Oscar E Moore

It was a delicious evening of food and song.  Quite literally.  Cocktails and a light buffet which included beef, turkey, crab cakes, tortellini and lots of yummy finger foods started The Collegiate Chorale’s Spring Benefit at the Hudson Theatre in the Millennium Hotel on Wednesday April 29^th which was hosted by an admittedly – I like to talk – and he does and he did – extremely charming Roger Rees and featuring multiple award winning Victoria Clark along with the high school students in the Side-by-Side Program of the Frank Sinatra School of the Arts.  Champagne and dessert included. 

It was an evening to raise scholarship funds for these very talented “irritatingly young singers” – as Roger Rees so aptly put it when introducing them.  It’s all about educating the next generation of musicians – opening doors for them – changing their lives.  After all, they are the future of music. 

In these days of precarious finances a very successful live auction was held with the amazing Mr. Rees as the loquacious, amusing, and tempting auctioneer – with such goods up to the highest bidder as a luncheon date at Mr. K’s with Dr. Ruth -” the only advisor one would ever need” – a personal song composed for you – a trip to Switzerland – a weekend at the Spoleto Festival – a two hour long vocal lesson with Victoria Clark – and lunch and set tour of NBC’s 30Rock – which Nancy Becker, Board Member, bid for and won.  Not only did Nancy Becker whose generosity is only surpassed by her good humor, win 30Rock, but she was also given a beautiful bouquet (along with two other board members) for their most recent birthdays.  At least five, five thousand dollar scholarships were auctioned off to help the students.  What better cause.

Someone bid ten thousand dollars to send some students to this year’s Verbier Festival where they will be performing Faure’s Requiem and Don Giovanni with Bryn Terfel, Susan Graham, Rene Pape, Thomas Quasthoff and Matthew Polenzani, soloists.

Speaking with Joseph Brent and Louis Riva, who started in the high school program and are now off to college, I was informed how wonderful the Side-by-Side program is and how it enabled them both to move forward in their musical careers – and afforded them the privilege under the late Robert Bass to travel to Switzerland’s Verbier Music festival and to tour with the Israel Philharmonic Orchestra under Zubin Mehta.  It doesn’t get much better than that for a young singer learning his craft.  Joseph and Louis agreed it was a tremendous experience where they started out as colleagues and are now rivals.  Friendly, I assumed.

Victoria Clark who had a most recent success in the highly praised concert revival of Kurt Weill & Ira Gershwin’s Firebrand of Florence with the Collegiate Chorale, sang a selection of songs ranging from “How Can I Keep From Singing” a Hymn that she learned growing up in Dallas – to a gorgeous rendition of Sondheim’s “In Buddies Eyes” – to “Fable” from her acclaimed performance in The Light in the Piazza at Lincoln Center.  With her beautiful voice – simply and sweetly she won the audience over with Irving Berlin’s “I Got Lost in his Arms” accompanied on piano by Mary-Mitchell Campbell.

The students sang a harmonious rendition of Berlin’s “Cheek to Cheek” returning at programs end to serenade us with “Aquarius” and “Let the Sun Shine In” from Hair – which is now enjoying a sensational revival on Broadway.  But the true sensation was all the love and support for these students by all those who attended the Sing Happy benefit.

If you would like to make a donation or join the Chorale in Switzerland this July please contact Jennifer Collins at 646 202 9623 or jcollins@collegiatechorale.org

Tags:   Roger Rees · The Collegiate Chorale · Victoria ClarkNo Comments.

Oscar E Moore from the rear mezzanine for Talk Entertainment.com

The only thing missing was the cake.  But I suppose that was served at the black tie dinner and dance at the Pierre Hotel which followed this wonderful concert Monday evening April 27^th celebrating the New York Pops’ 26^th birthday, the 10^th Anniversary of Michael Feinstein’s Feinstein’s at Lowes Regency, the American premiere of Stephen Flaherty’s American River Suite with lyrics by William Schermerhorn which was commissioned for the Macy’s Fourth of July Fireworks which will be telecast on NBC, a salute to the New York Pops’ Salute to Music educational program, the Kids in the Balcony – which is free for them and perhaps their first experience at Carnegie Hall and a rock band Bad Habits comprised of kids surviving cancer.  That was only the first half hosted by Liz Smith in her own down home style.

