Under a starry sky

Patti Murin and Bryce Ryness
as Joey Storms in "Fly By
Night." Photo by Joan Marcus

Henry Stram and Allison Case as
Miriam in a scene from "Fly By
Night," at Playwrights Horizons.
Photo by Joan Marcus.

Adam Chanler-Berat as Harold,
Patti Murin as Daphne in
"Fly By Night." Photo by
Joan Marcus.

Patti Murin and Allison Case
in a scene from "Fly By Night."
Photo by Joan Marcus

Like the stars in big city skies, things are sometmes lost when the bright lights are found or turned on.

In "Fly By Night," a musical at Playwrights Horizons through June 29th, two sisters from South Dakota find themselves under the bright lights of New York City.

It's almost always better to be shown than told, so the early appearance of the Narrator (Henry Stram) in "Fly By Night" was cause for pause. No need to have worried. "Fly By Night" is for the most part a touchingly funny and lovely musical play. The ending (partial spoiler alert) is however a downer.

Miriam (Allison Case) reluctantly accompanies her sister Daphne (Patti Murin) in her quest for stardom. In New York City, Daphne meets Harold (Adam Chanler-Berat,) a sandwich maker with a guitar. Daphne also meets Joey Storms (Bryce Ryness,) a playwright determined to make her his muse. The triangle is squared off when Miriam meets Harold.

The story, conceived by Kim Rosenstock,who wrote it in collaboration with Will Connolly and Michael Mitnick, is part boy meets grils, and part "My Sister Eileen." 

"Fly By Night" treads delicately over serious even sad themes. These include ambition, or the lack of it, achievement, and acceptance.

Oddly since this is a musical, the music goes unbilled  "Fly By Night." We note that co-author Will Connolly is a musician and make the leap that he should be creditied with the music. The musical director, conductor and on-stage keyboardist is Vadim Feichtner, who leads Foe Destroyer (the band) with Chris McQueen on electric guitar, Daniel Garcia on bass guitar and keyboard, and Cade Sadler on drums and acoustic guitar.

Adam Chanler-Berat's goofy charm makes his feckless Harold alluring. As Miriam, Allison Case is perfectly fidgety and uncertain, while her voice soars. Standing out is tough when the whole cast shines as it does here, but Bryce Ryness is wonderful as Joey Storms, the writer with too much to say. The veteran Michael McCormick, playing Harold's boss Crabbie, gets a chance to strut his stuff in "Fly By Night" as well. There are a few too many eleven o'clock numbers, but thankfully Mr. McClam (Peter Friedman) gets his in and it's a doozy.

So often, too many authors spoil the plot, but here three seems a good balance. "Fly By Night" is a musical about fate and the stars that, like its stars, is very appealing.

Visit Playwrights Horizons to learn more about "Fly By Night," and to check for tickets.

"Matilda" Is Just "Right"

Sometimes coming late to the party isn't so bad. While others were giddy (or jaded), you're less likely to be swept away by the fresh and the new.

You feel a little out of it, but being apart (rather than "a part of") can make for greater objectivity. Sure there are expectations... by now, you've heard a lot about the production, but with the lapsed time, you have a chance to see a bigger picture, and, of course, more clearly.

The opening scene of "Roald Dahl's Matilda, The Musical" in a photo © Joan Marcus

The party in question is the children's revolution known as "Roald Dahl's Matilda, The Musical," being held for a little over a year now at Broadway's Schubert Theatre. The revelers are a cast of talented youngsters and their adult counterparts in short pants who rise up under the tyranny of a demented headmistress, Miss Trunchbull (Ben Thompson, at this moment.)

Their cause is led by Matilda (the talented Gabriella Pizzolo, one of four young leads) and supported by the sweetly ineffectual Miss Honey (the affecting Jill Paice.) At home, Matilda is bullied but not beaten or even bowed by ignorant and self-absorbed parents, Mr. and Mrs. Wormwood (the excellent Matt Harrington and superb Lesli Margherita.)

Philip Spaeth as Rudolpho, Jill Paice as Miss Honey and Lesli Margherita as Mrs. Wormwood.
Photo © Joan Marcus

Mr. Wormwood is a schemer who gives the used car sales profession a very bad name, He dotes on his doltish son, Michael (Taylor Trensch), and calls Matilda "boy," while watching "Telly" with his son on his lap. Mrs. Wormwood dotes on her ballroom dance partner, Rudolpho (Phlip Spaeth) and nags Matilda for reading too much;  "looks, not books," is her advice.

