Applause! Applause! Review of Fantastic Four by Dr. Philip Ernest Schoenberg

This review of 20th Century Fox's Fantastic Four was written by Dr. Philip Ernest Schoenberg and published in Volume X, Issue 5 (2015) of the online edition of Applause! Applause!

Fantastic Four

Produced by 20th Century Fox

Directed by Josh Trank

Main Street Cinemas

72-66 Main Street
Flushing, New York 11367

Reviewed 8/9/15 

Fantastic Four is a contemporary re-imagining of Marvel's original and longest-running superhero series, first unveiled in November, 1961 by writer/editor Stan Lee, and artist/co-plotter Jack Kirby, for their launch of Marvel Comics. Although, at the time, I was a big Walt Disney fan and was a regular reader of DC Comics' superheroes Batman and Superman, I did like reading the debut issue of Marvel Comics and occasionally read subsequent issues. As I recall it, the art had a chisel-like feeling that somehow made it more realistic and energetic than the contemporary DC Comics.

The original Fantastic Four consisted of Mr. Fantastic (Reed Richards), who had the ability to stretch his body into incredible lengths and shapes; the Invisible Girl (now Invisible Woman to be Politically Correct) (Sue Storm), who can render herself invisible and project powerful force fields; the Human Torch (Johnny Storm), who can generate flames, surround himself with them and fly; and The Thing (Ben Grimm), who possesses superhuman strength and endurance due to the nature of his stone-like flesh, that originally looked more like dinosaur skin before further transforming into his trademark rocky appearance.

In the original story as I remember reading it in the comic Fantastic Four #1, Reed Richards' spaceship was specifically referred to as a rocket and it was implied he and his friends went up in it in order to beat the Soviet Union to the moon. Fantastic Four #2 states he was trying to reach Mars. Twenty years later in Fantastic Four #236, it was stated that Reed's experimental ship was intended to travel to the edge of the solar system and while it needed a rocket booster to reach escape velocity from Earth's atmosphere, it relied on a Star Drive to reach its destination. This tale also goes on to expand on how the quartet were mutated and gifted with their superpowers. While Fantastic Four #1 merely states they were hit with "cosmic rays," Fantastic Four #236 goes further to explain that these rays passed through the Van Allen Belts that are held around the Earth by its magnetic field. Fantastic Four #358, published in 1991, states that their Star Drive was intended to bring the Fantastic Four into hyperspace in order to visit other solar systems, and that unusual sunspot activity from the Earth's sun also played a role in boosting the strength of the cosmic rays that mutated them. In the movie version, the classic rocket-based origin of Marvel's First Family is dropped in favor of one involving interdimensional teleportation and an undefined, conscious mystic energy, which was the same origin story first reported in 2004 in a comic book reboot entitled Ultimate Fantastic Four. 

In the movie version, the origins of The Fantastic Four are less heroic; in fact, they are stupid and foolish. Richards and the Strong siblings, along with Victor Von Doom, are disappointed when they are told by Dr. Allen, the Baxter Foundation's Supervisor, that NASA astronauts are going to be brought in and that they will be given the honor of being the first humans to venture to Planet Zero. (Professor Franklin Strong had promised them that they were going to be permitted to be the first to go). This was an entirely reasonable decision made by Dr. Allen given the seriousness of this scientific exploration and the millions of dollars that were expended to achieve these results. What is their reaction? The guys get drunk and decide to go first to get their names into the history books so they will be remembered. Reed Richards refuses to go unless his childhood buddy, Ben Grimm, is permitted to go too, but they all completely forget to invite Sue Strong, who was an essential part of their research team. Under the influence of alcohol, they explore Planet Zero at their peril and suffer the consequences. Left unexplained is how they dodged government security in order to take off. For the rest of the movie, we are expected to take the side of drunken teenagers over trained, experienced, adult, explorers. The assumption is that those corporate types, whether private or governmental, must possess selfish motives and that they want to hog all the glory for themselves.

In the comic book universe, I recall The Fantastic Four discover their new found powers very quickly over a brief period of time without suffering too much pain in the process. In the movie relaunch, each of the Fantastic Four takes over a year to recover in a special government facility, "Area 57," which might be better described as a prison. Dr. Allen's character is now transformed into an evil, power-hungry scientist who has gone over to the dark side. He promises the Fantastic Four that if they undertake covert, military missions for the government, that they will get help returning to normal once the mysterious, conscious energy on Planet Zero is fully understood. In fact, Dr. Allen intends to use the energy to take over both Planet Zero and the Earth. The second mission to Planet Zero finds Victor Von Doom (now just Doom) alive and brings him back to Earth, where he performs a useful public service by killing Dr. Allen. Unfortunately, he goes a little too far and decides the Earth itself must be destroyed to protect Planet Zero and the rest of the universe. The Fantastic Four becomes the team to stop him. In the end, it appears they have killed Doom, but it is highly unlikely they did since this would leave no room for sequels and future plot lines. 

In the original comic book launch of The Fantastic Four, Reed Richards, a very rich man who is a scientific genius, a father figure, and the unofficial head of the team, and his childhood friend Ben Grimm, are the "older generation" while Sue and Johnny Strong, brother and sister, are the "younger generation." Richards' trademark gray temples disappear in the relaunch. Despite their age differences, Reed and Sue eventually marry. Sue is presented as a pioneer female superhero who is the equal of everyone else, which was quite a modern notion in 1961. 

In the comic book series, Reed Richards, who has oodles of money, provides the team with its own building complete with laboratory, research facility, and space launch pad in the middle of Manhattan. This made The Fantastic Four more real to me than Superman who lived in Metropolis (which really seemed to be more like a fictional version of Chicago than New York City), or Batman, who lived in the fictional Gotham (which seemed to be a more factual version of New York City), or the Disney characters who lived in far distant California. Just like Ed Koch in Greenwich Village, or Robert DeNiro in Tribeca, the Fantastic Four in a skyscraper in Manhattan seemed as if they were just part of the neighborhood. Just like the TV commercial, you can imagine seeing The Thing having a meal not at his favorite restaurant, but yours, since he is a local. By choosing to live in New York City, they were able to walk the streets of Manhattan without being bothered by admirers and were able to live the lives of ordinary citizens. They kept their names and individualities along with their strengths and weaknesses. Breaking convention with other comic book archetypes of the time, The Fantastic Four favored celebrity status over anonymity or secret identities.

