Oscar E Moore

“MARILYN MAYE PRESENTS MORE MERCER” PREMIERES TUESDAY OCTOBER 6 AT THE METROPOLITAN ROOM

Marilyn Maye doesn’t want the celebration of Johnny Mercer’s centenary to end.  That’s why she’s following up her mega-hit Mercer show from June with more Mercer, including songs she didn’t perform in June.  “Marilyn Maye presents More Mercer” opens at the Metropolitan Room, 34 West 22^nd Street, on Tuesday October 6 at 7pm.  The exclusive 11-show engagement (Maye’s ninth since her Metropolitan Room debut there in late 2006) runs through October 17.

“Marilyn Maye Presents More Mercer” features Tedd Firth on piano, Jim Eklof (her drummer for more than 40 years) and Tom Hubbard on bass.

Performances are Tuesday October 6 @207pm; Wednesday, Thursday, Friday October 7, 8, 9 @ 9:45pm; Saturday October 10 @ 7:30pm; Sunday, Monday, Tuesday October 11, 12, 13 @ 7pm; Wednesday October 14 at 7:30pm; Friday, Saturday October 16, 17 @ 9:45pm.  Maye’s music charge is $30. For reservations call 212/206-0440 or visit www.metropolitanroom.com.

And here is my original review of her last performance at the Metropolitan Room –

“Mercer the Maye Way” has just opened for a nine performance run at New York’s Metropolitan Room through June 21^st at 7pm.  Here is the number to call for tickets, if they are not already sold out – as well they should be – 212 206 0440 or visit www.metropolitanroom.com.   But be quick if you want to see one of the most exciting cabaret shows by one of the foremost entertainers in the business – the incredibly classy, glamorous and glorious Marilyn Maye – a woman who has been around the block a couple of times but still has the power to enthrall an audience with her sultry delivery and humor – electrifying the room with her charm and vocal prowess – bringing on thunderous applause one minute and complete silence the next.  Marilyn Maye should be designated a national treasure.

She has recently won her first MAC Award – Celebrity of the Year, so that’s a good start to National Treasure status.  Marilyn Maye has a way with a lyric that is legendary and so it is not surprising that this new show is a tribute to one of the greatest lyricists ever – Johnny Mercer – a good friend and fellow martini drinker.  The sheer number (thirty five in all) of incredible, memorable and beautiful hit songs that he wrote and that she sings with such joy and reverence is enough for you to want to get on bended knee and praise them both.

She is supported by a three terrific musicians.  Tedd Firth on piano, Jim Eklof (her drummer for more than 40 years) and Tom Hubbard on bass.  A better combo you will not find anywhere.

Standing beside the piano, looking fabulous, not a glass of water in sight and discarding her on stage stool Marilyn Maye sang her heart and soul out for almost two hours.  It was an amazing performance.  By an amazing woman.  Adorable.  Lovable.  It was her “let’s just have a party” mood that captured us all from the start.  It was especially interesting watching Anne Hampton Calloway watching Marilyn Maye and being mesmerized.  As we all were.

“I’m Old Fashioned” “Out of This World” “Charade” a beautifully controlled “Skylark” a revengeful “I Wanna Be Around”  “Come Rain or Come Shine” “Moon River” the very amusing “Pardon My Southern Accent” and “Arthur Murray Taught Me Dancing In a Hurry” (that she sang in Topeka Kansas when she was 12) and the knockout “Blues in the Night” and my all time favorite “Anyplace I Hang My Hat is home” are just a few of the songs that make up “Mercer the Maye Way”.

There is only one word to describe Marilyn Maye.  Perfection.

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Where else but at the legendary La Mama Experimental Theatre Club celebrating its 48^th season can you see a production of two short stories by Chekhov – The Doctor and A Joke adapted into a chamber opera and musical respectively by a Korean, Byungkoo Ahn, which are gorgeously sung in English and Korean – some translations provided – beautifully and simply designed by Jose Ho (stark and crisp) and stylishly acted by actors from Taiwan and Korea.

Experiments are good.  Both for the writers and performers and for those of us anxious to see new material written for the musical stage.

