Oscar E Moore

Finding love with just the right person today should be easy.  Right?  I mean with Google and Match.com and well meaning friends and relatives who just want to help you find Mr. or Ms. Right by setting up a blind date!  Oh man, a blind date! Noooo.  That’s too scary for words.

Not so for Austin Winsberg (book) and Alan Zachary & Michael Weiner (music & lyrics) who have created a perky original musical FIRST DATE for the now generation of theatergoers who might discover that “getting to know you” can be lots of fun and not just a song from The King and I.

The show could be called BLIND DATE as that’s exactly what it is as we meet this show for the first time with its two opposites that don’t immediately attract.  Casey (Krysta Rodriguez) who got entrance applause (she’s known from SMASH) with her short cropped hair and even shorter mini dress and stacked heels – the confident, somewhat aggressive, talkative, artsy, liberated fem that some men might fear has been set up by her sister to meet Aaron (Zachary Levi) who will soon get entrance applause (and standing ovations) for his bravura and comedic performance – a nice Jewish guy in a suit and tie, awkward, well meaning who has the ability to say the wrong things at the right moment – over drinks.

There is a Greek chorus of five who become all the other characters in the show – (helping, hindering and/or warning) characters springing forth from the minds of our two potential love birds that is a bit overdone.  But I quibble.  They are all great at becoming someone else in a split second with props appearing from nowhere and costumes changes (David C. Woolard) in the blink of an eye.

Blake Hammond as a gay waiter almost stops the show with his “I’d Order Love” a witty old time shoe biz number with all the trimmings.

The songs are suitable and entertaining if not of the caliber of the aforementioned “Getting to Know You”.  Musicals are a different animal now for better of for worse. The lyrics are witty and hit all the right emotions as religion, ex-mates, sex, grandmothers, shrinks, friends, and who gets to pay the check pop up.

Krysta Rodriguez is fine but without much depth as Casey.  On the other hand a new star is born in the person of Zachary Levi who all but astounds as Aaron.  He is someone whose name will rise quickly above the marquee.  Perfectionist comic timing with a quirky charm and who can eat a pickle like no one else Mr. Levi delights and wows us with “In Love With You” – his eleven o’clock number – so rightfully placed and delivered with élan.

Bryce Ryness, Kristoffer Cusick, Sara Chase and Kate Loprest round out the talented ensemble directed by Bill Berry who keeps the ball rolling and the date interesting aided with spirited musical staging by Josh Rhodes.  Sound design by Kai Harada could have been crisper.   Nice set and projections by David Gallo.

FIRST DATE is a cute show, entertaining and sharp but it perhaps would have been more accessible cost wise Off-Broadway rather than the Longacre Theatre on West 48^th Street.

www.FirstDateTheMusical.com   Photos:  Joan Marcus

Visit www.TalkEntertainment.com

Tags: No Comments.

The long journey of Rabbi Shlomo Carlebach (a captivating Eric Anderson) escaping Nazi infested Vienna to New York’s Columbia University to the Village Gate to the Golden Gate to Florida to NYTW and finally to Broadway where SOUL DOCTOR – this autobiographical musical being presented at The Circle in the Square which has been redesigned as a three quarter thrust stage but still enabling the cast to mingle around the audience in newly installed orchestra seats has resulted in an equally long production where every aspect of his conflicted life of strict religious belief vs. his need to sing and share love and peace and fix the world with a song – lots of songs – about thirty in all that begin to sound alike comes across as the first Jewish Juke Box Musical – a combination of Motown (Shlomo’s greatest hits) Fiddler on the Roof and Hair.

In his mild mannered way Eric Anderson as the troubadour Rabbi Shlomo appears to be a combination of Mandy Patinkin and Theodore Bikel strumming his guitar, struggling with his religion, Hippies, his parents and himself as his sometimes fascinating saga unfolds.

It is about two thirds into the first act that he meets up with Nina Simone (a riveting Amber Iman) in a Greenwich Village jazz club at 2 a.m. that we finally become involved with his story as they find a compatibility that neither one expects that results in him going to a revival meeting at her church.  Their scenes together are great and the creators (Daniel S. Wise – book and director and David Schechter – would do well to concentrate on this story line and edit much of the rest.

