Articles by archive

92Y’s Lyrics & Lyricists Series: Everything’s Coming Up Ethel: The Ethel Merman Songbook

April 20, 2016

“Our goal is not to impersonate her but to channel her,” said Mr. Sperling, the artistic director, writer and director of this entertaining event. In addition to these tasks, he also sang, played piano and as the genial host effortlessly delivered his authoritative biographical statements. A fan of Merman’s since childhood, Sperling’s conception and execution of this show was a very well done labor of love. His patter skillfully documented her renowned charisma, saltiness and, most importantly, her unique vocal abilities. [more]

Keep

April 18, 2016

This trio certainly embodies the dynamic of most family relationships – with sisters struggling to get along and the eldest child having to take responsibility. Comerzan acts as a parent to her youngest sister and uses her compassionate nature to try and take charge of the situation. D’Angelo is the firecracker in the mix and keeps the audience in stitches with her snappy one-liners and sarcastic comments. Krane plays well to the youngest child part – attempting to be understood while making sense of her bizarre hobby. As the play develops, the audience learns about the fourth sister, Margo, played by Leslie Marseglia, whose life path and relationship with Naomi has greatly impacted her sister’s life and means of coping. [more]

Beckett Trilogy: Not I /Footfalls/ Rockaby

April 15, 2016

Scholars, critics, actors and audiences have long been entranced and intrigued by these plays. They appear to reflect Beckett’s perpetual theme of despair and joy coexisting within the human condition. This mesmerizing production of "Beckett Trilogy: Not I/Footfalls/Rockaby" vividly captures that expression with Lisa Dwan’s titanic performance and its striking presentation. [more]

Primary

April 12, 2016

Instead of a satirical take as in the film "The Candidate" (1972) or HBO’s television series "Veep," the treatment of the subject here is realistic in the mode of Norman Lear’s 1970’s situation comedies such as Maude. The toll of the campaign on Laura’s good-natured husband Arthur, her troubled nine year-old daughter Sophie and her resourceful young campaign manager Nick are insightfully explored. [more]

Vincent

April 10, 2016

Leonard Nimoy intended "Vincent" as a vehicle for himself that would showcase his talents. In this Off-Broadway premiere presented by Starry Night Theater, "Vincent" is now such an outlet for Nimoy’s worthy successor James Briggs in this entertaining and insightful production. [more]

Dave Douglas Meets The Westerlies

April 10, 2016

The Douglas-Westerlies music, whether its subject is lament or celebration, protest or affirmation, is artistically coherent: testing and stretching traditional genres, the music is about forward movement, about the exploration of “Great American Themes” as they end in felicitously determined encouragement and optimism. This music's informing energy and spirit shine and summon. Audience and listeners are invited into a musical experience in which history provides context, inspiration and goad; references to the political, musical and cultural past do not tether the music to old habits but liberate it for new conversations. Together, Douglas, Royston and the Westerlies generated a warm and rich brass-and-percussion sound; the Westerlies' happy virtuosity, discipline and irrepressible affection for the full range of their instruments' sounds make them a perfect collaborative partner for Douglas' genre mixing and generously imaginative expansion of the artistic possibilities of trumpet, trombone and drums. [more]

Votes

April 9, 2016

Under Gabrielle L. Kurlander’s intricate direction," Votes" presents a moving and personal picture of the real lives and feelings of an extremely powerful couple in America. Votes brings a more human side to their relationship – recalling how Melanie, played by Lisa Wright-Mathews, and William Jefferson (Wayne Miller), met as law students at Yale. It shines a light on their early plans to do some good in the world – all with a twinkle in their eyes as Melanie recalls how she first fell in love with the “pimply kid from Arkansas.” As this couple ages, they question if it was all worth it and consider what they are actually playing for, as this Election 2016 offers the bold chance to do something different. [more]

Antlia Pneumatica

April 7, 2016

Rachel Hauck’s scenic design is the most outstanding feature of the interminable "Antlia Pneumatica." Ms. Hauck accurately and vividly represents the Texas ranch setting by an elaborate kitchen counter top in the center of the bare stage that is surrounded by shrubbery. It’s very functional as much of the activities involve preparing a feast. [more]

