Company

Antoinette Perry - get ready for this one! Company - Best Revival of a Musical- 2007 Season!! Hands down, a top notch performance all around. Raul Esparza - Best Actor in a Musical. A classy, elegant, sophisticated and entertaining look at marital bliss (and not so bliss) through the eyes of a friend and bachelor.

John Doyle - fresh off another Sondheim piece - Sweeney Todd - has pulled off another total re-creation of a musical. Actors on stage with musical instruments - this time a shiny black grand piano center stage with all the complementing instruments carried by the cast. It's similar in concept, but different enough in delivery and content from to be fresh. Doyle didn't have to sacrifice (as he did in Sweeney) any key stage elements in this already "concert-like, ensemble piece.


Sondheim's music is fast-paced, witty, often discordant (lots of sharps and flats!) and it's wordy and full of story. Bobby's (Raul Esparza) vocal performance could not have been better. He finally blossoms at the end of the story, symbolically by taking up an instrument for the first time and singing the 11 O'clock number - "Being Alive" like no one I've ever heard before.

Just as you would suspect, it's the same music, but all done with a unique flair - never sounding like the original - just like a pop star who re-makes an old cover tune. Joanne puts a clever spin on "The Ladies Who Lunch" (by the way - i didn't mention who was actually sitting next to me in the audience - none other than Elaine Stritch, the original Joanne!). Amy flawlessly fired off "Getting Married Today" (it's sung in triple time- meaning it sounds like the disclaimer at the end of a car advertisement). Robert and the entire cast ushers in Act II with a rousing rendition of "Side by Side" - showcasing their vocal, instrumental, dancing, and acting abilities!

Despite it's 1970's origins- you'd never know it in this performance. It's relevant and current and fresh - get your running shoes on... cause this one's a "run don't walk" over at the Ethel Barrymore Theater on West 47th! I think Miss Perry is going to like this one next July!

The Big Voice: God or Merman?

Oh boy, this one really is a cocktail party story - best left to be told over 3 or 4 (or maybe more) gin and tonics.

Catholic boy from Brooklyn who thinks he should be a priest - or maybe in musical theater like his idol (Ethel Merman!) either way - he's gay - meets southern baptist boy who is not sure there are actually any other boys who feels like he does (read, gay). They meet on a cruise ship (um, yes) and move in together for 20 some odd- years.

The good times... and bad times (and there are plenty) ... but they're here... well, at least until the temple they have temporarily taken over on 47th street realizes they aren't getting an audience and hence any profits!

Mimi Le Duck

Eartha Kitt still has that razzle dazzle!! Can you believe it? She's still got the legs, the eyes - and of course that cat-woman purr- grrrrr!

This is a rather contrived story of a frustrated Mormon housewife, Miriam (later to be known as Mimi) from Ketchum, Idaho who decides she needs to see life in color rather than her current black and white (read boring) version. This is all brought about by the vision of Ernest Hemingway (Allen Fitzpatrick was a solid "old, yet dead, man). Once in Paris, she takes up residence in the same hotel that Ernest Hemingway had his visions. Well - of course what follows is a mad-cap adventure - where she meets an aging night club owner (Tom Aldridge) and gets a job as Mimi le Duck (the costume that goes along with this one is hysterical!); befriends an street cart -oyster shucker come cross dressing Miss Marple wanna-be detective (Robert DuSold); compares life stories with another "street artist" (Candy Buckley); and, of course, mixes it up with the lady of the house, herself, Madame Vallet (Eartha!).

What was supposed to be 2 hrs and 20 minutes turned out to be a little under 2. Thank God they cut some dialogue and a song or two. This is another one that should be 90 or 100 minutes - no intermission. Mr. Director - do some more tightening here. Actually, the stage and scenery was coordinated very nicely. With little room in the wings, they used every inch of the stage to block out the scenes and set changes. And last but not least, the music - I wish we could have seen the live orchestra! Not even a peak at the end... but Brian Feinstien's music was delicious and quite appropriate for the story. Kudos!

Not sure that Mimi will be a candidate for a Broadway Transfer - but certainly entertaining and worth the TDF ticket price of $25 bucks just to sit in the 2nd row and watch the legend Eartha Kitt draw that glamorous red dress up and show you her fabulous legs and purr at you!!

