All posts by The King of Broadway

PRESS RELEASE: UPSTAIRS INFERNO DOCUMENTARY 

Note: There are no showings currently in NYC. Click this link http://www.caminaentertainment.com/Upstairs_Inferno/Screenings.htmlto get info on where you can see this life-changing film.
FOR IMMEDIATE RELEASE

ACCLAIMED GAY MASS MURDER DOCUMENTARY

UPSTAIRS INFERNO

From award winning director, Robert L. Camina and Executive Producers behind “Back on Board: Greg Louganis”, “Raid of the Rainbow Lounge” and “Southern Baptist Sissies”, comes UPSTAIRS INFERNO, a poignant and timely documentary chronicling the deadly 1973 New Orleans gay bar arson: an event that remained the Largest Gay Mass Murder in U.S. History for 43 years.

On June 24, 1973, an arsonist set fire to the Up Stairs Lounge, a gay bar located on the edge of the French Quarter in New Orleans, Louisiana.  For 43 years, it was the deadliest single event to affect the gay community in U.S. history.  Despite the staggering historical significance, few people know about the tragedy. Thirty-two people were killed and some bodies were never identified. One-third of the New Orleans chapter of the Metropolitan Community Church were killed in the blaze, including two clergy.  The primary suspect was never charged with the crime. The tragedy did not stop at the loss of lives. There were also the delayed injuries: lost jobs, fear, public ridicule and severed families. The devastation was compounded by the homophobic reactions and utter lack of concern by the general public, government and religious leaders. The fire permanently altered lives and was the root of many lifelong struggles.  

I think UPSTAIRS INFERNO (96 minutes) is the most comprehensive and authoritative film about the fire and its aftermath.   However, I didn’t want to create a stagnant documentary, with only an exposition of facts. Through very honest and intimate interviews, I wanted to humanize the story and show the real impact the fire had on the victims’ friends, families and the LGBT movement. It’s easy to trivialize a situation when you gloss over a headline in a newspaper (or a Facebook post). There is something about SEEING and HEARING the story from those who experienced an event, that truly makes it “real.” That’s what possesses the potential to create change.

However, UPSTAIRS INFERNO isn’t simply a stagnant exposition of facts. UPSTAIRS INFERNO brings humanity to the headlines by shining a light on the very painful effect the tragedy had on survivors, witnesses and loved ones.  Their interviews are gut wrenching, yet insightful.  Some of the people interviewed in the film haven’t publicly discussed the fire until now, especially on camera. The film is narrated by New Orleans’ own New York Times Best Selling Author, CHRISTOPHER RICE.

Featuring over 20 powerful interviews, it’s specifically noteworthy to mention that the film includes a rare, heartbreaking interview of a survivor who lost her lover, Reggie Adams in the blaze. As part of her long healing process, she legally changed her name to “Regina Adams” in honor of her “one true love”. In addition, the film includes Ricky Everett and Francis Dufrene (two survivors who barely escaped the inferno), a son of one of the victims, Reverend Elder Troy Perry (Founder of the Metropolitan Community Church), Johnny Townsend (Author, “Let the Faggots Burn”), Clayton-Delery Edwards (Author, “The Up Stairs Arson”), Clancy DuBos and Ronnie LeBouef (Two former employees of the Times-Picayune newspaper) and many more.

UPSTAIRS INFERNO is different than any other project the public has ever seen about the fire! UPSTAIRS INFERNO features exclusive interviews, reveals facts audiences have never heard and uncovers long lost artifacts, archival interviews and footage few people have ever heard or seen.

Audiences should expect to see a balance between investigative reporting and very intimate profiles of people lost or affected by the tragedy. The victims are more than statistics, more then names in a newspaper clipping or even names on a plaque.    These were unfinished lives, tragically cut short by a senseless act.   The victims and their families and friends left to cope with the aftermath deserved better treatment than what they got.  

“This is a gruesome story, there is no way around it and in light of June’s mass shooting at a gay bar in Florida, the parallels strike a painful chord”, acknowledges Director Robert L. Camina.  “Hopefully, now, more than ever, audiences walk away from the film with a renewed call for compassion: Compassion for those unlike us. Compassion for those who are hurting. Compassion for those in need.  Because there definitely wasn’t a lot of compassion when the deadly arson occurred.  In addition, I hope the film acts as a stark reminder that we need to seize the day.  We need to make sure we tell our loved ones every day that we love them, because we don’t know what lies ahead.  Life is fickle and unpredictable. Today may be our last chance.”

UPSTAIRS INFERNO recently received the JURY AWARD: HONORABLE MENTION at Frameline: the San Francisco International Gay and Lesbian Film Festival, citing its “Special Contribution to Queer History“, the JURY AWARD: BEST MEN’S DOCUMENTARY FEATURE and AUDIENCE AWARD: BEST MEN’S FEATURE at the North Carolina Gay and Lesbian Film Festival, the BEST DOCUMENTARY FEATURE AWARD at the Long Beach QFilm Festival, the JURY AWARD: BEST DOCUMENTARY FILM at the Seattle Lesbian and Gay Film Festival, the  AUDIENCE AWARD: FAVORITE DOCUMENTARY at the North Louisiana Gay and Lesbian Film Festival and the JURY & AUDIENCE AWARDS: BEST DOCUMENTARY at FilmOut San Diego.   In February 2017, UPSTAIRS INFERNO was honored to receive an invitation to screen at the LIBRARY OF CONGRESS.

This is an incredibly important story in LGBT history and its underlying message will resonate across the globe, not just in the U.S..  Especially in the wake of the Orlando tragedy, we must continue to educate and enlighten people.  “Those who cannot remember the past are condemned to repeat it.”  UPSTAIRS INFERNO can open the door to a cathartic and constructive global conversation.

Some of the images in UPSTAIRS INFERNO are graphic in nature and may be disturbing to some viewers. Viewer discretion is advised.

OFFICIAL TRAILER:

UPSTAIRS INFERNO – Trailer 1 [HD] (www.UpstairsInferno.com) from Camina Entertainment on Vimeo.

https://vimeo.com/94900386 or www.UpstairsInferno.com

CHRISTOPHER RICE  (narrator) is a New York Times best selling author.  His debut, “A Density of Souls”, was an overnight best seller, and was greeted with a landslide of media attention, much of it due to the fact that Christopher is the son of legendary vampire chronicler, Anne Rice.   Much of his writing is heavily influenced by the years he and his Mom lived in New Orleans.  Rice considers New Orleans his “hometown”.   Christopher currently co-hosts his own Internet radio show, THE DINNER PARTY SHOW, with fellow New York Times best selling novelist, Eric Shaw Quinn.  Rice recently published the novel, “The Vines”, which is set in the outskirts of New Orleans. Christopher Rice also wrote the adapted screenplay for Anne Rice’s novel, “The Tale of the Body Thief”, which was acquired by Universal Pictures in November 2014, according to Variety Magazine.

ROBERT L. CAMINA (director) wrote, directed and produced several short films before premiering his first full length documentary, RAID OF THE RAINBOW LOUNGE (2012) to sold out audiences, rave reviews and a media frenzy.  RAID OF THE RAINBOW LOUNGE recounts the widely publicized and controversial June 28, 2009 police raid of a Fort Worth, Texas gay bar that resulted in multiple arrests and serious injuries. The raid occurred on the 40th Anniversary of the Stonewall Inn raid.  The film, narrated by TV icon Meredith Baxter, screened during 33 mainstream and LGBT film festivals across the United States, Mexico and Canada. The film won several awards including 5 “Best” Film and 3 “Audience Choice” Awards.  The film also received attention from the Office of the White House, Department of Justice and a division of the U.S. State Department.  At their invitation, the Library of Congress hosted a screening in October 2014.
(www.RaidoftheRainbowLounge.com)

For more information:
www.UpstairsInferno.com 

Facebook page: www.Facebook.com/UpstairsInferno

Twitter:  @UPSTAIRSINFERNO 

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GUEST REVIEWER: Life behind the Wicked Stage. PERFECTING THE KISS

Life behind the Wicked Stage

A review of Mind The Gap Theatre & YouBlinked Productions presentation of

PERFECTING THE KISS

At the NuBox Theater/John DeSotelle Studios
April 20, 2017
by Moshe Bloxenheim

 

Billed as a “Mocumentary for the Stage”, Mr. Scott C. Sickles’ excellent play PERFECTING THE KISS is a savagely hilarious show that finds its wit in the way very real and flawed personalities pursue their desires even when it clashes with how they present themselves and what they want to achieve.

Helen McMillan – the former Stage Manager of Harvest Carruthers’ latest overwrought play – very bluntly begins by announcing that what we are about to see is a form of therapy. We are then taken back to the very first script reading of Harvest’s play where we see director Edwina cheerfully welcoming the sensitive and word-proud author, the two actors Mike and Buck and kind of acknowledging Helen. It is soon very clear that Edwina has her own reasons for casting Mike in this show and Mike is not exactly thrilled with either her motives or the show itself. Mike is also disconcerted by Buck’s rather overblown first reading which does not quite mesh with his own low-key style of rehearsing. But Harvest seems more and more fascinated by Buck even as he begins to change his sacred texts… and so it continues.