Much of the cast has rolled over since Bertie Carvel was nominated for a Best Actor Tony as the original Miss Trunchbull, but Lesli Margherita originated her part as Matilda's loopy mother; her performance is delightfully flighty. Matt Harrington, as the current Mr. Wormwood, brings the vaudeville to "Matilda" with a lot of dash and swarmy charm; he is dispicably likeable. (His predecessor, Gabriel Ebert won the 2013 Tony as Best Featured Actor in a Musical.) The beguiling Karen Aldridge has returned as Matilda's champion, the librarian, Mrs. Phelps, who is moved to shout outloud when Matilda tells her stories.

Jill Paice is Miss Honey. Photo
© Joan Marcus

The book, based on Roald Dahl's children's story, by Dennis Kelly won the 2013 Tony for Best Book of A Musical. Tim Minchin's tunefull score and clever lyrics (he was a nominee but lost out to Cyndi Lauper's "Kinky Boots") add to the many pleasures of seeing "Matilda." 

"Matilda" is an unexpected musical, with a little touch of "Naughty" and a lot of "Miracle." 

The cast, under the direction of Matthew Warchus, and dance guidance of choreographer Peter Darling, deliver a rousing entertainment. The letter blocks that decorate the stage are just one of the inspired touches on the fine set design by Rob Howell (who is also responsible for the costumes.)

Come to the party, it really is not too late!



For more information, please vist http://us.matildathemusical.com/

Penny Fuller Sings of "13 Things..."

Virginia (Penny Fuller) is a widow in distress. It seems her husband Ed mortgaged away their life's assets to some shady characters, including his brother Frank and the local banker, Bob O'Klock, before his sudden death.

Musical Director Paul Greenwood plays the piano and Penny Fuller as Virginia sings in 13 Things About Ed Carpolotti. Photo by Carol Rosegg

In "13 Things About Ed Carpolotti," at 59E59 Theaters through December 30th, Virginia under siege hums, sings and narrates her tale.

Penny Fuller as Virginia in "13 Things..." Directed by Barry Kleinbort (book, music and lyrics). Photo by Carol Rosegg

 

The tension in "13 Things About Ed Carpolotti" builds as new creditors approach Virginia. "We're Gonna Be Fine," the not-entirely-convinced Virginia says and sings. Penny Fuller, backed by pianist and musical director, Paul Greenwood, is a delight. She voices each of the townsfolk she encounters. Her emotions flutter then overflow. "We're gonna be great... we're gonna be swell."

Penny Fuller is Virginia in "13 Things..." Photo by Carol Rosegg

The cafe seating is the showcase for a cabaret styled musical piece directed by Barry Kleinbort (book, music and lyrics), based on a play by Jeffrey Hatcher.

The humor is of the gentle gallows kind, the mood sentimental and sweet. "13 Things About Ed Carpolotti" proves to be a delightful little show.

For more information on "13 Things About Ed Carpolotti," visit www.59e59.org.

Shocking and "Scandalous"

There have always been determined women who've succeeded in a male-dominated world.

"It's not man's world, it's God's," Aimee Semple McPherson (Carolee Carmello) tells Louella Parsons (Elizabeth Ward Land) in "Scandalous," the new musical enjoying an open run at the Neil Simon Theatre.

Kenneth Ormiston (Andrew Samonsky) and Aimee Semple McPherson  (Carolee Carmello) in a photo by Jeremy Daniel.

The woman at the center of Kathie Lee Gifford's (book, lyrics) "Scandalous" was a controversial celebrity evangelist. In 1927, Aimee Semple McPherson became embroiled in a morals trial.

Was she targetted because her large house of worship dominated Los Angeles and competed with the established church of Brother Bob (George Hearn)? Was it that she broadcasted sermons coast to coast that drew fire? Was she signalled out because she was a driven woman? Did she shock convention? The answer in "Scandalous" is all of the above.

Aimee Semple McPherson  (Carolee Carmello) and Borther Bob (George Hearn) in a photo by Jeremy Daniel.

A Holy Roller's biography in music (by David Pomeranz and David Friedman  and additional music and lyrics by Kathie Lee Gifford) and song should have some exuberant singing. The music in "Scandalous" is muted as if intentionally tamping down the "joyful noises" of a Pentecostal service. Unexpectedly, the fiercest and most rousing number in "Scandalous" is one in which  Aimee challenges God, "How Could You?"

