Oscar E Moore

SPOILER ALERT!  The author of FALLING, Amy E. Witting, has requested that I take down this review as it gives away too much of her plot.  See comment at the end of this post.  So, please DO NOT READ THIS REVIEW if you do not want to know what this play is about.

There has been a motorcycle accident involving other cars on I-95.  Only we do not know this immediately.  James (Josh Bywater) and Mildred (Kerry Fitzgibbons) are in surgery as this surreal and unnecessarily complicated play by Amy E. Witting slowly attempts to become clear.

Snippets of dialogue, inner thoughts of the characters begin this confusing 90 minute opus.  A road map would help to figure out the relationships of all who are on stage that has three acting areas – the main one being an all white hospital waiting room with a clock frozen in time.

Back and forth in time we travel with director Jacob Titus at the helm as we find out who these people are. 

Mildred, an attractive history teacher is on her way to Boston via train where her boyfriend Drew (Billy Weimer) waits intending to ask her to marry him.  James, a writer sits down next to her and immediately begins to flirt despite the fact that he is married for twenty years to Jessica (Tiffany May McRae – no wedding ring in sight) who is waiting at the hospital for James’ sister Poly Anna (Elanna White) to arrive.  Poly Anna, a Goth girl who speaks rapidly and sometimes incoherently, is into cutting herself and hates Jessica who knows nothing of the seven month affair that has developed between Mildred and James.

Mildred’s sister Beth (Janine Kyanko) knows of the affair but has remained silent.  She hates knowing but likes them together.  Yes, they make a fetching couple – Mildred and James.  But they are very unlikable characters played romantically and intensely by two extremely likable actors – Mr. Bywater and Ms. Fitzgibbons.  You can almost excuse their horrible behavior towards their respective loved ones.  Or supposedly loved ones.

It’s hard to imagine Drew waiting around for seven months as his girl friend goes off every weekend without him.  Not to mention the wife of twenty years.  But they do make an attractive couple as we watch their relationship develop over glasses of wine and talk of Winston Churchill.  And then there is the accident.  Payback time?

Meanwhile back at the hospital food is flung at the wall, back stories are revealed and many card games of GO FISH are played.  Your turn, GO FISH.

www.fallingtheplay.com

www.FringeNYC.org

NO LATE SEATING   The Connelly Theatre 220 East 4^th Street (Ave A & Ave B)

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Actors who are not yet members of the “Union – AEA” are considered non-equity.  And these actors will do just about anything to get into the union – play cows, go out of town, stay at seedy hotels and pretend to be what they are not all the while smiling.

They have to if they want that all important card.  But before they get their big break and their Actors’ Equity Card they spend hours and hours walking dogs, looking for an agent waiting tables and waiting to be auditioned – sometimes waiting for naught.

One such actress is Danielle Trzcinski.  She has gotten so fed up with this system that she has written an exciting and savvy new musical about the trails and tribulations of such actors – NON-EQUITY the musical along with Paul D. Mills (at the piano) and they will most probably never have to worry about such problems again.

NON-EQUITY is a delight. A hybrid of FORBIDDEN BROADWAY and a prequel to A CHORUS LINE done in the format of a revue akin to THE UPSTAIRS AT THE DOWNSTAIRS harking back to traditional musical comedy songs that are terrific, satiric and melodic which come with a huge dose of heartfelt sentiment.

Ms. Trzcinski plays Wendy Gibson (her alter-ego) and there is not a bitter bone in her body.  Well maybe one or two tiny ones but most of her bones are funny.  As she explains through her characters in song what it is like to live the life of a non-equity actor you will be enlightened and thoroughly entertained.

Helping her is her talented company of distinctive non-union characters:  Felicity (Lindsay Morgan) Ezra (Keith Antone) Luke (Pierce Cassedy) Charlie (Joe Donnelly) and Beonika (Nichole Turner).  All fine, either singly or together as they chart the harmonious territory with the able direction of Christian Amato and choreography by Sam Doblick.

Playing a series of “Monitors” wearing an assortment of wigs and having a lithe body reminiscent of an Ibis, Emily Swan is an absolute dead pan riot.  As we see the actors preparing and auditioning experiencing great difficulties along the way carefree Stephen (Dominic Sellers) pops in here and there and immediately is auditioned because he has some connection with the Monitor herself or with someone she is connected with.  It is a great running gag.

