Oscar E Moore

Politics is war.  And in this fascinating slice of history dealing with the running for President of the United States by a woman – the very first woman, Victoria Woodhull (Antoinette Lavecchia) with none other than Frederick Douglass (Mel Johnson Jr.), well known abolitionist, woman’s suffragist and orator as her running mate for Vice President we see the backroom machinations of what it was like for them in 1872.  It wasn’t easy.  It wasn’t nice.  It was politics as usual.

She was a woman who could not vote.  He was the son of slaves.  It didn’t help that he was pro Grant (Mel Johnson Jr.) whom he helped get elected.  It didn’t help that she was wealthy in her own right and fought for free love, held séances and was accused, along with her sister Tennessee (Kate MacCluggage), of being a prostitute.  It didn’t help that Douglass’ wife Anna (Brenda Pressley) feared for her life and the lives of their children and grandchildren and tried her best to talk him out of being embroiled in the political morass they found themselves in.  Yes, this is a fascinating subject matter for a play.

Jonathan L. Davidson has done a fine job in telling this story that everyone should be made aware of.  Regional Theaters take note!  It resonates right down to today’s political climate – where we have Obama in the White House and very nearly had Hillary Clinton moving back in as the first female President.  We see the many conflicts, compromises and negotiations that go on in the background – for these political pawns to be able to run for office and what they truly feel.  The characterizations are well rounded and extremely well acted.  Especially that of Anna, Douglass’ wife.  Brenda Pressley is impassioned, honest and raw in her portrayal – and even finds some humor in her performance.

An amazing look alike for Susan B. Anthony (Liza Vann) finds herself at odds with Victoria Woodhull and with the aid of Victoria’s husband, Col. James Blood (Ariel Shafir) is instrumental in causing a major scandal.

Framing the story we have Stevens V (Devin Haqq) – a television host who in a very glib manner warms the audience up to the serious business to follow – welcoming us to the black experience.  I liked this device.  It grabbed your attention immediately with the help of wonderful video projections before jumping into the intriguing history lesson that follows – where he becomes the original Damon Stevens, reporter for The New York Herald (1872) who wrote many articles following the outcome of this odd political couple.  It also closes the show with an unexpected laugh or two.

Director Charles Randolph-Wright keeps the tale briskly moving along from Rochester to Murray Hill to Washington D.C. and eventually to Italy, years after the incident occurred where Victoria and Frederick finally meet face to face.  Yes, they never met during the hectic campaign and Douglass wasn’t even aware at first that he had been nominated by Ms. Woodhull.  As mentioned, it’s fascinating – and entertaining.  At the New School for Drama Theater 151 Bank Street.   www.mosonproductions.org

Tags:   Brenda PressleyNo Comments.

Afterlight, the new play by Monica Flory, might as well have been titled Afterlife.  It’s a vague, mysterious meandering into the lives of seven townsfolk somewhere in the Northeast set at twilight dealing with the aftermath of the death by accident of a Mr. Paterson in a school bus.  Twilight would have been a better title but that brings forth visions of vampires now and so we have to settle with Afterlight and albino Monarch butterflies.  Settle indeed.

The lighting designer (Bobby Bradley) took the title literally and for most of the play the stage is dim to dark to barely visible except for the large inner lit funnel of light which is as odd as the intrusive and unintentionally giggle producing music (Kimberly Fuhr) that underscores this underdeveloped and murky piece.   

I think that Ms. Flory would have us take note that in any moment of our lives tragedy can strike and that we should live for the moment, love one another and be ready when the hammer of death strikes a beloved one down.

We have an old married couple who do not seem to have gotten along well for most of their marriage – Michael (Angus Hepburn) hears things under the floorboards and Louise (Kim Carlson) is simply bored and angry.  The reason for their discord is brought forth late in this one act play of 80 minutes. 

There is a pregnant Ann (Kimberly Prentice) , who has a blue collar boyfriend Hess (Frank Mihelich) who refuses to adopt her other child Shane (Tyler Merna) from a previous marriage who has witnessed the accident, sees the aforementioned albino Monarch butterflies everywhere and adamantly wants to attend the funeral – while his mom is beset with pregnancy problems.  The teens Pru (Allyson Morgan) and Hunter (Davi Santos) meet secretly in a cemetery where they come upon a wolf – Could it be Pru’s deceased dad or Mr. Peterson?

