Oscar E Moore

Thank you Alexander Dinelaris for writing such a moving, powerful, heart wrenching, heartbreaking and completely heartfelt play.  Thank you to the New York Theatre Workshop for producing RED DOG HOWLS.  And thank you to director Ken Rus Schmoll for his beautiful and sensitive staging and for casting a trio of superb actors – Alfredo Narciso, Florencia Lozano and Kathleen Chalfant who is giving what could be considered the best performance of her illustrious career.

There is nothing like an extraordinary play to rekindle ones belief in theatre.  That theatre can be enlightening and meaningful.  There are certain productions that take you completely by surprise and make you realize the power that theatre holds.  Seeing RED DOG HOWLS is one of those instances.

The sound of a melancholy violin starts us off on a journey of Armenian history along with Michael Kiriakos (Alfredo Narciso), a thirty four year old writer married to Gabriella (Florencia Lozano) of Italian descent who is pregnant with their first child, attempting to deal with his absences to visit with his newly found grandmother and the resulting tensions at home.

Michael will speak to us directly many times from the three acting areas nicely designed by Marsha Ginsberg during the ninety minutes it takes to reveal a secret.  A secret that has to do with a pile of letters, nine to be exact, that he discovered after his father had died with instructions not to read them. 

Granting his father his last request he doesn’t but follows up on the address on those letters which brings him face to face with his ninety one year old grandmother – a tough, determined, physically and mentally strong and altogether sensible Rose Afratian (Kathleen Chalfant) who has suffered through the 1915 Armenian Genocide.

It takes a while for them to get to know one another and longer still for her to divulge the information that her grandson has come seeking.

RED DOG HOWLS is expertly written.  The story.  The structure.  The words.  The choice of words.  The play on words.  Their delivery.  The intelligence.  The humor.  The repartee.  All make for a most riveting theatrical experience.  One that you will not soon forget.

And then, the last monologue delivered by Rose – after months of nourishing Michael to strengthen him for what he must do – will have you at the edge of your seat, silence permeating the theatre, the sole sounds coming from Rose that will completely drain you emotionally.

The only other thing you need to know about RED DOG HOWLS is that you must see it.  No matter what.

www.NYTW.org   Photo:  Joan Marcus

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I suppose with all of the revivals being produced on and off Broadway this season we should be grateful for anything original, especially if it includes the American stage debut of Mr. Jake Gyllenhaal – who is terrific by the by.

IF THERE IS I HAVEN’T FOUND IT YET written by Nick Payne is an import from across the pond.  This production designed by Beowulf Boritt with pull-all-the-stops-out- overboard direction by Michael Longhurst includes the pond which lines the foot of the stage at the Roundabout Laura Pels where, when we enter it is raining heavily with a clump of furniture piled high center stage including a tub.  Pieces when used are discarded in the moat by each of the four characters.

Is there a way out of this mess? precedes the title and I was wondering the same during the 90 minutes or so drama without intermission, as it comes across a tad pretentious and one of the newest examples of the Theatre of The Absurd.

Here’s the lowdown:   The glum and morose Anna (Anne Funke) is being bullied and beaten up at school.  Her only friend is a bag of chips.  She is, needless to say, overweight and has been suspended because of an altercation.  Her frustrated mother Fiona (Michelle Gomez) teaches drama at the school (as if she doesn’t have enough at home) and is disliked.  Fiona’s unseen mum on the phone is suffering from dementia and calls often.  Husband George (Brian F. O’Byrne) is more interested in Global Warming and Carbon Footprints (he’s writing a lengthy tome about such) than his wife or daughter.

Enter the star – a big fish in a little pond – Jake Gyllenhaal as Terry, unlikely pot smoking brother of George who unexpectedly arrives supposedly trying to reconnect with the unseen Rachael.  He is a charming vagrant with a foul mouth full of obscenities and a ton of idiosyncrasies which include a jumpy leg and a tendency to pull up his trousers in rap  gangsta style.  He wants to help Anna and they form an unusual bond.

In a series of quick cinematic scenes this all unravels.  You’ll know when the end is near when most of the furniture is floating.  Are we all doomed?  Are we worth saving?  Is Global Warming responsible for not being able to understand a lot of dialogue due to the accents and lack of projection especially Anna with her hanky covering her bloody nose and soft spoken sullen approach?

Natasha Katz has done another fine job with her lighting which I hope is well grounded.

