Oscar E Moore

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

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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.

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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.

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Photos:  James Leynse

www.primarystages.org

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In this somewhat dull albeit affectionate tribute to The Yankees – past and present, alive and dead, famous and not as famous that Eric Simonson has written (first strike) and directed (second strike) called BRONX BOMBERS that is running out of steam at the Circle in The Square, Yogi Berra (Peter Scolari – in a part that fits him like a catcher’s glove) is trying to settle a rift between arrogant new comer Reggie Jackson (Francois Battiste), team captain Thurman Munson (Bill Dawes) and cry baby, wild man manager dressed like a cowboy Billy Martin (Keith Nobbs) in the summer of 1977.

There is a lot of pep talk from Yogi about team spirit and the great tradition of The Yankees – peppered with a few funny Yogi-isms that have become famous…but there is more to the rift than meets the eye as Munson resents Reggie’s color and higher salary.  Not much is resolved.

Mrs. Berra (Tracy Shayne) descends in a bed from above for the second scene and we wonder if she has been waiting up there all this time.  At least I did.  She tries to calm our tiger in a cage who paces around wearing out the carpet that has now covered the Yankees logo on the stage like arena designed by Beowulf Boritt as he begins to see players from the past in his dreams.

Bringing us to Act II where fantasy reigns as Mrs. Berra scurries around setting a very formal dinner table for their guests in pin stripes that include:  Mickey Mantle (Bill Dawes) drinking heavily, Lou Gehrig (an excellent John Wernke) drinking milk, Mr. High-and-Mighty Joe DiMaggio (Chris Henry Coffey) dapper in suit and tie, Elston Howard (Francois Battiste) the first black man to play for The Yankees, a boisterous Babe Ruth (C.J. Wilson) with fur coat, cigar and booze – and to bring us up to date Derek Jeter (Christopher Jackson).

They all have some rifts to resolve too – but really don’t.  We do get some bits and pieces of historical data about each of the players and Yankee Stadium and that the fans are to be thanked for their success.

There is also a running gag concerning potatoes (strike three).

BRONX BOMBERS is like a collection of baseball cards attempting to come to life but ultimately striking out with only one three dimensional home run performance given by Mr. Scolari as Yogi Berra as he says his sentimental good-byes to the old stadium in a locker room in 2008.

Photos:  Joan Marcus

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www.bronxbombersplay.com

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What starts out as engrossing and eerie eventually winds up being endlessly confusing and unsatisfying with more holes in the script than a pound of Swiss cheese.

Ken Urban’s THE CORRESPONDENT tries hard at being strange and in that respect he succeeds, attempting to be a combination of O’Henry and Hitchcock, but the story is ridiculous and we never know what is true and what is not in this well produced play at The Rattlestick Playwrights Theater where strange seems to be the norm – with varying amounts of success.

Ominous music and darkened lights set the sullen and mysterious mood – even the floor boards squeak.  There is also a thunderstorm.

Philip Graves – note the last name – a successful Catholic lawyer living in Boston (Thomas Jay Ryan – giving his all) is distraught and comforts himself with wine – lots of wine.  His wife of twenty five years had been struck by a car and died in his arms.  Guilt and grief taking their toll.

The vases of white roses have barely wilted when he brings home Mirabel (Heather Alicia Simms) a young black woman who claims to be dying but looking like the picture of robust health promises him that she will give a message to his dead wife when she dies and he will be contacted via e-mail for the agreed upon fee.  He is looking for forgiveness.

Then he receives a letter from someone who has entered his apartment with a set of keys gone missing way before and he has never changed the locks…

The letter appears to be from his dead wife – with her signature and referencing only things that she would know.  And so Philip, who had argued with his wife and hit her (for the first and last time) just the day before she was hit by the fatal car or did she willingly step in its path? – wants her to come back.  He is looking for forgiveness.

Meanwhile Mirabel needs a place to stay as her job as “correspondent” for the service that Philip found on the internet knows nothing about the letter but decides to find out who delivered it and why…

Everything accelerates from here on in this intermission-less ninety minute short scene filled horror.