With names like these it could it be a morality play of sorts?  There is much confusing symbolism to the otherwise simple story which just gets in the way of everything.

The acting is uniformly good.  But to no avail.  The script leaves us wondering mostly about the life span of the butterfly and what that funnel of light is all about.  Director, Misti B. Eills does little to clarify.  Cherry Lane Theatre.

Presented by Threads Theater Company.  www.threadstheatercompany.org

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As the Estelle Getty character, Sophia, from “The Golden Girls” would say – “Picture this” – Oscar Wilde has an idea to turn Sex and the City homosexual – giving those girls a good run for their money; Paul Rudnick is in hiding, worried that a new gay friendly playwright has something new and funnier to say and the creators of Friends are eating their hearts out for not re-thinking Friends as a gay for all comedy. 

Jason Mitchell has beaten them all to the punch in his fast paced, fiercely funny comedy The Boys Upstairs – now at The SoHo Playhouse.  When word of this extremely funny and well acted five character comedy gets out – and I’m doing my best to do just that – The Boys Upstairs will certainly have legs – and torsos and hairy chests and abs and enough witty one liners and caustic zingers to be remembered and quoted for quite some time.

This is not The Boys in the Band.  This is your new, out in the open for all to see and listen to gay guys living and trying to find sex and love and happiness in Hell’s Kitchen in the living room of Josh (Nic Cory) the Jewish would be writer and his ex-college lover and now roommate Seth (Joel T. Bauer) a teacher who is involved with an older – gasp! 30ish Matt (David A. Rudd).  Flamboyant fashionista Ashley (Kristen-Alexzander Griffith) has just arrived from Paris – making a star entrance – when the ever so attractive boy downstairs, Eric (Josh Segarra) – who has recently moved in and is straight they all assume, knocks on their door to borrow a tool which really gets the ball rolling.

In a series of quick scenes which have sit-com titles, we get to know these guys right down to their designer undies.  Josh acts as narrator asking the many questions that these scenes answer.  Or attempt to answer.  The sofa-bed  is opened and closed so may times that it resembles a pop up book with various bodies in various stages of undress and in various very funny positions.

Matthew Corozine has directed with an eye for detail and has elicited honest and wonderfully heartfelt performances from his entire cast.  In addition to playing Matt, David Rudd – who was in my favorite Fringe play last year – The Fabulous Kane Sisters in Box Office Poison –  is also asked to be all of their boyfriends, dates and tricks (he is especially on top of his game with Gabie –  a true theatre queen whose entire dialogue comes from lyrics of show tunes). 

Somehow all these one nighters look and sound alike – on purpose.  Nothing can take the place of a monogamous relationship here.  You just have to find the right one to be monogamous with.  No mean feat in this day and age.  But playwright Mitchell remains optimistic.

Ashley (Kristen-Alexander Griffith) all but steals the show with his terrific comic timing and delivery.  He is helped out by some of the cleverest costuming (Justin Couchara) on a budget you will find.  Ditto for his attractive set.

The Boys Upstairs is ultimately about friendship.  Its ups and downs and what it truly means to have a friend.  All told with great humor and warmth.  Josh has entered a writing contest with an idea that some think is terrific and that some think has a limited life and a limited audience.  Jason Mitchell should have no such worries about his fantastic new comedy, The Boys Upstairs.  With a little editing and some fine tuning it will be seen by many for quite a while.

www.TheBoysUpstairs.info

Tags:   David A. Rudd · Jason Mitchell · Joel T. Bauer · Josh Segarra · Justin Allen Pifer · Kristen-Alexzander Griffith · Matthew Corozine · Nic CoryComments Off on The Boys Upstairs – Fringe Festival

How many great nieces can so beautifully pay homage to their great aunt’s incredibly rich life? 

One of the many amazing aspects of the performance of Libby Skala is that she has rekindled the spirit of Elizabeth Polk (her great aunt Lisl) to the point of reliving her life in this bittersweet memoir of words with dance.  The use of dance is an inspired idea here.  Libby Skala has the same exuberance and élan and love for life that her great aunt Lisl obviously had.  This delicious apple didn’t fall far from the tree.