By play’s end it’s “water, water everywhere and not a drop to drink” which was my cue to head home for a stiff one.  Through November 25^th.

www.RoundaboutTheatre.org Photo:  Joan Marcus

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Imagine being in the wrong place at the wrong time.  Imagine being arrested for a crime that you did not commit.  Imagine being incarcerated for twenty two years on Death Row for said crime.  Would you have the tenacity, courage and faith to survive – believing all the while that one day justice would be served and that you would be set free?

This nightmare could happen to any one of us as it did to the people whose true stories are told in the 10^th anniversary revival of the award-winning THE EXONERATED now on stage at 45 Bleecker Street presented by the Culture Project in association with The Innocence Project trough November 4^th in a production that is stark, subdued and immensely powerful – told “in their own words” from Death Row.

There are ten chairs and ten music stands and ten extremely fine-tuned actors to tell the collected frightening stories of the characters, tinged with dark humor.  Beautifully put together by writers Jessica Blank and Erik Jensen who have done their research well – interviewing the actual participants, poring over court records and transcripts and case files they have managed to document the most horrible of crimes – having a person’s identity stripped away – being replaced by a number – for the longest amount of time before lady luck shone down on them for a reprieve.

And then what?  They are released only to find a new world that they cannot adjust to.  Having to learn how to feel again after being broken down from being in prison and dealing with the horrors they have experienced.

These people are well spoken, speaking from their hearts.  They are sometimes poetic and philosophical.  Sometimes angry.  But all the while believing.  It’s a wonderful testament to the human spirit of survival.

It’s interesting to note that many of the incidents took place in the Deep South circa 1970 – Texas, Mississippi and Florida.  Blacks and homosexuals were prime targets as well as some white folks with the supposed Justice System having a blind eye to the truth – tricking them into falsely confessing and simply refusing to listen.

THE EXONERATED has a rotating cast.  As Sunny Jacobs, Stockard Channing was totally inspirational and moving especially when she introduced the real Sunny Jacobs whose description of her husband’s execution will keep you awake for nights after seeing this docudrama.

Brian Dennehy as Gary Gauger, Delroy Lindo as Delbert Tibbs and Chris Sarandon as Kerry Max Cook (who suffered untold indignities at the hands of his prison mates) are each excellent as they relate their woven together nightmares with fantastic lighting by Tom Ontiveros and sound effects by David Robbins.

Bob Balaban has directed with a sensitive, sure hand making this a truly memorable experience.

With Jim Bracchitta, Amelia Campbell, Bruce Kronenberg, Curtis McClarin, April Yvette Thompson and JD Williams.

Other rotating cast members include:  Steve Earle, John Forte, K’naan, Lyle Lovett and Brooke Shields.

Ninety mesmerizing minutes without intermission.

www.cultureproject.org Photo:  Carol Rosegg

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The road to Broadway for the new musical CHAPLIN which originally was titled BEHIND THE LIMELIGHT (New York Musical Theatre Festival 2006 book, music and lyrics Christopher Curtis) and then going on to the La Jolla Playhouse (where Thomas Meehan was hired to co-author the book) has been at the very least rocky with as many highs and lows that the real life Charlie Chaplin experienced with his rapid rise to fame and fortune and then being reviled for assumed Communist activities resulting in his fleeing the USA where he made millions as “The Little Tramp” for Switzerland.

Director and choreographer Warren Carlyle along with his expert design team (Beowulf Boritt set – Amy Clark/Martin Pakledinaz costumes – Ken Billington lighting and Jon Driscoll projections) have come up with a “concept” for this production running at The Ethel Barrymore Theatre that is both clever and sometimes distracting.

We are witnessing the making of a black and white movie of Charlie Chaplin’s life – in which the sets, costumes and make-up are all in varying shades of grey.  What first impresses soon becomes drab causing this charming musical to bog down in its subdued and solemn color palette.

There are moments of brilliance (especially the creation of “The Little Tramp” by Chaplin and the boxing match with Chaplin’s three wives) but they are surrounded by that sad, repetitive color grey that makes CHAPLIN difficult to fully embrace.  Repetitive can also describe some scenes and songs in Act I.

Were it not for its leading man Rob McClure – who should rightfully have his name above the title as star of the show – CHAPLIN might not make it.  He is “The Little Tramp” and Charlie – two distinct personalities of the man which always bothered the real Chaplin – at least according to this scenario.

