Oscar E Moore

With such an intriguing title – Are You There, Zeus? It’s Me, Electra – I had hoped for a wickedly sly, contemporary, satirical takeoff on the Sophoclean tragedy Electra.   As adapted (loosely and limply) by Aliza Shane who unfortunately has opted to direct her new tragicomedy cartoon version (that seems to want to be a musical) as well and partially choreograph and partially design costumes my wishes went unfulfilled.  Partially doesn’t cut it. 

Although there are some excellent ideas, they just don’t go far enough to make this ninety minute play about perhaps one of the very first extremely dysfunctional families work as well as it could.  

A shrill and shrieking sixteen year old Electra (Sierra Marcks) is out for revenge, wailing and wishing that Zeus hear her plea for help.  Her mother Clytemnestra (here played with comic ruthlessness by a man – Cas Marino) has murdered her father Agamemnon and married the youthful and dimwitted Aegisthus (James David Larson).  But she has to wait for her brother Orestes (Timothy Mele) to do the honors of killing mom and step-dad (after all she is only a powerless woman)  while putting up with her effervescent and eternally happy sister Chrysothemis (a pert and chirpy Kerri Ford).

All the while the Greek chorus of four mismatched young ladies (Felicia Blum, Carley Colbert, Kate Dickinson and Ashley Lovell) wearing matching red toga like creations egg Electra on to do the dreaded deed herself.  A woman empowerment agenda seems to be key as they make what are supposed to be comic asides (that fall flat) as they gesticulate and move about the stage like some spastic modern dancers.

The oh so serious and broadly acted Orestes (in the manner of Maxwell Smart) does arrive but pretends to be a stranger in Argos along with his buddy Pylades (a fine David Michael Brown who somehow balances the varying styles on view).  Together they plan and plot.  Electra plans and plots.  As does sexy mama and her young King.  But with all the plans and plotting Zeus still doesn’t answer Electra and it is a very long and winding road to the final bloody tableau.

Are You There, Zeus?  It’s Me, Electra is part of the Planet Connections Theatre Festivity benefiting the Children’s Cancer and Blood Foundation.  At 45 Bleecker Street.

www.planetconnectionsfestivity.com

Tags: No Comments.

That Face, a play written by 19 year old Polly Stenham in 2007 that took London by storm has trickled into the NY City Center Stage 1 under the auspices of the Manhattan Theatre Club.  It is a surreal, voyeuristic journey, strangely directed by Sarah Benson, into the lives of a British family that is in the process of disintegrating before our eyes and letting us see every nightmarish nasty bit of nasty they are all capable of.  Not a pretty picture.

Especially on stage.  It’s another cluttered mess.  Not unlike the one seen in Oliver Parker!   Is there a pattern being set?   Dysfunctional people living dysfunctional lives surrounded by more of a mess indicating such dysfunction?  It seems so. 

Designer David Zinn has pulled out all the stops to make it clear how bad things are in the bedroom of Martha (Laila Robins) and son Henry(Christopher Abbott) visually.  The actors take it from there.  Mother is a pill popping, possessive and perverse sot.  She has an abnormal affection for her son who shares her bed and who for the past five years has dropped out of school to try to rehab her – without success. 

His sister Mia (Cristin Milioti) has all but been ignored and she has been threatened with expulsion from her school for taunting and administering a tad too much valium to Alice (Maite Alina) along with her annoying friend Izzy (Betty Gilpin).  This is where the play begins.  Teen girls just having a bit of fun.

Ms. Stenham, herself a teenager when this play was written certainly knows her peers.  Along with Edward Albee and Tennessee Williams.  Mum being a combination of Martha in Who’s Afraid of Virginia Woolf? and Blanche DuBois in A Streetcar Named Desire with Cruella de Vil thrown in for good measure.  It’s no wonder her husband Hugh (Victor Slezak) left them all to start up another brood in Hong Kong only to return when imminent disaster calls.  Perhaps we’ll get to visit with those people in a future play.  I can only imagine!

But back to That Face – which refers to the very good looking visage of Henry that Mum doesn’t ever want to leave or have him leave her.  Won’t go into details except for the fact that he does appear wearing her negligee during the explosive family reunion in their “upside down world” – a direct quote that does not exaggerate.

Mr. Abbott handles his role magnificently.  You feel for him in his mighty dilemma.  He does love his mum just not in that way.  And is torn.  As are his clothes when mum finds out he has slept with another woman – girl – Izzy – and has ripped them to shreds. 

