Oscar E Moore

Very long title.  Very long evening of theatre that doesn’t go very far.  Capitalism.  Socialism.  Gay prostitution.  Pay for sex jollies.  Pregnant lesbian.  Impregnated by brother of girlfriend.  Assisted suicide.  Dividing the estate.  Welcome to the world of Tony Kushner and his “the Intelligent Homosexual’s Guide to Capitalism and Socialism with a key to the scriptures at The Public Theatre.

It takes about four hours to see how Gus Marcantonio (Michael Cristofer) wants to live out the rest of his life or end it after retiring early as a longshoreman where he was a union leader. 

Gus gathers his brooding brood around the dinner table of his Carroll Gardens, Brooklyn town house to tell them that he is selling it and that he wants to die with the assistance of an old friend Shelle (Molly Price) in what is the most harrowing scene in the play – a description of how to commit suicide the easy way with a good friend watching.

His children are as follows.  And what kind of person would give names like these: Pill, his older son (Stephen Spinella) a gay teacher married to Paul (K. Todd Freeman) a man of color, Empty, his daughter (Linda Emond) who is now partnered with Maeve (Danielle Skraastad) and was previously married to Adam (Matt Servitto) a lawyer who resides in the basement taking care of Gus’s real estate holdings and taxes and finally the youngest son V (Steven Pasquale) who is married wife Sooze (Hettienne Park).  Two more characters – Eli (Michael Esper) a hustler that Pill is in love with and has wasted the money that his sister was saving to pay for Eli’s services – at $300.00 an hour.  And last but not least the sister of Gus, Clio (Brenda Wehle) who has sense enough to get out this play before it finally ends.

One mention of a mother figure who died birthing V.  Lots of mention about Marx and communism and socialism that drags on and on into the long night.  There is a small suitcase discovered within a wall when V knocks a hole through it in a fit of anger – that no one opens until the third act of this cross pollinated play – a cross between Chekhov and Arthur Miller.

The family has to vote on whether or not their father, apparently suffering from Alzheimer’s, will sell the home or not and live or not.  They argue incessantly – the dialogue overlapping like some sort of octet from an opera but without a beautiful melody to accompany them.  In fact this ailing and forgetful man is robust and wise enough to still translate from the Latin and to deal with all that happens in a very coherent manner.  So I didn’t buy the Alzheimer’s ailment or his argument for dying – that he is feeling useless and that he has no important role in life.  So what’s all this fuss over?  He’s still in charge.

In charge of directing this difficult piece is Michael Grief who does an excellent job of keeping things moving as quickly and as pain free as possible.

There is some nice jazz music between scenes by Michael Friedman.  If the CD becomes available that would be a nice and sufficient souvenir of this overlong, overstated, over thematic play.

www.publictheater.org   Photo:  Joan Marcus

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It was a grand night for singing – a triple celebration on Monday evening May 2, 2011 at Carnegie Hall.  The New York Pops, under the leadership of the talented and charming Steve Reineke, was commemorating its 28^th year with an all star salute to the British import Bob Hope – Mr. Entertainment – star of vaudeville, stage, film, television and USO tours where he brought his special brand of humor and glamorous gals to support our troops worldwide over the years and honoring Interpublic Group and its Chairman and CEO Michael Roth – for its decades of support for The New York Pops and their many educational programs.

The Pops is all about kids.  Bringing music to those who normally would not be able to attend a concert or share the stage with professional musicians or be able to perform in front of a black tie audience. 

Especially noteworthy – the Ronald McDonald House Chorus – comprised of pediatric cancer patients who did a mean “Ballin’ the Jack” with Bad Habit and Maurice Hines.  Also The Camp Broadway Kids that opened the concert with a rousing “When Hope Was There” adorned with golf clubs and doing some nice precision choreography.  Not to mention the 837 Kids in the Balcony being introduced to the American Songbook and giving them a dose of Hope – Bob and the inspirational kind.

