Oscar E Moore

This most recent revival of CAT ON A HOT TIN ROOF by Tennessee Williams, another Pulitzer Prize winning drama from the 1950’s (PICNIC being another) starring Scarlett Johansson who won a Tony for her performance in Arthur Miller’s A VIEW FROM THE BRIDGE, doesn’t enhance the reputation of either person.

It’s a long, three act evening and I have been scratching my head to find something positive to write about the lukewarm production directed by Rob Ashford that scratches only the surface of the play with actors that deliver one dimensional performances. 

The gossip along Broadway has is that Mr. Ashford’s original concept for CAT had to be abandoned to a nearby alley.  He wanted to add some musical numbers and the appearance of Skipper as a ghost-like presence – the football buddy of Brick whose death causes Brick to find solace in numerous bottles of booze as opposed to the bed of his wife Maggie. 

A bed he has not shared for some time.  The ghost is gone but there are remnants of songs sung offstage and on.  There are intermittent fireworks but they are not from the actors.  There is a huge storm that passes as fast as it starts.  Unfortunately the play slowly limps along.

What’s left is what I saw and it’s not a pretty picture.  Literally.  The enormous, operatic looking, cavernous bedroom set by Christopher Oram with its four, rickety floor to the highest of ceiling French doors swathed in gauzelike fabric all but dwarfs the diminutive Ms. Johansson whose garbled Southern dialect makes her almost monologue of Act I difficult to understand.    

She comes on like a bitch in heat – angry at all those “no-neck monsters” the children of Brick’s brother Gooper (Michael Park) and his again pregnant wife Mae (Emily Bergl).  She berates and complains and smokes while Brick drinks and listens and hobbles around with a cast on his broken ankle that he got jumping hurdles at 3a.m.

Brick is played by an underwhelming Benjamin Walker.

It is his father’s birthday, the coarse, red-neck Big Daddy (Ciaran Hinds).  He has cancer but he thinks it’s simply a “spastic colon” – No one tells him the truth.  In fact no one tells anyone the truth or they are in denial. 

Act II is Big Daddy’s time to “shoot the breeze”, “go on a talking jag” and “run off at the mouth” trying to find out the REAL problem with Brick while Maggie all but fades into the background.

Could be his Big Mama (Debra Monk) who repeatedly adores her Greek God of a son – her “precious baby” while ignoring his brother Gooper. 

Not much is resolved by Mr. Williams whose tale must have been shocking when it opened but is old-hat now.  Mr. Ashford’s choice of having the little kids running around the bedroom with pistols chasing and shooting is a dubious choice as was the decision to revive this play.

www.CatOnAHotTinRoofBroadway.com  Through March 30th

Photos: Joan Marcus

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It’s difficult to imagine that the classic William Inge 1953 play PICNIC was awarded a Pulitzer Prize after seeing this unacceptable, clumsy and clunky production at the American Airlines Theatre produced by the inconsistent Roundabout Theatre Company.

Taking place in a small Kansas town in the 1950’s where the women are hungry and not for the potato salad they are preparing for the Labor Day annual picnic we see them literally salivate over the new hunky hired hand Hal Carter (Sebastian Stan with forced charisma) as he struts and poses with his torso bared and oiled as he hauls some wood off stage helping out Mrs. Potts (a believable Ellen Burstyn) who has hired him – mainly to look at it seems.  They are all starved for affection and sex.  Where’s Carrie Bradshaw when you need her?

Not much work is accomplished in the communal yard she shares with Mrs. Owens (Mare Winningham) who has two daughters – the pretty one Madge (Maggie Grace) and the tom boyish and bookish Millie (a terrific Madeline Martin) whose one desire is to get out of town and go to New York.  No one can blame her for that.

Hal has come to town to seek work from his “frat” buddy – Alan Seymour (Ben Rappaport) whose family has connections and money.  But poor Alan who is going steady with Madge (mom advising her to marry him ASAP) doesn’t feel that he could ever be worthy of her and she feels that she is too pretty to fit in.  That is, until she meets up with Hal.  Too bad they have no sexual tension or chemistry going on – it’s a case of the sizzle fizzling.  Hal too, has “fit in” problems.  They all do.  Inge might have called the play THE MISFITS.

