Oscar E Moore

It was risky producing Rupert Holmes’ adaptation of John Grisham’s 1989 best selling novel A TIME TO KILL without some heavy duty stars in roles made famous on the screen (1996) by Matthew McConaughey, Samuel L. Jackson, Kevin Spacey, Donald Sutherland and Sandra Bullock.

But not as risky as it was for the young and ambitious attorney Jake Brigance (a less than charismatic but adequate Sebastian Arcelus) to take on the case of Carl Lee Hailey (a powerful John Douglas Thompson) in 1980 Mississippi who admittedly shot and killed two men outside of the Courthouse.  Two drugged out red neck monsters who viciously raped his innocent ten year old daughter, breaking her jaw with the intention of hanging her.

With a racial divide as wide as the Mississippi Jake takes on the case and has to deal with a formidable and sleazy D.A. Rufus R. Buckley (an excellent Patrick Page) who is aided by his lush of a mentor Lucien Wilbanks (Tom Skerritt) and an ambitious, astute and attractive young intern, Ellen Roark (a too contemporary Ashley Williams).

Carl Lee has faith.  Enough faith in Jake that he can get him off despite his admitting to the crime.  He is convinced that what he did was the right thing to do and will not defer even though his wife Gwen (Tonya Pinkins) has her doubts and the NAACP offers to help him for free.

What’s missing is the undeniable lyrical prose of Mr. Grisham.  The story is there.  And a damn good story it is, with some insights into the inequalities of the judicial system in Mississippi circa 1980 and all its biases.

But this is neither a novel nor a movie.  And director Ethan McSweeny who did a brilliant job with THE BEST MAN fails to get his uneven ensemble of actors to convey the story with a theatrical force that it should have.  It comes across stilted at times.

Especially in Act I where we plod along through the crime, the arraignment, the bail hearing, an amusing fee negotiation and the decision to plead insanity.  Even with the aid of some great projections (Jeff Sugg) and a rotating set by James Noone that is the true star of the production it feels somewhat prolonged and unsatisfying.

It is not until Act II where things finally take off.  As the set revolves we become the jury and we do not miss a single word as they present the case to us directly.  The trial’s the thing as prosecutor and defense both have their own expert psychiatrists Dr. Bass (John Procaccino) for the defense and Dr. Wilbert Rodeheaver (Lee Sellars) for the prosecution on the stand that leads to some unexpected surprises presided over by Judge Noose (Fred Dalton Thompson).

A TIME TO KILL tries its best to garner excitement but is only semi-successful with its straightforward telling of the story leaving us with the question – If you were the father of a ten year old girl who was viciously raped what would you do?

At the Golden Theatre.  www.atimetokillonbroadway.com

Photos:  Carol Rosegg

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Fans of Norbert Leo Butz can rejoice.  Mr. Butz is starring in the mediocre new musical BIG FISH with a mediocre score by Andrew Lippa and a mixed up book by John August who adapted his Columbia Pictures screenplay based on a novel by Daniel Wallace.  It seems that a lot has been lost along the way.  Fans of innovative musical theatre may want to go into mourning.

But Mr. Butz certainly works his tail off and exudes energy and charm playing Edward Bloom, a dad dying of cancer in Alabama who tells corny jokes and tall stories while keeping a major secret from his New York reporter son Will played by a fine Bobby Steggert who is about to be married to Josephine (Krystal Joy Brown).  Also involved in flashback is Young Will (an adorable Zachary Unger).

The always lovely Kate Baldwin looking like a ravishing Grace Kelly with red hair and who sings like a dream truly loves Edward.  The over heavy Act I with production numbers – dream sequences of his tall tales – finally takes hold with the haunting “Time Stops” beautifully staged by Susan Stroman who I am afraid is beginning to become rather stale and repetitious.  How many times do we have to see cast members emerging from a car or a TV set for yet another production number?  Nothing new here.

If splashy production numbers are what you crave BIG FISH has more than enough.  The simple and moving story about a son trying to find the truth, the reality behind his traveling salesman father’s life that has been filled with fantastical stories where he is the hero but holding back the one story that really matters where he is an actual hero doesn’t come together with a Witch, a Giant, a Mermaid, a USO number (where the large onstage band is revealed) and a Western giddy-yap trial where son confronts father.

There is a lot of “stuff” on stage but the production numbers seem “empty” with a true lack of imagination.   What should be magical seems overproduced as Edward, in Walter Mitty style, goes from one tale to the next with us caring little about them.

