Oliver! meets Annie meets Charles Busch meets Disney meets The Sound of Music meets the Pope in this absurd Catholic romp of a delightful, irreverent, charming and truly original new musical “THE KID WHO WOULD BE POPE” which is part of NYMF spreading the word over at The Theatre at St. Clement’s through Oct.7^th.

Book, Music and Lyrics are by the Megan brothers, Tom and Jack.  And they must have been something growing up, attending parochial school and remembering every action from the nuns and priests that they would one day skewer to hysterical effect (i.e. The Confessional Scene) with their bizarre yet highly accessible sense of ridiculous humor aimed at both kids and adults striking a balance between outrageousness and Holiness.  With many a happy, cheerful tune to boot, directed by Gabriel Barre.

Eleven year old Billy (Kyle Brenn looking very much like Justin Bieber) who has a keen imagination has been transplanted from Florida and it’s his first day at Our Lady of Perpetual Motion where he meets strict Sister Rudy (Eric Anderson) toting a yard stick and ruling with an iron rosary bead and his fifth grade classmates that include smart Ali McNally (the gifted Rachel Resheff) Kenny McBride (scene stealer Matthew Gumley) The McJohnson Twins (Ben & Noah Radcliffe) Poet Mary-Louise McPaulson (Leah Greenhaus) and Mary McDoyle (Sarah Safer) and Elizabeth McPetty (Alison Jaye Horowitz).   All A-plus performers.

Problem is, Billy falls in love with Sister Katherine (a radiant Jillian Louis) a nun who does cart wheels and is the drama teacher presently mounting a production of Fiddler on the Roof.  Sister Katherine is a cross between Pollyanna and Snow White as she bonds with the animals and is accompanied by two pink Angels (James Judy & Eric Anderson) that only Billy can see.

It is then that he decides to become Pope so that he can change the laws that will enable him to marry Sister Katherine.  A decision that brings him to Rome where he meets with the Pontiff himself (a fun James Judy) and Cardinal Louis (a magnificent Tina Stafford)

Along the convoluted way (and it is here that the show could use some re-focusing and cutting) he is assisted by his friend Ali who has a library book on “How To Become a Pope” and has her heart set on him so she helps Billy achieve his dream.  But he must first perform three miracles and we must meet his parents and he must have a nightmare and save a gerbil and have silent Sister Delmonico (Tina Stafford) regain her voice and a fantasy wedding and you can see where some pruning might help.   And poor Sister Katherine somehow fades away and we love her as much as Billy does and want her to have at least another song.

Blessed be the creators that can cause such merriment.

www.thekidwhowouldbepope.com                          www.nymf.org  Photo:  Peter James Zielinski

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With a sixteen piece orchestra and a cast of twenty one very talented students from The Program in Vocal Performance  (Music and Performing Arts Professions) – NYU Steinhardt under the caring direction of John Simpkins is presenting a full scale production of the imperfect but enjoyable SWEET SMELL OF SUCCESS – Music (Marvin Hamlisch) Lyrics (Craig Carnelia) and Book by John Guare – September 29 through October 3^rd at the Frederick Loewe Theatre 35 West 4^th Street.

There are many reasons why this 2002 musical based on the 1957 satirical film noir failed on Broadway even though John Lithgow received the Tony Award as JJ Hunsecker (based on the powerful and most feared anti-commie 1950’s newspaper columnist Walter Winchell) and Brian D’Arcy James as Sidney Falcone, Press Agent and Kelli O’Hara, as JJ’s sister Susan co-starred.

Blame it on the lame book (little satire and less noir) and its haphazard, disjointed structure.   The omnipresent Greek Chorus aspect and the lackluster lyrics. 

However, Marvin Hamlisch comes out smelling like roses with his James Bond/Mike Hammer theme sounding score that features one of the most beautiful tunes – “I Cannot Hear the City” sung by Dallas (Tim Russell) the love interest of Susan that JJ quite literally kills off.  No wonder it is reprised twice.  It is sung beautifully, tenderly and majestically by Tim Russell who just about steals the show from its two leading men.

Rebecca Kostell & Tim Russell

Brett Rigby as JJ Hunsecker and Tim Shea as Sidney Falcone who wants to achieve the great success that JJ has and is willing to do just about anything to get it.  It’s a shark eat shark world created here but the bite is missing.  Despite this, both Rigby and Shea show great promise, commanding the stage, singing with power and giving outstanding performances.

Another great find is Rebecca Kostell as Susan who has a lovely vocal quality, vulnerability and strength as she tries to stay with the man she loves despite her brother’s manipulation and double dealing, double crossing antics to separate them.  She and Dallas sing another winning number “Don’t Know Where You Leave Off” beautifully.

