Oscar E Moore

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

Tags: No Comments.

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

Tags: Comments Off on One Man, Two Guvnors – a tour de farce, from soup to nuts

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

Tags: No Comments.

The mostly white and young audience gave a rousing, standing ovation at the end of CLYBOURNE PARK at the Walter Kerr Theatre where it has recently opened after its original incarnation at Playwrights Horizon in 2010 and I sat there politely applauding and wondering why.

Was it because Bruce Norris’ play won the Pulitzer Prize?  Was it because of the fine acting by most of the cast playing dual roles as the play progresses from 1959 in Act I to 2009 in the second?  Or where they merely restless?

Mr. Norris wants to annoy us.  He wants to rile us up over what has happened in Clybourne Park over the years.

As we begin Perry Como is singing “Catch a Falling Star” on the radio and we meet Bev and Russ (Christine Kirk & Frank Wood) preparing to move out of their home in the white toast neighborhood of Clybourne Park with the help of their colored/negro/black maid Francine (Crystal A. Dickenson) who seems to be fed up with the pair and biting her tongue until she no longer has to work for them.  After about fifteen minutes of nothing happening and nothing dialogue we finally get to understand why Bev and Russ are so pent up with anger and ready to burst.  It has to do with their son, a letter and a trunk.

Enter fellow Rotarian and bigot Karl (who doesn’t know when to shut up) and his deaf and very pregnant wife Betsy (Jeremy Shamos & Annie Parisse) trying to talk them out of selling their home to a black family – The Youngers.  Enter theatrical trivia.  Karl is the same character that tries to pay off The Youngers to not buy this very same house in “A Raisin in the Sun” – the Lorraine Hansberry play.  This is never mentioned nor do we ever see the Youngers and so it’s a moot point.  Just interesting as a side bar.  Garnering lots of publicity and word of mouth for this production.

There is also a married minister (Brendan Griffin) who has to leave by four and isn’t able to stop the flaring arguments and the noble and quiet and honest husband of Francine, Albert (Damon Gupton) who despite his wife wanting to leave helps bring down the infamous trunk from the second floor.

The second act starts, once again, skirting the real issues with endless real estate lingo as the new white couple Lindsey & Steve – (Annie Parisse & Jeremy Shamos) are buying into the once gone to Ghetto neighborhood.  They want to change its height and to add a koi pond necessitating the excavation of an old tree and the discovery of a hidden something.

An African-American couple Lena & Kevin – (Crystal A. Dickenson & Damon Gupton) are against this, citing historical significance.  Tempers flare, racist jokes and slurs are slung about as we see that both races haven’t gained much insight over the years.

Director Pam MacKinnon keeps thing moving along but it’s the “beating around the bush” by author Norris that keeps what should be most important sitting on the backburner while he bores us with unnecessary fill until we get to the heart of the matter.  That’s what counts.  Once we get there things heat up and we see bigotry in all its glory through the years at Clybourne Park.

Limited 16 week engagement.   www.clybournepark.com  Photo:Nathan Johnson

Tags: No Comments.

The Mitzi E. Newhouse Theater at Lincoln Center is now home to Vera Joseph (Mary Louise Wilson) and her grandson Leo (Gabriel Ebert).  She’s 91.  He’s 21.

A modern day, carefree Hippie with bushy mutton chops, Leo has been riding his bicycle cross country, has had some bad luck with his sister, girlfriend and bicycling buddy who has had a tragic accident with a Tyson Chicken truck along the way and has arrived at three in the morning at Grandma Vera’s West Village apartment to crash and set up camp for a while at least. 

He is half way through the open door as the play begins.  Will someone please explain to me how he got the door open?  His first words, I believe are something like “I’ve been buzzing for twenty minutes” (which we haven’t heard) or something like that and yet he is in the double lock door apartment as his Grandmother waddles out of her bedroom to see what all the fuss is about.  Calmly, she has him wait as she retrieves her teeth. 

This set me off on the wrong foot and I had lots of trouble thereafter with this new, seemingly long play without intermission by Amy Herzog, entitled 4000 miles which could be subtitled HUGS – of which there are quite a few.  Perhaps I missed something.  She does give him a set of keys later on…oh well, back to the story.

The excellent set by Lauren Helpern includes the outer hallway and the door to Vera’s “pain in the ass” neighbor’s apartment 8B.  She’s unseen but important to the plot and its abrupt ending. 

Along the way Vera and Leo get to know each other, share memories, stories about sexual infidelities and get high on pot.  She’s obviously open minded and the senior members of the audience of which there were many got a kick out of her problems with the loss of words, keys, hearing aid and checkbook.  Problems shared by one and all of a certain age.

