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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: 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
PRESS RELEASE: STARS IN THE ALLEY SOCIAL MEDIA HOSTS ANNOUNCED!
FOR IMMEDIATE RELEASE
STARS IN THE ALLEY
SOCIAL MEDIA HOSTS ANNOUNCED!
ALEX BRIGHTMAN and SIERRA BOGGESS
@ABrightMonster @SierraBoggess
Currently starring in
SCHOOL OF ROCK – THE MUSICAL
TO BE SOCIAL MEDIA CORRESPONDENTS
AT THIS YEAR’S
#StarsInTheAlley
PRESENTED BY UNITED AIRLINES
IN LEGENDARY SHUBERT ALLEY
FRIDAY JUNE 3, 2016
12:30pm-2:30pm
RAIN OR SHINE!
Free Outdoor Broadway Concert
Featuring Musical Performances and Appearances
From Over 30 Broadway Shows!
PRODUCED BY THE BROADWAY LEAGUE
SPONSORED BY UNITED AIRLINES
New York, NY – (May 19, 2016) – 2016 Tony Award Nominee Alex Brightman and his School of Rock The Musical co-star, Sierra Boggess, have been named social media correspondents for the 2016 STARS IN THE ALLEY concert, presented by United Airlines. The pair will post on social media throughout the event, keeping fans up-to-date on all of the action behind the scenes and on stage.
Stars in the Alley will be hosted by Sean Hayes and Mo Rocca. Sean Hayes will be starring in Broadway’s An Act of God and was nominated for a Tony Award for his performance in Promises, Promises and Mo Rocca is a Correspondent for CBS Sunday Morning and appeared on Broadway in the 25th Annual Putnam County Spelling Bee.
Stars in the Alley will take place on Friday, June 3rd from 12:30pm-2:30pm in Shubert Alley, between Broadway and 8th Avenue and 44th and 45th Streets. To add to the festivities leading up to the Tony Awards, the free outdoor concert in the heart of the Theatre District will celebrate Broadway with star appearances and exciting performances from over 30 new shows and long-running favorites, accompanied by a 12-piece live orchestra.
“Alex Brightman and Sierra Boggess are a dynamic pair on stage and they know how to engage fans in a fun and exciting way. We can’t wait to have them rock out as our social media correspondents!” says Charlotte St. Martin, President of the Broadway League. “Stars in the Alley is a celebration of the amazing Broadway season and we invite fans to join us in the festivities, counting down to the eagerly anticipated Tony Awards ceremony on June 12th.”
“I’m so excited to serve as co-social ambassador alongside my School of Rock co-star Sierra Boggess at Broadway’s best block party – Stars in the Alley! The next best thing to rocking out at a free outdoor concert is following along with us online. Looking forward to see you there, one way or another!” says Alex Brightman.
“I’m honored to be the social media correspondent this year at Stars in the Alley alongside my incredible co-star Alex Brightman,” said Sierra Boggess. “This is one of my favorite Broadway events of the year, and I’m thrilled to be a part of this special free concert!”
“United Airlines is proud to be the official airline of the Broadway League and the presenting sponsor of Stars in the Alley. This celebration adds to the festivities leading up to the 2016 Tony Awards by bringing the excitement of the year’s memorable shows and incredibly talented performers to the iconic Shubert Alley in New York City for everyone to enjoy,” says Mark Krolick, Managing Director, United Airlines
“Stars in the Alley showcases the excitement of musical theatre and the vibrancy of Times Square all at once. The opportunity to help bring great live music that is free to the public is the primary goal of the MPTF,” says Dan Beck Trustee, Music Performance Trust Fund.
Follow Alex and Sierra:
@ABrightMonster & @SierraBoggess on Twitter
@ABrightMonster & @OfficialSierraBoggess on Instagram
Alex Brightman received a 2016 Tony nomination for his uproarious role as Dewey in School of Rock-The Musical on Broadway. His other Broadway credits include Big Fish, Matilda, Wicked and Glory Days. As a writer, he has penned Make Me Bad (music & lyrics by Drew Gasparini), Everything In Its Place: The Life and Slimes of Marc Summers, and The Whipping Boy (music & co-lyrics by Drew Gasparini), an upcoming musical adaptation of the award-winning novel.
