Oscar E Moore

Anthony LaPaglia & Justin Bartha

The cast is ideal.  The plot, less so.  In fact, it’s downright ridiculous.  But after all, Lend Me a Tenor is an unapologetic farce.  And the detailed direction of Stanley Tucci – right down to explosive fireworks, bubbles overflowing from the bathroom and an inspired and imaginative recap of the play at curtain call pulls it all together.

If laughter is the best medicine then you should leave all logic behind and certainly rush to see the newly revived Lend Me a Tenor by Ken Ludwig now shaking up a storm of laughter at The Music Box on West 45^th Street.  A rumbling of the earth, seismic level 8.0, is the result of the fine group of skilled farceurs who bring to exaggerated life the very implausible if very laughable script.

Cleveland. 1934.  On another beautifully designed period set by John Lee Beatty with the requisite number of doors to be slammed which also provide striking entrances of gorgeous gowns and furs and capes and tuxedoes provided by Martin Pakledinaz we discover that Italian tenor, Tito Merelli (Anthony LaPaglia) is late for rehearsals of the opera Otello which has given heartburn to impresario Henry Saunders (Tony Shalhoub) and thoughts of perhaps going on for the missing star to Max (Justin Bartha) his assistant and would be singer who is enthralled with Maggie (Mary Catherine Garrison) daughter of said victim of heartburn. 

When Tito finally appears with his jealous and passionate wife Maria (Jan Maxwell) all sorts of complications ensue which include his co-operatic star Diana (Jennifer Laura Thompson) and Chairman of the Board, Julia (Brooke Adams in her jaw dropping Chrysler Building inspired gown and tiara). 

All to the delight of the audience which has pills and pits and a champagne cork popped out through the fourth wall onto their laps or heads depending on the thrust and aim of the actor discharging the missile.  All the women want to give their favors to Tito (no subtlety here) as does the ardent Bell Hop (Jay Klaitz).  All the men wind up crying like babies in this over the top and frothy production.

Needless to say, Max does go on and is a huge success without anyone knowing or commenting on the exchange due to the blackface make-up, wig and elaborate costume that in Act II has two Otello’s darting in and around the hotel suite.  There is much jumping and humping and sexual innuendoes and mistaken identities and mix-ups to confuse even Confucius but it is extremely funny – in a madcap sort of way.

The slowly simmering, ready to erupt, cigar smoking, playing it for real performance by Tony Shalhoub is only topped by the dual role of Max/Otello.  Justin Bartha becomes both characters here with incredible clarity and dexterity.  His impersonation of Tito is priceless and may win him a Tony.  Jan Maxwell, my favorite actress on Broadway, shines as Maria, delivering a powerful knock ‘em dead performance with a hiss to end all hisses.  Mr. LaPaglia isn’t safe around her and dead pans beautifully. 

But it is the well oiled and finely tuned machinery that Mr. Tucci has set into motion that starts out slowly but surely, accumulating more and more outrageous speed and hilarity as it reaches its final destination that sets off the real frivolity and fireworks that make Lend Me a Tenor so much fun.  www.lendmeatenoronBroadway.com                      Photo:  Joan Marcus

Tags:   Anthony LaPaglia · Jan Maxwell · Justin Bartha · Ken Ludwig · Stanley Tucci · Tony ShalhoubNo Comments.

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Charlie Neshyba-Hodges and company

The Marquis Theatre where the new Twyla Tharp adventure into combining dance and pre-recorded Sinatra oldies “Come Fly Away” is holding forth has either been morphed into a mighty big lounge imported from Las Vegas complete with big band and vocalist or a mighty big cruise ship where the destination is unknown and the entertainment value questionable.  Take your pick.  Either way, “Come Fly Away” misses the boat and you do not have a chance to win any sort of jackpot at the slots that are nowhere to be found.

Slits, yes.  And relentless spins and leaps and lifts.  With about as much sex appeal as a wet sock.  Throws and daring do catches.  And slides.  All trademarks of Ms. Tharp’s choreography.  Terpsichore herself must be wincing at the repetitiveness of it all.  But please do not blame the dancers.  They are magnificent.

This not so bright idea was concocted and directed by Ms. Tharp.  So if anyone is to blame.  Guess who?  We are introduced to a series of stereotypical characters that are very loosely connected by the fact that they are in this lounge – meeting and dancing and mingling and changing partners – once in a while.  There are four couples and a chorus line of back up dancers that seem to have drifted in from an old Jackie Gleason/June Taylor dance routine.  In Act II they get down and dirty.  Shirts and shoes are tossed aside.  Hair is let down and the dancers let loose.  Unfortunately it only worsens.

