Oscar E Moore

Kate Baldwin & Cheyenne Jackson

What do you get when you mix a bit of Irish blarney, a shirt chasing leprechaun, a white racist Senator from Washington who magically turns black enabling him to sing Gospel and to see the errors of his ways, a mute country girl who dances her dialogue, some wonderfully witty lyrics by Yip Harburg with unforgettable melodies by Burton Lane, with two romantic leads that sweep you into their fantasy world of love, financial crisis, and happily ever after, and some inventive direction and choreography by Warren Carlyle?

The answer is the enchanting and delightful “Finian’s Rainbow” that has just opened at the St. James Theatre.  This revival is pure gold.

Finian McLonergan (A perfect Jim Norton with eyes a twinkling) has immigrated to the fictional Missitucky from Ireland along with his beautiful daughter Sharon (a sparkling Kate Baldwin) and a pot of gold that he has “borrowed” from Og (a whimsical Christopher Fitzgerald) so that he can bury it near Fort Knox (he’s distrustful of bankers!) so that it will grow and they will prosper.  The leprechaun Og has followed them to fetch back his booty as he is fast becoming human, much to his dismay.

Woody Mahoney (Cheyenne Jackson of the mega watt smile and lilting voice) is trying to save Rainbow Valley and its tobacco business from those that would foreclose on the properties of the sharecroppers who are mostly black folk. 

Into this most original 1947 concoction of a book brewed up by Yip Harburg and  Fred Saidy, (nicely updated by Arthur Perlman) add some still timely political, financial and racial satire that veers off in a few too may directions (albeit always entertaining directions) and you come up with some additional spun gold enacted on the appropriately stylized set of John Lee Beatty.

Then there are the songs.  What rapturous melodies radiantly sung by all.  The rousing ode to buying on credit “That Great ‘Come-and-Get-It’ Day”.  The very amusing “When the Idle poor, Become the Idle Rich”.  The show stopping “Necessity” sung by Terri White.  The romantic duet, “Old Devil Moon” by Cheyenne Jackson and Kate Baldwin will melt even the most cynical of hearts.  And Og has a devilishly fine time with “When I’m Not Near the Girl I Love”.  This is musical theatre at its best.

The costume design by Toni-Leslie James is just as witty as the lyrics, especially in her Mr. Shears and Mr. Robust outfits that have them looking like the man from Monopoly – mustache, monocle and all.

They say that at the end of the rainbow is a pot of gold.  That is not true.  It is at the St. James Theatre.  Go see “Finian’s Rainbow” and bask in the glow of this wonderful production.  It’s magical.   How are things in Glocca Morra?  They are absolutely terrific.

www.finiansonbroadway.com

Tags:   Cheyenne Jackson · Christopher Fitzgerald · Jim Norton · Kate Baldwin · Terri White · Warren CarlyleNo Comments.

Unlike Johann Sebastian Bach with his Goldberg Variations – where the development of a basic theme improves the work – adding interest, Patrick Marber in his attempt to expand upon August Strindberg’s “Miss Julie” in his updated, indulgent and somewhat ludicrous version “After Miss Julie” now running at the American Airlines Theatre – as a Roundabout production – doesn’t – hitting more than a few out of tune notes along the way.

While August Strindberg might not be exactly turning over in his grave because of Mr. Marber’s work, he certainly must be feeling some discomfit – as were many of the audience members in attendance.

The basic love triangle of a spoiled rich girl – Miss Julie (Sienna Miller) lusting after her father’s chauffeur – John (Jonny Lee Miller – no relation) who is almost engaged to his girl friend, the maid Christine (Marin Ireland) has been moved from 19^th century repressed Sweden to a more relaxed Great Britain circa 1945 – when the Labor Party is coming into power.

Class struggle.  Power.  Love and lust are the powerful ingredients that made Miss Julie a classic.  Here they are turned into a melodrama where Miss Julie, a stunning Sienna Miller, gets to stalk her man like a panther in heat.  Pacing and pouting, cigarette puffing and pouncing on the not so reluctant John.  It seems that he’s always had a “thing” for her – ever since he was twelve, no make that five.  But never the twain could meet as they are of different social classes.  That does not prevent her from going after him right in front of the overworked Christine who falls asleep at the desk in the huge realistically detailed downstairs kitchen set provided by Allen Moyer.

