This review of the CD entitled "Midnight In The Garden Of Good And Evil" was written by Marle Becker and appeared in Volume I, Issue 4 (February, 1998) of Applause! Applause! published by Dr. Thomas Robert Stevens.
"Midnight In The Garden Of Good And Evil" - Various Artists
Music From And Inspired By The Motion Picture
(Malpaso/Warner Bros. Records - 9 46829-2)
Moviegoers who pay careful attention to detail will be among the first to extol the virtues of a powerful soundtrack and the everlasting impact it has on the finished product. Right up there for substantial quality with "Sleepless In Seattle" and Clint Eastwood's "The Bridges Of Madison County" a few years back, and more recently, "Titanic" (the movie!) and "L.A. Confidential" (reviewed in Applause! Applause! Volume I, Issue 2), is Eastwood's outstanding compilation for the movie version of John Berendt's best-selling book, "Midnight In The Garden Of Good And Evil". This time around Mr. Eastwood has put together a ripsnorting greeting card of distinct musical couriers who bring new life to the always surprising songs of Johnny Mercer, and the fruit of his labor turns out to be one of the most tantalizing and optimistic compilations you'll ever slip in to your CD player.
You can search far and wide, but when it comes to ability and know-how, you won't find a more accomplished collective anywhere: a warm blanket of unforgettable standards ("Autumn Leaves", "Skylark"), with remarkable performers (Rosemary Clooney, Cassandra Wilson), and exemplary musicians (pianists Alan Broadbent and Brad Mehldau, bassist Christian McBride, and guitarist Kevin Eubanks); all capable of shining individually, absolutely intoxicating interacting with each other! Could one or two be singled out as favorites? Well, there's Clooney's awesome "Fools Rush In" or, better yet, Kevin Mahogany's haunting "Laura", with outstanding support from Michael Brecker on tenor sax. Or k.d. Lang's meticulous "Skylark" (even though her phrasing sounds an awful lot like Bette Midler's in the '70's!), or how about Wilson's absorbing "Days Of Wine And Roses", both assisted and underscored dramatically by the saxophone of Joshua Redman. And then there's.....oh, hell, it just goes on and on! Add Paula Cole, Alison Kraus, Joe Williams, Tony Bennett, Diana Krall, etc., etc.. Get the picture? Even a delightful and perfectly charming cover of Mercer's "Old Black Magic" by the non-singing star of the movie, Kevin Spacey, works like a charm. This soundtrack is so good, one can almost - just barely, mind you - forgive Eastwood's stab at "Accentuate The Positive" or Alison Eastwood's "Come Rain Or Come Shine"; daughter, however, comes across much better than daddy.
The transition of "Midnight In The Garden Of Good And Evil" to the silver screen just misses and, what might have been a great movie, merely passes for mediocre. You might simply want to skip the movie, purchase the book (now in it's 185th astounding week on the N.Y. Times Best Seller list!) and the soundtrack, and enjoy them simultaneously in the privacy of your own little garden. With sterling performances almost all the way around, and the creme de la creme of the jazz world on one amazing CD, the soundtrack to "Midnight In The Garden Of Good And Evil" is the perfect valentine for that extra special someone in your life, besides it's not fattening and you won't have to toss it out in two weeks because it died! Simply put, soundtracks literally don't get any better than this. If you've set some strict standards this year for spending money wisely on only the best, here's your chance to indulge yourself in a big way. And, hey, Clint, don't sing anymore - just continue to put out these great CD's!
Sunday, December 11, 2011
Applause! Applause! Review of Julie Budd's CD "Pure Imagination" by Marle Becker
This review of Julie Budd's CD entitled "Pure Imagination" was written by Marle Becker and appeared in Volume I, Issue 4 (February, 1998) of Applause! Applause! published by Dr. Thomas Robert Stevens.
"Pure Imagination" - Julie Budd
(Touchwood/After 9 Records, TWCD-2014)
It's been far too long between albums for veteran show-stopper Julie Budd, but her new CD on Touchwood brings Budd right back into the recording limelight where she belongs. While Budd's always found an effective way to flatter a good song, or any song for that matter, she appears to be singing a different tune these days. Much more passionate about her material and noticeably more connected to the heart of a song than she's ever been before, her message is now accurately focused and clearly heartfelt. Hence, a medley of "I've Got A Crush On You" and "My Romance" is not only thrilling vocally and technically, but emotionally as well, yet at the same time, "Blame It On My Youth" conveys an unlucky feeling of love gone awry. There's a swinging duet with Billy Stritch and "Where Am I Going" from "Sweet Charity" serves as a wake-up call to Broadway big shots to straighten up and take heed. Arrangements by Don Sebesky, Pete Moore, and Herb Bernstein are stimulating and right on target for Budd's crystal clear voice.
Julie Budd's "Pure Imagination" is pure pleasure. Pick this one up, take it home, and see why this Budd's for you!
"Pure Imagination" - Julie Budd
(Touchwood/After 9 Records, TWCD-2014)
It's been far too long between albums for veteran show-stopper Julie Budd, but her new CD on Touchwood brings Budd right back into the recording limelight where she belongs. While Budd's always found an effective way to flatter a good song, or any song for that matter, she appears to be singing a different tune these days. Much more passionate about her material and noticeably more connected to the heart of a song than she's ever been before, her message is now accurately focused and clearly heartfelt. Hence, a medley of "I've Got A Crush On You" and "My Romance" is not only thrilling vocally and technically, but emotionally as well, yet at the same time, "Blame It On My Youth" conveys an unlucky feeling of love gone awry. There's a swinging duet with Billy Stritch and "Where Am I Going" from "Sweet Charity" serves as a wake-up call to Broadway big shots to straighten up and take heed. Arrangements by Don Sebesky, Pete Moore, and Herb Bernstein are stimulating and right on target for Budd's crystal clear voice.
Julie Budd's "Pure Imagination" is pure pleasure. Pick this one up, take it home, and see why this Budd's for you!
Applause! Applause! Review of Marieann Meringolo's CD "Hold Me Close" by Marle Becker
This review of Marieann Meringolo's CD entitled "Hold Me Close" was written by Marle Becker and appeared in Volume I, Issue 4 (February, 1998) of Applause! Applause! published by Dr. Thomas Robert Stevens.
"Hold Me Close" - Marieann Meringolo
(Golden Chords Records, GCR-1001)
Solid vocals from singer Marieann Meringolo and expert musical support from pianist/arranger Daryl Kojak combine to make "Hold Me Close" one of the more exciting CD's to come out of the cabaret crowd in some time. From beginning to end - from a sizzling Latin-tinged "People Will Say We're In Love" to an inspired and effective "Threads of Time" (written by Kojak and Margaret Emory) - Meringolo's long-awaited debut CD turns out to be a well-balanced showcase for the vibrant cabaret diva.
Among the 13 cuts are a breathtaking "All The Things You Are", an emotional and delicate cover of "Chances Are" (a hold-over from her stunning cabaret tribute to Johnny Mathis a few years back), a bittersweet "My Funny Valentine", and a swinging, jazzy interpretation of "That's All", the latter two with some mighty fine finger work by Mr. Kojak. Buddy Kaye and William Reid's "I'll Close My Eyes" receives one of the most convincing and appreciative performances of this classic you'll ever hear. Meringolo's translation is riveting, her phrasing intimate and thought-provoking; Kojak's contribution, sensitive and engaging, glistens. On this standout, they come together and present a performance that is accomplished and controlled, well-focused, and musically satisfying. All the more reason why "Hold Me Close" is one of the 10 best CD's by a cabaret kid in 1997. If things click for Meringolo, and they should, she just may end up with an awfully nice recording career.
"Hold Me Close" - Marieann Meringolo
(Golden Chords Records, GCR-1001)
Solid vocals from singer Marieann Meringolo and expert musical support from pianist/arranger Daryl Kojak combine to make "Hold Me Close" one of the more exciting CD's to come out of the cabaret crowd in some time. From beginning to end - from a sizzling Latin-tinged "People Will Say We're In Love" to an inspired and effective "Threads of Time" (written by Kojak and Margaret Emory) - Meringolo's long-awaited debut CD turns out to be a well-balanced showcase for the vibrant cabaret diva.
Among the 13 cuts are a breathtaking "All The Things You Are", an emotional and delicate cover of "Chances Are" (a hold-over from her stunning cabaret tribute to Johnny Mathis a few years back), a bittersweet "My Funny Valentine", and a swinging, jazzy interpretation of "That's All", the latter two with some mighty fine finger work by Mr. Kojak. Buddy Kaye and William Reid's "I'll Close My Eyes" receives one of the most convincing and appreciative performances of this classic you'll ever hear. Meringolo's translation is riveting, her phrasing intimate and thought-provoking; Kojak's contribution, sensitive and engaging, glistens. On this standout, they come together and present a performance that is accomplished and controlled, well-focused, and musically satisfying. All the more reason why "Hold Me Close" is one of the 10 best CD's by a cabaret kid in 1997. If things click for Meringolo, and they should, she just may end up with an awfully nice recording career.
Applause! Applause! Review of Joy Bogen's "Weill's Women In Song Plus..." by Andrew Martin
This review of Joy Bogen in a show entitled "Weill's Women In Song Plus..." at the D Lounge in Hotel Delmonico was written by Andrew Martin and appeared in Volume I, Issue 4 (February, 1998) of Applause! Applause! published by Dr. Thomas Robert Stevens.
"Weill's Women In Song Plus..." - Joy Bogen
D Lounge (Hotel Delmonico; 502 Park Avenue, NYC)
Reviewed 1/24/98 at 9:30 p.m.
Translated from the French, boite means box. In cabaret phraseology, the term boite actually refers to a boite de bijou, a box meant to showcase gems; a golden chanteuse on a small stage in the middle of an opulent setting. A new boite in the truest sense of the word has opened at the legendary Hotel Delmonico, called the D Lounge. This sleekly designed, ultramodern space, gilded to the hilt in soothing blues and gold accents, will be showcasing some of cabaret's brightest lights within the next few weeks, under the auspices of booker Paul Katz and press dynamo Bryan Utman. Among these are Hanson Award winner Mary Foster Conklin, Rita Ellis Hammer, Barbara Lea, Paul Katz's own tribute to Peter Allen, and the Manhattan Transfer's own Janis Siegel. Your humble reporter was invited to catch the club's first-ever act, newcomer Joy Bogen, in "Weill's Women In Song Plus...", as homage to composer Kurt Weill, in preparation of her return engagement on February 20th. Not since the work of Angelina Reaux in the mid-80's has cabaret heard so glorious a soprano, who is perfectly matched with such classic numbers from the Weill catalog as a chilling "Pirate Jenny", as well as a short-but-stunning unpublished song entitled "Letter To Davy Crockett" (featuring lyrics by Charles Allen). The fact that Bogen was the sole student of the formidable Lotte Lenya (yes, Mrs. Kurt Weill) only serves to heighten the songstress's splendiferous gift for interpreting this composer.
Not that the evening doesn't have a few problems. More than anything else, Bogen's sensational voice is at times so striking and awe-inspiring as to completely and utterly eclipse her acting abilities, which any devotee of the medium knows is as equally important in cabaret as possessing a voice -- indeed, many a favorite chanteuse on the New York cabaret scene are actresses first and vocalists second. A spoken opening in which Bogen portrays the Venus DeMilo before launching into a delicious "I'm A Stranger Here Myself" (lyrics here by Ogden Nash), is, unfortunately, just plain strange. And finally, one should remember an edict by the late Sylvia Syms to all cabaret singers that an essential aspect of the medium is to be able to convey sadness through song without benefit of actual tears. It seems she was right, given Ms. Bogen's achingly and unnecessarily wet reading of Weill's French ditty, "Je ne t'aime pas". On the flip side of this, however, and right on the heels of the song, is her lead-in to "Mon Dieu", prefaced by the news that Bogen's own father perished in the same plane crash that killed French prizefighter Marcel Cerdan, for whom Edith Piaf held her greatest love and affection.
Other highlights include a well-executed "Corcovado" by Jobim, and a duet with accompanist Paul Katz on "Anything You Can Do" which is nothing short of adorable; here, Bogen comes off much like an operatic Gracie Allen. (In fact, it makes one fervently wish that she'd try a whole host of comic material since the abilities for same are there in abundance).
Joy Bogen is wholeheartedly worth catching at the D Lounge on February 20th, but bear in mind that this act makes for a slightly bumpy ride on the cabaret train. Yet, in all fairness, the bumps are few and quite far between. In any case, cabaret has a new bonafide hotspot with the D Lounge, and we can only wish the owners and operators a hearty "bonne chance" with the running of New York's newest boite.
"Weill's Women In Song Plus..." - Joy Bogen
D Lounge (Hotel Delmonico; 502 Park Avenue, NYC)
Reviewed 1/24/98 at 9:30 p.m.
Translated from the French, boite means box. In cabaret phraseology, the term boite actually refers to a boite de bijou, a box meant to showcase gems; a golden chanteuse on a small stage in the middle of an opulent setting. A new boite in the truest sense of the word has opened at the legendary Hotel Delmonico, called the D Lounge. This sleekly designed, ultramodern space, gilded to the hilt in soothing blues and gold accents, will be showcasing some of cabaret's brightest lights within the next few weeks, under the auspices of booker Paul Katz and press dynamo Bryan Utman. Among these are Hanson Award winner Mary Foster Conklin, Rita Ellis Hammer, Barbara Lea, Paul Katz's own tribute to Peter Allen, and the Manhattan Transfer's own Janis Siegel. Your humble reporter was invited to catch the club's first-ever act, newcomer Joy Bogen, in "Weill's Women In Song Plus...", as homage to composer Kurt Weill, in preparation of her return engagement on February 20th. Not since the work of Angelina Reaux in the mid-80's has cabaret heard so glorious a soprano, who is perfectly matched with such classic numbers from the Weill catalog as a chilling "Pirate Jenny", as well as a short-but-stunning unpublished song entitled "Letter To Davy Crockett" (featuring lyrics by Charles Allen). The fact that Bogen was the sole student of the formidable Lotte Lenya (yes, Mrs. Kurt Weill) only serves to heighten the songstress's splendiferous gift for interpreting this composer.
Not that the evening doesn't have a few problems. More than anything else, Bogen's sensational voice is at times so striking and awe-inspiring as to completely and utterly eclipse her acting abilities, which any devotee of the medium knows is as equally important in cabaret as possessing a voice -- indeed, many a favorite chanteuse on the New York cabaret scene are actresses first and vocalists second. A spoken opening in which Bogen portrays the Venus DeMilo before launching into a delicious "I'm A Stranger Here Myself" (lyrics here by Ogden Nash), is, unfortunately, just plain strange. And finally, one should remember an edict by the late Sylvia Syms to all cabaret singers that an essential aspect of the medium is to be able to convey sadness through song without benefit of actual tears. It seems she was right, given Ms. Bogen's achingly and unnecessarily wet reading of Weill's French ditty, "Je ne t'aime pas". On the flip side of this, however, and right on the heels of the song, is her lead-in to "Mon Dieu", prefaced by the news that Bogen's own father perished in the same plane crash that killed French prizefighter Marcel Cerdan, for whom Edith Piaf held her greatest love and affection.
Other highlights include a well-executed "Corcovado" by Jobim, and a duet with accompanist Paul Katz on "Anything You Can Do" which is nothing short of adorable; here, Bogen comes off much like an operatic Gracie Allen. (In fact, it makes one fervently wish that she'd try a whole host of comic material since the abilities for same are there in abundance).
Joy Bogen is wholeheartedly worth catching at the D Lounge on February 20th, but bear in mind that this act makes for a slightly bumpy ride on the cabaret train. Yet, in all fairness, the bumps are few and quite far between. In any case, cabaret has a new bonafide hotspot with the D Lounge, and we can only wish the owners and operators a hearty "bonne chance" with the running of New York's newest boite.
Applause! Applause! Review of Lewis Black's "Black Humor" by Rita Sola
This review of Lewis Black in a show entitled "Black Humor" at the Cherry Lane Theatre was written by Rita Sola and appeared in Volume I, Issue 4 (February, 1998) of Applause! Applause! published by Dr. Thomas Robert Stevens.
"Black Humor" - Lewis Black
Cherry Lane Theatre (38 Commerce Street, NYC)
Reviewed 1/29/98 at 8:00 p.m.
"If it weren't for my horse, I wouldn't have spent that year in college." What can this chance remark overheard by Lewis Black and related in his one-man show possibly mean? "Don't think about it for more than two minutes", he advises us, "or the blood will gush out of our noses." With this, he encapsulates the absurdities of life that assault our senses every day. Humorists from Aristophanes to Samuel Johnson to Mark Twain to Lenny Bruce have done this for centuries but with a facade of bemusement. Even Bruce, our most angst-ridden comedian, seemed to be laughing with us. But Lewis Black, currently at the Cherry Lane Theatre, is consumed with rage. Which raises an interesting question: How can a man apparently screaming in pain be screamingly funny? Perhaps we shouldn't think about it. But he is.
Black's show, entitled appropriately "Black Humor", is strong on the political: "In my lifetime," he says, "we have gone from Kennedy to Clinton and from Eisenhower to Bush. By the year 2012, we'll be electing a plant." Apart from the obvious remarks about Clinton, ("I thought we were electing a social president. I didn't realize how social.") he reminds us that one of the president's boasts when he first ran in 1992 was that he had raised Arkansas' standing in education from 50th place to 49th. "Wouldn't you have kept that a secret?" he asks. Black then suggests that Arkansas achieved that remarkable progress by shooting some of the dumber kids. Neither do cultural foibles escape his attention. He regrets the accidental death of Sonny Bono, but was appalled to find the funeral covered in its entirety on CNN. Black complains that even Hubert Humphrey's funeral did not receive that much coverage. So he called some friends and discovered they were also watching the funeral and it was being carried by two other channels as well. His conclusion: It was really The Cher Show featuring the funeral of Sonny Bono.
Black has little good to say about our great cities. In New York, he points out, the word fuck is a comma. And terrorism is redundant. Why do foreigners have to come here to do the job we do best? As for Las Vegas, our very own Gommorah, see it, he says, before it turns into salt. One of Black's funniest bits is his description of a Las Vegas casino at Christmas. There's nothing quite like the comments of gamblers accompanied by Christmas carols: "God damn it, Jesus Christ, Holy Fuck, a-rum-pa-tum-tum." And, of course, La-La Land is not spared. "The next time you feel like going to Los Angeles, sharpen a pencil and stick it into your eye instead." Black tells of how some years ago he was seen at Catch A Rising Star by a writer, a producer and a director from Hollywood. They offered him a part on a pilot for a sit-com and a short while later, he was sent a script. His part was that of a character named Lewis and every one of this character's lines was straight out of his own routine at Catch. This was all right with him, but then he was told he would have to fly out to L.A. because CBS wanted to audition him. Lewis Black was required to audition for the part of Lewis Black. P.S. Another actor got the part.
The absurdities he points out are funny, but as you think about them, you understand his rage: A woman's purse that costs $12,000. What could it be made of, he wonders. A rhinoceros' scrotum? Then there's the tie that costs $275. "There's an economy going on here and I'm not a part of it," he says. And worst of all are TV weathermen who earn $1.5 million dollars a year just to say "It's going to be a fine day. Back to you." If it is true that laughter is the best medicine, Lewis Black is certainly one of our best medicine men. None of his humor is sick - it is the society we live in that is. But perhaps it's best not to dwell on that too long...or the blood will gush out of our noses.
