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REVIEW: Encores! Concert Revival of LITTLE ME

On whom the Belle told…
A review of Encores! Concert Revival of

LITTLE ME
little me poster

At New York City Center

February 9, 2014

A wealthy, well-connected celebrity decides to share “Her Inspiring Life Story” with the world.  This is the basis for Patrick Dennis’ classic camp novel LITTLE ME which in turn formed the book for the rollicking vaudeville of a musical with the same title.  In bringing LITTLE ME to New York City Center, Encores! has spared nothing in their new concert production:  great performers, superb choreography and excellent staging, all of which set off this tuneful and happily silly show to the best advantage.

Mr. Neil Simon was clearly mining comic gold when he adapted LITTLE ME for the stage and Mr. Jack Viertel’s concert version does not tarnish the show one whit.  Miss Belle Poitrine has decided to dictate her memoirs to the fascinated author Patrick Dennis and give the world “the Truth” of her start as a dewy, well-proportioned lass from the wrong side of the tracks who, due to heartbreak, rose to prominent wealth, culture and social position on the right side of the tracks.  She relates all the people who have helped her along through hardship, war, disaster, Hollywood and Monte Carlo beginning with her one true love and all the other men who happened along the way, bankers, performers, producers, princes and so on…

The company truly romps through the show, most of them even being without the scriptbooks that Encores! had everyone carry onstage as a constant reminder to one and all that this is a “show in concert.  Only one script is ever seen and it generates one of the best laughs of the evening.

There are performers who understand the virtue of facing farce with an absolute straight face and Ms. Judy Kaye is certainly adept at this high comic art.  She sails serenely through the most outrageous narratives never tipping her hand at the absurdity of a situation (and boy can they be fantastic).  As a result, Ms. Kaye creates an unforgettable contemporary Belle Poitrine: a woman with an outrageous – but heroic – past and who clearly not content to rest on her massive pile of laurels.  In doing so, Ms. Kaye wins the adoration of the audience and gets some of the best laughs of the evening.

Neck and neck with Ms. Kaye in capturing the admiration of the audience is the young Belle Poitrine (neé Schlumpfert) who bravely climbs her way out of highly emphasized poverty.  Ms. Rachel York’s Belle is sincerity personified whether she is taking poise lessons in a hotel room with a rich banker or personally comforting a prince who has the pressures of the kingdom on his frail shoulders.  Additionally, Ms. York shows each step of her character’s evolution rising from naïve innocence to sophistication maintaining a blatant nobility and intrusive purity that makes her presence onstage all the funnier and likeable.  Musically as well Ms. York can do no wrong and when she and Ms. Kaye join forces in the number “Little Me” they wreak considerable pleasure.

If there is anyone who can truly blight the irrepressible Belle’s life it is Mrs. Eggleston, a wealthy snob of the first rank and the mother of Belle’s one true love.  While Mrs. Eggleston’s oedipal control of her son is not complex, Ms. Harriet Harris’ starchily droll demeanor makes her the perfect cartoon villainess to root against.

If Belle cannot achieve her heart’s desire there are many, MANY other men who desire her, starting with Tony Yazbeck who plays the devoted and world-wise George Musgrove.  The handsome urbane George may not be the man who can assure “happily ever after” for poor Belle, but the charming Mr. Yazbeck makes it a close thing.  His rendition of “I’ve Got Your Number” is both a seductive call and a wink at the real Belle that George can see and still love.

Ah, but then there are a LOT of other men in Belle’s life: The stingy banker Amos Pinchley whom Belle converts to generosity; Monsieur Val Du Val, France’s rude answer to Maurice Chevalier, Deliveryman and Hollywood Director Otto Schnitzler and Princes AND soldiers and, and, and…  All of whom are portrayed by Mr. Christian Borle.

This is the gimmick.

Little Me 1And a worthy gimmick it is too, for the dynamic Mr. Borle never holds back on the fun, allowing full lunacy of expression whether he is a man toggling through on-and-off amnesia, a Prince calling on his loving subjects with some rather unfortunate news or the innocent nearsighted doughboy Fred Poitrine who rapidly weds and widows Belle.  Not only does Mr. Borle play his goofy roster of characters to the hilt, but he also carries their numbers quite admirably (“Real Live Girl” is a joy) – especially in the role of the ridiculously wealthy, hyper-educated true love of Belle’s life, Noble Eggleston.  As Noble, Mr. Borle has gotten the deadpan demeanor down beautifully, whether he is explaining the difference between a gift and charity to young Belle (charity is better) or training a rapidly sinking linerful of people how to swim before the ship goes under.  There is no doubt that Noble is something of a wet smack (even before the boat sank) but he is Belle’s drip and he loves her – which makes him kind of endearing.  We know he will always be forced to leave, but Noble somehow manages return to Belle.  It is commendable when an actor can carry off a constantly varying array of portrayals, but it is really something when he must also perform one consistent role that has to thread its way in between his other characters at the same time.  If Mr. Borle does not deliver absolute perfection in such a complicated tangle of personas, he does pretty darned well.

Following Mr. Borle through his ever changing personalities is the worthy Mr. Robert Creighton who capably does his share to shift from role to role, matching the scenes as he ranges from the stingy banker’s craven son to a preacher in World War I to a prince’s aide-de-camp and so on.

Naturally there are a whole host of others who make up Belle’s life:  Her mother Momma Schlumpfert, who, in Ms. Gealen Gilliland’s skilled hands, can make even the oldest profession seem naughtily respectable, the Buchsbaum brothers Bernie (Mr. Lee Wilkof) and Bennie (Mr. Lewis J. Stadlen) who memorably launch Belle into show business, Belle’s fascinated ghostwriter Patrick Dennis, played with amusing understatement by Mr. David Garrison and a delightful crew of talented ladies and gentlemen who range from the rag-tag denizens and highfalutin upper crust of Venezuela, Illinois to the various friends who flock around Belle at the close of her recollections.

With the changes in characters and the loosely linked scenes LITTLE ME is strongly reminiscent of the old Broadway review, Director John Rando firmly keeps the narrative focused and the action flowing, yet there is an improvised feel that is well in keeping with the tongue-in-cheek nature of the show.