The third excellent scene (also Act I) is in the recording studio after a record producer having discovered Shlomo singing and strumming in Washington Square Park and then immediately signing him to a contract seeing tons of incoming shekels is very funny and well staged and an exciting finale of the act with “Ode Yishama”.

Then a disappointing Act II drags along where Shlomo falls in love with Ruth (Zarah Mahler) and she with him and he creates The House of Love and Prayer where his disciples mingle with Timothy Leary (a mixture of toaks and a torah that his dad has arrived with) as he becomes an international star with his new Jewish music and we can’t wait to get back to Vienna where all of this began at a concert with Nina Simone in 1972.

There are some extremely funny moments and powerful ones as well but the journey of a rock-star-rabbi tired me out musically well before reaching its final destination.

www.SoulDoctorBroadway.com  Photos:  Carol Rosegg

Visit www.TalkEntertainment.com

Tags: No Comments.

There are telltale signs throughout PERFECTLY NORMEL PEOPLE written and directed by the husband and wife team of Thomas and Judy Heath which is being presented as part of the FringeNYC festival that they have been heavily influenced by some heavy duty television sitcoms – Everybody Loves Raymond, The King of Queens, That ‘70s Show and the King of Comedy himself Mr. Neil Simon BUT with enough good will and surprises to make their show an endearing, earnest and extremely laugh out loud comedy with its own eccentricities and memorable characters.

With a great amount of humor they are able to ground the play with a heart of gold.  Underlying all the laughs is the understanding of what constitutes “family” whether from Kansas or NYC in this clash of cultures and coming of age story of Hadley Smith (a terrific Bronson Taylor) who leaves his parent’s farm in Kansas to embark on a writing career studying at New York University where he lives not in a dorm but in the off campus home of the Normellino family in Forest Hills Queens.

The story is narrated by Hadley all grown up (Sean X. Marino) remembering his time and period of adjustment with the Normellinos circa 1981.   Mama Connie (Vicki Kelly) daughter Angela (Lara Allred) a waitress, her macho brother Johnny (Patrick Arnheim) a postal worker, cousin Frankie (Tripp Hamilton) who has lost both parents and has visions and conversations with the Virgin Mary and Grandpa Roma (Ross Magoulas) who is deaf and has stopped speaking after the death of his wife.  The extended family includes Aunt Margaret Roma (Jacqualine M. Helmer) forever squabbling with her sister Margaret and her daughter Bernadette (Katie Holland) who wants to become a Marine Biologist.

In short vignettes the story unfolds as Hadley tries to fit in with this odd assortment of people.  Amazingly he does.  A bit confused but accepting he is nicknamed Lefty and is given instructions concerning his “walk” and his “talk” that transforms him from a farmer boy into something resembling Johnny and Frankie.  Hadley is no “rube” he is smart and very well mannered but gets caught up in their family saga while falling for Angela. 

The scenes on a front porch swing between them are delightful.  You may wonder where all this is heading but Thomas and Judy Heath have come up with a few twists that are great – with a knock out ending.

I foresee a wonderful future for Perfectly Normel People.  How refreshing to laugh and be touched at the same time. 

The Players Theatre 115 MacDougal Street

www.fringenyc.org

www.ThomasAndJudyHeath.com

Visit www.TalkEntertainment.com

Tags: Comments Off on PERFECTLY NORMEL PEOPLE – FringeNYC: That ’80s show

Now that the air conditioning is working sporadically at Walkerspace (it’s disabled during the play and put back on during intermission) the only discomfort is sitting through this long and rather dull play by Rob Santana and its totally bizarre production.

Trying too hard to be different to bring the saga of Anne Boleyn and Henry VIII up to the 21^st century with a reality TV-like production helmed by the imaginative Jen Wineman THE KING”S WHORE suffers from too much superficial gloss.

Unfortunately, what is most memorable is the neon day-glo lemon/lime hued off kilter set designed by Deb O with a raised central platform that serves as bed, wrestling ring, birthing chamber, various rooms and the scaffold that ultimately beheads our heroine of sorts.

This is the inaugural offering by Starcatcher Productions whose executive producer Kate O’Phalen portrays Anne Boleyn.  First mistake.  She is simply miscast.  As are a few of her supporting players, namely Carl Hendrick Louis as Henry VIII.  They have no chemistry brewing between them and he is made to appear as some Hip Hop Rock Star whose accent comes as goes as does the air conditioning.  Hand held fans are supplied by the staff if needed.

