Ryan Leeds

Interview With Sheldon Harnick: A “Fiddler” at the York

It’s not every day that I am presented with the opportunity to connect to Broadway royalty, so when I had the chance to speak with legendary lyricist Sheldon Harnick, I did somersaults and skipped through Times Square singing the well known song “Miracle of Miracles” from his Tony award winning musical Fiddler On the Roof. It confused and confounded tourists and residents alike.

Ok. I’m being slightly hyperbolic. However, this three time Tony award winning master was gracious enough to take time out of his busy schedule to talk to me about his ongoing series at the York Theatre Company, which is celebrating five of his works as part of their Musicals in Mufti line-up. “Mufti” shows are performed minimally in street clothes without being fully staged. Recently, the York produced a world premiere of the revue Sheldon Harnick’s A World to Win and Dragons. This weekend , they will stage Malpractice Makes Perfect (February 14-16th),

followed by his off-Broadway piece Smiling, the Boy Fell Dead (February 21-23rd) and will close the series with a revival of his 1960’s Tenderloin. (March 7-9).

Harnick spoke with me about the series, his experiences with other stage legends, his early days as an aspiring writer, and what advice he could offer to blossoming theater professionals.

RL: How did this Mufti series come into play specifically for your works?

SH: You’d probably have to ask Jim Morgan, who runs the York. All I know is that months and months ago he called me and told me he wanted to do it. What prompted him to do that? I don’t know.

RL: It could be that you are on the heels on your 90th birthday, which is quite exciting.

SH: That’s more than likely. I hadn’t thought of that, but that is more than likely.

RL: Speaking of, you’ll be 90 years old in April and have no signs of slowing down. In fact, from what I understand, you are very hands-on in the process of this mufti series.

SH: That’s right. I’ll be attending as many rehearsals as I can.

RL: So what is your secret to longevity?

SH: I have no secret. I can say that my father looked very young up until the end of his life, so maybe it is something I inherited from him.

RL: Good genes are always key, I suppose

SH: True. Otherwise, I have no secret. When people ask me that, I usually say that I like to walk a lot.

RL: Do you have any brand new projects that you are working on right now?

SH: What I’ve been contemplating lately is a musical about Hawaii. I was reading a book called “Overthrow”, which is about all the countries that our government has helped to overthrow their government. I was impressed by the fact that when we overthrew the Hawaiian government, that our congress apologized to them in the 1920s. I thought that was remarkable. At any rate, I saw a moving film about the subject where the princess at the time was suddenly a princess no longer. So she devoted a large part of her life to trying to get a vote for the Hawaiians. So that material is a possibility because I find the story fascinating.

RL: Would you you write the book, music, and lyrics to this?

SH: I always start out thinking I’ll just do lyrics and sometimes I drift into more than that.

RL: And the upcoming show at the York theatre, Malpractice Makes Perfect, is entirely your show–meaning you did book, music, and lyrics.

SH: True. Although when it started, I had approached several friends with the idea of other people doing book and music and I couldn’t get anybody else interested in it. Since it continued to fascinate me, I thought I’d just take a crack at it myself.

RL: Is this a debut for Malpractice Makes Perfect or has it been done before?

SH: I’ve had several readings. This is another reading. What saddens me is that I was supposed to have a production by the Classic Stage Company last year. They had never done a musical before last year, when they produced Stephen Sondheim’s Passion-which was a beautiful production. But the board of directors at Classic Stage Company discovered how expensive musicals are to produce, and they decided to stick to straight plays. So they ended up canceling my show. Then Jim offered me another reading at the York, and I figured, “Well, let’s do that.” So this will be not a full production with sets or costumes, but rather a regular mufti production.

RL: I understand in the recent production you did in this Mufti Series, Dragons, that you actually went on for a sick actor at the last minute?

SH: Yes. That was a week ago Saturday. Bill Youmans, who was playing the role of the mayor, was running a high fever, so they set up a chair and music stand for me at which I sat and I read his lines and sang the songs. The audience seemed to love it.

RL: That must have been quite a treat for them, I’m sure!

SH: It was a treat for me too! I enjoyed it.

RL: The final show that you’ll be doing in this series, Tenderloin, was written by your long time collaborator, Jerry Bock, with whom you had written Fiorello, Fiddler On the Roof, She Loves Me, and others. Talk to me a bit about the collaboration you had with him.

SH: Well, it was a wonderful collaboration from the time I met Jerry. We got along very well in every way. The last project we did together was The Rothschilds but then Jerry decided after that project that he wanted to do his own lyrics because he had started as a songwriter and lyricist. He had worked with many other collaborators but had always wanted to get back to his own lyrics–so that’s what he did the last couple years of his life. And in fact, it paid off for him. The year he died, he was part of a collaboration that wrote a song for television that got him an emmy award. It was for a children’s show and I think the title of the song was “A Fiddler Crab Am I” It had the word “fiddler” in it which I found amusing.

RL: It all comes full circle I guess. So you got your start in the industry in the late fifties, is that correct?

SH: Well, I came to New York from Chicago in 1950 and it took me awhile…until 1957 I think, before Fiorello hit and that is what made me solvent, but up until then it was touch and go,

RL: I ran across something called Songs to Ford-ify Your Future that you had done early on.

SH: (Laughs) That was an industrial show that Jerry Bock and I did for the Ford tractor company.

RL: How did that project materialize?

SH: I had done a number of industrials for an advertising firm and when I started doing them, I didn’t know that I was breaking the law. They told me to just pick whatever songs you like and whatever melodies you like and just write lyrics for them. So that’s what I was doing . That is what most of the industrials were doing. And then, there was an industrial show, where one of the performers in it had been in The Music Man and he knew Meredith Wilson (the composer of the show). In that particular industrial show, they had used one of the songs from The Music Man, so this performer wrote to Wilson and he said, “You’ll be amused, I’m sure, to find that we have used one of your melodies in this industrial show and they have written new lyrics for it.” Well, Meredith Wilson was not amused. In fact, he sued. Since then, most industrials have had to write new music. At any rate, I had been doing just anybody’s music, but when the Ford tractor show came along, they decided they wanted an original score, so Jerry and I were hired to do that . It was the only industrial show I had done that was recorded. The Ford tractor company made a recording of it for their sales people and I received a copy of it as well.

RL: That is such a unique thing. We don’t really see Industrial shows any more, which is kind of sad.

SH: Yes. There was a big article about it in the New York Times last Sunday by William Grimes. And there’s a new book out about the topic of industrial musicals. I was on Terry Gross’ program on NPR recently to discuss it.

RL: What a cool experience to have done those prior to the days of- as you say- your “solvency.”

SH: Right. the industrials allowed me to pay a lot of bills and they were wonderful because they used so many professionals in terms of performers and orchestrators and conductors. I met a lot of people that way.

RL: You have most certainly rubbed elbows with some luminaries in the theater world, specifically Zero Mostel and Bea Arthur on Fiddler on the Roof. Can you talk a little bit about what your experience was like with each of them?