Dance-wise too there is a sort of “why not?” atmosphere that matches well with the show’s air of intense parody.  Choreographer Joshua Bergasse covered a wide range of dance styles and never wastes a movement.  He and the cast were clearly having a ball with the material and their enjoyment is happily infectious.  Mr. Bergasse’s arrangement of the vaudeville number “Dimples” sung by Belle with her union-suit clad “police” backup was one of those hilariously outrageous moments of theater that will always be stuck in my memory.

This of course leads us to the songs with lyrics by Carolyn Leigh and music by Cy Coleman.  How can one fault such an enjoyable score with numbers like “Be a Performer!” and the standard “I’ve Got Your Number,” especially when the music is performed by the Encores! Orchestra conducted by Mr. Rob Berman?  Under his baton, Mr. Ralph Burns’ orchestrations sweep over the audience with real energy.  Mr. Berman is definitely into “Little Me” and the musicians and singers certainly benefit from his enthusiasm.

The look of the show keeps in with Encores! tendency towards lavish simplicity.  Mr. John Lee Beatty is certainly a master at using the outline of a house to indicate a hometown setting or placing a set of tables and some small backdrops to create a busy nightclub scene.  His scenic designs for LITTLE ME certainly always highlight the action and never draw the focus away from it even when Mr. Beatty slips in his own small visual wisecracks (such as the Buchsbaum Brothers nameplates “BENNIE”, “& BERNIE”).  With all the praise I have been lavishing on LITTLE ME it is downright curmudgeonly to mention a fault now, but I really think that Mr. Beatty ought to remember that the people in the upper gallery cannot fully see the back of the stage; so even if his wonderful gag backdrops get a large laugh from the lower two levels of the theatre, there is an entire third level of spectators that he excludes from the jokes because of he did not consider the sight lines.  If this happened once or twice, I might have overlook such a problem, but such joke screens set off each major scene and leave the upper seats feeling somewhat gypped.

Still it is impossible to be resentful when we also have Mr. Ken Billington’s atmospheric lighting and Sound Designer Scott Lehrer efforts adding their own running gag to the evening by visually and audibly expressing – with some frequency – what true love means to Belle and Noble.

Mr. Paul Tazewell adds his own measure of deviltry in his costumes for LITTLE ME.  They may echo the periods in which each scene is set, but they are never museum pieces – unless they need to be.  Young Belle’s costumes alone are a skillful sartorial map of her advancement in the world and slyly remind us all to what her rise is attributed to.

 It is a shame that this past Sunday evening was the final performance because as done at Encores! LITTLE ME clearly deserves further exposure.  It is a solid, entertaining show that reminds us how wonderful it is to simply have a good time at the theater and walk out afterwards with a broad grin and a strong desire to buy the show’s album.

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

  • Cast & Credits

    Book by Neil Simon
    Lyrics by Carolyn Leigh
    Music by Cy Coleman
    Based on the novel Little Me: The Intimate Memoirs of that Great Star of Stage, Screen
    and Television/Belle Poitrine    , by Patrick Dennis
    Directed by John Rando
    Choreography by Joshua Bergasse
    Starring Christian Borle, Robert Creighton, David Garrison, Harriet Harris, Judy Kaye, Lewis J. Stadlen, Lee Wilkof, Tony Yazbeck, and Rachel York

    With Cameron Adams, Stanley Bahorek, Meggie Cansler, Gaelen Gilliland, Arlo Hill, Reed Kelly, Justin Keyes, Eloise Kropp, Josh Lamon, Jenny Laroche, Samantha Massell, Skye Mattox, Paul McGill, Jason Mills, Vivian Nixon, Lindsay O’Neil, Manuel Stark, Clay Thomson, Kathy Voytko, and Amos Wolff

Want More Encores!?

REVIEW: MURDER FOR TWO at NEW WORLD STAGE

Duet to the Death

A review of
MURDER FOR TWO
At NEW WORLD STAGE

January 11, 2014

MURDER FOR TWO is a cutely tongue-in-cheek musical parody of the classic murder mystery. Marcus, an up-and-coming police officer with a dark past is called to the scene of the crime. A well-known author has been killed and Marcus must deal with the throng of the victim’s loving relatives and friends all of whom have some sinister revelation and all of whom are portrayed by a second actor.

Therein lays the gimmick; the two man play with the cast of thousands!

This is a very self-referential operation that could easily collapse into an uncomfortable mess of rushing actors and weird impersonations – a party piece that goes on too long and wrongly. Happily the authors of MURDER FOR TWO, Messrs. Joe Kinosian and Kellen Blair know how to charge the show with enough irreverence that even apparent weaknesses contribute to the fun and the sometimes groaning laughter of the evening.

The prime driving forces that keep this sustained sketch romping merrily along are the stars Brett Ryback and Jeff Blumentkrantz.
As Marcus, the eager young hero, Mr. Ryback exudes a rampant gee-whiz enthusiasm that makes one wonder if there is a barn somewhere for this attractive young lawman to put on a show in. Of course, his barn is the very home in which this murder most foul has occurred. Mr. Ryback understands that charm and smugness have to be applied with care and he usually knows when to turn them off. Whenever he forgets to, there is always the wonderfully capricious Mr. Jeff Blumenkrantz, who can bring him to total exasperation with a shift of characterization. Indeed, Mr. Jeff Blumenkrantz not only hurls himself into all the other roles, from matron to fireman to small choir boy with a change of prop, voice or demeanor, but he also knows how to deploy each recognizable persona as a comic weapon, whether he is annoying Marcus as a garrulous doctor or refusing to shift into the appropriate suspect at Marcus’ bidding.

Additionally, both Messrs. Blumenkrantz and Ryback perform their songs with flair and abandon. This is considerable achievement when one considers that the two gentlemen form the orchestra as well, using the music as accompaniment, a dramatic device and a way to push each other’s buttons.

Our duo do not, however, take tickets or usher in the audience, though I am sure they would be more than a match for those tasks as well, but even in their current range of duties, they practically crowd the stage with characters to the delight of the audience.

The score of MURDER FOR TWO is pleasant enough. With music by Mr. Joe Kinosian and lyrics by Mr. Kellen Blair, there are enjoyable and funny pieces, but as is often the case these days, very little in the way of memorable tunes to take out of the theater. Then again that seems part and parcel of MURDER FOR TWO’s amusingly tossed-off atmosphere.