In contrast, in the movie, after saving Earth from extinction, in place of doing military missions, the team asked the military to give them their own facility in which to work. While it was explicit the team no longer works for the military, it is implied that if asked to save the world from evil in the future, they will consent for the sake of humanity. They dubbed the new facility the Franklin Strong Research Center (formally named Central City). They now live in isolation from the world, no longer a part of humanity or the local neighborhood. They chose fame over community instead of having both.  

In the movie, Reed Richards, Ben Grimm and the Strong siblings are all about the same age. Reed Richards is recruited by Professor Franklin Strong, who is impressed by his achievements at an Oyster Bay High School Science Fair. Professor Strong offers him a full scholarship to the Baxter Institute, a government-sponsored school for young prodigies, which has already been doing research into interdimensional teleportation without complete success. Left unexplained is why Richards' partner Grimm is not also offered a scholarship to the Institute. The visuals in the movie are not coordinated at times because we see Manhattan from the New Jersey side of the Hudson River, and not from where we are supposed to be in the script. 

Both Richards and Grimm were disqualified from the Science Fair for doing "magic tricks" because their science teacher was too dense to fully understand what he had just observed. Reed Richards and Ben Grimm built their device in Reed's garage using items from a junk yard and spent only a few thousand dollars, while researchers at the Baxter Institute were unable to accomplish the same feat despite spending millions of dollars over a course of many years. At first Reed Richards thought he was teleporting items to somewhere else on the planet instead of into another dimension. But after we got to see Planet Zero in the movie, it certainly looked like a real place and not just Earth in another dimension, but then again, who knows what another dimension would look like.

In the comic book universe, Doctor Doom pioneered a new version of the "mad scientist" as a full-fledged villain with various powers. Like Hercules, he is a kind of demigod having both mystical and human origins. Unlike other comic book villains, he often exhibits empathy and compassion and even does occasional good and patriotic deeds for his own reasons. At no point did he ever have a personal relationship with any of The Fantastic Four in contrast with the young Superman, who knew Lex Luthor as a friend. In this current movie re-launch, the effort is made to depict young Victor Von Doom as a moody James Dean type trying to find himself but the effort is entirely unsuccessful. There is a suggestion that Doom is interested in Sue Strong but this plot line is never effectively developed. Sue is clueless that Doom has a thing for her.   

Each of the Fantastic Four characters have familial issues unlike the original comic book launch where they all seem to come from traditional two-parent families. The original Marvel Comics in the day broke cultural barriers by having strong black and female characters but in the movie, political correctness and the blind desire for diversity is taken to an irrelevant extreme that does not add to the story. Johnny Strong is now black and his white sister is an orphan adopted from Kosovo. Reed feels disconnected from his parents, mother and step-father, who tolerate his scientific research but don't understand anything he is working on. Ben is the son of a junkyard owner who lived in an abusive home environment. Sue doesn't know who her real parents are and her brother has a strained relationship for unknown reasons with his father. You would think the elements are in place to drive the characters to adopt each other as the family they never had, but if that is the case, it ends up becoming a very dysfunctional family indeed, with infighting, jealousy

In the movie, Miles Teller plays Reed Richards (Mr. Fantastic), Jamie Bell is Ben Grimm (The Thing), Michael B. Jordan appears as Johnny Storm (The Human Torch), and Kate Mara is his sister Sue Storm (the Invisible Woman). They coalesce together as a team to fight Victor Von Doom (the villain known as Doctor Doom, born in Latveria, who emerges in future issues of the comic book series Fantastic Four). Victor, who was a protege of Professor Franklin Strong, is left behind on Planet Zero and later believes he has the moral obligation to destroy the Earth to protect Planet Zero and the rest of the universe from its inhabitants. He correctly believes the military has every intention to use the mysteriously conscious energy on Planet Zero to subdue and dominate the Earth. The Fantastic Four, of course, win for now but Professor Strong ends up being killed by Victor. His dying wish is for Johnny and Sue to look after each other. Our superheroes assume the name The Fantastic Four because they intend to use their superpowers to vanquish evil and protect humanity from its enemies. How they come up with their name is lamely depicted.

The movie is one long trudge before we get to the climax. Director Josh Trank takes his time as well as our time through a long exposition before we get to the all too brief action scenes. We are not given enough time to appreciate how villainous Doom has become before he is put down. In order to have great heroes, you need to have great villains, and this we do not have. 

In the comic book universe, the characters are flawed individuals with strengths and weaknesses that make them all the more human and believable. Even Doctor Doom has a good side as the people of Latveria accept him as a caring monarch who looks after them. The world is made a better place by The Fantastic Four and their nemesis Doctor Doom. In the cinematic version, all of the characters are one-dimensional, cardboard cut-ups, ill-portrayed by the actors who fail to bring them to life. There is no chemistry between the actors and their characters; no real love or hate; we don't care.

Who is responsible for this disaster? A perfect storm of bad writing, bad acting, bad directing and bad editing did in Fantastic Four. The producers, the actors, the writer, and the director have been successful in other enterprises; instead of their synergy making the film better than what they could have individually achieved, the exact opposite was the result. This should have been a release on home video, skipping the movie release altogether in order to minimize the damage to the franchise. Some have suggested Twentieth Century Fox produced this loser in order to fulfill a legal obligation to Marvel so it could keep the franchise. In fact, everyone involved appears to have leaked a story trying to explain away their own contribution to this turkey, which never got off the ground and certainly couldn't fly.

Why do we have relaunches? The culture changes, so how characters are portrayed also has to change. Part of the reason is that every generation gets the superheroes it deserves and expects. I wouldn't be surprised if in the next Fantastic Four movie, the characters tweet and have their own Facebook Page, posting selfies on Instagram. The actors who portray them in movies and cartoons also influence the way the superheroes are perceived by each new generation. Sometimes, new story lines are needed; other story lines have had their day; or no longer work.  

