Oscar E Moore

Step right up folks and see this side show circus called GODSPELL starring Jesus (a not very convincing Hunter Parish) walking on water, doing a cartwheel and strutting with straw hat and cane sharing his parables with his tribe of young enthusiastic fellow cast members – his Kingdom of Clowns – in Daniel Goldstein’s look alike and sound alike animated cartoon version of this 1971 musical created by John-Michael Tebelak and the Academy and Grammy Award winning Stephen Schwartz with bouncy jump and stomp choreography by Christopher Gattelli.  It’s organized chaos at best and God-awful at its worst.

Slapstick Holy Lessons in how we should treat each other.  Love and peace and kindness are illustrated in song after song after repetitious song.  Mr. Goldstein uses every trick possible to update GODSPELL to be pertinent today – texting, audience participation, Newt and Lindsay, ukuleles, trampolines, Facebook, charades, and a very tiny cup of free wine during intermission.  I kept looking for a bag of peanuts being hawked in the aisles when the actors weren’t running up and down them.

The surround sound by Andrew Keister is surprising good considering the musicians are scattered around the arena midway up with the pianist (who seemed to be having a great time) at the apron of the in the round stage.

There are some standout performances.  Anna Maria Perez de Tagle gets to sing the shows most famous song – “Day by Day”, Celisse Henderson’s “Learn Your Lessons Well and Lidsay Mendez’s “Bless the Lord” are performed well.  The vastly gifted Telly Leung steals the show with his rendition of “All Good Gifts” and Nick Blaemire takes “We Beseech Thee” to new heights as he bounces off the stage center trampoline full of endless energy.

But endless energy isn’t enough.  The improvisational atmosphere becomes annoying and ill prepares us for the most serious Last Supper (with an entrée of smoking dry ice) and the Crucifixion of Jesus.  While well lit by David Weiner this scene seems to be of another show altogether.

“Judge not,” says Jesus.  And so I try to follow his advice by merely giving my opinion.

At the Circle in the Square     www.godspell.com  Photo:  Jeremy Daniel

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The word for today is “Soporific”:  causing or tending to cause sleep/a sleep inducing drug.  A most important word, one among many that one time playwright Margaret Edson features in the excellent production of WIT at the Manhattan Theatre Club’s Samuel J. Friedman Theatre fluidly directed by Lynne Meadow.

Starring Cynthia Nixon, WIT has finally reached Broadway fourteen years after winning the Pulitzer Prize for Drama in 1999, its landmark Off-Broadway production which starred Kathleen Chalfant and the HBO film directed by Mike Nichols with Emma Thompson portraying Dr. Vivian Bearing Ph.D – an intelligent, priggish, loner of a woman dying of ovarian cancer who has become a human “guinea pig” for an experimental research chemo program – 8 rounds at full dosage – at a university hospital.

In a flashback, as a young girl, she is reading a Beatrix Potter book about bunnies as her strict, intelligent and not very involved father reads his newspaper as he instructs his daughter about this new word – “Soporific” – having her figure out its meaning and using it; forever imprinting it on her mind.  We see where her tenacity, aloofness and love of language is born planting the seeds for her love of the 17^th century poet John Donne’s “Death Be Not Proud” which she teaches in a university course.

It is only towards the end of her agonizing treatment that the word reemerges when she is in need of morphine to help ease the horrendous pain she is going through.

WIT not only shows her descent into death with a brittle humor that Ms. Nixon has perfected but it is a scathing indictment – a awake up call of sorts as to how she is off handedly treated by her oncologist Dr. Kelekian (Michael Countryman) and Dr. Posner (Greg Keller) an oncology research fellow a former student.  It is brutally honest and frightening real.  And darkly humorous.