Aunt Lisl was a famous dance therapist although she preferred to be called a dance teacher.  Eunice Kennedy Shriver would have been extremely proud of her as she taught the joy of movement to emotionally, physically and mentally challenged children.  It was the love of her life and she had to surmount many problems to reach her goal – including Hitler, a couple of World Wars, a rather strange husband, bad health and a “big shot” sister Lilia Skala – an Oscar nominated (Lilies of the Field) stage and screen star.

But she had many guardian angels helping her along the way.  From the moment she was born.  And she was clever and determined.  A bright girl who could adapt at a moments notice and see the ever so small wedge of light in the doors of opportunity that she managed to squeeze through.  It is with these same traits that Libby Skala performs the life of her Aunt Lisl. 

With little more than an Austrian accent, a pink shawl, a tambourine, drum and maracas she dances through life with a knowing and mischievous twinkle in her eye and a steely determination to succeed.  Emotions flow as beautifully as her movements across the stage at 45 Bleecker Street Theatres – appropriately enough in the basement – where Lisle Polk taught her students much to the chagrin of her older and more famous sister.

Libby Skala has also written the piece from a series of taped interviews and uses the music especially produced by Elizabeth Polk.  It’s a fascinating, humorous and touching journey that you will take with them both. 

Libby Skala won “Best Solo Performer” for A Time to Dance at the London Fringe Festival.  She will undoubtedly be in the running to win the same at this Festival also.

Tickets $15.00  www.FringeNYC.org

www.LibbySkala.com    www.ATimetoDance.homestead.com

Tags:   Fringe Festival NYC · Libby Skala1 Comment

Raul Castillo & Jennifer Westfeldt

When you see a play that is extremely well written with splashes of satire and wit that makes complete sense, that has interesting, well rounded characters in conflict, that is theatrical and beautiful to look at and smart and seamlessly directed and where the set and costumes and lighting all add up to a terrific production what more could you ask for?

One such play is A Lifetime Burning now onstage at Primary Stages at 59E59 Theaters written by Cusi Cram.  It’s an exceptional production.  It’s as if for the first time in a long time the writer, director, set, costume, lighting designer and actors actually sat down and had this wonderful conference where they all decided what the play was about and how to go about making it happen.   Of course, great writing always helps.

From the attractive set (Kris Stone) – all angles and stainless steel modernity with exposed brick wall which helps director Pam MacKinnon to ingeniously have actors enter and exit moving from the present to the past in the telling of this tall tale to the smart and chic costumes (Theresa Squire) and great lighting (David Weiner) to the impeccable casting of all four actors – this is a production not to be missed.

A Lifetime Burning is like a very finely layered Vidalia onion.  Layers that are slowly peeled away exposing the truth and lives of all those involved. 

We have a bi-polar with style Emma, a loner and a loser with a dwindling trust fund (Jennifer Westfeldt) who has written a memoir of her life – off her meds.   Only it isn’t her life.  It’s made up.  She’s getting ready for a book tour and is on a liquid Vodka diet.  Her angry, getting divorced, wound up sister Tess (Christina Kirk) who is a journalist on a decor magazine is furious with her and all to ready to go on the same diet.  Throughout the play we come to understand their complicated relationship.

Emma is a volunteer, helping young Hispanics learn language.  One in particular – lazy, adorable and confused Alejandro (an excellent Raul Castillo) who she thinks shows promise – not only in his aptitude for learning antonyms but in her bedroom as well.

Her beautiful apartment has been paid for by a hefty advance from publisher Lydia Freemantle (Isabel Keating – who gives a standout, caustic portrayal of an agent out to make big bucks with a tell-all book that is a good read whether or not it’s based on fact.)  When the truth emerges all hell breaks loose.  And it is delectable to see what happens.

Christina Kirk and Jennifer Westfeldt give commanding performances as the two sisters – Trying to understand themselves, their parents and how they have reached this point in their lives.  It’s a fascinating study and explanation.  Whether screaming at each other or sharing a pint of ice cream they are trying to discover the truth – whatever that is and trying to make sense of it all.  All for our edification and enjoyment.  Rush to see this one!  Through September 5^th.  

www.primarystages.org  Photo:  James Leynse

Tags:   Christina Kirk · Cusi Cram · Isabel Keating · Jennifer Westfeldt · Primary Stages · Raul CastilloNo Comments.