The Royal Concertgebouw Orchestra Brass Ensemble started with the stirring and powerful Ceremonial Fanfare for Brass and Percussion.  Taking over the baton was Steven Reineke who will officially take over as Musical Director of the New York Pops in October.  It was a varied and fabulous program that was presented.  Brian D’Arcy James, leaving his Shrek costume back at the Broadway theatre and showing off his handsomeness sang “Who I’d Be” from his hit show.  Loved it.

What better way to get kids interested in live theatre and both classical and pop music than to involve them in this concert.  Bob Dorough and his Bobettes sang two numbers from his Schoolhouse Rock! – the very funny “Figure Eight” (dedicated to Blossom Dearie) and “Conjunction Junction”.  I hope the kids look her up.

A Gershwin medley followed.  No matter how many times you hear “Rhapsody in Blue” it still thrills.  Even more thrilling was Rhea Olivacce singing “Summertime” and Daniel Billings, “The Girl I Love”.  What terrific voices.  These are two to watch.

What I really came to hear was Stephen Flaherty’s “American River Suite”.  And I was not disappointed.  Beautiful, soaring melodies, explosive sound, inspirational with a fiddle solo thrown in for good measure (Sara Caswell), the sweeping, you-can-see-the-sails billowing as we sail up the Hudson anthem with a message that we are one nation, truly free and we can share our dreams of dreaming.  In five sections, two of which were sung by the incredible Anika Noni Rose and the wicked Idina Menzel.  That would have been enough to satisfy me.

But the best part was after intermission when the likes of Barbara Cook who is presently singing at Feinstein’s at Loews Regency, Cheyenne Jackson with his mega watt smile, Brian Stokes Mitchell, Ashford and Simpson and Michael Feinstein sang their hearts out.  Liza Minnelli made a surprise appearance to present her good friend Michael Feinstein with an award.  But it was the audience that truly was rewarded.  Barbara Cook is still sensational – her rendition of “No One Is Alone” was breathtaking.  A dazzling Cheyenne sang “You Know How I Feel” and did we ever – he will be appearing with Michael in June in a show called “The Power of Two” – that should be something else.  Book now.  Brian Stokes Mitchell sang his signature “This Nearly Was Mine” from South Pacific – without amplification.  How thrilling to hear a natural voice that can project without a mike.  It was absolutely moving and will not be forgotten.  Ever.  Never having appeared with a symphonic orchestra Ashford and Simpson felt right at home with “Ain’t No Mountain High Enough”.  Ending the evening Michael Feinstein sang, in gratitude, “For Once In My Life”, holding out the last note seemingly forever and getting the audience to their feet in gratitude for a wonderful concert.  What a night!

Proceeds from the 26^th Birthday Gala support The New York Pops and its free Education Programs.  www.newyorkpops.org

Tags:   Liz Smith · Michael Feinstein · New York PopsNo Comments.

Forget the past.  Forget your fears.  Move on.  How easy it is to say.  Not so easy for Diana to do.  Diana, brilliantly portrayed by Alice Ripley, is an addicted and troubled suburban housewife in the original, powerful, honest and moving musical, Next to Normal, at the Booth Theatre. 

Happily married to Dan (an excellent J. Robert Spencer, a strong and sensitive man who wants so hard to help but doesn’t know how but nonetheless never leaves her side) with two children, Natalie (a confused but sassy Jennifer Damiano) a student of classical music who connects with a pot head, jazz musician, Henry (an endearing Adam Chanler-Berat) and her brother Gabe (Aaron Tveit – who has stardom in his future), Diana has trouble coping with every day life, despite the great sex with her husband.  Everything starts off happily enough until she winds up on the floor making sandwiches for her confused family.

I don’t know how Alice Ripley can possibly perform this role eight times a week without some emotional backlash.  She is absolutely wondrous.  Exhibiting every possible nuance of character written by Brian Yorkey (book and lyrics) and Tom Kitt (music).   She is at once manic, compassionate, wildly blank eyed, destructive, confused, strong, fragile, longing and desperate while all the while loving.  It is a phenomenal performance.  You care mightily for her.

