Oscar E Moore

The “Georgia” in question is Georgia O’Keeffe.  The “Me” in question is Sarah Ford who has written and is performing this schizophrenic solo portrait that asks the question – is it ever too late to pursue your lifelong dream?  I think.

If you have nothing better to do with an extra hour in your life you can pay a visit to Ms. Ford in this quasi lecture without slides dealing with Ms. O’Keeffe and the not very interesting story of Sara Ford who was sent away to boarding school rather than be allowed to follow her dreams to become a dancer. 

Georgia & Me, loosely directed by Zoya Kachadurian is playing at the intimate Dorothy Strelsin Theatre as part of the 12^th Midtown International Theatre Festival and it’s quite boring despite the use of thunderous sound effects and some musical interludes that allow the lithe and graceful Ms. Ford to dance about the small stage and then refreshing herself with some slugs from a bottle of water.

Ms. Ford “a borderline bohemian” it would seem has an obsession with Ms. O’Keeffe.  She has done extensive research and she has been inspired by her to take a risk.  Well, she has and with mixed results. 

Ms. Ford, in her performance piece dreams about Ms. O’Keeffe and in fact Ms. O’Keeffe tells her to write something about her in one such dream.  She should have minded her own business.

It’s all a muddle and quite obtuse, trying to be poetic.  While Ms. Ford is a graceful dancer she lacks any dramatic ability in connecting with the audience.  Instead of her looking directly at us she has this bizarre trancelike look in her eyes.  Perhaps she is still dreaming.  But she isn’t getting her point across if there is a point to this show to get across.

Looking about the audience I was not alone in this reaction.  Watches were being checked.  Restlessness was evident in the squeaking of seats.  And others were simply uninterested.

The highlight is Ms. Ford taking on the different odd poses that photographer Alfred Stieglitz took of Ms. O’Keeffe leaving us with the desire to see the originals.

www.georgia-and-me.com

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Not since Annie and Sandy have a young girl and her dog charmed audiences to the extent that Peg and Michael do in the new musical Peg O’ My Heart which is being produced by Hell’s Kitchen Musicals and Northwest Playwrights Alliance as part of the 12^th Midtown Theatre Festival at the June Havoc Theatre 312 West 36^th Street.

If you are unable to catch one of the five performances rest assured that the lilting and beguiling Peg O’ My Heart will have a much longer run in the near future.  With some additional fine tuning Peg O’ My Heart could find itself plenty of admirers.

Based on the 1912 hit play by J. Hartley Manners (which starred Laurette Taylor) this new musical version has a book by Karin Baker and music by Fred Fisher.  Fred Fisher wrote the popular hit Peg O’ My Heart based on the play which caused the playwright to sue Mr. Fisher which resulted in Mr. Fisher having to use the likeness of Ms. Taylor and the dog on all copies of the sheet music which resulted in even more publicity for the show.  And here we are.

The creators have used additional songs from Mr. Fisher’s “hit” catalogue and interpolated them into the script resulting in a fun and entertaining evening of song and dance with some rather comical performances by the cast of eight.  An ensemble that runs the gamut from adequate to might be replaced to highly exceptional.  They all do their best but some are better suited than others in their roles.

Lyrics are by Alfred Bryan, Grant Clarke, Joe Goodwin, Howard Johnson, Joe McCarthy, Billy Rose, George Whiting and Greg Kayne.  Somehow, miraculously it all works – the songs fitting like kid leather gloves onto the creaky, predictable yet fun plot. 

A plot that includes the spunky, sassy and well intentioned Peg O’Connell (Brittney Lee Hamilton: a combination of Molly Brown and Eliza Doolittle) being sent off to London with her dog Michael ( the adorable and scene stealing Minnie Berloni) by her dad (Scott Willis – head of the Comedy Playhouse NYC) to become a Lady – being raised by her rather strict aunt Monica Chichester (Jennifer Smith) along with her cousins Ethel (Kelly Jeanne Grant) who wants to run off with the married cad Chris Brent (Ethan Angelica) and Alaric (a terrific Allen E. Read) a likable young gentleman who has difficulty with words like “work” and “poverty”. 

