The Country Girl

A lesser known work by Clifford Odets. A play (1950) staring Uta Hagen, made into a popular movie (1955) staring Bing Crosby, Grace Kelly, and William Holden, this 3rd revival is something just short of average.

Despite the star power - Morgan Freeman, Frances McDormand, and Peter Gallagher - the play lacks chemistry and comes across as rather flat. I never felt much attraction between Gallagher and McDormand - and Freeman always seemed too pleasant and happy - - i am guessing that a drunk would not be so even keeled.

I found the set (and hence the theater) unusually dark. There was a radio on stage that played music during the dialogue occasionally. At one point - McDormand asked Gallagher if the music was distracting - and someone from the audience shouted out "Yes!"

Throughout the show i often felt i was watching an old black and white movie that wasn't very good. The dialogue is pretty dated - but perhaps some actors with more chemistry or a director with a more progressive style could have given this old relic the boost it needed.

Despite the stars, I don't think this one will last very long. Nice try, but no dice.

Glory Days

A musical penned by two 23 year old fresh faces to Broadway, James Gardiner and Nick Blaemire, Glory Days tells the tale of the reunion of 4 high school friends after being apart for their first year in college.

The young and fresh faced boys have to be praised for their energy and dedication to the roles - something that shines thru in their performances.

The story is told mostly thru the eyes of Will (Steven Booth), who is the "glue" that once held his friends Skip (Adam Halpin), Andy (Andrew C. Call), and Jack (Jessie JP Johnson) together. Jack is by far the one with stand-out vocal skills (uber-cute on top of that!) and I wish I could have heard (and seen) more from him.

Truth be told, it's not the deepest story. There's not a lot of action on stage and there's only so much you can do with a set that is a small section of an athletic field bleachers. It's basic and straightforward and no matter what you think about the performances, it has a character or storyline that will trigger a memory of "I had a friend like that once" or "That happened to me and my friends once" or "He reminds me of..." I think you get the idea. We all remember the "glory days" of our youth.

No spoilers here as to what exactly happens to whom. Let's just say that the boys bonded in their high school days because they were all different and come together a year after graduation to learn how each of them has or has not changed. At it's core, it's a story of how we all grow apart as we get older. Some of us struggle to hold on to the "glory days". Others among us relish the opportunity to evolve and grow. Friendships sometimes get caught in the middle. Perhaps it takes a pair of 23 year olds to express what this age old issue means to today's youth.

I enjoyed the fresh faces, the youthful energy and inexperience that frankly worked in their favor. I don't think it's destined for "Best Musical of 2008", but there's talent here both on and off stage. I'm going to guess we will be seeing a lot more from all of these boys - one way or another.

Boeing Boeing

Take a slap-dash comedy from the 1960's and throw in a few stars and hope for the best. The show is straight off the West End where it enjoyed a rave reviews. Admittedly, I saw the show in previews - so there is some work to be done. The show is too long, for one. The entire show should have been like two short physical comedy skits as was mastered by Carol Burnett and Co. All throughout the show, I was picturing her and her cohorts on stage doing the roles. It would have been a coup to get her back on stage in the leading role.

Christine Baranski, Bradley Wittford, and Mark Rylance (transfer from the London run) take the helm supported by the 3 stereotypical 1960's air stewardesses- one Italian - Gina Gershon (Alitalia) one German - Mary McCormack (Luftansa), and one American - Kathryn Hahn (TWA). All around, the performances were top notch - it's just the run time that brought them down. We get the idea Matthew Warchus. The jokes will go over better and the laughs will get bigger. Stop reminding us over and over that the air time-tables are the key to mastering the comings and goings of Bernard's 3 - yes 3 - fiances. After about 20 minutes - we get the setup. Stop dragging it out. Keep it moving. Ms. Baranski and her "burst on stage, deliver line, exit stage" will benefit the most. Keep it snappy and under 100 minutes (two acts or one - i think it could work with both) and more people will walk out laughing instead of saying "I thought it was never going to end". You've got a captive audience who is ready (and very willing) to laugh. Maximize the result.
All around, I think this one will stay for a while. It's very funny, it's got great physical comedy, and great actors pushing the limits on stage to deliver the laughs. Just take a look at the original cast in the movie - Jerry Lewis, Tony Curtis, and Thelma Ritter.