With Al Hirschfeld’s caricature overseeing all we were treated to some of the songs that Mr. Hope introduced over his long career.  “Two Sleepy People” sung by two wonderful Broadway stars – Kelli O’ Hara and Aaron Lazar – a dream couple, Cole Porter’s “You Do Something To Me” by Christine Ebersole who had that effect on the entire audience, Michelle Lee’s rendition of “Smoke Gets in Your Eyes” (and in her case it seemed to be glitter) and two crooners in the Frank Sinatra vein.  I am so pleased that there are some young men who can really sing “in the old style” and can do a great job with songs like “I Can’t Get Started” (Tony Desare) and “Moonlight Becomes You” (Ryan Silverman).

Adding some comic relief were Gregg Edelman and Tom Wopat arriving through the house attached to a bedraggled looking camel.  Their rendition of (We’re off on the) Road to Morocco was anything but.

Two Ex-Mama Roses were in attendance.  Two great ladies of the theatre. Tyne Daly singing “The Lady’s in Love With You” meaning each and every member of the audience and the ever elegant and charming Angela Lansbury who entertained via an old video clip of a TV special when Hope was a mere 88.

Another clip from “The Seven Little Foys” segued into an entertaining and lively tap sequence by Cartier Williams.

Two guest conductors – Eight year old Kathryn Hall who won the privilege with a winning bid led them with her Toscanini sized baton in “Strike Up the Band” and the CEO from Brooklyn who made good and shares his success with The Pops – Mr. Michael Roth – leading the orchestra in a great arrangement of “On Broadway” featuring bongos, guitar riffs, trumpets and percussion by Mr. Reineke.  You too can conduct The Pops.  Just go to www.charitybuzz.com/newyorkpops

Michael Feinstein, always a welcomed surprise, sang Hope’s signature song “Thanks for The Memory” and we all thank Bob Hope for the many wonderful memories he has afforded us.

In an emotional turn, the West Point Glee Club sang a salute to the Armed Forces and Jamie Barton sang a stirring, glorious and inspirational “God Bless America” that was all too appropriate considering the recent news out of Pakistan.

The entire cast ended the festive and moving concert with Cole Porter’s De-Lovely and wasn’t it ever.  www.newyorkpops.org      www.InterpublicGivesBack.com

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 So many words.  So many wondrous, witty words written in rhyming couplets.  Rhymes unexpected.  Rhymes updated.  Rhymes that make every good reason to run and see “The School for Lies” by the oh-so-clever David Ives.  A new comedy very freely adapted from Moliere’s The Misanthrope written in 1666. 

In this stylish and simply sumptuous production – sumptuous in its mounting and in its telling of the tale of Frank (the immensely charming and brilliant actor Hamish Linklater) a man who hates mankind.  A man who is candid and blunt and tired of the ignorance and cultural amnesia that surrounds him.  A man who falls in love with the beautiful Celimene (Mamie Gummer) a woman recently widowed.  A woman rumored to have many lovers.  The rumors spread by her dearest friend Arsinoe (Alison Fraser) who is not a gossip, she just reports.

Rumors and lawsuits run rampant here.  And it’s not a question of who is right but who has the best connections in court that has everyone trying to connect and to win.

The real winner is the audience.  The actors are perfection.  Each in their own richly detailed and color-coded-for-each-character costume by William Ivey Long set against an ivory floor, wall and ceiling with only a brass chandelier and pine secretaire as décor designed by an equally talented titan John Lee Beatty.

Walter Bobbie has directed this piece de resistance with an incredible flair for truth and absurdity.  It’s comical genius at work here.  When Dubois (Steven Moyer) serves his silver tray of canapés – beware!  It’s a running joke that never, never runs out of steam as Mr. Bobbie continually comes up with new and imaginative variations.  Mr. Moyer also doubles as Basque – the smelly valet of Frank.  The explanation for his playing both roles is another masterful comic tidbit.

