Oscar E Moore

What if you crossed Neil Simon with Mel Brooks?  You might expect explosive laughter tinged with more than a dose of the Jewish experience.  In their futile attempt to pull off such a coup, Robert Cary & Benjamin Feldman have written “Inventing Avi” which is running through November 1^st at the June Havoc Theatre at 312 West 36^th Street.  It’s in two acts, offers some chuckles and steadily goes downhill after the intermission. 

David Smith (Stanley Bahorek) works for theatrical producer Judy Siff (Alix Corey) – a wealthy woman who hasn’t a clue as to which script to choose that will result in the hit that has eluded her thus far.  Her taste in clothes is terrific (thanks to costume designer Matthew Hemesath).  She has recently lost all her wealth in some Ponzi scheme. 

David is a gay playwright and wants Judy to at least read his script.  He meets up with a part time worker at Kinkos (Amy – Havilah Brewster) who also works part time for Judy’s sister Mimi (Emily Zacharias) – a soap star who wants to develop a cabaret act and who treats her maid Astrud (Lori Gardner) like a slave. 

The sisters haven’t spoken in years.  Mimi has the resources to get the money to produce David’s show from a Jewish philanthropic organization if she stars and if the writer is Jewish.  Which David is not.  And so Mimi and Judy jointly find a guy – Avi Aviv (Juri Henley-Cohn) to pose as the author.  Avi is the type to sleep his way to the top with one and all and eventually is lauded as the author, director and star of David’s show and appears in Act II in his briefs.

In flash back we see why Mimi and Judy haven’t spoken in years.  Lori Gardner as Young Judy and Havilah Brewster as young Mimi are really hysterical in portraying the young siblings in some wonderfully written scenes. 

David tries in vain to reclaim his authorship of the piece.  The plot is zany but implausible, veering on the ridiculous in not a very amusing way.  The writers are targeting a certain type of female producer and Alix Korey is brilliant in her portrayal with sublime comic timing.   

The play becomes a hit and from what we hear of it – that would be impossible.  It’s not very good.  So we are left with a limp satire on the perils of producing, the perils of a writer who obviously has never heard of the Dramatist’s Guild and who relinquishes control of his property.  There is a surprise twist of an ending which doesn’t really improve matters greatly.

Director, Mark Waldrop, keeps things going at a fast clip on the exceptional set designed by Ray Klausen which is clever and creative.  More so than the script.  I had high hopes but they were quickly dashed.  www.abingdontheatre.org

Tags:   Alix Korey · Emily Zacharias · Havilah Brewster · Juri Henley-Cohn · Lori Gardner · Mark Waldrop · Ray Klausen · Stanley BahorekComments Off on Inventing Avi – (and other theatrical maneuvers)

Without a doubt, “I Must Believe” an emotionally rousing song, sung magnificently by Soara-Joye Ross at the end of Act I in the new musical “Cross That River” which is part of the New York Musical Theatre Festival (TBG Theatre 312 W. 36^th Street), is something that everyone should be able to bear witness to.  It is one of the finest musical numbers in a beautiful score which includes blues and country western, gospel, waltzes and ballads written and performed by Allan Harris – who acts as the narrator/balladeer of his tale about the life of Blue, a run away slave who becomes a cowboy in the Wild West circa 1860.

I thought how can they top that?  Well they come real close in the opening of Act II with Annie (Wendy Lynette Fox) singing the equally moving “Invisible”.

Almost every song in this song cycle of a show is memorable.  The score is tuneful and gets your toes tapping while touching your heart at the same time.  The lovely duet between young Blue, Boy Blue (Brandon Gill) and his first flirtation with a white woman, Miss Courtney (Whitney Bashor) “Another Time, Another Place”, “Dat Dere Preacher” an exciting ensemble number led by Tony Perry, “Mail Order Woman” – which follows the journey of Annie from Philadelphia to the wilds of Texas only to be raped and set up in a life of prostitution, and the show stopping “I Must Believe” which makes its return in Act II as “I Do Believe” praising freedom and the land that allows us to pursue our individual goals. 

It’s an odd structure for a musical and at times the narration goes by too fast without fleshing out the story and characters.  It seems like an outline for a full production – that the creators are fearful of having the story interfere with getting to all those beautiful songs which are stories themselves.  A little more book by Andrew Carl Wilk would be most welcomed.