Top Girls

Let me start off by saying I completely enjoyed the acting of the gals on stage. Kudos to your talents. That's the only good thing I have to say about this train wreck on 47th and 8th.

A thoroughly painful evening at the theater. A complete turn-off and complete fraud thrust upon the audience.

I'm completely disappointed at Manhattan Theater Club's choice to present this show. At the first reading of this play Caryl Churchill they should have thrown it in the trash bin and burned it. It's revolting. It's absurd. It's unacceptably long and boring. There doesn't even seem to be a point to anything that occurred on stage the entire evening. Shame on you MTC!

MTC seems to hype this show and provide a description of the plot which doesn't even jive with what transpires on stage. Only one of the many scenes takes place at the Top Girls employment agency in London. It happens to be one of the better scenes (take them where you can get them). Is this show really about the values of the leading lady? Values?? I think not. Choices, maybe, but values? No.

When I see over 1/2 of the audience leave their seats by the end of the show (3 unbearable acts with two intermissions and over 2.5 hours!) it's usually a hint something is not kosher. But there's nothing more telling than the leading lady politely bowing, but then rolling her eyes as if to say "Oh boy, we've cleared another house again", it's only validation that even the actresses seemed to regret their decision to perform in this show.

Thurgood

Laurence Fishburne takes the life and accomplishments of Thurgood Marshall to the stage in this new one-man show at the Booth Theatre. Part history lesson, part biography, but mostly an entertaining performance by one of America's leading actors.

Fishburne takes you from Thurgood's childhood all the way to his retirement from the Supreme Court. I'll bet you didn't know he argued as the lawyer for the NAACP on the famous Brown vs Board of Education case? It's just one of his many accomplishments you'll be reminded of. He was deeply committed to equal rights throughout his entire life, fought his way all the way to the supreme court and kept on fighting once he was there.

The 100 minutes you will spend in the theater pales in comparison to the impact that this one man has had in so many of our lives.

A Catered Affair

The iconic Harvey Fierstein has penned a beautiful book for this new musical - originally a 1956 motion picture written by Gore Vidal and turned into a teleplay by Paddy Chayefsky. For the trivia buffs in all of us, the movie starred Bette Davis, Ernest Borgnine, and Debbie Reynolds.

At its core, the story here remains the same. It's a tale that sadly sums up an entire generation of teenagers of the post WWI generation. The ones that got married way too early because they "had to". It's the story of regrets, of dreams forgone, and of the desire for your children to have a better experience.

Highlights: The lovely and talented Faith Price (Noises Off, Guys and Dolls) and newcomer, Leslie Kritzer (Legally Blonde). A dramatic mother-daughter duo that will bring tears to your eyes.

Neutral: Tom Wopat - dramatic portrayal of the father was convincing and skilled, yet his singing just isn't up to the same level as his acting.

Problematic: Harvey Firestein - OK, so he's written a beautiful, poetic, and touching dramatic work for the musical theater stage. Yes, there's a gay uncle who's funny and poignant and if that's all the part was, it would be perfect for him. But the part requires singing and it just pains me to hear him attempt singing. It's a musical. If this show was possibly billed as a "Play with Music", perhaps it would be acceptable. Music and singing, in that case, would not be the focus. His stage presence, artful acting and comedic timing just could not convince me to overlook the musical deficit.

It was a mistake for Harvey take a role. Writing the part would have been enough for me to leave the theater saying, "That Harvey, he's a genius with a pen". Re-cast with powerhouse talents equal to those of Faith Prince, this show has the capacity to be a Broadway juggernaut much like it's predecessor at the Walter Kerr, Grey Gardens. As-is, it's still a poignant musical drama written by a talented iconic figure, but fails to deliver on its full potential.

