Hunting and Gathering

The funny and quirky show at Primary Stages at 59E59 Theaters about 4 interconnected New Yorkers - A college professor recently divorced, his brother, a perennial couch surfer, a neurotic apartment hopper searching for the elusive "it" place, and a slightly dizzy college student not afraid to try it all out - all tied together with the common bond of dive bars and dating, apartment hunting and Craig'sList, the search for peace of mind, and a place to call home.

Are you a Hunter? Aggressive, on-the-prowl, know what you want, go out and get it?

Are you a Gatherer? Caregiver, cleaner-upper, emotion sharer, the move-in type?

The Jazz Age

The intimate setting of Theater C at 59E59 Theatres was perfect for a play about the relationship between F. Scott Fitzgerald and Ernest Hemingway. A small jazz band elevated above the stage provides hushed melodies throughout the show as if those sounds permeated the air these "lost generation" artists breathed.

Fitzgerald and his wife, Zelda Sayre wove themselves into the life of Hemingway in Paris. A story of the self doubt of an artist, how rocky the road to success can be, and how fickle and fleeting it really is. What defines friendship between fellow artists? What keeps those friendships going and what defines their boundaries?

The show runs a little longer than may be necessary- perhaps trimming about 15 minutes from each act might tighten it up. Dana Watkins' portrayal of Fitzgerald as tentative, delicate, and insecure, yet as horny as a teenager, is magnificent. PJ Sosko played Hemingway as the opposite - a hard, powerful, cold, cocky, son-of-a-bitch. I must admit - I don't really know how either of them really should be portrayed. But the contrast was certainly theatrically effective. Amy Rutberg beamed as both the young and carefree flapper as well as the older, insane, and unstable Zelda.

Overall a pleasant evening of theater. I just hope it was mostly all true! I think a trip to wikipedia is in order for me now.

Next to Normal

Let me be perfectly clear. Run. Don't Walk to Second Stage Theater on 43rd and 8th Avenue. Next to Normal is a musical tour de force. More relevant than Spring Awakening; As daring, moving and poignant as Rent; more hopeful than August: Osage County.

Brian D'Arcy James usually headlines a show. Well in this ensemble cast, each actor is of equally amazing vocal prowess and raw story telling talent. Alice Ripley, Asa Somers, Jennifer Damiano, Aaron Tveit, and Adam Chanler-Berat bring you to tears one moment and to your feet in raucous applause the next.

This rock musical written by Tom Kitt (Music) of High Fidelity fame and Brian Yorkey (Librettist/Lyricist) will knock your socks off. Director Michael Greif (Grey Gardens, Rent) brilliantly consumes every inch of the 3 story set to keep the story alive (and the actors running).

Vocally, this show opens up full-out and doesn't look back for one minute. One of my favorites (if there could be just one) is Aaron Tveit (the gorgeous blonde boy the the kickin' bod) who all but brings down the house right from the start. Then about 20 minutes into the show, a left hook is delivered right to the head. And the blows keep coming non-stop, scene after scene. This is a show about real life, real life problems, and real families enduring, and sucumbing to those problems and possibly inevitably passing some of them on to the next generation.

I'm not going to give away one ounce of the emotional pounding you will take during this show.

Get a ticket. Go. Now.

Dead Man's Cell Phone

Sarah Ruhl (Erurydice, The Clean House) has penned an entertaining and quirky tale about an off-beat young gal who happens to cross paths with a man who dies in front of her at a cafe. His cell phone rings. She answers. She becomes attached to his cell phone and indirectly to his life and what it all really means. Things evolve from there.

Mary Louise Parker is a delight and at home in the role. Kathleen Chalfont embraces the equally off-beat mother of the dad man in stark contrast playing her with bold humor and power.

The tale, while entertaining, seems to skirt the border of unbelievable and absurd somewhere in act two when we ascend to heaven. Fortunately it doesn't go too far off the map, but also never quite makes it back on track either. Overall, very entertaining. Well worth the off-broadway price for a chance to see these two stars up close and personal.

Add1ng Mach1nє

Add1ng Mach1nє 1s a dark play that takєs placє 1n thє 1920's. A man who has addєd numbєrs up manually at "thє off1cє" k1lls h1s boss whєn hє f1nds out hє's bє1ng rєplacєd by an add1ng mach1nє. Hє was nєvєr much of a happy man. Not much 1n lovє w1th h1s w1fє who hє "had to marry". Has a "th1ng" for a gal 1n thє off1cє and w1shєs hє chosє hєr 1nstєad.