Blue doesn’t meet up with Annie until he has crossed that river from Louisiana into Texas and escaped with the help of his Mama Lila, met up with the mean Lucius (Timothy Warmen – who gives an outstanding performance, doubling as Ole Sam Eye) who takes Blue in because he is good with horses, starting him out on the road to being a full fledged cowboy.  When Blue becomes “smitten” he sings a beautiful ballad “My Dreams Are You” with his gorgeous, silken Nat King Cole of a voice. 

I suppose you gather by now that I love the score and that I am less fond of the book which has great potential.  It is an extremely interesting story told with great style.  Right now it’s a bit too episodic, especially in Act II with the introduction of Diamond Jimmy (Joseph Melendez).  His scene and song fall below the high bar set by Allan Harris.

Charles Wallace gives great support in his trio of roles.  Especially that of Mule Skinner and joins Allan Harris, Tony Perry and Brandon Gill in the terrific but short “Buffalo Soldiers”.  I must also praise the onstage Cross That River Band, the musical staging of Donna McKechnie and overall direction by Andrew Carl Wilk. 

www.nymf.org   www.crossthatriver.com

Tags:   Allan Harris · Andrew Carl Wilk · Brandon Gill · Charles E. Wallace · Donna McKechnie · JOseph Melendez · Soara-Joye Ross · Timothy Warmen · Tony Perry · Wendy Lynette Fox · Whitney BashorNo Comments.

Little did George S. Kaufman and Edna Ferber realize in 1927 when they wrote “The Royal Family”, that they were far ahead of their time in writing the first reality show based on a year in the lives of the theatrical family called Cavendish.  It’s amazing that their three act comedy still resonates with great humor and heart.

Old fashioned?  Definitely not.  It is a wonderfully written valentine to the Barrymore family and to the passion that actors have for their craft.  Filled with wit and over the top characters that fill the Cavendish mansion with love, theatricality and enough mayhem to rival any stage production that Fanny, the ailing matriarch (an incandescent Rosemary Harris), her daughter Julie (a Tony worthy Jan Maxwell) the reigning star of the stage and her daughter Gwen (a shining Kelli Barrett) who hasn’t decided yet whether to appear with her mom on stage or to marry Perry (dapper Freddy Arsenault).

In fact, Julie hasn’t decided whether to continue on the stage or to finally hook up with her long time admirer Gilbert (a steadfast Larry Pine) who leads a stable but dull life making lots of money.  Something some members of the Cavendish family find difficult to do.  Especially Tony (based on John Barrymore – a take charge, free spirit, easy to love and harder to appease son of Fanny who has gone off to Hollywood only to come sneaking back because he has had a dalliance with the film director’s gal and has to escape the press and lawyers by escaping to Europe.  All he needs is a last minute passport and the aforementioned cash.  He is dashingly played by Reg Rogers.

Then there is Fanny’s aging brother Herbert Dean (John Glover – is there any part that he cannot be all but wondrous in?) still believing he can be the leading man who along with his daffy wife Kitty (sassy Ana Gasteyer) tag along hoping to be cast and not cast out of the mansion where free food and drinks are amply supplied by Della the maid (Caroline Stefanie Clay) and manservant Jo (David Greenspan) who both bring originality to their characters.  There is Oscar Wolfe – manager and confidant – excellently played by understudy Anthony Newfield subbing for the ailing but recovering Tony Roberts.

All of these people populate the sumptuous set designed by John Lee Beatty, are beautifully costumed by Catherine Zuber and directed with skill, finesse and élan by Doug Hughes who knows how far they can go before going too far.  It is a magnificent production and it is hard to believe that it will only be running through November 22^nd.

So head on down to the box office of the MTC’s Samuel J. Friedman Theatre and secure some seats.  Or if you don’t want to be old fashioned use the internet.  However you get your tickets, get them.  You will have a sparkling evening with great performances by the entire ensemble cast. “The Royal Family” is not only a feast for the eyes, it is charming and witty and will touch you with its love of family with the continuance of the Cavendish legacy.

www.ManhattanTheatreClub.com

Tags:   Ana Gasteyer · Caroline Stefanie Clay · David Greenspan · Doug Hughes · Jan Maxwell · John Glover · MTC · Reg Rogers · Rosemary HarrisComments Off on The Royal Family – Manhattan Theatre Club

Not exactly a musical.  Not exactly awful.  Not exactly a show destined to become a classic.  But Halloween is just around the corner and if you are so inclined to see an absurd piece of theatre that features the disembodied head of Hitler (Ryan Feyk), a mad scientist – Dr. Gustav Frankenstein (Joseph Beuerlein) along with his nephew Fritz (Geoffrey Borman) who had created  an abomination called Anne – a hermaphrodite (empowered by drag queen Mimi Imfurst) and then sent her off to the secret attic to grow up, whiling away her days speaking with her living diary (Lavinia Co-Op) who has her do some pretty down and dirty deeds then “The Diary of Anne Frankenstein” written by Ilya Sapiroe is just the show for you.