Even the massive and moving projections (Benjamin Pearcy for 59 Productions) seem at times to upstage the actors and the usually excellent William Ivey Long’s costumes are uninspired – except for the Girl in the Water (Sarrah Strimel).

Andrew Lippa’s score is a collection of styles and for the most part serviceable with some toe tapping infectious music and some moving ballads – “Stranger” for Steggert and “I Don’t Need a Roof” for Kate Balwin.

There is also a Circus, a secret about a second house and its mortgage, another woman, lots of daffodils and a death bed scene.  All fantasy (Act I) and then dead serious (Act II) and never the twain doth meet.

At The Neil Simon Theatre.

www.BigFishTheMusical.com  Photos:  Paul Kolnick

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Director Lindsay Steven Posner has done a superb job in transplanting The Old Vic Production of Terence Rattigan’s THE WINSLOW BOY (not seen in New York since 1947 and based on an actual incident) to the American Airlines Theatre with a remarkable new ensemble cast headed by Roger Rees as banker Arthur Winslow.

A determined, strict man with a short fuse whose fourteen-year-old son Ronnie (Spencer Davis Milford) has been accused of robbery and forgery (of a five shilling postal order) at the Royal Naval College – a man who refuses to believe that his favorite and trustworthy son could have done such a deed – a man who will “at all costs” (quite literally) – “let right be done” all the while suffering from a debilitating case of arthritis and a drain on his funds.  Will he be successful or will he be forced to give up his idealistic cause?

It’s a riveting journey in pre war England (1912-14) where you will get caught up in the trials and tribulations of the Winslow household as they all face problems resulting from the accusation of this youngster – beautifully portrayed by Mr. Milford.

His older and less favored brother Dickie (Zachary Booth) prefers his gramophone and dancing to studying despite his dad footing the bill at Oxford.  Their suffragette sister Catherine (a radiant Charlotte Parry) represents the newly emerging liberated woman – who smokes and speaks her political mind even to her father and continues to wear fashionable hats.  She is engaged to John Watherstone (Chandler Williams) whose father doesn’t approve of the erupting scandal and who also provides John with an allowance.  Will they wed?

Arthur’s wife Grace (Mary Elizabeth Mastrantonio) fusses about trying to keep peace and abreast of the goings on as the very expensive Sir Robert Morton (the excellent cold and calculating Alessandro Nivola) is asked to take on the case.  Sir Robert is a busy man – a man of a few words until he interrogates Ronnie is a spellbinding Act I finale.

His assistant Desmond Curry (a noteworthy and delightful Michael Cumpsty) is in love with Catherine and Sir Robert and Catherine to complicate matters have a Benedict and Beatrice-like relationship (Much Ado About Nothing – which some subtitle the Winslow scandal).

A reporter, Miss Barnes (Meredith Forlenza) and her blasé photographer Fred (Stephen Pilkington) interview Arthur Winslow and she winds up more interested in the fabric of the curtains.  A nice touch!

And last but certainly not least is the maid Violet (Henny Russell) – a maid of twenty four years who might have to be fired as the income of the Winslow family dwindles and the cost of keeping Sir Robert on the case eats up what’s left.  Ms. Russell positively shines as we discover the outcome.

THE WINSLOW BOY is terrific theatre.  Well constructed with sharp and insightful dialogue and humor.  The almost three hours fly by and you will be intrigued as to the outcome.  Great costumes and set design by Peter McKintosh add to the period drama immensely.

It’s impossible not to think of all those falsely accused of a crime and how long and hard and expensive it is to clear one’s name – to prove one’s innocence – to let right be done.

Highly recommended.

www.roundabouttheatre.org  Photos:  Joan Marcus

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Janis Joplin was lonely.  Lonely in the extreme.   As she keeps reminding us in this celebratory concert of her life A NIGHT WITH JANIS JOPLIN on stage at The Lyceum Theatre that has been done up like a reincarnation of the Fillmore East with neon Darth Vader like florescent tube lights and psychedelic effects (Justin Townsend) throughout.  Except when she was in front of an audience.

She appears to have had a normal and happy childhood growing up in Texas with her parents and two siblings.  Mom was a lover of original Broadway cast albums and her Dad a fan of the classics who introduced Janis early on to the “library” where she became an avid reader.  They read and sang.  And perhaps collected small “kitschy” lamps that populate the two tiered stage where a terrific eight piece band backs up our star – with a brass section that rivals Joplin’s own pipes.  And then she hit San Francisco.