The cousin of Celimene, Elainte (Jenn Gambatese) is a coquette hoping to snare the man of her dreams Philante (Hoon Lee) with a stop in between canoodling with Frank.

When Celimene and Elainte enter it is a glorious vision of ivory and blue and at once you think of Meryl Streep so close a resemblance to her mother is Mamie Gummer as Celimene.  And she too has those terrific actress genes.  A great match for Frank dressed in black with a mop of curly hair atop his head, she has the quick quip ready for him at every turn.

Although she has three suitors – Oronte (Rick Holmes) a bad poet with a nose wart, the unemployed Acaste (Matthew Maher) who knows what to say to please and Clitander (Frank Harts) whose modern day moniker is right out there, she still pines for her lost husband Alceste.

The denouement of The School for Lives outdoes everything that has preceded it and I’m not exaggerating.  And then the curtain call tops off this hysterical evening of theatre brilliantly.  It’s beyond highly recommended.  It’s pure gold.

www.classicstage.org  Photo:  Joan Marcus

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One must admire and respect the ambition and aspirations of the Roundabout Theatre Company to produce an original musical “The People in the Picture” written by Iris Rainer Dart (book and lyrics) with music by Mike Stoller & Artie Butler with some period songs by Mark Warshavsky.  It’s a valiant effort that only partially succeeds.  The pieces of this Picture fail to come together to make a satisfying whole.

Starring the amazingly gifted Donna Murphy as Bubbie, the aging and sickly but still sharp as a tack (despite some forgetfulness) grandmother of Jenny (the talented Rachael Resheff) who wants to share family history and traditions (up to a point) with her grandchild while her troubled daughter Red (Nicole Parker) earns a living writing for television while attempting to put Bubbie in a nursing facility for all the best reasons for everyone involved. 

In relating her history – Bubbie, in flash back, becomes Raisel the leading lady of The Warsaw Gang – a Yiddish Theater troupe of entertainers in pre war Poland that include Chayesel Fisher an aging star (Joyce Van Patten) two comics: Yossie Pinsker (Chip Zien) & Avram Krinsky (Lewis J. Stadlen still doing Groucho), leading man Chaim Bradovsky (Christopher Innvar), gay tenor Moishe Rosenwald (Alexander Gemignani) and Hal Robinson as Doovie Feldman its director.  All dead now but appearing in the present as ghosts.

Donna Murphy morphs instantaneously between her two selves aided by the wonderfully fluid direction of Leonard Foglia and musical staging by Andy Blankenbuehler who delivers a bizarre ghetto ballet that open Act II and a weird “The Dancing Dybbuk”. 

With all the horrors happening the troupe tries to provide some laughter and it is not until the more dramatic second act that we find out what has caused the strained relationship between Bubbie and her daughter Red (Nicole Parker) – who has a most wonderful stage presence and voice.

The story, told in broad strokes, tugs at your heartstrings and it is only because of the honest, heartfelt and comic performance of Donna Murphy that it doesn’t become completely sentimental or mawkish.

She sings an extremely touching “Selective Memory” as she deals with her growing dementia and the all important message is brought forth in “We Were Here” a wonderful song that reminds us all to never forget the horrors of the Holocaust.

At Studio 54.   www.roundabouttheatre.org   Photo:  Joan Marcus

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Nina Arianda

Nina Arianda who last season received rave reviews for her performance in the Classic Stage Company’s production of “Venus in Fur” has wasted no time in becoming a Broadway star with her name above the title.  And it’s very well deserved.  She is one of the main reasons if not the only reason to go see this rather slow paced revival of “Born Yesterday” which has recently opened at the Cort Theatre.  Written by Garson Kanin in 1946 the role of Billie Dawn catapulted Judy Holliday to stardom.