In The Doctor, music by Martin Herman – libretto by T.F. Curley we have a young boy (Sook In Em) bedridden, under the care of a doctor (Young Jun Chai) who has had some kind of relationship with Olga, the mother (In Suk Kim).  Is the child his?  Will the child die of the brain tumor?  Will truth prevail?  It’s a fascinating piece.  Pensive and haunting.  Not always easy to listen to.  It is a complicated score to sing and little melody for the listener to grasp onto.  But always interesting.  Sometimes very hard to understand the words especially when all three are singing simultaneously – although there are certain phrases that are repeated so that I got the gist of the story.

After the performance I requested a copy of the libretto which director, Byungkoo Ahn quickly supplied.  Within seconds there were three for me to read.  I have to say that I missed very little but it was a difficult journey. 

A more pleasurable journey was the second piece – A Joke.  Music by Young Hoon Lee (regarded as the father of the popular Korean love song) with additional material by Hee Sun Hailey Chang. 

The story of a young man (Steven Sun) remembering his first love Nadenka (Mi Sun Choi) when they went tobogganing down a hill and while the wind rushed by and she screamed in fear he tells her “I love you, Nadenka.”  It’s a beautiful, lyrical and poignant piece.  Much more accessible.  With translations of the three lovely songs provided in the program.  Did she hear him whisper those beautiful words in her ear or was it only the wind?

The silhouetted forest as she sings Memories Are Sadder than Love is a piece of art.  As are the songs.  Accompanied on piano (Hee Sun Hailey Chang) and cello (Jeremy Lamb).  Very fine musicians.  Very fine production. 

Through October 4^th.  Tickets $25.00  Approximately one hour long.

www.lamama.org

Tags:   Anton Chekhov · Byungkoo Ahn · La Mama · Martin Herman · Young Hoon Lee1 Comment

On a terrific, off kilter black and white set (Christopher Barreca) looking like a modern day stateroom on the Titanic as it is sinking, representing the living room of the equally off kilter Feingold family with a storm raging outside, a huge lightning thunderbolt starts off this very intriguing and satisfying film noirish tale of murder and revenge, where “family is everything” and gallows humor is ripe.

I thought that with this huge hurricane raging in New Jersey, if someone walks through that door dry I will be a very unhappy critic.  Fortunately the prodigal son arrives from Los Angeles somewhat wet with very little luggage besides his BlackBerry.

After six years, on the anniversary of his dad’s death, Martin Feingold (Joseph Urla) returns to the nest after becoming a famous writer of a novel where his father’s death seemed like murder.  In fact, his father (Dr. William Feingold -Jay Patterson) roams around the listing to starboard side living room silently entering, exiting and filling his glass up with scotch.  We soon meet his confrontational sister (Jessica – Sharon Maguire) and overpowering, sarcastic and mean-spirited mother with a heart condition (Elizabeth – Concetta Tomei) for a family reunion of sorts to tie up some unfinished business.

The unfinished business is a delight to see unfold.  Playwright Tony Glazer has written a clever, taut two act modern day Greek tragedy with a bit of Agatha Christie thrown in for good measure.  In The Daylight is full of shadows and surprises.  What actually did happen that night six years ago?

Martin soon discovers he has lost his BlackBerry in transit.  There is a knock on the door and Charlotte Fontaine (Ashley Austin Morris) enters, also somewhat wet.  She had been on the same flight as Martin and is one of his biggest fans and talks with a southern accent that you could cut salami with and knows more about him than does his family and has brought him back his precious BlackBerry.  It is what else she brings and how all these characters relate to each other and how Mr. Glazer manipulates the proceedings that make for a very rewarding theatrical experience.

Under the bold direction of John Gould Rubin the actors flourish.  They are on the edge of satire and melodrama but never fall into the abyss.  They are all perfectly cast.  I don’t want to spoil anything for you by giving away anything else.  In The Daylight is a rare find.  Exciting, suspenseful and grotesquely funny. Highly recommended.

At the McGinn Cazale Theatre – 2162 Broadway, 4^th floor between 76^th & 77^th Street.  Tickets $35.00  www.vitaltheatre.org

Tags:   Ashley Austin Morris · Christopher Barreca · Concetta Tomei · Jay Patterson · John Gould Rubin · Joseph Urla · Sharon Maguire · Tony Glazer · Vital TheatreComments Off on In The Daylight by Tony Glazer – Theater Noir

What an unexpected, fantastic, exciting, spectacular, inspirational evening of invigorating hip hop dancing and unique story telling presented by the fourteen member Groovaloos at The Joyce Theater where the ushers wear shirts imprinted with “Get Close to Dance” and where you can still catch this incredible show through September 27^th.  In a word.  Go.

