This review of Douglas McGrath's Checkers at Studio Theatre Long Island was written by Dr. Philip Ernest Schoenberg and published in Volume X, Issue 5 (2015) of the online edition of Applause! Applause!
Checkers
Written by Douglas McGrath
Directed by David Dubin
Richard Nixon played by Scott Earle
Pat Nixon played by Carolyn Popadin
Studio Theatre Long Island
141 South Wellwood Avenue
Lindenhurst, New York
Reviewed 6/7/15 at 2:30 p.m.
Today I saw a delightful production of Checkers produced by the Studio Theatre at 141 South Wellwood Avenue, Lindenhurst, New York. It is conveniently located near the Long Island Railroad Station and the Southern State Parkway. The only physical drawback was climbing the steps to the second floor of the building. The lounge was extremely comfortable with chairs and tables. It was nicely decorated. There were free treats on one table and complimentary coffee. Other beverages were reasonably priced. The bathroom was a delight to use and it was so inviting, I felt as if I was at home. The staff was friendly and welcoming.
On stage, a television screen was effectively used to announce scene changes (instead of the complexity of sound effects and light arrays used in the original Vineyard Theatre production) thanks to the imaginative staging of Erick Creegan and Liz Grudzinski. In the original Off-Broadway production that I saw in 2012, Richard Nixon and Murray Chotiner were the foci of an ellipse of which everybody revolved around. This time, Pat Nixon was the center of the universe or the glue that held everything together. This is her show. Pat Nixon, perfectly personified by Carolyn Popadin, is the one that urges her husband to show his best side and be bigger than his critics instead of giving into his darkest and basest instincts. Nixon gives the speech of his life which saves them all. The pinnacle of the speech is about a dog named Checkers, who is not used as a weepy, sentimental motif but as the center of the middle class life style that the Nixon's share with their children.
While the "General" - Ike - was portrayed by an actor in the Off-Broadway stage production, a recorded voice is used here to portray the general as an empty suit devoid of principle. He is too ready to throw Nixon under the bus in order to get elected. Outmaneuvered by Nixon, he has no choice but to say, "Nixon is my boy" when the Republican National Committee is flooded with wires and phone calls running 350 to 1 in favor of keeping Nixon on the ticket, topping what seemed to be an impossible 90% threshold set by Eisenhower.
We see how equally shallow and dowdy Mamie Doud Eisenhower, well-portrayed by Lorrie DePelligrini, is herself, pun intended. Having never really struggled in life, she is unable to empathize with another woman seeking to improve herself, refusing to recommend a clothing designer to Pat Nixon and suggesting that she buy off the rack. Mamie was a housewife who could not cook; Ike did the cooking. Pat Nixon, on the other hand, had been a nurse and then a school teacher, who viewed herself as a partner in her husband's career.
We feel like strangling Herb Brownell brought to villainous life by W. Gordon Innes. Sherman Adams, acted by Ralph Carideo, can only play a pale reflection of a political operative ready to throw anybody under the bus that Innes portrays so effectively. Murray Chotiner, acted by David Rifkind, plays a credible advisor to Nixon and political operative in his own right. He was there for Nixon in 1952 and comes back in 1966 to get Nixon to run for President again.
Scott Earle is able to bring to life the Richard Nixon that is not yet the Richard Nixon we come to know in later years but is on the way to evolving into the final, dysfunctional version. We see a Nixon capable of dreaming big dreams but unable to forget and forgive the slights that life has dealt him. These destructive qualities will eventually overwhelm the better angels of his nature.
Giving her husband advice on how to handle the alleged scandal of a secret fund was in a way Pat Nixon's last hurrah before losing her identity as an individual in her own right. During the ordeal, she is beaten down by the political system to conform to what is thought best for her husband's political campaign and political career. Richard Nixon (you don't really say "Dick" to his face) has learned all the wrong lessons. Although the use of the high road approach worked in dealing with the "slush fund" scandal, Nixon decides to embrace the bare-knuckled principles of his enemies in order to win at all costs. We see the beginning of alcoholism for both the Nixons. In the end, the Nixons win the battle on his reputation but lose the war on living a life that is positive for them and for others. Nixon ends up placing his desire for a continuing political career as his top priority, even over the happiness of his wife, just as Ike always told Mamie that for him, the Army would always come first.
In this well-written play, you see both good and evil within people. It is not all black and white. Each major character is far more complex as people are in real life. In the end, we see a tragedy in the making. Douglas McGrath has written one hell of a play that will stand the test of time because it shows how good people are transformed into S.O.B.s to survive in the American political jungle.
Monday, June 8, 2015
Sunday, June 7, 2015
Applause! Applause! Review of Douglas McGrath's Checkers at Studio Theatre Long Island by Dr. Thomas Robert Stevens
This review of Douglas McGrath's Checkers at Studio Theatre Long Island was written by Dr. Thomas Robert Stevens and published in Volume X, Issue 5 (2015) of the online edition of Applause! Applause!
Checkers
Written by Douglas McGrath
Directed by David Dubin
Richard Nixon played by Scott Earle
Pat Nixon played by Carolyn Popadin
Studio Theatre Long Island
141 South Wellwood Avenue
Lindenhurst, New York
Reviewed 6/7/15 at 2:30 p.m.
On September 23, 1952, Vice-Presidential candidate, California Senator Richard M. Nixon, went on television for one-half hour to defend himself against charges he maintained a secret "slush fund" to pay himself a "second salary" and that said fund was immoral and led to conflicts of interest. In what would become known as the "Checkers" speech, Senator Nixon argued that not a dime of the money in that fund was ever used for personal or family expenses (pointing out that his wife doesn't own a mink coat but only a respectable Republican cloth coat), and that the money was only used for political expenses, which he thought improper to charge to the taxpayers as part of his official duties as an officeholder. This speech is the centerpiece of a relatively new play by Douglas McGrath, that opened at the Vineyard Theatre in New York City on October 31, 2012 closing on December 2, 2012.
The play Checkers begins and ends in 1966 in Nixon's Manhattan apartment as he is considering whether to run for President in 1968. He already lost the Presidency in 1960 and the California gubernatorial election in 1962. Pat, his wife, is against his running and he realizes that if he runs and loses a third time, his political career will be finished. On the other hand, he views Ronald Reagan, Nelson Rockefeller and George W. Romney as weak opponents who will not be able to beat LBJ and he also sees an opportunity to further develop a Southern Strategy that might enable him to win the electoral votes in Southern States. Another negative weighing on his mind is the whole "slush fund" affair of 1952, which he recalls as "one of the blackest moments of my life." He remembers how the Republican establishment left him out to dry and tried to pressure him into offering his resignation, which he refused to do. He also fears the press is against him and will never give him the benefit of the doubt. As Nixon says in the play, "If I took Christ off the cross, the New York Times would say I did it for the lumber."
Douglas McGrath's Nixon is a typical politico willing to do anything necessary to win, who had no problem smearing Helen Gahagan Douglas, his opponent in the California Senate race, by suggesting she was "pink right down to her underwear," or by saying his wife's birthday was on St. Patrick's Day when it was, in fact, a day either. On the other hand, there is a human quality to Nixon, who feels he is looked down upon by the social elite (he is convinced the Rockefeller's who live in his building take note of the fact that he lives on a lower floor), and rejected by the gentleman of the G.O.P., who object to his blunt style of campaigning. How ironic it was then when General Eisenhower asked Nixon to run with him as the Vice-Presidential candidate in 1952. Ike's advisors perceived Eisenhower's role in the campaign as being "the General standing in the sunlight on a hilltop" while they wanted Nixon "to be the soldier who would sling the mud and shit." But Nixon understood that Eisenhower's people didn't really like him so it was no surprise when they didn't come to his immediate defense when the slush fund issue came up. Pat Nixon, traumatized by how much of their personal life and finances needed to be made public during the "slush fund" scandal, came to abhor politics and while she agreed to "stand by" her man in 1968, she says she would not be "with him." Her significant difficulty handling the press attacks on her and her husband portended her ultimate addiction to tranquilizers and alcohol and the increasingly estranged relationship she had with her husband.
Near the end of Nixon's televised "slush fund" defense speech, he said, "One other thing I probably should tell you because if I don't they'll probably be saying this about me, too. We did get something, a gift, after the election. A man down in Texas heard Pat on the radio mention the fact that our two youngsters would like to have a dog. And believe it or not, the day before we left on this campaign trip, we got a message from Union Station in Baltimore, saying they had a package for us. We went down to get it. You know what it was? It was a little cocker spaniel dog, in a crate that he had sent all the way from Texas, black and white, spotted, and our little girl Tricia, the six year old, named it Checkers. And as you know, the kids, like all kids, love the dog, and I just want to say this, right now, that regardless of what they say about it, we're gonna keep it." Henceforth, the speech became known as the "Checkers" speech because the reaction of many in the television audience of 60 million viewers was, "What kind of people would want to take away a little girl's dog!" Wires and phone calls ran 350 to 1 in Nixon's favor and Ike ultimately sent him a wire congratulating him on his performance and inviting him to meet him in West Virginia. With new found confidence, Nixon wired back that he was too busy on the campaign trail and that they'd meet up when they were both back in Washington, D.C.
This production of Checkers is a huge success because of the performances of Scott Earle as Richard Nixon, and Carolyn Popadin as Pat Nixon. Perfectly cast, both bring substance and depth to their roles enabling the audience to appreciate the challenges both characters face when they are attacked on a personal level. Richard Nixon tends to want to fight on to show his enemies he will not be easily defeated while Pat Nixon responds more emotionally and in the end, more tragically. The entire cast of this production is top-notch! David Rifkind appears as Murry Chotiner, Nixon's political advisor. W. Gordon Innes as Herb Brownell and Ralph Carideo as Sherman Adams put in fine performances as Ike's political advisors, and finally, although they have small roles, Akiva Wharton has an essential line as Joey, that brought me to tears, and Lorrie DePelligrini gives her unemotional and unsympathetic reactions to her husband in the role of Mamie Eisenhower. The "Checkers" speech transformed the conduct of American politics by revealing how powerfully television can persuade the public on any given issue. This well-written and fast moving play reflects the events leading up to the speech and what occured in its immediate aftermath. It is a must see!
Douglas McGrath's Checkers will continue to play at Studio Theatre Long Island through June 21, 2015. Tickets cost $25.00 and there is reserved seating. You can buy your tickets at http://www.studiotheatreli.com/ or by calling 631-226-8400. There was free coffee and cake available before the show I saw on a Sunday at 2:30 p.m. and there is a lovely lounge area available for you to sit in prior to the house opening. This was my first time seeing a show at Studio Theatre Long Island and I highly recommend you catch one of their high-quality productions soon. I will certainly be back!
Checkers
Written by Douglas McGrath
Directed by David Dubin
Richard Nixon played by Scott Earle
Pat Nixon played by Carolyn Popadin
Studio Theatre Long Island
141 South Wellwood Avenue
Lindenhurst, New York
Reviewed 6/7/15 at 2:30 p.m.
On September 23, 1952, Vice-Presidential candidate, California Senator Richard M. Nixon, went on television for one-half hour to defend himself against charges he maintained a secret "slush fund" to pay himself a "second salary" and that said fund was immoral and led to conflicts of interest. In what would become known as the "Checkers" speech, Senator Nixon argued that not a dime of the money in that fund was ever used for personal or family expenses (pointing out that his wife doesn't own a mink coat but only a respectable Republican cloth coat), and that the money was only used for political expenses, which he thought improper to charge to the taxpayers as part of his official duties as an officeholder. This speech is the centerpiece of a relatively new play by Douglas McGrath, that opened at the Vineyard Theatre in New York City on October 31, 2012 closing on December 2, 2012.
The play Checkers begins and ends in 1966 in Nixon's Manhattan apartment as he is considering whether to run for President in 1968. He already lost the Presidency in 1960 and the California gubernatorial election in 1962. Pat, his wife, is against his running and he realizes that if he runs and loses a third time, his political career will be finished. On the other hand, he views Ronald Reagan, Nelson Rockefeller and George W. Romney as weak opponents who will not be able to beat LBJ and he also sees an opportunity to further develop a Southern Strategy that might enable him to win the electoral votes in Southern States. Another negative weighing on his mind is the whole "slush fund" affair of 1952, which he recalls as "one of the blackest moments of my life." He remembers how the Republican establishment left him out to dry and tried to pressure him into offering his resignation, which he refused to do. He also fears the press is against him and will never give him the benefit of the doubt. As Nixon says in the play, "If I took Christ off the cross, the New York Times would say I did it for the lumber."
