All posts by Elli The King of Broadway

GUEST REVIEWER: THE PIRATES OF PENZANCE or, The Slave of Duty! At the Kaye Playhouse

This latest limited run of THE PIRATES OF PENZANCE had its final Performance on December 30, 2018.

NYGASP’s next New York production will take place March 1 through March 3, 2019, Ô of a double bill of one act operettas: AGES AGO written in 1869 by Sir. W.S. Gilbert and Mr. Frederic Clay and the 1893 Savoy Comic Opera, MR. JERICO by Messrs. Harry Greenbank and Ernest Ford.

Classical Comedy is Serious Business.
A review of the New York Gilbert and Sullivan Players’ (NYGASP) revival of
THE PIRATES OF PENZANCE or, The Slave of Duty
At the Kaye Playhouse
December 29, 2018
by Moshe Bloxenheim, Guest Reviewer

It is a tribute to their dual devotion to the Savoy Operas and the art of stagecraft that The New York Gilbert and Sullivan Players manage to come across as fresh and vibrant in their latest production of the 1879 classic THE PIRATES OF PENZANCE. While NYGASP sticks close to the classic idea of the production (with its double edged sword of “Traditional Performance”) they mine the original material for its inherent humor and entertainment value as if it were the latest new minted show.

Sir W.S. Gilbert’s plot for THE PIRATES OF PENZANCE takes on the obligations of Duty (with a capital “D”) and runs amok with it. Due to a misunderstanding, Frederic had been signed on as a Pirate Apprentice by his nursemaid Ruth until he reached his 21st year. At that point Frederic announces his intention not merely to leave Piracy, but to follow his Duty (capitalized “D”) and destroy his mentors – an engagingly loopy band of cutthroats who cannot bring themselves to harm any orphan and who are now making a poor living in a world where ALL their possible victims claim to be orphans. Leaving with the good wishes of his former guardians, Frederic – having never met any other women at sea – questions Ruth on whether she will be an ideal woman for him. Ruth’s assurances are wasted when her former charge discovers the pretty young daughters of Major-General Stanley. Angrily sending Ruth away, Frederic tries to win over one of the charming young ladies only to have them all spurn him except for the dazzling Mabel. The ensuing highly musical moment of joy, love and chaperonage is interrupted by the returning Pirates who seize the entire group. Just as the Pirates are about carry these well-bred ladies off and – horror of horrors! – marry them, Major General Stanley arrives and uses his ingenuity to prevent such a rash act of mass matrimony. Soon Frederic joins up with the rather timid local Constabulary with the aim of eliminating the Pirates. All seems to be going Frederic’s way when the Pirate King and Ruth drop in and reveal a technicality in our heroes terms of Apprenticeship that plays upon Frederic’s sense of Duty (with the same capital “D”) and gets him back in their power.

Remember though – this is a COMIC Opera – and though there may be the threat of lovers parted for years and a dire pirate vengeance, all will end happily for everybody.

Sir Arthur Sullivan’s music is first rate – especially when one realizes that he had left his original work at home in London and had to recompose most of the score for the world premiere in New York City – and he and Sir W.S. Gilbert show their brilliant range from the lush and rollicking piratical “Oh, Better Far to Live and Die” to the sly excesses of Frederic’s “Oh, Is There Not One Maiden Breast” and Mabel’s operatic “Poor Wandering One”. Composer and Librettist fully understand that songs on their own can be funny, sad or romantic but they also prove themselves experts in the wit of context; such as the Major General’s hilariously pastoral “Sighing Softly to The River” while surrounded by hidden pirates and policemen in Act Two.

The cast consisting of pirates, policemen, daughters, nursemaid and Major General are marvelous with never a false step. They are all personalities, not merely mobile stage settings or musical window dressing.

In appearance and vocal abilities, Mr. Carter Lynch is as dreamy a Frederic as any Mabel could wish for. An excellent actor, Mr. Lynch truly grasps the humor of his role and never loses sincerity no matter what naiveté or extreme idealism Frederic must exhibit.

The attractive Ms. Kate Dixon is a perfect Mabel. A delight on the ear, she brings out the heroic and comic drama of operatic new love and matches Frederic with the earnestness of her feelings.