Sierra Boggess currently stars in Andrew Lloyd Webber’s School of Rock—The Musical. Sierra made her Broadway debut originating the role of Ariel in The Little Mermaid, for which her performance received both a Drama Desk and Drama League Nomination for Outstanding Actress in a Musical, as well as Broadway.com Audience Award for Favorite Female Breakthrough Performance. Sierra has also starred as Christine Daae in the critically acclaimed sequel to The Phantom of the Opera, Love Never Dies, for which she received an Olivier Award Nomination for Best Actress in a Musical for her performance. Sierra later returned to the role of Christine for the The Phantom of the Opera’s 25th anniversary limited six-week engagement in 2013, rejoining the Broadway company a year later again as Christine. Her other credits include It Shoulda Been You, Master Class, and most recently, she starred in Lincoln Center’s two night, 25th anniversary concert event of The Secret Garden; her other West End credits include Les Misérables.
Stars in the Alley information can be found at Broadway.org.
The American Theatre Wing’s 70th Annual Tony Awards® will air on the CBS Television Network on Sunday, June 12, 2016 (8:00-11:00 PM, ET/delayed PT) live from the Beacon Theatre in New York City, hosted by Tony Award-winner James Corden. The Tony Awards, which honors theatre professionals for distinguished achievement on Broadway, has been broadcast on CBS since 1978. The Tony Awards are presented by The Broadway League and the American Theatre Wing.
For more information on the Tony Awards, visit TonyAwards.com and Facebook.com/TheTonyAwards and follow @TheTonyAwards on Instagram and Twitter.
The event is produced by The Broadway League. United Airlines is the title sponsor of Stars in the Alley® and is the official airline of The Broadway League and the Tony Awards. Live music sponsored by The Recording Industry’s Music Performance Trust Fund and Film Funds. The official hospitality partner is Junior’s Restaurant. The official media partner is The New York Times. Additional support is provided by The Shubert Organization and SL Green Realty Corporation.
# # #
UNITED AIRLINES and United Express operate an average of nearly 5,000 flights a day to 342 airports across six continents. In 2015, United and United Express operated nearly two million flights carrying 140 million customers. United is proud to have the world’s most comprehensive route network, including U.S. mainland hubs in Chicago, Denver, Houston, Los Angeles, New York/Newark, San Francisco and Washington, D.C. United operates more than 700 mainline aircraft, and this year, the airline anticipates taking delivery of 20 new Boeing aircraft, including 737 NGs, 787s and 777s. The airline is a founding member of Star Alliance, which provides service to 192 countries via 28 member airlines. Approximately 84,000 United employees reside in every U.S. state and in countries around the world. For more information, visit united.com, follow @United on Twitter or connect on Facebook. The common stock of United’s parent, United Continental Holdings, Inc., is traded on the NYSE under the symbol UAL.
THE MUSIC PERFORMANCE TRUST FUND (MPTF) was established in 1948 as a nonprofit independent public service organization whose mission includes contributing to the public knowledge and appreciation of music, as well as making music a part of every child’s life experience. Headquartered in New York City, the tax-exempt MPTF, operating under section 501(c) 3 of the Internal Revenue Code, evolved from a landmark collective bargaining agreement between the American Federation of Musicians and the major recording companies of the day. Today the MPTF is a vital organization that brings music to the public and supplements the income of musicians, all at no cost to those receiving this precious gift of music.
THE BROADWAY LEAGUE (Charlotte St. Martin, President), founded in 1930, is the national trade association for the Broadway industry. The League’s 700-plus members include theatre owners and operators, producers, presenters, and general managers who present in nearly 200 markets in North America. Each year, League members bring Broadway to nearly 30 million people in New York and on tour across the U.S. and Canada. The Broadway League annually co-presents the Antoinette Perry “Tony” Awards®, one of the most coveted awards in the entertainment industry. Key League programs and resources include: Kids’ Night on Broadway®, The National High School Musical Theatre Awards (The Jimmys), Stars in the Alley®, Internet Broadway Database® (ibdb.com), Broadway.org, SpotlightonBroadway.com, Commercial Theater Institute (with Theatre Development Fund), as well as numerous conferences and forums for our members. TheatreAccessNYC (co-produced with TDF) is the one-stop website of accessible Broadway performances for theatregoers with disabilities. Broadway.org is the League’s official on-line headquarters for Broadway in NYC, on tour, and internationally. For more information visit BroadwayLeague.com, or follow The Broadway League on Twitter @TheBwayLeague and on Facebook at Facebook.com/BroadwayLeague. Download the free Broadway.org and IBDB mobile apps from the iTunes App Store or Google Play.
