Oscar E Moore

It takes a village, sometimes an entire universe, to put all the pieces of that puzzle called a Broadway musical together to come up with a completely satisfying and entertaining production.  The creators of NICE WORK IF YOU AN GET IT – a sweetheart of a musical – succeed for the most part.  Under the direction of Kathleen Marshall who is also responsible for some nifty choreography they have created an original, traditional musical comedy with all the trimmings that is true to the period and up to date with some surprisingly spot on timeless political observations.  It’s frivolous, frothy and fun.

When you begin with the memorable syncopated music of George Gershwin and the clever lyrics of his brother Ira no one could ask for a finer foundation with which to build upon.  But then you need a good book.  Paging Joe DiPietro.  Luckily they did.  Mr. DiPietro’s book – which has been inspired by material by Guy Bolton and P.G. Woodhouse, has captured just the right tone for the period.  1927.  His unexpected, out of left field, quirky sense of humor is most welcome and is delivered with perfect timing from the cast – particularly the supporting players.

As they said of Ziegfeld- “no expense has been spared” with the physical production. The costumes by Martin Pakledinaz are tasteful and gorgeous and just plain ‘S Wonderful.  I couldn’t resist.  A wedding gown train, of course there is a wedding – is just about as long as the Nile.  Just one of the many sight gags that Ms. Marshall has pulled out of her clever theatrical hat of tricks.

Derek McLane has created some ravishing sets that are beautifully lit by Peter Kaczorowski.

The story line is typically silly.  But played straight and so it works.  Rich, good looking but not the brightest banana in the bunch,  playboy Jimmy Winter (Matthew Broderick) is about to be married for the fourth time to Eileen Evergreen (Jennifer Laura Thompson) the famous modern dancer and daughter of Senator Max Evergreen (Terry Beaver).   The previous evening, at a Speakeasy, a drunken Jimmy meets up with bootlegger Billie Bendix (Kelli O’Hara).  And guess what?  They connect…

 Let’s stop right here.  Mr. Broderick although charming delivers his lines in an off handed manner verging on dull and appears to be a playboy gone to paunch – a little too old to continue his little boy pout business.  His light singing voice works well for the period – a cross between Astaire and Rudy Vallee.  He whistles and plays the uke.  And dances adequately.  His partnering of O’Hara in ‘S Wonderful is just that.  Kelli O’Hara tries her best to be tough as the bootlegger but reverts to her naturally gorgeous voice when crooning.  That being said they both are pleasurable if not perfectly cast.

Now for the really good stuff.   Michael McGrath (McGee) and Chris Sullivan (Mahoney) cohorts of Billie are tremendously amusing as they hide the hooch in Jimmy’s summer mansion’s cellar out on Long Island where the ensuing mix-ups, revelations and falling for someone unforeseen takes place.  Mahoney whose first name is Duke attracts Jeannie Muldoon (Robyn Hurder) who thinks she could one day be Queen of England.  Their “Blah Blah Blah” duet is a hoot.  But it is Michael McGrath who practically walks away with the show.

Judy Kaye, the straight as an arrow Duchess Dulworth is delicious as a temperance fanatic.  When McGee spikes her lemonade and she literally swings into things she’s madcap fun at its best.

Chief Berry, a personable Stanley Wayne Mathis, makes a trio out of the duet “Let’s Call the Whole Thing Off” as he mediates between Billie and Jimmy.  It’s a refreshing look at the old standard in its new context.

Jimmy’s mother Millicent (Estelle Parsons) makes a late entrance in Act II and the wait is well worth it as she ties up loose ends and makes for the celebratory happy ending that allows the audience to leave the very uncomfortable Imperial Theatre with stiff knees and a big smile while humming some of the great tunes by the brothers Gershwin.  Nice work.

www.niceworkonbroadway.com   Photos:  Joan Marcus

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There are about three really funny things in DON’T DRESS FOR DINNER adapted by Robin Hawdon from the original French play by Marc Camoletti. best known for his international hit “Boeing-Boeing” and now being presented by The Roundabout Theatre  Company at the American Airlines theatre.

Originally titled “Pajamas Pour Six” when it first opened in Paris in 1987 and ran for over two years and then for six in London, its adaptation has now graced our shores.  Mon Dieu!