Cristen Milioti is riveting as Mia.  I had seen her in The Heart is a Lonely Hunter where she proved to be a sensitive and moving actress.  Once again she totally succeeds.

That Face is another matter altogether.   Through June 27^th. 

Photo:  Joan Marcus

www.ManhattanTheatreClub.com

Tags:   Christopher Abbott · Cristin Milioti · Polly StenhamNo Comments.

Jack Batman and Bruce Robert Harris, organizers and producers of the annual GAYFEST NYC are risk takers.   They take on gay themed projects by new writers.  Giving them the opportunity to be seen and heard.  They put on shows that push the traditional theatrical envelop so that they can support the Harvey Milk High School and offer scholarships to those in need.  With little rehearsal time and with a show string budget they pull some wonderful, meaningful and powerfully moving shows out of their magical top hat.  This One Girl’s Story is one such show.

Based on a true hate crime committed in Newark, New Jersey in 2003, This One Girl’s Story is inspired by the “proud life” of Sakia Gunn.  A young African American lesbian who was killed one early morning when she was returning home with three other of her friends after partying in Greenwich Village.  While waiting for a bus they were all accosted by a guy who thought he had found himself some hot girls until they told him they were gay and wanted nothing to do with him and so he stabbed one of them.  That’s the back story.

In this cool jazz musical by Bil Wright (book) and Dionne McClain-Freeney (music and lyrics) Sakia Gunn becomes Cee Cee (Lacretta Nicole) and we see the events leading up to the horrific hate crime inflicted on these girls just out looking for a good time.  The show is framed with scenes at the Courthouse, where a reluctant Patrice (Chasten Harmon) who doesn’t want to relive the evening is begged to testify against the guy arrested who claims Cee Cee ran into his knife.  What she ran into was hate.

It was party time as Cee Cee and company get themselves prettied up and out of Newark.  There is the very young Patrice who is tired of broken promises and talks herself into joining the group which includes Lourdes (Desiree Rodriguez) the wild Puerto Rican spit fire and Dessa (Zonya Love Johnson) – the on again off again lover of Cee Cee. 

Their difficult and honest relationship is the crux of the story and leads up to the most beautiful duet from a score that is fresh and vibrant that mixes cool jazz, Latino rhythms, gospel, disco, rap riffs with just plain old good melodies.  The music and lyrics are worthy of a recording and a paean to Greenwich Village (“the place where you can be whoever you want to be”) should immediately be adopted by the Chamber of Commerce.  Dionne McClain-Freeney is a real discovery and I hope she is working on another score.

If the balance between the book and the score is a little off kilter that can be remedied.  This One Girl’s Story has a lot to offer and shows great talent at work on all fronts.  These girls can sing.  It is nicely directed by Devanand Janki – who keeps the pace up and changes tone at just the right time while coaxing memorable performances from the entire cast. 

Charles E. Wallace portrays all three distinct male roles that will have you checking your program to see if it is actually the same person playing those parts.  And Tanesha Gary as Promise – the woman who Patrice meets up with in the bar that night is hot – especially while pursuing her with her seductive song “Closer”. 

This One Girl’s Story is a powerful, promising and moving new original musical.  Through June 6^th.  Tickets $18.00  at Abingdon Theatre Arts Complex 312 West 36^th Street. www.GAYFESTNYC.com

Photo:  Gustavo Munroy

Tags:   Bil Wright · Devanand Janki · Dionne McClain-FreeneyNo Comments.

Adopting a baby isn’t easy.  Especially when the would-be expectant parents are two gay guys – that seem to have every conceivable gay trait and then some.  Neither is writing a musical about the process.  The very candid, very funny and extremely touching (some might say sentimental) The Kid, based on a book by openly gay syndicated columnist Dan Savage whose sex advice forum is as funny as it is profane almost totally succeeds. 

It is extremely witty and clever, almost too clever for its own good (book Michael Zam – lyrics Jack Lechner ) and has some enjoyable while listening to it music (Andy Monroe) that brings to mind Gilbert and Sullivan patter songs, The sung through The Umbrellas of Cherbourg, Donna Summer and some simply sweet ballads.  Because of its structure The Kid sometimes comes across more a revue than a solid book musical.

While going on a bit too long, that hopefully next time around will be remedied by director Scott Elliott, The Kid is having a limited run at the Acorn on Theatre Row through May 29^th and is certainly worth seeing.