Recently made penniless by the failure of their bank the Chichesters take on their ward because of certain clauses in a certain will being executed by Hawks (David Arthur) for Peg’s uncle with lots of secret provisions that will eventually lead to the expected happy ending.  But not before Peg has had a positive effect on all those who come into contact with her, a masked ball and lots of seemingly mad men proposing to Peg with her charming song and dance suitor Jerry Adair (Jeremy Benton) conquering her heart.  Money is the root of all proposals here but true love conquers all.

Peg O’ My Heart is an old fashioned newly fashioned ode to song, dance and comedy nicely put together by director and choreographer James Gray with songs that surely will leave you happily humming as you return to the reality of the world outside the June Havoc Theatre.

Songs like “When I Get You Home Tonight” “Ireland Must be Heaven” “Father, You’ve Been A Mother To Me” “They Go Wild, Simply Wild Over Me” “I’d Rather Be Blue, Thinking of You” and of course Peg O’ My Heart”  lift the spirits and bring back fun.

With a tiny budget and a huge heart brimming with talent Peg O’ My Heart is a winner in the making.

www.midtownfestival.org  Tickets $18.00  Students and Seniors $15.00

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How do you solve a problem like Maria?  As in Callas, that is.  Tyne Daly with the guidance of director Stephen Wadsworth whose resume includes the staging of many an opera have done a formidable job in attempting to recreate the mammoth sized legendary life of “La Divina” in Terrance McNally’s take on Maria Callas in “Master Class” now at the Samuel J. Friedman Theatre under the auspices of the Manhattan Theatre Club.

On a set by Thomas Lynch which beautifully replicates a rehearsal studio with exposed lighting and wooden acoustical walls that magically transform into an opera house when needed for Ms. Callas’ forays into the past, the retired from singing, larger than life star both on stage and off has three “victims” perform under her entitled scrutiny.  She isn’t easy on them and lives up to her regal reputation as the singer without any rivals.

There are actually three stars on stage:  Maria Callas, Tyne Daly and Victor Borge.  Let me explain.  The wonderful actress Tyne Daly whose incredible legs go unseen here certainly has “The Look” thanks to make-up, wig and costume.  She certainly has the star quality.  And the attitude.  She does not try to imitate but tries to convey the inner workings that result in her seeming to be Maria Callas.  All very good. 

Then there is that incandescent smile of Ms. Daly that sneaks in every so often to remind us that she is just pretending to be Callas.  A smile that lights up the theatre but takes us back to Mama Rose.  Then there is her unmistakable voice that seeps through also.  A voice that has made her the star that she is.  Like Callas.

Then there is her impeccable comic timing.  Timing that brought to my mind, at least, Victor Borge in his extremely amusing classical musical skits.  I suppose it is this mutual brilliance in making us laugh that brought him to mind.  And once there, I couldn’t separate him from Ms. Daly nor Ms. Callas.

The onstage pianist Emmanuel Weinstock (a subtle and delightful Jeremy Cohen) plays his role and the Steinway to perfection.  Clinton Brandhagen as the Stagehand who has forgotten La Divina’s cushion and is late with her foot stool has just the right stagehand arrogance and aloofness to set the eyes of Callas/Daly glaring.

Her “victims” are well cast.  As the nervous Sophie De Palma, Alexandra Silber deals bravely while trying to start an aria from La Sonnambula.  The tenor Anthony Candolino, Garrett Sorenson, fares much better with his aria from Tosca.  But it is the feisty Sharon Graham (an adrenalin driven Sierra Boggess with pipes to match) who takes on La Divina with a vengeance with her soaring Lady Macbeth and almost succeeds in winning.