From Up Here

Liz Flahive has penned a darkly funny, brutally honest, and shockingly common-place new work now unfolding on Stage I at the Manhattan Theater Club. From up Here tells the "everyday" tale of what might be considered the "normal" American family today.

And by "normal", I mean a family that has a slightly neurotic and frazzled working mom; a step-father who has no real career and can't seem to "find" himself; a daughter who is having sex with all the boys in high school; an aunt who basically ran away from life and enjoys climbing mountains and living like a backpacker. and last, but not least, a son who has done something wrong at high school - and by wrong i mean really wrong - and now has to live with the significant consequences of his actions. All normal, right?

Also, it's not really surprising that the setting is listed as "The Suburban Midwest", although these days, that could read "Anytown, USA. What Liz Flahive and director, Leigh Silverman, have done here is to skewer the "typical" American family and lay it bare for all to see.

No spoilers here - I won't tell you what Kenny has done. But it is OK for me to tell you that Tobias Segal (Equuis, Doris to Darleen) is a young, rising star to watch very closely. He's mastered the art of the troubled and disenchanted youth and he's given possibly the best performance of his career thus far. Tony award winner, Julie White aptly plays Grace, Kenny's mom. She's got a whole host of problems unto herself and now must deal with Kenny's new problem and its far reaching consequences.

Playing now thru June 22nd, come to The City Center and catch this new, smart work.

South Pacific

A Rogers and Hammerstein classic - South Pacific - is now playing at Lincoln Center's Vivian Beaumont Theatre. Revived in grand style, this musical set on two islands in the Pacific Ocean during WWII boasts a full 30 piece orchestra as created for the original Broadway run in 1949 (virtually unheard of!) two superb leading actors and a robust supporting cast.

Kelly O'Hara (Light in the Piazza, The Pajama Game, Sweet Smell of Success) takes the helm as Ensign Nellie Forbush and Paulo Szot, a Brazilian native, as Emile de Becque. The chemistry between the two was completely natural and unforced. Matthew Morrison (Light in the Piazza, Hairspray, Ten Million Miles) played the young, troubled Lieutenant Joseph Cable and proved once again that his vocal skills are top notch (as was his often shirtless character). Danny Burstein (The Drowsy Chaperone, The Boys from Syracuse) took Luther Billis to another level - comedic and macho, yet tender and caring. With over 40 actors in the cast it's hard to mention them all.

Tune after tune seems to bring you back to something from your past. I heard everyone around me humming the tunes and fondly remembering yet another classic melody. Of special note, at the Overture, Entr'Acte and Finale Ultimo - the floor of the horseshoe shaped stage at the Beaumont pulled back to fully reveal the faces behind the music. Conductor Ted Sperling received rousing applause each time.

With such tunes as Some Enchanted Evening, There is Nothing Like a Dame, Bali Ha'i, I'm Gonna Wash that Man Right Outa My Hair, Happy Talk, and You've Got to be Carefully Taught - you can't go wrong. With the grander and prestige of Lincoln Center behind you - this just might be the "Best Musical Revival of the Year". We'll have to wait until June to find our for sure. In the meantime, set sail for 66th and Columbus for a premium voyage!

Sunday in the Park with George

Stephen Sondheim wrote what might be his most sophisticated and eloquent music and lyrics to this James Lapine book. This presentation by Roundabout Theater Company is actually the Menier Chocolate Factory's production straight off a smash hit run on the West End in London. It's a brilliant, elegant, and magical experience. Sam Buntrock's direction and Christopher Gattelli's musical staging make the evening unfold effortlessly as the George Seurat's "new" style of painting - pointillism -comes to life "bit by bit" on a stage presented as the canvas.