Mr. Sickles lets his situations evolve into farce in a way that is every bit as sidesplitting as it is realistic. This is theater: an industry where everyone acts on what they think they have heard and seen and are all too willing to take each other at face value. So actions and reactions pile up in a believable comedy of manners that works on multiple levels – firstly as a really funny show where people have to work together even while pursuing each other in a sort of mad Mobius strip of desire. Then there is the added treat of evil recognition for anyone who has been to one too many play readings or rehearsals of a certain offbeat theatrical type.

The cast is wonderfully directed by Ms. Paula D’Alessandris, who clearly understands that the characters of PERFECTING THE KISS are not mere theatrical stereotypes hyped up for a laugh, and that the reality of these people make the show even funnier. If there is any exaggeration it is all in the realm of possibility so that we can really feel Helen’s anguish even when we laugh at the ludicrousness of it all.

Ms. Helen McMillan is brilliant as the alternately pestered and ignored Stage Manager Helen McMillan (Yes, that is the name of both actress and character). As the Cinderella who blows up the Ball just as her fairy coach arrives, Ms. McMillan’s understated recollection of the egos and issues of the people involved absurdly heightens her sense of walking on emotional whoopee cushions. She is truly an actress who knows how wield a wry brief comment and isn’t afraid to use it.

As Harvest Carruthers, the playwright, Mr. Hugo Trebels presents one of those sensitive creative types who cannot easily write a simple sentence if several pages of dialogue can suffice. Of course every one of his written words is sacrosanct and woe betides the people who cannot read his mind: he wants to uplift the audience’s intellect. Mr. Trebels never misses a trick, whether Harvest is being outraged by the honesty of a person who truly admires him, flattered by one of his actors or taking out his frustration in his scripts revisions.

Harvest’s director Edwina O’Halloran is another prize piece of work. She is intent on keeping Harvest happy, while trying to make his play more presentable. But besides the many concerns involved with the show, Edwina wants actor Mike Porter to be in love with her and cannot appreciate the fact that Mike is gay. This all leads to some fascinating mind games which Ms. Janette Johnston‘s superb Edwina plays with great skill.

Mr. George Redner gives a fine tuned performance as Mike Porter, one of the two actors in Harvest’s play. Though he may not show it initially, Mike is one of those actors who will put everything he has into doing a good job – no matter what he thinks of the material and in spite of having to cope with Edwina’s maneuverings.

The other actor, Jonah ‘Buck’ Jackson is played with a delightful Gee Whiz charm by Mr. Patrick Harman. ‘Buck’ may seem innocent enough but he knows what to do when he needs to, even if he apparently has no idea how much Harvest is attracted to him. In addition, Messrs. Harman and Redner’s work as two actors of VERY different styles and their interactions in rehearsals are some of the comic highlights of PERFECTING THE KISS. Both gentlemen are truly believable in their offstage and onstage moments.

Naturally kudos must be given to Ms. Judith Feingold as the actual Stage Manager for helping PERFECTING THE KISS move forward convincingly with only lighting, sound and minimal sets.

 PERFECTING THE KISS is a truly funny show that I cannot recommend highly enough. Alas, it has just ended its limited run and I can only finish by wishing that it soon be brought back onstage again.

CAST & CREATIVES
PATRICK HARMAN – Jonah “Buck” Jackson
JANETTE JOHNSTON – Edwina O’Halloran
HELEN MCMILLAN – Narrator
GEORGE REDNER – Mike Porter
HUGO TREBELS – Harvest Carruthers
Directed by PAULA D’ALESSANDRIS
Written by SCOTT C SICKLES

About the reviewer:

MOSHE BLOXENHEIM
I am a computer programmer, wannabe writer who loves theater and just got into the habit of inflicting my theatrical opinions.
I live in New York. Moshe can be reached at MB1224@aol.com

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Have You Seen This Dog? A review of “The Play That Goes Wrong”

Have You Seen This Dog?
A review of
“The Play That Goes Wrong”
at the Lyceum Theatre
April 6th – 7:00pm

When I saw The Play That Goes Wrong during its first week of previews, I was approached at intermission by one of the members of the ‘Cornley Polytechnic Drama Society’, who are attempting to put on a 1920s’ murder mystery, asking me if I had seen a man with a yellow shirt I told him that I was wearing a yellow shirt to which he replied, “You’re no help at all!” and scurried away muttering under his breath.

At my second viewing last night, as a representative of the Press, I was reprimanded by another ‘Drama Society’ member for my scarf/tie was “Inappropriate for Theatre wear” and “Didn’t anyone ever teach you how to dress?” and followed up with other cast members apologizing to me and arguing with him about how he treats the American audiences.

Such are the antics before the show and during intermission contributing to arguably the funniest and most well executed comedies I have ever seen in my life!

The Play That Goes Wrong now playing at the Lyceum Theatre (149 West 45th Street, NYC) is every door slamming, pratfall, missed cue, early entrance farcical comedy you have ever seen rolled into one and on steroids! It is nearly two hours of constant laughter, guffaws and “Oh no!” moments ever put on stage.

As I mentioned above, the members of the ‘Cornley Polytechnic Drama Society’, are attempting to put on a 1920s’ murder mystery called, “The Murder at Haversham Manor”, written by Susie H. K. Brideswell, but that play isn’t really important, as a matter of fact, after two viewings, I’m still not sure ‘whodunnit’ or why! It’s the performance, or lack thereof, of the play that is the point here.

You can already sense that things are going to get out of hand from the moment you enter the Theatre and see the crew, led by Annie, the stage manager, played with a subtle brilliance by Bryony Corrigan (during previews I saw Nancy Zamit who was equally great) and Trevor, the company’s lighting and sound operator, played with expert daftness by Rob Falconer, (who spends most of the play in a box above stage right working lights and sound while texting and not paying attention),  who are puttering around on the stage fixing last minute set and prop problems. They even enlist the help of an unsuspecting audience member down front. Did I mention the completely inappropriate pre-show house music playing while all this is going on?

When the lights go down we are introduced to Chris, played with appropriate snootiness and skill by Henry Shields, who is the head of the ‘Drama Society’, ‘Director’ of the play, and who plays the character of Inspector Carter. He is obviously stalling for time as the crew is still readying the set, which keeps falling apart as quickly as they can fix it.

From here it gets crazy, so pay careful attention. Each person is three people. The Actor, the ‘Cornley Polytechnic Drama Society’ member, and the character they portray in “The Murder at Haversham Manor”. Got it? Ok. Moving on…

The play within a play opens with Jonathan playing Charles Haversham, (played with deafening subtlety by Greg Tannahill, the worst corpse ever) who is dead (?) being discovered in his study at his engagement party by Robert (the purposefully overacted, pompously riotous, and agile Henry Lewis) playing Thomas Colleymoore, Charles’ best friend, and Dennis (daftly played by Jonathan Sayer) playing Perkins, Charles’ manservant, who can’t remember his lines and shouts most of them.

After discovering the body they try to figure out the best way to break the news to Sandra (delightfully hammed up and overplayed by Charlie Russell) playing Florence Colleymoore, Charles’ fiancè and Thomas’ sister who has also been having an affair with Max (who as portrayed with calculated silliness by Dave Hearn) playing Cecil Haversham ( who gets distracted by audience laughter and applause), Charles’ brother (as well as Arthur the Gardener).

Confused? GOOD! That’s how it’s supposed to be. But it’s not about who plays whom – it’s about the timing. TIMING IS EVERYTHING and it has never been better timed than by this group of actors. While what goes wrong, and I refuse to spoil it for you here, seems to be a sequence of random events ‘just happening’ they are, in reality, a series of perfectly staged ‘accidents’. What impressed me most is that there is nothing happening on that stage that isn’t planned down to the precise moment of execution by this amazing cast. In addition, the physical humor and the agility of the actors getting slammed by doors and trays plus the acrobatics perpetrated by all, including some of the, shall we say, heftier actors, is a thing of beauty as well. Combine that with the acting, overacting, missed cues, forgotten lines, and pratfalls and you have the audience laughing non-stop through both acts and remembering The Play That Goes Wrong long after the curtain (and more) comes down.

In The Play That Goes Wrong whatever can go wrong does go wrong and boy, does every second of it feel so right!


I would like to also mention that this all comes together under the expert Direction of Mark Bell, featuring a beautiful and perfect set design by Nigel Hook, with lighting design by Ric Mountjoy, sound design by Andy Johnson (with special thanks to Duran, Duran) original music by Rob Falconer; the real production stage manager, Matt DiCarlo, and exquisite period costume design by Roberto Surace.

Last but not least, a huge shout-out to J.J. Abrams who, on a rare night off from filming Star Wars in London, asked to see some original English theatre and fell so much in love with this play that he decided to bring it here to the Colonies for all of us to enjoy!

Thank you J.J.!