But she can still do Leo’s laundry.  And loan him some money.  And be truly concerned about her grandson – tall and lanky and adrift.  Yes, another odd couple.

The lighting design by Japhy Weideman casts a cozy glow over the many scene changes which seem to take forever despite some pleasant music by Ryan Rumery.

The other two women in Leo’s life are his girlfriend Bec (a brash Zoe Winters) soon to be his ex and a one night pick up Amanda (Greta Lee) a Chinese girl who reminds him of his sister – who is also Chinese.  She’s adopted and he has a fondness for her that others find strange.  They have a Skype conversation via Vera’s Mac.

Amy Herzog has lots to say, including some bits about Communism, in this interesting character study of two people who have much in common despite their age difference.  Leo’s monologue dealing with his buddy’s death will make a nice audition piece for actors.  But I grew increasingly impatient with this latest Lincoln Center Off Broadway experiment directed by Daniel Aukin. 

www.lct.org  EXTENDED through June 17th.  Photo:  Erin Baiano

Tags: No Comments.

1925 was an auspicious year.  Especially the month of October when Gore Vidal author of the 1960 scathingly sharp satire and up-to-the-minute mud slinging indictment of the political nominating procedure – THE BEST MAN – and Angela Lansbury who portrays Mrs. Sue-Ellen Gamadge to perfection in this outstanding revival, were born.

This is about the best revival of a play that you will see this season.  It is an immensely entertaining, well structured and well written three act play that is extremely funny and terrifyingly scary at the same time that zeros in on the back room shenanigans of some politicians at work at the 1960 Presidential Convention in Philadelphia Pennsylvania.

Director Michael Wilson along with his design team – Derek McLane (sets)  Ann Roth (costumes) Kenneth Posner (lighting) and John Gromada (sound) have transformed the Gerald Schoenfeld Theatre into the convention hall itself. 

With red, white and blue bunting, placards from the states, television monitors, stirring music, background noises of cheers and jeers and ushers that are wearing the typical straw boater hats you are at once involved in the proceedings.

Mr. Wilson has guided his all star cast into giving four star performances.  He wrings every ounce of humor out of the text, yet allowing its seriousness to shine through like old glory.  He knows how to set up a laugh and makes sure that you hear it.  He is a master of entrances and exits allowing the audience to applaud each and every star turning moment.

Of course, having some excellent actors does help.  And does he ever have a terrific group of actors in this best of all possible THE BEST MAN production.

A commanding James Earl Jones is Former President Arthur Hockstader – the man that ex-Secretary of State William Russell, a superstitious womanizer with a past history of health issues (a wonderfully wry John Larroquette) and Senator Joseph Cantwell (Eric McCormack) a sly manipulator who will stop at nothing to be elected – both woo in order to gain his endorsement.   Both have skeletons in their closets.  Both have ample opportunities to ruin each others chances.  Both have wives that have their own agendas.

Alice Russell (a sardonic Candice Bergen) is ready to forget his philandering and to stand by her man.  Mabel Cantwell (a bubbly Kerry Butler) guzzles martinis while dreaming of becoming First Lady.  Both ladies hit the bull’s eye in their portrayals of the “political assets” of their respective spouses.

Jefferson Mays as Sheldon Marcus – an old Army buddy of Cantwell is particularly uncomfortable as he is brought in to expose some explosive information that may or may not be true in this game of political skullduggery.

John Malcolm, in his best David Brinkley News Commentator voice, gives us updates and bulletins from an upper side box while the cameras roll and we are transported to each of the hotel suites where gossip and issues collide.

After the first act curtain the audience was abuzz and you could tell they were anxious to see what would transpire next.  Gore Vidal’s THE BEST MAN is simply terrific.  Funny.  Frightening.  And so prescient.

The timing could not have been more perfect for this timely revival.  See it.  And be extremely wary of who you vote for this November.

www.thebestmanonbroadway.com   Photos:  Joan Marcus

Tags: No Comments.

Something’s amiss in Argentina.  If only Forbidden Broadway – the highly successful musical revue that satirized the Great White Way’s hits and misses – was still running they would have a field day with this new production of EVITA and its trio of oddly cast stars.

Starting with the diminutive Elena Roger as Eva Duarte Peron whose strange vocal quality becomes annoying and cannot do justice to the lush melodies created by Andrew Lloyd Webber nor reach the high notes without sounding like a screeching chipmunk.  Her unfortunate wigs that go from black to red to blonde are an ill-fitting eyesore.   She dances a mean tango but has little “star quality” and charisma that should be inherent in the role. 