"Black Humor" - Lewis Black
Cherry Lane Theatre (38 Commerce Street, NYC)
Reviewed 1/29/98 at 8:00 p.m.
"If it weren't for my horse, I wouldn't have spent that year in college." What can this chance remark overheard by Lewis Black and related in his one-man show possibly mean? "Don't think about it for more than two minutes", he advises us, "or the blood will gush out of our noses." With this, he encapsulates the absurdities of life that assault our senses every day. Humorists from Aristophanes to Samuel Johnson to Mark Twain to Lenny Bruce have done this for centuries but with a facade of bemusement. Even Bruce, our most angst-ridden comedian, seemed to be laughing with us. But Lewis Black, currently at the Cherry Lane Theatre, is consumed with rage. Which raises an interesting question: How can a man apparently screaming in pain be screamingly funny? Perhaps we shouldn't think about it. But he is.
Black's show, entitled appropriately "Black Humor", is strong on the political: "In my lifetime," he says, "we have gone from Kennedy to Clinton and from Eisenhower to Bush. By the year 2012, we'll be electing a plant." Apart from the obvious remarks about Clinton, ("I thought we were electing a social president. I didn't realize how social.") he reminds us that one of the president's boasts when he first ran in 1992 was that he had raised Arkansas' standing in education from 50th place to 49th. "Wouldn't you have kept that a secret?" he asks. Black then suggests that Arkansas achieved that remarkable progress by shooting some of the dumber kids. Neither do cultural foibles escape his attention. He regrets the accidental death of Sonny Bono, but was appalled to find the funeral covered in its entirety on CNN. Black complains that even Hubert Humphrey's funeral did not receive that much coverage. So he called some friends and discovered they were also watching the funeral and it was being carried by two other channels as well. His conclusion: It was really The Cher Show featuring the funeral of Sonny Bono.
Black has little good to say about our great cities. In New York, he points out, the word fuck is a comma. And terrorism is redundant. Why do foreigners have to come here to do the job we do best? As for Las Vegas, our very own Gommorah, see it, he says, before it turns into salt. One of Black's funniest bits is his description of a Las Vegas casino at Christmas. There's nothing quite like the comments of gamblers accompanied by Christmas carols: "God damn it, Jesus Christ, Holy Fuck, a-rum-pa-tum-tum." And, of course, La-La Land is not spared. "The next time you feel like going to Los Angeles, sharpen a pencil and stick it into your eye instead." Black tells of how some years ago he was seen at Catch A Rising Star by a writer, a producer and a director from Hollywood. They offered him a part on a pilot for a sit-com and a short while later, he was sent a script. His part was that of a character named Lewis and every one of this character's lines was straight out of his own routine at Catch. This was all right with him, but then he was told he would have to fly out to L.A. because CBS wanted to audition him. Lewis Black was required to audition for the part of Lewis Black. P.S. Another actor got the part.
The absurdities he points out are funny, but as you think about them, you understand his rage: A woman's purse that costs $12,000. What could it be made of, he wonders. A rhinoceros' scrotum? Then there's the tie that costs $275. "There's an economy going on here and I'm not a part of it," he says. And worst of all are TV weathermen who earn $1.5 million dollars a year just to say "It's going to be a fine day. Back to you." If it is true that laughter is the best medicine, Lewis Black is certainly one of our best medicine men. None of his humor is sick - it is the society we live in that is. But perhaps it's best not to dwell on that too long...or the blood will gush out of our noses.
Applause! Applause! Review of Mark Ravenhill's "Shopping And Fucking" by Rita Sola
This review of a play by Mark Ravenhill entitled "Shopping And Fucking" at the New York Theatre Workshop was written by Rita Sola and appeared in Volume I, Issue 4 (February, 1998) of Applause! Applause! published by Dr. Thomas Robert Stevens.
"Shopping And Fucking" - A Play by Mark Ravenhill
New York Theatre Workshop (79 East 4th Street, NYC)
Reviewed 1/28/98 at 8:00 p.m.
In the first place, there is very little shopping in this play. And it consists, for the most part, of shop-lifting or shopping with stolen credit cards. The fucking is also purchased or stolen, and although there are graphic sex scenes, most of the sex is metaphorical -- the fucking over of three working class youths by their establishment "betters."
Although the title has received attention, more so because of the ellipsis used by most of the media, it will probably not cause the sensation it did in London where it was presented at the Royal Court Theatre which, despite its name, is famed for producing intensely anti-ruling class drama. In fact, it was the first to introduce the plays of John Osborne and his fellow angry young men back in the fifties, plays which portrayed disaffected, alienated youth. But the young characters of "Shopping And Fucking" are too busy scrounging for survival to afford the luxury of disaffection and alienation.
The play is the first by Mark Ravenhill and you will either love it or loathe it. You will definitely not be bored. Ravenhill has been greatly influenced by Caryl Churchill whom Tony Kushner ("Angels in America") has called the world's greatest living playwright and there are quite a number of us who agree. Among her plays are "Mad Forest", "Top Girls", and "Cloud Nine", but it is especially her last, "The Skriker", that resonates so potently in "Shopping And Fucking". But where Churchill can juxtapose the poignant with the bizarre to great effect, Ravenhill seems consumed with the gross to the point where one person with whom I attended the play said he wanted to run home and take a bath. You tend to wish someone had tapped Ravenhill on the shoulder and whispered, "Less is more; less is more." The performances, however, by Torquil Campbell, Jennifer Dundas Lowe, Philip Seymour Hoffman, Matthew Sussman and Justin Theroux are outstanding.
The play centers on Robbie and Lulu who live with Mark, Robbie's lover, an older man who apparently pays the rent, but is otherwise not much help because of his drug addiction. He does manage to muster up thirty pounds and goes off to hire a pathetic young hustler while Lulu tries to keep body, if not soul, together for herself and Robbie by shop-lifting small microwave dinners which she later explains to Mark are packaged so that they cannot be divided three ways.
The most moving character in the play is Gary, the very young hustler, who is desperate to find the man who will rescue him not only by supporting him but by controlling him, particularly with the roughest possible sex. Later in the play, Mark, who enjoys entertaining his young charges with stories, tells of the purchase of a young slave who is then set free by his benevolent new master. But he does not want to be free; he has never been free; he does not know how to be free.
"Shopping And Fucking" is not the England of Noel Coward, nor of Edina Monsoon and Patsy Stone of "Absolutely Fabulous". The subtext of the play is class warfare, hardly surprising since the subtext of life in Britain is class warfare. The conditions are intensified by the economics of the Thatcher years which created a wedge between rich and poor not known since the Victorian era.
Before we dismiss this play as a quaint, if not horrific, portrait of life in the contemporary U.K., let us not forget that in this country, one percent of the population controls seventy percent of its wealth, and these are conservative estimates. Had the play been written about this country, its setting undoubtedly would have been one of those trailer parks that are mushrooming all over the American landscape. Some sixty odd years ago, Sinclair Lewis wrote about the miseries of the depression and of a subsequent Fascist takeover of the country. The novel was called "It Can't Happen Here". Well, it can. Perhaps it has already begun.
"Shopping And Fucking" - A Play by Mark Ravenhill
New York Theatre Workshop (79 East 4th Street, NYC)
Reviewed 1/28/98 at 8:00 p.m.
In the first place, there is very little shopping in this play. And it consists, for the most part, of shop-lifting or shopping with stolen credit cards. The fucking is also purchased or stolen, and although there are graphic sex scenes, most of the sex is metaphorical -- the fucking over of three working class youths by their establishment "betters."
Although the title has received attention, more so because of the ellipsis used by most of the media, it will probably not cause the sensation it did in London where it was presented at the Royal Court Theatre which, despite its name, is famed for producing intensely anti-ruling class drama. In fact, it was the first to introduce the plays of John Osborne and his fellow angry young men back in the fifties, plays which portrayed disaffected, alienated youth. But the young characters of "Shopping And Fucking" are too busy scrounging for survival to afford the luxury of disaffection and alienation.
The play is the first by Mark Ravenhill and you will either love it or loathe it. You will definitely not be bored. Ravenhill has been greatly influenced by Caryl Churchill whom Tony Kushner ("Angels in America") has called the world's greatest living playwright and there are quite a number of us who agree. Among her plays are "Mad Forest", "Top Girls", and "Cloud Nine", but it is especially her last, "The Skriker", that resonates so potently in "Shopping And Fucking". But where Churchill can juxtapose the poignant with the bizarre to great effect, Ravenhill seems consumed with the gross to the point where one person with whom I attended the play said he wanted to run home and take a bath. You tend to wish someone had tapped Ravenhill on the shoulder and whispered, "Less is more; less is more." The performances, however, by Torquil Campbell, Jennifer Dundas Lowe, Philip Seymour Hoffman, Matthew Sussman and Justin Theroux are outstanding.
The play centers on Robbie and Lulu who live with Mark, Robbie's lover, an older man who apparently pays the rent, but is otherwise not much help because of his drug addiction. He does manage to muster up thirty pounds and goes off to hire a pathetic young hustler while Lulu tries to keep body, if not soul, together for herself and Robbie by shop-lifting small microwave dinners which she later explains to Mark are packaged so that they cannot be divided three ways.
The most moving character in the play is Gary, the very young hustler, who is desperate to find the man who will rescue him not only by supporting him but by controlling him, particularly with the roughest possible sex. Later in the play, Mark, who enjoys entertaining his young charges with stories, tells of the purchase of a young slave who is then set free by his benevolent new master. But he does not want to be free; he has never been free; he does not know how to be free.
"Shopping And Fucking" is not the England of Noel Coward, nor of Edina Monsoon and Patsy Stone of "Absolutely Fabulous". The subtext of the play is class warfare, hardly surprising since the subtext of life in Britain is class warfare. The conditions are intensified by the economics of the Thatcher years which created a wedge between rich and poor not known since the Victorian era.
Before we dismiss this play as a quaint, if not horrific, portrait of life in the contemporary U.K., let us not forget that in this country, one percent of the population controls seventy percent of its wealth, and these are conservative estimates. Had the play been written about this country, its setting undoubtedly would have been one of those trailer parks that are mushrooming all over the American landscape. Some sixty odd years ago, Sinclair Lewis wrote about the miseries of the depression and of a subsequent Fascist takeover of the country. The novel was called "It Can't Happen Here". Well, it can. Perhaps it has already begun.
Applause! Applause! Review of "New Talent Night" at Caroline's by Dr. Thomas Robert Stevens
This review of Assorted Comics at "New Talent Night" at Caroline's was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 4 (February, 1998) of Applause! Applause!
"New Talent Night" - Assorted Comics
Caroline's (1626 Broadway, NYC)
Reviewed 1/26/98 at 9:30 p.m.
Eddie Brill was the M.C. for this new talent night which featured Jim Wisniewski, Lisa Pearlman, Sam Berman, Deke Haylon, Dustin Chafin, Ben Bailey and Special Guest Star Jeffrey Ross. Eddie Brill is a talented comic and a good M.C.. The two shining stars from this pack were Deke Haylon and Dustin Chafin. Deke Haylon claims to come from an Irish Catholic family in Connecticut and has a mother who sounds like Katherine Hepburn. He claims to have been a former "Connecticut Crack Whore" who went to cooking school and who cannot convincingly say "I'm exhausted. I've been having sex with chicks all day. There was snatch everywhere." Deke has a unique style, perfect timing, good material and an endearing stage presence. He has charisma and an act unique enough to take him all the way on the comedy circuit! Deke Haylon is a bright new rising star that will not soon be extinguished!
Dustin Chafin is another comedian with a unique act that should not be changed. He too is on the road to national recognition. Dustin acts on stage as if he's stoned. He holds the microphone with both of his hands close to his mouth and delivers his gold. He tells a woman in the audience "you look good and I've got wood." Then he confesses that he "dated a Jehovah's Witness once, but we had a problem though. She'd knock on my door and I wouldn't let her in." Then he confessed to "dating a Korean girl. Now I can't find my dog." Dustin stated that he obtained a minority scholarship to Parsons School of Design because he was a "heterosexual white guy." Dustin stated that he was once told that "the key to picking up girls on the beach is to put a potato in your swim trunks." He stated "I tried it, but it didn't work. They forgot to tell me to put the potato in the front of my trunks and not the back." Each of Dustin's lines were perfectly timed and delivered. He should become a great success!
Jim Wisniewski, a good-looking, married, Polish-Catholic was perfectly dressed and wore an attractive red and blue shirt with black pants and a black turtle neck sweater. His material was sometimes deliberately gross as when he began discussing how his wife starts "popping blackheads" while giving him a massage. He also perpetuated the myth that New Yorkers are rude by saying "I gave a cab driver the finger, like most New Yorkers would." I would like to know where Wisniewski was born. I'll bet he isn't a native New Yorker because I don't know many native New Yorkers who treat other people rudely, and the few who do are just rude people who should leave our city without delay. In all fairness to Jim Wisniewski, he did have a few good lines in his material, as when he said that "90 % of what sister did to me in Catholic School is in direct violation of the Geneva Convention" or when he said that he thought "the movie "Titanic" sucked because it was totally unbelievable. A ship that size is not going to sink just because it hit a little iceberg." I'd like to see Wisniewski again after he re-thinks his material.
Lisa Pearlman is very attractive and has a good personality. She needs to speak louder and to better develop her material. She can play the perfect J.A.P. or anything else she chooses. I see a future for her in the comedy world. Ben Bailey needs to dispose of his husband and wife material. It is old and tired. His only great line was that he "drinks coffee and smokes a joint" which results in his "having all this energy, but no focus." I don't think he should give up being a comic. I only think he needs to re-think his direction and to develop a unique act. Sam Beamon has some good material, especially about mixing products together. After pointing out some examples of products that were mixed together, he laments that the corporate world hasn't started to mix together products he can get some real use out of like "Preparation H and toilet paper", "Yeast in his condom", and "penicillin with his prostitute". Beamon made the fatal error of saying "I'm Sorry" after mis-speaking a line, a sure sign of his amateur status. Nevertheless, this man has a great future in comedy.
Jeffrey Ross, the headliner, appeared to me to be somewhat lethargic. Perhaps he was overtired. After fumbling around on stage for a few minutes, he finally announced that we shouldn't worry because he did, in fact, have some jokes which he brought with him. Ross is a natural talent. Despite his unusual state, he delivered his lines well and gave the audience more than their money's worth. His funniest lines came when he was proposing some stupid answers he could offer to friends who asked the stupid question how his 104 year old Aunt Teek died. Some suggestions included saying "She was trampled at a Who concert", "Her Harley flipped over", "She died during childbirth", and "She scored some bad crack".
Attending New Talent Night at Caroline's is a great way to check out the up-and-coming comics who will be the stars of tomorrow. Don't miss them!!
"New Talent Night" - Assorted Comics
Caroline's (1626 Broadway, NYC)
Reviewed 1/26/98 at 9:30 p.m.
Eddie Brill was the M.C. for this new talent night which featured Jim Wisniewski, Lisa Pearlman, Sam Berman, Deke Haylon, Dustin Chafin, Ben Bailey and Special Guest Star Jeffrey Ross. Eddie Brill is a talented comic and a good M.C.. The two shining stars from this pack were Deke Haylon and Dustin Chafin. Deke Haylon claims to come from an Irish Catholic family in Connecticut and has a mother who sounds like Katherine Hepburn. He claims to have been a former "Connecticut Crack Whore" who went to cooking school and who cannot convincingly say "I'm exhausted. I've been having sex with chicks all day. There was snatch everywhere." Deke has a unique style, perfect timing, good material and an endearing stage presence. He has charisma and an act unique enough to take him all the way on the comedy circuit! Deke Haylon is a bright new rising star that will not soon be extinguished!
Dustin Chafin is another comedian with a unique act that should not be changed. He too is on the road to national recognition. Dustin acts on stage as if he's stoned. He holds the microphone with both of his hands close to his mouth and delivers his gold. He tells a woman in the audience "you look good and I've got wood." Then he confesses that he "dated a Jehovah's Witness once, but we had a problem though. She'd knock on my door and I wouldn't let her in." Then he confessed to "dating a Korean girl. Now I can't find my dog." Dustin stated that he obtained a minority scholarship to Parsons School of Design because he was a "heterosexual white guy." Dustin stated that he was once told that "the key to picking up girls on the beach is to put a potato in your swim trunks." He stated "I tried it, but it didn't work. They forgot to tell me to put the potato in the front of my trunks and not the back." Each of Dustin's lines were perfectly timed and delivered. He should become a great success!
Jim Wisniewski, a good-looking, married, Polish-Catholic was perfectly dressed and wore an attractive red and blue shirt with black pants and a black turtle neck sweater. His material was sometimes deliberately gross as when he began discussing how his wife starts "popping blackheads" while giving him a massage. He also perpetuated the myth that New Yorkers are rude by saying "I gave a cab driver the finger, like most New Yorkers would." I would like to know where Wisniewski was born. I'll bet he isn't a native New Yorker because I don't know many native New Yorkers who treat other people rudely, and the few who do are just rude people who should leave our city without delay. In all fairness to Jim Wisniewski, he did have a few good lines in his material, as when he said that "90 % of what sister did to me in Catholic School is in direct violation of the Geneva Convention" or when he said that he thought "the movie "Titanic" sucked because it was totally unbelievable. A ship that size is not going to sink just because it hit a little iceberg." I'd like to see Wisniewski again after he re-thinks his material.
Lisa Pearlman is very attractive and has a good personality. She needs to speak louder and to better develop her material. She can play the perfect J.A.P. or anything else she chooses. I see a future for her in the comedy world. Ben Bailey needs to dispose of his husband and wife material. It is old and tired. His only great line was that he "drinks coffee and smokes a joint" which results in his "having all this energy, but no focus." I don't think he should give up being a comic. I only think he needs to re-think his direction and to develop a unique act. Sam Beamon has some good material, especially about mixing products together. After pointing out some examples of products that were mixed together, he laments that the corporate world hasn't started to mix together products he can get some real use out of like "Preparation H and toilet paper", "Yeast in his condom", and "penicillin with his prostitute". Beamon made the fatal error of saying "I'm Sorry" after mis-speaking a line, a sure sign of his amateur status. Nevertheless, this man has a great future in comedy.
Jeffrey Ross, the headliner, appeared to me to be somewhat lethargic. Perhaps he was overtired. After fumbling around on stage for a few minutes, he finally announced that we shouldn't worry because he did, in fact, have some jokes which he brought with him. Ross is a natural talent. Despite his unusual state, he delivered his lines well and gave the audience more than their money's worth. His funniest lines came when he was proposing some stupid answers he could offer to friends who asked the stupid question how his 104 year old Aunt Teek died. Some suggestions included saying "She was trampled at a Who concert", "Her Harley flipped over", "She died during childbirth", and "She scored some bad crack".
Attending New Talent Night at Caroline's is a great way to check out the up-and-coming comics who will be the stars of tomorrow. Don't miss them!!
Applause! Applause! Review of KT Sullivan & Jeff Harnar in "Two For Tonight" by Dr. Thomas Robert Stevens
This review of KT Sullivan & Jeff Harnar in a show entitled "Two For Tonight" at the FireBird Cafe was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 4 (February, 1998) of Applause! Applause!