On the other hand we have Lauren Orkus as Mary, Anne’s sister who would have made a finer Anne.  She is lovely.  As is Claire Brownell as Marguerite with her French accent (she later portrays silly Jane Seymour and Lady Kingston in the Tower of London where Anne thinks she is Marguerite) and Laura Esposito as Catherine of Aragon with her Spanish accent.  She is played as a hot spit fire of a woman scorned.  Many liberties are taken with the characters and their historically accepted personalities but the story remains the same.  A double page chart in the program describes the plot in words and pictures.

Slate Holmgren is a triple threat as Cardinal Wolsey, a prissy Henry Percy and Cromwell – all nicely defined with much needed humor supplied by Percy – Anne’s true love.

Two Ladies-in-waiting/maids Pippa (Rebecca Miller) and Agnes (Donna Augustin) spy from every corner and add little except length to the production which seems to be a combination of a faux French Feydeau farce and an MTV video with music that I found excellent (Jessica Paz) and nicely staged dance sequences.  Costumes are a mixed bag – literally.  They have to be seen to be appreciated.  All in all, The King’s Whore is akin to Anne of a Thousand Days on steroids.

Through August 11^th.

www.TheKingsWhore.com

Visit www.TalkEntertainment.com

Tags: Comments Off on THE KING’S WHORE – A Modern/Historical Mash-Up of King Henry VIII & Anne Boleyn’s Debacle of a Relationship

Irene Castle (a superb Lynne Wintersteller) was certainly a complex and fascinating woman as portrayed in the new musical CASTLE WALK as part of the New York Musical Festival’s tenth season. 

As she arrives in California as “technical advisor” for the 1938 filming of “The Story of Vernon and Irene Castle” starring Fred Astaire (Chris Kane) and Ginger Rogers (Lauren Sprague) she has lots of problems with the script and ideas for director H.C. Potter (an excellent James Clow) which include changing its title. 

Actually she has lots of problems: with the set, with the costumes and with Miss Ginger Rogers – particularly her hair style and coloring.  But the beleaguered Mr. Potter can do little to help.  This is Hollywood and making a film for RKO is a question of time and money and compromise.  Making money is the bottom line.  So what if every detail is not correct. 

But Irene is a stickler for details.  As so she remembers the past.  In flashbacks that are not in chronological order we see the young Irene (Stephanie Rothenberg) and Vernon (an appealing Bret Shuford) as they dance their way to stardom.

Trying to keep the memory of her husband Vernon alive (he was killed in 1918 in a war related accident) at the height of their fame as international ballroom dancers Irene wants the truth to be told on screen including the fact that her best friend Walter Ash (Wayne W. Pretlow) was a Negro and not the white Walter Brennan who has been cast to portray him.  Facts, facts and more facts are delivered in this almost two hour musical without an intermission that includes some delightful musical numbers and staging.

Although married forever to the memory of Vernon she remarried and divorced twice and was an animal rights activist and quite annoying.  So much so that she drives the director to sing about “Pills” – funny but not of the same tone as the rest of the show.

Somehow, however, it just doesn’t gel.  Milton Granger is credited with book, music and lyrics.  He is most successful with the period tunes.  They are romantic and lend themselves to the gliding choreography of Richard Stafford who also directed on a bare stage with six chairs and perfect projections on three large frames from a film reel by Gertjan Houben).  Nice touch.

The weakest aspect of the production is the structure of the book that can easily be remedied by the talented Mr. Granger.  The strongest aspect is the casting of the wondrous, charming and elegant Miss Wintersteller as Irene.  She holds the show together with her fine acting, singing and dancing – making what could have been a harridan, hell on wheels advisor into a touching and graceful pleasure to watch performance.

Costumes by Loren Shaw are excellent.  As mentioned the dancing is graceful and memorable – as it should be and CASTLE WALK spiked my interest enough to make me want to see the RKO film.

www.nymf.org  Photos:  Matthew Murphy

www.CastleWalkMusical.com

Visit www.TalkEntertainment.com

Tags: No Comments.

Can a thirty year old Little Harry (a tall, harried and excellent Robb Sapp) break free of Big Harry (Philip Hoffman) – a Don Juan wannabe without hurting the family business – an Italian Restaurant serving different international dishes every night to drum up business which doesn’t seem to be working as they are three months behind in the rent and get the job of his dreams working for Lidia – of TV fame – learning to be a chef and not just a cook?