The three funny things in this extremely broad, trouser dropping, siphon spraying, big bosom, slap stick silly, fleetingly funny 1960’s set French farce are:

1.  The brilliant and right on target performance of Spencer Kayden as Suzette – a cook hired for the evening by Bernard (a springy, light footed Adam James) for a dinner in his country home two hours outside of Paris with his mistress Suzanne (a bizarre, large busted Jennifer Tilly of unknown origin) while his wife, Jacqueline (a chic Patricia Kalember) visits her mother.  But when she hears that her lover Robert (Ben Daniels) is arriving she manages to stay resulting is all kinds of misunderstandings and shenanigans typical of a French farce.  Only here the hoped for soufflé, falls flat. 

2.  The quick on stage transformation of Suzette from her cook’s uniform to a strapless little black dress – courtesy of William Ivey Long.  She is posing as the niece of Robert and demanding two hundred francs every time she is recruited to playact and not cook, which is often – a running gag that works beautifully thanks to Ms. Kayden.

3.  The unfortunate wig that Jacqueline has hanging on her head in Act II.  I hope it’s a wig.

The dialogue is reminiscent of the Abbott and Costello skit – Who’s on first?  The actors, under the misguided direction of John Tillinger, are encouraged to be as broad as possible being positioned in pseudo graphic sexual poses that are awkward rather than amusing.  Played straight this might have worked.  Quel dommage! (What a pity!).

It is only the lovely Spencer Kayden that appears to know what she is doing as she transforms from a meek cook to a mistress and then a niece and then a tango dancer all with style and finesse while awaiting the arrival of her husband George (David Aron Damane) who supplies the evening’s denouement.

There is one other very funny moment.  Ms. Kayden’s final exit!

www.roundabouttheatre.org  Photos:  Joan Marcus

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The wonderful news is that THE LYONS that has recently transferred from The Vineyard Theatre with its original cast in tact is funnier and more emotionally involving than ever. 

Linda Lavin is now the Queen of Comedy on Broadway and the rest of the cast has managed to come up to the high bar of comedy that she set downtown with Dick Latessa gaining fast in the laugh getting department.

Now at the Cort Theatre, scenic designer Allen Moyer has pulled in the proscenium –  blood red – to make THE LYONS the intimate “going for the jugular” experience it was in a much smaller space.

Some minor adjustments have been made that make THE LYONS sharper, funnier and sadder.  It’s a cleverly set up script by Nicky Silver who makes the most horrible and despicable people amusing.

The portrayal of their homosexual son Curtis (Michael Esper) in particular has grown tremendously and you are more aware of his suffering from the onset and it is quite moving to see him change at plays end with the help of his Nurse (Brenda Pressley).

Bottom line:  THE LYONS is more than ever – extremely funny and moving.

www.thelyonsbroadway.com

Here is my original review:

THE LYONS – starring Linda Lavin at The Vineyard Off-B’way

Oscar E. Moore “from the rear mezzanine” for Talk Entertainment.com

This is the very sad saga of the horrible Lyons family presented in a very funny play by Nicky Silver which is now running at The Vineyard Theatre starring the ever brilliant Linda Lavin as the matriarch from hell Rita Lyons. 

A woman with a bad taste in her mouth (more on that later) who casually sits, leafing through House Beautiful, searching for ideas to redecorate the home that she hates while her cancer stricken husband Ben (Dick Latessa) lays dying – any moment now – in his private room hospital bed, swearing his head off, hooked up to a drip but not looking any the worse for it.  I guess he’s used to suffering, married to Rita all these 40 odd years.

Any moment now isn’t fast enough for Rita whose hateful and hurtful words account for that bad taste in her mouth.  She’ll even eat Jell-O to rid herself of the foul taste but it goes much deeper than that. 

How nonchalantly she spouts her venom, smiling and commenting with a pucker of her lips or blotting them with a tissue or issuing a look of utter disbelief.  Linda Lavin is Queen of the zinger and icy glance that adds an exclamation point to what she’s just said just in case you’ve missed it by laughing so hard.

Visiting their distant father, Lisa (Kate Jennings Grant) an alcoholic single mother in an abusive relationship and her brother Curtis (Michael Esper) who is gay and has an imaginary lover or does he?  that pays off in Act II when he meets Real Estate broker Brian (Gregory Wooddell) while looking at an apartment – the past returns to haunt all.  It’s your typical dysfunctional family at war over a death bed play smoothly directed by Mark Brokaw.