The bartender is a shy guy with a bright red bow tie and just happens to be the star of this production.  Charlie Neshyba-Hodges steals the limelight. (But only at the evening performances as there is a completely different cast Wednesday and Saturday matinee).  He is charismatic and a fabulous dancer with a comic sensibility and athleticism that all but takes your breath away.  He is part Chaplin and part Scott Hamilton (champion figure skater).  And all dancer.  If you decide to see “Come Fly Away” Mr. Neshyba-Hodges would be the main reason to go.  He outshines even Ol’ Blue Eyes.  And manages to steal the heart of the audience, seemingly without much effort.

Another plus is Karine Plantadit.  A tigress.  A wild woman who has a fantastic body, a mega watt smile and is just plain fearless in her interpretations of Ms. Tharp’s routines.  Her partner is the very masculine and handsome Keith Roberts.     

With over thirty Sinatra gems being sung you might want to sit back, close your eyes and just listen.  But then you would miss seeing Charlie Neshyba-Hodges.  And he must be seen despite the Las Vegas type surroundings which include the requisite turning disco ball and a portrait of Mr. Sinatra that brings to mind those kitschy portraits painted on black velvet that glow in the dark.  www.comeflyaway.com  

Note:  I would love to see Mr. Neshyba-Hodges in the Susan Stroman ballet “Double Feature” He would be a knockout!

Tags:   Charlie Neshyba-Hodges · Frank Sinatra · Karine Plantadit · Keith Roberts · Twyla TharpNo Comments.

Keira Keeley & Judith Ivey

In Tennessee Williams memory play, The Glass Menagerie, which has just extended its run at the Laura Pels Theatre as a production of the beleaguered Roundabout Theatre Company, Tom Wingfield – the voice of Mr. Williams and narrator of the piece cannot forget his sister Laura.  And neither will you.  He cannot get her out of his mind.  And as The Glass Menagerie unfolds you will be unable to forget or to erase the magical and heart wrenching performance given by Keira Keeley.

As she limps across the stage with as much dignity and grace that she can muster up under the smothering love of their mother Amanda to play again the worn out records and amuse herself with her collection of miniature glass animals, her shyness and insecurity will just about break your heart.  It is only when Tom brings home one of his co-workers at the warehouse for dinner, and the lights go out because he hasn’t paid the electricity bill, having instead joined the Merchant Marines, that Laura begins to break through her frailties and we see a glimmer of the beautiful girl trapped within her mind and body.  Keira Keeley is giving a magnificent performance.  It is a testament to her ability as an actor that she is as strong as she is and holds her own up against the equally riveting, robust and beautiful performance of Judith Ivey as her mother Amanda.  No shrinking genteel Southern belle portrayal for her.

Amada is a cloying, overpowering mother that lives in the past while wondering what the future will hold.  Remembering her “Gentleman Callers” while admitting she fell under the spell of the charm of her husband who deserted them and trying not to let go of her son Tom (Patch Darragh) who is a drinker and a dreamer who wants to be a writer, whose only escape from his misery at home is going to the movies, looking for adventure and always fearful that he is too much like his father whose portrait is omnipresent.

Michael Mosley as Jim O’Connor – Laura’s first and only “Gentleman Caller” brings an outgoing charm and almost false sense of bravado to his role.  Their candlelit scene is one of the most memorable of the season.

Which brings me to Gordon Edelstein, the director.  He has chosen to stage this production is a new and somewhat controversial manner.  Which I happen to have loved.  Tom is writing his story as the other actors perform it.  As it is a memory play it takes place in his hotel room and the story comes to life there.  It is mostly successful and quite original is its execution aided by set designer Michael Yeargan and lighting designer Jennifer Tipton.

As Tom tries to type out his pages, getting drunk and doing what every writer does best, procrastinate, the memory of his home life and the tenderness he feels for his sister, his desires and his mother’s wants play out as he tells his story, looks on as observer and partakes of the action.

This production of The Glass Menagerie should be seen for its brave concept and terrific quartet of fine actors.   www.roundabouttheatre.org Photo:  T. Charles Erikson

Tags:   Gordon Edelstein · Judith Ivey · Keira Keeley · Michael Mosley · Patch DarraghComments Off on The Glass Menagerie – If Memory Serves

The Irish Curse, a new play by Martin Casella is thrice blessed.  It is truly original, truly hysterical and truly touching.  It is one of the best plays of the year.  You will be unexpectedly enthralled by these five Irish men who meet weekly in the basement of Saint Sebastian’s with Father (part time actor) Kevin Shaunessy – Scott Jaeck as mediator, to support each other by sharing their anger, frustrations, loneliness and discomfort – sharing the intimate details of their living with the Irish curse – which is – to be blunt about it – a lack of penile endowment.  Talk about tiny willies is sure to become the hottest ticket in town.

