Let's begin with "Act One"

Tony Shalhoub as Moss Hart, Andrea Martin as Aunt Kate and Santino Fontana as Moss Hart in LCT's "Act One," adapted by James Lapine from the memoir by Moss Hart. Photo by Joan Marcus.

Each of us is the hero of our own story. In "Act One," Moss Hart may have mythologized his ascent in the theater. Cut him some slack, his memoir has been an inspiration to generations of aspiring theater-folk. James Lapine, who also directs, has turned Hart's book into a thoroughly theatrical event. 

"Act One," at Lincoln Center's Vivian Beaumont Theater through June 15th, everything as it should be. From the brilliant multi-layered set by Beowulf Boritt to the superb ensemble and smart direction, "Act One" sings with aspiration and 

success.

Tony Shalhoub as George S. Kaufman and Santino Fontana as Moss Hart in a scene from "Act One."
Photo by Joan Marcus

As James Lapine's "Act One" opens, Moss Hart (Tony Shalhoub) looks back on his life and career. His Aunt Kate (Andrea  Martin) comes home from the theater and argues with Moss's father, Barnett (Shalhoub again) over money, while Moss's mother Lillie (Mimi Lieber) placates their borders.  Aunt Kate and young Moss (Matthew Schechter, who later also plays Moss's younger brother Bernie) hatch a plan for Moss to skip school and join her at Thursday matinees. Schooling is a moot issue, since by the time Moss is sixteen, he is apprenticed to a furrier, a job he hates. Instead Moss (now played by Santiino Fontana) makes his own way to Broadway and the work for which he yearns. clerking for theatrical booking agent Augustus Pitou (Will LeBow.)

Chuck Cooper as Max Siegel (one of several roles he undertakes) and Bob Stillman as Sam Harris (he also plays other parts) and Company in a scene from "Act One." Photo by Joan Marcus.

Hart's first play, written in 1925, when Hart was just 21, to help fill Pitou's road circuit, "The Beloved Bandit" flopped in Chicago. In the meantime, Hart was directing small theater companies all over the New York area,  from the Borscht Belt to New Jersey. By 1930, "Once In A Lifetime," co-written with George S. Kaufman (Shalhoub), and Hart's first theatrical success, opened on Broadway, after many fits and starts out of town. Hart and Kaufman would continue to work together on many a show after this original collaboration. 

Andrea Martin-- like Tony Shalhoub, who is a nominee as Best Leading Actor in a Play for his work here-- adeptly handles three parts. She is Aunt Kate, eccentric theater producer Frieda Fishbein, and Kaufman's wife Beatrice. Shalhoub and Martin each give distinct and nuanced lives to each of their characters. In this cast, you risk looking like a slouch if you only have one role to play. Santino Fontana does just that, and he's outstanding as Hart at his youthful prime. 

"Act One" is a perfectly beautiful production.

To learn more about "Act One," please visit www.lct.org.

  

Mid-Life with Simon Green

Simon Green in "Simon Green: So, This Then Is Life," part of Brits Off Broadway at 59E59 Theaters.
Photo by Carol Rosegg

Simon Green in "Simon Green: So, This Then Is Life," part of
Brits Off Broadway at 59E59 Theaters. Photo by Carol Rosegg

A performer with a middling voice and a fair amount of charisma, Simon Green offers his view of life at that tipping point of middle age. Pushing onto 57 seems to have made Mr. Green wax philosophical.

His "Simon Green: So, This Then Is Life," in a US premiere at 59E59 Theaters through June 1, is a metaphysical cabaret, to piano accompaniment by Simon Green's long time musical director, David Shrubsole. Mr. Shrubsole, co-creator with Simon Green for the program, has also provided the musical arrangements to songs by a wide range of composers from Noel Coward to Stephen Sondheim.

For more information about "Simon Green: So, This Then Is Life," please visit 59e59.org.

"The Lovesong of Alfred J. Hitchcock"

Martin Miller in "The Lovesong Of Alfred J. Hitchcock," part of Brits Off Broadway at 59E59 Theaters.
Photo by Carol Rosegg.

Alma Reville had a lot to complain about it would seem. "Hitchcok," the 2012 film starring Anthony Hopkins and Helen Mirren made it abundantly clear that he was obsessed with his leading ladies, and gruffly inattentive to his wife.

"The Lovesong of Alfred J. Hitchcock," David Rudkin's radio play adapted by him for the stage, at 59E59 Theaters through May 25th, covers this ground anew.  But, alas, despite the clever title, not afresh.

Roberta Kerr and Martin Miller in "The Lovesong Of Alfred J. Hitchcock," part of Brits Off Broadway at 59E59 Theaters. Photo by Carol Rosegg.

In fairness to David Rudkin, the 1993 radio play predates the film, and like it is based on Alma Reville's memoire of life with Hitch. Reville, Mrs. Hitchcok, has provided the ultimate spoiler to the cheerfully eerie "Good evening" with which Hitchcock greeted his audience for the long-running TV mystery shows he hosted.