Living in the same house is the “old maid school teacher” Rosemary (a marvelous Elizabeth Marvel) who longs to marry Howard (a forlorn Reed Birney) a shopkeeper who needs liquor to get his juices flowing.  Their story is the most interesting and I remember vividly seeing Rosalind Russell in the movie version when I was ten.  What I was doing at PICNIC at ten I don’t remember.  But I do remember her performance and Ms. Marvel matches it.

I also remember the music.  The theme from PICINIC combined with MOONGLOW.  It was sublime.  And a bit of that might have helped as the choice of music here is annoying to say the least.

The awful set by Andrew Lieberman would probably get a D is set design class.  It’s cramped and that back wall that the Owens house abuts is ridiculous as their second floor goes right through it.

The usually spot on director Sam Gold should have caught that.  In addition, his awkward staging makes this PICNIC almost unbearable.

One bright spot:  Chris Perfetti as the newspaper delivery boy, Bomber Gutzel, who exhibits all of the adolescent charm and horniness without going overboard in his desire to woo Madge.  He’s delightful.

Through February 24^th.    Go see THE MYSTERY OF EDWIN DROOD instead.  That’s a real feast.

www.RoundaboutTheatre.org   Photos:  Joan Marcus

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Juliana Smithton (an extraordinary Laurie Metcalf) – caustic, condescending, mocking mother of a distant runaway daughter, successful neurologist and scientific researcher who is in the throws of a divorce has lots of problems as she pitches her new “wonder dementia drug” that doesn’t seem to be helping her one bit as she experiences “episodes” that cause her to lose focus, go blank, and have horrible mood swings.  

Least of her problems but one that Juliana obsesses over is the young, attractive woman in the yellow string bikini sitting among those doctors listening to her sales pitch as we are lured into her complicated life that is slowly descending into dementia.

Juliana has always had problems as we discover in the compelling new memory loss play THE OTHER PLACE by Sharr White that is expertly directed by Joe Mantello who has assembled a fine creative team to bring this stark and stirring drama to life as produced by the Manhattan Theatre Club at the Samuel J. Friedman Theatre on West 47^th Street.  It’s a production that sneaks up on you and hits you with a hard emotional wallop that is what good theater should accomplish.

Laurie Metcalf sits center stage in a cage like set by Eugene Lee & Edward Pierce as we enter the theatre to hear her lecture.  She sits almost motionless.  It’s eerie.  She seems deeply troubled but sits there calmly like a wax mannequin from Madame Tussauds.  

She is dressed simply but chicly (David Zinn) in black.  Spike heels show off her gorgeous legs.  She is physically fit until she begins her dark journey that will leave her shrunken and barefoot on the floor being fed by a woman she has mistaken for her daughter (Zoe Perry – in one of three roles – giving an equally remarkable performance) Ms. Perry, by the way is Laurie Metcalf’s daughter which adds just another intriguing aspect to their portrayals. 

Then the problems surface, bubbling up until they reach a boiling and breaking point allowing Ms. Metcalf to give a layered and multi textured performance that stuns and is award worthy.

Her husband Ian (Daniel Stern) is impressive as he grapples with the loss of his wife’s memory and her inability to cope. 

John Schiappa as the older husband of their daughter who had his career ruined by Juliana is a noticeable good presence in the non-linear short scenes he is in that intermittently break up the lecture with its excellent projections (William Cusick) and appropriate non-intrusive original music by Fitz Patton.

Being told you do not have brain cancer should be a good thing.  Unless you haves something far worse that cannot be treated.

www.ManhattanTheatreClub.com  Photos:  Joan Marcus

NOTE:  THE OTHER PLACE had its world premiere at MCC Theater March 11, 2011.

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Hi Oscar,

I hope this finds you doing great and enjoying the Holidays. I wanted to get you my new single release. I know it’s late in the season to release a Holiday song, but I never really liked following the rules. LOL

I have been wanting to record this song for a while but life just got in the way. Then just 3 weeks ago, I told life to get out of my way. 

So with the title, “Just in Time For Christmas”, it’s being marketed that way. This song was first recorded by Nancy Lamott.

My version is the sound of today that makes one feel so good by the end of the song. The arrangement was done by Edward B. Kessel, who did all the arranging of “A Tale of Two Cities”. And we managed to shoot a video as well. The video should be launched sometime today on You Tube.

