Oscar E Moore

Marshall York, Preston Martin, Carly Zien photo credit: Ryan Jensen

The Bats are out in full force in this opera about a young man who has been incarcerated, actually stolen away from his mother at birth with another dead infant substituted so that her evil step sister Louisa’s son (born at the same time) can be the sole heir of the Royal family of Nuremburg.  The young man, whose jailor has grown tired of caring for him for fourteen years releases him to the outside world where he is taken in by a Professor and his mother until he grows tired of caring for Kaspar Hauser.  That’s the set up.

Back to the Bats.  They are the extremely talented, diverse, young resident acting troupe of the Flea Theater where they perform the many characters in this intense and riveting ensemble piece put together by Elizabeth Swados, Erin Courtney and company. 

The libretto (Swados and Courtney) is not as clear as it could be – and somewhat difficult to hear at times.  There is a lot going on.  The repetitive music motifs by Swados are at times exciting but finding a melody that one can latch onto is like looking for the proverbial needle in a haystack.  Although there are some truly beautiful moments, they are fleeting.  The direction (again Swados) is excellent.  She conjures up some amazing stage images – in the manner of Hogarth against the wood and burlap all purpose set by John McDermott.  Costumes (Normandy Sherwood) are quite nice; Lighting (Jeanette Oi-Suk Yew) inspired.  Mimi Quillin as movement director does wonders with the cast in the intimate space.

Poor Kaspar Hauser.  Like a limp, pigeon-toed, drooling puppet, this wild child is tossed out into the cold cruel world and has to learn everything about life (the good and the bad) while all the time searching for his mother.  At first no one wants him.  Then he becomes a sort of Nuremburg Idol.  And once the fickle public has elevated him to idol status they want nothing more than to destroy him.  Based on rumor and gossip.  Sort of what we like to do with our modern day celebrities.  As Kaspar Hauser, Preston Martin turns in a sensitive, touching and totally enthralling performance.

Eventually, the shrill evil step sister gets the manipulative Lord Stanhope to place him with a religiously fanatical couple in another town where Kaspar is once again incarcerated and then thrown out.  Returning to his original keepers and still trying to find his mother, he is told that there is a note from her and to go to the park late at night to retrieve it.  Guess what happens?  Was he murdered or was it suicide the public wonders?  It will forever remain a mystery – one more story left untold.  Or in the case of Swados and company told here in a very satirical, theatrical, Brechtian, striking ensemble piece de resistance.

www.theflea.org   Tickets $25.00

 This World Premiere features 19 terrific members of The Bats: Adrienne Deekman, Jennifer Fouché, Beth Griffith, Nicolas Greco, Joseph Dale Harris, Arlo Hill, Michael Hopewell, Amy Jackson, Erica Livingston, Chad Lindsey, Vella Lovell, Preston Martin, Kelly McCormack, Colin Mew, Jason Najjoum, Eliza Poehlman, Hannah Shankman, Marshall York and Carly Zien.

Tags:   Elizabeth Swados · Erin Courtney · The Bats · The Flea TheaterNo Comments.

With her powerful voice, with her expressive eyes and hands, with her extraordinary range, with her wonderful flair for comedy, with her ability to touch your heart, Natalie Toro took the Metropolitan Room by storm in her new cabaret show which includes five songs from her most recent, very impressive CD – Natalie Toro, of which I wrote –“It’s rare that one listens to a new CD and the voice that you hear captures your attention immediately”.  True.  But to see her in action, in person is a whole new revelation.  When a singer can evoke complete silence in the Metropolitan Room you know how special that singer is.

Natalie Toro’s show is a smorgasbord of show tunes seen in a new light “A Boy Like That” where Natalie sings both Anita and Maria, and in one case a new language, Cabaret (en espanol)  – some pop “Rainy Days and Mondays” – some Sondheim and Streisand “and everything in-between” – power ballads and songs that showcase her softer side.

Natalie is a proud Puerto Rican from the Bronx and her Puerto Rican fiery heritage roars forth whenever called for – which is often.  Her opening number “Here I Am” gets the evening off to a fine start, setting the tone for what follows beautifully.  I’m a sticker for selection and sequence and Natalie gets an A-plus in both departments.

