Ryan Leeds

Hospitable Gents: An Interview with Jim Burba and Bob Hayes

Jim Burba and Bob Hayes might not have the same name recognition as Ellen Degeneres, Elton John, Tom Ford, or Neil Patrick Harris, but they share a common thread: They have all been listed as one of 20 “Power Couples to Know” by Out Magazine’s print and online platforms. 2015 marks the third year that Burba and Hayes have made the list and while neither of them are hosting a daytime talk show, singing good-bye to the yellow brick road, designing handbags, or being referred to as “Doogie Howser”, the pair have earned the honor by making a profound and indelible mark in their industry and within their local community.

As co-founders of the Burba Hayes Network (BHN) in Orange County California, the business couple, who wed in 2014 after 24 years of courtship, develop and produce “must attend” global conferences for the hotel and tourism industry. Here, C-level hotel investment executives can gather to network and learn about the latest industry trends.

Since its inception 15 years ago, they have demonstrated their unwavering philosophy of giving back through their events with over $14,000,000 of contributions for scholarships, research, and program development for the hotel industry.

The indefatigable duo have broadened their scope past hotels, however, Currently, they are hard at work on their first publishing deal, producing another Hollywood film, and co-producing an Off-Broadway show that plans to splash onto Broadway early next year.

Manhattan Digest recently spoke with them to discuss their nearly finished book, the qualities of leadership, sexuality in the corporate world, and why time and participation can be more valuable to charity than money.

MD: Tell me a bit about the book you’re writing.

Bob: The book is called “Smart Partners” and it will talk about lessons we have learned in our long term business partnership as well as in our life partnership. We’ve discovered principles that guide us in both journeys. It also incorporates ideas and thoughts from colleagues of ours and other “celebrity couples” who have taken a similar journey. We’ve tried to weave their stories into ours.

Jim: It’s not a “how to” business book, but rather what we’ve done, how we did it, and what we’ve learned. The more we started talking to other business partners, the more we found out that they are the lessons nearly everyone in business has learned.

MD: Did either of you have positions of leadership before starting BHN?

Jim: I was a partner in an attorney firm and an executive in businesses along the way. I also ran my own consulting firm.

Bob: I was a random employee I guess you could say. I was a management analyst in city government. I sold real estate.I did design. Really I was just trying to find the place where I’d be the most productive and then Jim dragged me into his world– and it worked!(laughs). It’s been working for 15 years now.

MD: You really built the company from the ground up then, right?

Jim: Yes. It started with the two of us and we barely made payroll. The first year was tenuous, but we made it.

Bob: We began in 2000 and the first big event that we held was in January 2002, months after September 11th. That first program launched but it was put together at a difficult time because most people weren’t even thinking of traveling or investing.

MD: Well, you’ve obviously done very well since then. What are the key qualities you look for both in yourselves and in your employees?

Bob: The desire and willingness to “go all in” is very important-meaning that you commit to what you are doing. I think that is one of the reasons we’ve been so successful.

Jim: In our own way, we are perfectionists. The product we produce is better and I don’t say that lightly. We works really hard on the quality of our programs and we believe that we have a corporate social responsibility.

Bob: Integrity is also a big thing. We’re known as people who have integrity and we do everything we can to preserve that. We don’t place ourselves in situations where that integrity is compromised. We go about our business transparently so everyone knows what they’re going to get and everyone gets the same things. We like to say that we’re like Switzerland. We don’t take sides and we don’t prefer one over the other. It creates a level of trust that is very important. Once you give your integrity away, you de-value what you have and it’s hard to get that value back. When you start cutting corners, the value of your business model goes down.

Jim: We will walk away from money if it comes with strings attached and we can’t offer those strings to everybody. In that way, we’re very democratic.

MD: Your prevalent theme is “giving back.” How do you think small businesses or individuals who aren’t as financially equipped can give back in a philanthropic or charitable sense?

Bob: It’s not just about money. It’s about getting involved. They need participation and promotion and people who care about the mission and their community. That is even a better way

Jim: We support http://www.youthcareerinitiative.org/ which was started by Prince Charles. They go into impoverished neighborhoods and find kinds who have little luck of getting out of poverty. They take them to hotels that will take them in for a 6 month internship and teach them life skills. 90 plus percent end up with jobs after 6 months. We do more than give them money, though. We are “mouthy” and we talk about it, so it’s a matter of using our platform we to give these kids something that they never had. That is something that is greater than just writing checks.

MD: Have you ever faced discrimination in a workplace because of your sexuality?

Bob: We never made our sexual orientation an issue. We’re kind of “matter of fact” about it, but we don’t shove it in people’s faces. Maybe people respect that because we aren’t forcing anyone to make a moral decision based on their beliefs. We’re just here and we are who we are. We also have a sense of freedom in having our own business too.

MD: A big deal was made when Apple CEO Tim Cook came out because that was a great stride for the corporate world. There still are not alot of openly gay CEOs. Why do you think there is not more openness at that level?

Bob: We wrote a story about that. And yes, there are a lot of them. I think, perhaps, they don’t want that topic to become the topic for their companies. A lot of them work at public companies and they don’t want that distraction. Or it could just be that, like us, they don’t want to make a big deal about it. It just is. We’re not out there saying, “Hey everybody! Look at us! We’re gay!”, but if someone asks us, of course we don’t hide it.