John Simpkins, a director of note, has does his best to make lemonade out of the lemons left behind by Guare and Carnelia.  It’s amazing that the show works as well as it does.  It’s an excellent production showcasing the immense talent at NYU and featuring some nice choreography that keeps the pace from lagging by MK Lawson.

NYU must be commended for doing a show that might not otherwise be produced and allowing so many talents performers to be exposed – in a good way.

www.steinhardt.nyu.edu/music    Photo:  Chianan Yen

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Sometimes rewrites are not such a good idea.  In “This One Girl’s Story” a new musical which is part of NYMF’s eighth season the creators – Dionne McClain-Freeney -(music and lyrics) and Bil Wright (book and additional lyrics) have reworked, rearranged and re thought their original work which was part of GAYFEST NYC 2010.

A production that I thought had great potential and that hit home the rampant bigotry that the gay community often is a target of.  In this case four lesbians who travel from Newark to New York’s Greenwich Village to celebrate their imagined freedom but run into hatred and murder (Mick – Antonio Edwards Suarez) when they return home in the wee hours of the morning.

It’s hard not to compare the two versions of the show but I feel that I have to review what I saw yesterday at The McGinn/Cazale Theatre (Broadway & 76 St. – 4^th floor) where the show is now playing and the elevator was not working. 

New director, new cast (with one exception) new choreographer and design team.   The results are mixed.  The cast is exceptional.

Patrice (Zonya Love Johnson) has been suspended from school for defending herself against being bullied by a couple of guys that call her “Mr. Freak”.  Her mother has also thrown her out calling her “an embarrassment”. 

Off she goes to cousin Cee-Cee (Angela Grovey- Oprah with vocal prowess) to crash.  Cee-Cee takes her in but is having her own “love-life” problems with her ex girl friend Dessa (Danielle K. Thomas).  The first three numbers of the show are powerful show stoppers – “Liberation Party”, “Into the World” and “Anything”. 

But then the story detours and becomes a story about Cee-Cee and Dessa – Patrice’s troubles taking a more than momentary back seat (whose story is it anyway?) as Lourdes (Desiree Rodriguez the sole survivor from GAYFEST) invites Dessa to reconcile with Cee-Cee before they all trek off to  Greenwich Village where Patrice meets up with a cougar named Promise (Jade Hicks) who tries to seduce the underage, naïve but boastful Patrice in “Closer” – a song that I loved first time around but instinctively feel that it’s been changed somehow.

There are new characters but less people playing them.  The musical styles vary from rap to hip hop to Latino to show-stopping.  But what was once a tragic story told within the context of a trail of the man accused of killing Cee-Cee seen through the eyes of Patrice has been watered down to make more of the relationship between the two women – with a beautiful duet “Imperfect Me” still extremely moving in its simplicity.

Direction by Jeremy Dobrish doesn’t help clarify some of the flaws that still exist in the book that has lost its original emotional wallop and trajectory. 

But oh those wonderful women!  Better singers you will not find.  They bring soul power, and heart, and fantastic vocal power to their characters.    www.nymf.org

Link to original review:  http://talkentertainment.com/TalkBack.aspx?art=19216

CORRECTION:  Zonya Love Johnson who is Patrice, played Dessa in the GAYFEST production.

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Remember Summer Stock?  That wonderful training ground, the best training ground for actors and artisans that allowed you to hone your craft over a period of twelve weeks between Memorial Day and Labor Day – performing up to ten shows both musical and straight in that short period of time? 

A time that once you had experienced you would never ever forget?  Where every moment was shared with a resident company of fellow thespians living and breathing theatre 24 hours a day?   And then some?

Theatrical producer Mitchell Maxwell (Damn Yankees, Dinner with Friends and Stomp!) obviously has remembered it well.  In his refreshing new novel “Little Did I Know” Mr. Maxwell has created Sam August – a brash young man straight out of college, with the highest ideals inherited from his hero Frank Capra and a love for theatre matched only by that of the Red Sox and pretty young women. 

Passionate, arrogant and driven with a force equal to that of a tornado Sam August takes us on a delightful journey where he must overcome many obstacles which he does in the most romantic of ways filled always with “courage, tenacity and an innate refusal to fail.”

Answering an ad in Variety he sets out in his ’69 Mustang for Plymouth Massachusetts to rent a long vacant, historic, dilapidated barn – The Priscilla Beach Theater on (spoiler alert) Rocky Hill Road with the dream of revitalizing it with his productions of Cabaret, Funny Girl, Anything Goes, Company and The Fantasticks during the summer of ’76 along with his cadre of dedicated school chums.