There are two people who care about her, managing to break through Dr. Vivian Bearing’s almost impenetrable wall of isolation:  E.M. Ashford, D. Phil (Suzanne Bertish) whose two scenes (especially the second when she comforts the dying Dr. Bearing with “The Runaway Bunny”) are perhaps the best in the production and Susie Monahan, her nurse (Carra Patterson) who explains the meaning of DNR (Do Not Resuscitate) to her.

A “steadfast and resolute” Ms. Nixon sporting a red baseball cap covering her bald head displays a brittleness that keeps us at bay.  As she nears death she finds what she has been avoiding all her life.

She speaks directly to us in a rather cold manner reminiscent of the cold bedside manner exhibited by her doctors as she goes through endless stupid questions, tests, and other physical indignities where the side effects are worse than the disease itself.

WIT is a truthful, finely layered and spot on depiction of what it’s like to suffer through such an illness.  If anything can help it’s having a large dose of humor.

www.witonbroadway.com Photo:  Joan Marcus

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In a word.  Go!  PORGY AND BESS, the 1935 iconic and revered four hour folk opera by George and Ira Gershwin, DuBose and Dorothy Heyward has undergone a “nip and tuck’ procedure by director Diane Paulus, Suzan-Lori Parks and Diedre L. Murray resulting in a condensed running time and a new title – The Gershwins’ Porgy and Bess.

No matter what you call this new, fully reimagined musical it is a pleasure to hear and watch.  From the first notes of the overture to the heartbreaking finale.  Judging from the positive audience reaction during intermission and at plays end this limited run through June 24^th should surely be extended.

This new version is gritty and passionate and powerful with classic songs that are gorgeously sung charged with the varied emotions of love, loss and revenge.  The casting is perfection. 

Care has been taken to make each character an individual that comes to life on the bare bones set (Riccardo Hernandez) of Catfish Row in Charleston South Carolina circa 1930.

A set that works extremely well with the help of lighting designer Christopher Akerlind’s atmospheric shadowy effects. 

Costumes by ESosa reflect beautifully the black working class waterfront community (under white law) that has some “picnic” finery set aside for such festive occasions.  The wonderful, specific and original choreography that seems to erupt from nowhere by Ronald K. Brown should bring him a slew of nominations.

Norm Lewis is spectacular in the role of Porgy – a cripple “destined to be lonely” – who befriends the outcast “hooch” drinker and “happy dust” sniffing Bess (a raw, sensuous and conflicted Audra McDonald) when she is separated from her abusive lover Crown (Phillip Boykin making a sensational Broadway debut with his majestic voice) and being tempted by the devilish Sporting Life (a swaggering and slimy David Alan Grier).

Watching Norm Lewis standing with his new leg brace and waiting for Bess to return from the picnic shows his devotion and longing for this woman.  Not a very nice woman.  A woman who doesn’t quite know how to handle his treating her like a lady.  Audra McDonald has all the conflicting emotions racing through her head as she tries desperately to kick her addictions and to return the love of Porgy.  There is a sizzling sexual tension between them that soars musically in their duets.

Drugs.  Gambling.  Rape.  Murder.  A hurricane, humanity and racism inhabit this riveting production, elevated by the genius score of George Gershwin and his brother Ira and the excellent direction of Diane Paulus who had a concept and went with it – undeterred by what others thought of it.  And she comes out the winner and Porgy and Bess is the better for it.

I have to mention also Nikki Renee Daniels (Clara) and Joshua Henry (Jake) her husband whose voices soar in “Summertime” and start the show off on its incredible musical journey.

“Street Cries” sung by Strawberry Woman (Andrea Jones-Sojola), Honey Man  (Phumzile Sojola and Crab Man (Cedric Neal) is beautifully done.

And then there is NaTasha Yvette Williams (Mariah) who contributes warmth and humor.

As the two white racists – Detective and Policeman (Christopher Innvar and Joesph Dellger respectively) are suitably despicable.