I must admit that I have been a fan ever since seeing her in Side Show.  But as Diana she transcends your average musical comedy star to heights never thought believable.  As a prescription pill popping, insecure person who has obviously had some huge trauma occur in her life which sparks her bi-polar problems leading to fear, anxiety, paranoia, and losing what control of her life she had – Diana does therapy (Louis Hobson does double duty as her two Doctors and is perfect in his calm and understanding portrayal) and then shock treatments to cure her – to make her forget – Alice Ripley is, and I repeat myself, wondrous.  You will never forget this performance.

She is not alone.  The rest of the cast is exceptional under the astute direction of Michael Grief and brilliant musical staging by Sergio Trujillo that makes full use of the three tiered set (Mark Wendland) which houses the band that plays the eclectic score by Tom Kitt – rock, jazz, waltzes and lovely music box melodies that complement the complexities of the story.

How such a potentially depressing subject can lead to such a very moving show with such a very hopeful ending just proves how talented and creative the writers of Next to Normal are.  A show that has had a long journey to Broadway.  Starting at the New York Musical Festival and then moving to Off-Broadway’s Second Stage, then to the regional Arena Stage in Washington D.C. and then triumphantly arriving on Broadway.  It was well worth the trip.  www.NextToNormal.com

Tags:   Aaron Tveit · Adam Chanler-Berat · Alice Ripley · J. Robert Spencer · Jennifer Damiano · Louis HobsonNo Comments.

To kill or not to kill.  That is the problem facing virginal, tough as nails and naughty Queen Elizabeth I, referring to the other Queen in Schiller’s Mary Stuart, the very Catholic, smart as a whip and manipulative Mary Queen of Scots who has been imprisoned (under house arrest for 19 years – which gives one time to really think things out) for murdering her husband, marrying the murderer and seeking support from within her cell in a plot or two to take over the throne of England.  Intrigue.  Power.  Desperation.  

All this and more in the lengthy adaptation by Peter Oswald that could make good use of the axe and chop a good thirty minutes from this Domar Warehouse Production imported from London starring two excellent actresses, Janet McTeer as Mary and Harriet Walter as Elizabeth.  They are both spellbinding.   Too bad the play isn’t.

There is nothing more exciting than seeing the two Queens having a go at each other.  When they finally meet, by pre-arranged accident while on a hunt after an on stage torrential downpour – which is the highlight of the evening – Mary and Elizabeth confront each other.   It’s a war of words and wills where the dialogue bristles with invective.  Nice.

Beforehand we see Mary, distraught in her cell.  Protected by her jailer, Sir Amias Paulet – a fine Michael Countryman.  She’s lost everything including her most valuable asset – her freedom.  With tons of exposition to get through we sit there waiting for the eventual meeting.  At court, Elizabeth is surrounded by her “advisors” – each out for their own good and telling her do this or that dressed in modern day business suits – lawyerly attire.   The Queens are in rather elegant period costumes.  Who can she trust?  No one it seems.  Not even the Earl of Leicester (a shrewd and I’ll do and say whatever it takes to further my position at Court John Benjamin Hickey)  As good as he is as the man in a ten year forced relationship with Elizabeth and ex-lover of Mary I would love to see what Mr. Countryman could do with the role.

It all comes down to her signing and delivering the document that will result in the decapitation of Mary.  If we only could get there sooner.  Robert Stanton as Sir William Davison is brilliant in this scene where Elizabeth hands over said document but without actually telling him what to do with it.  It’s very clever and extremely well done as she does not want to be fully responsible although she does want to remain Queen.  It’s a question of kill or be killed.

The style of the play, as directed by Phyllida Lloyd is an odd mixture of Greek tragedy, Shakespearean soliloquies, some nifty dialogue, naturalistic and climbing the walls school of acting and some brilliance – mostly emanating from Janet McTeer and Harriet Walter.  But Ms. Lloyd makes some rather strange directorial decisions.  Why have Elizabeth with her back to the audience in an all important “advisor” scene?  Why the period vs. modern costumes?  (more economical than inspired).   In an all important scene where Mary receives communion from her house steward (Michael Rudko) who carries an instant communion kit in his ultra light suitcase – chalice with wine at the ready (how the wine hasn’t spilled from the chalice in the suitcase is more of a mystery than will Elizabeth kill Mary or won’t she) took me straight out of the moment.  The lighting by Hugh Vanstone is extraordinary.  But it’s not nearly enough to light up this production.  The fault lies not with the acting but with the direction and adaptation.  I’d gladly trade off two Queens to revisit Geoffrey Rush in Exit the King.