SH: Well, Bea was a friend. For some reason, Zero never became a friend. I had tried to buy one of his paintings because I liked his work and he kept putting me off and making snide remarks. So I didn’t really rub elbows with him and I’m not sure why but there was definitely a distance between us.

RL: With Bea Arthur….how do you go about writing songs for someone who isn’t exactly a trained singer but able to make them sing lyrics which are accessible to the general public?

SH: Jerry and I never did that. We wrote for the character and we wrote whatever we thought was musically necessary and then, when we cast we’d get somebody who was able to sing the song–whatever the demands of the song were-we got a performer who could handle it. As it happens, Bea Arthur was quite a capable singer, so we really didn’t have to worry about that. When she auditioned for Fiddler, she must have auditioned about six times because every time we (Jerry Bock, Joe Stein, Jerry Robbins and myself) saw her we’d say, “My God! She is such a strong performer, but there’s nothing old country about her. She seems like contemporary New York and doesn’t seem right for the show.” After the fifth or sixth audition, Jerry Robbins said, “Look. We haven’t seen anybody who is stronger than Bea Arthur. Whether she is right or wrong for the role, she is wonderful. Let’s hire her.” And so we did. And I must say, she was an extraordinarily strong performer.

RL: What about your collaboration with George Abbott and Jerome Weidman on Tenderloin?

SH: Jerome Weidman was an adorable man…very good natured, high-spirited, had endless anecdotes and was great fun to talk to. He was such a great storyteller, which is why I think he was such a good novelist. George Abbott on the other hand, was kind of aristocratic, but an extremely decent man and wonderful to work with. He was so professional and had such knowledge of the theater. I remember for Fiorello, there was one song we had written, which Abbott didn’t think would work so he didn’t want to use it. Jerry Bock and I were very disappointed that he wasn’t going to use the song. It was called “The Bum Won”. What surprised me is that we got to New Haven and after we had opened, George Abbott said to Jerry Bock and me, “We are going to try your song, but I don’t think it will work, so I’m not going to spend Hal Prince’s money by having it orchestrated. But we will rehearse it and put it on stage just accompanied by piano, bass, and drums and we’ll see what happens.” So I stood next to Abbott at the back of the theatre in New Haven, and I thought to myself, “Oh dear! He’s right! It doesn’t work.” But to my surprise, Abbott turned to me and he said, “Sheldon, this song is going to work. The reason it doesn’t work now is…and he gave me the reasons and then instructions on how to re-write the song, so that it would work.” And he was right. Jerry and I re-wrote the song and it became part of the show. His knowledge was just astonishing.

RL: You talked about New Haven. A lot of times, Broadway shows used to get worked that way, both there and in Boston. How has that process changed over the years when today’s shows are just mounted immediately on Broadway. Do you think it has compromised the integrity?

SH: I don’t know about that , but it has made it a lot more dangerous. When we used to go to Boston or New Haven, you could improve the show. Now, it more of a gamble if you open directly in NewYork, no matter how long the preview period is, People see it and word of mouth can be bad. That will have to be overcome. I remember that’s what happened with A Funny Thing Happened On the Way to the Forum. I’m not sure that they had an out of town tryout and when they were previewing in New York, they hadn’t fixed the show yet. Word got out that the show was not good. But thank God by the time the show opened they had fixed it. At any rate, without an out of town tryout, it is more of a gamble. Personally, I loved going out of town where you had the opportunity to look at the show every night and see what wasn’t working and then try to fix it.

RL: Years later, when you look at your own works and projects, do you ever sit back and look at lyrics you have written and say, “I should have used a different word or phrase there or changed this or that” or are you completely satisfied with the finished product?

SH: Two of the shows in this mufti series, Dragons and Smiling, the Boy Fell Dead were both shows that I have constantly gone back to and said, “This can be improved”, and I’ve kept working on them. With Dragons, it all paid off on the reading we had which was very successful. When we get to Smiling the Boy Fell Dead, we’ll see whether all the work I’ve done on that, subsequent to its’ run Off Broadway in 1960 has paid off. With shows like Fiddler, Fiorello, and She Loves Me I think that I finally got it right and there is nothing I’d want to change about those.

RL: Are there shows that you’ve seen that have made you wish you had written them yourself?

SH: Yes. Most of the Sondheim shows! I look at them and I marvel at his talent- especially Sweeney Todd. I think that is just a masterpiece and in fact, I wrote him a fan letter about it.

RL: Is there anyone working in the industry now that you’d like to work or collaborate with?

SH: I often thought it would be fun to work with Alan Menken, who is extremely talented. And there is a younger composer, Tom Kitt, who I think is just wonderful. He has a new show coming Those are two names that come to mind

RL: When you look at the landscape of Broadway today, what is your opinion of the “Movies turned musicals” phenomenon that has been dominant over the last few years?

SH: I have no problem with that. Musical theater has always looked for things to adapt whether they are plays or books or movies, so I have no problem with it. If it is a good story and the adaptation is done well then that is a plus. In fact, I turn to movies myself to see what can be adapted

RL: Do you have any advice for lyricists or people working in the field today?

SH: The advice I usually give to young writers is to read widely and be aware of what’s happening in the world around you. You never know what the demands are going to be on the musical for which you’re writing. To have the widest flow of information to you is extremely useful. Every young writer should have as broad an education as possible

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For tickets and information on Musicals in Mufti: Celebrating Sheldon Harnick visit http://www.yorktheatre.org/current-series.html, visit the box office at 619 Lexington Avenue (on the corner of 54th street), or call: (212) 935-5820

An “Interactive” Conversation with the “Goldstar” Visionaries Behind TEDxBroadway

by Ryan Leeds

Few people would associate the biological term “ecosystem” with the theater community–unless, of course, one taps into the passionately innovative minds of on-line media gurus Jim McCarthy, CEO of the popular ticket site, Goldstar (https://www.goldstar.com) and Damian Bazadona, founder and CEO of digital marketing advertising agency Situation Interactive Media (http://www.situationinteractive.com.) The two of them, along with Broadway producer Ken Davenport (http://www.davenporttheatrical.com) are joining forces for the third annual TEDxBroadway Conference, which will be held on Monday February 24th, 2014 at New World Stages.

I sat down with McCarthy and Bazadona to discuss how the conference is taking form, the importance of technology within the live entertainment community, and what we can expect from an event that aims to make Broadway brighter, better, and more relevant.

RL: This is the 3^rd annual TEDxBroadway Conference. Tell me a bit about the origin.

JM: For a couple of years, there were unaffiliated loose conversations over dinner and drinks with Damian and Ken where we would discuss the need to make sure that the Broadway ecosystem was having conversations that were bigger picture conversations. And this was just by our mutual interest in that sort of thing. At some point, we developed a vague idea that we might do one of these ourselves. I had been involved in the TEDx program early in its inception and after being around that, I decided to do something within that format. The three of us talked and agreed that this was consistent with what we thought the conference should be: bigger picture, longer term, less nuts and bolts and more aspirational. TEDx provided us with some framework for how to do it. So TED gave us a license for TEDx Broadway and we set a date and started working for it. This gives us a chance to think big and think broad and I think we can have a good time with that.