The charming Mr. McClure walks a tightrope.  He roller skates.  Plays a violin.  He throws a cream pie in the face of Mack Sennett (Michael McCormick).  He can sing and dance, do pratfalls and has the mannerisms of Chaplin down pat.  And he is funny.  And touching, especially in Act II where he has a powerhouse number “Where Are All the People” that shows real passion and character after being hounded by Hedda Hopper (a fierce Jenn Colella) the witch huntress of all witch huntresses.

Zachary Unger as the young Charlie Chaplin and Jackie Coogan (who tugs at your heart strings) is spectacular and almost pulls the rug out from under McClure.

As Sydney Chaplin – brother and business manager – Wayne Alan Wilcox gives a steadfast and very heartfelt performance always trying to have Charlie visit their mother Hannah (Christine Noll) suffering from dementia who is annoyingly ever present throughout the show giving Charlie cause to feel remorse, guilt and inspiration for his films.

The love of this womanizer’s later life, Oona O’Neill (Erin Mackey) accompanies Chaplin back to the States to receive his honorary Academy Award with a most touching finale “This Man.”

This production of CHAPLIN is entertaining but not half as much as BEHIND THE LIMELIGHT which I thought was brilliant.  What I remember most was the beautiful way the story unfolded with songs that were character driven and which furthered the plot as opposed to one production number after another and the character of Edna Purviance, lover and star of his films, that has been cut.  She sang a most memorable “Somebody’s Going to Love Me More” – that I truly missed.

www.ChaplinBroadway.com Photos: Joan Marcus

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The Mint Theater seems to be an oasis for elders seeking to find their Mecca in the form of good old fashioned plays (at reasonable rates) that the Mint happily and repeatedly supplies.  Its latest foray into the past which is surprisingly up to date is MARY BROOME – written by Allan Monkhouse in 1911.  This impressive, vibrant and fresh production is its first revival in New York that should interest younger audiences as well.  Some things are well worth waiting for.

A bit of Shaw.  A bit of Wilde.  A bit of Upstairs/Downstairs make MARY BROOME a smart, witty and biting comedy with great dialogue and timeless arguments.  A microscopic look into the morals and beliefs of a well to do Edwardian family – the Timbrells – whose lives are turned topsy-turvy when their youngest son Leonard (an excellent Roderick Hill) admits to having an affair with the naïve Mary Broome (Janie Brookshire), the appropriately named maid of the household (who now has a bun in the oven) on the eve of his brother Edgar’s (Rod Brogan) wedding to Sheila Ray (Julie Jesneck).

The various reactions to this startling and scandalous piece of news keep us wondering how it will all play out.

Which it does, beautifully and unexpectedly in two concise acts lasting one hour and fifty minutes with intermission under the superb direction of Jonathan Bank on a lovely set designed by Roger Hanna featuring original and unusual portraits that change with the very entertaining scene changes.

Period costumes by Martha Hally are fashionably appropriate.  Sound design by Jane Shaw makes use of a “Bird in a Gilded Cage” CD which is available for sale in the lobby along with other books, mugs and the fabric used for the Timbrell’s sitting room.  The Mint is a great merchandiser as well as a brilliant finder of lost plays.

Leonard is a writer, a callous cad who can be awfully cruel in his quest to be completely open and honest.  No one understands him.  He never has any money – borrowing from one and all – he is an equal opportunity moocher.  Without an actor who can take these negative attributes and turn them around so that you like him is quite an accomplishment.  And Mr. Hill does just that.  He is terrific in the part and at times you almost feel sorry for him.

As Mary, Ms. Brookshire has just the right touch of naiveté and lower class accent to be believable as she slowly becomes aware of what she must do to survive.  She is quite moving as she transforms herself into a more knowledgeable woman who takes control of her life.

Graeme Malcolm as the ultra strict patriarch Edward has just the right bluster about him and is just as brutish as his son whom he criticizes.  Mrs. Timbrell (a fine Kristin Griffith) takes a shine to Mary as she has been through all this before.  Pity the poor ladies of that period who were treated so badly and their contemporary counterparts.

Patricia Kilgarriff takes command of the stage with her brief role as Mrs. Greaves, the young couple’s landlady looking to be paid and Jill Tanner and Peter Cormican are top notch in the dual roles of Mr. & Mrs. Pendleton and John and Mrs. Broome.

Katie Fabel and Erica Swindell round out the excellent ensemble.  But the show belongs to both Roderick Hill and Janie Brookshire as the unlikely lovers.  Through Oct 14^th.  Highly recommended.

www.minttheater.org Photos:  Carol Rosegg

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Good story telling never goes out of style as evidenced by the extremely satisfying three course gourmet meal served up by Pulitzer Prize winning playwright Horton Foote with his trio of short one act plays HARRISON, TX now running through September 15^th at Primary Stages 59 East 59 Street.