Anyway, was wondering if you can take a listen for your review.

Let me know if this is something you can do or even want to this late in the season.

Thank you for your time. And I wish you all the best.

NATALIE

Please listen and enjoy this lovely new Christmas recording by Miss Natalie Toro at www.NatalieToro.com and help spread the cheer.  It is sure to become a classic! OR

https://itunes.apple.com/us/album/just-in-time-for-christmas/id587984720

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HAPPY HOLIDAYS

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Lincoln Center Theater has delivered a one-two punch in its gritty, powerful and sterling 75^th anniversary revival of GOLDEN BOY by Clifford Odets now playing at the Belasco Theatre where it originally opened to rave reviews produced by The Group Theatre in 1937 and later made into a movie starring William Holden as Joe Bonaparte.

Seth Numrich has inherited the role and is wonderful as the 21 year old Italian violin virtuoso who decides that being a boxer will bring him the fame and fortune he so desires, leaving his God given talent behind much to the sadness of his devoted father played beautifully and touchingly by Tony Shalhoub. 

Master director Bartlett Sher has cast his nineteen actors perfectly and his creative team (Sets – Michael Yeargan, Costumes – Catherine Zuber and Lighting (Donald Holder) has brought to stark life the look of the troubled thirties in a noir B film – with the tenement buildings dwarfing the characters trying to make a go of it in the boxing ring called life.

Mr. Numrich is an eager beaver and will do anything to convince manager Tom Moody (the excellent Danny Mastrogiorgio) to let him fight.  Fighting is what he needs to do.  Fighting is what propels the drama to its tragic end.

As Tom verbally spars with his mistress Lorna Moon (the extraordinary Yvonne Strahovski – a combination of Joan Blondell and Veronica Lake) – “a tramp from Newark” Joe enters their lives and immediately falls for Lorna – just to complicate things a bit more.  She too has choices to make and is as torn as Joe is as to what direction to follow.

Over the course of three acts we see the development of Joe’s career – from “cockeyed wonder” to just plain cocky, his growing stature and ability to afford an expensive car – a Duesenberg, his involvement with Eddie Fuseli (an intense Anthony Crivello) a mobster who buys a piece of Joe and has a penchant for being well dressed and perhaps young men, and the love relationship between Joe and Lorna, Lorna and Tom and Joe and his father.  A father who spends his hard earned money on a special violin for Joe that is heartbreakingly laid aside.

All of the supporting cast members are superb.  Especially Danny Burstein as Joe’s trainer Tokio, Jonathan Hadary – a Jewish neighbor/philosopher Mr. Carp who adds a touch of humor (in fact Mr. Odets was very funny and caustic when not dealing in the larger picture of choosing one’s course in life) and a very special charismatic Michael Aronov as Joe’s cab driving brother, Siggie who along with his wife Anna – (Dagmara Dominczyk) add spice to the family at home scenes.

If the play itself has moments that are tarnished the dialogue still resonates profoundly and the acting more than makes up for any odd moments – like the off stage playing of the infamous violin and the lethargic scene changes.

You can almost smell the sweat in the beautifully staged gym locker room scenes as we hear the roar of the crowd above witnessing the prize fights.

Some say to follow your passion, your dreams and you will be successful and the money will follow.  But young Joe had two passions (actually three if you include Lorna) and chose to follow, in this case, the wrong fork in the road he traveled on.

GOLDEN BOY is a great theatrical experience and might just bring back vintage Fedora hats.

www.LCT.org  Photos:  Paul Kolnik

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STUDIO 54 has its 54 Below and now 59E59 has 59 Above where the very talented Penny Fuller is appearing in this one act, hard to remember title, sixty minute, almost one woman chamber-cum-cabaret musical “13 Things about Ed Carpolotti” written by Barry Kleinbort (Book, Lyrics and Music) based on a monologue that is part of THREE VIEWINGS, an evening of three monologues by Jeffrey Hatcher.

59E59 has magically and smartly transformed Theatre C – the smallest of its spaces into a mini-Metropolitan room where the once claustrophobic space now has small, intimate tables for four that will enable you to order drinks from the bar and enjoy this tuneful, romantic, O’Henry type tale as it unfolds in the very able hands of Ms. Fuller as Virginia Carpolotti who has recently become a not very merry widow. 