Oh… I almost forgot…

The Play That Goes Wrong (Running Time: 2 hours including one intermission) stars the original Olivier Award winning West End cast featuring Rob Falconer, Dave Hearn, Henry Lewis, Charlie Russell, Jonathan Sayer, Henry Shields, Greg Tannahill and Nancy Zamit.  (Bryony Corrigan was on for Nancy Zamit at this reviewed show).

Produced by Kevin McCollum, J. J. Abrams, Kenny Wax, Stage Presence Ltd. and Catherine Schreiber.

Co-written by Mischief Theatre company members Henry Lewis, Jonathan Sayer and Henry Shields, The Play That Goes Wrong is a riotous comedy about the theatre. The play introduces The ‘Cornley Polytechnic Drama Society’ who are attempting to put on a 1920s’ murder mystery, but as the title suggests, everything that can go wrong…does, as the accident prone thespians battle on against all the odds to get to their final curtain call.

The Play That Goes Wrong is playing at The Lyceum Theatre – 149 West 45th Street, in New York, NY. For tickets call Telecharge at (212) 239-6200 or 800-447-7400, or purchase them online.

GUEST REVIEWER: We’ll Take Manhattan! A review of Encores! concert reconstruction of Cole Porter’s THE NEW YORKERS

We’ll Take Manhattan

A review of Encores! concert reconstruction of

Cole Porter’s
THE NEW YORKERS

At New York City Center
March 22, 2017

by Moshe Bloxenheim

 THE NEW YORKERS originally featured specialty acts, material built around Mr. Jimmy Durante’s unique personality and took a very amused look at the world of Park Avenue Society, Gangsters and Prohibition, making no bones about the fact that this was not a show for “The Little Old Lady from Dubuque” though I daresay she might have had a whale of a time too. Encores! manages in a case of sheer theatrical chutzpah to piece together a fine entertainment that gives an impression of the enjoyment that was to be found in the original 1930 show even if an accurate reconstruction is not in cards.

Mr. Cole Porter’s score alone is well worth the price of admission. Admittedly many numbers are hits imported from other shows, but they seem to make themselves perfectly at home sometimes showing up in surprisingly adroit ways. Mr. Jack Viertel assists in this with a concert adaptation of Mr. Herbert Fields original book that allows the plot to entertain and move the show onward without ever forgetting that the songs come first.

The gangsters, good time girls, vapid socialites, adulterers, hoofers, gigolos, prisoners and so on that inhabit THE NEW YORKERS are all likeable and occasionally endearing and make the most of whatever story had first been furnished by Mr. E. Ray Goetz and the famous New Yorker Magazine cartoonist, Mr. Peter Arno: Alice Wentworth, a pretty socialite, is engaged to marry the stodgy, wealthy and reputable Phillip Booster. She expects her marriage to be like that of her parents, Dr. Windham and Mrs. Gloria Wentworth. The Doctor is the swain of the entertainer Lola McGee and the famous inventor of the pick-me-up drug Alcodol while Gloria has Captain Hillary Trask as her special pick-me-up. When the handsome young Captain goes off with Lola, the Doctor and Gloria are rather nonplussed to have to go home together. All plans for a similar life with fiancé Phillip go out the window the moment Alice meets the dashing speakeasy owner Al Spanish. Al and Alice are quite smitten and, for good measure, Philip falls hard for Al’s girlfriend, the singer Mona Low. Unfortunately, complications arrive in the guise of Feet McGeegan, who wants Al to keep out of the Caviar Racket (as if rum-sunning wasn’t hazardous enough). Merry mayhem ensues with some frequency and lots of great music and dancing. Through it all comedian and drink Inventor supreme Jimmie Deegan struts his stuff, the Three Girl Friends Trio and the Varsity Eight chorus sound and look stunning, and jokes about prohibition, politics, society, prison and Cole Porter references are tossed in with happy abandon. Oh yeah – it all ends right.

Delightful Ms. Scarlett Strallen ensures that Alice Wentworth is no mere pretty face, making the most of the character’s savvy naiveté and getting her some wonderful laughs in Alice’s discovery of Real Life (in the form of Al Spanish). Ms. Strallen can also deliver a song with the best of them making the well-known “Most Gentlemen Don’t Like Love” and “Night and Day” just two of the many high points of a very well scored evening.

Anti-antihero Al Spanish may be a gun-toting gangster but Mr. Tam Mutu makes him the perfect gentleman from the wrong side of the tracks. He exhibits a sort of Gee Whiz quality that makes him the good guy even as he guns down his rivals. Mr. Mutu has an ability to put a number over that looks downright effortless and yet so enjoyable.

Usually a musical has one main lead couple and one subplot. But THE NEW YORKERS delivers far more.

Ms. Mylinda Hull gives a wonderful performance as Mona Low. Mona may be losing her Al to Alice but Ms. Hull can make one quite believe that this torch singer knows how to set the stolid Phillip Booster on fire and Mr. Todd Buonopane’s Phillip is a hoot as he transforms from Alice’s burden to Mona’s pleasure.

Alice’s parents are the second couple as they discover that although infidelity is lots of fun, it is always nice to come home to one another. Dr. Windham Wentworth is one of those urbane if slightly vague men-about-town and Byron Jennings plays him with fine understatement. Ms. Ruth Williamson makes Gloria Wentworth a fine contrast to the good Doctor, giving us a woman-about-town who might like home better. Her delicious delivery of “The Physician” comes across is the complaint of a lady who feels a bit ashamed that she much prefers her husband to her boyfriend – if he would only give her a glance!

Then there is Lola McGee and Captain Hillary Trask. These two may not end up together living happily ever after, but Ms. Robyn Hurder and Mr. Tyler Lansing Weaks ensure that they and the audience have a good time for the present. When Ms. Hurder delivers “Please Don’t Make Me Be Good” it is clear that she already is.

Then there is Mr. Kevin Chamberlain in the role of Jimmy Deegan – the comic mixologist. Just the knowledge that Mr. Jimmy Durante originated the part makes his memory a hard act to follow. Still, Mr. Chamberlain makes Jimmy Deegan truly funny and gets the best out of the silly dialogue, yet he is able to add enough Durante mannerisms to make us see how Mr. Durante might have laid them in the aisles in 1930 just as Mr. Chamberlain proceeds to do in 2017. His Act One closer “Wood” is an example of how great absurd comedy can really last.

Aiding and abetting Mr. Chamberlain are his two comic and dancing sidekicks Monahan and Gregory, played with gleeful skill by Messrs. Clyde Alves and Jeffery Schecter.

While Jimmy Deegan is a unique comedy turn all by himself, there are several other specialty acts that deserve much praise:

The Gangster Feet McGeegan is the villain of the show in the mold of Snidely Whiplash or Witch Hazel. So naturally as one of those characters who deserves killing, THE NEW YORKERS obliges, having Feet coming to an untoward end over and over and over again. Mr. Arnie Burton manages to give him just the right level of cartoonish melodrama proving that death may be easy and comedy is hard but comic death is an art all its own. As an added highlight, Mr. Burton stops the show with the brilliant patter number “Let’s Not Talk About Love”.

Other musical delights include the trio of Mss. Christine DiGiallonardo, Lindsay Roberts and Kathryn McCreary as the Three Girl Friends and the Varsity Eight in the guise of Messrs. Matt Bauman, Sam Bolen, Brian Flores, Matthew Griffin, Curtis Holland, Timothy McDevitt, Brendon Stimson and Cody Williams, who recreate the numbers originated by the megaphone-wielding Waring Pennsylvanians.

Many of these performers double up in several roles but Mr. Eddie Korbich laudably wins the multiple casting honors as he appears and reappears as a doctor, a nightclub major domo, a waiter at a deli, a policeman, a butler…

The rest of the company deserve top marks for their acting and dancing, but even with the wealth of pleasure offered onstage, one performer still stands out indelibly: Ms. Cyrille Aimée delivers “Love for Sale” on an empty stage without any introduction and brings down the house. This lonely, haunting performance on its own would have made THE NEW YORKERS worth seeing.

Director John Rando has no trouble with the fact that THE NEW YORKERS is a series of songs with barely enough plot to keep the show from being designated a revue or vaudeville (not that there would be a problem with either one). But Mr. Rando ensures that even with all the numbers being launched in so many ways by different people and acts that everyone gets to shine and nothing ever clashes so that the show buckets along engagingly to its loopy conclusion (the memorable “I Happen To Like New York” chorale). Mr. Chris Bailey’s choreography has a lot to do with this because so much movement and dancing carry THE NEW YORKERS forward. A gangster battle where the machine gun fire is enacted by tap-dance emphasizes the period, plot and cartoonish nature of the show since the assailants and their would-be targets just keep happily tapping and firing. More than that, the specialties are clearly staged to make the most of the talents involved yet invoke their predecessors in the roles. In fact, where many songs have at least a line to cue them in, Messrs. Rando and Viertel know that sometimes a song should be left to fend for itself and ensure that a moment like Ms. Cyrille Aimée’s singing of “Love for Sale” stands alone as the jewel of the show as the original piece did in 1930.