If the actors take honors for their diverting performances, it is due to Director Scott Schwartz that the show moves along in a rollicking way. This is a piece that might wilt under too much critical examination and Mr. Schwartz makes sure that the audience is not left alone for a moment to indulge in such a fatal activity. He ensures that the comedy is always there and that the one-upmanship between the two actors keeps us grinning even when things are at their silliest.

While the set might appear to be a bare stage with only the essentials, Mr. Beowulf Boritt has created an ingenious design that, through his props and Mr. Jason Lyons’ creative lighting, supply everything that is needed to create havoc at the old homestead.

Ms. Jill BC Du Boff also contributes mightily with well applied sound effects and recorded musical bits. Still with such a small theater, why did the cast need not only body mikes but external microphones? Are people in the production SO insecure about being audible?

On the other hand, Ms. Andrea Lauer’s costumes seemed like nice enough street clothes but as the show moves forward these garments provide their own plot points and humorous diversions.

In all MURDER FOR TWO is an enjoyable 90 minute comic juggling act that is very much time well wasted.

MURDER FOR TWO is currently playing at
New World Stages / Stage 5
340 West 50th Street
Between 8th and 9th Avenues
New York NY 10019
Running Time: 90 minutes, with no intermission

Tickets are currently on sale through March 16, 2014
Please call Telecharge at (212) 239-6200 or (800) 432-7250 for ticketing assistance.
More info at: http://murderfortwomusical.com/

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

SPECIAL: Steve Cuden Interviews Randy Johnson “A Night with Janis Joplin” on Broadway

Broadwaykingdom.com was asked to film Steve Cuden (interviewed here) interviewing Randy Johnson about his amazing BioMusical “A Night with Janis Joplin”

We hope you enjoy it.

REVISED PRESS RELEASE: Two Concerts – “Barbara Cook” and “Holiday Belles: with Leslie Uggams, Christine Andreas & Marilyn Maye”

BARBARA COOK SHOW CANCELLED!!!!
PLEASE SEE UPDATE HERE

BROADWAY AND CONCERT LEGEND
BARBARA COOK RETURNS TO TOWN HALL
ON THURSDAY, NOVEMBER 14, 2013 AT 8 PM

Tickets go on sale September 23rd at 12 noon at Town Hall and via Ticketmaster

Clipboard01Photo by Denise Winters

Legendary concert artist and Kennedy Center Honoree BARBARA COOK returns to New York City’s Town Hall, 123 West 43rd Street (between 6th Avenue & Broadway,) on Thursday, November 14th at 8 PM with a new evening of song (and stories) as she continues to explore her newly developed repertoire of jazz and swing while also reprising her now-classic renditions of songs from Broadway and the Great American Songbook.

The evening is presented by Joanne and Bernie Furshpan of Furshpan Productions.  Bernie is Managing Partner of Metropolitan Room and has produced and promoted historic concert events, with his company Big Fish Productions, at Avery Fisher Hall and Hammerstein Ballroom.  He said, “I am honored to present the legendary Barbara Cook at Town Hall.  The intimate setting brings her even closer to her adoring audience.”

Considered “Broadway’s favorite ingenue” during the heyday of the Broadway musical, Ms. Cook launched a second career as a concert and recording artist.  She has been honored with the Tony, Grammy, Drama Desk and New York Drama Critics Circle Awards, has been designated a Living New York Landmark, and was inducted into the Theatre Hall of Fame.

A 2011 Kennedy Center Honoree, Miss Cook recently returned to the Broadway stage after a 23-year absence, and was nominated for a Tony Award for her performance in the musical Sondheim on Sondheim.  Ms. Cook’s latest solo recording, Loverman, was released by DRG Records.

 Tickets for BARBARA COOK AT TOWN HALL will be available beginning Sept 23, 2013 at 12 noon. To purchase tickets, please visit thetownhall.org/index.php, The Town Hall Box Office, Ticketmaster.com or any Ticketmaster outlet.  To order by phone, please call Ticketmaster at (800) 982.2787.   Orchestra (A-D) $85; Orchestra (E-J) $70, Orchestra (K-U) $65; Balcony/Loge $70 and Balcony $55

MUSIC/CONCERT LISTINGS INFORMATION

BARBARA COOK AT TOWN HALL November 14 at 8 PM 123 West 43rd Street (between 6th Avenue & Broadway)   To order by phone, call Ticketmaster at (800) 982.2787 orwww.ticketmaster.com.   Orchestra: $85, $70, $65; Balcony/Loge $70, $55

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 For More Info:  http://thetownhall.org/event/470-barbara-cook
For Tickets: http://www.ticketmaster.com/Barbara-Cook-tickets/artist/1471050

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Contact: Bernie Furshpan
Bernie@metropolitanroom.com
631.383.3943

ALSO: A Second Amazing Evening:

Dec 19th – Three Legendary Ladies of Song – Holiday Belles with Leslie Uggams, Christine Andreas and Marilyn Maye. Ring in the holidays in this special one night only musical feast. Three show biz musical legends join together in a concert celebrating life, love, and great songs!

HURRY… GET YOUR SEATS TODAY >>  http://www.ticketmaster.com/Holiday-Belles-tickets/artist/1373649

Chita: A Legendary Celebration – The Red Carpet Interviews

On October 7th, 2013 in honor of her 80th birthday, the Legendary Chita Rivera performed for almost 2 hours in “Chita: A Legendary Celebration”
a benefit concert for BCEFA at the August Wilson Theatre 245 West 52nd St, NYC
(home to the long running “Jersey Boys“)

Broadway Kingdom was invited to be at the Red Carpet Interviews at the
Blue Fin – 1567 Broadway New York, NY 10036

We got to chat with some of the performers, guests and Chita!

Enjoy!

An Interview with: Steve Cuden author of “Beating Broadway” & “Jekyll & Hyde the Musical”

From high above Broadway in the Paramount Building, author Steve Cuden took time out to chat with me about his book, his amazing career in animation, and his pick for the lead in the long rumored “Jekyll & Hyde” movie musical!

To purchase the book in either paperback or Kindle format click here: BUY THE BOOK

www.beatingbroadway.com

www.stevecuden.com

Guest Review of Encores! Concert Revival of FIORELLO!

Ballots over Broadway.