Ensemble Pamplemousse

April 6, 2016

And Ensemble Pamplemousse, an exciting and distinctive six-member “composer performer collective” founded in 2003, and performing at Miller Theatre for the first time, had all sorts of fine surprises to offer. Each of the musicians composes and performs; each seems able to play several traditional and non-traditional instruments, though their publicity material identifies one primary instrument of each. All six, fresh off their extensive recent European tour – Natacha Diels/flutes, Jessie Marino/cello, Andrew Greenwald/drums, David Broome/keys, Bryan Jacobs/electronics and Ross Karre/miniature drumset – contributed equally to their recent Pop-Up performance. [more]

Cagney

April 5, 2016

Shoving a grapefruit into Mae Clarke’s face in "Public Enemy," George M. Cohan’s "Yankee Doodle Dandy" song and dance numbers for which he won the Academy Award for Best Actor, and the “Top of The World, Ma!” finale from "White Heat" are among the exciting factual highlights of this old-fashioned chronicle. [more]

1776

April 3, 2016

The prime instigator of the events, John Adams, was rotund and abrasive. Here he is played by the handsome Santino Fontana who was Prince Charming in the recent Broadway production of Cinderella. Though Mr. Fontana bears no physical resemblance to Adams he conveys his rage, frustration and humanity with his dynamic performance. Fontana’s soaring voice captures the emotion and humor of the score, particularly on "Is Anybody There?" [more]

Locusts Have No King

March 31, 2016

Much of "Locusts Have No King" by J. Julian Christopher appears to be in the well-mined terrain of Mart Crowley’s "The Boys in the Band," Edward Albee’s "Who’s Afraid of Virginia Woolf?" and the works of Terrence McNally. Gay relationships are explored in blistering detail but gradually there is the Jean Genet bombshell that the action takes place in the contemporary Long Island rectory where they all live. [more]

The Saint Thomas Church Choir of Men and Boys: Seven Last Words from the Cross

March 29, 2016

The last piece of the concert was James MacMillan's substantive and moving 1994 "Seven Last Words from the Cross," a 35 minute piece of seven different movements, varying in length from nine to one-and-a-half minutes each, for choir and orchestra. As the piece progresses through the final Passion drama, from Jesus' plea for forgiveness for his executioners to his exhausted last breath, MacMillan explores aspects of prayer and petition, anguish and fear – Jesus' and humanity's – in music that bears close allegiance to Romantic liturgies and Requiems. Here, the Choir and the orchestra were elegant, boys and men singing with superb control, lush expressivity … and their usual clear diction. [more]

The Hundred We Are

March 29, 2016

Swedish novelist and playwright Jonas Hassen Khemiri’s new play, "The Hundred We Are," presents an emotionally compelling view on the different stages of one’s self encountered over a lifetime. From the time we are born, until the time of our passing, we learn to adapt to our surroundings and transition from life phase to life phase, with our evolution as a human being marked as life’s most important journey. Audiences are in for a treat as this provocative and progressive new play examines many of the important social issues occurring throughout the world in a fresh and truly thought-provoking way. [more]

¡Figaro! (90210)

March 25, 2016

Virtually performed all in English with some Spanish for comic effect," ¡Figaro! (90210)" is true to the art form with recitative and arias, that is sung speech and grand solos rather then integrated dialogue and songs that characterize traditional musical comedy. Supertitles are projected above the stage for anything that may be vocally indecipherable. [more]

C4: Unusual – Music of the strange, the absurd, and the surreal

March 24, 2016

For the winter concert of their eleventh season, the twenty-three member C4: The Choral Composer Conductor Collective – elected to honor “Unusual - music of the strange, the absurd, the surreal.” The evening included three premieres, all by current C4 composers, among the eight pieces performed. Some of the works were splendid and some weren't, but all were presented with C4's characteristic superb musicianship and artistic integrity as well as their willingness to take risks. [more]

Witchcraft: The Jazz of Cy Coleman

March 22, 2016

“He was tied to the life of jazz clubs,” said Billy Stritch of Cy Coleman, the subject of The 92nd Street Y’s Lyrics & Lyricists Series Presents: "Witchcraft: The Jazz Magic of Cy Coleman." Mr. Stritch was the personable host, artistic director, and performed on piano and was a vocalist along with four other talented singers during this very entertaining and jazzy concert. [more]

Richard Malavet in The Billy Eckstine Project: Songs In the Key of “B”