Philip falls hard for Mirabel and they share a yucky, uncomfortable to watch kiss.  She finds the young student (Jordan Geiger) who supposedly left the letters – there is more than one…and this young man supplies the most ludicrous twist of the evening.

What follows is hard to believe let alone accept.  All I will say is that when all else fails playwright and director Stephen Brackett have the young man strip naked to perk things up with a more than yucky simulated sexual intercourse scene – with whom I won’t tell…

Will Philip ever find out what is going on?  Will the audience?  Will he ever be forgiven?  I mean the playwright Ken Urban.

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www.rattlestick.org

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LONI ACKERMAN

IN

“NEXT TO AB-NORMAL”

FEBRUARY 25^TH 2014

AT 54 BELOW, BROADWAY’S SUPPER CLUB

www.54Below.com

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54 BELOW, Broadway’s Supper Club, presents.

Ebullient Broadway veteran Loni Ackerman brings her cabaret show, “Next to Ab-Normal,” to 54 Below on February 25^th at 7 pm.  In this charming and thoughtful musical evening, Ms. Ackerman recalls personal stories of her unusual New York upbringing (including her childhood associations with such “family friends” as Bob Fosse and Gwen Verdon,) as well as revisiting songs she sang in New York hits like “Starting Here, Starting Now” or in one of her lengthy associations with the shows of Andrew Lloyd Webber.  Directed by Barry Kleinbort, with musical direction by Paul Greenwood, Ms. Ackerman’s repertoire also includes golden standards, contemporary songs, even one of her own compositions which became the theme song for a “very special” French film made during her time in Paris.  Another prime example of her life as something just “Next to Ab-Normal.” Loni Ackerman in Next to ab-Normal plays 54 Below (254 West 54^th Street)on February 25^th at 7 pm. There is a $35 cover charge and $25 food and beverage minimum. Tickets and information are available at www.54Below.com. Tickets on the day of performance after 4:00 are only available by calling (646) 476-3551.

MORE ABOUT LONI ACKERMAN

Loni Ackerman’s magnetism and dynamic vocal prowess as a Broadway musical theater star, has made her a longtime favorite of Broadway theatergoers.  She captivated New York audiences in such coveted roles as Eva in Evita  and Grizabella in Cats.

Other Broadway credits include leading roles in The Magic Show,  So Long, 174th Street,  No, No, Nanette, and George M! . She was in the original cast of Starting Here, Starting Now   and appeared Off-Broadway in Diamonds, The Petrified Prince  (both under the direction of Hal Prince), Brownstone  and Dames At Sea.

Her one woman show,Next to Abnormal,was most recently seen at The Metropolitan Room in NYC and at The O’Neil Center in Conn.

She is married to Broadway Sound Designer Steve Kennedy and has two sons, Jack and George.

MORE ABOUT 54 BELOW

54 BELOW, Broadway’s Supper Club, is the new performance venue in the grand tradition of New York City nightlife.  A few blocks from the heart of Times Square and just below the legendary Studio 54, 54 BELOW is a classically designed state-of-the art nightclub in the theatre district that hosts audiences with warmth and style.  The venue provides a food and beverage menu from early evening through the wee hours of the morning that is worthy of the world-class entertainment on the stage.  In their description of 54 BELOW, The New York Times writes “the club has the intimacy of a large living room with unimpeded views and impeccable sound; there is not a bad seat. Its sultry after-hours ambience is enhanced by brocade-patterned wall panels planted with orange-shaded lanterns. And the atmosphere is warmer and sexier than in Manhattan’s other major supper clubs.”   Located at 254 West 54th Street, 54 BELOW features up to three shows nightly with cover charges ranging from $15-$95.

Here is my original review of her act at The Metropolitan Room

NEXT TO AB-NORMAL – PITCH PERFECT CABARET – February 27, 2012

At the close of Loni Ackerman’s most engaging and entertaining new cabaret act – “Next to Ab-Normal” she sings James Taylor’s “The Secret O’ Life” after sharing her life and her philosophy of life with us for the past ninety minutes.  Ninety minutes that you do not want to miss.

