Back at you.” He then leapt up from the piano and they embraced in a kiss which led them into their encore, “Here's to Us.” [more]

Threesome

July 28, 2015

Yussef El Guindi’s "Threesome" is really a political treatise in the guise of a romantic comedy. Engrossingly performed by Alia Attallah, Quinn Franzen and Karan Oberoi, it is in the end more than a bit superficial and unconvincing, though it will generate a good deal of diversion. Chris Coleman’s direction covers up some of the play’s flaws by keeping the pace moving swiftly along. [more]

Songs for the Fallen

July 28, 2015

Definitely not for children, "Songs for the Fallen" is a sophisticated cabaret/vaudeville celebrating the decadent life. Its main character Marie Duplessis, better known today as Marguerite Gautier, aka Camille, gives Australian singer/actress/playwright Sheridan Harbridge a star turn of which she takes full possesion. You may feel as exhausted as Harbridge’s Marie looks at the end of this dense and crowded show, but you will know you have had a complete theatrical experience. [more]

What Do Critics Know?

July 27, 2015

Featuring catchy tunes such as “Breakthrough” and “Talk to Tony” as well as inspiring ballads such as “The Life I Was Meant to Live,” "What Do Critics Know?" went beyond the criticism and pressure of the industry to uncover dreams that were once put to rest. The music and lyrics by James Campodonico and bookwriter Gurren were uplifting, powerful and beautifully performed and the lovely voices of Mossberg’s Irma and rising star Dahlia (Sarah Stevens) really brought the heart of the production home. [more]

Mrs. Smith’s Broadway Cat-tacular

July 27, 2015

Of course, Mrs. Smith is the marvelous creation of writer/actor/performance artist David Hanbury and director Andrew Rasmussen, based on a character created by Hanbury, who has played Mrs. Smith in four previous shows with a Broadway version promised for the near future. The evening is a show business parody with Mrs. Smith narrating the story of her life (childhood in upstate New York with Carlyle, talent show winner, Ziegfeld star, her 14 marriages, international touring artiste, Pat Nixon’s Birthday Bash, and retiring when Carlyle went missing.) Along with the video footage of Mrs. Smith’s life are Skype hook-ups with Sylvia Cleo, “Pet Psychic to the Stars” (played by Andre Shoals) and appearances of Carlyle as a puppet as well as on film. [more]

Happy 50ish!

July 27, 2015

Mark Vogel and Lynn Shore in a scene from “Happy 50ish” (Photo credit: Jeremy Daniel) [avatar [more]

Amazing Grace

July 27, 2015

Famously, it was an 18th century slave trader who redeemed himself, after many gruesome twists and turns in his life, by writing this song. Told with something approaching accuracy, "Amazing Grace" nevertheless is less than compelling as both history and theater. What might have been a fascinating tale has been reduced to a melodrama complete with a villain who all but twirls his mustache, a hard-to-win love interest, an African princess who provides an excuse for some passionate dancing and many examples of physical and emotional torture of slaves, all accompanied by a series of soaring contemporary ballads. [more]

Foolerie

July 26, 2015

The premise of "Foolerie" centers on a clowning competition between the aptly named Clowne and a modern day Knave challenger. At the Earl’s behest, the two engage in a battle of fooling that bears extraordinarily high stakes: the winner is crowned Biggest Fool in the Land (purportedly an honor) and the loser is put to death. With the help of a supporting cast of Elizabethan actors, both competitors employ Shakespeare’s best-known characters to concoct a fictional story for the Earl’s amusement. [more]

Broadway Unplugged 2015

July 26, 2015

An astounding array of Broadway singers triumphantly performed without any electronic assistance at Scott Siegel’s Broadway Unplugged 2015 at The Town Hall. All were terrific. Several were magical. Most pre-1960’s shows were unamplified. The act of listening was different then. Technology has changed all that. Some believe performances are more nuanced today. Others miss the excitement of hearing “real” voices. Whatever one’s opinion, Scott Siegel assembled a program that clearly showed what we’ve been missing lately. [more]