In her second number “A Wink and A Smile” she sings “this is where I belong” – She sure got that right.  Natalie belongs up on that stage.  Any stage.  Singing her heart out and connecting with her audience on many levels.  She talks.  And talks.  And her terrific pianist, John DiPinto cleverly gets her back on track by cuing her next number.  It’s a great running gag.

As her alter ego – Googie – Natalie dons false eyelashes and blonde wig from a make-up case to sing an hysterical “Possibilities” and carries on with some very clever quips.  She becomes an entirely different person.  The immediate transformation is incredible.  And lots of fun.  Switching gears completely she sings “Where Is It Written”.  Not many singers can sing a tune so associated with Streisand and make it their own.  Natalie did.  She inhabits each character, imbuing them with their own individual life.  She lives in the moment and it is a pleasure to watch and listen to.

Her duet with Maureen Moore “Get Happy/Happy Days” – another Streisand classic duet with Judy Garland was simply sensational.  But my favorite was her finale – “Time Heals Everything” – a passionate, powerful and touching rendition. 

To appease the audience’s massive explosion of applause Natalie encored with “Over the Rainbow” When she sang, ” If happy little bluebirds fly beyond the rainbow, why oh why can’t I?” the longing was heartfelt and oh so strong.  Don’t worry Natalie you did more than fly, you soared! 

www.natalietoro.com

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The indelible image of Bradford Louryk as Christine Jorgensen is forever marked in my memory as one of the most fascinating pieces of acting I have ever witnessed.  Perfectly lip-syncing to the original 51 minute, LP recorded 1958 interview, with tough questions being put forth on what appears to be a black and white kinescope, on a period television set, by Mr. Russell (an equally impressive Rob Grace), Bradford Louryk word by word, pause by pause and inflection by inflection summons up the very colorful first ever American transsexual.  It is astonishing. 

Not only performance wise but in the content delivered by the actual Christine Jorgensen.  She is honest, outspoken, witty, smart, philosophical and most importantly courageous.  This was the 1950’s and such things were not discussed let alone written about.  Christine Jorgensen made headlines.  She became famous and rich by trading in her GI garb for glamorous evening gowns, performing in night clubs with her trademark song “Welcome to my World”.

Striking in its simplicity, the recording studio set by Wilson Chin is without fault.  As the television set comes to life with vintage newspaper headlines and photos of little George Jorgensen with his big ears and footage of her post operative arrival at Idlewild Airport in 1953 as the beautiful, blonde Christine Jorgensen where she was greeted “by the largest throng of photographers, reporters and news crews ever gathered in one spot to date” we are at once transfixed and transported back in time.

When Christine arrives in the studio with her fur stole and ultra chic outfit by Mary Ping looking a bit like Joan Crawford and Marlene Dietrich, with her perfectly painted nails and perfectly coifed hairdo (Jason P. Hayes) we are in the presence of someone very special.  Then she speaks.  It is the actual voice of Christine.  Bradford is lip-syncing.  The concentration and focus is phenomenal.  Even to voice overlaps with her interviewer.  Even to his nails tapping on the arm of her director’s seat.  Every nuance is there.  His facial expressions, his animated and expressive hands are the only movements used.  He is poised and confident, compassionate and charming as Christine.  It’s a mesmerizing performance sensitively directed by Josh Hecht.

We learn the reasons why he did what he felt he had to do in order not to lead half of a life.  That he had to become a she.  How he had his ears fixed along with other parts of his body.  How  talking about it might help others dealing with similar feelings.  How she managed with her supportive family and dealt with the odd questions raised by her nieces.  The curiosity seekers.  The hateful letters.  The hormones.

If she hadn’t had the surgery?  She would have gone on existing, but “I would hardly have gone on living” and we wouldn’t be privy to one of the most illuminating, riveting theatrical events that simply has to be seen to be believed.  At The Lion Theatre.  Tickets $48.00  www.Ticketcentral.com   www.christinereveals.com

Tags:   Bradford Louryk · Josh Hecht · The Lion TheatreNo Comments.

Whether it was the late hour (9:45) for his new show, Feelin’ Good – which marked his debut at the Metropolitan Room, or the fact that he got stuck in traffic or just plain nervousness, Tony Middleton, entering from the audience sang a very touch and go, tentative rendition of “Stardust”, his opening number.  But by evening’s end he had come into his own and was on fire – the transformation was incredible.  He truly is one hell of a performer.

