Oscar E Moore

“Made in Heaven” written by Jay Bernzweig and directed by Andrew Shaifer  might have won the ‘Outstanding Production of a Play Award’ at the 2009 Midtown International Theatre Festival but it didn’t win for best play – for obvious reasons.  It is little more than amusing erectile dysfunctional theater.  Let me explain.

Lawyer Max (Kevin Thomas Collins) and Paralegal Benjie (Alex Anfanger) are conjoined twins sharing an apartment, a pair of three legged jeans, similar taste in clothing and decor and what is described as a rather large penis in present day Manhattan.

They are waiting for their joint girlfriend Jessica (Maia Madison) to arrive so that Max can propose marriage.  Benjie is not so willing to go along with this scenario.  I’ll give you one guess why.  They have been dating Jessica for three months now, both having problems for different reasons in the penis department.  Well, I guess that makes all three of them.  However, Max believes it is time to take the plunge into matrimony, securing a safe and happy future despite the complicated drawbacks.  After all, they come as a rather unique package and she is a bit overweight and has terrible self esteem problems.  So this marriage would work for all involved.  I suppose that is where the title “Made in Heaven” was born.  As in a marriage…made in heaven.

Trying to be honest they all have secrets which are supposed to add to the hilarity.  But once you get past the sight gag of the twins walking and sitting in tandem the jokes soon loose their luster wallowing from amusing to pitiful porno humor, grossness and vulgarity.  Sure to sell lots of tickets.

There is a fourth character – Gilbert (Matthew Bondy) a pay for sex hustler who drinks, does drugs, is abusive and has a body of an Adonis.  Which he readily shows off.  Which will sell even more tickets.

Maia Madison displays wonderful comic timing as the beset and beleaguered Jewish bride to be and is delightfully torn between marriage, food and the dilemma she finds herself in with Gilbert and the twins, who are extremely funny in how they deal with each other, their different mind sets and opposing sexual desires. 

Gilbert also has a few surprises up his, down his…well he doesn’t wear much but he does provide some exciting moments – if that’s your taste in comedy.  It’s amazing what audiences find funny these days.

I have either turned you off or whetted your perverted funny bones to find out what makes “Made in Heaven” tick.  At the SOHO Playhouse 15 Vandam Street.  Tickets $59.00

Twins arriving at the box office with proof attend free of charge.

www.madeinheaventhecomedy.com

Tags:   Alex Anfanger · Andrew Shaifer · Jay Bernzweig · Kevin Thomas Collins · Maia Madison · Matthew BondyNo Comments.

I went to see “Still Life” written by Alexander Dinelaris – produced by MCC Theater at the Lucille Lortel Theatre on the high recommendation of someone whose opinion I greatly admire.   We have to talk.  In any event it is closing today.  In my opinion it barely arrived and is departing still born.

The writing, at times, is excellent with great bantering back and forth dialogue between the sexes.  Other times, yawn inducing.  Basically there are three couples.  Trying to figure out who they were and what they wanted from one another was just another stumbling block to understanding and enjoying this theatrical experience.

Ace photographer Carrie Ann (Sarah Paulson who reminded me of Cynthia Nixon) has recently lost her father Theo (Dominic Chianese) who shows up in flashbacks.  She cannot bring herself to move on and cannot even take a photograph – previous shots that are part of an exhibition are of dead things.  The play is full of dead things.  And references to not being able to live.  Why bother when we are all going to die anyway?  Cheerful stuff here. 

She needs to be helped but when it arrives in the form of trend analyst Jeffrey (Frederick Weller) who has “health problems” she hesitates.  Before long they are an item.  Then there is his boss Terry – who is smarmy and rude and obnoxious – Matthew Rauch does a fantastic job in bringing him to hateful life.  Jeffrey’s friend Sean (Ian Kahn) a doctor who gives him too much information off the record and his wife (Kelly McAndrew) sum up the couples.  It’s hard to connect with them.

We have also the young protégé photographer (an excellent Hally Feiffer) who plays some other minor roles and Adriane Lenox as the woman trying to get Carrie Ann behind the lens once more.

On a cold set by David Korins which serves as the many locations of the many short scenes in this trying trying-to-get-through-life drama, directed briskly by Will Frears I could only wonder why write about these uninteresting depressing people who are not very kind to others or to themselves.  Are we enlightened?

In the program notes by the author he states that “whatever challenges this or any other generation faces, one truth prevails…no matter what, there is still life.”  I only wish his characters really believed and embraced that philosophy.  www.mcctheater.org

Tags:   MCC THEATERNo Comments.

Last Wednesday I saw two terrific shows and ate one marvelous meal.  The matinee of “Finian’s Rainbow” and the evening performance of “Brighton Beach Memoirs”.  Just scroll down to read my reviews.