Relaunches can save or doom well-established hero franchises. Superman and Batman were successfully relaunched as vulnerable, multidimensional  human beings who have experienced success and failure, have been scarred by their adventures, and have striven to become better people instead of simply being used for comic relief. Timothy Dalton almost did in the James Bond franchise, while Daniel Craig gave it new life. When the Whiteman's Africa came to an end, so did Tarzan but the reincarnated Phantom, the oldest superhero franchise of all, manages to soldier on. The Fantastic Four are just teenagers with new powers and shiny toys who have not become better people in the process. You cannot identify with them and it is very difficult to like them. Sadly, this franchise, which needed no reboot, got one it did not deserve.

Applause! Applause! Review of The Music Man at The I.C.C. Theater In Douglaston by Dr. Philip Ernest Schoenberg

This review of The Music Man at The I.C.C. Theater In Douglaston was written by Dr. Philip Ernest Schoenberg and published in Volume X, Issue 5 (2015) of the online edition of Applause! Applause!

The Music Man

Book, Music & Lyrics by Meredith Willson

Directed by Andrew Joseph Koslosky

The I.C.C. Theater In Douglaston

72-00 Douglaston Parkway

Douglaston, New York 11362

Reviewed 8/1/15 at 8:00 p.m.

The Music Man at The Immaculate Conception Center Theater In Douglaston was the perfect summer musical for a summer evening. This production is an example of community theater at its finest. The synergistic, ensemble performances of the actors enhanced the efforts and the results of all who participated. That energy, combined with and powered by the enthusiastic response of the audience, made for a memorable evening. I found myself enjoying the fact that I was transported back into the past to River City, Iowa in the year 1912. That America has all but disappeared, but the hopes and aspirations of all citizens remain the same, as well as their desire to look out for their children and to not get conned or hoodwinked. 

I truly appreciated the band's contribution to the beat and timing of this musical. I was particularly entranced by how the drummer mimicked the sound of the locomotive. The music also created a beautiful atmosphere and context for the performers to act in and punctuated the lyrics of the songs sung. There was a time when I didn't appreciate the value of voice amplification. During that time, prior to the 1970s, I refused to attend musicals that miked its actors, preferring instead to see musicals that were completely acoustic, which I considered to be "the pure experience." But then I realized that just as makeup enhances a woman's natural beauty, miking and sound-editing does the same for the human voice. improving its quality and allowing it to be heard in all its glory. I now marvel at the art and science necessary to get the sound just perfect, as it was the evening I saw this production. The choreography of Richard Masin and Danny Stravino also significantly contributed to the success of the show and was magnificently attention-grabbing, especially during the "Shipoopi" number in Act 2.

Richard Masin was exceptional in the lead role of Prof. Harold Hill. He is an up-and-coming talent. Marian Paroo, the librarian played by Monica Barczak was amazing as both a singer and actress soaring above the matronly appearance of the costume she was required to wear. Her mother, Mrs. Paroo, played by Kira Liantonio, kept up nicely. Ariana Barlas was believable and nifty as Amaryllis. However, Marian's younger brother Winthrop Paroo, played by Giancarlo Cascarino, could not match her performance. Marcellus Washburn as the con man's former associate, played by Danny Stravino, lit up the stage with his good humor whenever he made an appearance. Mayor George Shinn, believably brought to life by Mark Lord, was quite impressive as the frustrated public official using his good sense to try to vet the credentials of the con man and, as a concerned parent, attempting to protect the virtue of his eldest daughter from the amorous intent of Tommy Djilas, the son of a day laborer impressively portrayed by Rosario Amico.

The collective efforts of the entire ensemble cast made for a joyful and happy evening. The simultaneous singing, dancing and physical movement of the performers along with the music was absolutely hypnotic, and who could have anticipated that the audience would end up swaying right along with the performers! If you missed this production of The Music Man, then you missed one of the great moments in community theater!

Applause! Applause! Review of Neil Simon's 45 Seconds From Broadway at Studio Theatre Long Island by Dr. Thomas Robert Stevens

This review of Neil Simon's 45 Seconds From Broadway 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!

45 Seconds From Broadway
Written by Neil Simon
Directed by David Dubin
Studio Theatre Long Island
141 South Wellwood Avenue
Lindenhurst, New York
Reviewed 8/9/15 at 2:30 p.m. 

45 Seconds From Broadway is a comedy by Neil Simon. The play opened on Broadway on November 11, 2001 and closed on January 13, 2002 after 73 performances and 31 previews. The title refers to the amount of time it takes to walk to Broadway from the play's setting, a New York City Jewish restaurant fashioned after Cafe Edison located off the lobby of the Edison Hotel since 1980. Affectionately known as the Polish Tea Room, Harry Edelstein and his wife Frances served "theatre types" cheap, comforting, inexpensive Eastern European food in a casual atmosphere for many decades. Now, because the Edison Hotel is undergoing a multi-million dollar renovation, Cafe Edison was forced to close its doors on December 21, 2014. As a result, it is the perfect time for Studio Theatre Long Island to produce this play. 

Neil Simon has an eclectic mix of characters eating and conducting business at this iconic location, which include Jackie Mason-style comedian Mickey Fox and his brother Harry Fox; Bernie & Zelda, two generous proprietors based on the Edelsteins; Andrew Duncan, a British impresario interested in booking Mickey for a gig in London; Soloman Mantutu, a thieving, annoying, pushy South African playwright; Megan Woods, a wide-eyed aspiring actress fresh off the bus from Ohio; Arleen and Cindy, two theatre-going classic matinee ladies from the suburbs who voice familiar objections about the state of Broadway today; Bessie, an actress ready to abandon New York City for a career in Los Angeles; and Rayleen and Charles, an eccentric, elderly couple who get the lion's share of laughs throughout the play (Rayleen is a grand and flamboyant woman on the verge of senility, and Charles is her long-suffering escort and caregiver, who remains silent until he eventually explodes).

