Oscar E Moore

Even if you are a diehard fan of Idina Menzel who gained stardom with her powerful set of pipes defying gravity in WICKED and infamy singing the most popular song “Let It Go” from FROZEN at this year’s Academy Award Ceremony you might have a problem sitting through three hours of her convoluted and overly complex double journey through life as Elizabeth – a 39 year old divorced woman who returns to the Big Apple from Phoenix to start anew.  Make new choices, find new love and a job as a city planner.  Not particularly in that order as Liz and Beth.

This might help – Liz wears glasses.  Beth doesn’t.  As the scenes glide by in this sleek and polished production directed by Michael Greif you might find yourself spending too much time figuring out who is who and where you are and why you having a hard time focusing as song after similar song that are not listed in the program (why?) – by the team that brought us NEXT TO NORMAL Tom Kitt (music) and Brian Yorkey (book & lyrics) roll by enabling Ms. Menzel to deliver those siren-like sounds that have made her famous.  Sounds that send some to holding their ears as she screams to the delight of her many screaming fans.

As if there is not enough for us to ponder there are subplots aplenty.  Lucas (an excellent Anthony Rapp) an ex-boyfriend and activist and now with a cute new boyfriend David (Jason Tam) and Kate (a fantastic funny and charismatic LaChanze) a gay kindergarten teacher and her mate Anne (Jenn Colella) Beth’s new boss Stephen (a fine Jerry Dixon) who has the hots for Beth but is married…and last but not least Liz’s new love Josh (James Snyder) a soldier back from his tour of duty – hale and hearty and handsome who sings like a dream that she meets by accident?  Or by fate?  in Madison Square Park that sets these two parallel crisscrossing stories on their seemingly endless trek.

A fork in the road of her life.  Which one does she choose?  We get to see both and neither one is very exciting or compelling.  The stakes are not high enough – but there are plenty of high notes for Elizabeth as Liz and Beth to belt out.

Adding to the mayhem is the open set designed by Mark Wendland with turntable and huge tilted mirror hanging over the proceedings so that we see the reflection of what is on stage from a different perspective.  I would have preferred CLARITY.  The mirror distracts and diverts our attention that is sorely needed.

Will Liz be happy as mother to her children and wife of Josh?  Or will Beth be happy with her extremely successful career?  Why are all the men crazy about her?  Why does she allow her friends to drive her in multiple directions?  Who is the real Elizabeth?

We should be rooting for her and we do not as Idina Menzel shows little vulnerability or heart for that matter.  She comes across hard and cold.  But she does deliver that ear piercing voice that many love.  I’d love to see what LaChanze could do with the part…

Stealing every second that she appears on stage as Paulette and others – Ryann Redmond is someone to keep your eye on.

At least IF/THEN is an original contemporary musical with lofty ambitions.  Not based on a movie or novella.  Nor is it a revival.  Nor is it wholly successful.  At the Richard Rodgers Theatre.

Photos:  Joan Marcus

Visit www.TalkEntertainment.com

www.ifthenthemusical.com

Tags: No Comments.

FRIDAY APRIL 4^th – 11:45am – 2:30pm

Tickets may be purchased online at: DramaDesk.org or directly at:

https://web.ovationtix.com/trs/pr/932325. Call: 212-352-3101

Tags: Comments Off on BREAK BREAD WITH THE BARD

Disney is up to its old tricks again with varying degrees of success.  This time via a magic lamp that when rubbed a Genie (the stupendous James Monroe Iglehart) appears and will grant you three wishes.  So the evil Jafar (Jonathan Freeman) with his short side-kick Iago (Don Darryl Rivera) pursue it with a vengeance – with the help of an unwitting Aladdin (Adam Jacobs) an Arabian Nights street urchin with a heart of gold, a bright smile and a nice set of abs who falls in love with the Sultan’s (Clifton Davis’s) daughter Jasmine (Courtney Reed) a rebellious young Princess with a mind and mouth of her own who wants to marry for love – thank you very much!

