Oscar E Moore

Oh Boy!  Buckle up! This is one bumpy/lumpy musical!

SMASH – the making of a musical based on Marilyn Monroe called BOMBSHELL with an emphasis on “BOMB” that recently opened at the Imperial Theatre is awful!

I am angry.  Very angry.  Extremely angry, that the culprits responsible for this disaster are well-worn true blood theatre lovers with wonderful track records from the past.  Bob Martin, Rick Elice, Marc Shaiman, Scott Wittman, Joshua Bergasse and Susan Stroman.  Shame on them!

And shame on those people who buy all those expensive tickets who have no idea what a good musical should be.  People who slurp up the inferior goods offered.  Not knowing any better.  There I have said it.  Should I now stand in the corner of the room head facing down and to the wall?

Poor Marilyn.  Miss Monroe has not been lucky in shows based on her life or parts thereof.  As SMASH unfolded before my stupefied eyes my mind wandered.  For obvious reasons.  Flashes of AFTER THE FALL (Arthur Miller 1964 at the ANTA Washington Square Theatre) and MARILYN! An American Fable (1983) starring Scott Bakula and Alison Reed closing quicker than an instantaneous costume change after 17 performances and 34 previews as examples.

SMASH is a nightmare.  With three Marilyns.  They couldn’t decide if they were making a satire or something else.  It is somewhere in between.

What’s going on?  My mind kept echoing.  Too many bad choices.  Too many detours.  Too many dead spots.  Mainly the songs.  I defy anyone to remember one and sing its melody.  Nothing like Hello Dolly (I’ll bet you started to sing along).  Just sung dialogue where the singer holds on for dear life screeching that last note that seemingly goes on forever eliciting, no “forcing” applause from the audience.

Bits and pieces of Monroe’s life.  Like an ill-fitting mosaic.  Actors Studio included!

I’m almost done.  I think and therefore I am a critic who once upon a time truly loved Broadway.  But Broadway now is diminished.  Tarnished.  Faded.  One dimensional characters and glitz for the dumb-downed NYC theatre audiences.  Wit?  Doesn’t exist.  It’s simply crass.  What a waste.

That’s all folks!

PHOTO: Matthew Murphy

Tags: No Comments.

There’s a new girl in town.  A fascinating girl.  Talent oozing out of every single pore.  Sweetly singing or confidently belting with tip-top tapping and stealing our hearts along the way with her spectacular debut on Broadway at the Broadhurst Theatre.  It is finally a cause for celebration.

A much-needed tonic for all the awful news we are bombarded with day after day.  There are no tariffs on having a good time.  Yet.

Her name is JASMINE AMY ROGERS as BOOP! As in Betty Boop! Cartoon character of days gone by.  Resurrected by this happy-go-lucky musical.

Catchy tunes courtesy of David Foster.  Lyrics and clever hooks by Susan Birkenhead.  And a scattered yet uplifting and often very funny book by Bob Martin.

All brought to vivid life by the extraordinary talents of director/choreographer Jerry Mitchell who has magically bridged the gap between the traditional and the new.  The young and the not so young.

Betty Boop needs a vacation from her drab black and white existence.  So, she disappears via a wild magical armchair without her dog Pudgy (a marionette/operated by Phillip Huber) who has a delayed arrival – at the wildly colorful New York City where she meets up with teenage and ardent fan/artist Trisha (Angelica Hale) and her soon to be love interest Dwayne (Ainsley Melham) jazz musician and soon to be running for Mayor Carol Evans (Anastacia McCleskey) where they all help each another on their way to the joyous happy ending SOMETHING TO SHOUT ABOUT.

Also running for Mayor is the smarmy Raymond Demarest an excellent Erich Bergen (above) who just about steals the stage every time he appears and almost stops the show with his TAKE IT TO THE NEXT LEVEL – which he most certainly does!