Within the context of the Master Class, Callas orates on the necessity of having or creating “A Look”, élan, presence, details and, of course, an incomparable voice.  Weaving in her life story with her first husband and then with the coarse Ari Onassis where she has to portray both parties does not especially work as well as when she is sharing with her “victims” and entertaining her audience. 

Extended through September 4th  www.manhattantheatreclub.com  Photo:  James White

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They’re Baa-ack!  Hannibal the Cannibal.  Clarice Starling.  Jamie “Buffalo Bill” Gumb.  Sgt. Pembry.  Butterflies.  Skin Lotion.  And Precious.  Along with a chorus of floppy eared lovable licentious song-and-dance lambs in the “unauthorized parody” of the hit horror flick “The Silence of the Lambs” now playing and perhaps shocking with humor best described as in-your-face raunchy at the intimate Theater 80 on Fri and Saturday evenings St. Marks Place.

How do they get away with it?  I mean, The Silence of the Lambs is a copyrighted brand.  I have to admit it’s a great target to take aim at in the satire department.  I suppose it’s the parody part that saves their skins so to speak from being handed a cease and desist order.  Anyway there are plenty of people that will eat up this sort of crude humor and flock to see this demented musical.

A musical without memorable tunes (Music and Lyrics by Jon Kaplan and Al Kaplan) but with song titles that you will not soon forget – “If I Could Smell Her Cunt” (There is a dream ballet to emphasize the odor in question danced by Callan Bergmann & Ashlee Dupre)  “Quid Pro Quo” and what will certainly become an infamous all time favorite “I’d Fuck Me.” 

Knowing the source material will help.  It would also help if you have an open mind and have a propensity for crude, Frat Boy jokes that hit with the thud of a sledge hammer. Not to mention those jokes that just land with a thud.  The book is by Hunter Bell.

For those uninitiated, FBI agent in training Clarice Starling (Jenn Harris wearing a mean wig and doing a mean imitation of Jodie Foster – exaggerated speech impediment and all) meets with cannibal Dr. Hannibal Lecter (a terrific Brent Barrett with a voice to kill) to obtain info about and clues as to the whereabouts of “Buffalo Bill” (a wild Stephen Bienskie giving us a glimpse of his genitals) a transvestite chubby chaser who stalks women of a certain size (14) to skin them alive to improve his wardrobe while sticking butterflies down their throats. 

Her back-up partner Ardelia Mapp (a great Deidre Goodwin who would fit nicely into Sister Act) would like to get up close and cozy with her as well as improve her shot.  Clarice has to deal with her superior Jack Crawford (Howard Kaye) Sgt. Pembry (Jeff Hiller) , a loony jail psychiatrist Dr. Chilton (Harry Bouvy), her dead dad and the aforementioned flock of lambs all the while manning the search and recovery operation of Senator Martin’s daughter Catherine both played by Lucia Spina.  The down the well scenes are particularly clever as is the program.

What should be an 80 minute riot turns out to a repetitious two act stretch as we grow weary with what we’ve seen before without anything new or clever to keep us interested.  The choreography by director Christopher Gattelli is laughable in a good way.  Yes, some bits are horrifyingly funny but whatever happened to innuendo and wit?

The immensely amusing and amazing Jeff Hiller plays all his characters to the hilt and practically steals the show from Brent Barrett who plays it straight with a booming voice and enough menace to fog up the glass partition between he and Jenn Harris who is a great comedienne but who obviously hasn’t been hired for her ability to sing on pitch.

www.SilenceTheMusical.com    Photo:  Carol Rosegg

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What’s a critic to do?

As theatre critic for Talk Entertainment.com for over six years now I have been quoted many times for my favorable reviews, making me proud of my profession.  I am sometimes able to help further the career of an up and coming actor or prolong the life span of a show that I find admirable enough to give it some good quotes to be used by the Public Relations representing said show.