For more information, and tickets, please visit 59e59.org.

Georgetown Life

Henry James, who definitely had an apt way of putting things, called Washington, DC the "city of conversation."

Kristen Bush, Michael Simpson and Jan Maxwell in a scene from "The City of Conversation," a new play by Anthony Giardina, directed by Doug Hughes, at the Mitzi E. Newhouse Theater. Photo by Stephanie Berger.

Our nation's capital is the setting for Anthony Giardina's new drama about politics and those who practice it,  "City of Conversation," at LCT's Mitzi E. Newhouse Theater through June 22nd.  29th.

John Aylward, Kristen Bush, Kevin O'Rourke and Jan Maxwell in a scene from "The City of Conversation," a new play by Anthony Giardina, directed by Doug Hughes, at the Mitzi E. Newhouse Theater. Photo by Stephanie Berger.

Actually  "City of Conversation" is set in the Georgetown home of one of Washington's movers, Hester Ferris (Jan Maxwell), a hostess with great liberal influence.  Enter a young woman, Anna Fitzgerald (Kristen Bush) on the arm of Hester's son Colin's (Michael Simpson).  She is, as Hester predicts, the rival she thinks she can easily vanquish. "I've seen this movie," Hester tells Anna, referring to All About Eve.

Luke Niehaus and Jan Maxwell in a scene from "The City of Conversation," a new play by Anthony Giardina, directed by Doug Hughes, at the Mitzi E. Newhouse Theater. Photo by Stephanie Berger.

Anna is in fact the new Washington. She is a Reagan Republican, and, along with Colin, plans to take America back for all the "real Americans" who have been ill-served by the regulations and legislation Democrats have enacted over the years.

As political drams go this one, playing itself out from 1979 to 2009, is tightly plotted and fundamentally domestic.

Michael Simpson, Phillip James Brannon and Beth Dixon in a scene from "The City of Conversation," a new play by Anthony Giardina, directed by Doug Hughes, at the Mitzi E. Newhouse Theater. Photo by Stephanie Berger.

Hester's live-in lover, Senator Chandler Harris (Kevin O'Rourke) is at her side. Her sister Jean Swift (Beth Dixon) has her back. Colin and Anna come upon the scene as interlopers in the genteel world of Washington's political wrangling.

Rounding out the cast are John Aylward as Senator George Mallonee (R from Kentucky) and Barbara Garrick as his wife Carolyn, Luke Niehaus as Anna and Colin's six year old son. The ensemble under Doug Hughes' direction is excellent with Phillip James Brannon as Donald Logan especially charming; Beth Dixon as the self-effacing Jean gives a very gratifying performance as well. Make no mistake, every member of the cast plays his and her part in giving "City of Conversaton" its sparkle.

Jan Maxwell is, as always, superb. (Full disclosure, Maxwell is one of this reviewer's personal favorites on any stage.) Her Hester is astute and composed, but she is not prepared for Anna's ruthlessness.

John Lee Beatty's elaborate set deserves a mention, working on a small stage to big effect. The fine costumes designed by Catherine Zuber contribute to the panache of "City of Conversation."

For more information on "City of Conversation," please visit Lincoln Center Theater's site.

Having it all....

Trudi Jackson, Daisy Hughes, Alan Cox, and Mark Rice-Oxley  in "Playing With Grown Ups," part of Brits Off Broadway at 59E59 Theaters. Photo by Carol Rosegg.

"I am woman, hear me roar," the radio blares. In the background a baby wails in distress as only babies can.
In Hannah Patterson's drama, "Playing With Grown Ups." at 59E59 Theaters through May 18th, the choices -- have a family, enjoy a career-- seem to be constricting. For Joanna (Trudi Jackson), at any rate, the ones she's made are stifling. Her husband, Robert (Mark Rice-Oxley), pays lip service about wanting to be a care-at-home dad, while he's wrapped up in his work. Robert has to worry about the possibility that as a film professor he may soon be redundant.

Daisy Hughes and Trudi Jackson in "Playing With Grown Ups," part of Brits Off Broadway at 59E59 Theaters.
Photo by Carol Rosegg.

Even Jake (Alan Cox), Robert's head of department and Joanna's ex, is on edge. Jake's seventeen year old pick up, Stella (Daisy Hughes) is the only one wise beyond her years, as she calmly observes the "grown ups" in mid life crisis.

Mark Rice-Oxley and Trudi Jackson in "Playing With Grown Ups," part of Brits Off Broadway at 59E59 Theaters.
Photo by Carol Rosegg.

Stella's role as confidante, muse, or siren is a bit tenuous, although Daisy Hughes is extremely winsome. Just as Robert and Joanna have the off-stage Lily crying over the baby monitor, Stella's oft-quoted mother bolsters her character.  When Joanna asks if she's read Sylvia Plath, Stella says, "Please. My mum's a psychotherapist. I grew up on Sylvia Plath."