In between all this busy-ness Faith Prince arrives as Valentina (entrance applause) who reunites with her lost love Grampy (Stephen DeRosa) and shares a schmaltzy dance/duet WHATEVER IT TAKES.

Boop is reunited with her adorable dog.

The tip-top-tapping is top-notch.  Including a terrific rap-tap and a nostalgic Busby Berkeley inspired black and white, grey scale silver besequinned ensemble.

Costumes by Greg Barnes – who should absolutely be Tony awarded for his inspired two-sided stunning costumes.  Front black and white.  Reverse in color.  Beautifully bridging Boop’s black and white and technicolor worlds together.  Bravo!

If this sounds confusing do not let that bother you.  You will eventually understand and LOVE it all!  Two and a half hours (one intermission) whiz by despite a somewhat slow and over the top vaudevillian beginning.

You will feel rejuvenated and happy and thankful to have witnessed the emergence of a brand-new shining star – JASMINE AMY ROGERS.  A star with heart!

Just go!

PHOTOS: Matthew Murphy and Evan Zimmerman

Tags: No Comments.

This review will be short.  And not very sweet.  Be forewarned.  If you intend to pay big bucks to see a disappointing, not very charismatic George Clooney endlessly smoking, live and in person on stage of the Winter Garden Theatre in this remake of his pet project film/ documentary of the same title that he directed, and co-wrote within Grant Heslov in 2005, think twice or maybe just forget it completely.

A deadpan, dull Mr. Clooney as Edward R. Murrow can be almost seen behind his desk, smoking the ever-present cigarette while talking into a CBS camera that is shown on a large drop-down screen.

It seems that huge videos appearing in live theatre are the real stars on Broadway this season.  With varying degrees of success.

This less than riveting, sleep-inducing production directed by David Cromer is being advertised as a “strictly limited engagement” for a very good reason.  It’s a dud.  It doesn’t deliver the expected goods.  Even with mega star George Clooney.

You would be better off renting the movie if you really need to relive the “RED SCARE COMMUNISM” experience of Edward R. Murrow, the steadfast journalist, going face to face or head-to-head with Joe McCarthy on Murrow’s ancient CBS television program SEE IT NOW way back in the 1950’s.  Although considering the recent turmoil and goings-on with President Trump not much has changed.

Be that as it may, back to Mr. Clooney who is not only making his Broadway debut but also starring as Mr. Murrow and doing double duty as the playwright along with the above-mentioned Grant Heslov.

However, writing a screen play is not the same as writing a Broadway script.  They are two completely different animals and should be treated as such.

The usually excellent director David Cromer is of little help in this department.  Staging his large cast as if it was the middle of rush hour at Grand Central.  It’s a cacophony of people and movement.  Making it difficult to differentiate one character from another resulting in confusion.

We lose focus.  We tune out.  At least I did.  Resulting in our not caring for these people on the elaborate CBS Studio set at Grand Central circa 1954 by Scott Pask.

It’s a three-ring circus that rightfully should focus on Murrow, McCarthy (appearance courtesy of old film clips) and William F. Paley (a fine Paul Gross) head honcho of CBS.

With all the constant cigarette smoke on stage (that smells) I am surprised that smoke alarms are not set off!

And then we have a jazz combo with its girl singer Ella covering scene changes and interrupting our already wandering concentration. It just doesn’t work.  Sorry.

With all due respect I give you A-Plus for your understandably good intentions and C-Minus for execution.

Good night and good luck.  Good Grief.  Don’t say I didn’t warn you.

100 minutes.  NO INTERMISSION.

PHOTOS: Emilio Madrid

Tags: No Comments.

SARAH SNOOK is Dorian Gray.  And a gaggle of supporting characters in this spellbinding, sophisticated and surprising production of Oscar Wilde’s infamous novella, THE PICTURE OF DORIAN GRAY, newly adapted and superbly directed by KIP WILLIAMS at THE MUSIC BOX 239 West 45 Street.