Tony Middleton went from restrained- “Cabin in the Sky” to warming up “When It’s Sleepy Time Down South” to finding his groove “I Got Love” to turning up the heat “Georgia on My Mind” to unrestrained passion “Lady” to up to speed  “Route 66” to finally relaxing and he’s getting’ hot now! “You Turned Your Back on Me”.  What an amazing musical journey he provided for all his fans.

The latter part of the show which included a beautiful “Yesterday”- an up beat and let it loose version of “New York, New York” and then a fabulous “Wonderful World” was best.  Tony sang with a warmth and a passion and sensitivity that showed off his smooth, lower sultry range, his belting top notes and his easy going, velvety, thick as molasses tones.

It was a return to the Golden Days of Cabaret.  And his back up trio is one of the best I have ever heard.  A classic Billy Kaye on drums, Rob Adkins on bass and the exceptionally talented, twenty five year old Jesse Elder on piano.  When you think that almost fifty years separate him from Tony it’s hard to believe.  They are so compatible and bring out the best of each other.  His arrangements and playing are sensational. 

As an encore Tony sang “All the Things You Are” a lovely ballad filled with love and his most famous hit “Church Bells May Ring” that he did with the Willows.  Most of his songs are about love.  He loves singing them and it shows.   Looking forward to his next gig.

 www.tonymiddletonmusic.com

Tags:   Billy Kaye · Jesse Elder · Metropolitan Room · Rod Adkins · Tony Middleton1 Comment

How far is one willing to go to show some of the horrors of human vices in the hope of bringing about some improvement?  Angry Sheila Callaghan has gone about as far as she can go with her new theatrical outing – That Pretty Pretty; or, The Rape Play which has just opened at the Rattlestick Playwrights Theater where girls are behaving like boys behaving badly.  Very badly.  Will this enlighten those who act this way?  Will they change their ways?  I think not.  But I hope so.

The acting by the cast of five in this burlesque of inhuman behavior is very good.  Excellent in fact.  The content, however, left me cold as a witch’s tit – the metaphor is apt, all things considered.  How can anyone warm up to characters so vile?  Dudes who act like idiots, trying to get into the pants of any and all women and radical feminist women who retaliate by doing much of the same with men – going as far as shooting them dead and then posing for pictures with the body to be used on a blog.  That’s the point, I suppose.  Or does she do herself a disservice by glorifying these characters?

Owen, a marvelously versatile Greg Keller is a would be screenwriter pitching his ideas to his best friend Rodney (The Rod- hunky, right on target Joseph Gomez) a soldier on leave from Iraq with one thing on his mind – rape!  In a hotel room which is equally versatile thanks to designer Narelle Sissons, Owen plots as The Rod plods.  Two ex-strippers are the ultra violent, almost comic book like heroines out for blood.  As Agnes, Lisa Joyce brings to mind Kelly Clarkson gone haywire and as Valerie, Danielle Slavick, Vampira on speed.

A delightful and fit Annie McNamara has the honor of portraying exercise guru – the dignified and much abused (but she can take it on the chin) Ms. Jane Fonda who also appears on tape on the small computer screen in the hotel room.   

All this is incorporated into a non linear, over the top, over indulgent story that includes hit fests, women wrestling in Jell-O (stay clear of the first row), a feather flying pillow fight, multiple rapes and killings, a very boring dinner sequence that could be pared way down, a grenade placed up a vagina and then exploded, and last but not least the peeing on cue on the bed sheets by both Agnes and The Rod.  At different times of course.

Kip Fagan does his best to clarify as director but it’s a hard row to hoe.  Jessica Pabst’s costumes help tremendously to define the various nuances of the characters.  Nuances?  I meant bold strokes.  Except for the ending where a calmed down Owen is being interviewed after the success of his violent, female debasing (something his mother could be proud of) cinematic masterpiece.  Owen is fielding questions that we do not hear from an imaginary audience while we listen to his very funny responses which enable us to understand what the questions are.  It’s a beautiful piece of writing, acting and direction.  The final question leaves Owen wordless and uncomfortable and uneasy and quite emotional.  Perhaps that’s what That Pretty Pretty; or The Rape Play is intended to do to its audiences.  You’ll have to decide for yourself.

www.rattlestick.org   Tickets $40.00  www.smarttix.com

Tags:   Rattlestick Playwrights TheaterNo Comments.