Press Contacts:
Elisa Shevitz, eshevitz@broadway.org, 212 703 0225
Martine Sainvil, msainvil@broadway.org, 212 703 0231
GUEST REVIEWER: Encores! Concert staging of CABIN IN THE SKY
Devil may care.
A review of Encores! concert staging of
at New York City Center
February 11, 2016
CABIN IN THE SKY is one of those battles between the Heavenly and Hellish forces over a soul – that of the hapless Little Joe to be specific – that encourage the spectators to root for the good and grand even if there seems to be much more entertainment in the bad and brassy. To be fair, both sides are blessed with the marvelous music by Mr. Vernon Duke and the fine lyrics of Mr. John Latouche as well as some eye-catching choreography inspired by Mr. George Balanchine’s work for the original production, but even at its most buoyant moments, CABIN IN THE SKY’s Virtue always has a whiff of smug schoolroom morality. I can’t say if this was inherent in Mr. Lynn Root’s original book for the show or the result of Messrs. Ruben Santiago-Hudson and Jack Viertel’s concert adaptation for Encores! but no one is exactly at the edge of their seat rooting for Righteousness. Especially since the Devil has the charm, the campier lines and most of the best dance numbers.
Nevertheless, the cast of CABIN IN THE SKY provides some very winning performances that often transcend the limitations and triteness of the material.
Mr. Chuck Cooper is a petulant delight playing the Head Man: a son of the Devil who is trying to “make good” in his Poppa’s business by getting Little Joe’s soul. While his satanic efforts may not exactly breed success, they are always diverting and earn well deserved applause. Musically as well, Mr. Cooper never flags, and his rendition of “Do What You Wanna Do” backed up by his superb assistants in evil – Ms. Tiffany Mann and Messrs. Dennis Stowe and André Garner – is a veritable crowd pleaser.
On the other side of the scale, Mr. Norm Lewis makes a gratifyingly caring Lord’s General, earnestly fighting for good but with a level of amusement that keeps him from being a cardboard seraph. The problem is, that even while the Lord’s General is trying to help Petunia and Little Joe, the best argument he can offer up is the very engaging but still tame “It’s Not So Bad to Be Good.” Not exactly heady stuff for Little Joe after the production numbers that the Head Man brings onstage. Basically Mr. Lewis’ Lord’s General and his angels – played by the worthy Ms. Kristolyn Lloyd and Messrs. Jared Joseph and Nicholas Ward – are the sort of beings you would bring home to impress your folks, whereas Saturday night is more entertaining in Mr. Cooper’s diabolically fun company.
As for the object of Good and Bad’s dispute. Little Joe is a schmo, yet, we don’t wonder why Petunia bothers with him, because Mr. Michael Potts makes Little Joe Jackson a likeable and sympathetic hero. Indeed, Mr. Potts makes even Little Joe’s enjoyment of his newly virtuous life believable. His playfulness when singing “In My Old Virginia Home (On the River Nile)” with Petunia makes us fully appreciate why his wife has been fighting for him when she obviously can do better.
Of course, there is nothing like another woman to mess things up for a man and Georgia Brown – as played by the talented Ms. Carly Hughes – is perfect for the job. Georgia Brown is one of those terribly attractive and self-assured ladies who is perplexed when she cannot get what she wants – such as Little Joe. Ms. Hughes gives her pursuit of Little Joe a good dash of humor as well as spice, and plays off Mr. Michael Potts most effectively.
Fighting to save her man from Hell is Little Joe’s devoted wife Petunia. By rights, this lady should be a romantic doormat, but the admirable actress billed as “LaChanze” creates a plausible woman with backbone who can see the good in her husband and lovingly draw it out. This heroine is both a worthy wife and darned good company who easily captivates the audience with numbers like “Taking a Chance on Love.” When it appears that she has reached the last straw, Ms. LaChanze’s Petunia changes dramatically into a woman who can best even the worldly Georgia Brown and bring down the house with the impressively sung number “Savannah”
The rest of the company is truly first-rate and deliver many high points in the show, most memorably the wonderful and boisterous “Dry Bones” which in itself is worth the price of admission.
Director Ruben Santiago-Hudson creates many memorable moments in the action of CABIN IN THE SKY but while I was entertained and interested, I was never really gripped by the sometime sitcom setup of the story (which Mr. Santiago Hudson also had a hand in). There is unevenness in the narrative that saps some of the drama out of the twists in the plot.
On the other hand, Ms. Camile A. Brown’s choreography provides impressive pieces of dance and movement. But at times certain numbers seem to get lost in a sort of Balanchine recital mode that merely extends the performances instead of enhancing the songs or adding to the story.