All this is set around an Arabian Nights colorful storybook and whimsical set by Bob Crowley and a profusion of opulent and colorful costumes by Gregg Barnes that sparkle with enough glitz and bling to light up the sky.  But that is the domain of Natasha Katz who has out shown herself here.

There are three supercalifragilisticexpialidocious show stoppers in this production that bring to three dimensional life the animated cartoon version but it takes a while to get things soaring.

You might be wondering what’s going on for the first thirty or so minutes waiting for the excitement to start as all the exposition is set up despite the very active direction and explosive choreography of Casey Nicholaw and where the set pieces move and grow and swords are drawn and harem girls swirl and characters are bantering with some out of context jokes and a plethora of puns that induce groans rather than guffaws and a terrific tuneful and bouncy traditional Broadway musical score by Alan Menken, Howard Ashman, Tim Rice and Chad Beguelin who is responsible for the book that seems to be in search of its rightful tone.

But then that infamous lamp gets rubbed and the Genie – James Monroe Iglehart – takes charge and wows us with “Friend Like Me” a tour de force production number that one wishes would never end.  He and it are pure genius!  A rapid fire, sweat inducing performance that brings the audience to its feet – stopping the show (allowing Mr. Iglehart to catch his breath) and that will hopefully be rewarded come Tony time.  ALADDIN from that moment on continues to thrill and delight.

The “A Whole New World” magic flying carpet ride sequence is spellbinding as Aladdin and Jasmine go airborne against a starlit sky that sparkles brighter than one would think possible.

And then there are the three chums of Aladdin – a combination of The Three Musketeers and The Three Stooges – Babkak (Brian Gonzales) Omar (Jonathan Schwartz) and Kassim (Brandon O’Neill) who bring down the house with their shenanigans and song “High Adventure”.

Eventually everything turns out OK in true entertaining, special effects Disney fashion – with a happy ending and good triumphant over evil in the Kingdom of Agrabah – also known as the New Amsterdam Theatre where I left with a smile and fond memories of those Bing Crosby//Bob Hope/Dorothy Lamour “On the Road to…” films that were corny but entertaining.

Photos:  Cylla von Tiedemann

Visit www.TalkEntertainment.com

www.AlladinTheMusical.com

Tags: No Comments.

Stepping into the iconic and legendary role of Rocky Balboa “The Italian Stallion” – written and acted by the iconic and legendary, fearless and persistent Sylvester Stallone (1976) makes for some mighty big boxing gloves to fill.

Luckily Andy Karl hits every mark with shades of Stallone lurking in the background while coming into his own – exhibiting yet another aspect of his wide range of talents.  Boxing.  Punching and being pummeled eight times a week at The Winter Garden Theatre, slurping down raw eggs, singing to his turtles Cuff and Link, admiring the other Rocky – (Rocco Barbella) Graziano – up on his wall, and quietly falling in love with the shy Adrian (a lovely Margo Seibert) while having to give up his gym locker and work as a “collector” for his loan shark boss Gazzo (Eric Anderson) and ultimately being drafted “as a novelty” into The Fight of The Century opposite champion Apollo Creed (Terence Archie) who is every inch a formidable opponent and performer.

The original score (Lynn Ahrens – lyrics and Stephen Flaherty – music) is very low key.  They have done much better work.  Here, writing for working class people (and a boxer with limited resources but unlimited heart) the songs meander along until Rocky gets fired up with his Act I finale “Fight From the Heart” – when the show finally takes flight only to be brought down with his manager’s momentum killer “In the Ring” performed by Dakin Matthews as Mickey in Act II.

The extremely memorable “Gonna Fly Now” by Bill Conti for the original Rocky movie that spawned five sequels is heard briefly to get the audience revved up but it isn’t until we hear “Eye of the Tiger” from ROCKY III that the fireworks begin – mainly due to an ingenious directorial gimmick and lots of technical knowhow.