Jim: I think as time goes on, you’ll see more CEOs step up and step out.

MD: Do you consider yourselves LGBT advocates, activists, spokespeople, all or none of the above?

Bob: I don’t think we’re spokespeople, but we are advocates. We won’t stand on the cormer and wave flags and banners. But people have come up to us and thanked us, though, for talking about it and for being visible. They thank us for speaking out just by example.

MD: Let’s switch gears to Seth Rudestky and Jack Plotnick’s Disaster! The Musical. That was a huge hit Off Broadway and as co-producers, you’re bringing it to Broadway. What is the status of that project?

Bob: We’re still on track. Talks are going well and we’re looking at early 2016. We just need to determine the theater. We have to find one that fits the show, the timing, and the talent schedule, so it’s a bit of a puzzle piece.

Poster from the Broadway Bound "Disaster! The Musical" — Poster from the Broadway Bound “Disaster! The Musical”

MD: You’ve mentioned in the past that you both have a full plate but always leave room for a few bites. What “bites” are you working on now?

Bob: Well, we have another film project coming up and have just signed a pretty well known actor to the deal. (At the time of writing, the actor couldn’t be revealed). That will start shooting this October. Just two days ago, we met with a production company for a TV show based on a concept we developed a few years ago, so that is in the works.

MD: Do you ever feel as though you bite off more than you can chew?

Bob: (Laughs) Yes! Sometimes we look at one another and shake our heads asking, “What did we just do!” But, we’re having the time of our lives and we’re not ready to slow down. If we think a project is valuable, we do it. It seems like the more we have to do, the more we can do. And we have a great team here at the office. We couldn’t do what we do without them.

To keep up with Jim and Bob’s latest endeavors and events, visit their website: http://www.burbahayes.com/

Much Ado at the McKittrick

by Ryan Leeds

Outdoor summer movies for New Yorkers have become as ritualistic as cross-fit and craft brew pubs. In parks, on roofs, and around outdoor spots within the five boroughs, cinephiles jockey for blanket space and pre movie picnicking–at least until the beginning of September when most festivals dismantle their screens.

Gallow Green offers a delicious all you can eat brunch in a scenic and stunning setting. Photo courtesy of O&M.

For the fortunate few, there is still time to catch a cool breeze and flick atop the McKittrick Hotel. Since July 14th, the hip Chelsea joint has joined forces with comedienne Amy Poehler to screen some of her favorite films including The Jerk, Sixteen Candles, and To Kill A Mockingbird.

Upcoming films through the end of September include The Apartment, Hannah and Her Sisters, and Rosemary’s Baby, each film running for a week at a time.

There are only about 30 seats per viewing in the intimate, private garden space called The Farm and each $20 ticket entitles guests to a complimentary bag of popcorn and the hotel’s signature, vodka based cocktail-“Sleep No More” -named for their ongoing immersive theater production. Folks can settle into canvas Cabana chairs and enjoy Poehler’s curated classics with huge projection and quality sound. One might be wise to bring a light jacket, a sweater or a cuddly lover as the evening air can turn a tad brisk.

When the film festival was announced at the beginning of July, it sold out in a day, but the hotel’s website encourages email sign-up to those wanting information on future screenings.

Live performances and fine dining are commonplace at The Heath. Photo courtesy of O&M.

Still, there is plenty more to do at the fictitious hotel that subtly tips its hat to Hitchcock. Besides The Farm is Gallow Green, offering a full bar with stellar city views and an all you can eat weekend buffet through October. More dining, drinks, and live entertainment can be found at The Heath and The Manderley, and with Halloween just around the corner, there is hardly a better time for the spooky and intoxicating Sleep No More, an immersive interpretation of Shakespeare’s Macbeth, performed by the British Theater company, Punchdrunk.

For more information about the McKittrick, visit:http://www.mckittrickhotel.com/

Theater Review: IN BED WITH ROY COHN

by Ryan Leeds

A riddle: What do you get when you cross Ronald Reagan, Barbara Walters, Roy Cohn’s mother, Julius Rosenberg, random appearances by a stuffed frog, a Latina caregiver, a cameo from Richard Nixon and a African-American Adonis named “Serge?” If anyone can offer an accurate guess, please contact me. After sitting through a painful 90 minutes of the new Off-Broadway play In Bed With Roy Cohn, I’m not sure that even its playwright Joan Beber nor her director, Katrin Hilbe have the answer to this brainteaser.

Cohn (Christopher Daftsios) was a prominent, Manhattan lawyer who made his mark during Senator Joe McCarthy’s witch hunt into US Communist activity in the 1950s. Later, he represented prolific mafia figures, Steve Rubell and Ian Schrager of the famed Studio 54, and even real estate mogul slash current GOP rabble-rouser Donald Trump. Cohn’s brash, pit bull style made him one of the most feared and despised figures in legal and social realms of the eighties. Self loathing and egomania guided his contempt towards fellow Jews and homosexuals and he died of AIDS in 1986 (his closeted nature forced him to deny the diagnosis to his dying day.)

In Bed With Roy Cohn chronicles the last days of Cohn’s life. Personalities appear in his state of dementia and deliver various lines of non-cohesive gibberish, making it nearly impossible to form a collective picture of its subject. You’ll understand who this complex personality was with a little internet research or by watching Tony Kushner’s masterpiece, Angels In America. But with all the mishegas in this show, you’ll have no idea whether you’re seeing a piece on Roy Cohn or Roy Rogers.