In between shows I remembered a charming little French restaurant – “Pergola Des Artistes” 252 West 46^th Street and decided to go there for an early dinner.  I usually go there before a matinee as they have an excellent, extremely reasonable pre show lunch which includes a glass of wine with the main course.  It is always packed.  The portions are large, the staff extremely gracious and you are served the best warm and crunchy crispy bread this town has to offer.

If you are lucky you will encounter Marie, the long time owner (since 1963) who will either be behind the bar with her sequined baseball cap, or folding napkins or visiting each table to chat and to make sure you are having a good meal and a good time.

Her son Christian is always on tap to help and explain the many specials that they offer.  Last Wednesday my partner and I started with a Lobster Bisque and that tasty bread I’ve already mentioned.  I had the calves liver with onions and bacon – medium rare.  Excellent.  He is French and had the frog legs.  Frog legs that were delicious with just enough garlic.  One of my favorites and so I tasted.  Both served with potatoes and vegetables.

Open Tuesday – Saturday 11 am – 9 pm last seating.  The restaurant is closed Sundays and Mondays.  They are extra busy on Matinee days – due to the good food and the moderate prices.  Dinner is a bit more but worth it.  I have never been disappointed and neither will you.

Please check out their wonderful web site for full details on the Matinee Special (11.95-14.95) and Business Lunch (9.95-12.95).  Served with a glass of wine.  Also a la carte (2 course) and prix fixe (4 course) dinners.  Their new six course dinner menu and Autumn Specials and extensive wine list which includes a “monthly special”. MC VISA AX

www.pergoladesartistes.com 212 302 7500   212 840 8935

photos: www.danielkrieger.com

Tags: Comments Off on Pergola Des Artistes – French Restaurant on 46th Street

Eugene Morris Jerome (exciting newcomer Noah Robbins) certainly has a difficult time of it growing up in a crowded two story home in “Brighton Beach Memoirs” the 1983 Neil Simon comedy that has just opened triumphantly at the Nederlander Theatre with director David Cromer and his exceptional cast getting to the heart of things.  Where laughs come alongside pain and sorrow and honest feelings abound and where the sound of the surf co-mingles with the elevated trains passing by every so often.

Growing up with those dirty Irish Murphys living across the street and another World War right around the corner and that new thing called “puberty” – What’s a guy to do?  A guy of fifteen who wants to be a baseball star and if that shouldn’t happen (bite your tongue) he can always make good use of his sharpened pencils and wit in recording the antics (with expert Palmer Method penmanship) of his extended family.  We should all give thanks that he has such interesting relatives.

There is his neat-nik mother Kate (an incredibly contained with frustration Laurie Metcalf) plumping up the pillows, showing her love and desperation and dispensing guilt more freely than oatmeal cookies.  There is her myopic widowed sister Blanche (Jessica Hecht) with her “condition” and her two daughters – Nora (Alexandra Socha) who wants to quit school to become a Broadway actress and Laurie (Gracie Bea Lawrence) who is pampered because of her asthma. 

Eugene is strangely attracted to Nora and it is up to his older brother Stanley (an excellent Santino Fontana) to instruct and explain about the opposite sex while trying to deal with the fact that he’s lost his job over his “principles”.  His dad, Jack (Dennis Boutsikaris) is trying to hold it all together.  Trying to find enough money to make ends meet.  And trying not to collapse under the pressure.

It’s as though we have been invited into the Jerome’s home to eavesdrop.  It helps immensely that Eugene is so eager and innocent and disarming as he speaks to us directly while running errands for his mom or practicing with his baseball mitt or asking his brother about masturbation.  They share a wonderful bond and it’s touching and funny and awesome.  

Much of the success is due to David Cromer’s innate sense and talent at being able to communicate to his actors so that they make full fledged people out of these characters. Handling the reality of the moment to moments of their lives so that the comedy is inherent – not just a string of one liners.  Of course without Neil Simon there would be nothing.  It is a fantastic production which will undoubtedly make a star out of Mr. Simon’s alter ego Noah Robbins. 

“Broadway Bound” its companion piece that takes place in the late 40’s will be opening December 10^th.  Starting on November 18^th.  They will be performed in repertory on a varied schedule with the part of Eugene being taken over by an older Josh Grisetti on the same marvelously detailed set of John Lee Beatty, home to the Jeromes.  I can’t wait.

www.TheNeilSimonPlays.com  IT HAS JUST BEEN ANNOUNCED THAT THIS REVIVAL WILL CLOSE ON SUNDAY

Tags:   Alexandra Socha · David Cromer · Dennis Boutsikaris · Gracie Bea Lawrence · Jessica Hecht · Laurie Metcalf · Neil Simon · Noah Robbins · Santino FontanaNo Comments.

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