Oscar E Moore

“Without love life has no purpose.”  Words spoken every night by the late Zina Bethune as Charity Hope Valentine in the musical “Sweet Charity” circa 1968, Memphis Tennessee at the Front Street Theatre where I had the time of my life playing opposite this beautiful, fragile and funny performer as Oscar Lindquist.

As a memento for opening night ( a performance she missed due to illness, the role quickly taken over, rehearsed and performed that evening by Jan McElhaney, her role taken over, I believe, by Harriet All) Zina gave every cast member a small silver heart engraved with those words that Zina lived by her entire life.  A life that tragically came to an end as she was recently hit and run over by two cars in Los Angeles after stopping her car to help a wounded animal along the side of the road.

She loved animals.  She loved dancing.  And she loved Sean Feeley.  A tall, handsome and kind young actor that she met while performing “Sweet Charity.” They were married soon after and I attended their wedding in New York’s Greenwich Village.

I lost track of Zina and Sean until I read about her tragic death.  Not realizing all she had done to help animals and children with disabilities to learn to dance with her founding of the non-profit company “Infinite Dreams.”

I shined up my small silver heart this past Valentine’s Day a few days before what would have been her 67th birthday on February 17^th remembering that summer of 1968 where we played “Sweet Charity” in Kennebunkport Maine, Allentown, Pennsylvania and Memphis, Tennessee.  The summer that Dr. Martin Luther King was assassinated in April of that same year.  I took over the role of Oscar for the Memphis run.

It was incredibly humid when we arrived.  And I believe we stayed at the same Lorraine Motel where Dr. King was shot.  My roommate was Larry Vickers.  He was black.  But we were not at all concerned.  The show was quite successful and we all had a great time.

Maureen “Mo” Neville and I became steadfast friends despite her short sheeting my sheets every night during this time and I hope that one day we will reunite.  I have lost track of her also.  She and Larry presented me with a pull string talking Irish chimp toy with the name Oscar embroidered on his chest.  His repertoire still makes me smile.

Zina had many health problems and had a lot of pain but she rarely complained – loving every moment on stage and then leading a quiet off stage life with Sean.  They were a lovely couple and my heart goes out to him and her mother Ivy.  I am so saddened by her loss and will always remember Zina for her laughter, her generosity and her love for all things living.

Authorities are looking for a white car that left the scene of the accident.  Anyone with information is asked to contact the Los Angeles Police Department.

Tags:   Harriet All · Jan McElhaney · Larry Vickers · Maureen "Mo" Neville · Sean Feeley · Sweet Charity · Zina BethuneComments Off on REMEMBERING ZINA BETHUNE

In her new cabaret show, “Next to Ab-Normal,” ebullient Broadway veteran Loni Ackerman recalls personal stories of her unusual New York upbringing (including her childhood associations with such “family friends” as Bob Fosse and Gwen Verdon,) as well as revisiting songs she sang in New York hits like “Starting Here, Starting Now” or in one of her lengthy associations with the shows of Andrew Lloyd Webber.  Directed by BarryKleinbort, with musical direction by Paul Greenwood, Ms. Ackerman’s repertoire also includes charming standards, contemporary songs, even one of her own compositions which became the theme song for a “very special” French film made during her time in Paris.  Another prime example of her life as something just “Next to Ab-Normal.”

The dates for her show NEXT TO AB-NORMAL are February 24th, March 2nd, 23rd and 30th.  All at 7pm

Twenty dollars.  Two beverage minimum  212 206 0440 The Metropolitan Room 34 West 22nd Street

www.metropolitanroom.com

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The first thing we hear is some vintage jazz played just loud enough to annoy.  Setting the proper mood for what we see on stage – a ramshackle mess of the extremely tight quarters that the Porters inhabit in this excellent, white hot revival of LOOK BACK IN ANGER by John Osborne first produced in 1956.  It’s as pertinent today as it was then.  How many women still find themselves ensnarled in an abusive relationship?