Nina Arianda, a charming, beautiful and natural comedienne has made the part her own capturing the not-so-dumb blonde essence of the role and perfecting it – giving an endearing and honest performance.  Billie is not so dumb as naïve and has put up with being bossed around by her cigar chomping and blustery lover Harry Brock (Jim Belushi) for far too long.  An abusive braggart with power and money who is used to getting what he wants yesterday.

They are in Washington D.C. to strike a deal (read bribe) with Senator Norval Hedges (Terry Beaver) regarding the scrap metal left over in Europe after the war – a business that has made Brock a self made millionaire and able to keep Billie as his mistress in high style – with not one but two mink coats.

But as his power grows he is afraid that she just doesn’t fit in.  She’s stupid.  And so he hires Paul Verrall (Robert Sean Leonard) a bookish type of guy who has ulterior motives for interviewing him for an in depth article.

Reluctantly Paul accepts and as Billie begins to read, wearing her glasses and to learn – referring to the dictionary often – it begins to dawn on her that the contracts that she has been signing may not be legal.  She is like a sponge, absorbing all this new information and begins standing up for her rights and falling for her teacher Mr. Verrall.  It’s a beautiful transformation and Nina Arianda is superb in the role capturing every nuance imaginable, brightening every scene she is in.

If only Mr. Belushi and Mr. Leonard were up to her level of believability we might really excuse the slow route that director Doug Hughes has taken.  The script still resonates with the corruption of D.C. – politics in general, and is still extremely funny.  Especially the “gin rummy” scene.

The over the top hotel suite set by John Lee Beatty is a knock out.  It’s amazing what $235 a night could get you back then.  And what a luxury it was to have such a large cast with a barber, manicurist, Bootblack and three Bellhops without much to say.  Catherine Zuber has created some fine costumes for Billie – a girl with lots of money and little taste but with a passion to learn and to value herself and to find happiness which in this case is the best revenge.  It’s Nina Arianda’s show all the way!

www.bornyesterdayonbroadway.com   Photo:  Carol Rosegg

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The mesmerizing Mark Rylance

There is a group of determined Anglophiles that have brought to Broadway the Royal Court Theatre production of “Jerusalem” by Jez Butterworth starring the incredible Mark Rylance who has made his mark twice this season at The Music Box on West 45^th Street.

First in La Bete and now in this three act three hour long, draining character study of Johnny “Rooster” Byron called “Jerusalem” – referring to the British hymn and having nothing at all to do with the Holy City.  To see it is to become a survivor.

In Ian Rickson’s “Directors Notes” he states that “Jerusalem itself functions as a metaphor for heaven on earth, where people live in peace and in connection with the land.”

If that squalid trailer, in the middle of a dense forest created by Ultz is heaven on earth I’ll gladly pass on to the after life.  It is where Johnny, an ex-dare devil drug dealer with a bad limp and local celebrity of sorts holds court to his flock of young groupies and assorted oddballs who gather to take drugs, party, have sex and fight off the developers of a nearby estate who want to have Johnny evicted from his squalor.

Johnny is a master teller of tall tales and can be charming and amusing.  For a while.  Seeing him self destruct finally covered with sweat and blood explaining to his young son who isn’t at all fazed one bit by his demeanor or looks is frightening and a bit over the top.  It’s as if his boy has seen this all before and so what.  How sad.  And I too chime in with – So what.  Who cares about him or his flock of losers.

Losers that include Lee (John Gallagher, Jr.) – a young man leaving for Australia (who loses his accent every once in a while) The Professor (Alan David – who has lost his dog and part of his mind, Ginger (Mackenzie Crook) – a guy high on whatever is available claiming to be a DJ when in reality he is an unemployed plasterer, Dawn his estranged and even stranger wife (Geraldine Hughes) their young son Marky (Aiden Eyrick) the missing fifteen year old Phaedra (Aimee-Ffion Edwards) looking very much like Tinker Bell whose father Troy Whitworth (Barry Sloane) eventually finds with Johnny and beats the crap out of him along with his two brothers on the day of the St. George Fair where Wesley (Max Baker) decked out in traditional costume does a folk dance.  They are a group of lost boys and girls with Johnny as their leader – a combination of Peter Pan, King Lear, Falstaff and Charles Manson (although no murders are on the menu).