So the potato famine is not the only thing that the Irish seemed to have been cursed with and these five fully developed (except for that one minor detail) and genuine as opposed to gimmicky characters speak honestly and freely and from the heart about what it means to be stricken where it hurts men the most.  Between the legs.  Being inadequate.  Lacking the desired inches to sexually satisfy their mates.  It’s heartbreaking and hilarious at the same time.

The weekly regulars include a shy, genteel lawyer from Savannah (Joseph Flaherty – Dan Butler) whose wife has left him, a gorgeous, cynical gay cop (Stephen Fitzgerald – Austin Peck) who has decided anonymous sex is the answer and a young married guy (Rick Baldwin – Brian Leahy) who stuffs a sock in his jock, loving the appreciative looks of the babes. 

Into this group arrives Kieran Reilly (Roderick Hill) – a confused young roofer from Dublin, about to be married who speaks with the Irish lilt still – acting a sort of Devil’s Advocate – asking his many questions of the group with a control and grace that eventually shatters.

The cast is perfect.  And they are perfectly directed with a sensitive and comic touch by Matt Lenz who has taken time with each of his actors to coach them into their finely detailed and rich performances.  Each one has a riveting back story and at times you could hear a pin drop in the Soho Playhouse while at other times the audience erupted with spontaneous laughter and applause – so well crafted is the script.  It seems that we are watching real people on stage not actors portraying characters as we look forward to their next meeting.

Father Shaunessy wonders if drink causes the curse or if the curse causes one to drink.  Whatever the answer is, The Irish Curse is cause to celebrate!  So don’t get caught with the short end of the stick, get your tickets immediately to see this provocative gem of a show that has no shortcomings whatsoever. 

www.theirishcurse.com         Photo:  Carol Rosegg

Tags:   Austin Peck · Brian Leahy · Dan Butler · Martin Casella · Matt Lenz · Roderick Hill · Scott JaeckNo Comments.

Famous duos of the past include:  Fred and Ginger, Burns and Allen and Orphan Annie and Sandy.  Now for the very first time, appearing separately and together in “All About Me” – we are privileged to be entertained on the stage of the Henry Miller’s Theatre by what is to become that infamous duo:  Michael Feinstein, crooner and Barry Humphries better known as Dame Edna, comedienne extraordinaire (outrageously gowned by Stephen Adnitt).

It’s an odd combination to say the least.  And the production has been concocted by committee:  Christopher Durang, Barry Humphries, Lizzie Spender (his wife) Terrence Flannery and Michael Feinstein.  Individual egos run rampant and in fact there are two programs – featuring different cover photographs of the two stars – each claiming that the show is about them – only.  It’s a very slight, almost invisible plot line that carries these two very strong albeit different personalities soaring across the footlights.

It’s damned funny.  From the guess that Broadway tune overture through the final throwing of the gladiolas you will have a wonderful time if you suspend any sort of disbelief that you are seeing anything but pure entertainment and enjoy some good singing by Mr. Feinstein of classic songs from The American Songbook which include “Strike Up the Band”, “My Romance” and “The Lady is a Tramp” which sounds like the perfect cue for Dame Edna’s entrance.  Which it is.  And then we’re off.

They banter and play one-upmanship – he dispensing with her vase of gladiolas from his piano and she using her two back up body guys Bruno (Gregory Butler) and Benito (Jon-Paul Mateo) to dispose of the “warm up” singer.  

Dame Edna has a wicked sense of humor, throwing political correctness where it belongs – right out with the dirty dish water and uses her wiles and her immense charms to insult the “paupers” in the balcony and some chosen audience members.  She has a quick and razor sharp wit to boot and you will be amazed – truly amazed at her incredible rendition of Sondheim’s “The Ladies Who Lunch”.

We are used to seeing Michael Feinstein sitting at the piano crooning soft and tender ballads but here he is in full throttle – with a powerful voice that fills the theatre with his distinctive Mr. Show Biz style. 

After a stint where the stage manager (Jodi Capeless) acts as referee between the two, surprising the audience with a show stopping “And The World Goes ‘Round” the Dame and the Crooner settle down to do what can be best described as their version of Carol Burnett and Julie Andrews at Carnegie Hall.  They do have great rapport and sing a great medley but not before we hear from Dame Edna an original ditty “the Dingo Ate My Baby” backed up by a great on stage band led by Rob Bowman on an all white period big band box set by Anna Louizos.

