Oscar E Moore

2008-09 Outer Critics Circle Award Winners

                     OUTSTANDING NEW BROADWAY PLAY
                              God of Carnage

                     OUTSTANDING NEW BROADWAY MUSICAL
                         Billy Elliot the Musical

                     OUTSTANDING NEW OFF-BROADWAY PLAY
                                  Ruined

                   OUTSTANDING NEW OFF-BROADWAY MUSICAL
                             The Toxic Avenger

                           OUTSTANDING NEW SCORE
                        (Broadway or Off-Broadway)
                         Billy Elliot the Musical

                       OUTSTANDING REVIVAL OF A PLAY
                        (Broadway or Off-Broadway)
                           The Norman Conquests

                     OUTSTANDING REVIVAL OF A MUSICAL
                        (Broadway or Off-Broadway)
                                   Hair

                      OUTSTANDING DIRECTOR OF A PLAY
                 Matthew Warchus     The Norman Conquests

                     OUTSTANDING DIRECTOR OF A MUSICAL
                Stephen Daldry     Billy Elliot the Musical

                         OUTSTANDING CHOREOGRAPHER
                Peter Darling     Billy Elliot the Musical

                          OUTSTANDING SET DESIGN
                             (Play or Musical)
                     Tim Hatley     Shrek the Musical

                        OUTSTANDING COSTUME DESIGN
                             (Play or Musical)
                     Tim Hatley     Shrek the Musical

                        OUTSTANDING LIGHTING DESIGN
                             (Play or Musical)
                 Rick Fisher     Billy Elliot the Musical

                        OUTSTANDING ACTOR IN A PLAY
                      Geoffrey Rush     Exit the King

                       OUTSTANDING ACTRESS IN A PLAY
                   Marcia Gay Harden     God of Carnage

                      OUTSTANDING ACTOR IN A MUSICAL
                 Brian d’Arcy James     Shrek the Musical

                  OUTSTANDING ACTRESS IN A MUSICAL (tie)
                    Sutton Foster     Shrek the Musical
                  Josefina Scaglione     West Side Story

                   OUTSTANDING FEATURED ACTOR IN A PLAY
                 David Pearse     The Cripple of Inishmaan

                  OUTSTANDING FEATURED ACTRESS IN A PLAY
                     Angela Lansbury     Blithe Spirit

                  OUTSTANDING FEATURED ACTOR IN A MUSICAL
                Gregory Jbara     Billy Elliot the Musical

                OUTSTANDING FEATURED ACTRESS IN A MUSICAL.
                 Haydn Gwynne     Billy Elliot the Musical

                       OUTSTANDING SOLO PERFORMANCE
                      Lorenzo Pisoni     Humor Abuse

                     OUTSTANDING ENSEMBLE PERFORMANCE
           Amelia Bullmore     Jessica Hynes     Stephen Mangan
                 Ben Miles     Paul Ritter     Amanda Root
                       Cast of The Norman Conquests

                            JOHN GASSNER AWARD
     (Presented for an American play, preferably by a new playwright)
                      Gina Gionfriddo     Becky Shaw

                         SPECIAL ACHIEVEMENT AWARD
             David Alvarez     Trent Kowalik     Kiril Kulish
            for their performances in Billy Elliot the Musical

Tags:   Outer Critics CircleNo Comments.

If you were wondering if the 1980 movie 9 to 5 starring Dolly Parton, Lily Tomlin and Jane Fonda could be successfully brought to the stage as a bona fide musical comedy – wonder no more.  It’s even better.  There sure are a lot of hit tunes in this here show, music and lyrics courtesy of Dolly Parton.  Thank you, Dolly.  And the book by Patricia Resnick following closely her screenplay for the movie is pitch perfect as well.

Taking up residency at the Marriott Marquis Theatre it should prove to be an extremely popular hit.  It’s fresh and sassy and tons of fun.  If laughter is the best medicine then you should take a double dose of 9 to 5 immediately.  It’s well deserving of the 15 Drama Desk Award nominations it has received. 

It’s a perfect escape from the doldrums of let’s just say, working in an office from nine to five every dreary day.  And boasts a superlative cast with three of the most talented and charismatic women on Broadway today – Allison Janney as Violet who brings back fond memories of a wise cracking Roz Russell and brings the house down with “One of the Boys”, Megan Hilty as Double D Doralee who is doing an astounding job in looking and sounding like Dolly herself with her rendition of “Backwoods Barbie” which should become a breakaway hit, and Stephanie J. Block as newly divorced Judy who finally takes charge of her life and belts out a magnificent “Get Out and Stay Out” to her weasel of an ex-husband. 