The company with Carolee Carmello. Photo by Jeremy Daniel.

"Scandalous" is a lavish, if somewhat uninspired, musical play. The costumes by Gregory A. Paplyk are simply gorgeous. The Ensemble is hard working and well directed (David Armstorng directs, choreography by Lorin Latarro.)  Among the large cast, Edward Watts (in a dual role as Robert Semple and David Hutton, two of Aimee's husbands, George Hearn (also in two roles as Aimee's father and Brother Bob), and Roz Ryan as a madam, Emma Jo Schaeffer, who becomes Aimee's assistant in the church, all stand out..

Aimee Semple McPherson welcomed the attention of the press and the public. She sought it out. Her hubris brought on her downfall. Or, as it happens, more like a stumble. The scandal in "Scandalous" did not shut her or her Angelus Temple down.

For more information about "Scandalous," please visit http://scandalousonbroadway.com/ 

Singing R&B, with "Forever Dusty"

"Stay Forever," was an earlier iteration of the musical play, "Forever Dusty" by Kirsten Holly Smith and Jonathan Vankin

We seem to label the pop-stars of the past as icons. And, if a pop-singer still has name-recognition, and a memorable hit or two or three, maybe we're right to do so.

Dusty Springfield was a name to be reckoned with, had many a well-known chart-topping song in her day, and a forty-year career. All of which adds up to icon status, and "Forever Dusty," at New World Stages Stage 5 through January 6th, is a loving tribute to her. (Congratulations--EXTENDED to March 3, 2013!)

Kirsten Holly Smith and Jonathan Vankin have created a well-written and engrossing bio-musical from the inherent drama of Dusty Springfield's life story. The script takes liberties with the life, but is dedicated to its subject.

Dusty (Kirsten Holly Smith) emerged as the alter-ego of a shy Irish schoolgirl named Mary O'Brien. The drama of "Forever Dusty" is in Dusty's complex and closeted life.  

 Kirsten Holly Smith as Dusty Springfield. Photo by Thom Kaine.

Her ambition to make music with a Motown sound drove her to fame as a cross-over artist. The timid middle-class white girl from the England took on a flashy mod persona that resonated all over the world. She sang soul-inflected song after song, dressed in shiny high white boots and spangled dresses. The costumes, designed by Nancy A. Palmetier, by the way, are many and fabulous.

At the height of her career in the 1960s, there were potentially career-ending whispers that she was a lesbian, buried under tabloid rumors of involvement with Jagger or McCartney. Her private life was fuelled by alcohol and drugs. After several stints in rehab, her sobriety reignited her career and in the late 1980s. 

Kirsten Holly Smith as Dusty Springfield in "Forever Dusty." Photo by Joan Marcus.

Kirsten Holly Smith has strong support from her cast, including Sean Patrick Hopkins as Dusty's brother, Tom Springfield, Benim Foster as a record producer and a journalist, and Coleen Sexton in dual roles as Becky and Gini. Christina Sajous [recently as Arachne in "Spider-Man"and Shirley in "Baby It's You"] 

is lovely as a back-up singer and superb as the gentle Claire.

The excellent on-stage band add an intimate night club feel. In "Forever Dusty," the discography gets plenty of stagetime; it is reprised in concert  or studio-recording  reenactments. "You Don't Have to Stay Forever,"  a song that exemplifies Dusty Springfield's work, brought the house down!

For more information about "Forever Dusty," please visit www.foreverdusty.com

Everyone Loves "The Little Tramp"

Some images are dear to us because they represent human ingenuity, resilience and resourcefulness. For this reviewer, one such is The Little Tramp making spaghetti of his shoelaces, but just the iconic silhouette is enough to bring fond remembrances. 

Rob McClure as Charlie Chaplin in "Chaplin The Musical." Photo by Joan Marcus

The Little Tramp was, of course, Charlie Chaplin's alter ego in enumerable silent films (and one talkie.) Chaplin's life was far more complex. In "Chaplin The Musical," enjoying an open run at the Barrymore Theatre, Charlie Chaplin's (Rob McClure) story is laid out from his beginnings to his Academy Award acceptance in 1972. His is a tale of dignity and political activism, personal failings and professional successes.