Daisy Hughes and Alan Cox in "Playing With Grown Ups," part of Brits Off Broadway at 59E59 Theaters.
Photo by Carol Rosegg.

Somewhere midway through, "Playing With Grown Ups" loses some steam, whether because of the script or the direction by Hannah Eidinow is unclear. It soon picks up plenty of emotion and energy as it draws to its inevitable conclusion.

The acting is excellent. Not a misstep from any of them: Trudi Jackson's steady meltdown; Mark Rice-Oxley's cluelessness; Alan Cox's detached bonhomie, and Daisy Hughes' sweet knowing innocence are all spot on.

As a sample of the proto-feminism in  "Playing With Grown Ups," let us submit this favorite dialog exchange: (Stella says) "There's so much going on with women at the same time....." (Joanna inserts) "One seamless, endless state of doing." (Stella) "Men make a song and dance of doing one thing. Really loudly...."

To learn more about "Playing With Grown Ups," please visit www.59e59.org.

Remembering Peter Pan

Mary Martin immortalized the boy who wouldn't grow up when her Peter Pan flew across television screens in a televised broadcast in 1955, 1956 and 1960 of her Broadway hit.

Emily Skinner, Lynne Halliday, and Cameron Adams in the York Theatre Company world premiere production of the new musical revue, Inventing Mary Martin, conceived, written and directed by Stephen Cole, with music supervision and arrangements by David Krane, co-direction and choreography by Bob Richard and music direction by Lawrence Goldberg. The cast also features Jason Graae with Bob Renino on bass and Perry Cavari on drums. Now in performance through May 25 at York Theatre Company’s home at Saint Peters. Photo credit: Carol Rosegg.

"Inventing Mary Martin," a world premiere conceived, written and directed by Stephen Cole, is a musical revue about the titular star's career.  The York Theatre production, through May 25th also touches lightly on her life. Mary Martin went from a small Texas town to Hollywood and on to Broadway and London stages. She was the toast of the town in any number of hits. 

Cameron Adams and Jason Graae in the York Theatre Company world premiere production of the new musical revue, Inventing Mary Martin, conceived, written and directed by Stephen Cole, with music supervision and arrangements by David Krane, co-direction and choreography by Bob Richard and music direction by Lawrence Goldberg. The cast also features Lynne Halliday and Emily Skinner with Bob Renino on bass and Perry Cavari on drums. Now in performance through May 25 at York Theatre Company’s home at Saint Peters. Photo credit: Carol Rosegg.

Of course, she also had her share of misses, most famously in passing on the musical which came to be named "Oklahoma."  

Emily Skinner, Lynne Halliday, Cameron Adams and Jason Graae in the York Theatre Company world premiere production of the new musical revue, Inventing Mary Martin, conceived, written and directed by Stephen Cole, with music supervision and arrangements by David Krane, co-direction and choreography by Bob Richard and music direction by Lawrence Goldberg. Now in performance through May 25 at York Theatre Company’s home at Saint Peters. Photo credit: Carol Rosegg.

The talented cast recreating some of the songs along Mary Martin's path include Cameron Adams, who sings and taps to perfection, Jason Graae as host and narrator, Lynne Halliday, and Emily Skinner. The latter is tasked with singing "Swatting the fly," the big number from the show Martin, and her husband Richard Halliday, chose for her instead of Rodgers and Hammerstein's iconic show. 

Emily Skinner in the York Theatre Company world premiere production of the new musical revue, Inventing Mary Martin, conceived, written and directed by Stephen Cole, with music supervision and arrangements by David Krane, co-direction and choreography by Bob Richard and music direction by Lawrence Goldberg. The cast also features Cameron Adams, Jason Graae, and Lynne Halliday with Bob Renino on bass and Perry Cavari on drums. Now in performance through May 25 at York Theatre Company’s home at Saint Peters. Photo credit: Carol Rosegg.

The musical arrangements, by David Krane, of classic tunes by the likes of Noel Coward, Cole Porter, and so forth, are delivered by an  off-stage trio, led by Lawrence Goldberg on the piano, with Perry Cavari on percussion and Bob Renino on bass. 

"Inventing Mary Martin" is a tuneful and well-sung remembrance of the much-awarded star that informs rather than engages. 

For more information about "Inventing Mary Martin," and the York Theatre Company, please visit  http://www.yorktheatre.org.

If, then ...The Tonys

We are still catching up with the 2013 Tony winners here at T and B On The Aisle. A case in point:  http://tbontheaisleatheaterdiary.blogspot.com/2014/04/matilda-is-just-right.html. Another is "Pippin," winner as the best musical revival of 2013, along with Andrea Martin for a supporting role, and the extraordinary Patina Miller for "Best Actress in a Musical." "Pippin" is still at the Music Box, but Patina Miller has moved on, replaced by Ciara Renee as the coyly named "Leading Player." It's likely that strongmen and circus acts were more revolutionary theatricalities in the 1972 original Broadway production in which Ben Vereern starred. Pippin, himself, is a silly twit overly impressed with his exceptionalism, and well-played by Kyle Dean Massey (in the current cast). He lacks the naive charm of, say, Candide, but Annie Potts is charming as his acrobatic grandmother.