A review of Encore’s! Concert Revival of FIORELLO! at New York City Center

February 2, 2013

FIORELLO! is a show about politics, righteous indignation, ambition and love. It’s focus is the making of the dynamic and legendary Mayor of New York City Fiorello H. LaGuardia: nicknamed the “Little Flower.” The many eventful chapters in LaGuardia’s highly interesting public life are an embarrassment of riches for any writer to tackle and authors Jerome Weidman and George Abbot limit themselves to relating Fiorello’s life during the ‘teens and ‘twenties, covering his progress from a socially conscious and ambitious Manhattan lawyer to congressman and war hero, and eventually his rise to Mayor of the now corrupt and depression stricken City of New York. While Fiorello moves forward, the audience has the chance to look at both the hero and his relationship with the people around him.

Essential in telling LaGuardia’s story is a musical score that goes a long way towards fleshing out the personalities and situations involved in FIORELLO. Beautifully presented by the Encores! Orchestra as directed by Mr. Rob Berman, the songs and music by Composer Jerry Bock and Lyricist Sheldon Harnick are spirited and vivid musical guides through backroom politics, strikes, the First World War, the Jazz Age and the corruption of Mayor Jimmy Walker’s administration. Politics may be a dirty game but Messrs. Bock and Harnick also make it a wonderfully tuneful one with such treats like “Politics and Poker” and “Little Tin Box.” Outside of governmental affairs we are treated to a goodly measure of well honed songs ranging from the comic (“Marie’s Law”) to the tender (“Till Tomorrow”).

As far as the cast is concerned the gravel voiced Mr. Shuler Hensley practically walks off with the show in the part of Ben Marino. His resignation as being Republican Leader in a strongly Democratic district and his surprise at LaGuardia’s congressional victory delight the audience Even if Marino is a political flunky, Mr. Hensley makes sure he is no slouch.
Aiding and abetting Mr. Marino are the other hacks of the evening who also earn a goodly share of appreciation. Messrs. Justin Barnette, Rob Gallagher, Kevin Ligon, Steve Routman, Nathaniel Stampley and Kevin Vortmann are always marvelously present for plot machinations – both political and musical.

Adding his share of administrative flavor to the evening was former Congressional Representative Barney Frank in a one-time surprise walk on as a Senator who advises LaGuardia on his first day in Congress. Rep. Frank played his moment gamely and deserved his ovation, but seemed less self-assured as a stage Senator than he did as a real-life Congressman.

Keeping the lights on in LaGuardia’s law office are the young bright eyed gofer Niel – played with amusing “omigosh” appeal by Mr. Andrew Somanosky – and Morris, the loyal drudge who has seen it all and will be the first to tell you so. Such a character might easily become the office kvetch, but the excellent Mr. Adam Heller imbues Morris with a good-natured tolerance and feeling of quiet pride in his boss that makes him both sympathetic and likable.

More importantly is Marie, the loyal secretary, go-between and driving force in LaGuardia’s legal and political careers. Ms. Erin Dilly is ideal in the role, showing a young woman with integrity and gumption, who would go far anywhere – if she just wasn’t so stuck on her boss.

The other woman in Fiorello’s life is Thea, the Ladies Garment Workers strike leader. I must give real praise to Ms. Kate Baldwin in her ability to take Thea from friendship with Fiorello to begrudging engagement and finally to romance. She manages so much with little time and one beautiful song: “When did I fall In Love?”
A friend to both Thea and Marie is Dora who rises out of the sweatshop to find love and eventually life in a penthouse. Dora is admirably enacted by Ms. Jenn Gambatese with a winning combination of cuteness and determination that is exhibited as its best in her number “I Love a Cop.” It is very understandable why her former tormentor of strike days, the Police Officer Floyd McDuff – played with amusing bluffness by the Mr. Jeremy Bobb – finds himself in love with her.

Ms. Emily Skinner plays a brief though very memorable role as the singing star Mitzi Travers. Her rendition of “Gentleman Jimmy” was a rousing salute to the New York of the roaring ‘twenties.

The other members of the cast deserve applause as well, expertly populating the scenes and musical numbers with immigrants, shopgirls, soldiers, citizens, etc…

What about the Little Flower himself?

Fiorello H. LaGuardia is not an easy role to play and requires the actor to carry off a thespian juggling act. The title character exhibits pushiness, brashness and impatience and does not even get a major share of the songs: yet he must come across as a likeable, admirable opportunist whose presence permeates all the action even when he is not onstage. I have heard from spectators that Mr. Danny Rutigliano gave a wonderful performance as Fiorello in other performances, but sadly the night I saw him, Mr. Rutigliano did not seem up to the demands of the part. Much as I truly wanted to enjoy Mr. Rutigliano’s performance as LaGuardia, all I could see was a very eager man who wanted to be liked but who did not seem to be enjoying himself very much. Perhaps it was fatigue or an off night, but this Little Flower tended to wilt: the eager reformer being eclipsed by a nebbishy noodge. As a result of the play FIORELLO! itself weakened and exhibited flaws that a stronger, more confident performance might have hidden.

To be fair I would not put all the blame on Mr. Rutigliano for FIORELLO’s shortcomings. While many of the scenes and numbers in FIORELLO are relished by the audience, Director Gary Griffin and Mr. John Weidman who did the concert adaptation did not seem to fully grasp the difficulties that adapting a musical into a concert format would involve. Primarily the problem of adapting scenes that would have probably been performed “in one” – that is in front of a curtain, to keep the story moving while a set is changed – in a fully staged production. In the evening’s presentation, they chose to present such moments as fully as any other scene forcing pauses in the action to allow the next part to be put in place. I thought this hurt the momentum of the show dreadfully, distracting the audience and hindering actors who could not fully capitalize on the energy of the previous scene. Then too, though it might be churlish to say this about a Pulitzer Prize winning play, but the Messrs. Jerome Weidman and George Abbot seemed to rely more on the legend of LaGuardia in this show than work to show what a marvel he really was. Without a strong lead actor to drive the show, FIORELLO shows itself to be one of those shows where we have to take the word of the main character and his associates on how great he has been rather than seeing how great he is. That is not the best story telling.

