Oscar E Moore

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

Visit www.TalkEntertainment.com

www.roundabouttheatre.org

Tags: Comments Off on MACHINAL – Disturbing, riveting and provocative revival at the Roundabout

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

Visit www.TalkEntertainment.com

Tags: Comments Off on BEAUTIFUL – The Carole King musical starring Jessie Mueller

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

Visit www.TalkEntertainment.com

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.

Tags: Comments Off on WAITING FOR GODOT & NO MAN’S LAND in repertory at The Cort

Natalie Toro – the versatile “Diva Toro” does it all – beautifully: Broadway (A Tale of Two Cities) Cabaret (The Metropolitan Room) and Recordings that capture her clarion belt and distinctive vocals.

With her new CD – JUST IN TIME FOR CHRISTMAS – Natalie shows a softer, more traditional and funny side to her recording persona.  It’s almost a mini-CD as there are only seven tracks – BUT seven is a lucky number and it’s the quality and not the quantity that counts here.

The title track – “Just in Time for Christmas” is a haunting and lovely song that should become a classic as sung here.  With a great arrangement, a softer Toro begins the number; then soars in volume and emotion with her beautiful belt.

Starting a cappella with Native American flutes as backup Natalie adds a fresh interpretation of the old standard “The Christmas Song” giving it new life.  We’ve all heard it before dozens and dozens of times, but not like this.

Sharing “Baby It’s Cold Outside” with Ryan Kelly results it a nice balance of their voices and the arrangement will melt any ice cycles and get your juices bubbling.  It’s perky and fun.  https://www.youtube.com/watch?v=OBLYyZCGA2U

“Ave Maria/O Holy Night” is a brilliant interpretation of these two traditional songs.  With sweet tones, beautiful phrasing, perfect enunciation and a big “Toro” finish that is a declaration and celebration of the birth of Christ without losing the wonder of it all.

“Once Upon a Christmas Song” is new to me and lots of fun.  Using children as back-up and a catchy repeated chorus (over and over and over) like many of the melodies we are used to hearing during the holiday season, this is a jolly tune with a surprise ending!

“Our First Christmas Together” is an up tempo change of pace that will get your toes a tapping and the final track on this delightful CD “I’ll Be Home For Christmas” has Jon Secada joining Natalie in a bossa nova type arrangement with James Lum on Guitar and Ivan Zervigon on Cajon and Percussion that adds a hot Latin accent to the show.  And it is a grand, joyous Christmas show not merely a CD.  Happy Holidays! Enjoy!

Produced by Dawn Makay JUST IN TIME FOR CHRISTMAS is the perfect stocking stuffer that will delight one and all and to all a good night.

www.NatalieToro.com

Tags: Comments Off on NATALIE TORO – Just in Time for Christmas CD

A cornucopia of festive holiday delights “hard, sticky and sweet” are awaiting to tempt you into submission when you attend (and I strongly suggest that you do) this delicious concoction called NUTCRACKER ROUGE at the Minetta Lane Theatre – a voyeur’s fantasy come true created by the multi-talented Austin McCormick who has conceived, choreographed and directed his troupe of versatile actors/dancer/acrobats – COMPANY XIV.

In this riff on Tchaikovsky’s Nutcracker that is unlike any Nutcracker I’ve ever seen there isn’t an enormous Mouse King but an enormous faux penis decorating the lower limbs of Mr. Takacs, the narrator, who also wrote the script loosely inspired by E.T.A. Hoffman.

Part Burlesque, part Baroque and part Nutcracker this entertainment starts the minute you arrive at the theatre.  There is a holiday spirit alive in the lobby with the aroma of pine wreaths wafting through the air as the patrons of Club Company XIV have a cocktail and await the commencement of this surprising show that allows you a second drink during the break between the acts.

The pre-recorded music ranges from Piaf to Vivaldi to “If I Knew You Were Comin’ I’d’ve Baked a Cake” to the lush music of The Nutcracker.  The fog induced, dream like atmosphere allows us to see what Marie-Claire (a fantastic Laura Careless) sees as she gracefully weaves through the various acts in her Baroque period gown being tempted and seduced by Drosselmeyer (Jeff Takacs – a burly bear of a man) who has given Marie-Claire the infamous nutcracker.

