Tag Archives: musical

Give me down to there – HAIR!

Give me down to there – HAIR!

A review of
Peregrine Theatre Ensemble’s
production of

I first fell in love with “HAIR the Musical” (with its famous nude scene) when I saw it at the Aquarius Theater in Los Angeles about 6 months after the Broadway production opened – I was 13, recently Bar-Mitzvahed, but looking so much older that no one stopped me from going in to see it.

Over the years I have seen many a production of “HAIR” – including that weird film version – and most recently the last Broadway revival (twice) and so I consider myself a bit of a #HAIRMAVEN.

Peregrine Theatre’s production of “HAIR the Musical”, now playing thru September 7th 2018 at FISHERMEN HALL (inside Provincetown High School) is one of it’s finest shows to date.

This productions stars a group of unknowns (listed below) who mingle with the audience before the show and during intermission while managing to stay in character as the 60’s hippies they portray.

Director/Choreographer Kyle Pleasant has molded his actors into a ‘Tribe’ rather than a cast which is evident as they move about the audience introducing themselves and being the flower children that their roles portray. Using choreography that feels more organic and spontaneous than rehearsed the piece flows seamlessly from song to song.

Being more of a musical journey than stage musical has always been one of “HAIR’s” greatest distinctions. This 50th Anniversary version’s Musical Director, Matthew Hougland has proved that with musical numbers that evoke the feelings of the 60’s (I was there!) which was an era of free love, psychedelic drugs, rock & roll, draft dodging, draft card burning, and an anti-war/anti government sentiment not dissimilar to today’s politically charged times.

“HAIR’s” cast is the aforementioned group that Peregrine’s creative’s have brought in to be the tribe. Each and every one of the principle cast members shine in their performances as does the Ensemble.

In addition, Gifford Williams’ Lighting Design, Chad Hayduk’s Makeup Design, and Carol Sherry’s Wig Design, are all quite professional and impressive

My only criticisms are technical in nature; Christopher Heilman’s sets are a bit too High School musical for my taste, and the auditorium’s sound system is in desperate need of an upgrade (I am told that this coming year will bring some improvements – donors take note!).

So, dress in your hippie finest, don your peace symbols, put on a flowered hairband, and go see Peregrine Theatre Ensemble’s production of “HAIR the Musical”. It’s as fine as entertainment gets.

HAIR
Book and lyrics by James Rado & Gerome Ragni
Music by Galt MacDermot
DIRECTED BY: KYLE PLEASANT
​Musical Direction: Matthew Hougland
July 10th  – Sep. 7th 2018
TICKETS ON SALE NOW!!
PURCHASE TICKETS

Director/Choreographer Kyle Pleasant
Musical Director Matthew Hougland

CAST
Claude Kevin Lagasse
Berger Jeffrey Kelly
Shelia Daisy Layman
Dionne Rhetta Mykeal
Jennie Lexi Tobin
Chrissy Rebecca Zeller
Hud Nigel Richards
Woof Brendan Williamson

Featuring
Melissa Zeller
Michael Whitty*
Carly Cherone
Alexander Tan
Landon Ebuna
Kelly Hooper
LeVane Harrington
Meridien Terrell*
Julia Solecki

*Dance Captain

The Production team includes: Christopher Heilman Scenic Design; Seth Bodie Costume Design; Gifford Williams Lighting Design; Chad Hayduk Makeup Design; Carol Sherry Wig Design; Brenna Hull Production Stage Manager; Molly Rocca Assistant Stage Manager; Alyssa Krinsky Intern & Social Media; Dusty Cohen Intern & Prop Master; Chanthoeun Hart Varon-Collins Intern and assistant to production; Patron Saint of Peregrine and front of house Carolyn Collins; Artistic Director Ben Berry; Executive Director Adam Berry

PRESS RELEASE: ‘THE SCARLET PIMPERNEL’ WILL PLAY IN CONCERT FEBRUARY 2019

PRESS RELEASE
For Immediate Release

MANHATTAN CONCERT PRODUCTIONS ANNOUNCES

‘THE SCARLET PIMPERNEL’

IN CONCERT

Related imageNew York, NY, June 27, 2018 – Manhattan Concert Productions (MCP) is pleased to announce the seventh annual presentation of its beloved Broadway Series with the critically acclaimed musical The Scarlet Pimpernel, for one night only at David Geffen Hall, Lincoln Center on February 18, 2019 at 8:00 pm. Jeff Calhoun (Stage Director) and Jason Howland (Music Director) will lead this concert performance of The Scarlet Pimpernel featuring a chorus of over 200 singers from across the United States, a stunning professional cast and creative team, and the outstanding New York City Chamber Orchestra.

With music by Frank Wildhorn and lyrics and book by Nan Knighton, The Scarlet Pimpernel is based on Baroness Orczy’s famous 20th-century novel of the same name, which takes place at the peak of the French Revolution and the fight for liberty, equality and fraternity. Set in England and France, The Scarlet Pimpernel tells the story of an English nobleman, Sir Percy Blakeney, who adopts a secret identity to battle the forces of evil during the Reign of Terror of the French Revolution. The Scarlet Pimpernel serves as a brilliant window to life in 18th-century England, and was a precursor to the spy fiction and superhero genres, featuring a hero hiding under an alias. The musical made its Broadway debut at the Minskoff Theatre on November 9, 1997 and ran through January 2000 in several theatres, has had numerous regional U.S. productions, and has been produced internationally in Germany, Finland, the Netherlands, United Kingdom, Ireland, Sweden, Canada, Mexico, Malta, and Norway.

The Scarlet Pimpernel joins MCP’s previous Broadway Series concert performances, which include Broadway Classics in Concert (2018), Crazy for You  (2017), The Secret Garden (2016), Parade (2015), Titanic (2014), The Hunchback of Notre Dame workshop (2014), Broadway Classics in Concert (2013), and Ragtime (2013).

Tickets for The Scarlet Pimpernel will go on sale in July with cast and creative team to be announced soon.

ABOUT MANHATTAN CONCERT PRODUCTIONS

Manhattan Concert Productions (MCP) is an esteemed production company in its 20th Anniversary season. MCP has provided performance and travel opportunities to thousands of musicians in choirs, bands, and orchestras at famous venues throughout the United States and many countries abroad. The guest musicians of The Scarlet Pimpernel chorus will spend five days in New York City rehearsing and performing with the professional cast and crew as part of Manhattan Concert Productions’ continuing mission of student and professional collaboration. Visit www.mcp.us to learn more.