This care with THE NEW YORKERS songs and music is obviously shared by the Rob Berman and the Encores! Orchestra. Mr. Berman’s arrangements and conducting and Messrs. Josh Clayton’s and Larry Moore’s orchestrations are out to get the best of musicians and actors and all deliver beautifully. Even when a number is an import from another show and of a slightly different style (like “The Physician” from the English show NYMPH ERRANT), it just seems to be a natural fit in THE NEW YORKERS. Certainly it would have been braver and wiser for the show to have selected more obscure pieces from Mr. Porter’s songbook and give them the currency they may deserve but I enjoyed myself too much to quibble with what is on offer.

The look of the show is also quite striking with designs that appear as an idealized 1930. Thanks to Mr. Allen Moyer’s scenery and Mr. Alejo Vietti’s costumes one can see glitz and glamor even in Sing-Sing prison and Mr. Ken Billingtons’s top-notch lighting makes even the shimmering reflections of the ladies’ lamé gowns become part of the visual pleasure.

I was a little surprised at the unevenness of Mr. Dan Moses Scheier’s sound system, but besides a few aural fades in Act One, everything sounded pretty good, upholding the illusion that you could hear the voices from the actors rather than the loudspeakers.

THE NEW YORKERS is a loving and varicolored bouquet to the people, foibles and theater of that 1930’s city but it still has an enchanting effect in today’s Empire City as well. As with all first public Encores! performances there was a slightly tentative feeling as the performers gauged how the material was landing, but all went wonderfully well and I am sure that the future performances will only get better and even funnier.

Encores! final Performance of THE NEW YORKERS was 7 PM Sunday Night, March 26, 2017.

About the reviewer:

MOSHE BLOXENHEIM
I am a computer programmer, wannabe writer who loves theater and just got into the habit of inflicting my theatrical opinions.
I live in New York. Moshe can be reached at MB1224@aol.com

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Read how ENCORES restored the show: http://www.nycitycenter.org/Home/Blog/March-2017/Reclaiming-The-New-Yorkers?fullsite=true

GUEST REVIEWER: DEAR WORLD at The York Theatre

Small WORLD, isn’t it?

A Review of Musicals in Mufti’s concert production of

DEAR WORLD

At the York Theatre
by Moshe Bloxenheim 

Musicals in Mufti’s concert production of DEAR WORLD is one of those lovingly staged productions that can beguile an audience into wondering why this show didn’t work the first time? With a book based on Monsieur Jean Geraudoux’s play THE MADWOMAN OF CHAILLOT and an often delightful score by Jerry Herman, DEAR WORLD relates how Countess Aurelia, Madwoman of Chaillot saves humanity from being overrun by the soulless seekers of money and power. In the Countess’ adventure the audience is introduced to the characters who make up her world and those who threaten it.

The Prospector and the three corporate Presidents seek to destroy the Countess’ beloved Paris for the lake of oil that they know is below the city. Mr. Gordon Stanley is a perfectly peevish Prospector who is driven by oil and cannot see any romance beside it. He fits perfectly in with the Presidents who are played with relish by Messrs. Stephen Mo Hanan, Peter Land and J. Bernard Calloway. All the gentlemen gleefully twirl a metaphysical villainous mustache with panache, bringing their best to their anthem of greed “Just A Little Bit More” and being merrily hissable in “The Spring of Next year” where they exult in the destruction of Paris.

The young executive Julian had been one of their crew until he realized that people would be hurt and Mr. Hunter Ryan Herdlicka manages to show this change of heart quite briefly and yet credibly. Indeed, under the Countess’ idealistic spell Julian goes from accomplice to uncertain to penitent to hero and lover and the handsome Mr. Herdlicka accomplishes the changes with charm and ease, most memorably in a tender scene where Julian pretends to be Adolphe Bertaut – the man who had broken the Countess’ heart many years in the past.
Nina is a waitress and general factotum at the Café Francis – the bistro where the Countess holds court and the place that the Prospector wants to destroy to start the oil drilling. Ms. Erika Henningsen makes a sweet and pretty Nina who clearly enjoys being a part of the Countess’ world. We root for her Nina and Julian to fall in love with each other and cheer when Ms. Henningsen sings “I Never Said I Love You” (even with its inept positioning in the show).

One of the Countess’ aides and links from the harsh real world to her romantic existence is Mr. Lenny Wolpe’s jovial Sewerman. From his number “Pretty Garbage” and onwards Mr. Wolpe creates a man who has his mind in the most delightful of gutters, giving cheerful denials about the outrageous world below that make it seem even more wonderful and fantastic. When the Sewerman gives a “sympathetic” defense of the rich in Act Two, Mr. Wolpe extracts some wonderfully timely comedy out of the moment.

It is a talent indeed to play a role without practically a word and Mr. Kristopher Thompson-Bolden makes a beautiful Mute – the observer of all and assistant to the Countess. For a man who will not speak, Mr. Kristopher Thompson-Bolden’s Mute is a real chatty soul and can even deliver a song with flair – allowing gesture and dance to supply the lyrics that are then picked up and sung by the other performers.

Other helpful men who brighten the stage are Mr. Dewey Caddell as the Police Sergeant and Ben Cherry who is the Waiter at the Café Francis.

Two other Madwomen assist the Countess: Ms. Alison Fraser gives us a striking and memorable Madame Constance, Madwoman of the Market. She could have jauntily stepped out of an Edward Gorey drawing but her fancies are less gothic and more aurally and erotically absurd.

Adding to the fun, Ms. Ann Harada’s superb Madmoiselle Gabrielle, Madwoman of Montmarte is relentlessly virginal and unsullied. Ms. Harada’s character could simply be childish and a bore about her imaginary lap dog, Dickie, but Ms. Harada makes us see why the others would care for her and even makes us wonder if we aren’t seeing the dog too, even though Mlle. Gabrielle then claims she hadn’t brought Dickie after all.

Finally, the Doyenne of Madwomen: Countess Aurelia, Madwoman of Chaillot.
Ms. Tyne Daly gives a definitive performance as the sanest Madwoman there ever was, living in a romantic dream that must be cruelly interrupted to save the beauty of the real world. As a Madwoman, Ms. Daly sensibly gives her Countess the only French Accent in this stage Paris and often seems to have to refocus her fantasy driven mind. Musically, Ms. Daly does not sing her songs prettily but delivers them to brilliant effect, making them truly enchanting. The Countess’ plea against reality “I Don’t Want to Know” is downright heart-stirring as Ms. Daly performs it. Then again, the Madwoman’s tea party in Act Two could easily become a scene stealing battle, but Ms. Daly is clearly at stage center joining in with Ms. Harada and Ms. Fraser in creating a wonderful piece of musical theater studded with comic gems. You want to hug and take care of Ms. Daly’s Countess even while knowing full well that she is more than capable of taking care of you.

Mr. Michael Montel directs DEAR WORLD with the clear understanding that the more intimate this show is, the better it will work and makes the most of the small York Theatre Stage with its basic setting by Mr. James Morgan and lighting by Brian Nason. He does his best to make us forget some of the bumpier moments of the book and well evokes the fairy tale atmosphere of this whimsical story.

There have been times when I have been to a musical that sadly manages to evoke earlier recording of the show by its current shortcomings. Happily, this cannot be said of DEAR WORLD where Mr. Christopher McGovern’s first-rate musical direction and piano playing – along with the fine bass and accordion skills of Mr. Louis Tucci – sound anything but spare.

Messrs. Jerome Lawrence and Robert E. Lee’s original book for DEAR WORLD has been revised by Mr. David Thompson and he has made a noble effort of reworking and tightening the show, changing the song order, working with added material and introducing some numbers to better effect. While “Just a Little Bit More” is not my favorite number, it now gives a suitable way for our Villains to better define who they are and relocating “The Spring of Next Year” to Act Two gives these characters a number that lets them reestablish themselves to the audience as evil beings when they musically celebrate Paris’ impending ruin. The Countess’ “Kiss Her Now” has become a very satisfying moment, framing Julian and Nina’s love towards the end of Act Two. Still, even the concert premise cannot really overcome the clumsy placement of Nina’s lovely “I’ve Never Said I Love You” which suddenly erupts without rhyme or reason.

And then there is the Title Song.

Mr. Jerry Herman creates some unforgettable pieces: “I Don’t Want To Know”, “Each Tomorrow Morning”, “Kiss Her Now”, etc. – but the title song “Dear World” is one of those things that must be gotten through because it is a TITLE SONG. Messrs. Thompson and McGovern clearly have done their level best to make “Dear World” work as an anthem that will bring heart back to the protagonists but in spite of their efforts, it still feels like being beaten repeatedly between the eyes with a Hallmark Get Well card. One annoying aspect of the song is the fact that the people singing “Dear World” are the ones being forced save the world – it will not save itself like the song repeatedly insists. The song that immediately follows it, “One Person”, is actually more to the point and moves things forward. Perhaps it is heretical, but I think the show would be much better if “Dear World” was totally rewritten with more suitable lyrics or even dropped altogether.

Still, even in its current condition, DEAR WORLD is well worth it – as a marvelous entertainment with a great cast and as an appropriate fable for these times. Even the flaws are intriguing and some of the more creative spectators may leave the theater both thrilled with what they have seen and contemplating what might be done do to overcome the imperfections.

