Oscar E Moore

Carmen Cusack is Broadway’s newest bright new star after being cast as Alice Murphy after submitting an audition tape via video to the team behind BRIGHT STAR – an original and tuneful bluegrass country styled musical inspired by a true event by Steve Martin and Edie Brickell that is beautifully and imaginatively directed by Walter Bobbie.

Carmen Cusack is a wonder.  Beautiful voice.  Great actress.  Getting to play the young “black sheep” and “lost lamb” albeit smart and strong Alice of the Murphy clan in North Carolina circa 1923 and her older self-contained self, working as an editor in a publishing house circa 1945.

These two plot lines run parallel – 1945-46 and 22 years earlier.  Not 1923-24 but 22 years earlier.  A very important number that connects the two time periods and gives us a clue early on where this romantic and tragic love story is headed.

There is another new star on the rise.  A. J. Shively.  He is wonderful as 22 year old Billy Cane arriving fresh from WW II back home only to discover that his mom has passed.   His love is writing.  Margot (a delightful Hannah Elless) works at the local library.  Her love is Billy.  Only she never quite gets to let him in on it.

Seamlessly going back and forth between the past and the present the sometimes hokey (but lovable) story has yet another star turn by actor Paul Alexander Nolan as Jimmy Ray Dobbs whom Alice sets her eyes and heart on.  His wealthy dad (Stephen Lee Anderson) does what “A Man’s Gotta Do” and attempts to split them up until Mother Nature intervenes and Alice’s story takes a tragic twist.

BRIGHT STAR is about love and hope.  For always being optimistic and for following your dreams no matter what.  The score is sprightly and melodic and performed with great gusto by the onstage band housed within a shell of a gazebo that rotates and slides around on the stage to keep the momentum from never slowing down.

The skeleton-like set by Eugene Lee looks as if a tornado has set in – with props and set pieces in plain sight – like an open book – just like Alice Murphy’s life as told to us by the sensational Carmen Cusack.  Happiness, turmoil and tragedy told in a refreshing way.  We never doubt the outcome and when it comes we are all rewarded.

There is nothing wrong with romanticism or sentimentality.  It’s what makes us human.  Perhaps we have become too cynical to accept a simple old fashioned love story told through lovely songs sung with a twang.  Banjos included.  With a side of laughs.

Lighting design by Japhy Weideman helps immensely.  Every word is heard (thank you Nevin Steinberg.)  Stylish period costumes by Jane Greenwood make us long for the days when women looked like women and were sexy in a more simple way.

Choreography by Josh Rhodes makes you want to join in and enjoy life as those on stage are experiencing and enjoying their lives.

Each song tells its own story and propels the plot forward.  And some are standouts.  BRIGHT STAR excels in proving that what is old is new again and that contrary to Thomas Wolfe that you can go home again.  Highly recommended.  At the CORT THEATRE.

www.BrightStarMusical.com

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Photos: Joan Marcus

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Powerful and moving.  Frightening.  Riveting.  A new timely vision for the 1953 classic Arthur Miller play THE CRUCIBLE as seen through the eyes of director Ivo Van Hove – himself a visionary as exemplified by his exciting and out of the box staging of A VIEW FROM THE BRIDGE and LAZARUS – all this season.

It’s an amazing output by an amazing man.  But it takes a village to bring all this together.  And Mr. Van Hove is helped by a slew of seasoned producers, an outstanding creative team and the casting of first rate actors who bring to vivid life the scariest of times.  Both the Salem witch trials and the McCarthy hearings.  The fear of communism in the 50’s and the fear of witches in 1692.  A witch hunt and witchcraft intermingled.

Stalking.  Rumors.  Accusations.  Lies.  The power of suggestion.  Torture.  Sex.  Naming names.  Religion.  Who is evil and who is good?  All in a village where whispers and innuendos can escalate to ruin the lives of innocent people – in the blink of an eye.  Mass hysteria runs rampant.

The curtain rises on a unit set by Jan Versweyveld depicting an eerie classroom with a large blackboard with some trees and instructions for children to follow scrawled upon it.  Young girls with their backs to the audience are seated at desks.  Ominous music underscored by Philip Glass.  The curtain falls.  Girls singing a school anthem – or a hymn.  Once again the curtain rises.  A tableau of a man holding what appears to be a dead student.   Reverend Parris (Jason Butler Harner) holding his daughter Betty (Elizabeth Teeter.)  Our attention is immediate.  And for the next three hours we cannot look away.  We dare not look away.  We are totally involved in this insanity.