Musically the Encores! Orchestra conducted by Mr. Rob Berman is superb and Mr. Jonathan Tunick’s orchestrations of Mr. Vernon Duke’s music is a joy to listen to, taking full advantage of the chorus’ Gospel voices along with a big band sound reminiscent of the early 1940’s. Everything is properly amplified by Mr. Scott Lehrer’s audio designs, though the body microphones seem to be a little more obvious than intended.
Keeping with the concert staging, Ms. Anna Louizos’ sets are basic yet very effective – especially the opposing twin thrones in which are seated the Head Man and Lord’s General. Ms. Karen Perry is just as skilled in providing attractive costumes that go far in illustrating the personalities of the characters from the cheerful red garments of the Head Man and his henchmen to the white suit and amusing silver lamé cape worn by the Lord’s General. Everything is lit to good advantage by Mr. Ken Billington.
With its unequal book and overabundance of “Balanchine,” this CABIN IN THE SKY could have used more work on its dramatic foundation. But if it does not approach perfection, CABIN IN THE SKY is often very entertaining, with splendid songs and a praiseworthy cast who work hard to give the show a substance that it might not otherwise have.
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
Originally produced in 1940, Cabin in the Sky followed Porgy and Bess in celebrating African-American music and dance traditions. The musical tells the story of “Little Joe” Jackson (Michael Potts), a charming ne’er-do-well who dies in a saloon brawl and is given six months on earth to prove his worth to the Lord’s General (Tony Award nominee Norm Lewis) and the Devil’s Head Man (Tony Award winner Chuck Cooper)—all while struggling to remain true to his loving wife Petunia (Tony Award winner LaChanze) and resist the wiles of temptress Georgia Brown (Carly Hughes). Long considered a lost treasure, the score of Cabin in the Sky—which includes jazz hits like “Taking a Chance on Love” and “Happiness Is a Thing Called Joe”—will be restored to its original glory for Encores!
An Interview with Ed Asner
An Interview with Ed Asner
at The Metropolitan Room
January 16, 2016
before his performance of
A Man and his Prostate
written by Ed. Weinberger
SPECIAL THANKS TO
Bernie Furshpan & staff of the Metropolitan Room
Evan Seplow
For his generosity in taping and editing this interview
The Image Factory
evan@imagefactory.tv
http://imagefactory.tv
Office: 646-414-6668
Cell: 917-442-8426
Watch DADDY LONG LEGS LIVE! HERE!
Hi there,
We are thrilled that our historic livestream of Daddy Long Legs is tonight!
We look forward to sharing our beautiful show with you all!
Just a reminder that our livestream will be played 4 times so theater fans across the globe can tune in. Our schedule is below:
8pm Eastern Standard Time (LIVE), December 10th
8pm Pacific Standard Time, December 10th
8pm Greenwich Mean Time, December 11th
8pm Japan Standard Time, December 11th
Once the livestream begins, it will be available on: www.DaddyLongLegsMusical.com/
We look forward to sharing this historic night with you.
Sincerely,
Ken Davenport and Michael Jackowitz
Producers of Daddy Long Legs
P.S. Share your thoughts with us on social media using #DaddyLongLegsLive for a chance to win a copy of the Daddy Long Legs cast album!
You just never know…
B”H – Thursday Sept. 24th 2015 – The day after Yom Kippur 5776
You just never know..
No, this is not me….
Today, on my way home from shopping for a Lulav & Esrog and some food supplies for Sukkos I had an interesting ride in a LYFT car. (Use Code Elli49 to sign up and get $20 toward a ride!)
While chatting with the driver, he said he is only in NYC 5 years and is originally from Tajikistan (https://en.wikipedia.org/wiki/Tajikistan) where they speak Tajik a dialect of Farsi (Persian) and Russian!
We had a wonderful discussion about the Jewish things he knows of, he asked me to tell him about “the coming holiday called Sukkot”. He said that he lives in Midwood near an Iranian Synagogue and can understand everything that everyone is saying on their way to/from Shul! (Note to self….)
While in the car, a friend called me sounding a little depressed, so I did my best to try and cheer him up and at one point in the conversation he asked me for my opinion on, “what’s the meaning of life? Is there a purpose?”
I explained to him that every person he asks will have a different outlook but my outlook is I was born a Jew and the purpose of my life is to follow HaShem’s Torah and do as many of the 613 mitzvahs as I can in my lifetime.