Beautifully scripted and directed (Barry Kleinbort) and sung to perfection you’ll discover what makes Loni tick and talk and sing with heartfelt passion and humor.  It’s an original and totally charming evening.  A class act!  And you have three more Fridays to see her.  March 2^nd, 23^rd and 30^th at The Metropolitan Room, at 7PM.

Taking a deep breath, looking lovely in her black pants and slightly sparkly top (who needs sparkles when you naturally glow) Loni Ackerman with a calm and a confidence and a giggle sings “A Shine on Your Shoes” which is a wonderful way to begin.  Sharing her optimism and openness she then takes us on a journey of her life – so far.

A life that has included growing up on Central Park West hobnobbing with the very rich and famous – Bob Fosse, Gwen Verdon, Leopold Stokowski, the Black Panthers, Bagels and Bongos, Ted Kennedy and Nureyev (she still holds on to a piece of his intimate apparel) – and her family and not so famous friends where love and home are valued above all else.

A life told seamlessly with recollections that are funny, confidential and cozy with a wide variety of songs (great arrangements) under the incredibly smooth musical direction of Paul Greenwood on piano with Jeremy Clayton (Sax, Clarinet, Flute) and Tom Hubbard on bass resulting in a fresh new sound.

Just one of the highlights is her foray into songwriting while in Paris, “Come Back, My Love”.  Another, her New York Medley (I love medleys) and her salute to Andrew Lloyd Webber (She’s starred in Cats, Evita and Sunset Boulevard).

Remembering her good life with “Sentimental Journey”/”Journey to the Past”.  Remembering her first time “Blame It on My Youth” and remembering love above all with “All TheThings You Are”/”My Romance” and a gorgeous “Toys in the Attic”.

“Next to Ab-Normal” is truly a romanticists dream come true.  Loni’s dream.  Hopefully they’ll make a live recording of the show.  Mistakenly identifying her as Loni Anderson at curtain call Loni Ackerman, trouper that she is, handled the blip with great aplomb.

Photo: Alex Hering

www.metropolitanroom.com 34 West 22^nd Street 212 206 0440

$20.00 cover/two drink minimum

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Unexpected kisses.  Unexpected visits.  Unexpected revelations resulting in variations on a theme called “love” by playwright John Cariani in this first New York revival of his worldwide phenomenon of a play ALMOST, MAINE sensitively and strongly directed by Jack Cummings III with a large dose of off-beat humor – both verbal and physical for the Transport Theatre Company at 243 Thompson Street – GYM at JUDSON.

Love IS lovelier the second time around in this stunning yet simple production with a cast of four versatile and memorable actors – John Cariani, Donna Lynne Champlin, Kevin Isola and Kelly McAndrew.

The GYM has once again been transformed to fit the play with stadium seating along one side of the elongated playing area where it has been snowing (even indoors) as John Cariani (Pete) and Kelly McAndrew (Ginette) sit side by side on a bench looking silently skyward at the Northern Lights (and each other) as we enter the serene space designed by Sandra Goldmark that is beautifully lit by R. Lee Kennedy.

The original music by Tom Kochan is spellbinding and sets the mood magnificently.

Eight spotlighted areas will one by one come to life as the eight episodes unfold with different combinations of characters in this heartfelt and hopeful “tales of the heart” encompassing all the pain and joy and loneliness and fears and hurts and miscommunication that come with falling in and out of love in this heightened reality of life up in Maine where going South means going to Vermont.

It’s almost an “otherworldly experience” as strange situations are dealt with in a regular, average person’s speaking their hearts out style.  Unexpected events happen that take us by surprise (including the characters) in this fresh and original work that is extremely funny and moving.

Hearts are literally broken.  Sacks filled with “love” that have been given are given back – strewn across the snowy stage.  Two guys literally fall in love (and two women at some performances).  A couple try to find the fun that they once shared while arguing on ice skates before waiting for the inevitable shoe to drop.  And there is an incredible, hysterical removable of layers and layers of winter snow mobile outfits as two friends finally find that they want to make it into the bedroom.