As The Fight of the Century commences – all 15 rounds – the audience members who have purchased these special tickets and know that they are about to stand up and be led on stage to sit in bleachers behind the regulation size boxing rink (Christopher Barreca) amazingly do just that as the rink itself comes forward covering their seats and a huge arena type projection drops for some fantastic close ups of the final twenty minutes of the production which is a one – two knockout punch of jaw dropping stagecraft.

The staging of the bout is choreographed brilliantly by Steven Hoggett and Kelly Devine.  But is it enough to save this musical?  By the reaction of the audience they should have a healthy run.

Alex Timbers, director, has done similar magic in “Here Lies Love” where the majority of the audience stands and is herded around like cattle.  Speaking of which is one scene that garners entrance applause for a slew of dead cow carcasses that fly in from above to the meat locker where Rocky can train by using them as punching bags with the permission of Paulie (Danny Mastrogiorgio) Adrian’s brother.

Video design by Don Scully and Pablo N. Molina help make ROCKY a technological wonder.

The book by Thomas Meehan and Sylvester Stallone falters and one needs to have a large dose of a suspension of disbelief, but it is the fight that everyone will come to see and that delivers the goods.  And Andy Karl who goes the distance with his “Keep on Standing.”  Yo! Andy Karl.

Photos:  Matthew Murphy

Visit www.TalkEntertainment.com

www.RockyBroadway.com

Tags: No Comments.

Lyndon Baines Johnson was quite a character and Bryan Cranston is quite an actor in his portrayal of Mr. Johnson – “the accidental President” in all his glory – warts and all – from the minute he took office after John F. Kennedy was assassinated in Dallas – November 1963 until his election victory the following year and all that happened in between – most importantly the passage of a Civil Rights Act and the emergence of Saigon on the horizon.

We are like flies on the wall of the Senate Chamber-like set designed by Christopher Acebo as we watch and listen to history reliving itself at the Neil Simon Theatre where a volatile Bryan Cranston charms and manipulates, flatters and deals, finagles and tells tales – enjoying his own brand of humor, and putting the screws on with a smile so that he can get what he wants – whatever that really is.

He sounds like LBJ. He looks like LBJ with a pair of distinctive false earlobes that rival those of Dumbo – which LBJ was anything but. He knew what he wanted and knew how to get it. Not always nice. Not always fair. But he got what he wanted. How to win? BY NOT LOSING!

Holland Taylor in ANN her one woman play about Ann Richards succeeded mightily in a tour de force performance that Mr. Cranston – another television favorite is giving as LBJ. However he is supported by a cast of over twenty fine actors, in Robert Schenkkan’s lucid and enlightening script that director Bill Rauch keeps moving along at a fast clip that makes the almost three hour production seem just right.

With terrific projections by Shawn Sagady, scenes move from location to location speedily and without interruption allowing us to focus on the incredible machinations of our elected officials and the hypocrisy and underhanded dealings of the people in charge of running our government making us wonder how anything of merit is ever accomplished. ALL THE WAY is a real eye opener.

Act I deals with the passage of the Civil Rights Act with all its difficulties and compromises. Act II with LBJ’s nail biter of an election. Brought to vivid life are Hubert Humphrey (Robert Petkoff) J. Edgar Hoover (Michael McKean) Rev. Martin Luther King, Jr. (Brandon J. Dirden) Gov. George Wallace (Rob Campbell) and Walter Jenkins (Christopher Liam Moore) et al.

Many will go to ALL THE WAY simply to see Mr. Bryan Cranston.And rightfully so.He is amazing in his portrayal.But the real star is LBJ with his complicated and conflicted personality that is illuminated in this fully realized production that uncovers the way things really get done and undone in Washington D.C.

www.allthewaybroadway.com

Visit www.TalkEntertainment.com

Photos: Evgenia Eliseeva

Tags: Comments Off on ALL THE WAY – with LBJ starring Bryan Cranston

Most probably the finest new musical to hit Broadway in some time, THE BRIDGES OF MADISON COUNTY is a superb production.  Such care has been taken to bring to the stage a project that started out as a phenomenal best seller by Robert James Waller and then a revered movie starring Meryl Streep and Clint Walker.  How do you top that?