Will the twenty nine year old Sherri (a radiant Jillian Louis) break free of her wealthy mother Francine (Jane Summerhays) who just so happens to be the landlord of said restaurant CUDICINI’S – and recover from the break-up with her beau Brandon?

What is Ping (Kate Rigg) a performance artist doing in this retro romantic musical?

These questions and more are answered in this original two act musical – MARRY HARRY by Jennifer Robbins (book) and Dan Martin (music) and Michael Biello (lyrics) with various degrees of success.

The uneven book is the weakest link and needs refinement.  There are many good ideas here but it is more of an outline that skims over situations and characters too rapidly. 

The songs are much more successful delineating character with wit and melody – with an original voice emanating as one by these two life partners – Martin and Biello. 

Fun at moments, soaring at others or tugging at the heartstrings we care about these two people who are looking for a new life and new answers – “You Opened A Door” is especially moving.

When Sherri meets Little Harry and love blossoms instantaneously in the most delightful “The Date” we are off and running as their relationship develops with complications of course.

Debby (a fiery Annie Golden) is the restaurant manager who puts up with Big Harry’s dalliances up to a point – giving her all with “Too Busy Running”.  Cameron Folmar portrays a quartet of characters with élan and his “Totally Divine” is just that.  Kate Rigg is excellent as Ping – but really what’s the point? 

The point is Jillian Louis.  And she is a star.  The moment she steps on stage she captures our attention and it never wavers.  We care about her – totally.  She radiates sincerity, vulnerability, humor, spunkiness, a quirky charm, confidence and warmth with a glorious voice (“More Than Make Believe” a standout) and Robb Sapp makes the perfect match for her in MARRY HARRY as directed by Kent Nicholson.

www.nymf.org  Photo:  Carol Rosegg 

https://www.facebook.com/marryharrythemusical

Visit www.TalkEntertainment.com

Tags: No Comments.

Into the woods and wilderness of the Pacific Northwest, where Bigfoot aka the Sasquatch – Arthur (a believably human and centered T.J. Mannix) has been sited by a local dim witted camper and guzzler of beer Bert (Ryan Dietz), treks a television crew Chaz (Chris Gleim), Dakota (Laura Oldham) and cameraman (Jonathan Silver) seeking fame and fortune as are the keepers of the local bar – Zeke (Don Meehan) and his wife Thelma (Leasen Beth Almquist) who even go so far as to disguise themselves as fellow Sasquatchers – thinking if they find and film Bigfoot, tourists will flock to the area.

Also trekking onto the Pearl Theatre Stage where Sasquatched! The Musical is being presented as part of New York Musical Theatre Festival (NYMF) ‘s 10^th season is Sam (a fine Cole Canzano) the overprotected son of Cindy (Leslie Henstock) and Jim (Billy Clark Taylor) – a son who escapes and gets lost during one of the better numbers of the show “Helicopter Parents Are We”.  He’s not the only one who gets lost.

Then we have Pat the Park Ranger (a delightfully spunky Laura Daniel) with a powerhouse presence and voice who meets in Act II a Seismologist Chris (Patrick John Moran – who might just be perfect for The Book of Morman).  Sparks fly between these two.

As you can see there are lots of silly plot lines to follow – mostly inhabited by cartoon characters.  But the heart of the show is the meeting and bonding and understanding between Bigfoot and Sam – which if better developed might enable this musical to have some legs.  Bigfoot is civilized, well spoken and kind and helps Sam to find his parents. And that’s nice.

What’s not so nice is the basic, generic, hodgepodge of songs.  Noble intentions do not a hit musical make.  Basic rhymes, with the emphasis on the wrong syllable are rampant.  The lyrics are rudimentary and repetitious to the point of distraction.  In an attempt to make the show a commentary on musical theatre – a tangent that should be avoided here “Rhubarb” just plain interfered with the story and made a long show even longer.  An Act II farcical chase didn’t help either.  The music is a variety of styles with an emphasis on what is best described as “thumping…”

There are a lot of nice touches by director Donald Brenner who has a knack for making the musical numbers entertaining with some basic dance steps that are cute and clever and fun.

Phil Darg is responsible for book, music and lyrics.  No new ground has been broken.  With a lot more work – especially in editing the material down to one act, Mr. Darg might make Sasquatched! The Musical memorable for the right reasons.

www.sasquatched.com

Visit www.TalkEntertainment.com

Tags: No Comments.

