Oscar E Moore

From the rear mezzanine theatre, movies and moore

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POPESICAL – needs a miracle Fringe NYC

August 29th, 2015 by Oscar E Moore

A mythical musical where mayhem reigns after the death of a Pope - takes place at Theatre 80 and not the Sistine Chapel as stated in the program of this new musical written entirely by Adam Overett.  It isn’t blessed.  In fact, it’s like spending an eternity in Purgatory.

Actually it’s about 90 minutes without intermission where there are 7 wannabe-popes vying for the newly vacated position. The cardinals – both male and female – straight and gay – of various ethnic backgrounds and questionable qualifications arrive to Vatican City singing their hearts out about how each should be the one voted to become the next pope over a sound system straight from hell.

Trouble is that Mr. Overett has reached far beyond his qualifications in penning this opus and hasn’t really decided on its tone or what the show should really be about. The music is perky with vamp after vamp, vamping under the dialogue that is forced funny. There is a gospel number, a Ten Commandments number and many other forgettable numbers (no listing of songs). And a serious, love song between two male cardinals. It is their relationship that is the core of this madcap show and the only people we care about.

Here is the list of contenders: Cardinal McCafferty (Stephen Christopher Anthony) the most pious and honest who holds back his closeted gay feelings for Cardinal Bergenstein (David Perlman) the admittedly gay Jewish Cardinal (don’t ask). They are both excellent and handle themselves well despite being surrounded by stereotypical Cardboard Cardinals.

For instance and this is the worst offender – the over-the-top evil Cardinalissimo Francisco Franco (Rachel Coloff) - costumed to look like Quasimodo and screaming and shouting her lines with a heavy Italian accent – with a lisp. Her sidekick Cardinal Wallaby (Susan J. Jacks) is simply annoying.

Then there is Cardinal Hu-Jin Chao (Jason Veasey) for some calmness. Cardinal Fouette (Lucas Thompson) a flamboyant mute ballet dancer. Cardinal Robin (Alexa Green) a brash white trash, gum chewing South Jersey Shore cussing sort who might want to consult with costumer designer DW. And finally Cardinal St. Louis (Danette Holden) a southern belle who gets to belt out the Gospel Number.

There are three overly long and terribly unfunny challenges for the contestants wanting to become Pope before one is elected. Who will it be? If this sounds like fun to you – pay a visit and then go directly to confession.

Directed and choreographed by Drew Geraci.

Photo:  Jay Sullivan

Art Work:  Or Gotham



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THE WASTE LAND – T. S. Eliot performance/installation FringeNYC

August 27th, 2015 by Oscar E Moore

This 1921 obtuse, dense, bizarre, depressing, esoteric and epic 434 line poem by T. S. Eliot has been dramatized and directed by the brothers Domig: concept/installation by Daniel and performed by Christopher who is an excellent actor and the main reason I went to see this theatrical thesis.

Christopher Domig is a compelling actor. A brave actor. Fully committed. Doing challenging work that challenges his audience. Tackling T. S. Eliot’s THE WASTE LAND is a daunting task. It’s not easily understood or accessible.

It’s a far cry from Eliot’s Old Possum’s Book of Practical Cats immortalized by Andrew Lloyd Webber.

I first discovered Mr. Domig in 2007 in another Fringe Festival work. A monologue. DIRT. He gave “a dazzling performance” I wrote in my review. “Powerful, mesmerizing and thoroughly enthralling in a somewhat confusing narrative. – The eyes of Christopher Domig convey it all – the heartbreak, the fury, the isolation, the loneliness of an illegal immigrant just trying to fit in.”

History repeats itself at 64E4 Underground. He is still mesmerizing despite the subject matter. Wearing a tux sans socks he delivers this rambling monologue for 55 minutes, meticulously rearranging the table and two chairs and interacting with a ghostlike head on a stick – sometimes crawling on the floor covered with sawdust, sometimes atop the table or underneath all the while spouting words that we try to digest.

It’s as though the poem is a giant puzzle that he is trying to put together.

One woman discreetly left about ten minutes in. Another yawned – progressively growing impatient, frustrated and fidgety. Surprisingly there were two youngsters (aged 7 – I asked). One was curled up in her mother’s lap. The young boy attentive. After the performance I asked him if he understood the play. “Some.” Did he like the acting? “Oh, yes.” There we are.