Three women so fed up with their sexist, egotistical, hypocritical, lying, bigot of a boss – a man you love to hate – Franklin Hart Jr. (a slick and slimy Marc Kudisch) that they kidnap him and hold him up in his own home while his wife is away on a cruise so that they can implement the memos that they have forged to make their workplace a better and more productive place of business. How they finagle themselves out of this mess is all part of the glorious fun of 9 to 5.

The look of the production couldn’t be better.  It’s the first time I have felt that computerized sets (Scott Pask) that disappear into the floor (the original trapdoor has come a long way) and that flow in and out and around, becoming characters themselves in the seamless scene changes along with the great projections (Peter Nigrini & Peggy Eisenhauer) all work together beautifully – especially in the pot induced fantasy sequence.  Beautifully lit by Jules Fisher & Kenneth Posner.  Costumes by William Ivey Long are period perfect (just wondering how they could afford all those great outfits working as secretaries). 

The action never stops and is craftily directed by Joe Mantello who knows just when to up the ante and when to quiet things down a bit.  It’s a masterful job.  Andy Blankenbuehler has come up with a choreographic style that is different and brings this show right up to date in a very stylish way.  9 to 5 is the feel good musical of the moment.

Other standout performances include Kathy Fitzgerald as Roz the long suffering, in love with her boss Mr. Hart.  She has two wonderful songs “Heart to Hart” and “5 to 9” in which she more than holds her own in such terrific company.  As the office lush, Margaret, Karen Murphy is priceless.  Andy Karl who is the younger love interest for the older Violet is quite good in this subdued comic role and his “Let Love Grow” is a tender, heartfelt moment amidst all the mayhem.

The show is book-ended by the very catchy and famous title tune from 9 to 5.  It was a wake up call for all women who were being treated badly and couldn’t get ahead just because they were women.  Well, Dolly Parton and company helped to change all that.  But there is still work to be done to let one and all “Shine Like the Sun” – a message delivered with humor and moxie.

www.9to5themusical.com

Tags:   Allison Janney · Dolly Parton · Marc Kudish · Megan Hilty · Patricia Resnick · Stephanie J. Block1 Comment

It takes three young men (David Alvarez, Trent Kowalik and Kiril Kulish- who have been jointly nominated for a Tony Award as Best Actor in a Musical – note: Tommy Batchelor is a fourth Billy listed in the program ) to alternate in the title role of Billy Elliot, the smash hit musical at the Imperial Theatre.

Written by Lee Hall (book and lyrics – who also wrote the screenplay from which this musical is adapted) and Elton John (music – who first had the inspiration to turn the film into a musical).  Stephen Daldry directed the film and is repeating his role here as is Peter Darling as choreographer of this enormous and ambitious production.

It has just been nominated for 15 Tony Awards, 10 Outer Critics Circle Awards, 10 Drama Desk Awards and is the winner of the Drama Critics Circle for Best Musical among other numerous citations, including a Special Achievement Award for all three boys by the Outer Critics Circle Executive Committee.

So it came as quite a shock to me that I was somewhat disappointed with this somewhat sentimental, somewhat predictable show.  It’s the 1980’s and the coal miners are on strike battling the formidable Margaret Thatcher.  Billy’s dad (a tough and bigoted Gregory Jbara) works in the mines and is disturbed that his younger son fancies ballet over boxing (Kiril Kulish).  His activist older brother Tony (an excellent Santino Fontana) is contemptuous at the thought of his young brother’s desires.  Billy is befriended by his forgetful grandmother (a quirky and amusing Carole Shelley) and his dance instructor who sees his inner talent that she helps develop and to arrange and audition for The Royal Ballet School (an excellent, chain smoking, lost out on her own life Mrs. Wilkinson – Haydn Gwynne).  Her rehearsal pianist, Mr. Braithwaite (Thommie Retter) is a hoot.

The show juxtaposes both worlds to great effect – especially in “Solidarity” – with coal miners, policemen, and a gaggle of multi shaped and sized young girls in tutus sharing the stage.  Some of the other songs are equally good – “Shine” “We’d Go Dancing” and “Born to Boogie” are exceptional.  Other production numbers carry on a tad too long.   Elton John’s score is extremely serviceable and tuneful and it is, of course, pure Elton John.

