Oscar E Moore

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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In the dark as the actors enter the performance space at Joyce Soho – 155 Mercer Street – you will hear the clicking and clacking of tap shoes.  As the lights go up and the incredibly wonderful black and white video projections by Ron Amato and the delightful and melodic pre-recorded sound track composed by Wayne Barker begin, bringing us back to he hey day of the silent movie era and the mega musicals of MGM, we are immediately drawn into a day in the life of an average Joe, herein named Bob (Ryan Kasprzak – a combination of Chaplain and a hefty Buster Keaton) who works for Fed Ups and seems to be that nice guy that can have everything that can wrong go, go wrong including causing the stock market to crash.

His hero is Superman and he poses heroically every time he attempts to help only to have his intentions go amusingly awry.

In this charming and imaginative 70 minute “Silent Movie” ballet directed by Mark Lonergan with inspired sight gags galore and choreographed by Ray Hessselink who supplies two great tap numbers that book end the show and lots of dance movement in between where the actors get to “act” without a hint of dialogue we are introduced to the people who will have major impact on Bob’s life.

The lovely and plain Vera (a terrific Kelly Sheehan) with her large black rimmed glasses and rabbit teeth looking like Sandy Duncan channeling Carol Burnett is the cleaning lady of the Statue of Liberty’s crown who just happens to dance like a dream.

The villain of the piece is Libby T. Grump (a slick and fearsome Shereen Hickman), an evil real estate maven with a grimace that brings to mind the late and great Leona Helmsley combined with the guile of Cruella de Vil.  She thrives during the crash and has her greedy eyes set on taking over Miss Liberty, owned by a revivalist kind of guy named Dwight (a passionate Mike Kirsch) who promises to “Makeover Your Life” – everyone’s life.

You don’t have to be Einstein to figure out what transpires but it is all done with great style and is lots of fun. 

Especially the two puppet pigeons, Vera toppling off of the Statue of Liberty (which is a brilliantly inspired sight gag) and a lovely dance sequence in Central Park between the unconventional love birds Vera and Bob.

C.K. Edwards, Alike Emerson, David Kremenitzer, Kevin Loreque, Adrienne Reid, Tim Roller, Robin Levine, Britta Whittenberg and Andrew Kruep (Standby for Bob) comprise the Parallel Exit Company and play a slew of characters in “the amazing adventures of an ordinary guy.”

www.parallelexit.com    www.joyce.org

Photo: Jim Moore

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The special effects by Tony Doublin, John Naulin, John Buechler, Tom Devlin & Greg McDougall are the highlight in this uneven, gore filled, newish musical (It’s been running in LA for a while where it has won multiple awards including “Best Blood Effects” and is headed to the Edinburgh Fringe Festival) are truly awe inspiring and if you do not want to be splashed by fake blood, vomit and whatever it is that fills the intestines then you better not sit in the “splash zone”  where plastic ponchos are offered to protect in the first four rows at PTC Performance Space where RE-ANIMATOR the musical is playing as part of the NYMF.

It’s based on the 1985 B-cult horror “slash” comedy film – “H.P. Lovecraft’s Re-Animator” that Stuart Gordon directed.  Mr. Gordon now shares billing as co-writer of the book of this musical adaptation with Dennis Paoli and William J. Norris and is its director and co-producer.  Eerie music and some witty lyrics have been supplied by Mark Nutter, adding some operatic overtones to the proceedings with a nod and a wink or ten to Zombies, a severed head singing, a tango and a finale that sounds very much like “My Way”.

THE EVIL DEAD and THE TOXIC AVENGER, two similar musicals in the same genre, did it better their way.  At ninety minutes without intermission RE-ANIMATOR takes a time for it to really take off.  The scenes seem truncated and rarely pay off with the many blackouts that probably work better cinematically than on stage.