Director, Casey Nicholaw has his hands full with these two but keeps his Yin and Yang stars shifting gears, gowns, tuxedoes and attitudes that will keep you laughing all through the night and well after.  What a wonderful thing it is to laugh.  Through July 18^th.

www.AllAboutMeBroadway.com                              Photo: Joan Marcus

Tags:   Barry Humphries · Casey Nicholaw · Christopher Durang · Dame Edna · Jodi Capeless · Michael FeinsteinNo Comments.

Let’s just say for arguments sake that a new musical based on the factual story of the “Scottsboro Case” – where a group of nine colored men, ages 13-19, were falsely accused of raping two white women of ill repute in Alabama circa 1931 and were incarcerated, put to trial, found guilty, had their lives ruined – even after multiple trials to attempt to clear them – opens at the Vineyard Theatre – written by John Kander and Fred Ebb.  A new team.  Not the famous Kander and Ebb with an incredible Broadway musical comedy hit track record that includes Cabaret, Chicago and Curtains.  But a brand new collaboration called Kander and Ebb.  Would “The Scottsboro Boys” be thought of in quite the same way?

Who knows?  It’s just that this production directed and choreographed by Susan Stroman left me less than enthusiastic; trying to understand why I responded the way I did.  The concept is exciting, daring and intriguing.  Telling the story within the framework of a minstrel show, where the African-American actors portray white people and don black face to enact the racist and demeaning story of these human beings as an in-your-face-aren’t-you-ashamed-of-being-entertained-in-this-manner-musical.

And entertained we are.  The cast of men are exceptional actors, singers and dancers.  There is a rousing opening number, some ragtime and a cakewalk, a Johnny Mercer inspired “Commencing in Chattanooga”, the familiar Kander vamp and an incredible tap routine that includes the electric chair.  But there are high points and flat points.  Points that don’t totally connect.

The score serves the serviceable book by David Thompson but never takes hold on its own.  So I think that if this were Kander and Ebb’s first time at bat we would be disappointed.  And since this is probably the final show of a fantastic collaboration we are doubly disappointed even though I thought “Go Back Home” and “Southern Days” beautiful, if not immediately songs to remember.

Brandon Victor Dixon as Haywood Patterson, who becomes the main character is outstanding – riveting and very sympathetic as he insists on telling the truth, refusing to equivocate to gain his freedom and writing it all down for future generations to know what actually transpired.

A robust John Cullum is the Interlocutor or Master of Ceremonies in this Minstrel Show where Coleman Domingo (Mr. Bones) and Forrest McClendon (Mr. Tambo) play a variety of white folk – never missing a leer or a laugh.  Mr. McClendon also portrays a carpetbag lawyer from up North, Samuel Leibowitz, who tries to save the day without caring for his clients in his scathing number “That’s Not The Way We Do Things”.

As the two white women wronged, Christian Dante White and Sean Bradford are totally believable with only hats and sweaters to delineate the fairer sex when not being part of the jailed nine men.

Special mention must be made of Sharon Washington, the only female cast member who plays A Lady, a symbolic part of an observer.  She has an incredibly strong, silent presence throughout the show which culminates in an unforgettable ending.  Despite my reservations “The Scottsboro Boys” is certainly worth seeing.

www.vineyardtheatre.org Photo:  Richard Termine

Tags:   David Thompson · Fred Ebb · John Kander · Susan StromanComments Off on The Scottsboro Boys by Kander & Ebb Off B’way

Darlings, no matter what you think of the thinly padded plot, the lack of character development, and that extra chap up in the sound booth, the new docu-comedy, “Looped” written by Matthew Lombardo, based on an incident in Tallulah Bankhead’s life in Hollywood circa 1965 – near the end of her somewhat illustrious and infamous career where she has to re-record a line of convoluted dialogue for the movie “Die! Die! Darling!” –  the indomitable, feisty and brilliant Valerie Harper gives a comic and touching performance of epic proportions doing justice to that dame named Tallulah.

After all darlings that’s what you are paying to see.  Valerie Harper.  And boy does she deliver the goods.  It’s the summer of 1965 and Tallulah, suffering from emphysema, has decided to cure herself with booze, cigarettes and cocaine not particularly in that order as she prepares to “loop” the line of dialogue that under normal conditions would have her tongue twisting within her mouth and not for the usual sexual reasons.

The director of the film has fled, leaving Danny the editor (a straight as an arrow guy with a secret, Brian Hutchison) to deal with the tornado called Tallulah that storms into the recording studio on a hot summer afternoon wearing her dark glasses, sapphire blue satin evening dress and full length mink coat (William Ivey Long) demanding a drink even before the session begins and then proceeding to crack one-liners straight from her Tommy-gun of a mouth and flubbing and procrastinating until Danny is ready to strangle her – which of course he can’t.