Ms. Lavin however manages to get some sympathy even though she is a bitch with her Second Act confessional – where she explains what it is she has gone through, what she wants for the future and how she is going to get it.

Curtis ends up in his dad’s hospital bed after he’s died due to a beating by the Real Estate guy in a scene that detours from the main play and is quite unbelievable but Mr. Silver has to get the son into that hospital bed somehow for the last scene which shows the son in a better light with his change in attitude towards his nurse (a compassionate and tough Brenda Pressley) that takes the hard edge off the disturbing evening.

It’s not surprising that Linda Lavin chose to do this play over Follies and Other Desert Cities.  It’s a more ferocious role and she is in top form as the lioness Rita Lyons.

Through November 10^th    www.vineyardtheatre.org          108 E. 15 Street NYC

Photo:  Carol Rosegg

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Good things really do come in very small packages as evidenced by the delightful new gem of a four character (each very interesting), two act comedy called PRATFALLS, written by Holly Webber that is produced by Ground Up Productions at the very tiny and ultra intimate Dorothy Strelsin Theatre – 312 West 36^th Street at 8^th Avenue – The Abington Theatre Complex – with  Jenn Thompson directing.  I suggest seeing this one immediately.

Jenn Thompson is the Co-Artistic Director of TACT – The Actors’ Company Theatre that gives old plays a second chance and most recently had a huge hit with Neil Simon’s LOST IN YONKERS.  This time out Ms. Thompson has been able to direct a new work.  Quite ably.  She does so with as much care and detail as she is known for.

PRATFALLS is a very well written, smart and extremely funny play that takes place in the summer of 2003 on a roof top of a five floor walkup in Brooklyn where four people and a fiber glass owl explore a multitude of subjects.

The roof top set and lighting design by Travis McHale is right on.  And Ms. Thompson uses the small space to full advantage.  Costumes by Amanda Jenks are character appropriate.

Roy Demeure (a versatile Victor Verhaeghe) fancies himself a failure.  A funny failure.  At 47 he is still doing stand up comedy, an occasional odd acting job and drying dogs to pay the rent.  He’s been is Alcoholics Anonymous for five years.  He has been helping Frances Biegler (a quirky Amelia White with a quick retort) a 70ish English neighbor who hasn’t many other friends and is afraid of having to go into a nursing home.  He’s been helping her carry her groceries and they share some friendly moments atop the roof.

Elena Lehmann (a guarded Kate Middleton who begins to thaw) is a guilt ridden corporate lawyer who lost her husband in a freak accident and who by chance saw Roy’s act when she went out with a couple of girl friends to the comedy club whereupon she went home with him and had wild, passionate sex – a one night stand.  Or so she thought.

While demonstrating the end of his act that Elena thought could be improved he falls down a flight of stairs breaking both arms.  More guilt for Elena.  She then helps nurse him back to good health.  As does Frances.  It’s an odd and very real romantic comedy that follows with Frances’ jealousy rearing its camouflaged head.  There’s a reason she is so lonely.

The fourth character appears late in the second act but is spoken about early on.  He is Laird (a somewhat nerdy Matthew Baldiga), the young nephew of the landlord who has taken over the first floor apartment that Frances had requested – so as not to have to climb all those stairs to her rent controlled apartment.  But nepotism won out.  Besides he has a nervous whippet that he’s rescued.  He’s the main reason I think that the dog is so nervous.  The fiber glass owl has an eleven o’clock importance that ties everything together nicely during the famous blackout of August 14, 2003.

Holly Webber is a new writer with original ideas of character and very funny unexpected dialogue with heart.  Just seeing Roy and Elena hold feet with one another as he woos her with his broken arms is just one fine example.  It’s a charming, warm hearted comedy that crackles with sharp wit.  You’ll appreciate the title even more after you see PRATFALLS.  And you should see it ASAP.  Through May 19^th 2012.

www.GroundUpProductions.org  general tickets $25.00 A VERITABLE BARGAIN! 

Photos:  Randy Morrison

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Love conquers all.  A mugging.  A murder.  A double crossing buddy.  A phony psychic.  A potter’s wheel.  And even death.  Loves lives on in the amazing, top notch, highly entertaining production of GHOST, the pop musical imported from England based on the 1990 Paramount movie and adapted for the musical stage by Bruce Joel Rubin (Book & Lyrics – who wrote the film) and Dave Stewart & Glen Ballard (Music & Lyrics) and featuring the unforgettable “Unchained Melody” written by Hy Zaret and Alex North.