His daughter, Hallie Foote, is keeping the tradition alive after the death of her dad in 2009 as custodian and prime interpreter of his works.  And after viewing some of the various Fringe Festivals experiments in playwriting it was a welcome relief to see this expertly written, acted and directed production.

When you have a great playwright who can muster up detail, convincing dialogue and drama and actors who understand the nuances of character – who know how to listen -and who know how to fill in the silences – and an exceptional director (Pam MacKinnon) who call pull it all together seemingly effortlessly with simplicity and style not much can go wrong.  And with HARRISON, TX everything goes right.

All three take place in Harrison, Texas the imaginary location very similar to Wharton, Texas where Mr. Foote chose to dramatize the characters and goings on in that rural area of America.  Mr. Foote was an astute judge of character and a master of what I have decided to call “the squirm factor” which is present in all three plays.

The first, BLIND DATE, has a very funny set up.  Dolores (Hallie Foote) has arranged for her glum, stubborn and opinionated niece Sarah Nancy (a riotous Andrea Lynn Green) to meet Felix (Evan Jonigkeit) at home in 1928 where a very hungry husband -Robert (Devon Abner) expects to be fed after a hard day of work.  Prepping Sarah Nancy on the art of conversation is priceless as is the squirming Felix as he tries ever so hard to be polite and a gentleman at all costs.

The second, THE ONE-ARMED MAN has a much darker tone and takes us by surprise.  Its shock value is heightened especially after the recent shootings near the Empire State Building by a disgruntled employee who goes after his ex-boss.

Mr. Foote has the insensitive owner of a cotton mill hit by hard times (1928) an excellent Jeremy Bobb as C.W.Rowe squirming as he is confronted by McHenry (Alexander Cendese) an ex-employee who has lost his arm in an accident and wants it back.  Trying to stay calm, with an eye always on the irate McHenry, Rowe desperately tries to negotiate by offering the man what he can.  It is extremely compelling and chilling.

The third and longest of the trio is THE MIDNIGHT CALLER which takes place in 1952 in a boarding house run by Mrs. Crawford (Hallie Foote).  The resident boarders include “Cutie” Spencer (a sensitive and amusing crier Andrea Lynn Green), Alma Jean Jordan (the always excellent Mary Bacon), an older spinster teacher Miss Rowena Douglas (a tame and moving Jayne Houdyshell) who all get to squirm when the dashing and recently divorced Mr. Ralph Johnson (Jeremy Bobb) and Helen Crews (Jenny Dare Paulin) move in – upsetting the normal, mundane routine of its inhabitants.

Helen has a rather bad reputation in town with her ex-boy friend Harvey Weems (Alexander Cendese) who drunkenly visits the house every night since their separation and turns everyone’s lives upside down.

Wonderful character studies, homespun humor and attention to detail make HARRISON, TX worthy of a visit.  No intermission.  Ninety plus, very satisfying minutes long.

www.primarystages.org Photos:  James Leynse

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Over at the Cherry Lane Theatre is one of the most bizarre, unsettling and purely theatrical offerings of this years FringeNYC Festival.  It is called THE DICK AND THE ROSE but it might have been subtitled “a ME production” as its writer, director and composer Robert Biggs also performs in the production as the character ME – its narrator.

A ringmaster who becomes more and more angry as he introduces each of the nine scenes that comprise this 55 minute meditation on infanticide while charming the audience with his off handed, casual manner and playing of several instruments, including a euphonium.

One of the most striking aspects is its set design by Emily Justice Dunn – a diaphanous round silk sheet with lots of holes punctured throughout.  There is also an oven allowing the characters to emerge and disappear.  The production is very Fellini in its circus like setting and presentation.

Which brings me to the most impressive Caley Milliken, an excellent performer, who is the Circus Girl/Crone. It is she, with her rose, who becomes enamored of one of the largest and most active pseudo phallus ever seen on stage.  With the girth of an elephant’s trunk and endless length it stalks her in and out of the previously mentioned holes.  It belongs to the Sleeper (a strong Ron Botting).  As they tango their way through their courtship many, many puppet children are born, sticking their heads through the very same holes.  It is an absolutely weird and wild sight.  In addition, they sing.