John Proctor (a fantastic and fierce Ben Whishaw) a farmer with three children with a penchant for missing mass has had a brief affair with the young Abigail Williams (a vengeful and spiteful Saoirse Ronan) who no longer works for him and his wife Elizabeth (a gut wrenching Sophie Okonedo) – for obvious reasons.  She is set on revenge.  He is eventually accused of witchcraft and dealing with the devil and arrested and tortured – all in the name of the Lord – by Deputy Governor Danforth (a slithery Ciaran Hinds).

Abigail and her gang of schoolgirls had been seen cavorting in the forest seemingly dealing in witchcraft.  It is only Mary Warren (a frightened and possessed Tavi Gevinson) who wavers and is the only girl whose testimony can save Elizabeth and John Proctor.  Will she?

It is evil incarnate at work here.  The final scene between the Proctors is magnificently moving. Their love for one another and their faith in doing what is right for them incredibly touching and leaves us shocked into silence.  Until the curtain call.

Jim Norton excels as fellow farmer Giles Cory fearing for his third wife who has been arrested for reading books.  One by one others are arrested for no better reasons than being thought of as conspiring with the devil.

A girl levitates.  The blackboard comes to life.  A dog/wolf wanders the stage and looks directly out at us.  The young girls go into a manic trance.  Actions and motivations are questioned.  Lives are destroyed.  Is it witchcraft or mass hysteria?

This production will be embedded in your mind forever.  Mr. Van Hove doesn’t want us to forget – ever.  Neither does Arthur Miller.

At the Walter Kerr Theatre.  Brilliant and theatrical.  Highly recommended.

www.TheCrucibleonBroadway.com

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Photos:  Jan Versweyveld

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A luscious, lavish and romantic revival of SHE LOVES ME has recently set hearts atwitter at STUDIO 54 where Scott Ellis’ production is running through July 10^th.  The Roundabout Theatre Company has done a more than admiral job in remounting this best of all possible musicals first seen at the smaller Eugene O’Neill Theatre in 1963 – starring Barbara Cook, Barbara Baxley, Daniel Massey, Jack Cassidy and Ludwig Donath under the direction of Harold Prince with sets designed by William and Jean Eckart.  Therein lies the rub.

It’s not my fault that I saw the original.  Loved the original.  Have had it ingrained in my psyche ever since.  It was perfection.  However this revival has done its best to live up to my very high expectations bringing a new and younger audience to appreciate all its loveliness.

Based on the 1937 play “Parfumerie” by Miklos Laszlo the score by Jerry Bock and Sheldon Harnick is tuneful, intelligent, funny, character driven and romantic.  It can’t be beat.  The concise book by Joe Masteroff doesn’t have an extraneous word.  All the characters are well defined and have their individual songs in the spotlight.

It is a delight to look at.  With applause invoking swirling sets by David Rockwell and period costumes by Jeff Mahshie.

Scott Ellis has made SHE LOVES ME a bit brassier, a bit bigger adding some additional choreography by Warren Carlyle in a musical that doesn’t call for much dancing at all.  There is also the over use of props during some numbers that distract from the words.  The beautiful lyrics of Sheldon Harnick should stand alone.  Trust the work.  Gimmicks are uncalled for.

Luckily the sound design by Jon Weston allows every wondrous word to be heard in this tale of romantic love.

Amalia Balash (a lovely Laura Benanti) has been writing lonely heart letters to “Dear Friend” and is smitten.  Georg Nowack (a terrific Zachary Levi in Jimmy Stewart mode) – Assistant Manager of Maraczek’s Parfumerie in Budapest 1934 has been busy writing back.  Despite never meeting they seem to be made for each other until she comes a calling for a job and they instantly are at odds with one another.

After seeing Barbara Cook in the original it’s hard to erase that perfect memory.  Miss Benanti’s voice is different of course and she does a fine job even though she might have been having some problems with a noticeable glass of water nearby.  She is a bit too headstrong and could be a bit more vulnerable but I will give her the benefit of my doubts.  She and Mr. Levi work well together.

