Oscar E Moore

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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Where else will you find a love song entitled “Plumbing” sung in a harem in Turkey, accents (French, American, Italian, Greek, German, Russian, British and Turkish) running rampant, a travelogue setting of a stage with steamer trunks and suitcases populated with ingenious props and cost efficient but splashy costumes with spiffy direction of a 1933 musical score with bright and lilting melodies and some very clever words written by none other than Cole Porter?  Minor Cole Porter mind you, but Cole Porter nonetheless.

For all those Cole Porter fanatics this is probably on the top of their must see list. Seldom seen, it was written between Gay Divorce and Anything Goes and doesn’t come close to either one although Mr. Porter fancied this his most sexy and sophisticated score. 

It is now running until July 29^th at The Clurman Theatre – Theatre Row, produced by the Prospect Theater Company who must be congratulated for this daunting and daring undertaking.

They have now joined the ranks of The Mint and TACT and Encores in successfully presenting forgotten but worthwhile shows of a certain age.

This adaptation with a new libretto by Rob Urbinati is based on the original novel by James Laver and the original libretto by Romney Brent. 

Nymph Errant is presented as a vaudeville show with short scenes, satirical barbs and lots of musical numbers where Eve (Jennifer Blood) has just finished Finishing School where she and her chums discuss clothes and men prompted by Miss Pratt (Cady Huffman) – head mistress to “Experiment” – and experiment she does traveling from country to country and from man to man looking for romantic love and not wanting to be taken advantage of until Act II when she’s had enough of nothing and is looking unsuccessfully for the wilder side of sexual love.

Her schoolmates show up in the most unexpected places.  The wealthy American Henrietta (Sara Jayne Blackmore) the very very British Pidge (Laura Cook) the Germanic Bertha (Amy Jo Jackson) and the French mademoiselle Madeline (Aubrey Sinn). 

There is Eve’s Aunt Ermyntrude (Natalie E. Carter) who doubles as Haidee from the deep South and Abe Goldfarb as Pithers, Alexei, Ferdinand and Vassim and the very funny Sorab Wadia as Andre, Heinz, Constantine and Ali – a Eunuch! 

There’s one more:  the young love interest Oliver/Ben (Andrew Brewer – straight from Indiana making his NYC debut.  This guy has good looks, a strong presence and a sweet tenor absolutely right for the period ballads he sings (including Plumbing).  I didn’t think young men sang like this anymore.  Good for him.  A pleasure to hear.  Cole Porter would have immediately taken him under his wing.

So sit back and be prepared for the unexpected and a fun if uneven time.  It’s extremely entertaining despite the convoluted plot which skips and sings along with great finesse directed by Will Pomerantz who has made some excellent and amusing choices with his cast.

Eve even visits a Nudist Camp.  Done with great taste and tongue in cheek the nudists sing a cappella a la nature – undressed to the nines by the gifted designer Whitney Locher.  Eve eventually finds true romantic love with her boy next door and together they sing the lovely “How Could We Be Wrong.”

Cady Huffman also shines with her other characterizations – Clarissa a past her prime prostitute, Mrs. Bamberg a brash American who has taken over a Palazzo in Venice and Professor Krauthammer on the Isle of Lesbos.

There’s something for everyone here and you might even see where future writers borrowed from Porter’s wealth of material: The Boyfriend, Cabaret, Nine, Candide and Hello Again.

The onstage band is terrific, missing not a beat and keeping the theatre filled with some wonderful tunes with their delightfully witty lyrics.

www.ProspectTheater.org

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The ninth annual New York Musical Theatre Festival is off to a shaky start.  He’s Not Himself, after eleven drafts, is just not ready.  Chosen to be part of The Festival’s Next Link Project it is missing more than a few links.

It is being produced by NYMF and Aron Lewis Productions – a company that for the past twelve years has produced high school musicals.  He’s Not Himself falls right into that amateurish category.

As silly plots go this one is a doozie.  And that’s not a compliment.  Gaining ridiculous momentum as it reaches its Pink Panther, Marx Brothers, Three Stooges like climax in Act II – the actual robbery of a “famous diamond” in some museum, in a city like New York that is being robbed by the characters created by Marc Silverberg who is the culprit responsible for the book, lyrics and music and who also portrays Benny the Banker.

Our Walter Mitty/John Ritter type hero Gene (Keith Panzarella) writes parking tickets for a living sharing his bed with his Teddy Bear.  He is nice but inept, living an ordinary life.  He wants to go on an adventure just like his gangster movie heroes – a dream he shares with his love interest – security guard Kay McAdams (Taylor Sorice) who tries unsuccessfully to show him the ropes of being courageous and unafraid.  But it’s a knock on his head that does the trick – changing him instantly into Teddy the Bear – tough guy extraordinaire.  Over and over again as he hits his head or has it whacked, his split personality confusing all those around him.

