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Comedy Can’t Be Taught ~ A review of Renée Taylor’s “My Life on a Diet”

Comedy Can’t Be Taught!
A review of Renée Taylor’s

“My Life on a Diet”
July 19, 2018
Theatre at S. Clement’s

If ever there was proof that comedy can’t be taught, Renée Taylor is that living proof.

After a lifetime consisting (so far) of 22 plays, 4 films, 9 TV movies and TV series, 3 Broadway shows, an Off-Broadway show, Oscar noms, Emmy and countless other awards, and a 52 year marriage to the man of her dreams, actor/director Joseph Bologna, Renée Taylor is still at it – and still trying out new diets!

In “My Life in a Diet”, co-written and originally directed by her late husband, Ms. Taylor, at a spry 85 years young, delivers a hysterical 90+ minute monologue about her life which sparkles and shines almost as much as the dress she wears. 

Best known for her role as Sylvia Fine, Fran Drescher’s food obsessed mother in “The Nanny”, Ms. Taylor started her acting career at age 15 in a Purim Pageant at Madison Square Garden and earned her Actor’s Equity card at age 19 for her appearance in “The Rehearsal” on Broadway. A Wikipedia or IMdB search will tell you all the details of her amazing credits, what I will tell you is this show is a goldmine of stories, Hollywood secrets and a personal journey that is a master class in comedy and story-telling that should not be missed.

Her on stage biography is liberally sprinkled with anecdotes about Hollywood legends such as Joan Crawford, Marilyn Monroe, Marlon Brando, Cary Grant, Barbra Streisand, and her mother, Frieda, the ultimate stage mom.

Ms. Taylor also shares the myriad of fad and celebrity diets she has tried over the years. As she says, “I used to think that if I ate like star, I just might live like one!”

Ms. Taylor is living proof that you’re either born with it or not. Go see a living comedy legend  for a delightful evening of laughs and tears. There is nothing like it on or off Broadway right now.

Elli with Renée Taylor @ “My Life on a Diet” 07.19.18

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MY LIFE ON A DIET is presented by Mr. Schlossberg in association with Morris S. Levy, Rodger Hess, Harold Newman, Jim Fantaci, Andrew Tobias, andRonald Glazer/Sabrina Hutt.

MY LIFE ON A DIET has set design by Harry Feiner, lighting design by Stefanie Risk and sound design by Jay Risk.

MY LIFE ON A DIET will be performed Off-Broadway at Theatre at St. Clement’s (423 West 46 Street, btw. Ninth & Tenth Aves). The limited engagement runs Thursday, July 12ththrough Sunday, August 19th. UPDATE: Now extended thru Sunday, September 2nd. The performance schedule is as follows: Wednesdays at 2pm, Thursdays at 7pm, Fridays at 7 pm, Saturdays at 2 pm and 7pm, and Sundays at 3pm.

Tickets to MY LIFE ON A DIET — priced at $65 ($75 premium seating) — are now available online at MyLifeOnADietPlay.com or by calling Telecharge at (212) 239-6200.

Follow Renée Taylor online:
Facebook:         https://www.facebook.com/Ren%C3%A9e-Taylor-394298697354583/
Twitter:            https://twitter.com/ReneeTaylor1613
Instagram:       https://www.instagram.com/official_renee_taylor/?hl=en

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

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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An interview with comedian Ashely Blaker

Broadway Kingdom was fortunate to be able to sit down with Ashely and talk about things – and talk we did for almost an hour!

At first glance, one might think Ashley Blaker is just an Orthodox Jewish Nerd but then, he begins to speak and the comic gems that flow out are pure genius – and you, my amazing viewers and readers, all know how much I admire genius.

Ashley Blaker Strictly Unorthodox is 90+ minutes of “things about Observant Jewish life and practices you might have thought of but never dared to speak out loud” – so Ashley will say them for you and with a ‘plotz in your seat’ take to boot!

Appropriate for all ages, genders, religious affiliation, or no affiliation at all. Jew, Gentile et al, Ashley will have you in stitches.