Odd Birdz

July 24, 2015

Conveying the joyous spirit and monumental artistry of Eugene Ionesco, Nichols and May, as well as Monty Python, the clever comedy of "Odd Birdz" is universal, richly realized, and grandly entertaining. [more]

HeadVoice

July 24, 2015

Eric, a young man in his early 20’s nervously enters through a door onstage and sits at a piano and plays. He is writing a musical about his life and is soon joined by a young trio, two women and man. They represent his “thoughts,” and perform the various characters in his story as well as dealing with his temperamental personality. [more]

I Know What Boys Want

July 23, 2015

A very powerful and topical theme runs though Penny Jackson’s play, "I Know What Boys Want," but the author’s understandable anger leads to a good deal of melodrama. Tackling the topics of cyberbullying, sexual double standards, and misuse and abuse of the social media are timely and provocative themes and deeply in need of public discussion. However, the play also takes on the topics of drug addiction, teenage drinking, same-sex marriage, date rape, effects of divorce on teenagers, SAT tutoring for rich kids, etc. While the basic story is absorbing, I Know What Boys Want tries to cover a few too many topics in its 90 minutes. [more]

Judith & Vinegar Tom

July 21, 2015

For PTP/NYC (Potomac Theatre Project)’s 29th season they have chosen to pair one-acts by two of their favorite playwrights, Howard Barker and Caryl Churchill, who are also among Britain’s leading dramatic authors but who are not seen here as much as they ought to be. At first glance, the two plays could not be more different, but on closer examination they deal with similar themes, particular as both have strong historical women as their central characters, and offer modern sensibilities on ancient themes. As an addition to the more familiar work of these acclaimed contemporary writers, this makes a fascinating evening for those who follow British drama. [more]

BalaSole Dance Company: Salmagundi

July 21, 2015

Roberto Villanueva describes BalaSole as “a diverse dance company,” and it is just that. He provides opportunities for dance artists who would otherwise find it difficult to find artistic homes. Villanueva, himself, is a short bundle of energy, hard to place in most companies. Certainly, his "Salmagundi" at the Ailey Citigroup Theater exemplified his philosophy with a series of solos choreographed by ballet, tap, jazz and modern dancers. The word “salmagundi” means a mixed salad, clearly a metaphor for his talented dancer/choreographers. [more]

Momix: Alchemia

July 21, 2015

The suite of discrete scenes, distinguished by quasi-poetic lines in the program notes and a series of obvious theatrical gimmicks—tall columns that become ancient weapons; ultra-violet light revealing intricate patterns of blood vessels; women gliding about in floor-length gowns that later cocoon them; young lovers floating about each other; mirrored booths that confuse who is where; etc.—paints a vivid portrait of a constantly shifting land populated by gorgeous creatures dressed in astounding costumes by Phoebe Katzin. [more]

Real Men: The Musical

July 21, 2015

Clearly a passion project, two of the three male actors of the cast are the previously named co-creators—Paul Louis and Nick Santa Maria. Both play their roles with comedic expertise, and as is evidenced by the quick-witted dialogue, these analogies and metaphors for male strife are derived from a very real place. Rounding out the cast is Stephen G. Anthony, who—thanks to a razor sharp sense of comedy—fits right in. [more]

Deep Love

July 20, 2015

“Audience members are encouraged to come dressed in their best funeral attire” is in the promotional material for "Deep Love" and “Funeral Attire Recommended” is in its program. This show is not ready yet for Rocky Horror Picture Show-style cult status, but dressing up could be fun for its attendees. This ethereal romantic rock opera is in the mold of Andrew Lloyd Webber’s "Phantom of The Opera" and is presented at The 2015 New York Musical Theatre Festival. [more]

Richard Malavet in “Very Good Years: The Intimate Sinatra”

July 20, 2015

His commanding voice often begins with a light and an expected approach to these often very familiar songs and then veer off into surprisingly much deeper tones and shift back and forth. Like the artist he emulates, Mr. Malavet is a master of phrasing as well as a charismatic vocalist. He is also a highly engaging entertainer making great use of his marvelously expressive face. He wears a cool suit and for one number puts on a fedora. With strategically used blackouts, dimness, and brightness, the show’s lighting achieves compelling visual effects that convey the moods of the songs. [more]