Operating all these shenanigans under and outside of the sheet are five equally talented Ministering Angels (Gail Shalan, Kelsey Jayne Hogan, Jake Elitzer, Evan Gambardella and Jennifer Vargas) led by Bandleader Ian Milliken.  They, at times, join in with some instrument and stagehand chores.  The entire show’s movement (Barbara Allen) is choreographed down to the split second as it flows by quietly sneaking up on you to its horrible conclusion.

All those demanding, screaming kids just make Circus girl nuts and so she kills them.  Caley Milliken has every emotional nuance there can be to portray her descent into this diabolical territory.  You cannot take your eyes off of her especially as the old crone who sings an extremely strange lullaby.

The costumes, puppets and mask are the design of Jim Day and they are strangely correct.

THE DICK AND THE ROSE is a daring, surreal and wonderfully theatrical venture into the darkest of deeds previously unspoken of except in Greek tragedy.  Hopefully there will be an audience beside a Fringe Festival audience to see this modern day tragedy to stop the madness that we so often read about.  NO LATE SEATING.

www.dickandrose.com

www.FringeNYC.org

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Why wasn’t I standing and cheering enthusiastically at the end of NIGHTFALL ON MIRANGA ISLAND at The Players Theatre as I did when I saw the original version in Oct. 2011 at The Magnet Theatre, both directed by Justin Moran?

This 2.0 version of MIRANGA ISLAND is an unnecessary makeover by its creators Justin Moran & Jonathan Roufaeal (Book & Lyrics) and Music by the Podd twins Adam & Matt.

I was so disoriented that when I arrived home I immediately compared both programs.  Can it be that in trying to outdo themselves that they might have done themselves in?

With nothing to compare this production to, the audience ate up every outlandish, over the top plot twist, zany character and musical number.  (Is there such a thing as blatant innuendo?)  I however, unfortunately, had the original tucked in the back of my all too good memory.

And so writing this review is quite difficult.  I am still a charter member of the Justin Moran fan club and his entire troupe of improvisational actors and will remain so.  But I was looking forward to revisiting MIRANGA ISLAND and not being waylaid; stranded on a sand bar.

The basic plot remains the same.  Declan (Travis Nilan) spit curl in place, along with his loyal manservant Balric (Jonathan Roufaeal) is out to revenge the death of his father by Martin La Foe (Mark Borum) and kidnapping of his sister ten years past whom he seeks to rescue.

His journey brings him to Miranga Island where King Azahd (Christopher Simpson) reigns.  There is a blacksmith, Grizwald (Nick Kanellis – with the best song in the show) to forge a secret weapon, a love interest for Declan, Clara (Molly Moran) and a one eyed blind Colossus Guard (Jon Bander).  There is also the incredibly talented and hysterical Claire Nuemann as the imprisoned Rebecca – please write a show for this tortured damsel!

Newly added are The Minstrel (Desiree Nash) who also wants to kill La Foe – while telling her sad back story with a violin played with her epee.  Leon (Ryan Nelson) the resident Island tour guide, who is always asking for tips – the monetary kind – and blaming the absent Glen for misunderstandings that abound. 

Spatula Dave a pirate with said spatula instead of a hook (the remarkable Nick Kanellis again with another great song including high kicks with his fellow pirates) is part and parcel of the makeover – which includes a new opening number – the catchy “All Roads” that nicely wraps up the finale.

But I much preferred NIGHTFALL ON MIRANGA ISLAND the first time around.  NO LATE SEATING

www.compasstheatrical.com

www.FringeNYC.org

NOTE:  This is the link to my original review

http://oscaremoore.com/nightfall-on-miranga-island-%e2%80%93-off-off-b%e2%80%99way%e2%80%99s-swashbuckling-new-musical

Art Work:  Mike Short

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I’m still laughing.  I’m still amazed at the blast of unabashed young talent that makes the world premiere of PANORAMANIA so refreshing.  So exciting.  So musical.  So merry and so smart.

Who would have thought that the life of an unknown artist, an artist from the mid 19^th century that many people have never heard of with a name that is difficult to pronounce – John Banvard (bon-verd) whose fifteen minutes of international fame came from his “Grand Moving Panorama of the Mississippi” – a very long (reputed to be three miles) painting that with the help of a wooden crank just kept rollin’ along – a precursor of moving pictures – a new fangled idea that his son John Jr. pursued – could be so entertaining?

Well, David Jackson who wrote the amazing and incredibly hysterical and heartfelt book.  And Jacob Sexton who has masterly directed this zany opus are the wunderkind creators of this enlightening production that seriously questions what the artists’ purpose in life is and can he possibly make a living with his art.  And what is more important – art or family?