Donna Lynne Champlin glows in every aspect of her portrayals.  Sensitive and comic.  Brash and heartbreaking.  John Cariani has an original voice as a playwright and as an actor.  A young David Steinberg.  Your average everyman loser who sometimes can win.  Kevin Isola has an honesty and strength that is conveyed without even having to move – much can be said in silence.  And the radiant Kelly McAndrew brings a warmth and edge to her characters.  All four can convey the hurt that lies just beneath the surface and bring joy to that ultimate feeling of love requited.

The wonder of love befuddles and bewilders but there is hope that all will turn out OK up in ALMOST, MAINE.  Terrific production.  EXTENDED through March 2^nd.  One 15 minute intermission.

Photos:  Carol Rosegg

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www.transportgroup.org

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John Patrick Shanley the author of DOUBT and MOONSTRUCK has written a new romantic comedy with an odd title OUTSIDE MULLINGAR with an even odder plot that is both quirky and charming.

As charming as it is – mostly due to the delightful cast, set design (John Lee Beatty) and fluid direction by Doug Hughes – quirky wins out.  Your acceptance and enjoyment of the production that stars Debra Messing (Rosemary Muldoon) making her Broadway debut (speak up dear – your accent is fine when we can hear it) and Brian F. O’Byrne (who reeks sex appeal with equal amounts of denial as Anthony Reilly) – two middle aged farmers who have grown up on abutting farms and seem to be meant for each other no matter how hard they try to keep themselves apart – butting their heads whenever possible – will depend on how strongly you believe in Leprechauns, shamrocks and pots of gold at the end of rainbows.

The expected rainbow finally appears after lots of rain and ninety minutes of quibbling and squabbling over death and faith and love and a parcel of land – the right of way that the elder Reilly (Peter Maloney) sold to Mr. Muldoon when he was a wee bit short of funds.

Now that Muldoon has died, Reilly needs to get that piece of land back – dealing with the widow Muldoon (Dearbhla Molloy) as referee and her strong willed, chain smoking daughter Rosemary – so that he can sell the farm as he feels his son isn’t meant to be a farmer.  Sell it to his nephew who lives in America – but I’m getting ahead of myself…or the plot…

Rosemary is for remembrance and this particular Rosemary remembers all too well that day when she was six and Anthony Reilly (O’Byrne) was fourteen and he pushed her down on this infamous small plot of land (that is the crux of the tale) and has held that grudge ever since.   Beware a woman scorned!  Especially if she is in love with the one who scorned her.

OUTSIDE MULLINGAR is one of those plays that despite all the obstacles keeping a man and woman meant for each other apart they have to be together and when they eventually as expected do reconcile – like Alice and Ralph at the end of each episode of The Honeymooners – the audience applauds – sentimental and a bit cheesy but it works.

But not until Anthony who had been scorned by the love of his life Fiona shares his secret with Rosemary that he believes will make it impossible for them to be together.  The Irish curse came to mind immediately but that’s not it. It’s quirkier and a wee bit silly but nonetheless you’ll enjoy this mild mannered production of home spun Irish humor.

A Manhattan Theatre Club production at The Samuel J. Friedman Theatre.

Photos:  Joan Marcus

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www.OutsideMullingarBroadway.com

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Her life – Young Woman (a remarkable Rebecca Hall) is stifling.  She is desperate to be free of all that constricts her – living with and supporting her nagging or is it caring mother (a perfect Suzanne Bertish) – working as an always late and not very efficient stenographer in a stifling office where everyone performs as an automaton – believing that her only way out is to agree to marry her stifling boss (Husband – an excellent Michael Cumpsty) whom she finds boring and obnoxious despite his being attractive.

He is not attractive to her.  Being a romantic at heart she longs to meet someone to fulfill her fantasies.  Someone whom she truly loves.  When she meets Lover (Morgan Spector) a fine specimen of male lust at a Speakeasy she begins a yearlong affair with him.  She finally finds relaxation and peace of mind in his bed.

But she is plagued by her old feelings until she snaps – mentally unstable to begin with – and murders her husband.  She is convicted and executed in a final scene that stuns the audience into silence until it erupts in applause for this striking Roundabout production now at the American Airlines Theatre.