Billy is asked to act, to sing, to tap and to execute some rather difficult athletic ballet movements.  Kiril Kulish succeeded in everything but he knows from the start that he is a terrific dancer – Billy shouldn’t.  Perhaps it’s the coolness of his performance that I couldn’t connect totally with.  His dream ballet with his older self (a sensational Stephen Hanna) to Tchaikovsky’s Swan Lake literally soars as young Billy with the help of an all too obviously hooked on cable becomes airborne.  But it is exciting to see what a fantastic performer he is. His “Angry Dance” and “Electricity” are perfection.

As Billy’s friend, Michael, who likes to dress in his sisters clothing, David Bologna all but steals the thunder from Billy in “Expressing Yourself” – milking his applause shamelessly.  He’s a delight.

The tale of a young boy whose dreams come true is an inspiration to all those who are dreaming of a better future and for those who perhaps have lost the dream along the way.  It’s never too late, you know, and Billy Elliot stirs up the juices.  It’s wonderful to see his family and community rallying to help him.  Even his dead mum (a comforting Leah Hocking) makes an appearance in two touching letter scenes.  So try to understand the strong accents, put up with the political puppets and gimmicky effects and go all out for the exciting, rip-roaring finale which will absolutely leave you breathlessly airborne on your way home.

www.billyelliotbroadway.com

Tags:   Elton JohnNo Comments.

If you could talk the extremely gifted comic actor, David Hyde Pierce into starring in a 1930’s period piece where he could strut his ability to land every bon mot he was written and to be suave and debonair to boot why oh why oh why oh would you ever choose the mild mannered, lukewarm Accent on Youth written by Samson Raphaelson?  

Unfortunately that is exactly what the Manhattan Theatre Club has done in producing this relic which has recently opened at the old Biltmore Theatre – which is now named The Samuel J. Friedman Theatre. 

You can almost smell the moth balls.  Not that it isn’t amusing.  It is.  But it’s dated.  Dated in a charming way.  The comedy and plot simmer along without ever boiling over into riotous laughter.  All is held in check when all hell should break loose as our playwright’s two amours (Genevieve Lang – Rosie Benton and Linda Brown – Mary Catherine Garrison) both bring him bouquets to celebrate a mutual meaningful day in their lives.  But I’m getting ahead of myself.

Author of 19 successful comedies, Steven (David Hyde Pierce) Gaye’s newest opus is to be a serious play – Old Love – dealing with a man in his sixties falling for a much younger woman.   He quickly discovers that his own life will inspire his writing when his much younger secretary, Linda Brown, declares her love for him and vows to help him overcome his writer’s block just as he is about to go off to Finland with glamorous actress Genevieve Lang.  End of a very quick Act I.

Complications ensue.  As mousey secretary not only becomes Gaye’s lover but star of his newest hit play – Old Love  – where the young leading man (Dickie Reynolds) a dapper and energetic David Furr falls head over heels in love with the now transformed Linda Brown, well you can see where this is going…

Unfortunately in the pivotal role of Linda Brown, Ms. Garrison doesn’t have enough style to pull off her ugly duckling into a swan transformation completely.  She comes across as both sweet and shallow.  We feel little sympathy for her with the dilemmas that she is continually faced with.  Of her own doing I might add.

Nicely directed by Daniel Sullivan, on a posh wood paneled set by John Lee Beatty and beautifully costumed by Jane Greenwood the other actors do justice to their roles.  As a vain actress (Miss Darling) Lisa Banes is just right in her if you blink you’ll miss her performance.   Gaye’s manservant (Flogdell) is a very amusing Charles Kimbrough who has an amusing Indian Wrestling Match with the older leading man Frank Galloway (Byron Jennings) who plays a most amusing drunk.  Highlight of the evening.

There are some very amusing one-liners and Mr. Pierce dictates a letter with punctuation reminiscent of Victor Borge’s famous bit without the sound effects however.  That might have livened things up a bit.  Accent on Youth chugs amusingly along – eliciting smiles and laughs but it never really goes past amusing – a word that appears most often in this review.  A word that I can’t seem to get past with describing this production.

Tags:   Manhattan Theatre ClubNo Comments.