"Two For Tonight" - KT Sullivan & Jeff Harnar
FireBird Cafe (363 West 46th Street, NYC)
Not Reviewed 2/10/98 at 9:00 p.m.
KT Sullivan and Jeff Harnar are both talented artists who deserve the very best. This publication was unable to review their show because our request for a reservation was not honored by Donald Smith, the publicist for the FireBird Cabaret. When I finally spoke to Mr. Smith, I was told that he was not familiar with Applause! Applause! and that, as a result, he was embarrassed when the management of the FireBird Cafe asked him about us. He went on to say that he couldn't understand why he wasn't one of the very first individuals to receive this publication since he "has been involved in cabaret for over 40 years." I apologized for the oversight, but Mr. Smith went on about how he still could not understand the oversight in light of the fact that many of our critics have been "the beneficiaries of his generosity" in the past. Mr. Smith then stated that the FireBird Cafe provides him with only a limited number of press comps per run and that, therefore, he couldn't accommodate me. This surprised me since I thought that a new Cabaret Room would be very interested in getting written about and receiving as much press as possible. I promised to send him future issues of Applause! Applause! and began to fax to him a copy of the current issue. Halfway through, there was an error in my fax transmission. I tried four more times to fax the remaining documents to no avail. I later learned that Mr. Smith had turned off or dismantled his fax machine and left a message on my telephone answering machine stating that to his knowledge, the mails were still working and stating that his fax machine is only used for "important" business that he is involved in. I was perplexed since I thought a fax from a cabaret-related publication was the business he was involved in.
At the invitation of KT Sullivan, a Distinguished Artist of the Beaux Arts Society, I went to see this show on the date indicated. I requested a Press Packet and was told that one would be obtained from Donald Smith, who was in attendance. By the time the show was about to begin, I was not visited by Mr. Smith nor was a Press Packet provided. I, therefore, canceled my request to avoid an embarrassing situation and did not review the show. (b.c.c note to readers: They're Wonderful!!)
"Two For Tonight" - KT Sullivan & Jeff Harnar
FireBird Cafe (363 West 46th Street, NYC)
Not Reviewed 2/10/98 at 9:00 p.m.
KT Sullivan and Jeff Harnar are both talented artists who deserve the very best. This publication was unable to review their show because our request for a reservation was not honored by Donald Smith, the publicist for the FireBird Cabaret. When I finally spoke to Mr. Smith, I was told that he was not familiar with Applause! Applause! and that, as a result, he was embarrassed when the management of the FireBird Cafe asked him about us. He went on to say that he couldn't understand why he wasn't one of the very first individuals to receive this publication since he "has been involved in cabaret for over 40 years." I apologized for the oversight, but Mr. Smith went on about how he still could not understand the oversight in light of the fact that many of our critics have been "the beneficiaries of his generosity" in the past. Mr. Smith then stated that the FireBird Cafe provides him with only a limited number of press comps per run and that, therefore, he couldn't accommodate me. This surprised me since I thought that a new Cabaret Room would be very interested in getting written about and receiving as much press as possible. I promised to send him future issues of Applause! Applause! and began to fax to him a copy of the current issue. Halfway through, there was an error in my fax transmission. I tried four more times to fax the remaining documents to no avail. I later learned that Mr. Smith had turned off or dismantled his fax machine and left a message on my telephone answering machine stating that to his knowledge, the mails were still working and stating that his fax machine is only used for "important" business that he is involved in. I was perplexed since I thought a fax from a cabaret-related publication was the business he was involved in.
At the invitation of KT Sullivan, a Distinguished Artist of the Beaux Arts Society, I went to see this show on the date indicated. I requested a Press Packet and was told that one would be obtained from Donald Smith, who was in attendance. By the time the show was about to begin, I was not visited by Mr. Smith nor was a Press Packet provided. I, therefore, canceled my request to avoid an embarrassing situation and did not review the show. (b.c.c note to readers: They're Wonderful!!)
Applause! Applause! Review of McHale, Saegesser & Zignego in "Way Out...A Fairy Tale!" by Dr. Thomas Robert Stevens
This review of Vincent McHale, Scott Saegesser & Brian Zignego in a show entitled "Way Out...A Fairy Tale!" at Don't Tell Mama was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 4 (February, 1998) of Applause! Applause!
"Way Out...A Fairy Tale!" - McHale, Saegesser & Zignego
Don't Tell Mama (343 West 46th Street, NYC)
Reviewed 1/31/98 at 6:30 p.m.
Brian Zignego wrote, directed and produced "Way Out...A Fairy Tale!" for which he deserves much credit. This musical revue starring Vincent McHale, Scott Saegesser and Brian Zignego is quite enjoyable to watch and contains some magical moments. The stars of the show alternately read from "Way Out...A Fairy Tale: The Book" which tells the stories of three "heroes" who are gay, as you might have guessed from the title of the show. I assume they are "heroes" because they have survived in the face of discrimination and ridicule by society. "Way Out...A Fairy Tale: The Book" needs to be re-written. The opening line from the book says "Once upon a time, in a city not unlike this one, there lived three young and handsome men! Their kingdom was vast and they had many powers, powers that most did not understand. But they were kind and gentle rulers. Patiently they waited for the right time to share their wealth of knowledge...The time has come!" I do not feel that the "heroes" shared any wealth of knowledge with the audience during the show, and other than having "gaydar," they failed to exhibit any special powers. This is a story about three boys learning that in many ways, they are just like everyone else, with the same feelings of loneliness and the same aspirations to be in loving relationships.
The first number of this musical revue did not work. It was "4 Jews in a Room Bitching" (Music & Lyrics by William Finn), sung as "3 Fags in a Room Bitching". The song was not cute. It was offensive and redundant. Offensive because it promoted the stereotyping of gay people and redundant because we already got the point that the "heroes" of the "fairy" tale were gay. The second number, "Who's Afraid Of The Big Bad Wolf?" (Music & Lyrics by Frank E. Churchill & Ann Ronell) was so badly received that half the audience did not applaud at the completion of the song.
The good news is that after the first two numbers, the show instantaneously took a turn for the better. Every number from that point forward was enjoyable and entertaining. My favorites were "I Know Things Now" (Music & Lyrics by Stephen Sondheim) sung by Zignego; "I'm In Love! I'm In Love!" (Music by Jerry Bock, Lyrics by Sheldon Harnick, Additional Lyrics by Brian Zignego) sung by Saegesser; "You're The Top" (Music & Lyrics by Cole Porter, Additional Lyrics by Brian Zignego) sung by McHale, Saegesser and Zignego; "Dressing Them Up" (Music by John Kander, Lyrics by Fred Ebb) sung by McHale; "What More Can I Say?" (Music & Lyrics by William Finn) sung by Saegesser; "I Went To A Marvelous Party" (Music & Lyrics by Noel Coward) sung by McHale; "Who Will Love Me?" (Music by Henry Krieger, Lyrics by Bill Russell) sung by McHale, Saegesser and Zignego; a medley of "Shall We Dance", "Ten Minutes Ago", and "Some Enchanted Evening" (Music by Richard Rogers, Lyrics by Oscar Hammerstein II) sung by McHale, Saegesser and Zignego; "Class" (Music by John Kander, Lyrics by Fred Ebb) sung by Saegesser and Zignego; "He's Here" (Music by Elmer Bernstein, Lyrics by Carolyn Leigh, Additional Lyrics by Scott Saegesser) sung by Saegesser; and "The Very Next Man" (Music by Jerry Bock, Lyrics by Sheldon Harnick) sung by McHale and containing the hopelessly out-of-date line "I shall marry the very next man who asks me...I'd gladly wear my arm in a sling, just for the privilege of wearing his ring".
Then just when you thought things couldn't get any better, Scott Saegesser comes out on the stage dressed as Cardinal O'Connor, sprinkling holy water on the audience, and singing "Did A Parade Go By?" (Music & Lyrics by Stephen Sondheim, Additional Lyrics by Scott Saegesser) which apparently was a reference to what Cardinal O'Connor might say upon seeing the Gay Pride Parade march by St. Patrick's Cathedral. For the final number of the revue, Brian Zignego transforms himself into a beautiful woman named Rose and sings "Rose's Turn" (Music by Leonard Bernstein, Lyrics by Stephen Sondheim, Additional Lyrics by Brian Zignego) during which she strips down to striped underwear, leaving no doubt that while Brian Zignego may be a Queen, he is also all man. Brian is then joined on stage by his co-stars, who now themselves are dressed in drag. The audience has been lifted at this point to such heights of enjoyment that they readily join in singing "This Little Light Of Mine. I'm Going To Let It Shine", lines from a gospel favorite which was offered up as the cast's encore number.
The musical director of the production was the very talented Barbara Anselmi, who was accompanied by a band which never overshadowed the excellent performances of the cast. Scott Saegesser, an extraordinary talent who should be singing in a Broadway musical is currently wasting his time at the Round Barn Theatre in Northern Indiana doing a full season of musicals. My suggestion to him is to come back to New York City to showcase his talent. He can always return to Northern Indiana either as a star or as a never-was. Vincent McHale has talent to spare and will be around for a long time. Brian Zignego has now shown the world what he can do and will soon gain a loyal following for his works and performances. I know that I will return to see future shows written, directed and produced by this rising star!
"Way Out...A Fairy Tale!" - McHale, Saegesser & Zignego
Don't Tell Mama (343 West 46th Street, NYC)
Reviewed 1/31/98 at 6:30 p.m.
Brian Zignego wrote, directed and produced "Way Out...A Fairy Tale!" for which he deserves much credit. This musical revue starring Vincent McHale, Scott Saegesser and Brian Zignego is quite enjoyable to watch and contains some magical moments. The stars of the show alternately read from "Way Out...A Fairy Tale: The Book" which tells the stories of three "heroes" who are gay, as you might have guessed from the title of the show. I assume they are "heroes" because they have survived in the face of discrimination and ridicule by society. "Way Out...A Fairy Tale: The Book" needs to be re-written. The opening line from the book says "Once upon a time, in a city not unlike this one, there lived three young and handsome men! Their kingdom was vast and they had many powers, powers that most did not understand. But they were kind and gentle rulers. Patiently they waited for the right time to share their wealth of knowledge...The time has come!" I do not feel that the "heroes" shared any wealth of knowledge with the audience during the show, and other than having "gaydar," they failed to exhibit any special powers. This is a story about three boys learning that in many ways, they are just like everyone else, with the same feelings of loneliness and the same aspirations to be in loving relationships.
The first number of this musical revue did not work. It was "4 Jews in a Room Bitching" (Music & Lyrics by William Finn), sung as "3 Fags in a Room Bitching". The song was not cute. It was offensive and redundant. Offensive because it promoted the stereotyping of gay people and redundant because we already got the point that the "heroes" of the "fairy" tale were gay. The second number, "Who's Afraid Of The Big Bad Wolf?" (Music & Lyrics by Frank E. Churchill & Ann Ronell) was so badly received that half the audience did not applaud at the completion of the song.
The good news is that after the first two numbers, the show instantaneously took a turn for the better. Every number from that point forward was enjoyable and entertaining. My favorites were "I Know Things Now" (Music & Lyrics by Stephen Sondheim) sung by Zignego; "I'm In Love! I'm In Love!" (Music by Jerry Bock, Lyrics by Sheldon Harnick, Additional Lyrics by Brian Zignego) sung by Saegesser; "You're The Top" (Music & Lyrics by Cole Porter, Additional Lyrics by Brian Zignego) sung by McHale, Saegesser and Zignego; "Dressing Them Up" (Music by John Kander, Lyrics by Fred Ebb) sung by McHale; "What More Can I Say?" (Music & Lyrics by William Finn) sung by Saegesser; "I Went To A Marvelous Party" (Music & Lyrics by Noel Coward) sung by McHale; "Who Will Love Me?" (Music by Henry Krieger, Lyrics by Bill Russell) sung by McHale, Saegesser and Zignego; a medley of "Shall We Dance", "Ten Minutes Ago", and "Some Enchanted Evening" (Music by Richard Rogers, Lyrics by Oscar Hammerstein II) sung by McHale, Saegesser and Zignego; "Class" (Music by John Kander, Lyrics by Fred Ebb) sung by Saegesser and Zignego; "He's Here" (Music by Elmer Bernstein, Lyrics by Carolyn Leigh, Additional Lyrics by Scott Saegesser) sung by Saegesser; and "The Very Next Man" (Music by Jerry Bock, Lyrics by Sheldon Harnick) sung by McHale and containing the hopelessly out-of-date line "I shall marry the very next man who asks me...I'd gladly wear my arm in a sling, just for the privilege of wearing his ring".
Then just when you thought things couldn't get any better, Scott Saegesser comes out on the stage dressed as Cardinal O'Connor, sprinkling holy water on the audience, and singing "Did A Parade Go By?" (Music & Lyrics by Stephen Sondheim, Additional Lyrics by Scott Saegesser) which apparently was a reference to what Cardinal O'Connor might say upon seeing the Gay Pride Parade march by St. Patrick's Cathedral. For the final number of the revue, Brian Zignego transforms himself into a beautiful woman named Rose and sings "Rose's Turn" (Music by Leonard Bernstein, Lyrics by Stephen Sondheim, Additional Lyrics by Brian Zignego) during which she strips down to striped underwear, leaving no doubt that while Brian Zignego may be a Queen, he is also all man. Brian is then joined on stage by his co-stars, who now themselves are dressed in drag. The audience has been lifted at this point to such heights of enjoyment that they readily join in singing "This Little Light Of Mine. I'm Going To Let It Shine", lines from a gospel favorite which was offered up as the cast's encore number.
The musical director of the production was the very talented Barbara Anselmi, who was accompanied by a band which never overshadowed the excellent performances of the cast. Scott Saegesser, an extraordinary talent who should be singing in a Broadway musical is currently wasting his time at the Round Barn Theatre in Northern Indiana doing a full season of musicals. My suggestion to him is to come back to New York City to showcase his talent. He can always return to Northern Indiana either as a star or as a never-was. Vincent McHale has talent to spare and will be around for a long time. Brian Zignego has now shown the world what he can do and will soon gain a loyal following for his works and performances. I know that I will return to see future shows written, directed and produced by this rising star!
Applause! Applause! Review of Michael Vaccaro's "Back To Broadway" by Dr. Thomas Robert Stevens
This review of Michael Vaccaro in a show entitled "Back To Broadway" at Eighty Eight's was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 4 (February, 1998) of Applause! Applause!
"Back To Broadway" - Michael Vaccaro
Eighty Eight's (228 West 10th Street, NYC)
Reviewed 2/1/98 at 10:30 p.m.
The flyer announcing this show reports that "He couldn't make it in Hollywood, so he came crawlin' Back to Broadway", an apparent reference to Michael Vaccaro's having moved back to New York City after spending eight years in Los Angeles searching for stardom. Vaccaro is full of energy, is very charismatic and has a good rapport with his audience.
"Back To Broadway" is a fun show which features many of the Broadway show tunes that were Vaccaro's favorites growing up in New York during the 1960's and 1970's. Jeff Klitz, the musical director, doubles as a back-up singer with Anne Lauterbach, who is so talented, I cannot wait to catch her in her own show. She even tap dances during a rendition of "You're Never Fully Dressed Without A Smile" from "Annie"! Klitz and Lauterbach are integral parts of many numbers. Their vocal talents made Vaccaro's rendition of "Hard Candy Christmas" (from "The Best Little Whorehouse In Texas") and "When I Get My Name In Lights" (from "Legs Diamond") my favorite numbers in the show.
"Back to Broadway" still needs a lot of work before it has the potential to be a vehicle to help get Michael Vaccaro to Broadway. The other numbers which worked well were: "St. Bridget" (from "Mame"); "Freddy, My Love" (from "Grease"); "A Boy Like That" (from "West Side Story"); "Little Lamb" (from "Gypsy"); "Lida Rose" (from "The Music Man"); "Bali Ha'i" (from "South Pacific"); "Come Down From The Tree" (from "Once On This Island") and "Tomorrow" (from "Annie"). After Michael Vaccaro left the stage, Jeff Klitz and Anne Lauterbach performed a spirited rendition of "Proud Mary" as their special good-bye to the audience. What an unexpected pleasure!
Despite these wonderful moments and some good props, there were times that Vaccaro failed to treat his material with the respect I thought it deserved. His pronunciation of the word "smile" in "You're Never Fully Dressed Without A Smile" came across as if he was making fun of the song. Then there were times when I felt that Vaccaro's selection of material was flawed. He insists on singing "Frank Mills" from "Hair", which he claims is his favorite song. I have no idea why. It certainly doesn't help to feature his vocal talent and contains no especially meaningful lyrics. He even tells a story about the manager of a comedy club who hired him as a singer praising his abilities and telling him that he "was going to be a star." After Vaccaro sang "Frank Mills" there, the same guy came up to him and said "Hey, kid. You're fired!" While you may suspect other reasons why that manager fired Vaccaro after he sang "Frank Mills", it is my suspicion that he was fired for inflicting that inane song on yet another audience.
Michael Vaccaro is enjoyable to watch and is clearly full of love for his chosen career and for his loyal fans who continue to support him. After having seen his audition videotape, I came to this show with low expectations. After seeing him perform live, I have new respect for his talent and his unique style of presentation. Call for reservations to see "Back To Broadway" which will be performed again on Sunday, March 1, 1998 at 10:30 p.m.. There are some brilliant moments here you should not miss!
"Back To Broadway" - Michael Vaccaro
Eighty Eight's (228 West 10th Street, NYC)
Reviewed 2/1/98 at 10:30 p.m.
The flyer announcing this show reports that "He couldn't make it in Hollywood, so he came crawlin' Back to Broadway", an apparent reference to Michael Vaccaro's having moved back to New York City after spending eight years in Los Angeles searching for stardom. Vaccaro is full of energy, is very charismatic and has a good rapport with his audience.
"Back To Broadway" is a fun show which features many of the Broadway show tunes that were Vaccaro's favorites growing up in New York during the 1960's and 1970's. Jeff Klitz, the musical director, doubles as a back-up singer with Anne Lauterbach, who is so talented, I cannot wait to catch her in her own show. She even tap dances during a rendition of "You're Never Fully Dressed Without A Smile" from "Annie"! Klitz and Lauterbach are integral parts of many numbers. Their vocal talents made Vaccaro's rendition of "Hard Candy Christmas" (from "The Best Little Whorehouse In Texas") and "When I Get My Name In Lights" (from "Legs Diamond") my favorite numbers in the show.
"Back to Broadway" still needs a lot of work before it has the potential to be a vehicle to help get Michael Vaccaro to Broadway. The other numbers which worked well were: "St. Bridget" (from "Mame"); "Freddy, My Love" (from "Grease"); "A Boy Like That" (from "West Side Story"); "Little Lamb" (from "Gypsy"); "Lida Rose" (from "The Music Man"); "Bali Ha'i" (from "South Pacific"); "Come Down From The Tree" (from "Once On This Island") and "Tomorrow" (from "Annie"). After Michael Vaccaro left the stage, Jeff Klitz and Anne Lauterbach performed a spirited rendition of "Proud Mary" as their special good-bye to the audience. What an unexpected pleasure!