So sit down, relax, and enjoy our longest video interview to date… then go see the show!

Ashley Blaker Strictly Unorthodox
May 27th – June 28
Off-Broadway at the
Jerry Orbach Theater
1627 Broadway @ 50th Street.
For tickets phone the box office 212 921 7862
or click here
(tix are cheaper by phone than thru Ticketmaster)
Running Time: 90+ minutes
(Minchah or Maariv may follow the show)
Appropriate for all ages.
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Ashley Blaker is “the UK’s only Orthodox stand-up comedian”. Blaker is a writer for TV and radio and was producer of Little Britain. Mr. Blaker is an alumnus of The Haberdashers’ Aske’s Boys’ School where he was a contemporary of Sacha Baron Cohen and friend of Matt Lucas, with whom he went on to create Little Britain and The Matt Lucas Awards. In 2017, he was commissioned by the BBC to create a show called “Ashley Blaker’s Goyish Guide To Judaism”, described as “an insider’s view of his religion” Ashley will next be see at the Edinburgh Fringe Festival in “Ashley Blaker Observant Jew” at 3pm Sunday-Friday.

For more info on Ashley: CLICK HERE

Ashley Blaker’s Goyish Guide To Judaism on the BBC Radio 4 – stand-up from Ashley Blaker 1 episode in 2018. Due to be broadcast on Sunday 3rd June on Radio 4 at 7:15pm. The program will be repeated on Radio 4 Extra on Friday 8th June at 7:30am.

PRESS: https://nypost.com/2018/05/25/this-jewish-comedian-has-a-lot-to-kvetch-about

Gemma Blaker (Ashley’s Wife)
https://www.thejc.com/lifestyle/family/pesach-with-six-kids-1.461510
http://3principles6kids.com/

REVIEW: Do I make you randy, baby? A review of ‘Randy Writes A Novel’

“Do I make you randy, baby?”

A review of
‘Randy Writes A Novel’
at the Clurman Theatre/Theatre Row

In the world of puppetry, first there was Punch & Judy, then H.R. Puffinstuff, then the Muppets with many, many more puppets woven in and out, but all those were for the kids (or were they?) Then the Adults got Avenue Q and we howled, on Broadway and Off.

Now there’s RANDY and boy, can he be randy!

Randy has written a novel and he wants to share it with us. So for two months Randy will be looking for approval by putting on a nightly show telling all of New York about his novel – or will he? Tonight Randy will talk on Hemingway, Harper Lee, hoarding, Veganism, Buddhism, the human condition and the challenges of being an artist. It seems Randy likes to talk about anything but his Novel! You see, Randy is having a bit of a crisis – is Art still Art if we don’t like it?

Starting out with warm-up comedian Randy, who, after warming up the audience introduces Headliner Randy, the approximately 75 minutes that follow are basically Puppet Stand-Up comedy delivered by a puppet with skilled timing and obvious improv training. Sitting like a talk show host behind his paper strewn desk, Randy randomly focuses his always open ping-pong ball eyes on several audience members engaging them in dialogue as if he could actually see them. He also touches on many different subjects from current events to history, often using  language that would make a sailor blush! This show is definitely for the kiddies, although the night I was there a 10 year old accompanied by his Father!

Randy Writes A Novel is an odd but enjoyable evening of laughter, and insight into the (puppet) mind of an Artist, although I more than suspect we’re actually getting into the mind of the puppet master himself.

From Randy’s press notes:

Star of Australian stage and television makes his much-anticipated US debut!

Randy, the felt-faced comedian, started doing stand-up comedy in 2005 and has since gone on to headline most of the Theatrical Fringe and Comedy festivals around the world, as well as finding success on television with his own show airing on ABC TV in Australia, Seeso in the US and Netflix in the UK.