RL: How will this year be different in terms of scope and content? Can you tell me about some of the speakers?

JM: In some ways the same and in others, quite different. The basic structure is quite similar in that we’ll have three sessions again. There are no panelists but just a single presenter for each topic.

DB: The reason I got involved in this from the beginning is because we’ve nailed down the question: “What is the best Broadway can be?” One of things that drove me to get involved with this conference with Jim and Ken is that we all look at the aspirational side of where the industry could go. Too many conferences focus on a) too many “nuts and bolts” and b) less about the longer term- So when you structure the question “What is the best broadway can be”, it makes each speaker look at it in that framework. The key difference this year is that we’ve become much better at the structure. Since this is our 3^rd year, we’ve just become sizeably better and the speakers have a better understanding of what we’re trying to accomplish. The speakers we have lined up are just excited to involved in the process. All of them come to the stage with a certain level of passion and they have a context from speakers over the last two years. If you look at our sponsors which include Google, Jujamcyn Theaters, and Broadway.com, you realize that everyone wants to get involved in this. I mean, who doesn’t want to answer the question “What is the best Broadway can be?”

JM: Plus, we have people who may not be household names, but they’re just gonna go up there and knock people out. I try to encourage the speakers to discuss what people are not likely to hear from them. Having worked with Robert Lopez on his talk, I know that what he’ll talk about will be interesting to the audience, but there are other people in the line-up who are less familiar names, but who I think will be pretty dazzling. Even people outside the Broadway ecosystem will contribute. This year we have Annisa Ramirez, who is a tremendous science educator and one the best people in the world to break down science for the layperson. She’s going to discuss the science that we’re going to live with over the next five to ten years and the emerging aspects of science that are going to impact our daily lives. Certainly Ramirez is prolific in her field, but not as well known among the Broadway community, so we’re really happy to have her on board as well. We also have the amazing singer and actor Lea Delaria, who is now recognized for the series “Orange Is the New Black”.

RL: Can you each give me a brief elevator pitch on the contributions your companies are making to the Broadway community?

JM: Goldstar is basically a seller of tickets to all kinds of live entertainment. We call ourselves “the world’s largest ticket booth.” We have approx.. 5 million registered members, we’re in 30 of the biggest markets in the U.S. and we sell tickets on behalf of any kind of live entertainment and arts you can imagine. Our goal is to connect people who want to go out more to the venues who would love to have them. We become the starting point for matching the two, they buy the tickets from us, and we take very good care of them. NY is our second largest market after LA (where we are based) and the health of Broadway, both here and on the road is extremely important to us. When Broadway is healthy, we benefit. We talk about the Broadway “ecosystem”, which is not just the theater but the tourists ,restaurants, hotels, academic institutions, and residents. One of the beliefs we all share is that this ecosystem rises and falls together, so we want to help make it healthier now and into the future.

DB: Situation Interactive media operates under the basic principle that the world is a better place when people are doing things rather than having things. Therefore, we power the brands that do. We started in arts and culture and worked on over 100 Broadway productions since 2000 and now we have expanded by working with Brooklyn Academy of Music, Metropolitan Opera, the Super Bowl, One World Trade Center, Madison Square Garden and other experiential outlets. Our roots started in Broadway but have expanded. I’m in this primarily because I hope to be here for many years and Broadway is a tremendous part of our business and is where my roots are from.

JM: I think Damian is being a bit modest because Situation Interactive was really the on-ramp for Broadway in terms of internet marketing. Prior to him, it wasn’t even a given that you should be marketing on the internet.

DB: (Humbly) Well, thank you. I think it was just a matter of being at the right place at the right time, but I’ll take it!

RL: How have Broadway marketing strategies changed from the days of relying solely on print to the newer techniques of digital advertising and is one more important than the other?

DB: Digital marketing is the best trend that has happened to Broadway and live events because they benefit from digital a lot more than other folks and industries. Primarily, it is all about content. The product we offer is literally our market. A majority of my brands are in the story telling business and they sell stories that people get to connect with. Digital is the greatest way to connect people. I wouldn’t say that there is no need for traditional media because it all fits into the puzzle, but the new channel into the mix is obviously all of the digital pieces. You can connect all the people in the world this way.

JM: If you only had traditional means of marketing the product, those means are slow, static, and expensive. It takes a long time to launch them, you can’t change them, and they cost a lot of money, so you had better get it right on the first try. The thing about digital is that we have a product (those of us in the live entertainment business) that is like bread. So the notion of slow, static, and expensive are the last things you want for a product that is here today gone tomorrow.

DB: Another thing is that great ideas come from everywhere. I know everyone says that but in a world where content is becoming king, we work differently. Now you can ask the cast for ideas of marketing the show, which wasn’t previously thought of in the theater. Now they say, “We want to promote the show like this” and we respond with, “Great! Here’s a channel by which we can do that.” It’s the most fun time to be in the industry on the marketing side since I’ve been doing this.

RL: With regards to the productions themselves how has technology changed the face of theater? What trends are currently implemented and is there anything new that theater goers can expect ?

JM: We actually have two speakers talking on that topic this year.

DB: It depends on how you’re defining it. We think of Broadway as the place, not just the industry so the growth I’ve seen over the past 5 years is in alternative models. The business models which are starting to pop up is that live theater and the experiential piece are playing out in all different ways. I feel like you’re going to see more shows along the lines of Sleep No More and Fuerza Bruta. From a pure technology perspective, I’m working on a show right now that is primarily all projections. So we’re starting to get to a place where projections are working themselves into productions, which changes the whole game for scenic design and set design-not necessarily as replacements but as enhancements. The business side really is going to dictate some of the creative decisions over time. What are the cost structures to put these shows on? Because they are going up and to make money on Broadway is not easy, so you must have cost controls put in. Where does theater live beyond the four walls?

JM: Exactly. And that is another area we’ll hit in this incarnation of TEDxBroadway. How do you take the thing that is happening in the theater and leverage it elsewhere?

DB: Right. Right now, that conversation is being led by marketers and it needs to be led by creatives since creatives can take the content and apply it specifically to each platform. That is why places like National Theater (who was at TEDx last year) are fantastic because they create for the platform. When they shot Curious Incident of the Dog in Nightime , they shot one version for National Theater Live, so when you watched it in the movie theater, it looks like it was shot exclusively for the movie screen. We’re just at the beginning of that. You have to believe that there is a lot more value in the content. We have an amazing talent pool of people who create for the stage every night

RL: Who is your target audience, both for advertising and show attendance.

DB: If you’re looking NY theater ticket buyers today, the average demographic is 40+ women. I would argue that the bigger issue is cultivating talent over time. One of the reasons I’m involved in the TEDx conference is because we’re looking at the question, “What are we doing today to build the audience of 20 years from now?” the topic of target audience, I think. is a huge conversation for the industry. The easy, short term answer is definable: 40, wealthy, in-bound tourists but it is clearly not aligned with the longer term demographics of this country, which is why I like conferences like this- so we can discuss that.