Musical Director Paul Greenwood is onstage to accompany Virginia, joining in a couple of times in a theatrical way to make his presence in her living room make sense.

It’s a clever story with a clever twist of an ending beginning with Ms. Fuller going back through the years to reminisce about her forty year marriage with Ed (It’s surprising that she isn’t wearing black) who has died and left her with a slew of debts – to the bank, her brother-in-law and an apparent mafia man.  I guess she didn’t know Ed as well as she thought she did.  Or was she just naïve?  And herein lies my main reservation.

Ms. Fuller is a charmer, an excellent actress with a fine singing voice.  But she is just too smart.  She comes across as much too sophisticated and well, smart.  I never bought the fact that she could have been so easily fooled.  Now Betty White has the naïve quality down pat that would make this a stellar performance for Ms. Fuller and I believe she could easily adjust.

But it is what it is as directed by Mr. Kleinbort and I am not the director.  It’s just an observation.

Ms. Fuller handles the various voices that she is called on to use very well, supplying humor particularly when singing a song about Jerry Lewis and Dean Martin and changing her moods spontaneously to tell this touching and heartwarming story.

It should have a great after life with the many actresses of a certain age ready to take on the challenge of performing this off-beat, sweet tale which might simply be called THE LIST.

Go with a loved one, celebrate your time together over a cocktail and enjoy the wonderful gifts of Penny Fuller. 

www.59e59.org  TICKETS $25.00 through DEC. 30th

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There has been a lot of pre-opening discussion about the latest revival of David Mamet’s GLENGARRY GLEN ROSS, his 1984 Pulitzer Prize winning drama starring Al Pacino in the Willy Loman type role – Shelly Levene – a has been, a once top rated real estate broker circa 1969 in Chicago who held the record for “closings” and now is pleading for a second chance to prove that he still has the goods.

It has finally opened, well into its limited run which while extended has posted its closing notice for January 20^th, 2013 at the Gerald Schoenfeld Theatre.

It appears that this is a case of much ado about not too much.  Mr. Pacino’s performance is in a minor key, looking bedraggled and befuddled at times.  It’s all very low key – strange – even dance-like as the downtrodden, once on top salesman of a shoddy shark infested Real Estate Company where his co-workers would do anything to get onto the “Board” listing the guy with the top sales (most closings) and then win a Cadillac – much like Mary Kay Cosmetics.

They are all unethical in this slice of life rife with fuck infested rapid fire dialogue and monologues where the buyer better beware.  Lies, bribes, bigotry and burglary are on the menu at the local Chinese Restaurant where they go to plan and plot and perhaps meet a future investor. 

The structure is odd.  In the quick first act we meet in three scenes the odd group of salesmen.  Mr. Pacino meets with the office manager John Williamson (a fine David Harbour) over fortune cookies to try to get some hot leads.  No go.  Then we meet Dave Moss (John C. McGinley) who is trying to persuade George Aaronow (Richard Schiff) to maybe break into the office and steal those hot leads – followed by the introduction of the most successful of the bunch Richard Roma, dressed for success, sharp and as slimy as his slicked back hair – the magnificent Bobby Cannavale – pinky ring and cigarette case intact playing the flashier role that Mr. Pacino made famous in the 1992 film version.  And playing it to the hilt.  Beautifully.

Act II finds us in the broken into office where even the phones have been stolen.  The crime scene is being investigated by Baylen (Murphy Guyer) where he interrogates the suspects off stage while Shelly arrives with the big news that he has closed on eight units – making him the highest shark on the totem pole which doesn’t go over very well with Roma whose latest deal is in jeopardy.  A patsy he met in the restaurant – James Lingk (Jeremy Shamos).

In the best and most riveting scene Mr. Pacino relives his eight unit deal – addressing the audience as if he is trying to sell us his spiel – the old fashioned way. 