Interview with Lynn Shore

July 18, 2015

Mark Vogel and Lynn Shore How long have you been collaborating with Mark Vogel, David Burnham, and [more]

The Wild Party

July 18, 2015

Sutton Foster is electrifying as Queenie the sexually insatiable nightclub performer who incites men to violence in this revival of the 2000 Off-Broadway musical The Wild Party. Lean and fierce and slinking around in a taut white sequined flapper dress and wearing a curly blonde wig, Ms. Foster’s star quality and performing talents are on dazzling display in this problematic Jazz Age ode to decadence. She continues to grow in her versatile stage career that has included such light shows as "Thoroughly Modern Millie," "The Drowsy Chaperone," "Shrek," "Young Frankenstein," and the more recent serious "Violet." [more]

Of Good Stock

July 18, 2015

Plays about three very different sisters go back to Shakespeare’s "King Lear." In modern times, the topic immediately recalls Chekhov’s "Three Sisters" and more recently Wendy Wasserstein’s "The Sisters Rosensweig" and Beth Henley’s Pulitzer Prize-winning, "Crimes of the Heart." Melissa Ross, whose excellent Nice Girl just completed its world premiere at the Labyrinth Theater Company, has entered the fray with "Of Good Stock" with a cast led by film star Alicia Silverstone returning to the New York stage. While the play is entertaining and believable under Lynne Meadow’s direction, it is also overly familiar without revealing any new depths. [more]

Ruthless! The Musical

July 17, 2015

With stardom and the ever-present celebrity culture plaguing our world today, à la famous families such as the Kardashians, the relationship between “momager” and talent takes the crown when it comes to merciless behavior in the fight to the top. The obsession with fame and fortune has only escalated since 1992, when "Ruthless! The Musical" first premiered, and now this Off-Broadway revival treats modern audiences to a heaping helping of bratty and manipulative behavior, presented in the sweetest of packages. [more]

POUND

July 16, 2015

Wearing a red plaid shirt, black shorts, and black combat boots, the acclaimed lesbian performance artist Marga Gomez vibrantly barrels through her solo show "POUND" with unflagging comic energy. Lasting 90 minutes, it’s a rambling and exasperating semi-autobiographical fantasia that has laughs but doesn’t satisfyingly cohere. [more]

Awake and Sing!

July 16, 2015

"Awake and Sing!" seems at first an odd choice for NAATCO, the acting company dedicated to the advancement of Asian actors, but after an initial wary uneasiness, the cast, under the direction of Stephen Brown-Fried, soon takes command of Odets’ dated language, a mixture of poetic metaphor and heightened colloquialisms which was difficult to speak even in the 1930’s. [more]

Sayonara, The Musical

July 15, 2015

Although "Sayonara, The Musical" had an acclaimed lavish production at Paper Mill Playhouse in 1987 and a later version at Houston’s Theatre Under the Stars in 1993, it has not been seen in New York until now. Pan Asian Repertory Theatre, now in its 38th Season, is presenting the local premiere of the adaptation with its book by playwright William Luce ("The Belle of Amhurst," "Lillian," "Lucifer’s Child," and "Barrymore"), lyrics by Hy Gilbert and music by George Fischoff. Surprisingly, "Sayonara" has a great deal in common with "South Pacific": the exotic Asian locale, the fraternization between Yankee officers and Asian women, a tale of prejudice and bigotry, and two parallel love stories. Unfortunately, at this post Sondheim junction, the way 'Sayonara" follows the Rodgers and Hammerstein formula seems dated, while the material, based more on the movie than the original novel, has deflated Michener’s story by making it oversimplified and superficial. [more]