But to succeed Sam must first face stiff opposition from the theatre’s elderly and stoic owner Dr. Anderson Barrows – powerful and rich (very old money) and his much younger wife Lizzy (oozing with the scent of lilacs) and discover the hidden secrets of his new girl friend Veronica Chapman (Miss fresh picked strawberries) –   It’s Peyton Place meets Glee!

Boners, booze, boobies and Joe DiMaggio make this a summer to remember.  Little did I know that when reading “Little Did I Know” that I would so fondly recall my Summer Stock experience at Canal Fulton, Ohio – 1968.

But you needn’t be an aficionado of theatre to love this novel.  The dialogue is fresh and sparkles with wit.  This coming of age story might just bring on a few tears if you are a helpless romantic and fan of Mr. Smith Goes to Washington.  Just read the first chapter and you’ll be hooked. 

Published by Prospecta Press on October 5^th, 2011  www.mitchellmaxwell.com

Click here for FIRST PAGES  www.cromarty.com

NOTE:  While reading the book I thought of who might make the ideal Sam August and three names came to mind:  Josh Grisetti, Noah Robbins and Adam-Chanler-Berat.  And then I heard from another actor and eureka!  His name is Erik Liberman.

Read “Little Did I Know” and let me know who you think should portray Sam August when and if it reaches the stage or the screen.

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Four actors.  One set.  Hot topic.  Looking to get a production, vanilla gay playwright Danny (Jonathan Groff) has submitted his first play – Call A Spade “about an alcoholic black mother and her card sharp son trying to get out of the projects” to the Humana Festival and to everyone’s surprise it is accepted for a full scale, first class production.   It is supposedly “stirring”.

Sounds great to his best friend Trevor (Will Rogers) and lover Pete (Eddie Kaye Thomas).   Only problem is that Danny (thinking that no one would read it with his name attached)  has invented a black female playwright – Shaleeha G’ntamobi – that is difficult to pronounce but certainly caught the attention of the Humana Festival folk who selected it to be produced.

Afraid to fess up and lose everything he hires an actress, Emilie (Rutina Wesley) to take his place as the play proceeds to opening night and we discover that they are both bigots.  There are lots of cell phone conversations as Emile begins to take over and falls for Danny’s best friend the lanky Trevor which leads to a texting/sexting split-screen scene directed with soft porn panache by Walter Bobbie.

The dialogue is fierce and bristles like firecrackers let loose as the two combatants hit each other fast and furious with the “F-word”.   If all the “f-words” were taken out of the script I do believe the one hundred minute show would be shorter by at least ten minutes.  It becomes numbing.

The unit set by David Zinn is a marvel as it quickly changes locations keeping up with the rapid pace set by Mr. Bobbie, whose direction is sharp and lethal.  The acting is exceptional.

So why did I feel so disappointed?  The characters become increasingly unlikable and the resolution is unfulfilling.  Somehow I felt bombarded and cheated.  Also there is a noticeable gasp from the audience when the “N-word” finally rears its ugly head but no such response when the word “faggot” is thrown into the ring.

Jeff Talbott, author of THE SUBMISSION now running at the Lortel Theatre is the inaugural winner of The Laurents/Hatcher Award (as in Arthur Laurents and his lover Tom Hatcher).  He won and won big.  Fifty thousand dollars.  And one hundred thousand dollars going to the company that would mount the show within a year of winning the award.  MCC – Manhattan Class Company, being that company and the other winner.

Whether you think THE SUBMISSION is the winner it is touted to be is ultimately going to be up to you.

At the Lucille Lortel Theatre, through October 22^nd.   www.mcctheater.org

Photo:  Joan Marcus

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Marvell Rep presents

a staged reading of

a new comedy

A ROYAL MESS

by Oscar E. Moore

Adapted from “The King’s Mare” by Jean Canolle

directed by

Marc Geller

with

Jason Beaubien

Dan Domingues

Darrell Glasgow

Sharon Hunter

Jerry Matz

Michael McCoy

Colin Pritchard

Abby Royle

and Claire Warden

as Anne of Cleves

fourth wife of Henry VIII who did not speak English but managed to keep her head

Monday, September 26th and 7:30

The Playroom Theatre

151 West 46th Street

(between 6th and 7th Avenues)

8th floor

It’s FREE but seating is limited

To make a reservation go to:

https://web.ovationtix.com

/trs/cal/30515

www.marvellrep.com/A-Royal

-Mess.pdf.

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FOLLIES – the original production – was the last show that I ever auditioned for.  I was taxied downtown to a rehearsal studio with Ruth Mitchell, squeezed in between Kurt Peterson and another fellow that I didn’t care about. 