Lauren Hines & Azhar Khan

In Al’s Business Cards, underwritten and underdeveloped by Josh Koenigsberg, which is making its debut at The Lion Theatre at Theatre Row under the auspices of AT PLAY in association with OLD VIC NEW VOICES, a co-production of Kevin Spacey’s The Old Vic Theatre in London and The 24 Hour Company – we have all the ingredients of a bad television sit-com.  Even the title suggests an episode of Seinfeld rather than a play which it is purported to be.  The best thing to be said about Al’s Business Cards is that it’s over before you know it.  Clocking in at approximately 70 minutes.

We have Al Gurvis (an excellent Azhar Khan) and here’s hoping that he acquires his Actors’ Equity Card sooner than his five year wait for his Green Card in said play.  He gives an all around charming performance as an “assistant gaffer” (for those of you not well acquainted with the profession a gaffer is a term for an electrical technician in the motion picture industry.)  Here Al is working on a TV show of which this could be a pilot starring John Stamos.  Al’s not so bright buddy, Barry (an amusing Bobby Moreno) is wondering why Al has gotten himself “business cards”.

As it turns out Al has received the wrong cards – those belonging to the great looking real estate agent with the name of Eileen Lee (a believable Lauren Hines and under the circumstances that’s a huge compliment) who is in the middle of divorcing her alcoholic husband Daniel (Malcolm Madera).  She herself is in recovery – which allows her to be tempted by a glass of wine when she meets up with Al to swap business cards and to try to have him buy a condo near her own.  Daniel, the drunken suspicious husband has seen Al’s card and thinks that his wife is having an affair with Al.  Soooo, he hires Private Investigator Jose Alvarez (Gabriel Gutierrez) to get the goods on her so that he can screw Goldberg the lawyer. 

The point is made that people judge others solely on name and looks.  Barry thinks Al is Hispanic.  But he’s one half Indian and the other maybe Irish.  Al thinks Eileen Lee will be Asian; she hoped he’d be white.  It really is supposed to be a chain reaction story involving all of the above.  Oh yes, Al is also a non-resident and so he can’t buy the condo.

Here’s the best part.  Al meets up with Eileen and gives her cards back.  She asks him what an “assistant gasser” is as that’s his job description on his cards which she has left at the ABC print shop in New Jersey which is closed for the weekend.   Now anyone who has had cards printed up knows that they have to approve a “proof” of the card before it gets printed.  Maybe not in Jersey.  Unless he did approve “gaffer” and then it went to press with a typo error “gasser”?  Who knows?  For me, the entire premise of the mix-up of “gaffer” and “gasser” does not work.  It’s ridiculous – as are many of the episodes of sit-coms.

Eventually very little is resolved.  I suppose we’ll have to wait for the next episode of Al’s Business Cards.  Through August 22, 2009   www.atplayproductions.com

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Wanted:  Men who are hung who can stretch and distort their otherwise flaccid penises into various objects i.e. a parachute, the “Eyefull” Tower, a hamburger, a throbbing brain, a pelican and Yoda among many other “installations” – to become future puppeteers for  The Puppetry of the Penis, an International sensation –  the most successful Genital Origami Show ever –  lasting about sixty minutes.  Must also be insane, have a charming personality and balls.  Cut or uncut may apply.  

Yes.  If you’ve got what it takes you too can play with yourself on stage and be paid for it.  Originally conceived by Simon Morley in 1996 he has managed to make the most of his equipment.  Along with brother Justin they are exhibitionists of the highest degree and nothing and I mean nothing comes between them and their audience.

Tacky, yes.  Gross, sometimes.  But absurdly amusing.  Especially for all those ladies in the audience hungry to feast their eyes on some Australian prime pieces of meat.  Although they will not be appearing through August 30^th at 45 Bleecker Street Theatre.  In their place are two much younger and thinner guys – college buddies – Americans, Rich Binning (who according to program notes “is amazingly hung”) and Christopher J Cannon (who thanks his parents for not cutting off his foreskin).  Will they be able to successfully pull it off?

Immediately following the world famous signature installation of The Hamburger – both fellows were asked to join Simon and Justin on stage whereupon they dropped their trousers and proceeded to instruct the packed house in how to accomplish this eye popping act.  They’ll do fine.

For those of you who might want to try this at home there is an instruction book available and a DVD.  Even though you might be a White Castle as opposed to being a Big Mac, it’s all in trying to stretch your horizons into finding your new road to bliss.