I was surprised that he understood what I was talking about and asked me if I could count how many mitzvahs I had done in the past week. I explained that it doesn’t actually work like that – we don’t keep a running count – but that I did attend services on Rosh HaShanah, the Jewish new year, I kept the Sabbath in between Rosh HaShanah and Yom Kippur, I fasted on Yom Kippur, spent the entire day in the synagogue and didn’t return home until almost an hour after the fast ended. I only eat kosher food, tried to be kind to my fellow man and generally spread as much joy as possible.
He then asked me how I know if I’m actually doing anything good and being effective?
I told him that not always is the purpose for everything you do open & revealed. Most of the time you just do what needs to be done and hope that along the way you affect somebody positively.
I related a story from just this past week. I met Brad in the city and we only had a few minutes from the time he got there until we had to be at our event. We decided to eat dinner after the event and to just go into Walgreens and get a quick nosh to hold us over.
We looked for a place to sit down and eat and finally found a ledge on the corner of the store that we could kind of squeeze onto.
While we were sitting there a couple from Israel noticing my beard and Yarmulkah came over to us looking very confused and asked if I could help them get to 770 Eastern Pkwy. the Lubavitcher headquarters in Brooklyn? 
I was only too happy to help and proceeded to give them the fastest route. The conversation was in Hebrew, and the lady had scribbled some numbers on a piece of paper from someone else that had given her instructions that confused her. She couldn’t seem to understand why my instructions differed from the ones she’d been given. I explained again and thankfully we were close enough to Times Square that I could point and show her where the 3 train would take her quickly to her destination. With a smile they thanked me and went on their way.
Without missing a beat, Brad turned to me and said, “See! That’s why we sat here!”
We can’t always wait for those moments to come. We always have to live **as if** that moment will always come.
“…and that’s what life is all about for me”, I said.
The Baal Shem Tov said “For 70, 80 years a Neshama (Soul) wears and tears just to do a favor for another.”
Our conversation came to an end as I arrived at my home, and I believe that it had a positive effect on my friend. I also believe it had a positive effect on my driver as well, as he insisted on carrying all my packages into the house for me!!!
You just never know what one kind word can do…
The Lubavitcher Rebbe quoted many times that it takes “JUST ONE MITZVAH to tip the scales and bring…
MOSHIACH NOW!”
-elli-
Greetings for Rosh HaShanah 5776
Greetings for
Rosh HaShanah 5776
Elli – The King of Broadway
&
www.BroadwayKingdom.com
Wish You and Your Loved ones a
Healthy, Happy, Sweet, Prosperous New Year 5776
In the year to come may the Al-mighty
grant you everything you need
(and a little of what you want as well!)
Kesivah v’Chasimah Tovah
Shana Tovah U’mesuka
May you be inscribed and sealed in
the Book of Life for a
Good, Sweet, Healthy New Year
I hope to see each and every one of you very soon.
Elli
***********************************
IMPORTANT HOLIDAY LINKS/INFO:
Make sure you hear the Shofar BOTH Days!
To Find Holiday Services Near You CLICK HERE
For Rosh Hashanah/Shabbos Candle Lighting Times
PLEASE CLICK HERE
For a Rosh Hashanah Holiday Guide Click HERE
For a Rosh Hashanah Meal Guide Click HERE
On Rosh Hashanah it is customary not to eat foods which are sour or tart (the gefilte fish will have to do without the horseradish…). Instead, we focus on sweet foods, symbolizing our desire to have a sweet year full of blessings and abundance. It is also customary not to eat nuts on Rosh Hashanah, as the numerical value of the Hebrew word for nuts (“egoz”) is the same as the Hebrew word for sin (“chet”).
PRESS RELEASE: “Merman’s Apprentice” One Night Only Concert Broadway at Birdland
For Immediate Release
May 12th, 2015
Broadway at Birdland is proud to present
Klea Blackhurst, Anita Gillette, P.J.Benjamin
and Richard Kind
starring in
“Merman’s Apprentice”
One Night Only Concert, Monday, June 15 at 7pm
@ Birdland in New York, New York.
315 W 44th St, New York, NY 10036
Tel: 1 (212) 581-3080.
The Broadway at Birdland Concert Series is proud to announce that Stephen Cole and David Evans musical fable, Merman’s Apprentice, will appear at the historic Birdland stage One Night Only, Monday, June 15 at 7pm. Directed by Igor Goldin (Yank) the cast features (in alphabetical order) P.J. Benjamin, Klea Blackhurst, Anita Gillette, Richard Kind, and Elizabeth Teeter supported by a six piece band with orchestrations by Lynn Shankel .