I suppose it’s never too early to introduce Eliot. Perhaps by the time he’s my age he’ll understand what’s going on.

I do hope that one day soon I see Christopher Domig in a show worthy of his talent.

Photos:Thomas Weitzman



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SOUSEPAW – a grand slam hit at Fringe NYC

August 25th, 2015 by Oscar E Moore

Pure theatrical gold.  Everything about this production is ready to move into the major leagues.  Hopefully it will find a new home AS IS in an open run at a small off-Broadway theatre after its brief stay at 64E4 UNDERGROUND as part of FringeNYC.

This powerful, engaging, surprising and sometimes violent two character play by Jonathan A. Goldberg is based on the true life story of George Edward ‘Rube’ Waddell a prized southpaw pitcher. He led the major leagues in strikeouts for six consecutive years. Drink was his downfall causing Sporting News to nickname him Sousepaw.

As the play begins he is asleep or perhaps passed out in a seedy hotel in Elmendorf Texas, 1913 – a year before he died at the age of 37 - wearing a union suit with a rear drop seat - coughing and confused when there is a knock on the door.

The set by April Bartlett sets the mood immediately. Enter “The Reptile Girl” (Christina Pumariega) with a small suitcase. What ensues is a magnificent character study of these two lost souls in one act that is a little more than one hour long.

He is awkward and naïve. Charming and simple. She is damaged. Sexy and kinky. She works in a circus where they met. She has come to him to help keep him sober as he prepares for his second chance in life – a new contract with a new team – as he had been fired for his drinking.

But not before a little sexual role playing with his hired escort. Unfortunately he has not enough money to pay her. Why does she stay? What will happen to these two people will amaze you and you will never forget them.

Nor will you forget these two excellent actors. James B. Kennedy portrays Rube with confidence and shyness. It is an extremely nuanced performance that is a roller coaster ride of emotions. It’s also uncanny that he resembles the real Rube Waddell. This part seems to have been tailor made for him. He’s a winner. A charmer. A troubled, desperate man.

Christina Pumariega is his match. We slowly learn her back story and root for her. And him. Caring for these two people beaten down by life looking for something better and attempting to help each other make it. They banter back and forth comically and bitter sweetly. It’s amazing how much we care for them. It’s beautifully written. Tennessee Williams came to mind.

Costume design by Deanna R Frieman, Lighting Design by Dan Henry and Fight Sequences (they do not hold back) by Rod Kinter are skillful under the astute direction of Courtney Ulrich making SOUSEPAW the major event of FringeNYC 2015. It’s unequivocally wonderful.

Photos:  Hunter Canning

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DROP DEAD PERFECT – Agony without the ecstasy

August 24th, 2015 by Oscar E Moore

The question isn’t whodunit? But why did they do it?  I am still bewildered by this dreadful play starring Everett Quinton who portrays a wealthy hot to trot woman of a certain age, Idris Seabright, who has a penchant for painting still lifes, cavorting with a hot young Cuban hunk (cursed with a huge you-know-what) who resembles her long lost lover (who also obviously had a huge you-know-what), wielding a hatchet and changing her fifties frocks and will at will.  It quite literally is a drag.  The actors do their best with what they have and the production itself is handsome (Set:  James J. Fenton; Costumes:  Charlotte Palmer-Lane; Wigs:  Bobbie Zlotnik).

A handsome hodgepodge of Hitchcock in the Florida Keys circa 1952, I Love Lucy, melodrama taken to its melodramatic limits with a few magic tricks thrown in to awe the audience. They don’t. Mostly the audience reacts stoically with a chuckle here and there.

It’s a tribute gone awry to the Ridiculous Theatre Company created by Charles Ludlam. He was a genius of this genre and must also be bewildered from the beyond by the shenanigans on stage at the Theatre at St. Clements where this production is scheduled to run through October 11th. That will take lots of magic to pull off.

Just the announcement that Everett Quinton (who was the partner of Charles Ludlam) and heir to the zaniness brought to great heights by their company brings expectant guffaws as he is also a master of this type of high camp comedy. Not here.