No songs are listed.  Something that really irks me.  However, with this show it makes sense as it is almost sung-through sounding at times like a riff on Gilbert and Sullivan, with some jazz and Philip Glass thrown in for good measure.   The music suits the production and is there to support the many wonderful aforementioned “special effects”.

The cast of eleven is uniformly excellent.  Herbert West (a maniacal Graham Skipper) is a medical school nerd who has discovered a glowing green serum that can bring the dead back to life – as first tested on the cat Rufus who belongs to Megan (Rachel Avery) who is the girlfriend of Dan (Chris L. McKenna) and is the daughter of Dean Halsey (George Wendt from “Cheers”).  West moves into Dan’s basement where he “experiments”.

Instructor Dr. Hill (a superb Jesse Merlin) is the spookiest character on stage.  He wants the formula and Megan.  One of the most outlandish scenes towards the end of the show has him carrying his head, singing and attempting to devour Megan who is strapped onto a gurney.  It has to be seen to be believed and enjoyed.

Mr. Wendt only blossoms after he has had a lobotomy.  And then he gets to shine.

If blood and guts and gore are your thing by all means check into RE-ANIMATOR the musical.  The special effects really are astonishing, gruesome and very funny. 

www.reanimatorthemusical.com

Photos:  Thomas Hargis

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Joey, Lincoln Center Theater’s War Horse has met his match at the Ice Factory Festival production of MISS LILLY GETS BONED with Harold – an amazing African elephant who has been extremely bad (having killed someone).  Harold is operated by three actors (Brian Belcinski, Adam Blodgett and Aaron McDaniel) to great effect.  It is a master creation of puppet designer and choreographer James Ortiz.

That the play he is featured in, Miss Lilly Gets Boned, by Bekah Brunstetter is equally impressive makes for a unique theatrical experience at the New Ohio Theatre that is fresh voiced, theatrical, extremely satisfying and welcome amid the sea of silly musicals abounding on the fringe festival scene this season.

Sexually repressed Sunday school teacher, Miss Lilly (a remarkable Jessica Dickey who I had seen and admired in THE AMISH PROJECT), remains a virgin at age 31 – keeping herself for a man that she hopes God will send her – frequently requesting such a person in her nightly prayers that are both endearing and funny. For the moment, guilt ridden masturbation is the answer.

One of her students is ten year old Jordan, believably played by David Rosenblatt looking sixteen.  When last I saw and admired him, he was a dog/person in BE THE DOG.  He does an excellent job here, unsuccessfully trying to keep his repressed anger in check regarding the death of his mother by an African elephant – Harold – who is being interviewed by Dr. Vandalla (Sanam Erfani, having the demeanor of a young Audrey Hepburn).  She is speaking with him, trying to understand why he became so violent while attempting to save his life.

When Jordan’s dad Richard (a charming and manly Chris Thorn) arrives to pick his son up, Lilly is immediately uncomfortably infatuated and head over heels crazy for the cad that soon emerges.  But not before she gets boned in a beautifully written and staged seduction in her bedroom.

Her sister Lara (a brazen Liz Wisan) is far more sexually active having gotten HPV, a STD.  She is momentarily “not being a slut” and sublimates by exercising/spinning on her stationary bicycle to burn off her frustration.

Director David F. Chapman keeps everything moving beautifully along between the past and the present with a wonderfully understated sound design by Jill BC Du Boff. 

How this all plays out is unexpectedly shocking, surprisingly moving and bittersweet.

Be careful what you pray for.    www.newohiotheatre.org

A STUDIO 42 and Ice Factory 2012 Production  PHOTOS:  Elizabeth Olson

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There are “fractured fairy tales” and then there is SPOOLIE GIRL – a new split personality musical by Robert W. Atwood (book) and Rosemary Loar (co-book, music, lyrics and vocal arrangements) that simply misfires, not measuring up to its aspirations at the June Havoc Theatre – Abington Theatre Arts Complex. 