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Press Release: Broadway in Bryant Park Summer 2018 Schedule Released from BWW

THE BAND’S VISIT, SPONGEBOB, ONCE ON THIS ISLAND, and More to Perform at Broadway in Bryant Park

Copied from: BWW News Desk Jun. 20, 2018  

THE BAND'S VISIT, SPONGEBOB, ONCE ON THIS ISLAND, and More to Perform at Broadway in Bryant Park

Photo Credit: Peter James Zielinski

Broadway in Bryant Park will return this summer! The 2018 program will bring the best of Broadway together for free performances for six consecutive weeks from Thursday, July 12 to Thursday, August 16. New Yorkers and visitors to the Big Apple are invited to come at 11 a.m. every Thursday with performances running from 12:30 p.m. EST – 1:30 p.m. EST on the Bryant Park Stage. Hosted by 106.7 LITE FM’s on-air personalities, this year’s annual presentation of open-air lunch hour performances featuring the best Broadway and Off-Broadway shows will be presented by your local Toyota Dealers, VISIT PHILADELPHIA and FUJIFILM Instax.

106.7 LITE FM’s Broadway in Bryant Park invites participants to soak up the summer sun while enjoying musical numbers from hit shows including “The Band’s Visit,” winner of the 2018 Tony Awards’ best musical and best performances by an actor and actress in a lead role in a musical, “Once on this Island,” winner of the 2018 Tony Awards’ best revival of a musical and “SpongeBob SquarePants,” winner of the 2018 Tony Awards’ best scenic design of a musical, as well as “Waitress” starring Katharine McPhee, “Beautiful” starring Melissa Benoist, “Come From Away,” “Summer: The Donna Summer Musical,” “Chicago,” “Kinky Boots,” “School of Rock,” “FRIENDS! The Musical Parody,” and many more. New this year, Disney on Broadway will take over Broadway in Bryant Park on August 2nd with performances from the hit shows “Aladdin,” “Frozen,” and “The Lion King.”

“We are so excited to be hosting the annual 106.7 LITE FM’s Broadway in Bryant Park for the 18th year,” said Chris Conley, Program Director of 106.7 LITE FM. “We have an incredible list of shows, including the winner of the 2018 Tony Awards’ best musical, ‘The Band’s Visit,’ among so many other new shows coupled with popular classics. We look forward to welcoming theater fans once again to this special summer series.”

The Bryant Park stage is located at 6th Avenue between 40th and 42nd Streets. Lawn seating is first-come, first-serve.

The current 106.7 LITE FM’s Broadway in Bryant Park schedule** is as follows:

July 12
106.7 LITE FM Host: Helen Little
Co-Host(s): Catherine Russell and the cast of “Perfect Crime”
“Chicago”
“SpongeBob SquarePants”
“Stomp”
“Waitress”

July 19
106.7 LITE FM Host: Rich Kaminski
Co-Host: Renée Taylor from “My Life on a Diet”
Pre-Show: Brooke Shapiro
“Anastasia”
“Beautiful”
“Desperate Measures”
“On A Clear Day You Can See Forever”

July 26
106.7 LITE FM Host: Bob Bronson and Christine Nagy
Co-Host(s): Cast of “The Play That Goes Wrong”
Pre-Show: “Mary Poppins Returns”
“Come From Away”
“Kinky Boots”
“The Band’s Visit”
“FRIENDS! The Musical Parody”

August 2
106.7 LITE FM Host: Delilah
“Aladdin”
“Frozen”
“The Lion King”

August 9
106.7 LITE FM Host: Victor Sosa
Co-Host(s): Cast of “The Play That Goes Wrong”
Pre-Show: “VITALY: An Evening of Wonders”
“Avenue Q”
“Jersey Boys”
“Smokey Joe’s Café”
“Summer: The Donna Summer Musical”

August 16
106.7 LITE FM Host: Delilah
Pre-Show: Jordin Smith + Brooke Shapiro
“Once On This Island”
“School Of Rock”
“Wicked”

For details, schedule updates and a chance to win free Broadway tickets, fans can listen to 106.7 LITE FM via the station’s website, www.litefm.com, as well as on iHeartRadio. 106.7 LITE FM is a leading media outlet in the New York market. The station’s programming and content are available across multiple platforms, including its broadcast stations; online via its branded digital sites; mobile; and social, with nationwide listening through iHeartRadio, the all-in-one streaming music and live radio service.

**Schedule subject to change at discretion of 106.7 LITE FM or pending weather conditions.

In the event of mandatory performance cancellation, all efforts will be made to reassign previously scheduled shows into a remaining performance date. Visit www.litefm.com or tune into 106.7 LITE FM for ‘Up-to-the-Minute’ schedule changes and/or performance cancellations.

Guest Review: THE BAND’S VISIT at the Ethel Barrymore Theatre 

“The Accidental Tourists”

A review of
THE BAND’S VISIT: a New Musical
At the Ethel Barrymore Theatre 
June 6, 2018