It is ridiculous.  Maybe too much so.  It targets Hitler, 50’s horror flicks and a type of forties movie star (Sylvia Beasley) usually played in drag but in this case by a terrific actress, Jessica Caplan.  I’ve always wondered if a woman would be just as good as a man playing this type of woman.  Jessica Caplan is as good if not better.  She has the look and impeccable comic timing down pat.

Tucked away at the 13^th Street Rep Theatre where the underground secret Nazi seedy laboratory of Dr. Frankenstein feels right at home, director Elizabeth Elkins has come up with some inventive touches.  The musical numbers (Music: Kevin Cummines – Lyrics: Ilya Sapiroe) are quite funny and tuneful especially the love duet between Anne and Paul (Eric Jaeger).  Paul is the husband of the wealthy star who because of his insomnia discovers Anne in the attic and his lust and love for her.  It’s an odd pairing but that’s what ridiculous theatre is all about.

It is sometimes very amusing but overstays its welcome with too many yawns in between.  I thought all the actors exceptional. It’s a great ensemble cast that the Theatre a L’Orange has assembled but the play itself needs a lot more polishing before all of the comedy shines through.  Tickets $22.50 through November 8^th.

www.thediaryofannefrankenstein.com

Tags:   Elizabeth Elkins · Eric Jaeger · Geoffrey Borman · Ilya Sapiroe · Jessica Caplan · Joseph Beuerlein · Lavinia Co-Op · Mimi Imfurst · Theatre A L'OrangeNo Comments.

“Denmark is a prison”, bemoans Jude Law in his powerful and explosive performance as the melancholy Dane, Hamlet – in this no nonsense approach to Shakespeare’s tragedy of the same name directed by Michael Grandage imported from London’s Donmar Warehouse in tact.

It is dark and confining and the somber, towering set by Christopher Oram does its best to set the mood and dwarf the actors on stage with its leaden gray tones and brick walls with just enough openings to let in some terrific lighting effects by Neil Austin which adds to the dank and dreary gloom that pervades the stage at the Broadhurst Theatre where Mr. Law is reigning over Broadway in his star turn as the crazy as a fox Prince, who is out for revenge after his Uncle Claudius has murdered his father and married his mother.

It takes a while for the revenge to actually take place – about three hours.  And you may very well begin to agree with Hamlet that Denmark is a prison.  Of course you have the option of leaving.  After all, most of us know the ending.  But with the cost of tickets being what they are and you wouldn’t want to admit in public that you had gone to see the snob hit of the present season (the last one being Mary Stuart) only to see Jude Law and so you sit there being numbed by the language only to perk up when an all too familiar soliloquy is emoted “To be or not to be” or some of the many famous quotes pop up – “To thine own self be true”  “Goodnight sweet Prince”  and “The lady doth protest too much.”

Despite the tormented, majestic and oft times amusing performance of Jude Law (his crab and gorilla for instance) the evening is rather boring.  It is static.  Except for the wonderful swordplay late in Act II which finally leads to the revenge that we have been waiting for.

I had liked Geraldine James (Gertrude) up until the point where she drinks the poisoned goblet meant for Hamlet and has one of the worst death scenes imagined.  Claudius (Kevin R. McNally) is bereft of any charm or character.  In fact most of the actors follow suit.  With the exception, of course being Mr. Law and Ron Cook who doubles as Polonius and the 1^st Gravedigger.  Why Hamlet is madly in love with Ophelia (Gugu Mbatha-Raw) is beyond me.

So, for those of you who are ardent fans of the Bard, or you simply have to see Jude Law in the flesh or can’t wait to tell your friends that you saw this particular production of Hamlet and you do not have any ill feeling about being imprisoned then rush to see this show.  If you do not agree with my assessment I plead insanity.

www.hamletbroadway.com   Limited run through December 6^th.

Tags:   Jude Law · Michael Grandage · The Domar WarehouseNo Comments.

There aren’t too many celebrities with the pedigree that Carrie Fisher has that are candid enough and funny enough and ballsy enough to open up about their bouts with divorce, alcoholism, drugs and rehab, their career, death and the beyond and in this case her very extended famous family and share their experiences on stage for all to see and hear.

