Oscar E Moore

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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Various ways of doing oneself in – a bullet to the head (Richard, an engineer who has made a big mistake – Seth Blum), an overdose of pills (Samantha, a young girl who couldn’t cope with the loss of her family – Jillian Gottlieb), hanging (Andrew, a young misfit – Matthew Corr) and jumping (Jonathan, a Marine – Mike Backes) bring these four seemingly unrelated strangers together in an airport waiting area.

Overseen by Peter – as in The Pearly Gates (Michael-Anthony Souza) they await being booked on their next flight out.  Arriving a bit late is the late girl friend of Jonathan, Cynthia (Ashley Picciallo) who has also ended her life by the same method – jumping – bringing along her bridal veil that she never got to wear.

As they are instructed by song and dance impresario Peter – channeling Ben Vereen at times – they have to resolve whatever guilt and problems they left behind before they can move on.  And they will have to decide who most is worthy to be chosen as there are only two available seats.  An odd scenario for a musical, to say the least.

With a slew of character driven songs, sung dialogue and almost complete underscoring STANDBY, the musical with Music by Keith Robinson & Amy Baer and Book & Lyrics by Alfred Solis & Mark-Eugene Garcia is as interesting as it is odd.

More a song cycle than a traditional book musical, it’s pleasing to the ear while attempting to explain how these random five people are connected which is a bit contrived but sometimes quite moving as they are given a second chance to take an emotional look at their lives to resolve the issues that caused them to commit suicide.

The performers are excellent and their musicianship superb.  The arrangements and harmonies are extremely good.  And the song “To Feel Alive” is as uplifting and life- affirming as anything can be.

Directed simply and professionally by Marc Eardley, STANDBY, the musical with musical staging by Leasen Almquist is at The Players Theatre as part of FringeNYC.  NO LATE SEATING.

www.standbythemusical.com

www.FringeNYC.org

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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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