God bless the cast, though. They are doing their best to scoop water from this inevitable Titanic and they all deserve better material. Near her demise, Cohn’s mother (Marilyn Sokol) laments, “I have no story”- a line that generally summarizes the whole messy bed. I really thought that Doctor Zhivago would walk off with the prize of being the worst theatrical experience of 2015, but my vote was premature: In Bed With Roy Cohn currently holds that title.

In Bed With Roy Cohn is now playing on Theater Row (W. 42nd between 9th and 10th avenues). For tickets and more information, visit http://www.inbedwithroycohn.com

Theater Reviews: KNOTS and MAGIC TRICK

by Ryan Leeds

Those dog days of summer are finally here. You know…The time of year when we stroll longer in the park, sip white wine in an al fresco setting, or take in a smidgen of kink and beg for burlesque? Alright, maybe the latter is reserved for those seeking an outlet for a somewhat naughty escape. If that’s the case, the season’s end might bring a devilish smile to your face with two adult theatrical offerings.

Yamadera Productions’ psychological one-act, Knots recently ended a successful run at the NY Fringe festival. The three character play, written by Jean-Daniel Noland, invites us to explore the meaning of life’s loose ends and the figurative and literal bounds we set within ourselves and our relationships. Noland’s script, under the excellent direction of Adam LeGrant, is well researched and convincingly executed by a strong cast, though it does occasionally waver into the zone of pretension.

Marc La Vasseuer (Man), opens the piece by talking with his therapist, Kevin Kilner (The Doctor) about his childhood trauma of being tied to a persimmon tree by his mother, Lucy Lavely (Mother/Woman). The Man carries his memory of bondage into a relationship he forms with a waitress, also played by Lavely. The two have an electric connection until his obsession becomes relentless. Noland’s device of using non-specific names for his characters serves the play well, as it broadens the scope to a universal, “everyman” level.

There is definite, dangerous fire in Knots and the cast does a fine job of keeping the action ablaze. One wishes that Noland’s characters wouldn’t focus so much on the history lesson of various knots and other superfluous historical trivia. Conversationally, it seems to be a stretch for even the most academic individuals. Still, Noland’s script is generally (no pun intended) tightly woven and offers dark and delicious delicacies sure to satisfy the dark corners of the mind.

Kim Gainer and Chet Siegel in MAGIC TRICK. Photo courtesy of Kacey Stamats

At Theater Row, an audacious and engaging work, Magic Trick, is being presented by Caps Lock Theatre Company. Mariah MacCarthy’s play focuses on Bana (Chet Siegel), a paraplegic who finds herself caught in the complexities of a relationship with her boyfriend Eric (Ethan Hova), and a burlesque dancer named Clara (Kim Gainer).

The two and one half hour story is woven together in non-linear segments and as the action unravels, we soon learn that Bana is lacking integrity with nearly everyone close to her. Meanwhile, both of her love interests are left trying to piece together the remnants of her emotional baggage.

Clara, played with laser sharp sexiness by Gainer, convinces Bana to try Burlesque dancing. The pair create “The Medicine Show”, dubbing themselves Foxy Cotton and Clara Tin. The result is an energetic, bawdy, and amusing dance number that elicits a rousing cheer from the audience. Siegel and Gainer are a perfect combination and their chemistry-both in this number and throughout the play- is erotic and endearing. Hova also brings a smoldering allure into the trio as the jilted lover and Gina Doherty delivers some sass to the mix as the stage kitten.

Chet Siegel and Ethan Hova in MAGIC TRICK. Photo courtesy of Kacey Stamats

Tim McMath’s versatile and effective set design creates a moody atmosphere as an apartment, bar, and burlesque stage and Lois Catanzaro’s lighting adds mercurial emotion to the libidinous affairs.

From the synopsis, it sounds like Magic Trick couldn’t possibly work: A bi-sexual love triangle about a wheelchair bound girl, her hunky boyfriend, and a burlesque dancer ? And tickets are how much? Yet thanks to MacCarthy’s knack for creating authentic dialogue for her characters, the piece is hugely successful. I might suggest some occasional edits, as I did find myself checking my watch near the end but as a whole, Magic Trick is impressive, thoughtful, and worthwhile theater.

Knots finished a sold-out run at the NY fringe festival on Saturday August 29th. More information can be found at http://www.knotstheplay.com/

Magic Trick is currently playing on Theater Row (W. 42nd between 9th and 10th avenues) through September 12th. For tickets and information, visit: http://capslocktheatre.com/

Theater Reviews: RED VELVET & MOTHER OF THE MAID

by Ryan Leeds

I don’t know your life. I’m not pretending to be omniscient nor do I mean to minimize your issues, but I can hedge a pretty safe bet that your personal problems will dwarf in the shadows of Ira Aldridge and Isabelle Arc. These historical figures are the subjects of two productions, Red Velvet and Mother of the Maid, currently running at Shakespeare and Company in Massachusetts’ culture rich Berkshires.

John Douglas Thompson in RED VELVET. Photo by Enrico Spada.