But now I find myself being quoted in the New York Times no less for a show that I thought I had given a rather not very good review – my words being taken out of context and being manipulated by a show ironically named MANIPULATION.

The producers are advertising the show with a sub headline of “Trust No One”  and I can only assume they are referring to themselves in selecting some very kind words from my review of a show that I really did not care for and making it out that I seemingly thought the entire production “First Rate!”

They have added the !  If you read the review in its entirety:

http://talkentertainment.com/c-28463-Manipulation-%e2%80%93-Novelas-de-Telemundo-at-the-Cherry-Lane.aspx

you will discover that the words “first rate” – without an exclamation point – are in the middle of a sentence.  The other quotes omit some qualifying thoughts – thoughts that would clarify the true meaning of what is being used to promote this rather awful play.

There are some people who trust my judgment when it comes to my recommending a production.  I would not like them to run off and see MANIPULATION with the “First Rate!” quote. 

They might think I had lost my mind when in truth I thought the play was and I quote “Mindless and pretentious.  Mozart and marionettes do little to help the lame script.  No one speaks like this.”  More a “Novelas de Telemundo” a phrase which they did not seem fit to quote.

Oscar E. Moore

Outer Critics Circle

Drama Desk

www.talkentertainment.com

www.oscaremoore.com

ITBA

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Someone has some very deep pockets, spending freely for this first rate production of MANIPULATION by Victoria E. Calderon which has just opened at the Cherry Lane Theatre.  Money they will most probably never see again or make a profit on.

The cage-like scenic design replete with turntable by Bill Stabile representing the rich household of Mauricio (Robert Bogue) and his wife Cristina (Marina Squerciati)  and various other locations is simple yet opulent by Off-Broadway standards.  The ultra chic costumes worn by Christina and her mother Beatriz (Saundra Santiago) by Alejo Vietti could be couture.  The art work for the poster is an original BOTTERO. 

Too bad there isn’t a play on stage worthy of this production.  What we get instead is some strange story of a woman (Ms. Squerciati) who seemingly has everything and yet is a tortured soul.  Her mother Beatriz (Saundra Santiago) dispensing advise like a PEZ dispenser is there but isn’t there.  A ruthless, philandering husband (the same can be said of him) “manipulates” her like a marionette.  Dr. Lublitz (Jeremy Stiles Holm) a psychiatrist wants to have sex with her.  There is a family friend Luis (Rafi Silver) who she takes as a lover and her revolutionary lover Poeta (Brendan McMahon) a poet making him an easy mark for the overly romantic but confused Cristina.  Anti depressants don’t even help her.

It’s all very ridiculous in the manner of a Telemundo soap opera.  Funny without meaning to be.  Pretentious in the extreme with the aforementioned marionettes symbolically opening this saga accompanied by Mozart’s Don Giovanni.

No one speaks like this.  The dialogue is stilted and unbelievable.  The situations fare no better.  Jumping about from the rich household to the shrink’s couch to a prison where Cristina winds up – a captive from the rebels in some Latin American town of today.

Will Pomerantz, the director – the second director – has attempted to juice up the lame script which seems to have been greatly edited (there are many gaps) with music and marionettes, beautiful outfits and anything else he could think of to get your mind off of the mindless script which only exaggerates the lack of what he is trying to improve upon.

The main reason I was interested in seeing MANIPULATION is that Cristina is played by Marina Squerciati.  I had seen her in “Just in Time – The Judy Holliday Story” where she did a sensational job as Judy Holliday. I am glad to report that she is an excellent actress as you would never think that both parts were played by the same actress.  Here she is totally believable in a rather unbelievable role and that takes really good acting abilities.

Ms. Santiago, her mother, has to be one of the chicest actresses around.  Despite having to float about in reality and fantasy and playing a not very likable woman she succeeds in charming everyone on stage and off.  Unfortunately these two performances are not enough to warrant a trip to the Cherry Lane.

www.manipulationtheplay.com  Through August 21^st.  Maybe.  Tickets $68.50

Photo:  Carol Rosegg

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She’s lovely.  Looney but lovely.  Sarcastic and intelligent.  A bi-polar part played to perfection by Joely Richardson.  Daughter of Vanessa Redgrave and Tony Richardson.   Sister of Natasha.  Niece of Lynn.