The play reminds me of the television show Seinfeld that originally ran for 9 seasons from July 5, 1989 to May 14, 1998. That show was known as being a comedy about nothing. Just characters living and sharing their lives. Perhaps Neil Simon was inspired by that premise because here, you have characters coming in and out of this coffee shop, in no particular order and with no particular purpose. The show is basically a series of incidents with a paper-thin plot that lacks any substance. Things just happen. The owners of the cafe give jobs to Megan and Soloman; Arleen and Cindy kibitz all day long; Andrew Duncan tries to find the right play for Mickey Fox to star in; Harry Fox implores his brother to help his son break into the business; Bernie makes a mistake in trying to sell the shop without consulting his wife; Bessie is used to make a statement about racism and racist jokes; and while Rayleen and Charles are used to hilarious effect, the twist at the end regarding their characters is extremely depressing and may even have a long-term, emotional impact on you. Add in a number of one-liners from Mickey such as his saying that "when you are dead, things slow down a bit" or his commenting on Rayleen's fur coat by saying, "with one coat, she cleaned out the entire Bronx Zoo" and you have the play explained and summarized in a nutshell.

The standout performers in this production were Frank DiSpigno, who did a wonderful job as Mickey Fox speaking in the style of Jackie Mason; Brooke Barbarino, who was perky and charismatic as Megan Woods, the new actress in town; Judith Anderson, who nailed the part of Rayleen, reminding me of many grand dames I knew back in the day; and Jules Jacobs, whose deadpan facial expressions enabled his character Charles to get many laughs. At one point in the play, Rayleen explained that their chalet burnt down. She went on to say, "you can't rely on Charles to yell fire." The other actors in this production did a perfectly fine job in their respective roles with the exception of Josh Bellinger, who was very weak as Soloman Mantutu, the "Zululian" playwright. I am not even certain he made the effort to speak in a South African accent. Just speaking slowly and methodically really doesn't cut it. 

If you don't make too many demands in terms of plot and story development, there are plenty of funny lines and interesting characters in Neil Simon's 45 Seconds From Broadway to enable you to enjoy this light-hearted tribute to the Broadway regulars who ate and hung out at the now defunct Polish Tea Room. In fact, before the show and during the intermission, you are able to buy concession items from the set of the coffee shop and are even permitted to sit in the booths and at the tables on the stage. Since Cafe Edison is now closed, this is your last chance to bring back memories of having eaten at that establishment. 

45 Seconds From Broadway plays at Studio Theatre Long Island through August 23, 2015. Tickets are $25.00. For more information, call 631-226-8400 or visit: https://www.studiotheatreli.com/

Applause! Applause! Review of St. Gregory's Theatre Group's production of Mary Poppins: The Musical at St. Gregory The Great by Dr. Thomas Robert Stevens

This review of St. Gregory's Theatre Group's production of Mary Poppins: The Musical at St. Gregory The Great was written by Dr. Thomas Robert Stevens and published in Volume X, Issue 5 (2015) of the online edition of Applause! Applause!

Mary Poppins: The Musical 

Director: Amanda Dupuy

Choreographer: Annie Wilkins

Costume Designer: Marjorie Wilkerson

Musical Director/Conductor: Ron Armani

St. Gregory's Theatre Group

St. Gregory The Great 

244-44 87th Avenue

Bellerose, New York 11426

Reviewed 8/7/15 at 8:00 p.m.

Mary Poppins: The Musical is a play based on the similarly titled series of children's books by P.L. Travers and the 1964 Walt Disney movie featuring original music and lyrics by Richard M. Sherman and Robert B. Sherman and a script by Julian Fellowes. New songs and additional music were added by George Stiles and Anthony Drewe. Some elements from the books that had been omitted from the film were restored, such as the walking statues and the ladders rising to the stars, while other elements were removed, such as the scene when Uncle Albert gets caught in the ceiling. Cameron Mackintosh's stage adaptation of Mary Poppins: The Musical had its world premiere at the Bristol Hippodrome starting with previews from September 15, 2004, before officially opening on September 18th for a limited engagement until November 6th. The production then moved to the Prince Edward Theatre on December 15, 2004, making it the only Disney musical to have premiered in the United Kingdom. The production closed on January 12, 2008 after a run of more than three years. Following the success of the West End run, a Broadway production debuted on November 16, 2006 at the New Amsterdam Theatre after previews from October 14th. In 2007, Mary Poppins: The Musical was nominated for 7 Tony Awards, winning for Best Scenic Design. This production closed on March 3, 2013 after 2,619 performances and over six years of being on Broadway. 

In the Director's Note, Amanda Dupuy tells us what she feels is the message of this musical. Ms. Dupuy writes, "This wonderful version of the Mary Poppins story allows us to have a deeper look into the Banks Family. Mary Poppins takes us not only on a journey of magic, but a journey of compassion. No person is less important than the next, which Mary reminds us with such characters as the Bird woman and the Chairman. Mary may have tricks up her sleeve to get the children into tip top shape, but she works the most on reminding the parents what love is all about. She acts as a reminder that family will always be more important than money and material possessions. This musical may be set in 1910 but its message is even more relevant now. In this new world we live in where technology has become our closest relationship, Mary shows us that stepping out of our comfort zone will allow for more growth, knowledge and excitement into our lives. This story reminds us to never lose our inner child and always take care of the ones we love."

Bert, a man of many trades, introduces the audience to Number 17, Cherry Tree Lane where the Banks family lives: George and Winifred, their two out-of-control children, Jane and Michael; and their staff, the cook, Mrs. Brill, and the odd-job man, Robertson Ay. George Banks Esq., who literally works as a loan officer in a bank, has very old-fashioned ideas about his role in the family. It is his view that nothing domestic has anything to do with him. He does not wish to be interrupted by his children and expects the nanny to keep them busy and under control so he can work. His wife, a former actress, wants to please her husband and tries very hard to fulfill the job of being "Mrs. Banks," which in George's view involves "doing charity work and entertaining." When asked by Winifred what his job is, George responds, "to pay for everything." Winifred would like to be more of a partner to her husband, sharing both the good times and the bad, but George believes that sharing his feelings and spending more time with his children would exhibit a weakness in his character and undermine his role as head of the household. His own nanny, Miss Andrew ("The Holy Terror") beat out of him all childish notions he may have once had to study astronomy or fly a kite. As he readily admits, "having a strict nanny made me the man I am today," which, in the context of the musical, is not considered a good thing. 