Billy Porter, Daniel Stewart Sherman, and Marcus Neville (right) Photo (c) Matthew Murphy

On the other hand, "Kinky Boots" fulfills the razzmatazz its many Tony statuettes promised. Billy Porter, its rags to riches--or chorus to leading man at any rate, star is as fresh and peppy in his award winning role as Lola as if he hadn't been doing this for over  year.  "Kinky Boots," with music and lyrics by Cyndi Lauper 2013 Tony,) and a book by Harvey Fierstein at the Al Hirschfeld Theatre, is a lively heart-warming joyful musical extravaganza.

Idina Menzel center with cast of "If/Then" from the creative team of Brian Yorkey and Tom Kitt. Photo by Joan Marcus.

Here we are in 2014, however so let's put Idina Menzel at the top of the slate of Tony possibles in the bifurcated role of Liz/Beth, along with her quirky sometimes confusing show, "If/Then," from the creative team of Brian Yorkey (book and lyrics) and Tom Kitt (music.) (Note that Kitt and Yorkey and Menzel are nominees, but the show did not make the cut. That's a shame.)

LaChanze and Anthony Rapp in a scene from "If/Then."
Photo by Joan Marcus.

"If/Then," at the Richard Rodgers Theatre,  is about choice, chance, fate, happenstance, and possibility. It's also thought-provoking and dynamic. Anthony Rapp, as Lucas, Liz/Beth's best friend and maybe lover, is charmingly annoying, but in a good way. LaChanze is perky and positive as the accepting and open Kate.

Tamika Lawrence, Jenn Colella, LaChanze and Idina Menzel.
Photo by Joan Marcus.

Idina Menzel is a fierce and resolute performer; certainty pours out with every line and each note. These qualities add to the interest of her role as the vacillating Liz/Beth-- two women in one. In "If/Then," each path she might take is fully played out. The choices are all laid out for her and us.

Jerry Dixon, Ann Sanders and Idina Menzel. Photo by Joan Marcus.

One of these paths has Liz marry the hunky and handsome Josh (James Snyder,) whom she meets by chance at a park and runs into on a subway. The other has Beth flirting with her boss, Steve (Jerry Dixon.)

It's a nice touch that she is a city planner, designing the pathways for so many lives in the big city. "If/Then" is an unapologetically urban, New York City centric musical drama. It's smart, well-paced, --under the very able direction of Michael Grief--, beautifully designed--with a truly novel and delightful set by Mark Wendland--, wonderfully acted by a large, tight ensemble. It is also unlike any other musical play.

If I hadn't seen it, Then I would have missed an exciting theatrical experience. Michael Grief does everything he can to clarify the dichotomies of the script. Pay close attention, but don't overthink it. Enjoy  "If/Then" for the wonderful ride it is.

For more information about "If/Then," please visit http://www.ifthenthemusical.com/.

A funny thing happened when we met our new neighors

Terminal illness is seldom a punchline.

Except in Will Eno's new drama, "The Realistic Joneses," at the Lyceum Theatre through July 6th, where it is. "The Realistic Joneses," is the playwright's Broadway debut, and it features a starry cast.

This very funny drama has a very funky plot. The Joneses, John (Michael C. Hall) and Pony (Marisa Tomei) have moved in down the block from Jennifer (Toni Collette) and Bob (Tracy Letts) Jones. The new neighborrs drop in on a beautiful quiet night. Over the course of several encounters around town, it is clear that John is suffering from the same uncommon genetic disease that Bob has.

Michael C. Hall and Marisa Tomei as the new neighbors, John and Pony.
Photo by Joan Marcus.

If Eno has a point, it is buried in the diurnal rhythms of his play. Yes, despite its outlandishness, life in "The Realistic Joneses" seems very normal. A thin-- more like a whisper of a-- story doesn't suggest much but an opportunity for crackling good talk and a slice of real life ordinariness.

Toni Collette, Michael C. Hall, and Tracy Letts as Jennifer,
 John and Bob. Photo by Joan Marcus.

All the revelatons in "The Realistic Joneses" come with terrifically snappy dialogue, delivered with a suave ease by an expert cast. Sam Gold's direction keeps the scenes moving, and the sparkling wit flowing. Michael C. Hall's quip-cracking John is expecially wonderful-- maybe because he has all the best lines. Tracy Letts, the 2013 Tony Award recipient for Best Actor, is also especillay wry in his deliveries.The women of the quartet in "The Realistic Joneses" are natural and comfortable in the strange circumstances of the play.

"The Realistic Joneses" is a most entertaining and amusing tragedy you are ever likely to see.

For more information on "The Realistic Joneses," visit http://www.therealisticjoneses.com.

A Blues Gardenia

Is there anything sadder than watching a great talent squander her gifts?

