Snow Geese

Headliner, Mary Louise-Parker, may be listed first in the cast due to her star-power, but this one's got a true ensemble cast - every single one of them superb actors from start to finish - including MLP.

I didn't even recognize the fantastic Danny Burstein as Max, the older German Uncle or the lovely Victoria Clark as a tightly wound religious Aunt.  But even more impressive were the two sons - newly enlisted soldier and eldest, favored son, Evan Jonigkeit (Duncan) and younger, less favored and quietly smarter son, Brian Cross (Arnold).

The chemistry between Duncan and Arnold was remarkable.  Despite their mother's lifetime of overt differing treatment, we see just how the family will survive after the death of their father, Teddy (Christopher Innvar).

Striking sets, interesting and often funny dialogue pepper the evening and at 2 hours 20 minutes (including the intermission) was timed just right.

Bravo on your Broadway debut Brian Cross! We definitely need to see more of you.

Sister Act

If you're in the mood for a night of good, clean, innocent fun - Sister Act at the Broadway Theatre has just what you've been looking for.  By the way, don't run out and rent the movie.  Cheri and Bill Steinkellner along with Douglas Carter Beane have adapted the original TouchTone motion picture quite a bit for the stage.

So - what's the result?  Fun, frivolity, glitz, glamour along with dancing, singing, high-kicking, sequin wearing nuns!  How could you go wrong?!  The stained glass sets on the cavernous stage are magnificently grand (kudos Klara Zieglerova) and the colorful and sharp lighting is equally sublime (kudos Natash Katz).

In the staring role, Patina Miller (Deloris Van Cartier) and Victoria Clark (Mother Superior) never fail to delight.  Ms. Miller gives it all she's got and Ms. Clark never fails to entertain with her quick wit and sublime vocals.   Surrounding these two fine actors is an equally fine cast of nuns, gangsters, and police officers.   The two nuns you'd most likely recognize are Sister Mary Patrick (Sara Bolt) and Sister Mary Robert (Marla Mindelle) - literally channeling the identical side-kick characters in the film, Kathy Najimy and Wendy Makkena.

Filling in the supporting roles, Fred Applegate does a magnificent deadpan with Monsignor O'Hara and Audrie Neenan takes on the aging Sister Mary Lazarus with chutzpa.  Relative newcomer, Chester Gregory (Eddie Souther) has a few surprises up his sleeves (and pant legs), oozes that awkward, charming sensitivity, and and never fails to delight - especially when those surprises are revealed.

This show lives up to its bold expectations.  You'll leave the theatre with a big, old-fashioned smile on your face.  After seeing nuns in glitzy habits singing and dancing all night long - the only thing that could top it is the star coming out at the end in the fabulous dress she always wanted.

Prayer for My Enemy

Playwright Craig Lucas packs a whole lot of punch into the 1 hour and 40 minute (no intermission) off-Broadway debut of his new work, Prayer for My Enemy.  One might say  - "the kitchen sink" is even in there.   The Noone's have a plethora of problems and complications in their lives - alcoholism, an autistic child, bi-polar disorder, divorce, mild poverty, a gay (or maybe not) son, the Iraq war, and the list of personality "adjustments" that the entire family makes to accommodate all these things.   

Skipp Sudduth blurts out with certitude exactly what he thinks and feels  - about his son, the Iraq war, the failings of his life, and so much more - he's the alcoholic one - a 12 step success for 6 years now - despite his bi-polar disorder and his extreme interest in reptiles and mammal documentaries on TV.  Michele Pawk walks on eggshells trying to hold the family together - always acquiescing, pleasing, pointing out the silver linings - all the while crumbling and tormented inside about her son - Jonathan Groff - the one who's maybe gay - self admittedly effeminate, but he LOVES WOMEN.  He points this out to his childhood friend Tad (Zachary Booth) and the audience early on as the play alternates between dialogue and what Lucas calls "the psychic interior" - all the characters telling the audience what they are thinking but not saying along the way - or are they really saying it?  