 
One pronunciation mistake at a bus ticket window results in the visiting Alexandria Ceremonial Police Orchestra arriving in the remote town of Bet Hatikvah instead of metropolitan Petah Tikvah… with no bus out until the next morning.  THE BAND’S VISIT traces the course of this one night where different people, Egyptian Musicians and Israeli Townsfolk are thrown together by this mishap and get to know each other.  As the mutual caution lifts, people come out of their shells, stories are shared and some personal lessons are learned before the Orchestra heads off to their scheduled concert the next day.
Based on the 2007 film of the same name, THE BAND’S VISIT does not set out to bedazzle.  There is no glitz, nor power ballads, nor earth-shaking crises, nor any of the other standard hooks that are usually needed to engross an audience.  What THE BAND’S VISIT has to offer is absolutely outstanding theater as it tells its tale in its own good time.  As the scenes of Mr. Ithamar Moses’s book unfold, the audience member feel like eavesdroppers and at other times like neighbors sharing the evening with these people who are making the best of an awkward situation.
From the opening number “Welcome to Nowhere,” Composer David Yazbek adventurously creates evocative music and lyrics that truly blend into the play:  Each character is given a special voice representing their own life and ethnicity and the songs heighten the different moments of this one evening where people share their time.  Common pleasures and desires form bridges in numbers like the wonderful “Omar Sharif” where Dina remembers enjoying Egyptian Movies on TV or when the hapless youth Papi explains how he is uncomfortable talking to women in the hilariously and sweetly self-pitying “Papi hears the Ocean.”
From the very first, we can see that the Alexandria Ceremonial Police Orchestra is not the orderly group that Colonel Tewfiq Zakaria would like it to be.  Mr. Dariush Kashani is superb as the quiet Orchestra leader who begins by trying to keep his feelings, the Orchestra and the situation in tight control and slowly and cautiously opens up in the company of Dina, the local Café owner.
Ms. Katrina Lenk is unforgettably Dina, the café owner who comes to the aid of the stranded Orchestra.  The extraordinary Ms. Lenk lets us see a soul that is fading in the lackluster world of Bet Hatikvah come to full passionate life for at least one night.  Whether she is casually describing the loss of dreams in “It Is What It Is”, sweeping us along in “Omar Sharif” or delivering the piquant “Something Different’ with its memorable lyrics “The Honey in Your Ears/The Spice in your Mouth”, Ms. Lenk gives a unforgettable performance that keeps the audience wanting more.
If Dina has been marking time after losing her romantic hopes, young Papi is currently in the throes of an infatuation that incapacitates him and Mr. Etai Benson is appealingly and comically recognizable as the really nice guy who can never do the right thing around his crush.
Jazz-inspired Haled makes for a good contrast to Papi in that he always has something to say to an attractive lady.  Haled’s cool-cat attitude can backfire, but if Mr. Ari’el Stachel’s character wants to be a charmer, the audience is more than willing to buy in.
Haled’s band mate Simon is a composer who has never finished his one concerto.  Mr. Alok Tewari shows us this shy but skilled clarinetist who finds himself a guest in Itzik’s home.  Itzik is also a person who never quite completes things, but if he is without any ambition, Mr. John Cariani makes him a downright loveable guy – even if we fully understand his wife’s frustration with his drifting.  Itzik’s Father-in-Law Avrum keeps out of the young couple’s friction and hits it off with Simon as a fellow musician.  Like many of the roles, in THE BAND’S VISIT, Avrum’s time onstage is limited and Mr. Andrew Polk truly makes the most of it, singing Avrum’s rousing story of meeting his wife, “The Beat of Your Heart.”
Even though so many of the parts are brief they are carefully filled by the marvelous cast of THE BAND’S VISIT whether as locals or as the actual orchestra that accompanies the show, but one last mention has to be made about Telephone Guy, the young man whose girlfriend left town some months before and had promised to call him – on the only pay phone in town.  Mr. Adam Kantor gives a noteworthy performance in a role that ranges from schlemiel – HOW many months has he been waiting for that call? – to surreal hero.
Some directors might have given THE BAND’S VISIT a more compact pacing and a different focus.  However, Director David Cromer wisely keeps things more diverse, taking full dramatic and comic advantage of the slowly dissipating air of painful embarrassment and reluctance that arises when the Orchestra realizes it in the wrong town and the citizens of Bet Hatikvah find themselves stuck hosting a group of unwilling guests.  Mr. Cromer easily moves from story to story and back revealing various private scenes as if by chance, adjusting the pace as needed.  Dialogue flows to match the language skills and comfort levels of the characters and it is very clear that Egyptians and Israelis are speaking English so they can understand one another, but will naturally revert to Arabic and Hebrew as the stress of the situation dictates.  Furthermore, Mr. Cromer recognizes that in Israel, one may hear a variety of accents even in a place as nowhere as Bet Hatikvah.
The musicians of THE BAND’S VISIT seem to be in a wonderful, show-long jam session where tunes are picked up and then tweaked as players join in, forming groups of different sizes that can build to the striking sound of the unified orchestra.  There is a whole musical palette on display ranging from suave to joyously raucous and clearly Musical Director Andrea Grody is making the most of Mr. David Yazbek’s compositions – orchestrated by Mr. Jamsheid Sharifi, with additional arrangements by Ms. Grody.  No matter what direction a song might take, the style always places us firmly in the Middle East.
The locale is also established through the amazing skills and united work of Mr. Scott Pask’s scenic design, Ms. Maya Ciarrocchi’s projections and Mr. Tyler Micoleau’s lighting.  I cannot imagine how much care must have gone into the planning but turntables, sets and lights work together effortlessly and unobtrusively to shift the show from scene to scene without ever breaking the sense of milieu.  Choreographer Patrick McCollum also shows his skills in this aspect because the characters are able to move so smoothly through the changing settings as well as set off the musical numbers.  Even when performers are sitting still in a song, Mr. McCollum arranges onstage images that are downright beautiful.
Ms. Sarah Laux’s costumes do much to set up the characters, whether in the uniformed Orchestra which aspires to some sort of regimental air, or the casual look of the inhabitants of Bet Hatikvah.
The sound of the Orchestra and of the other performers is quite natural thanks to Mr. Kai Harada’s subtle sound designs which even allow for a sense of direction onstage.
While it may not overwhelm with flash and glamour, THE BAND’S VISIT should please anybody looking for incredible storytelling with excellent music and truly brilliant performances.

The Ethel Barrymore Theatre
243 W 47th Street (between Broadway & 8th Avenue)

To Buy by Phone:
Call Telecharge 212-239-6200

Running time:
90 minutes (no intermission)

Audience:

Ages 12+;
Children under 4 are not
permitted in the theatre.

Tickets

Tickets Starting at $49 – Orchestra Seats from $99

Box Office Hours:

Monday – Saturday
10:00am – 8:30pm
Sunday
12:00pm – 6:00pm
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https://www.youtube.com/watch?v=mRaHXBNn8FM

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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REVIEW: “How to Handle a Woman” A review of Rogers & Hammerstein‘s Carousel at the Imperial Theatre

“How to Handle a Woman”

A review of the revival of
Rogers & Hammerstein‘s “Carousel”
at the
Imperial Theatre

Disclaimer:

I am not particularly fond of Rogers & Hammerstein‘s “Carousel”. 

