Oscar E Moore

Pinter can be puzzling.  Not so here, in this exceptional revival expertly directed by Mr. Jamie Lloyd.  Imported from across the pond with its original stars intact.  This is no snobbish import.  This is the real deal.  Great theater.  Anyone interested in seeing fine actors at work directed with sublime detail should race to the Bernie Jacobs Theatre.  Run ends December 8^th.  Hurry.

Surreal.  A heightened reality.  Bare bones.  Stark.  No set to speak of.  Two chairs and a small table.  Some props.  Mostly booze.  The economical words of Pinter.  And his infamous pauses.  Allowing the actors to express inner thoughts with a nod, a smirk, a search for the right word, or a false laugh or waiting to see what the reaction will be or lack thereof.  One can almost hear their minds at work.  All brought together with a brand new rhythm created by director Jamie Lloyd.

From the opening tableau this sexual love triangle tango for three sets a slow, steady and seductive pace that transfixes the audience into complete silence.

The three main characters stay on stage throughout – one never out of the mind of the other two.  A silent and brooding presence.  Dishonesty, deception, inner hostilities and selfishness simmer to the surface.

These people are not nice.  Professional and smart.  Attractive on the surface.  But…

BETRAYAL starts in 1977 and ends at the beginning in 1968.  The affair has ended for some time when we meet Emma (free spirit Zawe Ashton) who runs an art gallery that is dark on Thursday that had enabled her to carry on an illicit five year tryst with Jerry (a hot Charlie Cox) a literary agent.  Jerry is the best mate of Emma’s husband Robert (a cold Tom Hiddleston) a bitter publisher who loves Yeats.  Jerry was Best Man at their wedding.  She is now with Casey (unseen) another writer that Jerry has discovered.  Children are involved.  Most distasteful.

Mr. Lloyd manages to bring out the dark humor especially with Jerry and a scene in an Italian restaurant with a waiter (an excellent Eddie Arnold) beset with serving Jerry and Robert but it is the hidden truths that emerge that are so horrible but so beautifully staged that is breathtaking.

This is their riveting, unsettling story.  No intermission.  No late seating.

Excellent subdued lighting by Jon Clark.  A moody, melancholy soundscape by Ben & Max Ringham.  Both making for seamless transitions between the nine scenes of this one act 90 minute revival.  Simple but apt costumes and set design by Soutra Gilmour.

The bar has been set quite high for the rest of the season.

A note about Yeats.  I did a bit of research.  He also had marital problems.  Dabbled in automatic writing and was “a symbolist poet – using allusive imagery and symbolic structures.  He chose words and assembled them so that, in addition to a particular meaning they suggest abstract thoughts that may seem more significant and resonant.”  Wikipedia.

www.betrayalonbroadway.com

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Photos:  Marc Brenner

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Based on the 2001 controversial Baz Luhrmann music video styled movie MOULIN ROUGE! a new creative team has brought back its Bohemians of Montmartre circa 1899 with a vengeance – and mammoth budget – on stage – at the Al Hirschfeld Theatre – for two and a half plus pulsating, relentless hours searching for its own distinct style with over seventy, count ‘em seventy songs (of various length and importance) that the slew of over thirty five producers has seen fit to share with us.

There is a smorgasbord of styles for us to digest.  MOULIN ROUGE! is totally inconsistent under the direction of Alex Timbers.  Is it a true love story?  Is it a farce?  A tragedy?  Is it a tale told with tongue in highly rouged cheek or is it just a glitzy and glamorous extravaganza?  The answer is all of the above – with a wink!

The audience is allowed to take videos and photos pre-show.  And they all do.  To bring back as a souvenir, I suppose for the show itself will evaporate from one’s mind tout de suite.

The story is quite simple.  After all, all those songs have to fit in, in the allotted time frame.

An American would be composer, Christian (the handsome Aaron Tveit with his radiant smile and glorious voice albeit lackluster charisma) arrives in Paris.  As an outcast, he soon finds fellowship with Toulouse-Lautrec (Sahr Ngaujah – an extremely odd choice of casting) and a dancer from Argentina, Santiago (Ricky Rojas) – Les Trois Musketeers, sort of.