In her extremely amusing and wonderful autobiographical memoir of a show, “Wishful Drinking” – that has just opened at Studio 54, Carrie Fisher does just that.   In her almost two and a half hours onstage, barefoot and in lounging pajamas with lots of glitter around her eyes that make her sparkle – as if her sparkling wit weren’t enough – she showers audience members with glitter and gossip as she embarks on her tell-all journey of her Hollywood life on the rocks.

I am probably the only person in the world, no make that the universe, that has not seen Carrie Fisher in her most infamous film role – that of Princess Leia in the original Star Wars trilogy.  I know the name from its many appearances in crossword puzzles.   

I do know who her very famous parents are.  Still alive and kicking – Debbie Reynolds and Eddie Fisher who left Debbie for Elizabeth Taylor.   Bringing the younger members of the audience up to speed she compares them to the Jennifer Aniston, Brad Pitt and Angelina Jolie of their day.  Some things never change.

She opens her show singing “Happy Days Are Here Again”.  She might very well have chosen “I’m Still Here” from Follies.  She is a survivor with a capital S – and we are very thankful that she is so that we can hear all about her very public tabloid existence.

I won’t give away any of her wild definitions or one-liners.  You have to hear them straight from her.  She has a wry sense of humor and terrific comic timing that will have you laughing throughout her impeccable performance which is fine tuned by director Tony Taccone.  Aided by some nostalgic film clips and equally witty video projections by Alexander V. Nichols who is also responsible for the appropriate off kilter set and suggestive lighting.   Her family tree lesson from her parents to her daughter and everyone in between can be likened to a California Redwood there are so many involved and intertwined.  See how hard she pokes certain photos with her pointer.

Everyone warms up to Carrie Fisher immediately with her low key almost confessional style delivery.  She has got the gift of gab and of putting words together and playing with them which is a delight to listen to.  Not to mention the delicious dish.  On Paul Simon, George Lucas and Liz and Eddie and how she is accused of turning men gay and making them bald.  Enough said. 

There are times when she tilts her head just so that you can see in her face the face of Debbie Reynolds – especially in the smile which is warm and welcoming.  And at times she can be brutal and droll simultaneously

You might be even lucky enough to be chosen to join Carrie Fisher on stage with her life size Princess Leia sex doll.  Don’t let that scare you off.  It’s one of the highlights of an evening chock full of highlights.  “Wishful Drinking” is a must see.  Here’s to you, Carrie Fisher!  To Life!

Limited engagement through January 3^rd 2010  www.roundabouttheatre.org

Tags:   Carrie Fisher · Tony TacconeNo Comments.

If you can imagine a musical starring a lonely embalmer, making the dead look better than they did in life who has four brothers acting very much like The Three Stooges plus one and that his best friend Emily, has arrived dead at his family run funeral home and that the Holy Dude Dalai Lama who has grand illusions of creating a brand name (D La) and that a rich Texan wants to buy out his funeral home – and a crazy Russian who also wants a piece of the action and when Edward the lonely embalmer discovers love he also discovers that he can bring the dead back to life – well, you don’t have to – because Mark Noonan & Nick Oddy have already done so with the creation of their new musical – The Happy Embalmer, part of the New York Musical Festival.  They are two gifted writers that we should all keep our eyes on.

If you liked The Toxic Avenger you’ll want to see this show.  It’s very funny.  In a very over the top way.  Nothing is sacred here and if you are willing to go along with the absolutely zany plot you’ll have a fine time.  A bit of vulgarity and tastelessness is not beyond their talents.  The score is very smart and tuneful.  Bossa nova beats to power ballads to 50’s rock will keep you bouncing along with the insanity.  Director and choreographer Kelly Devine has done a super job in creating some original dances that erupt in spontaneous celebration – dancing in the face of death so to speak.

The Happy Embalmer is one big looney, irreverent cartoon with a heart and soul that beats well within with its message that real beauty in on the inside and when you find love you find the key to happiness.  Not an original message.  What is original is how Noonan & Oddy go about telling their tale with their delightful score.  Austin Switser has created some novel projections that especially add to the hilarity in the second act. 

The leader of the pack is Daniel Reichard who mopes about his basement embalming and bemoaning the fact that he’s lonely until he discovers his hidden talent and bursts forth with confidence and warmth.  He has an amazing vocal range and is extremely amusing and real.  He gives an inspired performance.   