Unfortunately there is little to laugh at this time around and this would-be thriller is lacking that most important aspect of a thriller. Being thrilling. It’s D.O.A. (dead on arrival) and I remember laughing once and wincing at the same time. Vivien (an excellent scene stealing Jason Edward Cook – the new drag on the block) gets to fall down an entire flight of stairs on her backside brilliantly and hopefully not too bruised.

Vivien is the lame ward of Idris, She has a penchant for sculpting penis art, a lawyer with a Southern drawl (Phineas Fenn - Timothy C. Goodwin who doubles as a narrator), the aforementioned hot Cuban hunk – Ricardo (a smooth Jason Cruz who gets to bare his buttocks) and dancing some hot Latino numbers choreographed nicely by Lorna Ventura.

The plot thickens like pea soup without involving us even remotely. Music swells at appropriate moments. There is a gun and a hatchet and a gold fish and an annoying off stage dog that barks. Nothing is left to the imagination that will all but be deadened by this lame production.

Supposedly the author is first time playwright Erasmus Fenn. But is it? That’s the real mystery behind DROP DEAD PERFECT, directed by the usually fine Joe Brancato who this time round doesn’t have a clue.

Photos:  John Quilty

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WILDE TALES – Fringe Festival 2015

August 20th, 2015 by Oscar E Moore

Perhaps it is the heat.  Perhaps it is the fact that there are over 185 shows participating in the 19th New York Fringe Festival to choose from that accounted for such a small turnout at The Robert Moss Theater.  Perhaps it is that WILDE TALES an adaptation of three of Oscar Wilde’s “fairy tales” by Kevin P. Joyce who also directs falls a bit short on originality.  It’s pleasant.  It’s tuneful.  It’s short – one hour.  But it doesn’t seem quite ready yet for packing the emotional wallop that is possible.

Love. Heartbreak. Friendship. The selling of one’s soul. All these are present but WILDE TALES hasn’t yet found a soul or heart of its own. With some clarification and more professional actors the production might be better served.

These tales are for sophisticated children/adults – THE HAPPY PRINCE, THE NIGHTINGALE and the ROSE and THE FISHERMAN and HIS SOUL all deal with mature themes and no amount of puppets (Dorothy James Loechel) will entertain tots. And as presented there is not enough sophistication for adults. Granted this is very difficult to pull off. Sometimes it does work, so there is hope for the future of this work. A bit more style would help.

The six young actors do their best to inhabit the various characters but they need to hone their diction and projection technique. A lot. Especially if they are serious in their pursuit of a theatrical career.

Drew Paramore is the one to keep your eye on. And Sabrina Michelle Wardlaw brings a sparkle to the Witch. The words and wisdom of Oscar Wilde stand on their own. It’s hard to better what he created. Onward! Tickets $18.00


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THREE DAYS TO SEE – Helen Keller jokes and quotes and lots of music

July 28th, 2015 by Oscar E Moore

7 rectangular tables.  7 plastic chairs.  Some potted plants.  7 microphones and a large acoustically challenged space (THEATRE 79) normally home to the New York Theatre Workshop greet you as you await the 7 actors (male and female) that will portray Helen Keller in this bizarre concoction conceived by Jack Cummings III for The Transport Group - THREE DAYS TO SEE - “a devised exploration of Helen Keller - in her own words” that literally runs through August 16th.

7 is usually considered to be a lucky number. Not this time. Director Jack Cummings III in an attempt to make Helen Keller’s life more interesting than it already is has his troupe of Helen Kellers running hither and yon, moving the tables and sometimes throwing the chairs (and food and forks) while quoting from the many published works and lectures of this incredible woman who overcame blindness and deafness to lead an incredibly fulfilled life – learning to master Braille and sign language, learning to speak and to listen to others speak by reading their lips with her hands. If only this was brought to light it may have helped clarify the production.

As is it, it’s a jumble. The importance of Helen Keller’s words and thoughts are undermined by all the movement and pre-recorded music. It’s a battle with the soundtrack that all but derails this concept.