Lautrec is involved with a show at the MOULIN ROUGE run by a gay Master of Ceremony Harold Zidler (a hard working Danny Burstein with brightly painted fingernails) who has run out of francs and is looking for a new backer to back his star Satine (Karen Olivo – whose opening song brings down the house and lots of silver confetti and then rapidly loses her sizzle.

Christian falls hard for Satine.  Satine falls hard for the evil villain of the piece the wealthy Duke of Monroth (Tam Mutu – the only believable and sexy one of the group) who after seeing a rough run-through of a new show starring Satine, decides to own the show and Satine.  This is known as the romantic triangle.

For what it’s worth there is little to no chemistry between the two star-crossed lovers.  Perhaps because of the frenetic pacing (Where am I supposed to be now?)  or (having to focus on what part of which song byte am I singing?) both Tveit and Olivo appear to be concentrating on anything but each other.  Where is the smoldering, sexy, romantic love affair promised?

With “L’Amour” in bright red letters featured on the incredible Coney Island surround-set by Derek McLane and the elaborate/opulent costumes by Catherine Zuber with great lighting by Justin Townsend.

The ho-hum choreography is by Sonya Tayeh.

There are references to many other well-worn musicals:  CABARET, FOLLIES, RENT, LA BOHEME and PRETTY WOMAN.  With a dose of FOLIES BERGERE, AMERICAN IDOL and MY FAIR LADY.

Act II develops the show within this show through its tragic ending.  And finally ends with a coda of a Can-Can which brought me out of my stupor and had the audience standing for the curtain call and another song!

The real star of this production is Justin Levine – who has done a masterful job of incorporating all the songs and tidbits thereof.  Music supervisor, orchestrations, arrangements and additional lyrics.

Recently a man proposed to his lady after the show – which might very well start a trend like those love locks on one of the bridges of Paris.  Let’s hope that couple fares much better than our two alleged lovers of MOULIN ROUGE!  Bonne chance!

www.moulinrougemusical.com

2 hrs. 45 minutes one intermission

Photos:  Matt Murphy

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In 1995 a demo cassette recording was produced by Al Lowman for the 25^th anniversary of the Stonewall riots.  STONEWALL a new musical was composed by Robin Webb with book and lyrics by Michael Aman and Oscar E. Moore.

We are proud to share WALK HAND IN HAND with everyone celebrating the 50^th anniversary of this “most romantic revolution of all time.”

WE’VE COME THIS FAR

TIME TO CONTINUE

TIME TO LIFT OUR VOICES WITHOUT FEAR

SO FAR TO GO

SHOW OUR DEFIANCE

WE ALL BELONG

WALK HAND IN HAND

WITH HOPE WITH PRIDE

TOGETHER WE’LL DECIDE OUR FUTURE

WALK HAND IN HAND

DON’T HATE,  DON’T HIDE

ONE DAY WE’LL CELEBRATE STONEWALL

Out of ignorance comes fear

Out of fear comes hate

Out of hate comes discrimination.

The pain of discrimination is still felt twenty-five years after that revolutionary night.

We must refuse to walk backwards.

We must stay unified.

Forceful.

Visible.

Proud.

It’s a matter of life and death.

Those who hate, hate all.

Fighting on behalf of all of us will ultimately lead to the liberation of all.

Someone’s gotta make it right.

We will.