Rob McClure as Charlie, Zachary Unger as Young Charlie/Jackie Coogan, and Christiane Noll as Hannah Chaplin. Photo by Joan Marcus

"Chaplin The Musical" is definitely Rob McClure's big moment. His performance shows a far more nuanced Charlie than the bare bones of the script outline (book by Christopher Curtis and Thomas Meehan.). Ambitious, and talented, with a vision of the world instilled in him by his mother, Hannah (Christiane Noll) as a boy (Zachary Unger plays the Young Charlie) before her descent into madness, Chaplin was stubborn and arrogant, Although his fame supported his grandiosity, one of his four young wives describes him in passing to a too-interested Hedda Hopper (Jenn Colella) as difficult.

Rob McClure as Charlie with Erin Mackey as Oona O'Neill in a photo by Joan Marcus

The first of these four women, Mildred Harris (Hayley Podschun), who at seventeen had the wiles to trick him into marriage, is lovingly portrayed and beautifully played.       

Rob McClure as Charlie with Wayne Alan Wilcox as Sydney Chaplin. Photo by Joan Marcus

The last, Oona O'Neill (Erin Mackey) sacrificed family (her difficult father was the great playwright Eugene)  for "What Only Love Can See," as Christopher Curtis music and lyrics put it, in marrying the much older Chaplin. The couple retired to Switzerland where Chaplin lived out his exile until the Academy honored him with an Oscar in 1972 for his Lifetime contributions to the cinema. 

Lisa Gajda, Rob McClure, Emily Tayra in a scene from "Chaplin The Musical." Photo (c) Joan Marcus 

Rob McClure is supported by a superb cast,-- Broadway veterans like the excellent Christiane Noll and Michael McCormick (who plays Mack Sennett and a bit part as Chaplin, Sr, and United States Attorney General McGranery), and the less seasoned, like Wayne Alan Wilcox as Charlies brother Sydney, to name a few-- all of whom contribute to make "Chaplin The Musical" an extremely entertaining evening of theater.  

Chaplin's biography is a big-story, and "Chaplin The Musical" is no less ambitious than its eponymous subject. Unfortunately, the play does not rise to the grand scope it sets for itself, getting stuck in lovely and touching sentimentality. The songs are catchy, without being memorable; they seem to require too limited a range from the fine singers. "Chaplin The Musical" never gets past seeing The Little Tramp as a biographer of his own sad tale.    

For more information about "Chaplin The Musical," visit www.chaplinbroadway.com.

A Pitstop On Route To The Venerable Edinburgh Festival Fringe

In 1947 eight theater groups turned up uninvited to the then brand-new Edinburgh International Festival. These pioneering 8 went ahead and staged their shows; in 1959 these "fringe" players were made official by the Festival Fringe Society. The policy The Edinburgh Festival Fringe Society established at the start was that "anyone with a story to tell and a venue willing to host them" could present on the annual programs.

59E59 Theaters offers some of those heading out to The Edinburgh Festival Fringe a place to tune up and refresh for the long trip. At "East to Edinburgh 2012," there are sixteen new shows prepping for the competition at the Festival Fringe to delight and intrigue.

Catch up with some old favorites, or meet up with some completely new productions, as the pre-Festival starts on July 10th and runs through July 29th.

Sarah Ruhl's "Dead Man's Cell Phone" rings in from the 19th to the 21st with a young cast. Teen angst set to 1960's Brit-pop rocks "MOD" in performances beginning on July 21st.

"Captain Ferguson's School for Baloon Warfare" makes another appearance at 59E59 before going across the pond to Scotland. (See our review from the eccentric Captain's earlier visit to 59E59.)

From monologues and standup to serious drama, East to Edinburgh showcases a taste of what the big Festival offers.

To find out more about East to Edinburgh and the other productions at 59E59 Theaters, visit, http://www.59e59.org/.

It Was Often Bleak at "February House"

Stanley Bahorek as Benjamin Britten,. Ken Barnett as Peter Pears, A.J. Shively as Chester Kallmann, Stephanie Hayes as Erica Mann, Kristen Sieh as Carson McCullers, and Erik Lochtefeld as W.H. Auden shivering at 7 Middagh. Photo © Joan Marcus.

In 1940, George Davis (Julian Fleisher), had a dream of creating a communal hothouse for brilliant talents in a ramshackle Victorian on a Brooklyn hill. Davis,having published a novel to some acclaim, went on to a very luminous career as an editor.