Douglas McGrath's Nixon is a typical politico willing to do anything necessary to win, who had no problem smearing Helen Gahagan Douglas, his opponent in the California Senate race, by suggesting she was "pink right down to her underwear," or by saying his wife's birthday was on St. Patrick's Day when it was, in fact, a day either. On the other hand, there is a human quality to Nixon, who feels he is looked down upon by the social elite (he is convinced the Rockefeller's who live in his building take note of the fact that he lives on a lower floor), and rejected by the gentleman of the G.O.P., who object to his blunt style of campaigning. How ironic it was then when General Eisenhower asked Nixon to run with him as the Vice-Presidential candidate in 1952. Ike's advisors perceived Eisenhower's role in the campaign as being "the General standing in the sunlight on a hilltop" while they wanted Nixon "to be the soldier who would sling the mud and shit." But Nixon understood that Eisenhower's people didn't really like him so it was no surprise when they didn't come to his immediate defense when the slush fund issue came up. Pat Nixon, traumatized by how much of their personal life and finances needed to be made public during the "slush fund" scandal, came to abhor politics and while she agreed to "stand by" her man in 1968, she says she would not be "with him." Her significant difficulty handling the press attacks on her and her husband portended her ultimate addiction to tranquilizers and alcohol and the increasingly estranged relationship she had with her husband.
Near the end of Nixon's televised "slush fund" defense speech, he said, "One other thing I probably should tell you because if I don't they'll probably be saying this about me, too. We did get something, a gift, after the election. A man down in Texas heard Pat on the radio mention the fact that our two youngsters would like to have a dog. And believe it or not, the day before we left on this campaign trip, we got a message from Union Station in Baltimore, saying they had a package for us. We went down to get it. You know what it was? It was a little cocker spaniel dog, in a crate that he had sent all the way from Texas, black and white, spotted, and our little girl Tricia, the six year old, named it Checkers. And as you know, the kids, like all kids, love the dog, and I just want to say this, right now, that regardless of what they say about it, we're gonna keep it." Henceforth, the speech became known as the "Checkers" speech because the reaction of many in the television audience of 60 million viewers was, "What kind of people would want to take away a little girl's dog!" Wires and phone calls ran 350 to 1 in Nixon's favor and Ike ultimately sent him a wire congratulating him on his performance and inviting him to meet him in West Virginia. With new found confidence, Nixon wired back that he was too busy on the campaign trail and that they'd meet up when they were both back in Washington, D.C.
This production of Checkers is a huge success because of the performances of Scott Earle as Richard Nixon, and Carolyn Popadin as Pat Nixon. Perfectly cast, both bring substance and depth to their roles enabling the audience to appreciate the challenges both characters face when they are attacked on a personal level. Richard Nixon tends to want to fight on to show his enemies he will not be easily defeated while Pat Nixon responds more emotionally and in the end, more tragically. The entire cast of this production is top-notch! David Rifkind appears as Murry Chotiner, Nixon's political advisor. W. Gordon Innes as Herb Brownell and Ralph Carideo as Sherman Adams put in fine performances as Ike's political advisors, and finally, although they have small roles, Akiva Wharton has an essential line as Joey, that brought me to tears, and Lorrie DePelligrini gives her unemotional and unsympathetic reactions to her husband in the role of Mamie Eisenhower. The "Checkers" speech transformed the conduct of American politics by revealing how powerfully television can persuade the public on any given issue. This well-written and fast moving play reflects the events leading up to the speech and what occured in its immediate aftermath. It is a must see!
Douglas McGrath's Checkers will continue to play at Studio Theatre Long Island through June 21, 2015. Tickets cost $25.00 and there is reserved seating. You can buy your tickets at http://www.studiotheatreli.com/ or by calling 631-226-8400. There was free coffee and cake available before the show I saw on a Sunday at 2:30 p.m. and there is a lovely lounge area available for you to sit in prior to the house opening. This was my first time seeing a show at Studio Theatre Long Island and I highly recommend you catch one of their high-quality productions soon. I will certainly be back!
Tuesday, June 2, 2015
Applause! Applause! Review of Thus Spoke The Spectacle at The Kraine Theater by Dr. Thomas Robert Stevens
This review of Thus Spoke The Spectacle at The Kraine Theater was written by Dr. Thomas Robert Stevens and published in Volume X, Issue 5 (2015) of the online edition of Applause! Applause!
Thus Spoke The Spectacle
Written & Produced by Eric Goodman
Guitar & Vocals: Eric Goodman
Drums: Leo Freire
Lighting Designer: Jake DeGroot
Theatrical Consultant: Leonie Ettinger
Sound & Lighting Technician: Eric Dittmore
The Kraine Theater (85 East 4th Street, NYC)
Reviewed 5/31/15 at 8:00 p.m.
Thus Spoke The Spectacle is an ambitious rock music video media criticism project inspired by the spirit and works of Guy Debord, Marshall McLuhan, Neil Postman, Lewis Mumford, Jacques Ellul, Noam Chomsky, Erich Fromm and Friedrich Nietzsche. The reference to the "spectacle" in the title comes from a 1967 book of philosophy by Guy Debord entitled The Society Of The Spectacle in which he argues that in a world in which most information is conveyed electronically via the words, sounds, and images of mass media, that our lives are guided not by actual events, but by carefully constructed representations of the events and "pseudo-events" that bombard our consciousness. Debord argues that authentic social life and activity has been replaced with its representation and that passive identification with the spectacle supplants genuine activity and unfolds before our eyes into a form of "official reality."
Other effects of this media onslaught are to distract our attention from the real issues our country faces, to direct us towards consumption, to mobilize public opinion, to desensitize us from the horror of real life by presenting negative news in juxtaposition to positive images, to destroy critical thinking, and to create a new morality including a completely re-written Ten Commandments that current generations are expected to live by. Relevant to that latter point, Guy Debord wrote, "The extraordinary new conditions in which this entire generation has effectively lived constitute a precise and comprehensive summary of all that, henceforth, the spectacle will forbid; and all that it will permit."
In Understanding Media, Marshall McLuhan said, "All media work us over completely. They are so pervasive in their personal, political, economic, aesthetic, psychological, moral, ethical, and social consequences that they leave no part of us untouched, unaffected, unaltered...Once we have surrendered our senses and nervous systems to the private manipulation of those who would try to benefit from taking a lease on our eyes and ears and nerves, we don't really have any rights left." In Amusing Ourselves To Death, Neil Postman adds that in this new era of media domination, technology has become an ideology, because "it imposes a way of life, a set of relations among people and ideas, about which there has been no consensus, no discussion, and no opposition." In The Myth Of The Machine, Lewis Mumford shared his belief that "Western Society has accepted as unquestionable a technological imperative that is quite as arbitrary as the most primitive taboo: not merely the duty to foster invention and constantly to create technological novelties, but equally the duty to surrender to these novelties unconditionally just because they are offered." Continuing on the theme of technology in The Technological Society, Jacques Ellul argued that "television, because of its power of fascination and its capacity of visual and auditory penetration, is probably the technical instrument which is most destructive of personality and human relations."
In Manufacturing Consent, Noam Chomsky argues that "marginalizing people through directing them to consumption is a major means of control." He adds that "the smart way to keep people passive and obedient is to strictly limit the spectrum of acceptable opinion, but allow very lively debate within that spectrum." In The Sane Society, Erich Fromm wrote, "It is naively assumed that the fact that the majority of people share certain ideas or feelings proves the validity of these ideas and feelings. But the fact that millions of people share the same vices does not make these vices virtues." Finally, as Friedrich Nietzsche wrote in Thus Spoke Zarathustra, "As the will to truth thus gains self-consciousness...morality will gradually perish now...this is the great spectacle in a hundred acts reserved for the next two centuries...and perhaps also the most hopeful of all spectacles."
Eric Goodman has performed Thus Spoke The Spectacle at theaters, colleges, conferences, festivals, galleries and other performance venues throughout the United States. It is an important piece of work because it reminds us of how the media manipulates our thoughts and actions. Many people believe that the spectacle is reality and, in so doing, we deny ourselves the right to think on our own, outside the spectacle. As a result, our quality of life is impoverished and with such a lack of authenticity, human perceptions are affected and there's a degradation of knowledge with the hindrance of critical thought.
The goal of this production is to "wake up the spectator who has been drugged by spectacular images." The problem with Thus Spoke The Spectacle is that Eric Goodman completely fails to achieve that goal. The various video clips entitled "Separation Perfected," "Now...This," "The Tragedy That Remains," "The Uninterrupted Monologue Of Self-Praise," Mr. Money," Frankenstein," "The Myth Of The Machine,", "WMD Blues," "Culture Death," and "Thus Spoke The Spectacle," are not properly introduced or explained. It is never clear what point is being made or how it relates to the media criticism of those social commentators and philosophers who inspired the show. There is no humor, no clear message, no relief from the monotony, and no guidance provided to make the points understandable to someone not familiar with the subject matter. I only understood a bit more about what Eric Goodman was trying to say by doing additional research after the show but most audience members are not going to do that. Most will remember seeing edited video clips, hearing some rock music and remembering Eric Goodman reading words here and there that were incomprehensible. Thus Spoke The Spectacle is unfocused and not at all entertaining. While it was intended to be informative, it fails in that primary mission as well.
The Spectacle's new Ten Commandments are presented as a Top Ten list with the number introduced by David Letterman and the Commandment projected on a video billboard in Times Square. The Spectacle Commands - #10 Thou Shalt Have No Other Gods Before Me; #9 Thou Shalt Worship Graven Images; #8 Remember the Superbowl Sunday & Keep It Holy; #7 Honor Thy Corporation & Thy State; #6 Thou Shalt Worship Numbers & Hold In Disdain All That Can't Be Counted & Verified; #5 Thou Shalt Desire What I Demand; #4 Thou Shalt Consume What I Command; #3 Thou Shalt Maximize Profit; #2 Thou Shalt Be Efficient; and #1 Thou Shalt Watch!
For more information about Thus Spoke The Spectacle, visit www.TheSpectacle.net and for tickets, go to https://www.vendini.com/ticket-software.html?e=66037df93ae0411c90742901907caa17&t=tix. There are three more shows at The Kraine Theater on Sundays at 8:00 p.m. on June 28th, July 19th and August 30th. $12.00 for students. $15.00 for adults.
Thus Spoke The Spectacle
Written & Produced by Eric Goodman
Guitar & Vocals: Eric Goodman
Drums: Leo Freire
Lighting Designer: Jake DeGroot
Theatrical Consultant: Leonie Ettinger
Sound & Lighting Technician: Eric Dittmore
The Kraine Theater (85 East 4th Street, NYC)
Reviewed 5/31/15 at 8:00 p.m.
Thus Spoke The Spectacle is an ambitious rock music video media criticism project inspired by the spirit and works of Guy Debord, Marshall McLuhan, Neil Postman, Lewis Mumford, Jacques Ellul, Noam Chomsky, Erich Fromm and Friedrich Nietzsche. The reference to the "spectacle" in the title comes from a 1967 book of philosophy by Guy Debord entitled The Society Of The Spectacle in which he argues that in a world in which most information is conveyed electronically via the words, sounds, and images of mass media, that our lives are guided not by actual events, but by carefully constructed representations of the events and "pseudo-events" that bombard our consciousness. Debord argues that authentic social life and activity has been replaced with its representation and that passive identification with the spectacle supplants genuine activity and unfolds before our eyes into a form of "official reality."
Other effects of this media onslaught are to distract our attention from the real issues our country faces, to direct us towards consumption, to mobilize public opinion, to desensitize us from the horror of real life by presenting negative news in juxtaposition to positive images, to destroy critical thinking, and to create a new morality including a completely re-written Ten Commandments that current generations are expected to live by. Relevant to that latter point, Guy Debord wrote, "The extraordinary new conditions in which this entire generation has effectively lived constitute a precise and comprehensive summary of all that, henceforth, the spectacle will forbid; and all that it will permit."
In Understanding Media, Marshall McLuhan said, "All media work us over completely. They are so pervasive in their personal, political, economic, aesthetic, psychological, moral, ethical, and social consequences that they leave no part of us untouched, unaffected, unaltered...Once we have surrendered our senses and nervous systems to the private manipulation of those who would try to benefit from taking a lease on our eyes and ears and nerves, we don't really have any rights left." In Amusing Ourselves To Death, Neil Postman adds that in this new era of media domination, technology has become an ideology, because "it imposes a way of life, a set of relations among people and ideas, about which there has been no consensus, no discussion, and no opposition." In The Myth Of The Machine, Lewis Mumford shared his belief that "Western Society has accepted as unquestionable a technological imperative that is quite as arbitrary as the most primitive taboo: not merely the duty to foster invention and constantly to create technological novelties, but equally the duty to surrender to these novelties unconditionally just because they are offered." Continuing on the theme of technology in The Technological Society, Jacques Ellul argued that "television, because of its power of fascination and its capacity of visual and auditory penetration, is probably the technical instrument which is most destructive of personality and human relations."