The image of Billie Holiday near her end staggering around a small bar in Philidelphia, distrubed playwright Laine Robertson so that "writing Lady Day at Emerson's Bar & Grill was an attempt to rid myself of the ghost."

It may have freed Ms. Robertson, but the ghost lives on at Circle in the Square where  Lady Day at Emerson's Bar & Grill plays through August 10th.

There is no joy in watching Billie Holliday (Audra McDonald) stumble around the stage.

Audra McDonald is "Lady Day." Photo
by  Evgenia Eliseeva

By March of 1959 when she performed at Emerson's Bar & Grill in Philadelphia, Billie Holiday had lost a good deal to her addictions. A felony conviction for possession of heroine cost her her cabaret license so she could no longer perform at clubs in New York. She spent nearly a year in a West Virginia penitentiary.

In 1948, after her release from prison, friends had arranged a Carnegie Hall appearance for her; although Lady Day was uncomfortable in white-run venues and toney spots, she sold out Carnegie Hall and gave it her best, singing 32 standards and her own repertoire, including her 1930's hit "Strange Fruit."

The pleasure in this play is watching as Audra McDonald turns herself into the embittered, nearly beaten Lady Day. Audra McDonald is nowhere to be found or seen in this performance. Her acting is a totally self-effacing feat; she disappears into the character. Abused, self-loathing and completely self-destructive, Billie Holiday still did not consider singing the blues. "I'm a jazz singer," Lady Day says.
"Lady Day at Emerson's Bar & Grill" is a one woman show with support from Shelton Becton who plays Jimmy Powers, Lady's piano player and apologist. Clayton Craddock is on drums with George Farmer playing the bass in the three piece band backing Billie Holiday.

For more information about "Lady Day at Emerson's Bar & Grill," please visit http://ladydayonbroadway.com/

Broadway Melodies

Broadway welcomes the Thursday matinee! At last.

When I was last in London a gazillion years ago, I was thrilled to have the chance to go to a Thursday matinee, as well as the usual Wednesday, Saturday and Sunday ones. One more outing in a week full of theater adventures. I always thought it was a great idea to spread out the matinees so binge goers, and out- of-towners eager to see whatever was on on the Great White Way could do more with their week in New York.

Three shows now offering you the Thursday option are "Rodgers + Hammerstein's Cinderella," ''Mamma Mia!" and "The Phantom of the Opera." ''Matilda the Musical" (reviewed with the current cast in these pages recently) may give the idea a try this summer.

"Cinderella" now features the enormously likeable Fran Drescher as the wicked stepmother. The infectious gaiety that is "Mamma Mia," which is also playing Vegas as it happens, has recently moved to the Broadhurst Theatre on W44th Street. "The Phantom of the Opera" is celebrating more than 25 years at The Majestic.

"Phantom," "Mamma Mia!," "Rock Of Ages," and "Chicago" have long also had Monday night curtains, another great way to extend the Broadway week.

Charlotte D'Amboise as Roxie Hart with Ryan Worsing and
Michael Cusumano in a production of "Chicago." Photo by Jeremy Daniel

This show does not have a Thursday matinee, or a Monday night, so you'll have to stick to one of the more traditional days to see "Bullets Over Broadway" which, by the way,  hits the bull's eye.

"Bullets...," based on the Woody Allen film from 1995, and written by Mr. Allen and Douglas McGrath (who also penned "Beautiful...") starts off with a bang-- in case you're worried that you are in the wrong theater, a machine gun sprays the play's title on the inside curtain-- and doesn't let up 'til the final curtain drops. The musical's style rings in a little like "The Producers," which Susan Stroman also famously directed and choreographed. Stroman's signature dancing in unconventional locales has a tap chorus hoofing fiercely on top of the train headed for out-of-town tryouts.

In an impressive cast, Nick Cordero is a revelation as the soulful thug Cheech. Marin Mazzie gives her all as an egocentric star on the wane. This is a Tony-worthy performance.


"Bullets" does something that Broadway hasn't done since the beginning of the last century, using standards and in a way that generally is not done-- the tunes, by Cole Porter and others-- move the story along and further the plot.

Visit http://cinderellaonbroadway.com, http://mammamianorthamerica.com, http://www.thephantomoftheopera.com/new-york to learn more about Thursday matinees, or any other day you'd care to catch them. Go to http://www.chicagothemusical.com/index.php to find out more about "Chicago." For more information on "Bullets," visit http://bulletsoverbroadway.com.

#1 On The Charts

The "jukebox musical" is no longer a term of endearment. So it's a good thing that the jukebox musical has found its way to the other side.

It doesn't matter that few would have a bigger jukebox than Carole King because "Beautiful-The Carole King Musical," at The Stephen Sondheim Theatre, is  actually a "non-jukebox" musical. "Beautiful" is a story, almost a drama with a track, that covers Carole King's journey from hitmaker to hit singer-songwriter. It moves from  1650 Broadway ("not the Brill Building") to the "Tapestry" album and her appearance at the piano at Carnegie Hall. It is biography so it sticks to a timeline. The songs don't move the story along so much as they are the story.