The Calico Buffalo

July 13, 2015

Based on the book of the same name by EJ Stapleton, "The Calico Buffalo" gives a close look at a day in the life of a herd of wild buffalo. Not only are these walking and talking buffalo, but they are also animals which struggle with similar problems previously assumed exclusive to the human race—namely, this herd has a major problem with equality across all buffalo. When the Chief Buffalo’s first-born calf is one with a hide of bright orange and white--completely different than the dark brown and black of the rest of the herd, the Chief (Rhys Gilyeat) and his wife Willa-Mah (Rachel Rhodes-Devey) fear for the challenges their son might face living life as an outcast. [more]

Shows for Days

July 13, 2015

The production, directed with oddly erratic pacing by the experienced Jerry Zaks, stars the imperious Patti LuPone as the acidly ambitious Irene, the doyenne of a theatrical troupe in Reading, Pennsylvania, in the early Seventies. Wide-eyed, always ebullient Michael Urie, as Car, Beane’s stand-in, becomes her acolyte/scene painter/receptionist/new playwright in the process of discovering a world his suburban existence never hinted at. He is the author’s glib stand-in who keeps the audience in the loop with apt descriptions, editorial comments and sexual confessions. [more]

The Weir

July 13, 2015

Mr. McPherson has written a rich and engrossing play that is appealing in it’s well-crafted simplicity. Each of the five commonplace characters is precisely drawn with biographical details expertly imparted throughout. They all speak in an authentic flavorful Irish manner. The narrative conceit of people reminiscing about past interactions with apparitions is rendered with a matter-of-fact quality and total believability. The beauty of the play is in its depiction of the inner lives and honest exclamations of these small town folk that only gets expressed through their fanciful storytelling. [more]

Araberlin

July 12, 2015

Written almost ten years ago, ":Araberlin" is the story of the mysterious disappearance of Mokhtar (Gabriel Diaz DeSalas), a young man whom it would appear has left America to join an ISIS-like militant group. A bleak story with much in common with the present, the play glides between the past and present, flashing to scenes between Mokhtar with his family, or scenes solely featuring his loved ones following his disappearance. Focusing on the dysfunctional elements in Mokhtar’s life prior to the events of the play, Diaz DeSalas as Mokhtar is an angst-filled young man who hardly had a normal relationship in his life. [more]

SeaWife

July 9, 2015

The six members of the Lobbyists make up the cast along with Raymond Sicam III (on cello) who perform all of the characters as well as play all the instruments. The Melville Gallery has been decorated by set designer Jason Sherwood as a 19th century inn that seems to encircle the audience. Samantha Shoffner’s props (suggestive of both an inn and a schooner) include netting, ropes, glass jars, baskets, paintings and a ship’s wheel. After the band plays an introduction, Caldi (played by Tony Vo) offers to tell us the story of Gravesight, “the greatest harpooner who ever lived.” [more]

10 out of 12

July 8, 2015

While this is a fascinating idea, anyone who has worked in theater will tell you that Tech rehearsals are long and tedious with all the stopping and starting to get the lights, sound, set and costumes right as time is running out. Unfortunately, much of 10 out of 12 falls into this category. At two hours and 40 minutes, the play is a bit of an endurance test for the uninitiated. Although as the Tech rehearsal goes on we get to know the characters better, the play is revealing about only some of its characters. [more]

Voodoo, A Harlem Renaissance Opera

July 5, 2015

Neglected, ignored and then forgotten, Harry Lawrence Freeman's opera "Voodoo" was brought back to the stage in a compelling production in June, 2015. The opera was last seen at what turned out to be its only production in 1928. Now, more than three-quarters of a century later, it has been brought back to life by Morningside Opera, Harlem Opera Theater, The Harlem Chamber Players and scores of named and unnamed supporters and fund-raisers in the Harlem music community. [more]

The Royal Ballet 2015: Program B

July 3, 2015

he Royal Ballet’s second program of its ridiculously short season at the David H. Koch Theater was disappointing as much for what was on it as for what wasn’t. What wasn’t there were any classical works. Among divertissement-type short works making up the second part of the show, there was not one classical Pas de Deux. Instead, the program opened with an abstruse modern ballet and ended with an equally abstruse new version of an old one with six very short works of varying quality and appropriateness sandwiched in between. [more]

« 1 … 97 98 99 100 101 … 114 »