Even though much of the music is among my favorite in the Rogers & Hammerstein catalogue, save for the Soliloquy which to me is a cringe worthy 6 minutes – I even joked pre-show that Soliloquy was my early intermission bathroom break, to hear a brilliant Rogers & Hammerstein score played by a Broadway orchestra is one of the reasons that I decided to attend this Revival, 

Much to my dismay I did not even get that.

The orchestrations were flat, two dimensional representations, and the sound design by Mr. Scott Lehrer woefully underwhelming. Sitting in the Orchestra I expected the music to be spectacular but I was sadly disappointed – especially after the recent multi-million dollar remodel of the Imperial Theatre.

I also could just not get past “Carousel’s” main character, Billy Bigelow, the dishonest, wife-beating, carnival barker not being portrayed by a white actor.

Go ahead, get it out of your system, start calling me all kinds of names (you’d be totally wrong) but here’s the thing – perhaps it’s conditioning, perhaps it’s purism, I’m not sure, but in my mind the connotations of such a vile character being played by a Black man is just wrong. The thought kept going through my mind, ‘Why would any person of color agree to play this role?” As far as performance goes, Josh Henry nails it, and nails it strong. His smooth, silk like, baritone voice in any other role would, and have, taken me to great heights emotionally.

 Throughout the entire show I felt like I was at a performance of MCC’s Miscast. Great voices cast in the wrong roles.

 Further, while I have always felt that the part of Julie Jordan, played by a delightful, if not completely doe-eyed and confused Ms. Jessie Mueller, is terribly underwritten, there were times Mr. Jack Doyle, the Director seemed to forget Julie/Jesse was even in the show. More disappointment came from Ms. Renée Fleming, whose gorgeous operatic soprano voice is just too prim and proper to be Aunt Nettie.

 Then there’s the casting of a Middle Eastern actor, the talented and graceful ballet dancer, Amar Ramasar, making his Broadway (and possibly acting) debut, to play “Jigger”, another monster of a character. This is yet another dangerous step towards stereotyping. Every time I heard Billy Bigelow call his name I thought he was using the N-word .

 There is some good news. The shining stars of the show were most definitely the lark-voiced Ms. Lindsay Mendez who portrayed Carrie Pipperidge with a delightful and quirky style to her that played extremely well off of Mr. Alexander Gemignani’s playfully-teasing Mr. Enoch Snow. As a matter of fact, Mr. Gemignani’s performance is award worthy in my opinion.

 I must also admit to you that while I tend to tune out the seemingly obligatory ballet sequences of most early 20th century musical theater, Ms. Brittany Pollock and Mr. Andrei Chagas were graceful and visually stunning in the Fairground Ballet sequence – a great tribute to the fabulous Choreography of Mr. Justin Peck.

Santo Loquasto’s scenic design was executed well, although there were too many ‘played in front of the curtain’ scenes while scenery was being noisily shuffled around Backstage. Note to Production: PLEASE Oil the stage right light motors and the sheer curtain pulleys.

Sadly, Ms. Ann Roth’s costumes look like they have been recycled from my high school production of ‘Oklahoma!’ And what’s with those baggy pants that come up to the men’s bellies?

 The lighting design by Brian McDevitt left me squinting many times to see what was happening on stage and again, that was from Orchestra Row M – I can only imagine what it was like up in the oxygen-tank seats.

Speaking of seats, it appears to me that when they remodeled the theater after “The Great Comet“ they added many more seats then there were before. In my cushy (read expensive) Orchestra seat I was sucking on my knees or more annoyingly to her, scraping the back of the chair of the lady in front of me.

All that being said, I haven’t told you the worst part:
I DIDN’T CRY!!!
Me – the person who “cries at everything” – DIDN’T CRY!!!

If you’ll remember, I said up front that I’m not the biggest fan of this show – BUT when I DO see it I always CRY – ALWAYS! This tells me everything I need to know.

All said, the audience seemed to love the show, hooting and hollering along with their thunderous applause, it was a Press Preview, so perhaps you too will enjoy Rodger’s & Hammerstein’s Carousel as much as they did.

Me, I’m still optimistically looking forward to Lincoln Center’s revival of “My Fair Lady”

* * * * * *

Rogers & Hammerstein‘s Carousel

Opens Thursday, April 12th 2018

To order tickets online
https://www.broadwayinbound.com/shows/carousel/ 

To order tickets by phone,
call 212-239-6200

IN PERSON
VISIT THE IMPERIAL THEATRE
249 W 45th St,
between 7th Avenue and 8th Avenue

BOX OFFICE HOURS
Monday–Saturday: 10am–8pm,
Sunday: Closed
(Beginning March 25: Noon–6pm)

The 6th Annual Chanukah with Elli theKingOfBroadway & Friends 2018

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I am humbled ב״ה to be presenting

The 6th Annual
Chanukah with Elli theKingOfBroadway & Friends
2018 – 5779 Edition

We are privileged to present it ONE NIGHT ONLY:

Sunday, December 2nd (1st Light Chanukah) @ 7:00pm

The theme is, of course,
Chanukah the Festival of Light & Freedom!

There will be Music, Song, Comedy, Menorah Lighting, Sufganiot, Dreidels, Chanukah Gelt & MORE!

Featuring:
Elli theKingOfBroadway
and an all-star Broadway cast!

Stuart Marshall
Tommy Vance
Ron Orlovsky

with Music by “The Drey-dels”

Elliot Finkel – Piano (MD)
George Rush, Bass
Michael Bellusci, Drums
Daniel Bennett, Clarinet/Sax

TICKET INFO:
$18/Chai Cover Charge – 2 Drink Min
RESERVATIONS A MUST!!!
(212) 279-4200
www.triadnyc.com

-elli-
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Here’s a clip from last year’s 2nd Show
Dec. 19th 7pm @The Triad NYC

Thanks for watching and make your reservations NOW
www.triadnyc.com

 

PRESS RELEASE: Cast Announced for the New York Regional Premiere of THE HUNCHBACK OF NOTRE DAME

Cast Announced for the New York Regional Premiere of

THE HUNCHBACK OF NOTRE DAME

at White Plains Performing Arts Center
December 22 – January 14


The White Plains Performing Arts Center (WPPAC) is proud to the present the first New York professional production of THE HUNCHBACK OF NOTRE DAME onstage from December 22 – January 14.