In Manufacturing Consent, Noam Chomsky argues that "marginalizing people through directing them to consumption is a major means of control." He adds that "the smart way to keep people passive and obedient is to strictly limit the spectrum of acceptable opinion, but allow very lively debate within that spectrum." In The Sane Society, Erich Fromm wrote, "It is naively assumed that the fact that the majority of people share certain ideas or feelings proves the validity of these ideas and feelings. But the fact that millions of people share the same vices does not make these vices virtues." Finally, as Friedrich Nietzsche wrote in Thus Spoke Zarathustra, "As the will to truth thus gains self-consciousness...morality will gradually perish now...this is the great spectacle in a hundred acts reserved for the next two centuries...and perhaps also the most hopeful of all spectacles."
Eric Goodman has performed Thus Spoke The Spectacle at theaters, colleges, conferences, festivals, galleries and other performance venues throughout the United States. It is an important piece of work because it reminds us of how the media manipulates our thoughts and actions. Many people believe that the spectacle is reality and, in so doing, we deny ourselves the right to think on our own, outside the spectacle. As a result, our quality of life is impoverished and with such a lack of authenticity, human perceptions are affected and there's a degradation of knowledge with the hindrance of critical thought.
The goal of this production is to "wake up the spectator who has been drugged by spectacular images." The problem with Thus Spoke The Spectacle is that Eric Goodman completely fails to achieve that goal. The various video clips entitled "Separation Perfected," "Now...This," "The Tragedy That Remains," "The Uninterrupted Monologue Of Self-Praise," Mr. Money," Frankenstein," "The Myth Of The Machine,", "WMD Blues," "Culture Death," and "Thus Spoke The Spectacle," are not properly introduced or explained. It is never clear what point is being made or how it relates to the media criticism of those social commentators and philosophers who inspired the show. There is no humor, no clear message, no relief from the monotony, and no guidance provided to make the points understandable to someone not familiar with the subject matter. I only understood a bit more about what Eric Goodman was trying to say by doing additional research after the show but most audience members are not going to do that. Most will remember seeing edited video clips, hearing some rock music and remembering Eric Goodman reading words here and there that were incomprehensible. Thus Spoke The Spectacle is unfocused and not at all entertaining. While it was intended to be informative, it fails in that primary mission as well.
The Spectacle's new Ten Commandments are presented as a Top Ten list with the number introduced by David Letterman and the Commandment projected on a video billboard in Times Square. The Spectacle Commands - #10 Thou Shalt Have No Other Gods Before Me; #9 Thou Shalt Worship Graven Images; #8 Remember the Superbowl Sunday & Keep It Holy; #7 Honor Thy Corporation & Thy State; #6 Thou Shalt Worship Numbers & Hold In Disdain All That Can't Be Counted & Verified; #5 Thou Shalt Desire What I Demand; #4 Thou Shalt Consume What I Command; #3 Thou Shalt Maximize Profit; #2 Thou Shalt Be Efficient; and #1 Thou Shalt Watch!
For more information about Thus Spoke The Spectacle, visit www.TheSpectacle.net and for tickets, go to https://www.vendini.com/ticket-software.html?e=66037df93ae0411c90742901907caa17&t=tix. There are three more shows at The Kraine Theater on Sundays at 8:00 p.m. on June 28th, July 19th and August 30th. $12.00 for students. $15.00 for adults.
Monday, June 1, 2015
Applause! Applause! Review of A Brief History Of Beer at Under St. Mark's Theater by Dr. Thomas Robert Stevens
This review of A Brief History Of Beer at Under St. Mark's Theater was written by Dr. Thomas Robert Stevens and published in Volume X, Issue 5 (2015) of the online edition of Applause! Applause!
A Brief History Of Beer
Hosted by Trish Parry & William Glenn
Directed by Jeffrey Mayhew
Under St. Mark's Theater (94 St. Mark's Place, NYC)
Reviewed 5/31/15 at 6:30 p.m.
Hopheads Unite aboard the Quantum Pint Machine Zythos to learn about the history of beer and to discover which Nefarious One has hijacked the time line to limit the number of choices beer drinkers have available. You should have a beer or two at hand while aboard the Star Trek-inspired time-travelling ship just in case the Red Alert goes off indicating the ship is low on fuel. You may have guessed the solution: group drink starting with the Six Point beer you were given free along with the price of admission and continuing with the backup beers you purchased. After all, you wouldn't want to crash! Plus, as your hosts Trish Parry and William Glenn, tell you, "Beer tastes good. It feels like love washing through your insides." The Intertemporal Beer Caretakers Consortium (IBCC) will take you on a journey through time, with the help of video, sound effects, and props, and along the way will tell you a bit about how beer was discovered, how it is made, and who throughout history have tried to limit its production and distribution. As the Zythos approaches each new time period, Health & Safety regulations require all passengers to shout & scream like maniacs and Civil War Beer Pong is also a requirement just for fun (by the way, the loser at the Beer Pong competition will always be the Confederates because this drinkeractive show is currently running in Yankee territory).
Despite this only being an hour show, you will visit the fertile crescent in Iraq 10,000 years ago, Sumeria, the Middle Ages, a stop at a Monastery involving a dirty nun and a thirsty priest I could have done without, the Prohibition era, pre-WWII, the 1970s and ultimately, our own modern era. The history timeline could use some tweaking if you are still sober enough to care. In the end, we learn there was no Nefarious One. Only a complacent public that let a few beer companies dominate the market. Now the people have taken their power back by creating thousands of craft beer breweries through the country. We are reminded that beer is the "Golden Nectar of the Gods" and that according to recent studies, simply tasting beer, with no effect from the alcohol, can trigger the release of dopamine in the brain. It's not all good news though because even though beer can put a guy in a frisky mood, the effect sometimes turns Mr. Happy into Mr. Sad.
This show is great fun! It is a time-travelling booze cruise in a black box theater that has been a hit at the Edinburgh, Adelaide and at many other Fringe Festivals throughout the world over the past couple of years. This particular show at Under St. Mark's Theater is sponsored by Brooklyn's own Six Point Brewery http://sixpoint.com/ and will play the last Sunday of each month at 6:30 p.m. through August, 2015. If you are looking for an entertaining communal drinking opportunity on a Sunday night, I highly recommend you check out this show. Tickets cost $18.00 and with it, you get a free beer. Buy your tickets at: https://www.vendini.com/ticket-software.html?e=e37cff6b23b7fd1ab7923dd4c1375199&t=tix and when you leave this unique show, I guarantee you will be singing, "this beer is my beer, this beer is your beer...this beer was made for you and me." After the show, you can tweet your photos and comments to #BHOBeer or post them on Facebook at https://www.facebook.com/WishExperience
A Brief History Of Beer
Hosted by Trish Parry & William Glenn
Directed by Jeffrey Mayhew
Under St. Mark's Theater (94 St. Mark's Place, NYC)
Reviewed 5/31/15 at 6:30 p.m.
Hopheads Unite aboard the Quantum Pint Machine Zythos to learn about the history of beer and to discover which Nefarious One has hijacked the time line to limit the number of choices beer drinkers have available. You should have a beer or two at hand while aboard the Star Trek-inspired time-travelling ship just in case the Red Alert goes off indicating the ship is low on fuel. You may have guessed the solution: group drink starting with the Six Point beer you were given free along with the price of admission and continuing with the backup beers you purchased. After all, you wouldn't want to crash! Plus, as your hosts Trish Parry and William Glenn, tell you, "Beer tastes good. It feels like love washing through your insides." The Intertemporal Beer Caretakers Consortium (IBCC) will take you on a journey through time, with the help of video, sound effects, and props, and along the way will tell you a bit about how beer was discovered, how it is made, and who throughout history have tried to limit its production and distribution. As the Zythos approaches each new time period, Health & Safety regulations require all passengers to shout & scream like maniacs and Civil War Beer Pong is also a requirement just for fun (by the way, the loser at the Beer Pong competition will always be the Confederates because this drinkeractive show is currently running in Yankee territory).
Despite this only being an hour show, you will visit the fertile crescent in Iraq 10,000 years ago, Sumeria, the Middle Ages, a stop at a Monastery involving a dirty nun and a thirsty priest I could have done without, the Prohibition era, pre-WWII, the 1970s and ultimately, our own modern era. The history timeline could use some tweaking if you are still sober enough to care. In the end, we learn there was no Nefarious One. Only a complacent public that let a few beer companies dominate the market. Now the people have taken their power back by creating thousands of craft beer breweries through the country. We are reminded that beer is the "Golden Nectar of the Gods" and that according to recent studies, simply tasting beer, with no effect from the alcohol, can trigger the release of dopamine in the brain. It's not all good news though because even though beer can put a guy in a frisky mood, the effect sometimes turns Mr. Happy into Mr. Sad.
This show is great fun! It is a time-travelling booze cruise in a black box theater that has been a hit at the Edinburgh, Adelaide and at many other Fringe Festivals throughout the world over the past couple of years. This particular show at Under St. Mark's Theater is sponsored by Brooklyn's own Six Point Brewery http://sixpoint.com/ and will play the last Sunday of each month at 6:30 p.m. through August, 2015. If you are looking for an entertaining communal drinking opportunity on a Sunday night, I highly recommend you check out this show. Tickets cost $18.00 and with it, you get a free beer. Buy your tickets at: https://www.vendini.com/ticket-software.html?e=e37cff6b23b7fd1ab7923dd4c1375199&t=tix and when you leave this unique show, I guarantee you will be singing, "this beer is my beer, this beer is your beer...this beer was made for you and me." After the show, you can tweet your photos and comments to #BHOBeer or post them on Facebook at https://www.facebook.com/WishExperience
Thursday, May 28, 2015
Applause! Applause! Review of Thomas Honeck's Dancing With Death at The Duplex Cabaret Theatre by Dr. Thomas Robert Stevens
This review of Thomas Honeck's Dancing With Death: Stories Of Death Told In The Key Of Life at The Duplex Cabaret Theatre was written by Dr. Thomas Robert Stevens and published in Volume X, Issue 5 (2015) of the online edition of Applause! Applause!
Dancing With Death - Thomas Honeck
Directed by Lisa Moss
Musical Director: Andrew David Sotomayor
Cello: Jordan Jancz
The Duplex Cabaret Theatre
61 Christopher Street, NYC
Reviewed 5/27/15 at 7:00 p.m.
Thomas Honeck opens the show dressed as The Grim Reaper, a Western personification of Death depicted as a skeleton wielding a scythe, eerily and hauntingly singing "Come Little Children" (Music: James Horner; Lyrics: Brock Walsh) and finishing off the medley with "Don't Pay The Ferryman" (Music & Lyrics: Chris de Burgh). He later reveals that death to him is best represented by Kristanna Loken's character T-X in Terminator 3: Rise of the Machines (2003) in which she is a Lady In Red with blond hair. (Thomas has always thought ladies with blond hair are the most trouble). He relates the bad news to the audience that "no one gets out alive - you can't even change that with the awesome power of cabaret." Thomas, who was celebrating his 51st birthday this particular evening (with delicious chocolate and red velvet cake for audience members after the show), revealed he never expected to live this long, but now that he has, he feels he still has a lot more to contribute. Nevertheless, he said, "if I woke up dead tomorrow, I could live with that." He confessed he put the show together for two very special causes - "me and my ego."
While singing songs about death and living life to the fullest, such as "And When I Die" (Music & Lyrics: Laura Nyro), "I Take My Chances" (Music & Lyrics: Mary Chapin Carpenter & Don Schlitz), "Enjoy Yourself (It's Later Than You Think)" (Music: Carl Sigman, Lyrics: Herb Magidson), "Simple Joys" (Music & Lyrics: Stephen Schwartz), and "I'm Gonna Live Til I Die" (Music & Lyrics: Al Hoffman, Mann Curtis and Walter Kent), Mr. Honeck tells the audience true stories regarding sickness and death he has experienced throughout his life, including having suffered multiple incidences of what some might characterize as incompetence and/or medical malpractice at Harlem Hospital, being pressured to kiss his grandfather's corpse at age two and a half, dealing with his mother's multiple sclerosis, and being told at age ten that his bed-wetting was the result of his having psychological problems. He knew, even then, that it was his bed-wetting causing his psychological problems and not the other way around. He appreciates his mom having fought for him and finding the medical cause of his condition. He happily reported that he has now gone "15,035 days without an incident" and that he's "now available for sleepovers."