The cast is mostly from England with a few "local" replacements. Daniel Evans portrays George in both acts superbly. In one of Sondheim's more memorable numbers from the show, Putting it Together, George reminds us "Art isn't easy". And neither is this production. You can tell there was a great deal of technical precision required in this show. The bare white stage is bathed in video making it appear, among many things, a full scale vision of Seurat's painting "A Sunday Afternoon on the Island of La Grande Jatte".

Act I takes place on a series of Sundays from 1884 to 1886 both in the the park and George's studio. Act II shuttles us forward 100 years to 1984 at an American art museum and then back on the park. What's changed in these 100 years? What is art all about? How does art get made? What does art mean to the artist? What is the legacy of an artist? This story is one very clever and poignant version of the answers to these very questions.

"Having just a vision's no solution"

"Everything depends on execution"

"Putting it together, that's what counts"

Don a parasol, stoll over to Studio 54, and see some Art! Its well put-together!

Cry Baby

James Synder - you ROCK. Well, more importantly - the entire cast ROCKS! Cry Baby, the latest new musical to arrive on the scene at New York's Marriott Marquis Theater threatens to rock the town to the bedrock. Cry Baby is a musical (Book by Mark O'Donnell and Thomas Meehan, Songs by David Javerbaum and Adam Schlesinger) based on the film of the same name which was written and directed by John Waters. Needless to say, there are some boundaries to be pushed.

First and foremost - the entire cast simply rocks the house from the opening number to the final ultimo. No stage is better equipped to fly in and out the dazzling sets to support all the toe tappin' numbers. Dancing, dancing, and more dancing. That ensemble couldn't have kicked higher and tapped harder. Speaking of hard... those dancing boys had rock hard kick ass bods literally dripping with sweat and oozing sex. Someone bring me a glass of cold water! Wow-za!

I think the critics will say - it's a musical without it's own identity. It doesn't seem to have any memorable numbers - even though each of the numbers is a toe-tapping Broadway delight. It's sort of a mix between Grease and Oklahoma; between Hairspray and Spring Awakening; between The Music Man and Jersey Boys - - I think you get the idea. It's classically structured - two romantic leads, two comedic leads with a chorus of talented actors. The story itself is a contrast between the "good kids" and the "bad kids". So hence you get both worlds colliding on stage - A barber shop quartet followed by a James Brown-esque rock number followed by a West Side Story dance number. This one has it all. Time will only tell if it has the staying power to keep all those things alive under it's own unique brand.

All this typing and I have not gotten to one of the best parts - Harriet Harris! She's a delight as Mrs. Vernon-Wiliams and the proof of her love from the audience is her complete butchering of a musical number which still gets raucous applause! She's a comedic genius - ala Lucille Ball or Ethel Mertz!

Onto the young ones (most everyone else is!). Christopher Hanke makes the cute preppy boy, Baldwin, come alive - almost walking on air in those Sperry's. James Synder as Cry Baby, commands the stage in his Broadway debut. I'd love a pair of those painted on Jeans. Fierce! Dupree, a "what James Brown might have been like as a kid" character is played brilliantly by Chester Gregory II. Those shrill ooooh's and aaaahh's get you hootin' and hollerin' every time. Now there are too many ensemble names to mantion here, but this review would not be complete without a mention of the absolutely drop dead gorgeous, uber-talented dancing "bad boy" dancers - Marty Lawson, Charlie Sutton, and Spencer Liff!

Torrents of music - Lynne Shankel took command of the Orchestra from the pit right from the start. Plenty of toe-tapping, bob your head and clap your hands numbers, clever comedy, and no shortage of eye candy will keep the crowds entertained for a while. Swing on by and get your fill!

Vita and Virginia

A truly entertaining and historically educational evening. The play, by Eileen Atkins, is presented as a reading - since the basis for the entire play is the correspondence that was exchanged over 20 years starting in the 1920's between Vita Sackville-West and Virginia Woolf.

The two revealed their relationship over the course of the evening - the love of their art, their passions, as well as their love of each other. Given the time period, it was not at all acceptable to be "out" so they expressed their emotions and love and relationship mostly via their written correspondence. Their face-to-face visits were few and far between.