Bonnie James (Carly Voigt) a hot, sexy, ditzy dame is the sister of Benny the Banker and his cohort.  She has a couple of nice specialty songs, wears a terrific red hat and is the highlight of an otherwise unfocused new musical.

He’s Not Himself is set in the 40’s and so we have as our narrator Detective Tom Vito (Dexter Thomas-Payne) who speaks in film noir-ish, mangled clichéd dialogue (example:  barking up the wrong bush…).

The jaunty score sounds more like it belongs in 1950’s Grease than in this late 1940’s show.  There is a lot of physical slapstick humor directed by Michael Pantone.

Mr. Silverberg has lots of ideas – some of which are good – floating around without successfully coming together.  Perhaps some additional drafts will be forthcoming.

Nothing is as painful as seeing excellent actors performing mediocre material as if it were brilliant.  He’s Not Himself needs lots of work.

www.nymf.org/hesnothimself PTC Performance Space 555 W 42 St.  Photos:  Dan Wilburn

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All those feisty female dinosaurs over at the SOHO Playhouse on Vandam Street are working their tails off as well as that other body part that is specifically male (something about frog DNA) in this new musical spoof TRIASSIC PARQ running through August 5^th.

The SOHO Playhouse has been transformed into a theme park ride – all green and creepy (great scenic design by Caite Hevner) with sounds of the lab born animals ever present (Carl Casella & Christopher Cronin) as we begin our journey…

There are some seats on the stage.  One is designated the “Splash Zone” for obvious reasons.  The hard working and extremely talented actors, all seven, mingle with those on stage in their fabulous dino-wear costumes by Dina Perez and bathed in glorious lighting effects by Jen Schriever.

Lee Seymour, our droll narrator, is Morgan Freeman or is it Samuel L. Jackson?  It is in the Parq that we meet muscular Mama (Wade McCollum) with a fine Shakespearian baritone.  His little miracle “young and hungry for truth” is portrayed by the gifted Alex Wyse a guy with a fantastic voice and presence.  It’s his birthday as he sings “It’s a Beautiful Day to Be a Woman.”

T-Rex 1 (a mighty Shelley Thomas) is best friends with T-Rex2 – actually more than best friends – ummm…the multi talented and very funny Claire Neumann (loved her in The Spidey Project!) who grows an unexpected dong which she is allergic to, causing all sorts of commotion within the community.   They have the finest song in the show – a duet “Love Me Like Before”.

There is a Mime-a-saurus (Brandon Espinoza).  Why a mime?  Your guess is as good as mine.  But Mr. Espinoza can certainly communicate.

The extraordinary Lindsay Nicole Chambers – “the exiled one” (late of the late Lysistrata Jones where she truly impressed) does likewise in this shambles of a so-called spoof which is sporadically amusing with a mediocre rock score that serves the plot as such but won’t be remembered long for its melodies or lyrics – although TRIASSIC PARQ was voted best musical in the FringeNYC 2010.

Winning performances and some clever choreography by Kyle Mullins try to lift this musical above its crude, penis hose and pussy humor which is college frat at best.  It has been directed by Marshall Pailet who also wrote the music and book and lyrics along with Bryce Norbitz and Stephen Wargo.  Destiny conceived this family.

Director’s note:  Intended to be cute and funny reads “Sometimes it’s difficult for me to properly see the fruits of my labors, an oversized beret obstructs my left eye, and an undersized monocle the right.”  That explains everything.

Drinks are available for this 90 minute show.  Have a double.

www.triassicparq.com    Photo:  Carol Rosegg

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Are you a puzzle fanatic?  Do you like a good psychological mystery play?  Will five excellent actors start those grey cells in your brain working overtime?  Then 7^th Monarch written by Jim Henry should please you to no end.  It’s at the Acorn on Theatre Row – produced by the Somerled Charitable Foundation.

Beautifully staged and directed by Scott C. Embler, 7^th Monarch appears as if it’s a movie unfolding before our eyes.  The set design by Shoko Kambara is full of surprises.  I suppose they both collaborated closely on its design and function.  It keeps you interested and wondering as the many details of this puzzling tale are revealed.  

While dealing with a dysfunctional family and their secrets, 7^th Monarch is one of a kind and unlike any play I’ve seen for a long time.  Very much like the compelling and strange psychological novels of Georges Simenon, where one story is just the tip of the iceberg to what the real story is about, leaving us enough leeway to fill in the missing pieces when necessary.