Mrs. Drosselmeyer (Shelly Watson) is the amusing co-host emcee in this extravaganza.  She changes her elaborate costumes (Zane Pihlstrom) often (in the wings) and sings with a strong voice channeling Sophie Tucker and Garland as she introduces such acts as “The Licorice Boys”  “Turkish Delight” (an amazing Nicolas Maffey with an amazing body and amazing gymnastic skills), “Peppermint Candy Cane” (Courtney Giannone – who does wonders with a large hoop twirling herself around and around within it) and the “corps de gorgeous young men” who are cross dressed in corsets, Louis XIV heels and minute bejeweled jock straps exposing their posteriors for full bubble butt effect.

There are strippers too.  Wearing sparkling pasties.  What would burlesque be without strippers and their pasties?  In NUTCRACKER ROUGE they all have a gimmick that will set you a drooling and a twinkling.  A terrific and lovely Katrina Cunningham does just that.

The piece de resistance is a show stopping sexy and scintillating pas de deux danced by the up-to-this-point-demure Marie-Claire and her Prince, Alexander Hille.  Together they are sensational.  Austin McCormick’s choreography is at its best here.  He has a distinctive style that is innovative and unusual.  Laura Careless and Alexander Hille deserve the cheers that great them at show’s end.  This alone is worth the price of admission ($39.00 – 79.00 Premium 99.00).  No one under 16 will be admitted.

If NUTCRACKER ROUGE doesn’t brighten up your holidays and get your jollies jingling nothing will. Tchaikovsky would have loved this naughty and sublime production packed with sugar and spice and so will you.

Through Jan 5^th

For a sneak preview:  http://vimeo.com/78924041 Photos:  Phillip Van Nostrand

www.companyXIV.com http://www.NutcrackerRouge.com

NOTE:  The cast includes Laura Careless as Marie-Claire, Jeff Takacs as Monsieur Drosselmeyer, Shelly Watson as Madame Drosselmeyer, circus artists Rose Bonjo, Courtney Giannone, Nicolas Maffey and Benn Mendoza, and dancers Marisol Cabrera, Katrina Cunningham, Molly Griffin, Jakob Karr, Nicholas Katen, Kana Kimura, Tyler Philips, Davon Rainey and Alison Ulrich.

Tags: Comments Off on NUTCRACKER ROUGE – naughty and nice and nude, well almost

With all due respect to the powers that be at Lincoln Center, their very dark and dreary production of MACBETH at the Vivian Beaumont directed by Jack O’Brien and starring Ethan Hawke is a nightmare.  Some of it on purpose, but most of it not.  Take a look at all the empty seats and you know something’s rotten in Dunsinane long before Birnam forest arrives.

Enunciation and projection.  Two very important qualities that are missing from Ethan Hawke’s portrayal.  The other being a believable character.  He can rant and rave but he is much too contemporary in an otherwise period production that at times seems to be channeling The Hobbit with bombastic music by Mark Bennett.

One would think that if Ethan Hawke took the time to memorize all those words that he would want to share them with us – so that we could at least hear what he has to say.  The coughs coming from the audience are so much clearer.

Lady Macbeth (Anne-Marie Duff) has her own vocal problems.  She is truly British, with a sharp accent which stands out like a sore thumb as she garbles most of her speeches.

To boot, there is an absence of chemistry between the two supposedly hot for each other, treacherous and ambitious villains no matter how much they grope each other.

The three witches.  Played by men.  As they would have been played in the time of Shakespeare.  Only here they do not work as well as the men playing women in the Old Globe productions of Twelfth Night and Richard III.

Byron Jennings, Malcolm Gets and John Glover get to camp it up as they proclaim their prophesies to Macbeth and Banquo (an excellent Brian d’Arcy James) that set this tragedy in motion, whetting the appetite of Macbeth and his wife to commence their killing spree to become King and Queen of Scotland.

Mr. Glover, doubling as the Porter, has an unfortunate “Knock, Knock” sequence that attempts to include an unwilling audience (house lights up) with the stupid joke.