"February House," at The Public Theater through June 10th 17th, will appeal to lit. nerds and English majors. The musical by Gabriel Kahane (music and lyrics) and Seth Bockley (book), and direction by Davis McCallum, is based on Sherell Tippins non-fictional 2005 exploration of life at 7 Middagh Street, Brooklyn and the ragtag assortment of famous and accomplished intellectuals who resided there.

The group included Gypsy Rose Lee (Kacie Sheik) who worked on a best-selling murder mystery while boarding with George.

Kacie Sheik as Gypsy Rose Lee at 7 Middagh, Brooklyn. Photo © Joan Marcus.

Carson McCullers (Kristen Sieh), just 23 and fresh off the success of "The Heart is a Lonely Hunter," left her husband, Reeves (Ken Clark), and took up residence. W.H. Auden (Erik Lochtefeld), in a moment of abandon, took a room with his young protege, Chester Kallman (A.J. Shively.) Benjamin Britten (Stanley Bahorek) and his lover, the singer Peter Pears (Ken Barnett) reluctantly decided to join the experiment.

Auden worked with Britten and Pears on the opera "Paul Bunyon" at February House. Photo © Joan Marcus.

At "February House," Davis coaxed and coddled his charges. He exerted a flair for the dramatic and decorative, sometimes at the expense of the practical. Life at 7 Middagh Street was never dull, but often it was far from comfortable. There was plenty of booze, but not enough heat; frequent partying lead to missed deadlines.

George Davis' little experiment in communal artistry did not fare well. Gypsy Rose may have been the only one of his tenants to have produced a successful work while boarding with George. Erika Mann (Stephanie Hayes), Thomas Mann's daughter who was married to Auden, adds a little political gravitas to the house on the hill when she shows up. It is after all the middle of World War II.

A highlight of "February House" is the song "California," sung by the endearing Bengy and Peter; the score successfully blends the post-modern with California pop when the pair of resident Brits announce their departure for Hollywood.

The tone of the musical is often wistfully alegiac. Among the charms of this production, along with the cast of fine young performers, is the fact that the characters are both icons and ordinary folk.

"February House" is the first commissioned musical as part of The Public Theater's Musical Theater Initiative. To find out more, visit www.publictheater.org

"Ghost..." Haunts A Broadway Stage

Who knew blockbuster was spelled G_h_o_s_t?

Caissie Levy as Molly Jensen and cast in “Ghost the Musical.” Photo © Joan Marcus.

Bruce Joel Rubin (book & lyrics) has adapted his Academy Award winning film into "Ghost the Musical," in the Lunt-Fontaine Theatre for what may prove to be a very long run. (See videos from the show at www.ghostonbroadway.com.)

Caissie Levy as Molly Jensen, Richard Fleeshman as Sam Wheat and Bryce Pinkham as Carl Bruner in “Ghost the Musical.” Photo © Joan Marcus.

"Ghost the Musical" merges the cinematic with the dramatic into a spectacular spindrift of song, dance and romance. Matthew Warchus helms a musical play with many moving parts all of which contribute to the atmosphere of other-worldly excitement. The visual tricks (Illusions by Paul Kieve and Video & Projections by Jon Driscoll in a prodcution designed by Rob Howell) will convince the greatest cynic that there are ghosts among us. Ashley Wallen's dynamic choreography, with additional movement sequences by Liam Steel keep up the pace and tension in "Ghost the Musical" even for those of us who have seen the iconic movie.

Da”Vine Joy Randolph as Oda Mae Brown, Richard Fleeshman as Sam Wheat and Jeremy Davis as a Bank Officer in “Ghost the Musical.” Photo © Joan Marcus.

Like the movie's plot, "Ghost the Musical" is a simple romantic fantasy. After he is murdered in what looks like a street robbery gone bad, Sam Wheat (Richard Fleeshman) can find no peace until he makes an honest psychic out of the con woman Oda Mae Brown (Da'Vine Joy Randolph). In "Ghost the Musical," Sam comes to rely on Oda Mae to keep his girlfriend, Molly Jensen (Caissie Levy) out of harm's way and to avenge his untimely death. Whoopi Goldberg's fans won't be disappointed in Randolph's sassy Oda Mae, who turns out to have a gift for leading souls to their rest. Randolph is a triple threat star, acting, singing and dancing; her Oda Mae has swagger and vulnerability as she reluctantly befriends Sam's ghost.