Randy has played everywhere from Edinburgh to Hong Kong, Galway, to Singapore to Sydney and anywhere in between. Next stop — New York City, Off-Broadway at the internationally acclaimed Theatre Row on 42nd Street

Randy Writes a Novel

Clurman Theatre/Theatre Row
410 W. 42nd St., NYC View on map
Running time: 1hr 15min. No intermission.
Now Playing Through June 10, 2018
Tickets: https://www.telecharge.com/Off-Broadway/Randy-Writes-a-Novel/

Randy Writes a Novel Creative Team

Author: Randy
Director: Randy
Producer:

Randy Writes a Novel Award Winners/Nominees

– Nominee Best Television Comedy Show – ACCTA 2015
– Nominee Best Comedy Release (with Sammy J) – ARIA 2015
– Winner Best Comedy – Perth Fringeworld 2014
– Nominee Best Comedy Release (with Sammy J) – ARIA 2013
– Winner Barry Award for Most Outstanding Show (with Sammy J) –Melbourne Comedy Festival 2010
– Nominee Golden Gibbo Award – Melbourne Comedy Festival 2009

For More Information On Randy Writes A Novel Click Here

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)

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

Thank you J.J.!

Oh… I almost forgot…

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

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

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

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

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

We’ll Take Manhattan

A review of Encores! concert reconstruction of

Cole Porter’s
THE NEW YORKERS

At New York City Center
March 22, 2017

by Moshe Bloxenheim

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

About the reviewer:

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

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

GUEST REVIEWER: DEAR WORLD at The York Theatre

Small WORLD, isn’t it?

A Review of Musicals in Mufti’s concert production of

DEAR WORLD

At the York Theatre
by Moshe Bloxenheim 

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

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

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

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

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

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

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

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

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

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

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

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

And then there is the Title Song.

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

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

 Alas, DEAR WORLD closed March 5.

About the reviewer:

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

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

GUEST REVIEWER: THE MIKADO (Revised)

Sword-Play

A review of the New York Gilbert & Sullivan Players’ new production of
THE MIKADO: or, the Town of Titipu
at the Kaye Playhouse

by Moshe Bloxenheim

December 31, 2016

The new NYGASP production of THE MIKADO has closed after an all too limited run, but even though I had already reviewed one cast during the run, attendance of later performances convinced me that the alternate principal actors deserved mention as well (and I could clean up some of my worst typos).  So here is the expanded “get the whole set’ review, in the usual text below and DOC attachment formats.

Moshe
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Sword-Play

 A review of the New York Gilbert & Sullivan Players’ new production of

THE MIKADO: or, the Town of Titipu

At the Kaye Playhouse

 Covering the performances of December 31, 2016, January 5 & January 8, 2017

 As this MIKADO is a significant production for NYGASP, it seemed only fair to cover ALL the performers who alternated in the lead roles.

According to theatrical legend, a falling Japanese battle sword inspired Sir William S. Gilbert to create a new operatic satire of English foibles set in the contrasting framework of the Japonaiserie craze that was then sweeping London.  Whatever the cause, Sir William, aided by his producer Richard D’Oyly Carte then embarked placing THE MIKADO in as authentically Japanese a setting as could be possible for an 1885 English Comic Opera Company.  The New York Gilbert & Sullivan Player’s (NYGASP) brand new production of THE MIKADO sets the work as it might have appeared newly born in Sir William’s mind – a very English world in “Japanese” fancy dress that has yet to be touched by the research in costume and sets that was to come.

To prepare the audience for this cerebral concept, NYGASP’s Mr. David Auxier has written very brief and effective tongue-in-cheek prologue that confronts Sir W.S. Gilbert with the challenges faced by an author in a successful theatrical partnership: To create a new work that is acceptable to his composer partner Sir Arthur Sullivan, their producer Richard D’Oyly Carte and some very distinctive and demanding members of the D’Oyly Carte Opera Company.  Suffice it to say a Japanese sword figures most effectively, literally knocking the author into a world based on the characters, expressions and Japanese goods he had just experienced.