The American Pilot

A country torn up by a long civil war - somewhere, you are led to believe, in the middle east. A small village. The local tribe of freedom fighters. A local farmer and his family just looking to eek out a living. In crashes an American Pilot and the whole place explodes - brimming with hope, with fear, and possibilities.

The story was well told on a small intimate stage at City Center (Manhattan Theater Company). I'm not one for these political plays. You can only imagine how this one ends. The Americans rescue one of their own in the grand finale erasing all the hope and innocence that may have once existed.

The Vertical Hour

David Hare opened his new play, The Vertical Hour, directly on Broadway. That takes guts... and talent. Casting Julianne Moore and Bill Nighy sealed the deal.

The title of the play comes from the world of combat medicine and refers to the period directly after a disaster where one can be of the most help. Well, this play is certainly not a disaster. This is one of those play written by a very intelligent man. Early on, Iraq was a quagmire. Julianne Moore's character felt she could help. She went to the White House to advise President Bush. She was a liberal voice of decent, but went to try and influence the course of events - at the time she felt it would do the most good -- The Vertical Hour. Hence the theme of the play is established. And rings true in many ways in the several other relationships in the course of the play.

The play is about complex individuals. And it draws parallels to government and politics. It deals with how parents meddle in their children's lives; how a teacher gets drawn into her students' lives; and need you guess - how a government meddles in foreign affairs (i.e. Iraq).

Seems there are quite a few political play on Broadway this year. More than ever before. But you have to imagine it was bound to happen with the current world political environment.

I'm a sucker for a play with meaning, depth, and intelligence. At the same time, I know i didn't "get" probably half of what David Hare would intend me to have gotten. But that's OK - what i did get was that Julianne Moore and Bill Nighy were magical on stage. The intrigue and the tension were palpable. The dialogue, flawless. You feel the sense of attraction, of intellect and desire. I do think that Julianne needs to adjust to stage acting a bit, however. (and i did see it on the it's first preview - the world premire). With time, let's hope she moves into a more comfortable place because she does seem to fit the character quite nicely.

Kudos to David Hare for a magnificent (and intelligent) evening of theater.

Regrets Only

Christine Baranski and George Grizzard - what a delight! This one came out of left field - really it did. Not the part about the two leads being delightful - that I assumed was going to be the case. It was the part about how if all the gays in New York City went on strike - it would cripple the city!

Ok - so that might actually not happen, but the message behind the farce is that there are gay people everywhere - and of all kinds. And some of them could be your very best friends.

What could be more delightful than Christine Baranski, George Grizzard and Jackie Hoffman (you'll know her from Hairspray and Kissing Jessica Stein) in an upper-crusty comedy about Manhattan, an wedding, and the gays! Eat your heart out Cybil.

The Little Dog Laughed

One last Taboo - who's gay in Hollywood - or at least - who's willing to admit it?! This smash hit off Broadway transfer seems to be right at home on Broadway. 

Written by Douglas Carter Beane, the show is a witty, biting commentary on one of the last taboos in Hollywood today.


Julie White steals the show as the overbearing, neurotic, power-broker agent, Diane, for the not yet out of the closet actor, Mitchell - played by Thom Everett Scott. Johnny Galecki plays his hot little rent-boy (plenty of shirt off scenes and one full frontal to verify this all around!) but with a twist - he and Mitchell fall for each other - So much so that Mitchell wants to come out of the closet! But how can he do so without hurting his Hollywood acting career?! Herein lies the dilemma.

Oh yeah - another twist - the rent-boy's girlfriend gets pregnant... (girlfriend? yes!)... But here's the catch - the agent must save the day! And does she ever with her non-stop energy and drive - not to mention her omni-present cell phone!

Done in little vignettes, the action could be a bit faster - but I think that will come as they grow into their new cast members... and new home at the Cort Theater.

OK - did I say enough good things about dreamy-boy Johnny to warrant a date?! (Somehow, I doubt it.).

Heartbreak House

You have to know George Bernard Shaw, i guess. Well, I didn't. So I spent the entire act 1 and some of act 2 trying to figure out what was going on!

