There is a feeble attempt at comedy being made at the Peter J. Sharp Theater where “It Must Be Him” has opened with a cast of twelve under the direction of Daniel Kutner and written by Kenny Solms, co-creator and writer of the “Carol Burnett Show”.  Even an appearance by Ms. Burnett couldn’t save this dud drowning in vintage humor and variety type skit jokes that sometimes land or more often land with a thud.

There isn’t much to admire about the aging and gay Louie Wexler (Peter Scolari) our anti-hero who sleeps with his Emmy Award as his newest boy toy Scott (Patrick Cummings) won’t.  Louie is negative in the extreme, depressed and whines and complains that he hates LA and his life all the while trying to finish up his latest screenplay that is having a reading that night.    

A man of a certain age, Louie Wexler had great success early on but the muses have fled most likely tired of his kvetching and he is in danger of losing his house and his faithful Spanish maid Ana (a superb Liz Torres).  Her rendition of the song “It Must Be Him” outshines the Vikki Carr version heard at the opening of the show.  Seen through her eyes the show might stand a chance.

In fact, the maid’s story is funnier than anything else happening on stage and we wish she’d had a lot more to say in the 75 minutes allotted to this woeful tale that Louie spins. 

A tale of his searching for Mr. Right and new success that his long time agent Ross (John Treacy Egan) who loves underdogs, says is just around the corner.  If some changes are made.

They are.  And we go from bad to worse.  We see a musical version that is probably one of the most tasteless porn paraphernalia strewn songs ever performed.  Special musical material is credited to Larry Grossman (music) and Ryan Cunningham (lyrics).  This number does nothing to enhance their reputations.   And then a gay Bachelor television show.

Peter Scolari does an adequate job with the material but unfortunately singing is not one of his specialties.  He does better bantering with his dead parents - the lovely Alice Playten and Bob Ari who seems to be channeling Lou Jacobi.

The remainder of the cast play various characters - some more interesting than others and help move the elaborate set pieces around.  Standing out in a few flamboyant parts is Edward Staudenmayer who is very funny and can really sing.

The surprise ending will either have you aahing or racing for the exit.

www.itmustbehimplay.com    Photo: Carol Rosegg

Andrew Veenstra & Erik Heger

Luigi Creatore has concocted a melodramatic dreamscape scenario in “An Error of the Moon” that he calls “a speculation” wherein Edwin Booth (Erik Heger) the elder brother of John Wilkes Booth (a passionate Andrew Veenstra) perhaps explains, backstage in a dressing room of a theater in the 1860’s, why Johnny assassinated President Abraham Lincoln.   

Edwin’s story is told from his imagined viewpoint somewhere between fantasy and madness.  Somewhere in-between.  Director Kim Weild does a nice job of conveying this netherworld and we quickly see that both brothers have issues that could easily lead to violence.  The two actors portraying two actors look enough like each other to actually be brothers and that helps. 

Edwin, the older by ten years acting in the grand Shakespearean style that he was famous for and Johnny, the younger emoting in a more modern style.   There is a great sibling rivalry between the two which causes Edwin to doubt the faithfulness of his wife Mary (Margaret Copeland).  Is he the father of his daughter Edwina or the uncle?

The period costumes by Alixandra Gage Englund are fine.  The set (Steven Capone) more than fine.  And the video projections (C. Andrew Bauer) on the skewered set are excellent.  But there is nothing new or compelling about this brotherly love/hate political civil war saga as seen through the often drunken eyes of Edwin to merit a visit.

Unless you’d like to see some nifty swordplay (Rick Sordelet) - a “theatrical trick” using blood, and Mr. Veenstra as Johnny do an onstage quick change to replace his drunken brother as Iago with some non too subtle references to Othello mirroring the situation between Edwin and Mary.

Brian Wallace appears in many guises, hats and moustaches and finally brings the play to life as the person investigating Johnny who has a plan to kidnap the President and turn him over to Lee.  That is, before he decided to shoot him instead.