The surprising reaction from the audience when the villain Crown takes his bow sums up how real and vibrant this production is.  How true it is to its characters and story.  The Gershwins’ Porgy and Bess should not be missed.  At the Richard Rodgers Theatre.

www.porgyandbessonbroadway.com     Photos:  Michael J. Lutch

NOTE:  The orchestra steps at the Richard Rodgers Theatre are extremely steep and pose quite a lot of problems for patrons with canes or who have trouble walking.  Porgy could never navigate those dangerous steps.

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Patience is a virtue.  And if you are lucky enough to possess this positive trait you will be rewarded greatly with a trio of outstanding performances when you go to see Athol Fugard’s THE ROAD TO MECCA starring Rosemary Harris, Carla Gugino and Jim Dale at the American Airlines Theatre – a Roundabout Theatre production.  I urge you to see this most interesting play that extols the freedom of expression and has great compassion for growing old.

In today’s fast paced society we have no patience for things that take too long to unfold.  Quick scenes.  Fast paced, clever dialogue.  Get to the point ASAP.  Well, In THE ROAD TO MECCA that takes place in the small Karoo village of New Bethesda South Africa in the autumn of 1974, Mr. Fugard takes his time exploring the relationships and revealing the story of his three characters – one who appears at the very end of Act I. 

Act I deals with Miss Helen (a spry Rosemary Harris at 84 years of age, Bless her! giving a commanding and deeply layered portrayal) who lost her husband 15 years ago and has created her own “Mecca” of beauty and freedom by creating statues of owls and peacocks and mermaids out of cement in her garden and bathed her modest home, full of bric-a- brac, in candlelight and an unexpected visit from her long time, much younger friend Elsa Barlow (Carla Gugino – who brought back memories of a young Glenda Jackson.)

Elsa has driven 12 hours from Cape Town to spend one night with her friend Miss Helen because of a disturbing letter that she has received from her.  In the past Miss Helen has encouraged Elsa, a teacher, to think outside of the box.  To be independent.  To be a free and forward thinker.  Her unexpected visit prompts Miss Helen to ask for help.  She is old.  Confused.  She is frightened of the dark more than ever.  And yet, extremely independent.

The set designed by Michael Yeargan shows off the personality of Miss Helen beautifully.  Painted in shades of red and orange it appears to be a reflection of a desert sunset and a lifelong obsession with collecting.  The lighting design by Peter Kaczorowski skillfully allows the characters to be seen even when candles are seemingly the only source of light.  It is a gorgeous, calming effect when so many candles illuminate the stage.

Of course, with a woman in her seventies, afflicted with arthritis and living alone one is afraid of accidents pertaining to fire that could happen – which through the local Pastor Marius Byleveld (a cunning Jim Dale) who has conflicting feelings for Miss Helen we eventually find out has been the case. 

And so he is trying to persuade Miss Helen to leave her home and her “hobby” to reside in the “Sunshine Home for the Aged.”  All she has to do is sign on the dotted line!  Sign away her life.

Yes, THE ROAD TO MECCA is a bit repetitive and goes along at its own leisurely pace but with such winning actors delivering the exposition and inhabiting their characters so honestly with the help of director Gordon Edelstein who has confidently guided them to their own Mecca – it is well worth the trip.

www.roundabouttheatre.org  Limited engagement through March 2^nd.

Photo:  Joan Marcus

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In 1928, an extremely talented twenty four year old Cecil Beaton “one of London’s bright young people” known for their “exaggerated poses and frivolous sensibility” arrived in New York City when a production of Lady Windermere’s Fan that he designed and was acting in transferred, enabling him to get his fashionable foot in the door to fashionable New York society.  He never looked back.

Now, at The Museum of the City of New York (Fifth Avenue and 103^rd Street) through February 20^th, you can and should take a close look at this breathtaking time capsule of art (1928-1969) – a period where the notorious Mr. Beaton focused on mirrors, shadows and himself.  A true Capricorn.  Fortunately he had the talent to backup his bravado.  