Thomas Honeck says that the way he sees it, there are three possible doors out of this world. Door #1 is Reunion, where you meet all your relatives and loved ones and have a grand old time. Door #2 is Reincarnation, where you get to do it all over again until you get it right. Door #3 is the Dirt Nap of Eternal Sleep. Honeck believes "we live beyond this lifetime and that death is not the end," which he said actually makes him a little lazy because he figures "whatever I don't get done in this lifetime, I'll get done in the next." Marcus Aurelius, one of his favorite philosophers, said, "Imagine your death in this moment; now live the rest of your life as a bonus." The takeaway from this entertaining, interesting, humorous and well-constructed show is that you should not be afraid of death, but by embracing its inevitability, you will be able to better appreciate life.
Thomas Honeck is a consummate entertainer with a simple and unpretentious manner of singing. He has a strong voice, an excellent stage presence and is able to put his audience at ease even when talking about a most depressing topic, such as the contemplation of one's own death and the death of your loved ones. He actually recommends we "all spend time killing off family and friends - figuratively - to see how it makes us feel." He thinks it is a bad idea to simply ignore death and treat it with the belief that if we don't talk about it, it will simply go away." As many Shamans have told him, "by embracing death, you celebrate life." It's all a matter of perspective.
Dancing With Death: Stories Of Death Told In The Key Of Life can next be seen on Tuesday, July 14, 2015 at 7:00 p.m. at The Duplex Cabaret Theatre. This show recently won a 2015 MAC Award for Special Production and at the prior six performances, $7,900.00 was raised for ALS and JDRF. At each show, you must purchase two drinks but your $15.00 cover (or what you can afford) goes directly to either the "ALS Association" or the "Juvenile Diabetes Research Foundation" (JDRF) (your choice). For a show about death that will help you appreciate life, I suggest you catch Dancing With Death before the bell tolls for thee. To make reservations for the next show, visit www.theduplex.com
Dancing With Death - Thomas Honeck
Directed by Lisa Moss
Musical Director: Andrew David Sotomayor
Cello: Jordan Jancz
The Duplex Cabaret Theatre
61 Christopher Street, NYC
Reviewed 5/27/15 at 7:00 p.m.
Thomas Honeck opens the show dressed as The Grim Reaper, a Western personification of Death depicted as a skeleton wielding a scythe, eerily and hauntingly singing "Come Little Children" (Music: James Horner; Lyrics: Brock Walsh) and finishing off the medley with "Don't Pay The Ferryman" (Music & Lyrics: Chris de Burgh). He later reveals that death to him is best represented by Kristanna Loken's character T-X in Terminator 3: Rise of the Machines (2003) in which she is a Lady In Red with blond hair. (Thomas has always thought ladies with blond hair are the most trouble). He relates the bad news to the audience that "no one gets out alive - you can't even change that with the awesome power of cabaret." Thomas, who was celebrating his 51st birthday this particular evening (with delicious chocolate and red velvet cake for audience members after the show), revealed he never expected to live this long, but now that he has, he feels he still has a lot more to contribute. Nevertheless, he said, "if I woke up dead tomorrow, I could live with that." He confessed he put the show together for two very special causes - "me and my ego."
While singing songs about death and living life to the fullest, such as "And When I Die" (Music & Lyrics: Laura Nyro), "I Take My Chances" (Music & Lyrics: Mary Chapin Carpenter & Don Schlitz), "Enjoy Yourself (It's Later Than You Think)" (Music: Carl Sigman, Lyrics: Herb Magidson), "Simple Joys" (Music & Lyrics: Stephen Schwartz), and "I'm Gonna Live Til I Die" (Music & Lyrics: Al Hoffman, Mann Curtis and Walter Kent), Mr. Honeck tells the audience true stories regarding sickness and death he has experienced throughout his life, including having suffered multiple incidences of what some might characterize as incompetence and/or medical malpractice at Harlem Hospital, being pressured to kiss his grandfather's corpse at age two and a half, dealing with his mother's multiple sclerosis, and being told at age ten that his bed-wetting was the result of his having psychological problems. He knew, even then, that it was his bed-wetting causing his psychological problems and not the other way around. He appreciates his mom having fought for him and finding the medical cause of his condition. He happily reported that he has now gone "15,035 days without an incident" and that he's "now available for sleepovers."
Thomas Honeck says that the way he sees it, there are three possible doors out of this world. Door #1 is Reunion, where you meet all your relatives and loved ones and have a grand old time. Door #2 is Reincarnation, where you get to do it all over again until you get it right. Door #3 is the Dirt Nap of Eternal Sleep. Honeck believes "we live beyond this lifetime and that death is not the end," which he said actually makes him a little lazy because he figures "whatever I don't get done in this lifetime, I'll get done in the next." Marcus Aurelius, one of his favorite philosophers, said, "Imagine your death in this moment; now live the rest of your life as a bonus." The takeaway from this entertaining, interesting, humorous and well-constructed show is that you should not be afraid of death, but by embracing its inevitability, you will be able to better appreciate life.
Thomas Honeck is a consummate entertainer with a simple and unpretentious manner of singing. He has a strong voice, an excellent stage presence and is able to put his audience at ease even when talking about a most depressing topic, such as the contemplation of one's own death and the death of your loved ones. He actually recommends we "all spend time killing off family and friends - figuratively - to see how it makes us feel." He thinks it is a bad idea to simply ignore death and treat it with the belief that if we don't talk about it, it will simply go away." As many Shamans have told him, "by embracing death, you celebrate life." It's all a matter of perspective.
Dancing With Death: Stories Of Death Told In The Key Of Life can next be seen on Tuesday, July 14, 2015 at 7:00 p.m. at The Duplex Cabaret Theatre. This show recently won a 2015 MAC Award for Special Production and at the prior six performances, $7,900.00 was raised for ALS and JDRF. At each show, you must purchase two drinks but your $15.00 cover (or what you can afford) goes directly to either the "ALS Association" or the "Juvenile Diabetes Research Foundation" (JDRF) (your choice). For a show about death that will help you appreciate life, I suggest you catch Dancing With Death before the bell tolls for thee. To make reservations for the next show, visit www.theduplex.com
Tuesday, May 26, 2015
Applause! Applause! Review of The Parkside Players' production of Urinetown: The Musical at Grace Lutheran Church by Dr. Thomas Robert Stevens
This review of The Parkside Players' production of "Urinetown: The Musical" at Grace Lutheran Church (Forest Hills) was written by Dr. Thomas Robert Stevens and published in Volume X, Issue 5 (2015) of the online edition of Applause! Applause!
Urinetown: The Musical
Directed by Bill Logan
Musical Direction by Jeffrey Arzberger
Choreography by David Arzberger
The Parkside Players
Grace Lutheran Church (103-15 Union Turnpike, Forest Hills, NY)
Reviewed 5/24/15
Urinetown: The Musical is a timely tale of crony capitalism, corporate greed, paying off the police and bribing the political elite (a trip to Rio, anyone?) in a time of water shortages, decreasing natural resources and worldwide ecological devastation. It also touches on the elements of a successful revolution, the inability of revolutionaries to deliver on the lofty promises made, the tragedy of the commons, populism, socialism, capitalism, and the realities of supply and demand. Urinetown: The Musical debuted at the New York International Fringe Festival and then was produced Off-Broadway at the American Theatre for Actors from May 6, 2001 to June 25, 2001. The musical then opened on Broadway at Henry Miller's Theatre on September 20, 2001, closing on January 18, 2004, after 25 previews and 965 performances. The show won a Tony Award for Best Book and Best Score. The music was written by Mark Hollmann; lyrics were by Mark Hollmann and Greg Kotis; and the book was written by Greg Kotis. Urinetown: The Musical is a satirical comedy musical that parodies musicals such as The Threepenny Opera, The Cradle Will Rock, Les Miserables and the Broadway musical itself as an art form.
According to the storyline, there was a time many years ago called the Stink Time, where due to drought, the reservoirs dried up and there wasn't enough water to flush all the toilets as many times as people would like to use them. As a result, people urinated everywhere and the city stank. Along came Caldwell B. Cladwell and the UGC (Urine Good Company) that offered the politicians a solution that would "keep the pee off the street and the water in the ground." UGC would require everyone in town to use public amenities and pay for the "privilege to pee." That would reduce water consumption and draconian laws would require everyone "to use public toilets to take care of their private business." Violation of the law might just result in the police expelling you to Urinetown. Since no one knew whether Urinetown was a real place or just a euphemism for the police killing you, everyone lived in a state of fear. To make matters worse, Caldwell B. Cladwell continued to call on the legislature to raise public amenity fees and obtained that result through bribery and payoffs (not to mention a "Beaches of Rio" slide show). This resulted in a backlash and a revolutionary uprising amongst the "hopeless, down and out" who could no longer afford to pay to pee. Before the poor could beg and ask people to "spare a penny for a pee" but now they could no longer beg for enough money to afford the fee hikes.
Hope, Cladwell's idealistic daughter, just returned from graduating one of the best universities in the world. She has started work as a "fax and copy girl" for her father and has instantly fallen in love with Bobby Strong (everyone loves Bobby Strong; how can she not fall in love with him, after all, he is the hero of the show), whose father was just sent to Urinetown (get the shovel and mop - you know the drill). Penelope Pennywise (who we later learn is Hope's biological mother), collects the money at Public Amenity #9 at which Bobby Strong works. She defends the law and the punishment his father got for peeing in public but Bobby Strong expresses a revolutionary idea. He says, "What if the law is wrong. What if we change the law and allow everyone to pee without payment or restriction. A new law that comes from a muscular, blood-pounding organ (e.g. the heart) where no man will be denied because of the money he has and no one will be denied help by someone with the means to help him." Bobby's heart wants a planet where peace and joy reign and everyone has plenty of water. Caldwell B. Cladwell tries to reason with Bobby by encouraging him to think about tomorrow and what his proposed socialist policies will result in over time. Bobby's populist supporters seem only concerned about today and Ms. Pennywise fears that anarchy will follow and runs off stage yelling, "What will become of us!" The corrupt, but realistic, Mr. Cladwell warns that "Life is a beating" and that everyone's goal in life should be to avoid "being the bunny."
Eventually, Hope Cladwell joins and leads the revolution after Bobby Strong is martyred. The UGC is taken over and she orders her own father killed. She ignores the results of the water studies her father had requested and allows free access to water for all who need it or want it without limitation or cost. The remaining water eventually becomes "silky and brackish," and undrinkable. Hope continues expressing platitudes such as the "river is within you" and telling citizens that they "are the river fighting for freedom and fighting for justice." Hope (appropriately named) is killed by the mob despite her good intentions, and it is implied that everyone in town eventually dies of dehydration, which is followed by the drying up of the Amazon River Basin and the end of life on the planet itself. No happy ending here! Hail Malthus!
This production of Urinetown: The Musical was expertly directed by Bill Logan and featured some innovative choreography by David Arzberger. The very professional five-piece live orchestra included Jeffrey Arzberger (Music Director/Piano), Heather Arzberger (Reeds), Andrew Viverito (Trombone), Richard Louis-Pierre (Bass), and Chris Wengert (Percussion). The entire cast is very talented but the three standout performers were Erik Neilssen, who charismatically played Officer Lockstock (the Narrator), Katherine Robinson, who was the cheerful, idealistic Hope Cladwell, and Michael Wolf, who nailed the part and personality of Caldwell B. Cladwell, the greedy but realistic businessman. There were some funny, unexpected moments when Senator Fipp, believably portrayed by Mark York, claimed to have once been a little girl, and when Officer Barrel, powerfully brought to life by Michael "Phoenix" Gray expressed his true love and admiration for Officer Lockstock. I don't mean to suggest the performances of Jeffrey Tierney as Bobby Strong, Jenna Kantor as Penelope Pennywise, Lori Feren as Little Sally or David Arzberger as Old Man Strong/Hot Blades Harry were deficient or inadequate in any way. All did a fine job with their respective roles. But in each case, I would have liked to have seen them better distinguish their character in some way.
I guarantee you will enjoy The Parkside Players' production of this interesting and thought-provoking musical. You have two more weekends to catch Urinetown: The Musical at Grace Lutheran Church in Forest Hills. The cost is $20.00 for adults and $18.00 for seniors. For tickets and reservations, call 718-353-7388 or 516-520-9474 or reserve on line at http://www.parksideplayers.com
Urinetown: The Musical
Directed by Bill Logan
Musical Direction by Jeffrey Arzberger
Choreography by David Arzberger
The Parkside Players
Grace Lutheran Church (103-15 Union Turnpike, Forest Hills, NY)
Reviewed 5/24/15
Urinetown: The Musical is a timely tale of crony capitalism, corporate greed, paying off the police and bribing the political elite (a trip to Rio, anyone?) in a time of water shortages, decreasing natural resources and worldwide ecological devastation. It also touches on the elements of a successful revolution, the inability of revolutionaries to deliver on the lofty promises made, the tragedy of the commons, populism, socialism, capitalism, and the realities of supply and demand. Urinetown: The Musical debuted at the New York International Fringe Festival and then was produced Off-Broadway at the American Theatre for Actors from May 6, 2001 to June 25, 2001. The musical then opened on Broadway at Henry Miller's Theatre on September 20, 2001, closing on January 18, 2004, after 25 previews and 965 performances. The show won a Tony Award for Best Book and Best Score. The music was written by Mark Hollmann; lyrics were by Mark Hollmann and Greg Kotis; and the book was written by Greg Kotis. Urinetown: The Musical is a satirical comedy musical that parodies musicals such as The Threepenny Opera, The Cradle Will Rock, Les Miserables and the Broadway musical itself as an art form.