Jane and Michael, having just caused another nanny to quit, write a proposed advertisement regarding the qualities they would like to see in their new nanny. George tears up the paper and throws it into the chimney, but somehow Mary Poppins immediately shows up with the children's paper in hand applying for the job. She apparently "blew in on the wind" with the goal of fixing this dysfunctional family. She is very demanding, telling Winifred what days she wants off and telling George she never explains anything. She later walks off her job without notice and after returning, she refuses to promise she won't do the same thing again. Mary Poppins is also extremely egotistic, telling everyone she is "practically perfect in every way from head to toe" and seems to have no problem liberating Miss Andrew's lark from his cage even though it is not her property. On the plus side, Mary Poppins does help Jane and Michael be less judgmental regarding how Bert and the Bird Woman look, and she does help George and Winifred repair their marriage and rediscover how they can become a loving family. But on the negative side, what is the source of the magic Mary Poppins uses on the children to enable them to sleep and to see impossible things like Neleus, a talking statue with a father, or Ms. Corry, an enigmatic, ageless woman, who runs a shop where she sells words. One might suspect Mary Poppins is using hypnotism on the children and Miss Andrews, or else giving them mind-altering drugs. She has even convinced the children she can bring their toys to life.

St. Gregory's Theatre Group put in a tremendous effort to make this production a success. Over forty actors volunteered countless hours of their time to bring this musical to life. I applaud each and every one of them for providing the audience with a fun-filled night of entertainment. Six of the actors stood out as superior performers in my book. In the major roles, I particularly enjoyed the over-the-top, high-flying characterization of Mary Poppins by Meghan Gratzer, and the excellent portrayal of the relatively shy and uncertain Winifred Banks by Melissa Jillian Corona. Although both staff members in the Banks household were played by actors too young to have been working there when Miss Andrew was George's nanny, I thought they were both top-notch actors who performed their roles well. Hannah Pipa successfully portrayed both the frustration and the compassion of Mrs. Brill. In the script, when no one rsvp'd yes to the Tea Party being thrown by Winifred Banks, she asked Mrs. Brill if she thought they chose the wrong day, and Mrs. Brill honestly responds, "No ma'am. I think you asked the wrong people." Thomas Laskowski was a shining star on stage in his dual role as Robertson Ay and the Park Keeper. Mr. Laskowki is a talented actor with a very charismatic stage presence. He has a great future in the theater. Lori Ann Santopetro was very believable as the Bird Woman exhibiting the voice of an angel, and Deanna Mayo had fun with her role as Mrs. Corry and as Neleus. Both deserve special recognition for bringing these minor characters into the spotlight. Marjorie Wilkerson did a wonderful job as Costume Designer and Annie Wilkins exhibited extraordinary talent as a choreographer, especially during "Supercalifragilisticexpialidocious" and "Step In Time," the two blockbuster numbers in the musical.

Mary Poppins: The Musical will continue to play at St. Gregory The Great through August 16, 2015. Tickets cost $18.00 for adults; $15.00 for Seniors; and $7.00 for Kids (12 & under). There is no better entertainment value you can get for your money. But be forewarned that concession prices are a bit high - for example, $3.00 for a single hot dog! To purchase tickets, call 718-989-2451 or visit the St. Gregory's Theatre Group's website at http://www.sgtg.org/ After seeing this show, you will leave with the good advice that "anything can happen if you let it" and that "anything is possible as long as you get out of your own way." A final warning! Your mouth may, without notice, open in amazement when watching this production of Mary Poppins: The Musical. At that point, remember what your grandmother may have said to you when you were but a wee lad or lassie, "Shut your mouth! We are not a codfish!"

Libertarian Patriots Honors Ronnie Giles With Armed Forces Veteran Entertainer Of The Year Award

On Friday, August 7, 2015, Libertarian Patriots honored Ronnie Giles with its Armed Forces Veteran Entertainer Of The Year Award.

Dr. Thomas Robert Stevens, Founder & Executive Director of Libertarian Patriots, said the following in presenting Ronnie Giles with this Award:

Ronnie Giles is being honored with Libertarian Patriots' Armed Forces Veteran Entertainer Of The Year Award because of the countless shows he has performed for free at Community Centers, Libraries, VFW Halls, Nursing Homes, American Legion Chapters, Veterans Hospitals, and anywhere veterans or seniors have been in need of a little cheering up through quality entertainment. Despite living on a fixed income, Mr. Giles will do a show, without compensation, before any group of veterans or special-needs non-profit organization anywhere in the New York City metropolitan area, including all of New Jersey and Eastern Pennsylvania. Mr. Giles "gives back" every day and for this he deserves widespread recognition. 

Mr. Giles joined the United States Army on October 29, 1965. He served in Vietnam (April, 1966 to April, 1967) as an Infantryman, Armored Personnel Carrier Driver, Ammo/Radio Man & Tunnel Rat with "A' Troop, 3/4 Cavalry, 25th Infantry Division, Cu Chi RVN. He was discharged from the Army in 1968, but in 1988, he rejoined the military full time. Post 9-11, he simultaneously worked on assignments with local, state and federal Intelligence and Counter-Intelligence Agencies. During his last six years of service, he was attached to the Defense Intelligence Agency in Washington, D.C. and attained the rank of Sergeant First Class/E-7. After an Army career that spanned over four decades, he retired from the military, having reached his mandatory retirement age of 60 on November 13, 2007.

From 1968 to 1969, Ronnie Giles studied with William Hickey, Alice Spivak, and Kathryn Sergava at the Herbert Berghof Studio in New York City. He is a member of SAG/AFTRA and the Actors Equity Association. Since his final retirement from the military in 2007, he has appeared to date in 14 feature films and in over 50 student/short/independent films in a variety of leading and supporting roles.

He has put together three cabaret shows at Don't Tell Mama. He specializes in doing Frank Sinatra and The Great American Songbook Tribute Shows.