Mabel’s sisters are all appealing and whether they are celebrating the seaside or urging unwilling officers to “death and glory”, Mss. Hannah Holmes, Amy Maude-Helfer and Merrill Grant truly shine as the siblings Edith, Kate and Isabel.

Ruth’s attempts to keep Frederic for herself could possibly make her the villainess of THE PIRATES OF PENZANCE. Fortunately, Ms. Angela Christine Smith’s deft and comic portrayal of this nursemaid-turned-pirate shows her as an unsuccessful, yet highly likeable opportunist who is a joy to listen to.

Exhibiting pleasing vocal power together with a stylish sword wielding dignity, Mr. Matthew Wages cuts considerable dash as the Pirate King, making the most of his contradictory position of a truly nice man in a not so virtuous career.

The timid and nervous Sergeant of Police is another contrast of a man in an unlikely line of work. Mr. David Auxier makes him a memorable and downright hilarious character, exhibiting some highly amusing reactions and footwork.

As part of the excellent ensemble of policemen, Mr. Louis Dall’Ava has his own highly diverting moments as the one officer who does everything wrong even when he is in the right.

Mr. James Mills is downright endearing in the role of the Pirate Lieutenant, Samuel. His Samuel is the pirate who tries to keep things in some sort of order and even express unwelcome truths.

In the role of Major General Stanley, Mr. David Macaluso is a treat. Like his colleagues he never lets his portrayal slip no matter how absurd the situation: whether he is acting out the phrases of his classic introductory patter song, “I am The Very Model of a Modern Major General” or executing his fanciful Act Two pas-de-deux with pirates and policemen in attendance, Mr. Macaluso ensures that it is the Major General who is being sublimely silly, not he.

Conductor Albert Bergeret leads his admirable orchestra and singers with a masterful hand and, together with Mr. David Auxier, directs the show with a joyful zest. The two directors recognize that THE PIRATES OF PENZANCE is a cartoon, but they make sure to remind us what the show is parodying as well: villains and heroes who are more talk than action, overqualified incompetents, romantic idealists, and so on… This is what keeps a work that premiered nearly 140 years ago as present and successful as ever.

The choreography is part of the fun and Mr. Bill Fabris celebrates the moments and characters staging the Piratic horseplay, the schoolgirl glee of young ladies let loose on a seaside and the musical theater riff that is slipped into “With Cat-Like Tread” in Act Two. Whether staging ensemble pieces or the more intimate numbers, like Mabel and Frederic’s “Stay Frederic, Stay,” Mr. Fabris shows a skilled touch.

Ms. Lou Anne Gilleland’s scenic designs of the seashore and the ruined chapel are fine settings and Ms. Gail J. Wofford and Mr. Quinto Ott’s costumes are quite picturesque as well, ranging from the eccentric garments of the pirates to the bouffantly bustled daughters of Major General Stanley. All are suitably lit by Mr. Benjamin Weill’s atmospheric lighting.

Rapidly paced shows always make me appreciate the efforts backstage and considering the rather frantic action of THE PIRATES OF PENZANCE, kudos must be given to Production Stage Manager, Joshua Strone and Assistant Stage Manager Annette Dieli who ensure an apparently seamless frenzy onstage.

People go to THE PIRATES OF PENZANCE expecting musical silliness and NYGASP ensures an abundance of merriment, but they also make you admire both the work that provides the amusement and the artistry needed to deliver it so successfully.

About the reviewer:
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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GUEST REVIEWER: “Stark and Shtark: A review of the National Yiddish Theatre Folksbiene Production of FIDDLER ON THE ROOF (in Yiddish)”

Stark and Shtark

A review of the
National Yiddish Theatre Folksbiene Production of
FIDDLER ON THE ROOF (in Yiddish)
At the Museum of Jewish Heritage

August 19, 2018
GUEST REVIEWER: Moshe Bloxenheim

Now, I am not a natural Yiddish Speaker by any means and I entered the theater to see this Yiddish Production of FIDDLER ON THE ROOF with the attitude of one who might be going in to see an opera in a familiar but foreign language. To my amazement the addition of Yiddish to FIDDLER ON THE ROOF did not alienate me, nor did it feel like a gimmick. While the use of Mr. Shraga Freidman’s Yiddish translation did not always have the flowing poetry of the English of Mr. Joseph Stein’s book and Mr. Sheldon Harnick’s lyrics, the language had its own particularly biting beauty to the ear. Even in Mr. Friedman’s Yiddish rendition, Mr. Sheldon Harnick’s words still flow with Mr. Jerry Bock’s music in a classic unity, from the buoyant introductory song “Traditsye” [Tradition] to the final mournful and ironic “Anatevke” [Anatevka].