You can’t get closer to dance than in the intimate Joyce Theater where you can witness the sheer brilliance of the originality of the choreography that does with Hip Hop what Michael Bennett did with A Chorus Line.  This troupe is a family.  A family of dancers dedicated to their art.  Dedicated to dance.  To freedom.  To finding their voice thorough dance.  “Life is a dance – so dance beautifully” speaks the narrator with some very beautiful and at times moving poetry by Charlie Schmidt as the dancers prove his point faultlessly.

You will be amazed at the physical dexterity of these dancers who come from very diverse backgrounds.  As diverse as the audience was.  An audience that was encouraged from the beginning to “make some noise – laugh, cry or scream” – An audience that was all too willing to do just that.

In a series of dance stories, based on the lives of the members of the Groovaloos we get to know the various reasons that brought all these people together – how they overcame obstacles, how they gave up careers, how they tried to fit in and how they try to inspire.

Conceived and created by Bradley Rapier and Danny Cistone who also directs with a precise and unique style – the dancers are simply amazing.  Aided by the most wonderful lighting design since Passing Strange by Charlie Morrison and the multi tiered set by consultant Laura Fine Hawkes – which uses every bit of space to great effect – you will marvel at what your eyes will sometimes not believe they are seeing.

One of the dancers, Steven “BoogieMan” Stanton, in the course of the development of the show, was shot.  Told he might never walk again let alone dance he was devastated.  But there he is on stage, with a cane, dancing.  One of the most moving stories recounts how he went from being shot to standing to walker to cane to performing again.  If that is not inspirational than I don’t know what is.  He is wonderful.

Other special segments include a ride on a subway and in an elevator and at a lunch break with orange boxes that is just super.  With humor and pathos these dancers are simply brilliant.  I applaud them all for following their dream and being real and honest and making us all want to get up on that stage and “free style”. 

www.groovaloo.com

Tags:   Bradley Rapier · Charlie Schmidt · Danny Cistone · Groovaloo · Steven StantonNo Comments.

It’s an extremely unhappy place over at the Lion Theatre on Theatre Row where Fathers & Sons, a new play written by Richard Hoehler who also costars with Edwin Matos, Jr. has just opened in a limited engagement through October 4th.   These men are not happy.   And thusly neither are we.

We meet Edwin (Mr. Matos) and Richard (Mr. Hoehler) rehearsing Fathers & Sons – the play within this play, written by Richard – which just so happens to mirror their own lives, up to a point. They are preparing for the opening – which is two days away.  A VIP from the Public Theatre has promised to attend.  The play which has its title lifted from the novel by Turgenev is a series of scenes between fathers and sons or variations of pairs of men who have intense issues with each other.  These scenes make individual sense but could never add up to a satisfying play and the VIP will surely be as disappointed with it as I was.

Richard is the older father figure.  Edwin is the protégé who is always late, always has a lame excuse, forgets his lines and more or less drives Richard nuts with his goings on.  He also is a Latino Hottie and it isn’t long before we see him shirtless.  Why does he put up with Edwin?  Is he getting too close to Edwin?  Is this really about gay/straight relationships?  There is a constant friction between the two as they rehearse the scenes wherein they portray a variety of roles: stepson/stepfather – gay mentor/protégé – uncle/mentally deficient nephew – alcoholic father/son and Latino dad/son. 

Issues of abuse, abandonment, responsibility and control are faced head on – in English and Spanish.  Back and forth between the play and the play within the play.  Both actors do a remarkable job of making each character an individual but the writing is very predictable and we really do not get the time to be involved with any of them.  Just as we are about to, the lights change and the music is cued and we are somewhere else again.

Thankfully the excellent music by Scott O’Brien and the lighting design by Michael Abrams help clarify the transitions.  But director Chris Dolman does little to bring about anything remotely interesting up on the stage.  Perhaps it’s the structure that doesn’t allow for us to get involved.  Perhaps it’s just all those unhappy people.

Richard is a frustrated playwright never having made it big.  This is his big chance and Edwin just might ruin it and he’ll have to go back teaching and coaching and writing not so great plays.  Fathers & Sons seems like a therapeutic memoir on the part of Mr. Hoehler to help explain his own life.  I hope he’s happier than the characters he has written about.

Tickets are $25.00.  Approximately 90 minutes.  No intermission.