After a very lengthy pause (one of many supplied by director Mark Brokaw) Christine comes out from her off stage bedroom to join John in his off stage bedroom only to find Miss Julie and John together as she returns to the kitchen in shock.  Not saying anything until the next morning as she prepares them both to go off to church.  Miss Julie has other plans.  This is where the play veers towards the ridiculous.  Wanting them all to go off to New York together Julie wants to take her pet bird with her.  Enough said.

In this wealthy cat and poor mouse set up Sienna Miller is quite the vixen and the highlight of her tantalizing performance is when she orders John to kiss her shoe as she offers it and then retracts it teasing him into a frenzy of sexual fire.

Jonny Lee Miller is quite good in his nervousness and confusion as to what to do or what not to do under the circumstances.  He is strong and good looking and there is a palpable sexual tension between them.

Marin Ireland as the unfortunate third wheel gives a believable and compassionate performance.  Having to sleep through a scene where the others are playing hanky panky with one another and to wake on cue takes complete discipline.

“After Miss Julie” is ninety minutes long without an intermission which includes some very lengthy pauses of nothing happening on stage.  Through December 6^th.

www.roundabouttheatre.org

Tags:   Jonny Lee Miller · Marin Ireland · Mark Brokaw · Patrick Marber · Sienna MillerNo Comments.

Two outstanding performances – Chad Kimball as the uneducated, charming, aggressive and street smart white guy Huey who plays by his own rules in segregated Memphis of the 1950’s and Montego Glover as Felicia, a beautiful black underground club singer on Beale Street – in the vibrant, original musical Memphis, by Joe DiPietro (Book & Lyrics) and David Bryan (Music & Lyrics) are reason enough to see this entertaining and exhilarating show.  It is not exaggerating when I say that their names should be above the title of this production which is like a shot of adrenalin on Broadway.

They are destined to meet and destined to travel on their journey together which leads to her becoming a star and his falling by the wayside.  All because of his passion and promise to get her heard on the white radio station, aggravating both Blacks and Whites. On the way they just happen to fall in love with each other.  A very dangerous thing to have happen at that time in that place.

They are spectacular together.  Their stirring duets “Ain’t Nothin’ But a Kiss” and “Love Will Stand” truly memorable.  You marvel at Huey’s risk taking and chutzpah wondering if he is just stubborn or stupid while always rooting for him.  Felicia adds the danger that is inherent in the show.  Singing with a powerful voice that electrifies she is also afraid.  And rightly so.  The first act ends with a brutal beating of them both by white racists.

Christopher Ashley has directed with a firm and unique hand, keeping the action flowing from one moment to the next and allowing a lot of humor to surface in an otherwise serious piece.  All the time remembering that this is a musical, he is aided by some sensational and inventive choreography by Sergio Trujillo that rocks the stage of the Shubert Theatre.

The score is extremely strong.  The book gets the story across in a clear and succinct manner – getting to the all important songs and dances.  With lots of humor.  Memphis is beautifully staged and the fantastic sets by David Gallo allow the action to cinematically move form location to location.  Right on costumes by Paul Tazewell are just part of the overall stunning visual package.

In supporting roles and they all do ably support the production are Cass Morgan as Huey’s red neck mom who doesn’t really mind the success she has because of her son, J. Bernard Calloway as Felicia’s protective brother, James Monroe Iglehart whose dancing astounds and Derek Baskin who will move you to tears with “Say a Prayer”.

Memphis was not integrated in the 50’s but Memphis the musical is a totally integrated production where all of the elements add up to a lively and thought provoking production while entertaining you throughout.  Highly recommended.

www.memphisthemusical.com

Tags:   Chad Kimball · Christopher Ashley · David Bryan · Joe DiPietro · Montego Glover · Sergio TrujilloNo Comments.

From A to Z – Avenue Q, the puppet friendly, delightful triple Tony Award winning musical (Best Musical, Best Score – Robert Lopez & Jeff Marx and Best Book- Jeff Whitty – 2004) is still the freshest, funniest, most original, happy go lucky musical to ever have run for six years on Broadway (closing September 13^th) only to reopen Off-Broadway at New World Stages on October 14th.  Director Jason Moore has whipped this concoction into a froth fest of bubbly laughter.

For those diehard fans that want to revisit the show you will not be disappointed.  For those of you who do not know what you are missing, you now have the opportunity to find out.