Not since NICKOLAS NICKELBY 43 years ago, have I been so impressed by a theatrical offering on Broadway.  With a bit of Antonioni’s 1966 film BLOWUP thrown into the mixture for good measure.

Magic has returned triumphantly to The Great White Way.  With Wildean wit and his spot on satire of Victorian society.  What I first thought of as a GIMMICK (having a female portray everyone) turns out to be a well thought out, well-coordinated, extremely well-acted production.  With great precision and imagination, this company from Australia brings Dorian’s tragedy to vivid life.

As I sat mesmerized in F111 a gigantic video screen held my attention throughout.  Not just a single screen but many floating around the stage while a group of camera toting assistants dressed in black silently filmed live video for our entertainment.  How this is accomplished is the ninth wonder of the world.

Timing is utmost important in the theater. And this production doesn’t miss a beat.  The clockwork precision, the mixture of live action and video, the handling of props, the variety of costumes and wigs is astounding.  It is a phenomenon.  Bit by bit.  Clip by clip.  Put together like a gigantic Victorian jigsaw puzzle.

All in the name of vanity.  Having his portrait painted.  And in return, allowing it to age and not himself, our hero Dorian.  Selling his soul so to speak to remain forever young and beautiful while the portrait is locked away decaying privately.  Until…

This is a must see.  You must see it to believe it.  This astounding work of art.  Forcing, no urging the audience to keep our eyes and ears alert throughout.  Riveted to the stage and all that happens on it.  Surprise after surprise just waiting in the wings to astound.

However, after an hour and a half plus, a video chase sequence goes on a tad too long.  A minor misgiving.

Thank you, Sarah Snook, and all your mighty helpers for rekindling my belief in theatre as it was and as it should always be from this day forward.  A return to the theater as I knew it.  As I loved it.

Your production is PHENOMENAL.   Approximately two hours with no intermission.

PHOTO:  Marc Brenner

Tags: No Comments.

As in Bernadette Peters who starred as Dot in Sunday in the Park with George in 1984 at the Booth Theatre.  We shared the same vocal coach.  I remember arriving at James Gregory’s studio early and sitting on the staircase just to hear Bernie sing.  That’s what I called her.  Bernie.

And so I decided to adapt, to personalize Everybody Loves Louis a song from Sunday to Everybody Loves Bernie.  I was brave back then.  Delivering my lyric backstage at the Booth.  One could do such things back then.

And so, with the publication of James Lapine’s book PUTTING IT TOGETHER featured recently on CBS Sunday Morning I bravely share it with you.

https://youtu.be/jj9qsMBZUHs

THE SONG OF BERNADETTE – September 8, 1984

Dear Bernie,

I’ve a surprise – here!  With all due respect and complete admiration for Mr. Sondheim’s lyrics I hereby submit to you – the following – I simply had to do it…

Everybody loves Bernie

Bernie’s sexy and kind

Everybody loves Bernie

Bernie’s huggable.

Why go on a long journey?

Turn the corner and find

That Bernie the soubrette

Is all that we had in mind – and – (change orchestration)

Bernie sure is a singer

Bernie sings from the heart

Bernie never does linger

Bernie’s punctual

Everybody loves Bernie

Bernie brings us French art

It’s said Greg

Her father’s bread Greg

I think I read Greg

He really kneads it

As no one has Greg

LAZZARA

Bernie’s face is so flawless

Bernie’s face is so bright

Bernie makes you feel lawless

Bernie’s sensuous

That’s the thing about Bernie

Bernie’s got her Dot right

Bernie’s hips are an act to follow

Bernie’s lips allow her to swallow

Not that Bernie’s perfection

That’s what makes her ideal

Hardly anything worth objection

Bernie flirts a bit

Bernie hurts a bit

Bernie makes a connection

That’s the thing that you feel

She weighs parts

And then she plays parts

And there are Rubys

And there are Mabels

But never Tonys

Nor Oscars won

But still we

Adore Bernie

Everybody loves Bernie

And the magic she makes

Everybody loves Bernie

She has captured us

Not afraid to be sweeter

Peters knows what it takes

Everybody gets along with her

She’s no trouble

Life’s a song with her

Bernie has to be that way

Bernie ALWAYS be that

Bernie is it!