Sir William’s hero, Nanki-Poo arrives in the town of Titipu.  He is, in fact, the heir to the throne of Japan, but has disguised himself as a minstrel to escape the matrimonial claims of the formidable lady Katisha.  In his musical wanderings, Nanki-Poo has fallen in love with Yum-Yum who is a ward of Ko-Ko, a cheap tailor.  When Ko-Ko is condemned to death under the Mikado’s ban for flirting, the town of Titipu promote him to Lord High Executioner under the reasoning that Ko-Ko can execute other miscreants after he carried out the job on himself.  Circumstances soon require that Ko-Ko execute SOMEBODY and as he would rather not be the victim, he strikes a bargain with the love-blighted Nanki-Poo.  Betrothals are made, revelations are prevented, complications run cheerfully rampant, logic is taken to lunatic extremes and eventually all ends happily with more than a few sacred cows being taken on.

 Musically, THE MIKADO shows its composer Sir Arthur Sullivan as a worthy match to Sir William’s language.  Sir Arthur clearly enjoys the characters of THE MIKADO and carefully fits the music to the characters and actions, whether for Ko-Ko’s busy sounding list, Nanki-Poo and Yum-Yum’s youthful, romantically teasing “Were You Not To Ko-Ko Plighted,” Katisha’s threatening yet sympathetic melodies or the brashly imposing “A More Humane Mikado” sung by the title character.  This score is not simple accompaniment, but is a vital contribution to the setting and action of the play and THE MIKADO shows both men at a creative high point.

In revising and refreshing THE MIKADO, NYGASP has cast the roles very carefully and quite successfully.

 Mr. Jesse Pimpinella’s Nanki-Poo may appear at first glance to be a wide-eyed youth, but he certainly knows when he has the advantage and takes it, to the glee of the audience.  This Prince disguised as a Wandering Minstrel is uniquely artless and direct and I am sure time and experience will make Mr. Pimpinella’s performance even more enjoyable.

It is easy to see why Nanki-Poo falls in love with Yum-Yum because the charming Ms. Quynh-My Luu is everything one could hope for in the role.  Her Yum-Yum is a pretty and sweet girl but Ms. Luu also adds a bit of assurance and a hint of steel that brings certain scenes to new life as well as making the most of some classic bits of humor.  Vocally, Ms. Luu’s redition of “The Sun Whose Rays are all Ablaze” is a highlight of the evening and reveals the smooth transition from the girl first seen in “Three Little Maids From School” to a woman who is aware of her powers.

Yum-Yum’s sister Pitti Sing is given a wonderful zest by Ms. Jessica Rose Futran.  Her character is always a bit more aware of the situation to excellent effect, delightfully culminating in her desperate, yet eager taking of the spotlight in the Trio “The Criminal Cried’

Ms. Lauren Frankovich is quite winning as Yum-Yum’s other sister, Peep-Bo, with her drolly unfortunate tendency to state the obvious when everybody else would rather not hear it.

One wonders HOW these three girls became the wards of the cheap Tailor Ko-Ko, but the audience should consider itself very fortunate that Mr. Adam B. Shapiro is performing as the guardian who became Lord High Executioner.  Already amusing in the prologue as the unsatisfied Arthur Sullivan, Mr. Adam B. Shapiro takes elements from that introduction and creates what is for me one of great Ko-Kos.  This is a man who cannot believe where he has ended up and is waiting for the other anvil to drop.  Nevertheless, this Ko-Ko is more than a cartoon and even when he is forced to woo the aggressive Katisha, there is byplay between the two that is very human.  Mr. Shapiro’s mastery of musical numbers is a pleasure to witness ranging in moods and delivery from the updated list of social quirks in “A Some Day it May Happen” through the comic yet touching ballad “Tit-Willow.”

Ms. Cáitlín Burke’s Katisha is fantastic.  In the prologue as the lead Contralto and in Katisha’s later Act One entrance, the fire and storminess of the part blast onto the stage, but Ms. Burke then reveals shading in the character that makes her so much more than a villainess.  Katisha may be a pain in the neck, but she earns our sympathy and beneath the bossiness it is clear that she has something to offer.  Ms. Burke’s ability to capture all this makes for musical, dramatic and comic gold, especially in Act Two when Katisha mourns her single state in “Alone, and yet Alive,” and is then won over by the fearful Ko-Ko, culminating in the buoyant duet “There  is Beauty in The Bellow of The Blast.”