Not all of the family is present.  Only Miriam Hemmerick (a fantastic Gretchen Hall) is at home.  She’s a childlike genius who can scan a newspaper and retain all with her amazing memory.  There are countless neat piles of these old newspapers and mirrors are covered with clippings in her Indiana residence circa 1991 when Raina Briar (a nicely textured Leslie Hendrix) comes a calling.  She is a criminal investigator with the Social Security Office.  Miriam has been signing her parent’s checks for a while now and she is being accused of fraud, explaining that her parents “flew away in a comet.”

Miriam wears a space helmet and rides a pink bicycle.  She is hyper.  She has a passion for all things pertaining to astronauts and NASA and Tang and pot pies and crossword puzzles (there is one included in the program) and the number 43.  She has obviously gone through some traumatic experience as we eventually discover.

Soon to be retired detective Leo Garnes (Michael Cullen) and looking to be re-elected Judge Kenneth Sharpe (Michael Rupert) and the young Public Defender Grey Collins (Matthew Humphreys) become involved in the case each with their own modus operandi, resulting in direct conflict.

But it is Raina’s fragile relationship with Miriam that is at the heart of the drama.  How these two completely different women begin to understand one another, trust one another so as to reveal their hurtful secrets to one another is extremely compelling theatre.

Appropriate lighting design by D.M. Wood and sound design and composition by David Pinkard add to the creepy, melancholy and ominous events taking place in the “Twilight Zone House”.

There is much going on in 7^th Monarch so listen closely and carefully. 

www.7thMonarch.com  Photos:  Carol Rosegg

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All hail Harvey and what he stands for.  All hail all 6 foot 3 and a half inches of his white fuzzy frame that is invisible to the naked eye but can be seen by those who believe.  All hail Elwood P. Dowd (Jim Parsons) and his simple yet effective, down-played, amusing performance in the revival of the Pulitzer Prize-winning comedy HARVEY at Studio 54, a Roundabout Theatre Company production in association with Don Gregory.

All hail his manners and his being kind and pleasant and having hope for the human race and Mary Chase who concocted this fantasy circa 1944 with a timeless message that emerges from its otherwise farcical plot.

All hail Jessica Hecht as his sister Veta Louise Simmons who is trying to get her daughter Myrtle Mae (Tracee Chimo) a beau and her brother inducted into the local loony bin having some truly brilliant and hysterical moments with her explanation of how her brother Elwood (Straight man Parsons to Hecht’s insanely comic character) should be committed to Chumley’s Rest as he and his rabbit friend Harvey are interfering with her living a normal life.  The result is that she is the one who appears nuts and is incarcerated.   Eccentricity runs in the family.

What is normal?  We wonder by plays end and that is a very good thing.  Sometimes we all need a “pooka” in our lives.  An imaginary, mischievous creature/friend to help us through the day.  A hi-ball or a beer (Dowd we are told repeatedly likes to drink but we never see him imbibe) is necessary as long as it’s done in moderation – whatever it takes to make you happy and kind and polite and functional in this most difficult world we live in.

The mild mannered Dowd makes friends easily even with those trying to commit him.  He brings roses to Ruth Kelly R.N. (Holley Fain) who is not being treated very nicely by Dr. Sanderson (Morgan Spector) – assistant to Dr. Chumley (Charles Kimbrough) whose wife Betty (a zany Carol Kane) he also befriends.

But it is Harvey who is front and center and sometimes seen and sometimes not.  Is he a figment of Dowd’s imagination or does he really exist?  Mary Chase is very clever in how she has all the characters deal with this conundrum resulting in a comedy of errors and lots of laughs. 

But the play itself has its ups and downs despite the strong cast and overall fine direction by Scott Ellis who goes a bit too far with some playful touching back and forth that becomes irritating. 

David Rockwell has provided two wonderful homes for Harvey: the library where Dowd and his sister and niece live and Chumley’s Rest where they want him to live.  Harvey grows on you.  What seems so silly becomes moving and meaningful in this one extremely eventful day in the lives of Elwood P. Dowd and his best friend Harvey.

www.roundabouttheatre.org  Photo:  Joan Marcus

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There are many stars shining ever so brightly at the York Theatre where their revival of the cult Off-Broadway 1989 musical hit CLOSER THAN EVER by David Shire (music) and Richard Maltby, Jr. (lyrics) who also has directed is being given a terrific sounding and sleek looking production that is fresher and more pertinent than ever.