Part of the problem with SPOOLIE GIRL is that it doesn’t know who its audience is.  Is it for kids?  For precocious adults?  Or for friends and family?  Most of the time as directed by Karen Carpenter it seems like an elementary school recital.  And clocking in at two hours and two acts it really wears out its welcome early on.

It begins with “Once upon a time…” and ends with “Happily ever after.”  In between we get a lot of lame “fairy” jokes and soft rock songs that go in one ear and out the other.  With the exception of “Bitch Being Beautiful” which is a duet sung by the Fairy Rock Mother (Rosemary Loar) and Catherine Porter (Darla) who is the aunt of our heroine Spoolie Girl (Jennafer Newberry) a teenage orphan from Kenya who has arrived suddenly in her fashionable New York apartment. 

Darla is an absentee aunt more focused on her salon, shoes, shopping and fashion assignments than her niece – who is desperately looking for a real home and in need of a make-over.  Off she is sent to Manuel (German Rodriguez) who has these magic “spoolies” to set her hair in.  Now my mind had wandered off somewhere here so I’m not sure how they immediately give the young girl the ability to hear other people’s thoughts – in song, but they do and she does.

Narrating this tale is Delta Pink (Lennie Watts) Head Fairy who wants those spoolies back.  The Fairy Rock Mother is the chosen one for the job as it was her mistake that they wound up on our heroine’s head.  If she succeeds her green wings will be exchanged for pink.  Most of the evening is spent with her not being able to do this.  Really exciting stuff.

Rev Roger “Yolanda” Mapes is Eddie – a guy with an invisible dog.  Raissa Katona Bennett plays multiple roles and Conor Mc Intyre is the sobbing son of Fairy Rock Mother.  He becomes a rock star named Frank Frank.

If you want to learn how not to write a musical then by all means visit SPOOLIE GIRL.  Its messages of “finding the beauty in every living thing” and that “beauty is only skin deep” and “home is where the heart is” are fine but you need a well written story and songs to get them across.

www.MidtownFestival.org

www.spooliegirl.com

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Cast photo by Seth Walters

Oh, the glorious sound of words.  The words of James Joyce and his muse/lover and eventual wife as interpreted by the multi talented Jonathan Brielle in his new musical HIMSELF and NORA.  Mr. Brielle has written the book, lyrics and a fine Irish flavored score to this most interesting show.  It is intelligent, humorous, sexy and extremely moving, starring two stars in the making – Matt Bogart and Jessica Burrows.

On a simple and stark set (Michael V. Moore) at The Theatre at St. Clement’s as part of NYMF an Irish wake is being held for the arrogant, abrasive and charming as hell recently departed Mr. Joyce – Himself (a dashing Matt Bogart) and immediately the conflict begins with Nora (a sturdy and feisty Jessica Burrows) viewing his body; setting up their tempestuous relationship which we will follow for three decades.

As they verbally spar with one another, as he ardently gropes under her skirt or she bounces on his lap in ecstasy we see that they are infatuated with one another as he is plagued by an omnipresent priest (Brian Sills).  Himself has met his match.  She is as strong as he is.  But he needs his freedom.  He won’t be tied down.  They make a handsome and passionate couple mostly interested in coupling and writing and speaking, climaxing in “Compatriots in Lust” – just one of the many fine songs on tap.

Throughout the two hour show under the careful and sharp direction of Michael Bush we wonder if he will ever change.  Will they ever marry, if not will he at least be civil and kind with her?  Will Nora stay or leave?  How much of his drinking can she put up with?  Will his monumental tome Ulysses be published?  Will he go blind?  Will he reconcile with his dad John Joyce (a superb David Arthur)? 

HIMSELF and NORA is a touching and thoughtful and theatrical telling of their eternal if rocky love for one another.  There are so many beautiful songs and beautiful moments:

Nora’s decision to “Stand Fast” – The English that Joyce attempts to teach to the Italians of Trieste is amazing as it is amusing – “River Liffey” which is reprised for the unexpected and rousing finale which had the audience begging the actors for another curtain call.