On a terrific set by Anna Louizos representing a row of houses on Avenue Q, with windows that open and shut in typical Laugh-In style, we meet the residents and their puppet alter egos.  There is Brian (Nicholas Kohn) a would be comedian and his Japanese therapist girl friend Christmas Eve (Sala Iwamatsu) who keeps berating him to get a job.  (They are puppet less). 

Times are tough.  The economy is bad.  And jobs are scarce.  Newcomer Princeton (a fantastic Seth Rettberg) a twenty something guy seeking an affordable place to live, fits right in with the other misfits – singing “It Sucks to be Me”.  Doubling as Rod (a closet homosexual shhh!) who lives with his best friend Nicky (Cullen R. Titmas) who also is Trekkie Monster (addicted to porn on the internet).  Then there is Kate Monster (a marvelous Anika Larsen) who is a lonely teacher.  She doubles as Lucy – a Mae West red hot to trot vamp.

Puppets have never been so ribald.  Nor have I ever seen puppets have sex while singing.  This merry romp of a musical is your adult version of Sesame Street – where Big Bird has been replaced by an actor whose character’s name is Gary Coleman (Danielle K. Thomas) replete with his self deprecating asides.

Pretty large hand held puppets that have been created by Rick Lyon are manipulated by the actors portraying their characters.  It’s amazing just to watch them in action.  It’s a laugh filled, melodic, satirical, inventive and unique musical from opening number to final curtain call.   

Underlying all, beats an extremely sincere and intelligent heart with the intent of instilling in everyone the need to find their own purpose in life.  Avenue Q makes its point and makes it well with music that is tuneful and zippy and lyrics that are sharp and clever while speaking about racism, one night stands, schadenfreude (they explain), sex (both gay and straight), friendship, love, homelessness, generosity, perverts and that whatever misfortunes you have they are fleeting – they are just for now.

Hopefully Avenue Q is not just for now.  I expect Avenue Q to have an even longer life at New World Stages.  It certainly deserves it.   www.avenueq.com

Tags:   Anika Larsen · Jason Moore · Jeff Marx · Jeff Whitty · Robert Lopez · Seth RettbergNo Comments.

The news isn’t completely gloomy.  Despite some major mistakes in the casting (Jim Carnahan C.S.A. & Kate Boka) of this Roundabout revival of Bye Bye Birdie not seen on Broadway for 48 years – Music by the ever optimistic Charles Strouse & Lyrics by Lee Adams – Book by Michael Stewart, there are some bright spots to be seen on stage at the newly refurbished Henry Miller’s Theatre on West 43^rd Street (which is like a beautiful underground bunker) – but they are few and far between this muffled, misguided production directed and choreographed by Robert Longbottom.

The plot is paper thin.  Although Michael Stewart’s book still holds up pretty well – despite the many derogatory slurs made by Mae Peterson (Jayne Houdyshell) to Rose Alverez (Gina Gershon) – secretary to Albert (John Stamos), Mae’s son, who manages Conrad Birdie (Nolan Gerard Funk).  It is the news that rock and roll star Conrad Birdie has been drafted that sets this tale spinning – or in the case of this production – limping along.

Despite being very beautiful to look at Gina Gershon is not in a beauty pageant – she is in a big famous Broadway musical, playing a part that requires her to sing and at least attempt to dance.  After all, Chita Rivera became a star because of this role.  No such luck here.  You can see how hard she is trying but she should never have been cast nor should she have accepted. 

John Stamos fares a bit better.  He too is very beautiful to look at but his Eddie Cantor like behavior is ill suited to the part of Albert.  He is supposedly madly in love with Rose but the rapport is far from steaming. Note:  the audience eats him up!

Mr. Funk as Birdie lacks the necessary charisma to have all those screaming girls running after him.  And Bill Irwin as Mr. MacAfee, father to the girl that has been chosen at random to receive Birdie’s last kiss before he leaves in Sweet Apple, Ohio – gives one of the weirdest performances ever.  We know he is a great clown but it’s inappropriate here and his odd choice of vocal inflections made the character all the more weird.

As Kim, the chosen one, sweet Allie Trimm with her pony tail and petticoats is delightful.  She has a winning personality and a clear voice that delivers the goods.  She is just on the verge of becoming a woman and her confusion shines through as she packs up her Birdie memorabilia and sings “How Lovely to Be a Woman”.