With a collection of twenty four catchy tunes that have smart and true to life lyrics Jenn Colella, George Dvorsky, Christine Noll and Sal Viviano portray a variety of characters that share their mid life adjustments with us.  Songs about marriage, and fathers, and divorce, dating, second chances, babies and that tried and true subject – love.

Each song tells a story.  It’s an actor’s dream come true to portray the many characters and their nuances with such specific lyrics – that have unexpected twists while being clever and comical and sometimes extremely moving.

The unadorned strong natural voices of the perfect foursome (nary a head wire to be found and totally unnecessary here) blend beautifully in the many smartly staged numbers (Associate Direction & Choreography by Kurt Stamm).

Solos, duets, trios and quartets keep the show moving briskly along.  The pacing is spot on.  Simplicity is the key word here.  A few costume changes, a few props, a grand piano (an amazing Andrew Garble) and bass/guitar (personality plus Danny Weller) terrific arrangements and super vocal technique on a beautifully designed blue set by James Morgan featuring six white doors make CLOSE THAN EVER the ultimate staycation destination for all New Yorkers and tourists alike.

Jenn Colella, pert and spunky gets to exhibit her comic skills with “Miss Byrd” and “Back on Base” – where accompanied by Danny Weller on his bass with his nimble fingering, just about stop the show.

“Fathers of Fathers” featuring George, Sal and pianist Andrew (who has a fine voice and makes his piano sound like a full orchestra) is breathtaking.

With his clear as a bell tenor, Sal has a fun time with “One of the Good Guys” and Christine Noll and Jinn’s duet of “It’s Never That Easy/”I’ve Been Here Before” is the best example of having the “wow factor”.

The Act I finale is fantastic and that would have been enough and yet the second act breezes by effortlessly, entertaining us with the more serious side of Maltby & Shire.  CLOSER THAN EVER is simply great.  Go.  Immediately.  Limited run through July 14^th.

www.yorktheatre.org   Photos:  Carol Rosegg

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As missed opportunities go this one is as colossal as Alexandre Dumas’ epic romantic tale of revenge, The Count of Monte Cristo, on which this new musical written by James Behr is based and being performed at 45 Bleecker Street as part of Planet Connections Festivity with a cast of sixteen and a pre-recorded computer/keyboard sound track which sounds like a full orchestra accompanying the cast.

The cast is the production’s biggest problem.  Many, especially the lead Edmond Dantes (Brandon Contreras) are miscast and cannot do justice to the very melodic score that James Behr has provided.  Projection is not their strong point.  Many words are barely audible.  There is no amplification, which I prefer.  However, young actors are relying on amplification far too much now and when it is not provided the audience cannot hear.  When you cannot hear you lose interest.

And when your Edmond Dantes lacks charisma and a strong ability to act and sing, The Count of Monte Cristo suffers.   The score is full of beautiful, romantic, sweeping melodies, the book has a clear structure that includes humor but co-directors Grant Kretchik and Jamibeth Margolis can only do so much with the limited talents provided by the cast, which is very unfortunate.

However, Pallavi Sastry as Haydee makes a strong impression with “Share It All With Me” in Act II.

With a much stronger cast Mr. Behr’s The Count of Monte Cristo has great potential and I wish them all the best for future productions.  Standout songs include “I’ll be Waiting for You”  “Just Like This”  “Oh, What a Wedding” and the memorable “How I Love Her.”

I’ve always thought this novel would make a great musical.  One day it will.

www.CountOfMonteCristoMusical.org

StarlightArtists@aol.com

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The Martha Gellhorn and Virginia Cowles autobiographical, satirical and downright old fashioned three act comedy Love Goes to Press may have been written in 1944 but it was light years ahead of its time in its depiction of two independent, savvy and attractive women who went into a “den of men” in worn torn Poggibonsi Italy to report first hand on the goings on from the front line while depicting the guys involved with razor sharp wit as to their male chauvinistic bearings.

Throughout the play we see how the “men” treat the “women” – “War is no place for a woman” – “We’re reporting a war; not a gossip column.”  And in Act III you will be heartened by the vocal reactions of the audience when Public Relations Officer Major Philip Brooke-Jervaux (a grounded and wonderful Bradford Cover) who has fallen rather quickly in love with his nemesis Janet Mason (Angela Pierce) describes what he believes will be her idyllic life living in England with his mom and sister.  When he says, “You’re mine now.” one truly believes that the audience will storm the stage as he expects Jane to give up her writing career for cows.  She instantly goes from independent to coy to being rightly horrified.