From the Oscar-winning composer team Alan Menken (Aladdin, The Little Mermaid) & Stephen Schwartz (Wicked, Pippin) comes a lushly scored retelling of Victor Hugo’s (author of Les Miserables) epic story of love, acceptance, and what it means to be a hero. The Hunchback of Notre Dame showcases the Disney film’s Academy Award-nominated score.

The musical begins at the famed cathedral in fifteenth-century Paris. Quasimodo, the deformed bell-ringer who longs to be “Out There,” observes all of Paris reveling in the Feast of Fools. Held captive by his devious caretaker, the archdeacon Dom Claude Frollo, he escapes for the day and joins the boisterous crowd, only to be treated cruelly by all but the beautiful gypsy, Esmeralda. Quasimodo isn’t the only one captivated by her free spirit, though – the handsome Captain Phoebus and Frollo are equally enthralled. As the three vie for her attention, Frollo embarks on a mission to destroy the gypsies – and it’s up to Quasimodo to save them all.

A sweeping score (accompanied by a 15 piece orchestra & 30 person choir) and powerful story make The Hunchback of Notre Dame an instant classic. Audiences will be swept away by the magic of this truly unforgettable musical.

The cast features the talents of Anna Baker (Ensemble), Matthew Billman (Captain Phoebus de Martin), Melanie Burg (Ensemble), Bobby Cassell (Quasimodo), David Thomas Cronin (Saint Aphrodisius), Jenna Dallacco (Esmeralda), Jarrad Biron Green (Clopin Trouillefou), Chris Guzman (Lieutenant Frederic Charlus), Katelyn Lauria (Madam), Joey Nelan (Ensemble), Rebecca Skowron (Ensemble), Dustin Harris Smith (Jehan Frollo), James Smith (Father Dupin), Cecilia Snow (Florika), Anna Laura Strider (Ensemble), Esteban Suero (Ensemble) and James Zannelli (Dom Claude Frollo).

The 30 person choir includes Brian Brammer, Brad Baron, Richie Barrella, Jesse Bush, Sofia Christensen, Rachel Fournier, Mick Gloss, Alexandra Imbrosci-Viera, Brianne Keefe, Sam Kronenfeld, Andrea Levinsky, Tara Llewellyn, Ethan James Lynch, Tyler Mell, Casey Miko, Sarah Ruth Mikulski, Kurt Perry, Frank Radice, Connor James Reilly, Joseph Sanzaro, Hillary Schranze, Rebecca Simpson-Wallack, Jodi Snyder, Jonathan K. Stevens, Sam Sultan, Justin Tepper, Elora Von Rosch, Tara Lynn Wagner, Katherine Ross Wolfe and Jamie Zeidman.

THE HUNCHBACK OF NOTRE DAME is Directed by Frank Portanova with Musical Direction by Stephen Ferri and Choreography by Lexie Fennell Frare. Scenic Design by Christopher & Justin Swader, Lighting Design by Jamie Roderick, Choir Direction by Tom Cuffari, Stage Managed by Jessie Jardon. Music by Alan Menken, Lyrics by Stephen Schwartz, Book by Peter Parnell. Based on the Victor Hugo novel with songs from the Disney film.

THE HUNCHBACK OF NOTRE DAME will play the White Plains Performing Arts Center Friday, December 22 7pm; Saturday, December 23 2pm & 7pm; Wednesday, December 27 7pm; Thursday, December 28 2pm; Friday, December 29 7pm; Saturday, December 30 2pm & 7pm;  Thursday, January 4 11am; Friday, January 5 7pm; Saturday, January 6 7pm; Sunday, January 7 2pm; Wednesday, January 10 2pm; Friday, January 12 7pm; Saturday, January 13 7pm; Sunday, January 14 2pm. The White Plains Performing Arts Center is located on the third level of City Center off Mamaroneck Avenue in downtown White Plains, minutes from the White Plains Metro North Station. For tickets visit the theatre box office Monday-Friday (11am-6pm), purchase the tickets online at wppac.com or call 914-328-1600.

For Group Sales, please contact boxoffice@wppac.com.

THE HUNCHBACK OF NOTRE DAME is a WPPAC MainStage Production which is a professional production featuring union and non-union actors from Broadway, national tours and regional theatre across the country. These productions are created from scratch, staffed with professional production teams (directors to designers), large LIVE orchestras and boast high-quality sets and costumes.

THE HUNCHBACK OF NOTRE DAME is sponsored in part by the Cappelli Organization, The Complete Golfer, Entergy, GA Fleet and Yost & Campbell.

White Plains Performing Arts Center
11 City Place, White Plains, NY 10601

PRESS RELEASE: ROCKTOPIA TO PLAY BROADWAY!

FOR IMMEDIATE RELEASE
Contact: Vivacity Media Group
212-812-1483

INTERNATIONAL MUSIC SENSATION 

TO PLAY BROADWAY

6 EPIC WEEKS ONLY

AT THE BROADWAY THEATRE

MARCH 20 – APRIL 29, 2018

AMERICAN EXPRESS® CARD MEMBERS CAN PURCHASE TICKETS BEFORE THE GENERAL PUBLIC BEGINNING MONDAY, OCTOBER 30 AT 10AM THROUGH MONDAY, NOVEMBER 6 AT 9:59AM

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TICKETS ON SALE TO AUDIENCE REWARDS MEMBERS
BEGINNING MONDAY, NOVEMBER 6, 2017 AT 10AM

**

GENERAL ON-SALE BEGINS
MONDAY, NOVEMBER 13, 2017 AT 10AM 

“Rocktopia creates a world where Mozart and Led Zeppelin coexist”

– Chicago Tribune 

(NEW YORK – October 11, 2017)This spring, the international music sensation ROCKTOPIA will rock Broadway for six epic weeks, March 20 – April 29, 2018 at The Broadway Theatre (1681 Broadway). ROCKTOPIA is a musical revolution that celebrates the fusion of the best rock songs of the past century with some of the greatest classical music ever written. ROCKTOPIA showcases the works of musical innovators including Mozart, Queen, Beethoven, Journey, Handel, U2, Tchaikovsky, Pink Floyd, Heart, Rachmaninoff, Foreigner, Copland, The Who and more. 