The charisma factor is left to Ricky Martin who plays Ricky Martin who has charisma to spare.  It states in the program that he is Che but that must be a misprint.  He is for sure Ricky Martin playing Ricky Martin with all his charm and iridescent smile and smooth moves intact.  There is no danger, no irony and no edge.  But he’ll surely sell lots of tickets.

That leaves us with Peron, played superbly by Michael Cerveris despite his being made to look like a debonair Count Dracula.  He is strong and lures the audience in with his terrific voice and characterization.

The show starts off great with actual newsreel footage of Eva Peron’s funeral and the “Requiem” and then in flashback proceeds to go downhill.  Beginning in Junin where the young actress sets her sights on Magaldi (an excellent Max Von Essen) – a smarmy lounge singer and then continuing onto Buenos Aires, where actress Eva Duarte bed hops her way to the top, culminating in her meeting and marrying Juan Peron.  Bedded and bejeweled by many men along the way, she died of cancer at the age of 33. 

And that’s how long it’s been – 33 years – since EVITA – the Andrew Lloyd Webber and Tim Rice soap-operatic, sung through, Reader’s Digest version of her life first wowed Broadway audiences. 

In this new and lavish production with monumental sets by Christopher Oram that all but dwarf the diminutive star from Argentina who is now cast as Evita,  directed by Michael Grandage and entangled in variations of the tango by Rob Ashford, the wow factor has been lost along the way.

The score by Andrew Lloyd Webber is melodic and memorable and sounds wonderful.  The light weight lyrics by Tim Rice are merely serviceable.  But they sure have made him millions.

And to think that FOLLIES had to close to make room for EVITA to open!

www.EvitaonBroadway.com  Photos:  Richard termine

Tags: No Comments.

Can Disney out Disney Disney?  That’s the question here in this newest musical on the Broadway block – NEWSIES – based on the 1992 cult film of the same name with music by Alan Menken, lyrics by Jack Feldman and a tinkered new book by Harvey Fierstein. 

One can almost hear him speaking the lines he has written as they are pure Fierstein funny but hardly based on character.  One of NEWIES’ drawbacks.

There are some excellent songs sung and danced by an exuberant cast of strapping teenage ragamuffins and orphans in turn of the century New York wearing their trademark knickers, caps and high top shoes in which they also tap.  As well as do acrobatic jumps and twists and back flips that the excellent choreographer Christopher Gattelli has created reminding me of the athletic choreography of Michael Kidd.  The Act II opener “King of New York” is a real show stopper! 

The dance captain – Ryan Steele – plays Specs.  He is the tallest guy who wears “spectacles” and one cannot keep your eyes off of him as he does his high jumps and turns.  It’s like playing “Where’s Waldo?” as you search the stage looking for him and his mastery of the dance routines.  Which are anything but routine as he performs them.

Check out the guy with the "specs" Ryan Steele

The two brothers command the stage.  Davey has much more believability and charisma than Jack who has not yet mastered his lower East Side accent.  The young tyke Les is a natural charmer (Mr. Grosso at the performance I attended).

There is the villain Joseph Pulitzer (a fine and cantankerous John Dossett) a feisty, independent young woman – Katherine (Kara Lindsay) who chases the story as it unfolds as a “reporter” and falls in love at first sight with our hero Jack and whose father is a surprise.  Ms. Lindsay has a lovely Beauty and the Beast Belle like voice and lots of charm to win over our hearts as she helps Mr. Kelly organize the resistance to the powerful Pulitzer.

There is a very nice performance given by Capathia Jenkins as Medda Larkin who is a star in her own theatre on the Bowery.  She is very much like Lillian Russell as she sings “That’s Rich” as a supporter of their David vs. Goliath type cause giving the young Les an education of sorts.

The Disney formula, however, has all the ingredients to make this mediocre musical – directed by Jeff Calhoun – a smash hit.  Like “Oliver” and “Annie” – NEWSIES is a true family show that teaches a good moral lesson and that has a happy ending and some of the best ensemble dancing that will absolutely thrill children of all ages.  If your pocketbook can afford it.

Through August 19^th.   www.newsiesthemusical.com  Photos:  Deen van Meer

Tags: No Comments.

Looking for love and acceptance among the turtles and reptiles, birds and bees and dinosaurs at The Museum of Natural History our four energetic, sharp and funny infused heroes share their wit and wisdom in a musical revue of their lives based on the theories of one Thomas Merton:  It is now.  We are here.  Let’s do this.  Ergo:  experience more of life, be who you are and enjoy it.  Stop wearing a mask, stop pretending, and sing endless songs to prove your point.