Phaedra sings, Tanya (Charlotte Mills) looks to be laid, Trivial Pursuit is played and Mark Rylance struts and shows off his immense talent for acting.  He’s mesmerizing.  It’s an incredible performance that leaves us all drained.  This drunken, drugged up wise guy and teller of improbable and imaginative tales and sex God somehow holds everything together.  Were it not for Mark Rylance I would say skip “Jerusalem”.

www.jerusalembroadway.com   Photo:  Simon Annand

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Ben Stiller, Edie Falco, Jennifer Jason Leigh

How bizarre is it that Pope Paul VI is featured in two Broadway shows this season?  His Eminence seems to have blessed “Sister Act” and ignored the revival of John Guare’s “The House of Blue Leaves” that is plodding along at the Walter Kerr Theatre.

It would be easy to dismiss this unsatisfying schizophrenic production but “The House of Blue Leaves” has a great history and pedigree – especially the 1986 Lincoln Center production that I did not see.  So I come to it fresh.

It’s a strange play dealing with a group of very strange people who live in Sunnyside Queens which is anything but – circa 1965.  They are all yearning to be famous or to be near someone famous – to share their celebrity as if talent would be something that would rub off on them.  They need to be admired and to be loved and are all pretty much delusional. 

It’s funny.  It’s tragic.  It’s been misdirected by David Cromer who immediately alienates the audience by having Mr. Ben Stiller at the piano with his back to the audience in the opening segment.

Arte Shaughnessy (Ben Stiller) is a frustrated songwriter and performer with little talent – a zoo keeper by trade who fulfills pretty much the same duties at home.  He is married to Bananas (Edie Falco) who acts that way and makes it necessary for him to force feed her her medications.  Arte is ready to have her carted off to the loony bin as he is having an affair with Bunny (Jennifer Jason Leigh) his downstairs neighbor who rattles on and on about going off to Hollywood together to be with his good friend Billy (Thomas Sadoski) who is a big time film director.  Billy’s deaf girlfriend Corrinna (Alison Pill) shows up as do three nuns to see the visiting Pope.  His AWOL son Ronnie (Christopher Abbott) secretly returns home to make a bomb to blow up said Pope.

The ultra realistic set by Scott Pask fights against the unrealistic nature of the play with its direct monologues spoken to the audience and insane goings on.  The lights (Brian MacDevitt) seem to have a mind of their own dimming at odd moments for reasons you’d have to ask the director about.

The only thing I can say about Ben Stiller is that he plays the piano well and shuffles around the stage like a toddler beginning to walk.  Didn’t believe him for a minute when he declares how sometimes he misses Bananas so much and that he is too old to be a young talent which is much repeated.  FYI he played the son in the LCT ’86 production.

Edie Falco is unrecognizable and brings much sympathy to her role.  The rest of the cast is serviceable with the exception of Halley Feiffer as Little Nun who brought immediate life to her character balancing both sides of the tragic/comedy scale.

I may be in the minority as they all got the requisite standing ovation which happens when producers cast stars in mediocre productions.

www.houseofblueleaves.com   Photo:  Joan Marcus

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What makes “Sister Act” based on the 1992 film comedy starring Whoopi Goldberg (who is now one of the producers) so enjoyable and entertaining, aside from its tuneful, original 1970’s infused sounding score by Alan Menken (music) and Glenn Slater (especially smart and character driven lyrics) is the star quality performances of its charming and multi talented foes Patina Miller as Delores Van Cartier a night club singer on the run who seeks safety in the all white convent of the very straight laced Victoria Clark as Mother Superior whose faith is tested by her reluctance and then acceptance to protect this eccentric, outspoken black woman who has seen Curtis (her married and abusive boyfriend) murder someone on the streets of brotherly love – South Philadelphia, Pa.