As ever

Oscar

Tags: 1 Comment

To be perfectly clear.  Audra, as in McDonald.  Starring as Momma Rose, the very determined, very pushy stage mother dreaming of making her daughter June a star in Vaudeville while her sister Louise is all but ignored in this newest controversial revival of GYPSY.   A Momma Rose of a different color if you will.

Audra is a phenomenal actress.  Winning six Tony Awards.  Audra is a renowned singer.  Able to adjust her voice to fit the not altogether comfortable way we are used to hearing the famous tunes of Jule Stein in a fresh new way.  Risky.  Daring.  It took me a while to adjust but it all came together.  Just wait for Rose’s Turn.  I was patient.  You will cheer!

Her focused, detailed, dedicated powerhouse portrayal just might garner her a seventh Tony despite this very uneven, yet entertaining production directed by George C. Wolfe.

Next up we have Danny Burstein.  Herbie.  Traveling salesman who likes kids and for whatever reasons falls in love with Rose.  Herbie is a lovable cuddly mensch and can take Rose on face to face when needed – even with a sensuous kiss.  They are terrific together wherever they go.

Back to Audra.  From the onset she is always fussing with June and Louise.  Knowing exactly what is right to make June a star.  You get the impression that she believes that she would be a better performer.  That she is frustrated.  Her theatrical movements and inflections clue us in.  That she wants to be in the spotlight.  Fighting until she ultimately achieves her goal – thanks to the genius lyrics by Stephen Sondheim and strong book by Arthur Laurents.

And then there is Tulsa, brilliantly danced by Kevin Csolak who almost achieves the impossible of stopping the show with “All I Need Is the Girl” as a forlorn Louise (Jordan Tyson) looks on and eventually joins him beautifully.  Still playing second fiddle.  Well, it’s better than playing half a cow!

The best is yet to come.  Burlesque.  Strippers.  “You Gotta Get a Gimmick” performed by Lesli Margherita – Tessie Tura, Lili Thomas – Mazeppa and Mylinda Hull – Electra.

Pros one and all.  Mazeppa’s mouthpiece fell off her trumpet but did not fall into the pit.  She retrieved it graciously and continued as if nothing had happened.  What a pro!

And speaking of the pit.  There is a full live orchestra that starts the show with what should be a rousing overture.  I was so looking forward to this as almost every musical today does not have an Overture.  Sadly, I was disappointed as the sound did not seem to come from the pit.  But from large overhead speakers that distorted the real live sound.  It is not the sound that once was.  So much for progress.

After almost three hours we are back to the phenomenal Audra.  Finally venting all her dreams.  All her frustrations.  With “Rose’s Turn” – a pull all the stops out 11 o’clock number that has the audience cheering even before it is ended and then standing and cheering when finished.  And rightfully so.  Audra gives a majestic performance.  GYPSY is all about Audra.

At the Majestic Theatre.

NOTE: I saw GYPSY Wednesday January 8^th matinee – the actual birth date of Miss Gypsy Rose Lee.  Row K CENTER – Thank you!  CAUTION – if you are lucky enough and sit in Row K Beware – there is a step up and down when you leave.  Do not ruin an enjoyable time by tripping.

PHOTOS – Julieta Cervantes

Tags: No Comments.

If only!  The bar of excellence has once again been lowered for quality musicals on Broadway.  Perhaps I should rephrase by writing “non-musical musicals” for these productions lack that one very important factor – songs that are memorable with a strong melody.  Melody!  Whatever happened to melody?  It seems to have died.

Where are the new Jerry Hermans?  Bock and Harnicks?  Rodgers and Hammersteins?  Marvin Hamlisch?  Jule Styne?  The golden age of musical comedy composers and lyricists has vanished.  Replaced by mediocrity.