The Experience & Excitement of a Night of “LIVE” New York City Stand-Up Comedy Brought to the BIG SCREEN
 
STAND-UP 360^TM Series of Seven Original Feature Presentations
To Appear in Theaters Across the U.S. Beginning May 2009
 
Screenvision partners with waggingtail entertainment (Bryan Bantry in association with Eric Hanson & Michael S. Rosenberg) to present the premiere of STAND-UP 360^TM.  A series of stand-up comedy features filmed live, STAND-UP 360^TM delivers an alternative kind of entertainment to cinemas across the country via Screenvision’s Programming Network Division.  With Caroline Rhea featured as lead host, STAND-UP 360^TM offers seven distinct presentations aimed at a wide variety of audiences.  Kicking off in May 2009, STAND-UP 360^TM will appear in Screenvision theaters nationwide.
 
STAND-UP 360^TM captures the unmistakeable energy of a Live New York comedy show in an unparalleled program, presenting a line-up of top names from headliners to break-out stars.  Serving up a new style of entertainment at cinemas, STAND-UP 360^TM offers major bang for the buck; it would take months of repeat visits to a variety of comedy venues to experience the calibre and range of talent assembled for the films. 
 
STAND-UP 360^TM‘s debut series of feature presentations boasts seven original films jam-packed with laughs and never-before-seen footage of behind-the-scenes action and antics, each with an exclusive line-up of performers.  Each film features a diverse roster of acts, while special edition STAND-UP 360: Muy Caliente^TM is devoted to Latino talent and STAND-UP 360: Inside Out^TM is headlined by popular LGBT comics and friends.                                                                                       
 
With Caroline Rhea as host, STAND-UP 360^TM features many of today’s hottest comics including Roz G, Judy Gold, Godfrey, MODI, Poppi Kramer, Wali Collins and many others.  Rising Hispanic star Erik Rivera
hosts two STAND-UP 360: Muy Caliente^TM films with sets from Angelo Lozada, Cristela Alonzo, Sara Contreras and more.  Finally, Caroline Rhea hosts STAND-UP 360: Inside Out^TM with a line-up of LGBT stand-outs such as Judy Gold, Jackie Hoffman, Frank DeCaro, Jaffe Cohen, Hedda Lettuce and Michele Balan in thought-provoking performances.
For more information on dates, schedules and locations for STAND-UP 360^TM, please visit: www.STAND-UP360.com. 

NYC cinema locations below

Clearview Chelsea 23rd street
Wed., May 6 at 7:30PM 

Village East Cinema at 12th street
Thurs., May 7 at 7:30PM
Fri., May 8 at 11:00PM
Sat., May 9 at 11:00PM
Thurs., May 14 at 7:30PM

86th Street Cinema
Thurs., May 7 at 7:30PM
 Fri., May 8 at 11:00PM
 Sat., May 9 at 11:00PM
Thurs., May 14 at 7:30PM

City Cinemas 123 at 60th street
Wed., May 6 at 7:30PM
Sat., May 9 at 11:00PM
Sun., May 10 at 3:30PM
Wed., May 13 at 7:30PM

Tags: No Comments.

It’s just what everybody needs!

A BIG GAY MUSICAL!

And on July 14^th you can hear it all…as we release

THE BIG GAY MUSICAL! CD

starring

Liz McCartney      Daniel Robinson        Joey Dudding

Celina Carvajal       Jeff Metzler       Marty Thomas

Kate Pazakis       Joshua Cruz      Jim Newman

Steven Hayes        Michael Schiffman

On July 14, 2009, the soundtrack of the upcoming film, THE BIG GAY MUSICAL will be released. Presales for the CD & the new line of T-shirts (see below) will begin on May 18^th on the BGM website. The film will be on the festival circuit this summer & will be in movie theatres in the fall The date of the CD release party will be announced shortly.

Paul & Eddie have just begun previews for the new Off-Broadway musical Adam & Steve Just the Way God Made ‘Em. Their lives strangely mirror the characters they are playing; Paul is looking for the perfect man & Eddie is dealing with how his sexuality & faith can mix. After yet another disastrous dating experience, Paul has an epiphany. He is done dating & just wants to be a slut like the sexy chorus boys that share his dressing room. Eddie has to tell his parents that he’s gay & is starring in a show that calls the bible the “Breeder’s Informational Book of Living Examples.” Eddie comes out to his family & Paul goes on the internet. Eddie’s parents are destroyed by the news & Paul can’t even have a good one-night stand. But after musical numbers with scantly clad tap dancing angels, a retelling of Genesis, tele-evangelists, a camp that attempts to turn gay kids straight & a bunch of showtunes, everyone realizes that life gets better once they accept who they really are: just the way God made ‘em!