Lolita Chakrabarti’s Red Velvet tells the story of Aldridge (John Douglas Thompson), a well-known 19th century actor who made his mark playing classical roles throughout Europe. When esteemed actor Edmund Keane falls ill at London’s Covent garden while playing Othello, Aldridge is summoned as a replacement. Pierre Laporte (Joe Tapper), the company manager is quick to suggest Aldridge. What he fails to tell the acting troupe is that Aldridge is African-American. Laporte, an upbeat optimist, thinks nothing of it. However, Keane’s cast is unjustifiably unsettled by the new actor. Facing even further opposition, Aldridge must endure theater critics who judge him based more on his physical appearance than the quality of his work. In spite of audience approval, the theater board is tasked with a challenging decision to keep or remove their new replacement. Aldridge is also suspected of dalliances with his co-star, Ellen Tree (Kelley Curran), further adding to his challenges.

Joe Tapper and John Douglas Thompson in RED VELVET.Photo by Enrico Spada.

Told with the theatrical device of a flashback, Chakrabarti’s script maintains a vitality throughout. It would be easy to single out Thompson for his gripping portrayal, as this Obie award winner leaves an indelible stamp on every role he assumes. Red Velvet is no exception. Yet his fellow actors enhance this play to new heights that strike the perfect balance between intellect and emotion. Director Daniela Varon and her team deserve a standing ovation for mounting this important work that will hopefully transfer to the New York stage. At one point, Ira describes the potency of drama, “That’s the beauty of theatre…it’s about getting under your skin.” Based on that criteria, Red Velvet triumphs.

On the opposite side of the Shakespeare and company campus, a mother is wringing her hands and scrutinizing over her faith in Jane Anderson’s Mother of the Maid. Isabelle Arc (Tina Packer) is a steadfast woman of faith who finds herself in complete dilemma over her French peasant daughter Joan’s (Anne Troup) decision to fight against England in the hundred years’ war. Joan finds the inspiration after continuous conversations and visions from Saint Catherine (Bridget Saracino). Neither Isabelle nor her already cantankerous husband, Jacques (Nigel Gore) approve proclaiming, “You’re a stubborn, reckless girl and you have no idea what you are doing.”

Anne Troup and Tina Packer in MOTHER OF THE MAID. Photo by Enrico Spada.

Joan of Arc’s 15^th century story has been told countless times in various media outlets and the tragic ending of Joan’s life is not a spoiler alert, but Anderson’s contemporary approach to the material is edgy, innovative, and thoroughly affecting. Anderson, an Emmy award-winning writer, has so deeply cut to the core of parenthood that even those without children will be left in a state of moving reflection. A particularly profound moment comes when Isabelle explains the role of motherhood to the Lady of King Charles’ court (Elizabeth Aspenlieder) : “You don’t know her. You never cleaned her nose or wiped her bum or picked the knots out of her hair,” she begins, and ends with a declaration: “You never knew her restlessness and you don’t know her fear. My child is so afraid.” Enter Kleenex.

Like Red Velvet, the company is blessed to have a “rockstar” leading actor, this time with Shakespeare & Company’s founder Tina Packer in the role of Isabel, but she is not tasked with the burden of carrying the play. Often with well-known stories from history, interpretations can become too mawkish and hokey. With Anderson’s script and Matthew Penn’s compassionate guidance, the whole ensemble unites with sympathetic and deeply felt story that will shine new light into the soul.

In addition to the two works reviewed, many other events have shaped the season at Shakespeare and Company. Within the last few weeks, they closed a marvelous compilation of Shakespeare’s works called Shakespeare and the Language that Shaped a World which ran in their charming outdoor theater. Another outdoor production, Hamlet, was staged in the on the bucolic grounds of the nearby Edith Wharton home. A truncated version of The Comedy of Errors was met with much critical acclaim before ending its run on August 23^rd.

Those in the mood for a cerebral comedy still have time to catch Yasmina Reza’s two hander, The Unexpected Guest, along with Red Velvet and Mother of the Maid.

For tickets and information to Shakespeare and Company, visit their website http://www.shakespeare.org/Better yet, get out of New York for a spell and discover this gem (and the beautiful Berkshires) for yourself.

Pops Goes to Queens-el: Sutton Foster and Pink Martini kick off the NY Pops Summer Series

by Ryan Leeds

The din of commercial airliners, normally an everyday occurrence for Queens residents, will be replaced by lush orchestral tones this Thursday and Friday night, August 6th and 7th, as the NY Pops make their debut at the Forrest Hills Stadium.

Photo: The New York Pops One Night Only: Sutton Foster Steven Reineke, Music Director & Conductor Sutton Foster, Guest Artist Joshua Henry, Special Guest Megan McGinnis, Special Guest Concert photographed: Friday, March 13, 2015; 8:00 PM at Isaac Stern Auditorium at Carnegie Hall; Photograph: © 2015 Richard Termine PHOTO CREDIT - Richard Termine — Photo: The New York Pops
Steven Reineke, Music Director & Conductor
Sutton Foster, Guest Artist
PHOTO CREDIT – Richard Termine

Two time Tony Award winner Sutton Foster ,who played a sold-out concert with the Pops earlier this year, will return to the famed venue on Thursday evening. On Friday, the hip, undefinable group Pink Martini will share the stage. Both concerts begin at 7:30 PM.