In time (seeming like many hours later) Macbeth is warned to “beware Macduff” (a terrific Daniel Sunjata who has the voice and presence lacking in so many of the other actors sharing the cavernous space that appears to be a dark and ominous sound stage – under Mr. O’Brien’s cinematic and misguided direction).

The always dependable Richard Easton makes for a fine Duncan, King of Scotland and could give some of his co-actors some tips in performing a Shakespearean tragedy not a Shakespearean nightmare.

www.lct.org Through Jan 12^th

^{Photos:  T. Charles Erickson}

^{Visit www.TalkEntertainment.com}

Tags: Comments Off on MACBETH – mumble, mumble toil and trouble

Terrence McNally’s newest play written as a gift to The Pearl Theatre Company for its 30^th Anniversary could be subtitled – backstage stories across the centuries.  In 100 minutes straight through with six versatile actors Mr. McNally extols the virtues and pitfalls of the acting profession warts and all from the Greeks to Present Day, with pit stops back and forth in time to Russia, London, France and Florida that take place backstage on a congested set designed by Sandra Goldmark that evokes every theatre’s backstage rehearsal area that had me asking “Where’s Waldo?”

Props.  Hanging light fixtures.  Costumes.  Wigs.  Sound equipment.  Even a bust of The Bard himself.  And masks.  The all important mask that the first thespians wore.

Even today without an actual mask actors become someone else and here they become a slew of people – actors, of course, but also a cleaning lady, a patron of the arts, a wife of a star and a board member among others making for a concept that is always interesting, sometimes amusing but ultimately coming off as a glorified fundraiser for the beleaguered theatres of today.  Which is a very good thing.

Jack Cummings III of the wonderful Transport Group guest directs.  And he does what he does best.  Directs and coaches actors to be all those other people.  And he has an excellent group here as they are introduced to us one by one, kissing the stage paying homage to it and then telling us their favorite and least favorite part played and a personal tidbit of themselves.  And then,  Away We Go.

It’s an insider’s look at what actors have to deal with and that most of the time they do what they do out of love.  Not much has changed over the centuries, except for the fact that women are now allowed on stage.

Nothing and no one is safe from the wry observations and barbs of Mr. McNally.  From his salient views of a board member to Edward Albee’s ego and Becket’s infamous “Waiting for Godot” – all fall victim to Mr. McNally’s view of theatre albeit with love.

My favorite episode is that of the disaster of “Waiting for Godot” starring Bert Lahr in Florida where Donna Lynn Champlin portrays Mrs. Lahr.  In fact all her other characters are spot on with a finale of seeing each of them one right after another as she exits and enters through a door with split second comic timing and a scarf.

There is also a scene of a young gay man dying which is tender and emotional that honors those many actors stricken with AIDS.  It’s jarring although nicely played by all.

The other stellar members of the cast include Rachael Botchan, Dominic Cuskern, Sean McNall, Carol Schultz and newcomer Mr. Micah Stock making an auspicious Off – Broadway debut (he’s quite excellent) in this world premiere by the renowned Terrence McNally.

Through December 15^th www.pearltheatre.org Photo:  Al Foote III

Visit:  www.TalkEntertainment.com

Tags: Comments Off on AND AWAY WE GO – Terrence McNally’s Tribute to The Pearl Theatre Company

A grand theatrical spectacle has been lovingly imported from London with the all-male Shakespeare’s Globe repertory productions of TWELFTH NIGHT and RICHARD III for sixteen weeks only – so you had better brush up your Shakespeare (www.SparkNotes.com) and high tail it over to the Belasco Theatre where they are performing these marvelous marathon plays.

Arrive early and stay late and you might even be able to bring home one of the hundred candles that illuminate the stage for a charitable donation to Broadway Cares.  You will be enthralled by these two luscious productions done as they would have been performed in the time of Shakespeare – with the men playing the parts of the women – playing them straight so to speak – without camping it up at all.  You’ll be amazed.

