Oscar E Moore

Somewhere betwixt and between Mary Shelley (Frankenstein), Stephen Sondheim (Somewhere) and Rod Serling (The Twilight Zone) can be found this very intriguing, never boring, sometimes spooky and worthwhile foray into the future and back to the past  double feature production of “Frankenstein with Mary Shelley” adapted by Virginia Bartholomew and “Gabriel” written by Will Le Vasseur.

These two connected at the umbilical cord one act plays can be currently seen at Nicu’s Spoon Theatre 38 West 38 Street – 5^th Floor produced by the REDD TALE THEATRE COMPANY as part of its Fifth Season.  Just around the corner from Lord & Taylor on Fifth.

If you have a hankering for tales told around the camp fire sort of thing, some excellent acting and great production values on a shoestring budget I suggest you pay your $15.00 and be delightfully surprised at the high caliber work being done by this small troupe of actors.

Virginia Bartholomew, strikingly elegant in her Victorian garb, lights her four candles and steps into the role of the so-very-British Mary Shelley with a barely audible heat beat in the background explaining how she came to write her famous opus Frankenstein and then takes on the parts of creator and monster in this very special one woman show which has been directed and edited by Will Le Vasseur.

Mary Shelley’s love of science, alchemy, anatomy and story telling make for a riveting performance piece.  Ms. Bartholomew is simply mesmerizing.  She is aided expertly by lighting designer Jason Richards.

After a fifteen minute intermission where the audience is asked to adjoin to the lobby so that a new set can be installed we return to the future with “Gabriel” – directed by Lynn Kenny.

It’s Twilight Zone time here.  As written by Mr. Le Vasseur the candles have been replaced by an Apple Lap Top and large screen where technical DNA data is projected.

Henry (Will Le Vasseur), a wealthy British geneticist has invited married couple Pierce (James Stewart) and Susan (Cameran Hebb) to his inner sanctuary to introduce his creation Gabriel who can only speak telepathically.  And so we have the off stage voice of Gabriel (Michael Komala) speaking for the on stage embodiment of Gabriel (Michael Wetherbee).  It’s weird but it works.

Henry has also been researching an HIV Vaccine which becomes important to the denouement that I won’t divulge.  I’ll only say that I did expect at any moment to hear the strains of Sondheim’s “Somewhere” waft into this brave new world. 

“Gabriel” verges on the edge of melodramatic futuristic camp but never goes over the top due to the seriousness and honesty of its actors.

It’s an exciting company to keep a watchful eye on.

Through August 27^th.    www.reddtale.org  Thurs.-Sat 8pm Sat 2pm  NO SHOW 8/12

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Can a gay valet find continued bliss with his employer after being stranded with him on a deserted island for five years (cavorting around like naked savages) and then returning, unexplained, to his wife and his New York townhouse?  Complicating matters is that his employer’s socialite wife Daphane has just remarried after patiently waiting for him to be found.

This silly plot of “Lavender Shore” has been contrived by Lawson Caldwell to do some serious talking about what he truly wants to say about homosexuality circa 1936 or for that matter, today. 

Mr. Caldwell has a worthwhile message to impart.  He has a gay sensibility.  And an incredible imagination – to come up with such a plot that enables him to have some extremely beautiful scenes between the two men in question – Gerald Tyler (Colin Pritchard) valet to Mr. Harrison Anderson (Markus Potter) who get to explore their secret sexuality with a kiss or two.  However, some rewrites are in order.

Colin Pritchard is the character and actor who anchors this entire production.  He is a true gentleman’s gentleman.  A British butler one can only dream about.  Patiently waiting in the background.  Fondly but discreetly gazing on the man he loves.  Patiently waiting to see if the outcome is as he desires.  Mr. Pritchard is one of the main reasons to attend the Midtown Int’l Theatre Festival of which “Lavender Shore” is a participant.  To discover new talent makes it all worth while.  And with Mr. Pritchard we hit the jackpot.

There are others in the cast that are good but not up to the level of Mr. Pritchard.  Markus Potter as the confused Harrison does very well indeed trying to come to terms with his admiration and affection for Gerald while trying to placate his still preening wife Daphane (Katie Yamulla) who has just said “I do” again to Thomas Darrow (a caught in the middle Patrick James Lynch) who was once involved with Gwendolyn (a ravishing and stylish Rachael Claire) who understands what is really going on. 

As does friend of the family, confirmed bachelor Phillip Timmons (a sarcastic and all too stiff Marc Geller – I wish this fine actor and comic would simply relax) and a surprising treat of a maid Lucy (Alison K. Phillips).  As the fussy uptight Aunty Charlotte who is determined not to have any scandal intrude, Colleen Kennedy has the right tone and the right look in her period costumes supplied by Susan Nester.