Thє mus1c, qu1tє a var1єty - mostly awful. A marra1gє of Sondhє1m, Bєrnstє1n, and a ch1mpanzєє bang1ng on thє p1ano. Y1kєs! V1sually, 1t was dark. Swєєnєy Todd dark.

Thє cacaphony of sounds (rєad mus1c) cont1nuєs 1nto Act 11, whєrє thє man 1s 1n ja1l and has an 1ntєrєst1ng єxchangє w1th h1s cєll-nє1ghbor who murdєrєd h1s mothєr. Aftєr thєy arє both єxєcutєd (thankfully not 1n front of us!) thєy both go to "anothєr placє" and thєy f1nd out 1t's happy and thєy can't undєrstand thєy arє thєrє. Turns out h1s formєr off1cє lovє k1lls hєrsєlf (shє was 1n lovє w1th h1m too) and єnds up thєrє too.

1n thє єnd, wє "f1gurє out" l1fє and dєath 1s just a cyclє and our soul 1s rєcyclєd ovєr and ovєr w1th thє hopє wє gєt bєttєr and bєttєr. Turns out th1s guy doєsn't. Sucks for h1m.

Wa1t a m1nutє - 1t suckєd for US. Wє had to s1t thru thє wholє damn th1ng!

Applause

A classic film, All About Eve, staring Bette Davis, begot this Comden & Green musical in 1970 at the Palace Theater staring Lauren Bacall (and later in 1973 on TV starring Bacall and Larry Hagman). In it's endeavors to bring the less-known musicals back to the stage, Encores! ended up with something less than brilliant, bombastic, super and fantastic.

Don't get me wrong - even recovering from the Asian bird flu (or something like that), Christine Ebersole was above average in the leading role. It certainly was a disappointment to see her at less than "full speed". However, the problem was casting, not performance. As a good friend of mine said, "Could Christine Ebersole have been more mis-cast in the role of the aging Margo Channing?" I think not.

Certainly a brief but memorable performance from Mario Cantone and Kate Burton, but nothing in all of this would suggest it's anywhere close to a Broadway revival ala Gypsy with Lupone - (the last success story from Encores!) My favorite scenes were perhaps the full cast numbers -the show's title number "Applause" and "But Alive". Ebersole seemed to be having as much fun mixing it up with the gays as Bacall in this 1973.

It seemed appropriate for an "all star" semi-staged reading, but I'm going to guess that we won't be seeing Applause on Broadway again any time soon.

August: Osage County

I've been wrong before. This time, it's no different. "No, I don't want to go sit thru a 3 hours and 30 minute dirge!" Well, after reading the review and hearing the buzz, I changed my mind. Boy-oh-boy, was that a great decision.

A few notes - it's not a dirge, it doesn't seem like 3 hours (two 10 minute intermissions make up the rest) and it was worth every penny i spent on the ticket ($99 bucks, left orchestra).

Go see this ensemble. They are tops. A testament to the quality of the show - just about every seat in the Imperial Theater (that's 1400+ seats, folks) was occupied! For a play, no less. Amazing. The full company, direct from Chicago, and the Steppenwolf Theater Company has taken Broadway by storm. While there is no billed "star", clearly Deanna Dunnigan rules the roost as family matriarch Violet Weston.

The drama on stage kept you engaged the entire time, in no small part due to the biting writing of Tracy Letts and the brilliant direction of Anna D. Shapiro. The set, a dollhouse replica of a house on the plains in Oklahoma, was brilliantly envisioned and masterfully executed.

I won't give away a stitch of the plot, the twists and turns or the outcome. That, my friends is for you to experience yourselves. Pop a pill or two and fasten your seat belt. The next 3.5 hours are going to be a bumpy ride!

Runt of the Litter

Way the hell over on the west side - 37th and 11th Ave - - who knew there was even a theater there? Well there is - 37 Arts - a great big space - theaters, rehearsal space, offices and performance rooms, you name it! A find, all in itself! Toss in a rockin' hot ex-jock putting on a one man show and I'm pumped up for it!