The CD will include over 15 tracks, all the original music (by Rick Crom & Fred M. Caruso) from the film & some contemporary tracks that are also featured in the movie.  Among the original songs are “I’m Gonna Go Straight to Heaven,” “God Loves Gays,” “I Wanna Be A Slut,” “As I Am,” “Eve’s Lament,” “Musical Theatre Love Story” & “Someone Up There.”

The cast of THE BIG GAY MUSICAL includes Liz McCartney (Taboo, South Pacific), Jim Newman (Curtains, Minnelli on Minnelli), Joey Dudding (A Chorus Line, La Cage), Marty Thomas (Xanadu, Wicked, The Secret Garden), Andre Ward (Rock of Ages, Xanadu), Daniel Robinson (Hairspray, Happy Days – tour), Jeff Metzler (Mary Poppins), Brian Spitulnik (Chicago), Josh Cruz (Wig Out), Celina Carvajal (Rooms, Tarzan & Reality TV show “The Search of Elle Woods”) & Steve Hayes, one of the stars of the mega-hit Gay film Trick. Also making special appearances in the film are Gay film star Brent Corrigan & Village Voice columnist & TV personality Michael Musto.

Written & produced by Fred M. Caruso & directed by Casper Andreas, THE BIG GAY MUSICAL features the Songs of Rick Crom, the Musical Direction of Jack Aaronson, the Choreography of Shea Sullivan & the Costumes of Tony Nominee Bobby Pearce.

ORDER YOUR CD & T-SHIRTS ON MAY 18^TH!!!

 www.thebiggaymusical.com

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Never would have I imagined that farting and burping could be so charming or so funny in bringing an Ogre named Shrek and a Princess named Fiona together in song.  As they get to know each other a bit better by trying to best each other in “I Think I Got You Beat” it is a moment of pure hilarity as performed by Brian d’Arcy James and Sutton Foster.  Just one of the inspired and original moments of the delightful and charming musical that is making kids of all ages wake up and smell the sunflowers and stop judging anyone by what they look like.  I loved it!

Shrek the musical is a riotous romp through the Kingdom of Duloc where Pinocchio, Peter Pan, the three pigs, bears and blind mice and many other characters of famous fairy tales have been banished by Lord Farquaad to Shrek’s swamp because they are “freaky”. 

A witty and wonderfully green world has been created where adults can rediscover and rekindle their inner child and where kids can discover the magic that live musical theatre can bring.  So bring everyone and enjoy the fantastic fantasy that has been created by the incredibly gorgeous and sumptuous sets and costumes by Tim Hatley, the very funny book and especially clever, laugh out loud, up to date lyrics that hit home and deep in the heart about being “freaky” of David Lindsay-Abaire and the tuneful pop rock/ traditional Broadway music of Jeanine Tesori.  While I don’t think you’ll be able to hum any song on the way home they all work beautifully in the show. 

Sutton Foster is pure heaven as Fiona, a spunky Princess waiting for what seems to be forever for her knight in shining armor to rescue and marry her.  Whether she is singing gloriously or tapping with a chorus of rats, “Morning Person” (clever choreography by Josh Prince) or being just plain down to earth funny and adorable or dealing with the “curse” cast upon her she wins everyone’s heart – including that of Shrek.  Brian d’Arcy James is spectacular as the green ogre who just wants to be left alone as he is so ugly.  He really brings compassion to this part and sings with a powerful and commanding voice, especially in his “Who I’d Be”.  He becomes adorable right before our eyes.  As his sidekick, Donkey, Daniel Breaker, is the sassiest ass on Broadway.  Absolutely getting all his laughs, sometimes with just a look and singing and hoofing with the best of them.

But the performance that is most impressive is that of Christopher Sieber as the evil Lord Farquaad – with his Prince Valiant hairdo and performing on his knees as the dwarfish ruler in need of a wife to be King – he stops the show with “What’s Up, Duloc?” milking it for all its worth and summoning the audience to applaud even louder and longer.  It’s a brilliant performance.

Jason Moore has directed with a knowing wink and brought out the best of everyone in the large cast.   If at times Shrek the musical becomes a bit exaggerated for all the kids in attendance all is forgiven for this big, bright, beautiful world that has been created for the joy of everyone. 