The plot itself may be a simplified adaptation of Mr. Sholom Aleichem’s Tevye stories, but this Yiddish FIDDLER ON THE ROOF gives me the sense of an old sepia photograph taken to preserve a sense of place.

Within this picture, we behold 1905 Anatevka – a village on the Russian Pale of Settlement. Tevye, the poor yet philosophical dairyman, scratches out a meager living for himself and his wife Golde and their five daughters. When Tevye’s older daughters reach out beyond the safe and traditional futures that their parents had expected for them, it signals the beginning of changes that will eventually overturn the seemingly stable world of Anatevka.

A keen cast of performers populate this little Shtetl.

Mr. Steven Skybell splendidly imbues Tevye with the weariness of a man who can barely get by, but he also shows Tevye’s spirit: that wonderfully wry sense of humor and the deeply personal – if sometimes annoyed – relationship with G-d that makes him so moving. This Tevye clearly values the past but will do his best to adjust to the changes that will affect him and his family. What is more, is start turns such as “Ven Ikn Bin a Rothchild” [If I were A Rich Man], Mr. Skybell knows how to stay admirably and enjoyably in character.

As Tevye’s wife, Golde, Ms. Jennifer Babiak gives a good performance. She is indeed the careworn wife and mother who manages, but wants security for her daughters. Ms. Babiak is fine singing the soulful “Shabes Brokhe” [Sabbath Prayer] and she gets good laughs when she chides of Tevye or reacts to Yenta. But I did not feel that Ms. Babiak’s Golde was the most wifely counterbalance to Tevye.

On the other hand, Ms. Rachel Zatcoff truly makes Tsaytl her father’s child. She is willing to do her best to be a good daughter, but she cannot keep silent when she feels her own life will be thrown away. When Tsaytl speaks up for herself, Ms. Zatcoff lets us feel the desperation and thrill of her audacity.

Similarly, Tevye’s second daughter Hodl discovers that her own future runs contrary to Anatevka and family expectations. Ms. Stephanie Lynn Mason skillfully portrays Hodl’s development as she discovers love and sees that the world is more than just Anatevka. In “Vayt Fun Mayn Liber Haym” [Far From The Home I Love] Tevye’s second daughter is not merely singing about the sorrow of leaving all that she held dear for love. Instead, Ms. Mason makes it clear that Hodl is now paying the price of looking beyond herself.

The role of Khave is a role of little dialogue yet she is the daughter who brings Tevye and Golde’s world crashing down. It is amazing how Ms. Rosie Jo Neddy still gives us the full emotional impact Khava’s choosing a man outside her faith and how it would make her an outcast. Tevye’s heartbreaking song “Khavaleh” becomes all the more affecting due to Ms. Neddy’s beautiful dancing.

What about the men who have won Tevye’s daughters?

It is possible to make Motl Kamzoyl a nebbish’l but if the likable Mr. Ben Liebert shows us a Motl who is meek, his Motl is also clearly in love with Tsaytl and takes inspiration from her – even facing Tevye for Tsaytl’s hand against all hope.

Mr. Daniel Kahn gives us a principled Pertshik who is out to want to improve the world and who thinks a bit too highly of his own ideas, but Mr. Kahn’s Pertshik wins us over with his open appreciation of Hodl who easily brings him down to earth. When he sings “Itst Hob Ikh Di Gantse Velt” [Now I Have Everything] Pertshik is not only a man who has found love but also humanity.

Compared to Motl and Pertshik, the Russian, Fyedke, has little to say. Nevertheless, the attractive Mr. Cameron Johnson says it with an honest flair. Singing and dancing, Mr. Johnson takes a memorable moment in the spotlight in “Lekhayim” [L’Chayim, To Life].
In spite of Leyzer-Volf being wrong for Tsatyle, Mr. Bruce Sabath makes us sympathize with this lonely widower, and like him. Unsuitable as he might be, it is clear that Mr. Sabath’s Lazar-Volf would try hard to make Tsaytl happy. In addition, Messrs. Sabath and Skybell know how to make the best out of their character’s bickering.