One stand out song from the excellent score is “Phenomenal” – and it is just that sung by Wendy.  We learn that the reason they go through such muck – humiliation and discrimination – is because they love what they do and have to follow their dreams in order to be happy. 

The cast seems to be reveling in performing this show which surely will have an extraordinary future.  If only they could cut about 15 minutes.  I know it’s difficult when all the material is so good, but as they saying goes “leave them wanting more.”

At The Players Theatre 115 MacDougal Street

www.NonEquityTheMusical.com      www.FringeNYC.org

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The good news is that this exhilarating and highly entertaining competitive cheerleading new musical BRING IT ON, in a limited run at the St. James Theatre, has been extended through Jan. 20th, 2013 making it an ideal holiday gift for the entire family.

Based on the 2000 motion picture, it would have been easy for the top flight team of Broadway collaborators (Libretto – Jeff Whitty, Music Tom Kitt & Lin-Manuel Miranda and Lyrics by Amanda Green & Mr. Miranda) to simply rely on the spectacular gymnastics inherent to the story but they have skillfully crafted an inspirational and believable story that centers the piece, with wonderful witty lyrics that are character driven, defining the many high school characters to a Tee, dialogue that is contemporary, idiomatic, swift, economical and very funny and music that embraces the two styles of the two schools – Truman High and Jackson High.

Peer pressure, wanting to fit in, jealousy, revenge, friendship, discrimination and what is truly important in all our lives are put to the test here.  A test which includes winning the National Cheerleading Competition at all costs.

Your typical blonde beauty, Campbell (the excellent Taylor Louderman) wanting desperately to be the new Team Cheerleading Captain of Truman High is suddenly transferred to the multi racial Jackson High where she no longer has the influence she once did.  They don’t even have a cheerleading squad.

Meeting her match, the feisty Danielle (the equally excellent Adrienne Warren) and her fellow sidekicks – Nautica (Ariana DeBose) and the scene stealing La Cienaga (Gregory Haney) who can decimate with a glance or a single word, Campbell tries to fit in. 

As did the plump but willing to try almost anything Bridget (an amazing Ryann Redmond – a female version of Josh Gad) at Truman High who was the team’s mascot – dressed in a parrot suit.  She has also been rezoned to Jackson where she blossoms, finding a new friend Twig (Nicolas Womak) who finds her, well – attractive.  And the low key love interest Randall (Jason Gotay) teaches Campbell something more important than winning.

As it turns out the evil Eva (Elle McLemore with a gleaming killer instinct and having some great fantasy moments) whose mom managed the rezoning switch enabling her crafty daughter to take over Campbell’s position and boyfriend Steven (the attractive, muscular but dim Neil Haskell) who does some mean back flips also faces some tough decisions.

Andy Blankenbuehler has done a spectacular, jaw dropping job as director and choreographer with the final National Competition between the competing schools going all out with some professional cheerleaders on board.  You will be amazed at the vibrant and high flying routines on the clever set design by David Korins – who always impresses.

Costumes by Andrea Lauer and stadium type lighting by Jason Lyons add tremendously to the excitement created.  Spot on Video Design by Jeff Sugg only emphasize how important projections have become to theatrical productions.  Perhaps a new Tony Award category should be forthcoming.

Who wins the competition?  You will have to find out for yourself.  You’ll have a terrific time doing so.

www.bringitonmusical.com  Photos:  Joan Marcus

NOTE:  This review is dedicated to Dorothy Lester.

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What a magnificent revival this is.  It seems as though INTO THE WOODS, the 1987 award winning musical by Stephen Sondheim and James Lapine, was expressly written to be performed in the open and under the stars where all of its magic and enchantment fills the air with wonder at the Delacorte Theater which is celebrating its 50^th Anniversary of “FREE” summer productions in Central Park.

This Public Theater production is based on the 2010 Regent’s Park Open Air Theatre London production directed with a fresh and original concept by Timothy Sheader/Liam Steel which features a new look, new insight into character, and a young new narrator (a fine Noah Radcliffe / with Jack Broderick alternating in the role) – which beautifully frames the many interlocking story lines (where everyone wishes for something – and gets it) based on the Grimm fairy tales Jack and the Beanstalk, Little Red Riding Hood, Cinderella, Rapunzel and an original The Baker and his Wife.  And a Witch.