It saddens me tremendously.

DEATH BECOMES HER at the Lunt-Fontanne Theatre (original home of THE SOUND OF MUSIC 1959) has recently opened to rave reviews.  This will not be one of them.  Thirty million bucks reportedly spent on glitz and glamour.  Signifying not much of anything.

Uneven at best.  A very bumpy ride.  Do I dare say that there are many dead spots along the way?  Well, I just did.

The somewhat, at times, vulgar as opposed to witty book with bah-da-boom jokes abounding is by Marco Pennette.  As the audience erupted with laughter which was often, I cringed.

The music and lyrics by Julia Mattison and Noel Carey will not go down in history as one of Broadway’s greatest scores.

However, there are two truly great performances given by Megan Hilty and Jennifer Simard as the two dueling, at odds with one another forever best friend divas Madeline Aston (movie star) and Helen Sharp (would be writer).

Portrayed in the 1992 movie of the same name starring Meryl Streep and Goldie Hawn that was directed by Robert Zemeckis – of WHO FRAMED ROGER RABBIT fame – a zany 1940’s fantasy/comedy combining animation and live action that I loved.

Now movies are quite a different medium than the stage and therein lies some of the problems with this show directed and choreographed by Christopher Gattelli who tries his best in keeping the momentum of the thread bare plot going throwing in every conceivable gimmick to keep us from realizing the emptiness of the so-called plot.

But first we meet Viola Van Horn (Michelle Williams) the high priestess of an elixir that promises to restore youth and beauty for eternity and her squad of busy little helpers scampering about the stage.

And then we meet the main characters.  Madeline is in a new musical.  Her best friend Helen arrives backstage with her fiancée Ernest (Christopher Sieber) – a cosmetic surgeon.  Mad steals Ernest away from frumpy Helen and they marry which drives Helen mad where next we see her ten years later crazy in a hospital plotting her revenge after successfully being published and totally becoming famous and beautiful.  Still with me?  Mad is pushed backwards down the staircase in her lavish home in slow motion.  This is incredible!  What is even more incredible is that she does not die.  At the end of Act I we hear “It’s alive.”

It’s all so over-the-top and outrageous.  We get to see a decapitated head of Mad on a serving cart and complication after complication adding to the already complicated plot with Ernest reuniting Mad’s head to her body and both Mad and Helen trying to get Ernest to drink the potion so as to keep him around, for whenever they need some fixing up.

There is a LA CAGE AUX FOLLES look to the production numbers to keep our eyes busy while our minds become numb.  And we must never forget the words to the wise from Viola Van Horn – “Don’t say I didn’t warn you.”

Which is my advice to you, future theatergoer.

All of the above might have been better served in a smaller production like LITTLE SHOP OF HORRORS – a show with a great score and a person eating plant named Audrey.  Running at the Westside Theatre Upstairs.

CODA

I HAD A DREAM.  A CRAZY DREAM.  Helen and Madeline played by two bitchy drag queens.  Ernest a hunky sexy stud.  The all-male ensemble dressed ala Chippendale escorts with bow ties.  And Ernest winds up with his male nurse after recovering from his near-death experience with Mad and Helen.

Tickets through August 2025.  Two and one half hours including intermission.

PHOTOS:  Matthew Murphy & Evan Zimmerman

Tags: No Comments.

I have never been a fan of Sunday.  Especially a Sunday when I am scheduled to review at 3pm a new musical – TAMMY FAYE – that has gotten less than stellar reviews and some bad word of mouth at the renovated and reopened fabulous Palace Theatre.

And much to my astonishment I enjoyed the much-troubled journey of Tammy Faye (a captivating Katie Brayben) and her husband Jim Bakker (Christian Borle) in the new musical written by Elton John (music) Jake Shears (lyrics) and James Graham (book).