This play, Runt of the Litter, was originally performed (to great accolades) in 2002 at MCC Theater and is being brought back around for another go-round this year. It's the semi-autobiographical (i guess that means that most of it is true, but some of it is made up) story of 1980's Houston Oiler's safety Bo Eason and the life-long rivalry he had with his older brother (also a professional football player). Says in the playbill he left football to pursue an acting dream. And so he did. As the title suggests - Bo was always the "runt" and his brother always the "golden child" or so the story goes. Along with this comes all the "I was always out to beat him" and "Always out to prove myself better than him" stuff.
Fictional character Jack Henry tells us the story from the locker room just before he and his brother would oppose each other (for the first time) on the gridiron at the Superbowl. Throw in tales of the father who fueled the whole battle and the mother who gave up alcohol only to watch her sons play football and live their dreams. I think you know where this is going.
Not being much of a sports fan, it figures that I'd be the one to get thrown the football during the show's opening. "Hold on to this for me, would ya?", he says as he tosses me the ball. I was sitting in the 2nd row. "Oh brother, a one man, interactive show", i think to myself. Thankfully, that was the first and last of the interactive part. Just a tease. But let me tell you - this guys was ON. The show was fast paced, loud, energetic, and powerful. I won't say I walked away learning any plays - but I gotta say that Bo Eason is worth the trek over to 11th Ave. Even if only to see the aging blue eyed sports god and his totally rockin' bod. You'll leave pleasantly surprised.

The Homecoming

The Homecoming, by Harold Pinter. A Pinter Play. I've always wanted to experience one on Broadway. And now I have. I've seen it. I've read the professionals' reviews. I've even done some research on Harold Pinter. I still don't think I understand what on earth happened on the stage at the Cort Theater!

I do understand, after reading blog after blog, that what the actors were saying was supposed to be different from what we were comprehending. I understand the "layers below" are what you were supposed to come away with. The conflict. Family. Rivalry. Sexual Undertones. Leader of the Pack. Success. Failure. I get that. I do. I really do. However, there is such a sharp contrast between spoken word and message that it is difficult to keep such vastly different concepts separate in your head while the work is being performed. "What did this mean?" "Why did he say that?" A friend of mine used the word absurd to describe it. It seems to fit.

Given that I somehow understand that i don't understand it, I understand now that the actors did an outstanding job at what they did. The pregnant pauses, the stillness, the thoughts left unfinished. Brilliant acting. Brilliant delivery. Kudos to Ian McShane, Raul Esparza, Eve Best, Michael McKean, Gareth Saxe, and James Frain. It seems to me that the show can only be a success when they are all 100% "on" each evening.

Even after hours of rumination on the play and playwright - i get that I'm not supposed to get it - but i just don't get it. Well, i say, Forget it!

A Marriage of Convenience

The given title is one thing. The actual experience is more like an evening of torture. I had high hopes for a play with the subject matter concerning a sophisticated good looking gay man looking to run for political office but having to compromise and marry a woman (who also happens to be a lesbian) to be "accepted" win the post. I'm not saying I had to run away laughing much as I did after another politically charged play this winter, November. However, my hopes of an entertaining evening were indeed dashed quite early on.

Turns out Normal Beim wrote and directed a train wreck on 43rd Street. The actors that he (or someone else) cast all had those mildly affected tones in their voices - - you know the ones who all seemed to learn English in a finishing school in the south of France and forgot how to speak normally? The lead character, Senator Gary Vincent, played by Todd Reichart seemed to be the worst offender (the others were right behind him). Every sentence seemed to be overly dramatic, overly emotional, accusatory, defensive, or simply outright pompous.

The show proceeded to go beyond the concept of the "marriage of convenience" in act one into the world of political maneuvering and took a turn into the toilet with the lead character Senator Vincent by the end of act two. Again, disappointing. Perhaps that was Mr. Beim's intention, and I cannot fault him for writing it - but I think Mr. Beim had many options in front of him when crafting his ideas and simply made the wrong choices in the characters' development along the way. He pays the price with the results he achieved. Thumbs down.

Straight Up with a Twist

Paul Stroili is the writer and performer of a one man show at The Players Theater in Greenwich Village. I'm torn on this one. It's not so much the actor as it was the subject matter. First of all - one person show has THERAPY written all over it. Nothing different here. It's self admitted somewhere along the way too.