According to the storyline, there was a time many years ago called the Stink Time, where due to drought, the reservoirs dried up and there wasn't enough water to flush all the toilets as many times as people would like to use them. As a result, people urinated everywhere and the city stank. Along came Caldwell B. Cladwell and the UGC (Urine Good Company) that offered the politicians a solution that would "keep the pee off the street and the water in the ground." UGC would require everyone in town to use public amenities and pay for the "privilege to pee." That would reduce water consumption and draconian laws would require everyone "to use public toilets to take care of their private business." Violation of the law might just result in the police expelling you to Urinetown. Since no one knew whether Urinetown was a real place or just a euphemism for the police killing you, everyone lived in a state of fear. To make matters worse, Caldwell B. Cladwell continued to call on the legislature to raise public amenity fees and obtained that result through bribery and payoffs (not to mention a "Beaches of Rio" slide show). This resulted in a backlash and a revolutionary uprising amongst the "hopeless, down and out" who could no longer afford to pay to pee. Before the poor could beg and ask people to "spare a penny for a pee" but now they could no longer beg for enough money to afford the fee hikes.
Hope, Cladwell's idealistic daughter, just returned from graduating one of the best universities in the world. She has started work as a "fax and copy girl" for her father and has instantly fallen in love with Bobby Strong (everyone loves Bobby Strong; how can she not fall in love with him, after all, he is the hero of the show), whose father was just sent to Urinetown (get the shovel and mop - you know the drill). Penelope Pennywise (who we later learn is Hope's biological mother), collects the money at Public Amenity #9 at which Bobby Strong works. She defends the law and the punishment his father got for peeing in public but Bobby Strong expresses a revolutionary idea. He says, "What if the law is wrong. What if we change the law and allow everyone to pee without payment or restriction. A new law that comes from a muscular, blood-pounding organ (e.g. the heart) where no man will be denied because of the money he has and no one will be denied help by someone with the means to help him." Bobby's heart wants a planet where peace and joy reign and everyone has plenty of water. Caldwell B. Cladwell tries to reason with Bobby by encouraging him to think about tomorrow and what his proposed socialist policies will result in over time. Bobby's populist supporters seem only concerned about today and Ms. Pennywise fears that anarchy will follow and runs off stage yelling, "What will become of us!" The corrupt, but realistic, Mr. Cladwell warns that "Life is a beating" and that everyone's goal in life should be to avoid "being the bunny."
Eventually, Hope Cladwell joins and leads the revolution after Bobby Strong is martyred. The UGC is taken over and she orders her own father killed. She ignores the results of the water studies her father had requested and allows free access to water for all who need it or want it without limitation or cost. The remaining water eventually becomes "silky and brackish," and undrinkable. Hope continues expressing platitudes such as the "river is within you" and telling citizens that they "are the river fighting for freedom and fighting for justice." Hope (appropriately named) is killed by the mob despite her good intentions, and it is implied that everyone in town eventually dies of dehydration, which is followed by the drying up of the Amazon River Basin and the end of life on the planet itself. No happy ending here! Hail Malthus!
This production of Urinetown: The Musical was expertly directed by Bill Logan and featured some innovative choreography by David Arzberger. The very professional five-piece live orchestra included Jeffrey Arzberger (Music Director/Piano), Heather Arzberger (Reeds), Andrew Viverito (Trombone), Richard Louis-Pierre (Bass), and Chris Wengert (Percussion). The entire cast is very talented but the three standout performers were Erik Neilssen, who charismatically played Officer Lockstock (the Narrator), Katherine Robinson, who was the cheerful, idealistic Hope Cladwell, and Michael Wolf, who nailed the part and personality of Caldwell B. Cladwell, the greedy but realistic businessman. There were some funny, unexpected moments when Senator Fipp, believably portrayed by Mark York, claimed to have once been a little girl, and when Officer Barrel, powerfully brought to life by Michael "Phoenix" Gray expressed his true love and admiration for Officer Lockstock. I don't mean to suggest the performances of Jeffrey Tierney as Bobby Strong, Jenna Kantor as Penelope Pennywise, Lori Feren as Little Sally or David Arzberger as Old Man Strong/Hot Blades Harry were deficient or inadequate in any way. All did a fine job with their respective roles. But in each case, I would have liked to have seen them better distinguish their character in some way.
I guarantee you will enjoy The Parkside Players' production of this interesting and thought-provoking musical. You have two more weekends to catch Urinetown: The Musical at Grace Lutheran Church in Forest Hills. The cost is $20.00 for adults and $18.00 for seniors. For tickets and reservations, call 718-353-7388 or 516-520-9474 or reserve on line at http://www.parksideplayers.com
Monday, May 11, 2015
Applause! Applause! Review of Solas Laughs at Solas by Dr. Thomas Robert Stevens
This review of Solas Laughs at Solas was written by Dr. Thomas Robert Stevens and published in Volume X, Issue 5 (2015) of the online edition of Applause! Applause!
Solas Laughs
Host: Ben Rosenfeld
Producer: Michelle Slonim
Comics: Eddie Brill, Jessica Brodkin, YouJean Chang,
Danny Palmer, Tori Pishkin, Ben Rosenfeld, Michelle Slonim
Solas (232 East 9th Street, NYC)
Reviewed 5/9/15 at 7:30 p.m.
There is no better place to start off your Friday, Saturday or Sunday night with friends than Solas Laughs, which offers free admission and professional comics in an intimate, cozy space on the second floor of Solas, an extremely popular East Village bar. You can buy drink specials before the show each night. I had two Sangria's for only $4.00 a drink. You can also win free drinks and prizes through a raffle and are given an opportunity to voluntarily donate a few bucks if you enjoyed the show. If you are planning a "night on the town," I highly recommend you start off your evening in Manhattan with Solas Laughs. Even if you are just planning to have dinner with your mates, I suggest you go to Solas first, buy a couple of reasonably priced drinks and have a few laughs before heading out to the many fine restaurants and clubs in the neighborhood. Up-to-date information on Solas Laughs can be found on its Facebook Page at https://www.facebook.com/solaslaugh?fref=ts
Rating the performing comics in this particular show by the quality of their material and how well they connected with the audience, I would have to give first prize to Ben Rosenfeld and second prize to YouJean Chang. The remaining comics in order would be Eddie Brill, Jessica Brodkin, Michelle Slonim, Danny Palmer & Tori Pishkin.
Ben Rosenfeld is a fresh, up-and-coming comic with some great material, much of which centers around his ethnic and religious heritage of being a Russian Jew. Ben speaks about how Russia has found a way to deny it has any gay people. Now it only has "men who make bad choices." For example, gay sex is being treated as criminal "breaking and entering" and as "trespassing" as opposed to any form of sodomy. He also spoke about his Russian father, who when called to school and told his son "can't hit people", offered to train him to be a better fighter. Ben says he played football but it was problematic since he "couldn't touch the pigskin." On the positive side, he did "bat down the other team's Hail Marys" because he "didn't believe in them." Ben also said he graduated Rutgers with degrees in economics and philosophy. Basically, he "knows how to make money, but just doesn't see the point in it." Going on, he said a buddy of his was all proud to have moved into a Pre-War building. Ben said, I just don't see why he is all excited about that, "if you're properly pessimistic, all buildings are pre-war buildings!" Ben Rosenfeld has appeared on FOX's Laughs, CBS This Morning and Rooftop Comedy. He created the illustrated coffee table book, Russian Optimism: Dark Nursery Rhymes To Cheer You Right Up. For more information about Ben, visit his blog at: http://www.bigbencomedy.com/blog/
YouJean Chang has some interesting observations about modern culture and social media. As he points out, in the dating arena, there are websites for every ethnic group and fetish but you can't be that specific when offering or seeking employment. As he explained, "JewJobs.com" is not going to fly. YouJean says he met his current girlfriend on Linkedin and that "she fell in love with him as soon as she read (his) resume." He says he is in the opposite position to today's economy. He is "Chinese and owes a lot of money to American banks." Another example of his humor is when he reported that a woman once told him she would prefer a book as a gift instead of a bottle of liquor. YouJean complained that "a book isn't going to make a girl make a bad decision for the night." No woman has ever told her girlfriend, "Oh, I really fucked up last night. I read far too many books and ended up sucking that guy's dick in the bathroom." You can stay in touch with YouJean Chang on Facebook at: https://www.facebook.com/youjean.chang?fref=ts or on Twitter at @YouJeanChang.
Eddie Brill is an accomplished, talented, affable, charismatic man who is able to win his audience over without even having to try. In this show, he told a story about how he beat up a kid who said something about his mother when he was a 9 year-old growing up in Brooklyn. He also mentioned something about not having many clean clothes and how he always celebrated Mother's Day with his mom a day early. The material was not particularly humorous, but Eddie Brill is a very funny man who puts you at ease and in the mood to have a good time. That explains why for the past sixteen years, he has worked on The Late Show with David Letterman, currently as the audience warm-up and for eleven years prior as the Stand Up Comedy Talent Coordinator. Eddie Brill is a 3-time MAC award winner for Outstanding Male Comic in New York City.
Jessica Brodkin is a high-energy, personable comic who takes her audience by storm. She lived in New York but moved to Virgina for a number of years before returning. She gets frustrated when her friends who stayed here tell her New York City is "the greatest city in the world." She feels like asking them, "Have you been to other cities?" While in Virginia, she observed Civil War reenactors and wondered why you would want to reenact a war in which you were a loser. Along those lines, she is thinking of reenacting High School in which she might say, "This time, I will use Proactive!" Jessica says she "has been married for just a year," so she "still loves her husband, who is black." She says she gets grief at Thanksgiving when whoever carves the turkey asks, "who wants dark meat?" and everyone at the table points to her and says "she does!" Jessica is a stand-up comedian, actress and voice over artist who has appeared on HBOs VEEP, PBS's The Truth About Money, National Geographic's Brain Games, Investigation Discovery and CNN's Congressional Correspondents Dinner. She began her comedy career in the Washington D.C. area where she was a regular at DC Improv, the Arlington Cinema Drafthouse, and Magooby's Joke House. For more information about Jessica Brodkin, visit her website at: http://www.jessicabrodkin.com/
Michelle Slonim works tirelessly behind the scenes to produce comedy shows five nights a week in New York City. She has produced web-shows for Comedy Central, HBO and SiriusXM Radio. She is a member of the Friars Club. In this show, she reported her mom has always said, "age is just a number, but mine is unlisted." Michelle says she got fired as a teacher for having her kids act out a mani-pedi but she knows now she went too far when she had them give her a Brazilian." (Note to Michelle - Gun Hill Road is in the Bronx, not in Brooklyn. If there is one in Brooklyn, people don't identify with it being there) For more information on Michelle, visit her website at: http://michelleslonim.net/
Danny Palmer portrays himself on stage as a 39-year old, "single, horny duck" who has so far bucked "the natural order of things" by not getting married and having a family and thinks it's "cool" he got "thrown out of his apartment due to noise complaints." His image is that of a frat boy who asks the audience if it's O.K. that he "only hits on the girls." That, of course, left out all the boys in the room. Even his blog announces, "This is just geared towards hot girls. If you are not a hot girl, go find a hot girl to read this over your shoulder." Perhaps Danny needs to better separate his professional career as a comic from his sexual appetite as an Alpha Male predator. Calvin Klein Recruiter by day, Danny Palmer transforms into a stand-up comic at night. Tori Pishkin was the final comic to perform. She did a very funny bit about how an inner-city hood's body movements could sometimes look like he is "robbing things off the shelves of a deli." Both Danny and Tori have a good look and a winning stage presence but they both need better material and a bit more experience if they are going to make it in this business.
Solas Laughs continues to rotate the list of comics who are going to perform on any particular evening so drop in and have some fun!
Solas Laughs
Host: Ben Rosenfeld
Producer: Michelle Slonim
Comics: Eddie Brill, Jessica Brodkin, YouJean Chang,
Danny Palmer, Tori Pishkin, Ben Rosenfeld, Michelle Slonim
Solas (232 East 9th Street, NYC)
Reviewed 5/9/15 at 7:30 p.m.