A witch who is the mother of Rapunzel.  A witch who is out for revenge.  A witch who you do not want to mess with.  Played with passion and zeal and tenderness by the exquisite Donna Murphy.   Looking as though she is a gnarled tree come to life, hunched over and bellowing orders to listen, Donna Murphy is simply brilliant.  Watch her climb Rapunzel’s hair in awe.  Her transformation into her previous beautiful self (albeit without her magical powers) is quick and amazing.  Just one of the beautiful special effects throughout the production.  And her demise is literally earth-shattering.

The three tiered set of twigs topped by a nest for Rapunzel with a central spiral staircase by John Lee Beatty and Soutra Gilmour is a work of art that also houses the excellent orchestra – with fantastic sound (Acme Sound Partners) enabling us to hear clearly every single word, syllable and note that Mr. Sondheim and Mr. Lapine have written in this earthy, gutsy, sexy and tender production.

Sarah Stiles as Little Red Ridinghood with her red biker helmet and flash camera is just as excited by the Wolff (Ivan Hernandez) as he is by the thought of having her for dinner.  It’s a lusty “Hello Little Girl” shared by both.

Mr. Hernandez doubles as Cinderella’s Prince and is delightful sharing his song “Agony” with Rapunzel’s Prince (Paris Remillard subbing for an ailing Cooper Grodin).  They are brothers that could be twins – always on the go with a spry and amusing jump to their steps.

The entire cast is to be admired – with special kudos going to Denis O’Hare and Amy Adams as the Baker and his wife who has a most distracting hairdo;  Jessie Mueller as Cinderella who continues on her way to stardom. 

Gideon Glick makes an excellent Jack mooning over his cow Milky White (puppetry by Rachael Canning) and singing a moving “Giants in the Sky”.  His mom is a riot (Kristine Zbornik).  Chip Zien, who was the original Baker, now entertains as the Mysterious Man.  And Glenn Close’s pre-recorded voice of the Giant bellowing – another incredible effect – is an extra added treat.

The finale “Children Will Listen” sung by Donna Murphy and the entire Company is a haunting and beautiful song that will leave you with a haunting and beautiful warning.  INTO THE WOODS soars at the Delacorte.  SEE IT.  www.publictheater.org  Extended through Sept. 1st

NOTE:  There will be a special FAMILY MATINEE – of ACT I on Wednesday August 22^nd at 3pm  www.shakespeareinthepark.org/matinee  Photos:  Joan Marcus/word press

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Chances are that this new “slap-stick comedy” with its attention getting but misleading title BULLET FOR ADOLF wouldn’t be opening at the New World Stages had it not been for the name Woody Harrelson being attached as director and co-writer (with Frankie Hyman).  It’s a shambles of a play, extremely profane without being the least bit profound.  And not very funny.  Unless pedophilia, Nazi and placenta jokes amuse you.

Those thinking that Mr. Harrelson is in the production will be disappointed.  But his distinct voice comes through as the laid back, pot smoking, shot swilling with a beer chaser character Zach (Brandon Coffey).  You can hear Woody’s inflections coming through loud and clear.  Not that there is that much to want to listen to.  He does do a nice variation of the song “Happy Birthday”.

It’s the summer of 1983 in Houston, Texas.  The best part and most entertaining sections of the production are the video projections by Imaginary Media showing media clips, newsreels and commercials of that wonderful year that featured Ronald and Nancy Regan, Crack, Cheers, Vanessa Williams, War, Bill Gates, HIV, Mr. T. and Sammy Davis Jr. singing “I’ve Gotta Be Me” and lots more – a throwback to those “Wonderful Year” segments featured on the Garry Moore television show of the 1960’s but have little to do with the plot.

There is also an interesting concept of having the actors appear on the screen in off stage locations which is a nice original touch.  The music (Sound Design – Brett Jarvis) that accompanies the videos projected on five large screens is also a plus.

But that’s where it ends.  The play rambles on and on seemingly going nowhere but up in refer smoke.  Zack works on a construction site headed by the Germanic Jurgen (Nick Wyman).  The brash, always late and suited, Dago-Czech (Lee Osorio) is being replaced by the new Afro-American guy in town Frankie (Tyler Jacob Rollinson) a charming con artist from up North with a dubious past who becomes Zack’s new roommate along with his existing one – an actor, the neurotic Clint (David Coomber) who prances around in his briefs with one of the most annoying braying laugh of all time.  They all shout at each other.  A lot.