GHOST must have the highest electric bill on Broadway.   With its 1950’s “Cinerama” influenced projections (Jon Driscoll) that take you on a three dimensional journey through the skyscrapers of New York City and beyond, its incredible lighting design by Hugh Vanstone, tread mills that allow expert director Matthew Warchus to keep the show moving at a dizzying speed, and the LED screen set design by Rob Howell that catapults the musical design form into the 21^st century GHOST is the technological Eighth Wonder of the World.

The first act is simply spectacular, finding a wonderful balance between the extra special effects, vivid choreography by Ashley Wallen, quiet romance, brutal violence and some truly magical illusions (Paul Kieve) while infusing it with traditional musical comedy humor with the introduction of Oda Mae Brown (Da’Vine Joy Randolph – giving a rousing comedic spin on the “phony psychic”) who is as surprised as anyone else that she can communicate with the ghost of Sam Wheat (Richard Fleeshman) the handsome and convincing lover of his sculptress girlfriend Molly (Caissie Levy) who has been murdered by his best friend and co-worker Carl Bruner (a sleazy Bryce Pinkham) to obtain a secret code that will enable him to transfer ten million dollars into an off shore account in a money laundering scheme.

It’s to the creative teams credit that the famous song from the film “Unchained Melody” is not overly used.  It occurs at just the right moments and allows the rest of the tuneful and sometimes exciting score to come into its own. 

There is the quietly beautiful “Three Little Words” – words that Sam has a problem saying to Molly.  When she repeatedly voices her love for him he can’t say “I love you” but replies with a simple “ditto” which is how Molly can finally believe that his ghost is speaking to her through the outrageous and eventually comforting Oda Mae.

With the exception of a small Act II detour with a group of ghosts that seem to have been borrowed from The Addams Family which interferes with the progress of the story GHOST the musical gets back on track culminating in its beautifully realized romantic ending which proves that there is life after death in musical comedy heaven.

You will be emotionally drawn into the love triangle of Molly and Sam and Carl, wowed by the incredible comic performance of Oda Mae and bedazzled by the eye popping effects that will leave you spellbound.

www.ghostonbroadway.com  At the Lunt-Fontanne Theatre

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Hardly making any waves at all is this new play by David Auburn, THE COLUMNIST produced by the Manhattan Theatre Club at the Samuel J. Friedman Theatre which deals with a homosexual tryst (with a tantalizing bid for some bare bedroom skin) in Moscow in the 1950’s between an intelligent KGB hottie (Andrei – Brian J. Smith) and the much older but hardly any wiser Joseph Alsop (John Lithgow) – a renowned Washington D.C. syndicated journalist and its repercussions.

You will find just as much dull information on Wikipedia when you search “Joseph Alsop”.  Researched and written by Mr. Auburn THE COLUMNIST reminded me of a high school assignment where you had to write about the most interesting person you ever met.  He’s got the facts with some dramatic fiction thrown in but the results are lukewarm, or “tepid” the word Mr. Alsop would most probably use.

John Lithgow bespectacled in black round framed glasses, bow tied and wearing a pinky ring covers all the facets of Joseph Alsop’s caustic personality beautifully.  Droll, opinionated, obstinate, feeling every bit entitled, Alsop goes about his complicated, double standard life as only he can do amused with himself every bit of the way.

He marries Susan Mary (an excellent Margaret Colin).  He has been honest with her about his “nature”.  She goes into this unconventional but not uncommon arrangement hoping to change his habits but eventually tires of being mistreated. 

Alsop tutors his step daughter Abigail (Grace Gummer) in Latin, criticizes her too short skirt, and interrogates (rather interviews) her beau Philip (Marc Bonan – who has the cushionyist job on Broadway) and wonders about their sleeping arrangements – hypocrite that he is.

Stewart Alsop (a compassionate Boyd Gaines) portrays his fed up brother who works for the Saturday Evening Post.  They worked in tandem before and Joe wants to reunite.  But there are those nasty photos taken by the KGB in Moscow that pop up causing difficulties.  Who sent them?  What will be the outcome?

The assassination of JFK, Joe’s good buddy (who also had his share of sexual secrets) does him in completely.  And he has to deal with those young reporters in Saigon.  One in particular – Halberstam (the always reliable Stephen Kunken).  Things finally pick up when he arrives on the scene.  But it’s slow going all through Act I.