WE’VE COME THIS FAR

SO FAR TO GO

TIME TO CONTINUE

SHOW OUR DEFIANCE

TIME TO LIFT OUR VOICES WITHOUT FEAR

TIME TO LIFT OUR VOICES WITHOUT FEAR

SO FAR TO GO

WE ALL BELONG

SHOW OUR DEFIANCE

WE ALL BELONG

TOGETHER STANDING STRONG

WALK HAND IN HAND

WITH HOPE WITH PRIDE

TOGETHER WE’LL DECIDE OUR FUTURE

WALK HAND IN HAND

DON’T HATE DON’T HIDE

ONE DAY WE’LL CELEBRATE STONEWALL

ONE DAY WE’LL STAND

ONE DAY HAND IN HAND

ONE DAY WE’LL CELEBRATE

STONEWALL

STONEWALL

STONEWALL

Photo:  Shutterstock

click to hear WALK HAND IN HAND

https://soundcloud.com/m-jay-nyc/gay-anthem-lyrics-oscar-e-moore

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Some believe in love (or is it lust?) at first sight and others do not.  So, why not take a chance on love?  One never knows.  For skeptical Frankie (Audra McDonald) a middle-aged actress with a tough veneer turned waitress (to earn a living) it isn’t so easy.  For Johnny, a charming, persistent short order cook who works in the same Greek greasy spoon and can quote Shakespeare (sort of) it’s a no brainer. He is hooked immediately.  He knows for sure.  She doesn’t.

He only has eyes for her.  She has noticed his sexy wrists.  He has noticed how kind she is to an elderly man with a cane who comes every day at the same time and couldn’t help but notice her prominent, shapely breasts.  And so here they are.  After a date that has taken some time to arrive.  Connecting.  Circa 1987.  Naked.  In bed.

Two unique and unforgettable characters brought together by who knows what.  Circumstances?  Physical attraction?  Loneliness?  Fate?  Or the full moon that shines through a window of Frankie’s walk up apartment in Hell’s Kitchen on the West Side of Manhattan where Bach’s Goldberg Variations is softly playing on the radio as these two characters toss and tumble in the darkness having wild, uninhibited, uncontrollable, audible sex; their nakedness blurred by the soft lighting by Natasha Katz and the spellbinding claire de lune.

It’s a raw and romantic evening.  Full of disclosures and discoveries.  And coincidences.  A master class in acting and directing.  Honest and extremely amusing dialogue supplied by Terrence McNally in this superb revival of FRANKIE & JOHNNY in the CLAIRE de LUNE originally produced by The Manhattan Theatre Club in 1987.

The guarded Frankie doesn’t quite know what to make of Johnny.  No sooner have they done it that he is talking marriage and kids.  She is just plain hungry.  Promising to make meat loaf sandwiches if he will soon after leave.  And thus we get to know them both, slowly revealing their deep rooted selves.  Including some very blunt sexual references that are very amusing.  The Great Dane story for one.

We are voyeurs.  Intruding into their lives courtesy of Mr. McNally.  It’s a pleasure to watch them develop before our eyes.  Listening to their back and forth banter.  And remembering that one could call into an all-night radio station and make a request “for the most beautiful music ever written” and have your wish granted.

See this wonderful production and don’t be afraid to take a chance on love whenever it may unexpectedly appear.

Finely directed by Arin Arbus on, at first look, a too large set by Riccardo Hernandez for this intimate examination of Frankie and Johnny.  However the terrific acting by Audra McDonald and Michael Shannon more than adequately fill the space with their talent to unearth their character’s desires.  We wish them well.

2 hours 15 minutes one intermission.  Broadhurst Theatre.  Limited 16 weeks engagement through August 25^th.

www.frankieandjohnnybroadway.com

Photos:  Deen van Meer

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A momentous moment in the life of Hillary (Laurie Metcalf) – January 8, 2008.  New Hampshire Democratic Primary.  Also for Clinton (John Lithgow) and Mark (Zak Orth), campaign manager for Hillary’s run for President against her rival Barack (Peter Francis James).  Last but not least the United States of America.  It’s cold.  A coldness that also permeates HILLARY AND CLINTON’s imagined private relationship in this peek behind closed doors.

Captured by Lucas Hnath, an original thinking out of the box playwright.  Master of terrific dialogue, conflict, humor and setups.  Character studies that reveal the essence of the characters without imitating real life.

As we are informed by a wanting-to-win Laurie Metcalf as she steps up to a free standing microphone that someone somehow forgot to place a mic (a bit of theatricality here) so that she goes and gets one to give as a bit of bizarre, almost twilight zone setup – that there are infinite universes and that the Hillary in this play although named Hillary is a Hillary in an alternate universe although she sounds a lot like the Hillary that shares her life with the ex-President of the United States, Bill Clinton.