Parents take note:  The one common factor for Shrek, Fiona and Farquaad is that they had terrible parents – who didn’t understand them and thought too little of their children.  If there is any lesson to be learned from this terrific, inspiring and uplifting show, it’s to nurture and love your kids – whatever they look like, whatever they are.

www.shrekthemusical.com

Tags:   Brian D'Arcy James · Christopher Sieber · Daniel Breaker · Jason Moore · Sutton FosterNo Comments.

Is Samuel Beckett’s Waiting for Godot a masterpiece or is it one of the greatest theatrical hoaxes ever perpetrated by a playwright?  There have been religious, political, Freudian, Existentialist and Homoerotic interpretations of this play.   What is it about?  Is it comedy or tragedy?  Is it full of despair or is there a glimmer of hope for these lost souls waiting eternally for someone, for something to happen?  

After sitting through a very lengthy two acts of the revival at the Roundabout Theatre at Studio 54 starring Nathan Lane, Bill Irwin, John Goodman and John Glover and smartly directed by Anthony Page, where you get a double dose of nothing happening in two acts and where it’s almost a case of mass hypnosis – everyone trying very hard to make you believe you are witnessing something of earth shattering importance, some fellow members of the audience were either bored to death (not unlike the characters of Estragon – Lane and Vladimir – Irwin) nodding off while others seemed enraptured by the intellectual goings on, being expressed on the intriguing ashen grey set designed by Santo Loquasto.  

It doesn’t matter what it means or how you pronounce Godot, the play is basically about the long time relationship of the two men in bowler hats who can’t seem to live without each other despite the boredom of every day existence, the day to day waiting for some unknown character called Godot to arrive.  So they fill in the long lapses of time with word games, teasing and cajoling and caring for one another, complaining about sore feet, or running off to urinate. 

The master of mime, Bill Irwin and the master of comic timing and the take – quick or double – take your pick – Nathan Lane are perfect together bickering and bantering like some old married couple –  nicknaming each other, Didi and Gogo.  Bringing back fond memories of Laurel and Hardy or Abbott and Costello – there’s an echo of the famous bit – Who’s On First? – reenacted here or the circus clown bit with three hats or the unruly whip that Mr. Lane cannot comically control.  But it’s long and far between these comic interludes that test the patience of the theatergoer with the who, the why, the what’s this all about talking in circles business.

An enormous and excellent John Goodman is the wind bag Pozzo who has his emaciated and drooling slave, with the ironic name of Lucky, in tow on a long rope tethered to Lucky’s neck.  John Glover does an incredible job of trying to stay upright, with his wobbly walk and obedience to his master.  He of no hope left has a monologue of gibberish that is a work of art as delivered.  There is also a child who delivers messages from the unseen Godot – played by Matthew Schechter.  I’d like to know what he thinks of all this.

Richard Adler and Jerry Ross sum it up best with their song from Damn Yankees:

“We’re two lost souls

On the highway of life

And there’s no one with whom we would ruthur

Say, “Ain’t it just great, ain’t it just grand

We’ve got each other.”

Tags:   Bill Irwin · John Glover · John Goodman · Nathan LaneNo Comments.

Michael Cummings & Amari Rose Leigh

When all the elements that are needed to make a production work come together as beautifully as they do in the revival of August Wilson’s Joe Turner’s Come and Gone, now playing at the Belasco Theatre, it is rare indeed.  When the writing is as good as anyone could ever want, when the direction is impeccable, when the ensemble cast believably become the characters, when the design team enhances the text so as to open up the play to a new dimension, when the audience listens intently to every word being said, being moved to tears or joining in the laughter of the plight of the people on stage whose lives are being laid bare for us to connect with, you have a brilliant production.  This is a brilliant production.

It is elegant.  Down to earth.  Poetic.  Stylish.  Lyrical.  Mystical.  Lusty and magical.  There is nothing elitist nor pretentious about the story of Seth Holly (Ernie Hudson) and his wife Bertha (Latanya Richardson Jackson) who run a boarding house in 1911 Pittsburgh catering to “the sons and daughters of newly freed African slaves who have wandered into the city with guitars and Bibles” according to the program notes written by August Wilson, looking to start a new life.  Looking to see where they can fit in – for the place that you are supposed to be.  Looking to find the song within – that every soul has in their heart.  Somehow, Mr. Wilson has made this search universal.  Something that everyone can relate to.