The first, on June 21, 2014, was entitled The Revenge Of The Third Rate Lounge Singer. Charles Truenski (a/k/a Buddy Beaverhausen) wrote a review of that show, which you can read at

http://djbuddybeaverhausen.blogspot.com/2014/06/ron-giles.html

The second show, on March 6, 2015, was called My Favorite Baby Boomer Love Songs. George Strum, writing for Applause! Applause! reviewed that show, which you can read here:

http://drtomstevens.blogspot.com/2015/04/applause-applause-review-of-ronnie.html

His latest show, on July 30, 2015, was named The Good, The Bad & The Lovely. It was reviewed by Dr. Thomas Robert Stevens of Applause! Applause! which you can read at:

http://drtomstevens.blogspot.com/2015/07/applause-applause-review-of-ronnie.html

Ronnie Giles became a member of the Beaux Arts Society in 2014 (www.BeauxArtsSociety.org). He was appointed to serve as an Advisory Board Member and was designated a Patron Of The Arts (2014). On December 9, 2014, he was appointed to serve as a voting member of the Board of Directors. He served in that capacity until March 31, 2015, on which date he was appointed Advisory Board Chair.

Libertarian Patriots was founded by Dr. Tom Stevens on May 31, 2010 (when it was named Libertarian Patriots of New York - www.lpny.org). On August 9, 2010, because of the demand of many libertarians throughout the country to join, the Governing Board of Libertarian Patriots of New York changed the name of the group to Libertarian Patriots. Libertarian Patriots is a group of proud, patriotic Americans who respect and honor this country, its Founding Fathers, and the United States Constitution, while supporting libertarian principles such as support for smaller government, lower taxes, and more individual freedom. You can find Libertarian Patriots on Facebook at https://www.facebook.com/groups/LibertarianPatriots/

Applause! Applause! Review of Brad Zimmerman's My Son The Waiter: A Jewish Tragedy at Stage 72 at The Triad by Dr. Thomas Robert Stevens

This review of Brad Zimmerman's My Son The Waiter: A Jewish Tragedy at Stage 72 at The Triad was written by Dr. Thomas Robert Stevens and published in Volume X, Issue 5 (2015) of the online edition of Applause! Applause!

My Son The Waiter: A Jewish Tragedy
Written & Performed by Brad Zimmerman
Stage 72 at The Triad
158 West 72nd Street
New York, New York 10023
Reviewed 8/2/15 at 2:00 p.m.

When I called Brad Zimmerman a comic, he corrected me and told me he was an actor and a writer. Fair enough, because it takes a good actor and writer to pull off a successful, entertaining and hilarious one-man show. In this 90-minute piece, he draws on his life experiences to relay his mind-numbing 29-year struggle to get to the New York stage to try to make a living as a performer instead of as a waiter. Originally from Oradell, New Jersey, Zimmerman attended River Dell High School and was bar mitzvahed at Temple Emmanuel in Westwood, New Jersey. He started waiting tables in the late 1970s and insists he never memorized the menu, making an art form out of underselling the food. With respect to wine, he says all he knew was whether the restaurant had it or not. He says that after the first three years of being a waiter, all he wanted was to work his shift and go home. He reports one customer asked him what he did when not there, and he responded, "I have other tables." In the past decade, the late-blooming Zimmerman finally broke his losing streak and began doing stand-up comedy. But he continued to wait tables, still unable to fully commit himself to acting and comedy. He handed out his last check at Chat 'n Chew in 2012.

Now 61 years old, Brad Zimmerman finally has a hit show. My Son The Waiter: A Jewish Tragedy, which opened October 10, 2014. It was originally scheduled as a 12-week engagement ending on New Year's Eve 2014. However, it was extended to March 2nd, then to April 5th, put over until May 31st, then June 29th, and now it has been extended through the end of 2015 due to strong ticket sales (there were 66 people in the audience of the show I saw). His mother suggested he call  the show My Son The Waiter: A Jewish Mother's Tragedy but he rejected her suggestion.

On IMDb, Brad Zimmerman has five acting credits listed ranging from 2001 to 2010 that includes his having played a dragged man, a brother, and a homeless person. His one writing credit dating back to 2001 was for having contributed "additional dialogue" to a short film. He claims to have been working all over the country doing theatres, comedy clubs, casinos, country clubs, and comedy festivals but his main claim to fame, according to his bio, seems to be that he once appeared on the same stage (most probably not at the same time) with better-known comedians and entertainers such as Brad Garrett, Dennis Miller, Susie Essman, and Julio Inglesias. For seven years, he claims he was Joan Rivers' opening act of choice. She allegedly once called him the "best comic in his price range." None of this sketchy background should deter you from going to see his current show. You will definitely enjoy it and will leave with a smile on your face.

I will give you the following few jokes from his show so you can decide whether Brad Zimmerman is your cup of matzah ball soup: a) He claims to have worked as a waiter in the Catskills. Once when he was checking up on four elderly Jewish women, he asked, "Is anything alright?" b) He reported that in Jewish tradition, a fetus is not considered viable until it graduates from medical school. c) For his summer vacation, he put his fan on high. d) A guy gets into bed with his wife naked and whispers in her ear, "I'm going to make you the happiest person on earth." She responds, "I am going to miss you." e) He told his mother she was an endless source of material for him. She said, "what are you going to do when I'm gone" and he responded, "I'm going to sell your house." 

My Son The Waiter: A Jewish Tragedy is funny and heartfelt - even moving at times. If you enjoy laughing, this show has been written for you. Tickets cost from $45.00 to $99.00 in addition to a two drink minimum (drink prices start at $6.00). There are currently five shows a week (Mondays at 7:00 p.m.; Fridays at 7:00 p.m.; Saturdays at 2:00 p.m. & 7:00 p.m.; and Sundays at 2:00 p.m.). Call SmartTix at 212-868-4444 or make reservations through Brad Zimmerman's website at http://bradzcomedy.com/tour-dates/ 

Applause! Applause! Review of The Music Man at The I.C.C. Theater In Douglaston by Dr. Thomas Robert Stevens

This review of The Music Man at The I.C.C. Theater In Douglaston was written by Dr. Thomas Robert Stevens and published in Volume X, Issue 5 (2015) of the online edition of Applause! Applause!