Which brings me to the wonderful score by Strouse & Adams.  It is still bouncy and fresh and tuneful.  Memorable tunes.  “Put on a Happy Face”  “A Lot of Livin’ to Do” and “Baby, Talk to Me” and the tender and sweet “Rosie” in particular.

Other highlights include the performances of Hugo, Kim’s “steady” by Matt Doyle and Jake Evan Schwencke as Kim’s younger brother.  As Mrs. MacAfee, the very talented and in this instance under utilized Dee Hoty is left having to put up with Mr. Irwin’s antics and changing costumes for the big Act I finale where they all appear on the Ed Sullivan show.

I’m afraid the minuses out weigh the pluses.  And hearing “loop the loop” ad infinitum becomes annoying.  This revival of Bye Bye Birdie doesn’t quiet lay an egg but neither does it soar.  www.byebyebirdieonbroadway.com

www.roundabouttheatre.org

Tags:   Allie Trimm · Bill Irwin · Gina Gershon · John Stamos · Matt DoyleNo Comments.

In this giant jig saw puzzle of a musical, The Toy Maker, written by the multi talented Bryan Putnam (Book, Music and Lyrics) a modern day, childless Sarah (a radiant Rosena M. Hill) searches the internet to buy another carved wooden toy from a famous Czechoslovakian toy maker from the town of Lidice which was destroyed by the Nazis in 1942.  She soon finds herself on a journey to Europe, without her husband, to uncover the mysteries surrounding its history and gets far more than she bargained for.

At the airport she is accosted by a young Czech boy, Doby (Bryan Welnicki) whom she befriends.  They become an unlikely pair as he accompanies her, acting as the go between in exchange for money.  Mr. Welnicki has a sparkle of mischief in his eyes, sings well and commands the stage – adding welcomed humor to an otherwise heavily dramatic production. 

We travel back in time and meet the toymaker who desperately wants to make a toy for a child of his own one day.  The past and present stories parallel one another and it is only towards the end of the second act when all the pieces fall into place that you understand how everything so beautifully connects.

It is a complicated and extremely long emotional journey.  But worth it.  The production is wonderful.  The director, Lawrence Edelson, has chosen to portray many of the scenes using his actors as life sized marionettes.  It is visually striking.  At first we care little for these people until their secret story unfolds and we understand how they all relate to one another.

The cast of twenty is exceptional, with Rob Richardson, Jessica Burrows, Greg Stone, Joan Barber, Ira Denmark, Darren Biggart and Dale Soules joining Rosena M. Hill in giving emotionally powerful performances.

But the best feature of the show is the score by Bryan Putnam which conveys all the fear and hope and beauty of the two intertwining past and present stories of The Toy Maker.

The New York Musical Festival must be applauded for giving the opportunity for serious musicals like this to be seen.

www.thetoymakermusical.com

Tags:   Bryan Putnam · Lawrence Edelson1 Comment

It is twenty years since Cinderella (Gina Milo) lost her glass slipper and her heart to Prince Charming (Jim Sorensen) and is living the happily ever after life (or is she) when her overbearing mother-in-law the Queen (Brenda Braxton) decrees that the rebellious and inquisitive Dusty (Natalie Bradshaw) – daughter of Cindy and Charm – must in two days marry the old codger Herbert.  Forget about love and inner goodness.  It’s the bank account that really matters in this wonderfully giddy production of “Plagued – a love story” which is part of the New York Musical Festival.

Director Samuel Buggeln and choreographer Danny Mefford keep the high spirits happily afloat throughout the two act musical where Cinderella hasn’t yet learned how to be a princess.  She is still very much in the cleaning up after everyone else mode and still loves her husband even though he is displaying some kinky traits in the bedroom in regard to her feet and the infamous glass slippers.  His song “Put On Those Shoes” certainly brings this fairy tale right up to the here and now.  It is hysterical. 

As are many of the other songs written by Casey L. Filiaci (Music) and Vynnie Meli (Lyrics) who also wrote the very amusing book which is like a hip “Once Upon a Mattress” – while adding an honest and touching love connection that blossoms between Dusty and Scoop that adds a human touch and unexpected sincerity to the show. 

One day, about half way into Act I – Scoop (Pierce Cravens) arrives and collapses at the Castle door – announcing that the Plague is coming.  Brought up by the monks, they have sent him to warn the castle of the problem.  Will they listen?  Will Dusty marry Herbert?  Or Scoop?  Will Cindy find her wings and take flight?  Will the Fairy God-Mother reappear? 