It’s a joy just to watch her as Melinda Metz opposite a remarkable and uncanny look alike for George W. Bush, Cotter Smith as her sleaze ball wannabe in politics manipulative and controlling husband Hugh.

It’s hard to believe that they have been married for fourteen years and that it’s taken Melinda this long to discover that Hugh is no longer fun to be with.  That she needs to be with the man she left behind in New York, Adam or at least call him on her cell phone when Hugh leaves the room, sneaking furtive glances in case he should overhear.

Hugh comes from a good family.  He gave up a lucrative job in New York to return to the home bicycle business in the Midwest when his dad died and now the factory is in trouble.  His wife is in trouble.  Not taking her pills.  Drinking heavily.  Not listening to him anymore.  Wanting out.  Not wanting to help him campaign for City Council and then State Assemblyman which Hugh expects her to do – giving up her own writing career for him.  Tit for tat, so to speak in “Side Effects” by Michael Weller at the Lucille Lortel Theatre through July 3^rd which is also in trouble.

In five rapidly unfolding scenes that span two years in the unhappy and belligerent marriage of Melinda and Hugh we get the back story and more.  But we never see the two kids, nor Adam, nor the mistress of Hugh (Melinda’s newly hired assistant) who is pregnant and has some VIP connections in Washington D.C.

But wait, after Hugh and Melinda divorce he wants to come back and have sex with her in the mornings and is willing to pay her in this last amusing scene of a pretty ridiculous plot that deals with these two rather unlikable characters.

Despite having to play the obnoxious Hugh opposite the luminous Ms. Richardson Cotter Smith holds his own and it is the fine acting of both individuals that might tempt you to see the ho-hum, ineffectual  “Side Effects” which is directed by David Auburn.

She’s a free spirit and he’s straight laced.  She’s spontaneous.  He has everything pre-planned.  Except for the melodramatic plot twists dreamed up by Mr. Weller.

www.mcctheater.org Photo:  Joan Marcus

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Prediction:  You will not see a better written, better acted or better directed production this year than that of “UNNATURAL ACTS” – a new play based on some hard to digest true events – which is now at the Classic Stage Company on East 13^th Street.  They have created a profoundly moving, passionate, emotionally draining and powerful classic of and for our times. 

Harvard University should be ashamed – destroying the lives of these men.  Men who were homosexual.  And then keeping all records of Harvard’s Secret Court 1920,  locked up, in the closet so to speak, for over eighty years   Young men living their lives as normally as they could – pretending during the day, confused, suppressing what was for them their natural urges (unnatural to others) but coming to life at night allowed to revel in their true selves in Room 28 at Perkins Hall under the guidance of Ernest Roberts (Nick Westrate) the “on probation” prone son of a Congressman who hosts his soirees in drag.

Had it not been for Amit Paley who inadvertently discovered the files while a student at Harvard in 2002 and fought to get the secretive and sensitive material released from the University whose motto is “Veritas”, “UNNATURAL ACTS” would never have been written by the members of the Plastic Theatre as conceived by Tony Speciale who has staged this complex play beautifully reminiscent of Moises Kaufman’s Gross Indecency: The Three Trials of Oscar Wilde.

Despicable deeds done by five administrators investigating the alleged despicable deeds done by “a nest of deviants” who were interrogated, exposed and destroyed.  Then covered up – all in the name of truth.  “UNNATURAL ACTS” brings this brutal story to extraordinary life.

A story that won’t go away as noted in recent headlines regarding the suicide of Tyler Clementi after his roommate broadcast images of him having sex with another man on the internet. 