Especially for the incredibly rounded, timed to perfection, nuanced performance of Christopher Sieber as columnist Dan – the older but not yet wiser half of the couple wanting to adopt.  His thinner, more emotionally fraught, ten years younger boyfriend Terry (Lucas Steele) and he have decided to bring a bundle of joy into their gay household after being together two years – not knowing what the complicated process of an “open adoption” entails. 

An adoption where the birth mother chooses the parents to be and is involved with the child – ongoing.  And who can change her mind up until the last minute.  And so their journey begins with a meeting with Anne (a deadpan and wondrous Susan Blackwell) the social worker guiding them through the arduous process.

Melissa (a very special Jeannine Frumess) the pregnant teen mother in question is a homeless, subdued, smelly waif with an edge who has taken drugs and booze and whose almost twin-like boyfriend Bacchus (Michael Wartella) has abandoned her only to have second thoughts in the second act that threatens to forestall the adoption process.  They bring some emotional gravitas to the otherwise light and charming entertainment.

An underused Jill Eikenberry as Dan’s willful mom, who is very much looking forward to being a grandmother; helping her son to understand what it means to be a parent is a very likable individual who disappears after making a brief appearance in Act I.  She does, however, have a beautiful song “I Knew” in Act II.

The rest of the cast, playing a variety of roles, is excellent.  The video projections are fine by Aron Deyo, particularly the letters to Dan which are not like anything Dear Abby ever had to answer.  With a little more nurturing The Kid could be a winner.

www.thenewgroup.org   Photo:  Monique Carboni

Tags:   Andy Monroe · Christopher Sieber · Dan Savage · Jack Lechner · Jeannine Frumess · Jill Eikenberry · Lucas Steele · Michael Wartella · Michael Zam · Scott Elliott · Susan BlackwellNo Comments.

Billy Crudup & David Greenspan

At the post performance talk back this past Sunday afternoon of Adam Rapp’s The Metal Children at the Vineyard Theatre, Mr. Rapp declared not to be a “political” writer.  He simply writes plays.  But his current tome raises very politicizing arguments – about censorship.  So, I guess he could be considered a political activist playwright who fairly shows both sides of the argument with humor and conviction.

In any event, the production which is also directed by Mr. Rapp, is excellent even though it wanders off into Twin Peaks territory at times.  Which is not a bad thing.  The Metal Children is a stab at satirizing the element of Middle America that would remove from the school curriculum books that deal with subjects that they (moral Christians) do not deem correct to be read by young adults.  Subjects such as teen pregnancy, suicide, drugs and abortion – somewhat akin to the Texas Text Book Massacre that is ongoing as this is being written.

Tobin Falmouth – a name that could have come from a Restoration Comedy if pronounced FoulMouth and it eventually is – is the author in question.  He is a total mess.  Staying put in his apartment, late with his new manuscript, drinking and carousing with a sleazy neighbor and getting high on weed.  Just your typical, young adult novelist trying to get his life together.  His more successful wife (also a writer) has just left him and to top it off all copies of his book -The Metal Children – have been seized and locked up in the vault of the Good Church of Christ in Midlothia.

Tobin is portrayed with concentrated skill by Billy Crudup who is called upon to do more reacting than acting.  He is terrific.  But his character is not very likable and just gets himself more and more into the abyss that he seems to like wallowing in despite the help from his agent (a very funny David Greenspan) and the sixteen year old supporter of his book, Vera (a fine Phoebe Strole whose voice unfortunately fades out in Act II and we miss some important lines).  Acting like some rock star groupie she has unprotected sex with her literary idol which has obvious consequences. 

Confused and conflicted, Tobin reluctantly goes to defend his book at a town meeting in response to a letter written by teacher Stacey Kinsella (an excellent Connor Barrett) extolling its virtues and inviting him to Midlothia where teen girls are becoming pregnant and have gone missing, being replaced by statues just like the characters in Tobin’s book – The Metal Children.  How easily influenced are these teen girls by fiction is what is at the root of the problem.  Of course he and his followers meet violent resistance.

Guy Boyd, Susan Blommaert, Halley Wegryn Gross and Betsy Aidem turn in excellent portrayals of the townsfolk.  The sets by David Korins are multi tasking attributes and the incidental music David Van Tieghem pulsates with menace.