There is no better place to start off your Friday, Saturday or Sunday night with friends than Solas Laughs, which offers free admission and professional comics in an intimate, cozy space on the second floor of Solas, an extremely popular East Village bar. You can buy drink specials before the show each night. I had two Sangria's for only $4.00 a drink. You can also win free drinks and prizes through a raffle and are given an opportunity to voluntarily donate a few bucks if you enjoyed the show. If you are planning a "night on the town," I highly recommend you start off your evening in Manhattan with Solas Laughs. Even if you are just planning to have dinner with your mates, I suggest you go to Solas first, buy a couple of reasonably priced drinks and have a few laughs before heading out to the many fine restaurants and clubs in the neighborhood. Up-to-date information on Solas Laughs can be found on its Facebook Page at https://www.facebook.com/solaslaugh?fref=ts
Rating the performing comics in this particular show by the quality of their material and how well they connected with the audience, I would have to give first prize to Ben Rosenfeld and second prize to YouJean Chang. The remaining comics in order would be Eddie Brill, Jessica Brodkin, Michelle Slonim, Danny Palmer & Tori Pishkin.
Ben Rosenfeld is a fresh, up-and-coming comic with some great material, much of which centers around his ethnic and religious heritage of being a Russian Jew. Ben speaks about how Russia has found a way to deny it has any gay people. Now it only has "men who make bad choices." For example, gay sex is being treated as criminal "breaking and entering" and as "trespassing" as opposed to any form of sodomy. He also spoke about his Russian father, who when called to school and told his son "can't hit people", offered to train him to be a better fighter. Ben says he played football but it was problematic since he "couldn't touch the pigskin." On the positive side, he did "bat down the other team's Hail Marys" because he "didn't believe in them." Ben also said he graduated Rutgers with degrees in economics and philosophy. Basically, he "knows how to make money, but just doesn't see the point in it." Going on, he said a buddy of his was all proud to have moved into a Pre-War building. Ben said, I just don't see why he is all excited about that, "if you're properly pessimistic, all buildings are pre-war buildings!" Ben Rosenfeld has appeared on FOX's Laughs, CBS This Morning and Rooftop Comedy. He created the illustrated coffee table book, Russian Optimism: Dark Nursery Rhymes To Cheer You Right Up. For more information about Ben, visit his blog at: http://www.bigbencomedy.com/blog/
YouJean Chang has some interesting observations about modern culture and social media. As he points out, in the dating arena, there are websites for every ethnic group and fetish but you can't be that specific when offering or seeking employment. As he explained, "JewJobs.com" is not going to fly. YouJean says he met his current girlfriend on Linkedin and that "she fell in love with him as soon as she read (his) resume." He says he is in the opposite position to today's economy. He is "Chinese and owes a lot of money to American banks." Another example of his humor is when he reported that a woman once told him she would prefer a book as a gift instead of a bottle of liquor. YouJean complained that "a book isn't going to make a girl make a bad decision for the night." No woman has ever told her girlfriend, "Oh, I really fucked up last night. I read far too many books and ended up sucking that guy's dick in the bathroom." You can stay in touch with YouJean Chang on Facebook at: https://www.facebook.com/youjean.chang?fref=ts or on Twitter at @YouJeanChang.
Eddie Brill is an accomplished, talented, affable, charismatic man who is able to win his audience over without even having to try. In this show, he told a story about how he beat up a kid who said something about his mother when he was a 9 year-old growing up in Brooklyn. He also mentioned something about not having many clean clothes and how he always celebrated Mother's Day with his mom a day early. The material was not particularly humorous, but Eddie Brill is a very funny man who puts you at ease and in the mood to have a good time. That explains why for the past sixteen years, he has worked on The Late Show with David Letterman, currently as the audience warm-up and for eleven years prior as the Stand Up Comedy Talent Coordinator. Eddie Brill is a 3-time MAC award winner for Outstanding Male Comic in New York City.
Jessica Brodkin is a high-energy, personable comic who takes her audience by storm. She lived in New York but moved to Virgina for a number of years before returning. She gets frustrated when her friends who stayed here tell her New York City is "the greatest city in the world." She feels like asking them, "Have you been to other cities?" While in Virginia, she observed Civil War reenactors and wondered why you would want to reenact a war in which you were a loser. Along those lines, she is thinking of reenacting High School in which she might say, "This time, I will use Proactive!" Jessica says she "has been married for just a year," so she "still loves her husband, who is black." She says she gets grief at Thanksgiving when whoever carves the turkey asks, "who wants dark meat?" and everyone at the table points to her and says "she does!" Jessica is a stand-up comedian, actress and voice over artist who has appeared on HBOs VEEP, PBS's The Truth About Money, National Geographic's Brain Games, Investigation Discovery and CNN's Congressional Correspondents Dinner. She began her comedy career in the Washington D.C. area where she was a regular at DC Improv, the Arlington Cinema Drafthouse, and Magooby's Joke House. For more information about Jessica Brodkin, visit her website at: http://www.jessicabrodkin.com/
Michelle Slonim works tirelessly behind the scenes to produce comedy shows five nights a week in New York City. She has produced web-shows for Comedy Central, HBO and SiriusXM Radio. She is a member of the Friars Club. In this show, she reported her mom has always said, "age is just a number, but mine is unlisted." Michelle says she got fired as a teacher for having her kids act out a mani-pedi but she knows now she went too far when she had them give her a Brazilian." (Note to Michelle - Gun Hill Road is in the Bronx, not in Brooklyn. If there is one in Brooklyn, people don't identify with it being there) For more information on Michelle, visit her website at: http://michelleslonim.net/
Danny Palmer portrays himself on stage as a 39-year old, "single, horny duck" who has so far bucked "the natural order of things" by not getting married and having a family and thinks it's "cool" he got "thrown out of his apartment due to noise complaints." His image is that of a frat boy who asks the audience if it's O.K. that he "only hits on the girls." That, of course, left out all the boys in the room. Even his blog announces, "This is just geared towards hot girls. If you are not a hot girl, go find a hot girl to read this over your shoulder." Perhaps Danny needs to better separate his professional career as a comic from his sexual appetite as an Alpha Male predator. Calvin Klein Recruiter by day, Danny Palmer transforms into a stand-up comic at night. Tori Pishkin was the final comic to perform. She did a very funny bit about how an inner-city hood's body movements could sometimes look like he is "robbing things off the shelves of a deli." Both Danny and Tori have a good look and a winning stage presence but they both need better material and a bit more experience if they are going to make it in this business.
Solas Laughs continues to rotate the list of comics who are going to perform on any particular evening so drop in and have some fun!
Sunday, May 3, 2015
Applause! Applause! Review of That Bachelorette Show! at 42 West by Dr. Thomas Robert Stevens
This review of That Bachelorette Show! at 42 West was written by Dr. Thomas Robert Stevens and published in Volume X, Issue 5 (2015) of the online edition of Applause! Applause!
That Bachelorette Show!
Created by Ken Davenport
Choreographer: Jessica West Regan
Lighting Designer: Jamie Roderick
Costume Designer: Travis Chinick
42 West (514 West 42nd Street, NYC)
Reviewed 5/2/15 at 8:00 p.m.
That Bachelorette Show! is an interactive parody of America's favorite reality romance shows complete with red roses being given to the winners of the respective elimination rounds. The premise is that 27-year old Adriana Orlando from Smithtown, Long Island, having just broken up with Giovanni Giovanni, her boyfriend of 8 years (they've known each other for 22 years having met in the playground when they were both 5-years old), has decided to allow the audience members of this television show to decide who she is going to marry. On their most recent anniversary, Giovanni Giovanni went to Atlantic City with the boys, and this was the last straw for Adriana, who thought a marriage proposal was long overdue. The contestant bachelors lobby for the votes of the audience during dance breaks and, if selected, they have contractually agreed to marry Ms. Orlando. Upbeat club music is supplied by Celebrity DJs AndrewAndrew and the expert lighting design of Jamie Roderick successfully recreates the atmosphere of a cool, happening dance club, complete with light-reflecting disco balls.
The show's fictitious sponsor is Hell No! condoms (as in "do you really want to have a child with that guy?" - "Hell No!"). Being in 42 West puts you in a good mood. There are white-lit banisters leading to unisex bathrooms. Loud recognizable dance tunes keeping the beat in the background. Mother/daughter and boyfriend/girlfriend pre-show dance contests for tee shirts and drink tickets that include dance moves that once seen can never be unseen. Funny jokes from Malcolm Love ("The Host"), enthusiastically portrayed by Andy Peeke, who greets the audience members pre-show and has a number of interesting lines such as, "Are you here with your boyfriend?" and if the woman says yes, he responds, "O.K. I won't tell your husband." Special sashes are given to real brides-to-be attending this event as part of their Bachelorette Party festivities. Most importantly, every audience member, male or female, is treated with equal respect. Prospective grooms vie for the votes of all audience members who get to cast their votes at www.thatbachelorettevote.com. There is even a Lady Suitor that is put in the mix along with Giovanni Giovanni, who shows up to win back the heart of his loved one (Maybe he wasn't really in Atlantic City? Maybe he has crabs? Maybe he's just a jerk?) - again, you, the audience, will get to decide his fate). Adriana Orlando, The Bachelorette, who says very little during the show, is played by Joanne Nosuchinsky, a former Miss New York USA.
The Bachelors include Judder Jones, the Farmer (Lukas Poost); Lt. Col. Tyler Peck, The Pilot (Kelsey J. Nash); Dr. Lencho, The Heart Surgeon (Pedro de Leon); Brian Burtleman, The Average Joe (Russell Daniels); Nicky Fangs, The British Rockstar (James Royce Edwards); Tripp Swift, The Wall Street Guy (Alex Fast); The Prince, Prince Al Zaheed (Douglas Goodhart); Zeke Double Moon Turtle, The Surfer (BJ Gruber); and, as already mentioned, Mack Jenkins, The Lady Suitor (Gavyn Pickens) and Giovanni Giovanni, The Ex-Boyfriend (Gianmarco Soresi). The show is only 90-minutes long and includes long dance breaks during which the audience dances and interacts with the prospective grooms, taking selfies and being lobbied for votes. I would like to have seen more on-stage action. A short interview with each of the contestants would have been nice. Perhaps some choreographed dance contests or even a scene where all the contestants strip down to their underwear, and ultimately, into their birthday suits. After all, if this show hopes to compete with Naked Boys Singing! as the go-to alternative for bachelorettes out on the town with their girls ready to engage in some naughty fun, That Bachelorette Show! is going to have to show a little skin and become a bit more X-rated, if it hopes to compete in the long run.
I personally voted for The Farmer and The Pilot, but it seems the attendees preferred the underdogs on the night I caught the show. Being a mere stereotype, you are able to fantasize all you like about what you think your favorite contestant is like. You can even imagine you might be able to take him home from the dance party after he loses and is a free, single guy again. The format of this show has legs. I can see it utilized on cruise ships where the contestants are regular passengers competing for a date with a single girl. It's a fun innovation letting the audience vote online in real time in each elimination round. Still, to compete as a bachelorette party alternative, the show needs to jack up the sexual tension and move from a PG-rated show to at least an R-rated one. That having been said, no one will leave this show not having had a great time. I highly recommend you see That Bachelorette Show! and immerse yourself in the experience. For tickets, visit www.ThatBacheloretteShow.com or call 866-811-4111.
That Bachelorette Show!
Created by Ken Davenport
Choreographer: Jessica West Regan
Lighting Designer: Jamie Roderick
Costume Designer: Travis Chinick
42 West (514 West 42nd Street, NYC)
Reviewed 5/2/15 at 8:00 p.m.
That Bachelorette Show! is an interactive parody of America's favorite reality romance shows complete with red roses being given to the winners of the respective elimination rounds. The premise is that 27-year old Adriana Orlando from Smithtown, Long Island, having just broken up with Giovanni Giovanni, her boyfriend of 8 years (they've known each other for 22 years having met in the playground when they were both 5-years old), has decided to allow the audience members of this television show to decide who she is going to marry. On their most recent anniversary, Giovanni Giovanni went to Atlantic City with the boys, and this was the last straw for Adriana, who thought a marriage proposal was long overdue. The contestant bachelors lobby for the votes of the audience during dance breaks and, if selected, they have contractually agreed to marry Ms. Orlando. Upbeat club music is supplied by Celebrity DJs AndrewAndrew and the expert lighting design of Jamie Roderick successfully recreates the atmosphere of a cool, happening dance club, complete with light-reflecting disco balls.