Sophie Treadwell – playwright and journalist was inspired to write this expressionistic piece over eighty years ago based on the true story of Ruth Snyder who became front page news.  What it must have been like to view it then.  And how wonderful to see it now in such a glorious production.

Lyndsey Turner has directed with a whip.  The dialogue, fact paced and automatic at times, is crisp as a crease and sounds contemporary.  The actors all eighteen of them are extraordinary.  Not only the leads but the others who portray the populace that is always watching and listening – stifling our heroine.

Period perfect costumes by Michael Krass, noir lighting by Jane Cox, original music (Matthew Herbert) and sound design (Matt Tierney) add immensely to the incredible rotating set design of Es Devlin – that allows us to seamlessly flow though the nine episodes of this disturbing work that is performed without intermission.

Rebecca Hall could be mistaken for a young Carol Burnett – which I thought might not bode well for such a dramatic role.  But as Ms. Burnett has proved tragedy and comedy share a fine line and Ms. Hall triumphs in MACHINAL.  Her stream of consciousness monologues are breathtaking.  Her dealing with a crowded subway car, her co-workers and a husband who on their wedding night has her sit on his lap like a ventriloquist’s dummy are finely detailed.  As is her bliss with being with her lover.

It’s a bizarre story that is expertly produced and acted with a set design to die for.

Photos:  Joan Marcus

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www.roundabouttheatre.org

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Can a sharp sixteen year old Jewish girl from Brooklyn find success as a songwriter in New York City as well as become a loving wife and mother living a normal life in the suburbs?  If she is Carole Klein aka Carole King she will – to some extent – but it will take a lot of work and luck and heartbreak along the way as well as going against the wishes of her mom Genie Klein (a formidable Liz Larsen) to pursue Mozart and become a teacher.

And with Jessie Mueller portraying her – embodying every beautiful aspect of her personality you will be mightily entertained by this new musical BEAUTIFUL is which Ms. Mueller takes stage at the Stephen Sondheim Theatre and becomes a radiant new star on Broadway in a performance that will be hard to forget and will be remembered forever.

Jessie Mueller has an honesty and vulnerability that touches our hearts immediately.  A sly tentative smile.  A spunky spirit.  Adorable.  Insecure.  With natural instincts as an actress that seem as if she is not acting but is Carole King herself.

You will wind up falling in love with Jessie Mueller portraying Carole King whom we already love for her remarkable talent for writing memorable hit songs and performing her own catalog in person and on records.

With a book by Douglas McGrath that is unexpectedly funny, romantic and out of necessity concise – covering so much territory – we follow her initial audition for Don Kirshner (all business Jeb Brown), her meeting and partnership with Gerry Goffin (a fine but troubled Jake Epstein) her friendly competition with Cynthia Weil (an excellent Anika Larsen) and her hypochondriac partner Barry Mann (an amusing Jarrod Spector) and her rise to fame writing for The Drifters – The Shirelles – Little Eva – The Righteous Brothers and The Monkees.

Director Marc Bruni along with choreographer Josh Prince keep the action moving swiftly along  on the cinematic set by Derek McLane, spot on costumes by Alejo Vietti (who has to have majored in magic with some of the quickest changes ever seen) and great lighting by Peter Kaczorowski.  I wish I could say the same for the sound by Brian Ronan that starts the show with a deafening roar until it settles down with Ms. Mueller quietly playing her grand  piano at Carnegie Hall before flashing back to tell her amazing story.

Almost every song (words and music by Gerry Goffin & Carole King – Barry Mann & Cynthia Weil)  is a standout and one wishes that BEAUTIFUL could go on forever – which it almost does – at two and a half hours.  But to hear the songs that some in the audience audibly remember is wonderful and a new generation of people can now begin to appreciate.

The choreography for The Drifters and The Shirelles is a time capsule of the style that defined the early 60’s but with a contemporary edge that is exciting to watch.

But the songs, all those incredible songs are truly terrific.  “Will You Love Me Tomorrow?”  “You Make Me Feel Like A Natural Woman”  “It’s Too Late” mirror the thoughts and feelings of what was occurring in Carole King’s life specifically and beautifully.  And there are many more.