It is the “accidental” death of Cyril Wilcox and some correspondence that sparks the narrative by Eugene Cummings (Brad Koed) that begins the fast spiraling downfall of the students in question where they ultimately turn against each other – having to name names.

Kenneth Day (Roe Hartrampf) the handsome “jock” who likes to be serviced to “relax”.  The debater, Joseph Lumbard (Will Rogers) not gay but interested.  The flamboyant Edward Say (Jess Burkle) a wit who likes a bit of rouge.  Stanley Gilkey (Max Jenkins) head of the Drama Club.  The actor Keith Smerage (Frank De Julio) being helped with his diction and audition piece from Antony and Cleopatra – “All is Lost” (which beautifully mirrors the love and betrayal and trust themes of the play) by Nathaniel Wollf (Joe Curnutte).  The professor, Donald Clark (Jerry Marsini) who secretly writes poetry frequently referencing Eros and Devin Norik as Harold Saxton who figures prominently in this drama of indecency sparked by the suicide of Cyril after being threatened to be labeled a homosexual and denounced by his brother Lester (Roderick Hill).

Jess Burkle, Roe Hartrampf & Will Rogers

The acting is exceptional from the ensemble of eleven men who sometimes say more with a prolonged look, a glance or a subtle gesture – like almost crossing his legs but then thinking better of it as it might incriminate him as being feminine. 

Tony Speciale has directed with sensitivity, wit and wild simulated sexual abandon.  Overlapping dialogue has never been more appealing – especially the Act II duet interrogation scene of unlikely roommates Lumbard and Say.  The appearance of Room 28 is a marvel.  The majestic bookcase stage center with chairs and small pieces of furniture around the stage as actors move about in the shadows is handsomely designed by Walt Spangler.  Period costumes by Andrea Lauer, expert lighting by Justin Townsend and original music and sound design by Christian Frederickson couldn’t be better.

“UNNATURAL ACTS” is an incredibly creative, theatrical, truthful and moving production with an unexpected turn of events and coda that will sadden and shock.  It is not to be missed.  Through July 10^th. 

www.classicstage.org  Photo:  Joan Marcus

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Seven ten-minute one act plays about people with disabilities are being presented by Theater Breaking Through Barriers, formerly Theater by the Blind at the Clurman Theatre at Theatre Row through June 30^th.  It’s an eye opening experience.

Don’t look at the limp, at the hand that’s missing.  At the legs that don’t work.  At the wheelchair or the retractable cane.  Look at the actors – some able-bodied and some with missing parts – as actors.  Don’t be blindsided by what some might call defects.  They are not handicapped.  They are actors first and foremost.  They want us to get past what we see.

With spunk, determination, resilience and humor there is no room for self pity only talent as they take you on a fast, heartfelt and sometimes very funny journey seeing life through their eyes.

It is extremely ironic that upstairs at The Acorn Theatre – ONE ARM – the Tennessee Williams play dealing with an ex-boxer turned hustler with one arm has hired Claybourne Elder a beautiful specimen of a man with two arms one of which is strapped to his side for the role.  Director Moises Kaufman should make a visit to “Some of Our Parts” which might enlighten him, making him think twice about casting the part with someone with one arm for future productions.

Shannon DeVido & David Harrell

In CASTING CALL by Kate Moira Ryan which links all the other plays together while the set is quickly changed “Ike Schambelan” (TBTB’s Artistic Director) tries in vain to convince casting agents to cast disabled actors in such plays as The Miracle Worker, Butterflies Are Free, Children of a Lesser God and 33 Variations – another M. Kaufman show.

Each one act play is concise.  There is plenty of dark humor.  Some black out lines are more effective than others.  The acting is excellent by the cast of sixteen.  Playwrights include:  Bekah Brunstetter GORGEOUS, Samuel D. Hunter WELCOME TO WALMART, Diana Son BLIND DATE, Jeff Tabnick THE BIG PAYBACK, Emily Chadick Weiss GOOD DANCER and Neil LaBute CRIPPLES – where three old geezers discuss making it with disabled women that has a hysterical description of sex with a woman with no legs that you won’t soon forget.