Of course she does.  Lorraine Serabian, makes a star entrance and gives a wildly comic performance managing to produce a small pumpkin for Dusty, explaining that she must do the work to achieve her goal.

With song titles like “Ever After is An Awful Long Time” “It’s In the Fleas” and “Not While I’m the Queen” you know you are in for a good time.  But it is with the lovely “Wormwood and Lavender” and the touching “In My Own Skies” that the score truly amazes and surprises.  The writers strike a great balance between zany and sincere.  And it works.

All the members of the cast are terrific.  And look terrific, outfitted in regal finery provided by Janell Berte.  Dale Hensley as the Doctor and Julian Brightman as the Knave add nicely to the broad comedy.

“Plagued – a love story” is a modern day fairy tale for adults with sexual and some very serious undertones that add just the right magical touch.

Produced by the New York Musical Theatre Festival & Kim Vasquez/Gray Lady Entertainment.

Graylady75@yahoo.com

Tags: 1 Comment

The Irish Rep on West 22^nd Street has decided to open its 22^nd season with a grandiose; Julie Taymor inspired production of Eugene O’Neill’s 1920 expressionistic drama “The Emperor Jones” under the direction of Ciaran O’Reilly.

Trying to outdo Disney on a smaller scale with sets (Charlie Corcoron) – Costumes (Antonia Ford-Roberts) – Lighting (Brian Nason) – Original music and sound (Ryan Rumery & Christian Frederickson) and Puppets and mask design (Bob Flanagan) the creative team has come up with a production that all but overwhelms the play and almost upstages the fine actor John Douglas Thompson in the title role.

To the beat beat beat of the tom toms, there is choreography by Barry McNabb.  At times making the play seem like The Emperor Jones, The Ballet not the intense psychological drama that O’Neill intended.

To be fair it all looks wonderful, but it detracts from the drama.   Are we waiting for Bob Hope and Bing Crosby to bring on Dorothy Lamour or do we want to see the gradual decline of the egocentric, street smart, self proclaimed Emperor, Brutus Jones – who has escaped from an American chain gang (serving time for murder) to set up his monarchy on some remote Caribbean Island (where the natives are superstitious and restless) to bleed the country for all its worth so that he can escape to Martinique to live the life he feels he is entitled to?

From arrogance to alarm to atonement John Douglas Thompson imbues his character with all the requite traits to elicit a strong and fearsome performance.  For most of the 70 minutes he is the only person speaking, traveling in circles through the forest – his inner demons gradually taking over – making him repent for his past sins – returning him to the savage beast he always was.

Rick Foucheux plays Henry Smithers, a Cockney trader who has an inkling that all is not right as he berates an old native woman (Sameerah Luqmaan-Harris) before having a lengthy discussion with Brutus about the trouble he will soon be facing.  As good an actor as he is you cannot help but thinking he is a character in an old Tarzan flick.

Much of the dated dialogue is spoken in black dialect with the “N” word rampant throughout.  The use of a dancing witch doctor and tribal masks only reinforces the stereotypes that O’Neill was writing about in 1920.

The other actors:  Jon Deliz, Michael Akil Davis, Sinclair Mitchell and David Heron play minor roles and for the most part are disguised as the foreboding forest trees.  Very Disney.  But this is not a show for children.

Tickets are $65. and $55.   www.irishrep.org

Tags:   Ciaran O'Reilly · John Douglas ThompsonComments Off on The Emperor Jones – Irish Rep done Disney style

Perched atop the Manhattan Bridge on a clever shadow box set by Jerad Schomer sit The Oldsmobiles, Mr. & Mrs. – Richard Masur and Alice Playten – a somewhat aging couple who call each other “stupid” that are in relatively good shape and are contemplating their thirty five year old marriage, life and death in general, Alec Baldwin (the running gag which made me gag) and whether or not they should jump.  They do.  But not fast enough (I was ready to give them a push) in this 60 minute elongated Saturday Night Live sketch.  I’m being kind.

They have the credentials.  All of them.  Including director Jim Simpson and writer Roger Rosenblatt but the results are disastrous.  It is not funny.  It is not ironic.  It is not edgy.  It’s a car wreck.  Devoid of sub text.