She then switches on the lights and we are in a cube of a hotel room (Chloe Lamford) where we will see the before Act I straight into the Act II goings on between the participants with a black backdrop that accentuates the characters as they enact the tactics that went into her run for the presidency to finally emerge from the shadow of her man Bill.

Bill the charmer who wants to be in charge.  As usual.  After Mark warns Hillary not to call him.  She does.  She needs funding.  Funds that Bill has plenty of but they will come with certain conditions.  He is at odds with Mark.  Hillary is confused and exasperated and fed up with having to deal with Bill but you know how it is when you can’t live with someone and you can’t live without that same someone…

Before the results she is ready to accept an offer from Barack.  After she unexpectedly wins she gives Barack a counter offer.  It’s the first time we see her smile.  The first time we see the personality she need to summon to win.

Well, we all know what happened.  But it is the fine acting of all that keeps us enthralled and the expert craftsmanship of the playwright that holds our attention.

There is no intermission.  It runs an hour and a half.  Just right.

It is finely directed and coached by Joe Mantello – he who is a fine actor himself.  Taking the time.  A look.  A pause.  Or do nothing.  Details that make all the difference in this universe or any other.

It’s bizarre seeing Hillary prone of the floor as Bill and Mark go at each other as if she is the net in a tennis match.

There isn’t much meat on the bones here but what meat there is, it is fun to chew on and completely digestible in this most original theatrical exercise.

Their coldness thaws a bit towards tenderness.  Feigned or not, they remain together in this other imagined universe at the Golden Theatre through July 21, 2019

Photos:  Julieta Cervantes

www.hillaryandclintonbroadway.com

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Titus who?  General Titus Andronicus was a fictional character in Shakespeare’s first and only fictional revenge tragedy that takes place during the fall of the Roman Empire.  He returns from battle only to discover that most of his sons have been slaughtered.  And just about everyone else.  The bloody battles might be over but the bodies have been piling up in the streets and must be disposed of.

Enter Taylor Mac an intensely intelligent playwright with a wicked sense of dark humor who takes up where Titus left off with three clowns and a massive pile of make-believe life size cabbage patch doll-like casualties of war with a slew of body parts: arms, legs, decapitated heads and the almighty Roman schlongs now flaccid, who relate in a low-brow comedic style – think Marx brothers – the consequences of what has happened and what might follow.

In 90 minutes.  Give or take how many laughs pile up during the performance.  And there are many.

First up is Carol a midwife, not rich; not poor but somewhere in the middle who has had her throat slashed.  This zany midwife, who carries a great guilt as she couldn’t save a baby, is portrayed by the inimitable Julie White in full comic command.  She fills us in in front of the blood red and gold show curtain while blood spurts from either side of her neck splashing her hands and stage with the rose colored liquid.

There has been a massacre.  She has only been fatally wounded.  We discover that the baby belonged to Lavina, the daughter of Titus (remember him?) had with Aaron the Moor (I have had some help from Wikipedia) and the curtain rises on all those bodies with Janice (Kristine Nielsen) a no-nonsense maid that no one ever noticed in all her spastic glory is tending the pile and mopping up Carol’s blood as her new assistant Gary arrives with more bodies and a Cockney accent.

As a mere clown he has been upgraded “maid” with the hope of becoming a fool.  For only a fool can save the world.  He’s the optimist.

Gary was a minor character in Titus – a “cameo” but a clown nonetheless and here Nathan Lane can be crowned Prince of Clowns with his incredible performance.

The stage is set and what follows is hysterical, gross, instructional (prepping the bodies – ridding the bodies of left over cadaver gasses and bodily fluids) a mad hatter tea party (that detours into territory that attempts to sustain the momentum of the play, here and there a fart or two, a very unexpected and surprising finale and some very serious issues snuck in between all the tomfoolery which enacted by any other clowns would not be as successful.