Tags:   Edwin Matos Jr. · Richard HoehlerNo Comments.

The good news is that Devil Boys from Beyond is one of the funniest shows I’ve seen in a long time.  It’s a clever take off of all those 1950 space-ship-alien-creatures-come-to Earth movies cross pollinated with the 1940’s screwball comedy His Girl Friday. 

The even better news is that it has been chosen to be in the FringeNYC Encores Series beginning September 10^th, and so you can actually get to see this wonderful four star comedy with four, four star male actors playing the four, four star femme fatale roles.  What would the Fringe Festival be without some drag queens in attendance?

Devil Boys From Beyond, tartly written by Buddy Thomas is a far fetched fantastic voyage that director Kenneth Elliott guides beautifully from take off to bumpy landing. 

Congratulations are due all around.  Especially to the planet Pluto for sending two of the handsomest, hunkiest Plutonians (Jeff Riberdy & Jacques Mitchell) to invade Earth, taking the wind out of Florence Wexler (Everett Quinton) when their space ship lands atop her husband’s tool shed in Lizard Lick, Florida. 

Back in New York at the Daily Bugle rumors are rife and top notch Pulitzer Prize winning reporter Mattie Van Buren (Paul Pecorino) is sent by her editor (Peter Cormican) to cover the story.  Complications arise with her souse of a handsome photographer husband (Robert Berliner) who she has caught in bed with her arch rival Lucinda Marsh (Chris Dell’Armo) who is hot for him and hot on the heels of Mattie to scoop the story right out from under her pumps. 

Upon their arrival they meet up with Dotty Primrose (Andy Halliday) owner of the place where they are staying and all hell breaks loose with the alien creatures, the two rival reporters, looks that could kill, unexpected and hilarious situations and dialogue that will have you splitting your sides with laughter.  I know that’s a cliché but it is true in this case.

As Mattie Van Buren, Paul Pecorino has the walk, the gestures, the looks of Joan Crawford, crossed with Roz Russell crossed with Bette Davis down pat.  He is fabulous.  Even when he went up in his lines at the final performance Sunday – in character he took a swig from a flask and then got the lines right to great applause.  When the space ship took off at the end at blew the circuits he continued on in darkness while one of the two dexterous stage hands came out with a flashlight to illuminate.  That’s what is so great about live theatre.  And having expert actors in a very, very funny comedy isn’t so bad either.

Everett Quinton who learned his craft under the tutelage of the remarkable Charles Ludlam is in top form in his lavender teddy making out like a bandit with his naughty Mae West take off.  Delicious.  As Lucinda, Chris Dell’Armo is very Eve Arden with great comic delivery.  Andy Halliday does Dotty proud also.  As the drunken, adorable husband of Mattie – Robert Berliner has his Cary Grant hat on and it fits perfectly.  Deadpan hilarity ensues.  And Peter Cormican as Gilbert is perfect in his role of the guy trying to save his newspaper from going under – trying to get enemies to cooperate.  You can only imagine!

Great costumes from Gail Baldoni and terrific wig design by Gerard Kelly.  Mattie sings an original song “Sensitive Girl” music and lyrics by Drew Fornarola that is just one of the highlights of the show filled from beginning to end with untold and unlimited surprises.

Devil Boys From Beyond is produced by Madcap Productions.  That sums it up to a tee.

www.madcapshows.com   www.devilboysfrombeyond.com

Tags:   Andy Halliday · Buddy Thomas · Chris Dell'Armo · Everett Quinton · Jacques Mitchell · Jeff Riberdy · Kenneth Elliott · Paul Pecorino · Peter Cormican · Robert BerlinerNo Comments.

It might be very interesting to read How We Are Hungry by Dave Eggers.  That is the source material for this very strange, mixed breed of a fifty five minute show called Be the Dog.  Adapted by Emily Kaye Liberis and written as s senior thesis project at Boston University that is exactly how this show comes across: somewhat intellectual, somewhat pretentious, somewhat interesting – using mime, movement, and music with a cast of four who are called upon to represent the free wheeling, frisky, lovable, happy, running and jumping dog who comments on the lives of the humans they also portray and the nasty squirrels that they have to put up with.  Squirrels come off best.