Janis was just a “white chick who loved to sing the blues” and she certainly was one of a kind.  She was also an artist as in painting.  And even though the name Mary Bridget Davies doesn’t have quite the same ring as Janis Joplin she sure does a phenomenal job in bringing back to vivid life the Queen of Rock and Roll who died prematurely at the age of 27 from an overdose of heroin combined with some Southern Comfort.

Facts that are whitewashed here with just a few delicate slugs from a whiskey bottle and nary a needle in sight.  In this version of Ms. Joplin’s life we are privy to some quiet reflections between her raspy, howling, wailing renditions of songs made famous by the women who influenced her own unique style by a quartet of fabulous singers.

These beautiful and iconic phantoms from the past: Bessie Smith (Taprena Michelle Augustine) Nina Simone (De’Adre Aziza) Etta James (Nikki Kimbrough) and Allison Blackwell as the Queen of Soul Aretha Franklin are each accomplished singers that deliver entertainment with a capitol “E”. 

The first act finale where Aretha joins Janis with “Spirit in the Dark” backed up by the Joplinaires is sensational.  And that might be enough for some.

But not die hard fans that want to relive the days of long hair, bell bottoms and rock and roll with an emphasis on the “blues” sung with the deepest conviction by Mary Bridget Davies with her incredible wild soaring voice capturing the spirit of Joplin completely as she thrashes and whips her mop of hair into a frenzy along with the audience.  She’s a marvel of endurance who in her more subdued moments oddly reminded me of Rachael Ray – of all people.

You will gladly leap to your feet and join in the “party” mood that these performers stir up, shaking the rafters of The Lyceum.

But you will learn little about the sad and lonely white chick who loved to sing the blues and died so young.  Written and directed by Randy Johnson.

Despite the fact that I was never a Janis Joplin devotee Mary Bridget Davies completely won me over.

www.aNightWithJanisJoplin.com  Photos:  Joan Marcus

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Fortunately, Dee Dee Bridgewater is the star of this show, making her mark as the legendary jazz vocalist Billie Holiday, caressing each word with tones that create the exact image of the troubled, drug addicted and lonely performer – the famous Lady Day. Her singing is spectacular. Close your eyes.  Is it Lady Day or is it Dee Dee Bridgewater? 

Bringing to mind those 1970’s commercials – you may wonder – Is it live or is it Memorex?  Ms. Bridgewater’s uncanny renditions of the more than twenty five songs is the only reason to see this show and judging from her many fans in the audience it could have a healthy run at The Little Shubert Theatre on 42 Street.  If only…

If only there was a writer and director that could tell this extremely compelling and dramatic story in a better way.  Stephen Stahl has created a hodgepodge of elements that never gel.  Divided into two acts, the frame work of the show falls flat with its onstage combo of piano (Bill Jolly), bass (James Cammack), drums (Jerome Jennings)and saxophone (Neil Johnson) interacting somewhat with their star.  All excellent, by the way.

Act I is the rehearsal for the concert that evening in London (1954) where Lady Day will attempt a comeback after being busted in Philadelphia and losing her Cabaret Card thus making it impossible for her to perform in her intimate nightclubs. 

And so she has traversed the Continent successfully and is now ready to hit London big time in a rather too large theater.   Her stage manager Robert (David Ayers) tries to keep her straight and away from the booze and drugs while encouraging her and giving her some hope as we learn through flashbacks the story of her troubled life as she speaks to God, her unseen parents and simulates her childhood rape.

There is also a hunky assistant stage manager hanging around and hanging lights (Rafael Poueriet) in a thankless role.

Act II is the actual concert where some of this material is repeated which got me to wondering that perhaps we only need to see Act II.  Lady Day is decked out in all her white finery including a flashy fur stole and glittering gown (Patricia A. Hibbert) and her trademark gardenias.  And she is drunk as a skunk.  But she quickly recovers and sings her heart and soul out.  She really is terrific.

But she berates her audience and we wonder why they would stick around.  Just to see her fall flat on her face?  Morbid curiosity?  The real reason I gather is to hear her sing.  For when she sings it is indeed heavenly.  Unfortunately the rest of the show is more blah than bliss.

www.LadyDayTheMusical.com  Photos:  Carol Rosegg

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An amazing production.  You will not soon forget – if ever – the emotional impact of the extraordinary minimalist and daring re-imagining of Tennessee Williams’ iconic and tragic, somewhat autobiographical, beautifully written memory play THE GLASS MENAGERIE first produced in 1944.