The program cover features artwork by cartoonist John Callahan who was a quadriplegic alcoholic and had the darkest and most wicked sense of humor in depicting disabled persons in the funniest of situations.  Hardly politically correct.

“Some of Our Parts” carries on this tradition mightily.  It will make you think twice before saying something really dumb to someone less fortunate than you.  Hopefully casting directors will see this show and cast some of the many fine actors in a role that they are so well suited to play.

The ensemble:  Mary Theresa Archbold, Melanie Boland, Tiffan Borelli, Shannon DeVido, Alden Fulcomer, David Harrell, Marcie Henderson, Anita Hollander, Kenneth Kimmins, John Little, J.M. McDonough, Gregg Mozgala, Melanie Nichols-King, Pamela Sabaugh, Ike Schambelan and Nicholas Viselli.

www.tbtb.org       TICKETS $19.25    212 239-6200  Photo: Carol Rosegg

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It won’t make any difference whether or not you know of Bessie Smith “The Empress of the Blues” or her songs or her life story.  What you need to know is that Miche Braden staring in The Devil’s Music:  The Life and Blues of Bessie Smith (her almost one woman musical) is a shining sassy new star who lights up the stage of St. Luke’s Theatre with an exhilarating, passionate, sultry sexy red hot mama performance that will leave you breathless.

Not only is Miche Braden a great singer and entertainer she is a consummate actress.  When after all the troubles she has had with Jack, her philandering husband (Bessie wasn’t any better having flings with both sexes) who has taken her to court to take their adopted son away from her and she is left with nary a friend and sings the mournful “I Ain’t Got Nobody” Miche Braden (who you have already fully accepted as the reincarnation of Bessie Smith – she is so totally involved with her characterization) simply stands there and sings her heartfelt lament like you have never heard this song sung before, the pain seeping through every pore of her aching body.

This brilliant concept comes forth from Joe Brancato of the Penguin Rep Theatre who has also staged the musical numbers and directed the piece precisely written by Angelo Parra. 

Many of the lyrics are fun – double entendre meanings and sexual innuendos abound and are deliciously delivered by Miche with some tantalizing tongue action to boot as she shows off her flair for being light on her feet.

The seamless intermingling of songs and story make her life extremely compelling, taking place in a “buffet flat” where Blacks could gather after hours to unwind providing a refuge from the rampant white segregation in Memphis Tennessee circa 1937.  It is beautifully designed by Michael Schweikardt – looking very much like a private room of the Algonquin Hotel nicely lit by Jeff Croiter.

Miche is accompanied by her friend Pickle on Bass (Jim Hankins) Aaron Graves on piano and Keith Loftis (alternating with Anthony E. Nelson Jr.) on Saxophone.  And there is one of the hottest duets between singer and sax – “St. Louis Blues” that all but melts the wallpaper off of the walls.

Talking directly to the audience and “her boys” Miche does so with such a believable naturalness that not for a second do you not believe you are in the presence of Bessie Smith herself – making this musical a cozy affair between artists and audience as she drinks from one flask after another drowning her sorrows and fear of dying with bathtub made booze.

Miche Braden takes total command of the stage and never leaves until her final show stopping rendition of “Nobody Knows You When You’re Down and Out”.  It’s a bravura performance that brings Bessie Smith’s humor, temper, heartache and hard drinking, hard working and hard partying skills to vivid life.  Miche Braden is now rightfully the new Empress of the Blues.  As musical director and arranger she sure knows what she’s doing.  It’s a shame that The Devils’ Music is only performing three times a week.

www.thedevilsmusic.biz  Mondays & Tuesdays @ 7.  Wednesdays @ 8.  At St. Luke’s Theatre 308 West 46^th  Street.   Photo:  John Quilty

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