Jeb Brown as Don Kirshner, Jake Epstein as Gerry Goffin,
Jessie Mueller as Carole King, Jarrod Spector as Barry Mann,
and Anika Larsen as Cynthia Weil in
"Beautiful - The Carole King Musical" on Broadway at
the Stephen Sondheim Theater (c)Joan Marcus

Carole King (Jessie Mueller) had her first chart topper in 1959, when, at 17 she and her husband, lyricist Gerry Goffin (Jake Epstein), gave The Shirelle's a huge hit in "Will You Love Me Tommorrow."  From there the hits just kept coming, until one day, years later, Carole King began singing and playing her own music.


Rock and roll did not die, but as Gerry Goffin predicted, it changed under the influence of folk and split off into all kinds of pop and crackle from The Monkees to metal. For many practitioners in the medium, rock and roll went deeper and became more expressive than "The Locomoton" (another King-Goffin hit.)

Jessie Mueller as Carole King in "Beautiful - The Carole King Musical"
on Broadway at the Stephen Sondheim Theater (c)Joan Marcus

"Beautiful" thoroughly integrates the music into the plot. "Beautiful" doesn't take its legends too seriously. Jessie Mueller gets Carole King's inflections and phrasing, but not just in a mimicky way.  It can't be easy to personify Carole King when so mnay of us have known her so well and for so long. Jessie Mueller pulls this off as well. King has been a star for most of my life and much of hers, but she is not a glamourous presence. Mueller captures this too--, the simple girl whose genius is undisputed so that even she cannot deny it.

The Shirelles (L-R: Ashley Blanchet, Rashidra Scott, Alysha Deslorieux, and Carly Hughes) in "Beautiful - The Carole King Musical" on Broadway at the Stephen Sondheim Theater (c)Joan Marcus

The excellent work by Jeb Brown as Don Kirshner and Jake Epstein as Gerry Goffin back Mueller up. Also outstanding in a great ensemble, under Marc Bruni's fine direction, are Anika Larsen, charming as Cynthia Weil, and Jarrod Spector as Cynthia's writing partner, Barry Mann.

"Beautiful- The Carole King Musical" steps out of the jukebox genre to deliver a moving portrait of its eponymous heroine, and the times in which her art was forged.

For more informaton about "Beautiful," please visit http://www.beautifulonbroadway.com/.

What does moving on look like?

Bobby Steggert, Frederick Weller, Grayson Taylor, and Tyne
Daly in a scene from Terrence McNally's "Mothers and
Sons," at the Golden Theatre. Photo © Joan Marcus

Loss can be a paralyzing experience.

In Terrence McNally's "Mothers and Sons," at the Golden Theatre, it is particularly difficult and the way forward is a slog.

It is more so for Katharine Gerard (Tyne Daly), the titular mother in this play, for whom the death of her son nearly twenty years ago remains a fresh wound.  She shows up at Cal Porter's (Frederick Weller) door unbidden because he is her one connection to Andre. For Katharine, who is recently widowed, Andre was the only beacon of love in a bitter life.

Cal has not forgotten Andre but he has allowed himself some happiness. His sunnier present is with Will Ogden (Bobby Steggert) whose youth and disposition help them to make a home for their son Bud (Grayson Taylor).  The Ogden-Porters are guppies, an affluent gay family, something that was not even thought of while Andre was alive.

Frederick Weller as Cal and Tyne Daly as Katharine in a
scene from "Mothers and Sons." Photo © Joan Marcus

Katharine did not expect this. She is a ramrod of indignation anger and vengeance. Andre's death was cataclysmic. There should be no moving on. Cal has picked up the pieces as Katharine could not.

As Katharine, Tyne Daly is at once brittle and ascerbic. Wheeler's mild-mannered Cal is the perfect foil for the hateful Katharine, whose grief is a heaviness that is only lifted in her very sweet and natural interactions with Bud.

Don't shy from "Mothers and Sons" because it is a genuinely sad and moving play.  There is plenty of humor and wit to ease us along. The drama is well played by all the four principals, and well paced under Sheryl Kaller's able direction, and well worth your time.

To learn more about "Mothers and Sons," please visit http://mothersandsonsbroadway.com/.

High School as a Circle of Hell

Barrett Wilbert Weed as Veronica Sawyer, Ryan McCartan as "JD," and Jessica Keenan Wynn as Heather Chandler in a scene from "Heathers, The Musical." Photo by Chad Batka.

Can belonging to a clique save you from the worst parts of growing up?

In "Heathers, The Musical," based on the Daniel Waters (screenplay)-Michael Lehmann (direction) 1989 film, adapted by Kevin Murphy and Laurence O'Keefe under the direction of Andy Fickman, playing at New World Stages, there is a high price to pay for fitting in.