Like being sold a rotten piece of real estate, it’s over before you know it.  Directed by Dan Sullivan.                

www.GlengarryBroadway.com   Photos:  Scott Landis

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On no account would I recommend DEAD ACCOUNTS, the new project, notice I did not write play, by Theresa Rebeck that is a sometimes amusing, sometimes boring and a totally unfulfilling evening of theatre that features some of Cincinnati Ohio’s specialties that include fresh air, trees, cheese coneys (hot dogs with chili and cheese) and lots of Graeter’s ice cream consumed by the prodigal son on the run.  Or is he?

It is here in Ohio that fast talking and spin doctor Jack (a nimble Norbert Leo Butz reprising his favorite comedy routines) has come home to roost after embezzling a mighty sum of money from his banking job in New York. 

It is here in the home of his mom (a restrained Jayne Houdyshell) where his plain Jane sister Lorna (an adequate Katie Holmes who has been recruited to sell tickets as a Hollywood Box Office Star) lives and their off stage father is ailing with painful kidney stones that the inaction takes place in this modern day kitchen sink dramedy.

The usually fine director Jack O’Brien seems to not know what to make of this project or how to make it work.

“Pain is good” says the holier than thou Barbara to her children.  But it’s torture if you are paying good money to see a half baked play of some good ideas that finds no resolution whatsoever – except for the abrupt mystical changing of the badly designed set  by David Rockwell at play’s end.

Those autumnal colored trees that are so vital to the plot are so ugly it’s hard to keep you eyes off of them.  It’s as though there is a forest fire raging outside the kitchen doors.  And then there is the wall clock – at least they keep changing the time with the annoying scene changes.  I notice things like this when the plot and dialogue, as in this case, force my mind to seek some diversion.

Theresa Rebeck comes up empty here in her attempt to compare the values of the people of Ohio with their New York counterparts and her attack on the banking system in Katie Holmes’ one big theatrical moment.  No, she has another.  When she offers a glass of wine to Jenny (Judy Greer) the soon to be divorced wife of Jack and takes a cardboard box wine out of the fridge that immediately got the audience’s juices flowing.

Jenny has come to get her fair share of the loot.  She is from a well to do family and her dad got Jack the job so why is she after the money?  Will he give in?  Will they get divorced?  Will dad die in the hospital?  Will Jack’s old high school buddy Phil (an excellent Josh Hamilton) finally ask Lorna out on a date after twenty five years of stalling?  Will all that ice cream melt on the table?  Who will eat all the pizza in Act II where all gets suddenly serious?  Who cares?

DEAD ACCOUNTS plays out like a bad Seinfeld episode that is badly in need of a laugh track.  At The Music Box Theatre through February 24^th, 2013.

www.DeadAccountsonBroadway.com  Photos:  Joan Marcus

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Whodunit?  Rupert Holmes, that’s who!  Responsible for Book, Music and Lyrics for this festive and frolicking, stylish and impeccably cast Roundabout revival of his award winning THE MYSTERY of EDWIN DROOD that is delighting audiences at Studio 54.

In this play within a play, superbly directed by Scott Ellis, set in a Victorian Music Hall, the troupe of actors attempts to perform a tuneful and witty musical version of an unfinished novel by Charles Dickens with all the trimmings.

It is ingenious, funny and handsome done with just the right amount of melodramatic acting from the ensemble cast to please just about everyone.  And with a twist that would please even Agatha, the audience gets to select “whodunit” – as cast members tally votes from the audience members who get to choose from the final five possible suspects of who murdered Edwin Drood.  It’s like an auction gone wild.  Resulting in a different ending each performance.

From the stunning and enchanting multiple sets by Anna Louizos that include an opium den, a cemetery and a railroad station that resemble the best of Hallmark Victorian Christmas cards to the beautiful period costumes of William Ivey Long and the incredible lighting design by Brian Nason you will be enthralled by the look as much as the sound of this period piece with music direction by Paul Gemignani with its orchestra housed in the upper boxes on either side of the proscenium.

This really is the highlight of the theatrical season thus far.  And should not be missed.  Especially for its cast – which includes the spry Jim Norton as the Chairman – with his perfect comic delivery holding the proceedings together and toying with the audience with his asides.

A solid Stephanie J. Block as Mr. Drood portrayed by the infamous male impersonator actress – Miss Alice Nutting who is given a supremely grand exit.

A somewhat mad and evil (check the mustache) Will Chase as Drood’s Uncle John Jasper, in love with his beautiful music student Rosa Bud (with a gifted voice and equally gifted bosomed Betsy Wolfe) who is engaged to Edwin Drood.