Garbage is strewn about.  Empty cans of beans and clothing litter the floor.  A filthy mattress is propped up against the bare black wall with just enough space left for the incredible team of actors to bring to life – the ugly, frustrated, cramped lives of the Porters – Jimmy (a seething Matthew Rhys) an arrogant, self absorbed, offensive and demanding “angry young man” of the lower class who wastes his intelligence – bitterly complaining about life in general and specifically his beautiful wife Alison of three years (a ravishing Sarah Goldberg) who takes his abuse all the while ironing and brewing tea while their boarder (a brutish and sexy Adam Driver) lolls around the floor reading the Sunday papers, checking for lice and openly flirting with her.

Director Sam Gold has done a masterful job in creating an “in your face” production that reeks of sweat and sex where the characters literally have their backs up against the wall.  It’s a very physical production that has Jimmy and Cliff sparing and wrestling.  Both ready to pounce.  Both ready to explode.  As is the pent-up Alison.

One wonders why she puts up with this lout who writes bad songs and goes off every once in a while to play his trumpet – brilliantly commenting and interrupting the action.

She is, after all, from a higher station in life but absolutely adores the charming and horrifying man she is married to.  He must be fantastic in the sack.

Into their world walks her seemingly good friend Helena (a shrewd Charlotte Parry) – an actress after something more than just a place to stay.  Walking around in her red high heels it’s as if she is wading through a mine field – which she is – stepping over garbage and clothing and Cliff.  Adding additional pressure to the already about to burst situation.

This up close and incisive production is aided greatly by the stark lighting (Mark Barton) which is extremely effectual.  David Zinn’s costumes add a splash of color to the stark set by Andrew Lieberman and are absolutely right on target.  Fight director Thomas Schall makes terrific use of the claustrophobic space.

Sam Gold has made some brave choices here and has given us a cast that is outstanding which makes a trip to the Porter household a truly unique and powerful experience.

www.roundabouttheatre.org Photos:  Joan Marcus

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Maya Macdonald’s new play LEAVE THE BALCONY OPEN isn’t a play in the traditional sense of the word.  It is more of a meditation – a theme with variations – dealing with death, suicide, the loss of friends and the attempt at survival which takes place at a rural college campus a few days before graduation.

The odd assortment of characters are Ms. Macdonald’s new lost generation.  A few of them are not particularly likable.  The production is a combination of the natural and the surreal directed gamely by Jessica Bauman and beautifully lit by Cat Tate Starmer.

Every short scene is a detour usually ending in talk about death and suicide.  It’s a strange, multi-media, seven actor performance piece lasting almost two hours without an intermission at the 3LD art & Technical Center (80 Greenwich Street @ Rector) which is at times confusing, poetic, indulgent and tiresome.  Yet interesting. 

It is fragmented.  Like the explosive, shattered slats of wood set by Gabriel Hanier Evansohn which looks like a modern sculpture that has been blown to bits by a tornado.  The tornado, in this case, being the many on campus deaths that have left the surviving students traumatized – especially Silent Gen (a remarkable Mary Rasmussen) who is mute throughout but conveys convincingly every thought and emotion flowing through her mind and body.  The others come knocking at her door to be made over.

Bits and pieces of information are doled out slowly about the characters – who they are and their connection and/or disconnection to one another.  There is Chrissy (Heidi Armbruster) the drama teacher who is trying to get Silent Gen to speak and act again.  Prospective (a fine and intriguing Jerzy Gwiazdowski – could he be the new Ashton Kutcher?) who is testing the waters – deciding if he will attend the college as he has “exonerated” his parents.  Julie Kline is I Almost Died Cathy/Chorus.  Jared McGuire (looking for a hug) is Badly Drawn Johnny Depp/Chorus.  Betsy Hogg is the perpetually drunk friend of June (Anna O’Donoghue) who wears a baby bump pillow.  An odd assortment of characters to say the least.

When we eventually understand what has happened and the full extent of the experiences on these people we can finally relate to them but it is very long in coming. 

The excellent sound design by Brandon Wolcott and his use of music helps tremendously to add atmosphere and interest.  Projections by Jesse Garrison while apt, distract.   

The title of the play, which doesn’t help, refers to a line of poetry from Lorca’s Freedom which also deals with death.  LEAVE THE BALCONY OPEN is produced by New Feet Productions through February 26^th.

www.leavethebalconyopen.com  Photo:  Suzi Sadler

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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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