Still whatever story was present, it was excellently set by Mr. John Lee Beatty’s building block scenery and Mr. Jess Goldstein’s simple costumes that commendably reflected the time frame rather than attempt to recreate the ‘teens and ‘twenties. Their look was well illuminated by Mr. Ken Billington’s lighting.

I must also praise Mr. Alex Sanchez’s delightfully varied choreography and Mr. Scott Lehrer’s sound designs that came across as carefully balanced and natural even in the top balcony where the audience is directly facing the main speaker.

For all my reservations concerning this remounting of FIORELLO! – which had been the first concert Encores! ever performed in 1994, – the Encores! series provides once more the vital reminder that even if a show has its imperfections, it doesn’t have to be flawless to make for an evening of memorable theater.

(My thanks to my sister Cronshi for the wonderful “thespian juggling act” description. It is too good to be used without some expression of appreciation.)

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

Press Release: PEREZ HILTON JOINS NEWSical the Musical

PEREZ HILTON JOINs the CAST OF the OFF-BROADWAY sensation, NEWSical the Musical

New York, NY:  The internet’s most notorious gossip columnist Perez Hilton joins the cast of the uproarious off-Broadway musical revue, NEWSical the Musical, for four weeks only beginning Saturday, September 8th.  From John Travolta, Anderson Cooper, Tom Cruise and Katie Holmes to the national fight for marriage equality and the 2012 Presidential Election, NEWSical the Musical sets all of today’s biggest news and pop culture headlines to song. With Hilton’s arrival, award-winning composer-lyricist Rick Crom will add new satirical spoofs to the show including a Chick-fil-A number and a song about the phenomenon of Perez Hilton that will be performed by the man himself. Perez Hilton will begin preview performances on Saturday, September 8th.   The opening night press performance will be Monday, September 17th.

“Dreams do come true, if you believe. And I BELIEVE, big time!”, says Perez Hilton from his Los Angeles home. “I am beyond thrilled, nervous and zen about making my New York theater debut. It’s gonna be a wild ride in a show that guarantees to put smiles on people’s faces. It will be no holds barred! Pure unadulterated fun!

I expect to have the time of my life and look forward to hugging happy theatergoers after each show!”

“What do you do when your show needs to sell tickets?  You bring in a celebrity,” says producer Tom D’Angora of his decision to add Perez Hilton to NEWSical the Musical. “Perez Hilton was the perfect choice because our show is basically the musical version of his highlarious website. If you are a daily reader of Perez like I’ve been since 2007, you know how funny and charismatic he is. We couldn’t be more excited to welcome him as the newest member of our talented cast.”

NEWSical the Musical is the ever-evolving, completely un-sanitized musical mockery of all the news that’s fit to spoof.  The Associated Press calls it “The Daily Show set to music!” The show was named Best New Musical of 2011 by the Off Broadway Alliance. Infectious melodies, razor-sharp lyrics, biting satire and more unpredictability than a Courtney Love tweet make NEWSical a laugh-filled, high octane musical revue of all the most talked-about headlines of the day.

In addition to Perez Hilton, NEWSical the Musical features Christine Pedi (Forbidden Broadway, Talk Radio), Christina Bianco (Drama Desk nominee, Forbidden Broadway), Michael West (Forbidden Broadway, When Pigs Fly), Tommy Walker (Evil Dead The Musical), Amy Griffin (How the Grinch Stole Christmas) and Ryan Knowles (host of Nickelodeon’s ME:TV).

Rick Crom has appeared on Broadway in Urinetown, Footloose and The Goodbye Girl and on FX’s critically – acclaimed series “Louie” starring comedian Louis C.K. NEWSical is directed by Mark Waldrop (When Pigs Fly, My Deah, Inventing Avi, Papermill Playhouse’s Gypsy). Rounding out the creative team are Ed Goldschneider (music director), Jason Courson (set designer), Josh Starr (lighting designer) and Scott Delacruz (stage manager).

Newsical the Musical is produced by Tom D’Angora (Naked Boys Singing!, ICONS, Broadway Diva Christmas, Divas I’ve Done).

NEWSical the Musical plays at Theatre Row (410 West 42nd Street). Tickets are $85 – $110 and can be purchased through Telecharge.com or by calling (212) 279-4200 or (800) 432-7250. For performance schedule and more information visit www.NEWSicalthemusical.com.

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 PRESS INQUIRES:

Len Evans, Tel: 212-445-0066

Len.Evans@ProjectPublicity.com

About Perez Hilton

Since launching the celebrity entertainment blog PerezHilton.com in 2004, Perez Hilton has created a media empire that spans across online, publishing, television, radio, music and live events. In addition to his PerezHilton.com blog, which has become one of the leading sources for celebrity news amassing over 300 million hits a month, Hilton runs five additional digital properties focused on fashion, fitness, family, animals and a mobile app. Hilton has published three books, hosted and appeared on numerous television programs and has taken on the role of a music manager for such as recordings artists as IM5, CJ Baran, Kalie Shorr, VanJess and MattyB, among others. Hilton also created the hugely successfully music event series “One Night In…” in 2008, which features up-and-coming and top musical acts. On radio, Hilton is host to the twice-daily celebrity and entertainment news feature “Radio Perez” and most recently announced, the upcoming “Perez Nights Live.” Hilton was named the #1 Web Celeb in 2007, 2008, and 2009 by Forbes Magazine, one of the 15 most influential Hispanics in the US by People en Espanol, the 2009 Hispanic of the Year by Hispanic Magazine, one of Time Magazine’s ‘100 Most Influential People of 2007’ and as a tastemaker, Newsweek has compared his influence on the music scene to Oprah’s book club. Visit Perez Hilton online at www.perezhilton.com. Follow Perez Hilton on Facebook and Twitter at www.facebook.com/PerezHilton and @perezhilton.