At this performance (the reason I attended) the role of Virginia Woolf, normally played by Kathleen Chalfant, was performed by the delightful Frances Sternhagen (i'm a big fan!). The role of Vita is played, quite eloquently by Patricia Elliott.

The reading format made sense. The time, a bit long, (over 2 hours in two acts), never felt dull despite the lack of "action" on stage. The two actresses lock you into their story and don't let you go until it ends - taking you on Virginia's wild emotional journey as well as Vita's world-wide travels with her ambassador husband. Virginia is only supposed to be 10 years older than Vita, so the visual disparity in ages between Frances and Patricia seemed odd, but it was dwarfed by the fine interpretation and performances.

Truly a treat at the Zipper Theatre (read - DUMP)!

Fabulous Divas of Broadway

Alan Palmer: Performer, Author, Director - - what more could he do? Well, he was not the only man on stage. Aside from the audience members occasionally called up to play along, he did have an aptly skilled accompanist - Curtis Jerome. Everyone knows I am not a fan at all of "interactive" elements of shows. So the "Name that Diva" game show sketch didn't thrill me and the Mad-Libs routine required the audience to try and think about verbs and adjectives. As you could imagine, that was a rough spot (what is a verb, honey?). The limit to my interaction reached it's max with the totally terrific, truly amazing "Ring Them Bells" (thankfully from your seat) routine. (That's Liza Minnelli, of course).

It's not a drag show (although there's plenty of drag to go around). It's not diva impersonations, but rather diva impressions - - the impressions Alan claims these women all had on his life and career. He cycles through many. He seems to be a talented tenor, but he's by no means an expert on all of them and at time his voice seemed to agree - but he does leave you with a delightful taste of each of them.

The dresses and wigs really did the trick. With so many divas to cycle through, without such good costumes it might have been nothing more than a marginal attempt at the divas. Betty Buckley wins my best costume award. Was that really Carol Channing on stage "schinging"? Did Ethel Merman belt out a tune from the grave? Was Christine Ebersole really up there in her revolutionary costume of the day? And the list goes on and on. Huddled behind a small dressing screen on stage while he was changing each costume, he regaled us with a story that introduced the next diva. There were quite a few to visit, and thanks to his speed and enthusiasm, it didn't become the race against the clock it could have become.

Check out Alan Palmer on West 46th Street at the St. Luke's Theatre - pick your favorite diva from the gaggle.

Talk Show Confidential

Most of the people reading this probably grew up watching Bill Boggs on TV. I remember Midday with Bill Boggs on Channel 5. And I was actually shocked to hear that his run on the Food Network was over 10 years! Corner Table with Bill Boggs. Wow.

This one man walk down memory lane was a treat at the Triad Theater. Bill Boggs, a 4 time Emmy Award Winner, estimates that over his entire career he has interviewed over 6000 people. That's up there! He's in his 60's now - and looks damn good. But the show, which splices in video clips, brings you back to many of his live TV days where he was one of the sexiest men on TV! And boy, has he interviewed the great ones. And if you didn't already know, he takes credit for inventing his trademark format - the talk show where the host and the guest are both eating!

Filled with memories, back-stories, and a little gossip - Bill Boggs makes a sentimental debut on stage!

The Four of Us

Itamar Moses (Bach in Leipzig) might just be the "it" boy of up-and-coming young playwrights. He's got a depth and emotional connection to the characters he pens that is not often seen today. The Four of Us is ironically about half of that number - just two. Being successful and less than 30 himself, Moses just might have the inside track as to how money and fame affects friendships and the creative process of young artists.