There is also a camera technician who aims the lens on their members in close up which is flashed on a huge screen behind them.  So every seat in the house is a great seat.  And be forewarned – you might even be asked to help out on stage and have a Polaroid taken for posterity of your face between the…well, I don’t want to give everything away.

If after seeing this show you haven’t had your fill of testicles, shaved scrotums and pliable penises you can now book this act for Private Parties.  Can you just imagine the expression on Nana’s face as she celebrates her 90^th birthday with a surprise like Puppetry of the Penis – Private Parties?  What a brainstorm!  It might mean an immediate inheritance!

Opening for Simon and Justin as an added attraction was Rachael Feinstein – stand up comic – who I found a distraction while the audience ate her up.  Trying her best to be a new Joan Rivers.  Potty mouthed.  Aggressive.  Ready to put out.  A heavy drinker.  Topics: Beating off, porn, interracial relationships and her mother and Grandmother – scaring off unwanted pursuers by imitating her elder’s voices.  Talk about a cock tease.

www.puppetryofthepenis.com  www.puppertyprivateparties.com

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What exactly is Senator Hanford Drake (Fred Anthony Marco), wishing for?  Is he wishing that he had never married Sarah (Renee Bang Allen) who has decided to “out” her husband on the eve of his re-election campaign?  Is he wishing that he had never fallen in love with Professor Lake (Peter J. Crosby), his secret lover (married and divorced with kids) and best friend for twenty years and that together they could run away to Italy once again to be free where no one knows his name?  Is he wishing that his mother, Catherine (Carolyn Seiff), who has gathered all – staff, wife and son – to her Southern estate to try to come up with some solution to this political and personal mess would mind her own business?  Some very intriguing questions broached by playwright Lawson Caldwell.

There seems to be too many issues going on for a 75 minute play.  Is it a drama or a comedy?  Or a farce?  Mostly dramatic, bordering on melodrama.  With some comic moments inserted for the maid, Dora (Loni Ackerman), who seems most of the time to be an outsider that has drifted in from another play performing down the hall at the Abington Theatre Arts Complex.  She is fun but doesn’t belong in this play.

After Sarah, the wife, has opened her huge can of worms exposing her husband to the media that he is gay she then tries to blackmail him into staying with her, despite his wanting a divorce, for all the wrong reasons.  She is totally unsympathetic.  And annoying. 

Then we get the Senator’s younger aide, Wilson (Eric Rubbe).  As it turns out he is gay too.  And secretly having a thing with Tom the Top (Scott Raven Tarazevits), another member of the staff.  There is a female on staff, Elise (Samantha Ives) who spends most of the time talking to her boyfriend via cell phone.  Perhaps her boyfriend is secretly a girlfriend.  Who knows?  Who cares?

I could not accept the twenty year affair that the wife knew nothing about – well yes she did, some time back but chose now to open up about it, perhaps getting a book deal out of the whole sordid affair?  As a guest in his mother’s home the Senator shares his bed with Lake and they look at I Love Lucy reruns in the middle of this crisis while his wife, mom and maid look at old wedding photos in preparation for their son’s upcoming wedding.  Raney (Timothy Mele), the son, makes a late appearance.  At first, reluctant to accept the whole situation but within seconds dad and son are having a hug fest.  All the while the media is chomping at the gates, hungry for scandal.  The denouement is just as hard to digest as all the exposition.

In any event, this Festival is the place for playwrights and directors to learn their craft.  For actors to be seen and hopefully learn what works and what does not.  It is a learning process.  To quote from a Barbra Streisand recording, “There are no mistakes, just lessons to be learned.”

Tags:   Loni AckermanNo Comments.

Karina Smirnoff & Maksim Chmerkovskiy

Burn the Floor, the spectacular, international dance extravaganza has just caused some major tremors of epic fancy footed proportions at the Longacre Theatre on West 48^th Street.  It pulsates.  It seduces.  It has some of the most beautiful, talented, sexy dancers ever seen on Broadway dancing in various combinations to the rhythms of an onstage band with vocals supplied by Rebecca Tapia and Ricky Rojas and brilliant choreography by Jason Gilkison.   It is rock solid, pure entertainment.  You should stop reading now and buy your tickets immediately.  It is sure to be sold out for its limited engagement through October 18^th. 

www.burnthefloor.com

Especially if you would like to see Karina Smirnoff and Maksim Chmerkovskiy – from the hit television series Dancing With the Stars.  Appearing on stage through August 16^th, they are just one of the highlights of this dazzling production.