Steven Reineke, Music Director and Conductor of the NY Pops, is looking forward to both the inagural season and to making the massive Forrest Hills Stadium a summer home for his orchestra. “It’s difficult to get into our concerts at Carnegie Hall; They are all one night only and they all sell out.”,Reineke said. “2800-2900 people get to experience a concert in the Hall. Now we have the opportunity to fit 50,000 people, so we’re loooking forward to bringing something great to Queens and the whole New York Community.”

In addition, the Pops concerts at the Forrest Hills Stadium will feature reduced tickets prices, as well as their “Kids In the Balcony” series. At each concert during their season, 100 free tickets are given to children in various NYC Public schools so they can experience a live orchestral experience at Carnegie Hall. 1,000 free tickets will be distributed at each concert this week. Reineke is especially delighted to welcome back Sutton Foster. “This is one of my favorite concerts we’ve ever put together,” he said. “She is such an incredible talent. Of course, we’ll be doing music from her Broadway career including Anything Goes, Thoroughly Modern Millie (her Tony Award winning shows) and some other Broadway tunes.” He added, “We’ll also include some Americana songs and music that was important to her in her upbringing. It will be similar to the concert that was performed at Carnegie hall, but Sutton has some new ideas up her sleeve.”

The ebullient conductor is also excited about reuniting with Pink Martini, who has worked with the Pops in years past. Reineke lauded praise on the group, observing that “Pink martini is such an eclectic group of musicians. I like working with them with a full symphony orchestra because their arrangements and orchestrations are integrated between their own band and our orchestra. Their music is from so many different parts of the world and is just so fun and lounge-like.” Reineke summarized the experience by concluding,“It’s always a party when Pink Martini is in town! ”

Pink_Martini_1151v1Print-1000x665 — Pink Martini. Photo courtesy of Chris Hornbecker

All 78-80 musicians will take to the stage and Reineke promises that the orchestra will not be a scaled down version. “We’re gonna have our full forces and show everybody what the NY Pops is all about!”

Reineke also touched upon the Queens venue, observing that “New York has not had anything like this in years and we want to make this the Hollywood Bowl of the East Coast,” Acoustically, it will differ a bit from the concert hall setting to which the Pops is accustomed. “There is little amplification in the hall, but in Forrest Hills, we’ll use microphones in order to make the proper mix for the sound.When you have really good sound engineers, as we do, it will sound lush, full, and beautiful.” For decades, the stadium played host to both the US Open and to music icons including Jimi Hendrix, Barbra Streisand, The Beatles, and more. In the mid nineties, it became too costly to maintain and the venue was closed. In 2013, after undergoing a 3MM restoration, it re-opened and has since welcomed Mumford and Sons, ‘Lil Wayne, the Zac Brown Band, Van Morrison, and others.

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06_ThomasLauderdale_PhotoCredit-Autumn_deWilde_30480011_PRINT-1000x990 — Pink Martini’s Thomas Lauderdale. Photo courtesy of Autumn De Wilde

Pink Martini’s founder, Thomas Lauderdale, took some time to speak with Manhattan Digest recently via phone about this week’s concert, his convictions, and what inspires him.

MD: This will be a different concert in the sense that three of Pink Martini’s leading ladies (China Forbes, Storm Large, and Meow Meow) will share the stage at Forrest Hills. What can audiences expect to hear?

TL: It will be a mix of various genres and each of the “three divas” of Pink Martini will bring their own distinct sound.

Storm Large. One of three Pink Martini Divas. Photo courtesy of Autumn De Wilde.

MD: You mentioned in a documentary about the group that “the purpose of music is to sing songs that inspire people, comfort them, help them fall in love, go through a divorce or (jokingly) vacuum.” What are the most unusual or craziest things people have shared with you about what they were doing while listening to Pink Martini?

TL: “Hang on Little Tomato” has become important for a lot of people because it has such an optimistic message of holding on. Whether it is someone who is dying or has a terminal illness or is going through a break-up, it has become an anthem of sorts. Music can be such a comfort in times of crisis.

MD: You also mentioned that the notion of being out and participating in the world is your idea of what life is. What inspires you to be out and actively participating in the world?

TL: Well, in the end, I am really optimistic even though there is a lot to be upset about in modern culture. For example, there’s a loss of grace and a loss of committment to beauty and I think that it has to do with television, computer, and iPhone screens. People are beholden to them and are less and less socialized. They understand less and less how to get along, which I think leads to a lot of problems. This is the reason why there are so many random shootings; People just can’t figure out a way to be hopeful and survive without going crazy. The things that really inspire me are projects that I know can really make a difference. For instance, I sit on the board of the Oregon symphony and I feel like there have points in the last five years where I’ve been helpful to the orchestra by keeping it afloat and watching it succeed. There was a period of time when I was the only board member advocating not to cut the orchestra. I stuck to my guns even though it was an unpopular view, but I was determined. It meant standing up to board members twice my age and standing up to the quote unquote experts and their set of ideas. If I believe that I’m right, I have to stick to it,stand up to them, and not give up solely because it is a lonely and tough fight.

MD: Well, you’re standing by your convictions which is a rare thing in this day and age.

TL: It’s hard, but I think that there is actually a lot of sitting down in our culture. Most people just don’t want to take a tough position because they don’t want to stick out. I feel like it takes an incredibly strong person to stand up when everyone else in the room is against you. It’s a real test to stay loyal when your stance is not popular or prudent.