But what does Victoria Clark  - an acerbically  bitter woman from Manhattan who loves to escape to the country and is now visiting her dying mother in the hospital - have to do with any of this?  Well, no spoilers here - we'll just say - "loaded gun".

There's a whole lot going on with this family - but I think part of the message Mr. Lucas is trying to pass on is "who's life isn't complicated these days"?

The Marriage of Bette and Boo

Roundabout Theatre Company was smart to place this stink bomb at the end of their season.   You see, they already have their subscriber base to fill most theater and there is always a good percentage of tourists who will be fooled into seeing an off-Broadway show for cheap in August.  What I do like about this show is the idea and concept.  The concept that we all really do have problems in life, our families are all f-'d up and marriage and religion are only superficially observed.  There's something in just about every character that most people (unfortunately) can relate to.  It's a farce, of course, so everything is exaggerated, but that's the point.  However, the execution simply falls flat on stage.  

I did not get the privilege of seeing Victoria Clark (one of the few reasons i really did want to see it) but her understudy (Lizbeth McKay) was brilliant, nonetheless.  Julie Hagerty's (Morning's at Seven, The Odd Couple) character, Soot, was side-splittingly funny.  John Glover (The Paris Letter) played a marginal drunk.  I enjoyed Charles Socarides (Awake and Sing!) as Matt, the narrator and central character to the story. He swiftly kept the story moving and provided the needed background to the story unfolding before us.

Walter Bobbie has done a substantial job at keeping this stink bomb moving along swiftly and crafting the farce.   Unfortunately, this one belongs on Saturday Night Live or Comedy Central.

Follies

Encores! pulls off another Sondheim classic - Follies. As always, it's a partially staged "books-in-hand" production at the cavernous City Center for 6 shows only.

The star-studded cast lead by Victor Garber, Victoria Clark, Donna Murphy, Michael McGrath, and Christine Baranski laid all their 40 year old "dirty laundry" on stage for all to enjoy. As the story goes, these guys and gals were all show-folk for Dimitri Weismann (a rival to Ziegfeld) 40 or so years ago and are all back for a reunion at the theater they all used to perform in for one last night since the theater is being torn down to become a parking lot. The supporting cast of reunion-comers , no slouches in their own right, includes Joanne Worley (Laugh-In), Phillip Bosco (Broadway Legend), Yvonne Constant (International/French Cabaret Star), Mimi Hines (Broadway: Funny Girl, Sugar Babies, Hello Dolly, Nunsense, Pippen to name a few), Anne Rogers (Broadway: The Boyfriend, My Fair Lady, 42nd Street and more) and Robert Fitch (over 27 Broadway shows and counting).


Not to be left off the list of those who deserve rave reviews is the "dual cast" of the younger versions of each of these "old-folk". The show weaves in scenes and flashbacks from the past alongside the current dialogue to give the audience a sense of "what really happened". That young cast was powerful, talented, and energetic - much as you would assume these folks all were in the days gone by. They truly provided the "oomph" behind the tap dance numbers and the effortless grace in the dance numbers.

Christine Baranski who played Carlotta Campion sang the signature number I'm Still Here. She hit every line of dialogue with aplomb and left us laughing every time - but her vocal skills need a bit of work. Victoria Clark and Donna Murphy stole the show as the leading ladies. Both have an incredible command of the stage and flawless vocal abilities.

Victor Garber - Wow! For some reason i never expect and always enjoy the vocal powerhouse he is. And let's not forget Mimi Hines who sang the famous Broadway Baby. She knocked our socks off. And Joanne Worley - the ageless funny-gal - she powered thru Who's that Woman - and all but got a standing ovation.

It's not perfect, it's got a few flubs and scant scenery. But with a hit like this one and stars like this one and, of course, the Encores! Orchestra - how could it be anything but an entertaining evening? Sorry, I think it's mostly sold out - but for 5 more shows - it's still here!

A Light in the Piazza