Second of all - What's a straight man doing in a one man show? What traumatic experience does he have to share with all of us? Is he a gay Mormon kicked out of his family, on drugs, and a hooker in NYC (ala Steven Fales, Confessions of a Mormon Boy)? A gay Mormon mourning his dead boyfriend? (ala Jay Perry, Facing East)? A gay man channeling Ethel Merman (The Big Voice)? I know he's not an 80+ year old recovering alcoholic actress (Elaine Stritch, at Liberty) nor a Blond bombshell struggling to show she's got talent (Susanne Sommers, Blond in the Thunderbird)... i could go on and on...

So what is he? He's a straight man who knows the difference between Merlot and Cabernet; who knows the difference between mauve and taupe and who knows how to fold a fitted sheet (doesn't everyone?!). It's the story of what he calls the "Renaissance Geeks". I for one am not buying it. He also doesn't like the term "metrosexual". Well that's good because he certainly doesn't dress well and doesn't look very "pretty". (as in, he ain't gettin' a part in Dawson's Creek).

What did i like... strike that... LOVE? His impersonations for sure. Rich Little - eat your heart out. He tells the story thru dialogues with his mother (cigarettes and brooklyn accent - merits of course). His father (Italian accent), his older brother (goomba johnny), his jewish grandmother (pick up if you're there!) and his psychiatrist (as a patient he's the Mercedes). I'd much rather have just sat and listened to him tell a story thru these characters - but instead I had to endure his complaints that children and later adults all thought he was gay - how tragic! How sad for him! To be branded gay. Gosh.

Let's not waste two hours over complaining about being called gay. The therapy and catharsis might be cheap and it might play well in the red states of Jesusland, but aside from a few B&T's who got cheap tickets on a Saturday night, it's not bound to play well to a mostly gay audience in New York City (in the west village, no less!).

The 39 Steps

Alfred Hitchcock's classic film turned into a comedy on stage. Who would have thought?! The Roundabout Theater's winter play is a side splitting comedy.

Straight off the West End in London, this production features 4 actors playing about 150 parts! Charles Edwards aptly plays the handsome and debonair Richard Hannay - the main character in the show. He gets caught up with 3 women - all played aptly by Jennifer Frrin (Annabella Schmidt, Pamela and Margaret). The other 148 characters he encounters are all played by the multi-talented, funny-as-hell duo of Cliff Saunders and Arnie Burton.

Aside from the bookends of the play, which feature Richard Hanney telling us a story from his leather chair in his living room, the entire script is straight from the movie. With bare bones sets and low tech effects they manage to take you on a chase across England by train, car, boat and even plane. The parody adapted by Patrick Barlow, fits in references both visual and spoken to many (if not all) of Hitchcock's other works - including North by Northwest and The Birds.

Dare I say, that Hitchcock himself was most likely slipped in as one of the dark shadowy figures too. Now that's something only a Hitchcock aficionado would understand, but this show holds plenty for both the "in the know" Hitchcock fans as well as those not so familiar. Not being one myself, I relied on hearing things for the first time and still laughing plenty.

So if you're bored at home, tired of the news du jour - wars, elections (that's from the show, folks) - sneak over to the American Airlines Theater and catch a classic Hitchcock reincarnated on stage. Well worth the journey (gun shots not included).

Come Back, Little Sheba

William Inge's 1950's expose on alcoholism and the family is playing at the Manhattan Theater Company this winter. I must say, a bit stale and dated, for sure. I'm not a William Inge expert, but recalling Bus Stop I seem to remember quite a bit of the same feel - lots of dialogue, slow moving story, but a good one nonetheless.

One thing makes this one worthwhile - S. Epetha Merkerson. She plays Lola - the main character of the story who never leaves the stage. The drama is played out in her living room and kitchen for 2 hours. The good, the bad, and the ugly (yes, there's some of each) are laid out in front of us as the story is told... and unfolds.

A great supporting cast all around - including special mention of my neighbor (Chad Hoeppner) who plays Bruce - the fiance. Kudos, Chad!

There are a few other up and coming young folks adding a little eye candy - Brian Smith (Turk) is as gorgeous and talented with his shirt on as with it off (*sigh*). Matthew Williamson plays the milkman - who visits twice - A strapping young man he is.... And let's not forget the postman - he drops in for Act I and we see him just at the end of Act II delivering the letter he promised.

Perhaps Lola will read that letter someday and we'll get to find out what he has to say. Well, for now, wander on over to the Biltmore Theater to catch a gem.

She Likes Girls

This review is slightly out of the ordinary - as I don't think it's fair to review a workshop - - but just a few comments on this one that I saw recently at the Lark Play Development Center.