Tituss Burgess as the Dalai Lama takes inspiration from Grace Jones and Eartha Kitt.  A bit shrill but nonetheless divine.  His assistant Tenzing – is a wonderful Cedric Leiba Jr.  Megan Sikora as Edward’s lost love Emily is delightful once she is brought back to life.  Their duets are right on.  They set off sparks together. 

The brothers Nando – Noah Aberlin, Tony Daussat, Brian Gallagher and Kevin Michael Murphy do their schtick with abandonment.  John Jeffrey Martin is the running joke of the show – Todd.  He is a mysterious, extra good looking fellow who is in command and for some odd reason has the eleven o’clock number.  As Mr. Nando and the mad Russian Professor Pasternov, Steven Hauck seems to be having the time of his life.  The Happy Emblmer is a show about death celebrating life.  And I have to totally agree with the philosophy of Noonan & Oddy that without laughter you’re dead. 

www.nymf.org

Tags:   Daniel Reichard · Kelly Devine · Mark Noonan · Nick Oddy · Tituss BurgessNo Comments.

Given the short rehearsal time period allotted for productions partaking in the New York Musical Theatre Festival, the entire creative team behind Hurricane – the almost entirely sung through, original two hour show with a cast of thirty written by Michael Holland (Music & Lyrics & Book) and Eric Bernat (Book) – with incredible costumes by Karen Ann Ledger, wonderful orchestrations by Jesse Vargas and directed by Michael Bush – can be congratulated for their artistic vision and their considerable artistic achievements.

In September of 1938 a totally unexpected hurricane hit southern New England without any warning from The National Weather Bureau.  It was high tide and there was a full moon during the fall equinox.  The coastal town of Napatree, Rhode Island was destroyed along with many of its inhabitants.  It is here where the musical Hurricane takes place.  It’s not your usual singing in the rain story.

From the opening notes of the oft times melodic, lush and soaring score which includes many styles we are treated to an opening number that rivals that of Ragtime.  We are introduced to the Delgado Sisters (perfectly dressed and in perfect harmony – Natalie Charle Ellis, Catherine Charlebois and Mishaela Faucher) a local singing trio – a Greek Chorus that appears throughout, who immediately set the period and tone of the show. 

We also meet the many characters that inhabit Napatree along with some ghosts who have seen it all before and are there to morally support Helen – a well to do busybody (Rita Gardner),  Margaret her long time suffering Irish maid (Karen Elliott), her daughter Lil (Brittany Lee Hamilton), and Nicky, Lil’s Portuguese fiancé (Joey Khoury). 

Then there is Caroline a wealthy housewife (a stunning Christy Morton) her husband Jeff (John Antony) their son (Alec Cohen) and daughter (Maya Frank).  Other locals include Joe Silva, a Portuguese farmer (Joseph Mahowald) his son Junior “June” who wants to be a dancer (Zachary Clause) and Norm, the bus driver (Steven Watts).  What a collection of glorious voices, especially in the ensemble numbers.  It is simply thrilling to hear them – with terrific vocal arrangements by Michael Holland.  They are all superb.

These are the folks who surround the guts of the musical.   Charlie (Steven Booth) a junior meteorologist who fears that the storm is headed North, tries to convince others that it could be disastrous.  No one will pay any attention to him, especially his arrogant supervisor Mitchell (TJ Mannix).  Both Mr. Booth and Mr. Mannix deliver Tony Award winning performances.  They are fabulous together.  Their final scene is incredibly moving.  If only the focus were more on them – with some of the extraneous numbers either whittled down, rethought or eliminated altogether – for example, the futuristic very entertaining but what is it doing here beach number with its All That Jazz vamp.

Too much time is spent on giving all the characters their time in the spotlight when a tighter focus on Charlie and Mitchell might help better shape the production.  The lyrics do not always come up to the high quality of the music – which can sometimes be breathtakingly beautiful – but not very memorable on first hearing.

Although Michael Bush always leaves his creative stamp on whatever he directs and can skillfully coax superb characterizations from his actors and keep things moving fluidly while making some lovely stage pictures the book and score need some refining and cutting down to have Hurricane reach its full potential. www.hurricanethemusical.com

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Every care has been taken, no detail overlooked to enhance the phenomenal performance of Charlayne Woodard in her solo play “The Night Watcher” which is unlike any other solo performance piece I have ever seen.  It’s exceptional.  She is exceptional.  Charlayne Woodard is that rare actress who can become any one of the characters she is portraying in a split second, her voice and body inhabiting the human spirit of those she becomes right before our eyes.