The show's fictitious sponsor is Hell No! condoms (as in "do you really want to have a child with that guy?" - "Hell No!"). Being in 42 West puts you in a good mood. There are white-lit banisters leading to unisex bathrooms. Loud recognizable dance tunes keeping the beat in the background. Mother/daughter and boyfriend/girlfriend pre-show dance contests for tee shirts and drink tickets that include dance moves that once seen can never be unseen. Funny jokes from Malcolm Love ("The Host"), enthusiastically portrayed by Andy Peeke, who greets the audience members pre-show and has a number of interesting lines such as, "Are you here with your boyfriend?" and if the woman says yes, he responds, "O.K. I won't tell your husband." Special sashes are given to real brides-to-be attending this event as part of their Bachelorette Party festivities. Most importantly, every audience member, male or female, is treated with equal respect. Prospective grooms vie for the votes of all audience members who get to cast their votes at www.thatbachelorettevote.com. There is even a Lady Suitor that is put in the mix along with Giovanni Giovanni, who shows up to win back the heart of his loved one (Maybe he wasn't really in Atlantic City? Maybe he has crabs? Maybe he's just a jerk?) - again, you, the audience, will get to decide his fate). Adriana Orlando, The Bachelorette, who says very little during the show, is played by Joanne Nosuchinsky, a former Miss New York USA.
The Bachelors include Judder Jones, the Farmer (Lukas Poost); Lt. Col. Tyler Peck, The Pilot (Kelsey J. Nash); Dr. Lencho, The Heart Surgeon (Pedro de Leon); Brian Burtleman, The Average Joe (Russell Daniels); Nicky Fangs, The British Rockstar (James Royce Edwards); Tripp Swift, The Wall Street Guy (Alex Fast); The Prince, Prince Al Zaheed (Douglas Goodhart); Zeke Double Moon Turtle, The Surfer (BJ Gruber); and, as already mentioned, Mack Jenkins, The Lady Suitor (Gavyn Pickens) and Giovanni Giovanni, The Ex-Boyfriend (Gianmarco Soresi). The show is only 90-minutes long and includes long dance breaks during which the audience dances and interacts with the prospective grooms, taking selfies and being lobbied for votes. I would like to have seen more on-stage action. A short interview with each of the contestants would have been nice. Perhaps some choreographed dance contests or even a scene where all the contestants strip down to their underwear, and ultimately, into their birthday suits. After all, if this show hopes to compete with Naked Boys Singing! as the go-to alternative for bachelorettes out on the town with their girls ready to engage in some naughty fun, That Bachelorette Show! is going to have to show a little skin and become a bit more X-rated, if it hopes to compete in the long run.
I personally voted for The Farmer and The Pilot, but it seems the attendees preferred the underdogs on the night I caught the show. Being a mere stereotype, you are able to fantasize all you like about what you think your favorite contestant is like. You can even imagine you might be able to take him home from the dance party after he loses and is a free, single guy again. The format of this show has legs. I can see it utilized on cruise ships where the contestants are regular passengers competing for a date with a single girl. It's a fun innovation letting the audience vote online in real time in each elimination round. Still, to compete as a bachelorette party alternative, the show needs to jack up the sexual tension and move from a PG-rated show to at least an R-rated one. That having been said, no one will leave this show not having had a great time. I highly recommend you see That Bachelorette Show! and immerse yourself in the experience. For tickets, visit www.ThatBacheloretteShow.com or call 866-811-4111.
Applause! Applause! Review of The Gallery Players' production of Evita by Dr. Thomas Robert Stevens
This review of The Gallery Players' production of Evita was written by Dr. Thomas Robert Stevens and published in Volume X, Issue 5 (2015) of the online edition of Applause! Applause!
Evita
Music by Andrew Lloyd Webber
Lyrics by Tim Rice
Directed by Mark Harborth
The Gallery Players
199 14th Street, Brooklyn, NY
Reviewed 5/1/15 at 8:00 p.m.
Evita is a musical about the life of Argentine political leader Eva Duarte de Peron, the First Lady of Argentina (wife of Argentine President Juan Peron), who was known as the "Spiritual Leader of the Nation." Originally released as a rock opera concept album in 1976, the musical opened with Elaine Paige as Eva (the affectionate Spanish language diminutive of which is Evita) at the Prince Edward Theatre in London's West End on June 21, 1978 closing on February 18, 1986 after 3,176 performances. This West End production won Olivier Awards for Best New Musical and Best Performance in a Musical (Elaine Paige). After debuting at the Orpheum Theatre in San Francisco, the Broadway production of Evita opened with Patti LuPone as Eva at the Broadway Theatre on September 25, 1979 closing on June 26, 1983 after 1,567 performances. This production won many Tony Awards including Best Musical, Best Original Score, and Best Book of a Musical. The 1996 film of Evita starred Madonna as Eva Peron. On June 2, 2006, the first major London production of Evita in 20 years opened in the West End at the Adelphi Theatre with Argentine actress Elena Roger as Eva. Roger received an Olivier Award nomination for her performance but the show closed on May 26, 2007 after a run of less than 12 months. A Broadway revival of the 2006 West End production of Evita opened on April 5, 2012 at the Marquis Theatre with Elena Roger in the title role and Ricky Marin as Che. The production was nominated for three Tony Awards, including Best Musical Revival but it closed on January 26, 2013 after 337 performances. A second West End Revival opened on September 22, 2014 for a limited run at the Dominion Theatre with Madalena Alberto as Eva Peron.
If you are a fan of this musical or somehow missed seeing it during the past four decades, I strongly recommend you catch this outstanding production of Evita at The Gallery Players sometime before May 17, 2015. Directed by Mark Harborth, you will get the full experience of this inspirational, thought-provoking musical about power, social injustice, personal ambition, corruption, ego and "the art of the possible." The large company of actors are all superbly talented. Dale Sampson was surprisingly refreshing in the role of Che. Jonathan D. Mesisca carried off a convincing Juan Peron, with genuine sympathy and love for his wife Eva. Glen llanes almost sang too well in the role of Augustin Magaldi for us to believe his audiences weren't pleased with his act. Monica Bradley gave a moving performance as Peron's last mistress singing "Another Suitcase In Another Hall" but she could have used a little more vocal projection. Carman Napier as Eva Peron is certainly a competent actress and singer who tried the best she could, but I wasn't captivated or emotionally moved by her performance. In addition, the reverberations and echoes added to some of her speeches turned out to be more annoying than authentic. The standout actor in the ensemble, who also is the understudy for Che, is Hubbard Farr. Powerful, talented, good-looking and charismatic, Mr. Farr has a strong stage presence and an impressive voice. He has all it takes to make it big in show business and I encourage him to do whatever he needs to in order to make the contacts to get the recognition he deserves. As for the "descamisados" (the "shirtless ones" of the labour movement), they must have chosen to wear shirts during the labour rallies that were depicted in this production. Very few "shirtless ones," if any, were in view.
The Gallery Players, a volunteer-run community theatre in Park Slope now in its 48th season, won the Beaux Arts Society's Leonardo daVinci Award for Best Community Theatre in 2013. Many of its productions are top-notch and offer the public quality theatre at an extremely affordable price. For tickets and further information about The Gallery Players, visit www.galleryplayers.com
Evita
Music by Andrew Lloyd Webber
Lyrics by Tim Rice
Directed by Mark Harborth
The Gallery Players
199 14th Street, Brooklyn, NY
Reviewed 5/1/15 at 8:00 p.m.
Evita is a musical about the life of Argentine political leader Eva Duarte de Peron, the First Lady of Argentina (wife of Argentine President Juan Peron), who was known as the "Spiritual Leader of the Nation." Originally released as a rock opera concept album in 1976, the musical opened with Elaine Paige as Eva (the affectionate Spanish language diminutive of which is Evita) at the Prince Edward Theatre in London's West End on June 21, 1978 closing on February 18, 1986 after 3,176 performances. This West End production won Olivier Awards for Best New Musical and Best Performance in a Musical (Elaine Paige). After debuting at the Orpheum Theatre in San Francisco, the Broadway production of Evita opened with Patti LuPone as Eva at the Broadway Theatre on September 25, 1979 closing on June 26, 1983 after 1,567 performances. This production won many Tony Awards including Best Musical, Best Original Score, and Best Book of a Musical. The 1996 film of Evita starred Madonna as Eva Peron. On June 2, 2006, the first major London production of Evita in 20 years opened in the West End at the Adelphi Theatre with Argentine actress Elena Roger as Eva. Roger received an Olivier Award nomination for her performance but the show closed on May 26, 2007 after a run of less than 12 months. A Broadway revival of the 2006 West End production of Evita opened on April 5, 2012 at the Marquis Theatre with Elena Roger in the title role and Ricky Marin as Che. The production was nominated for three Tony Awards, including Best Musical Revival but it closed on January 26, 2013 after 337 performances. A second West End Revival opened on September 22, 2014 for a limited run at the Dominion Theatre with Madalena Alberto as Eva Peron.
If you are a fan of this musical or somehow missed seeing it during the past four decades, I strongly recommend you catch this outstanding production of Evita at The Gallery Players sometime before May 17, 2015. Directed by Mark Harborth, you will get the full experience of this inspirational, thought-provoking musical about power, social injustice, personal ambition, corruption, ego and "the art of the possible." The large company of actors are all superbly talented. Dale Sampson was surprisingly refreshing in the role of Che. Jonathan D. Mesisca carried off a convincing Juan Peron, with genuine sympathy and love for his wife Eva. Glen llanes almost sang too well in the role of Augustin Magaldi for us to believe his audiences weren't pleased with his act. Monica Bradley gave a moving performance as Peron's last mistress singing "Another Suitcase In Another Hall" but she could have used a little more vocal projection. Carman Napier as Eva Peron is certainly a competent actress and singer who tried the best she could, but I wasn't captivated or emotionally moved by her performance. In addition, the reverberations and echoes added to some of her speeches turned out to be more annoying than authentic. The standout actor in the ensemble, who also is the understudy for Che, is Hubbard Farr. Powerful, talented, good-looking and charismatic, Mr. Farr has a strong stage presence and an impressive voice. He has all it takes to make it big in show business and I encourage him to do whatever he needs to in order to make the contacts to get the recognition he deserves. As for the "descamisados" (the "shirtless ones" of the labour movement), they must have chosen to wear shirts during the labour rallies that were depicted in this production. Very few "shirtless ones," if any, were in view.
The Gallery Players, a volunteer-run community theatre in Park Slope now in its 48th season, won the Beaux Arts Society's Leonardo daVinci Award for Best Community Theatre in 2013. Many of its productions are top-notch and offer the public quality theatre at an extremely affordable price. For tickets and further information about The Gallery Players, visit www.galleryplayers.com
Friday, April 24, 2015
Applause! Applause! Review of Chip Deffaa's Mad About The Boy at 13th Street Repertory Theater by Dr. Thomas Robert Stevens
This review of Chip Deffaa's Mad About The Boy at 13th Street Repertory Theater was written by Dr. Thomas Robert Stevens and published in Volume X, Issue 5 (2015) of the online edition of Applause! Applause!
Mad About The Boy
Written, Arranged & Directed by Chip Deffaa
Music Director: Richard Danley
Choreographer: Rayna Hirt
13th Street Repertory Theater (50 West 13th Street, NYC)
Reviewed 4/19/15 at 7:00 p.m.
Chip Deffaa conceived this show with the aim of providing a mix of entertainment and education. He wanted to remind people that songs and recordings with a gay sensibility were being created long before the advent of the gay liberation movement. An original 50-minute prototype of the show was seen by nine-time Tony Award-winner Tommy Tune, who encouraged Deffaa to develop it into a full-length show. The new version of Mad About The Boy was workshopped at the 13th Street Repertory Theater with its first reading held on October 31, 2014 and its first public performance on April 12, 2015. This extremely entertaining show features fifteen (15) talented cast members and four new songs written by Chip Deffaa: "I'm Crazy For My Baby In A Uniform," Sidekick," "Ex-Gay," and "You Need To Be Loved To Be Happy." Mad About The Boy is described by Chip Deffaa as a work-in-progress with material still being added to and removed from the show to better improve it. He is the author of sixteen (16) published plays and eight (8) published books. Richard Danley, the show's Music Director and pianist, is on the faculty of the American Musical & Dramatic Academy (AMDA) and has served as Music Director for Peter Duchin's Broadway revues; played countless cabaret shows in New York, Chicago, Dallas and Los Angeles; and has performed everywhere from daytime dramas on television, to cruise ships, to Carnegie Hall.