As Carole King leaves her friends to set up shop in LA to record her famous TAPESTRY album she sings a parting song “You’ve Got A Friend” that is the most simple and moving show stopper ever.

You cannot help but love this production.  Go.  Be entertained.  And be uplifted by the spirt of Carole King, Jessie Mueller and company.

BEAUTIFUL is a sure fire crowd pleaser – great songs and spectacular performances.

www.BeautifulOnBroadway.com

Photos:  Joan Marcus

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A double dose of superlative acting in a double bill of Harold Pinter’s NO MAN’S LAND and Samuel Beckett’s WAITING FOR GODOT – two enigmatic, bleak and bizarre classics that leave some theatergoers stymied as to their meaning or racing up the aisle to leave during intermission or willing to let the seemingly nothingness of it all wash over us with the incredible performances of a lifetime of Sir Ian McKellen, Patrick Stewart, Billy Crudup and Shuler Hensley brought to amazing humorous life by director Sean Mathias.

This time out, the plays are not the thing.  The acting is.  Four extraordinary actors portraying eight characters in two not so different plays, if aloneness, aging and despair count for anything.

I have never been of fan of WAITING FOR GODOT, no matter how you pronounce the name of the mysterious character who is a perennial no-show.  But I decided to give it another go and I will be eternally glad that I did.  This production is a revelation.

The real life friendship of Mr. McKellen and Mr. Stewart adds immensely to the believability of the fifty year friendship of Estragon (Gogo) and Vladimir (Didi), those two lost souls on the highway of life (thank Godot they’ve got each other) forever friends, forever comforting and needling each other, forever waiting, waiting, waiting…

They bring to life and make sense of the seemingly dense dialogue with their brilliant and detailed characterizations and precise comic timing.  The physicality of Mr. McKellen (Gogo) with his sore feet and forgetfulness and Mr. Stewart (Didi) with his need to take a piss every so often make merry their depressing existence, like an old vaudeville team.  And there is a palpable love between these two men that is endearing.

A magnetic Shuler Hensley (Pozzo) with his strong southern accent and overpowering personality treats his servant Lucky (Billy Crudup) like a pig as he carries the luggage and collapsible seat around silently while tethered with a noose around his neck, appearing to be a loose limbed marionette until he breaks loose with an amazing speed dial monologue that astounds.

Colin Critchley does an excellent job as Boy – who arrives to tell them that Godot will be delayed.  He certainly is learning his craft well with this group of actors.

A week between productions had me still thinking about GODOT.   How could they top it with Pinter’s thankfully shorter but menacing and confusing NO MAN’S LAND?

The production’s design by Stephen Brimson Lewis is again excellent with a fully stocked elegant bar now taking up stage center in the den of the famous essayist and critic Hirst (Patrick Stewart) who has picked up Spooner (Ian McKellen) a down on his luck but still erudite poet in a pub.  Both are feeling no pain as the play begins continuing to drink late into the evening as they reminisce old times that may have happened or not.

The very nimble Mr. McKellen is a wonder once again simply standing or swaying and holding his coat and drink as Mr. Stewart, Lord of the Manor sits and wonders what this stranger is doing in his house.

A house that Foster (Billy Crudup) who excels in this role of a street wise cockney man of all trades and Briggs (a formidable Shuler Hensley) hold forth in quite a menacing and threatening manner “sharing all burdens”.  Are they gay?  Are they holding Hirst hostage?  Are they protecting him?

It’s all so vague even in Act II which reveals shades of Mr. Pinter’s BETRAYAL plotline (now playing at the Ethel Barrymore Theater) with Hirst telling Spooner how he cuckolded him.

Both Acts end abruptly, with the last line of the play summing up my feelings for the performances of all four actors that should not be missed.  I echo it here – “I’ll drink to that” – or to them as the case may be.

At The Cort Theatre.  Through March 2, 2014

www.TwoPlaysInRep.com Photos:  Joan Marcus

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NOTE:  PLEASE do not arrive late.  PLEASE turn off all electronic equipment including hearing aids if you are using the theatre’s augmented hearing device and PLEASE DO NOT buy any crinkling bags of candies during intermission.  Thank you.

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