The Music Man

Book, Music & Lyrics by Meredith Willson

Richard Masin as Prof. Harold Hill

Monica Barczak as Marian Paroo

Director: Andrew Joseph Koslosky

Musical Director: Patrick White

Choreographers: Richard Masin & Dan Stravino

The I.C.C. Theater In Douglaston

72-00 Douglaston Parkway

Douglaston, New York 11362

Reviewed 8/1/15 at 8:00 p.m.

The Music Man opened on December 19, 1957 at the Majestic Theatre, where it remained for nearly three years before transferring to The Broadway Theatre to complete its 1,375-performance Broadway run on April 15, 1961. In 1958, it won a number of Tony Awards including Best Musical in the same year West Side Story was nominated for the award. When on Broadway, Robert Preston, Eddie Albert, and Bert Parks, respectively, each played Prof. Harold Hill, the con man and traveling salesman who falls in love with Marian Paroo, the town librarian and part-time piano teacher. The first United Kingdom production opened at Bristol Hippodrome, followed by London's West End at the Adelphi Theatre on March 16, 1961 starring Van Johnson as Hill. After eight previews, the first Broadway revival opened on June 5, 1980, at the New York City Center, where it ran for only 21 performances with Dick Van Dyke cast as Prof. Harold Hill. The second Broadway revival opened on April 27, 2000 at the Neil Simon Theatre where it ran for 699 performances and 22 previews with Craig Bierko (making his Broadway debut), in the lead role. The 1962 film adaptation of the musical starred Robert Preston as Prof. Harold Hill, and Shirley Jones as Marian Paroo. The 2003 television movie starred Matthew Broderick as Harold and Kristin Chenoweth as Marian.  

The plot of this musical concerns Prof. Harold Hill (an alias; his real name is Gregory), who poses as a boys' band organizer and leader in order to sell instruments, detailed instruction booklets, and uniforms to the simple folk living in the fictitious town of River City, Iowa in the early summer of 1912. Harold has no knowledge of music and after selling the townsfolk these items, he intends to skip town with the profit he made and perhaps a little extra "commission" of $300.00 for uniforms he never intends to put the order in for. He attempts to befriend Marian Paroo, the librarian and part-time music teacher because she is the person most likely to expose him. He also discovers an old friend, Marcellus Washburn, living in the town but despite "going straight," he still helps Hill with his con. He also hires Tommy Djilas, a local ruffian and outsider, as an assistant, while Charles Cowell, a rival salesman (an anvil salesman who called the locals "gullible green-grass goats"), is intent on exposing him because after Hill visits a town, he ruins the atmosphere for other salesmen. Cowell is also convinced Hill "doesn't know the territory." In the end, Prof. Harold Hill and Marian Paroo fall in love and Hill is sort of compelled to fulfill his promise to lead the local band. 

This production of The Music Man is the finest I have ever seen in a community theatre venue and Richard Masin, who played Prof. Harold Hill, has more talent and ability than 95% of the actors working in Broadway and Off-Broadway shows today. He is an exceptional, first-class, superior performer with an excellent voice and a charismatic stage presence. He embodied Prof. Harold Hill and nailed the role handling it better and more realistically than anyone else who has ever played it. Richard Masin is a rising star! He could easily lead a third Broadway revival of this musical and make it a hit. Monica Barczak, who played Marian Paroo, was perhaps a bit too matronly to be believable as someone Hill would fall in love with, but then again, the reason given for why Marian fell in love with Harold (he helped her brother overcome his shyness), despite knowing he is a con man, is also very hard to swallow. Ms. Barczak has the voice of an angel and it was a pleasure to listen to her sing. With nearly forty high-quality performers participating in this Broadway Blockbusters show, it is hard to pick out who put in that little extra in order to stand out. Besides the two lead actors already mentioned, my favorites were Erik Neilssen as Charlie Cowell, Dan Stravino as Marcellus Washburn, Kiera Liantonio as Mrs. Paroo, Mark Lord as Mayor Shin, and Rosario Amico as Tommy Djilas. Each brought their characters to life and significantly contributed to making this show the smashing success it was. However, that is not to say the other actors didn't make a significant contribution. They did, and many of them have that special spark that will enable them to have a well-respected career in the theatre.

Many of you will be familiar with the songs featured in this musical. such as "Rock Island," "(Ya Got) Trouble," "Seventy-Six Trombones," "Pickalittle (Talk-a-Little)," "My White Knight," "The Wells Fargo Wagon," "Shipoopi," and "Till There Was You." There was also a five-piece live band under the musical direction of Patrick White. I definitely recommend you go out and buy the CD. One message in this musical is that you should take a chance and do your best to achieve your dreams. If you always put things off to another day, you will find that life may have passed you by, or as Prof. Harold Hill told Marian, "If you pile up enough tomorrows, you'll find you've collected a whole lot of empty yesterdays."

This production of The Music Man was performed as a benefit for The Josephine Foundation, a 501(c)(3) charity that raises money and distributes 100% of the funds to its mission to support special individuals and programs, with no regard to race, color, creed, gender, age or financial status, by giving children and adults a chance to achieve their goals in life by providing opportunities in the arts and sports. Andrew Joseph Koslosky, the Director of this musical, is also the Founder and Chairman of the Board of The Josephine Foundation, which uses its performing arts projects to raise funds to provide support for medical, quality of life and disaster relief throughout the world. The Foundation has been responsible for well over $2.5 million in aid to areas within its mission statement since its inception in 2002. For more information about The Josephine Foundation, or to make a contribution, visit www.TheJosephineFoundation.org 

Applause! Applause! Review of Theatre Box Of Floral Park's production of Lanford Wilson's Talley's Folly at United Methodist Church Of Floral Park by Dr. Thomas Robert Stevens

This review of Lanford Wilson's “Talley's Folly" at Theatre Box Of Floral Park was written by Dr. Thomas Robert Stevens and published in Volume X, Issue 5 (2015) of the online edition of Applause! Applause!