What is historical fact and what is speculation?  Your guess is as good as mine.  But it’s hardly entertaining or illuminating.  I couldn’t wait to get home and listen to “The Ballad of Booth” from Stephen Sondheim’s Assassins. 

At the Beckett Theatre on Theatre Row through Oct 10^th.

www.AnErrorOfTheMoon.com           Photo:  Carol Rosegg

Jon-Michael Reese

For all of you looking for a message and superb acting, you will find it in the very promising play by Harrison David Rivers’ “When Last We Flew”. 

However, the message of flight, of being free as a bird, to be able to live ones life as one wants to, is hampered by too many metaphors and feathery symbols that cause the play to be unnecessarily complicated.  Blurring reality with fantasy doesn’t quite work completely, making “When Last We Flew” disjointed.

The main story of Paul (Jon-Michael Reese) - a black teenage boy in Kansas coming to terms with his homosexuality is quite clear.  His difficulty in communicating with his parents - Marian (Karen Pittman) and Fresh (Wade Allain- Marcus) who has left them and his guilt over thinking his gayness has caused Fresh to leave have him locked in his bathroom reading a copy “Angels in America” stolen from the local library.

He has sequestered himself in the safety of his bathroom to read, have sexual fantasies, masturbate and ruminate on his angst ridden life.   Mr. Reese gives a believable, honest and compassionate performance.  Playwright and character are obviously influenced by the Tony Kushner epic play.

But look out.  Upsetting the balance and giving a standout, remarkable performance is Rory Lipede which could catapult this young Afro-American girl far beyond the Fringe.  Soaring like an eagle she takes full command of the Lucille Lortel stage and her character, Natalie.  As the only Afro-American girl in a Catholic School who is expelled for her activism and sent immediately to Public School, Rory Lipede is indeed the high spirited firecracker she is described as.  She has a deep set passion that beams from her eyes.  Hers is a performance to be remembered.

Rory Lipede & Allison Mackie

Wondering where Natalie gets this strength from we meet her head strong mother Pricilla (Tamela Aldrige) in another fine portrayal.

An openly gay school mate, Ian (Christopher Larkin) is in love with Paul.  To no avail until the intervention of The Angel (Allison Mackie - in various guises) who helps Paul to discover and accept and guide the other characters to enlightenment.

The quality of acting is exceptional and the direction by Colette Robert is intriguing.  With some more work “When Last We Flew” could really take flight.

www.WhenLastWeFlew.com                  Photos:  Karen Rusch

According to program notes by playwright Megan Condit  “…And a wake-up” is “military slang used for counting down the full days and last day until a person transitions away from a tour assignment.  Usually one involving great stress and personal risk.”

Before “And a Wake-Up” begins at the New School for Drama Theater as part of Fringe Fest NYC we hear via voice over, John Williams (Parker Dixon) writing a letter home to his fiancée Rachael Sloan (Alexandria Wailes) thanking her for the care package that all the other guys appreciated and his looking forward to being with her 24/7 in their bedroom.  It’s a bittersweet beginning considering what happens next.

A silent scene of his homecoming - in a flag draped coffin.  We see nothing of his supposedly angst filled last days.  When the scene switches to the Sloane dining room of we simultaneously see a bloodied and scarred John Williams arise from the dead. 

Director Bruce Faulk uses this “simultaneous” device often which splits the focus of what you are supposed to focus on.

The play actually is more about the very Catholic dysfunctional Sloan family than the readjustment that John has to make upon returning home.  He appears to Mrs. Sloan (Lee Roy Rogers) - a submissive wife in a loveless marriage who puts the make of just about everyone in pants including the Mayor (Lawrence Arancio).  Her abusive husband Charles (Christopher Hurt) who manufactures “Sloan Body Armor” is the man in charge and he doesn’t care much for Rachael’s new polite husband-to-be David (Kyle Knauf) who works for him.  Rachel didn’t waste much time finding another guy.  So much for that strong bond of love between her and John.