The excellent Byron Jennings is an elegant Mr. Maraczek.  His employee – cad and womanizer – Steven Kodaly (Gavin Creel in John Barrymore mode) has been having an affair with the flirtatious Ilona Ritter (a fabulous Jane Krakowki) and someone else as a side dish.  Michael McGrath (Ladislav Sipos) a fellow worker is very amusing as usual but hardly Hungarian.  Peter Bartlett who only has to appear on stage to evoke laughter is the Headwaiter of Café Imperiale where Amalia is set to have a rendezvous with her “Dear Friend.”  And then there is Arpad.

Arpad Laszlo (Nicholas Barasch) the ultra-charming, hard-working and ambitious delivery boy just about steals the show with his plea for a job as a clerk “Try Me” in Act II.  The still in high school Mr. Barasch is destined for a wonderful career.  He matches his professionalism with these already established stars and then some.  Red hair.  Attractive and super talented.

When did I fall in love?  Truly?  In 1963.  But this satisfying and entertaining production has rekindled my infatuation with SHE LOVES ME.  Recommended for all lonely hearts.

www.Roundabouttheatre.org

Photos:  Joan Marcus/Walter McBride (Arpad)

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Let’s put on a show!  In a barn!  In Mississippi!  With a bluegrass band on stage.  Intermingle all of them Hew Haw banjos and fiddles with an odd assortment of characters with an off- kilter sense of humor and call it THE ROBBER BRIDEGROOM.

The Roundabout Theatre Company has done just that.  At the Off-Broadway Laura Pels.  Through May 29^th.

First seen unsuccessfully on Broadway in 1975 this musical written by Alfred Uhry (book & lyrics) and Robert Waldman (music) just keeps pluggin’ along.

Based on a 1942 novella by Eudora Welty based on a Brothers Grimm fairy tale it is now directed by Alex Timbers – a man with a distinct and immediately recognizable style.  What was originally funny and imaginative in “Peter and The Starcatcher” and “Bloody Bloody Andrew Jackson” is still funny and imaginative if somewhat frayed around the edges.

In this festive “fairy tale” done with great hootenanny élan the company enters from the rear of the theatre and proceeds at break neck speed to tell the tale of Jamie Lockhart/the bandit of the woods (Steven Pasquale) who “steals with style” – wears a non-too-successful disguise of a couple of berry stains on his cheek which only leads to more confusion in the convoluted plot which doesn’t really matter once you get to stopping your feet along with the infectious tunes and just go along for the ride.

The great news is that Leslie Kritzer as Salome – the stepmother of Rosamund (Ahna O’Reilly – who falls for the Bandit and is wooed by Jamie) – absconds with the show.  Steals it right from under its star Mr. Pasquale who despite his powerhouse vocals doesn’t have enough bravado/brio to fully deliver the goods.  A bit too serious.  When all others around him are in overdrive he appears to be in second gear.  Perhaps resting on his previous laurels…

But the other off-the-wall characters make up for it.  Including a talking head (Big Harp – Evan Harrington) whom Little Harp (Andrew Durand) totes around in a trunk.  And Goat – the village dimwit (Greg Hildreth) – make for merry mayhem.

Down home choreography by Connor Gallagher and a chock-full-of stuff unit set by Donyale Werle are eye catching.

THE ROBBER BRIDEGROOM is fast.  It’s fun.  It has Leslie Kritzer literally glowing on stage with her bling and diamond studded tooth.  Or is it gold?  No matter – it adds just the right touch to her fabulously comic stand-out sensational performance.

If you are in need of a hootenanny Hee Haw fix – this productions will do nicely.  Ninety minutes.  No intermission.

NOTE:  Why is there no song list in the program?

www.roundabouttheatre.org

Photos:  Joan Marcus

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From the moment Michelle Williams as Una is escorted/dragged into an office breakroom (scattered with leftover munchies and an overflowing trash can) where she has unexpectedly located Ray (Jeff Daniels) we can see that she is distraught – ready for a nervous breakdown with her speech pattern and tics.  She is ready to explode.  And so she does.  Ray is just as disturbed by her presence.  In the next 90 minutes they will explore their past.