The actors quickly pace back and forth asking questions or spewing thoughts; there is a prolonged segment that brings back The Miracle Worker material when Annie Sullivan got Helen to recognize the word “water” and learned to eat properly as they battle with each other (each actor taking turns at being Helen) to the strains of, I think, Gene Krupa’s mastery of the drums in the swing version of Sing! Sing! Sing! This garnered much applause as the actors clean up the mess of thrown food and water as thoughts continue.

This after a manic opening of tasteless Helen Keller jokes using the aforementioned microphones. They are then removed. The remainder of the too long show (almost two hours without intermission) is a repetition of Ms. Keller’s thoughts on various subjects such as Gone With the Wind, death, racism, socialism, vaudeville, Chaplain, censorship, Sam Clemens and Alexander Graham Bell all at odds with the intrusive musical score. Name That Tune came to mind.

It doesn’t help that some voices are ill-suited to project in the echo chamber of a stage. The result appears to be a collegiate exercise of theatrical excess - to be different for the sake of being different. The words and thoughts and feelings of the intelligent and gifted Ms. Keller suffer. Helen Keller “cultivated the art of silence” and that is nowhere in evidence in this production.

The most interesting aspect – although it too is too long – are the thoughts from Helen Keller about what she would do if she had three days to see. Nice.

It seems to be staged for “in the round” although it’s presented in proscenium. In the past I have admired Transport Group. Its choices and its direction. The success of THREE DAYS TO SEE remains to be seen.

The energetic actors portraying Helen Keller (and sometimes others) are Ito Aghayere, Patrick Boll, Marc delaCruz, Theresa McCarthy, Chinaza Uche, Barbara Walsh and Zoe Wilson.

Sound design:  Walter Trarbach   Musical Staging:  Scott Rink   Dramaturg:  Kristina Williams

Photos:  Carol Rosegg

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AMAZING GRACE – the end almost justifies the means

July 25th, 2015 by Oscar E Moore

This ambitious and epic original musical will be remembered for three things:  the Act I faux underwater finale where anti-hero John Newton (Josh Young) is saved by his slave/friend/confidante Thomas aka Pakuteh (Chuck Cooper) in a spectacular Cirque-du-Soleil type rescue – the Act II Hurricane where in its aftermath John Newton after many trials and tribulations finds Thomas and God and the inspiration for the title song which is the third and most amazing thing about this production – the epilogue - where the entire large cast sings an exceptionally stirring and memorable rendition of AMAZING GRACE.

The show has been cast with terrific singers who unfortunately get to voice the monotonous, unmemorable score by Christopher Smith (music and lyrics) and act the melodramatic script by Mr. Smith with the assistance of Arthur Giron.

AMAZING GRACE is a beautiful production to behold.   The late 18th century gowns by Toni-Leslie James are sumptuous.  The nautical sets (Eugene Lee/Edward Pierce) with its rigging and sails and pulleys allow director Gabriel Barre to travel quickly from England to Sierra Leone to beneath the sea with dexterity.  All beautifully lit by Ken Billington and Paul Miller.

But the story treads water for most of the first act.  It fails to engage despite the fine performance of Josh Young as John Newton – a headstrong young man at odds with his headstrong father Captain Newton (Tom Hewitt) who runs a business that imports and auctions off slaves from Africa.  A very lucrative business both for them and the African Princess Peyai (a headstrong Harriet D. Foy) who just about chews up the Palm trees and anyone else who gets in her way.

John loves Mary (an excellent Erin Mackey) who frowns upon the family business but adores John and the poems he has written to her.

She becomes an activist against slavery and sets out to obtain information from Major Gray (Chris Hoch) – a buffoon who wants to woo her as Captain Newton has had his son abducted into the Royal Navy as punishment for his wayward ways which leads to the grand under water rescue which leads them to believe John is dead which leads us to Sierra Leone where John becomes enslaved by the evil Princess Peyei which allows choreographer Christopher Gattelli to create gyrations which remind us of a far superior Disney show about African lions.

Did it happen this way?  Or have the creators taken great poetic license with the source material?  Read the fabulous A RESPECTABLE TRADE by Philippa Gregory to be further enlightened on this very interesting topic – the horrors of slavery and the selling of humans as merchandise – sometimes two for one in the case of a very pregnant captive.

BUT one cannot fail to be moved by the epilogue – the excellent choral arrangement of Amazing Grace, words by John Newton with music by William Walker - that says it all:





Most of what precedes this song is merely superfluous.  At the Nederlander Theatre.