Considering Katisha’s demanding presence in his court, the Mikado clearly has a lot to put up with and Mr. Cole Grissom plays the Emperor of Japan with the smooth, disdainful air of one who might easily have entire the cast executed; would it not make such a mess and bother.  In the Mikado’s song, “A More Humane Mikado,” Mr. Grissom’s character knows how uncomfortable the townsfolk are in his royal presence and uses that to great advantage.  HE is the Mikado and do not forget it!

Another man with aspirations to power is Pooh-Bah, the Lord High Everything Else.  Mr. Andy Herr builds an admirable Pooh-Bah of flash and cash who is obviously rooted in the prologue part of the urbane producer, Richard D’Oyly Carte.  Both men will do it all – so long as there is money in it.  Pooh-Bah uses his alleged dignity to his advantage as Mr. Herr shows quite entertainingly but I truly enjoyed his eagerness to gild the lily in “The Criminal Cried as he Dropped Him Down.”

In the Gilbert and Sullivan canon there are Ko-Ko roles, Pooh-Bah parts and Katisha contraltos, etc., but not as much thought about Pish-Tush, “A Noble Lord.”  But it is here where the genius of NYGASP’s new version lies, because this Pish-Tush is the William S. Gilbert of the prologue who is dreaming up this new operetta.  The estimable Mr. Chris Vaughn embodies the author discovering, enjoying and even critiquing his own idea; Tentative at first, as a dreamer realizing who he is supposed to be, Gilbert/Pish-Tush becomes a keen witness and eager contributor to the proceedings.

 In the course of the current production, other NYGASP members have taken on these roles and deserve their own mention too.

Mr. Daniel Greenwood’s Nanki-Poo gives the air of innocence that such a young hero must have, but adds a delightful touch of awareness that allows him to deliver a line or even a pause that homes right into the humor of the moment.  Vocally as well, this Nanki-Poo ranges from heroic to tender to whimsical with ease.

If Mr. Greenwood knows how to provide just the right amount of cleverness, Ms. Sarah Caldwell Smith understands how to take part in the most nonsensical situations with skillful sincerity, giving THE MIKADO another truly fine Yum-Yum.  Musically as well Ms. Smith is superb and her scene and duet with Mr. Greenwood in “Were You Not To Ko-Ko Plighted” is an “anti-flirtatious” highlight.

If Yum-Yum lacks irony, Ms. Amy Maude Helfer makes a very effective Pitti-Sing with her air of one who has a good idea of how silly things are becoming and has to pitch in against her better judgment.  She is neatly contrasted by Ms. Alexandra Haines as the third little maid, Peep-Bo: a most amiable girl who drops social bricks with amusing nonchalance.

As their guardian, Mr. David Macaluso’s truly funny Ko-Ko is indeed a tailor out of his element.  Even when he wants to take advantage of his new rank of Lord High Executioner, this Ko-Ko knows something is bound to go wrong.  It is just a question of What Now?  Yet for all Ko-Ko’s foolery, Mr. Macaluso also develops a subtly sympathetic side that really works well in his wooing of the daunting Katisha.

Ms. Angela Christine Smith creates a marvelous Katisha who may enter in a fury, but we can see her humanity from the very first.  If we feel the force of this lady’s anger and desire for vengeance, Ms. Smith also makes us see the despair and loss of hoped for love.  This Katisha has been hurt and she is downright heartbreaking in her aria “The Hour of Gladness is Dead and Gone.”  Though the “Daughter-In-Law-Elect” is a bossy-boots there is a feeling that she may be doing it to ensure that she is not left out in the cold.  While Ko-Ko’s winning of Katisha is still wonderfully comedic, Ms. Angela Christine Smith made me root for Katisha too.

Katisha’s intrusive presence seems to be the one thing that visibly annoys the Mikado because Mr. Chris White splendidly portrays him as a dangerously jovial fellow – this Emperor clearly takes pleasure in his absolute power and how is it his fault if his witty inclination for boiling oil may unnerve some people?