Jackie (Shamika Cotton) works for the Houston Chronicle and meets Frankie when he goes for an interview and he pursues her hot and heavy.  Her girlfriend is the sassy and wise cracking Shareeta (Marsha Stephanie Blake).  Somehow they all get invited by Frankie to the 18^th birthday party of Jurgen’s daughter – Batina (Shannon Garland) who is the ex girl friend of Zack.

There is a gun – a German Luger that had a connection to Hitler.  It is owned by Jurgen and stolen by someone at the end of Act I.  Hence the title, which actually is a red herring.

One would have hoped that Mr. Harrelson would have learned more on the set of Cheers about comedy, character development and direction that are sorely lacking in this semi-autobiographical play of his friendship with Frankie Hyman way back when.

www.bulletforadolf.com     LIMITED TIME ONLY – through Sept.9^th.   Photos: Carol Rosegg

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Good guy or bad guy?  That’s the question that Brandon Wood attempts to answer lock, stock and barrel in this intriguing and promising soft rock meets Nashville sounding musical TOMBSTONE – The Legend of Wyatt Earp that is being presented as part of the Midtown International Fringe Festival at the June Havoc Theatre 312 West 36^th Street.

Not only has Mr. Wood written the book, lyrics and music to TOMBSTONE he also stars as the redemptive guitar playing Wyatt Earp whose story has more ups and downs and twists and turns than the Coney Island Cyclone roller coaster.

Wyatt Earp has left his past behind only to have it resurface as he tries to make peace in the Wild West Tombstone Territory where he finds himself in an odd love triangle.  The newly appointed sheriff Johnny Behan (James Parks) a position that Earp thought he would get turns out to be corrupt and as trigger happy as Earp used to be when he was best friends with Doc Holliday (Don Sandeen) who took the blame for a crime committed by Earp spending three years in jail in his stead.

The new Sheriff’s wife, Sadie Marcus (Taylor Lintelman) is an actress called Josephine who prefers to be called Sadie and isn’t actually married to him and falls immediately in love with Earp with obvious complications ensuing – she being blind to what is actually happening.

Earp tries valiantly “to right the wrongs” of his life.  The “story songs” are big on the message of “picking oneself up and continuing on”.  Nice songs that sound like we’ve heard them before somewhere else.  Musical Director Oliver Blatt does an outstanding job at keeping the show – which is a series of short scenes that cover too much territory even condensed as it is – moving along.  Sometimes actors play along on guitar.

Too often the actors seem not up to the parts they have been cast in.  Mr. Wood, although having a pleasant voice and demeanor might want to concentrate on clarifying and revamping the book than appearing as Earp.

Mr. Sandeen as Doc Holliday gives a strong performance seemingly influenced by Johnny Cash and Ms. Lintelman delivers her songs with a fine sweet natured voice.  Will Schnurr does extremely well as Ike Clanton – who sets his sights on killing Earp at the end of Act I.

Teresa Fallon does a serviceable job as director and there are a few shoot out scenes that work quite nicely.  With some additional work TOMBSTONE – The Legend of Wyatt Earp and cast with more seasoned actors could accomplish what Mr. Brandon has set out to do.

www.TombstoneTheMusical.com

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It’s a smoker – the very last one vs. the non-smokers in this absurd farce of a musical – THE LAST SMOKER IN AMERCIA – which is the brain storm of Bill Russell (Book and lyrics) with a rock /rap/Modernaires influenced score by Peter Melnick.  What were these two smoking to come up with such an irritating and ridiculous show?

Out of work Ernie (an energetic and dedicated John Bolton) has quit the habit and is a member of Smoker’s Anonymous and dreams of being a rock star.  His wife Pam (Farah Alvin with pipes like iron) adamantly refuses to give up her last cigarette even though it has become a crime to even have a cigarette let alone smoke one.  There is some kind of machine up on the wall that can sniff out smoke and give updates on what will happen if caught. 

Their annoying son Jimmy (Jake Boyd) fancies himself a “Gangsta” rapper, the result of too many video games and his desire to be one of his Black heroes.  In fact, he thinks he is Black.