There are seats available on both sides of the stage in two tier galleries.  Seven musicians face the audience high up on another level playing period instruments that add a most festive flavor to the proceedings where the music by Claire van Kampen takes us back in time.

As you enter the-perfect-for-these-productions Belasco Theatre the actors are preparing – applying make-up and being helped into their authentic costumes that have to be laced up and buttoned.  They are beautifully designed by Jenny Tiramani (hats, ruffs and crowns included) who is also responsible for the unit set that has two sets of very active doorways.

Two of the unlit six chandeliers are lowered, the house lights dimmed a bit and the tapers are lit, then the chandeliers are raised as we are about to be given two of the best gifts to America from England ever.

There are six performances of TWELFTH NIGHT a week and two of RICHARD III as the comedy is more accessible than the tragedy although attending both will afford you the luxury of seeing the actors in different roles.  If so desired you can overdose and see both on Wednesday and Saturday.  The period dance finale/curtain call of each is staged so beautifully that you will leave elated with a newfound admiration for the profession that brings written characters to life – that of the actor.

This is how Shakespeare should be done.  With no updates and no gimmicks.  Just pure language, pure emotions and pure entertainment.  With a great array of acting talent that cannot be matched, headed by Mr. Mark Rylance who portrays Olivia (seemingly floating across the stage as she begins to thaw and fall for a boy who is a girl played by a boy and a limping, deformed Richard III who with gleeful malice kills all those in his way to the throne – seeming to say – look how audacious I can be with a wink and a sob) along with a company of actors that redefines “ensemble”.

You will delight in everyone’s performance.  But I must point out an exceptional Paul Chahidi as Maria/Hastings, Samuel Barnett as Viola/Queen Elizabeth, Liam Brennan as Orsino/Clarence, Angus Wright as Sir Andrew Aguecheek/Duke of Buckingham, Joseph Timms as Sebastian/ Lady Anne/Grey, Colin Hurley as Sir Toby Belch and Stephen Fry as the put upon Malvolio who vows to seek revenge on those that have humiliated him.

Tim Carroll has directed both superbly.  TWELFTH NIGHT is a great comedy and RICHARD III a much more complicated and darker tragedy with more humor than you can imagine.  They are not to be missed by aficionados of Shakespeare and anyone else looking to experience a one of a kind extremely special theatrical event.

www.ShakespeareBroadway.com Photos:  Joan Marcus

Visit www.TalkEntertainment.com

Tags: Comments Off on TWELFTH NIGHT/KING RICHARD III – Shakespeare as we like it

At the Walter Kerr Theatre members of the D’Ysquith family are being knocked off – one by one – in this sparkling new, wacky, witty and just plain wonderful new musical A GENTLEMAN’S GUIDE TO LOVE AND MURDER based on a 1907 novel by Roy Horniman and brought to vibrant life so that we may enjoy these murders by newcomers Steven Lutvak (music and lyrics) and Robert L. Freedman (book and lyrics).  It is absolutely refreshing to see and hear some new voices on Broadway.  The score is tuneful and the book and lyrics smart and very, very funny.

With a stage set within the stage set cleverly designed by Alexander Dodge that allows the action to unfold when the curtain rises on each scene and then falls with a striking tableau, it is reminiscent of a Punch and Judy English Music Hall presentation of a Gilbert and Sullivan musical of an Agatha Christie multiple murder crime mystery.

Although we know whodunit or who is going to do it and we know why as the would be murderer awaits with bated breath as do we for the hysterical opportunities to arise so that he can do them in, in order that he can become the next Earl of Highhurst.  But I’m getting ahead of myself so excited was I after seeing this exuberant musical.

Monty Navarro (Bryce Pinkham a super triple threat actor) has just discovered through an old family friend Miss Shingle (a delightful and sassy Jane Carr) that his just departed mom was disinherited by the wealthy and powerful D’Ysquith family as she married for love and not position and that he, Monty Navarro is a D’Ysquith and in line to become Earl one day.  The only problem is that there are eight others before him and so he decides to knock them off one by one.  Each in a surprising and delicious way.

An exceptional Jefferson Mays plays each of these characters with wild abandon in a tour de force performance rivaled only by his equally exceptional co-star Mr. Pinkham.  What an exceptional pair they make.