Despite these wonderful moments and some good props, there were times that Vaccaro failed to treat his material with the respect I thought it deserved. His pronunciation of the word "smile" in "You're Never Fully Dressed Without A Smile" came across as if he was making fun of the song. Then there were times when I felt that Vaccaro's selection of material was flawed. He insists on singing "Frank Mills" from "Hair", which he claims is his favorite song. I have no idea why. It certainly doesn't help to feature his vocal talent and contains no especially meaningful lyrics. He even tells a story about the manager of a comedy club who hired him as a singer praising his abilities and telling him that he "was going to be a star." After Vaccaro sang "Frank Mills" there, the same guy came up to him and said "Hey, kid. You're fired!" While you may suspect other reasons why that manager fired Vaccaro after he sang "Frank Mills", it is my suspicion that he was fired for inflicting that inane song on yet another audience.
Michael Vaccaro is enjoyable to watch and is clearly full of love for his chosen career and for his loyal fans who continue to support him. After having seen his audition videotape, I came to this show with low expectations. After seeing him perform live, I have new respect for his talent and his unique style of presentation. Call for reservations to see "Back To Broadway" which will be performed again on Sunday, March 1, 1998 at 10:30 p.m.. There are some brilliant moments here you should not miss!
Applause! Applause! Review of Scott Coulter's "Remember The Magic" by Dr. Thomas Robert Stevens
This review of Scott Coulter in a show entitled "Remember The Magic" at Don't Tell Mama was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 4 (February, 1998) of Applause! Applause!
"Remember The Magic" - Scott Coulter
Don't Tell Mama (343 West 46th Street, NYC)
Reviewed 2/2/98 at 9:00 p.m.
Scott Coulter has the looks, personality and talent to become a major star. He is so proficient and professional that it is difficult for me to believe that "Remember The Magic" is Coulter's debut solo show. It is so well-constructed, moving and flawless that, in my book, it rates as one of the best cabaret shows I have seen in my life. Scott Coulter has a magnificent future ahead of him. He doesn't need to "remember the magic." Coulter has magic within him that enables him to give his audiences a reality of unparalleled perfection! He has a commanding presence on stage and a very powerful voice. He can deliver in a variety of musical styles which is evident by his performance in this show. There is no limit to his potential!
"Remember The Magic" was inspired by the novel "Boy's Life" by Robert R. McCammon which comments on the magic we experience as children that we often lose touch with as adults. Coulter singers songs based on this theme. He has assembled a talented team of musicians that play far more than a mere functional role. They are an integral part of the magic of the evening. Jeff Waxman, on piano, Marco Brehm on bass, and Andy Perkowski on percussion play so well together that even Scott Coulter commented that they belong together perhaps under the suggested names of the "Jeff Waxman Trio" or perhaps "The Hot Wax Band." They never upstage Coulter, despite the fact that their considerable talent is evident. Shawn Moninger on lights and sound is also deserving of special mention. In the opening number, Moninger shines a single light on Coulter's blond hair from behind which allowed the audience to fully concentrate on his angelic voice. What a great way to introduce a singer! The lighting in "Brother Love's Traveling Salvation Show", my favorite number, created the image of a preacher at a revival meeting spreading the "good news" to his flock.
Coulter's view of the magic we have inside us is that we all have a fist full of magic which influences us to a larger degree when we are children with small bodies, but that as we grow, the fist full of magic gets lost in our larger bodies, until we get old and our bodies get small again. Therefore, he believes that children and the elderly share a simpler, optimistic, awe-inspired view of life not shared by adults deeply involved in the daily drudgery and responsibilities of their lives. Reading from "Boy's Life", Coulter says that, nevertheless, "men and women are still children in their hearts. They like to feel free and that there is a mommy and a daddy at home to love them."
Scott Coulter brings an original perspective to every song. He is a major talent. There wasn't a single number I did not like. There wasn't a single arrangement that I thought could have been done better. There wasn't a moment I felt bored. Coulter's rendition of "Help?" (Music and Lyrics by John Lennon and Paul McCartney), brought me to tears. I "heard" the lyrics of that song as I have never heard them before. Scott Coulter succeeds in transporting you to a place where you can be in touch with "your inner child."
Scott Coulter's "Remember The Magic" is a show I will not soon forget. It is a memorable experience and I guarantee you will become an instant fan of this extraordinary new talent. Do not pass up the opportunity to see "Remember The Magic" which will be performed again at Don't Tell Mama on Tuesdays, March 3rd & 10th at 7 p.m. and on Wednesday, March 18th at 7 p.m.. Catch Coulter while you can!!
"Remember The Magic" - Scott Coulter
Don't Tell Mama (343 West 46th Street, NYC)
Reviewed 2/2/98 at 9:00 p.m.
Scott Coulter has the looks, personality and talent to become a major star. He is so proficient and professional that it is difficult for me to believe that "Remember The Magic" is Coulter's debut solo show. It is so well-constructed, moving and flawless that, in my book, it rates as one of the best cabaret shows I have seen in my life. Scott Coulter has a magnificent future ahead of him. He doesn't need to "remember the magic." Coulter has magic within him that enables him to give his audiences a reality of unparalleled perfection! He has a commanding presence on stage and a very powerful voice. He can deliver in a variety of musical styles which is evident by his performance in this show. There is no limit to his potential!
"Remember The Magic" was inspired by the novel "Boy's Life" by Robert R. McCammon which comments on the magic we experience as children that we often lose touch with as adults. Coulter singers songs based on this theme. He has assembled a talented team of musicians that play far more than a mere functional role. They are an integral part of the magic of the evening. Jeff Waxman, on piano, Marco Brehm on bass, and Andy Perkowski on percussion play so well together that even Scott Coulter commented that they belong together perhaps under the suggested names of the "Jeff Waxman Trio" or perhaps "The Hot Wax Band." They never upstage Coulter, despite the fact that their considerable talent is evident. Shawn Moninger on lights and sound is also deserving of special mention. In the opening number, Moninger shines a single light on Coulter's blond hair from behind which allowed the audience to fully concentrate on his angelic voice. What a great way to introduce a singer! The lighting in "Brother Love's Traveling Salvation Show", my favorite number, created the image of a preacher at a revival meeting spreading the "good news" to his flock.
Coulter's view of the magic we have inside us is that we all have a fist full of magic which influences us to a larger degree when we are children with small bodies, but that as we grow, the fist full of magic gets lost in our larger bodies, until we get old and our bodies get small again. Therefore, he believes that children and the elderly share a simpler, optimistic, awe-inspired view of life not shared by adults deeply involved in the daily drudgery and responsibilities of their lives. Reading from "Boy's Life", Coulter says that, nevertheless, "men and women are still children in their hearts. They like to feel free and that there is a mommy and a daddy at home to love them."
Scott Coulter brings an original perspective to every song. He is a major talent. There wasn't a single number I did not like. There wasn't a single arrangement that I thought could have been done better. There wasn't a moment I felt bored. Coulter's rendition of "Help?" (Music and Lyrics by John Lennon and Paul McCartney), brought me to tears. I "heard" the lyrics of that song as I have never heard them before. Scott Coulter succeeds in transporting you to a place where you can be in touch with "your inner child."
Scott Coulter's "Remember The Magic" is a show I will not soon forget. It is a memorable experience and I guarantee you will become an instant fan of this extraordinary new talent. Do not pass up the opportunity to see "Remember The Magic" which will be performed again at Don't Tell Mama on Tuesdays, March 3rd & 10th at 7 p.m. and on Wednesday, March 18th at 7 p.m.. Catch Coulter while you can!!
Applause! Applause! Review of Anne-Marie Karash's "2 Good 2 Be 4gotten" by Rita Sola
This review of Anne-Marie Karash in a show entitled "2 Good 2 Be 4gotten" at Don't Tell Mama was written by Rita Sola and appeared in Volume I, Issue 3 (January, 1998) of Applause! Applause! published by Dr. Thomas Robert Stevens.
"2 Good 2 Be 4gotten" - Anne-Marie Karash
Don't Tell Mama (343 West 46th Street, NYC)
Reviewed 12/13/97 at 8 p.m.
Moving to a new home, according to the magazine Psychology Today, is number one on the list of stressful events in the average person's lifetime, even higher than marriage (which, interestingly enough, is higher than divorce). But apparently, the parents of Anne-Marie Karash don't read Psychology Today. In "2 Good 2 Be 4gotten", Anne-Marie's show at Don't Tell Mama, she describes her trip back to her hometown of Memphis to help them move from the old family home to a new condo, a move which can be as melancholy to the adult children, no matter how far afield they may have strayed, as to the parents. To her complete dismay, she arrived to find them sitting complacently in an "empty" nest that was filled to capacity with the accumulations of a lifetime. Nothing had been sorted or arranged, let alone packed, perhaps their way of staving off the inevitable. To this day, her parents still refer to their new residence as "the condo." Never "home" or "our apartment." Just "the condo." It is a poignant story, familiar to many of us. Thanks to Anne-Marie's wit and style, it is also terrific comedy.
A footnote in the program reads "All events depicted in "2 Good 2 Be 4gotten" are 100% true. In some cases, however, the facts have been changed to make them truer." And as mirth provoking as it is, there is nothing in the monologue that is not believable. As one who throws away nothing but used mouse traps, I had no trouble understanding the myriad of pencil stubs she found scattered about (Doesn't everyone have that?). But I especially loved her description of the refrigerator door that had once been the home of pretty little bluebirds, all of which had flown away leaving their tiny magnets behind. Her portrait of her father is particularly strong. Here is a man, she tells us, for whom "alcohol" is a verb. Doorknobs, handles, etc. are first "alcoholed" with cotton before they are touched and no matter how great the detritus of decades that surrounded him, it was all germ-free.
Eventually, the parents were successfully relocated but they left behind a skeleton in the closet. Literally. A skull which had belonged to Anne-Marie's father, a retired dentist, and which they had searched high and low for, was discovered, they later learned, deep in the linen closet by the new lady of the house who greeted it with an appropriate outlay of hysteria.
These narrations are interspersed with recollections of her growing up (Hence, the title. How many of us do not have "2 Good 2 Be 4gotten" in our high school yearbooks?). There are anecdotes of her beginnings as a stand-up comic including a gig at a rib restaurant in New Jersey not far from the home of a very traditional aunt. Anne-Marie's nightmare was that the aunt, on the way to Atlantic City with some fellow seniors, might stop there to use the "facilities" only to discover her nice Jewish niece working in a pork pen of iniquity. The triumph of her aunt's life had been the fate of Mama Cass: "Jewish Girl Chokes to Death on Ham Sandwich."
Anne-Marie has deservedly won awards for her comedy: as part of the group Bitch! Bitch! Bitch! (two MAC awards two years in a row). "2 Good 2 Be 4gotten", which she performed this last fall and which will be revived shortly, incorporates much of her dry, sardonic delivery in what is essentially a one-woman theatre piece. Certainly there is no question that all the kvetching -- and very funny kvetching it is, indeed -- about her family's foibles is pure theatre. Although that particular visit was less than serene for her family, in this day of Sally Jessy, Geraldo, et. al., that is extraordinarily refreshing.
"2 Good 2 Be 4gotten" - Anne-Marie Karash
Don't Tell Mama (343 West 46th Street, NYC)
Reviewed 12/13/97 at 8 p.m.
Moving to a new home, according to the magazine Psychology Today, is number one on the list of stressful events in the average person's lifetime, even higher than marriage (which, interestingly enough, is higher than divorce). But apparently, the parents of Anne-Marie Karash don't read Psychology Today. In "2 Good 2 Be 4gotten", Anne-Marie's show at Don't Tell Mama, she describes her trip back to her hometown of Memphis to help them move from the old family home to a new condo, a move which can be as melancholy to the adult children, no matter how far afield they may have strayed, as to the parents. To her complete dismay, she arrived to find them sitting complacently in an "empty" nest that was filled to capacity with the accumulations of a lifetime. Nothing had been sorted or arranged, let alone packed, perhaps their way of staving off the inevitable. To this day, her parents still refer to their new residence as "the condo." Never "home" or "our apartment." Just "the condo." It is a poignant story, familiar to many of us. Thanks to Anne-Marie's wit and style, it is also terrific comedy.
A footnote in the program reads "All events depicted in "2 Good 2 Be 4gotten" are 100% true. In some cases, however, the facts have been changed to make them truer." And as mirth provoking as it is, there is nothing in the monologue that is not believable. As one who throws away nothing but used mouse traps, I had no trouble understanding the myriad of pencil stubs she found scattered about (Doesn't everyone have that?). But I especially loved her description of the refrigerator door that had once been the home of pretty little bluebirds, all of which had flown away leaving their tiny magnets behind. Her portrait of her father is particularly strong. Here is a man, she tells us, for whom "alcohol" is a verb. Doorknobs, handles, etc. are first "alcoholed" with cotton before they are touched and no matter how great the detritus of decades that surrounded him, it was all germ-free.
Eventually, the parents were successfully relocated but they left behind a skeleton in the closet. Literally. A skull which had belonged to Anne-Marie's father, a retired dentist, and which they had searched high and low for, was discovered, they later learned, deep in the linen closet by the new lady of the house who greeted it with an appropriate outlay of hysteria.
These narrations are interspersed with recollections of her growing up (Hence, the title. How many of us do not have "2 Good 2 Be 4gotten" in our high school yearbooks?). There are anecdotes of her beginnings as a stand-up comic including a gig at a rib restaurant in New Jersey not far from the home of a very traditional aunt. Anne-Marie's nightmare was that the aunt, on the way to Atlantic City with some fellow seniors, might stop there to use the "facilities" only to discover her nice Jewish niece working in a pork pen of iniquity. The triumph of her aunt's life had been the fate of Mama Cass: "Jewish Girl Chokes to Death on Ham Sandwich."
Anne-Marie has deservedly won awards for her comedy: as part of the group Bitch! Bitch! Bitch! (two MAC awards two years in a row). "2 Good 2 Be 4gotten", which she performed this last fall and which will be revived shortly, incorporates much of her dry, sardonic delivery in what is essentially a one-woman theatre piece. Certainly there is no question that all the kvetching -- and very funny kvetching it is, indeed -- about her family's foibles is pure theatre. Although that particular visit was less than serene for her family, in this day of Sally Jessy, Geraldo, et. al., that is extraordinarily refreshing.
Applause! Applause! Review of Rita Ellis Hammer at Eighty Eight's by Andrew Martin
This review of Rita Ellis Hammer at Eighty Eight's was written by Andrew Martin and appeared in Volume I, Issue 3 (January, 1998) of Applause! Applause! published by Dr. Thomas Robert Stevens.
Rita Ellis Hammer
Eighty Eight's (228 West 10th Street, NYC)
Reviewed 9/18/97 at 8 p.m.
In the last four seasons since her debut at Danny's Skylight Room, Rita Ellis Hammer has emerged as a cabaret songstress to be reckoned with. Changes in musical directors and other staff have far from left their toll on the redoubtable Ms. Hammer, who still bursts onto any cabaret stage she inhabits and infuses the assembled crowd with unending vocal excitement. Not surprisingly, considering Hammer's history, a child star in her own right, with appearances on seemingly hundreds of kiddie shows on New York City radio and the then-newly-formed medium of television, Hammer fell easily into local fame as a featured singer at the famed Copacabana on East 60th Street and on 1950's TV's "The Galen Drake Show", wonderful training ground for a lady who'd later take the cabaret scene by storm.
With sensational pianist Paul Katz as her partner in crime, Hammer's latest evening of movie music is outstanding to say the least. Her selection of standards is topped deliciously by autobiographical exploits (and her story about Zippy the Chimp and legendary TV producer Don Appel is unto itself worth the price of admission!). To say any more would be to give away a gold mine. Suffice to suggest that when next Rita Ellis Hammer graces the stage of your friendly neighborhood cabaret, to say she's merely worth catching would be the understatement of the year!
Rita Ellis Hammer
Eighty Eight's (228 West 10th Street, NYC)
Reviewed 9/18/97 at 8 p.m.
In the last four seasons since her debut at Danny's Skylight Room, Rita Ellis Hammer has emerged as a cabaret songstress to be reckoned with. Changes in musical directors and other staff have far from left their toll on the redoubtable Ms. Hammer, who still bursts onto any cabaret stage she inhabits and infuses the assembled crowd with unending vocal excitement. Not surprisingly, considering Hammer's history, a child star in her own right, with appearances on seemingly hundreds of kiddie shows on New York City radio and the then-newly-formed medium of television, Hammer fell easily into local fame as a featured singer at the famed Copacabana on East 60th Street and on 1950's TV's "The Galen Drake Show", wonderful training ground for a lady who'd later take the cabaret scene by storm.
With sensational pianist Paul Katz as her partner in crime, Hammer's latest evening of movie music is outstanding to say the least. Her selection of standards is topped deliciously by autobiographical exploits (and her story about Zippy the Chimp and legendary TV producer Don Appel is unto itself worth the price of admission!). To say any more would be to give away a gold mine. Suffice to suggest that when next Rita Ellis Hammer graces the stage of your friendly neighborhood cabaret, to say she's merely worth catching would be the understatement of the year!
Applause! Applause! Review of Barbara Fasano's "The Girls Of Summer" by Andrew Martin
This review of Barbara Fasano in a show entitled "The Girls Of Summer" at Don't Tell Mama was written by Andrew Martin and appeared in Volume I, Issue 3 (January, 1998) of Applause! Applause! published by Dr. Thomas Robert Stevens.
"The Girls Of Summer" - Barbara Fasano
Don't Tell Mama (343 West 46th Street, NYC)
Reviewed 9/5/97 at 7 p.m.
There is still one chance to catch Bistro Award-winning vocalist Barbara Fasano in the spectacular "The Girls of Summer", and cabaretgoers shouldn't miss the opportunity to catch the show by any circumstances.
Fasano has had a most interesting journey up the cabaret ladder to success. In the early 90's, she was unleashed upon the cabaret community as one of a handful of individuals recently graduated from a program called the O'Neill Cabaret Fellowship, and soon found herself entertaining everywhere from Eighty Eight's to Town Hall. Infinitely more entertaining on intimate cabaret stages than the boards of grand concert halls, Barbara Fasano soon found herself an in-demand attraction while combining an interesting blend of theatrical standards and pop hits (and her reading of Joan Baez's "Diamonds and Rust" remains emblazoned on the memory of all who were lucky enough to be in Fasano's audience at Eighty Eight's in '95).
Her latest effort, "The Girls Of Summer" at Don't Tell Mama, is quite simply one of THE reasons to venture out to catch a topnotch evening of cabaret, featuring a seasonal thread of reality that evokes salt air and ocean breezes right outside the cabaret door regardless of the climate outside. Only Fasano could balance a theatre number like "The Girls Of Summer" (from Stephen Sondheim's "Marry Me A Little") with Don Henley's "The Boys of Summer". It can only be a matter of time before Barbara Fasano is rightfully entertaining regularly at New York and America's finest venues for cabaret talent. To describe Barbara Fasano's intrinsic gifts for cabaret presentation means giving away information best experienced in person. By all means, readers, get yourselves to Don't Tell Mama on January 27th at 7 p.m.!!!
"The Girls Of Summer" - Barbara Fasano
Don't Tell Mama (343 West 46th Street, NYC)
Reviewed 9/5/97 at 7 p.m.
There is still one chance to catch Bistro Award-winning vocalist Barbara Fasano in the spectacular "The Girls of Summer", and cabaretgoers shouldn't miss the opportunity to catch the show by any circumstances.