Merman’s Apprentice is a new musical fable with Book & Lyrics by Stephen (After the Fair, The Road To Qatar, Night of the Hunter) Cole and Music by David (Birds of Paradise, Children’s Letters To God) Evans. Bistro Award Winner Klea Blackhurst will appear as Ethel Merman, with a cast lead by Tony nominee Anita Gillette as Ethel’s Mom, with Tony nominee Richard Kind as David Merrick, J.P. Benjamin (Broadway’s current Wizard in Wicked) as Ethel’s Pop and 13 year-old Elizabeth Teeter, who is currently playing Young Queen Elizabeth in The Audience on Broadway, will play Muriel Plakenstein: Merman’s Apprentice. Additional cast members include Adam Grupper, Eddie Korbich and Brian Charles Rooney.
Synopsis: Time: the 1970’s. The Golden Age of Musical Theatre is drawing to an end, although twelve-year-old Muriel Plakenstein doesn’t know that. So she runs away from home to become a Broadway star, meets the Queen of Broadway Ethel Merman, who takes her to a Hello, Dolly! rehearsal, where they sing together. When legendary producer David Merrick hears the kid, he decides to star Muriel in the first all-child cast of Dolly! Naturally, Merman takes her under wing to teach her the ropes of being a star…making little Muriel Plakenstein Merman’s Apprentice. It’s a tuneful, original smart, funny, warm, new musical comedy about childhood, parents, Broadway and Ethel Merman. Who could ask for anything more?
Klea Blackhurst’s credits include: Everything the Traffic will Allow, Vernon Duke’s Broadway, Dreaming of a Song: Music of Hoagy Carmichael, Jerry Herman’s Broadway at the London Palladium. Television and radio appearances include The Caroline Rhea Show, The Rosie O’Donnell Show, Sesame Street, Law and Order: SVU and A Prairie Home Companion
Anita Gillette’s TV and Theater credits include her Tony nomination for Chapter Two, Jimmy, Cabaret, Gypsy, Law and Order, Moonstruck, Cold Case, CSI and They’re Playing Our Song.
Richard Kind’s credits include: The Producers, Mad About You, Spin City. He was nominated for a Tony and won the Drama Desk Award for his performance in The Big Knife in 2013.
J.P. Benjamin’s credits include Wicked, Chicago, Sophisticated Ladies, Sarava and The Pajama Game.
Elizabeth Teeter has appeared in Mary Poppins and is in the current running The Audience, where she plays the Young Elizabeth.
Stephen Cole is an award-winning musical theatre writer whose shows have been recorded, published, and produced from New York City to London to the Middle East and Australia and Edinburgh, Scotland. Stephen’s creations include: After the Fair, The Night of The Hunter (Goodman), Saturday Night at Grossingers, Casper (Chita Rivera), Dodsworth (Dee Hoty, Hal Linden) and The Road to Qatar. Last season Cole wrote and directed Inventing Mary Martin, which played Off-Broadway starring Emily Skinner, Jason Graae, Lynne Halliday and Cameron Adams.
Stephen Cole’s The Black and White Ball, written with Todd Ellison, was produced by Chicago’s FWD Theatre Project this past January. This year, Stephen conceived and wrote and hosted an evening of his songs entitled Cole Mining: The Songs of Stephen Cole at off Broadway’s Urban Stages. This evening featured numbers from many of his shows sung by Marni Nixon, Klea Blackhurst, George Dvorsky and Sara Zahn. Stephen has also collaborated with David Krane, Todd Ellison, Susan Kim, Claibe Richardson, Jeffrey Saver, Steve Silverstein, Billy Straus and Matthew Ward.
David Evans is a composer and musical director/conductor whose credits include: A…My Name is Alice, Children’s Letters to God, Wicked, Company, Flower Drum Song, Bells are Ringing, Marie Christine and As Thousands Cheer. For the past 11 years David has been associate conductor of Wicked at the Gershwin Theatre.
Tickets are $25.00 (cover) with a $10.00 food/drink minimum.
Merman’s Apprentice In Concert
One Night only! Monday, June 15 at 7pm
Birdland, 315 West 44th Street, NYC
(212) 581-3080
www.BirdlandJazz.com
For interviews and press information, contact: Ralph @ lampkinmusic@gmail.com.
For more information, please visit: www.stephencolewriter.com