You really should read the following article before attending. http://www.variety.com/review/VE1117931831.html?categoryid=33&cs=1


After you do - you will be much more informed. As far as performances go - this was top notch! Swoozie Kurtz was a gem - sarcastic, hilarious, never missed a beat. Philliip Bosco, who sometimes is hit-and-miss, was firmly the commanding patriarch of the house.

In the Roundabout tradition, the sets and lighting were magnificant. Top notch on Broadway as usual. Just read the review first!! Be informed!

The Coast of Utopia - Voyage

It's big. It's Complicated. Russian history on broadway. Only Tom Stoppard could pull this off. 'Tis an agressive production of Lincoln Center Theater. Voyage is part 1 of 3 parts. 3 hours each - oh my. Packed with stars, but will it pull the audience in? I doubt it will. Theater afficianados, yes, but beyond that, i doubt. There are plenty of stand-out performances, but overall, too complex for this theater-goer.

 The verdict is still out, but I hold little hope that it will catch much more of my attention.

The Prime of Miss Jean Brodie

Cynthia Nixon delights! Jean Brodie was an outspoken, progressive teacher at a very conservative girls school in Scotland. She's in top form (her self professed "prime") and the girls simply adore and idolize her. She intends to make them the Creme de le Creme. She preaches art, love, beauty, and independence. She is bold and brazen. Did she go too far? Did her jealousy end up destroying her? You be the judge. Come see her mezmorize the girls at the Acorn Theater.

Just on thing... don't expect the best Scotish accent. It comes... and goes....

Grey Gardens

Grey Gardens is Christine Ebersole's show to shine in. And boy-oh-boy - did she ever! This recent transfer to Broadway is the story of Edith Bouvier Beale, her daughter, Edie, and their extreme relationship. The show is filled with wealthy family drama, the back-story of their connections to the Kennedy Clan, their extreme transformation with age, and of course a good dose of music - something Edith herself used to fill the many voids in her life.

Act I portrays the gay days (taken both literally and figuratively!) of the family in 1941 at the Beale Summer House - Grey Gardens - out in the Hamptons. This is the time period that young Edie meets and almost marries a young Joe Kennedy. Christine plays Mother Edith - the strong willed, powerful, yet extremely vulnerable matriarch of the Beale Family (while her husband is off fooling around on Wall Street and cheating on his wife). Kudos go out to John McMartin who plays a wonderfully entertaining Father to Edith - Major Bouvier.

In Act II Christine transforms herself into her own daughter - and Mary Louise Wilson takes over as her aging Mother in 1974 - - in what can only be described as the extreme decline of Grey Gardens. She is a recluse, the house is falling apart and they are both quite eccentric and have become locally infamous for the squalor they live in - - So much so that Jackie Bouvier Kennedy Onassis actually made several public statements on the situation of her aunt and cousin.

The quick witted and sharp tongued Ebersole tears thru both acts with gusto. Showing us at first her desire as Edith to impress and entertain - and then later her personal struggle as Edie with having her life "ruined" by her mother. In the end - she's not strong (or sane) enough to leave - despite her regrets, anger, and desire to do so.

The feelings of gaiety and lyrical music turn to hopelessness, desperation, and squalor in a mere 3 hours on Broadway at the Walter Kerr Theater on West 48th.

SubUrbia

SubUrbia - Powerful. A dose of social truths. Is this how our kids are really growing up today? I'd say it's pretty darn close. Kids are messed up today. Who and what is the cause? Our parents? Our culture? Did this happen overnight? I think not.

Perhaps some might think it's a bit of everything thrown into the pot and stewed for 2.5 hours... others might say - well.. the same thing and that's just how it is today.

The cast - superb. Peter Scanavino - a shocking and honest standout. Kieran Culken and Michael Esper - Real. Honest. Funny. Fucked up. Like everyone else. All of the above.

We'll see more of these actors. And it was unanimous leaving the theater - the problems portrayed aren't going away any time soon. And lots of kids with these problems are now the adults with more kids... I see a pattern here.

Butley

Ben Butley -- Meet Virginia Woolf. The mind games, the booze, the deep seated acrimony... sardonic wit, cut-to-the-bone sarcasm, bitter laughter, but most of all the internal hate, or shame, or desire?! Subtext. Keyword. It's all about what is said indirectly, or, "point-in-fact", not said at all. Is he gay? Or was it all just speaking figuratively. One thing for sure, he's happiest when others are broken down - or is he?