 Alas, DEAR WORLD closed March 5.

About the reviewer:

MOSHE BLOXENHEIM
I am a computer programmer, wannabe writer who loves theater and just got into the habit of inflicting my theatrical opinions.
I live in New York. Moshe can be reached at MB1224@aol.com

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DEAR WORLD
Book by Jerome Lawrence and Robert E. Lee
New Version by David Thompson
Music and Lyrics by Jerry Herman
Based on The Madwoman of Chaillot by Jean Giraudoux as adapted by Maurice Valency
Directed by Michael Montel
Music Directed by Christopher McGovern
Featuring Tyne Daly
With Dewey Cadell, J. Bernard Calloway, Ben Cherry, Alison Fraser, Stephen Mo Hanan, Ann Harada, Erika Henningsen, Hunter Ryan Herdlicka, Peter Land, Gordon Stanley, Kristopher Thompson-Bolden, Lenny Wolpe 

GUEST REVIEWER: Return to the Comet

On revisiting NATASHA, PIERRE & THE GREAT COMET OF 1812, I was pleased to discover that several points in my original review of December 3, needed updating for the better.
The reconsideration will come before the original review. 
Thank you,
Moshe Bloxenheim
—————————————————-
 

Return to the Comet

 Some additional thoughts about
the current Broadway Production of

 NATASHA, PIERRE & THE GREAT COMET OF 1812

At the Imperial Theatre
February 19, 2017

by Moshe Bloxenheim 

Perhaps some performances have improved since December 3, or maybe on that night I had caught some cast members who were not at their very best.  It might even be that I needed a second visit to better appreciate the performances and the nuances of Ms. Rachel Chavkin’s direction.  Whatever the reason, I am delighted to say that I like NATASHA, PIERRE & THE GREAT COMET OF 1812 even more now than when I had seen the show on December 3, 2016 and much of the “roughness” I had then perceived has been smoothed out.
While I still believe that Pierre’s Act One number “Dust and Ashes” is an unnecessary and badly placed song, it is now harder for me to resent Mr. Josh Groban’s star turn because his Pierre has become an excellent portrayal of the alienated and injured man who saves himself by saving Natasha’s reputation and throwing off his affected cynicism.
While Ms. Denée Benton’s previous performance already revealed the naïve and adored young lady who is the charming Countess Natasha, I now find Natasha’s state of high emotion and eventual despair in Act Two when her world collapses far more sympathetic and believable.  Natasha is no noble heroine but a real human being gripped in the power of an infatuation that she does not fully understand.  It is through Ms. Benton’s interpretation that we feel for Natasha and appreciate this innocent girl’s desperation when love, attraction and desire threaten her ideals, reputation and life.
Mr. Lucas Steele has added subtlety to his already admirable Prince Anatole, heightening the sense of a swaggering, self-involved predator who can easily delude himself that he and his amour share the same fascination.  There is less of the Muscovite Frat-Boy out to score now and more of the man who is lost in the sense of his own desirability and need for pleasure: never deliberately evil or out to harm, but extremely dangerous and so very alluring.
Finally, thanks must go to Mr. Nicholas Pope for achieving a better level of amplification.  There is less far less sonic blasting in the show than there had been at the December 3rd show and the voices are clear and can be far more easily associated with the performers who produce them.
 
Now on to the original review…
 

Back from the Front  

A review of the new Broadway Production of

NATASHA, PIERRE & THE GREAT COMET OF 1812

At the Imperial Theatre

December 3, 2016

 
NATASHA, PIERRE & THE GREAT COMET OF 1812 is a remarkable show that sweeps the audience into the chaotic and hedonistic world of Moscow during the Napoleonic wars.
Based on several chapters on Mr. Leo Tolstoy’s classic novel WAR AND PEACE, the story focuses on the Countess Natasha’s life-changing journey to this imposing city.  She and her cousin and dearest friend Sonya have gone to visit Natasha’s godmother Marya D. while she waits for her fiancé Prince Andrey to return from the war.  After paying a disastrous call on Andrey’s sister, the sacrificing Princess Mary, and his vicious and elderly father, Prince Bolkonsky, the distraught Natasha encounters the dangerously alluring Prince Anatole.  He is the brother-in-law of Pierre, an old family friend of Natasha.  Pierre has made a very unhappy marriage to Anatole’s sister, the unfaithful and manipulative Hélène.  In disgust at his life, Pierre isolates himself in his books, keeping a kindly but vague eye on the distressing world around him.
With the assistance of Hélène and his comrades, Anatole overwhelms the naïve Natasha with his fervent declarations of love. Ignorant of the fact that Anatole is already married, Natasha throws over her engagement to Andrey and prepares to elope with the romantic Anatole.  Sonya and Marya D. do their best to save Natasha in spite of herself, but it is Pierre who must try to put back the pieces of Natasha’s wrecked world and in doing so, discovers that he is not as isolated from life as he believes himself to be.
 
Ms. Denée Benton exhibits a girlish charm as the beautiful Countess Natasha.  Natasha knows she is pretty, loved and admired – especially due to her advantageous engagement to Prince Andrey – but in spite of the resentment this could have created, Ms. Benton shows the innocence of a girl discovering the big world that makes her very assumptions of rank and privilege downright endearing.   Ms. Benton lets us feel Natasha’s bewilderment as she rapidly finds herself clearly out of her depth and thrill to her discovery of what passion can be.  She has a fine acting range but in Act 2 there are moments that jar against the overall portrayal of the desperately heartbroken Natasha.  Perhaps it is the direction and staging, but Ms. Benton’s character sometimes comes across as shrilly self-dramatizing.  Musically, however, Ms. Benton is wonderfully consistent and does Natasha full justice at all times.
With her delightful vocal catch and country artlessness, Ms. Brittain Ashford’s Sonya is a delight to watch and hear.  She is truly an affectionate cousin, taking joy in being with Natasha, but when Natasha rushes into danger, Sonya understands that saving her dearest friend might cost her the friendship that she values so highly and Ms. Ashford’s performance of “Sonya Alone” is truly profound and honest.
Marya D. is a warm and caring hostess of these two young ladies while they are in Moscow and the glorious Ms. Grace McLean gives her role a booming enthusiasm that makes it impossible not to feel that she is welcoming the entire theater.  Whether Marya D. is chaperoning her charges and showing them the suitable pleasures of Moscow, or trying to avoid a disaster, Ms. McLean is no stranger to the grand manner, tossing off vital exposition in so matter-of-fact a way that it feels downright conversational.  Ms. McLean is always a vital presence in the show and unforgettable in the songs “In My House” and “A Call to Pierre” where she brings out Marya D.’s visceral turmoil in the face of Natasha’s crisis.
As the man who turns Natasha’s world upside down, Mr. Lucas Steele expertly plays Prince Anatole.  One can appreciate why Natasha loses her head over this charmer who is so invested in his own pleasure and aware of his own desirability that he assumes that everybody else will have a good time too, even his victims in amour.  In his acting and singing Mr. Steele never misses a note, whether Anatole is enticing Natasha at the ball, gathering up his resources for the elopement or having to face the ruin of his plans.
Hélène, Anatole’s sister is another fascinating and dangerous person and Ms. Amber Gray beautifully conveys her manipulative and dissolute allure.  In the alluring number “Charming,” Ms. Gray’s Hélène is the consummate seductress who turns Natasha’s head and makes the young Countess even more susceptible to Anatole.  Even when winning this young girl over Hélène exudes a slightly smirking air of someone who has lost all morals.  Hélène could be a truly evil character but Ms. Gray manages to let us feel the sadness of this lady who cannot comprehend anything better for herself than her lovers and her feckless brother.
If Hélène is a siren without virtue, Natasha’s intended Prince Andrey – starkly played by Mr. Nicholas Belton — provides the unspoken rebuke to all the indulgence that is going on in the face of war.  Though he is Natasha’s valiant hero, Andrey’s ideals seem better at a distance.  When Andrey does return, his rigid lack of empathy makes one feel that Natasha has a knack for unfortunate entanglements.  Mr. Belton also doubles in the role of Andrey’s father the decrepit and unpleasant Prince Bolkonsky.  Perhaps it fits in with the tongue-in-cheek conceit of this production, but I think that Mr. Belton’s dress-up charade of an elderly Prince could have been better developed to bring out more of the possessive decaying man who is out to embarrass his daughter and disconcert Natasha.
On the other hand Ms. Gelsey Bell’s Princess Mary is a brief but memorable character.  Both she and Mr. Belton are a worthy duo in “The Private and Intimate Life of the House” where Mr. Belton’s aged Prince Bolkonsky grinds down his selfless daughter, but it is Ms. Bell’s Princess Mary whose character gets fully shaded in as she combines the resentments and aggravation of this duty-bound young lady whose life is passing by with the protectiveness and even love that Mary feels as she watched her father’s deterioration.  The Princess Mary may be the only one who really cannot appreciate the fortunate and beautiful Natasha but Ms. Bell’s plain, spinsterish Mary with her isolation and anxieties deserves our sympathy.  Ms. Bell also makes a surreal impression in Act One as a stylized opera singer.
Speaking of stylized opera singers, Mr. Paul Pinto is quite striking as the other grotesque and stately performer at the Opera, and it is his rollicking, don’t-give-a-damn performance as the troika Driver Balaga that is a highlight of the evening.
Dolokhov’s role is described as “Minor” in the Prologue, nevertheless Mr. Nick Chokis ensures that he is a vital figure, providing a notable delivery as Hélène’s lover, noted duelist and Anatole’s comrade in dissipation.
The Prologue also asks: “What about Pierre?”
Mr. Josh Groban’s performance is very much in keeping with the outsider nature of everybody’s friend, the awkward and unhappy Pierre.  Unfortunately the direction Mr. Groban receives often seems to be intent on giving the audience their money’s worth of this famous star which does not assist the unity of the show.  There are times where he would be better served retreating into Pierre’s oft stated discomfort and confusion on the sidelines or offstage rather than remain left out on center stage (primarily in the piano pit where he plays some of his numbers).  It may not be Mr. Groban’s fault that he cannot become the definitive Pierre and we must settle for a star who gives a decent performance while singing beautifully.
The rest of the cast is made up of circuit party Muscovites, peasants and gypsies who are often undistinguishable from contemporary clubbers and that is both part of the fun and enhances the timelessness of the story.  They are certainly picturesque but are never mere window dressing.
 