Photos:  Joan Marcus

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SHOWS FOR DAYS – Better to forget

July 12th, 2015 by Oscar E Moore

I was there.  Thursday July 9th, the night after the “snatching of the cellphone scandal” when Patti LuPone strode on stage before the start of the ill-fated SHOWS FOR DAYS enunciating clearly “Anything you want to ask me?” to thunderous applause and whoops and whistles from her loyal fans regarding said incident.  More applause and shouts of approval after her short but intense curtain speech.

Then the show officially began. The delightful, adorable and downright huggable Michael Urie arrived on the prop infested stage of The Mitzi E. Newhouse Theater at Lincoln Center as “Car” the alter ego of playwright Douglas Carter Beane in this quasi semi-autobiographical stillborn opus in an OUR TOWN like presentation as he sets up the piece.

He will be our narrator. And furniture mover. Looking back fondly through lavender tinted glasses. Removing said glasses he becomes the fourteen year old (this is not a typo yes he is supposed to be a fourteen year old naïve/precocious youth – use your imagination - who has fallen upon this amateur acting troupe in Reading PA. - 1973.

William Ivey Long has hit the target dead center with his tasteless and tacky costumes of that tacky and tasteless era. He must have been watching re-runs of The Match Game for inspiration.

Back to the play. Or whatever. It’s directed with an extremely heavy hand by Jerry Zaks who attempts to find and highlight whatever humor lies lurking in the script. He’s still looking.

Patti LuPone is the star diva Irene who runs the show. Married to a husband we never see. Taking her meds when needed that we do see. Often. She’s your typical diva queen that typical theater queens adore. No matter what. She could just stand there and ask a simple question like “Anything you want to ask me?” and they’ll go wild. Simply wild.

Her troupe includes Maria (Zoe Winters) the ingénue. The young leading man Damien (Jordan Dean – Mr. AC/DC), the bull dyke stage manager Sid (Dale Soules) and Clive (Lance Coadie Williams - the black and gay older leading man) with a voice suited to portray Othello or Captain Hook. Irene is an equal opportunity employer.

All the characters are one dimensional. Sketchy. And at times deliver their “jokes” straight out. You can almost hear the cymbals clash as an exclamation point. What you will hear – often - is the sound of the wrecking ball – destroying the theater that Irene is trying to save – even going so far as to blackmail - to get what she wants – an official not-for-profit theater!

We get the history of Reading and its environs. Their local reviews. Their attempt to lure in subscribers. Their rival company. Costumes from their production of Peter Pan. And the sexual awakening and initiation to the act (behind a screen – use your imagination) between Car and Damien who has also been doing the deed with Irene. When you remember that Car is all of fourteen – jail bait – funny somehow doesn’t come to mind.

Perhaps that infamous cellphone offender was texting the box office demanding a refund.

For the record I am all for the banning of cellphones during performance.

Even after Ms. LuPone’s speech and widespread brouhaha over said incident don’t you think late in Act II I heard that all too familiar ring tone nearby that was quickly shut down before Patti could muster the militia. Imagine that if you will!

Limited engagement.

Photos:  Joan Marcus

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June 28th, 2015 by Oscar E Moore

About the only redeeming feature of the lonely, annoying, whining and very out gay-boy/man Jordan Berman (Gideon Glick) in SIGNIFICANT OTHER is his Grandmother Helene Berman (a twinkling Barbara Barrie) who is suffering from the onset of dementia, has a predilection for various means of suicide, old photos and is absolutely charming.

She is the only aspect resembling anything remotely charming in this newest play by Joshua Harmon which goes on a bit too long with some diarrhea of the mouth monologues and melt downs by Jordan as his three best girlfriends – one by one – waltz down the aisle – leaving him in the lurch, wondering if he will ever be so lucky.

They party often. Drinks flow as well as private and intimate thoughts. They are best friends…until they find someone to help them get through life. Not necessarily happily. It reminded me of COMPANY – where Bobby surrounds himself with married couples while trying to find the girl of his dreams - but with a lot less finesse and a lot less insight.