Fasano has had a most interesting journey up the cabaret ladder to success. In the early 90's, she was unleashed upon the cabaret community as one of a handful of individuals recently graduated from a program called the O'Neill Cabaret Fellowship, and soon found herself entertaining everywhere from Eighty Eight's to Town Hall. Infinitely more entertaining on intimate cabaret stages than the boards of grand concert halls, Barbara Fasano soon found herself an in-demand attraction while combining an interesting blend of theatrical standards and pop hits (and her reading of Joan Baez's "Diamonds and Rust" remains emblazoned on the memory of all who were lucky enough to be in Fasano's audience at Eighty Eight's in '95).
Her latest effort, "The Girls Of Summer" at Don't Tell Mama, is quite simply one of THE reasons to venture out to catch a topnotch evening of cabaret, featuring a seasonal thread of reality that evokes salt air and ocean breezes right outside the cabaret door regardless of the climate outside. Only Fasano could balance a theatre number like "The Girls Of Summer" (from Stephen Sondheim's "Marry Me A Little") with Don Henley's "The Boys of Summer". It can only be a matter of time before Barbara Fasano is rightfully entertaining regularly at New York and America's finest venues for cabaret talent. To describe Barbara Fasano's intrinsic gifts for cabaret presentation means giving away information best experienced in person. By all means, readers, get yourselves to Don't Tell Mama on January 27th at 7 p.m.!!!
Applause! Applause! Review of Branom, Coris, Kurtzuba & Vreeland in "Our Life & Times" by Andrew Martin
This review of Curt Branom, Hector Coris, Stephanie Kurtzuba & Walker Vreeland in a show entitled "Our Life & Times: The Year In Musical Review" at Rose's Turn was written by Andrew Martin and appeared in Volume I, Issue 3 (January, 1998) of Applause! Applause! published by Dr. Thomas Robert Stevens.
"Our Life & Times" - Branom, Coris, Kurtzuba & Vreeland
Rose's Turn (55 Grove Street, NYC)
Reviewed 1/11/98 at 6 p.m.
The cabaret community and piano bar scene were far different in the 1980's from anything today's industry leaders have known since. Erv Raible and Rob Hoskins were running Don't Tell Mama, the Duplex (located at that time at the current home of Rose's Turn), and the popular Upper East Side piano bar, Brandy's (at 235 East 84th Street, where it continues to flourish under Joe Connell's auspices). Art D'Lugoff's administration of the Village Gate made the legendary Thompson Street spot one of THE places to play. Hot acts around town included Amy Coleman, Lois Sage, RSVP, LuRain Penny, Horowitz & Spector, the improv group ForPlay, and a then-unknown comedy duo calling themselves Kathy (Najimy) and Mo (Gaffney). Sought-after piano bar talent included Robert Bendorff, Timmy Moore, Scott Traudt, Peter Gloo, Karen Miller, and many more. And everybody's favorite place to finish the evening was Grove Street's own The Five Oaks, then governed by the restaurateur-team of Jeremy Burrell and Mary Virginia Regan. It was there, among such piano bar talents as the late, lamented Marie Blake and such perpetual favorites as Bobby Peaco and Steven Lowenthal, that pianist/composer/lyricist/comic Rick Crom was playing happy hours to throngs of patrons who couldn't hold back the laughter, particularly on such numbers as "Is There A Straight Man In The House?" and letter-perfect impressions of John Denver, Neil Diamond and scores of others.
Since that time, Rick Crom has achieved pinnacle upon pinnacle of success within the areas of both cabaret and standup comedy. Appearances on and off-Broadway ("The Goodbye Girl", "Merrily We Roll Along") as an actor, and comedic appearances everywhere from Atlantic City to Las Vegas to Aspen, are joined by Crom's penning of some of Off-Broadway and cabaret's favorite political revues, including the popular "Absolutely Rude" at the Comedy Cellar several seasons ago. The gentleman's latest effort in that regard, "Our Life & Times", now runs at Rose's Turn on Saturday nights at 8 p.m., and Sunday evenings at 6 p.m., with different casts depending on the evening.
The one-hour showcase of headline-based special material is directed by the formidable Terri White, who can wholeheartedly add another string to her bow with the commandeering of this vehicle. (For those who don't know, she was the original Joice Heth in "Barnum" at the St. James, and won an Obie for the Tommy Tune-directed "The Club" at Circle in the Square Downtown.) White's intrinsic gift for theatrical direction comes through loudly and oh-so-clearly on such numbers as the bouncy paean to prescription drugs, "Prozac, Ritalin, Fen-Phen", and the MAC Award-nominated "The Army Song".
The cast seen by your humble reviewer was a mixed bag at best. Of the three young gentlemen and one young lady, it is only Hector Coris who seems to show an on-stage gift for revue presentation (as was similarly witnessed three seasons ago by your humble reporter during Hal Cohen's brilliant "The Musical Enquirer", directed by Leonard Jacobs at Rose's Turn). However, cast member Walker Vreeland receives more than just an ample opportunity to shine on the scrumptious "Trailer Park Paula" as the one-and-only Paula Jones, most often coming across like a musical version of Mark McKinney on "Kids In The Hall". Stephanie Kurtzuba scores not once but twice in particular; she manages to top the exquisite "Chelsea in College" (with herself as the First Daughter at Stanford) with what may well be the finest number of the evening, the more-than-simply-tuneful "El Nino". Only Curt Branom seems out of place -- his rendering of the otherwise marvelous "Dr. Jack Kervorkian" would most obviously have been better served with composer Crom's vocals, and his impression of Mike Tyson simply doesn't cut it. In fact, the overall problem with the show seems to be that the musical and lyrical material severely outshines the ability of the cast, and even that material manages to be a mite too predictable in scant spots (such as a bit about the knighting of Elton John).
However, as national headlines change, so too will the content of the material showcased in "Our Life & Times". The show, therefore, is not only worth seeing once for the experience, but returning later on to experience the collective genius of Rick Crom and Terri White. The show has the chance to run for a very, very long time -- make it thy business to get there while you can.
"Our Life & Times" - Branom, Coris, Kurtzuba & Vreeland
Rose's Turn (55 Grove Street, NYC)
Reviewed 1/11/98 at 6 p.m.
The cabaret community and piano bar scene were far different in the 1980's from anything today's industry leaders have known since. Erv Raible and Rob Hoskins were running Don't Tell Mama, the Duplex (located at that time at the current home of Rose's Turn), and the popular Upper East Side piano bar, Brandy's (at 235 East 84th Street, where it continues to flourish under Joe Connell's auspices). Art D'Lugoff's administration of the Village Gate made the legendary Thompson Street spot one of THE places to play. Hot acts around town included Amy Coleman, Lois Sage, RSVP, LuRain Penny, Horowitz & Spector, the improv group ForPlay, and a then-unknown comedy duo calling themselves Kathy (Najimy) and Mo (Gaffney). Sought-after piano bar talent included Robert Bendorff, Timmy Moore, Scott Traudt, Peter Gloo, Karen Miller, and many more. And everybody's favorite place to finish the evening was Grove Street's own The Five Oaks, then governed by the restaurateur-team of Jeremy Burrell and Mary Virginia Regan. It was there, among such piano bar talents as the late, lamented Marie Blake and such perpetual favorites as Bobby Peaco and Steven Lowenthal, that pianist/composer/lyricist/comic Rick Crom was playing happy hours to throngs of patrons who couldn't hold back the laughter, particularly on such numbers as "Is There A Straight Man In The House?" and letter-perfect impressions of John Denver, Neil Diamond and scores of others.
Since that time, Rick Crom has achieved pinnacle upon pinnacle of success within the areas of both cabaret and standup comedy. Appearances on and off-Broadway ("The Goodbye Girl", "Merrily We Roll Along") as an actor, and comedic appearances everywhere from Atlantic City to Las Vegas to Aspen, are joined by Crom's penning of some of Off-Broadway and cabaret's favorite political revues, including the popular "Absolutely Rude" at the Comedy Cellar several seasons ago. The gentleman's latest effort in that regard, "Our Life & Times", now runs at Rose's Turn on Saturday nights at 8 p.m., and Sunday evenings at 6 p.m., with different casts depending on the evening.
The one-hour showcase of headline-based special material is directed by the formidable Terri White, who can wholeheartedly add another string to her bow with the commandeering of this vehicle. (For those who don't know, she was the original Joice Heth in "Barnum" at the St. James, and won an Obie for the Tommy Tune-directed "The Club" at Circle in the Square Downtown.) White's intrinsic gift for theatrical direction comes through loudly and oh-so-clearly on such numbers as the bouncy paean to prescription drugs, "Prozac, Ritalin, Fen-Phen", and the MAC Award-nominated "The Army Song".
The cast seen by your humble reviewer was a mixed bag at best. Of the three young gentlemen and one young lady, it is only Hector Coris who seems to show an on-stage gift for revue presentation (as was similarly witnessed three seasons ago by your humble reporter during Hal Cohen's brilliant "The Musical Enquirer", directed by Leonard Jacobs at Rose's Turn). However, cast member Walker Vreeland receives more than just an ample opportunity to shine on the scrumptious "Trailer Park Paula" as the one-and-only Paula Jones, most often coming across like a musical version of Mark McKinney on "Kids In The Hall". Stephanie Kurtzuba scores not once but twice in particular; she manages to top the exquisite "Chelsea in College" (with herself as the First Daughter at Stanford) with what may well be the finest number of the evening, the more-than-simply-tuneful "El Nino". Only Curt Branom seems out of place -- his rendering of the otherwise marvelous "Dr. Jack Kervorkian" would most obviously have been better served with composer Crom's vocals, and his impression of Mike Tyson simply doesn't cut it. In fact, the overall problem with the show seems to be that the musical and lyrical material severely outshines the ability of the cast, and even that material manages to be a mite too predictable in scant spots (such as a bit about the knighting of Elton John).
However, as national headlines change, so too will the content of the material showcased in "Our Life & Times". The show, therefore, is not only worth seeing once for the experience, but returning later on to experience the collective genius of Rick Crom and Terri White. The show has the chance to run for a very, very long time -- make it thy business to get there while you can.
Applause! Applause! Review of "Comics Unplugged!" at The Waterloo Bridge Theatre by Dr. Thomas Robert Stevens
This review of Assorted Comics in a show entitled "Comics Unplugged!" at The Waterloo Bridge Theatre was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 3 (January, 1998) of Applause! Applause!
"Comics Unplugged!" - Assorted Comics
The Waterloo Bridge Theatre (203 West 38th Street, NYC)
Reviewed 12/17/97 at 8 p.m.
"Comics Unplugged!" promises "an evening of comedy in a smoke-free, alcohol-free atmosphere" and it succeeds in delivering big-time. For only $10, which included free soda, I was able to sample the work of 11 comics. It was a delightful evening which has tremendous potential to catch on and become a popular setting for comics to work. I only wish they had allowed the audience two ten-minute breaks, during which we could meet and speak with the comics that just completed their sets, as well as to have the opportunity to stretch our legs and get another cup of free soda.
Sue Horowitz was emcee for the evening. Her only funny line was that in her career as a teacher, she once asked a student who Magellan was. The student replied "Magellan had a giant clipper and circumcised the globe." The first comic up was Sheldon Wickowitz, who has great material and an understated presence on stage. He is wickedly funny and has perfect timing and delivery. Wickowitz says that when he was younger, he belonged to a Jewish gang in Brooklyn called "Sol's Angels". He says "late at night, we'd sneak into stores and mark down prices." He also commented that you know you have a serious cockroach problem "when you try to open your kitchen cabinets and its being pulled closed from the other side."
I cannot stress enough the importance of good material as the foundation for the success of a comic. It is also true that timing and delivery are essential to future success. Too many comics who are otherwise good-looking with a good stage presence have no clue how bad their material is. Perhaps they don't pay enough attention to audience reaction. Perhaps they don't have an instinct for what is funny. It is my observation that when a comic is smoking with the right material, almost all of the material is good. Yet when a comic is striking out, I usually can't find more than one or two lines that have the potential to hit a home run.
Julia G., who should re-think her stage name, was very pleasant and with the right material could be a success. Her funniest line was "my apartment is so small, I can't bring a black man home." David Tirado, who silenced the audience during his bits, also has potential. His one funny line was that if you were "sitting center court at a Ping-Pong match, you'd have to be on crack to follow the ball." Renee Pezzotta has a good strong stage presence and is obviously a very talented women. I expect that she will go far. She had a number of funny bits in her set. She stated that "sexual harassment in the army gives a whole new meaning to "Yes, Drill Sergeant!"." She also stated "I found my first gray hair -- it wasn't on my head -- maybe it was a cobweb." Renee Pezzotta will one day perfect her act and go far on the comedy circuit.
Alan Cove, an older comic, was crude and overbearing. More than new material, he needs a new personality. Joe Cochran was even worse. Cochran brought notes with him onto the stage which he referred to from time to time. If you cannot memorize your set, you don't belong on stage. I would have thrown him out of an amateur night competition. His one funny line was that his "family has been hassling him about preparing for his retirement," so he "took last summer off and worked on his golf game." The comments I wrote during his set were "poor material," "embarrassing performance," "who booked this guy," and "just horrible." Enough said!
Ralph Nieves-Bryant offered some of the brighter moments of the evening. He said he recently heard Ray Charles singing "America, The Beautiful". He wondered aloud "How does Ray Charles know how beautiful America is?" He also stated that now that his gay brother is dressing better than he does, he now knows why gays are in the closet. He said "They're trying to find out what to wear." His black sports announcer bit was brilliant, but he didn't develop its full potential. Caz is also a rising star. He did great impersonations of Bill Cosby, Jerry Seinfeld and Eddie Murphy. Caz supposedly means "comedy - from a to z." Here is another man with a great future!
Besides Sheldon Wickowitz, Buddy Bolton was the other major star of the evening. He confessed that he is "a bed wetter and a sleep walker." He "wets other people's beds." He also has a brilliant bit during which he does impressions of white, black and Spanish women fighting. Bolton needs the proper guidance for his career to soar. The energy, looks and stage presence are already there.
Gunslinger Thomas was the headliner for the evening. Half of Gunslinger's material is so brilliant and insightful that he should be immediately eligible for national recognition, an HBO special and big-money contractual deals. Unfortunately, the other half of his material is so political, offensive and serious as to guarantee that this level of success will never come. Either Gunslinger doesn't have a feel for where "the line" is or he doesn't care. Either way, the road to his success is being blocked by his stubborn desire for self-satisfaction. Some of his good bits involved a discussion about "white people disappearing off the planet," Tiger Woods, the East Indian baby killed by the nanny and his lines about Memphis, Tennessee where "intelligence is considered a birth defect." On the other hand, some of his worst moments came when he spoke of the "United Kingdom fucking up Africa," the lack of any legitimate analogy between the gay and black civil rights movements, and when he came out against space exploration saying we already know everything there is to know, namely that "it's cold and it's dark." I am not suggesting that Gunslinger should lose his edge or his perspective on the issues. I am only saying that if we have to hear his more controversial political opinions, he should at least feed them to us laced with insight and humor, not hit us between the eyes with a sledge hammer.
Next month, "Comics Unplugged!" is changing its name to "Comics Unclubbed!" which is a very witty name given that the comics at the Waterloo Bridge Theatre appear on a stage and not in a club. The number is the same, so call for reservations. I will see you there!
"Comics Unplugged!" - Assorted Comics
The Waterloo Bridge Theatre (203 West 38th Street, NYC)
Reviewed 12/17/97 at 8 p.m.
"Comics Unplugged!" promises "an evening of comedy in a smoke-free, alcohol-free atmosphere" and it succeeds in delivering big-time. For only $10, which included free soda, I was able to sample the work of 11 comics. It was a delightful evening which has tremendous potential to catch on and become a popular setting for comics to work. I only wish they had allowed the audience two ten-minute breaks, during which we could meet and speak with the comics that just completed their sets, as well as to have the opportunity to stretch our legs and get another cup of free soda.
Sue Horowitz was emcee for the evening. Her only funny line was that in her career as a teacher, she once asked a student who Magellan was. The student replied "Magellan had a giant clipper and circumcised the globe." The first comic up was Sheldon Wickowitz, who has great material and an understated presence on stage. He is wickedly funny and has perfect timing and delivery. Wickowitz says that when he was younger, he belonged to a Jewish gang in Brooklyn called "Sol's Angels". He says "late at night, we'd sneak into stores and mark down prices." He also commented that you know you have a serious cockroach problem "when you try to open your kitchen cabinets and its being pulled closed from the other side."
I cannot stress enough the importance of good material as the foundation for the success of a comic. It is also true that timing and delivery are essential to future success. Too many comics who are otherwise good-looking with a good stage presence have no clue how bad their material is. Perhaps they don't pay enough attention to audience reaction. Perhaps they don't have an instinct for what is funny. It is my observation that when a comic is smoking with the right material, almost all of the material is good. Yet when a comic is striking out, I usually can't find more than one or two lines that have the potential to hit a home run.
Julia G., who should re-think her stage name, was very pleasant and with the right material could be a success. Her funniest line was "my apartment is so small, I can't bring a black man home." David Tirado, who silenced the audience during his bits, also has potential. His one funny line was that if you were "sitting center court at a Ping-Pong match, you'd have to be on crack to follow the ball." Renee Pezzotta has a good strong stage presence and is obviously a very talented women. I expect that she will go far. She had a number of funny bits in her set. She stated that "sexual harassment in the army gives a whole new meaning to "Yes, Drill Sergeant!"." She also stated "I found my first gray hair -- it wasn't on my head -- maybe it was a cobweb." Renee Pezzotta will one day perfect her act and go far on the comedy circuit.
Alan Cove, an older comic, was crude and overbearing. More than new material, he needs a new personality. Joe Cochran was even worse. Cochran brought notes with him onto the stage which he referred to from time to time. If you cannot memorize your set, you don't belong on stage. I would have thrown him out of an amateur night competition. His one funny line was that his "family has been hassling him about preparing for his retirement," so he "took last summer off and worked on his golf game." The comments I wrote during his set were "poor material," "embarrassing performance," "who booked this guy," and "just horrible." Enough said!
Ralph Nieves-Bryant offered some of the brighter moments of the evening. He said he recently heard Ray Charles singing "America, The Beautiful". He wondered aloud "How does Ray Charles know how beautiful America is?" He also stated that now that his gay brother is dressing better than he does, he now knows why gays are in the closet. He said "They're trying to find out what to wear." His black sports announcer bit was brilliant, but he didn't develop its full potential. Caz is also a rising star. He did great impersonations of Bill Cosby, Jerry Seinfeld and Eddie Murphy. Caz supposedly means "comedy - from a to z." Here is another man with a great future!
Besides Sheldon Wickowitz, Buddy Bolton was the other major star of the evening. He confessed that he is "a bed wetter and a sleep walker." He "wets other people's beds." He also has a brilliant bit during which he does impressions of white, black and Spanish women fighting. Bolton needs the proper guidance for his career to soar. The energy, looks and stage presence are already there.