Fashion photography for Vogue and Harper’s Bazaar, black and white stills of such stars as Astaire – Fred and Adele, Bankhead, Gish, Hepburn – Katherine and Audrey, Callas, Warhol, Albee, Cole Porter, the Duke and Duchess of Windsor, Capote, Monroe and Garbo with whom the homosexual Beaton had a long standing romantic affair and a glamorous photo of Sir Cecil in drag circa 1925.

Not to be missed are Beaton’s costume and set designs for ballet, opera (La Traviata famous for all those red gowns – Turandot starring the indomitable Birgit Nilsson (which was the very first opera I saw at the old Met – standing room!) and theatre (Tenderloin, My Fair Lady and Coco) arranged beautifully by Donald Albrecht, the museum’s curator of architecture and design.

 Walking through the exhibit is reliving a part of a bygone chic New York history/society where style was appreciated, women were glamorous, hats were de rigueur, men wore double breasted suits and fine French furniture graced the living quarters of the rich and famous, who judging from these photos, escaped the stock market crash of 1929 living in the high style that Beaton quickly became accustomed to.

It’s interesting to note where he lived during this period.  In luxurious, duplex hotel suites at the Sherry Netherland, St. Regis, the Ambassador and the Plaza.  One wonders why he moved around so often.

Perhaps he got bored easily.  As noted by one of his many quotes featured – “Perhaps the worlds second worst crime is boredom; the first is being a bore.”  Cecil Beaton could never be accused of being a bore.  And you will certainly want to resolve to follow his modus operandi for the coming year.  Go and enjoy the fruits of this master artisan.

My favorite photo is that of a disembodied woman’s head wearing a Panama hat by Suzy popping out of a hat box.  That’s just one of the many treats in store for you besides the scrumptious ice cream sandwiches served up in the museum’s café.

www.mcny.org

PHOTO 1:  LIFE MAGAZINE

PHOTO 2:  Audrey Hepburn in a costume for the film version of My Fair Lady, 1963 © Cecil Beaton Studio Archive at Sotheby’s Courtesy Cecil Beaton Studio Archive at Sotheby’s

PHOTO 3:  Kathleen Blurock – Cecil Beaton Photography as Art 1934

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There won’t be any comparisons made here to the original production or the movie.  Let them rest in peace. 

This imaginative production, re-conceived and directed by Michael Mayer with a new book by Peter Parnell based on the original by Alan Jay Lerner who wrote the excellent, witty and memorable lyrics with music by Burton Lane, is daring in its conception and intentions, certainly controversial with its story line and remarkably entertaining with a score to die for brilliantly orchestrated by Doug Besterman.

Perhaps Broadway isn’t ready for a 1970’s gay, chain smoking florist, David Gamble (David Turner) who has major problems with cigarettes and committing to his handsome boyfriend Warren (an excellent Drew Gehling) hypnosis and reincarnation.

Trying to kick the habit and on the advice of his best girl friend/roommate Muriel (Sarah Stiles) David takes in a group therapy session with the sexy, calm-with-a-really-low-key-demeanor psychiatrist Dr. Mark Bruckner (Harry Connick, Jr.) and immediately falls under his hypnotic spell resulting in repeated visits whereupon his past life as a 1940’s Jazz singer, Melinda Wells (Jessie Mueller) bursts forth and a star is born.  More of Jessie in a minute.

The Dr. who is recovering from the death of his beloved wife falls for Melinda in a lapse of professional etiquette.  David falls for the Doctor.  Who wouldn’t?  Even the Doctor’s colleague Dr. Stein (Kerry O’Malley) is in love with him.  All quite simple unless you are part of the “ménage a quatre.”

Whenever Connick sings those wonderful Lerner & Lane songs (some brought in from Royal Wedding) with his laid back Sinatra style in tact the audience is spellbound. 