JM: Now that you’ve taken us down this path, there are 3 programs I’d like to mention which we’ll also be discussing at the conference. One that Damian has driven with kids in the Bronx at a high performing middle school who have been sort of the toehold for a program that has broadened out since then. A) It gives them some exposure so they know that there is a thing called Broadway and theater and B) it helps to build the connection in the other direction too. Damian was instrumental in getting the cast of Spider Man to go to their school in the Bronx. The result is that these kids from a high achieving, low-income area are now thinking “Maybe I can have a career in the area of the arts.” Our perspective is that Broadway needs those kids as much or more as those kids need Broadway. Think about the talent you can find in areas like this and that is where the future is often built. If this program has the result of just one brilliant writer or director emerging in twenty years, then this will have made everything worth it. On another level, we’ve subsidized some college students to attend, so they’ve made this part of the curriculum of the class. These students are able to go to the conference without costs being so prohibitive. We also had an open call for anyone 30 and under affiliated with the Broadway ecosystem to apply for free admission to the event by writing a brief description about why they wanted to attend. So a nice chunk of our audience this year will consist of those decision makers of the future. We’ve talked about that in the past, but this year we made a commitment to making sure they are there.

RL: What are some of the take-away you want to give attendees to the TEDx Conference or do you see this more as forum for open thought and creativity?

JM: I’d say more the latter than the former.

DB: The sign of success for me every year when I get emails and messages back from people telling me that it was a great day and they left feeling inspired. That is all I care about. I think if we go into the territory of “what is the take-away”, it’s dangerous because you’re trying to script something and the idea is that we’re trying to bring open ideas to the table from other people. I see myself as much a participant as an organizer.

JM: The idea of the TED format is to spread ideas. So our job is less to have a pointed view than it is to ask, “Who are some people who have interesting ideas that are relevant to this community”, and then give those people the opportunity to say interesting things in this setting. Often times, maybe a side point that you’ll hear from a speaker or a conversation you had in the lobby during a break will take you down a trail and open something up in your head as a huge idea and then can be an amazing thing we’ll all benefit from in some way.

DB: We didn’t want to take a bunch of speakers, put them up there, and then talk about all the things you can’t do. That is probably one of the biggest traps in conferences I attend in any industry. But when you frame the question: “What is the best Broadway can be?”, You can isolate a problem and that aligns with the question of “Is this something that inspires you?” and then it gives you a runway to make that possible.

JM: Look- every industry has deficiencies. But we’re not asking , “How do we fix a broken thing?” Instead, with an active imagination we are asking, “What is the best possible thing- and then let’s re-set the trajectory towards that. In the course of doing that, maybe we fix a broken thing or two along the way.” And ultimately, it’s supposed to be a fun! If it’s not fun, we’re not doing it.

RL: You’ve talked an awful lot about this “Broadway ecosystem.” What do you think is the greatest challenge, economics aside, facing this ecosystem?

JM: What is the audience years from now and more to the point, will this be a vital place in 10 or 20 years? The answer to that is going to come from whether or not there’s a connection made to the people who will need to be the ones showing up in order for it to work. The audience of today will have sort of moved on in its’ relevance. The demographics are kind of set. So if we know who is going to be here and who is going to have dollars to spend, then the question is ‘Will they be interested in this neighborhood as theater goers and as restaurant goers.’? We don’t need to go back that far in history to a time when they weren’t interested. The biggest macro question is that the neighborhood has gotten much much healthier in the last couple of decades, but what if it doesn’t sustain? What if, as a whole, that ecosystem doesn’t hit the mark in quite the way of where it was in the 80s until now? It’s not a guarantee, so there’s an audience question in there, there’s a relevance question in there and there are even bigger financial questions there as well. Those are all threats.

DB: A lot of people I’ve talked to from restaurants and hotels and are of the “now” thinking. They are wondering, “Is the show across the street from my restaurant going to stay open because when that show is open, my restaurant is full.” So they are hoping that Broadway remains strong. Everyone I talk to in this ecosystem has a different angle, but it all connects back to the same thing, which is the overall health of the region. Even though they live on a block to block basis, they are all connected by the idea of Broadway and Times Square. This week, for example, the blizzard and the super bowl changed the entire eco-system of that neighborhood dramatically. So you have these extraordinarily different businesses that are completely inter-dependent on each other

JM: We use this word “ecosystem”, which is borrowed from nature. The animals and plants in a certain part of the natural world don’t live there in isolation. The deer and grass and squirrels and grass, etc. do depend on each on each other. At a certain point, when the ecosystem degrades, everyone suffers. So this is very real and very complex, and we’re looking forward to having the conversation.

What: 3rd annual TEDxBroadway Conference

When: Monday February 24th 2014, 11am -6pm

Where: New World Stages, 340 W. 50th Street between 8th and 9th ave.

Tickets and more information: http://www.tedxbroadway.com

Damian Bazadona, Founder and CEO, Situation Interactive Media (Left) and Jim McCarthy, founder and CEO of Goldstar (Right). Photo courtesy of O&M. — Damian Bazadona, Founder and CEO, Situation Interactive Media (Left) and Jim McCarthy, founder and CEO of Goldstar (Right).
Photo courtesy of O&M.

Manhattan Digest Theater Review: “Bronx Bombers”

by Ryan Leeds

“The first year I played, says Lou Gehrig (John Wernke), I was sent a contract for three thousand dollars. Me, my ma and dad, were poor our whole lives. We were grateful.” “We’re never not grateful. In this house at least,” replies Carmen Berra (Tracy Shayne) , wife of the legendary New York Yankees icon Yogi Berra (Peter Scolari). This meaningful exchange plays out during an imagined dinner party near the top of Act 2 in playwright Eric Simonson’s Bronx Bombers. It is one of the many reflective moments in this nostalgic trip which celebrates Major League Baseball’s most successful team in history: the New York Yankees.

Simonson is best known for his prior sports related works, Lombardi and Magic/Bird both of which idolized their subjects for their greatness and inspiration. Bronx Bombers continues in this vein by spotlighting players from the past and present-athletes whose immense statures made them household names. And while he manages to maintain their “larger than life” heroic personas, he humanely crafts them as men of depth, integrity, and gratitude—characteristics which are foreign concepts to contemporary players more intent on breaking records for their demands and contracts rather than playing for the love of the game.

Act 1 opens in a hotel room in Boston where Coach Yogi Berra and catcher Thurman Munson (Bill Dawes) are trying to mediate a contentious argument between right fielder Reggie Jackson (Francois Battiste) and manager Billy Martin (Keith Nobbs). On June 18^th 1977, Martin replaced Jackson after a confrontation in the dugout of Fenway park. Their interaction plods along and, aside from Battiste’s wonderfully cocksure portrayal of Jackson, there is very little dramatic tension. Actually, the dramatic tension is lacking throughout Bronx Bombers. Yet the second act provides a fun and thoughtful glimpse into the men who “lived” in “the house that Babe Ruth built”. Here, they are all gathered for a fantasy reunion at Yogi and Carmen’s home where memories and reflections dominate the conversation. C.J. Wilson is marvelous as the gruff, but charming Ruth. Wernke brings sincerity and heart to Lou Gehrig, Chris Henry Coffey serves a confidently cool Joe DiMaggio, and Christopher Jackson is serviceable and as shortstop Derek Jeter. Real life newlyweds Scolari and Shayne round out the cast with sweet, mid-western warmth as Mr. and Mrs. Berra (both of whom were from St. Louis, MO). Like like any successful team, Bronx Bombers is an ensemble piece that is sure to please die-hard fans and casual spectators alike. Although it is considered America’s pastime, baseball has never resonated with me. Yet Bronx Bombers reaches past the sports lingo and taps into the heart of what truly matters: teamwork, humility, respect, and love. It is more than a love letter to baseball-It is a testament to the incredible city of New York.