Gunslinger Thomas was the headliner for the evening. Half of Gunslinger's material is so brilliant and insightful that he should be immediately eligible for national recognition, an HBO special and big-money contractual deals. Unfortunately, the other half of his material is so political, offensive and serious as to guarantee that this level of success will never come. Either Gunslinger doesn't have a feel for where "the line" is or he doesn't care. Either way, the road to his success is being blocked by his stubborn desire for self-satisfaction. Some of his good bits involved a discussion about "white people disappearing off the planet," Tiger Woods, the East Indian baby killed by the nanny and his lines about Memphis, Tennessee where "intelligence is considered a birth defect." On the other hand, some of his worst moments came when he spoke of the "United Kingdom fucking up Africa," the lack of any legitimate analogy between the gay and black civil rights movements, and when he came out against space exploration saying we already know everything there is to know, namely that "it's cold and it's dark." I am not suggesting that Gunslinger should lose his edge or his perspective on the issues. I am only saying that if we have to hear his more controversial political opinions, he should at least feed them to us laced with insight and humor, not hit us between the eyes with a sledge hammer.
Next month, "Comics Unplugged!" is changing its name to "Comics Unclubbed!" which is a very witty name given that the comics at the Waterloo Bridge Theatre appear on a stage and not in a club. The number is the same, so call for reservations. I will see you there!
Applause! Applause! Review of "The Mario Cantone Christmas Show" at Caroline's by Dr. Thomas Robert Stevens
This review of "The Mario Cantone Christmas Show" at Caroline's was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 3 (January, 1998) of Applause! Applause!
"The Mario Cantone Christmas Show" - Mario Cantone
Caroline's (1626 Broadway, NYC)
Reviewed 12/15/97 at 8 p.m.
I was surprised to find the staff at Caroline's this particular evening to be more friendly and pleasant than they have been in the past. The room was well decorated for the Christmas Season. The warm up comic was Susan Campanaro, who was an embarrassment to both Caroline's and Mario Cantone. Caroline's for approving her and Mario Cantone because he had an amateur open for him. Perhaps with completely new material, she could be funny. However, this particular evening, she had a mouth like a sewer and a voice like a frog. I am not philosophically opposed to the use of curse words in a comedy act, but they must be used with wit and style, not just to shock and to get a cheap laugh. She knocked New York City in one of her songs perpetuating the myth that most New Yorkers are rude, which is certainly untrue and she failed to offer up anything that was humorous or entertaining. She was dressed in a tight green dress with gold tinsel, which was very cute. But the more disturbed and restless I became listening to her material, the more I started to think of her as a Christmas Tree that I could, perhaps, set on fire. For Susan Campanaro, it is time to hire a professional writer. She has no time to waste.
Mario Cantone is brilliant, intelligent, talented, funny, entertaining, warm and friendly. See him whenever and wherever you can. Even the dreadful movie "Mouse Hunt", which was the only movie released during this past holiday season which I gave no stars to, was redeemed for a few precious moments when Mario Cantone appeared as a representative of a corporate conglomerate. His star is rising! It is only a matter of time before the world recognizes his extraordinary talent.
Mario Cantone's shows are never second best. He can keep an audience laughing hysterically for the entire length of his act. In this particular show, he did over 20 flawless impersonations and characterizations of famous people, funny reflections on his family and a rap song as the character "Italian Ice". No one was disappointed. Even his most ardent fans. There was even some new material and a bit about a "Jim Morrison Christmas Special" which worked very well.
In recent shows, Mario Cantone has attempted to add musical accompaniment to some of his material. Sometimes, this works very well, but other times it is a disaster. During this particular show, the musical accompaniment did not work when Mario was giving his take on various Christmas stories. The synergy of the music and material has not yet been perfected. Sometimes, the piano becomes a distraction and other times it is a pleasant and relevant backdrop to his material. The proper balance must be found.
One of the funniest moments of the evening came when a fan yelled out a request from the audience. Mario Cantone responded "I'm not a video jukebox - stick a quarter up my ass and I'll do what you want." Mario also has a definite opinion as to whether Michael Jackson is a pedophile. In fact, he requires his audience to say out loud with him "Michael Jackson is a pedophile." Although Mario Cantone's show contains many references to his family and the characters in it, Mario makes few references to his own preferences, which is just as well given the fact that his strength lies in his impressions and characterizations of famous people, an area in which he doesn't need to use material from his personal life to give his act substance. One of the things we do learn about Mario Cantone during his act is that he prefers to watch "The Wizard of Oz" on holidays instead of watching football games.
Mario Cantone must release a videotape of his core material this year. I have no idea why this project hasn't become a high priority for him. His fans are waiting to purchase these tapes not only for themselves, but as gifts for their friends. His current act must be preserved for posterity and must be shared with those who have not been fortunate enough to catch him live. Mario, your fans need you to make this videotape. A talent as brilliant as yours should be used to lighten the load of the countless and faceless masses desperate for a little relief from their daily drudgery.
"The Mario Cantone Christmas Show" - Mario Cantone
Caroline's (1626 Broadway, NYC)
Reviewed 12/15/97 at 8 p.m.
I was surprised to find the staff at Caroline's this particular evening to be more friendly and pleasant than they have been in the past. The room was well decorated for the Christmas Season. The warm up comic was Susan Campanaro, who was an embarrassment to both Caroline's and Mario Cantone. Caroline's for approving her and Mario Cantone because he had an amateur open for him. Perhaps with completely new material, she could be funny. However, this particular evening, she had a mouth like a sewer and a voice like a frog. I am not philosophically opposed to the use of curse words in a comedy act, but they must be used with wit and style, not just to shock and to get a cheap laugh. She knocked New York City in one of her songs perpetuating the myth that most New Yorkers are rude, which is certainly untrue and she failed to offer up anything that was humorous or entertaining. She was dressed in a tight green dress with gold tinsel, which was very cute. But the more disturbed and restless I became listening to her material, the more I started to think of her as a Christmas Tree that I could, perhaps, set on fire. For Susan Campanaro, it is time to hire a professional writer. She has no time to waste.
Mario Cantone is brilliant, intelligent, talented, funny, entertaining, warm and friendly. See him whenever and wherever you can. Even the dreadful movie "Mouse Hunt", which was the only movie released during this past holiday season which I gave no stars to, was redeemed for a few precious moments when Mario Cantone appeared as a representative of a corporate conglomerate. His star is rising! It is only a matter of time before the world recognizes his extraordinary talent.
Mario Cantone's shows are never second best. He can keep an audience laughing hysterically for the entire length of his act. In this particular show, he did over 20 flawless impersonations and characterizations of famous people, funny reflections on his family and a rap song as the character "Italian Ice". No one was disappointed. Even his most ardent fans. There was even some new material and a bit about a "Jim Morrison Christmas Special" which worked very well.
In recent shows, Mario Cantone has attempted to add musical accompaniment to some of his material. Sometimes, this works very well, but other times it is a disaster. During this particular show, the musical accompaniment did not work when Mario was giving his take on various Christmas stories. The synergy of the music and material has not yet been perfected. Sometimes, the piano becomes a distraction and other times it is a pleasant and relevant backdrop to his material. The proper balance must be found.
One of the funniest moments of the evening came when a fan yelled out a request from the audience. Mario Cantone responded "I'm not a video jukebox - stick a quarter up my ass and I'll do what you want." Mario also has a definite opinion as to whether Michael Jackson is a pedophile. In fact, he requires his audience to say out loud with him "Michael Jackson is a pedophile." Although Mario Cantone's show contains many references to his family and the characters in it, Mario makes few references to his own preferences, which is just as well given the fact that his strength lies in his impressions and characterizations of famous people, an area in which he doesn't need to use material from his personal life to give his act substance. One of the things we do learn about Mario Cantone during his act is that he prefers to watch "The Wizard of Oz" on holidays instead of watching football games.
Mario Cantone must release a videotape of his core material this year. I have no idea why this project hasn't become a high priority for him. His fans are waiting to purchase these tapes not only for themselves, but as gifts for their friends. His current act must be preserved for posterity and must be shared with those who have not been fortunate enough to catch him live. Mario, your fans need you to make this videotape. A talent as brilliant as yours should be used to lighten the load of the countless and faceless masses desperate for a little relief from their daily drudgery.
Applause! Applause! Review of Branom, Coris, Bascom & Macaione in "Our Life & Times" by Dr. Thomas Robert Stevens
This review of Curt Branom, Hector Coris, Jennifer Bascom & Michael Macaione in a show entitled "Our Life & Times: The Year In Musical Review" at Rose's Turn was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 3 (January, 1998) of Applause! Applause!
"Our Life & Times" - Branom, Coris, Bascom & Macaione
Rose's Turn (55 Grove Street, NYC)
Reviewed 1/10/98 at 8 p.m.
"Our Life & Times: The Year In Musical Revue" strives to present "all the news that's fit to sing about." Famous people, current trends, obscure but interesting news items are all grist for the mill. The Prologue warns that the intention of the cast and of the material is "to offend" and to leave "no reputation untarnished." The "politically correct" and the "easily offended" are asked to leave or at least to know that they have been forewarned.
I thoroughly enjoyed this revue with music and lyrics by Rick Crom, a previous Leonardo da Vinci Award Recipient for Best Comedian. This musical revue is a great showcase for his talent. I hope it runs for years. I have already started to recommend "Our Life & Times" to friends and plan to return myself. There is "something for everyone" here that will keep you engrossed and entertained. This musical revue contains a thousand laughs and is smartly directed by Terri White. The lighting was expertly handled and the musical direction and arrangements by Charles Lindberg were flawless. Whatever cares or burdens you may have in your life, seeing this show will help you forget them, at least for an hour.
Some of the great numbers in this musical revue were "Chelsea In College", "Dr. Jack Kervorkian", "Prozac Ritilin, Fen-Phen", "Trailer Park Paula", "Space Station For Sale", "Sexual Harassment", "New Definitions", "El Nino", "The Army Song", "Michigan Militia", "Lesbian Madness" and the final number "You Can't Stay Here". The cast I saw worked well as a team and were quite enjoyable to watch. Michael Macaione is talented, tall and good-looking. He also looks great in a dress and I look forward to seeing more of him. Jennifer Bascom was a pleasure to watch. She was a bundle of energy and was "right on the mark" in all her roles. Hector Coris was an essential participant in the rapport that makes this show work. The otherwise talented Curt Branom gave a dreadful impersonation of Mike Tyson which absolutely ruined "Mike's Lament" and "Marv & Mike". Although Branom also went up on a few lines, I do feel that he is redeemable as a cast member, as long as he never again attempts to impersonate Mike Tyson.
I do have a few more minor negative comments. "Marv's Lament" is too short to be a successful number in this revue. Hector Coris shouldn't close one eye when playing an elderly man in "Rollerbladers" since audience attention is focused on his ability to keep his eye shut. The lyrics to "Internet Love Song" are not accurate if you're speaking computer literacy and the lyrics to "Christmas In New York" reflect an old image of New York where rudeness, crime and drugs were the order of the day. This song is out of date and should be replaced with a new "Christmas In New York" which takes account of such news items as pedestrian barricades and the Disney influence in Times Square. These are minor quibbles. Overall, the show is quite a find and an excellent value! Make certain that you go to see it either on Saturdays at 8 p.m. or on Sundays at 6 p.m. Upstairs at Rose's Turn. There is a $12 cover charge plus a two drink minimum.
"Our Life & Times" - Branom, Coris, Bascom & Macaione
Rose's Turn (55 Grove Street, NYC)
Reviewed 1/10/98 at 8 p.m.
"Our Life & Times: The Year In Musical Revue" strives to present "all the news that's fit to sing about." Famous people, current trends, obscure but interesting news items are all grist for the mill. The Prologue warns that the intention of the cast and of the material is "to offend" and to leave "no reputation untarnished." The "politically correct" and the "easily offended" are asked to leave or at least to know that they have been forewarned.
I thoroughly enjoyed this revue with music and lyrics by Rick Crom, a previous Leonardo da Vinci Award Recipient for Best Comedian. This musical revue is a great showcase for his talent. I hope it runs for years. I have already started to recommend "Our Life & Times" to friends and plan to return myself. There is "something for everyone" here that will keep you engrossed and entertained. This musical revue contains a thousand laughs and is smartly directed by Terri White. The lighting was expertly handled and the musical direction and arrangements by Charles Lindberg were flawless. Whatever cares or burdens you may have in your life, seeing this show will help you forget them, at least for an hour.
Some of the great numbers in this musical revue were "Chelsea In College", "Dr. Jack Kervorkian", "Prozac Ritilin, Fen-Phen", "Trailer Park Paula", "Space Station For Sale", "Sexual Harassment", "New Definitions", "El Nino", "The Army Song", "Michigan Militia", "Lesbian Madness" and the final number "You Can't Stay Here". The cast I saw worked well as a team and were quite enjoyable to watch. Michael Macaione is talented, tall and good-looking. He also looks great in a dress and I look forward to seeing more of him. Jennifer Bascom was a pleasure to watch. She was a bundle of energy and was "right on the mark" in all her roles. Hector Coris was an essential participant in the rapport that makes this show work. The otherwise talented Curt Branom gave a dreadful impersonation of Mike Tyson which absolutely ruined "Mike's Lament" and "Marv & Mike". Although Branom also went up on a few lines, I do feel that he is redeemable as a cast member, as long as he never again attempts to impersonate Mike Tyson.
I do have a few more minor negative comments. "Marv's Lament" is too short to be a successful number in this revue. Hector Coris shouldn't close one eye when playing an elderly man in "Rollerbladers" since audience attention is focused on his ability to keep his eye shut. The lyrics to "Internet Love Song" are not accurate if you're speaking computer literacy and the lyrics to "Christmas In New York" reflect an old image of New York where rudeness, crime and drugs were the order of the day. This song is out of date and should be replaced with a new "Christmas In New York" which takes account of such news items as pedestrian barricades and the Disney influence in Times Square. These are minor quibbles. Overall, the show is quite a find and an excellent value! Make certain that you go to see it either on Saturdays at 8 p.m. or on Sundays at 6 p.m. Upstairs at Rose's Turn. There is a $12 cover charge plus a two drink minimum.
Applause! Applause! Review of Mr. Ruby Rims & Friends' "Teddycare" by Dr. Thomas Robert Stevens
This review of Mr. Ruby Rims & Friends in five (5) shows entitled "Teddycare" at Eighty Eight's was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 3 (January, 1998) of Applause! Applause!
"Teddycare" - Mr. Ruby Rims & Friends
Eighty Eight's (228 West 10th Street, NYC)
Reviewed 12/12/97 at 8 p.m. & 11 p.m.; 12/19/97 at 8 p.m. & 11 p.m.; 12/26/97 at 8 p.m.
In 1901, Theodore Roosevelt (nicknamed "Teddy") became President of the United States. In November, 1902, he embarked on a 4-day hunting expedition in Mississippi, during which he refused to shoot a bear that had been cornered for him. The incident prompted a cartoon by Clifford K. Berryman which appeared in the Washington Post on November 16, 1902; the title of the cartoon, "Drawing the Line at Mississippi", also referred to a boundary dispute which the President had set out to resolve. The popularity of the Teddy Bear began soon after Berryman's cartoon appeared. Morris Michtom, a Russian emigre, displayed a plush bear, made by his wife Rose and labeled "Teddy's Bear", in the window of his New York store. It was an instant success. The wholesalers, Butler Brothers, eventually bought the Michtom's entire stock, and, helped by the backing of Butler Brothers, Michtom established the Ideal Novelty & Toy Company, reputed to be the 1st United States teddy-bear manufacturer. The height of the teddy craze coincided with Teddy Roosevelt's second administration (1905-1909). In 1906, the United States toy trade magazine "Playthings" first referred to "Teddy's Bears" and this was soon abbreviated to "Teddy Bear".
For the remainder of the 20th Century, Teddy Bears have continued to be ideal gifts for children of all ages. Their popularly has led hundreds of thousands of people to collect and trade them. Teddy Bear Conventions are held every year and numerous books have been written detailing the history, designs and diversity of Teddy Bears manufactured throughout the world. It is hard to say exactly why Teddy Bears have sustained their popularity throughout the years. I believe it is because a stuffed bear covered with fur acts as a surrogate mother who continues to provide its owner with warmth, safety and a feeling of security for so long as it's being held. The holder of a Teddy Bear, embraced in a "bear hug", feels less tense, less anxious and less frightened, just as the holder would feel if being hugged by mother. I wouldn't be surprised if Teddy Bear owners lived longer, happier lives than those living without Teddy Bears.
Mr. Ruby Rims was a Teddy Bear collector who appreciated the therapeutic value Teddy Bears have for children, and especially sick children. One day he decided it would be a great idea to organize a Christmas Teddy Bear Drive for Hospitalized Children and to distribute Teddy Bears to children in hospitals, aids wards and hospices throughout New York City. He called his effort "Teddycare", a registered trademark, and proceeded to invite some of his talented friends to donate their time to put on a series of shows at which Teddy Bears would be collected and at which other monies raised would be donated to various designated charities. This effort has been going strong for many years and the shows I reviewed were part of the 7th Annual Teddycare extravaganza. The host for each show was Mr. Ruby Rims himself. The musical director for all the shows was the very talented John McMahon. The very "electric" Maryann Lopinto, strung with Christmas lights, helped collect the Teddy Bears and taped each of the shows.
The $6300 collected at the shows during this 7th Annual Teddycare Drive went to the Manhattan Plaza Aids Project, an aids service organization that was there to help Mr. Ruby Rims in his time of need. Mr. Ruby Rims states at each show that he is proud that none of the monies donated to the Manhattan Plaza Aids Project are used for administrative expenses. The nearly 1000 Teddy Bears collected at the shows are distributed to sick children in January and February by Mr. Ruby Rims who dresses in a bear suit to deliver them. For his efforts, NY1, the cable news service, designated Mr. Ruby Rims "New Yorker of the Week", the first time that a transgendered individual has ever received this honor. In my opinion, it was well deserved.
The many talented artists who agreed to donate their time to make the shows a success are deserving of thanks and praise. They include Aaron Lee Battle, Jenny Burton, Jack Donahue, Sean McNally, Terri Lynn Paul, Vivian Reed, Marta Sanders, Billy Stritch, Adrianne Tolsch, Mary Bond Davis, Steve Hayes, Michael Marotta, Maureen McNamara, Varla Jean Merman, Michael Murphy, Jane Schechter, Jon Kent Soleather, Marilyn Volpe, Bobby Belfry, Charles Cermele, Rick Crom, Gerry Dieffenbach, Karen Mason, Jeanne MacDonald, Georgia Osborne, Jacqueline Venable, Kelly Briggs, Mary Foster Conklin, Bill Daugherty, Judy Kreston & David Lahm, Jennifer Kruskamp, Sidney Myer, Maureen Kelly Stewart, Jonathan Tomaselli, Tom Andersen, Jeff Harnar, Carlos Martin, Jaymie Meyer, Rick McKay, Phyllis Pastore, Jerry Scott, Vie Tabaac, Margaret Wright, Steven Brinberg, Jim Caruso, Baby Jane Dexter, Thomas Diverniero, Paul Greenwood, David Gurland, Martha Lorin, Shirley Ritenour, James Beaman, Charles Busch, Tommy Femia, Bryan Murphy, Jay Rogers, Richard Skipper, Albert "Diva" Walsh and Miss Julie Wilson. Each performer contributed the equivalent of two numbers to the show they were participating in. Mr. Ruby Rims did an opening and closing number at each show with one encore. In light of the fact that many supporters of Teddycare come to all of the shows, I must say that Mr. Ruby Rims could have done a better job of diversifying his material and could have prepared a few additional numbers to perform. He has so many brilliant numbers in his repertoire. I wish he had used more of them! All of the shows I reviewed were well worth the effort I made to attend them. In light of the fact that all of the shows were benefits, I will not critique each performer's work as I would have had they been appearing in their own shows. Nor will I provide you with a list of songs performed. Instead, I will mention some of the lighter and more serious moments that took place during the shows I reviewed.