The sets by John Lee Beatty are, as usual, excellent.  With words that run across a screen that presumably are written by Alsop but which go by fast and without enlightening the script.  THE COLUMNIST is competently directed by Daniel Sullivan but it’s the text that is tiresome.

Andrei, having made in to America, finds Alsop in a park and attempts to apologize whereupon Alsop decides to write an damning article that might ruin his ex-tricks life.  Will he?  That the burning question as Alsop sits at his typewriter as in the opening scene and the play ends.  Yawn.  Stretch.  Go home.

www.thecolumnistbroadway.com    Photo:  Joan Marcus

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They’ve taken the name Kowalski out of STREETCAR but the story remains the same for Belle Reve, the lost ancestral plantation co-owed by the manipulative, beyond her prime and close to breaking Blanche (a beautiful Nicole Ari Parker) and her pregnant younger sister Stella (Daphne Rubin-Vega – who appears to be the older sibling) in this newest multi racial revival of Tennessee Williams’ Pulitzer Prize winning drama first produced in 1947.  His beautiful, poetic and tragic play hasn’t aged at all. 

But it has been given a new look by director Emily Mann casting non white actors in the primary roles.  Set in Louisiana, this choice would seem a perfect fit and the dialogue appears to have been written specifically for these actors with some minor adjustments made to the script.  

Adding some sultry, jazzy underscoring by Terence Blanchard adds to the concept.  The naturalistic, claustrophobic set by Eugene Lee heightens the closeness that they all must share and the magenta infused lighting by Edward Pierce bathes the stage in a steamy hot glow.

Nicole Ari Parker gives a wonderful interpretation of Blanche, finding a wealth of humor as she races towards her destruction at the hands of the common, brutish and ape-like Stanley (the handsome Blair Underwood) who loves to play poker with his cronies, go bowling and beat up on his wife Stella who absolutely can’t keep her hands off of him.  It’s obviously a hot relationship they share in their bed with just a curtain to divide the space from where Blanche sleeps.

Blanche arrives with lots of baggage – mostly in her mind.  Fine dresses (Paul Tazewell) and accessories, a troubling past history, love letters, a gay husband who committed suicide and a belief that she is above the rest of the people that circumstances have forced her to accept, with difficulty.  Instead she takes a series of hot baths in the suffocating heat that drives Stanley nuts and tests the strength of his kidneys.

The one person that Blanche feels a certain kinship to and pursues is Mitch (Wood Harris), a gentleman with a silver cigarette case who is caring for his ailing mother.  But that relationship is ruined because of her lies.  Although Ms. Parker gives a great performance it’s a little difficult to accept that she is a fading Southern Belle.  She’s gorgeous but does manage to project that Whitney Houston dazed eye look and shaky manner due to her heavy drinking.

Of course, she too is attracted to Stanley even though she finds him crude which culminates in a graphic rape scene, her nervous breakdown and tragic end as they lead her away to an asylum.

The supporting cast is excellent with Amelia Campbell a standout as she puts up with her own brute of a husband, the excellent Matthew Saldivar.  Oh how terribly those men treat their women who love putting up with them because of their sexual prowess.  And Aaron Clifton Moten as the newsboy that Blanche attempts to seduce gets high marks for his short but memorable scene.

This color blind production of STREETCAR is powerful, explosive and deeply moving.

Limited 16 week engagement.  At the Broadhurst Theatre.

www.streetcaronbroadway.com  Photos:  Ken Howard

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David Cromer is an extraordinarily astute director (Our Town, Brighton Beach Memoirs, and When the Rain Stops Falling) who elicits all of the nuances of a script and encourages his actors to assist him in his endeavors.

TRIBES, a new play by the gifted English writer Nina Raine which is now running at the intimate Barrow Street Theatre, is no exception.  It is a wonderfully detailed production.  Care has been taken to cast the perfect six actors.  The design team has provided a multi purpose unit set (Scott Pask), with just the right lighting (Keith Parham) and sound effects (Daniel Kluger) to enhance the carefully chosen and emotionally felt words of Ms. Raine in a play that confronts the family on stage and us – the audience – into dealing with deafness.

Choosing to stage TRIBES in the round and in so small a space affords the audience to sometimes be as frustrated as the born deaf Billy (portrayed with elegance and true humanity by Russell Harvard who is deaf, wears hearing aids and has the ability to lip read, speak and sign). 