She was 12.  He was 40 when they met at a party.  His name was Peter.  He flirted.  She flirted.  They went off together.  He raped her and spent a weekend in some hotel where he eventually abandoned her.  Or did he?  In any event he spent jail time for his actions.  Her life was ruined.  He changed his name to Ray and began a new life.  That is until Una discovered a photograph of him in a trade magazine and decided to hunt him down.

She is now 27.  He is 55.  The past has caught up with them both.  Let the battle begin.

The set by Scott Pask is antiseptic – a cool blue grey office with frosted glass panels (so that we can see the shadow of other office workers passing) and a well-lit snack machine.  He leaves the door ajar.  She slams it shut.

It’s been fifteen years as playwright David Harrower explores the ramifications of their relationship and his sexual abuse of a minor in this Broadway premiere.  Both Michelle Williams and Jeff Daniels take his words – sometimes graphic descriptions of what occurred – and make them frighteningly authentic.  By plays end they are both wiped out emotionally as is the audience of voyeurs which we have become – willingly or unwillingly.

Wearing a soft short flowery dress (Ann Roth) Una has come to confront her demons.  It really doesn’t matter how she found him.  She found him.  And you would too if what happened to her happened to you.  But who ultimately was responsible?  Who is telling the absolute truth?

As directed by Joe Mantello it’s a raw tango of telling the truth.  It’s fascinating.  And disturbing.  Only a couple of missteps that have nothing to do with the actors.  A semi blackout where the snack machine remains lit and the underscoring of Una’s monologue with ominous music.

They bait each other.  Taunt each other.  Grapple with each other and “share” a bottle of water.  What’s with these two?  Are they still attached somehow?  Is Ray really repentant?

The shocking and unexpected ending will only cause more conversation about the answer to that question.

Limited engagement through June 12, 2016.  At the Belasco Theatre.  Recommended.

www.Blackbirdbroadway.com

Photos:  Brigitte Lacombe

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Remember this name.  Jennifer Simard.  She portrays Sister Mary Downy – a quiet nun with a secret gambling addiction carrying a guitar searching to save some lost souls in the funny like crazy mashed-up musical DISASTER! – on-board the Casino/Discotheque BARRACUDA docked in New York City Harbor.

She is beyond hysterical.  She has perfect comic timing.  She knows just how long to wait (and then some) before she utters her line that will leave you wanting more.  She can also belt out a mean song – “Torn Between Two Lovers.”  What a showstopping performance in this “Love Boat” collides with “Laugh In” nutty musical filled with great 70’s songs and overflowing with sight gags and cheesy special effects.

With an all-star cast of Broadway legends portraying the stock, central casting characters parodying those already cheesy disaster movies.  The only thing missing is a big bag of popcorn.  Not that I condone eating while watching a show in the theatre.  I don’t.  But here it seems like the natural thing to do while the paper thin plot unfurls allowing each star their moment in the spotlight.

Seth Rudetsky (Professor Ted Scheider) – in his Walter Mitty moment of starring in a Broadway musical as the straight-man “disaster expert” co-created and co-wrote this conglomeration with Jack Plotnick (director) and Drew Geraci.  Who wrote what is debatable.  What is important is that DISASTER! is a fun evening out in the theatre – full of laughs and memorable moments that will be difficult to erase from your mind.  You may just start to giggle at a Board meeting or while making love at a very inopportune moment as images of this over the top insanity pop up in your head.

Big hair.  Big arms.  Big hairy chests and bell bottoms abound.  It’s the 70’s.  William Ivey Long’s costumes are appropriately garish.  Did we really dress like that?

You will have to wait until Act II to feel the full effect of the earthquake and tidal wave and fire that beset the passengers who have been doing their best to keep us amused during Act I which could be trimmed a bit.  The songs (so many of them) are cleverly inserted to keep the plot afloat and to allow voices to soar.  Sometimes just a snippet to make a joke and then sometimes we get the whole enchilada.

Adam Pascal a hunk in particular still has it all – including a voice that is incredibly strong.  He’s a joy to look at and to listen to.  Kerry Butler, Roger Bart, Kevin Chamberlin, Faith Prince (scarf in mouth), Rachel York, Max Crumm, Lacretta Nicole (yappy dog in tow)  and Beylee Littrell (playing Twins Ben & Lisa) all enjoy their comic moments in the spotlight.