Created through the unique vision of vocalist and recording artist Rob Evan and Maestro Randall Craig Fleischer, a pioneer in the fusion of symphonic rock and world music, ROCKTOPIA delivers one-of-a-kind, spine-tingling musical arrangements with insanely talented lead vocalists, a 5-piece rock band, a choir of 40, and an orchestra of 20.

Developed over eight years, ROCKTOPIA is inspired by the idea that if Beethoven or Mozart were alive today, they would be modern-day rock stars. With extensive knowledge of both genres, Evan and Fleisher looked for common themes, potency, and emotional resonance in the songs before fusing them together to create explosive and moving new musical arrangements.  

“We love both classical music and classic rock. There are so many parallels between the genres and between the “rock stars” who composed and performed them,” says Evan. “With Rocktopia, we want to break down barriers and any preconceived notion of what either genre is about – and electrify and inspire lovers of either musical styles with these completely original new pieces.”

The groundbreaking live concert will be performed by a celebrated, diverse array of rock, Broadway, and opera vocalists: Rob Evan (Broadway: Les Miserables, Jekyll & Hyde and more, multi-platinum recording artist); Chloe Lowery (Chris Botti, Yanni’sVoices);  Tony Vincent (Broadway: American Idiot, RENT, NBC’s “The Voice”); Kimberly Nichole (NBC’s “The Voice,” performs with Janelle Monae, Slash, Joe Walsh, The Heavy); and featuring Alyson Cambridge (The Merry Widow atThe Met, Madame Butterfly, La Boheme, Show Boat). The world-class musicians featured in the ROCKTOPIA band include Grammy and Emmy Award nominated violinist Máiréad Nesbitt (Celtic Woman, Lord of the Dance); acclaimed guitarist Tony Bruno (MD & guitar for Enrique Iglesias & Rihanna, “America’s Got Talent”); pianist Henry Aronson (MD/Conductor/keys for entire Broadway run of Rock of Ages, The Who’s Tommy); bass player Mat Fieldes (Joe Jackson’s Grammy winning album Symphony No. 1, the Gorillaz, Book of Mormon); and drummer Alex Alexander (David Bowie, Jimmy Cliff, Ritchie Blackmore). An additional 40-person choir and a 20-person orchestra enhance every performance of ROCKTOPIA. 

An inaugural performance of the show, “Rocktopia: Live from Budapest” produced by Two Hands Entertainment/Jeff Rowland, was recorded in front of a live audience in June 2016 at the 19th century Hungarian State Opera House for PBS. It was performed with the Budapest Philharmonic Orchestra with six vocalists, a five-piece rock band, the Hungarian State Opera Chorus, and the Jazz and More Choir. ROCKTOPIA has since toured over twenty cities in the United States, featuring local symphonies and choirs across the country. 

ROCKTOPIA is produced by ROCKTOPIA Broadway LLC (William Franzblau, Executive Producer and Maggie Seidel-Laws, Associate Producer) in association with HUGHES WALL LLC.  Additional cast, creative team, and the New York orchestra and choirs that will join each performance, will be announced at a later date.

American Express® Card Members can purchase tickets before the general public beginning Monday, October 30 at 10am (EST) through Monday, November 6 at 9:59am.  Beginning on Monday, November 6 at 10AM, tickets will be available exclusively to Audience Rewards Members via AudienceRewards.com.  Tickets will go on sale to the general public on Monday, November 13 at 10AM via Telecharge.com. Special student pricing, beginning at $39, will be available for the duration of the run.  

Performance schedule, complete creative team, and opening night will be announced shortly.

For Performance Photos, visit: http://bit.ly/2yeP6PJ

For Video, visit:http://bit.ly/2g8tFpI 

WWW.ROCKTOPIA.COM

FACEBOOK

TWITTER

BIOGRAPHIES:

ROB EVAN (Co-Creator, Vocalist) is a highly accomplished actor, singer, and producer with more than 20 years of professional experience in the entertainment industry. He has performed in seven leading roles on New York stages including the original Broadway cast of Jekyll & Hyde, playing the title roles more than 1,000 times over three years. His rendition of “This Is the Moment” was performed at numerous prestigious events, including the 2001 Inaugural Gala for President George W. Bush, the Millennium Independence Day US Naval Revue aboard the USS JFK for President Clinton, the Millennium World Forum Conference with speaker Mikhail Gorbachev, and the New York City Mayor’s Inaugural Gala. Rob also appeared on Broadway as Jean Valjean in Les Miserable, Kerchak in Disney’s Tarzan, The Dentist in Little Shop of Horrors, and Count von Krolock in Jim Steinman’s Dance of the Vampires. Off-Broadway, Rob created the roles of The Dancin’ Kid in Johnny Guitar and the hero Miles Hendon in The Prince and the Pauper. Rob is a member of the multi-platinum-selling band, Trans-Siberian Orchestra. He can be heard on TSO’s The Lost Christmas Eve and Night Castle, which debuted at #5 on Billboard’s Top 100. He was also the lead vocalist for Jim Steinman’s The Dream Engine, and recently released the debut album from his progressive rock band, Menrva Realm. Rob has also been a regularly featured soloist for over 40 symphonies around the world, including appearances in San Francisco, San Diego, Atlanta, Chicago, Hong Kong, and the Czech Republic.

 

RANDALL CRAIG FLEISCHER (Co-Creator) Active as a composer and arranger, Mr. Fleischer is a national leader in the fields of symphonic rock and world music fusion. His works and arrangements have been played by many world-renowned orchestras including the Boston Pops, San Francisco Symphony, Los Angeles Philharmonic, Hong Kong Philharmonic, San Diego Symphony, China Philharmonic, Atlanta Symphony, the National Symphony, and many others. Fleischer has also worked with artists such as John Densmore (The Doors), Natalie Merchant, Blondie, Ani DiFranco, John Cale (Velvet Underground) Garth Hudson (The Band), Kenny Rogers, Chris Baron (Spin Doctors), and Native American artists R. Carlos Nakai, Burning Sky, The Hawk Project, The Benaly Family, and others. Mr. Fleischer’s operatic repertoire includes productions of La Boheme, Turandot, Tosca, Madama Butterfly, Don Giovanni, La Traviata, and others. Fleischer received his Bachelor of Music Education from the Oberlin Conservatory of Music and has studied conducting with Leonard Bernstein, Otto Werner Mueller, Seiji Ozawa, Riccardo Muti, Gustav Meier, and others. He first came to international attention when, at the National Symphony Orchestra, he conducted Dvorak’s “Cello Concerto” with Mstislav Rostropovich as soloist. In December of 1992, Mr. Fleischer conducted an ensemble of more than 70 cellos, including YoYo Ma, and a 190 voice chorus in a tribute to Rostropovich, broadcast on CBS with then-President and Mrs. Bush in attendance. In 1993, Mr. Fleischer conducted a private concert for Pope John-Paul at the Vatican. The Pontiff awarded Mr. Fleischer a medal for his achievements in music. A passionate educator, Fleischer has co-authored several instructional pieces for children in collaboration with his wife, comedian Heidi Joyce, which were premiered by the National Symphony Orchestra, including three rap pieces for orchestra. Mr. Fleischer lives in Los Angeles with his wife Heidi and daughter Michaela.

