Oscar E Moore

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

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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

I’m in a spin and loving that spin I’m in and it’s all because of Marilyn Maye who has recently reappeared at the Metropolitan Room with her new show – “Reprise:  Mercer, The Maye Way” – an extension of her previous tribute to Johnny Mercer, his words and his music. 

After all, he wrote over 1500 songs with inspired lyrics, clever inner rhymes, great stories done in an easy style and Marilyn Maye is the consummate artist to sing them all.  And according to her, she would.  She almost did.  I could listen to her for hours on end.  What a total pleasure she is.

There are only two performances left October 16^th and 17^th at 9:45 at the Metropolitan Room 34 West 22^nd Street  212 206 0440 – www.metropolitanroom.com .  Please reserve as soon as possible to see this incredibly gifted performer.  In fact, stop reading – reserve but please return to finish reading my glowing review. 

Singing to a packed house of fans who obviously adore Marilyn Maye (with every good reason) and a friend I brought along who had never heard her sing before – she sang over thirty five songs – some combined in medleys by subjects (AT THE BAR, LOVE STORIES, REVENGE and LIGHTHEARTEDNESS among others) with wonderful arrangements, accompanied by her extraordinary pianist/conductor Tedd Firth with Tom Hubbard on bass and Jim Eklof on drums.  Marilyn Maye is always center stage but she is extremely generous in making sure that her trio shares her spotlight. 

She likes flowers and candy.  As an afterthought she included jewelry.  If you are so inclined to bestow a gift on her after her subtle, glorious, glamorous, sublime, adorable and heavenly renditions of Johnny Mercer’s songbook selections please do so or purchase one of her many CD’s available post show or on her website (www.MarilynMaye.com.)  

Showing both strength and tenderness, Marilyn Maye can flirt, be quite amusing in a droll way and has a way of caressing and acting the lyric that makes the audience swoon and cheer her great technique.  Plus she looks terrific – chic and magnifique!

Marilyn Maye hosts a great party every time she sings with her passionate, burning desire to please.  I wanna be around every time she performs.

So, dearly beloved, come rain or come shine, when autumn leaves turn to gold or when October goes, even if you have to take the Atchison, Topeka or the Santa Fe to get there see Marilyn Maye who is just too marvelous for words and clearly out of this world.  Forget your blues in the night, remember when the world was young and have one more for the road at the Metropolitan room.  You’ll have a great time.  My friend did.  He was overwhelmed by her talent.  You will be too.

Tags:   Jim Eklof · Marilyn Maye · Tedd Firth · Tom HubbardNo Comments.

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.