Veronica Sawyer's (Barrett Wilbert Weed) seeks protection from bullying by befriending the most terrifying bullies at Westerburg High. Veronica is smart and pretty so her need for the Heathers-- Heather Chandler (Jessica Keenan Wynn), McNamara (Elle McLemore) and Duke (Alice Lee)-- seems an unnecessary precaution.

Elle McLemore, Charissa Hogeland (dance captain) and Alice Lee as the dreaded and popular Heathers.
Photo by Brad Chatka.

Veronica double dips by also hooking up with the glamourously elusive "JD" ( short for Jason Dean--played by Ryan McCartan) whose angst is a tad more extreme than that of most seventeen year olds. When JD beats up two jocks, Ram Sweeney (Jon Eidson) and Kurt Kelly (Evan Todd), in the cafeteria, he proves that he is more than a match for any other bad of the boys at school.

Jon Eidson as Ram Sweeney and Katie Ladner as Martha Dunnstock in a scene from "Heathers, The Musical." Photo by Brad Chatka.

Is it silly? You betcha. Over the top ridiculous. Is it entertaining? Ditto. Positively non-stop. An energetic cast with fine leads in Barrett Wilbert Weed, Jessica Keenan Wynn and Ryan McCartan keeps this musical running along. The Greek chorus of Ram, Kurt and Heather Chandler adds a nice theatricality to the episodic script.

To learn more about "Heathers, The Musical," please visit http://heathersthemusical.com/.

This weekend in theater: April 4th to 6th

The cast of "The Most Deserving:" Daniel Pearce, Jennifer Lim, playwright Catherine Trieschmann, Veanne Cox, Ray Anthony Thomas (seated), Adam LeFevre, and director Shelly Butler. Photo by Carol Rosegg

Edie Falco is one of the stars performing plays by ten-year olds this weekend. Consider the hash that some grown playwrights put forth (some not all), and maybe these youngsters will have a fresh perspective. The (very) young playwrighters project is called "Out on a Limb" from The 52nd Street Project’s Five Angels Theater.

Where: 52nd Street Project’s Five Angels Theater, 789 Tenth Avenue, 2nd floor
When: April 4th throgh 6th, Friday – Sunday at 7:30pm, and Saturday at 3pm
Visit www.52project.org for reservatons and more information.

The Women's Project tackles an exciting new play by Catherine Trieschmann; "The Most Deserving" looks at small town culture wars from Ms. Treischmann's satirical pov. "The Most Deserving" features a superb cast including but not limited to Veanne Cox, Jennifer Lim and Adam LeFevre under the direction of Shelly Butler.

Where: City Center Stage II
When: through May 4th
Visit www.womensproject.org for more information and tickets.

On a stakeout for their mark are from left to right Stephanie Hsu, Mia Katigbak and Chris Larkin in a scene from
"Fast Company." Photo by Gerry Goodstein

Grifting is a family affair in Carla Ching's "Fast Company." Well, almost a family affair, since the older siblings want to shield Blue (Stephanie Hsu) from their line of work. Blue, however, has plans of her own for a large payday.

Where: Ensemble Studio Theatre, 549 West 52nd Street
When: through April 6th
Visit https://web.ovationtix.com/trs/cal/134 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/

What's Happening? The Shortlist

photo from Richard Maxwell's "Isolde"
by Simon Hallström

April 2: Dominic Chianese at The Café Carlyle

April 3- May 4: "The International" plays at the cell

April 10-26: "Isolde" (US premiere) at the Abrons Arts Center (466 Grand Street)

April 15 through 19: Lucie Arnaz at The Café Carlyle

April 23 through May 18: "Peddling" part of Brits Off Bway at 59E59

May 30 through July 5: Summerworks Festival at The Wild Project                                             

April 2: Dominic Chianese at The Café Carlyle

He may always be "Uncle Junior" to some of us, but Dominic Chianese has long been a man of many talents. He is a singer and guitarist, who has released two albums and performed in cabaret, as well as on stages on and off-Broadway. In his Café Carlyle debut, An Evening with Dominic Chianese, he will perform songs running the gambit of American music, from country to the Great American Songbook, as well as standards in Italian and Spanish. 

www.thecarlyle.com

April 3- May 4: "The International" plays at the cell

"The International" is inspired by events in the Bosnian War of 1992-95. Tim Ruddy’s award-winning and probing three-character play looks at the same events taking place during an ethnic-incited conflict through the eyes of three different people in three different parts of the world. Origin Theatre Company’s production is directed by Christopher Randolph and stars Timothy Carter, Carey Van Driest and Ted Schneider. 

www.origintheatre.org (Running time 80 minutes)

April 10-26: "Isolde" (US premiere) at the Abrons Arts Center (466 Grand Street)

Based on the legend of Tristan and Isolde, Richard Maxwell's "Isolde" is about Patrick, the owner of a successful construction company and his wife, Isolde,  a successful star.