Nosey next door neighbor Phyllis (Natalie Venetia Belcon) – who is Black and a Jesus freak, refuses to tolerate Pam’s addiction.  She is played way over the top as a full blown cartoon prancing around the stage of the Westside Theatre where this show is now playing. 

That she also happens to be having wild sex with Ernie just complicates matters.  His reason for this is:  Pam smells so much of smoke that he couldn’t possibly spend another night sleeping on top of old smoky.  That’s the level of the intended humor which comes across as simply tasteless.

Ernie and Phyllis sing a duet that ends with a shocker of a sight gag, which just might make you gag.  And on another occasion Ernie hands over a rifle to his son and says “Shoot your mom.”  He has a problem with anger management.  That’s all I’ll divulge.

THE LAST SMOKER IN AMERCIA is played without intermission either to prevent people from fleeing or to condense what was obviously a two act show in its previous incarnation at the NYMF 2009.  Pam must flee to save her life and returns a year later to find her son now wearing her red pumps and bathrobe and Phyllis and Ernie in matching pajamas.

Director Andy Sandberg does all he can to save the day, including an uncomfortable attempt at an audience join in sing along with the ironic refrain Help!  Help! Help!  The actors act as back up in some numbers jumping out of the refrigerator and broom closet and changing costumes to glitz up the relentless songs that I just kept checking off as they were finished.

The four actors are terrific singers.  I wish they had better material.  Nicotine Patch anyone?

NOTE:  Bill Russell also wrote SIDE SHOW (Music by Henry Krieger) – a wonderful and original musical that I saw three times.  It’s hard to imagine that this completely inane show was written by the same person.

www.lastsmoker.com  Photos:  Joan Marcus

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Based on Mark Twain’s story of switched identities and performed in French with simultaneous English translations of dialogue and songs projected on a Samsung monitor, Le Prince et Le Paurve (The Prince and the Pauper) is a charming, tuneful and most satisfying surprise at the Midtown International Fringe Festival.

A beautiful yet simple production, an Oliver! meets Les Miz – Le Prince et Le Pauvre boasts an incredibly melodic score played to the hilt by an on stage orchestra of five which includes Piano (David Terriault), Violin (Vincent Kim), Clarinet (Emilie Chamberland), Keyboard-percussion (Chris Barillaro) and by favorite French horn (Fanny Ladouceur).

The music, orchestrations and original stage direction by Julien Salvia are quite amazing for this low budget production that unfortunately played a mere three performances at the June Havoc Theatre as part of the Festival. 

Le Prince et Le Pauvre has also been performed in Paris where it won the prestigious “Marius Award” for Best “family-oriented” Musical 2008 and also at the Centre for Education and Theatre in Montreal.  A very well deserved award, I might add.

The English adaptation by Michael Conley is based on the book and lyrics by Ludovic-Alexandre Vidal which adheres closely to the original text by Twain hitting all the major plot points in this two hour musical that has an excellent ensemble.

London. 1549. St. George’s Day.  Henry VIII’s son Edward (Emilie Allard) accidentally meets Tom Canty (Caroline Mailhot) a poor beggar who has an abusive father (Simon Chausse) and a loving mother (Nathalie Niesing).  It’s incredible how much the two young ladies look like one another playing the two young men and both singing magnificently and believably becoming the two who want to discover how the other lives.

There is the villain of the piece, Lord Hertford (Serge Turcotte) Edward’s uncle who hopes to make a puppet of the boy once he becomes King having himself made guardian of the young boy.  His silly lackey, Gustave (Alexandre Leveille) manages to be both stupid and sincere, turning in an almost show stealing performance. 

Richard Nicolas Villeneuve as Miles Hendon is searching for his long lost love Edith (Genevieve Bastien) who wields a wicked rolling pin saving the day.  He meets and befriends Edward posing as the beggar boy delivering his songs in a robust tenor while Ms. Bastien adds some flirty humor to the proceedings.

It was a brilliant move to cast two ladies in the leads as they are terrific and believable with strong voices.  It was wonderful to be able to care what happens to them, despite the translations sometimes going haywire.  It was an easy pleasure to follow the story line enacted by an expert cast with a score that could one day become a classic.

www.MidtownFestival.org

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Everyone in this ill conceived rock musical, STAND TALL, is being bullied.  Goliath (Gerard Canonico) by his father Cassius – a garage mechanic – abuses his wife and angry son.  The shepherd boy David (Bryan Welnicki) is bullied by Golaith, his arch rock rival and his girl friend Mia (Jill Shackner) because he is “indecisive”.   