 

CHLOE LOWERY (Vocalist) is an American singer, dancer, actress, and songwriter born in Largo, Florida. At age12 she was signed to RCA Records, and soon after being signed was featured on two movie soundtracks, Boys and Girl and Joe Somebody. She went on to tour with Big Brother and the Holding Company and work with world-renowned producer Ric Wake, which then led to a collaboration with Yanni on the 2009 Yanni Voices Project. After tours of the U.S. and Mexico with Yanni, she signed to Disney/Hollywood Records as a solo artist. Chloe has since been featured on three Yanni records: 2013’s Truth of Touch, 2014’s Inspirato, and 2016’s Sensuous Chill. Chloe joined multi-platinum selling rock band Trans-Siberian Orchestra performing as Theresa on their Beethoven’s Last Night Tours and continues to work with the band both in the studio and live on stage. Lowery has also toured with Chris Botti, performed with the New York City Ballet as a featured vocalist, and contributed her talents to collaborations with artists like Everclear. Chloe will independently release a solo project in early 2018.

 

ALYSON CAMBRIDGE (Vocalist) is one of the most diverse and compelling vocal artists on the scene today. Her rich, warm soprano, combined with her strikingly beautiful stage presence and affecting musical and dramatic interpretation, have brought her over a decade of successes on the world’s leading opera and concert stages, including The Metropolitan Opera, Lyric Opera of Chicago, Washington National Opera, Los Angeles Opera, Carnegie Hall, London’s Royal Albert Hall, Deutsche Oper Berlin, Vienna Konzerthaus, among others, as well as recent debuts Paris , Warsaw, Beijing, and other musical capitals throughout Europe and Asia.  Her repertoire includes the beloved heroines of Puccini, Verdi, and Mozart (Mimi, Madama Butterfly, Donna Elvira, Violetta, and Micaëla among them) as well as successful forays into the crossover, Broadway and jazz repertoire, most notably with award-winning and critically-acclaimed performances of Julie in Show Boat and Vi in Gershwin’s rarely performed jazz-opera Blue Monday.  Alyson’s debut album, “From the Diary of Sally Hemings,” a song-cycle by acclaimed American composer William Bolcom, premiered at Carnegie Hall’s Weill Recital Hall to rave reviews, and her newest album, Until Now, a mix of jazz, pop, and musical theater standards was released in January 2016 on the Naxos imprint Suite 28 Records, and is available on iTunes, Amazon and Spotify.

 

TONY VINCENT (Vocalist) Best known for his appearance on NBC’s “The Voice”, Tony Vincent is a recording artist, actor and producer. In 1993 Vincent started his own record company, Adobe Flats, writing and producing the EP Love Falling Down that led to a recording contract with EMI records. The two solo albums that followed, Tony Vincent & One Deed, produced six #1 Billboard radio singles. Soon after, Vincent took a detour into rock-based theater, starring on Broadway in RENT (Mark, Roger), Jesus Christ Superstar (Judas Iscariot) and Green Day’s American Idiot (St. Jimmy). He played Simon Zealotes in Andrew Lloyd Webber’s film remake of Jesus Christ Superstar, and is also featured in the film Andrew Lloyd Webber: Masterpiece. Vincent originated the role of Galileo Figaro in the rock band Queen’s We Will Rock You in London’s West End, and opened the U.S. production. He also fronted the band itself, performing “Bohemian Rhapsody” for Queen Elizabeth II, with a live audience of over 1 million people at Buckingham Palace. Vincent independently released two more albums, A Better Way, produced by Adam Anders (“Glee”), and the self-produced In My Head, following his appearance on NBC’s “The Voice”. He is currently headlining the North American symphony tour of The Music of David Bowie, and working as a record producer at his New York recording studio, Soundshop 370.

 

KIMBERLY NICHOLE (Vocalist) exploded onto the national scene on season 8 of “The Voice”, earning praise from Pharrell Williams, Christina Aguilera, Lionel Richie, Mark Ronson and Reba McEntire, with her show-stopping performances, stylish presence and vocal power. Her covers ranked on iTunes’ Top 20 three weeks in a row and made the Billboard 100 Charts. Over the course of her career, Nichole has share the stage with Slash (Guns N Roses), Living Colour, Alice Smith, Janelle Monae, Nona Hendryx (Labelle), Aloe Blacc, Bilal, Joe Walsh (The Eagles) and Jon Bon Jovi. Her mesmerizing performance style has captured the attention and support of Quincy Jones, songwriting duo Ashford & Simpson and fashion savant Andre Leon Talley, who featured her in an issue of Vogue. Her original music has been featured on MTV, VH1, BET, LOGO, Lifetime and Showtime, and Tony award winning director George C. Wolfe personally selected her to be the featured rock performer in his film You Are Not You, which stars Oscar-winner Hilary Swank.  She’s been crowned ‘Mistress of Ceremonies’ at New York City’s wildly popular private night club ‘The Box’, and has received ASCAP Foundation’s “Reach Out and Touch” Award, given to promising songwriters. She most recently was featured in the NETFLIX, Ezra Koeing-created (Vampire Weekend) anime series “Neo Yokio” (starring Jaden Smith, Jude Law, Susan Sarandon and more).