Well, the creative team behind BRIDGES led by the visionary director Bartlett Sher has done just that – a formidable task that is expertly executed.  The score by Jason Robert Brown is fantastic.  He has also done the beautiful orchestrations as well, that we are able to savor due to the fine sound design by Jon Weston.  Sometimes quiet.  Sometimes soaring.  Sometimes reminiscent of the MGM musicals of yore.

With a lump in your throat, tears in your eyes, and an ache in your heart the weekend long love affair of Francesca (an incandescent Kelli O’Hara) and Robert Kincaid (Steven Pasquale – who is both masculine and sensitive with quietly majestic vocals that match those of Ms. O’Hara) unfolds on an airy set by Michael Yeargan – that serves its many purposes extremely well with a luminous lighting design by Donald Holder.

Set in 1965 Iowa, Francesca has been married to Bud for eighteen years.  She was a war bride. In Naples she was to marry Paolo but he never returned from the war.  She met Bud and married him hoping for a better fulfilled life.  Two rebellious teen age children and one cow later she is questioning her life.  She is ripe for something exciting to happen in her hum drum life.  Bud and the kids and the cow go off to the State Fair – leaving her alone for a weekend that will forever change her life.

Robert Kincaid, a photographer for National Geographic – a loner – has been assigned to photograph the famous Bridges of Madison County and finds himself asking Francesca for directions in a chance meeting that will change his life as well.  Their relationship starts off slowly and then smolders and then catches fire as they discover that they are soul mates – remembering how it is to feel wonderful again.

Beautifully and fluidly staged by Mr. Sher we become totally involved in their love story.  Her husband (a terrific Hunter Foster) keeps checking in by phone and her neighbors keep watching the goings on through binoculars – Charlie (Michael X. Martin) and Marge (Cass Morgan) – supplying much of the humor in the book by Marsha Norman.  Each has a show stopping song: “When I’m Gone” for Charlie and “Get Closer” for Marge.

But it is the incredibly moving performances of Kelli O’Hara and Steven Pasquale that will forever be etched in your mind to remember and relive the wonders of falling in love with their heart pounding emotions that are echoed by the lush orchestrations that soar to the last row of the balcony of the Gerald Schoenfeld Theatre where THE BRIDGES OF MADISON COUNTY will hopefully touch many a theatergoer for a long time.

If you loved ONCE you will fall in love all over again with BRIDGES.

www.bridgesofmadisoncountymusical.com

Photos:  Joan Marcus

Visit www.TalkEntertainment.com

Tags: Comments Off on THE BRIDGES OF MADISON COUNTY – to be seen and savored again and again and again

With fifteen impeccable actors, appearing in fifty fast paced and impeccably directed vignettes, with impeccable color coordinated costumes ( Gabriel Berry & Andrea Hood); expert lighting (Peter Mumford) and sound (Christopher Shutt) and a unit set that reminds us of a three sided box of gigantic graph paper the New York Theatre Workshop in association with the Royal Court Theatre’s production of Caryl Churchill’s LOVE AND INFORMATION has just been extended through April 6^th.

It is quite the theatrical event.  Ms. Churchill may be seventy five years old but she is right up to date in her observations regarding relationships – and the roller coaster ride of life that we now live in with the inundation of information that causes us to disconnect rather than connect with each other.  Life is faster but is it better?

With dialogue that sparkles with wit all her characters are real and dimensional whether they speak a few lines in a scene that lasts a few seconds or a few minutes before going to blackout and onto the next scene – all accomplished in a flash with new props and furniture that magically appear from seemingly out of nowhere.  James MacDonald has done a smashing job with this fast moving slide show.  It is simply mind boggling – in many respects.

The locales include a sauna, an office, the movies, an airplane, a bathroom, a patio, a disco, an upright bed and lawn, a dressing room – well you get the point…There is also lots of wine consumed.  Fear, secrets, infidelity, smells, boredom, prayer, dreams, memory and forgetfulness are touched upon.