It was Kurt who was my nemesis.  He and I had been up for many of the same parts, many times, including Dick, in Dames At Sea, that I eventually did with Loni Ackerman at Shady Grove in 1969.  Loni and I became and still are best friends.  But Kurt always won out.   Including the part of the young John McMartin role of Ben in FOLLIES.

I remember being terrified – coming this close – singing “She Touched Me”, and Mr. Sondheim asking me what I had done in New York.  I froze.  I forgot.  And missed the opportunity of a lifetime.  Kurt got the part. 

It was forty years later that I spoke to Kurt about this.  He remembered me and my bow tie and assured me that the reason I lost out was because he bore a better resemblance to Mr. McMartin than I did.  Whatever.

And so now, all these years later, I get to review this newest incarnation of FOLLIES without any regrets or bitterness but with great admiration for this splendid production under the acute direction of Eric Schaeffer.

Regrets and bitterness permeate the lives of Sally and Buddy; Phyllis and Ben the central characters in James Goldman and Stephen Sondheim’s extremely moving, thought provoking and highly entertaining musical FOLLIES now at  the Marquis Theatre.

A modern theatre that has been distressed and transformed by scenic designer Derek McLane to replicate one that is decaying and about to be demolished and replaced by a parking lot where the demolished, drab, disillusioned and depressing lives of Sally (a spellbinding Bernadette Peters) and Buddy (a volcanic Danny Burstein); Ben (a commanding Ron Raines) and Phyllis (a comic spitfire and glamorous Jan Maxwell)

play out in between show stopping numbers that will enthrall and entertain you with one of Sondheim’s most masterful scores performed by a full orchestra – deservedly so.

Ghostlike and shimmering.  Fragile and haunting.  Memorable and aching.  Painful and ironic.  All of these words describe the experience of seeing this new FOLLIES.  A show that one MUST see.

The costumes by Gregg Barnes are some of his best designs ever.  The lighting by Natasha Katz captures the past and present beautifully.  Warren Carlyle’s choreography illuminates with wit and finesse.

And then there are all the show stoppers.  One following another that will bring thoughts of standing ovations over and over.

Elaine Paige in her defiant rendition of “I’m Still Here” – Terri White’s gleaming “Who’s That Woman” –  Jayne Houdyshell’s all out “Broadway Baby” – and the gorgeous “One More Kiss” shared by Rosalind Elias and Leah Horowitz, et al.

Then the stars – not to be outshone – get to sing with incandescent strength their songs that define and deepen their characterizations.  Ron Raines’ “Too Many Mornings” – Jan Maxwell’s vitriolic “Could I Leave You?” Danny Burstein’s brilliant “The-God-Why-Don’t-You-Love-Me-Blues” and Miss Bernadette Peter’s heartbreaking, almost unable to get the words out “Losing My Mind” – one of her finest ever portrayals.

There is so much to savor.  So many delectable performances beautifully staged that make FOLLIES shine anew.  See it.

www.folliesbroadway.com  Photo:  Joan Marcus

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Sally Mayes, consummate singer, gets to wear the pants and strut her inner jazz baby, riffing and skatting with the best of them in “Play It Cool” which has just opened at the Acorn Theatre on Theatre Row.  It is a not-to-be-missed performance. 

Ms. Mayes is giving a fantastic, full dimensional portrayal of a “Butch Dyke – that no one wants to see sing.”  She is the owner of Mary’s Hideaway – an underground gay jazz club off Sunset, Hollywood, circa 1953.  A “noir” period for gays and lesbians when you had to hide your true sexuality to get ahead and not be arrested or sent away to some mental institution.  She has put all that she owns on the line to forward the career of her lover and protégé Lena (Robyn Hurder) looking like a combination of Monroe and Betty Grable.

The upbeat, jazzy, original and tuneful score (Lyrics – Mark Winkler) and (Music mostly by Phillip Swann with some added music by Jim Andron, Michael Cruz, Marilyn Harris, Emilio Palame and Larry Steelman) is just plain terrific.

From the moment the three piece combo takes stage: David Libby (piano) Dan Fabricatore (bass) and Dan Gross (drums) giving us a taste of the score to follow you will immediately cast all your cares away and be transported to a land of jazz ecstasy.

With a book by Martin Casella & Larry Dean Harris that teeters between seriousness and high camp – the plot – a 50ish “Noir Hollywood” take on the comings and goings on at Mary’s Hideaway (a unit set nicely evocative by Thomas A. Walsh) is less than substantial and sometimes gets in the way of the glorious score which is beautifully interpreted by the cast of five and on stage combo.