Making history once again is the creative team of ONCE helmed by John Tiffany.  A team that brings a new dreamlike, dance like aura to the text.

The set by Bob Crowley is stark and striking with its fire escape ladders stretching up into the sky.  Its lone gramophone and single glass Unicorn and magical sofa with a screen, a table and chairs atop a glimmering black reflective lake (better seen from above) set the abstract mood immediately.  Its visual impact as strong as what is to follow.

Mr. Tiffany has coached his actors down to the last detail and they take their time setting up the rhythm that accelerates to an emotional draining ending that stuns.

The troubled Wingfield clan is helmed by the extremely talkative Amanda (the masterful Cherry Jones) a mother caught up in her own Southern belle past and concern for her future as well as for her son Tom (the charismatic Zachary Quinto) who longs to write and escape from his overbearing and smothering mother.  A mother who berates the way he eats and slouches and his cowlick and drinking habits.  Who censors his books and who questions him about his penchant for going to the movies all the time.

There is his extremely shy and disabled sister Laura (a remarkable Celia Keenan-Bolger) who in a brilliant touch enters through the sofa appearing as an apparition to Tom sitting beside him as he narrates his story.

Her memories of the star athlete and actor from High School that bring a relaxed smile to her otherwise strained face.  A face that looks out with dead eyes insulated in a world of her creation – a world of small, fragile glass animals.

Mr. Tiffany captures through his actors the torment and desperation that they feel that could be yesterday, today or tomorrow and has them delve deeply into their psyches to create original performances of these well known characters.

You will never forget the bravura performance of Cherry Jones.  Nor her clarion “rise and shine” from off stage that sends shudders throughout the audience.  Nor her fury that brings her son and she to almost physical harm.  Nor her relentless insistence that Laura receive a “Gentleman Caller” to insure that she will be taken care of.  Persistence pays off as indeed one shows up.

A co-worker of Tom at the factory who has a bit better position.  A High School buddy.  The very same guy Laura had a crush on.  Irishman, Jim O’Connor (a brilliant Brian J. Smith) who strains with his discomfort when meeting Amada; who slowly connects with the bashful Laura regaining her confidence as he tries to build up her confidence as we see beneath his public speaking class exterior that he too has insecurities that could include his relationship with Tom.  You will be mesmerized by Laura and Jim’s candle lit scene that gives her some short lived hope.

The lighting by Natasha Katz, music by Nico Muhly and movement by Steven Hoggett add extra layers of theatrical magic to the overall stylized production that originated at the American Repertory Theater at Harvard University and should absolutely be seen at the Booth Theatre ONLY through February 23rd.

www.theglassmenageriebroadway.com Photos:  Michael J. Lutch

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For all those theatrical trivia buffs interested in whatever happened to William Inge’s NATURAL AFFECTION (which might have been better titled UN-NATURAL AFFECTION) his 1963 drama that lasted a mere 36 performances on Broadway due to mixed reviews and a four month long New York Newspaper strike you are in luck.

That digger-upper of lost plays, The Actors Company Theatre has unearthed this rarely produced artifact which has mellowed over the years but still packs a punch with its surprising denouement.

William Inge is best known for PICNIC and BUS STOP produced in the 50’s.  But Inge saw the future and he didn’t like what he saw and so he wrote NATURAL AFFECTION in 1962 which covers a lot of angst and emotional upheaval.  We’re not in Kansas anymore.

The sixties heralded the sexual revolution, women’s liberation and random violence.  Throw in some latent homosexuality, alcoholism and an abandoned son and his all too loving and suffocating mom and you have the makings of one of the longest expositions (almost the entire first act) ever seen on The Beckett Theatre stage where this odd and uneven drama unfolds.

With solid direction by Jenn Thompson this production is about the best that it could be with what Inge wrote back then with its somewhat dated dialogue, sterotypes and lack of action – that is until the very end of Act I and continues through to its climax after a short intermission.  Stick around.  It’s worth it.

It’s Christmas in Chicago circa 1962 and department store lingerie buyer Sue Barker (Kathryn Erbe) is awaiting a visit from her teen age, estranged son Donnie (Chris Bert).  He’d been abandoned at birth by his dad, growing up in an orphanage and then beating up a woman that landed him at a Work Farm (Reform School).  But she loves him dearly.  Almost too much so.  And he reciprocates these Oedipal feelings although he’s confused by them.  Anger slowly festering within.