In liberal New York City we take it for granted that such subject matter should be allowed to be read or seen.  The Metal Children should ideally be produced in Midlothia but it probably would be banned.  Even in liberal New York two women left after the first act.  The debate, or should I say battle continues.  Through June 13^th.     www.vineyardtheatre.org                   Photo:  Sara Krulwich

Tags:   Adam Rapp · Billy Crudup · David GreenspanNo Comments.

The legendary Mitzi Gaynor, Goddess of song and dance, sequins and razzle-dazzle for over fifty years opened last evening at Feinstein’s at Loews Regency in her long overdue retrospective tribute to herself and her fabulous, lengthy career to an overflowing crowd in the Regency Ballroom so as to accommodate all those fans that came to cheer her on, giving her a standing ovation as she came on stage.  Would she live up to it?  She most certainly did.

Radiating charm and good old fashioned Hollywood glamour even without the help of all those infamous sequins (although there were plenty), Mitzi Gaynor is a star that you can’t help but love.  She’s adorable.  And bawdy.  She looks terrific in her many Bob Mackie costumes where she gets to show off her still gorgeous legs and boobies.  And boy is she funny. 

The saucy tales she tells of Sinatra and Merman, The Duke and Duchess of Windsor – her times in Vegas and Hollywood and her beloved husband Jack Bean are the highlights of her ninety minute act which incorporates video clips of her fantastic television specials and movies such as “There’s No Business Like Show Business” that allow Mitzi to make her costume changes, emerging time after time to applause and whistles of approval.

The limited stage space is just big enough to accommodate her four piece onstage band led by Ed Czach and barely allows Mitzi to do some “movements” and if her voice is somewhat weaker than it was – get over it Mary! She’s Mitzi Gaynor!

If it were not for South Pacific she says we all wouldn’t be together.  And so she pays homage to the great musical by donning a sailor suit to sing “Honey Bun” bringing back fond memories of the original and a medley which includes “I’m Gonna Wash That Man Right Outa My Hair” and “A Cockeyed Optimist”- which Ms. Gaynor still is.

Mitzi Gaynor remains an original.  Still loving every minute of performing and touring.  Still regaling us with hysterically funny stories of her life and two loves – show business and her late husband, manager, lover, friend, boss and confidant Jack Bean who called her “yummy”.   She most certainly is.  Through May 29^th. 

www.missmitzigaynor.com

www.feinsteinsattheregency.com

Mitzi Gaynor was presented with a 2010 NY Emmy Award for her PBS Special available on DVD Mitzi Gaynor Razzle Dazzle! The Special Years, which I treasure.  I urge you to get a copy.  Here is the direct link to my original review:

http://talkentertainment.com/c-7187-Mitzi-Gaynor-Razzle-Dazzle!-The-Special-Years.aspx

Tags:   Jack Bean · Mitzi GaynorNo Comments.

Oliver Parker! With an exclamation point no less has just opened at the Cheery Lane Theatre.   What’s with the exclamation point?  It’s not a musical.  Although they did change the title from Oliver to Oliver Parker!  And it’s certainly not worth exclaiming over.  It’s barely amusing with its four dysfunctional characters on parade in the dilapidated mess of an apartment strewn with debris (designed by Lauren Halpern) where you expect to see vermin breeding and roaches crossing the stage.  This does happens to some extent.

It’s billed as a “jet black” comedy “about hurting the ones you love, and loving the ones that hurt.”  It’s written by Elizabeth Meriwether who has her fingers in many pies, busy writing for the theatre and screenplays in Hollywood.  But I digress.

Oliver Parker (Michael Zegen) is seventeen.  Rich.  Spoiled.  Accustomed to getting his way.  With everyone and everything with his checkbook.  He pays for the apartment that Vodka swilling Jasper (John Larroquette) looking like “a Santa Claus on heroine” calls home attempting to right a terrible wrong.  His back story is pivotal to the meandering and rambling plot that includes bits and pieces of just about everything that Ms. Meriwether has gotten her fingers into:  God, aids, Viet Nam, death, United States Senators, drugs, sex, child abuse, blow jobs, trannies, role playing, cable’s LIFETIME, illegal aliens, and My Fair Lady to mention a few.

Oliver wants to use said apartment for sex and he has his eyes and loins set on Senator Willa Cross (Johanna Day – the highlight of the show) – a definitely older woman who needs to get a supply of drugs from Oliver’s physician father to help her get over the rape and murder of her daughter, sending her aide Agnes (Monica Raymund) who has daddy issues to pick them up – no questions asked.