Pairing him with a compatible 1940’s stylist/Jazz nightclub singer is a smart move.  And casting Jesse Mueller a stroke of genius.  She truly has that “it” quality that will make her a star.  Looking like a young Liza Minnelli with a gorgeous voice, a command of the stage, a naturalness and comic flair that mesmerizes, she makes the Melinda/David/Dr. Bruckner affair believable which comes to full fruition with “You’re All the World to Me” when the three dance together courtesy of sublime choreography by Joann M. Hunter.

NY Times photo by Sara Krulwich

David Turner has an innocent nebbish-y quality that is endearing.  And we truly feel for him as he falls deeper in love questioning what has happened with his show stopping rendition of “What Did I Have That I Don’t Have.”

The set design by Christine Jones is a bit of an eyesore.  Costumes by Catherine Zuber must be blamed on the 70’s and not her talent. 

Take a chance on this radically different love story.  Open your eyes as that beautiful number suggests.  Revel in the sumptuousness of its score and enjoy the charm of Connick and witness the emergence of Broadway’s newest star – the best holiday gift of all – Jessie Mueller – who by the way would make a terrific Fanny Brice in Funny Girl.

www.onacleardaybroadway.com  Photo:  Paul Kolnick

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In this “feel good” original new musical from the skewered mind of Douglas Carter Beane whose brand of humor is an acquired taste and Lewis Flinn who has supplied “High School Musical” hip hop rap type music and lyrics we get an updated retelling of the tale of “Lysistrata” by Aristophanes circa 411 B.C. – that all time great Greek writer – who came up with the satiric anti war plot of “no nookie until we get what we want!”

Only here we have a modern day Lysistrata Jones (a perky and energetic Patti Murin with her golden locks and golden voice and Jane Fonda workout body), a transfer student who rallies her fellow cheerleaders to stop “Giving It Up” to their loser boyfriends who comprise the apathetic basketball team – 33 years without a win – of Athens University.

With an Olympic style opening, our narrator and muse to Lissy J – the buxom (of basketball sized proportions) Hetaira (Liz Mikel whose booming voice threatens to blow the fuses on the awful sound system by Tony Meola) starts us off on this often repetitive journey that only begins to take hold in Act II where love permeates the air instead of sweat and testosterone.

While many of the jokes are sophomoric and fall flat with references to Newt Gingrich, Amelia Earhart, sexting, texting and i-phones the energy level and talent of the entire cast and a brilliant Bacchanal finale “Give It Up” will win you over and have you leaving the theatre in a much better mood than when you were fidgeting in your cramped seat at the Walter Kerr Theatre during the first act.

Captain of the team Mick (Josh Segarra) a buff, sexy song and dance guy more interested in partying and playing around than winning is not the brightest bulb on stage (that distinction goes to the equally bad lighting design of Michael Gottlieb) but his inner poet is brought forth by Robin (a fantastic Lindsay Nicole Chambers – the librarian – a cross between Orphan Annie and Kathy Griffin whose dexterity amazes.

A computer geek who becomes team Mascot – Xander (an appealing and endearing Jason Tam) taps into a real character and has one of the finest numbers in the show – “Hold On” – one of the many message songs played by the on stage overhead balcony band.

After the initial sex strike announcement, we get the battle of the sexes limping along on and off court.  The guys eventually braving and manning it up enough to venture forth to the Eros Motor Lodge where instead of finding anonymous sex they start to discover who they are really in love with – with startling results.

The best part of the production is the crotch grabbing, Harlem Globetrotters inspired, acrobatic choreography of Dan Knechtges who as director has also kept this young, spirited and exuberant cast on its toes completely winning us over at games end.

www.lysistratajones.com Photo: Joan Marcus

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Where’s the rest of the gang?  The infamous Barrow gang.  Not just Bonnie and Clyde and Blanche and Buck. But Raymond Hamilton and Deacon Jones.  That’s just one of the things missing in Frank Wildhorn’s newest attempt at writing a successful musical for Broadway – Bonnie & Clyde – that boasts a large cast and a slew of producers.  Emotional involvement being another.