Mr. David Malloy who created the book, music and lyrics of this fascinating adaptation of Mr. Leo Tolstoy’s novel does not attempt to create a period piece nor a modern reworking.  He presents the situations and the people and lets it all take place.  This creates some high powered storytelling where the action often happens at the same time as the narrative which describes it which can also shift speedily between a character’s viewpoint and that of the people around them.  Perhaps this is not always in keeping with typical musical theater but there are elements of a classic operatic mode and even something of a dramatic recital too.
Most of the incredible score is inseparable from what is happening.  Starting from the delightfully catchy opening Prologue which thumbs its nose at the current disdain for exposition and gleefully sets forth who is who in show, Mr. Malloy takes us through a variety of styles that push the story onwards – a folk song can become a dance rave; a quiet duet becomes an operatic challenge.  Conductor Or Matias and Music Coordinator John Miller both perceive how integral the music is and allow their skillful musicians to become part of the story.
For me, the only flaw in the dynamic score of NATASHA, PIERRE & THE GREAT COMET OF 1812 is Pierre’s number “Dust and Ashes.”  It is a marvelous and thoughtful song and Mr. Josh Groban makes it a showpiece.  But it is the only song in the entire musical that does not add new insight to a character nor carry the action forward.  Instead, Mr. Groban takes the stage to sing a poetic and introspective song that restates much of what Pierre has already established, causing everything to grind to a halt for a badly placed star turn.  The audience loves “Dust and Ashes” but more for Mr. Groban’s sake than any other reason.  Placed where it is, the song actually weakens the show.
Besides the occasional highlighting of Mr. Groban, Director Rachel Chavkin obviously has worked hand in hand with Choreographer Sam Pinkleton in the inventive staging, uniting the different types of acting and singing and bringing the audience along as each step of the story unfolds.  Characters flow in and out of scenes and practically populate the Imperial Theater as they all head towards the shattering climax and its aftermath.  Even Ms. Mimi Lien’s flowing multileveled settings and Mr. Bradley King’s varied lighting schemes get into the act with performers in the audience, massive doors slamming and lights constantly moving and changing as if to comment on the story.
A show occurring in 1812 might be expected to have costumes firmly set in that time frame, but while much of Ms. Paloma Young’s attractive costumes and Ms. Leah J. Loukas’ wigs and hair designs are rooted in that era, these Napoleonically garbed performers could easily find themselves at home at the current Goth scene or one of today’s more baroque downtown gatherings.  This sense of timelessness allows even the use of modern light up sneakers or neon glow bands fit into the show as if in mocking comment on the idea that humanity is so much better now than in the turbulent years of the early 19th century.
Mr. Nicholas Pope is one of those Sound Technicians who sadly has yet to learn that even the loudest moment of a show can be handled with clarity and subtlety.  In justice, Mr. Pope’s sound design make the most quiet moments clear to the audience, but he cannot seem to comprehend what harm he is causing Mr. Malloy’s fine score, the excellent actors and the audience’s eardrums by his constant over amplifying of the show’s louder sequences.
Considering all the players and musicians who have to circulate through both the stage, orchestra and mezzanine areas of the theater, Production Stage Manager Karen Meek and her staff do first-rate work to make everything flow as seamlessly as it does.
 
While it might have its rough spots, NATASHA, PIERRE & THE GREAT COMET OF 1812 is an amazing and engrossing show with a score that is unforgettable and I highly recommend it.
 
One final thought:  Since so much happens all over the Imperial Theatre, the best place to see NATASHA, PIERRE & THE GREAT COMET OF 1812 is the Mezzanine.  Even the Rear Mezzanine gives a great view of all the proceedings.

About the reviewer:

MOSHE BLOXENHEIM
I am a computer programmer, wannabe writer who loves theater and just got into the habit of inflicting my theatrical opinions.
I live in New York. Moshe can be reached at MB1224@aol.com

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NATASHA, PIERRE & THE GREAT COMET OF 1812
Runtime 2 hrs. and 30 min. Open Ended Run

Credits Book, music and lyrics by Dave Malloy; Directed by Rachel Chavkin

Cast Josh Groban (thru 7/2), Denée Benton, Dave Malloy (on select performances 5/4-6/27), Okieriete Onaodowan (starting 7/3), Brittain Ashford, Gelsey Bell, Nicholas Belton, Nick Choksi, Amber Gray, Grace McLean, Paul Pinto, Scott Stangland, Lucas Steele, Sumayya Ali, Courtney Bassett, Josh Canfield, Ken Clark, Erica Dorfler, Lulu Fall, Ashley Pérez Flanagan, Paloma Garcia-Lee, Nick Gaswirth, Alex Gibson, Billy Joe Kiessling, Mary Spencer Knapp, Reed Luplau, Brandt Martinez, Andrew Mayer, Azudi Onyejekwe, Pearl Rhein, Heath Saunders, Ani Taj, Cathryn Wake, Katrina Yaukey and Lauren Zakrin

3 WAYS TO PURCHASE TICKETS

BOX OFFICE HOURS: MON – SAT, 10AM – 8PM SUN, 12PM – 6PM

RUSH POLICY

A LIMITED NUMBER OF $39 RUSH TICKETS WILL BE AVAILABLE FOR PURCHASE IN PERSON AT THE IMPERIAL THEATRE BOX OFFICE AT 10AM (12PM ON SUNDAYS) ON THE DAY OF THE PERFORMANCE. LIMIT OF TWO TICKETS PER PERSON. SUBJECT TO AVAILABILITY. CASH AND MAJOR CREDIT CARDS ACCEPTED. SEATING LOCATIONS WILL BE AT THE DISCRETION OF THE BOX OFFICE.


PRESS RELEASE: THE VIEW UPSTAIRS

 FOR IMMEDIATE RELEASE
Press Contact: Dan Fortune / dan@fortunecreative.com

INVISIBLE WALL PRODUCTIONS

PRESENTS THE NEW OFF-BROADWAY MUSICAL

“THE VIEW UPSTAIRS”


WRITTEN BY MAX VERNON

DIRECTED BY SCOTT EBERSOLD

CHOREOGRAPHED BY AL BLACKSTONE

PREVIEWS BEGIN FEBRUARY 15, …OPENING FEBRUARY 28

THE LYNN REDGRAVE THEATER AT CULTURE PROJECT

FEATURING

JEREMY POPE, TAYLOR FREY,
NATHAN LEE GRAHAM,

FRENCHIE DAVIS, BENJAMIN HOWES,
MICHAEL LONGORIA, 

BEN MAYNE, NANCY TICOTIN & RANDY REDD

New York, NY (2/15/2017) – Invisible Wall Productions has announced that The View UpStairs –theprovocative new musical written by Max Vernon, directed by Scott Ebersoldand choreographed by Al Blackstone – will start previews tonight, Wednesday, February 15, for its an Off-Broadway run at The Lynn Redgrave Theater at Culture Project (45 Bleecker Street). James Dobinson serves as Music Supervisor and Orchestrator. Opening night is Tuesday, February 28 and the production runs through Sunday, May 21. Tickets are now on sale atwww.TheViewUpStairs.com.

The View UpStairspulls you inside the UpStairs Lounge, a vibrant ‘70s gay bar in the French Quarter of New Orleans. This forgotten community comes to life in all its gritty, glam rock glory when a young fashion designer from 2017 buys the abandoned space, setting off an exhilarating journey of seduction and self-exploration that spans two generations of queer history. Inspired by one of the most significant yet all-but-ignored attacks against the LGBTQ community, The View UpStairsexamines what has been gained and lost in the fight for equality, and how the past can help guide all of us through an uncertain future.