As if the murders were not enough Monty has to balance his love life between the vain Sibella Hallward (Lisa O’Hare) and the lovely Phoebe D’Ysquith (Lauren Worsham) both of whom are more than the sum of their parts.  They partake in two numbers “I’ve Decided to Marry You” and “That Horrible Woman” that are scrumptious.

The period costumes by Linda Cho are pitch perfect (look for the fox tails on Lady Eugenia’s (a great Joanna Glushak) bustle.  The many quick changes of Mr. Mays are baffling to behold.  The show backstage must be as interesting and amusing as the show itself that is impeccably directed by Darko Tresnjak Artistic Director of Hartford Stage that along with The Old Globe brings us this inspired production.

Murder might be nothing to laugh at but with A GENTLEMAN’S GUIDE TO LOVE AND MURDER one can’t help oneself.  Will Monty, charming rogue that he is, get caught?

There are laughs and unexpected surprises right up until the final moments in this sublime crime spree.  Beyond highly recommended.

www.agentlemansguidebroadway.com Photos:  Joan Marcus

Visit www.TalkEntertainment.com

Tags: Comments Off on A GENTLEMAN’S GUIDE TO LOVE AND MURDER – a sublime crime spree.

In 2006 Alison Bechdel’s graphic memoir FUN HOME – A family tragicomic was published and immediately became a sensation, recounting her rearing in rural Pennsylvania with her two brothers under the tyrannical rule of their father Bruce who was a strict disciplinarian and English teacher who ran the local funeral home and her put upon mother a would be thespian who also taught school.

As it turns out Alison discovers she is a lesbian who follows her dream of becoming a cartoonist and while in college discovers that dad is fooling around with men and young boys and that mom knew all too well what was happening.  And then dad was hit by a truck and died which everyone supposed was a suicide.

And now at The Public Theater is an unsettling, uncomfortable yet always interesting chamber musical based on this book FUN HOME – which was anything but.

The painfully honest libretto is by Lisa Kron.  It is sharp and warm and funny.  She also wrote the lyrics to the music of Jeanine Tesori which sounds heavily influenced by Sondheim.  But there is only one Sondheim.  At times, when she finds her own voice her music soars especially when Alison finds herself falling in love with Joan and sings about changing her major to sex with Joan which is a high point in this production where Alison is portrayed by three women.

Our guide, the older Alison (Beth Malone) who is omnipresent along with her sketch pad is somewhat cold and distant.  Then there is the child – Small Alison (Sydney Lucas) precocious and not caring about dresses or barrettes – just wanting to draw.  And finally Medium Alison- Al (a delightful Alexandra Socha) trying to find herself and trying to fit in at college where she finds Joan (Roberta Colindrez) and falls hard.

Michael Cerveris (Bruce) has the difficult job of portraying an intensely unlikable but charming, complicated and conflicted closet queen who sneaks out at night to cruise and who hires a hunky guy Roy (Joel Perez) to help him refurbish his Victorian home and to play with.

Alison’s two brothers are on the sideline and seem to be there to fill out the production numbers to help lighten the seriousness of the piece.  Playing in coffins and spoofing the Partridge Family for instance.

This is a family in disarray with lots of secrets and lies that unfold in song.  A terrific Judy Kuhn (Helen – long suffering mother) has a gut wrenching number that she delivers with about to explode restraint magnificently.

What happened to Joan?  She isn’t anywhere to be found with the older Alison as she sketches and tries to understand her father and herself on the large stage that at times dwarfs the intimacy of the story.  The sound system (Kai Harada) could also be better as there seems to be an echo effect happening where we miss some of the dialogue.  It appears that one side of the audience responds better than the other.

Sam Gold, the director, manages to balance the comedy and the tragedy extremely well blending the past and present that sometimes is blurred but you won’t come out of FUN HOME happy or humming.

Extended through December 29^th

www.publictheater.org Photos:  Joan Marcus

Visit www.TalkEntertainment.com

Tags: Comments Off on FUN HOME – A lesbian cartoonist, her gay dad and a funeral home with music