The play was written by by Chisa Hutchinson. It was inspired by the 2003 murder of a teenage lesbian at a bus stop in Newark, NJ. Performed in two acts, this final workshop was a poignant, touching and focused work. The actors were magnificant and their portrayal of the key characters was empathetic. I did not even feel that I was viewing a workshop. Kudos!

By way of background - a play goes thru readings and then workshops before it gets to a theater for "commerical" production. In these workshops, the author gets the opportunity to see how his or her words get transformed into dialogue by actors on a stage.

Spamalot

OK, if you're a Monty Python Fan - that goes a long way to enjoying Spamalot. However, as I've seen before, once a play gets "old", you are on the 16th cast change, the director is long gone, the producers are no where to be found and the stage manager is running the show - this is what you get. Garbage-a-lot!

My friend commented during the show - "This won the Tony? I guess it was not up against much competition in 2005!". (for the record it was up against Spelling Bee, Light in the Piazza, and Dirty Rotten Scoundrels). I see the attempt at humor - it's clever in concept, yes. Act II much more so than Act I, for sure. Plenty of marginally funny and stale one-liners abound. The plot is thin, to say the least. Even the "Python-esque" fun and frolicking seems muted and lethargic.

Well - let's look back at the point of this show - - Put on a low budget looking (they spent $11m, by the way) show that perpetuates and extends the cultural phenomenon of Monty Python: The Holy Grail. Entice a new theater audience, perhaps? Have these people gone on to be inspired by the performance and see other deeper shows? (there couldn't be any less deeper shows). I think not.

Lest not we mention the current day annoying, dumb, and culture-less tourists that packed the theater. The requisite gay jokes got many-a-laugh. Of course they would. The mostly white, homophobic, middle American, suburban seat-fillers who paid upwards of $200 for a mezzanine ticket (see, i told you they were stupid) seemed more than willing to accept what they saw as "good theater". Again, I think not.

Let's just say that there are some good "theater" jokes in the book - (of course there would be, it's a Broadway musical!) - but not a one of the idiots that packed the theater laughed at the Wicked parody, the West Side Story music, or the Company spoof. At least the parents (not the kids) got the Fiddler joke - i mean it was a whole scene - how could they miss it?! And then there were all the references to popular culture. They had a big long reference to Senator Craig and the bathroom stall scandal. I think it took a full 5 minutes for the morons (or is that Mormons?) in the audience to get it!! And at that, they didn't like it much. ("He's not gay, you know").

I'm not a Monty Python fan - but let's just say I was less than pleased with what i found both on stage and in the audience at the Shubert Theater. I was right to not see this in 2005 and wrong to see it now.

November

I wasn't sure from the hype exactly what kind of play this would be. His last play, Butley, was a serious drama - so what's a boy to think?! Well, after about the first 3 minutes - it's clear - David Mamet has penned a stinging romp - an indictment of current public policy and politics in general. Only a little "potty mouth" this time, however. (Mamet is known for his extreme language). Nathan Lane, Laurie Metcalf (Roseanne) and Dylan Baker (Mauritius, et al) have a grand ol' time on stage - you can tell. Just don't try to take this one too seriously - at all. Enjoy it for what it is.

Nathan Lane, the unpopular, dumb, and scheming president (remind you of anyone these days?) needs money for his presidential library - or to get re-elected (anything is possible with money and media). Dylan Baker is his trusted advisor (the only one apparently) and straight man to Lane. Laurie Metcalf plays his brilliant lesbian speech writer. They all get tangled up in issues (and laughs) around gay marriage, Indian reservations, gambling, special interests (the turkeys), and political issues and gaffs galore!

As you would expect, Lane aptly harpoons each topic with his natural comic genius. Act II was clearly funnier than Act I - plenty more of the requisite "gay jokes". There's so much farce here, it really precludes any long term teeth the show might have. It's topical and relevant to this current time. I guess we'll see in 20 years if the show can be revived and if it will need any updating or the same issues will persist!

Right time - the presidential electoral cycle in full swing; Right people - comic trio reminds you of presidents, advisers, and cabinet members current and past; Right niche - go for broke with the farce. Anything less would have required a whole lot more pomp and circumstance to execute. Go for a big belly laugh.

Pied a Terre

Welcome to the next installment of a Lifetime Television Movie off- Broadway! In two acts we manage to fade in and out of two times in the melodrama of Julia, Jack, and Katie's lives.