The play, as it turns out, is very serious highbrow stuff disguised in rhyming couplets and very funny dialogue.  Gussied up in the guise of low comedy.  It works until it gets repetitive and begins to run out of gas.

The woman and children corpses are covered up.  The men exposed for what they are.  Gary and Carol tend to only the men for as Carol states –“There has never been a female Emperor and so the men must be held responsible” – or something like that.  It’s just another rough day on the job, cleaning up the mess that those in power have created.

Briskly and slyly directed by George C. Wolfe with movement by Bill Irwin.  Set by Santo Loquasto with costumes by Ann Roth.

If this sounds like your cup of tea by all means go and partake in all the lunacy onstage at the BOOTH THEATRE.  I rather enjoyed it.

www.garyonbroadway.com

Photos:  Julieta Cervantes

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Breaking News:  Hot on the heels of receiving 11 Tony Award Nominations TOOTSIES’ Dorothy Michaels aka Michael Dorsey is basking in the glow of her newly found stardom, quickly becoming the toast of Broadway and the hinterlands of New Jersey and tristate area where patrons are flocking into Manhattan (despite the new higher tolls) to see this newly discovered star.

They are willing to do just about anything and will probably have to, to get to see this phenomenal, fabulous star-is-just-born sensation who is the cause of a what has been hailed as “a tsunami of out of control laughter” from those lucky enough to catch her performance.

Tourists are warned that tickets are “mighty tough” to come by and to scoop them up ASAP to see TOOTSIE.  That is the title of her hysterically funny musical comedy.  Dorothy Michaels (which she prefers to be called) stars in this star vehicle that has just opened at the appropriately named Marquis theatre where Dorothy Michaels has been anointed its new Queen.  Respectfully, Michael Dorsey has been appointed new King in residence for what seems to be a “mighty long reign” according to close sources related to the production.

If it is possible to get double Tony Awards for portraying Dorothy Michaels and Michael Dorsey then Santino Fontana should be the one to get them.

Based on the hit 1982 film certain adjustments have been incorporated into the story of a 40 year old downtrodden, unsuccessful actor Michael Dorsey whom no one particularly likes, including casting directors, writers and producers.  Not the best recipe for success for an actor.

So with the help of a pair of falsies and a pair of glasses, a wig and a pair of sensible pumps Michael has the courage and gumption to audition for the very same director who previously threw him out as Dorothy Michaels.  And faster than you can say William Ivey Long – Voila!  A star is born.

Starring in a musical version of Romeo and Juliet, sort of.  It’s called “Juliet’s Curse.” But not for long.  Everyone is so smitten with Dorothy that it is soon retitled “Juliet’s Nurse” giving director Scott Ellis ample opportunity to lampoon musical theater’s auditions, rehearsals, wealthy producer Rita Marshall (Julie Halston), agent Stan Fields (Michael McGrath), choreographer cum director Ron Carlisle (Reg Rogers), a tall, lithe and hunky guy Max Von Horn (John Behlmann) with a minimum of talent but maximum abs hot off his win on Race to Bachelor Island and what goes on backstage leading up to the eventual, eventful opening night.

The book by Robert Horn is absolutely to die for – from laughing.  Not since THE PLAY THAT GOES WRONG have I laughed so much, so hard, so often.  And TOOTSIE has songs.  Songs by David Yazbek.  Songs with very clever lyrics (almost patter songs) with tunes that fit in just right moving everything swiftly along.  To wit MAX’s heartfelt adoration song to Dorothy “This Thing” that is a showstopper.

Speaking of which.  I was fortunate enough to see TOOTSIE the night the Tony Award Nominations were released when a once in a lifetime moment occurred.  There is a point in Act II where Michael’s agent discovers the sham and says to him that he had heard that Dorothy was being considered for a nomination for a Tony and he was ready to vote for her until…Well, the audience erupted into SPONTANEOUS, LOUD AND PROLONGED APPLAUSE.  I HAD NEVER EXPERIENCED THE LIKES BEFORE.  It was real life stopping the make-believe life of the show.  Santino Fontana reacted in character and it was at least five minutes before the show could continue.  Bravo! Or should it be Brava!?