You might know from the onset where all this is headed but getting there is where all the fun lies.  Especially when Delores is put in charge of the motley group of nuns that make up the choir not especially known for their singing abilities, shares her experience and talent as a singer and changes the sound, the repertoire and the lives of all involved.  It’s a tale of hope and change and love that will leave you cheering everyone on. 

The very amusing and oft times touching book is written by Cheri & Bill Steinkellner with a little bit of divine intervention by Douglas Carter Beane who has infused his identifiable stamp on the proceedings.

Jerry Zaks has directed “Sister Act” exceptionally well.  The fluid sets created by Klara Zieglerova keep the action moving swiftly and smoothly and there is an eye popping stained glass cathedral where the sisters in all their resplendent and be-sequined habits perform the show stopping finale for Pope Paul VI – with fabulous choreography by Anthony Van Laast.  Spectacular lighting design by Natasha Katz, surprising costumes by Lez Brotherston and superior sound by John Shivers make “Sister Act” glow.

The villain of the piece – nightclub owner, Delores’ boyfriend and thug Curtis Jackson (Kingsley Leggs) sings as smoothly as he operates.  With his three henchmen in tow (Joey – John Treacy Egan, Pablo – Caesar Samayoa and TJ his nephew Demond Green) they pursue the runaway Delores and score big with “Lady in the Long Black Dress”.

Monsignor O’Hara who is on the threshold of having to sell the church because of poor receipts and attendance to “a couple of bachelors dealing in antiques” learns to love the new music, much to the annoyance of Mother Superior and has his own wonderful transformation.  As does Mary Robert (Marla Mindelle) who shines in “The Life I Never Led”.

Victoria Clark’s heavenly voice and wicked sense of comic timing perfectly match the exuberance and feistiness of Delores – Patina Miller who is now the newest star of Broadway musicals – giving Sutton Foster a neck and neck run for the Tony Award.

Sweaty Eddie – (Chester Gregory) has had a crush on Delores since high school.  He’s the cop put in charge of protecting her and has a great twist on “When I Find My Baby” that Curtis originally sings.  He is terrific and we root for him and Delores to finally get together.  Will they?  Or will Curtis shoot her dead?  Oh come on, it’s a musical where everyone has a happy ending.  “Sister Act” is divine.  It’s heavenly.  It should run till kingdom come.

www.sisteractbroadway.com   Photo:  Joan Marcus

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Whether it was bad timing (there have been a glut of plays and musicals that have opened within the past two weeks) poor reviews, or poor attendance at the box office that didn’t allow word of mouth to spread the good word about HIGH, a new play resonating with religion, redemption and faith by Matthew Lombardo starring Kathleen Turner the unfortunate fact remains that HIGH closed Sunday April 24^th. 

Where are miracles when you need them most?  Certainly HIGH deserved a longer life.  It should not have closed so soon after opening.  Hopefully it will have an after life in regional theatre.  It is well written and well crafted.  It has humor and three characters that totally connect with its audience. 

Sister Jamison Connelly (a superb Kathleen Turner) is a modern day nun who counsels addicts, has a history of alcoholism that she is recovering from and has the street smarts and vocabulary to match any addict that she needs to help.  There is no better actress that could have played this part with such commanding compassion, humor and grit. 

She’s tough as she needs to be when Father Michael Delpapp (Stephen Kunken) brings a young man of 19 to her for help.  A young man who doesn’t want help, from her or anyone else.  A drug addicted gay hustler who tried to commit suicide with a younger boy of 14 who was doing drugs with him and who died in the process.  Whether or not Cody Randall (an incredibly powerful Evan Jonigkeit) raped and murdered the youngster is a mystery.

One among many mysteries that unfold with a few surprising twists supplied by the playwright that keeps us enthralled for two acts.