 

TONY BRUNO (Guitar) became the music director and guitarist for Enrique Iglesias in 1999. Since then, he has put together six of Iglesias’s tours and done countless TV performances. In 2005, he partnered with choreographer Tina Landon to create the show for artist Anastacia’s Live at Last tour. He has also worked with artists such as Rihanna, Enrique Iglesias, K’naan, Karmin, Delta Goodrem, and many others. TV production credits include “America’s Got Talent”, “X-Factor”, “American Music Awards,” “Top Of The Pops”, “MTV Music Awards”, TRL, “Wetten Das”, and others. His song “Daylight in Your Eyes” for German artists No Angels was the second best-selling German single of all time. Tony has worked on writing songs with the world’s top songwriters including Shelly Peiken, Lindy Robbins, Kara DioGuardi, and Ty Lacy. In the studio, Tony has lent his extraordinary guitar skills to numerous hit records with top producers like Ted Templeman, Bob Rock, and Desmond Child.

 

MÁIRÉAD NESBITT (Violin) For more than a decade, Máiréad Nesbitt has enchanted millions of fans around the world as the Celtic violinist and founding member of the globetrotting music phenomenon Celtic Woman. Loyal fans of all ages, across geographical and cultural boundaries far beyond the musical heritage of Ireland, have adored her beguiling stage presence and versatile instrumental talents. As the featured violin soloist on all 11 Celtic Woman albums, each title achieved the coveted #1 slot on the Billboard World Music Chart, an Emmy-nomination for one of her companion television specials and her most recent album with the group, “Destiny”, received a 2017 Grammy Nomination for Best World Music Album. Máiréad is also an accomplished solo artist who released her newest album Hibernia at the end of 2016. Upon its release, Hibernia charted on four different Billboard charts, including the World Music, Classical Crossover, Heatseekers, and Classical charts. Máiréad also released a special album, reaching back to her family roots called “ The Nesbitt Family – Devils Bit Sessions”. In 2017 the “Máiréad Nesbitt Celtic Violin Collection” was launched and is available exclusively online and in specialty shops in North America and Ireland.  Máiréad has appeared with the City Chamber Orchestra of Hong Kong, Berne Symphony Orchestra, Atlanta Symphony Orchestra and more. 

 

HENRY ARONSON (Piano) is among the most in-demand music directors in the Broadway theatre. He was the music director/conductor/keyboardist for the Broadway run of Rock of Ages. Also on Broadway, he was music director for Grease, The Times They Are A-Changin’, In My Life, Little Shop of Horrors, Rent, Rocky Horror Show and Starmites; associate conductor of Cry Baby, Good Vibrations, Parade, Saturday Night Fever, Mail and Prince of Central Park; and conducted The Who’s Tommy and On Your Feet; he also conducted and played many seasons of the Radio City Christmas Spectacular. Off-Broadway, he conducted at Cagney, was music director of Once Around the Sun (Zipper), King Lear (Public Theater, starring Kevin Kline), The Wind in the Willows (New Victory), 3 Guys Naked From the Waist Down (Minetta Lane), and numerous productions at Playwrights Horizons and Naked Angels. He studied piano at Mannes College of Music, and received his Music degree from Columbia University. His musical Loveless Texas, which he wrote with his wife Cailín Heffernan, was produced this year by Boomerang Theatre Company at the Sheen Center in New York City.

 

MAT FIELDES (Bass) is a very active bass player on the New York freelance scene. He has collaborated with artists such as Jay-Z, Gorillaz, Joe Jackson, Ornette Coleman, John Cale, Peter Erskine, Jim Steinman, Sufjan Stevens, Steve Vai, PaquitoD’Rivera, Kristjan Jarvi, Joe Williams, Arturo Sandaval, Toni Tennille, Kelli O’Hara, and many others. Mr. Fieldes tours extensively as the solo bassist for Absolute Ensemble, an electro-acoustic crossover chamber orchestra, which performs at major venues worldwide. Broadway credits include: Mamma Mia, The Book of Mormon, Next to Normal, Billy Elliot, South Pacific, Mary Poppins, Kiss Me Kate, The Full Monty, Legally Blonde, and Saturday Night Fever,and Matilda. He has played with the New Zealand Symphony, New Jersey Symphony, Auckland Philharmonia, Brooklyn Philharmonic, Key West Symphony (Principal), Long Island Philharmonic, Westchester Symphony, Moscow Chamber Orchestra, New Zealand String Quartet, New Zealand Trio, Continuum, Bronx Arts Ensemble, and has recently appeared in major festivals in Mexico City, Bremen, El Paso, Adelaide, and Montpellier.

 

ALEX ALEXANDER (Drums, Percussion) is a “first call” session drummer/percussionist residing in New York. He has performed and recorded with artists such as David Bowie, Dido, Eminem, Ritchie Blackmore, Rickie Lee Jones, Jimmy Cliff, YoussouN’Dour, Joy Askew, Bernie Worrell from P-Funk, Bruce Springsteen, The Association, Toots and the Maytalls, Sophie B. Hawkins, J.C. Chasez from NSYNC, Montell Jordan, Willie Nile, Dougie Fresh, Bebel Gilberto, Julia Fordham, The Barrio Boyzz, Eljuri, Chaka Kahn, Buddy Miles, and more. Alex has also performed on many soundtracks for films, including the cult classic, The Search For One-Eye Jimmy, the multi-award winning HBO film, Liberty Kid, the HBO film, Forged, as well as the soundtrack to the Academy Award winning documentary, Born Into Brothels. Alex has invented an instrument called the Electric Djembe. Using African djembes, ethnic percussion, Shure wireless microphones, and custom Guitar F-X pedals and loop boxes, Alex creates sounds that range from drum machine emulation to ambient keyboard pads and washes. His unique blend of hand percussion and guitar effects pedals can be heard on television and film soundtracks, which he composes through his production company, Perpetual Motion Productions.

__________________________________________ 

Whitney Holden Gore
Vivacity Media Group
1650 Broadway, Suite 609, New York, NY 10019
212-812-1483 

    

An Interview with Broadway’s Tony Sheldon

Oh BroadwayKingdom, what a thrill to be able to present to you
An Interview with the amazing
Tony Sheldon
star of the original Australian & Broadway productions of
“Priscilla Queen of the Desert”
and recently starred in Broadway’s “Amélie”
In this very fun interview Tony shares the story of his life and career, so far, and breaks some exciting news about the upcoming 10th Anniversary Australian National Tour of “Priscilla, Queen of the Desert”!
So get a beverage, make yourself comfortable and watch and enjoy…

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