Identical twins Nova and Lana Kane

The Fabulous Kane Sisters’ agent, Shifty Levine, recently sent out a request to all media to re-run any old articles that they may have with the fabulous sisters.  He hopes to create a media sensation before they open in their new biblical review, “Lillith – The Real First Lady.”  In the new extravaganza Lana Kane plays Adam’s seductive, first spouse Lillith and Nova Kane plays the young and virginal Eve. The roles of Adam and “The Snake” are played  by the sister’s newest, scantily clad, muscular discoveries, Titus Balzac and Holden Forwood, respectively. The show is scheduled to begin try-outs, in the near future, in lovely Bogota, New Jersey and is being produced by Whacker’s Ladies Foundations. Keep your eyes open for the exact times and dates.  It’s sure to be the hit of the theatrical season!

And so, I am running, once again, my interview with Lana Kane.

The infamous twin sisters, Lana and Nova, have become so popular that it is extremely difficult to snag an interview with them. But I persevered and was indeed fortunate to have the more outspoken Lana answer my queries…

Lana:  My sister Nova regrets she was unable to do this interview with me today. She’s having her weekly colonoscopy.

OEM: Who or what was your greatest influence?

Lana: Johnny Walker

OEM: Greatest fear?

Lana: Losing my sister… she wanders away a lot.

OEM: Greatest wish?

Lana: To meet that ice cream entrepreneur, Mr. Softee … I think I could help him.

OEM: Greatest insecurity?

Lana: My body…. I don’t want to set an unattainable standard for young girls.

OEM: What was your favorite children’s story?

Lana: Valley of the Dolls

OEM: If you could change anything about yourself what would that be?

Lana: You’ve met me, Oscar, so you know what a silly question that is.

OEM: In a word define Success

Lana: Applause

OEM: In a word define Happiness

Lana: Men

OEM: What was your worst audition? For whom? For what? Did you get the part?

Lana: The audition was for film of Cleopatra. I was auditioning for Cecil B. DeMille. The role was Cleopatra … the queen of denial. I didn’t get it. They gave the role to that hunchback, Claudette Colbert because she was willing to show her tits. I did however get to play Cleopatra a couple of years later in “You Bet Your Asp – An All Egyptian Review”

OEM: What was your biggest break?

Lana: A hairline fracture

OEM: Ultimate destination?

Lana: Uranus

OEM: Favorite food?

Lana: Beefcake

OEM: Lucky number?

Lana: 69

OEM: Lucky day?

Lana: Every morning that I wake up

OEM: Lucky charm?

Lana: My rhinestone studded handcuffs

OEM: What was the first show you ever saw?

Lana: My father getting out of the bathtub – he didn’t realize I was in the hall.

OEM: If you had a billion dollars what would you do with it?

Lana: I’d buy jewelry, wouldn’t you?

OEM: What’s the one question you are really tired being asked?

Lana: How do people tell you and your sister Nova apart?

Thank you Lana. Hope Nova feels better.

Photo credit: Robert Irwin

Here is the direct link to my original review

http://talkentertainment.com/c-5192-Fringe-Festival-NYC-The-Fabulous-Kane-Sisters-in-Box-Office-Poison.aspx

Tags:   Bill Roulet · Marc GellerComments Off on The Fabulous Kane Sisters UPDATE!

Tony Middleton makes his Metropolitan Room debut with the Jesse Elder Trio

Wednesday, February 25th at 9:45 PM

$15.00 Cover – 2 Beverage Minimum

Tony Middleton has appeared in Paris, on the Broadway stage – “Cabin in the Sky” and “Purlie” and numerous times on the PBS “Doo Wop” specials with the Willows, for which he is best known for his mega hit “Church Bells May Ring”.

www.tonymiddletonmusic.com  

Tony promises to entertain you with his warmth and charm, singing many standards and special song surprises with a voice that has been compared to Joe Williams, Arthur Prysock and Lou Rauls.  Make your reservations now.

www.metropolitanroom.com

Tags:   Metropolitan Room · The Willows · Tony MiddletonNo Comments.

AMERICAN RAPTURE Loneliness Off B’way Style

Loneliness and failure to communicate.  Lost love.  Unrequited love.  Violence.  Not much fun.  And so it goes with American Rapture which has just opened at the Beckett Theatre presented by the Oberon Theatre Ensemble. 