In this Marx Brothers, Saturday Night Live, Sid Caesar Show of Shows inspired Victorian fractured fairy tale farce THE EXPLORERS CLUB written by Nell Benjamin which can at times be hysterically amusing includes everything but the kitchen sink.

And I believe there may be a kitchen sink lurking behind the elaborately detailed bar which is the main focus of the elaborately detailed set by Donyale Werle of the Victorian Club populated with an odd assortment of men who go on worldwide expeditions returning with the slew of skinned and stuffed animals and shrunken heads that decorate the walls of this bastion of male dominance.

Sometimes, however an explorer dies en route or gets lost as is the case with the most pompous of Presidents, Harry Percy (delightfully played by David Furr) who at the opening of the play is absent, leaving the nervous and clumsy Lucius Fretway (an equally delightful Lorenzo Pisoni) to preside over the club membership’s meeting.  They are both rapidly becoming two of my favorite actors.

Lucius Fretway is introducing, for club membership a Miss Phyllida Spotte-Hume (Jennifer Westfeldt) a beautiful, brilliant blonde “female” scientist/explorer looking very much like Nellie Bly – who has returned with her trophy – a live half naked male “savage” painted blue from a lost civilization whom she has named Luigi (Carson Elrod) who has an odd way of saying hello – he slaps your face.

A female!  This idea causes an uproar from the men, especially the Bible toting Professor Sloane (John McMartin) who has some dandy things to say in a most delightful throw away manner.

Professor Cope (Brian Avers) who wears his pet cobra James around his neck and Professor Walling (Steven Boyer) whose caged pet guinea pig/rat Jane is always with him are also reluctant but willing to hear her out – over brandy and cigars which make for a quick exit for this unwanted female until she returns as her twin sister.

Complication ensue when both Percy and Lucius vie for the charms of Phyllida, a plant straight out of Little Shop of Horrors takes over the stage and Luigi is presented to Queen Victoria and while saying hello…well you can imagine a slap that is heard all the way back to the Club and all hell breaks loose until Beebe (Arnie Burton) the lost companion of President Percy arrives and takes the fizzle right out this otherwise vintage champagne production.

That is, until they have drinks that new bartender Luigi makes and slings and slides them across the bar in a choreographed, side spitting, amazing display of acrobatic nimbleness where not a drop of liquor is spilled as the members each are thrown and catch their drinks.  Not once but three times and the finale tops them all.  Directed beautifully by Marc Bruni – these “toasts” save the show and make a more than mediocre and less than great farce more or less memorable.

At Manhattan Theatre Club New York City Center Stage 1

www.ManhattanTheatreClub.com

Visit www.TalkEntertainment.com Photos:  Joan Marcus

Tags: Comments Off on THE EXPLORERS CLUB – MTC’s daffy and deliriously inane farce

There was Bernie Madoff.  The Unavoidable Disappearance of TOM DURNIN is not a play about Bernie Madoff.  It is a compelling new work by Steven Levenson about a similar man in a similar situation, Tom Durnin (a superb David Morse) who is a charming crook and master manipulator who has just spent the last five years in jail for a white-collar crime involving the financial ruin of friends and family, including himself.  He knows all the right buttons to push and how hard to push them.

Tom Durnin arrives unannounced to the ramshackle home of his son James (an excellent Christopher Denham) looking for sympathy and a place to stay.  He is met with an intense silence.  The tension is palpable.  And yet this toxic dad remains calm and cheerful trying to get his son to agree to his terms, trying to regain the bond that they once shared, as we wonder – did they ever?

Times are tough in 2009 in this town somewhere off of Exit 41 where jobs are scarce and the rain abundant.  James has been reduced to selling stethoscopes.  He wants to write and has joined a class where he meets a nervous and quirky and altogether winsome young lady, Katie (Sarah Goldberg) supplying just the right amount of humor in this otherwise serious production.   Their scenes sparkle letting James relax a bit, but we soon become aware that he lies as well as his dad.  Maybe not as well, but he lies nonetheless.

Do lies, even small white lies, protect or hurt or do both?  Nothing else seems to matter to Tom except getting what he wants – on his terms.  He wants to reconnect with his ex-wife Karen (a tightly wound up and explosive Lisa Emery) who has remarried and is starting to regain and rebuild her life – something their son seems not able to do – his self esteem is low and his dad uses this to forge ahead. 