I’d love to say that the time (ninety minutes) whizzes by but it doesn’t.  Even when director Evan Cabnet frantically turns to farce to help with the lack of taste and humor that Ms. Meriwether has supplied.  Tried caring; couldn’t.

What does she want the audience to come away with?  That rich powerful people get what they want when they want it and that it’s horrible to be horrible to other human beings?  We already know this.  And the characters chosen do not help to further her cause.  Perhaps it’s to make us feel better that we are not them. 

Tickets $37.50 Through June 6^th.                   Photo:  The Shaltzes/Photographers

www.thestagefarm.org

Tags:   Elizabeth Meriwether · Evan Cabnet · Johanna Day · John Larroquette · Michael Zegen · Monica RaymundNo Comments.

Let’s cut to the chase right here and now.  “The Glass House” a new, immensely satisfying one act play written by June Finfer; brilliantly directed by Evan Bergman and produced by the Resonance Ensemble at Theatre Row’s Clurman Theatre is theatre at its best.

Not just Off Off Broadway theatre, but THEATRE at its best.  Race right down or go online (www.ticketcentral.com ) and get your $18.00 ticket (not a misprint) and experience smart writing, intelligent direction and four riveting performances that tell the story of two of the most important and influential architects – the cigar chomping, champagne guzzling womanizer Mies van der Rohe (Harris Yulin) and the gay, raspy voiced conniving Philip Johnson (David Bishins) and their odd relationship which resulted in each of them building a glass house.  Mies for his client Mrs. Farnswoth (Janet Zarish) and Mr. Johnson for himself.

As exhilarating as it must have been for the headstrong Dr. Edith Farnsworth (who commissioned Mies van der Rohe to build a simple weekend house on her nine acres of property in Chicago after meeting first with Mr. Johnson whom she thought was a critic and not an architect) to see the model for her glass house, it is even more so for us to see the progress of her dreams fulfilled on stage from 1945 through 1990.  Dreams that turned into a nightmare.

Playwright June Finfer has done her research and done it well.  Adding insight and inspiration to an already interesting tale full of jealousy, ambition, lies and love.

Four enormous egos are involved.  Each extremely strong character has their own wants that is not necessarily the same wants as the characters that they become intertwined with.  And they all become intertwined.  The three already mentioned with the fourth being the sculptress/lover of Mies, Lora Marx (Gina Nagy Burns).

Details I will not divulge.  That would spoil everything.  “The Glass House” is simply not to be missed. 

Janet Zarish is spellbinding as she realizes her dream house and gets far more than she bargained for.  Harris Yulin is commanding and oozes Germanic charisma.  Gina Burns shows strength and courage.  And David Bishins does a real star turn.  He’s remarkable.  This is a performance that will surely be remembered for its charming and detailed insidiousness.

There are three other actors (Joie Bauer, James Patterson, Chris Skeries) very much a part of the show who portray construction workers, waiters and office workers.  They say not a word but help with the choreographed scene changes in costume and in character.  One of the many clever directorial decisions chosen.

The use of a soft mellow jazz ensemble (Nick Moore) only adds to the mood and theatricality of the piece as does the set (Jo Winiarski) and costumes (Valerie Marcus Ramshur).  “The Glass House” is a very special production and I urge you to see it

Through June 5^th.   Running in repertory with Ibsen’s The Master Builder.

www.ResonanceEnsemble.org

Tags:   David Bishins · Evan Bergman · Gina Nagy Burns · Harris Yulin · Janet Zarish · June Finfer · Resonance EnsembleNo Comments.

Pheonix Vaughn & Corey Tazmania

What does it take to get a naïve woman to think for herself?  What does it take to have a wife not miss her husband who is off fighting for his country?  What does it take for a woman to be free enough to speak the truth about her innermost feelings for another woman? 

To help you discover some very intriguing answers, go get yourself a ticket to a modest new play with some immodest ideas by Alan Brody – “The Housewives of Mannheim” that is sensitively directed by Suzanne Barabas and finely acted by the cast of four which has just opened at 59 E 59 Street Theaters.  Originally produced by the New Jersey Repertory Company it has arrived in Manhattan with its original cast intact.  And what a wonderful cast it is.