Song highlights are too numerous to mention.  DISASTER! is a well put together hodgepodge of elements that exist to make us laugh.  In that it succeeds mightily.

SPOILER ALERT – not every joke lands as intended…

At the Nederlander Theatre through July 3^rd 2016.

www.DisasterMusical.com

Photos:  Jeremy Daniel

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If you think you have problems meet Adam (an amazing Bobby Steggert) as he meets Jenny (Rebecca Rittenhouse) at a Halloween party in 1989 in this frightening, intriguing but ultimately unsatisfying play by Anna Ziegler based on a true story co-produced by Keen Company and the Ensemble Studio Theatre and the Alfred P. Sloan Foundation running at The Clurman – Theatre Row through April 9^th.

The double upside down symbolic but distracting set (Sandra Goldmark) does function well for the various locations with the projection of the various years that the play covers in this back and forth saga of a boy and his penis or lack thereof.

Twin brothers – Sam and Steve were circumcised.  Steve’s was successful.  Sam’s was not.  His penis was all but rendered useless.  We never meet Steve.  The parents – Trudy (an in denial Heidi Armbruster) and Doug Turner (a distant Ted Koch) don’t sue the doctor (Why?) but turn to a famous psychologist/ therapist they have seen on 60 Minutes – Dr. Wendell Barnes (Paul Niebanck) whom I shall refer to as “The Happy Dr.”

He advises them to raise Sam as a female who will henceforth be named Samantha and in time will have the necessary surgery to make her a true female.  And that they should never reveal her/his true biological gender.  Thus the debate “Nature vs. Nurture” begins.  The Happy Dr. begins his consultations with an unhappy Samantha.

Mr. Steggert gives a believable and honest portrayal of both genders without changing clothes but with gesture and voice alone.  It’s a solid performance.  Moving and emotional as he grapples with his masculine feelings as he falls deeply in love with Jenny – a single mom with a young boy of her own.

But there are many unanswered questions to this story in a show without an intermission where the dialogue is double edged with symbolic meaning as the past and the present clash.

Is the Happy Dr. helping Samantha or is he using her as an experiment?  Are we shaped by society or biology?  How do we become who we are?

It’s an agonizing situation with no easy answers.  The performances are first rate.  The direction by Linsay Firman – adequate.  The play’s message – To thine own self be true.  Through April 9th.

www.Keencompany.org/boy

Photos:  Carol Rosegg

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One doesn’t have to go as far as Africa’s Liberian Civil War to be faced with women being abused, raped and subjugated but playwright Danai Gurira puts the spotlight on high beam as she exposes the plight of five diverse women trying to survive in a bullet ridden hut – washing clothes, cooking meals and awaiting their turn to sexually satisfy their rebel commander while trying to survive the perils of a war-torn country.

The acting is superb.  At times you will know what is happening by their body language alone.  And that is a major plus.  Heavily accented for the sake of authenticity your ears will be put to the test of frustratingly trying to understand what they are saying.  The volume is fine.  It’s the clarity that is missing.

A disservice to the author and to the audience.

Nevertheless ECLIPSED at the Golden Theatre makes a powerful statement.  These women who bond together are nameless – they are only given numbers – but will eventually find their given names and their identity with the help of Rita (Akosua Busia) a peace advocate.

Wife #1 – the eldest at age 25 (Saycon Sengbloh) is more or less resigned to her fate in life.

Wife #2 (Zainab Jah) has left the compound to become a rebel soldier.

Wife #3 (Pascale Armand) wears wigs, is pregnant and is an extrovert.

The Girl (Lupita Nyong’o) Wife #4 is 15 and is being hidden to try to keep her virginity intact.  She can read and write.  It is with a book about Bill Clinton that humor makes life a bit more tolerable as they each await their turn with the commander (unseen) and return to clean up the damage done between their legs.

It’s not an easy life.  Patience and prayer and fortitude are necessary to survive.  In a series of short scenes the sex slave/wives become fully developed.  Frustrating as it is to understand them we feel for them.

Choices must be made.  Not easy choices.  By plays end the choices of where to go and what to do thickly hover in indecision land.