The Mint Theatre has a knack for finding the obscure and giving those plays excellent productions.  Love Goes to Press is no exception.  The production values are high and the acting uniformly good.  Although director Jerry Ruiz gets a bit heavy handed with light and sound cues (shells being exploded, lights being dimmed and some atmospheric music) when Annabelle Jones (Heidi Armbruster) relives a romantic past with her ex Joe Rogers – loosely based on Gellhorn’s marriage to Ernest Hemingway (Rob Breckenridge).

Writing for competing papers in San Francisco Joe has a nasty habit of stealing his beloved’s stories and drinking a lot. In fact, most of them have a flask or two hidden away somewhere.  After all it’s cold and lonely at the front.

Joe is now involved with and English actress – Daphne Rutherford – the third Jill in a jeep.  Margot White is delightful as she take full command of the stage with her winning sing song portrayal – a woman more concerned with a chipped nail being re-polished than with war itself, that is until she is mistakenly taken to the front lines instead of Jane returning triumphantly waving her American flag and praising all the soldiers.  She’s a standout in this excellent company of actors and has the quickest offstage bath ever.

Also to be commended are David Graham Jones as Leonard Lightfoot a true Englishman who stories are lifted from his typewriter by Tex Crowder (Jay Patterson) and Hank O’Reilly (Curzon Dobell).  Corporal Cramp (another well grounded performance – Ned Noyes) supports his boss Major Jervaux ably.  Thomas Matthew Kelley as Major Dick Hawkins is naively infatuated with Annabelle and Captain Sir Alastair Drake (Peter Cormican) is responsible for the Jane/Daphne mix-up leading to almost farcical happenings.

Perfect period costumes (Andrea Varga) and set (Steven C. Kemp) and props (Joshua Yocum) make for a very pleasant and sharp look into the lives of women reporters during the war and their dedication and persistence in achieving their goals.

www.minttheater.org   Photos:  Richard Termine

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Lameece Issaq & Haaz Sleiman

The New York Theatre Workshop’s stage has been transformed into a Palestinian home complete with working kitchen where Fadwa Faranesh (a remarkable Lameece Issaq) holds court preparing for the upcoming nuptials of her younger sister Dalal (Maha Chehlaoui) to the charming and always hungry groom-to-be Emir Azzam (Arian Moayed) whom I last saw in Marco Millions (based on lies).  I was impressed with his skills then and they have only gotten better.

Ms. Issaq has co-written this new, delicate and universal two act drama, FOOD and FADWA – spiced up with lots of comedic overtones with Jacob Kader.  It is a co-production of NOOR THEATRE whose intent is to develop and present the work of theatre artists of Middle Eastern descent.  It’s quite an impressive beginning.

As you enter the theatre, the neat and organized Fadwa (Ms. Issaq) is cooking and the odors of mixed spices, olive oil and eggplant permeate the air.  It smells delicious.  The writing, as it turns out, is also very savory. 

What makes FOOD and FADWA special is that it convincingly introduces us to another culture and customs mingled with circumstances that are readily familiar to us.  Only here, they have to prepare for a wedding dealing with border patrols, inspections, curfews and bullets.

Arriving from America is Emir’s brother Youssif (Haaz Sleiman) and Fadwa’s cousin Hayat Johnson (Heather Raffo).  Both have become Americanized.  Youssif runs a restaurant in New York and Hayat has become rather famous as a chef by tinkering with family recipes – winning the James Beard Award and having an article in O – Oprah’s magazine. 

Fadwa is a purist with her family recipes and resents the fact that Hayat has taken these recipes and made them her own and has also taken away Youssif from her – stealing his affection if not his heart.

The comic Aunt Samia (Kathryn Kates) smokes a lot while speaking on her cell phone, concerned mostly with “Arab Idol” and who has been eliminated but contributes song and dance in a wonderful bachelor party sequence. 

Her brother Baba (Laith Nakli) is suffering from dementia and is cared for by his daughter Fadwa.  His love of the olive tree and all that it represents is very touching as we see him with all his faculties intact in flashback.

Fadwa’s way of coping with the stress of her family is cooking and fantasizing that she is the host of her very own cooking show – covering a wedding, fasting, rationing, moving on and death – as she speaks to us, her audience, inviting us into her kitchen and into her heart. 

One of the highlights of the play has Emir explaining the different areas in Palestine with the use of hummus, rice, a torn up napkin and a piece of chicken as he makes a mess of the dinner table.

FOOD and FADWA is a slow cooked, gastronomic and heartwarming journey that will leave you completely content.  It is directed with panache by Shana Gold who has managed to mix all the ingredients together to come up with an extremely satisfying production.

www.nytw.org        Through June 24th   PHOTO:  Joan Marcus

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