Then John appears to them all in a bar where he is beat up by Mr. Sloan for attacking his wife.  Are you still with me?  Ace reporter Molly (Romy Nordinger) in dominatrix leather mode witnesses all this and reports it on TV accusing Mr. Sloan of attacking a national war hero.  John becomes a reluctant celebrity.  Mr. Sloan tries to become part of his growing fame to build up his business.

There are demonstrations, many uneaten cold dinners and a reverend (Jacob Hoffman) who suggests to Rachel to “pray harder” to adjust to her dilemma.

The playwright, with her “gimmick” of John returning dead, seems to be saying that it is better off to be killed in action, to be dead and buried than coming home an amputee with vacant stares or full of horrible memories that result in the distancing from loved ones who do not understand you anymore.

The “gimmick” just distracts from her well intentioned message.  John’s adjustment is examined superficially with the emphasis on the family Sloan in a surrealistic package.

www.andawakeup.com

So please, someone explain to me what has happened to make this show the huge disappointment that I witnessed Sunday afternoon at the Lucille Lortel Theatre as part of this year’s Fringe Festival NYC.

As far as I can remember there was more to the orchestra than just a piano and drums.  A lesser sound could not be the entire fault.  And so I checked back to my original review. 

There is a new director and a completely new cast that do not come up to high professional standards of the original.  “Have a Nice Life” is now a mere shadow of itself.  The actors try their best but they make this very emotionally honest show into something lighthearted especially in the staging of the musical numbers.  I wish they would have trusted the material more.  I remember exactly how I felt when Amy tells her story and how heart wrenching it was.  Here I couldn’t care less about what was happening to her.

We should care about all these people in group therapy and I didn’t.  Not this time around.  www.nicepeopletheatre.org  

Here is my original review:

I happen to be a tough critic to please but when I am pleased I will go all out to praise, promote and pull anyone into the theatre that I can to see the show.  Such a show is Have A Nice Life - Book by Matthew Hurt with Conor Mitchell who just happens to be the brilliance behind the music and lyrics.  This is a fresh, exciting, emotional and altogether musically invigorating piece of therapy.

Yes, therapy.  There are six people who arrive for their group therapy session:  Jackie (Jacquelyn Piro Donovan) who hasn’t been there for a while; Chris (Kevin Carolan) a mama’s boy looking for old fashioned love;  Jean (Emily Skinner) an angry, lonely bitch; Barbara (Nicole Ruth Snelson) sent by the court for rehab and Frank (Michael Berry) a mailman who has come to score with the chicks.  They speak and sing in the rhythms that they speak, with clever rhymes.  An unusual way to begin, but which sets the musical tone for the evening.  From one of Britain’s hottest young composers, Conor Mitchell.

The group has been meeting for ninety minutes a week for twenty two or so weeks without much of a breakthrough.  Except for the fact that they are beginning to get on each others nerves.  Their group leader, Patrick (Charles Hagerty) is trying his best to help them with what seems to be psychotherapy 101.  But wait.  Into the group arrives Amy (Michelle Blakely), a recently acquired friend of Jackie, who is brought there under false pretences.  What follows is one of the most original pieces of musical theatre I have had the privilege of witnessing and loving.

There is a role playing game and a word association game and the game of life, which is the most important game of all, being played here.  They begin to respond to Amy and get to know each other in ways heretofore impossible.  All of this happens with the most amazing score.  They talk.  And then that talk segues into song and counterpoint and group numbers.  And all the while the music is a delight to hear.  The lyrics are so individual for each character - funny and witty and heartfelt - and the story is thrust forward by each and every fantastic cast member.  The music is some of the best I have heard.  It’s all extremely exciting and emotionally fulfilling.  All of the characters learn something new about themselves and each other.  And I think that we do too. The direction by Pip Pickering adds without distracting.  He is the true group leader.  Getting at the truth of these characters.

You have to see this show.  But wait.  The final performance was Sunday night.  But wait.  This show will be picked up.  Will continue.  It is sure to have a nice life, somewhere.  It has to.  With the exact same cast, I hope.  They are perfect.  We care for each and every one of them.  Baring their emotions, looking for love, trying to understand their lives and singing their hearts out.   Who knew group therapy could be so entertaining.