From the refined and assured direction of Daniel Sullivan, to the open and welcoming set by Charlie Corcoran and Thomas Lynch that is bathed in the most beautiful lighting by Geoff Korf to the jazz inspired music and sound design by Obadiah Eaves to the perfect projections by Tal Yarden to her simple and yet colorful costume by Jess Goldstein – the entire creative team has come up with an enveloping wrap that Charlayne Woodard wears with love and affection in her most original take on motherhood.  They have given her a beautiful space in order to be free.  Free to express her feelings about the children she never had, by choice, but was involved with over the years – not always by choice.

She is humble and tough and grounded and wise as she weaves her tale of truth and understanding of what it takes to be a mother or an aunt or a god mother with humor and bittersweet remembrances. 

The show is in two acts.  Each about an hour long.  An odd choice for a solo show.  But it pays off.  It even leaves you wanting to hear more – an incredible achievement.  The individual vignettes are in themselves complete three act plays which are unexpectedly original and amusing and filled with the philosophy that makes Charlayne Woodard first choice, sometimes over the biological parents, for her nephews and nieces and young friends to confide their secrets so that she can inadvertently help. 

Frank talk about sex, self esteem, teen pregnancy, her dog Max, her husband, mother, various friends and their children and rudeness permeate the beautifully written script which just so happens to be penned by the magical Charlayne Woodard.  Is there anything she can’t do?  She exhibits her vocal, dancing, karate and rap skills.  She is both mother and child – seeing the world through everyone’s eyes.  It’s a difficult world sometimes but Charlayne always has some choices to give as a way to cope.

See this magnificent performance.  “The Night Watcher” is brimming with brilliance.  Find out who Charlayne Woodard is and be taken on her journey of introspection and enlightenment.  I think you will come to realize that she could very well be the mother of us all.

www.primarystages.org   Tickets $60.00

Tags:   Charlayne Woodard · Daniel Sullivan · Primary StagesNo Comments.

If you’d like to hear a lovely a cappella three part harmonic version of the famous haunting and lyrical Welsh folksong – All Through the Night sung by three Gentile German women you will have to make a choice – just as these women had to make some very difficult choices as Hitler attempted to create a Master Race and take over the mind and spirit of every human being that he came into contact with. 

Your choice will be easier.  Whether to leave after the first act of this very muddled and unenlightening new surrealistic war drama by Shirley Lauro or stay for the second – where you will hear the song of safety and protection which is the highlight of this otherwise dreary drama.

The intentions of playwright Shirley Lauro are admirable.  The play isn’t.  It simply is not ready.  And I don’t know if it will ever be.  It has its moments but they are fleeting.  Perhaps it is in part the fault of director Melanie Moyer Williams who doesn’t fulfill her duties of clarification and coaxing powerful and moving performances from her actors very well. 

It’s confusing going back and forth between time frames and having a narrator (Ludmilla, Lesley McBurney) – who speaks to the audience like a Rosie O’Donnell stand up comic – with a terribly thick German accent start by telling us a “Once Upon a Time” story with a “Happily Ever After” motif, and then weaving herself in and out of the stories and lives of the four Gentile women who have to choose whether or not to fall under the power of the Third Reich.  The threat, the rise to power, the war and the aftermath is a lot of territory to cover.  Too much so.

There is Gretchen (an excellent Theo Allyn) poor and ambitious who in order to rise above her meager surroundings unwillingly joins forces with the Fuhrer.  She gives probably the most nuanced performance of the evening.  Angelika (Hana Kalinski) is a nurse and does her best to fight against the Regime as does Friederike (Michelle Lookadoo) whose background in musical comedy unfortunately doesn’t help her characterization.  And those accents, or should I say, lack of accents.  They are an inconsistent nuisance to listen to.  As is the strange choice of music for the production.

Andrea Sooch is required to play a quartet of Fraus – which are really one in the same person – a Head Mistress, Director of a Clinic, Administrator of Frauenwerk and a Concentration Camp guard.  She is quite believable.

Based on interviews and oral histories and inspired by actual events this episodic “All Through The Night” is produced by The Red Fern Theatre Company and will be running through October 25^th at The Marjorie S. Deane Little Theatre – 5 West 63^rd Street at Central Park West – which is a very nice little theatre.  Tickets $25.00

www.redferntheatre.org

Tags:   The Red Fern Theatre CompanyNo Comments.