Bronx Bombers is now playing on Broadway at Circle in the Square (W. 50^th between Broadway and Eighth Avenue). For tickets, visit www.telecharge.com, call 212.239.6200 or visit the box office.

Theater/Performance Review: “iLuminate”

by Ryan Leeds

Are you willing to spend approximately $50 to sit in a dark room for nearly an hour, watching talented dancers “get their funky grooves on” with wireless neon lights strapped to themselves? The producers of off- Broadway’s performance piece iLuminate hope so. After enjoying a brief New York City run in 2012, this vibrant troupe has taken an open-ended residency at New World Stages and the result is visually appealing and uniquely entertaining.

Founding director Miral Kotb, who was a software engineer at Bloomberg, attended an Apple conference in 2009 and was inspired to create this unique idea which blends dance performance with technology. The 11 members are draped in black body suits to which various colored, neon lights are affixed. They then have the ability to control these lights in the palms of their hands. Kotb’s vision has catapulted them to International fame: As finalists and guests on TV’s America’s Got Talent and as co-performers with artists including Katy Perry and Usher.

While iLuminate is billed as a performance piece, the 50 minute experience makes a valiant effort to form a simple, G-rated plot. It centers around Jacob, a quiet artist who finds comfort in “painting” the world with joy and happiness. His artistic bliss is shattered when an envious bully tries to thwart his happiness and take him down a path of terrible nightmares- all of which are of course, vivid and brightly lit. In true family friendly fashion, the protagonist wins and the giddy troupe rejoices to a memorable song called “Shine So Bright (So the World Can See your Light)” For the most part, the plot works even though the novelty does tend to tire after 30 minutes. Techno, Classical, Hip-Hop, and salsa pepper the show and the dancing is undeniably electric and inspired. Think lite brite and wikki sticks meets Daft Punk.

Following each performance, the audience is invited to meet and take pictures with the cast, a kind gesture which is sure to spawn inspiration in young would-be dancers and performers. This all audiences show is an excellent pick for families seeking respite from Mother nature’s current wrath of winter.

iLuminate is now playing at New World Stages Stage 4 340 West 50th Street ( between Eighth and Ninth Avenues). For tickets, call (212) 239-6200, visit telecharge.com or the box office.

Theater Review: “Antigone”

by Ryan Leeds

Welcome to Thebes, 440 BC. King Oedipus is dead. His remaining sons, Eteocles and Polynices could have succeeded the throne but Etecoles said (theoretically), “ Hands off! I get the Kingdom! me! Me! ME!” Polynices said (once again, theoretically), “No! I get the Kingdom! It’s mine! ME! ME! ME!” Clearly, equilateral ownership was a foreign concept to them, so they did what any jealous Greek siblings would do: they killed each other. Consequently, Oedipus’ brother, Creon reluctantly nabbed the crown. He is not at all thrilled about being a leader. He is tired and would rather spend his days relaxing and doing whatever the 440 BC’s version of Candy Crush is. Eteocles has received a state funeral , while younger brother Polynices is provided the opportunity to lie dead in the street for a month because Creon refuses a burial for him. As far as Creon is concerned, “the vultures and dogs are to bloat themselves on his carcass.” This, in an age long before Febreeze!

Enter Antigone and Ismene, dead King Oedipus’ daughters and sisters to the bozos who just slaughtered each other. Antigone wants a proper burial for Polynices, the love of her cousin Haemon (yes..you read that correctly-cousin) , and a chance to irritate Creon, who is planning to bury her alive in a cave if she defies his laws. Dark, right? Haemon defends Antigone by claiming that the city mourns for her, but Creon doesn’t want to hear it. Does love prevail in the end? SPOILER ALERT: No! Ultimately, everyone dies. This is Greek drama after all. You didn’t expect a big song and dance number, did you?

What you can expect is a solid staging of Sophocles’ Greek tragedy Antigone, translated by Jean Anouilh. It is currently being staged in an efficient black box space at the theatre of the Church of Notre Dame. Director Peter Dobbins has assembled a group of competent actors who have fully grasped their purpose and understand the moral issues at stake. Kick Kennedy (of the famed Kennedy dynasty), gives us a defiant and apathetic Antigone. Yet in her youthfulness, she maintains a pained vulnerability and frailty that evokes empathy and understanding. I mean–all she wants to do is bury her dead brother. Give the poor girl a break! Michael Early’s Creon is commanding and authoritative. With pages of dialogue between Antigone and Creon, both handle it with seemingly effortless ease. Jose Sanchez’s First Guard offers much needed comic relief. The moments are sparse, but he manages to capitalize on them.

Anoulilh’s interpretation rings true. First performed in 1944, his script lends itself to human reflection. “It is easy to say no [to life], Creon instructs Antigone. “ To say yes, you have to sweat and roll up your sleeves and plunge both hands into life up to the elbows. It is easy to say no, even if saying no means death.” Thousands of years later, Sophocles’ words remain timeless and relevant.

Antigone now through Feb. 15 at The Storm Theater. 405 West 114 Street on the corner of Morninside Drive. For tickets, https://www.smarttix.com/show.aspx?showcode=ANT22 or http://www.stormtheatre.com/

Theater Review: “Loot”

by Ryan Leeds

When a sharp-witted, clever script meets a fully competent cast who knows how to handle its’ subtleties, theatrical bliss occurs. Currently at the Lucille Lortel theater, fifty percent of this equation is intact in a revival of Joe Orton’s Loot. The script is well preserved and bitingly cynical; the delivery could be improved. Written in 1966, the British playwright’s black comedy cleverly manages to take jabs at authority by representing them as complete buffoons-equally as dumb as they as dishonorable. This was Orton’s crafty way of raging against a corrupt police society which at the time, had banned and criminalized homosexuality in England. Orton himself was gay and was a victim of this oppressive regime.

Loot opens in the living room of McLeavy (Jarlath Conroy), who is mourning the loss of his recently deceased wife. He is conversing with his wife’s nurse and caretaker, Fay (Rebecca Brooksher) a sexy bombshell jockeying to take the new widow’s hand in marriage. Meanwhile, McLeavy’s son, Hal (Nick Westrate) and his friend Dennis (Ryan Garbayo) have just robbed a bank and are seeking a place to hide the cash. Their conceal is foiled when the imposing, but dim detective Truscott (Rocco Sisto) appears at the door to incite an investigation for the missing “loot.”