Holy Moly!  Justin Moran (Book & Lyrics) and Christopher Pappas (Music) have written a terrific and thoroughly entertaining soft rock score for Pope! A clever and hip musical playing at the Lucille Lortel Theatre as part of Fringe Fest NYC.  It is filled with one great melodic and memorable number after another.

Nicely directed by Greg Moran with choreography by Megan Ferentinos, Pope! will lift your spirits, give you some big laughs, and charm you with its sweetness.  It’s an irreverent but loving tribute to the eternal fight between good and evil and the redemptive power of forgiveness.  Done tongue in cheek - taking aim at religion, tabloid reporters, robots, faith, God and “The View” it is played for real with humor that sometimes borders on the ridiculous.

Can an eighth grade idealistic guy named Pope (Ryan Nelson) who becomes a popular Pope some twenty eight years later (likening the unifying power of the Holy Spirit to a blueberry muffin - in song) become Pope again after being excommunicated from the Vatican due to an alleged “sex scandal” orchestrated by the evil and power hungry Archbishop (Scott Hart) aided and abetted by his non too bright cohort Duncan (Michael Campbell) and published by the hungry for headlines tabloid reporter Dexter (Jonathan Roufaeal)?

It’s great fun finding out.  Along the way, Mary Elizabeth (Liz Bachman) who was Pope’s prom sweetheart becomes a nun still pining for Pope.  Her love for him remaining unrequited for obvious reasons.

“You Ain’t Never Seen a Pope Like Me” sung by the tyrannical Archbishop is a true show-stopper and scene stealer Scott Hart gives it his all.   Once he is Pope he is hell bent on returning the Papacy to its warlike and belligerent past and imprisoning (in the basement that has a shag carpet) all those who oppose him.  As the Cardinals lament “We Are Going to Die” you’ll be stricken with laughter.  Other highlights include “Goodbye O Ye Shameful” and the roof raising “What Would Jesus Do” sung by the entire ensemble.

Jennifer Lauren Brown, Molly Moran, Travis Nilan and Zach Wobensmith play a variety of parts adding to the lunacy.

Oh yes, even God gets to sing a duet with Pope (the original who has grown a huge black bushy beard that he has to sing through).  It works.  It’s fun.  Go.  Mirth be with you.

www.PopeTheMusical.com

I wanted to see this intriguing, comic avant-garde opera by David Chesky again.  I wanted to revisit The Pig, The Farmer and The Artist to see if my original impression was still valid after seeing the original production in October 2009 at the very intimate Gene Frankel Theatre. 

The Pig, The Farmer and The Artist is not a fluke.  It is still very much what I thought it was, if not better, despite a couple of changes.   

It is now at La Mama as part of Fringe Fest NYC - a much larger space that enables the show to breathe.  There’s a new Pig (Ryan Scott Lathan) who sings the role now.  It had been previously spoken.  And a new member of the Greek Trio (Steven Uliana).

Other than these minor adjustments my original review still stands of this artful satire of the art world which is like falling down the famous rabbit hole in Alice in Wonderland and finding a cast of zany characters who sing majestically.  Be brave, think outside the box.

Walking through the doors of the Gene Frankel Theatre at 24 Bond Street to see The Pig, The Farmer and The Artist (Music/Book/Lyrics by David Chesky) is a bit like falling down the famous rabbit hole in Alice in Wonderland where when you hit bottom you come across an array of zany characters telling you their story.   With a bit of Fellini thrown in for good measure.  It is an operatic satire about sex, music and art.

Yes, that’s right.  An opera.  In reality it’s more a “singspiel” as the very well endowed Pig (Tom Blunt) speaks rather than sings his part. It’s amazing that he is not completely upstaged by his endowment.  Of garden hose length that he twists around his neck and plays jump rope with.  It’s long enough for Double Dutch.  Be that as it may the other actors are all sensational operatic singers - for real.