At times we are unable to hear clearly when actors have their backs to us and so we are forced into the world of semi-hearing, straining to make sense of what others are saying.  This is a bold and brilliant stroke.  Having us share in the disability even for so short a time brings us into their frustrating world.

Billy’s family is not inflicted with deafness.  They are inflicted with not listening to or understanding each other – shouting at each other all the way around the communal dining table with lots of wine flowing down their throats.  In that regard Billy has been fortunate not to hear the daily arguments between Christopher, the daddy of the brood (Jeff Perry) and his long suffering wife Beth (Mare Winningham), his sister Ruth who fancies herself an opera singer and his extremely protective younger brother Daniel (Will Brill) who hears “negative voices – who have retuned to the nest much to daddy’s displeasure.

This intellectual, creative and dysfunctional family have sheltered Billy all of his life, not wanting him to learn how to “sign”.  Then he meets Sylvia (Susan Pourfar) a girl with deaf parents who is slowly but surely going deaf.   They fall in love.  And this newfound love enables Billy to confront his parents as he learns to sign and insists that they learn to sign also so that they can communicate on an equal level.  If his obstinate father can learn Chinese why won’t he learn to sign?

It’s a most unusual and moving love story.  And the two actors – Russell Harvard and Susan Pourfar are exceptional – with truth and real emotions at work by the playwright that make us feel deeply for the two of them as Billy learns to sign and gets a job reading lips from video surveillance (I was a bit confused here as to what the job actually entailed but it’s important that he has left home).

As Sylvia tries to explain that “being born deaf” and  “going deaf” are two different things, both horrible, we see their relationship blossom until bother Daniel’s jealousy blossoms and he has some sort of nervous breakdown (another confusing moment as we are unprepared for the incredible toll that his brother’s leaving takes on him).

The use of projected dialogue helps.  And there is in Act II a brilliantly staged and acted three way conversation with speech, signing and translations of such that is amazing.  The use of silence is also put to beautiful use.

TRIBES will touch your mind intellectually and your heart deeply and as we leave the theatre we will all remember the sign for love.

www.barrowstreettheatre.com  Photo:  Gregory Costanzo

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This zany British import comes our way via 1960’s Brighton, England via Carlo Goldoni’s The Servant of Two Masters’ 1740’s Venice. This new, freely adapted comedy by Richard Bean – ONE MAN, TWO GUVNORS, has arrived in New York at The Music Box Theatre starring a first class clown – James Corden – a charming, chubby, ravenous young man attempting to hold down two jobs, serving two disparate people simultaneously with a bit of Oliver Hardy thrown in for good measure.  In this evening of snappy chatter and songs all havoc breaks loose.

Warming up the audience for the evenings stylized lunacy are four young guys comprising a band aptly named “The Craze” – Jason Rabinowitz, Austin Moorhead, Charlie Rosen & Jacob Colin Cohen.  Dressed in eggplant hued suits of the sixties they are a cross between The Beatles and Buddy Holly.  They sing songs by Grant Olding, play various instruments (including a washboard) and entertain during the scene changes – which give the actors a chance to catch their breath.

Nicholas Hytner has been given a comic regiment to command.  And he commands his players with saber sharp precision aided by Cal McCrystal who is credited as “Physical Comedy Director” – could this be a new catagory for award nominees?  It should be.  The “physical comedy” is executed with perfection at break neck speed.  Comic timing is everything with this stage full of hams.

Pratfalls.  Chases.  Running gags.  Groaners.  Asides to the audience.  Audience participation.  And groin grabbing.  A combination of Monty Python, Dame Edna, The Ed Sullivan Variety Show, Burlesque, and Commedia dell’Arte make ONE MAN, TWO GUVNORS a delirious, dopey and delightful cartoon comedy served up on a silver platter.

The piece de resistance is a comic banquet where our hero Francis Henshall (James Corden) serves his two employers – Stanley Stubbers (Oliver Chris) – a guy with boarding school manners who is on the lam and in love with the missing Rachael Crabbe (Jemima Rooper) who is disguised as her twin brother Roscoe who was supposed to marry prone to pout Pauline (Claire Lams) – only he was murdered.  Pauline is in love with Alan the would be oh so serious actor (Daniel Rigby) whose seriousness will have you howling and is about to be engaged when Roscoe (Rachael) shows up.