He also has some secret meetings in a parking lot with his nervous son-in-law Chris (Rich Sommer who garners sympathy for a while).  Chris got his job at the firm through Tom and Tom wastes no time in reminding him of this to obtain Karen’s phone number and new address and using guilt tactics to try to get his job back at the firm “It’s payback time”- not as a lawyer but as a consultant.  It’s hard to resist this slime who remains calm and confident and relentless throughout.

Playwright Levenson has a good ear for dialogue and his characters are always interesting as are his great blackout lines at the end of each scene which encourage us to want to learn more of the slowly exposed development of the relationships introduced.  As lies are exposed, we wonder what the truth really is as Tom tries to take them all in again as he did before.

Incidental music by Obadiah Eaves sets the mood just right.  The set design by Beowulf Boritt, once again, is perfect.  Scott Ellis has done an excellent job in guiding his actors through this difficult journey of lies keeping us all wanting to know the truth and the right answers – if there are indeed any right answers.

Tom Durnin uses loyalty, guilt and lies to try to get those that he has ruined to take him back into their trust.  But trust is such a difficult thing to win back.

At the Laura Pels Theatre.  A Roundabout production.  Through Augsut 25^th.

www.RoundaboutTheatre.org

Visit www.TalkEntertainment.com

Tags: No Comments.

What if?  What if you imagined what it would be like to be hired by “the lady of the house” in Malibu to work in her self designed basement mall – a series of “shoppes” to house her various collections of antiques, dolls, clothing and whatever else with its very own frozen yogurt machine and popcorn maker?   

That is exactly what playwright Jonathan Tolins has fantasized and come up with a very funny concoction called BUYER & CELLAR that has recently transferred from the Rattlestick Theater to its new home at the intimate Barrow Street Theatre.  The “lady of the house” happens to be none other than super star, perfectionist and master negotiator Barbra Streisand whose motto here seems to be – How much is not enough?

Alex More, the unemployed and uninsured actor hired is the immensely talented, adorable and accomplished actor and man of many faces and voices Mr. Michael Urie.  Clutching a copy of Streisand’s 2010 tome MY PASSION FOR DESIGN (for which she credits herself for photography) Mr. Urie explains that this truly is a fantasy – to protect any and all against litigation.  They need not worry.  This is a loving tribute to the star, a star obviously admired by Mr. Tolins and Mr. Urie.

When Mr. Urie and “the lady of the house” who becomes Sadie and then Barbra as the two bond in the basement there are some hilarious exchanges between them over the purchase of a doll, Fifi, who blows bubbles.  The negotiation is one of the highlights of the play with Mr. Urie’s version of Ms. Streisand that is not an imitation but a physical rendering that captures her essence looking almost like a marionette incarnation of the star.  It’s pure perfection.

With a bounce to his step as he darts around the stage under the superb direction of Stephen Brackett he becomes Sharon, Streisand’s caustic assistant, Barry the boyfriend, James Brolin the husband and Streisand the star et al. 

Mr. Urie commands our attention immediately with laugh inducing line readings of some very funny lines with a nod and a wink and a comment or two with his eyes alone that will have you enjoying yourself for a full ninety minutes of barbs aimed at Babs and Brooklyn.  And insecurities.  And some sadness.

As they become closer (pure fantasy at work here) Mr. Urie becomes her acting coach after suggesting and planting the idea of her playing Mama Rose in the ultimate version of an already perfect GYPSY which still might be on Streisand’s agenda.

It’s ironic that Michael Urie starred in UGLY BETTY on television and all, it seems, that Barbra Streisand ever wanted was to be called “pretty” and have a real dolly, not a hot water bottle substitute and every award imaginable, and a barn with chickens and a gorgeous husband, and a doting son and her very own basement mall rendered beautifully by set designer Andrew Boyce in classic taupe, grey and white with projections by Alex Hoch that seamlessly transport us to other locations.  Great sound (Stowe Nelson) and lighting (Eric Southern) add to the festivities.  But it is Michael Urie’s virtuosic performance that manages to upstage the greatest star herself.

Photo:  Sandra Coudert

www.BuyerAndCellar.com

Visit www.TalkEntertainment.com

Tags: No Comments.