What could be an impeccably timed, hilarious madcap is instead a muted attempt at farce. Most of the players in Red Bull theater’s production fall short of fulfilling the nuances and execution required for such a deft piece. One exception here is Conroy, who is remarkable as the stupefied, patriarchal lackey—mostly oblivious to the corruption around him until it is too late. He seems to be the only one asserting a British accent with any authenticity.

This reputable and well respected theater company, which specializes in classical theater, has staged a well-intended, but basically unfulfilling production. Orton’s usually provocative words are instead conveyed with simply adequate proficiency and finesse under the direction of founding artistic director Jesse Berger. It is with eager anticipation and hopefulness that their spring production of Charles Ludlam’s campy spoof The Mystery of Irma Vep is mounted with finer acuity.

Red Bull Theater’s Loot, now playing off-Broadway through February 9^th at the Lucille Lortel Theater, 121 Christopher Street (between Bleecker and Hudson). Tickets available by phone: 212.352.3101, online: https://web.ovationtix.com/trs/cal/2722 or at the box office.

Loot at the Lucille Lortel Theater presented by Red Bull Theater on 1/7/14Photo Credit ; Rahav Segev / Photopass.comMcLeavy - Jarlath ConroyFay- Rebecca BrooksherHal - Nick WestrateDennis - Ryan GarbayoTruscott - Rocco SistoMeadows - Eric Martin Brown — Loot at the Lucille Lortel Theater presented by Red Bull Theater on 1/7/14Photo Credit ; Rahav Segev / Photopass.comMcLeavy – Jarlath ConroyFay- Rebecca BrooksherHal – Nick WestrateDennis – Ryan GarbayoTruscott – Rocco SistoMeadows – Eric Martin Brown

Theater Review: “Mercy Killers”

by Ryan Leeds

As residents of the “land of the free and home of the brave”, we are indoctrinated from an early age that the American dream is obtainable with just a bit of hard work and determination. For most, it is achievable. By proverbially “rolling up our sleeves” and “putting a little elbow grease into it”, we can reap the benefits of our labor by acquiring basic necessities and even enjoying luxuries as a self-reward. Alternatively, there remains a majority of people who have played by these rules–muddling through the every day grind with mettle and handling adversity with fortitude—and yet they still manage to come up short. Joe is in that majority.

Michael’s Milligan’s blistering one man drama, Mercy Killers, explores the frustrations and inequalities of a failed healthcare system through the eyes of this average “Joe”. This hour-long, literal examination is effectively staged in a black box, bare bones theater, where our protagonist is defending himself in an interrogation room for a “crime” that blurs the lines of convention.

Milligan, who both wrote and performs the show, paints a comprehensive and challenging portrait of a wounded man exhausted by a circle of despair and grief. His arsenal of rationale is depleted. Milligan’s everyman language resonates and pierces and although we can relate to elements of his plight, we hope never to fully confront its’ level of severity.

After reaching for our coats and trudging through the somber audience, my guest and I engaged in a conversation about Milligan’s exceptional work. Questions were posed and even more left unanswered about the lengths at which our leading player could have gone to have prevented his outcome . Each of us had differing opinions, but we created a dialogue about this crucial crisis. In our ever-present day of political discourse, finger-pointing, and profitable racket over healthcare, Milligan manages to strip down the arguments by humanizing them to a frustrating, but immensely profound degree.

Mercy Killers, now playing off-Broadway now through February 2^nd at the Stella Adler Studio Theater, 31 W. 27^th street between Broadway and 6^th ave. Playing Feb. 5^th through Feb. 16^th in the NYC Metropolitan Area. For more information and tickets, http://www.theworkingtheater.org/

Theater Review: “Hamlet” and “Rosencrantz and Guildenstern Are Dead”

by Ryan Leeds

“Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue.” This request, spoken by Hamlet (to a group of players) in Act 3, Scene 2 of William Shakespeare’s tragedy, is a plea for clarity and authenticity. After all, the acting troupe is about to perform a play in front of Hamlet’s step-father, Claudius, and his mother, Gertrude. So why is there such urgency in the appeal? Hamlet hopes that the play will shatter the consciousness of Claudius, who has murdered Hamlet’s father in order to gain control of the throne. This appeal continues, as he elaborates on how actors should deliver lines. I would suspect that Ian Belknap gave his highly competent cast similar advice during the rehearsals for The Acting Company’s touring production of Hamlet, now enjoying a brief residency through February 1^st at The Pearl Theatre.

To address the genius of William Shakespeare is analogous to pointing out the color of the sky. Throngs of scholars, educators, historians, and fans have spent years dissecting and debating the penultimate playwright since he burst onto the literary landscape of 16^th century England. Although his works are performed often, it is a rare occurrence when they are done at the level of vibrancy displayed here. As I sat watching and listening, I was reminded of Shakespeare’s eloquent insight on the human condition. Centuries have passed and yet we are the same mortal creatures who suffer grief, loss, rage, guilt, heartache, jealousy, revenge, rage, and possibly madness. It is a blessing that such weighty emotional material is receiving such a comprehensible and engaging treatment.

John Skelley’s interpretation of the troubled Danish Prince is personalized and accomplished. His delivery of the language, especially in the pivotal and often quoted monologues, breathes fresh life to the text, as though you were listening to the woes of a contemporary friend. Andy Nogasky’s yammering, but wise Polonius (Chief Counsel to the throne) proves affable and charming and Jacquline Correa creates an exquisitely regal Gertrude- aside from her silver glittered, chunky high- heels. On RuPaul’s Drag Race, they would give other “queens” reason to exalt her majesty. But In Elizabethan era Denmark? Methinks not. Candice Donnelly’s costumes, for the most part, lack aristocratic propriety. Neil Patel’s scenic design offers understated simplicity. All of the action occurs in a neutral, abbey-like setting but still suggests royalty and nobility.

Two normally “forgotten” characters in Shakespeare’s masterpiece are claiming the spotlight with linguistic aplomb. Not necessarily in this production of Hamlet, but in The Acting Company’s production of Rosencrantz and Guildenstern Are Dead, which in playing in repertory with Hamlet at the Pearl Theater.

Tom Stoppard’s 1966 comic tragedy is a wholly original view from the minds of two minor players from Shakespeare’s Hamlet. Rosencrantz (Grant Fletcher Prewitt) and Guildenstern (Ian Gould) are two schoolmates of the troubled prince who take instruction from Claudius and Gertrude to spy on him and discern whether of not their friend is truly mad. In Stoppard’s piece, the two question their mission, each other, themselves, and nearly the meaning of every word that each of them speak. Along the way, they pantomime characters from Hamlet and the play is interspersed with actual scenes from it. Life’s meaning, monotony, and existence is pondered amidst double entendres, verbal jousting, and wry British humor.

To be honest, it is not one of my favorite plays. Having studied it in college and being familiar with college productions, I found that it crossed into levels of pretension. Under director John Rando’s hand, Stoppard’s critically regarded piece is pensive, lively, and very funny. Prewitt and Gould handle the complex wordplay with flair and their onstage chemistry is a joy to watch. The remaining company supports the two as they double as a flamboyant acting troupe and actual characters from Hamlet.