The fantastic Tom Edden is 87 year old Alfie, a disabled waiter with a new pacemaker who helps in serving the seven course meal and is an absolute hoot as he trudges up the stairs only to fall repeatedly down them. His shaking plates and platters and attempting to open a bottle of wine are comedic highlights.

The other members of this terrific ensemble all seem to have been cast from the local loony asylum and add greatly to the organized mayhem.

Our hero does have another interest besides food and that is Dolly (a spunky and saucy Suzie Toase) – the flirtatious bookkeeper of Pauline’s dad Charlie “the Duck” Clench (Fred Ridgeway) who winds up spending a lot of money to make for a happy ending.

It’s a happy go lucky, hugely entertaining show that runs out of steam if not comic ideas as the evening progresses.  It’s impossible to top that Banquet Scene in Act I.  But the performances by one and all are exceptional – especially that of the adorable James Corden who is a master of his art of acting, improvisation, physical comedy and the quick ad lib that keeps the audience doubled over with laughter.

www.onemantwoguvnorsbroadway.com Photos:  Joan Marcus

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There’s a lot to admire in this extremely well produced new “Blues and Jazz musical” at the Minetta Lane Theatre – THE CITY CLUB – that employs some of the best singers in town featuring a fresh and tuneful score (music and lyrics) by James Compton, Tony de Meur and Tim Brown that are cleverly used as commentary on the book by Glenn M. Stewart that wants to be Raymond Chandler “noir” but which sometimes falls short, somewhere between charcoal and smoky gray.

The City could be New York, Hollywood, Chicago, New Orleans or any place that had a night club with gorgeous gals and handsome guys during the 1930’s where booze and drugs were featured along with the lead singer and tough corrupt cops were on the take to provide protection.

On a striking two tier unit set by Rob Bissinger depicting the City Club and its onstage band with Parker Brown (an exceptional Kenny Brawner) at the piano we meet Chaz (Charles Davenport) the owner of the City Club who dreams of making the new music acceptable and available while trying to escape from under the shadow of his corrupt father who made all of it possible. 

Andrew Pandaleon is Chaz and gives a bravura performance.  He is young and has a terrific voice, good looks, charm and can command the stage as a fine actor making his Off-Broadway debut.

His lead singer Crystal LaBelle (down to earth Kristen Martin – who sings as beautifully as she looks) is in love with Chaz but his eye doth wander – especially when a new singer arrives – the equally beautiful Madeline Bondurant (Maddy – Ana Hoffman, with a smile that dazzles and reminds one of a young Leslie Uggums) hiding a lot more that she reveals to Chaz.

The cop on the take is Lieutenant – a solid Peter Bradbury who kills as easily as he downs a drink, becomes a partner in the City Club, frames a Governor with some hot photos to get a gambling license and has an Act II reveal that is meant to startle.

There is a trio of back up girls – Rose (Autumn Guzzardi) Lily (Kaitlin Mesh) and Candy (Emily Tyra) that sing, dance and look sexy in the many outstanding costumes designed by David C. Woolard.  His gowns for Crystal and Maddy, of which there are quite a few, are sumptuous.

Mitchell Maxwell has directed with an almost cinematic touch.  His use of dance is exceptional, featuring some of the most inventive, exciting, sexy and fun choreography by Lorin Latarro.  It’s original, slithering hot and thematic – supporting the commentary on the book scenes.  Patrick O’Neill is the wonderful lead dancer who doubles as Doc the bartender who is the local drug supplier.

Making his New York debut is up and coming leading man Robert Townsend.  Playing a trio of parts – Prince Royale – the male star attraction at the club, Tough – your typical Chandler type shake down guy and the blackmailed Governor he has a presence, penetrating eyes and voice that you will not soon forget.

I discovered Robert and Andrew this past summer in a production of “Sunset Boulevard” at Bellport and am pleased to see them both doing so magnificently in The City Club.

There are some terrific songs and fabulous arrangements but not all of them sound of the same period.  That’s also a problem with the dialogue. 

In any event enjoy the music – “Saturday Night”  “Send Me Your Kiss”  “Talking to the Devil” “A Real Good Woman”  “You’re Falling in Love with Me” “Too Much Juice” and the amusing “Lollipop Man” and the haunting “Why Did It Have to Be You” sung by Crystal who with her honesty helps ground the reality of the show that strives to be both entertaining and “noir”.

www.TheCityClubBroadway.com     Photos:  Carol Rosegg

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