Broadhurst Theatre.  www.MaryStuartOnBroadway.com

Tags:   Harriet Walker · Janet McTeer · Michael Countryman · Robert StantonNo Comments.

You know immediately that Norman is a handful as he arrives for a weekend in the country in the heat of July looking like some disheveled sheep dog dressed in a London Fog rain coat, woolen hat and carrying a small suitcase espousing loud and clear that nobody loves him.

What we don’t know and are about to find out is that he is one big lecherous lothario who despite being married for five years to myopic, workaholic Ruth, has arranged to slip away with Ruth’s sister Annie (as a vacation from caring for her ill, difficult and never seen mother) who has been seeing Tom, a very shy vet, who seems to care for his cat more than Annie.  But Norman also has his eyes on tower of strength Sarah who is married to Reg (brother of Ruth and Annie – who is worried about getting varicose veins and chapped hands).  In a wild drunken spree on the lawn where the action of this particular play, one part of a three part trilogy takes place – Norman, in a state of undress, woos Reg.  It is mind boggling hysterical.

Playwright Alan Ayckbourn is a master of the intricate plot and complicated character relationships that will have you laughing out loud one minute and then contemplating the seriousness of it all the next.  There are three full length interlinked plays – Table Manners, Living Together and Round and Round the Garden.  You can see them in any order.  You do not have to see all three but after seeing one you can be sure that you’ll want to see the others.  They even have a special deal to accommodate such desires.  You will be hooked on these characters and want to know what happens to them over this long, illuminating and catastrophic weekend.

In fact after seeing Garden I made sure to see the other two installments.  Is is quite the theatrical event of the season.  An incredible feat of theatrical engineering.  Not since the original PBS series Brideshead Revisited have I been so intrigued to the point of becoming addicted to a group of English characters.

The production has been brought over from London with its original Old Vic cast and directed with sardonic glee and finesse by Matthew Warchus – in the round – at Circle in the Square Theatre for a limited engagement of 16 weeks.  It is not to be missed.

Stephen Mangan is a perfectly outrageous, strangely engaging Norman that will have everyone falling for him despite his full of self pitying behavior.  Or is it just an act to gain sympathy in order to seduce all who would be seduced?  He’s an incorrigible cad.  The catalyst that creates chaos and mayhem wherever he is.  Annie (a frumpish but endearing Jessica Hynes) wants to go with him but then changes her mind – waiting for shy Tom (Ben Miles) to propose.  When he does it is heartbreakingly hysterical.  Fussy Reg (Paul Ritter) and his overbearing wife Sarah (Amanda Root) both being led on by Norman are always at odds with one another.  Norman’s stalwart wife Ruth (Amelia Bullmore) knows exactly what Norman is but stays with him nonetheless as she is fond of him.  For whatever reasons.

Norman is the primitive, primal man that no matter what he does he gets away with – because he is who he is and we love and hate him for it.  What an incredible cast.  Combing both physical humor and the underlying pathos for their characters is an incredible feat and experience.  Their foibles, their fears, their misunderstandings and their ultimate love for one another bring on the laughs but also give us much to ponder.

They will be receiving a special Outstanding Ensemble Performance Award from the Outer Critics Circle at the annual awards ceremony on May 21^st at Sardi’s Restaurant.

I think I will truly miss the lot of them.

www.NormanConquestsOnBroadway.com

Tags:   Matthew Warchus · The Old Vic Theatre Company1 Comment

With all the shows I have had to see recently, somehow The Good Negro slipped past me until I was, fortunately, able to catch the very emotional closing night performance at the Public Theater.  I only wish I could have seen it sooner to persuade everyone to see this riveting play by Tracey Scott Wilson which takes place in 1962 Birmingham, Alabama where segregation was the accepted norm and there were bathrooms for Men, Women and Colored.

Claudette Sullivan, a well spoken good negro (a magnificent Joniece Abbott-Pratt) is attacked and arrested by a citizen for letting her daughter use a white bathroom in a store (the colored one was out of order).  Thinking she was out of order, red neck, beer guzzling and comic book reader Gary Thomas Rowe, Jr. (Erik Jensen) does the arresting.  Her four year old girl is taken away and put in a holding cell.