Herald Loomis (Chad L. Coleman) arrives searching for his wife, Martha.  A quiet and intense man who has his eleven year old daughter Zonia (Amari Rose Leigh) at his side.  Bynum Walker (Roger Robinson) with his bag of magical, mystical roots to bring luck to those he wants to help is chock full of stories and is willing to share his wisdom – of which he has lots – to all those he comes in contact with.  An always half inebriated Rutherford Selig (Arliss Howard) a white finder of people for a fee promises to try to find Herald’s wife, Martha (Danai Gurira). 

Living also in the house is Jeremy (Andre Holland) a road worker womanizer who plays guitar and charms the two ladies who show up to rent a room – Mattie (Marsha Stephanie Blake) and the more worldly Molly (Aunjanue Ellis) who has got her eye on Seth.  Living next door is young Reuben (Michael Cummings) who befriends Zonia in the vegetable garden – just part of the breathtaking set design by Michael Yeargan.  Taking us from the naturalistic kitchen to a free and open space – that lies within their minds.  It is sensational.

Adding to the authentic look of the show are the costumes by Catherine Zuber.  Lighting by Brian MacDevitt and music by Taj Mahal add immensely to the other worldliness of the piece.

But without its director, Bartlett Sher, Joe Turner’s Come and Gone would not be the incredible experience that it is.  He deserves every accolade coming his way.  His vision has made the play an event that cannot be missed.  It is theatrical bliss where there is hope for a new generation and love and laughter reign supreme.

Tags:   Bartlett SherNo Comments.

Oh boy!  How could so much money be spent for so little? How could some of the most creative people on Broadway come up with this musical whimsy about a group of people stranded in a subway car, a cross between Sartre’s No Exit and a not very memorable episode of The Twilight Zone called Happiness, which isn’t by the way – now playing at Lincoln Center at the Mitzi E. Newhouse Theater?  What went wrong?

Just about everything.  The very large talented cast is about its only saving grace.  And the subway car itself.  It moves forward and back.  It revolves.  It’s transparent.  As is the ridiculous plot.

In Happiness we see a cross section of the New York populace running around trying not to be late, trying to get things done, trying not to stress out during the madness and mayhem of another Monday morning.  But things go awry.  And somehow nine of them wind up on the same doomed albeit very talented subway car. 

There is the plus size, gay decorator (Ken Page – who seems to be channeling Sarah Vaughan), a caustic radio host (a superb Joanna Gleason – somehow she rises above the muck and lands all of her jokes (few as they are) and shines as a Hippie at the Fillmore East with Mick Jagger – who is delightfully played by Robb Sapp making the maudlin action finally come alive with his short but inspired takeoff), a married pair of interns (Robert Petkoff and Pearl Sun – who unfortunately get to sing one of the worst songs in the show – “Family Flashcards”) a spry old lady in a wheelchair (Phyllis Somerville – who is every inch a lady and enchants us with her memories of a long ago love at the USO), a Latino bicycle delivery guy (Miguel Cervantes – chasing after roosters and doubling as the tooth fairy for his daughter), an ailing doorman (a fine Fred Applegate – who has fond memories of a baseball game with his dad – one of the very few highlights of the production), a woman who has dreams beyond her means (Jenny Powers – who is the only one that makes you feel some compassion for), a lawyer (Sebastian Arcelus – who forces his brief case into the closing doors of the car and thus joining the select group.  And finally the conductor (Hunter Foster) who explains to one and all why they are there.

Those are just the main characters.  As mentioned, there are lots of others on stage and in the above stage orchestra.  Nothing has been spared to overproduce this show written by John Weidman of Assassins, Pacific Overtures and Contact fame (book) Scott Frankel (music) and Michael Korie (lyrics) who wrote the wonderful Grey Gardens.  All this directed and choreographed by Susan Stroman.  Thomas Lynch is responsible for the  imaginative sets.

Now here’s the kicker – what some call the spoiler – if you do not what to know the secret ingredient to this recipe for Happiness do not read further.

All the people stuck on the subway are dead.  All, except the lawyer who forced himself on.  And they are to choose the one perfect moment in their lives to relive for all eternity.

If I had to choose it would not be reliving this performance of Happiness.  Sometimes it’s good to miss a train.

Tags:   Joanna Gleason · Robb Sapp · Susan StromanNo Comments.