In no way do we believe that this couple have lived together happily or not for thirty five years.  There is absolutely no rapport between them.  Why are they together?  Why have they decided to commit suicide?  Why has this skit been produced?

There they sit contemplating the scene below and above.  Boats.  Helicopters.  Firemen and Policemen.  All off-stage voices.  Their adopted children (or are they) show up.  A news reporter asks ridiculous questions including the last which you will have no choice but to hear as there is no intermission and no commercials. 

No wait.  The Flea does a pre curtain advertisement of their current and future shows.  If The Oldsmobiles is any indication of the rest of their season they are in deep trouble.

Do the Oldsmobiles love each other?  Do they have Alzheimer’s?  Is this meant to be real or a satire or just crazy?  Do they really want to commit suicide to avoid dying?  Are they already dead?

Not to belabor the point but what’s the point?  I couldn’t help but wonder why Eli Wallach and Anne Jackson were not cast as The Oldsmobiles.  They would have been perfect with this imperfect script.  I believe that they could have made some amusing sense of this mess.  At least we would have believed their love for one another.

www.theflea.org

Tags:   Alice Playten · Jim Simpson · Richard Masur · Roger RosenblattNo Comments.

Walking through the doors of the Gene Frankel Theatre at 24 Bond Street to see The Pig, The Farmer and The Artist (Music/Book/Lyrics by David Chesky) is a bit like falling down the famous rabbit hole in Alice in Wonderland where when you hit bottom you come across an array of zany characters telling you their story.   With a bit of Fellini thrown in for good measure.  It is an operatic satire about sex, music and art.

Yes, that’s right.  An opera.  In reality it’s more a “singspiel” as the very well endowed Pig (Tom Blunt) speaks rather than sings his part. It’s amazing that he is not completely upstaged by his endowment.  Of garden hose length that he twists around his neck and plays jump rope with.  It’s long enough for Double Dutch.  Be that as it may the other actors are all sensational operatic singers – for real.

They are led by conductor Anthony Aibel accompanied by his orchestra of nine (including a harp, clarinet and flute).  The music is avant-garde modern to my ears; with a bit of old time musical pizzazz to help the ears of the uninitiated.  Quite original.  The production is very funny and never boring.  Director A. Scott Parry has done a masterful job of keeping the ball rolling with clever staging and delightfully clever costumes.

Very successful greedy and horny Farmer Jones (bass-baritone Cory Clines) goes to market to sell his produce and discovers The Pig – becomes smitten and buys him along with Shirley, the Cow (mezzo) a statuesque Wendy Busby – a former hooker from Amsterdam and her husband Harvey, the three legged Bull (tenor – James N. Kryshak) a transvestite, parading around in a pink tutu.  Next to his big boned bovine he appears more like a bullette than a bull.  All the more fun.  Thrown into the deal in the artist (tenor – Christopher Preston Thompson) – whose paintings don’t sell – much to the annoyance of Farmer Jones.

The public doesn’t want something new.  Something challenging and intelligent.  They want or rather what sells is the same old schlock, the public preferring safe and sound over something daring and different.  For example this operatic satire.

In order to escape the wrath of Farmer Jones and being slaughtered The Cow and The Bull escape to New York City and become rich selling the artist’s drop cloths as art.  Pig soon follows and they… well it’s better to see what happens.

In a trio of pants roles, soprano Melanie Long gets to satirize a farm hand, an art critic and art dealer with aplomb.  Rounding out the cast are the superb Greek Trio:  Soprano: Ami Vice, Mezzo: Megan Marino and Baritone: Michael Dezort called on to portray everything form goats and chickens to West Village gays, East Village punks, high society dilettantes and the omnipresent paparazzi.  What a treat to watch them in action as they skewer opera, the art world, George Bush, sex, and everything in between.

The projected super titles above the stage are hysterical and posted by the computer Hal (MacBook2.1) who had to take on this job to pay his rent in the Big Apple.

They are all great singers and consummate actors.  Last night I was even dreaming about them all.  Now what would a therapist have to say about that I wonder?

www.davidchesky.com

Tags:   A. Scott Parry · Ami Vice · Anthony Aibel · Christopher Preston Thompson · Cory Clines · David Chesky · James N. Kryshak · Megan Marino · Melanie Long · Michael Dezort · Tom Blunt · Wendy BuzbyComments Off on The Pig, The Farmer and The Artist – An operatic satire about sex, music and art