This is the main thrust of this unsettling slice of reality as the sweet talking, womanizing Minister, Reverend James Lawrence (loosely based on Martin Luther King Jr.) chooses this incident to further his cause for freedom for the black community, non-violent action and a way to gather enough people to march in protest.   Pelzie Sullivan (a wonderful Francois Battiste) is torn between helping and not helping his wife and the Reverend in their cause.  He sees nothing but trouble ahead if they agree to exploit the situation and he is so right.

Helping the Reverend is Henry Evans (J. Bernard Calloway in a boisterous Al Sharpton mode with a huge ego) and Bill Rutherford (LeRoy McClain) who has come from Europe to organize the trio which somehow never seem to agree on anything.  They are all beautifully humanized.

The two F.B.I. agents taping conversations from hidden microphones and who hire the red neck Rowe Jr. as an informant regarding the KKK are both menacingly excellent.  Paul Moore (Quincy Dunn-Baker) and Steve Lane (Brian Wallace).

As the very chic, French speaking, put upon wife of Reverend (Tom Cat) Lawrence, Rachael Nicks as Corinne Lawrence gives an explosive performance just short of throttling her husband for his indiscretions that if became public would ruin all that he has worked for.  He can’t help himself.  He has personal weaknesses and gives one of the most outrageous explanations for his dalliances I’ve ever heard.

It is a fine as cast as can be assembled.  Under the wonderfully imaginative and swift direction of Liesl Tommy that keeps the many scenes in motion at all times making the nearly three hour show pass by without a dull or uninspired moment.

The Good Negro is a testament to those people who started the civil rights movement, trying to challenge the laws of segregation.  So many profiles in courage, despite their individual weaknesses where the end justified the means.

Tags:   Francois Battiste · Joniece Abbott-PrattNo Comments.

When I received an e-mail early Sunday morning alerting me to the fact that understudy Celina Carvajal was going on for Leslie Kritzer in Rooms – a rock romance which I had given a Hit Alert! review to ( which I will re-post following these comments) I couldn’t wait to see her in the show. 

I had previously seen Celina in the Off-Broadways musical BEDBUGS!!! at NYMF (outstanding actor award) and a reading of Allies (another rock show) and thought she was a dynamic performer with an excellent voice and personality, so I thought that she would be terrific as Monica in Rooms.

Unfortunately the scenario of the understudy goes on and a new star is born didn’t manifest itself.  Leslie Kritzer undoubtedly owns the role of Monica one hundred percent as evidenced by her recent Outer Critics Nomination for Outstanding Actress in a Musical.   With Celina opposite the still fabulous Doug Kreeger the entire balance of the show was off.  He needs someone as strong if not stronger to supply the momentum of their story.  Whereas Leslie supplies a great deal of comedy to offset the seriousness of Doug’s alcoholic character, Ian, I thought I had stepped into another show devoid of any comic relief whatsoever.  There was also an obvious absence of any chemistry between the two performers.  I say this with great admiration for Celina.  It’s amazing what two excellent performers can do and cannot do with the same role.  I absolutely adored Leslie Kritzer’s powerhouse comic and moving performance and I do not fault the man who upon finding out that Leslie was not performing had his ticket refunded for another time.

In my original review I said “take away one factor and it just wouldn’t be the same”.  It wasn’t.  Rooms a rock romance has also received an Outer Critics Circle nomination for Outstanding New Score and Outstanding New Off-Broadway Musical.

LESLIE KRITZER

Hit alert!  Hit alert!  When was the last time you went to see a new musical on or off- Broadway and came out humming a tune?  Well, at least part of a tune.  Rooms, a new rock or rather “rocky” romance of a musical by Paul Scott Goodman (music, lyrics and book) and Miriam Gordon (book) will have NYC humming and buzzing and cheering till the heather on the hills of Scotland is no longer.

Husband and wife collaborators have written this terrific show about collaborators Monica P. Miller  a “Scottish Jewish Princess” lyricist (one of the funniest songs from the show) who is hell bent on becoming a famous and rich rock star with WIT (whatever it takes) and she means it! – and Ian Wallace a subdued Catholic songwriter who loves his guitar purchased at Woolworth’s more than anything else including celebrity and is hell bent on self destruction with whiskey.  They say opposites attract and in this case it’s kismet.  Doug Kreeger as Ian and Leslie Kritzer as Monica are perfection as the oddest of odd couples with charisma by the bucketful and voices to match.