Gideon Banner (Benjamin) and Mickael Esper (David) are both young artists who meet at a music camp when they are a mere 17 years old. They form a bond that endures, at times awkwardly, throughout their college and early professional careers. Ben rockets to fame just after college with his first novel. David struggles with finding his voice. Moses takes us on cleverly-conceived forward and backward tour of the evolution of their evolving friendship. Their awkward relationship endures over the years via phone calls, trips, and long awkward talks. It's about 3/4 through the play that we are slapped with a scene that turns your perspective inside out about the two characters. A clever theatrical device that leaves you questioning the entire relationship and both of the young men entirely. What was reality? What was the play?
The Four of Us is a poignant new play about friendship and memory, the gap between our stories and our lives, and what happens when your dreams come true -- for your best friend.
So take your best friend over to Stage II at the Manhattan Theater Club and see these two talented young actors battle it out over life, love, success, and friendship.

Crimes of the Heart

Beth Henley, the Pulitzer prize winning playwright brought us Crimes of the Heart in 1979. Roundabout Theater Company brought it to us briefly in 1980 in a limited run. It enjoyed a substantial Broadway run at the John Golden Theater in 1981. Most of us don't remember any of that, but do recall the 1986 film adaptation staring Diane Keaton, Jessica Lange, and Sissy Spacek.

Well, none of them were here this time around. Kathleen Turner makes her directorial debut toiling over relative stage newcomers Jennifer Dundas (Arcadia), Lily Rabe (Heartbreak House, Steal Magnolias) and Sarah Paulson (Glass Menagerie, The Sisters Rosensweig).

The story comes across a bit dated (circa 1974, Hazelhurst, Mississippi). The southern were accents a bit over-done, and the overall premise, aside from the black comedy aspects, a tad bit dumb. Many may remember the movie having more off-beat characters. Not found here. One bright spot in the play was the above average performance by Jennifer Dundas. Unlike her two other sisters, she delivered a believable and empathetic performance.
Stick with the movie and let's wait for Kathleen Turner to sink her chops into some better material next time!

ArtFuckers

Five self absorbed, mis-treated, overly egotistical, young, soul searching, shallow, moderately talented Gen Y'ers grace the stage at DR2 in ArtFuckers. The play, by Michael Domitrovich, gives us a glance into the Paris Hilton-like lifestyle. Daddy or Mommy was rich and famous, had money, and raised (or more likely failed to raise) a gaggle of directionless brats.

Ok, so that's the story - -let's not confuse the story with the actors because they certainly did a pretty decent job of playing the part. I mean how hard could it be to play someone maybe even a little like who you are - or maybe who you would like to be?!

Fueled by an overdose of every single lettered name street drug (and then some)- The ever-paranoid Owen (Will Janowitz) engages in various flashbacks and therapy scenes with his so-called friends - Bella, his fashion model girlfriend (Nicole LaLiberte), Max, his uber-gay fashion designer friend (Tuomas Hiltunen), Maggie, his uber-dominant phony publicist friend (Jessica Kaye), and Trevor, his wildly sexy and (unfortunately) straight DJ friend (Asher Grodman).

The actors get a B-Plus on execution. The story, more like a C-Minus. Too long. Plenty of room to reign this baby in under 2 hours. Seemed a bit over-told and over-dramatized. Don't get me wrong - I'd have taken any number of additional scenes where Asher Grodman (*sigh*)had his shirt and pants off, which frankly would have been right in line with the intended overall story - about irresponsible youth, brash, cocky, and bold kids in the (art) world today.

Passing Strange

The latest resident at the Belasco Theater is unabashedly an un-broadway un-musical; Passing Strange: A New Musical. Sounds like a recipe for disaster, at first glance. Part rock concert, part rock opera, part comedy, part drama, part performance art, Passing Strange, however, uniquely crafts all those elements into one thoroughly entertaining theatrical experience.

It's the semi-autobiographical experience of the star and creator of the show, Stew. He's the narrator, the rock-band leader, and the storyline itself. In just under 2 1/2 hours, we follow one man's journey growing up black in LA, his escape to Europe, searching and struggling for who he is and what skin he is comfortable living in. It's about the parent child relationship - and the lessons we often learn too late in life. It's about searching for the elusive "real". It's about art and life and where the two diverge... and where they collide.
The cast is a bubbling cauldron of young, hot talent (and by hot, i mean smokin' hot!) - Daniel Breaker (the young Stew), De'Adre Aziza, Eisa Davis (Mother), Colman Domingo, Rebecca Naomi Jones and last but certainly not least, Chad Goodridge (when i say smokin' hot - I mean Chad please step to the front of the class!).