It is not only their presence that ignites the stage with some really outstanding ballroom dancing – it is the entire ensemble cast of eighteen incredibly gifted and well toned dancers that bring the Cha Cha, the Viennese Waltz, Foxtrot, Rumba, Samba, Jive, Tango, Quick Step, Swing and Paso Doble to breathtaking heights.  Whether dancing up and down the aisles of the theatre or gyrating on stage (seemingly at a non-stop pace) you will be totally enthralled.

Burn the Floor has some of the best lighting effects – Rick Belzer and dozens of fabulous costumes (and shoes) by Janet Hine – based on the original design by John Van Gastel.  The dancers make everything they do look effortless.  The pace and selection of dance routines flow by beautifully.  Powerful one moment; serene the next.  Burn the Floor has some of the best and most exciting dance routines I’ve ever seen on a Broadway stage culminating in the pull-all-the-steps-out finale.

It might be unfair to single out some of the dancers, as all of them are fantastic.  But a few are just a bit more fantastic.  Peta Murgatroyd is featured and she is stunning to look at and an exciting performer with her partner Damian Whitewood.  The tall and elegant Damon Sugden and Rebecca Sugden (Mr. & Mrs.) are romance personified.  And Henry Byalikov has a strength and preciseness and a personality that jumps out across the footlights.

The entire cast is flawless in their execution of the many astonishing numbers.  They are: Trent Whiddon, Gordana Grandosek, Kevin Clifton, Giselle Peacock, Nuria Santalucia, Sasha Farber, Melanie Hooper, Patrick Helm, Sharna Burgess, Jeremy Garner, Sarah Hives, Robin Windsor and Sarah Soriano.

In the fifties, I remember watching The Arthur Murray Dance Party where Kathryn and Arthur would demonstrate various ballroom dances.  How simple it was back then.  They would be fascinated at how exciting, torrid and magnificent ballroom dancing has become.  It has exploded.  It has become a huge success with television shows like Dancing With the Stars and So You Think You Can Dance.  As Kathryn would always say at the end of their show – “Put a little fun in your life, try dancing.”  Or in this case, put a little fun in your life, see Burn the Floor!

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What’s that strange noise coming from the barn?  By golly, it’s the cows gotten hold of little Jenny’s lap top and printer that Farmer Brown (Drew McVety) has taken away from his granddaughter (Sarah Katherine Gee).  The cows are cold.  Freezing cold.  And Farmer Brown refuses to give them blankets.  And so bovines Darlene (Gretchen Bieber) and Loretta (Michael Thomas Holmes) led on by their leader Maddie (Kristy Cates) decide to go on strike!  Way to go cows!  You show that stingy Farmer Brown that he won’t get any more milk till he warms up the barn with some blankets.

Even though the cows and the chickens aren’t very friendly with each other – they are set up to be a sort of Jets and Sharks from West Side Story (just part of the fun that adults will have) they decide to join forces and force Farmer Brown to give in to their demands.  DeMond B. Nason as the go-between Duck will “qwack you up” with his antics.

If you are wondering what to do with the little tots this summer and want to introduce them to live, wonderfully entertaining musical theatre – CLICK, CLACK, MOO should be at the top of your list of things that are a must.  And it is FREE!  At the Lucille Lortel Theatre in the heart of Greenwich Village.  Presented by TheatreworksUSA.

Based on the book by Doreen Cronin with illustrations by Betsy Lewin this live song and dance version by Billy Aronson (book)  Kevin Del Aguila (lyrics) and Brad Alexander (music) will win the hearts of the kids and everyone else who attends with them.

There is enough action and visual jokes and puppets and delicious costumes and great bent out of shape sets in primary hues to keep the tots eyes focused on the stage at all times and plenty of puns and clever lyrics and top rate performances to please any adult.

Director John Rando keeps things going at a good clip clop and there are some fun dances by choreographer Wendy Seyb.  It’s an hour’s worth of good time fun with some valuable lessons of life and some new words to be learned that will last long after you go home.  It’s simply a delightful moosical!

www.TheatreworksUSA.org

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