Henry (a superb and sexy Michael F. McGuirk), a married cop on the take – who protects Mary’s Hideaway from being raided for a price because he loves jazz and has a “secret” is our “Noir Narrator” and hits just the right tone.

Into the bar arrives Eddie (Chris Hoch) a smarmy MGM talent scout who has met the new boy in town – would be singer jail bait Will (Michael Buchanan) in a men’s room and has brought him to the club so that they can get to know each other better.

The paper thin plot thickens with revelations that shouldn’t surprise many but nonetheless are very entertaining when the actors are singing the noteworthy harmonies and spot on arrangements by Joe Baker. 

Director Sharon Rosen hasn’t quite decided on the overall tone of the show with Act II being decidedly more serious, that again switches gears, reverting back to being “Noir”.

Some sprightly dance routines by Marc Kimelman add to this well intentioned albeit uneven entertainment.

Through Oct. 9^th.      www.playitcoolmusical.com  Photo:  Joan Marcus

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For those of you who missed it and for those of you who want to see it again

NOIR is back for four additional performances!

this time they’re at

The Players Theatre

115 MacDougal Street

performance dates and times are:

Sunday, 9/18 @ 4:00 pm

Monday, 9/19 @ 7:00 pm
Tuesday, 9/20 @ 7:00 pm
Thursday,  9/22 @ 7:00pm

NOIR

watch as four actors

with absolutely no set or props

create an entire film noir in 70 minutes!

Here are the facts, just the facts …

New York City, 1950 …

Andrews has left town ….

Klein is dead …

Lydecker is dead …

Betty … well she’s still alive  …  but someone’s beat the pretty off her

Detective Clay Holden has his first big chance … but this is one case that he may not want to solve.

Here’s what the critics are saying about Noir:

“Noir, written by Stan Werse and sublimely directed by Marc Gellertransports the audience back to New York City, 1950 … the actorsMichael McCoy, Andrew Dawson, Darrell Glasgow and Abby Royle do a terrific job … characterizations are sharp and richly layered. They take what could be stock characters and turn them into true individuals … Geller‘s direction and staging breathe fresh life into a familiar morality tale of loyalty and betrayal … Ashley Rose Horton‘s costume design is sumptuous and hits the bulls-eye in honoring the genre …. do not miss this play.”

NYTheatre.com

“… delightfully nasty … Audience members who’ve watched such films as The Maltese Falcon or Out of the Past — this is the crowd at whom Werse and shrewd director Marc Geller are pitching the sinister tale (with sinister Daniel Dungan lighting) — will think they’ve figured this one out. The beauty part is they may decipher some of it but not all.”

Theatremania.com

CRITIC’S PICK “… spoken with the right snap by the four-person cast …along with director Marc Geller, they take the material as seriously as a handgun pointed in their faces … Daniel Dungan‘s lighting, Jack Kennedy‘s sound, and Ashley Rose Horton‘s costumes create the appropriate dark and dangerous atmosphere.”

Backstage

“Director Marc Geller has done a skillful job evoking the dark, cynical, melodramatic and sometimes humorous atmosphere aided by a wonderful sound-scape by Jack Kennedy and lighting design by Daniel Dungan with some spot on costumes by Ashley Rose Horton … Geller knows the style and his gift for dead pan comedy pays off in spades here .”

Talk Entertainment

“Director Marc Geller gets fine performances from Michael McCoy(McQue), Andrew Dawson (Grimes), Darrell Glasgow (Holden) and Abby Royle as vamp Helen Lydecker. This old-style crime drama[dy] is funny, features fine actors, a solid plot and waves and waves of old noir atmosphere at every turn in the story. Playwright Werse has done a fine job of crafting a witty tribute to noir- style stories while, at the same time, writing a pretty good one himself.”

History News Network

Named a top fringe pick by NYC Fringe Guide

and now a part of the Fringe Encores Series

NOIR

as new play

by Stan Werse

directed by Marc Geller

with

Andrew Dawson

Darrell Glasgow

Michael McCoy

and

Abby Royle

as Helen Lydecker

lighting design Daniel Dungan

sound design Jack Kennedy

costume design Ashley Rose Horton

stage manager Adrianna Nicolé Perlman

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 Eric Liberman is a very talented actor who has kept in touch with yours truly and I wanted to share his latest information.  It’s funny that I am about to review a new novel by Mitchell Maxwell “Little Did I Know” which will be released October 5th on Prospecta Press as its lead character Sam August would be a wonderful role for Erik if the book is ever adapted for stage or screen.  He might just have some stiff competition, however, from the likes of Josh Grisetti, Noah Robbins and Adam Chanler-Berat…

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