The cast of The View UpStairsfeatures Jeremy Pope (Invisible Thread, Choir Boy) as Wes, Taylor Frey (How to Succeed…,South Pacific) as Patrick, Nathan Lee Graham (Priscilla Queen of the Desert, Zoolander) as Willie, Frenchie Davis (Rent, “The Voice”) as Henri, Benjamin Howes (Scandalous, Mary Poppins) as Richard, Michael Longoria (Jersey Boys, Hairspray) as Freddy, Ben Mayne as Dale, Nancy Ticotin(Gotta Dance, Bernarda Alba) as Inez, Randy Redd (Million Dollar Quartet, Ring of Fire) as Buddy, in addition to Richard E. Waits, Anthony Alfaro and April Ortiz.

Through its developmental history, selections from The View UpStairshave been performed at New York Stage and Film, Joe’s Pub, Goodspeed Opera House, NYU, The Living Room, Two River Theater, The Dramatist Guild, Pride Films and Plays and the Rhinebeck Writers Retreat. A concert version was presented at Rattlestick Playwrights Theater in July to raise money for Equality Florida to benefit the victims of Pulse Orlando.

The View UpStairswill be performed on Tuesday, Wednesday and Thursday at 7:00 PM, Friday at 6:30 PM and 10:00 PM, Saturday at 6:00 PM and 10:00 PM and Sunday at 6:00 PM. The show is at TheLynn Redgrave Theater at Culture Project (45 Bleecker Street, New York, NY 10012). Tickets, which are available at www.TheViewUpStairs.com, are $45-90. Student Rush tickets are available at the Box Office one our prior to curtain for $35 (cash only).

www.TheViewUpStairs.com

 MAX VERNON (Composer/Lyricist/Playwright) is a composer/lyricist, playwright and performer. His work has been performed and developed at Ars Nova, Actors Theatre of Louisville (Wondrous Strange, Humana Festival 2016), Lincoln Center (LC Originals), Keen Company, Disney Creative Entertainment, Berkeley Rep, TheatreWorks Silicon Valley, Naked Angels, New Dramatists, Two River Theater (NJ), Goodspeed Opera House, and Pride Films and Plays (Chicago) among others. He has received the Jonathan Larson Grant and JFund Award from the Jerome Foundation, NYFA Fellowship for Music, as well as New York Stage and Film’s Founders Award. He is a former Dramatist Guild Theatre Fellow, member of Ars Nova’s Uncharted and the Civilians’ R&D Group. Other residencies include Rhinebeck Writer’s Retreat, the Johnny Mercer Writers Colony, and Berkeley Rep’s Groundfloor. His musicals include The View UpStairs, KPOP, WIRED, 30 Million, Co-Op, Show & Tell, and Nincest (book and lyrics by Jen Silverman) MFA: NYU, Musical Theatre Writing. www.maxvernon.com

SCOTT EBERSOLD (Director) is a theatre director and was recently Artistic Associate of Off-Broadway’s Classic Stage Company where he directed Charles L. Mee’s trilogy Imperial Dreams as part of the First Look Festival. Other credits include: Tony Kushner’s A Bright Room Called Day (Columbia Stages), The Gifts of the Magi (Tilles Center for the Performing Arts), Children at Play by Jordan Seavey (The Advocate’s “Top 10 Gay Plays”), Elevation (Vineyard Arts Project), The Calmative based on the writings of Beckett and Nancy Cunard, Nerve by Adam Szymkowicz, Three Sisters and Baal and Orestes (Columbia University), NYMF’s Explorers concert (Signature Center), America, You Kill Me by Joshua Conkel, Paper Cranes by Kari Bentley-Quinn, Edgar and Patrick by Ken Urban, as well as the silent concerto (Outstanding Director, FringeNYC), the october crisis, marea (HERE), and expat/inferno (Best Production, FringeNYC) by Alejandro Morales. He assisted directors Tina Landau at Steppenwolf Theatre and John Doyle on the revival of Rodgers and Hammerstein’s Allegro at Classic Stage Company. He holds a BFA from NYU and an MFA in Theatre Directing from Columbia University. www.scottebersold.com

AL BLACKSTONE (Choreography) is a New York City based director, choreographer, and educator and the recipient of the 2011 Capezio A.C.E. Award for Choreographic Excellence. Dance Magazine has called his work “sweet, silly, sly… infectious.” While working mostly in musical theatre, his passion for contemporary and jazz dance enriches his unique approach to storytelling. In June of 2016 he directed, choreographed, and wrote the original dance narrative Freddie Falls In Love at the Signature Theater (NYC). It was his second full-length work since Happy We’ll Be premiered at the legendary Roseland Ballroom in July 2012. Al has created new work for “So You Think You Can Dance” (Season 12), The Fire Island Dance Festival, Broadway Bares, Dancers Responding to Aids, BC BEAT, Pace University, University of the Arts, Juilliard, and Marymount Manhattan College. Additional credits include Oklahoma! (Music Theater of Wichita), Crazy In Love (a new musical by Kooman and Dimond), Born To Dance (Princess Cruise Lines), and the opening numbers for BCEFA’s Easter Bonnet(2013/14) and Gypsy of the Year (2015). As an Associate Choreographer Al has worked alongside the great Sonya Tayeh on The Last Goodbye (The Old Globe), Kung Fu (Signature Theatre, NYC), Head Over Heels (Oregon Shakespeare Festival), and The Wild Party (City Center). He is the director of Marquee at Dancerpalooza and is currently on faculty at the Broadway Dance Center and STEPS on Broadway in NYC. He tours with JUMP Dance Convention and loves coffee and old-fashioned jukeboxes.

JAMES DOBINSON (Music Supervisor and Orchestrator) is a New York-based, Australian-born musical director and performer. New York: Clinton (MD/Arrangements), Gods & Kings (Music Supervisor), Fancy Nancy (MD), ‘Til Divorce Do Us Part (Keyboards), Mann…and Wife in Concert (MD). National Tour: Guys And Dolls 2015 Tour (Orchestrations). Australia: Moonshadow (Associate Conductor, original company), Dumped (MD, original company), Carols In The City (Orchestrations, Assistant MD, 2011-2013 TV Broadcasts), Often I Find That I Am Naked (MD/Arrangements, original company) and many more. Regional: Mann… and Wife (MD, original company), Shrek, Hairspray, Spring Awakening, White Christmas. Cast Recordings: Clinton, Fancy Nancy.

INVISIBLE WALL PRODUCTIONS is the Tony-nominated production company. It was a co-producer on the recent Spring Awakening revival (Tony nom.), an associate producer for The Visit (Tony nom.), and a co- producer on Clinton, The Musical.

www.invisiblewallproductions.com

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Dan Fortune
FORTUNE CREATIVE
214 West 50th Street, Suite 201
New York, NY 10019
917.608.1309

PRESS RELEASE: THE NEW YORK PREMIERE OF HARAM! IRAN!


For immediate release, please
Contact:
Richard Kornberg & Associates (212) 944-9444
Richard Kornberg / Thomas Raynor
Richard@kornbergpr.com / Thomas@kornbergpr.com

CREATIVE CONCEPT PRODUCTIONS & RED SPEAR

PRESENT

THE NEW YORK PREMIERE OF

HARAM! IRAN!

A Hard Look at Homosexuality & Islam
 A New Play by Jay Paul Deratany

Directed by Rick Leidenfrost-Wilson

PLAYING A STRICTLY LIMITED
NINE PERFORMANCE ENGAGEMENT

TADA!
(15 West 28th Street)

 After successful engagements in London and at Los Angeles’s Celebration Theater, Creative Concept Productions is pleased to announce that Haram!Iran!, a new play by Jay Paul Deratany, will make its New York premiere in a strictly limited nine performance engagement at TADA! (15 West 28th Street) beginning March 3, 2017.

Nominated for a GLAAD Award for its Los Angeles engagement, Haram! Iran!is based on the true story of the trial of two Iranian teenagers in Mashad, Iran in 2005. Fifteen and coming of age, Mahmoud Asgari and AyazMarhounitruggle with their identities –not only as minority Arab Iranians, but as typical teenagers longing to discover their place in the world.When an innocent moment between two friends is misconstrued, the hardline Iranian justice system takes over.

The cast of Haram! Iran! is led by NaamaPotok, whose credits include My Name is Asher Lev, based on her father, Chaim Potok’s best-selling book of the same title. Playing her son is Roberto Tolentino, a California born actor who is currently an MFA candidate at Columbia University. Completing the circle is Rahul Rai, best known for the filmWhen Harry Ties to Marry, and who attained his martial arts black-belt at age 13. They are joined on stage by Sahar Bibiyan, KalMansoor, Colin Mulligan, Russel Jordan and ThamerJendoubi, all under the direction of Rick Leidenfrost-Wilson.