They are led by conductor Anthony Aibel accompanied by his orchestra of nine (including a harp, clarinet and flute).  The music is avant-garde modern to my ears; with a bit of old time musical pizzazz to help the ears of the uninitiated.  Quite original.  The production is very funny and never boring.  Director A. Scott Parry has done a masterful job of keeping the ball rolling with clever staging and delightfully clever costumes.

Very successful greedy and horny Farmer Jones (bass-baritone Cory Clines) goes to market to sell his produce and discovers The Pig - becomes smitten and buys him along with Shirley, the Cow (mezzo) a statuesque Wendy Busby - a former hooker from Amsterdam and her husband Harvey, the three legged Bull (tenor - James N. Kryshak) a transvestite, parading around in a pink tutu.  Next to his big boned bovine he appears more like a bullette than a bull.  All the more fun.  Thrown into the deal in the artist (tenor - Christopher Preston Thompson) - whose paintings don’t sell - much to the annoyance of Farmer Jones. 

The public doesn’t want something new.  Something challenging and intelligent.  They want or rather what sells is the same old schlock, the public preferring safe and sound over something daring and different.  For example this operatic satire.

In order to escape the wrath of Farmer Jones and being slaughtered The Cow and The Bull escape to New York City and become rich selling the artist’s drop cloths as art.  Pig soon follows and they… well it’s better to see what happens.

In a trio of pants roles, soprano Melanie Long gets to satirize a farm hand, an art critic and art dealer with aplomb.  Rounding out the cast are the superb Greek Trio:  Soprano: Ami Vice, Mezzo: Megan Marino and Baritone: Michael Dezort called on to portray everything form goats and chickens to West Village gays, East Village punks, high society dilettantes and the omnipresent paparazzi.  What a treat to watch them in action as they skewer opera, the art world, George Bush, sex, and everything in between.

The projected super titles above the stage are hysterical and posted by the computer Hal (MacBook2.1) who had to take on this job to pay his rent in the Big Apple.

They are all great singers and consummate actors.  Last night I was even dreaming about them all.  Now what would a therapist have to say about that I wonder?

www.davidchesky.com

A cerebral hemorrhage can kill you.  That’s if you’re lucky.  If you happen to survive and your next of kin has to deal with doctors, nurses, insurance companies, patient advocates, physical therapists, insurance companies, elder care lawyers, rehab, power of attorney, insurance companies, living wills, the onset of dementia, nursing homes and INSURANCE COMPANIES that might just about finish them off too.  If not next of kin it’s even worse.  Rich or poor, the problems just seem to escalate with no end in sight.

In Susan Dworkin’s frightfully funny Fringe Festival play “All Day Suckers” at The Robert Moss Theater 440 Lafayette Street, she tackles and skewers this very important topic that so many people are totally unaware of until it’s too damn late.  Take for example entertainment lawyer Bryce Garfield.

Bryce Garfield (Sarah Grace) is about to marry her Wall Street fiancé Barrett (Ryan McCarthy) when her “event planner” father at age 66, Frank Garfield (Paul Carlin) has a cerebral hemorrhage.  An event he obviously did not plan.  He has multiple dwellings, an ongoing profitable business and plenty of insurance - so not to worry.  Right?  Wrong.

On the opposite end of the financial spectrum is the Spanish live in wife Carlita (Sarah Nina Hayon) of a Superintendent of a New Jersey building who has had a stroke.  She will find herself dealing with the same nightmare that health care bureaucracy has become and you will find yourself laughing and laughing until the seriousness of it all sets in.

Sweet, the insurance company devil (Zachary Fine) is tops with his Rod Serling-like dispensing of advise to protect his interests and in his delivery of instructions to Patient Advocate Becca (Margaret Daly) who seemingly is there to help.  Beware Signs pop up everywhere. 

With inspired direction by Jessica Bauman who has a few wonderful theatrical tricks up her sleeve (which I will not divulge you must see for yourself) that make jest of this mess and amusing songs of commentary by Ms. Dworkin accompanied by Ukelele Player (Adam Wilson) dressed in scrubs, the tale of the “who will pay the bills” unfolds supported by fellow cast members that portray an array of parts.  Particularly memorable is Melissa Wolff, a comedienne par excellence.