The acting is exceptional and director Liesl Tommy must be commended for bringing this difficult story to vivid and unsettling life.  Less focus on their dialect would make ECLIPSED even more accessible.  Two hours and 15 minutes – one intermission.

www.Eclipsedbroadway.com

Photos:  Joan Marcus

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It’s phenomenal – no – not the play, not the performances, not the direction but that HUGHIE – a minor one act play by Eugene O’Neill has gotten yet another revival – all 60 minutes of it – at regular top Broadway prices starring Forest Whitaker making his Broadway debut.

WHY?

Why did a slew of producers think this could possibly work?  Why did Mr. Whitaker take on the challenge?  Why is it so boring?

On an elaborate set of a fleabag hotel lobby (Christopher Oram) circa 1928 with spooky lighting by Neil Austin with equally eerie music by Adam Cork a supposedly coming off of a five day drunken spree Erie Smith (Forest Whitaker) enters his old stomping ground to lament the loss of his friend and sap Hughie – the previous Night Clerk now portrayed with stoic immobility by Frank Wood.

Michael Grandage has directed with a nod towards The Twilight Zone.  It’s a haunted house with haunted memories.  Mr. Whitaker gives a rather surface performance – no nuances here.  He’s a gambler in search of another sap to tell his tall tales to.  It’s as though he can’t wait to get it over with.

Well, HUGHIE has posted an early closing notice.  Initially slated to run through June 12 it is now closing on March 27.   RIP.  At the Booth Theatre.

www.hughiebroadway.com

Photo:  Marc Brenner

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Your nostrils will be met by the distinct odors particular to swimming pools as you enter the New York Theatre Workshop production of RED SPEEDO – a provocative new play by Lucas Hnath which has been swimming upstream since 2013 in various stages of development.  It still needs work.

There is an aquarium-like lap pool installed with a see through wall along the length of the stage where Ray (Alex Breaux) is training for the Olympic trials under the guidance of his longstanding Coach (Peter Jay Fernandez) that must have cost a pretty penny.

There is a towering tile wall, a clock, a bench and towels – which are necessary to absorb the water that exits the pool when Ray does his initial underwater lap and to clean up what follows.  Scenic design:  Riccardo Hernandez.

Mr. Breaux has a finely tuned swimmer’s physique not unlike that of Michael Phelps.  And a large tattoo on his back of a sea serpent (it is described as such) that runs down one leg.  It looks fake.  It is distracting.

I went back to my review of THE REAL THING and discovered that I described Mr. Breaux as speaking as though he had marbles in his mouth.  This has improved.  The marbles have been replaced with healthy carrots as he chews and munches his way through the play.

Despite this we begin to feel for this guy who is literally swimming for his life – surrounded by three barracudas that want and/or need something from him.  He isn’t the brightest person – reminding me of a cross between Mortimer Snerd and Tommy Smothers.  He is personable and he looks swell in his red speedo.  A naïve rube that these three vultures want to take advantage of.  And they do.

In a series of short vignettes (which have a startling and annoying sounding bull horn announce beginning and ending of each) in this 90 minute no intermission play we meet them.  His ex-girlfriend Lydia (Zoe Winters) who dumped him.  She really is a word that rhymes with runt.  One wonders what he sees in her as he innocently admits that all women like him.  Why her?

She has legal problems.  Drugs.  She’s a supplier.  This brings her into contact with Ray and his brother Peter (Lucas Caleb Rooney) who is a lawyer.  Peter has a monetary stake in Ray and is brokering a deal – an endorsement package between Ray and Speedo – IF Ray indeed gets on the Olympic team – and wins etc etc…

BUT Ray has been taking performance enhancing drugs from Lydia which were discovered by his coach.  IF this is publicized there would be a scandal and they would all lose everything.  The real question that the playwright deals with is how far each character is willing to go to win.  Is it worth it?

At the play’s brutal conclusion you may wonder so and if that pool was really necessary.  What Ray really needs is a lifeguard.

Under the unimpressive direction of Lileana Blain-Cruz the play jerks along.  Sometimes the dialogue is so rapid fire (do people speak like this?) one tunes out.  It is only when they slow down and connect with each other that we begin to care both for Ray and Peter (who gives the best performance of the evening).

It’s not about the swimming.  It’s about the money.  Through March 27^th

www.NYTW.org

Top Photo:  Aaron Lenhart

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