March 21, 2016

“He was the premier balladeer of his generation and the first African-American to sing a song on network radio,” Malavet declared of the entertainer. Billy Eckstine (1914-1993) was a Virginia born African-American jazz and pop singer, bandleader and songwriter. He sang with the bands of Earl Hines, Duke Ellington and Count Basie. During a career lasting over 50 years, Eckstine had several hit singles, toured extensively and appeared on major television network programs. [more]

Ideation

March 18, 2016

Taking place in real time, Aaron Loeb's entertaining play is in the mode of Paddy Chayefsky’s "Network" with shades of "The Blair Witch Project." It also echoes the explosive style and resonant themes of psychological moral complexities that Yasmina Reza theatrically explored in her plays "Art" and "God of Carnage." [more]

Composer Portrait: Iancu Dumitrescu with Either/Or

March 18, 2016

The evening was less about contemporary Romanian composer Dumitrescu, born in 1944, than about the music for which he is, in some mysterious sense, a medium. Each work is unique, each a premiere, even if its originating shape has existed before. The style of music in which Dumitrescu operates has recently been called Romanian Spectralism. Dumitrescu himself doesn't much use this phrase; he calls his music and the impulse to make music 'Orphism,' describing it, variously, as “natural, alive and intuitive” and “sonorous and refined ...from archaic sources.” [more]

Boy

March 15, 2016

In his widely produced 1977 play," The Elephant Man," Bernard Pomerance employed the theatrical device of having the grotesque John Merrick portrayed by an actor (invariably a handsome one) without makeup. "Boy" is similar in that the magnetic Bobby Steggert plays Samantha and later Adam without any external differentiation. Acclaimed for his New York City appearances in such musicals as "Yank" and the 2009 Broadway revival of "Ragtime," as well as the Terence McNally play "Mothers and Sons," Mr. Steggert here delivers a powerful performance. Low-key yet animated, he commandingly conveys all of the anguish and endurance of the character with heartbreaking effect. His characterization is particularly outstanding considering he alternates between being a child, an adolescent and an adult throughout the play. Each permutation is depicted with absolute focus. [more]

The Goodbye Room

March 14, 2016

Eric Gilde’s new drama, "The Goodbye Room," realistically and powerfully captures a family’s journey after losing a loved one. The worst of times always seems to bring the deepest of emotions to the surface as we prepare to say good-bye to someone close to us, while also dealing with the family and friends that surround us in our time of need. It is not only difficult for a family as a unit, but it individually takes a toll, as each member deals with grief in a different way. The result is a storyline that is eye opening, stirring and poignant. [more]

The New York Pops: 42nd on 57th: Broadway Today

March 14, 2016

A pulsating medley from Kander and Ebb’s musical "Chicago" was the thrilling second act opening number of The New York Pops’ pleasant concert of eclectic show music, "42nd on 57th: Broadway Today." The evening opened with a lush and dramatic selection from Andrew Lloyd Webber’s "The Phantom of The Opera." "Les Misérables" also received a superb symphonic treatment, as did the lovely overture from "Ragtime." Hearing these familiar melodies performed by this supremely accomplished 78 piece orchestra was uniquely enthralling. [more]

Widowers’ Houses

March 14, 2016

Director David Staller has ingeniously staged this small-scale production with numerous theatrical flourishes. Scene transitions are accomplished with actors in character moving furniture, there are hilarious slapstick bits, voice-over recordings are heard representing a character’s thoughts and the very precise stage choreography all enrich the presentation while faithfully representing the author’s intentions. Mr. Staller has also assembled a first-rate cast of talented actors who are all expert at crisply delivering Shaw’s wordiness while sustaining vivid characterizations. There is also clever double casting. [more]

Composer Portraits: Alex Mincek with Yarn/Wire and Mivos Quartet

March 14, 2016

In the compositions of New York composer Alex Mincek (b. 1975), music is explored by means of separating out its constitutive elements: as indicated in Miller Theatre program notes for his Composer Portrait concert, Mincek examines “sound worlds,” music states and the “sense of interconnectivity that reveals underlying qualities of coherence and unity.” These principles were on full display as two stellar contemporary groups, Yarn/Wire and Mivos Quartet, presented four recent Mincek works, including two world premieres. [more]

One Way to Pluto!