After the Odd Couple, I had mixed expectations about seeing Nathan Lane again... Worried it would be Bialistock and Bloom all over again (and again). Well, sir - not tonight. Nathan gave a top notch performance. Deep. Emotional. You left feeling sorry for Ben Butley. But oh, what a ride along the way. He just may have met his match with his latest conquest. Then again, can you really call it a conquest any longer.... Virginia - you just might have met your match!

Losing Louie

Truly an entertaining evening at Manhattan Theater Club's first production of the 2007 season. Louie, the namesake about which the play transpires, is dead. The story seamlessly eases between the current and the past. Two stories - one the story of his life, the other the story of his funeral and all the dirt that finally comes out. Aren't all families twisted in some familiar way?

This is the story of family, conflict, and infidelity in the 1960's. It's the story of secrets, lies, and the extent to which people go to cover them up and smooth things over. It's about the truths you are afraid to tell yourself. Perception is reality? Possibly.

Matthew Arkin leads the talented lineup on the stage at the Biltmore. The staging and direction by Jerry Zachs is brilliant. The use of lighting to change the mood and time periods was brilliant. It all comes together in the end and the truth always comes out... or does it?

It really struck me that while this story, chock full of twists, turns and laughs just might contain some element of truth or relevancy to just about everyone in the audience.

A Chorus Line

We all know the story - and many of us have seen the movie. But despite this - the Broadway revival of A Chorus Line is destined to stay around on Broadway for another long run.

The bare stage, the spotlight, the empty theater, the solitary white line painted down the middle of the stage, the dancers, the stories and emotion all add up to... A singular sensation! (ok, i just had to say that!).

Each of the 17 dancers has something to share and each of them makes you feel like the story and the struggle is personally theirs. Many a show has an ensemble cast - and the story within this story is about the very same thing - The desire to make it on "the line". The hopes and dreams not to become "the star", but just to "make it" and then shine thru! This ensemble cast takes you there!

I found myself in awe at how the dancers (we all know they must be TOP notch to have been cast in the show) switch back and forth between the hesitancy and awkward nature of their characters, the tears, the "learning the routines" to the flawless execution of the dance routines in the show numbers. I just have one comment to Bob Alian (the show is still in previews, so changes can officially be made) -- Bring down the mirrors at the end and let the darn cast come out for another bow!

It takes hard work and a lot of rejection before you "get there". The 17 dancers showed us all through their individual stories that this fall's revival of A Chorus Line is going to be "The One"!

An Evening of Brecht, Fo and Pinter

Talent can be found in the basement of the Drama Bookshop on W.40th Street in the Arthur Seelen Theater. Joel Bischoff worked for me for a short while on a temporary assignment as did a few other actors/musicians. What a pleasure for our paths to cross.

This show had a short run - 3 days - but well worth the $8 ticket! Three one act plays - one each by Brecht, Fo, and Pinter. An interesting combination - Brecht's drama set in Nazi Germany in the 1930's, Fo's farce set in a city square "any time, anywhere" and Pinter's 8 minute dramatic sketch set in "a room".

A black box theater is... well... a black box theater - but it's so refreshing to see some raw talent close-up in such a small setting. Kudos to Hyphenate Theater for bringing these talented actors together!

Pig Farm

If you like Saturday Night Live, you will love this show. It's basically the extended version of SNL. I personally don't like this type of show (at least not on stage), but I must say that the cast did a superb job at the crazy antics and slapstick humor! Dennis O'Hare stole more than a handful of scenes. Logan Marshall-Green was simply adorable as the boy from Juvie Hall.

Just a little taste of the humor - all the characters were all named with the letter "T" - Tim, Tom, Tina, and Teddy. It started with that and never looked back... If it's your thing - enjoy!

Three Penny Opera

I have never been more disappointed by the performance, direction, and production-quality of a show in my life. Each and every actor, director and producer, and staff member of the Roundabout Theater should be professionally embarrassed at the "performance" we were subjected to.