Performances of Haram! Iran! will take place at TADA! (located at 15 West 28th Street) according to the following schedule: Friday, March 3, 10 & 17 at 9pm; Saturday, March 4, 11 & 18 at 7pm; and Sunday, March 5, 12 & 19 at 2pm. Tickets are $20 each and can be purchased online at http://www.brownpapertickets.com/event/2828302

For more information about Haram! Iran! please visit www.haramiran.org

BIOGRAPHIES

Jay Paul Deratany (Playwright) is a writer and actor (SAG) who recently obtained his MFA from the University of California Riverside for Screenwriting. He has written several plays including “Haram Iran” which has been produced in Chicago, Los Angeles, and soon London. Haram Iran was nominated for a GLAAD award for best theatrical play of 2011, and Jay Paul received a grant from the London Arts Counsel to further develop the play for London audiences. In addition, Jay Paul has written “Lincolns Dilemma” a novel; multiple articles advocating for human rights and is a well-known human rights lawyer in Chicago. In 2008,Permoveo Productions was incorporated to serve as Jay Paul’s production company

Sahar Bibiyan is thrilled to be making her debut with Emerging Artist Theatre. Sahar’s recent credits include “Chicago Justice,” “ Mr Robot,” “ Price For Freedom” and “A Persian Affair.” Sahar is honored to be a part of Haram Iran and hopes that it will raise awareness for the rights of all people in her beautiful country of Iran.

ThamerJendoubiis a (native) New York based actor, making his off-Broadway debut in Haram! Iran!  He’s thrilled to be back working on this exciting and important project after taking part in the staged reading last October. He received his training at the Maggie Flanigan Studio and earned his MA in Acting from the Bristol Old Vic Theatre School in the United Kingdom.

 Russell Jordan is a New York Innovative Theatre Awards nominee and a two-time Planet Connections Theatre Festivity outstanding actor award recipient. He is an adjunct lecturer at York College of The City University of New York, where he teaches PERFORMANCE FOR TELEVISION.

 KalMansoorhas worked extensively in television and theatre in London, Paris, Los Angeles and New York, primarily in comedy. He also has a degree in French language and European politics and turned down a career with the European Union to focus on acting. Most of his work can be seen on his Funny Or Die channel

 Colin Mulligan was born in St Louis, where he performed regularly in youth productions. After earning his MA, Colin moved east to begin a twelve-year teaching career. In 2011, as he entered the world of professional modeling, Colin also returned to the stage in Shirin Nashat’s off-Broadway show, ‘Overruled.’ Colin is represented by Wilhelmina models. He and his wife Masha live in NYC and Los Angeles.

 NaamaPotok. Credits include Rivkeh Lev in My Name is Asher Lev (FST, Penguin Rep, Westside Theatre), Christine in Two Mothers at A Roadside Cafe (Schreiber Shorts), Eileen Rafferty in Slides (WTF dir. Geraldine Fitzgerald), Scheherazade in Arabian Nights (dir. Mary Zimmerman), Greek Princess in Mirror of the Invisible World (Goodman Theatre), Katherine in Henry IV,  and Manke in God of Vengeance (A Contemporary Theatre). Film credits: Christie, Waiting for Marilon Cotillard(Mediane-Art &Communication); The Chosen (20th Century Fox); Carol, Reindeer Games.

 Rahul Rai is an actor that spends his time between NY and LA. While Rahul spends most of his time honing his craft in acting and dance, he also finds time for his other passions, martial arts and philosophy.  He trained in Tang Soo Do, a Korean-based martial arts made famous by Chuck Norris, and at the age of 13 attained his black belt.  Most recently he started training in JeetKune Do, a martial art created by the one and only Bruce Lee.  

 Roberto Tolentino is a California born actor who recently moved to NYC after graduating from UC Santa Barbara with a degree in Biology and a BFA in acting. He is currently an MFA candidate at Columbia University. He is thrilled to have the chance to work on this wonderful play with extraordinary people. He’d like to thank his mother, his professors and classmates, and the girl in his life with the cold toes.

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PRESS RELEASE: MCP ANNOUNCES CREATIVE TEAM FOR 25TH ANNIVERSARY CONCERT PERFORMANCE OF ‘CRAZY FOR YOU’

PRESS RELEASE
For inquiries, please contact:
Christine Rosenblatt, Marketing Coordinator
crosenblatt@mcp.us; 212-279-1147

MANHATTAN CONCERT PRODUCTIONS ANNOUNCES
COMPLETE CREATIVE TEAM FOR 25TH ANNIVERSARY
CONCERT PERFORMANCE OF ‘CRAZY FOR YOU’

New York, N.Y., February 6, 2017 – Manhattan Concert Productions (MCP) is proud to announce the following creative team for the 25th Anniversary concert performance of Gershwin’s Tony Award-winning musical comedy Crazy for You, on February 19, 2017 at 8:00 p.m. at David Geffen Hall, Lincoln Center. Five-time Tony Award winner Susan Stroman, original choreographer, returns to now direct and choreograph the 25th Anniversary concert performance of Crazy for You alongside Broadway veteran Kevin Stites, who serves as Music Director and Conductor.

Susan Stroman, Director, Original Broadway Choreography
Kevin Stites, Music Director, Conductor
Beowulf Boritt, Set Designer
Jason Lyons, Lighting Designer
Peter Hylenski, Sound Designer
Chris Pantuso, Props Coordinator
Sarah Cubbage, Costume Coordinator
Rolt Smith, Production Stage Manager
Shannon Hammons, Associate Stage Manager
Jeff Whiting, Associate Director
Angelique Ilo, Associate Choreographer
Stacey Todd Holt, Assistant Choreographer
Greg Jarrett, Associate Music Director
Justin Stasiw, Associate Sound Designer
Simon Matthews, Production Sound Engineer
Paul Huntley, Associate Costume Coordinator
Tara Rubin Casting, Casting
Jeff Wild, Production Manager

In addition to Stroman’s choreography from the original production, this performance features a stunning Broadway and television cast, creative team, a chorus of 240 singers from across the United States and the enlarged forces of the New York City Chamber Orchestra.

The full cast includes: Rachel Bloom (Irene Roth), Rachel Dratch (Patricia Fodor), Harry Groener (Bela Zangler), Mark Linn-Baker (Everett Baker), Jack McBrayer (Eugene Fodor), Jerry O’Connell (Lank Hawkins), Nancy Opel (Lottie Child), Laura Osnes (Polly Baker), Tony Yazbeck (Bobby Child), Michael Biren (Billy), Jim Borstelmann (Custus), Christine Cornish Smith (Louise), Jeremy Davis (Sam), Jerry Gallagher (Moose), Anne Horak (Patsy), Rashaan James II (Junior), Naomi Kakuk (Vera), Amanda Kloots (Vera), Chris LeBeau (Jimmy), Alicia Lundgren (Mitzi), Brittany Marcin Maschmeyer (Elaine), Kaylee Olson (Sheila), Eric Santagata (Mingo), Angie Schworer (Tess), Victor Wisehart (Wyatt).

With music and lyrics by George Gershwin and Ira Gershwin, and book by Ken Ludwig, Crazy for You is based on the Gershwin brothers’ 1930 musical Girl Crazy, incorporating songs from several other productions as well. The story follows Bobby Child (Yazbeck), a banker who dreams of dancing for Zangler’s (Groener) Follies, the most popular show in New York City. After a failed audition, his mother sends him to Deadrock, Nevada to foreclose on a rundown theater. There he meets Polly Baker (Osnes), who, unbeknownst to him, is the daughter of the theater’s owner.  Bobby falls in love with her instantly and hatches a plan to save the theater.

Following the success of The Secret Garden in 2016, Crazy for You marks the fifth installment of Manhattan Concert Productions’ critically acclaimed Broadway Series that has also included Parade, Titanic, and Ragtime.

Tickets, starting at $75, are currently on sale and may be purchased by visiting www.mcp.us; www.lincolncenter.org; calling CenterCharge (212) 721-6500; or visiting the David Geffen Hall box office at 10 Lincoln Center Plaza (Columbus Avenue at 65th Street)

ABOUT MANHATTAN CONCERT PRODUCTIONS

Manhattan Concert Productions (MCP) is an esteemed production company in its 18th season. MCP has provided opportunity to thousands of musicians in choirs, bands, and orchestras that have performed at famous venues throughout the United States and many countries abroad. Additionally, MCP regularly features the work of professional singers, actors, instrumentalists, conductors and composers. The guest musicians of the Crazy for You chorus will spend five days in New York City rehearsing and performing side-by-side with the professional principal cast and crew as part of Manhattan Concert Productions’ continuing mission of student and professional collaboration. Visit www.mcp.us to learn more.

The worldwide copyrights in the music of George and Ira Gershwin® for this presentation are licensed by the Gershwin Family. Crazy For You®, The New Gershwin® Musical is presented by arrangement with TAMS-WITMARK MUSIC LIBRARY, INC. 560 Lexington Avenue, New York, New York 10022. GERSHWIN is a registered trademark and service mark of Gershwin Enterprises. CRAZY FOR YOU is a registered trademark and service mark of Crazy For You Enterprises.

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CHRISTINE ROSENBLATT
MANHATTAN CONCERT PRODUCTIONS
Marketing Coordinator
Soprano, Manhattan Chorale
236 W. 30th Street, FL 3 | New York, NY 10001
t: 212.279.1147 x23   f: 212.279.1145   e: crosenblatt@mcp.us