There is a barrage of information that after an hour and a half begins to make some in the audience restless (the show runs approximately two hours without intermission at the Minetta Lane Theatre.)  Squirming, stretching and scratching of necks became apparent.  If only some cuts would be made the evening would be just about perfect.

What we ultimately come away with is a feeling of shell shock and that with all the technology to interact faster – only a click away – people are having greater difficulty in communicating with each other – something you probably have experienced.

The stellar cast couldn’t be better.  Phillip James Brannon, Randy Danson, Susannah Flood, Noah Galvin, Jennifer Ikeda, Karen Kandel, Irene Sofia Lucio, Nate Miller, Kellie Overbey, Adante Power, John Procaccino, Lucas Caleb Rooney, Maria Tucci, James Waterston and Zoe Winters – all give impeccable performances.

Be prepared for a wild ride.

www.nytw.org

Photos:  Joan Marcus

Visit www.TalkEntertainment.com

Tags: Comments Off on LOVE AND INFORMATION – slow down, you move too fast…

I’m SO THRILLED to say that I’m performing at Scott Siegel’s Broadway by the Year on Feb 24th!  The years are 1915 to 1939 and I’m singing a gorgeous Judy song, and am in some incredibly intimidating company?!? Come see!

http://thetownhall.org/broadway-by-the-year

Feb – May ‘14 – Come see Tenderloin at the York! Jillian plays Jessica:

http://www.yorktheatre.org/20132014-season.html

Two GREAT concerts I’m in on Monday– BROADWAY BY THE YEAR @ 8pm (http://thetownhall.org/broadway-by-the-year) and MUSE MATCH @ 11:30pm http://54below.com/artist/muse-match/

“The point is Jillian Louis. And she is a star. The moment she steps on stage she captures our attention and it never wavers. We care about her – totally. She radiates sincerity, vulnerability, humor, spunkiness, a quirky charm, confidence and warmth with a glorious voice.”
—Oscar E. Moore, Talk Entertainment, Marry Harry

http://www.talkentertainment.com/c-44886-Marry-Harry-New-York-Musical-Festival.aspx

Tags: Comments Off on Jillian Louis Update

You have a wonderful marriage.  Two kids after twelve years.  Successful.  You finish each other’s sentences.  Travel together.  Work together.  Cook together.  And so you invite your best friends to dinner.  Friends that you set up together at your home in the Vineyard called Martha’s about twelve and a half years ago.

Only one shows up as her husband needs to travel.  He’s a lawyer.  She’s an artist.  But she seems distracted.  She cries.  She spills the beans.  He’s leaving her.  Wants a divorce.  You are both upset and thus begins your self-examination of your own marriage.

Are you really happy as you appear to be to your friends?  Is it better to break up or stay together?  What happened to having sex?  These are some of the questions examined in DINNER WITH FRIENDS, a tame and tired revival of Donald Margulies’ Pulitzer Prize winning drama – 2000.

In a series of scenes from two marriages, we witness what makes these four tick.  Unlike “Who’s Afraid of Virginia Woolf?” brilliantly directed by Pam MacKinnon who has been hired to breathe fresh life into this play – histrionics don’t get out of hand and Ms. MacKinnon directs in a straightforward manner, delving deep into the subtext and psyches of the characters.

But DINNER WITH FRIENDS comes across as a sit-com and adds nothing new to this genre.  “Friends” and “Two and a Half Men” have said and done it all.

Which brings me to one of my pet peeves.  Projection.  Marin Hinkle (Karen – the artist wife of Gabe – Jeremy Shamos) has done tons of TV.  One show is Two and a Half Men and we can turn up the volume if need be.  Not so here.  She is so low key that she seems to be whispering.  I heard the other three actors just fine so is isn’t my hearing that is at fault.  I sincerely wish that the powers that be listen and make sure the audience gets what it is paying for.

Jeremy Shamos – who seems to have a cloud of sadness over his head – speaks volumes silently as he listens to Tom’s side of the story played with great flair by Darren Pettie explaining why he wants out of his marriage and run off with his new lover – a travel agent that his wife Beth (Heather Burns) insists of calling “a stewardess”.  They also have two children that don’t seem to matter.