March 10, 2016

Patrick Brian Scherrer plays Peter, appearing in all 11 scenes, often in intense situations. The very personable Mr. Scherrer’s performance is quite heroic as he boldly embraces the play’s many painful episodes with his boyish charm. He is painfully believable as this wide-eyed struggling artist in the cruel big city and is instrumental to the play’s success. [more]

Familiar

March 9, 2016

The family tension is defined in terms of the strong female relationships between mother Marvelous (Tamara Tunie) and the bride-to-be, who differ when it comes to wedding plans as well as the bride and her younger sister, Nyasha (Ito Aghayere) who clash over lifestyle choices. Big sister is the accomplished, serious professional woman who is strongly tied to her religious beliefs and customs, and the free-spirited little sister (who wasn't even asked to be a bridesmaid) who is tired of being berated for her choices. Tendi looks more to her aunt from Africa for guidance than her mother and is determined to have her look upon her choices as favorable. The source of comic relief in Familiar is Donald, the father (played by Harold Surratt), who sits back observing all the conflict and tries his best to take it all in stride. This family is one for the ages and how they deal with each other and common familiar issues is something all audiences can relate to. [more]

Hughie

March 5, 2016

When the audience enters, the curtain is up and Christopher Oram’s imposing scenic design of the faded hotel lobby is in view. The visual effect of its industrial greenish walls, dirty stone columns, chipped wooden adornments, ancient elevator, central staircase, frayed threadbare furnishings, severe front desk, and grimy windows is that of a stunning representation of hellish imprisonment. Also on view while the audience waits the play to start is the night clerk staring into space. [more]

American Classical Orchestra: “L’Isola Disabitata”

March 3, 2016

The most psychologically complex role is Silvia's. Over the course of the opera, she moves from childlike naïveté to loving generosity of heart. Energetic and intelligent, she unlearns her sister's morbid lessons about men's wickedness so completely that as a newly emerged adult, she falls in love without reservation or fear. Sherezade Panthaki's Silvia was marvelous: the full evolution of her character was reflected in singing that moved from light sweetness to exuberant, vigorous sensuality. In her artistry, Panthaki made her Silvia a young woman with neither inhibition nor fear; Panthaki took every possible risk with Haydn's music and made it all feel like happiness in the process of being discovered. [more]

92Y’s Lyrics & Lyricists Series: “Battle for the Airwaves: The Songbook Meets Rock and Country”

March 2, 2016

Breezily delivering his erudite script from a music stand, black-backed cards that he occasionally held, and from memory, Naughton cited Jazz, Gospel, The Blues, Country and Doo-wop. He also imparted historical facts and biographical details about the key figures involved. These included Nat King Cole, The Mills Brothers, Hank Williams, Jr., Louis Jordan, Jerry Lee Lewis, Elvis Presley, The Everly Brothers, Patsy Cline, The Coasters, The Platters, and Ray Charles. Much of the commentary was accompanied by appropriate slide projections. [more]

The Good Girl

February 21, 2016

The chemistry between Gabriel and Baessato is fierce and electrifying as they get to know each other, and intensifies as Van begins to observe the human-like behavior of the robot and is determined to find out more. Anjali is hesitant to let him in on the secret, but reveals that the robot has developed an emotional bond to her, and sometimes responds to certain feelings such as loneliness and separation – often uttering the words, "don't leave me" through the door. Van is fascinated at what he finds out and the two join forces to figure out how best to capitalize on the service of the sex robot and how she can accommodate a greater (and richer) clientele by playing into their fantasy of the obedient housewife. [more]

Cabin in the Sky

February 14, 2016

Director Ruben Santiago-Hudson has inventively and thoughtfully staged the show with vibrant precision. Mr. Santiago-Hudson’s work combined with Camille A. Brown’s often stunning choreography makes for an eye-catching spectacle including the dream sequence with The Queen of Sheba in a golden gown and headdress. Santiago-Hudson also collaborated with Encores! artistic director Jack Viertel in adapting Lynn Root’s original book into an engagingly flowing narrative with depth. [more]

Defendant Maurice Chevalier

February 11, 2016

His great grandnephew, the French-born and raised Alexis Chevalier has written this well researched play with music that is based in part on Maurice Chevalier’s memoirs. It is structurally problematic with fantasy episodes, extraneous musical and dance sequences, and numerous often-lengthy scenes that don’t cohere. The dialogue is straightforwardly purposeful imparting historical facts and details with occasional bursts of poetic qualities. [more]

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