Another example of that is when we played with the National Symphony in DC last year on September 11th. We performed a song in Arabic with the orchestra. I felt like that was an important thing to do because we didn’t just negate the entire middle east. We found something beautiful and promoted it. Those are the moments that really matter.

China-Forbes-3-_PhotoCredit_Autumn-de-Wilde-1000x1016 — China Forbes, one of three Divas in Pink Martini. Photo curtesy of Autumn De Wilde

MD: Absolutely. Music has such a universal, healing effect which is what makes Pink Martini so special. It’s got such a cool, sophisticated way about it that makes you feel as though everything is going to be all right in the world.

TL: My most favorite aspect of the band that we have a crazy kaleidoscope of an audience which crosses all kinds of demographics. We appeal to conservative people, liberal people, older people, younger people. I’m actually working on a Middle Eastern album that would translate some of our current songs into Arabic. That is kind of thing that interests me in terms of “crossing over” and making the forbidden less forbidden

MD: Well, I’m really looking forward to seeing you and the NY Pops Forrest Hills on August 9th.

TL: It’s going to be a really fun show I think. It has to be larger than life because it is such a big space.

The NY Pops in Concert with Sutton Foster (Thursday August 6th) and Pink Martini (Friday August 7th). For discounted tickets to Foster, visit Goldstar: http://www.goldstar.com/new-york/events/forest-hills-ny/the-new-york-pops-with-sutton-foster-tickets

For discounted tickets to Pink Martini, visit Goldstar: http://www.goldstar.com/new-york/events/forest-hills-ny/the-new-york-pops-with-pink-martini-tickets

For information about the venue, visit http://www.foresthillsstadium.com

10 Years on a Natural Buzz: An Interview with FUERZA BRUTA’s Diqui James

by Ryan Leeds

People don’t often link rain, wind, ropes, treadmills, tribal drums, and overhead plexiglass pools to live theater, but thanks to the ingenuity of Argentinian director Diqui James, all of these elements combine into a 90 minute experience called Fuerza Bruta.

Earlier this month, the show celebrated its’ 10 year global anniversary. During that time, 5 million spectators in over 25 countries and 45 cities experienced this hypnotic jolt to the senses.

Since 2007, New York audiences have flooded the former, cavernous bank space at the Daryl Roth Theater in Union Square to see this non-traditional performance piece. Recently, Fuerza Bruta has added new projections and has teamed with Webster Hall to continue a Friday night dance party immediately following the late night performance.

To describe the production in words is to undermine it, as it is a show that demands participation rather than explanation. Manhattan Digest caught up with co-creator and Artistic Director James to discuss the show’s construct and the the cultural impact it has made around the world.

MD: Where did the idea for this show evolve?

DJ: It’s not easy to understand where the ideas came from, but the initial concept came from wanting the audience “inside” the show and to not use a traditional stage with seating. We wanted it to be more of a street theater or carnival or something celebratory.

MD: As I left the show, I couldn’t stop thinking about some of the scenes, particularly the one where a man is trying to crawl down a huge plastic tube while air is simultaneously being blown up the tube. Where did ideas like that come from?

DJ: (Laughs). We work as a team to make these things happen, but I don’t necessarily think of them as “ideas” so much as “impulses”. Ideas are more intellectual and metaphorical. I just want the audience to experience the action of running and crushing things and going through everything. Maybe now, after 10 years I can say that the world is moving and we have to move with it, but the origin is simply a feeling. It’s not really conceptual or trying to make a specific statement.

MD: Maybe I overthought it then? My interpretation was that the show symbolizes the disorganization and chaos of life, but maybe that was misguided?

DJ: No, No. It can mean something different for everyone, but I believe that if you start to overthink the concept, you lose the feeling. I have a problem when people over-analyze theater and think that it must have intellect and a lot of words. There is too much overthinking and Fuerza Bruta is far away from that. We believe in theater as a big celebration and that is something primitive.

MD: That is really a testament to why it has become such a global phenomenon; It can speak a language without speaking any specific language.

DJ: Yes. And I think that comes from a place of wanting to bridge cultural and economic classes. In Argentina (and around the world, really), we have a lot of differences between those who have money and those who don’t, those who can read and those who can not. From the time I was a teenager, I knew I wanted to do the type of theater that anyone can understand, not just the type that those reading Shakespeare would like. This is why the show has been so successful around the world; we have crossed cultural boundaries. We didn’t think we were doing something exclusively Argentinian when we started. We just thought we were doing something f—-ing crazy that had nothing to do with our country. Whether we are in Japan, Mexico, Korea, or India we see people, for the most part, understand perfectly what the show is all about.

MD: In the 10 years of bringing this show to a global audience, by now you have probably anticipated the audience reaction. Have there been any performances where you’ve been shocked by their reaction in a positive or negative way?

DJ: Not shocked, but there have been challenges. For instance, when we played in China last year, it was the first time that many of them had seen a show that was not Chinese and they didn’t know what to make of it. So we had to add some clues to indicate that it was okay to move and shout and clap. But in places like Argentina or Brazil or here in New York, people don’t really need any explanation to become part of the craziness!

MD: There is a tremendous amount of strength and stamina required by the performers and I’m wondering what training you need in order to be a part of this show?

DJ: Years ago, there wasn’t a culture of being physically fit. Actors were people who just stood on a stage and read lines or appeared in movies. Nowadays, it is hard to find a young actor who is not already physically fit. Everybody takes turns doing all of the roles in the show, so that is a great way to make it fun and keep it fresh for everyone.