Of course Ms. Jackie Hoffman’s Yente the Matchmaker has her own definite opinions regarding girls who find their own husbands. Here is a hilariously sublime and all-too recognizable noodge: She busily rises above her own lone status, ignoring defeat as she poses and answers all her own questions, pushes some surreal matches and outright steals the very scenery.

Another delightfully notable presence was the spectre of Leyzer-Volf’s first vife, Frume-Sore, enacted with wickedly melodramatic abandon by Ms. Jodi Snyder.

Mr. Adam B. Shapiro plays the Rabbi of Anatevka with a sweet and sad buffoonery of a man who had always been assured and comfortable in his position and is now trying to use the same formulas in the face of circumstances he had never conceived of.

Any actor taking on the role of Der Gradavoy [The Constable] has to portray a prejudiced man who can countenance the persecution of innocents by government ukase. Mr. Bobby Underwood understandably avoids the easy melodrama inherent the role, but I felt his understatement was more a case of playing it safe.

Ms. Lauren Jeanne Thomas is excellent playing the Fiddler of the title, punctuating the show with her musical presence.

The rest of the company are first-rate as well and all bring this isolated community to vivid life..

Director Joel Grey has an admirable trust in the material, deftly interweaving the comedy and drama, never allowing the action to flag for a second. Every person seems to have a story in this Anatevka, even if there is not time enough for them to tell it — this is an even more noteworthy achievement when you realize that several of the performers are working phonetically in an unfamiliar language.

Although Choreographer Staś Kmieć is clearly influenced by Mr. Jerome Robbin’s staging of the original Broadway production, he creates a remarkable spectacle that is surprising for such a small venue. Besides the dancing, Mr. Kmieć works ideally with Mr. Grey to set up both public and private moments in the life of the community.

The orchestra is ably led by Mr. Zalmen Mlotek using Mr. Larry Blank’s adaptation of Mr. Don Walker’s original orchestrations for Mr. Jerry Bock’s wonderful music. Mr. Mlotek and his players appear onstage, underlining the fact that they too are part of the proceedings and can comment on and underline the action without intruding. In addition, Director Gray and Conductor Mlotek know how give those performers who were not so comfortable in Yiddish an air of fluency that happily fools those of us who are also not that familiar with the “Mamaloshen” [Mother Tongue].

Mr. Beowulf Boritt’s stark scenic design with its paper and fabric hangings and basic props are a suitable canvas for Messrs. Grey and Kmieć to paint a picture of the past. Assisted most effectively by Mr. Peter Kaczowrowski’s lighting, Ms. Ann Hould-Ward’s costumes and the hair and wigs of Mr. Tom Watson, the performers vividly summon up the houses and streets of Anatevka on the deceptively simple set.

I am always surprised when a small theater needs amplification, but Mr. Dan Moses Schreier’s sound designs are suitably understated. (Finally, I realize how apt the name Schreier – which is Yiddish for “a shouter” – is for audio work).

In all, the Yiddish FIDDLER ON THE ROOF is an amazing production that gives far more to the audience than one might expect. Would it be as satisfactory in English? That is something to consider, but not too intently, since this Yiddish Language production is quite marvelous as it is.

Having finished the overall review, I would like to applaud Mr. Sheldon Harnick, the original lyricist of FIDDLER ON THE ROOF who prevented the present adaptation from replacing the word “Tradition” with “The Torah”. Understandably, this change promises a real dramatic kick to the play but I believe it would make the whole premise of FIDDLER ON THE ROOF ring false. “Tradition” implies rules based on societal norms and roles. “The Torah” deals with the religious belief that defines Tevye and his community not merely as residents of Anatevka with quaint customs but as Jews. In FIDDLER ON THE ROOF Tevye struggles to balance his understood position in Anatevka with the changes that are threatening tradition while trying to understand what G-d would want from him. Under “Tradition” Tevye can question and even adapt, but he does not defy G-d. If “The Torah” became the theme, then we would be seeing Tevye and his neighbors finally being evicted from Anatevka for the very religion that Tevye would have been discarding all along.

 

Fiddler on the Roof (in Yiddish)

DIRECTED BY JOEL GREY

July 4, 2018 – Oct. 25, 2018
at Museum of Jewish Heritage

 

 

or call 866-811-4111

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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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