Do you see yourself as a weird woman with large feet? (Susan Blackwell) – Do you want to be an actress and not a lawyer following in the footsteps of your successful father who has never told you he loves you? (Heidi Blickenstaff) – Are you fantasizing about being in love with a wonderful guy while masturbating in the bathroom whose door you forgot to lock? (Hunter Bell) – Or are you a closeted gay nerd covering up your true self by being funny? (Jeff Bowen). 

All the above have been involved in creating Now.  Here.  This.  A Mensa Society-type musical revue now playing at The Vineyard Theatre through April 22^nd. 

It’s heady.  It’s at times funny.  At times tuneful.  But the songs (Music and Lyrics by Jeff Bowen) are more functional than memorable and the book by Hunter Bell & Susan Blackwell dwells too long on the cosmic and the details of the inhabitants of the museum with the voice of Roger Rees guiding them along. 

At times it is very funny almost in an ad lib sort of way but it goes on way too long pounding us over the head with its well intentioned message.  However, the vocal harmonies are truly beautiful to hear. 

The production is just as sharply directed and choreographed by Michael Berresse who is also one of the collaborators.  It’s a very inbred kind of show that would benefit from another person’s sharp red pencil to make some beneficial cuts.

Now. Here. This. – simply tries too hard.  These four performers are top notch.  Fine voices.  Engaging and funny.  They also wrote [Title of Show] a success story Off-Bway that unfortunately didn’t make it when it transferred to Broadway. 

We love watching them perform and viewing the most interesting projections by Richard DiBella on a set designed by Neil Patel.  They outshine their own material.  Through April 22nd.

www.vineyardtheatre.org   Photo:  Carol Rosegg

Tags: No Comments.

A tornado has hit the Belasco Theatre and her name is Tracie Bennett.  She is portraying Judy Garland as we’ve never seen her before.  Popping pills.  Getting drunk.  Cursing.  Crawling across the floor.  Bitterly arguing.  And singing her heart and soul out in the new play “End of the Rainbow” by Peter Quilter which is terrifically directed by Terry Johnson.

Tracie Bennett incredibly conveys the “essence” of Garland.  She’s got the stance.  The laugh.  The legs and the hair.  Whether wearing high heels or in her stocking feet, she’s got the catch in her throat.   The dramatic reaching for the notes.  And all of the quirks that made Garland, Garland.   Her on stage confidence always at odds with her off stage insecurities make for an extremely riveting scenario.   

Stepping into the shoes of such a beloved icon as Garland is one thing, especially a pair of red shoes.  But bringing Judy to vivid life with an energy that seems boundless is quite another.  And then singing some of Garland’s most memorable hits and making them her own while channeling all our ingrained images of this sad “fragile old woman” of 47 –  make this a performance beyond compare.

Taking place in the Ritz Hotel in London 1968 (beautifully rendered by William Dudley which seamlessly becomes The Talk of The Town concert venue) Garland is down and almost out.  It’s her finale chance at having a comeback and making some money to pay off the mound of bills that she has incurred.

Her soon to be fifth husband, Mickey Deans (hunky Tom Pelphrey) whom she had recently met in a New York Club is tall, handsome, strong minded and at least ten years younger has become her manager and bedmate.  He is her gofer.  Her protector.  And as it turns out, her big mistake.

As she calls him on stage to share her spotlight you see exactly what he’s got in mind, basking in all her glory and reveling in the attention surrounding her and now himself.

As her lovable, gay Scottish accompanist and friend Anthony, a solid Michael Cumpsty tries his best to keep her on the straight and narrow, even offering a marriage of sorts which is quite endearing and believable in one of the finest scenes of Act II.

Jay Russell as a BBC Interviewer has his hands full with an intoxicated Garland but manages to hold his own.

The spot on costumes by William Dudley bring back the style and the glamour that were Garland’s trademarks.

Superb Musical Arrangements (Gareth Valentine) and Orchestrations (Chris Egan) of “The Man That Got Away”  “The Trolley Song”  “When You’re Smiling” and “Come Rain or Come Shine” among others make for a sensational entertaining and eye opening look into Garland’s last months with all her demons bared in this play which has some minor drawbacks. 

But what is lacking in the script is overpowered by Tracie Bennett’s bravura performance.  Her frantic heartbreaking descent, with her makeup smudged and her voice cracking culminate in a most moving “Somewhere Over the Rainbow” – a most fitting and fulfilling finale for “End of the Rainbow”.  It’s a performance not to be missed.

www.EndOfTheRainbowBroadway.com   Photo:  Carol Rosegg

Tags: No Comments.