Roundabout - shame on you! You should be publically repremanded for this 19 car pile-up on West 54th Street.

The History Boys

Here we go - once again - BEST PLAY is in the works for this one! The ensemble cast - all from the original run in London on the West End - is here on Broadway for another go at it. This one is a Don't Miss. The boys are adorable and likeable and believable - and to say that Richard Griffiths is theatrical perfection understating his performance. The one-woman stand out in the play was Francis De La Tour. Her sardonic wit about academia and men was biting and yet, we all know, true.

The play is about the games of academia as played by the adults and the games of youth as played by the boys and how those two games often intersect and produce the unique consequences we call "life". Two parallel storylines yet really one story. Alan Bennett (playwright) has a true gift for humor, wit, and irony. All around an intelligent, well acted, and well written peice.

It's a great evening of theater - you'll truly be entertained - by at least 2 or 3 members of the cast. I really can't pick a favorite I must say. If you're in academia - this one is for you. The message is clear - Pass it On. (you'll get it when you see it, don't worry).

The name may have been The History Boys, but let me tell you, they sure did well in Chemistry too !

The Pajama Game

What a treat! There is simply nothing musically better on Broadway right now! The leading roles couldn't have been cast any better - - Chemistry... yeah chemistry. Harry Connick, Jr. and Kelly O'Hara were simply glowing the entire performance.

The story, of course, is one of those saccharine, 1950's style musicals! (based on the novel 7 1/2 cents). Lots of singing and dancing for no particular reason! More than one great tune you already knew - - "Steam Heat", "Hernando's Hideaway", and the song simply made for Harry Connick Jr to sing - "Hey There" (you with those stars in your eyes)... The supporting cast is the best kept secret too. Roz Ryan (Chicago, Ain't Misbehavin', Dream Girls), Michael McKeen (Lenny from Laverne and Shirley), and a cast of wonderfully fun and colorful dancers and singers.

And when Harry Connick Jr. opens his mouth - - I can only compare it to perhaps watching Barbra Streisand in concert. He was magnificent. (ok, i'm not even going to mention the part when he takes his shirt off - - ooohh child!). The trade off, you see, is that HCJ can't really dance very well and the acting was ok (better than i expected!). But I tell you that it won't phase you one bit! He more than makes up for it with his voice.

Unfortunately, this one is sold out - - so unless you're scalping a very expensive ticket you're going to have to just trust me on this one.

BEST MUSICAL REVIVAL here we come!

Faith Healer

This is one tremendous peice of drama. Powerful, well written, brilliant storyline. Tremendous performances by all 3 stars - Ian McDiarmid, Cherry Jones, Ralph Finnes each turn in an extremely strong performance.

Never having seen or read this play before - I was mezmorized by the twist each character gave to the same story - - Who's truth is the real truth?

I must say that as powerful as the show was (Ralph Finnes was tremendous!) - I was a bit disappointed that the show was really 3 mini-monolouges - and none of the actors were ever on stage at the same time! With a smidge of regret - I also have to say the play dragged on a bit. Not that I would ever suggest changing anything, but perhaps shortening it up a bit (Ralph) might help even more.

But then again, who am I?

Shining City

Great names in this cast - Oliver Platt, Martha Plimpton, Brian O'Byrne. Unfortunately the story drags and at one point i thought i'd stand up and tell Oliver Platt to shut up and move on! There's a message behind all of it - which is laudable, but took way too much effort to get to. Three main scenes - all way too long.

I went into this one with a high expectation and came out with an opinion in the basement. Good idea. Bad execution.

The Drowsy Chaperone

I think if I could ever write a Broadway show, it might come out just like this one! I must say, I went in with mixed expectations but I came out beaming from ear to ear with a smile and rave reviews for the clever and unique story!

Bob Martin wrote the book and was ever so crafty to also star as a character in the show. Now, I know what you might be thinking - I have many times before told you to beware of the guy who writes and stars in his own play! But this one is different. Trust me.