Known mostly for having many flops albeit a successful career as songwriter, Wildhorn’s Bonnie & Clyde has some really nice tunes, mostly pedestrian lyrics by Don Black and a slight story line focusing on the love relationship of Bonnie and Clyde and his brother Buck and his devout wife Blanche told by Ivan Menchell (his first B’way musical) in a lethargic way, featuring a poem written by the real Bonnie with gospel, blue grass, pop, country western and some melodramatic underscoring when the jig is up.

The gang is mentioned repeatedly but we never see them.  What we do see are bullets, blood, and a bathtub with soap suds and a seemingly naked Clyde soaking and serenading Bonnie with a lovely simple song entwined around not much of a story that lasts for two long and sometimes too loud acts.

Director/choreographer Jeff Calhoun has opted to make use of cinematic projections and old news reels to help authenticate his production.  Sometimes working; sometimes distracting.  The clap board set by Tobin Ost with its odd angles adds a nice edge clearly depicting the blight of the depression but becomes oddly tiresome.

Perhaps it’s the symmetrical story telling (Bonnie & Clyde – Blanche & Buck) that is to blame.  Not much happens.  Until Act II when the bullets fly and the blood flows.

Starting where the story ends with the infamous couple being gunned down in their car, we quickly flashback to them as young kids (Kelsey Fowler/Talon Ackerman).  Bonnie (Laura Osnes lovely to look at and a pleasure to hear sing) wants to be a movie star.  The “It Girl” Clara Bow is her role model.  Rifle touting Clyde’s hero is Billy the Kid and we all know how that played out.  An arrogant Clyde is played by the handsome Jeremy Jordan with a clarion voice and a radiant Pepsodent smile.

Buck (a sympathetic Claybourne Elder) is simple minded, following puppy dog like in his brother’s footsteps and married to Blanche (a show stealing Melissa Van Der Schyff) who is always trying to reform him.

An excellent Louis Hobson is the sheriff who is also vying for Bonnie’s attention but she only has eyes for Clyde.  They meet.  They argue.  Sex supposedly solves everything.  She writes poetry.  He plays the uke, robs and kills.  She never gives up on her dreams to get to Hollywood.  He is jailed, etc. etc. etc. until the final ambush.

Seated behind me were two couples.  Conversation overheard – not intentionally, I might add.

Guy:  Never heard of anyone in the cast.

Gal:  Only heard that the music is great.

Guy 2:  Don’t need anyone to tell me if the show is good or bad.  Depends on how fast I fall asleep.

After the show they asked me if I was a reviewer as they had seen me scribbling notes in the dark.  Yes, I replied.  And how did they like the show?  They thought it was terrific and had a great time.  They were from Pennsylvania.  Handing over my card I said that my review would eventually be posted and we all parted company.

www.bonnieandclydebroadway.com Photo:  Nathan Johnson

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The Huxtable’s live on.  That is, Cliff and Clair Huxtable of the extremely successful 1980’s The Cosby Show.  Only in STICK FLY, a fine new family drama/comedy by Lydia R. Diamond which has recently opened at the Cort Theatre, this triple A (affluent Afro-American) family go by the name LeVay.

Daddy LeVay, a neurosurgeon (Joe – Ruben Santiago-Hudson) is awaiting the arrival of his wife who will be spending the weekend in their family home with their two sons and their girl friends on Martha’s Vineyard – not Oak Bluffs, thank you.

Oak Bluffs being the section that has a major Afro-American history on the Island.  Mrs. LeVay inherited her beautiful home in the more desirable location herein superbly designed by David Gallo – living room with African art decorating the walls, books on the shelves, lots of wine in the glasses and board games (Trivial Pursuit, Parcheesi and Scrabble to wit) a kitchen, two staircases (one for the black servant/maid) leading upstairs and an outside area with a seaside view. 