Mad About The Boy is a big, gay extravaganza featuring songs with gender-neutral pronouns that can be sung by two guys or interpreted from a gay perspective, lyrics with words containing double-entendre, and songs written by gay, lesbian and/or bi-sexual composers and lyricists. You will be moved by the relatively innocent young man trying to sell apples on the street while being constantly side-tracked by men who burst into song and would rather have a taste of his "jelly roll." You will be ready to march in a gay parade when the cast performs an inspiring rendition of the 1920 gay anthem "Lavender Nights" (a/k/a "The Lavender Song"). You will be angry when a bible-thumping, politically ambitious minister from Tennessee interrupts the rehearsal in an attempt to stop the show from opening in three days and amused when you learn he has returned to Splash over and over again on wet underwear night "looking to see who he could save." Finally, you will leave the musical with a new appreciation for "America The Beautiful," whose lyrics were written by Katharine Lee Bates, a woman who was in a "Boston marriage" for many decades.
Shinice Hemmings, an amazingly talented young woman, led the ensemble in the second reprise of "America The Beautiful," which was an inspirational moment created by depicting Gay Americans singing a patriotic song whose lyrics were most likely written by a lesbian. Ms. Hemmings also hit a home run singing "B.D. Women's Blues," "Prove It On Me Blues," "T'Ain't Nobody's Bizness If I Do," and with other cast members singing "Masculine Women, Feminine Men" and "Lesbian Madness." The relatively mature Michael Knowles did a good job performing "The Boy In The Boat," and "Sissyman Blues" but he should have been moved further downstage center since his voice was not strong enough to carry from where he stood. With the mood created by Shinice and Michael, you could imagine yourself relaxing in a Buffet Flat (privately owned apartments in African-American neighborhoods in the first third of the 20th century that doubled as speakeasies and brothels that offered a buffet of booze, sex shows, marijuana and other illegal diversions).
While there were other female cast members, this musical is really "all about the boy" and as three audience members stated, "the only additional thing this musical could use are "more boys" and "more skin," which Toby Medlyn (who played Reverend Billious S. Love and sang "I Can Always Find A Little Sunshine In The Y.M.C.A.", "Sidekick" & "Ex-Gay") and Michael J.C. Anderson (who played The Brit, Ryan Davis, Houdini, Michael Riedel and one of the Caveman and sang "Let's All Be Fairies") would have been more than willing to provide, right down to their birthday suits, if only they had been asked. Good for them for having the courage to be willing to do whatever the part calls for! The "advice" offered by the "planted" audience members was not meant seriously since Mad About The Boy features plenty of handsome, good-looking young men proudly parading around in their underwear, in swimsuits or in cavemen outfits.
Just in case you were under the impression the gay rights movement began with the Stonewall Rebellion in 1969, this musical will adjust your misconception when you hear the English lyrics of "The Lavender Song" (written in 1920; music by Mischa Spoliansky; lyrics by Kurt Schwabach & Jeremy Lawrence) sung by Michael Czyz, Shince Bre and the ensemble in Mad About The Boy. Those amazing lyrics are the following: "What makes them think they have the right to say what God considers vice. What makes them think they have the right to keep us out of Paradise. They make our lives hell here on Earth poisoning us with guilt and shame. If we resist, prison awaits so our love dares not speak its name. The crime is when love must hide. From now on we'll love with pride. * We're not afraid to be queer and different if that means hell -- well, hell we'll take the chance. They're all so straight, uptight and rigid. They march in lockstep, we prefer to dance. We see a world of romance and pleasure. All they can see is sheer banality. Lavender nights are our greatest treasure where we can be just who we want to be. * Round us all up; send us away; that's what you'd really like to do. But we're too strong, proud, unafraid; in fact we almost pity you. You act from fear, why should that be? What is it that you are frightened of? The way that we dress? The way that we meet? The fact that you cannot destroy our love? We're going to win our rights to lavender days and night." Of course the Nazi Party came to power in 1933 ending what little freedom gays and lesbians had during the days of the Weimar Republic.
While different members of the ensemble cast of Mad About The Boy play different roles at different performances, the primary actors at the show I saw were Joris de Graaf, Cody Jordan, Benjamin Grier and Michael Czyz. Joris de Graaf, who is from The Netherlands, was the best I've ever seen him. He sang "Let's Misbehave," "My Buddy," and "Beach Boy." The very attractive and extremely gifted Cody Jordan sang "I Ain't Gonna Give Nobody None O' My Jelly Roll," "If Your Kisses Can't Hold The Man You Love," "Puh-Lease, Mr. Hemingway" (with Joris de Graaf), "Do Something," "I Want To Be Bad," and "He's A Good Man To Have Around." Benjamin Grier hit home runs with "I Can't Make A Man," "Find Me A Primitive Man," "I'm Crazy For My Baby In A Uniform," "My Cozy Little Corner At The Ritz," and "Just Some Guy." Michael Czyz, originally from Western Canada, gave us his all singing "Come Up And See Me Sometime" and You'd Be Surprised." Other standout performers were Maite Uzal, Amanda Andrews, John Brady, Al Roths, and Mark Blowers. Other songs included "He's So Unusual," "Help! The Girls Are After Me!", "He's My Secret Passion," "Pretty Baby," "That Old Time Religion," "When The Special Girlfriend," and "Green Carnation." When the CD from this monumental musical comes out, I promise you will want to listen to it repeatedly whenever you get the chance.
There is no better musical playing in New York City this season than Mad About The Boy. Chip Deffaa has outdone himself this time and while I would tweak the script here and there were I in charge, the show is such a significant accomplishment, that it is more than fine just the way it is. You will want to go back to see it over and over in order to catch different actors playing different roles and singing different songs. If you are tolerant, open-minded and love the theater, this musical is for you. Start your fight for Lavender Days & Lavender Nights by going to see Chip Deffaa's Mad About The Boy many times during its current run -- and don't forget to wear your green carnation! For tickets, go to www.13thStreetRep.org
Mad About The Boy
Written, Arranged & Directed by Chip Deffaa
Music Director: Richard Danley
Choreographer: Rayna Hirt
13th Street Repertory Theater (50 West 13th Street, NYC)
Reviewed 4/19/15 at 7:00 p.m.
Chip Deffaa conceived this show with the aim of providing a mix of entertainment and education. He wanted to remind people that songs and recordings with a gay sensibility were being created long before the advent of the gay liberation movement. An original 50-minute prototype of the show was seen by nine-time Tony Award-winner Tommy Tune, who encouraged Deffaa to develop it into a full-length show. The new version of Mad About The Boy was workshopped at the 13th Street Repertory Theater with its first reading held on October 31, 2014 and its first public performance on April 12, 2015. This extremely entertaining show features fifteen (15) talented cast members and four new songs written by Chip Deffaa: "I'm Crazy For My Baby In A Uniform," Sidekick," "Ex-Gay," and "You Need To Be Loved To Be Happy." Mad About The Boy is described by Chip Deffaa as a work-in-progress with material still being added to and removed from the show to better improve it. He is the author of sixteen (16) published plays and eight (8) published books. Richard Danley, the show's Music Director and pianist, is on the faculty of the American Musical & Dramatic Academy (AMDA) and has served as Music Director for Peter Duchin's Broadway revues; played countless cabaret shows in New York, Chicago, Dallas and Los Angeles; and has performed everywhere from daytime dramas on television, to cruise ships, to Carnegie Hall.
Mad About The Boy is a big, gay extravaganza featuring songs with gender-neutral pronouns that can be sung by two guys or interpreted from a gay perspective, lyrics with words containing double-entendre, and songs written by gay, lesbian and/or bi-sexual composers and lyricists. You will be moved by the relatively innocent young man trying to sell apples on the street while being constantly side-tracked by men who burst into song and would rather have a taste of his "jelly roll." You will be ready to march in a gay parade when the cast performs an inspiring rendition of the 1920 gay anthem "Lavender Nights" (a/k/a "The Lavender Song"). You will be angry when a bible-thumping, politically ambitious minister from Tennessee interrupts the rehearsal in an attempt to stop the show from opening in three days and amused when you learn he has returned to Splash over and over again on wet underwear night "looking to see who he could save." Finally, you will leave the musical with a new appreciation for "America The Beautiful," whose lyrics were written by Katharine Lee Bates, a woman who was in a "Boston marriage" for many decades.
Shinice Hemmings, an amazingly talented young woman, led the ensemble in the second reprise of "America The Beautiful," which was an inspirational moment created by depicting Gay Americans singing a patriotic song whose lyrics were most likely written by a lesbian. Ms. Hemmings also hit a home run singing "B.D. Women's Blues," "Prove It On Me Blues," "T'Ain't Nobody's Bizness If I Do," and with other cast members singing "Masculine Women, Feminine Men" and "Lesbian Madness." The relatively mature Michael Knowles did a good job performing "The Boy In The Boat," and "Sissyman Blues" but he should have been moved further downstage center since his voice was not strong enough to carry from where he stood. With the mood created by Shinice and Michael, you could imagine yourself relaxing in a Buffet Flat (privately owned apartments in African-American neighborhoods in the first third of the 20th century that doubled as speakeasies and brothels that offered a buffet of booze, sex shows, marijuana and other illegal diversions).
While there were other female cast members, this musical is really "all about the boy" and as three audience members stated, "the only additional thing this musical could use are "more boys" and "more skin," which Toby Medlyn (who played Reverend Billious S. Love and sang "I Can Always Find A Little Sunshine In The Y.M.C.A.", "Sidekick" & "Ex-Gay") and Michael J.C. Anderson (who played The Brit, Ryan Davis, Houdini, Michael Riedel and one of the Caveman and sang "Let's All Be Fairies") would have been more than willing to provide, right down to their birthday suits, if only they had been asked. Good for them for having the courage to be willing to do whatever the part calls for! The "advice" offered by the "planted" audience members was not meant seriously since Mad About The Boy features plenty of handsome, good-looking young men proudly parading around in their underwear, in swimsuits or in cavemen outfits.
Just in case you were under the impression the gay rights movement began with the Stonewall Rebellion in 1969, this musical will adjust your misconception when you hear the English lyrics of "The Lavender Song" (written in 1920; music by Mischa Spoliansky; lyrics by Kurt Schwabach & Jeremy Lawrence) sung by Michael Czyz, Shince Bre and the ensemble in Mad About The Boy. Those amazing lyrics are the following: "What makes them think they have the right to say what God considers vice. What makes them think they have the right to keep us out of Paradise. They make our lives hell here on Earth poisoning us with guilt and shame. If we resist, prison awaits so our love dares not speak its name. The crime is when love must hide. From now on we'll love with pride. * We're not afraid to be queer and different if that means hell -- well, hell we'll take the chance. They're all so straight, uptight and rigid. They march in lockstep, we prefer to dance. We see a world of romance and pleasure. All they can see is sheer banality. Lavender nights are our greatest treasure where we can be just who we want to be. * Round us all up; send us away; that's what you'd really like to do. But we're too strong, proud, unafraid; in fact we almost pity you. You act from fear, why should that be? What is it that you are frightened of? The way that we dress? The way that we meet? The fact that you cannot destroy our love? We're going to win our rights to lavender days and night." Of course the Nazi Party came to power in 1933 ending what little freedom gays and lesbians had during the days of the Weimar Republic.
While different members of the ensemble cast of Mad About The Boy play different roles at different performances, the primary actors at the show I saw were Joris de Graaf, Cody Jordan, Benjamin Grier and Michael Czyz. Joris de Graaf, who is from The Netherlands, was the best I've ever seen him. He sang "Let's Misbehave," "My Buddy," and "Beach Boy." The very attractive and extremely gifted Cody Jordan sang "I Ain't Gonna Give Nobody None O' My Jelly Roll," "If Your Kisses Can't Hold The Man You Love," "Puh-Lease, Mr. Hemingway" (with Joris de Graaf), "Do Something," "I Want To Be Bad," and "He's A Good Man To Have Around." Benjamin Grier hit home runs with "I Can't Make A Man," "Find Me A Primitive Man," "I'm Crazy For My Baby In A Uniform," "My Cozy Little Corner At The Ritz," and "Just Some Guy." Michael Czyz, originally from Western Canada, gave us his all singing "Come Up And See Me Sometime" and You'd Be Surprised." Other standout performers were Maite Uzal, Amanda Andrews, John Brady, Al Roths, and Mark Blowers. Other songs included "He's So Unusual," "Help! The Girls Are After Me!", "He's My Secret Passion," "Pretty Baby," "That Old Time Religion," "When The Special Girlfriend," and "Green Carnation." When the CD from this monumental musical comes out, I promise you will want to listen to it repeatedly whenever you get the chance.
There is no better musical playing in New York City this season than Mad About The Boy. Chip Deffaa has outdone himself this time and while I would tweak the script here and there were I in charge, the show is such a significant accomplishment, that it is more than fine just the way it is. You will want to go back to see it over and over in order to catch different actors playing different roles and singing different songs. If you are tolerant, open-minded and love the theater, this musical is for you. Start your fight for Lavender Days & Lavender Nights by going to see Chip Deffaa's Mad About The Boy many times during its current run -- and don't forget to wear your green carnation! For tickets, go to www.13thStreetRep.org
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