An original musical satire of the rise and fall of televangelist Tammy Faye and her husband Jim Bakker.  A wild combination of a true story somehow reminiscent of two earlier musicals:  HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING (1961) and PSYCHO (1991).

Strange but true.  Here, a sophisticated/satirical look at religion, AIDS and the people who made it all infamous as seen through the eyes and soul of Tammy Faye Bakker.

With Billy Graham (Mark Evans), Jerry Falwell (Michael Cerveris), Jessica Hahn (Alana Pollard) and Pope John Paul II (Andy Taylor) Ronald Reagan (Ian Lassiter) and a host of others in supporting but important guest appearances.

Outrageous, sad and tuneful.  Music supplied by Elton John.  Apt lyrics by Jake Shears with an excellent book by James Graham. I liked what they had to say and how they said it. Tough at times but always truthful, on target and entertaining.

The score suits the material to a T as does the exciting choreography – Lynne Page.   The scenic design by Bunny Christie is eye-popping in its rendition of a Hollywood Squares like atmosphere.  With terrific video work by Finn Ross.  Lighting designer Neil Austin has created a wonderful ever-changing atmosphere.  With costumes by Katrina Lindsay.

All is expertly directed by Rupert Goold.  Couldn’t be better.  The only one who surpasses it all is Katie Brayben as Tammy Faye.

What an excellent portrayal of this troubled and driven crusader.  I believed every second of her life on stage.  With a powerhouse voice to match.  Quite an outstanding achievement.  I felt for her.  Felt her pain.  Her wants.  Her betrayal.  Her kindness.  Her faith.  Her love.  Her perseverance.

Please do not listen to the naysayers.

See TAMMY FAYE for yourself.  You will not be disappointed.

www.tammyfayebway.com

2 hrs 35 minutes One Intermission  PALACE THEATRE 160 West 47^th Street

PHOTOS Bruce Glikas

Tags: No Comments.

Attend the tale of Satchmo’s wives.  Four in all.   For all to see.  In this spotty, chaotic production of A WONDERFUL WORLD – the Louis Armstrong musical at STUDIO 54 where a road map of who and what and where would help tremendously.

I don’t dare write what I felt but I will.  What a strange experience at the Saturday matinee performance November 16, 2024.  Surreal in a way.  PROLOGUE: 1970s.  In CHAPTERS: NEW ORLEANS (1910s).  CHICAGO 1920s.  HOLLYWOOD 1930s.  NEW YORK 1940s-1970s.  Lots of territory to cover.  Lots of love too.  Four wives.

Daisy Parker. Lil Hardin.  Alpha Smith.  Lucille Wilson.  All beauties.  All fine singers and dancers and supposedly in love with Louis.  A difficult man to pin down and to share a life with.   But that’s a whole ‘nother can of beans.

All told in bits and pieces.  Songs truncated.  It comes across as a REVUE ala The Ed Sullivan TV show as if it had been conceived as such.  How was it conceived?  By lots of people seemingly not on the same page.

As is, the production never comes together as a cohesive story.  Armstrong is a part time narrator and sometimes character.  And herein lies the strange part.  As we impatiently awaited the show to begin – it finally did about twenty minutes late.  And when Louis first appeared it was not James Monroe Iglehart.  Not until my exit – after the performance – was I handed a slip of paper that boldly announced that James T. Lane was Louis.   Surprise!  He is the alternative Louis on Wednesday and Thursday matinee performances.  But this is SATURDAY.  Where am I?  What’s going on?  To complicate matters UNDERSTUDY for LOUIS is Brandon Louis Armstrong.  The entire episode was unsettling.

James T. Lane was a bit nervous to begin but finally settled into his performance and was more than sufficient.  But I do not think that seeing James Monroe Iglehart would have made me enjoy this production even though I was looking forward to seeing him as I really think he is terrific.  It’s really about the not so merry wives.  And their unhappy relationship with Louis.  Incident after incident without any insight to flesh them out.