Cody has had a terrible life thus far.  No dad.  Mother a hooker.  Raped repeatedly by his mother’s trick.  He has no time for Sister Connelly’s therapy and fights her at every turn pacing across the stage like a feral cat.  He has such magnetism that to see him and Ms. Turner go at with each other is like seeing two prize fighters in the ring.  They are perfectly matched opponents in HIGH.  When he strips down naked with his sores and needle marks clearly visible to shock her and then attempts to rape her we witness the terrible and shocking depths that this youngster has fallen prey to.

Stephen Kunken has the less flamboyant role but comes into his own when his past catches up with him.

The simple yet elegant set by David Gallo has an urban monastic feeling – with a couple of white walls that appear from nowhere and a galaxy of stars for when Sister Connelly, in monologue, fills us in as to her history, her demons and hopes.  As directed by Rob Ruggiero HIGH comes across clear and believable.

It’s a shame that a miracle didn’t arrive to save HIGH.  I would have highly recommended it.      www.highonbroadway.com    Photo:  Joan Marcus

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Karen Mason

A new theme park musical has just opened at the Marquis Theatre.  It’s called Wonderland.  It might simply be called Land for there isn’t much wonder to behold in this production directed by Gregory Boyd.  It’s for all those that can’t get to Orlando and have surplus cash to spend on an overly loud, not very funny, intermittently tuneful, reimagined so-so version of Alice in Wonderland.

In this version Alice (Janet Dacal) is a frustrated children’s book writer who has just received another rejection letter.  She is spending the first night in a new apartment in Queens with her daughter Chloe (an excellent Carly Rose Sonenclar).  She is separated from her husband, has her mother-in-law, Edwina (Karen Mason) helping out and has just hit her noggin’ in the freight elevator which conveniently sends her off to Nightmareland, I mean Wonderland, with a headache – which many might find they share after leaving the show.

If you’re willing to go along for the ride the creators will take you for a ride where you will meet new incarnations of the beloved characters found in the original illustrations by John Tenniel which are brought to animated life on the show curtain and have nothing to do with the production on view.

Edward Staudemayer is an embarrassingly unfunny White Rabbit.  Ditto his obnoxious cousin Morris the March Hare as portrayed by Danny Stiles.  Both would make a better rabbit stew.

Among the crazy characters Alice meets when she follows the White Rabbit and falls down the elevator shaft are a jazzy caterpillar (E. Clayton Cornelious) and El Gato (Jose Llana) who still thinks he can become invisible and Jack, the White Knight (a fine Darren Ritchie) who has one of the only refreshing and truly entertaining numbers of the evening – “One Knight” backed up by four Fellow Knights outfitted as polo players with nice choreography by Marguerite Derricks.

Mr. Wildhorn does have a way with a tune.  And musical styles.  But instead of a consistent score the songs tend to be a pastiche of other songs (bringing in references to Evita, The Music Man, South Pacific and Gypsy) and power ballads that want to outdo any other power ballad that you have ever heard before.  Way beyond the vocal range of Ms. Dacal and Kate Shindle as The Mad Hatter.  I hope there is a throat doctor on call at all times.

There isn’t much whimsy or wit in the flat book by Gregory Boyd & Jack Murphy – just a lot of modern day references done tongue in cheek which all but disappear in the second act.

Karen Mason as The Queen of Hearts, decked out in extremely imaginative costumes by Susan Hilferty has a wonderful Second Act number – “Off With Their Heads” in which she saves the show from completely falling apart but unashamedly milks the audience to applaud her efforts.  She and The Mad Hatter vie for control of Wonderland as Alice does her best to leave and get home to her daughter (in Wizard of Oz style) who has been kidnapped by said Hatter pretending to be a marriage counselor. 

Nice visuals (set design Neil Patel) and video projections (Sven Ortel) and Paul Gallo’s lighting design cannot disguise the fact that Wonderland fails to evoke much excitement or enjoyment.  

www.wonderlanonbroadway.com  Photo:  Michael Daniel

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