Here I will mention the other wonderful cast members:  Michael’s writer friend and roommate Jeff Slater (a terrific Andy Grotelueschen) in on the scheme, Sandy Lester (Sarah Stiles) a constantly depressed actress who’s song is repeated three times to great effect (“What’s Gonna Happen”) and Lili Cooper as Julie Nichols the Juliet of the show within the show whom Dorothy falls head over heels for as Michael and where Max falls head over heels for Dorothy and Sandy falls for…JUST SEE THE SHOW!

Costumes by William Ivey Long are perfect as usual.  Quick changes are incredible.  Along with set design David Rockwell, Lighting (Donald Holder), Hair and wig design (Paul Huntley), inspired choreography by Denis Jones and finally the sound design Brian Ronan – music to my ears.

Dorothy Michaels sings “I Won’t Let You Down.”  And she doesn’t.  None of them do.  It’s a tour de force production that will have the producers laughing all the way to the you-know where.

Bless all the creative people who have met with obstacles along the way to success and have overcome them with great ingenuity.  Dorothy Michaels being a prime example.  Long may she reign!

Be sure to pick up your 8×10 glossy autographed head shot of the unstoppable Dorothy upon leaving the Marquis! Something to remember her by, although you won’t soon forget her.

2 hours 30 minutes.  One intermission

www.tootsiemusical.com

Photos:  Matthew Murphy

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Director Jack O’Brien immediately grabs our attention with a fierce thunderstorm erupting at the American Airlines Theatre as a projection of a fighter aircraft going down, against what will be the backyard property of Joe and Kate Keller, shows through the scrim, circa 1947.  It’s clean-up time.

Lights up on the house and trees.   A small covered arbor.  It’s a hot August day in a rural Midwestern American town.  Sunday as usual.  But not for long.  Joe (an excellent Tracy Letts) is reading the paper and talking to a neighbor, Dr. Jim Bayliss (Michael Hayden). All is calm after the previous night’s storm that struck a valued tree, breaking off a limb – a premonition of things to come.

Arthur Miller’s post World War II confrontational 3 act family drama is played to the hilt.  Based upon a true story which Arthur Miller’s then mother-in-law pointed out in an Ohio newspaper about a company that knowingly shipped damaged aircraft engine cylinder heads from a factory to the military causing the deaths of 21 pilots.

Joe Keller owned such a factory.  Still does.  But now they produce a variety of products including pressure cookers.  This drama simmers along as it heads towards an obvious tragic outcome.

The Keller’s two sons went off to fight the war.  Only one returned.  Chris – Benjamin Walker does a fine job as one who is conflicted and confused and trying to find his own way despite loving both his parents – AND in love with his brother’s ex-girlfriend who has decided that she must also move on.

His brother Larry hasn’t been heard from in three years and is presumed dead.  Only his mother Kate (Annette Bening – giving an award winning performance) refuses to accept his death.  Keeps his room as it was expecting any moment to have him come walking into the yard.  She is strong, delusional and can say horrible things to people with a charming demeanor.

She has even asked Frank Lubey (Nehal Joshi) another neighbor to work up Larry’s horoscope for the day he died hoping to prove that is was a favorable day and therefore he is still alive.  Somewhere.  Some superstitions are worth believing in.

Coupled with the fact that the tree damaged was planted in honor of Larry.  Proves it’s a sign. In addition his ex-girlfriend Ann Deever (Francesca Carpanini) has arrived from New York and is staying in his old room as Chris prepares to ask for her hand in marriage.

I won’t describe further what happens as Arthur Miller is extremely clever in keeping the plot close to his chest with many humorous observations surfacing as he dishes out the drama bit by bit as we discover the multiple motivations of each character and their inter-relationships.  As we discover what it is that makes this family tick until it explodes like the thunderstorm that opens the drama.

A master of dialogue and construction.  Slyly incorporating how money rules the roost; how dishonesty and corruption, covering up and blaming someone else for your actions results in the ruination of those around you – unnecessarily.