The plot thickens to pea soup fog thickness with the indomitable living legend Chita Rivera as The Princess Puffer – who runs the opium den and stops the show repeatedly with an entrance, a song or an exit.

A flummoxed Reverend Crisparkle (Gregg Edelman whose eyes sparkle sharp-like in the presence of Rosa Bud).  And the supporting players all – especially the incredible Andy Karl (Neville Landless) and Jessie Mueller (Helena Landless) who both always amaze in their transformations as actors along with a standout performance by Peter Benson as buzzard with his “Never The Luck” number that is outstanding.

There are clues and red herrings and Gilbert and Sullivan tongue twisting songs and lovely ballads to put a huge smile on everyone’s face and a finale that tops it all!

Warren Carlyle has provided some fine Music Hall dances and a very interesting fantasy sequence in the opium den.  All in all THE MYSTERY of EDWIN DROOD is the very model of a modern major musical.  See it!  Joyfully extended through March 10^th, 2013

www.RoundaboutTheatre.org Photos:  Joan Marcus

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Santa has delivered a mixed bag of goodies just in time for the holidays.   A CHRISTMAS STORY, the musical – based on the book “In God We Trust All Others Pay Cash” by Jean Shepherd and movie (1983) with Leigh Brown and Bob Clark is now on view at the Lunt-Fontanne Theatre through December 30^th.  It has been adapted by Joseph Robinette (book) with a more than serviceable score by Benj Pasek and Justin Paul.

I have never seen the movie.  And so, I arrived not knowing a thing about nine year old Ralphie’s obsessive desire to receive a Red Ryder Carbine Action BB Gun for Christmas.  And so I arrived with an open mind looking forward to this show that has a great buzz surrounding it.

The story takes place in Indiana circa 1940 where guns were toys and not used to shoot up schools.  Times and attitudes were different then.  Mother Parker (the excellent Erin Dilly – looking like Blondie from the Dagwood comic strip) is a stay at home mom, concerned with loving and feeding and preparing her two sons – bespectacled Ralphie (Johnny Rabe alternating with Joe West) and Randy (an adorable Zac Ballard who has a fondness for hiding under the sink and not eating his food) for school while dealing with her husband “The Old Man” (a larger than life John Bolton with a hang dog look channeling Dick Van Dyke) who curses a blue streak of gibberish, is a crossword puzzle fanatic and chronic complainer beset by bills, a bad furnace and a flat tire and is chased by the neighbor’s two bloodhounds (Pete & Lily).

This very slight storyline is held together by the narration of author and renowned storyteller Jean Shepherd (Dan Lauria) who pops in and out of the flashback scenes recalling this one very special Christmas when he was nine and wanted that very special gun and taking the show down a few pegs in the process.

Where is the wonder, the humor and the passion of this grown man?  It’s hard to imagine that the precocious young Ralphie grew up to become this rather dull person.

The rest of the show has been propped up nicely by two excellent “fantasy” production numbers – “Ralphie to the Rescue” and “You’ll Shoot Your Eye Out” featuring the tiniest, impressive tap dancer on Broadway, Luke Spring.  Choreography by Warren Carlyle with direction by John Rando perk up the proceedings immensely.

When Ralphie cannot convince his mom, he goes to his teacher Miss Shields (a fine Caroline O’Connor) and then to a cranky and alcoholic swilling Santa (Eddie Korbich).  We never doubt that he’ll get his gun – it just takes a while to get through all the obstacles put in place – which include a couple of bullies who treat the co-ed chorus of “wimps” badly until Ralphie steps up to the plate, pink bunny pajamas, a tongue sticking to a cold flagpole, the two bloodhounds and a large leg lamp that his dad wins in a contest “A Major Award”- another great production number.  All silly stuff but family fun nonetheless.

While A CHRISTMAS STORY, the musical spreads nostalgic, endearing and sometimes delightful moments across the footlights – in fits and starts, it doesn’t fully deliver the hoped for charming and inspired package of goodies.  But who can resist a chorus of tap dancing kids, a plastic leg lamp and a pair of capricious canines?

www.AChristmasStorythemusical.com Photos:  Carol Rosegg

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