MD: The music in the show ranges from a quiet, ethereal calm to tribal, raucous, party music. Where did the musical inspiration come from?

DJ: Gaby Kerpel, the composer, and I have worked together for 25 years. We understand each other. When I first started working with him, our meetings would be 4 hours. Now, we meet for 15 minutes because we just “get” each other. He is really into Native South American music. He works a lot with those sounds. The funny thing is that he is a small, calm guy and I often wonder where he comes up with this crazy music!

MD: What’s next for you and Fuerza Bruta? I assume you’ll continue the NYC show as long as people are coming, but do you have any other projects in the works?

DJ: Oh yes. We are touring this show in Asia, South America, and Europe and at the same, we are developing things for the street and festivals. We have a big outdoor event in Hungary, Budapest during an art and music festival. We are doing a 20 minute outdoor show five times a day. I like the controlled box experience of traditional theater, but I also love to be “out there” and create an atmosphere where people can become involved in all of the craziness! We are talking about some outdoor opportunities here in New York, and I hope that this year it happens.

Fuerza Bruta continues at the Daryl Roth Theatre (101 E. 15th Street). Tickets are available online or at the box office. $20 cash only rush tickets are also available at each performance. For more information, visit: http://www.fuerzabrutaNYC.com. For a sneak peek at the fun, check out: https://www.youtube.com/watch?v=8SvN4miHo3s

Theater Review: RUTHLESS! THE MUSICAL

by Ryan Leeds

It is a herculean task to create a show that maintains a consistent humorous rhythm, but thanks to Joel Paley and Marvin Laird, this effort has not only been achieved; it has surpassed all the standards one expects in a musical comedy.

Ruthless!, which recently opened at the St. Luke’s Theater starts with a ludicrous premise and continues to get even more delicious throughout it’s well crafted, 90 minute duration.

Taking its cues from classic movies like The Bad Seed and Gypsy, Ruthless! tells the story of Tina Denmark (Tori Murray) a precocious elementary school child who is hell-bent on getting the part for the school musical, Pippi in Tahiti. Everyone loves Tina Denmark–or at least that’s what her prim and proper mother, Judy (Kim Maresca) believes. Sylvia St. Croix (Peter Land) , an unscrupulous talent scout (who might be the thinnest and tallest female impersonator to have ever ruled the boards) sweeps in, notices Tina’s incredible skills, and feeds her insatiable urge for stardom. When her dream role goes to Louise Lerman (Tracy Jai Edwards), Tina plots a path to her destruction. A variety of other characters, in true camp fashion, add to the already kooky blend of personalities.

Musical theater queens and nerds probably know that the role of Tina Denmark was originally played by a then unknown Laura Bell Bundy, when the show first bowed Off-Broadway in the early nineties. Brittany Spears and Natalie Portman were also cast as the show’s understudies. The “where are they now” mystery has been solved for the three aforementioned ladies, but it is exciting to see where Murray and Edwards’ careers will take them. Both actors in this current production are wonderfully attuned to deliver the deadpan laughs that the piece demands.

Ruthless! comes complete with Laird’s catchy music, a surprise cameo, and stellar performances under Paley’s direction. But wait! There’s more! Who would have thought that such an over the top comedy could deliver important moral lessons on ego and parenting? Leagues of savvy theater-goers–that’s who. Since the original production, the piece has found a solid fan base, where it continues to be mounted in regional theaters and playhouses around the globe. No doubt that the show’s construction and spirited energy are directly linked to the creative team’s off stage lives . Paley and Laird have been professional and personal partners for 38 years and opening night, they proposed marriage to one another. The only ones plotting destruction at that news is Rick Santorum and his ilk. Sorry, Rick. Love wins.

Where was I? Oh right! The show. Well, the only real question left to ask is this: Is it too unscrupulous to eighty-six someone for a ticket to the summer’s most entertaining stage comedy?

Ruthless! is now playing at St. Luke’s Theater on W. 46th street between 8th and 9th. For tickets, visit the box office or online: https://www.telecharge.com/Off-Broadway/Ruthless-The-Musical/Schedules-Prices

The Bard in the Berks: A Look at Shakespeare & Company

by Ryan Leeds

L-R: Bridget Saracino as Rachel and Tod Randolph as Zelda in THE HOW AND THE WHY. Photo by John Dolan

If your theatrical tastes lean more towards an Elizabethan flavor, there is certainly no shortage of classical options in New York City to satisfy your erudite palette. From the Public Theater’s stagings in Central Park to Riverside’s Park’s abridged version of Henry IV starring Steve Guttenberg (yep–the guy from Three Men and A Baby and Police Academy–really! ) and numerous other companies doing “pop up” versions of Shakespeare throughout the summer, Gotham offers accessible outlets to appreciate the Bard and his ilk.

But let’s be frank: For all of its’ cultural splendor, summers in Manhattan can be a real pain in ye olde derriere. As another wise William (Joel), once observed, “Some folks like to get away, take a holiday from the neighborhood.” Although the Hamptons and Fire Island offer an escape from the metropolitan frazzle, the Berkshires, located in neighboring Massachusetts and Connecticut, provide a perfectly pastoral setting for one of the country’s larger Shakespeare Festivals.