In exile from Ireland often, they wind up in Paris “all expenses paid” to finish and publish Ulysses.  But the now mustached and bow tied Mr. Joyce has to be convinced to let a woman publish it.  Fascinating insights into both their personalities are revealed in Act II with Nora’s brilliant “Without a Man”, Joyce’s “Always in Love” and “Touch Kiss” which will open the tear ducts to flow freely.

The letters they exchange during their separation is a beautiful piece of stagecraft.  But the tragic cum comedy outcome of their two grown bastard children Giorgio (he a drinker-Sills) and Lucia (she a bit crazed-Wing) “The Children of Mister Joyce” is an odd addition.

Setting the periods precisely are the costumes by Sara Jean Tosetti.  Kelli Barclay has created some fine dances that perk up the mood when it has gotten so serious.  The pacing of the show helps tremendously and J.B. Wing manages to make each of her characterizations meaningful.

But it is the glorious words and music of Mr. Brielle that make HIMSELF and NORA so moving, exciting and truly an affair to remember.

www.nymf.org 

www.jonathanbrielle.com/nora.html

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The management of the 45^th Street Theatre should be ashamed for not having repaired their air conditioner where FLAMBE DREAMS is being performed under sweltering conditions.  The heat in the theatre (hot air flowing through the ducts) was unfair to the actors and to the audience attending this new musical as part of the New York Musical Theatre Festival.

Despite the extremely uncomfortable conditions this improbable but highly diverting musical fable is quite entertaining, headed by an extraordinary cast of five who tell the tale of Joe Christiansen (a strong and sincere Jarrod Spector) who dreams of following in his father’s footsteps, that is, to become a Maitre d specializing in desserts flambéed – desserts that caused his father to die tragically in a restaurant fire caused by some burning bananas.

Joe’s overprotective, psychiatrist, pill prescribing mother Elaine (an excellent Catherine Cox bringing to mind the great actress and comedienne Eileen Heckart) tries to prevent his leaving Idaho for NYC but off Joe goes in search of a job as Maitre d.  Mama, only trying to help, keeps tabs on his pill intake via phone.

While filling his mom’s prescription for Prozac at Duane Reade, the “tidy and consistent” Joe meets Gloria (Jillian Louis whose talent ignites on stage a thousand times brighter than the delightful prop desserts) and we immediately know that they are meant for each other.

Joe’s Candide like journey takes him to River’s Holistic Tearoom, Speedy Happy Noodle Shop and Internet Café and eventually Le Cirque.  Along the way he meets Desiree, a hot to trot and very personable prostitute (best friend of Gloria) and Delicious Dish a very modern sexy gal interested only in a guy who is connected and successful.  Both gals are portrayed by J. Elaine Marcos – who is a knockout in the looks and talent departments.

Kevin B. McGlynn plays an assortment of characters deliciously culminating with his weirdly funny song “Some Girls” as River – a past his prime Hippie.

The a bit too long book and very clever lyrics by Matthew Hardy are backed up by some catchy melodies by Randy Klein.  The score is light and witty and certainly has you rooting for Joe and Gloria all the way. 

Catherine Cox wows us with “Elaine’s Confession” / “Letting Go” and Joe’s ballad “My Dream” tugs at the heartstrings while the ultimate tribute to that maligned Garden State – New Jersey “Everything You Longed For” by the radiant Jillian Louis and Company sends us home on a very high and happy note indeed.

Terrific projections by Michael Clark seamlessly take us along on Joe’s journey which is tightly directed by West Hyler.  The brilliant prop desserts are designed by Melpomene Katakalos.  With some cuts – there are a couple of repetitive speed bumps along the way and perhaps getting the show down to 90 minuets without an intermission FLAMBE DREAMS could be a red hot ticket.

www.flambedreams.com

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