Patrick and Isolde appear to be happly married. But Isolde finds herself increasingly unable to remember her lines. To occupy herself, she decides to build her dream house and her husband is eager to help. The project is jeopardized by Massimo, an award-winning architect that Isolde hires.

Written and directed by Maxwell for his company, New York City Players,  "Isolde" marks 15 years of new plays by Maxwell in New York. The production features Jim Fletcher, Brian Mendes, Tory Vazquez and Gary Wilmes.

www.abronsartscenter.org, (Runs 90 minutes without intermission)

 April 15 through 19: Lucie Arnaz at The Café Carlyle

"Spring is Here" is  Lucie Arnaz's new show. The talented daughter of one of show business’ most prominent couples, Lucie Arnaz has forged a distinct career of her own,  starring in roles on Broadway, television and film, and has won awards including an Emmy, a Los Angeles Drama Critics Circle Award and an Outer Critics Circle Award. 

www.thecarlyle.com

April 23 through May 18: "Peddling" part of Brits Off Bway at 59E59

Henry Melling, known as Dudley Dursley from the Harry Potter franchise, has written a fascinating new play featured in the 10th annual Brits off Bway Festival. In "Peddling." a peddler wakes up in a field, somewhere in London, surrounded by the burnt and empty remnants of the night before. With no memory of how he has come to be there, he knows he must go back to ‘the very start of it all'. His attempts to retrace events from the previous day lead him on a haunting journey where everything comes into question: his life, his world, his future.

Harry Melling’s remarkable debut play follows the day in the life of a man on the fringes of society as he battles difficult questions and attempts to come to terms with the answers. 

www.59e59.org

May 30 through July 5: Summerworks Festival at The Wild Project

The 2014 fest features plays by Jenny Schwartz, Ariel Stess, Peggy Stafford. Summerworks 2014 features "41-derful", written and directed by Jenny Schwartz; "I’m Pretty Fucked Up" by Ariel Stess, directed by Kip Fagan; and "16 Words Or Less" by Peggy Stafford, directed by Portia Krieger. 

Summerworks 2014 will also feature various free events, including a collaborative piece and individual readings written by Clubbed Thumb’s Early-Career Writers’ Group: Jaclyn Backhaus, Adam Blodgett, Tasha M Gordon-Solmon, Ken Greller, MJ Kaufman, Dan Regelski, and Ariel Stess. Further details on these events will be announced soon.

www.clubbedthumb.org       

Depression-era Dance Contests

Paul Taylor's "Sunset" in performance.

There is something brutalizing about those depression-era dance marathons. The contestants are equal parts hopeful and downtrodden. Paul Taylor captures the essence in his latest creation "Marathon Cadenzas," on view in the penultimate PTDC performance of the Spring 2014 season, just completed at David H. Koch Theatre at Lincoln Center. 

Taylor's 140th dance in a 60 year span is as vital and entertaining as any in his repertoire."Marathon Cadenzas" is set to music by Raymond Scott with sets and costumes by Santo Loquasto and lighting by James F. Ingalls. The company are all standouts in this heartbreaking dance.

More PTDC Spring Ahead: Sotheby's auction to benefit PTDC on May 14th

Paul Taylor Dancers with Tracer in 1962 Photograph by Martha Swope, New York City © 2014 Robert Rauschenberg Foundation /Licensed by VAGA, New York, NY 

On May 14th, the Taylor "Spring" extends to an auction at Sotheby's where works by Robert Rauschenberg, a friend and frequent collaborator of Paul Taylor's.The two met in 1954 after Taylor left Merce Cunningham's dance company to set off on his own  Rauschenberg designed the sets and costumes for a number of Paul Taylor productions including: Jack and the Beanstalk (1954), the solo dance performance Circus Polka (1955), Three Epitaphs (1956), The Least Flycatcher, The Tower (1957), Seven New Dances (1957), Rebus (1958), Images and Reflections (1958), and Tracer (1962), for which he also 

created a work of the same title that will be offered in May.

To learn more about the May 14th auction event, click here.

To keep apprised of PTDC performances, visit www.ptdc.org.

Shakespeare At The Bar

It has come to our attention that there are two theatrical companies hard at drink to bring you Shakespeare under the influence.

By W.J. Morgan & Co. Lith. of Cleveland, Ohio.
[Public domain], via Wikimedia Commons

The New York Shakespeare Exchange has created ShakesBeer, a crawl-cum-performance.

In the meantime, the troupe Three Day Hangover has launced DrunkShakespeare.

The former gathers on on April 12, May 31, June 7, August 9 & 16, October 4 & 11 and December 6 at 2:30pm for three hours of beer and Bard at four bars.

Drunk Shakespeare opens in its home at Quinn's Bar & Grill in midtown for drinking and tragedies on March 26th.

For tickets and information about Drunk Shakespeare, go to http://www.drunkshakespeare.com/calendar/

Information about the upcoming crawls and tickets for ShakesBeer can be found at http://shakespeareexchange.org/content/shakesbeer-2014.

ShakesBeer