Four Jewish women, living in Brooklyn, during WWII.  Husbands have gone off to war, leaving their wives behind to take care of the kids and wait for things to return to normal. Will they ever?  After a new tenant – Sophie Birnbaum (Natalie Mosco) moves in with her piano that busy body Alice (Wendy Peace) can’t wait to describe to innocent and beautiful May (Pheonix Vaughn) over coffee in the richly detailed kitchen set by Jessica L. Parks we start to wonder.

The about to blossom May has begun to think what it would be like to be independent.  She has uncharacteristically gone off to the Metropolitan Museum of Art in Manhattan to see a painting attributed to Vermeer – The Housewives of Mannheim – women that appear to her to be trapped in their lives.  So she is ripe for some new pleasures and even goes so far as to fill out an application to apply to college.

The arrival of the worldly wise widow Sophie (who has fled the Nazis and who was a concert pianist) is the catalyst that sets off a series of events that have been percolating for the past ten years.  Billie (Corey Tazmania) sells fine linens to try to escape with her son from Brooklyn and an unhappy marriage to her dentist husband who remains on the home front.  She’s the funny one.  On the outside.  Inside she harbors deep set feelings and fears that slowly emerge and culminate in her seductive dance after coming home tipsy from a Bohemian party with the newly thinking for herself and equally tipsy May.  It’s one of the most sensitively directed and tasteful seduction scenes that you will ever see.  All season long I have seen so many homosexual plays that I began to wonder, when will women get their turn.  Well, this is it.

The dialogue by Alan Brody is rich in detail and humor.  It’s a pleasure to hear these people speak with one another.  His structure is also strong as are his characters.  There is good story telling going on here.  He makes all his points while keeping us interested throughout.

The use of period music between scenes is just another Midas touch.

How does May treat Billie after that fateful night?  Will she accept Billie as she was before or reject her?  It’s fascinating how this all plays out.  And what will happen when the men finally do come home?  For that we’ll have to wait for the next two installments of this trilogy of plays.  www.59E59.org    www.njrep.org

Photo: Suzanne Barabas

Tags:   Alan Brody · Corey Tazmania · Natalie Mosco · NJ Rep · Pheonix Vaughn · Suzanne Barabas · Wendy Peace1 Comment

Welcome to the twilight zone world of Kevin Brewer – live on stage, on screen and off stage in his fascinating technology enhanced play The One Man (Two Man (not quite) ) Hamlet which has just opened at the Here Arts Center and is produced by the New York Shakespeare Exchange.  Before you scream “Not another Hamlet!” read on.

Kevin Brewer has written himself a complex and compelling part – actually three parts or if you are a stickler for detail a few others thrown in for good measure.  He is K an actor in final rehearsal mode, preparing for the next day’s opening production of a two character Hamlet with fellow actor V, who appears on a video screen – apparently in a nearby room looking very much like K.  Indeed it is, but not really.  Let me go back.

The house lights go down.  We see on stage a smaller version of the curtain which has just opened.  That curtain opens.  A video screen with “play” appears.  It does and this weird and wild journey begins.  It is the opening scene of Hamlet.  V is on screen.  K enters on stage.  It’s surreal.  I was mesmerized.  This goes on until K goes blank.  And there’s the rub.  He knows the play but is never able to get through it in its entirety.  Something is blocking his memory of the lines.

Within the time frame of 80 minutes Kevin Brewer will surprise and astonish you with his dexterity and excellent acting ability and his on screen persona as his doppelganger V.  He is always in the moment.  Parts of Hamlet are performed:  with a Danish accent, a speed through reading of his first soliloquy, V as both Claudius and Gertrude, and an hysterical recap of the plot leading up to “What a piece of work is man”.

What a piece of art is this show which has been keenly directed by Ross Williams and developed at the 3LD Art & Technology Center.  Especially when K and V go in search of each other, exchange locations and then appear up on screen together.  The timing is incredibly slick as Mr. Brewer seeks help for his memory loss problem, speaks with, argues with and finally connects with what it is that he is really seeking.

He is a man full of self doubt, looking for a purpose to life.  Something that he can do that will make him memorable.  The oft told advice that you should pursue your dreams and just go that tiny bit further to accomplish them has been repeated so many times before but not quite in such a unique and memorable way.  Go see this show.  It will make you think about your own goals and you will be intrigued and awed along the amazing, comic and sincere journey that Kevin Brewer takes you on.

Photo:  Ernie Kapanke 

www.here.org                   www.ShakespeareExchange.org

Tags:   HERE Arts Center · Kevin Brewer · New York Shakespeare Exchange · Ross WilliamsNo Comments.