Here goes the summary. Act I: Daddy (50 years old) picks up teenage hooker and keeps her at his NYC Peid-a-Terre. Teenage hooker falls in love with him because he is taking care of her. Daddy doesn't touch her (something must be up). Mommy shows up and is greeted by girl and pretends to be daddy's brother to find out why she's there. Blah... Blah.... Blah... Act II. We come to learn Daddy is dead. Mommy and Daddy both are carriers of a gene for Cystic Fibrosis and had a daughter who died of it. (could daddy be re-creating the daughter he never had?). Think so? Well, flash to last scene - where mommy tells daddy that she really did have another daughter with daddy when they were dating but gave her up for adoption. Daddy wants to find her. Mommy doesn't. In a final scene of rapid flashbacks and time shifts- we learn that Daddy actually did find said daughter (Ala the teen hooker he picked up not to screw but to surprise mommy with after a few months of "polishing her up) but Mommy showed up and figures it out herself but it's too late - Daddy is dead. Oh brother!

So goes another episode of "The Stomach Turns". Seriously - pretty decent acting - and i swear with a drink in her hand, Sue Ellen Ewing could have played the role. Check out the melodrama at the Kirk Theater on 42nd Street.

The Farnsworth Invention

"The turning point of the 20th century wasn't on television. It was television". So goes the "grab" for this play at the lovely Music Box Theater on West 45th.

Jimmy Simpson and Hank Azaria bring the little-known drama and conflict over who invented the television to the Broadway stage. Clearly is was Philo T. Farnsworth... or was it Vladimir Zworykin who stole it from Farnsworth and worked for David Sarnoff at the Radio Corporation of America? Two acts later, the full story is revealed - and you find out the truth... or do you?

As critics will tell you, Aaron Sorkin (creator of The West Wing) has taken some liberties with this play - altering some facts, revealing to you at various points that he has; not telling you about altering others.

My bottom line is that this play was a drama meant to entertain. David Sarnoff says at the beginning of Act I, "The ends justify the means. What else are the means for?" Sorkin seems to do the same. Walking out of the theater, the result is the same - you understand that Sarnoff is credited with the invention of the TV and Farnsworth is a nobody regardless of a few altered facts. Along the way the audience is treated to the the lives, loves, and obsessions of both men in a way that only Sorkin could present - suburb, tight, fast-paced and intelligent dialogue.

Not a moment of "dead air" on stage - Simpson and Azaria couldn't be a better pair of adversaries - Top notch. The Tony nod should be headed their way. Only one of them can win. Perhaps another drama will ensue. Only time will tell.

Check out Philo T. Farnsworth on "I've Got A Secret" - 1957

Make Me A Song: The Music of William Finn

A Sunday night delight! Not so much a musical as it was a musical review. The evening consisted of a single 90 minute act of non-stop singing by 4 super talented actors - Sandy Binion, DB Bonds, Adam Heller, Sally Wilfert - all accompanied by Darren R. Cohen on the Piano.

The musical selection was broad - from all aspects of William Finn's repertoire - which included, of course, a Falsetto's Suite, but interestingly enough, nothing from Spelling Bee. Surprisingly, (to me anyway) William Finn wrote quite a few songs for shows that never quite happened. I was also intrigued at the fact that most of his melodies are fluffy and rhyme filled but have deceptively deep lyrics and meaning. The man behind the curtain put a lot of thought into what he was writing. It struck me when leaving that i somehow wished i had heard more of his songs in the shows he intended. One thing's for sure - I will definitely go see Falsettos the next time it comes around.

Following along the program, the audience was able to read a little blurb about each song - it's origin or meaning or little known fact or two. My favorites included Change (a double entendre about "coins for the poor" and "a desire to improve life"); Stupid Things I Won't Do (it was written for Elaine Stritch); and Mister, Make Me A Song (unbenounced to Mandy Patinkin, it was written for him).

Set Those Sails for the New World Stages and enjoy the Music of William Finn. He's always on stage watching over you!

Die Mommie Die!

Charles Busch wrote and directed this comedy-thriller. As Angela Arden, an aging and washed up singer and actress, Thru little gestures, voices, and tell tale phrases, Angela evokes stars of the golden era - Bette Davis, Joan Crawford, Lana Turner, Tallulah Bankhead - and more! And the wig she wears smacks of Lucille Ball! It also doesn't hurt that Bootsie (Kristine Nielsen) - the housekeeper looks and sounds like Ethel Mertz!!