The cast is excellent.  They give their all in suggesting that a dog’s life is just one race and leap after another and that they love it.  As their human counterparts we have a guy in a wheel chair (David Rosenblatt) who has attempted suicide, yet again, discussing his problems and life with his visiting cousin (Jared Craig) who has met a woman (Jessica Grant) who tried to pick him up along the way.  We have a couple on vacation in Costa Rica.  He’s a corporate worker there (Craig).  They have been friends for a long time and now she (Rebecca Newman) wants to sleep with him.  And another couple (Rosenblatt & Grant) deciding whether or not to have sex, frolicking on the floor of the terrific set by Kenneth Grady Barker.

All these very serious adult situations sandwiched between the happy dog vs. the annoying squirrels.  Very nicely accomplished by director Jason McDowell-Green with a minimum of props.  Very Story Theatre.  Aided expertly by his accomplished, supple cast.

Death, suicide, sex, dogs and squirrels – a very mixed breed indeed.

www.FastFastDog.com

Tags:   David RosenblattNo Comments.

Supposedly, His Greatness written by Daniel Macivor – about an aging, southern, genteel playwright that likes angelic young men, booze and drugs not necessarily in that particular order; who is having a hard time of it writing anything new or revisiting his older works for a new audience is not about Tennessee Williams.  Could have fooled me.

In this intriguing and well scripted three character play which is one of the better productions at Fringe Festival 2009, images of Mr. Williams grace the cover of the program with this inscription “inspired by a potentially true story about playwright Tennessee Williams”.  It really doesn’t matter.  It’s a work that can stand on its own as an in depth character study of three gay men thrust together by circumstances of their own making.  It makes for a very interesting two act entertainment.

Yes, it is entertaining despite the overall sadness and bitterness inherent in their lives. It could be subtitled, Hangover in Vancouver.  The Playwright (Peter Goldfarb) is there with his assistant of fifteen years, former muse and lover (Dan Domingues) for the opening night of his new opus that failed miserably in London. The assistant knows his boss all too well and has hired a young looking hustler (Michael Busillo) to escort his boss to the play and to play with his boss afterwards in the hotel room where the action is set.

The playwright is very high maintenance and their back and forth barbs remind one of Auntie Mame and Vera Charles – surface bitchiness covering true affection just below.  The playwright speaks floridly, almost like a poet.  His assistant zings into the truth and truly wants to help until the dumb young hustler appears to be taking over his role in the playwright’s real life drama.  Who is manipulating whom?  Which one is “His Greatness’?  Who is really in charge?  How will it all play out?

It’s very nicely directed by Tom Gualtieri who manages the mood swings beautifully and smoothly.  Peter Goldfarb is all ego and denial, treating his assistant like a lackey one moment and then tender with him the next.  It’s a very well defined performance sprinkled with humor and pathos.  You sense his magnetism and fear at the loss of his gifts as a writer.  As his assistant, Dan Domingues is all a flutter with his sarcastic albeit truthful observations and at odds with his desire to leave or to stay.  His comic timing is excellent in dealing with his boss and the new boy toy that he has brought into their lives.  Michael Busillo the third member of this bizarre ménage a trois is like a feral cat on the run – looking for any opportunity and once found pounces on it with his sexual prowess.  He’s just interested in going to Hollywood and meeting Warren Beatty or starring in a porn film or having that play written for him that is promised by the older gentleman before it’s too late.

Playwright, Daniel Macivor makes a point about critics here.  After the two bad reviews come out, The Young Man doesn’t understand some words but wants to fight back, declaring war on all those who judge.  I try not to judge but to enlighten.  Write about what I’ve seen and have the reader decide if they want to go or not.  In this case I’ll give a little nudge and suggest you see this one at The Cherry Lane Theatre.

www.HisGreatnessPlay.com

Tags:   Dan Domingues · Daniel Macivor · Michael Busillo · Peter Goldfarb · Tom GualtieriComments Off on His Greatness – Fringe Festival

Dear Ren Casey:

Note:  Ren Casey is the creator of this monster – book, lyrics and music of Graveyard Shift – a new zombie-musical-action-comedy which is part of the Fringe Festival.  There is some action and lots of zombies.  First error:  too big a cast.  Second error: the music is a hodge-podge of styles without being stylish.  Sometimes sounding like a faux Sondheim tune that he might have written at the age of ten; sometimes sounding like the theme from Love Boat and that haunting, haunting tune, ValueVille, that sounded very much like Xanadu.  At least everyone gets to sing his or her anthem to living life and having a dream.  You also direct.  Third error.  Always a problem for me when one person thinks he can do it all.