She recounts her huge appetite for sex with both sexes – telling tales about her trysts with Gary Cooper and Joan Crawford that would make the Pope blush but at the Lyceum Theatre where Ms. Harper is holding court as Tallulah they are merely hysterical.  Cocktail napkins with her many ribald and witty remarks should be sold in the lobby.

Whether staggering around the stage, snorting cocaine, answering a call from her annoying sister Eugenia with her whiskey distilled voice, missing cue after cue or reliving her failed attempt at performing Blanche in A Streetcar Named Desire (a play written for her expressly by Tennessee Williams which she declined – her reason is top Tallulah which I will not give away here) in Coconut Grove Florida where she camped it up to please her many fans Valerie Harper is reason enough to see “Looped”.   She’s a hoot and a half.  Director, Rob Ruggiero does a terrific job of reining her in so that she is a character and not a caricature.

However, the two men in her onstage life are equally resourceful and give worthy performances.  As Steve, the sound man – Michael Mulheren – does the most with the least.  Brian Hutchinson is an ideal straight man to get Tallulah’s story out while he silently deals with his own demons enabling Tallulah to act as a sort of comforting shrink in Act II which puts the focus more on him but not for long.

Miss Bankhead boldly suggests that men either want to F***her or be her.  Darlings, I foresee many regional productions ahead for “Looped” perhaps starring a man or two stepping into Tallulah’s shaky heels.  www.loopedonbroadway.com                    Photo:  Carol Rosegg

Tags:   Brian Hutchison · Matthew Lombardo · Michael Mulheren · Rob Ruggiero · Valerie HarperNo Comments.

Erika Rolfsrud & Jack Koenig

At The Beckett Theatre/Theatre Row, The Actors Company Theatre (TACT) is presenting “The Cocktail Party” written by T.S. Eliot – some sixty years ago.  You are cordially invited to attend this most fascinating, fun and philosophical work.  RSVP ASAP to the Box Office, Ticket Central or www.TACTnyc.org. 

This excellent company of actors does exemplary work with forgotten classics and “The Cocktail Party” is no exception.  Although long (almost three hours – three acts with one intermission) and written in verse – verse so well composed that it comes across as great dialogue, this is no ordinary comedy of manners in the style of Noel Coward and Oscar Wilde.  It has more of an Edward Albee twist to it. 

Starting off as a typically social if somewhat strange evening of cocktails in London, Mr. Eliot turns his party and ensuing play into an examination of the relationships of all who attend, putting their interwoven associations under the microscope of his keen eye which can sometimes lead to some preachy sermonizing.  But it is worth being patient.

Edward and Lavinia Chamberlayne (a pensive Jack Koenig and a ravishing Erika Rolfsrud) are the hosts – only Lavinia has left her husband that morning after five years of marriage and he invents a story to cover her absence while Julia Shuttlethwaite (a delicious Cynthia Harris channeling Barbara Walters) tells amusing stories about nothing in particular, asking questions of the unidentified man sitting next to her (the mysterious Simon Jones who imparts Dr. Phil-like advice).  We meet Peter (a serious and troubled Jeremy Beck ) a screenwriter and lover of the socialite Celia Coplestone ( an entrancing Lauren English) who has her own guilt ridden secrets and Alexander MacColgie Gibbs (a gleeful Mark Alhadeff) who insists on cooking for the left alone Edward.  Will Edward and Lavinia reconcile? 

All the characters have interesting back stories that slowly emerge during the intriguing evening.  Most of the fun is in not knowing everything at once and discovering who has been sleeping with whom, the aftershocks and how certain people learn to cope, moving on with their lives with psychiatric help. 

The cast couldn’t be finer.  Even two minor roles are treated with due respect by Celia Smith and Ben Beckley.  The ensemble cast has perfected the necessary style under the perceptive direction of Scott Alan Evans and wear their tasteful costumes provided by David Toser – right down to the stockings with seams and wonderful hats that adorn period hair styles for the females and formal attire and period suits for the men – with élan.   

“The Cocktail Hour” has a smart and elegant look which fully complements a smart and elegant piece of writing.

 www.tactnyc.org  Photo: Carol Rosegg

Tags:   Ben Beckley · Celia Smith · Cynthia Harris · Erika Rolfsrud · Jack Koenig · Jeremy Beck · Lauren English · Mark Alhadeff · Scott Alan Evans · Simon Jones · T.S. EliotNo Comments.