"The Drowsy Chaperone" is really a story in one man's mind about a musical called "The Drowsy Chaperone"of days gone by. The entire story is about how musicals just sweep you away and take you to a place where you're not sad or blue. All this is relayed to us by "Man in Chair", who's sitting in his living room in a not-so-fancy New York apartment on a rainy afternoon listening to his favorite record album of a Broadway musical (yes record album) to cheer him up. The clever part here is that Bob never leaves the stage. He peppers each scene (just short of interacting with the characters) with his own commentary (and comic wit) on the show. He never let's us forget we're watching what he's hearing and enjoying on his record album.

Now - onto the show - within the show - - Sutton Foster (from "Millie"), Georgia Engel (you know her from "The Mary Tyler Moore Show"), Edward Hibbert (you know him as Gil Chesterton on "Frasier"), Jason Kravits (you know him as Richard Bay on The Practice") and all the others in this true "cast of characters" all entertain us!

The actual story of the Drowsy Chaperone is really musical theater fluff - which if often pointed out by Bob - which keeps us laughing even harder. At one point in a company number the record gets stuck- so the actors on the stage "get stuck" (hehehe). He goes to the bathroom at the "intermission" and tells us to listen to the entre act by the orchestra until he returns. The actors all come out on stage in completely different costumes surrounded by different scenery - (oops, he put the wrong record on the turntable (hehehe). See, it's silly funny!

Even if you're not a Broadway musical freak like me - I'm pretty sure you'll leave the theater with the same warm feeling inside. It's truly the Broadway Musical of all Musicals this season! Put your blades on and glide on over to the Marriott Marquis!

The Odd Couple

Two great actors. Too much hype.

Neil Simon's play is funny, but as stale as week old bread.

Somehow think this show with any other actors would flop.

Any show staring these two actors is going to be a smash hit.

This is all disspointing and unfortunate.

Show People

Picture this - Tom (Ty Burrell) apparently has a lot of money - a huge house in Montauk (awesome set), a Mercedes in the driveway, and a successful computer company - so think what you may... He hires two washed up Broadway actors to play "his parents". You soon find out it's to impress his girlfriend to whom he is going to propose this weekend. He's trying for the "perfect family" look this weekend. Sounds harmless - right?

After all the characters meet and he's briefly out of the room - The fiancee blurts out that she can't go on lying to such sweet parents - - he's gay and she's been hired to play his girlfriend for his parent's visit this weekend. Seems harmless right?

But wait a minute - They quickly realize they are all actors. What do they all do with this information? They all know... But he doesn't know they know. Why are they here? What kind of creepy guy is he? What crazy plan does he have for them all?

Well - we eventually find out at the (very) end of Act 2 - and let me tell you it was the stupidest ending I could have imagined! All that time invested (with these pretty fine actors) and all for this?? I enjoyed the eternally caustic Marnie (Debra Monk) and her ever dramatic husband Jerry (Larry Pressman). The "fiance", Natalie (Judy Greer), aptly rounds out the comic trio. Debra Monk really made the show worth the price. All things considered - she's a gem! I really thought Tom yelled too much and seemed like too much of a psycho - even though I guess he was supposed to be playing one - I just didn't enjoy his demeanor.

This play, written by Paul Weitz, went to a place a bit too dark for this audience, I must say. How far will people go for the "performance of a lifetime"? What is "pure acting" and a "great performance"?.

Well - I found out and let me tell you - Funny, Funny, Funny, yet Stupid, Stupid, Stupid!

Tryst

Just when you think it's a non-musical version of Dirty Rotten Scoundrels(off broadway, of course), the plot changes - it's a love story. But wait - is it? Can George Love (Max Caulfield) complete his caper? Is Adelaide Pinchin (Amelia Campbell) really as naive and innocent as she seems? A pinch of phychological drama always makes the evening electrifying.

The drama set in 1910 in London keeps you guessing right unitl the very end. (I won't give it away, don't worry).

Both Max and Amelia ruled the stage together and held your attention the whole way thru this tale. Adelaide's transformation in Act II is both ying and yang. It makes her stronger - able to stand on her own - stand up to George - but what does it ultimately get her?

Swing on over to the Promenade Theater on 76th and Broadway. Even if it's just for a chance to see Max (you might remember him better as Miles Colby from Dynasty) with his shirt off - it's worth it!

Awake and Sing!

You may find yourself wishing you were able to do either of the two key title words during the show! Seems strangely appropriate that this would be a Lincoln Center Theater production. Not sure if this one would be able to stand on its own as an independent production.