I will however, make note of one jarring factor.   Ann’s brother George, who arrives to prevent her from marrying Chris is of a different color.  She is white.  In this day of color blind casting sometimes it works and sometimes it doesn’t.  Don’t ask me why it’s just like that.

Despite Hampton Fluker’s fine performance it was just jarring to see him arrive.  As we never see their father who is in jail serving time for what Joe has done and covered up – (he was the partner of Joe in the faulty aircraft cylinder heads scandal) he could also be of another race.  That’s neither here nor there.  Just accept the casting choice and be emotionally moved by this fine, tight, beautifully acted production.

I am sure that in twenty years ALL MY SONS will still be performed as it deals with timeless topics that every family goes through in one form or another.  It’s an extremely emotional experience and well worth a visit to the Keller’s back yard.  Through June 23^rd.  3 acts.  2 hours 15 minutes.  One intermission.

www.roundabouttheatre.org

Photos:  Joan Marcus

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The dead have arrived at the Winter Garden Theatre in this almost dead on arrival so-called musical comedy called BEETLEJUICE based on the 1988 cult favorite movie of the same title by Tim Burton.  I am in deep mourning.  My love for musical comedy has just been stabbed to death.

BEETLEJUICE left me stunned into silence.  It left me with a splitting headache.  It left me never wanting to see another film adaptation musicalized.

Musicalized?  There isn’t even a song list in the Playbill program.  That was my first clue.  Second clue was that the so-called songs are by Eddie Perfect.  In his dreams perhaps he imagines them as being perfect.  This score from the same person who inflicted his music and words on that other forgettable horror called KING KONG.

The only song you will remember is THE BANANA BOAT SONG “Day-O” that has not been penned by Mr. Perfect.  It is featured in an engagement party scene that boasts a singing boar (as in pig) who is indeed a highlight.

BEETLEJUICE desperately needs a transfusion.  Of music.  Of lyrics.  Some smart humor.  As opposed to gross.  Full bodied characters.  A plot.  Instead of flashy (appropriately) tacky costumes (William Ivey Long) a magnificent off-kilter haunted house set (David Korins) blinding lighting effects (Kenneth Posner) and ear piercing sounds masquerading as songs in this insanity foisted upon us by its creators.

For the record – the aforementioned Eddie Perfect (music and lyrics).  Scott Brown & Anthony King (book).  Brown and King also penned Gutenberg!  The Musical! An off-Broadway two character opus where in my review I warned readers to beware of too many exclamation points.

This weird madhouse of cartoon characters and puppets (Michael Curry) and ridiculous goings-on has been directed by that mad-cap director Alex Timbers.  Seeking to fill in the missing plot points with whatever sandworm was handy it seems.  What choreography there is can be blamed on Connor Gallagher.

Also in mourning is Sophia Anne Caruso as Lydia who deeply misses her recently deceased mom.  Dressed in Gothic widow’s weeds she wails away at her loss.  We soon encounter our narrator and chief mischief maker Alex Brightman as cocaine snorting Beetlejuice incarnate.  He of the raspy voice that quickly becomes grating wearing his Jail House Rock striped uniform wishing he could come back to life if only he could find someone alive to say his name three times in a row.  I only wanted to say Be Gone! Be Gone! Be Gone! Sorry for the exclamation points.

Alex Brightman is zany, manic, weird, frenzied and freaky and if that’s what you like.  Go.  The production is exhausting, eye-popping and ear drum bursting loud.

The only person to come out alive is the wonderful Leslie Kritzer who makes a silk purse out of that boar’s ear with her portrayal of Lydia’s soon to be step mom and a dead Senora – Miss Argentina in the second act where production numbers take the place of the gone to the Netherland plot.

For the record Rob McClure and Kerry Butler are wasted away rather quickly as the owners of the house that…it’s just too difficult for me to go on…

After the intermission I didn’t think it could get any worse.  But it did.   And it does.  Ending with a Game Show contest – Life or Death…the final nail in the coffin.

For the record this inflated nothingness pleased many in attendance.

www.beetlejuicebroadway.com

Photos:  Matthew Murphy

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