It's quite a farce - but a classic romp, nonetheless. Set in what could only be called a classic Beverly Hills home, Angela Arden has two kids (Lance and Edith) both of whom have deep emotional issues - presumably from being raised by Angela! Lance (with or without his short shorts and shirt off) is a dreamboat (Van Hansis - the gay teen on As The World Turns). Bob Ari aptly plays the mega-Hollywood movie producer in debt to the mob- Sol Sussman. His image brings to mind Mr. Goldwyn or Mr. Mayer.

All around it's a murder mystery with a B-Movie ending. The "bad" acting is on purpose - and you don't mind it for a minute. You are there for camp - and camp you get! The mere budget for the glam hostess dresses and "a few very important peices of jewelry" Angela appears in must be half the show's budget alone!

For a night of comedy-noir just stroll on over to see Charles and the entire cast ham it up in this one act treat!

Is He Dead?

Norbert Leo Buts - in Drag?! How could you go wrong?!! This romp at the Lyceum theater is a belly- laugh evening at the theater. Written by Mark Twain in 1898 , but apparently not published until discovered in 2002! It's lighter than most of his works - but what a treat!
The basic premise is the question of value. An artist's work tends to be worth nothing during his life - but becomes the "hottest" thing once he's dead. So let's see - - what could an artist do to change that? Hmmm... maybe fake his death, have his friends sell all his works at a premium price and then they all live happily ever after?! Voila! They've figured it out.

A great supporting cast - but Norbert (especially as his twin sister!) is a trip! He appears to be having fun the entire show. It brought to mind the days of the Carol Burnett show - watching Tim Conway, Harvey Korman, and Carol Burnett try to crack each other up on stage.
Don't miss this Winter treat!

The Overwhelming

This powerful and educational performance is not to be missed. The subject is Africa - Rwanda circa 1994 to be exact. It's a reminder of all we Americans don't know, don't pay attention to, and/or don't care about. It's a perspective on the culture, the violence and the civil war that the rest of the world has either been involved with or known about for a long time. It's a powerful indictment of the American "know it all" culture.

Who is at fault? Who is telling the truth? What, if anything, can we do about it? Should we even be doing anything about it? Why should we think we can do anything about it?

Don't miss this performance at the Laura Pels Theater on 46th.

Bingo with the Indians

A new play - written and directed by Adam Rapp at The Flea. It features the BATS - the theater company renowned for good acting and non-payment for said services!

Well - if you were going to like this play - you'd say "edgy, angst ridden and raw". It would certainly be well situated in an off-off Broadway theater - far from a commercial audience! If you took a less appreciative view of the work, you might say "self indulgent, pointless, and gratuitous".

I'm somewhere in between. Certainly the actors put on a fine (if not over the top) portrayal of their characters - who by the way are a band of not-so-mainstream actors from an east village theater company (um.. could it be the Bats themselves?) who take a road trip to a New Hampshire motel to ultimately make a heist at the local Bingo game, frequented mostly by the local Indian tribe. If you think that is odd - throw in a young skinny kid living at the motel with his strange mother, a "first time" gay sexual experience, a gun, a girl with lots of piercings, a huge bag of cocaine a fatal flashlight beating and an otherworldly Indian spirit with a drum.

The story is odd, to say the least. The actors jump in head first and provide a powerful performance. I'm just not so sure that the story makes sense. It's a jumble of drugs, violence, social commentary, and weird people. Maybe it's reality. I'm not sure.

The Rise of Dorothy Hale

What an amaxing untold story up to this point. Myra Bairstow, the playwright explores the lives, loves, and conflicts surrounding Dorothy Hale. I kept waiting for Jessica Fletcher to stand up in the audience and and solve the whole case! (for the record she did not, and nor was she in the audience).

Dorothy Hale was a widow, a pawn in a game of New York society power-brokers, and was dating a potential candidate for president of the United States. You might expect that her death could occur under suspicious circumstances. A true story that unfolded right here in New York City at the Hampsire House on Central Park South!

Did she jump from her 16th floor window or was she pushed? If so, who did it? Solid performances by the entire cast. The play will leave you yearning to know more about artist Freida Kahlo as well as the whole affair of Dorothy's death.

See if you can solve the mystery - check it out at the St Luke's Theater.