They are fine also.  Wailing their songs and holding out those last notes for dear life as is the style these days.  Boo hoo!  For the record they are Dionne Figgins, Jennie Harney-Fleming, Kim Exum and Darlesia Cearcy.

Co writers and Co directors do not make for a clear interpretation of the interesting material put forth.  A case of too many cooks spoiling the broth business.

The same goes for the “NEW” arrangements of some very well-known songs by Branford Marsalis that at times become unrecognizable.

Best all around number was WHEN YOU’RE SMILING and I wish that could be the finale to this review.  I wish I had been able to smile along, a lot more than I did.

2 hrs 35 minutes with intermission

www.louisarmstrongmusical.com

Tags: No Comments.

I don’t think that this review will sell many tickets.  But with Adam Driver as its star attraction – live and in person, close up and personal – does it matter?  I think not.  The run is almost sold out!

Now, I was anxious to see Mr. Driver once again on stage.  Even Off-Broadway at the Lucille Lortel Theatre where he is now performing a revival of this mundane muted semi-amusing affair written by Kenneth Lonergan.

I did my research.  I reviewed Adam Driver on four separate occasions.  All favorably.  On Broadway.

Mrs. Warren’s Profession 10/4/2010 – Adam Driver, “who is by far the best male member of the cast.  He has a wonderful, reserved humor and honesty about him.”

Man and Boy 10/17/11 – “a fine Adam Driver” as the son of Gregor Antonescu – Frank Langella.

Look Back in Anger 2/11/12 – “Cliff, their boarder – a brutish and sexy Adam Driver lolls around the floor reading the Sunday papers, checking for lice and openly flirting with Alison – the wife – a ravishing Sarah Goldberg.

Burn This – 4/23/19

There is something overpowering about him.  His size.  His charisma.  His talent.  His look.  His way with words.  At first off-putting and then as the relationship between he and Anna develops – despite Pale being a married guy with kids and a cocaine habit, things unexpectedly get out of hand we see a softer and more mature person emerge.  It’s quite a performance.  Especially his first shot out of a canon entrance.  And no one wears a mini silk Kimono as does Adam Driver.

And now, HOLD ON TO ME DARLING.  A case of be careful what you wish for.  Strings McCrane, Country western singer and movie star is rich and famous.  Dressed in black with large hat he looks very much like Richard Boone in Have Gun – Will Travel an old TV series.

Strings has all that he has wished for.  Except peace of mind.  Mama has unexpectedly passed over.  And he is bereft.  Looking for…well he does keep looking for over three hours in this Neil Pepe directed opus.  That’s about a hundred bucks an hour if you pay top price for a ticket to see Adam Driver and company.

In the process we meet his always efficient assistant Jimmy (an excellent Keith Nobbs) his brother Duke (CJ Wilson) who runs a General Store and likes his brew.

And a couple of gals.  Nancy, a massage therapist with a determined twang who allows us to view her at work with Adam Driver down to his black undies and socks – revealing a chiseled, muscular over six feet of body and his once or was it twice removed Kissing Cousin Essie (Adelaide Clemens) a softer version of Nancy who reunite in the funeral home while visiting mama in her open coffin.

Oh, who to choose?  Oh what to do?  While his film company tries to sue him for a no-show.

Frankly, my dear I did not give a damn – looking forward to meeting the mysterious Mitch (Frank Wood) who finally appears in the last fifteen minutes of this overlong quasi-drama.  Too bad he immediately reminded me of Art Carney.

How I wished it was the ghost of Mama who returned to have a face-to-face long overdue conversation with her son Strings.  Now that would have made the long and lazy afternoon worthwhile.

After all this is theater and an after-life visit could happen and liven up the proceedings.

The elaborate turntable set that almost overpowers the actors (all but Adam) is the fine work of Walt Spangler.  Slow but moving.

ONLY THROUGH DECEMBER 22, 2024

PHOTO:  Julieta Cervantes

Tags: No Comments.