The Acting Company should stand up and take a bow, for they are continuing the tradition of bringing classic theater to a broad audience. Their mission of arts education to under-served communities is inspiring and vital. Founded in 1972 by John Houseman, they have received numerous awards, including a TONY for Excellence in Theater. New Yorkers seeking high-quality, classic theater should rush to the Pearl Theater while the company is still in town through February 1^st. Certain performances are already sold out, so get thee to the box office soon.

Hamlet and Rosencrantz and Guildenstern are Dead, presented by The Acting Company at the Pearl Theater Company, 555 W. 42^nd street between 10^th and 11^th avenue. Tickets available at the box office, online at www.pearltheatre.org or by phone: 212.563.9261. Performances vary.

“Beautiful: The Carole King Musical” Review

by Ryan Leeds

In 1960, an aspiring would be teacher walked into record producer Don Kirschner’s office at 1650 Broadway and turned herself into one of pop’s music biggest songwriters. This precocious 17 year from Brooklyn was Carol Joan Klein, who later became the legendary Carole King. Ms. King’s life tale is unfolding nightly at Broadway’s Stephen Sondheim theatre in the mostly entertaining, occasionally schmaltzy, biographical “Beautiful: The Carole King Musical.”

King is best known for her 1971 album Tapestry, for which she was awarded Grammys for album, record, and song of the year. Yet before this seminal recording, she wrote feel good pop hits with husband and co-writer Gerry Goffin including “Take Good Care of My Baby”, “One Fine Day”, “Up On The Roof”, “The Loco-motion”, and “Will You Love Me Tomorrow.”

Doug McGrath’s book weaves the story of King’s younger days with energetic slick musical numbers by those who made them famous (The Drifters, The Shirelles, and Little Eva). Married at the age of 17 to Goffin, King’s uphill battle with his wandering eye, manic depressive behavior, and substance abuse ultimately led to their divorce in 1968.I certainly don’t wish to minimize the personal turmoil that a troubled marriage can cause, but one has to question whether or not that singular issue of a biographical piece can sustain an entire production. Luckily, there are more than enough winning performances to compensate.

Jessie Mueller’s take on Carole King is stunning. While she doesn’t impersonate her subject, she evokes all of her warmth and heartache. Mueller splashed onto the Broadway scene in the otherwise forgettable revival of On a Clear Day You Can See Forever in 2011 and scored a Tony nomination for her role as the jazz singer. Tony voters would be wise to take note of her star-turn portrayal of an artist whose vulnerability and quiet strength have given us timeless classics and inspired countless singer-songwriters. Jake Epstein does a fine job of balancing Goffin’s neuroses and womanizing into a still sympathetic, conflicted soul. Anika Larsen and Jarrod Spector are top notch as Cynthia Weil and Barry Mann (respectively). Weil and Mann were friendly rivals to Goffin and King during their early songwriting years and penned the chart toppers “On Broadway”, “You’ve Lost that Lovin’ Feeling”, and “Walking in the Rain”, all of which are performed by a high-octane ensemble.

It is a curious observation that the show has been billed as “The Carole King Musical”, as much of its content features a broad overview of the 1650 Broadway/Brill Building era of songwriting. The “1650 Broadway Medley” near the top of Act 1, is a cleverly staged look at the days when songs were cranked out like cars on an assembly line. Upon hearing “Be-Bop- A- Lula” for the first time, Producer Kirschner (played with a fine blend of rakishness and charm by Jeb Brown), interrupts mid-way through the song and asks, “Is the rest of it like this? Just the same few notes over and over with lyrics that a dolphin could write?” He then applauds and exclaims, “I’ll take it! That’s very popular right now!” Indeed. Songs of that ilk were the rage back then and Beautiful has no shortage of them. Steve Sidwell’s sharp orchestrations and musical arrangements maintain the integrity of the original recordings and complement a masterful cast.Derek McLane’s scenic work is smartly designed and Alejo Vietti’s costumes are “sixties trendy” and fashionably appropriate. Combined, these elements will leave audiences with a smile on their faces and fond musical memories. While many other jukebox musicals tend towards banality and blandness, Beautiful is fun to watch, easy on the ears, and it might just (oh dear reader, I simply can’t resist)–make the “earth move under your feet.”

Beautiful: The Carole King Musical is now playing at the Stephen Sondheim Theater, 124 West 43rd Street between 6^th avenue and Broadway; Tickets are available by phone at 212-239-6200, telecharge.com, or at the box office.

The Best of Theater 2013

by Ryan Leeds

While the World famous, jolly, full-framed man in the big red suit composes his list of who has been naughty and nice, this incredibly obscure, mildly jolly, big-boned critic clad in wrinkled khakis, a hoodie and hobo shoes, has decided to compile his own list of the year’s best theater offerings. In 2013, Creative teams from both Broadway and off-Broadway presented us with vastly different scenarios and characters: a sexually obsessed doctor (Becoming Dr. Ruth) children defying authority (Matilda), power hungry leaders abusing privilege (Here Lies Love), closeted homosexuals (The Nance), decadent drag queens (Kinky Boots), and well-intended dreamers weaving tales of empty promises (Big Fish). At second glance, this reads like the guest list for a Paul Ryan fundraiser. Moving on….

It should be noted that I began writing for Manhattan Digest in July, so obviously I have not seen everything inspired by the masked men of tragedy and comedy over these last 12 months. But I have seen a lot. Some offerings have refreshed and restored my faith in live theatrical performance. Others refreshed and restored my faith in the ability to quietly, calmly, and repeatedly recite the serenity prayer to myself before I was tempted to whittle the armrest of my chair into a small spearhead to thrust myself upon (Not to name names, but First Date and Let It Be, I’m referring to you).While these are in no particular order, I will save my favorite pick for last.

10. Becoming Dr. Ruth (Play)

For a piece about such a small statured dynamo, this one woman off Broadway story about the notable Dr. Ruth Westheimer stands tall. Debra Jo Rupp’s (That 70s Show) moving performance exudes humanity and humor, which will leave you smiling one moment and dabbing your eyes the next. Author Mark St. Germaine’s well-conceived show about a life well lived is worth a trip to the Westside Theater, where it is still enjoying an open ended run.