Under the uneven direction of Alex Dinelaris who has written six short plays – actually vignettes – depicting various people in various stages of loneliness and discomfort alongside Hello Out There by William Saroyan where two outcasts find themselves falling for each other in a small Texas jail we witness in a very odd way their various stories and the harsh realities of life as seen through the eyes of these two playwrights.   Truth and justice or the lack there-of are prevailing themes.

William Saroyan didn’t think much of Hello Out There.  It’s a strange piece that brought us Al Pacino in his first Broadway stage appearance in 1963.  Here we have a very good Stewart Walker as the wayward gambler incarcerated for a supposed rape and the jail house cook skillfully played by Dianna Martin with a tenderness and a longing to reach out to even an alleged criminal for some affection.   Two beautifully written and acted character studies.

Spin Cycle deals with a TV host (Donovan Patton) meeting a stranger (Brad Fryman) on a train platform and being shot by him.  The stranger is arrested and coerced into signing a confession by an abusive cop (William Laney).  A famous attorney (Laura Siner) takes on his case.  She is the same lawyer that had been interviewed by said TV host and walked out on him.  I won’t spoil the plot.  This is by far the most interesting of the pieces.  The dialogue crackles and the way the short play is structured is very clever.  All acting is superb.

Blind Date is short and hysterical.  It’s subtitled “Voices” – which says it all. Two people on a blind date (Donovan Patton and Jane Cortney) have two other actors alongside voicing their actual thoughts as opposed to what they are actually saying (Max Darwin and Christine Verleny).  Ditto for the Waiter (Brad Fryman and William Laney).  Very clever.  Very funny.  And just the right length.

Rain is subtitled “Ghosts”.  Amanda (Jane Cortney) and Fritz (Max Darwin) are attending a ten year reunion where Sean (Donovan Patton) is a no show until he does show as a ghost – a memory of lost love.

Juggling Jacqueline subtitled “Memories” has Jack, Jacqueline’s son (Vince Gatton) with his therapist (Laura Siner) trying to deal with the memories of his dead alcoholic abusive mother (Christine Verleny) who he learned to juggle for.  Father (Brad Fryman) makes a sight gag appearance.

In a solo piece Forgiven Jane Cortney confesses – at length – to a priest who she thinks is gay and warns him to stay away from young boys.  She’s very compelling.

As mentioned, American Rapture is an odd evening of theatre.  Interesting and never boring.  Bittersweet. Some pleasant, unexpected things happen but not enough to make it a totally satisfying evening. 

www.OberonTheatre.org

Tags:   Alex Dinelaris · Oberon Theatre · William SaroyanNo Comments.

Produced and directed by David Staller, every sketch, full length and one-act play by George Bernard Shaw will be performed on a Monday at The Players (once the private residence of Edwin Booth) 16 Gramercy Park South as a concert reading with a nominal admission charge of $20: available after the first of every month.

On Monday, February 16^th I attended “Buoyant Billions” – a comedy of no manners with an extremely talented cast of fourteen.  It very much mirrored today’s troubled society and was lots of fun in a wry sort of way.

NEXT MONTH!  Monday March 16th – Saint Patrick’s Eve will be their first ever benefit gala with “O’Flaherty V.C.” starring Marian Seldes, Jane Powell, Michael Cerveris, Brian Murray, George S. Irving and KT Sullivan.  In addition, a down home Irish dinner of corned- beef & cabbage, lamb stew, pudding and plenty of stout and ale will be served.

TICKETS $75.00 212 352 3101 or www.projectshaw.com

info@gingoldgroup.com

Tags:   David Staller · Hermione Gingold · Project Shaw · The Players1 Comment

Natalie Toro who has made a name for herself on Broadway in “A Tale of Two Cities” and Off-B’way in “Zombie Prom” will be making her cabaret debut at the Metropolitan Room 34 West 22 Street 212 206 0440. www.metropolitanroom.com  

Saturday February 21 and Friday February 27th.  Both shows at 9:45.

Make your reservations now to hear this exciting performer who also has a new CD – aptly titled NATALIE TORO – and I quote ” It’s rare that one listens to a new CD and the voice that you hear captures your attention immediately. ”  Natalie Toro does.  I can’t wait to see her new cabaret show. 

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