Sue has been living with and paying for the hunky Bernie Slovenk (Alec Beard) who is a not very successful Cadillac salesman but likes nice things – booze, gifts and sex.  He resents her for making more money than he does while she waits on him hand and foot.  She desperately wants Bernie to marry her.

Their next door neighbors the alcoholic Vince Brinkman (John Pankow) and his lonely and bored vamp of a wife Claire (Victoria Mack) are “swingers” and Act II veers off into a VIRGINIA WOOLF-like Christmas party which is pretty scary stuff.  John Pankow gives an amazing performance.

Eve Bianco as “the party girl” startles in her vivid portrayal.

Will the son fit in?  Will Bernie accept him?  Will they like each other?  Will Donnie’s Work Farm friend Gil (Tobi Aremu) be able to talk Donnie into a kill for hire or gay for pay?  Will everyone make it to the Playboy Club to celebrate the holiday?

The very naturalistic set (John McDermott) is neat and clean right down to the inside of the fridge.  Costumes are fine by David Toser especially those designed for Claire.  Toby Algya has come up with a terrific soundscape with its ominous noir muted trumpet and period songs – Jingle Bell Rock and Shout will forever not be the same for those who visit this production.

Through October 26^th 

www.tactnyc.com   Photos:  Marielle Solan Photography

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Without two believable, likable, youthful looking and attractive actors in the roles of Romeo and Juliet you might as well not raise the curtain even if there is no curtain which is the case at the Richard Rodgers Theatre where this classic/contemporary tale of tragic Shakespearean love is enthralling audiences, having us remember that very first meeting, that very first touch, that very first kiss that ignited a fire within so strong that nothing would stop us from fulfilling that love no matter what.  Even our families.

Fortunately these two iconic star-crossed lovers are portrayed with these essential traits by Orlando Bloom and Condola Rashad that make this most original and vibrant production exceedingly special.  It’s an extraordinary theatrical event that should not be missed.

In West Side Story we had the Jets vs. the Sharks.  In this honest and emotional production helmed by David Leveaux we have the Montagues vs. The Capulets.  They are also of different ethnicities – Romeo is white and Juliet is black heightening the stakes in their love story all the more.  Leonard Bernstein’s music for West Side Story has become a classic and here it is matched by the haunting underscoring of David Van Tieghem played live with cello (Tahirah Whittington) and percussion (Mr. Van Tieghem) on either side of the proscenium.

The overall contemporary concept brings the story right into today with the dashing, virile and utterly romantic Romeo arriving on motorcycle, wearing red socks and showing a bit of purple underwear peeking out from his distressed jeans.  Orlando Bloom immediately takes charge of the stage and never lets go.  When he meets Juliet at the ball (which is almost surreal with larger than life balloons and feathered masks with a tribal atmosphere to the choreography) sparks fly between them.  Fire burns within these two romantic souls. 

A fire that is personified on the stark, simple and imaginative set by Jesse Poleshuck where a large period fresco is adorned with the names of other lovers etched within hearts.  With a minimum of props, terrific lighting design by David Weiner, a successful combination of across-the-centuries costumes by Fabio Toblini and with cinematic flair the show speeds off to its tragic ending allowing the actors to give many memorable performances.

Especially that of Condola Rashad whose charm and magnetic smile and unexpected humorous line readings give a new depth to Juliet who is wise and crafty beyond her years.  Mr. Bloom and she make the perfect lovers.  Their balcony and tomb scenes are emotionally fulfilling.

Lord Capulet (Chuck Cooper) is a powerhouse.  Lady Capulet (Roslyn Ruff) is elegant and strong.  Tybalt (Corey Hawkins) goes after Romeo with a true vengeance.  Friar Laurence (an excellent Brent Carver) and Juliet’s Nurse (Jayne Houdyshell) with her bag of goodies surprises, surpassing her usual fine self.

The cast is exemplary as is the entire remarkable production of ROMEO AND JULIET which I highly recommend. 

www.romeoandjulietbroadway.com

Photos:  Carol Rosegg

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A.  Who is Bradley Cole?  B.  What is Bradley Cole?  B first.  BRADLEY COLE is a cute new feel good about yourself musical fable of and for today – reminiscent of shows written by Betty Comden and Adolph Green where they satirized with a warm heart charming their way into musical theatre lore with their abundant talent. 