One citizen of Titipu who does not care extreme punishment is the “Lord High Everything Else” Pooh-Bah.  Mr. Matthew Wages quite lives up to Sir W.S. Gilbert’s best satire of mendacious bureaucracy and class consciousness.  This Pooh-Bah will certainly “…put in his oar” to great amusement, and does very nicely too in the prologue as the eager Richard D’Oyly Carte.

As I mentioned before, the role of Pish-Tush is now far more significant because he is now the unconscious W.S. Gilbert who is literally dreaming up the show in front of us.  As played by Mr. Joshua Miller, Pish-Tush/Gilbert is ever the creative playwright who is happy to see how the plot unwinds to his prodding, even if he might give a grimace or two at a rhyme or joke that his characters deliver.

 The Chorus of Noblemen, Schoolgirls and Townspeople are all to be praised, populating Titipu with as Victorian a suburban London crowd as could ever be found in Japan.

 In addition to the admirable cast, Mr. David Auxier’s brilliant reconsideration and careful direction of THE MIKADO goes very far to ensure the success of this production.  With the directorial assistance of Mr. Kelvin Moon Loh, Mr. Auxier has not missed a trick in highlighting and reviving the humor of the story and its characters while keeping everything united and moving merrily along.  These gentlemen understand that this is an English comedy set in a “Japanese” framework of the imagination –The non-English setting pointing out the absurdity and parody without being a caricature on its own.  Even the most radical of changes are carried out with respect to context: While I am quite partial to the original “Mi-ya Sa-ma” chorus that greets the Mikado of Japan and his entourage, I believe Mr. Auxier’s new lyrics “Oh Mikado, Great Mikado” are not merely an effective substitution, but cleverly add to the Gilbertian whimsy of the moment by allowing the citizens of Titipu to express their true feelings while ostensibly chanting praise of their monarch.

In addition, Mr. Auxier’s choreography is very well done, ideally setting off the music and singing or to create tableaux that highlight the story itself.

The unreal, dreamlike atmosphere is further enhanced by the beautiful setting by Mr. Anshuman Bhatia – based on Japanese Block prints and Mr. Quinto Ott’s highly stylized costumes that feature exotic yet recognizable touches such as straw derbies and ornate open framework bustles and even snippets of other Gilbert and Sullivan operas.  Mr. Ott truly excels with his fanciful Mikado regalia and Katisha’s striking outfit.  Mr. James Mills also rises to the occasion in his make-up work especially in his expressive design for Katisha.  Sets, costumes and visages all look extremely well under Mr. Benjamin Weill’s deftly handled lighting and all unite to give a sort of picture-book aspect that is most appealing.

In the first version of this review I had mentioned that the first performance I saw under the baton of Conductor and Music Director Aaron Gandy seemed a bit out of sorts.  Knowing how good the NYGASP musical direction usually is, I assumed this was a unique occurrence.  I am pleased to say that later shows found Mr. Gandy and the NYGASP orchestra back in top form.  Mr. Gandy and the musicians clearly enjoy the vitality and range of Sullivan’s music and share the same energy and sense of fun as the performers onstage.

Production Stage Manager David A. Vandervliet and Assistant Stage Manager Annette Dieli do amazing work ensuring the smooth flow of THE MIKADO, ensuring that it entertains without a hitch.

There is always much risk and a great deal of work inherent in any new production. So Producer David Wannen and Mr. Albert Bergeret, the founder of NYGASP and Production Manager deserve special congratulations for their willingness to bring this new version of the classic work to fruition.  As it is now, NYGASP’s new staging of THE MIKADO has shed a lot of distracting addenda, firmly and happily returning the focus back to where it belongs: on Sir William Gilbert’s witty libretto and Sir Arthur Sullivan’s timeless score. 

Performances:
Click on any of the links for tickets or go to:
https://kayeplayhouse.primetix.com/Tickets/?perfid=425

*Family Overture – Musical introduction and plot summary made entertaining for the entire family (1 hour and 15 minutes before curtain in theatre)

The Kaye Playhouse at Hunter College
68th Street Between Park and Lexington Avenues

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