There seems to be no stopping her- singing “Bring the Future Faster” and “All I Want Is Everything” says it all.  She’s a tornado.  Someone who “could sell a condom to the Pope.”  From the moment she hands Ian the lyric that she needs a new composer to write the music for to be performed at a Bat Mitzvah that week he reluctantly is seduced into their whirlwind professional journey to the top of the charts from Scotland to London to New York (1977-80).  Then it gets personal.  The ups and downs of their tumultuous relationship are told in wonderful song.  The lyrics of which are especially well crafted, character driven, funny, compassionate and moving.   You won’t hear better, anywhere.  The always tuneful music is performed by the onstage band that never overpowers but enhances the two rock birds.

The amazing double tour de force performances have been beautifully directed by Scott Schwartz.  He should be much in demand.  His idea to use a single doubled faced white door, which is on wheels, and moved about the stage to represent the various rooms and locations almost becoming a third character is put to brilliant use and is a technical theatrical treat.

Everything on the stark set is exposed.  The band.  Speakers.  Brick walls.   Lighting equipment.  And the souls of Ian and Monica.  You can’t help but care for them.  Falling in love with them as they fall for each other and routing for a happy ending.  Discovering what makes them tick.  How they write a song together.  “Clean” which condenses Ian’s two years of being off the sauce is simply a great piece of writing.

Rooms is an ensemble piece.  Of course, there are the two marvelous actors and director and writers at work.  But the choreography by Matt Williams, the expert and marvelous lighting by Herrick Goldman, scenic design by Adam Koch, quick change costumes by Alejo Vietti and well tempered sound by Jon Weston complete the ensemble.  Take away one factor and it just wouldn’t be the same. 

This is a musical for all ages.  An unconventional love story that bridges the traditional and the new.   Rooms is well structured, well written, has a charm and wit all its own –

AND it rocks!  See it, WIT (Whatever it takes)!

www.RoomsARockRomance.com New World Stages 340 W. 50^th Street Tickets $10.00 – $69.50

Tags: No Comments.

This should be another great week at Destino!

Great food! Great Music! Great Friends!2009 MAC AWARD Nominee – Male Jazz Vocalist 
Tony Middleton – Vocals
This week – 2 NIGHTS @ Destino
891 First Ave. & 50th St.
212-751-0700


 Tuesday, April 21st – 7:30PM to 10:30PM 

Thursday. April 23rd – 7:30PM to 10:30PM       
www.tonymiddletonmusic.com
http://www.myspace.com/tonymiddletonmusic
http://www.claycoleshow.com/

Tags:   DestinoNo Comments.

Make no mistake.  Michael Blakemore’s brilliant production of Blithe Spirit at the Shubert Theatre is one of the most elegant, funniest and honest representations of the battle of the sexes on Broadway today, refusing to go the route of foul language depending rather on the wit of Noel Coward to get his humorous barbs across.

In the well appointed, pale yellow living room of writer Charles Condomine (a debonair born to wear a tux Rupert Everett) where he resides with his second wife Ruth (an older and seemingly wiser Jayne Atkinson) with their mouse like maid Edith (Susan Louise O’Connor) scurrying about to answer the door to announce their guests Dr. Bradman (Simon Jones) and his wife Mrs. Bradman (Deborah Rush) so that they can all join in a séance held forth by Madame Arcati (Angela Lansbury) who arrives via bicycle looking like some agile exotic owl dressed in gypsy garb you will howl at the shenanigans going on, once Elvira (Christine Ebersole) first wife of Charles has been summoned by Daphne (Madame Arcati’s control – a young child on the other side) and winds up in said well appointed living room where dry martinis are served and only Charles can see and hear her.

It is as Noel Coward wrote an improbable farce.  Improbable, maybe.  But definitely a situation that results in some very unexpected wall to wall laughs.  It is the perfect cast.  In a perfectly structured drawing room comedy.  Perfect comic timing from all involved especially from Angela Lansbury who when she goes into her trance to summon whomever is there to be summoned goes into some incredibly funny Isadora Duncan like dance that has to be seen to be fully appreciated.  With a look, a gesture, a pause she is a total delight.  And she does not like being interrupted, thank you.  No other actor on Broadway gets repeated, spontaneous and such well-deserved entrance and exit applause.