If you are going to attempt to write a show that is a combination of the brilliant The Toxic Avenger meets the wonderful Walmartopia then you had better write a show that is better.  Much better.  Unfortunately you haven’t even come close.  The music, as mentioned, is derivative and the comedy lame.  Dialogue – cliché ridden.  And the plot!

You start off fine with a well made video of The President of the United States warning all that a new virus is spreading from bodily fluids and that once infected you become a bloodthirsty, killer Zombie and that the only way for said Zombies to be killed the second time around is to destroy their brains.  You almost succeeded with mine.  I wished that I had that X buzzer from America’s Got Talent to stop the action.

There is some good material here but it wanders off into a satire of the Wal-Mart (ValueVille) type of store where everyone is taught to smile and where they are working for minimum wage and where everyone has a thwarted dream which they eventually get to sing about and where they are unaware of said virus.  Until Granny make her entrance. I won’t go on.  It was really difficult to get through this show – in two acts.

I will save the large, hard working cast from being further embarrassed by not mentioning their names.  They do try their best but it is difficult with the material they are given.  Late in the overlong second act there is a dance of the Zombies – pretty nifty by Sydney Skybetter but totally uncalled for.

Hopefully, Ren Casey, you will take a good hard look at what you have wrought and attempt to improve upon it which is what this Festival is all about.  Best of luck.

www.graveyardshift.info

Tags:   Ren Casey · Sydney SkybetterNo Comments.

Zippy, zestful, really lots of fun and performed with zeal.  How Now, Dow Jones which first opened on Broadway in 1967 has always been a show remembered for its clever lyrics by Carolyn Leigh and its sprightly score by Elmer Bernstein (most famous song being “Step to the Rear”) and its lackluster book by Max Shulman.

It was always a silly story to begin with and in this truncated, scaled down version – revised and directed by Ben West we get some new songs not in the original and the same silly story – which I have to admit has some great satirical moments aimed at Wall Street, some very funny lines, those great lyrics and some charming performances that are sung, praise be, without amplification.  Real live voices seem almost unreal but most welcome.  I say unreal as we have become so accustomed to hearing the amplified versions that our ears have to adjust to normal levels once again.  Terrific.

Not so terrific is the story.  Kate (a most delightful and pert Cristen Paige) has been waiting three and a half years for Herbert (a preoccupied Elon Rutberg) to marry her.  He will when the Dow reaches 1000.  Charley (Colin Hanlon who has wonderful comic timing), a down on his luck and an aw sucks kind of suicidal guy has come to seek his fortune on Wall Street but fails at everything he attempts.  Kate and Charley meet and quicker then they can get out of their clothes they spend the night together – they have much in common and she becomes pregnant.  Her best friend Cynthia (a miscast Cori Silberman) is after the top CEO Mr. Wingate (a no nonsense Fred Berman who has a mini show stopping moment – they met in a broom closet at the Christmas party) and he sets her up as his mistress only he’s too busy to spend any time with her.  Wingate discovers Charley attempting to jump off the ledge outside his office and quicker than he can be rescued he is hired by Wingate for his aw shucks demeanor to sell stocks to rich old widows who in this production are nowhere to be seen.

Dow (Shane Bland) and Jones (Dennis O’Bannion) carry out some clever choreography by Rommy Sandhu that at times is as silly as the plot and seems a bit much for the short show.  More work on the book would have been appreciated.  Ben West has some amusing directorial bits that are fun but why have Cynthia speak most of her lines upstage?  Jim Middleton as Dr. Gilman and A.K. has just the right tone and attitude for this inconsistent cartoon of a musical.

There are so many loose ends here because of the cuts but the actors are so charming and eager to please and sing their songs with great élan that the seventy five or so minutes fly by and we are left with simply having a fun time.  Nothing wrong with that.  But much more work must be done if they want How Now to have another after life.

NOTE:   I appeared as Charley in 1968 at the Canal Fulton Arena.  Summer Stock.  I was resident juvenile.  Mr. Wingate was Edward Everett Horton.  Mr. Wingate was much older than Fred Berman – which changes things considerably. It was nice to remember those times and I even remembered some of the scenes and lines after all these years.  It’s nice to know that we’re both still around and kicking.

www.HowNowDowJones.com  www.FringeNYC.com

Tags:   Ben West · Carolyn Leigh · Fred BermanNo Comments.