PRESS RELEASE: FORBIDDEN BROADWAY RETURNS TO NYC FOR A LIMITED ENGAGEMENT

FOR IMMEDIATE RELEASE: 

GERARD ALESSANDRINI’S FORBIDDEN BROADWAY

RETURNS TO NEW YORK

FOR A LIMITED ENGAGEMENT

WITH

FORBIDDEN BROADWAY:
ALIVE AND KICKING

NOW IN PREVIEWS

AT THE 47TH STREET THEATRE

OPENING SET FOR SEPTEMBER 6TH

 

After a three-year absence, Gerard Alessandrini’s FORBIDDEN BROADWAY, one of NYC’s best-loved and highly anticipated productions, returns to the 47th Street Theatre (304 West 47th Street – just west of Eighth Avenue) with a brand new edition, FORBIDDEN BROADWAY: ALIVE AND KICKING. The show is now in previews,  with an opening set for Thursday, September 6th.    FORBIDDEN BROADWAY; ALIVE AND KICKING will play a limited engagement through January 6, 2013.  This production will mark FORBIDDEN BROADWAY’s 30th Anniversary, as well as its 21st edition.

FORBIDDEN BROADWAY; ALIVE AND KICKING returns with Gerard Alessandrini’s take on Porgy and Bess, Once, Evita, Anything Goes, Follies, Spiderman, Newsies, Book of Mormon, Nice Work if You Can Get It, and Death of a Salesman, among others.

Featured in the cast are Natalie Charlé Ellis, Scott Richard Foster, Jenny Lee Stern and Marcus Stevens.

 In a statement, Gerard Alessandrini said: “Over the past three years, I sat through show after show, with no outlet at all. Finally, I couldn’t take it any more. Now I have 3 years worth of pent-up parodies, and am blessed with a season that has practically written itself. We were able to get our favorite Forbidden Broadway theatre again, but only for a limited chunk of time. But that should more than long enough to say everything we have to say, and then come back to New York again, from time to time. ”

This edition is created and written by Gerard Alessandrini, and directed by Mr. Alessandrini and Phillip George, with musical direction by David Caldwell.  Costumes are designed by Philip Heckman, with set design by Jesse Poleshuck, lighting design by Mark T. Simpson and wig design by Bobbie Cliffton Zlotnik.  The show is produced by John Freedson, Harriet Yellin and Paul Bartz, in association with Paul G. Rice, Carol Ostrow, Paxton Quigley, Robert Driemeyer, Jamie DeRoy, Lawrence Poster and Tweiss Productions.

FORBIDDEN BROADWAY has been an unstoppable force in theatre since 1982, when Gerard Alessandrini created the first edition that lampooned the Broadway shows and stars of the day.  It has been a favorite among theatre lovers, as well as the Broadway stars themselves (Carol Channing, Angela Lansbury, Patti Lupone, Stephen Sondheim, Raul Esparza, Tyne Daly, Christine Ebersole, Bernadette Peters, Whoopi Goldberg Cameron Mackintosh, and Hal Prince, to name a few) who often stop by to laugh at themselves alongside the public.  FORBIDDEN BROADWAY has won numerous awards in its history including a Special Tony® Award as well as Drama Critics’ Circle, Obie, Drama Desk, Outer Critics Circle, Drama League, and Lucille Lortel Awards.  A theatrical institution, FORBIDDEN BROADWAY has received national and international notoriety having performed in over 200 US cities as well as engagements in Tokyo, Singapore, Sydney and London’s Meniere Chocolate Factory.

GERARD ALESSANDRINI (Creator, Writer & Director) is best known for writing and directing all the editions of Forbidden Broadway and Forbidden Hollywood in New York, Los Angeles, and London and around the world. He was also a member of the original cast of Forbidden Broadway. Gerard is from Needham, Massachusetts and the Boston area, where he graduated from the Boston Conservatory of Music. In 1982, he created Forbidden Broadway, which has spawned 18 editions, 8 cast albums and a record-breaking 30-year- run in New York. Television credits include writing comedy specials for Bob Hope and Angela Lansbury on NBC, Carol Burnett on CBS and “Masterpiece Tonight,” a satirical revue saluting “Masterpiece Theatre” on PBS. He can be heard on four of the eight FB cast albums and on the soundtracks of Disney’s Aladdin & Pocahontas. Directing credits include many corporate industrials and regional musicals, including a production of Maury Yeston’s musical In the Beginning. Gerard also co-directed a revival of Irving Berlin’s final musical Mr. President, which he updated & “politically corrected.” Gerard is the recipient of an Obie Award, an Outer Critics Circle Award, two Lucille Lortel Awards, a Lifetime Achievement Award from the Drama League and three Drama Desk Awards for Best Lyrics for Forbidden Broadway. He received the 2006 Tony® Honor for Excellence in the Theatre. Most recently his Madame X: The Musical won acclaim and multiple awards at the 2011 NYMF Festival; his holiday extravaganza The Nutcracker and I, written with Peter Brash was a smash at the George Street Theatre, and he is currently collaborating with Paul Mazursky and Bill Conti on a musical version of Mr. Mazursky’s film Moon Over Parador.

PHILLIP GEORGE (Director) is a director and writer.  As director Off-Broadway: Shout!, The Road to Qatar (York Theatre Company), Forbidden Broadway Goes to Rehab, Forbidden Broadway SVU, Forbidden Hollywood, Whoop-Dee-Doo (Drama Desk Award, Best Musical Revue), Forbidden Broadway Twentieth Anniversary Edition, and many other editions of this infamous revue series.  Along the way, Forbidden Broadway was also honored with a special Tony for long time achievement.  He has also directed musicals in London, Los Angeles, Toronto, Boston, etc., with Forbidden Broadway transferring to the West End.   With his longstanding collaborator Peter Morris, Phill also wrote Frankly Scarlett, which played at the Kings Head Theatre in London.  In addition to his directing assignments, he is also one of the writers of High Hair and Jalapenos, which skewers all things Texas and is currently preparing for the fifth edition.   When not directing and writing, Phill is on the staff of the American Musical and Dramatics Academy where he passes on some of the wisdom he acquired along the way.

DAVID CALDWELL (Music Director) has been the music director of Forbidden Broadway since 2004. He composed music and lyrics for All I Really Need to Know I Learned in Kindergarten and Uh-Oh Here Comes Christmas, both based on the writing of Robert Fulghum. He also composed music for Fulghum’s novel Third Wish. He conducted the American premiere of Stephen Schwartz’s Children of Eden. He recently music-directed two shows in China, with Inner Mongolian authors and casts. He arranged and orchestrated Marvin Hamlisch’s new song “I’m Really Dancing” for Career Transitions for Dancers’ 25th Anniversary Gala, featuring Angela Lansbury, Chita Rivera and Bebe Neuwirth. His new show, Gotta Getta Girl, was featured in the NYMF Reading Series. He is interviewed at length in Oliver Sacks’ book about music and the brain, Musicophilia.