Unfortunately the cast was a dichotomy - either very talented - Zoe Wanamaker (the mother) or a series of "Broadway debuts". And believe me, you could see the difference. While it was nice to see Lauren Ambrose (Six Feet Under) on stage I didn't get that same "she's deep" feeling as I get when seeing her on "screen". The brother (Pablo Schreiber) seemed slightly over-acted (perhaps that had something to do with the dated and stale plot). It was a treat to see Ben Gazzara - but I was not sure if his speech impediment was acting or the result of a recent stroke. Sad, but true.

Act I seemed to crawl. Act II picked up a bit - and I must say that I truly loved the use of the disappearing walls in the apartment to symbolize the "freeing" of the characters from their "emotional prisons" as time passed in the play. I think that WAS the best element of the show for me. The show progresses to the "obvious" end (most seemed to know where Grandpa was going and what he was going to do). I just didn't think the play had the necessary ingredients to keep an audience interested over 2 hours and 30 minutes.

One other note - it seems that production had to have a special white sheet of paper inserted into the Playbill (like those "Is your Cell Phone off?" pages) to tell you that there would be an additional 2 minute pause between two scenes (in addition to the TWO intermissions!). Apparently, people have been getting up and leaving thinking the show was over at the wrong time. I wonder why?!

Or perhaps they simply took the opportunity to flee under cover of darkness!

[title of show] - off Broadway

Witty, sarcastic, young, full of energy, and what you would think would be the most boring topic in the world instead sizzles at the Vineyard Theater! Jeff Bowen and Hunter Bell present a new musical written by them, about them, and for them. They are cute, they are funny, and they are on stage acting out a play for a musical theater festival about two cute and funny boys writing a play about two cute and funny boys trying to write a new musical... Ok - you get it? Art imitating life... Life imitating art?

Clever dialogue, catchy lyrics and music - they even gave the piano player a few lines in the show ("It's ok, we cleared it with the union", they exclaim!). They obviously rail against the establishment (but I'm sure that either of them would take the lead role in Beauty and the Beast if the price was right)!

It's out there - for sure. Struggling artists, wacky friends, zany circumstances abound. I liked the comedy around some of the scenes just "ending" to black. Someone clever must have written the lighting queues too! Quite a few of the songs were catchy - including "Nine People's Favorite Thing" (I'd like to be nine people's favorite thing rather than 100 people's ninth favorite thing), "Monkeys and Playbills" (a very clever use of old flop musical titles - one after the another strung together in a whole song and scene), and Montage/Photo Shoot" (change it, don't change it).

It's been extended - and there's a good reason - you'll laugh and you'll enjoy! Wander down to the Vineyard Theater on E.15th and catch these crazy boys and girls while it lasts.

70, Girls, 70

This was a Sunday evening TREAT! The show is about old people - and the cast of "old timers" was like the billing at a "Best of" award show. Encores! at City Center outdid themselves with this cast.

If you know anything about Encores - they put on rarely produced musicals. This one, by Kander and Ebb, appeared in 1971 just after Cabaret and just before Chicago but just didn't make it big.

This show is literally a show within a show - it was an attempt to give "older" folks a place in the spotlight as well as a role in the play on stage. So clever. Despite this fact, unfortunately, it seems that Follies (another show about old people) just opened on Broadway before this one - and the word on the street is that this one just couldn't compete. Oh well - that's how things work out sometime. It only ran for 35 performances.

Check Out this Cast:

Olympia Dukakis (Moonstruck)
Charlotte Rae (Facts of Life)
Mary Jo Calett (Pearl, Different Strokes)
Carole Cook (Hello Dolly)
Bob Dishy (Broadway/TV/Film)
Tina Fabrique (Broadway Legend)
George S. Irving (Long Broadway Career)
Anita Gillette (Broadway/TV legend)
and a company of "not so old", old timers!

Everyone was supurb. Encores only runs for a week, so all the performances are staged with the actors using their libretos. It's informal, yet still effective. And with this cast of characters you barely even noticed.

From the very top of the show - it was "all out" fun on stage. I hope I get to do this show when I'm 70!

We'll just have to see who else makes it along with me!