Stew narrates the show from center stage all the while playing his guitar, leading the surrounding band strategically placed on stage with him which includes musical co-creator Heidi Rodenwald.

There are no elaborate sets or scenery - unless you count the visually stunning Tony Award deserving wall of lights - which is unveiled as the young man lands in Europe where he begins his journey stumbling into love, sex, drugs, art, family, and plenty of music along the way.

Stew takes us on a journey unlike any other yet seen on Broadway. Hair may have been the original ground breaking musical, Rent and Spring Awakening did indeed take their place in the evolution of the American musical, and now Passing Strange is here now and is ready to sweep us up on a magical journey.

Don't miss the bus!

Beebo Brinker Chronicles

Combine the mystique of a film noir, a repressed lesbian love affair from the 1950's, a jilted young husband, a young, swaggering, confident, brash, and boyish looking gal named Beebo Brinker, a 40 something gay man from Greenwich Village, and a trashy romance novel author - and you have this fantastic production running at 37 Arts right now.

At times, I felt harkened back to Julianne Moore's story in The Hours - her longing for the unspeakable, her trying to confide in a neighbor (Toni Collette), both of them paralyzed by their time and their culture.

The ensemble cast is fantastic. Jenn Colella (High Fidelity, Urban Cowboy) headlines as Beebo Brinker, but the stage was mostly dominated by Beth and Marcie (Autumn Dornfeld and Carolyn Baeumler), the equally jilted and repressed lovers. David Greenspan plays the mysteriously fabulous older gay man superbly - and to many a laugh.

These gals bring new life to the trashy romance novel - and do so with a lesbian twist. Fans of today's The L Word - beware. You've got some new completion on stage from a bygone era.

Grace

Simply stated: Outstanding. The writing (Mick Gordon and AC Grayling)... the performance... basically the entire kit and kabodle. Top Notch. Grace gets my vote for most thought provoking play of the year.

Lynn Redgrave and the entire cast - Philip Goodwin, Oscar Isaac, and K.K. Moggie put on a stellar performance literally 10 seconds before the lights to up (Lynn has a line in the dark!) to the moment they came out for a bow. Simply stated: Suburb!

Without being overly preachy (despite the fact that we were being literally lectured to) this play presents compelling arguments for and against religion. Go see it and you can decide for yourself how you feel.

Just don't let the pope tell you what to think beforehand.

Parlour Song

The delicious Jonathan Cake was, to me, the star of the show. The restless and mysterious neighbor Dale, the villain, the foil, a victim of sorts. OK, who are we kidding - he stood downstage right - front and center - in his sexy H&M box cut undies showing off his uber-gorgeous bod. OK, moving on...

The acting was top notch all around. You should expect nothing less from the Atlantic. Chris Bauer and Emily Mortimer (Ned and Joy) round out the cast of 3 in this dramatic work. The story is a multi-level piece. It takes place in the here and now - the present - the literal, but the undertones of the abstract, of pent-up frustration, of insanity and regret clearly being communicated at the same time.

Instead of my telling you about it - why don't you watch the playwright, Jez Butterworth and the director, Neil Pepe along with the cast tell you in their own words. Check out the video from the Atlantic Theater Company:

On The Rocks

The delicious Danny Leary and his cabaret show -aptly titled On the Rocks with Danny Leary. He's bringing back '80 style fun and frolicking on stage - attracting a potpouri of musical and comic talent! Danny, not only are you delicions, you ROCK!

One of my favorite acts at this week's show, Stone and Stone. But here's a video of my very adorable and funny friend, the reason i went in the first place, H. Alan Scott.