Allen Moyer has designed a blank neutral grey box set.  Other set pieces slide in and out for the various locations and flashback in time that covers the twelve and a half years of their friendship.

Tom and Beth decide to move on and look terrific after their split and hooking up with new lovers.  Gabe and Karen remain together but apart as we see them in a final tableau in bed not cuddling but reading books – but with a cute button to end the play.

I had seen the original at The Variety Arts Theater and thought much the same as I think now about the play wondering how it won a Pulitzer…

At The Laura Pels. www.roundabouttheatre.org

Photos:  Jeremy Daniel

Visit www.TalkEntertainment.com

NOTE:  When a play starts at 7:30 the audience should be already seated and not meandering in at 7:40 delaying the production.  PLEASE BE ON TIME.  Thank you.

Tags: No Comments.

Blame the economy for all your troubles or blame Charles Busch for writing this somewhat amusing, escapist and totally too long nonsensical farce THE TRIBUTE ARTIST – an excuse for him to don mascara, heels, gowns and wigs once again and use his immense talent for mimicry of aged actresses with his company of cohorts to cavort across the 59E59 Theater stage in a production that defies all reason and one that has more twists and turns than the Olympic Giant Slalom run – only not as exciting.

Mr. Busch is Jimmy – a drag queen that has been given the new moniker of “tribute artist”.  But as the saying goes, “a rose is a rose is a rose.”  Jimmy has been fired from a Las Vegas revue as the younger generation knows not of Bette Davis and Katherine Hepburn et al.  He finds himself back in New York – in a room he rents from his dear friend Adriana (a delicious and soon to die Cynthia Harris) a retired fashion designer who married up – plopping her in the lap of luxury – a Greenwich Village town house that is now worth millions.

Enter Rita (Julie Halston) mugging her way into our hearts as Jimmy’s side kick.  Once they had an act together.  Now as a not-so-terrific real estate broker they are about to come up with a new act and it’s a doozy.

Adriana hasn’t been feeling well and has decided to sell the manse (beautifully designed by Anna Louizos) a study in Hunter Green.  Conveniently after a few glasses of wine they all fall asleep.  Adriana for good.  And that’s when desperation gives Rita and Jimmy the guts to come up with the implausible plot that becomes more and more implausible.

Jimmy will take over the role of Adriana – after supplying the deceased with a false ID from Rita’s handbag.  Rita will sell the building and they will split the profits.  Foolproof!  Ha!

If you are wondering why the police of NYC accept this ID for a dead woman in a townhouse you would not be alone.  No need to explain such details.  It appears that Mr. Busch writes himself into corners and then adlibs his way out of them with his trademark comedy routines.

Enter the niece Christina (Mary Bacon) – a whiner from Wisconsin who believes herself a victim of everything and her bullied son Oliver (Keira Keeley) who used to be Rachael.  It seems said niece read on the internet about the desire to sell “her” house – it was left to her in Adriana’s husband’s will.  Adriana could live there until she died.  And so they keep her alive in spirit and caftans until they can sell it.

Enter the ex-younger beau of Adriana – Rodney (Jonathan Walker) also found on the internet by Oliver.  Jimmy falls for him – although he deals in body parts – and not from automobiles.

There you have the ingredients for the stew that Mr. Busch brews well beyond the time to take it off the stove.  Act II goes off on the back stories of the characters that we don’t care for in the first place.

There are some big laughs as Jimmy slips into dialogue from old movies and Rita explains what movie it is from and who is speaking for all those too young to know what he is doing.  It’s vintage Busch in his prime.  THE TRIBUTE ARTIST unfortunately is subprime.

Directed by Carl Andress.  Extended through March 30^th.

Visit www.TalkEntertainment.com

Photos:  James Leynse

www.primarystages.org

Tags: Comments Off on THE TRIBUTE ARTIST – the not so prime of Charles Busch, illusionist extraordinaire