Lenny Leibowitz has carefully guided his cast through their paces in this very bare bones production – almost a staged reading.  That wouldn’t matter at all if the play and the players were of the highest caliber.  While enjoyable “Lavender Shore” misses the high water mark.

www.midtownfestival.org        www.lawsoncaldwell.com             Artwork:Scott Williams

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Family reunions are never much fun, especially if they are taking place in the Flowering Fields Nursing Home where Gus Gunther lies in a coma, deaf and dying of cancer with his extremely dysfunctional family in attendance.  

The body is there (Bob Vega) not moving, not saying a word yet suffering along with the rest of us through most of this darkly humorous comedy by Vicki Vodrey.

Ms. Vodrey has done her best to skewer the hospice care system, MacDonald’s Drive Through, and the ritual of Last Rites with her sometimes comic look into the lives of the Gunther Family, who to put it bluntly, are killing time waiting for Gus to stop breathing – complaining all the way about each other and just about everything else.

The youngest Catholic son Joe, who has the best written part and does wonders with it, is played by Rusty Sneary.  He is HIV positive and negative about most other things as he is considered to be the Black Sheep of the family.  His older brother Mike (Herman Johansen) has had the audacity to marry a Jew, the knitting needle wielding, badly accented Phyllis (Cynthia Hyer) who tries to take control.  The middle son Ed (Craig Benton) is married to a dim witted yet sharp Cathy (Jennifer Mays).  Their pain in the neck sister Lorraine (Peggy Friesen) who has not been in contact with them for two years appears late in this 90 minute show and it is with her entrance that everything comes together and we finally have a play to watch.

Abigail Walker is the Hospice worker who is there to help but doesn’t.  The part could easily disappear from the script.  An overly gracious and patient Shelly (Diane Bulan) who sporadically enters to check Gus’s vital signs which have included in his pre-coma days a pat on her backside (thus the title Hanky Panky) gives the quickest service I’ve ever seen in a hospital.  Then there is the adorable Reverend Kirby (Evan White) who Joe immediately takes a shine to.

When Gus is about to expire and no one is there to administer The Last Rites it is Reverend Kirby who with the help of a computer print out leads the family in a wickedly funny, outrageous and yes moving finale. 

In lieu of a hymn one of Gus’ favorite songs “When the Red Red Robin Comes Bob Bob Bobbin Along” is sung – taking on an entirely new and gloriously amusing meaning.

If only the rest of the play, directed by Richard Dines was as focused and up to this level of hilarity.

www.HankyPankythePlay.com    Photo:  Robert J. Meiners

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Danny Aiello is a fine actor.  The Shoemaker is a terrible play.  Written by Susan Charlotte, The Shoemaker is an unconvincing and confounding drama that has been stretched like salt water taffy to its limits. 

It started out as a “sold out” one act play starring Mr. Aiello last year, has been made into a film “A Broken Sole” and in its latest manifestation, at the suggestion of its star Mr. Aiello, has had a second act added.  Simon Says, “Don’t try to fix things that aren’t broken.”

I reference “Simon Says” as that old game is referenced by Ms. Charlotte via one of the three on stage characters.  There is another off stage voice that is part of the illogical proceedings at the Acorn Theatre at Theatre Row.

The Shoemaker takes place in Hell’s Kitchen on September 11, 2001.  First off, the theatre is too large for such an intimate play.  I have never seen such a shoemaker’s emporium as designed by Ray Klausen of this magnitude ever.  The Italian Jewish owner has been here for forty years.  The vintage radio (circa late 1940-50) he listens to has been there even longer and it plays an odd assortment of music and tales from his dead dad who never made it to the USA thanks to Hitler.

An irate woman (Hilary – Alma Cuervo) barges into his closed shop on the day of the Twin Towers disaster insisting he fix her broken sole.  She has been walking a lot ever since “it” happened on “this beautiful day”.  She’s been Downtown and at Lincoln Center, at her teaching position at Columbia and then back to Hell’s Kitchen – a mighty long hike to look as refreshed as she does. 

Anyway, I have never heard of a sole of a shoe being broken – there is a worn out hole that has to be re-soled – a heel breaks.  Which brings me to the pair of high heel shoes left there by a young, petite investment banker (Louise – Lucy De Vito) to be repaired that are to be picked up by her.  Only they aren’t ready and she seems to be a victim, working down on Wall Street.  But then she shows up without a mention of the tragedy.  Is he fantasizing?  What’s going on here?  Didn’t she see the “CLOSED” sign on the door?  It’s all very unclear.  It seems that playwright Susan Charlotte likes it that way.  And her director, Anthony Marsellis goes along for the ride.

The offstage voice belongs to Michael Twaine playing the father of Mr. Aiello who could probably enthrall by reading the obits from your local newspaper.  He acts up a storm but the play itself is a minor mist.

Turtles, dreams, double negatives, operatic arias, family relationships and the Holocaust are featured.

Simon Says, “Stay Home.”  

Photo:  Ben Hider   www.causecelebre.info  Through Aug.14^th

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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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