PHILIP HECKMAN  (Costume Designer) is an Emmy-nominated costume designer for daytime television’s As the World Turns. He recently completed the New York run of My Big Gay Italian Wedding. Other Off-Broadway credits include SHOUT! The Mod Musical, Go-Go Beach, We’re Still Hot!, Are You There God? It’s Me, Ann-Margret, Marry Me A Little, I Love My Wife, Enough About Me and The Very Worst of Varla Jean Merman (Garland Award). Television credits include commercials, promos and shorts for LOGO, MTV, and VH1. Philip has also worked on several Broadway productions as a costume design assistant including Born Yesterday, The Boy From Oz, Chicago, Cry Baby, Democracy, Flower Drum Song, Follies, Frost/Nixon, The Graduate, Kiss Me Kate, Mamma Mia, Sideshow and Spamalot. Philip received his MFA in costume design from NYU’s Tisch School of the Arts.

The playing schedule for FORBIDDEN BROADWAY: ALIVE AND KICKING is as follows: Tuesdays through Saturdays at 8pm, Sundays at 7:30pm, with matinees on Wednesdays and Saturdays at 2pm.  Tickets are $29-$79. Premium Tickets are available at $110.Tickets can be purchased by calling Telecharge at (212) 239-6200 or by visiting www.telecharge.com

 

www.forbiddenbroadway.com

Guest Review of Encores! Concert Revival of GENTLEMEN PREFER BLONDES

The Merchant of Venus.

A review of Encore’s! Concert Revival of GENTLEMEN PREFER BLONDES
At New York City Center

by Moshe Bloxenheim, Guest Reviewer

May 13, 2012

Let’s face it: “Gentlemen Prefer Blondes” may not have the historical significance of “Show Boat” or “Oklahoma” but this past weekend, Encores! proved most delightfully that a show that promises good songs, brilliant comedy and an all out hilarious time well deserves to be rediscovered by a new generation.

Based upon Ms. Anita Loos’ classic novel of the same name, “Gentlemen Prefer Blondes” introduces the audience to the deliciously motivated Lorelei Lee; a young lady from Little Rock, Arkansas who departs the Prohibition America of 1924 for Paris. Gus Esmond Jr., Lorelei’s wealthy young button manufacturing Sugar Daddy, is reluctantly sending her to Europe for “education,” though it is soon all too obvious that France has more to learn from Lorelei than France will ever teach Lorelei. As Lorelie’s travel companion and occasional accomplice Dorothy Shaw is Paris bound too. Dorothy will never have Lorelei’s mercantile charms but she knows how to enjoy her own brand of romance. On board the “Ile de France” the girls encounter a wealth (both figuratively and literally) of attentive men ranging from the attractively athletic US Olympic team to the wandering Sir Francis Beekman – husband of the tiara selling dragon, Lady Phyllis Beekman. Also making the journey is the dipsomaniacal society matron Mrs. Ella Spofford whose son Henry, Lorelei feels, would make a perfect match for Dorothy. Lorelei’s own love (and financial) life is troubled by Gus Esmond Jr.’s possible discovery of some events in her past and the presence of the determinedly clean living zipper magnate Josephus Gage.
All this and Paris too…

I must say that the gentlemen of the cast all did the one thing necessary to ensure the success of “Gentlemen Prefer Blondes:” They never acknowledged that they are the joke. Being the unequal participants in the battle against sex, all men WANT to be used for Lorelei’s convenience. And from Gus Esmond, Jr. down to the cabin attendants on the “Ile De France” there was an earnestness of urge over intellect that assured the success of every plot twist and joke that came along.

Gus Esmond, Jr. the standard young businessman of the period: a man who wants to maintain the success of his father’s button business. Mr. Clarke Thorell gives Gus a sort of Wall Street “Ghee Whiz” persona that can make us believe that, for all her demands, Gus really loves Lorelei and would throw over the fastener fortune for her (against her better judgment). Better still Mr. Thorell never lets Gus exhibit an inkling that his fortune might have some influence on Lorelei’s ardent passion for him. Even when Gus utters such a belief, it is more the insult of a jealous lover than a man who fears a gold digger.

Gus’ primary reason for jealousy is his discovery of Lorelei wearing the first Paris dress to use a ZIPPER! A zipper manufactured by his father’s competitor Josephus Gage to be precise. Josephus is a gleefully prime example of the unnervingly healthy, athletic exponent of exercise and proper diet and Mr. Stephen R. Buntrock cheerfully lets the whole world know what a moving experience really can be. As far as Mr. Buntrock is concerned, Lorelei can get Josephus under her spell, but it a supremely wholesome hex.

Mr. Aaron Lazar makes Henry Spofford start out as a rather uptight, main line stick of a young man – the sort who usually interferes with romance – but the more Lorelei forces him and Dorothy together, the more he relaxes and wins everybody over, becoming the fellow that a girl would happily move to Philadelphia for.

On the other hand, when Mr. Simon Jones concludes as he began: having a lot of fun playing Sir Francis Beekman as a the eternally routed roué who will try to sneak in as good a time as he can have, when his formidable wife isn’t watching. Sir Francis would be putty in the hands of any girl so his scenes around Lorelei are entertainingly inevitable.

Also predictable in the best way possible are the father and son duo of Monsieur’s Robert and Louis Lemanteur, detectives hired by Lady Beekman to pursue Lorelei. In the persons of Messrs. Brennan Brown and Steven Boyer, the Lemanteurs are genuine stage Frenchman of the sort who are here less to move the story forward than to remind us that everyone is in France. They may be crude caricatures of the amorous “Oooh La-La” mode but they are enjoyable, fondly drawn parodies.

Another duo that is part of the Paris scene is the song and dance team of Mr. Philip Atmore and Mr. Jared Grimes who join Ms. Megan Sikora (as the ever rehearsing dancer Gloria Stark) in the show stopping number “Mamie is Mimi.” Messrs. Atmore and Grimes are billed under their own names and with their talents, certainly have no need to be onstage in any other guise.