At the 8 p.m. show on December 12, 1997, Georgia Osborne said the first reference to PMS in the bible was the verse "And Mary rode Joseph's ass all the way to Bethlehem." Rick Crom told the joke about the "mute guy who goes into a drug store to purchase a condom. Not knowing exactly how to ask for one, he takes out his penis and puts it on the counter along with two dollars. The clerk sees this, pulls his own dick out of his pants, places it on the counter and since it was larger, he took the two dollars." Charles Cermele reiterated his claim that people think he looks like a cross between Michael Feinstein and John Gotti. Mr. Ruby Rims stopped singing in the middle of a song and asked a woman in the audience to close her legs saying "we're getting an echo in here." He also said "I have a frog in my throat. It used to be a prince." Finally, Mr. Ruby Rims told the joke about the "two blondes who froze to death at the drive-in movie. They went to see "Closed for Winter"."
At the 11 p.m. show on December 12, 1997, Sidney Myer sang the wonderful song "A Boy's Life" about what the activities of a boy scout might be. After singing the song, he said that "the closest he ever came to that song was a girl scout cookie." Mr. Ruby Rims stated that he "loves straight people. They're so obvious." To do a Bette Davis impression, Ruby asked for a cigarette. He said "I left mine in the machine." Then as Bette Davis, he said "We've had a request, but I'm going to sing anyway. I'm going to do a little number; no one you know." Mr. Ruby Rims proceeded to tell yet another dumb blonde joke: "Do you know what they call smart blondes?...Golden Retrievers." Finally, before singing "This Is The Moment", Mr. Ruby Rims stated that five years ago, he was diagnosed with aids and since then, he has "realized how precious life is and that you have to live each day as it comes and each moment as it comes."
At the 8 p.m. show on December 19, 1997, Tom Andersen came out in favor of Christmas Cards stating that he has learned over the years how important friends are and that you should send Christmas Cards to "let people know you are thinking about them." At the 11 p.m. show on December 19, 1997, David Gurland said it was odd he was about to sing a song about the infant Jesus since he is "really, really, really Jewish." Mr. Ruby Rims commented that the world has really changed in the past fifteen years. He said "now a cocktail is 22 pills."
At the 8 p.m. show on December 26, 1997, which together with the identical show at 11 p.m. was dedicated primarily to drag queen performers, Mr. Albert "Diva" Walsh stated that he had to take a "survival job" this year, so he didn't have a "church job" which would have allowed him to sing "O Holy Night". Therefore, Mr. Walsh seized the opportunity to sing it here. Mr. Bryan Murphy, who flew in from the north of London just to do this show, said "Never trust a country with only one Queen." Mr. Bryan Murphy also sang a song entitled "Living Next Door To Alice" which required audience participation in the form of their singing "Alice, who the fuck is Alice" at appropriate moments during the song. What a hoot! Extra points to Mr. Bryan Murphy for his large Christmas balls. Lypsinka made a surprise appearance and asked the audience if they knew "the difference between the Titanic and Mr. Ruby Rims?" When no one answered, he said "We all know how many people went down on the Titanic." Charles Busch said it was a long show and that it's getting a bit testy downstairs in the small dressing room. He said "downstairs is like a women's prison picture. Heads are being shaved as we speak."
Mr. Ruby Rims is a Distinguished Artist of the Beaux Arts Society, a community of artists founded in 1857 that is the original sponsor of the only authentic Beaux Arts Ball run in America. Mr. Ruby Rims was also the recipient of a Leonardo da Vinci Award in 1996 for Best Performing Artist for his show "I'm Still Here." If you wish to donate money to the Manhattan Plaza Aids Project or if you wish to donate Teddy Bears to Teddycare, I'm sure that Mr. Ruby Rims would be pleased to hear from you. You may call him directly at 212-279-6541. I encourage you to support Mr. Ruby Rims and Teddycare now and in the years to come!
"Teddycare" - Mr. Ruby Rims & Friends
Eighty Eight's (228 West 10th Street, NYC)
Reviewed 12/12/97 at 8 p.m. & 11 p.m.; 12/19/97 at 8 p.m. & 11 p.m.; 12/26/97 at 8 p.m.
In 1901, Theodore Roosevelt (nicknamed "Teddy") became President of the United States. In November, 1902, he embarked on a 4-day hunting expedition in Mississippi, during which he refused to shoot a bear that had been cornered for him. The incident prompted a cartoon by Clifford K. Berryman which appeared in the Washington Post on November 16, 1902; the title of the cartoon, "Drawing the Line at Mississippi", also referred to a boundary dispute which the President had set out to resolve. The popularity of the Teddy Bear began soon after Berryman's cartoon appeared. Morris Michtom, a Russian emigre, displayed a plush bear, made by his wife Rose and labeled "Teddy's Bear", in the window of his New York store. It was an instant success. The wholesalers, Butler Brothers, eventually bought the Michtom's entire stock, and, helped by the backing of Butler Brothers, Michtom established the Ideal Novelty & Toy Company, reputed to be the 1st United States teddy-bear manufacturer. The height of the teddy craze coincided with Teddy Roosevelt's second administration (1905-1909). In 1906, the United States toy trade magazine "Playthings" first referred to "Teddy's Bears" and this was soon abbreviated to "Teddy Bear".
For the remainder of the 20th Century, Teddy Bears have continued to be ideal gifts for children of all ages. Their popularly has led hundreds of thousands of people to collect and trade them. Teddy Bear Conventions are held every year and numerous books have been written detailing the history, designs and diversity of Teddy Bears manufactured throughout the world. It is hard to say exactly why Teddy Bears have sustained their popularity throughout the years. I believe it is because a stuffed bear covered with fur acts as a surrogate mother who continues to provide its owner with warmth, safety and a feeling of security for so long as it's being held. The holder of a Teddy Bear, embraced in a "bear hug", feels less tense, less anxious and less frightened, just as the holder would feel if being hugged by mother. I wouldn't be surprised if Teddy Bear owners lived longer, happier lives than those living without Teddy Bears.
Mr. Ruby Rims was a Teddy Bear collector who appreciated the therapeutic value Teddy Bears have for children, and especially sick children. One day he decided it would be a great idea to organize a Christmas Teddy Bear Drive for Hospitalized Children and to distribute Teddy Bears to children in hospitals, aids wards and hospices throughout New York City. He called his effort "Teddycare", a registered trademark, and proceeded to invite some of his talented friends to donate their time to put on a series of shows at which Teddy Bears would be collected and at which other monies raised would be donated to various designated charities. This effort has been going strong for many years and the shows I reviewed were part of the 7th Annual Teddycare extravaganza. The host for each show was Mr. Ruby Rims himself. The musical director for all the shows was the very talented John McMahon. The very "electric" Maryann Lopinto, strung with Christmas lights, helped collect the Teddy Bears and taped each of the shows.
The $6300 collected at the shows during this 7th Annual Teddycare Drive went to the Manhattan Plaza Aids Project, an aids service organization that was there to help Mr. Ruby Rims in his time of need. Mr. Ruby Rims states at each show that he is proud that none of the monies donated to the Manhattan Plaza Aids Project are used for administrative expenses. The nearly 1000 Teddy Bears collected at the shows are distributed to sick children in January and February by Mr. Ruby Rims who dresses in a bear suit to deliver them. For his efforts, NY1, the cable news service, designated Mr. Ruby Rims "New Yorker of the Week", the first time that a transgendered individual has ever received this honor. In my opinion, it was well deserved.
The many talented artists who agreed to donate their time to make the shows a success are deserving of thanks and praise. They include Aaron Lee Battle, Jenny Burton, Jack Donahue, Sean McNally, Terri Lynn Paul, Vivian Reed, Marta Sanders, Billy Stritch, Adrianne Tolsch, Mary Bond Davis, Steve Hayes, Michael Marotta, Maureen McNamara, Varla Jean Merman, Michael Murphy, Jane Schechter, Jon Kent Soleather, Marilyn Volpe, Bobby Belfry, Charles Cermele, Rick Crom, Gerry Dieffenbach, Karen Mason, Jeanne MacDonald, Georgia Osborne, Jacqueline Venable, Kelly Briggs, Mary Foster Conklin, Bill Daugherty, Judy Kreston & David Lahm, Jennifer Kruskamp, Sidney Myer, Maureen Kelly Stewart, Jonathan Tomaselli, Tom Andersen, Jeff Harnar, Carlos Martin, Jaymie Meyer, Rick McKay, Phyllis Pastore, Jerry Scott, Vie Tabaac, Margaret Wright, Steven Brinberg, Jim Caruso, Baby Jane Dexter, Thomas Diverniero, Paul Greenwood, David Gurland, Martha Lorin, Shirley Ritenour, James Beaman, Charles Busch, Tommy Femia, Bryan Murphy, Jay Rogers, Richard Skipper, Albert "Diva" Walsh and Miss Julie Wilson. Each performer contributed the equivalent of two numbers to the show they were participating in. Mr. Ruby Rims did an opening and closing number at each show with one encore. In light of the fact that many supporters of Teddycare come to all of the shows, I must say that Mr. Ruby Rims could have done a better job of diversifying his material and could have prepared a few additional numbers to perform. He has so many brilliant numbers in his repertoire. I wish he had used more of them! All of the shows I reviewed were well worth the effort I made to attend them. In light of the fact that all of the shows were benefits, I will not critique each performer's work as I would have had they been appearing in their own shows. Nor will I provide you with a list of songs performed. Instead, I will mention some of the lighter and more serious moments that took place during the shows I reviewed.
At the 8 p.m. show on December 12, 1997, Georgia Osborne said the first reference to PMS in the bible was the verse "And Mary rode Joseph's ass all the way to Bethlehem." Rick Crom told the joke about the "mute guy who goes into a drug store to purchase a condom. Not knowing exactly how to ask for one, he takes out his penis and puts it on the counter along with two dollars. The clerk sees this, pulls his own dick out of his pants, places it on the counter and since it was larger, he took the two dollars." Charles Cermele reiterated his claim that people think he looks like a cross between Michael Feinstein and John Gotti. Mr. Ruby Rims stopped singing in the middle of a song and asked a woman in the audience to close her legs saying "we're getting an echo in here." He also said "I have a frog in my throat. It used to be a prince." Finally, Mr. Ruby Rims told the joke about the "two blondes who froze to death at the drive-in movie. They went to see "Closed for Winter"."
At the 11 p.m. show on December 12, 1997, Sidney Myer sang the wonderful song "A Boy's Life" about what the activities of a boy scout might be. After singing the song, he said that "the closest he ever came to that song was a girl scout cookie." Mr. Ruby Rims stated that he "loves straight people. They're so obvious." To do a Bette Davis impression, Ruby asked for a cigarette. He said "I left mine in the machine." Then as Bette Davis, he said "We've had a request, but I'm going to sing anyway. I'm going to do a little number; no one you know." Mr. Ruby Rims proceeded to tell yet another dumb blonde joke: "Do you know what they call smart blondes?...Golden Retrievers." Finally, before singing "This Is The Moment", Mr. Ruby Rims stated that five years ago, he was diagnosed with aids and since then, he has "realized how precious life is and that you have to live each day as it comes and each moment as it comes."
At the 8 p.m. show on December 19, 1997, Tom Andersen came out in favor of Christmas Cards stating that he has learned over the years how important friends are and that you should send Christmas Cards to "let people know you are thinking about them." At the 11 p.m. show on December 19, 1997, David Gurland said it was odd he was about to sing a song about the infant Jesus since he is "really, really, really Jewish." Mr. Ruby Rims commented that the world has really changed in the past fifteen years. He said "now a cocktail is 22 pills."
At the 8 p.m. show on December 26, 1997, which together with the identical show at 11 p.m. was dedicated primarily to drag queen performers, Mr. Albert "Diva" Walsh stated that he had to take a "survival job" this year, so he didn't have a "church job" which would have allowed him to sing "O Holy Night". Therefore, Mr. Walsh seized the opportunity to sing it here. Mr. Bryan Murphy, who flew in from the north of London just to do this show, said "Never trust a country with only one Queen." Mr. Bryan Murphy also sang a song entitled "Living Next Door To Alice" which required audience participation in the form of their singing "Alice, who the fuck is Alice" at appropriate moments during the song. What a hoot! Extra points to Mr. Bryan Murphy for his large Christmas balls. Lypsinka made a surprise appearance and asked the audience if they knew "the difference between the Titanic and Mr. Ruby Rims?" When no one answered, he said "We all know how many people went down on the Titanic." Charles Busch said it was a long show and that it's getting a bit testy downstairs in the small dressing room. He said "downstairs is like a women's prison picture. Heads are being shaved as we speak."
Mr. Ruby Rims is a Distinguished Artist of the Beaux Arts Society, a community of artists founded in 1857 that is the original sponsor of the only authentic Beaux Arts Ball run in America. Mr. Ruby Rims was also the recipient of a Leonardo da Vinci Award in 1996 for Best Performing Artist for his show "I'm Still Here." If you wish to donate money to the Manhattan Plaza Aids Project or if you wish to donate Teddy Bears to Teddycare, I'm sure that Mr. Ruby Rims would be pleased to hear from you. You may call him directly at 212-279-6541. I encourage you to support Mr. Ruby Rims and Teddycare now and in the years to come!
Monday, December 5, 2011
Applause! Applause! Review of "Scorcia's Screamers" by Dr. Thomas Robert Stevens
This review of the Stand-Up Comedy Show "Scorcia's Screamers" at M.T. Pockets was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause!
"Scorcia's Screamers" - Assorted Comics
M.T. Pockets (87-06 Queens Blvd, NYC)
"Scorcia's Screamers" is the "comedymark" of Joanne Scorcia, a very good-looking, talented, up-and-coming comic who coordinates "nights of comedy" featuring professional comics at some of the best comedy clubs in New York City. I caught this particular version of her show at M.T. Pockets during their regular Tuesday Comedy Night.
The star of the evening was Andrew Martin. He came across with perfect timing and a professional demeanor which commanded the respect of his audience. Against odds, he used his gay material in front of this almost exclusively straight, drunk audience and was nevertheless able to hit some home runs. He explained that he is writing a new play about a young man who falls in love with a figure skater. He is calling his work "Boy Meets Boitano." He also explained that he is not a pillow biter, one who bites the pillow during the throws of passion. He states that under some circumstances, he might have been a pillow biter, "if that leather gag wasn't keeping my mouth closed." Andrew Martin is a talented young man with a lot of guts who by his mere presence as a comic using gay material before a straight audience is in the forefront of the fight against homophobia and discrimination of gays by society.
Joanne Scorcia and Adam Lake are excellent comics who were not at their best this evening. Brendan Pattison told no jokes. Rey Cassese was full of energy and had a good, strong stage presence. Finally, Pete Dominick, the "comic" and "M.C." struck out. He had no timing, no enthusiasm, no jokes and no energy. His only redeeming virtue was that he knew that midgets are funny. He invited up to the stage as a "side-kick," a drunk midget named L.T. Smalls, who wiggled his hips and took out a "small" business card to show the audience.
"Scorcia's Screamers" - Assorted Comics
M.T. Pockets (87-06 Queens Blvd, NYC)
"Scorcia's Screamers" is the "comedymark" of Joanne Scorcia, a very good-looking, talented, up-and-coming comic who coordinates "nights of comedy" featuring professional comics at some of the best comedy clubs in New York City. I caught this particular version of her show at M.T. Pockets during their regular Tuesday Comedy Night.
The star of the evening was Andrew Martin. He came across with perfect timing and a professional demeanor which commanded the respect of his audience. Against odds, he used his gay material in front of this almost exclusively straight, drunk audience and was nevertheless able to hit some home runs. He explained that he is writing a new play about a young man who falls in love with a figure skater. He is calling his work "Boy Meets Boitano." He also explained that he is not a pillow biter, one who bites the pillow during the throws of passion. He states that under some circumstances, he might have been a pillow biter, "if that leather gag wasn't keeping my mouth closed." Andrew Martin is a talented young man with a lot of guts who by his mere presence as a comic using gay material before a straight audience is in the forefront of the fight against homophobia and discrimination of gays by society.
Joanne Scorcia and Adam Lake are excellent comics who were not at their best this evening. Brendan Pattison told no jokes. Rey Cassese was full of energy and had a good, strong stage presence. Finally, Pete Dominick, the "comic" and "M.C." struck out. He had no timing, no enthusiasm, no jokes and no energy. His only redeeming virtue was that he knew that midgets are funny. He invited up to the stage as a "side-kick," a drunk midget named L.T. Smalls, who wiggled his hips and took out a "small" business card to show the audience.
Applause! Applause! Review of "Straight Out Of Vinnie's Closet" by Dr. Thomas Robert Stevens
This review of the Stand-Up Comedy Show "Straight Out Of Vinnie's Closet" at Stand-Up NY Comedy Club was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause!
"Straight Out Of Vinnie's Closet" - Assorted Comics
Stand-Up NY Comedy Club (236 West 78th Street, NYC)
The first Sunday of every month at 6:45 p.m., Vinnie Costa M.C.'s a show with a great line-up of comics with varied sexual orientations and preferences, from homosexual men who claim they like men, to heterosexual men who claim they like having sex with their comatose grandmothers. Lesbians were well represented on stage, but were under-represented in the audience.
Far and away, the best comic of the evening was Linda Hershovic. She has excellent material, and perfect timing and delivery. She explained that she recently came out to her mom. She wrote her mom "a long note on flowered paper, folded it in three, and then threw it on her grave and ran." While on the beach in Provincetown, a young girl stole the unhooked bikini top of a woman sun-bathing and then ran down the beach. Of course, the woman had to get up to run after the child. Hershovic says she "got a good look and it only cost me a piece of candy." I look forward to catching her act the next time she appears as a headliner.
Vinnie Costa was also excellent both as an M.C. and as a comic. He refers to Lifetime Television as "television for women and gay men." He said that when he was younger, his mom "only let him have boys in his room." So he says, "Thanks mom, you're the best!" Costa did great impersonations of Louis Armstrong and Carol Channing from their roles in Hello, Dolly. He also stated that he "almost lost his gay membership card" because he "wasn't a good dresser." But people said, "Don't worry. You look like a lesbian. You're fine!!"
The "straight" John Viner had a powerful stage presence and I loved his material and his willingness to go where many comics fear to tread. However, he lost his guts in a confrontation with a black lesbian audience member. The only advice I have for him is "No Balls. No Glory!". Alex Sanez has tremendous energy and a great future. Deke Haylon and Sharon Williams can both carve out a niche for themselves and were a cut above the rest of the comic pack! Paul J. Williams, who will soon have a one-man show at Don't Tell Mama on Tuesdays in January told one hilarious joke. He is originally from Dallas and said he misses the grocery stores in Texas which are "so long that you can't see the back of the store because of the curvature of the earth." If he comes up with more material like this, his show will be a success. Also on the program were Janine Driver, Gabby Rubin, Rob Tyler, Ellen Rosenfeld, Poppi Kramer and Lorne Newman. Each had some funny bits to offer and while they might shine on another program, tonight they came in second best, which is not all that bad!