PHOTO CREDIT - Richard Termine — PHOTO CREDIT – Richard Termine

9. I’ll Eat You Last: A Chat with Sue Mengers (Play)

Bette Midler chewed the scenery and served up some dishy tales about the Hollywood elite in playwright John Logan’s delicious show about Mengers, one of the most feared and revered casting agents of the seventies and eighties. How could you possibly resist a gossipy heavy-hitter who could simultaneously hold a Marlboro in one hand and a marijuana joint in the other; all while spilling the dirt on Gene Hackman, Faye Dunaway, and Barbara Streisand? Maybe not the type you’d want to bring home to mama, but definitely the kind you’d want to cozy up to for a few hours. The Divine Miss M’s show closed on Broadway in June, but is currently running at the Geffen Playhouse in Los Angeles through December 22^nd

8. Hands on a Hardbody (Musical)

Contestants stood in the heat of the Texas Sun, each vying to win a Nissan truck by keeping at least one hand on it. I know what you’re thinking: They turned that into a musical?!!? You’re not alone. No one stood in line at the box office either and this surprisingly engaging show folded in April after a mere 28 performances. Since then, Trey Anastasio and Amanda Green’s musical has achieved a cult following. Doug Wright’s book portrayed genuine characters in a current, financially strapped America whose people cling fiercefully to optimism and hope. The heartfelt performances in this poignant show left the few fortunate audiences who saw it leaping to their feet. Even being raised as a good ‘ole country boy, It took a Broadway musical for me to get excited over a pick-up truck. Of course, if you add singing and dancing to nearly any topic, my curiosity can be piqued.

Photo courtesy of Royal Shakespeare Company

7. Matilda (Musical)

Aside from my adorable six and eight year old nephews, I am not a huge fan of children. Matilda has children–A lot of children. But from start to finish, I loved it! So much so that I saw it twice. This import from across the Atlantic is chockablock with fun performances, dazzling spectacle, inventive choreography, pure Broadway magic, and the most talented and winning cast of children you could ever ask for. While Tony voters lauded praise and awards over the mediocre and underwhelming Kinky Boots, Matilda continues packing houses with an irresistible story that will make you feel as young as the leading lady herself.

6. Here Lies Love (Musical)

David Byrne and D.J. Fat boy Slim’s musical “experience” about Ferdinand and Imelda Marcos’ rise to power in the Philippines was not just one of the best shows of 2013, but among my all-time favorite shows in New York City Theater. With an insanely catchy score and hypnotic club-like staging at the Public Theater, this off Broadway gem sparkled like no other. Here Lies Love, after being extending numerous times, finally closed in July. Rumor has it a second life will emerge in another venue, but no official announcement has been made. Perhaps my plea to St. Nicholas will help:

Dear Santa,

If you’re reading this, I have but one Christmas wish: Please find a home for Here Lies Love in 2014. I realize that I am a critic of theater and therefore, by default, a repugnant and odious man, but I firmly believe that this will help spread joy, knowledge, and cheer to the masses. So if you won’t do it for me, do it for the rest of New York City. I mean–really, Santa. That ghastly revival of Jekyll and Hyde found a home. I rest my case.

Photo courtesy of Larry Downing, Reuters

5. Ann (Play)

In 2013, fascinating female figures stormed our stages and Texas Governor Ann Richards was one of the best “pickings’”. Holland Taylor brought this strong willed, larger than life politician to life in a memorable performance at Lincoln Center which ran through June. Taylor, who also wrote the show, painted a fine portrait of a political powerhouse who repeatedly defied the odds. Defeating alcoholism, cancer, and chauvinism, Richards’ smart, tart tongue catapulted her to the national scene. Taylor earned a Tony nomination for her role and left us with some sage bits of wisdom from Gov. Richards including: “I have very strong feelings about how you lead your life. You always look ahead. You never look back.” Mostly true -unless of course, we are reflecting on the year in the theater– In that case, please take another bow, Ms. Taylor.

4. Big Fish (Musical)

Director Susan Stroman helmed this splashy musical, based on the movie of the same name, but it failed to woo the majority of critics. This one found it to be endearing story about family and sacrifice. Leading man Norbert Leo Butz is sure to earn a Tony nomination for his triple-threat portrayal of a man facing his own mortality with quixotic dreams and simple truths. Big Fish runs through December 29^th at Broadway’s Neil Simon Theater.

Photo courtesy of Sara Krulwich, NY Times

3. The Trip To Bountiful (Play)

Aside from the fact that the legendary and elegant Cicely Tyson’s Tony awards dress looked more like something draped on the Purple People Eater, she was more than deserving of the win for leading actress in a play. Horton Foote’s 1953 revival offered a pleasantly stark contrast to the razzle dazzle of Broadway with its straightforward and quiet nature. Tyson’s stirring performance as Ms. Carrie Watts, a woman longing to return to her childhood home, made this an indelible trip to remember. Ticket buyers took note and the play was extended twice before closing in October. If you missed it, you’ll have another chance to visit this tiny Texas town on the small screen. Lifetime television is currently filming a version including original cast members Ms. Tyson, Vanessa Williams, and newcomer Blair Underwood (Cuba Gooding, Jr. starred in the Broadway revival). It is slated to air in 2014.

2. Vanya and Sonia and Masha and Spike (Play)

This outrageously unpredictable and hilarious show from the zany mind of playwright Christopher Durang managed to be showered in love with Tony Nominations. It walked away winning best play. With winks to both Chekhov and Snow White (huh?), its’ message of prophesy was timely : “Beware of hootie-pie!” Not really, but collectively, this black comedy was freakin’ hilarious.

1. A Gentleman’s Guide to Love and Murder (Musical)

Hands down the most brilliant show of the year! One cunning, charming, handsome, yet poor single man, Monty Navarro (Bryce Pinkham), discovers that he is eighth heir apparent to the wealthy D’Ysquith clan. One by one he sets out to dispose of the lineage in eager anticipation of claiming his status and riches. Eight of the D’Ysquiths are played with miraculous transition by an abundantly talented Jefferson Mays. The creative team of Darko Tresnjak (Director), Robert L. Freedman (Book/Lyrics), and Steven Lutvak have given us a murderously, jolly good time of fun and frenzy set in Victorian era London. Lucky for us, we only have to travel to Broadway’s Walter Kerr theatre where eight times a week, the D’Ysquiths continue to drop like flies.

Some Final Thoughts:

I hope that you’ve enjoyed my critiques since joining this publication mid-year. I am truly grateful to Ryan Shea at Manhattan Digest for allowing me to contribute about a medium which I find increasingly vital in our breakneck digital era. There is something both exciting and sacred about observing fascinating performances and stories which give us the chance to reflect and learn more about ourselves and our fellows. Without the distraction from email, voicemail, text messaging, social media and other stimuli, we can sit in beautiful, old theaters and be whisked away to days gone by, present day, or days yet to be seen. Whatever the setting, I simply inhale deeply and hope for the following: that what I’m about to see won’t suck, that the lady behind me who giggled at the announcement about unwrapping candy at the start of the show won’t be the same one who, twenty minutes into the show decides she needs a Werther’s original–and will take twenty more minutes to annoyingly unwrap the confection, that no child will confuse the back of my seat for a soccer ball, that the couple in front of me won’t delude themselves into believing that no one can hear their conversation, and that people who think that texting is appropriate will be met by ushers and taken into the alley where they will meet the same fate as some of the characters who were “wiped ” from the script of HBO’s Boardwalk Empire. I’m serious here. Sit back. Relax. Turn off your phone and shut your pie-holes. We’ll have much to discuss in 2014–after the curtain closes. Your crotchety critic, Mr. Snooty Crankypants, thanks you for your consideration.

Ryan Leeds

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