Other notable males are the willing athletes of the 1924 U.S. Olympic Team. Led by Mr. Luke Hawkins, as “Frank,or the Olympic Team” and Mr. Eric Bourne as “George of the Olympic Team,” along with their teammates, these eye catching men may work hard to keep their amateur status, but they are pros delivering some wonderful dances and backing up the ladies on the “Ile de France” to the hilt.

If the men cannot see their status as prisoners of war in the Battle of the Sexes that is “Gentlemen Prefer Blondes,” the women are all eager combatants and the general who rules the field is clearly Ms. Megan Hilty as Lorelei Lee. Ms. Hilty does not so much steal the show as slip it happily onto herself like one of Lorelei’s diamond bracelets or a luxurious mink coat. She shows us a young lady who is not so much confident of her charms as she is unconscious that it could be any other way. Lorelei accepts it as natural that the best favor she can do for a man is to accept anything that he can offer her – especially something valuable. Such a character could easily seem greedy and venal, but Ms. Hilty understands that for Lorelie there is a generosity in receiving as well. Her pleasure in receiving gifts of bonds and jewelry is both that of a child getting a birthday present and of a benefactor who loves to see the thrill men get when they give her something. Additionally, while Lorelei can often seem childish and naïve, there is clearly a formidable brain ticking away in this young lady’s head, and Ms. Megan Hilty is brilliantly hilarious as someone who vaguely knows that Europe is somewhere near France yet can convince an unwilling businessman than she understands his business better than he does. And while keeping in this superbly comic character Ms. Hilty performs her musical numbers with unforgettable panache, truly stopping the show when she delivered the Broadway standard “Diamonds are a Girl’s Best Friend.” Here is truly one of the great Lorelei Lees.

Though Ms. Hilty may be the unqualified star of “Gentlemen Prefer Blondes,” Ms. Rachel York earns much laughter and applause for her part in the proceedings. As fellow good time girl and travel companion Dorothy Shaw, Ms. York is darned good company for both Lorelei and us. Dorothy views Lorelei as we do: she is an audience member who is fascinated and amused by her friend, even smiling at Lorelei’s obvious disapproval of her own admittedly unprofitable tendencies in love. Then when Dorothy does fall in love, Ms. York makes it a believable process allowing us to see a girl who is first amused, then intrigued and finally smitten.

Mrs. Ella Spofford, the mother of Henry, is a dithery matron who can’t understand why her son won’t let her have a little drink. Ms. Deborah Rush knows how to keep Ella funny and likable as the lady who just wants to enjoy herself – even if she tends to fall into the bottle when doing so – and Ms. Rush keeps us amused even with Ella’s sillier moments.
Mrs. Spofford’s opposite is Lady Phyllis Beekman, a lady of imposing proportions and demeanor. The excellent Ms. Sandra Shipley knows that she is playing a cartoon of a gorgon and never lets us down as chief villainess, whether she is keeping an eye on her constantly wandering husband or continually demanding proper payment for the diamond tiara that Lorelei was born to wear.

Ms. Megan Sikora plays another one of the archetypes of the 1920’s, the constantly working showgirl who enjoys her time with the boys. Gloria Stark aspires to the comforts of a sugar daddy, but is all too often practicing her dance routines for an impending show. Happily when she has her chance to perform numbers like “The Practice Scherzo” and “Mamie is Mimi” Ms. Sikora lets us see that she well and truly deserves her time on stage.

The rest of the cast are all up to the same standard, joining gleefully in the comedy and tunefully in the music whether we are in New York, shipboard or in Paris. They are a pleasure to watch and deserve fulsome praise for their part in the success of “Gentlemen Prefer Blondes.”

In the original musical Ms. Loos and Mr. Joseph Field had written a romp that parodies sex appeal yet even now has a surprising and rather refreshing innocence to it. In adapting this show to the concert stage Mr. David Ives clearly has understood that even if “Gentlemen Prefer Blondes” is called a “Book Musical” the authors had intended that such a thing was never meant to get in the way of out and out entertainment. Instead of worrying overly much about plot development and motivation, “Gentlemen Prefer Blondes” occasionally lets a number take over the stage while the storyline takes a breather and we are all the better for it. Especially when being treated to the music of Mr. Jule Styne and the lyrics of Mr. Leo Robin who provide a truly great score consisting of songs like the uproarious confessional “I’m Just a Little Girl from Little Rock,” the insanely diverting “It’s Delightful Down in Chile” and the absurdly essential “Button up with Esmond.” Music Director Rob Berman leading the Encores! Orchestra deliver a polished sound that makes it all sound fresh and alive using Mr. Don Walkers original orchestrations to give us the feeling that we are listening the sound of 1948.

Mr. Randy Skinner’s eye catching choreography is just fun, moving things forward when it has to or deliberately recollecting a time when a chorus was there to set an atmosphere or simply show off the available talent.

Like everything else, Mr. John Lee Beatty’s minimal scenery, effectively lit by Mr. Peter Kaczorowski, and Mr. David C. Woolard’s costuming never try to directly evoke the 1920’s, but rather how the 1920’s looked to those were remembering them in the late 1940’s. Mr. Woolard’s attire for Dorothy as the chic flapper alone would have deserved high praise but his celebration of Lorelei’s ripely voluptuous charms clearly assisted Ms. Megan Hilty in creating her unforgettable characterization.

For the most part Mr. Scott Lehrer’s sound design was good, but there were occasional lapses of clarity for the singers. Indeed, I thought that part of the problem with the least successful song; “Keep Cool with Coolidge” was an inaudibility of lyrics that left the audience rather puzzled.

There is an old saying that “it isn’t only what you do but how you do it” and Director John Rando certainly makes “Gentlemen Prefer Blondes” do IT! Blessed with a great cast, good material and a solid production, Mr. Rando makes sure that even when story is standing still, the show MOVES. He clearly knows that comedy must be performed earnestly and that absolutely nothing on stage should give a hint that this is farce. And Mr. Rando wisely allows everyone a chance to shine, knowing that this makes Ms. Hilty’s success as the star even more impressive.

As with every Encores! production, “Gentlemen Prefer Blondes” was a limited run that has already sadly ended. But between the excellent reviews, the ecstatic audiences and the demand for tickets, I would not be the least surprised to learn of this production being moved to another venue for a more extended run and I can only say that I should be delighted for the chance to enjoy it again and would recommend it to everyone I can.

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