Jonathan Croy in this season's HENRY V.. Photo by John Dolan. — Jonathan Croy in this season’s HENRY V.. Photo by John Dolan.

Tina Packer thought so too. In 1978, the British actor, writer, and director came to America and landed upon novelist Edith Wharton’s estate, the Mount, located in Lenox, MA. With a grant made possible through the Ford Foundation, Packer secured residency and years later, expanded her dream by purchasing a 30 acre home, one mile from the Mount. Currently, the company has three theaters on the property and is home to one of the largest theater-in-education programs in the Northeast. They also boast an intensive actor training program. Packer remains heavily involved as the founding Artistic director, and recently released a book explore the feminine aspects of Shakespeare called “Women of Will.” Later this summer, she will take to the stage in Jane Anderson’s world premiere, Mother of the Maid.

The troupe opened its 2015 season on Memorial Day and will continue though mid-September. Shakespeare & Company continually boasts an impressive line up of stage actors and this summer, they are thrilled to welcome back OBIE Award winning actor John Douglas Thompson, who will star in the Regional Premiere of Red Velvet, a play based on Ira Aldridge, the first African-American actor to play Othello on the English stage. Having seen Thompson in a one-man show based on Louis Armstrong (Satchmo at the Waldorf), and being aware of his acclaimed turn in off-Broadway production of Tamburlaine the Great last fall , it’s a safe bet that audiences are in for another riveting performance. Thompson could probably be cast in any role of a Broadway revival of Moose Murders and turn it into his magnum opus.

John Douglas Thompson in a 2008 production of OTHELLO. Photo by Kevin Sprague

A cerebral drama, The How and The Why, by Sarah Treem, writer of television’s House of Cards and In Treatment continues now through July. Yasmina Reza, the Tony winning creator of Art and God of Carnage will see her 1995 drama brought to life in An Unexpected Man later this month. Those who crave true Shakespearean verse can rush to Henry V and The Comedy of Errors, playing through August. In addition to their fully staged productions, special events, talks, and benefits fill Shakespeare and Company’s already robust calendar of events. Best of all, you needn’t a “borrower nor lender be” to afford any of them! Shakespeare and Company’s affordable ticket pricing allows for Broadway quality at a fraction of the cost.

Interim Managing Director, Stephen D. Ball and Co-Interim directors Jonathan Croy and Ariel Bock are thrilled that box office sales to-date are ahead of last year’s numbers and going strong. “After this tough winter, it is encouraging to see our summer season off to such a terrific start,” Ball said. “We have aggressive and inspiring programs that are being very well received.”

Although the season wraps in September, the Lenox based ensemble hopes to offer year round programming including performances, lectures, actor training, and educational resources.

Olympia Dukakis appeared here in 2013. That's right , folks. She's not afraid to travel outside of Manhattan! Photo by Deborah Feingold. — Olympia Dukakis appeared here in 2013. That’s right , folks. She’s not afraid to travel outside of Manhattan! Photo by Deborah Feingold.

The summer is still young, so point your compass north and take a three-hour jaunt to Shakespeare and Company in the Berkshires. While you’re there, check out the other cultural events that has made this destination a hotspot for the arts. A variety of transportation options are available from New York.

For tickets and more information visit http://www.shakespeare.org or call the box office at (413) 637-3353.

Theater Review: SEAWIFE

by Ryan Leeds

Hemingway, Verne, Melville, and Homer are all highly canonized classic authors with one thing common: they’ve all written books with nautical themes that are assigned to high school and college students all across the country. Trouble is, when any of their great works (The Old Man and The Sea, Twenty Thousand Leagues Under the Sea, Moby Dick, and Odyssey, respectively) are mentioned, it is usually followed by a blank stare, a vague recollection, and/or a quiet, nearly shameful murmuring that the book was studied , but deemed “boring” by the reader.

Thanks to Naked Angels Theater Company and director Liz Carlson, the symbolic ocean tale has been vividly re-imagined and made exceptionally cool in Seawife, a new immersive musical production currently housed at the South Street Seaport Museum.

The Museum, which itself has been revitalized after weathering Hurricane Sandy and economic travails, offers appropriate rustic ambiance to the story of Percy (first portrayed by Tommy Crawford and later by Will Turner), a young boy destined to follow in his father’s footsteps of being a harpooner. Told through the lens of his sidekick, Caldi (Tony Vo), he weaves a riveting tale of swashbuckling as only he can since, “I am bound to it, as I am the only one who knows it.” The show also brilliantly offers a quiet ecological warning about the sea and those who care for it. The lesson invokes thought, but avoids the urge to proselytize.

A wonderfully tuneful folk-rock score accompanies the story including mandolins, banjos, and fiddles. The Lobbyists, a talented group of musicians are featured as both the band and a majority of the cast. Clocking in at over 2 1/2 hours the show occasionally lags, but once this expansively talented troupe begins their next song, all is forgiven. By collaborating with playwright Seth Moore and an imaginative creative team, they have taken what has become a staid genre and given it a hip, fresh, makeover that is as entertaining as the ocean is vast.

SeaWife plays Tuesday through Sunday at 7:00 PM through July 19th, 2015 at the South Street Seaport Museum (213 Water Street, Manhattan) Tickets are $40 and can be purchased at BrownPaperTickets.com For more information about the show and The Lobbyists, visit seawife.org

Ryan Leeds

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