Very posh. Very “Wow!” inducing as Taylor (a spunky and verbose bug collector Tracie Thoms) gasps as she enters and sees the “cottage” for the first time with her boyfriend Spoon (Kent – Dule Hill) the younger of the two sons who wants to be a writer, unfortunately not what the Doctor ordered.  His older more arrogant plastic surgeon brother Flip/Harold (Mekhi Phifer) has a surprise for all of them.  His newest girl friend Kimber (Rosie Benton) is white.

Playwright Diamond has a lot more surprises in store as the extended and soon to be exposed dysfunctional family settles in discussing class, racism; waiting for mom to show up and dealing with Cheryl (Condola Rashad – daughter of Phylicia Rashad of the abovementioned TV program – giving a sensitive, amusing and altogether memorable performance) who is substituting for her ailing mom – their long time maid, and drinking until secrets are spilled resulting in audible gasps from the audience.

The writing is fresh and original and always interesting with lots of comedy and serious talk along the way.  As her characters and plot twists develop is a pleasure to listen to as is the original music by Alicia Keys that accompanies the scene transitions in a lyrical and mood inducing manner – whatever that mood may be.

The fine tuned direction of Kenny Leon adds to his already glowing reputation as director of FENCES and THE MOUNTAINTOP.  How he balances the seriousness and the comedy.  How he gets nuanced performances from each of his actors.  How entertaining, how in the moment, and how clever he can be, enriching the text throughout.

STICK FLY is that unexpected play that surprises, makes one think and is extremely entertaining on its own terms with nary a fly in the ointment.

www.stickflybroadway.com      Photo:  Richard Termine

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Matthew Cottle & Frances Grey

Neighbourhood Watch is Mr. Ayckbourn’s 75^th play.  He might have been wise to stop at number 74.  He also directed, another suspect decision.  Now don’t get me wrong.  I do not mean to be nasty, just expressing my honest feelings. 

Perhaps the subject matter and characters have more meaning across the pond.  It did get rave reviews recently at the Stephen Joseph Theatre, Scarborough evidently staged for “in-the-round” and awkwardly restaged for “proscenium”

I am a great admirer of Mr. Ayckbourn’s THE NORMAN CONQUESTS.  It had everything going for it.  Unfortunately this latest opus goes on for far too long (2 and a half hours with intermission) with a cast of eight rather bizarre characters where most of the important action takes place off stage while the “Neighbourhood Watch Vigilante Committee” meets and meets and meets to take matters into their own hands when the police can not or are reluctant to control the out of hand violence that has been escalating in their gated community.

Martin Massie (Matthew Cottle) a calm pacifist of a person and his ultra Christian sister Hilda (Alexandra Mathie) of questionable decorating tastes have recently moved into their new home at The Bluebell Hill Development.  They are unmarried and attached to one another with strong sibling bonds as we discover in the overlong opening monologue that has Hilda praising the passing of her younger brother at the opening ceremony of a Memorial Park named after him.

We then discover the twisted events that have led up to his demise when a window is broken and Martin chases away a would-be young thief.  Misunderstanding after misunderstanding ensues until the denouement that includes a statue of Jesus, a broken Gnome and the cutting of the ribbon ceremony honoring the fallen Martin who was killed in the act of duty.

Participants include Rod Trusser (Terence Booth) ex-security man who is game to take on the world and retell a story about a stolen hedge trimmer that might find better use in trimming the play, Dorothy (Eileen Battye) in charge of gossip and PR, Luther (Phil Cheadle) an abusive husband to his young wife Magda (Amy Loughton) a teacher of the clarinet and oboe and The Janners – Gareth who loves medieval torture instruments and his much younger tart of a wife who sleeps around a lot Amy (Frances Grey) whose micro mini skirts barely reach her private parts that Martin all too easily succumbs to.

Not my cup of tea.  Limited engagement thru January 1 – Theater A at 59E59

Photo:  Karl Andre Photography

www.59E59.org  or visit www.britsoffbroadway.com

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