Da”Vine Joy Randolph as Oda Mae Brown and cast in “Ghost the Musical.” Photo © Joan Marcus.

Fleeshman develops his character well showing first Sam's bewilderment at what has happened to him, and then his tenacity at making things right. Carl Bruner (Bryce Pinkham), Sam's colleague who hits on Molly a little too soon, is swarmy and appropriately a little creepy. Levy and Fleeshman are pretty to watch adding the heat to this love story.

Caissie Levy as Molly Jensen and Richard Fleeshman as Sam Wheat at the pottery wheel in “Ghost the Musical.” Photo © Joan Marcus.

Even the technical glitch that held up the conclusion in act two at the preview performance this reviewer attended kept everyone in their seats. It was taken as a time to talk amongst ourselves and wait patiently. Please visit www.ghostonbroadway.com for tickets and to learn more about the show.

Lincoln Center's 2012 "American Songbook" Was An Inclusive Series

Taking off at the crossroads of standards, jazz, pop, Latin and hip hop, Lincoln Center’s American Songbook has transformed The Allen Room in Time Warner Center into the classiest cabaret joint in town.

Lin-Manuel Miranda performing his work-in-progress about the First Secretary of the Treasury, Alexander Hamilton at The White House


Lincoln Center’s American Songbook has been a celebration of the varied best of our native music since 1998. This year's season ended on February 12th with a special added show by Elaine Paige.

Elaine Paige, a British star and frequent Sondheim, interpreter, is an icon musical theater.
(See video by clicking here.

Ms Paige’s recent acclaim as Carlotta in Follies precedes her. (See review of Follies at VevlynsPen.com.

The rising Broadway great, Laura Benanti told tales and sang songs in two shows on February 11th.

On opening night, January 11th, Lin-Manuel Miranda, gave the 2012 American Songbook series a rousing kick-off with excerpts from his work in progress hip-hop musical about Alexander Hamilton, whose birthday was January 11 in either 1755 or 1757.

Lin-Manuel Miranda’s mash-up of cultural phenomena over the centuries in the telling of his tale, The Hamilton Mixtape, provides a vibrant and entertaining history lesson. Inspired by Ron Chernow’s biography of the first US Secretary of the Treasury, LMM started his work on this musical in 2002. LMM’s mash-up of cultural phenomena over the centuries in the telling of his tale provides a vibrant and entertaining history lesson. Lin-Manuel Miranda did not single handedly welcome rap and hip-hop into American Songbook. For his evening at American Songbook, he brought along a strong supporting cast that included Mandy Gonzalez, Christopher Jackson, and Jon Rua, all familiar from “In The Heights.” Gavin Creel. the very talented Broadway vet, was one of the highlights in his role as the petulant King George. Rebecca Naomi Jones sang a beautiful love song from, “Helpless,” while James Monroe Iglehart joined LMM in the cathartic and energetic “My Shot.”
(See video of LMM performing the piece at the White House at from here.

Michael Cerveris, a Broadway star and Tony recipient for Sondheim’s “Assassins,” brought his extremely rarified country roots to the venue in an evening entitled “An Idea of South” on 21 Jan. Featuring some Guthrie, some traditional Americana, a Samuel Barber song set to James Agee’s “Knoxville: Summer of 1915,” as well as rollicking New Orleans stylings, it was evident that MC has traveled this country road before. The small stage filled with supporting talent including Jonathan Batiste, and singer-songwriter Paul Sanchez. For “Another Suitcase” from “Evita” MC who is set to join Ricky Martin in the revival on Broadway, was joined by Laura Cantrell, whose voice is reminiscent of the late Patsy Kline.MC’s ease on stage, and circling among the tables before the show, made for a fine down-home performance.

Was “Hello Gorgeous! Leslie Kritzer Sings Julie Styne,” this funny lady’s audition for a Broadway run? Producers recently backed off an anticipated revival of the 1964 Broadway hit “Funny Girl.” Lauren Ambrose was set to for the lead, but the backers felt that, despite plenty of theater cred, she lacked name recognition. When the production was cancelled, LK, who played Fanny Bryce at the Paper Mill Playhouse, reportedly threw her hat in the ring. LK sang three songs from “Funny Girl” in her American Songbook debut on 3 Feb. LK’s comic and vocal talents were on ample display. She even did an excellent impersonation of Liza.

Visit http://www.americansongbook.org/ to learn more about Lincoln Center’s American Songbook series so you'll be ready for next year.