Mia, the daughter of the detested King Saul (Jef Canter – who triples as the dad of both David & Goliath) is being forced to marry a Prince she has never met before.   King Saul is bullied by his seven wives and twenty children in a song “Seven Wives”.   Even the Palace Guard is bullied by the King.

Oh yes, there is Black Sheep (Trista Dollison) the messenger, commentator and narrator of this saga who earns her fair share of being bullied too.  I am surprised there isn’t a song “Being Bullied” sung by the ensemble.

The main problem is with the book.  It doesn’t support the concept of using the David & Goliath story to tell of the rock rivalry between the two guys.  David, the chosen one, doesn’t want to be the new King.  He wants to write songs and sing with his band.  A band that Goliath used to be a part of. 

Blending this story line with the legend is an uneasy fit at best.  Nothing makes much sense in this two act show which would benefit by making it a show without an intermission.  And the story line gets in the way of some terrific music.

STAND TALL is staged as a rock concert by director Simon Greiff, with the excellent four piece band on stage (Brent Frederick – keyboard, Fima Ephron – bass, David Jolley – drums, and Bernd Schoenhart – guitar).

The score and book are credited “en masse” to Lee Wyatt-Buchan and Sandy & Aldie Chalmers and that’s how STAND TALL comes across – as a conglomeration of styles and ideas that fit as well together as the glass slipper on Cinderella’s stepsister’s too large foot.

Luckily the cast is excellent, headed by a forceful and dynamic Bryan Welnicki as David who has a terrific voice.  Jill Shackner’s vocals are equally good, bringing to mind Olivia Newton John.  But it is Black Sheep – Trista Dollison who triumphs with her Whitney Houston inspired anthem “Stronger Than This”.

The “epic guitar battle between the biblical rivals” falls flat as they are not playing their guitars – the band is.   Duh!

The wonderful news at the 45^th Street Theatre where STAND TALL is performing as part of NYMF is that the air conditioner is repaired and running full blast.

www.nymf.org    www.standtallmusical.com  Photo:  Matthew Murphy

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Down we go, once again, into that infamous rabbit hole that will lead Alice to Wonderland.  Only this time Alice (Ming Peiffer) is an apprehensive young girl who has problems with her self image, has trouble sleeping, feels lonely, questions what is “normal”, has blackout episodes and has recently tried to commit suicide – prompting her mother to set up a meeting with Dr. Blythe (Fang Du) – a psychologist.

Alice arrives for her preliminary interview with Dr. Blythe which accounts for about one third of this 90 minute play – RELAX! ALICE – part of the Midtown International Theatre Festival.

Slowly he manages to have Alice open up.  They play very well off one another.  Eventually she admits to being someone else when she does sleep and being happier as that person.  It’s obvious that she has trouble with reality and that she finds living her life extremely difficult.  So what does he do?  He prescribes medication – a bottle of pills that remain on the table between them – to make things easier.  She declines and faints.

Scene change.  Wonderland.  The Dr. has become the Mad Hatter – using a completely different voice that works well.  Alice remains complicated Alice.  Ms. Peiffer is quite compelling in the part that she has written for herself.  She is a talented actor and writer.  RELAX! ALICE is an intriguing look at the relationship between Dr. and patient.

In this version of Wonderland the third character is Orchid (Caitlin Davis).  Wearing a hat representing the live orchid that Alice is enchanted with in his office it has come to life to act out the Cheshire Cat.  Ms. Davis is charming – silent for the most part but a strong presence.

Scene change.  Back to reality.  Dr. Blythe is trying to get Alice to awaken from her episode.  She does and asks to go to the bathroom, secretly taking along with her the bottle of pills which the doctor does not notice until it’s too late. 

It’s not clear what message Ms. Peiffer intends to get across although the writing for the most part is very interesting and the dialogue strong.

Director Kat Yen should have had the clock in the Dr.’s office removed or it should have been working.

Produced by the Spookfish Theatre Company.  June Havoc Theatre.  312 West 36 Street

www.spookfishtheatre.org

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