Jason Young has written the amusing book and smart lyrics.  Bomi Lee is responsible for the catchy and perky tunes that are extremely well staged by Geoffrey Goldberg (director and choreographer). 

Now for A:  Bradley Cole is the alter ego of one Ian Maxwell a nerdy Woody Allenish type of guy (Remy Germinario) who wants people to notice him and to love him – but he is at a complete loss for words in public and so he creates a BLOG that instantly brings him one million followers with his quips and observations that spread like wild fire on everyone’s cell phone, iPad, Facebook page and has them all a twitter trying to figure out who this newest super hero of the blogosphere is.

Garson Kanin came up with a similar plot with It Should Happen to You a 1954 movie starring Judy Holliday and Jack Lemmon where Gladys Glover rents a huge billboard and puts her name on it sparking interest and complications as with Bradley Cole.

Ian has a roommate – a childhood buddy Ben (hunky Justin Flexen) and there is more to their relationship than meets the eye at first.  Ben has just gotten a job on a live TV cooking show as “Cupcake Boy” staring Southern Belle diva Della Rae (L. Celeste Weathers – a lethal combination of Oprah and Paula Deen).  Ben falls for her assistant Stacey (Jeannine Frumess) who wants her own show – she’s fed up with Della’s fakery in the bakery.  But Stacey doesn’t like Ben.

At a party where everyone is pretending to be someone else – not who they are, Ian meets Stacey and they connect sort of and Ben is jealous and persuades Ian to let him be Bradley Cole resulting in some mighty fine complications.

Blaire Baker, Kimberly Chatterjee, Tauren Hagans, Jeffrey Funaro, James Parks and Zilong Pu comprise the talented and individualistic ensemble.

Hopefully this musical will find another home after FringeNYC where tweens should flock to see it – for its upbeat and positive outlook on life today with and on the internet.

www.BradleyColetheMusical.com  Photo:  Geoffrey Goldberg

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Thank goodness for the Fringe Festival where would be writers of musical comedies get to sow their oats.  COWBOY’S DON’T SING is in its infancy and the Fringe affords its writers (Dennis Flynn, Johnny Kelley and T.J. Alcala) to see what works and what doesn’t.  If they pay close attention they might just come up eventually with a musical that doesn’t appear to have been haphazardly put together in some Fordham University dorm room over pitchers of beer.

COWBOY’S DON’T SING aspires to pay homage to and be a satiric take on the Westerns of yesteryear.  There are some very funny bits that get lost among the very unfunny and silly plot line that has no intermission running one hour and forty five minutes that seems much longer.

But wait, our too clever for words creators have included a ten minute musical intermission that all but holds up the production as we await the continuation of the show that might be called COWBOY’S CAN’T SING – as most of the cast can’t or shouldn’t be singing.  They can’t project and they are not amplified – actors that are also in their infancy.

After a rollicking opening train ride out West (the cardboard cut out set of train Saloon and General Store is whimsical) we arrive at Tombstone Junction where Alice (Megan Beaty) is reunited with her Granddad Sheriff (Matt Van Orden) and where there are lots of killings (great gun shot sound effects) to be experienced.

Dennis Flynn has also directed with a keen eye for sight gags.

The best number is sung by Shadow (Tim Rozmus) – the horse of the Cowboy (T.J. Alcala) who won’t sing for undisclosed reasons.  Mr. Rozmus delivers his pun infused song with his mane of blond hair deadpanning all the way to the coral “One Horse Town” captures the true style of the show and is a winner.

Another funny number is a bi-lingual duet “Language Barrier” sung by Rosa (Michelle Flowers) the Spanish Saloon/Inn keeper and Max (Jeffery Sharkey) a nerdy type teacher who quotes Shakespeare with helpful written translations held by Steve Tyson who steals the show with his multiple characterizations most of whom get shot.

Max also has a great number set around his Morse Code telegraph gizmo that he has brought along that evolves into a clever tap dance.  Also included in the price of your ticket are racist jokes, Injuns and a comical horse chase.

But these highlights and boundless exuberance do not a full fledged musical make even though there is another fun bit.  Every time there is a killing the chorus sings “Let’s Celebrate”.  The music is lively but goes in one ear and out the other.

THE END.  Theatre 80 – 80 St. Mark’s Place

www.cowboysdontsing.com

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