It is riotous to see the disintegration of the calm and level headed Ruth as she grapples with the reality of having her husband’s first wife sharing their, what used to be peaceful, home.  As Elvira, Christine Ebersole, looking lovely in a diaphanous gray chiffon flowing gown (costumes by Martin Pakledinaz) and speaking in some other worldly accent that is neither British nor American but something in between that can be best described as charming is full of gleeful mischief in trying to re-seduce her husband that she hasn’t seen for seven years.  Charles befuddled at first begins to enjoy this new development with all its ramifications as will you.

Blithe Spirit is as good a ghost story as you’ll ever see.  A champagne cocktail of comic complications that will leave you pleasantly spooked.

www.blitheonbroadway.com

Tags:   Angela Lansbury · Christine Ebersole · Jayne Atkinson · Michael Blakemore · Rupert Everett · Susan Louise O'ConnorComments Off on Angela Lansbury at 83 – Lithe spirit stars in Blithe Spirit

All I know is that I had a blast at Rock of Ages which has settled in, perhaps settled in is the wrong term, it’s more like the Brooks Atkinson Theatre has been taken over by a band of debauched and decadent 80’s rockers that want to shake the rafters mightily until audiences rise and cheer for a show that has little plot but lots of entertainment to offer. 

It’s the perfect show for the tourist that speaks minimal English but wants to have a great fun evening of song and dance.  Songs from the eighties from Journey, Bon Jovi, Styx, Reo Speedwagon, Pat Benatar, Foreigner, Twisted Sister, Poison, Asia and Whitesnake.  I can’t remember what I was doing in the 80’s but I wasn’t listening to these songs.  I was totally out of my element, musically speaking, at this show.  Nonetheless, I had a great time.  I just let the entire experience wash over me.  My advice is to do the same and if you have any problems whatsoever, drinks are available during the performance from waiters that run up and down the aisles.

Rock of Ages is a fantastic combination of great casting, fabulous production values (some of the best costumes on Broadway – Gregory Gale and terrific lighting – Jason Lyons), inventive choreography by Kelly Devine and the aforementioned rock score.  It somehow all comes together as an unexpected exciting entertainment with tongue firmly implanted in everyone’s cheek.

It’s silly to even explain the silly story line.  Briefly, guy saves girl.  He wants to be a rock star she a movie star.  Evil developers want to replace the strip with a mall.  A famous rock star comes between Drew and Sherrie and there is a happy ending.  The rest is all rock and fun.  Chris D’Arienzo is responsible for the connective tissue otherwise known as the book.

In case you get lost there is Lonny, the narrator – a terrific Mitchell Jarvis who has lots of interplay with the audience.  Constantine Maroulis is the wannabe rock star who falls for Amy Spangler the wannabe movie star who turns to stripping.  He gives a fabulous, fully developed performance as the shy easy going guy who suddenly becomes electrified with his inner rocker.  It’s a joy to watch him perform.  As his love interest who spurs him on over wine coolers, Amy Spangler is just right with her Farah Fawcett hairdo and wide eyed innocence until her inner passion is let loose.  As Stacee Jaxx, the famous bad boy rocker who tries to interfere with true love, James Carpinello, rises to the occasion beautifully in bizarre costumes and fright wig.

Everyone in the cast gives their all under the skillful direction of Kristin Hanggi who keeps the ball bouncing throughout.  The Act I finale is phenomenal and is only surpassed by the over the top ending – “Don’t Stop Believin”. 

Within all of this mayhem, there is someone wearing a bow tie and suit that everyone should keep their eye on.  Making his Broadway debut, he is going to be a major player in future shows.  His name is Wesley Taylor.  He is Franz, son of the evil developer who only wants to open a chocolate shoppe and who falls in love with the activist Regina (Lauren Molina).   In what could have been an exaggerated portrayal, Wesly Taylor hits all the right notes, has just the right tone, has just the right amount of nuance to make this a breakout performance.  He sings superbly and can rock with the best of them.  And is a strong dancer and expert comedian.  His duet in Act II with Regina almost stops the show, which is no mean feat considering the company he is keeping. 

www.RockofAgesMusical.com

Tags:   Constantine Maroulis · Wesley Taylor3 Comments