"Straight Out Of Vinnie's Closet" - Assorted Comics
Stand-Up NY Comedy Club (236 West 78th Street, NYC)
The first Sunday of every month at 6:45 p.m., Vinnie Costa M.C.'s a show with a great line-up of comics with varied sexual orientations and preferences, from homosexual men who claim they like men, to heterosexual men who claim they like having sex with their comatose grandmothers. Lesbians were well represented on stage, but were under-represented in the audience.
Far and away, the best comic of the evening was Linda Hershovic. She has excellent material, and perfect timing and delivery. She explained that she recently came out to her mom. She wrote her mom "a long note on flowered paper, folded it in three, and then threw it on her grave and ran." While on the beach in Provincetown, a young girl stole the unhooked bikini top of a woman sun-bathing and then ran down the beach. Of course, the woman had to get up to run after the child. Hershovic says she "got a good look and it only cost me a piece of candy." I look forward to catching her act the next time she appears as a headliner.
Vinnie Costa was also excellent both as an M.C. and as a comic. He refers to Lifetime Television as "television for women and gay men." He said that when he was younger, his mom "only let him have boys in his room." So he says, "Thanks mom, you're the best!" Costa did great impersonations of Louis Armstrong and Carol Channing from their roles in Hello, Dolly. He also stated that he "almost lost his gay membership card" because he "wasn't a good dresser." But people said, "Don't worry. You look like a lesbian. You're fine!!"
The "straight" John Viner had a powerful stage presence and I loved his material and his willingness to go where many comics fear to tread. However, he lost his guts in a confrontation with a black lesbian audience member. The only advice I have for him is "No Balls. No Glory!". Alex Sanez has tremendous energy and a great future. Deke Haylon and Sharon Williams can both carve out a niche for themselves and were a cut above the rest of the comic pack! Paul J. Williams, who will soon have a one-man show at Don't Tell Mama on Tuesdays in January told one hilarious joke. He is originally from Dallas and said he misses the grocery stores in Texas which are "so long that you can't see the back of the store because of the curvature of the earth." If he comes up with more material like this, his show will be a success. Also on the program were Janine Driver, Gabby Rubin, Rob Tyler, Ellen Rosenfeld, Poppi Kramer and Lorne Newman. Each had some funny bits to offer and while they might shine on another program, tonight they came in second best, which is not all that bad!
Applause! Applause! Review of Eric Jackson's "Tell-Tale" by Dr. Thomas Robert Stevens
This review of the play entitled "Tell-Tale" was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause!
"Tell-Tale" - A Play by Eric Jackson
The Cherry Lane Theatre (38 Commerce Street, NYC)
"Tell-Tale", a Theatre Couture Production, is a delightful spoof of horror films, plays and short stories. It is an engrossing, well-written show complete with musical numbers, Latin dances, instant replays, and visual effects by Basil Twist which include moving severed body parts and a black raven, of course. Sherry Vine, a/k/a Keith Levy, plays Lenore Usher, a woman on the edge, who has just made bundles of money publishing a book entitled "Corpus" which has detailed drawings of the human body. Lenore subsequently divorced her husband, Buddy, leaving him with no portion of her fortune and then spent some time in a mental institution before returning to her penthouse and "loyal" servant, Cora Tripetta, played by Jackie Beat, a/k/a Kent Fuher. Juan, a pizza delivery boy, is played by Mario Diaz, who also plays the roles of Buddy Starcher and Detective Sanders. All three actors put in superior performances and are polished professionals.
This play is campy, funny, sexy, intriguing and never boring. The set is wonderful. The musical selections are always appropriate. The visual effects are inventive and the dance numbers are well-executed. The most interesting aspect of this production is what I shall call the "instant replay" which recalls a part of the show that you may or may not have seen and presents that segment in an abbreviated fast motion form so that you get the point without having to listen to all the dialogue that may have transpired. It is a brilliant technique and one that you must see to believe.
Since I dare not say more which might detract from your enjoyment of this excellent show, I will instead report to you some of my favorite lines from the play. After Lenore refuses to answer her door bell, the pizza delivery boy says "I'm holding a meaty twelve incher and I'm not leaving until you take it." After letting him in and seeing that he is wet due to the rain outside, Lenore says "You're soaked to the bone." Juan subsequently says "I'm a big boy with a big appetite." Lenore retorts "Dinner is served!" Lenore also frequently looks at her reflection in the window repeating to herself "Not Nuts! Not Nuts!" Eventually, Lenore dismembers a body while the song "Love Hurts" is played. Cora, helping Lenore dispose of the body parts says "Chop! Chop! Let's go Lizzy!" Buddy to Cora: "Don't shit me!" Cora to Buddy: "If done properly, I won't!" Cora to Detective: "Would you like a stiff one?" Detective: "Two fingers please." Cora: "I'm never satisfied with less than three."
Keith Levy's program note reports that "Ms. Vine can be seen regularly all over Manhattan." Mario Diaz's program note reports that "When not performing, Diaz enjoys taking long walks on the beach, fine dining and robbing convenience stores." Kent Fuher's program note states that he "dedicates this performance to his mother, Liliana, who taught him everything he knows about overacting, histrionics and being a martyr." Go see this fun show!!
"Tell-Tale" - A Play by Eric Jackson
The Cherry Lane Theatre (38 Commerce Street, NYC)
"Tell-Tale", a Theatre Couture Production, is a delightful spoof of horror films, plays and short stories. It is an engrossing, well-written show complete with musical numbers, Latin dances, instant replays, and visual effects by Basil Twist which include moving severed body parts and a black raven, of course. Sherry Vine, a/k/a Keith Levy, plays Lenore Usher, a woman on the edge, who has just made bundles of money publishing a book entitled "Corpus" which has detailed drawings of the human body. Lenore subsequently divorced her husband, Buddy, leaving him with no portion of her fortune and then spent some time in a mental institution before returning to her penthouse and "loyal" servant, Cora Tripetta, played by Jackie Beat, a/k/a Kent Fuher. Juan, a pizza delivery boy, is played by Mario Diaz, who also plays the roles of Buddy Starcher and Detective Sanders. All three actors put in superior performances and are polished professionals.
This play is campy, funny, sexy, intriguing and never boring. The set is wonderful. The musical selections are always appropriate. The visual effects are inventive and the dance numbers are well-executed. The most interesting aspect of this production is what I shall call the "instant replay" which recalls a part of the show that you may or may not have seen and presents that segment in an abbreviated fast motion form so that you get the point without having to listen to all the dialogue that may have transpired. It is a brilliant technique and one that you must see to believe.
Since I dare not say more which might detract from your enjoyment of this excellent show, I will instead report to you some of my favorite lines from the play. After Lenore refuses to answer her door bell, the pizza delivery boy says "I'm holding a meaty twelve incher and I'm not leaving until you take it." After letting him in and seeing that he is wet due to the rain outside, Lenore says "You're soaked to the bone." Juan subsequently says "I'm a big boy with a big appetite." Lenore retorts "Dinner is served!" Lenore also frequently looks at her reflection in the window repeating to herself "Not Nuts! Not Nuts!" Eventually, Lenore dismembers a body while the song "Love Hurts" is played. Cora, helping Lenore dispose of the body parts says "Chop! Chop! Let's go Lizzy!" Buddy to Cora: "Don't shit me!" Cora to Buddy: "If done properly, I won't!" Cora to Detective: "Would you like a stiff one?" Detective: "Two fingers please." Cora: "I'm never satisfied with less than three."
Keith Levy's program note reports that "Ms. Vine can be seen regularly all over Manhattan." Mario Diaz's program note reports that "When not performing, Diaz enjoys taking long walks on the beach, fine dining and robbing convenience stores." Kent Fuher's program note states that he "dedicates this performance to his mother, Liliana, who taught him everything he knows about overacting, histrionics and being a martyr." Go see this fun show!!
Applause! Applause! Review of Perry Payne's "A Merry Perry Christmas" by Dr. Thomas Robert Stevens
This review of Perry Payne in a show entitled "A Merry Perry Christmas" at Eighty Eight's was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause!
"A Merry Perry Christmas" - Perry Payne
Eighty Eight's (228 West 10th Street, NYC)
Perry Payne's Christmas Show, now in its second year, contains an interesting selection of not often heard material. Payne is pretty, pleasant and powerful. The showcase songs for her talent as a singer were clearly "Just In Time For Christmas" and her encore number "Choose A Star". However, the hit of her show, more than worth the full price of admission was her rendition of a hilarious song entitled "Which Team Are You On" written by Douglas Bernstein containing lyrics such as "You're best friend's a fat girl. I'd say that's a clue!". You can catch the rest on Tuesdays at 8:00 p.m. (December 16th & 23rd) and on Saturday, December 27th at 11:00 p.m.. Call 212-924-0088 after 4 p.m. for reservations.
"A Merry Perry Christmas" - Perry Payne
Eighty Eight's (228 West 10th Street, NYC)
Perry Payne's Christmas Show, now in its second year, contains an interesting selection of not often heard material. Payne is pretty, pleasant and powerful. The showcase songs for her talent as a singer were clearly "Just In Time For Christmas" and her encore number "Choose A Star". However, the hit of her show, more than worth the full price of admission was her rendition of a hilarious song entitled "Which Team Are You On" written by Douglas Bernstein containing lyrics such as "You're best friend's a fat girl. I'd say that's a clue!". You can catch the rest on Tuesdays at 8:00 p.m. (December 16th & 23rd) and on Saturday, December 27th at 11:00 p.m.. Call 212-924-0088 after 4 p.m. for reservations.
Applause! Applause! Review of Baby Jane Dexter's "The Real Thing" by Dr. Thomas Robert Stevens
This review of Baby Jane Dexter in a show entitled "The Real Thing" at Eighty Eight's was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause!
"The Real Thing" - Baby Jane Dexter
Eighty Eight's (228 West 10th Street, NYC)
Baby Jane Dexter has hit another home run with her all new show currently at Eighty Eight's. Every song performed in this "intimate opera" is flawless. Dexter fully deserves having won a Leonardo daVinci Award this year for Best Female Vocalist. All you have to do is see her current show to know why. It is of the highest caliber!!
Baby Jane wears an amazing technicolor "singcoat" throughout the opera. It is absolutely gorgeous! Ross Patterson is Dexter's musical director and is, in my opinion, one of the finest musical directors in the business. He is an integral part of this show. His piano solo during "You've Changed" written by Carey/Fisher caused me to reach a new level of appreciation for the music behind the songs.
While normally, I enjoy some reflections or insights between songs, Baby Jane Dexter made an excellent decision to sing all 13 numbers without interruption. The common theme of love and the excellent placement of each song made this show a complete delight!
Baby Jane Dexter informed the audience in the program that she incorporated, as part of her show, "about 15 minutes in the room - after the show - to greet, visit and say goodnight to help make the exit part of this experience a more comfortable one." Since the show started 30 minutes late, her 15 minutes were eaten up and the proposed comfortable experience turned into an uncomfortable one as Baby Jane tried four times to close the cabaret room door which was letting in noise from downstairs in the piano bar while the room's manager insisted the door remain open. However, we did learn during this period that Baby Jane Dexter grew up in Garden City and was the "only girl without a clothing allowance." Dexter explains that this is why she "has the right to sing the blues." We also learned that when she first appeared on a television show, the union wouldn't let her join as Jane Dexter since her mother was already in the union and was using that name. Since they wouldn't let them share it, she tried using Jane Dexter, Jr. and then Jane N. Dexter (which people mis-took to be a duo) and finally, upon a friend's suggestion, Baby Jane Dexter. She explained that rejected names included Bunny Dexter and Rolo Dexter. In my opinion, the 15 minutes of personal interaction she planned was a great idea. However, Baby Jane should base herself on the stage and then stroll out into the audience as the urge strikes her. That way, audience members will not feel left out as they did when she sat down at one particular table and in that way, she will be able to take questions from eager audience members.
Baby Jane Dexter's new show is a smash hit!! It will be playing at Eighty Eight's on Saturdays at 8:30 p.m. on December 13th, 20th & 27th. There is a $15 cover and a 2-drink minimum and is well worth the price. Call 212-924-0088 after 4 p.m. for reservations. Don't miss this show!!
"The Real Thing" - Baby Jane Dexter
Eighty Eight's (228 West 10th Street, NYC)
Baby Jane Dexter has hit another home run with her all new show currently at Eighty Eight's. Every song performed in this "intimate opera" is flawless. Dexter fully deserves having won a Leonardo daVinci Award this year for Best Female Vocalist. All you have to do is see her current show to know why. It is of the highest caliber!!
Baby Jane wears an amazing technicolor "singcoat" throughout the opera. It is absolutely gorgeous! Ross Patterson is Dexter's musical director and is, in my opinion, one of the finest musical directors in the business. He is an integral part of this show. His piano solo during "You've Changed" written by Carey/Fisher caused me to reach a new level of appreciation for the music behind the songs.
While normally, I enjoy some reflections or insights between songs, Baby Jane Dexter made an excellent decision to sing all 13 numbers without interruption. The common theme of love and the excellent placement of each song made this show a complete delight!
Baby Jane Dexter informed the audience in the program that she incorporated, as part of her show, "about 15 minutes in the room - after the show - to greet, visit and say goodnight to help make the exit part of this experience a more comfortable one." Since the show started 30 minutes late, her 15 minutes were eaten up and the proposed comfortable experience turned into an uncomfortable one as Baby Jane tried four times to close the cabaret room door which was letting in noise from downstairs in the piano bar while the room's manager insisted the door remain open. However, we did learn during this period that Baby Jane Dexter grew up in Garden City and was the "only girl without a clothing allowance." Dexter explains that this is why she "has the right to sing the blues." We also learned that when she first appeared on a television show, the union wouldn't let her join as Jane Dexter since her mother was already in the union and was using that name. Since they wouldn't let them share it, she tried using Jane Dexter, Jr. and then Jane N. Dexter (which people mis-took to be a duo) and finally, upon a friend's suggestion, Baby Jane Dexter. She explained that rejected names included Bunny Dexter and Rolo Dexter. In my opinion, the 15 minutes of personal interaction she planned was a great idea. However, Baby Jane should base herself on the stage and then stroll out into the audience as the urge strikes her. That way, audience members will not feel left out as they did when she sat down at one particular table and in that way, she will be able to take questions from eager audience members.
Baby Jane Dexter's new show is a smash hit!! It will be playing at Eighty Eight's on Saturdays at 8:30 p.m. on December 13th, 20th & 27th. There is a $15 cover and a 2-drink minimum and is well worth the price. Call 212-924-0088 after 4 p.m. for reservations. Don't miss this show!!
Applause! Applause! Review of Michel Hermon's "Dietrich Hotel" by Dr. Thomas Robert Stevens
This review of Michel Hermon in a show entitled "Dietrich Hotel" at Don't Tell Mama was written and published by Dr. Thomas Robert Stevens and appeared in Volume I, Issue 2 (December, 1997) of Applause! Applause!
"Dietrich Hotel" - Michel Hermon
Don't Tell Mama (343 West 46th Street, NYC)
Parisian born Michel Hermon successfully evokes the spirit of a dark, decadent, sexually ambivalent Berlin Cabaret in the pre-Nazi era. Appearing as "l'homme Dietrich," Hermon uses a bar stool, a wall, a chair, a piano top, a single high heel shoe and many other props and movements to re-create the image of Marlene Dietrich, vamp. Quentin Crisp defines a "vamp" as "a woman who offers men various degrees of frustration." While modern cabaret applauds shared intimacy, the Berlin Cabaret, as represented by Hermon, offers aloofness and a dark forbidding atmosphere that leaves you always just beyond a glimpse of the performer's true nature. All that is missing is the cigarette smoke!
Michel Hermon sings portions of 23 songs in this well-crafted, well-timed and well-structured show. Hermon has a commanding stage presence and shows feelings, emotions and passion in every muscle twitch, hand movement and verbal inflection. My favorite numbers were "Berlin", written by Lou Reed; "I Get A Kick Out Of You", "The Laziest Gal In Town", and "It's De-Lovely", all written by Porter; "Falling In Love Again" and "The Boys In The Backroom", both written by Hollander; and "Just A Gigolo", written by Caesar and Casucci.
A good number of the songs were sung in French and German. In fact, at one point, four numbers in a row were sung in German. While this helped to evoke the proper atmosphere, Hermon made little effort to set the songs up so that an English speaking audience could better appreciate the history and the story behind each of these numbers. By failing to do so, he left me wishing that I had made more of an effort to study French and German, which made this American momentarily feel culturally inferior; a small elusive victory for the French citizens who champion the superiority of French "civilization" throughout the world. My only other criticism of the show is that it could have done without three encores. Two solid encores would have been quite enough and the show should have ended with "The Boys In The Backroom", a real crowd pleaser, instead of "Miss Otis Regrets".
Michel Hermon is a true international cabaret performer of the highest caliber. The next time you learn that he will be performing in New York City, I urge you to catch the experience. It is quite different from the "run of the mill" cabaret shows that you are used to seeing. You will not be disappointed!
"Dietrich Hotel" - Michel Hermon
Don't Tell Mama (343 West 46th Street, NYC)
Parisian born Michel Hermon successfully evokes the spirit of a dark, decadent, sexually ambivalent Berlin Cabaret in the pre-Nazi era. Appearing as "l'homme Dietrich," Hermon uses a bar stool, a wall, a chair, a piano top, a single high heel shoe and many other props and movements to re-create the image of Marlene Dietrich, vamp. Quentin Crisp defines a "vamp" as "a woman who offers men various degrees of frustration." While modern cabaret applauds shared intimacy, the Berlin Cabaret, as represented by Hermon, offers aloofness and a dark forbidding atmosphere that leaves you always just beyond a glimpse of the performer's true nature. All that is missing is the cigarette smoke!
Michel Hermon sings portions of 23 songs in this well-crafted, well-timed and well-structured show. Hermon has a commanding stage presence and shows feelings, emotions and passion in every muscle twitch, hand movement and verbal inflection. My favorite numbers were "Berlin", written by Lou Reed; "I Get A Kick Out Of You", "The Laziest Gal In Town", and "It's De-Lovely", all written by Porter; "Falling In Love Again" and "The Boys In The Backroom", both written by Hollander; and "Just A Gigolo", written by Caesar and Casucci.
A good number of the songs were sung in French and German. In fact, at one point, four numbers in a row were sung in German. While this helped to evoke the proper atmosphere, Hermon made little effort to set the songs up so that an English speaking audience could better appreciate the history and the story behind each of these numbers. By failing to do so, he left me wishing that I had made more of an effort to study French and German, which made this American momentarily feel culturally inferior; a small elusive victory for the French citizens who champion the superiority of French "civilization" throughout the world. My only other criticism of the show is that it could have done without three encores. Two solid encores would have been quite enough and the show should have ended with "The Boys In The Backroom", a real crowd pleaser, instead of "Miss Otis Regrets".
Michel Hermon is a true international cabaret performer of the highest caliber. The next time you learn that he will be performing in New York City, I urge you to catch the experience. It is quite different from the "run of the mill" cabaret shows that you are used to seeing. You will not be disappointed!
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