In addition we have the ear catching melodies and clever lyrics by PartyFolk (the band) our two musical narrators as such – Leah Latella and Noah Chase with their banjos, ukes, guitars and mandolins making toe tapping and foot stomping songs that make for a most enjoyable time – “Yes I Can”, “Here We Go”, “Mine Is Longer” and the title song are standouts.

The other members of the band are behind a large sheet that spans the stage with the intended use of showing projections by Closing Eye Studios.  At the performance I attended “technical difficulties” made this impossible.  There were no projections.  With all due respect to Closing Eye Studious they weren’t missed – enabling all the manic energy and staging to take place before “a blank canvas” – having the audience supply with their own imagination what we were to see.

Each short scene that travels back and forth in time is so wondrous and set up perfectly that the missing images, I think, might just complicate things unnecessarily.

What’s most important is that John Banvard is portrayed by an exciting new talent – R. J. Vaillancourt who has a unique style and great comic timing and enough energy to run a steamship.  He’s amiable.  He’s goofy.  He’s trying to save his theatre from being taken over from P.T. Barnum (a spry Brendan McDonough) with the help of his business partner William Lilliendahl (Brandon Zelman – another great discovery) who has kept John afloat for many years enabling him to paint and pursue his dreams and to sire seven children with his wife Elizabeth (Erica Hernandez).

John Jr. (Blake Sugarman) Edith (Sarah Hegarty) Ada (Kabby Borders) Gertrude (Emily Rose Prats) Elizabeth (Leah Latella) Daniel (Noah Chase) and Eugene Banvard (Tyler Gattoni – a young Hugh Grant) have individual personalities that are immediately striking – and they get to play many other characters – including Queen Victoria, Dickens, and Henry David Thoreau with extraordinary aplomb.

Keeping up such a manic Marx Brothers pace is almost impossible and Act II momentarily looses its focus but all in all PANORAMANIA is wonderful work of art.

At the New Ohio Theatre.  A production of (Breathing Time Machine) as part of FringeNYC.

www.panoramaplay.com

www.wearepartyfolk.com

www.FringeNYC.org

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What better way to introduce children to the ballet than to take them to see ORPHAN TRAIN which is being performed as part of FringeNYC – a production of The Present Company and The Covenant Ballet Theatre of Brooklyn at The New School for Drama Theatre on Bank Street.

Director and choreographer Marla A. Hirokawa must be congratulated for presenting such an inspirational, educational and fitting tribute to the Rev. Charles Loring Brace (Matthew Westerby), founder of the New York Children’s Aid Society who came to New York in 1849 and was horrified to witness the abandoned, neglected and impoverished street urchins of New York begging, stealing and trying to escape abusive parents.

Attempting to offer them a better alternative he created the Orphan Trains (1853- 1929) which would transport thousands of children out to the Mid-West to be adopted by welcoming farm families giving them an opportunity for a new life.

In eight beautiful scenes, lasting a little more than an hour Ms. Hirokawa’s 1997 narrative ballet tells this moving and heartbreaking story with a nod to Agnes de Mille and Martha Graham.

Stark reality is wonderfully conveyed by this fine company of actor/dancers who with a look or a gesture augment the excellent choreography.  There are no Sugar Plum Fairies here but real, honest to goodness people that are hard to forget, especially when siblings are separated.

In case you think that the subject matter too strong or adult as I did, I can only say that sitting in front of me was a couple with their baby on mama’s lap and three other children of various ages who sat fascinated at everything that was happening on the stage, which included their sister’s dancing.

The pre-recorded score is a “quilt” of five 20^th century composers: Peter Sculthorpe, David Diamond, Alberto Ginastera, Hector Villa-Lobos and Peggy Stuart Coolidge which somehow works perfectly to enhance the various shifts in mood of this gut wrenching 19^th century story.

Dylan Baker as the chief pick pocket and then head of one of the Mid-Western families is a fantastic dancer who would fit in nicely in the Broadway musical NEWSIES.  Everyone in the company is excellent which includes thirteen students of CBT Dance Academy.  They give their all as a tribute to this fine Reverend who gave his all to help so many children find a better life.  1997?  Why?  It’s important, that’s why.

www.orphantrainballet.com

For a clip of the “Midwest Opening Scene”  http://www.youtube.com/watch?v=4ai5QRkf1sY

For a clip of “Pickpocket Gang”

www.youtube.com/watch?v=dNE_UkiGNPg

www.covenantballet.org

2085 Coney Island Avenue, Brooklyn NY 11223

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