Whatever you do, cancel all other appointments and see “All Day Suckers”.  And take notes.  You’ll need them eventually.

www.alldaysuckersplay.com

Be prepared.  Be prepared to be swayed into believing that the Juke Box Musical isn’t dead.  It is alive and flourishing at The Midtown Theater where POWER BALLADZ is rocking the rafters with three amazing performers with incredible voices and enough energy to power the East and West Coast.  They are Dieter Bierbrauer, Mary Mossberg and Scott Richard Foster.

They are purely and simply sensational.  Dieter with his long golden locks and sly grin, Scott with his goofy antics and the beautiful Mary who sits in the audience in her Sarah Palin inspired suit until recognized by our two heroes as the girl that Dieter never got to take to the prom and immediately is coaxed into joining them on stage only to let her hair down and change into black leather and rock it out with the both of them.  That’s the very slight plot courtesy of Dan Nycklemoe, Peter Rothstein and Mike Todaro.

But who needs a plot when you can get magnificent renditions of some of the best rock anthems of the 70’s, 80’s and 90’s - Here I Go Again (Whitesnake), Wanted Dead or Alive (Bon Jovi), Wind of Change (Scorpions), Every Rose Has Its Thorn (Poison), We Are the Champions (Queen) and Paradise City (Guns and Roses) to name but a few of the songs that drive the audience wild.

An audience that looks like Spring Break in South Beach.  With their parents.  Singing along and having the time of the lives.  After all, there are the songs first and foremost and better still, beer and tequila shots available.  Chicken wings and other noshes too.  Not to mention the production values which are terrific.

A rock concert right in midtown Manhattan, directed to pitch perfect perfection by Mike Todaro.  Two large video screens.  Incredible lighting effects.  A fog machine.  Zippo lighters.  Big hair.  And a great rock band with Karen Dryer on keyboard, Mark Vanderpoel on bass, Brad Carbone on drums and Sean Driscoll and Jason Bozzi doing some fanciful acoustic guitar strumming.  It’s a blast from start to finish and then some.

After the knock-it-out-of-the-ballpark performance audience members are invited to perform on stage with the band to sing - karaoke style - and release their inner rock star dreams.  It’s quite an event.

www.powerballadz.com             Photo:  Carol Rosegg

Spellbound: A musical adventure - “an epic fantasy for all ages” written by Paul J. Deakin and Christian De Gre is being presented at The Ellen Stewart at La Mama ETC as part of the Fringe Festival NYC, directed by Nancy Robillard.

It is fitting that it is playing at this venue as so many experimental plays have been supported and nurtured here.  Spellbound is an ambitious project.  It tries to do far more than it can possibly achieve on stage.  It is a fantasy.  It is about wizardry, warlocks and witches with oddly named characters inhabiting their very own mythical world.  Does Harry Potter come to mind?

It does.  Only the person who wants to follow in grandfather’s magical Wizard shoes is an eighteen year old girl named Herianne - with a lovely soprano (Ashley C. Williams).  And so she meets up with lots of opposition on her journey to become a Grand Wizard.  Girls cannot do that.  But with a lot of help from her friends she does exactly that.

It doesn’t matter if a musical is “for all ages” - what does matter is having characters that you can care about, a strong story and memorable music.  Spellbound does have a heroine that we care for but the story is a bit too convoluted and the music, which sounds like a combination of “New Age” and Yanni with a nod towards Andrew Lloyd Webber, strains the eardrums with its abundant duets, trios and quintets. 

There are twenty two pre recorded songs that the large cast of eighteen actors sings along with under the direction of musical direction of Manny Simone without intermission.

Many of the singers are outstanding:  Aaron Schroeder (Greeme) Martin Van Treuren (Master Garlan) Kristin Wetherington (The Dark Witch Meldah) and David Garry (Egor) who also gets to complain and fart a lot, adding some much needed comedy to the saga.

Spellbound might make a better movie.

www.SpellboundTheMusical.com   

www.MindTheArtEntertainment.com