Talley's Folly

A Play by Lanford Wilson

Starring Tony & Geraldine DiBari

Directed by Brian J. Payne

Theatre Box Of Floral Park

United Methodist Church Of Floral Park

35 Verbena Avenue

Floral Park, New York 11001

Reviewed 7/31/15 at 8:00 p.m.

Talley's Folly is a 1979 play by American playwright Lanford Wilson. It is the second play in his cycle, The Talley Trilogy between his plays Talley & Son, and Fifth of July. It was first performed by the Circle Repertory Company on May 1, 1979, with Judd Hirsch as Matt Friedman, and Trish Hawkins as Sally Talley. The production moved to the Mark Taper Forum in Los Angeles before returning to New York for its Broadway opening at the Brooks Atkinson Theatre on February 20, 1980. Talley's Folly won a Drama Critics' Circle Award and a Tony Nomination for Best Play in 1980. That same year, Lanford Wilson won a Pulitzer Prize for Drama for his work on this play. 

Talley's Folly is set in an old, run-down, wooden-lattice Victorian Boathouse (that looks like a gazebo) near rural Lebanon, Missouri on July 4, 1944. One year prior, Matt Friedman, a forty-two-year-old, Jewish accountant from St. Louis, spent seven days in Lebanon on vacation where he met Sally Talley, a single, thirty-one-year-old Gentile. You could say that both these characters' lives are in the same dilapidated shape as the boathouse. Sally, a Nurse's aide in a local hospital wants to move out of her family home. She is spirited, pro-union and even got fired from teaching Sunday School. The rise of labour unions was affecting the families of the children in her class and she felt obligated to "educate them" by introducing them to Veblen's The Theory Of The Middle Class. Her unorthodox methods earned her the consternation of the Methodist Church elders, as well as her own family members, who owned 25% of the garment factory where the labour issue was being debated. Matt Friedman, who never once asked a woman to marry him, and was never asked either, is a loner who has had a hard life and who has worn the same tie every day for the past five years. Since the week they spent together a year ago, Matt is smitten and has written Sally mundane, daily letters detailing every aspect of his boring life and has occasionally spoken with her Aunt Charlotte. Sally, herself, has given him no encouragement. She wrote him one letter and when he came out one day to visit her at the hospital, she had hospital staff tell him she was not there. Now, again uninvited, he has returned to Lebanon for one night so that they can, once and for all, decide whether they have feelings for one another. If in the affirmative, Matt intends to ask Sally to marry him.

The name of the play Talley's Folly, derives from the various "follies" her Uncle Edward built around town. He was a toy-maker and when, in 1870, he wanted to build a gazebo, his father told him that gazebos were a "frivolity" so, instead, he build a Victorian boathouse on the Talley Farm that looked like a gazebo (after all, that's what he wanted to build in the first place). He also constructed another gazebo in the town park that was coloured maroon, pink and gold. Despite objections, he build it and told the city elders if they didn't like it, they could tear it down. The gazebo remains and the town now uses it for High School Band Concerts. Sally considers her uncle the healthiest member of her family for his courage.

Matt Friedman tells Sally if she is truly not interested in him, he can take "no" for an answer but he cannot take "evasion." As he explains, "you can chase me away or put on a new dress, but you can't put on a new dress to chase me away." Matt jokes, cajoles, goofs around on ice skates, does a Humphrey Bogart impression and reminds Sally of the good times they had together. Faced with her reluctance to rekindle the relationship, he runs down the possible reasons Sally might be hesitant such as his religion, his age or the possibility he might be a German spy, but none of these seems to be why she is pushing him away. Aunt Charlotte told Matt that Sally has a secret that only she can tell him. There is a hint Sally allowed the nebbish Matt to get a taste of forbidden fruit when they spent seven days together a year ago. That would explain Matt's obsession with her and his completely unrealistic expectations for their relationship. Given Matt's physical restraint of Sally when she tried to scream and get away from him, I suspect "a violent incident" could have occurred if Sally continued to toy with his emotions and play games. 

Eventually, Matt decides to open up. He tells her his father was a Prussian Jew, who eventually became an engineer. His mother was a Ukrainian, who falsely claimed to be Sephardic. He was born in Kaunas, Lithuania. In 1911, his father was overheard in a French cafe discussing some work related to nitrogen (a reference to the Haber Process developed in 1909 by Jewish-German chemist, Fritz Haber, to extract nitrogen from the air, which made the manufacture of gunpowder and fertilizer cheaper), so the French detained his family when they were trying to cross the border and tortured his father and older sister, who went into a coma (and later died). When finally allowed to leave, they went to German authorities, who also tortured his father, and when his father and mother tried to escape to Denmark, they were both killed. An uncle brought Matt to America but he professes that "no allegiances can claim him anymore" and that he "doesn't believe in ism's because if you start to defend them, soon you start to treat them as if they are real." As a result, Matt describes himself as "a little crazy" and he has vowed never "to bring another child into a world filled with so much pain." Sally eventually confesses that she had tuberculosis, a fever, and a pelvic infection, that left her barren and unable to bear children." Her father looks at her as if she is "a broken swing." Given the irony of the situation, Sally admits she truly likes Matt, and she accepts his marriage proposal, leaving with him that night for St. Louis, Missouri. They vow to return to the boathouse every year so they don't ever forget the place where they fell in love.

Talley's Folly is performed as a two-person 97-minute one act play with no intermission. In this production, Toni Di Bari was Matt Friedman, and his wife, Geraldine DiBari played Sally Talley. They exhibited good rapport with each other and did a fine job in their respective roles. Brian J. Payne expertly directed the play. If you haven't seen Talley's Folly, here is your opportunity to catch it. It will be playing at Theatre Box Of Floral Park through August 8, 2015. Tickets can be reserved at http://www.theatrebox.org/ (Adult tickets: $15.00; Senior tickets: $10.00; Attendees 18 and under: $5.00). Refreshments including soda, water, cookies and cake are $1.00 each. I cannot promise you will like the characters in this play but given the inexpensive price and the high-quality performances, I can guarantee you will get more than your money's worth in entertainment value!