The three girlfriends are your typical trio of New York go-getters. Kiki (Sas Goldberg) is the most outspoken and vibrant. Vanessa (Carra Patterson) is a more mellow, gum chewing editor. Laura (Lindsay Mendez) is a good listener who likes her food as well as men despite being a bit “schoolmarm-ish.” They take turns advising their good friend Jordan as to what he should or shouldn’t do when he obsessively falls for hunky Will (John Behlmann) at work with his size twelve green converse sneakers.

He doesn’t even know if Will is gay. Will is a history buff with a buff body as well. They go to a movie. There is little face to face conversation. Little connection. That is left to e-mails and texts and laptops in today’s theatrical offerings. What a sad commentary.

We are put in the position of bystanders as each of their sagas unfold at Laura Pels Theatre. At one point in Act II – yes there is a second act. I wanted to jump up and scream at Jordan – who was having his second melt down of the evening and shout at him –“Get over yourself!” It was too much as he berated Laura for abandoning him. It was her marriage but his funeral.

Why anyone would even think of dating this guy let alone spending two hours with him and company is questionable. He really has nothing going for him and he must be zilch in bed as well.

When things get tough he phones Grandma who despite her failings is honest and still wise from the old school. But does he learn from her? Don’t ask.

The affable John Behlmann along with the agreeable Luke Smith play the various other men in all their lives exceedingly well.

Director Trip Cullman with a keen eye for detail has done a great job in bringing the character’s quirks and this episodic play to life – with a glance or a pause that fills in where the sometimes amusing dialogue runs short.

Nice contemporary costumes by Kaye Voyce and an interesting set by Mark Wendland provide a spark of originality that is missing in this oft told tale of an unhappy gay guy who only has females to fall back on. A ROUNDABOUT production.

Photos: Joan Marcus

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AN ACT OF GOD – Less bang for your bucks

June 6th, 2015 by Oscar E Moore

I never imagined myself having to critique God but here I am reviewing the Almighty in this ninety minute one act stand-up comedy routine starring the droll and personable Jim Parsons who delivers most of God’s schtick sitting down on his white sofa accompanied by two angels with enormous wings:  Gabriel (Tim Kazurinsky) reading and quoting from his Gutenberg Bible and Michael (Christopher Fitzgerald) roaming the audience and asking obviously prepared questions by the playwright David Javerbaum who has won multiple Emmys adapting this “act” on his book – The Last Testament:  A Memoir by God and his Twitter account @TheTweetOfGod which has 1.94 million followers that should keep Studio 54 full for its entire run.

That is if you like this sort of stuff, remember your Bible stories from Sunday School and adore the man in charge - Jim Parsons aka Sheldon Cooper of THE BIG BANG THEORY.

Holding forth on a heavenly set designed by Scott Pask (with a grand MGM type stairway to Heaven) and divinely lit by Hugh Vanstone, Jim Parsons greets his flock of faithful Sheldon followers with some corny jokes and some up-to-the-minute celebrity barbs with his “off-beat” charm that mostly holds our attention but is certainly not worthy of the cost.

It’s an update on The Ten Commandments, the nature of existence, the Creation, Evolution, masturbation (with a small “m”) as seen through rainbow colored eyes with a very gay agenda.

Late comers will be admonished with a great line and a cell phone (planted) gives God the opportunity to take a “selfie” with his two angels. There is even a bid at selling some AN ACT OF GOD merchandise to help fill out the production’s allotted time slot.

An overlong rendition of the Abraham and Job sagas makes one hungry for the very funny barbs and observations of this particular Almighty. Jim Parsons handles himself well, is in full control and is as funny as his material will allow. But when death is dealt with – what’s funny becomes uncomfortably questionable.

Joe Mantello directs as he did in Bette Midler’s riff on Sue Mengers - I’LL EAT YOU LAST. It appears that he has a penchant for his stars sitting on sofas while dishing.

Only here there is a lot of Thee and Thine and Thou’s thrown in. And a song for good measure.

All in all AN ACT OF GOD is pure Parsons. If you love the man you’ll adore his self- deprecating, imperfect Almighty who will leave you with that oft quoted adage “to have faith in yourself.”

At that old den of iniquity Studio 54. Through August 2nd ONLY

Photo: Jeremy Daniel

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