Ryan Leeds

Theater Review: MIGHTY REAL: A FABULOUS SYLVESTER MUSICAL

Unlike the rigid rules you’ll encounter at an amusement park, you won’t have to wait until the ride comes to a complete stop to spring from your seats at the Theatre at St. Clements. In fact, you may get a reprimand from a fabulous disco queen if you DON’T get up and shake your moneymakers. After all, a song called “Dance” isn’t meant to be enjoyed sitting down. Honeys, Sylvester just won’t have it!

Mighty Real: A Fabulous Sylvester Musical is the latest biographical jukebox show from a phenomenally talented Anthony Wayne . It spins the tale of a young, black, pentecostal gospel singer turned flamboyant, charismatic and unapologetic diva who found his treasure under the gleam of a disco ball. In addition to portraying Sylvester, Wayne penned the book and directed the show along with his real life partner and co-director Kendrell Bowman.

Wayne’s performance is appropriately caffeinated and exceedingly astonishing. His 90 minute embodiment is tireless and heartfelt. Adding to this musical can of red bull are his fellow singers, Anastacia McLeskey and Jacqueline B. Arnold, who play The Weather Girls. True fans may recall their 1982 smash hit, “It’s Raining Men” (which is included among the musical numbers), but prior to that hit, they toured with him as back-up singers.

Sylvester was deeply troubled and admitted to feelings of ongoing loneliness. Beneath the outlandish costumes, expensive jewels, and chauffeured limousines dwelled a troubled soul who yearned for greater substance. Ultimately, the nightlife of the disco decade lost a bedazzled jewel when this consumate performer lost his battle to AIDS in 1988. Wayne’s book doesn’t shy away from this darker side. The problem is that the narrative is too abrubt. He works so hard to raise the temperature of the night and the audience, only to quickly shift gears into a tale of woe, leaving the show’s pacing awkward and flat. We’re forced to trudge through a somber diatribe of loss and regret before these talented performers once again manufacture enough energy to knock the disco ball out of the decade with a rousing upbeat number. While there are valuable lessons to be learned from this incredible star, the true point of attending should be to seek unadulterated fun. And you will find it.Stay seated at your own peril.

MIGHTY REAL: A FABULOUS SYLVESTER MUSICAL now playing at Theatre at St. Clement’s (423 W. 46th Street between 9th and 10th) through Sunday, October 5th. Tickets are available at (866) 811-4111 or by visiting www.FabulousSylvester.com

Victoria Clark: From Demure Diva of Broadway to Sizzling Cinematic Chef

by Ryan Leeds

Victoria Clark and Karl Geary. Image courtesy of Sharon Greytak

Victoria Clark is a gifted and fortunate actor. Unlike many of her colleagues who wait tables and do odd jobs between gigs, Clark is a tireless performer whose 3o plus year acting career has taken her from a debut in the 1985 Broadway production of Sunday in the Park with George to Mrs. Beane, a termagant passenger in 1997’s Tony Award winning Titanic. She also took home a Tony, Drama Desk, Outer Critics Circle, and Drama League Award for her sensitive portrayal of a woman coming to terms with her own regrets in The Light in the Piazza. Most recently, she waved a magic wand and made dreams come true as the Fairy Godmother in Broadway’s Rodgers + Hammerstein’s Cinderella.

Now, Clark is showing a completely different side of herself in the new independent movie Archaeology of a Woman, opening this Friday at Manhattan’s Village East Cinema. The film has already received critical acclaim and director Sharon Greytak has been touted by The Independent as one of “10 filmmakers to watch in 2014.” In it, Clark plays Kate, a rising culinary star in the New York City restaurant scene. Just when life seems to be falling into place, Kate’s world is altered by her mother, Margaret, a spitfire who is recently diagnosed with dementia. Oscar nominee and Golden Golden Globe winner Sally Kirkland portrays this complicated woman who is keeping secrets buried in the archives of her troubled mind.

Greytak had tapped Clark to be in her film and after meeting at a Greek restaurant and talking it through, both decided that it would be a good fit. Clark had a personal connection with the subject of Alzheimer’s and dementia, having had a grandmother who battled it through the last year of her life. “She lived with us growing up and she was my best friend” Clark recalls. “She lived to be 102 years old, but the last year of her life, she had a doll that she carried with her and talked to. On her 100th birthday, she went around the room, reciting the names and praying for all the grandchildren and great-grandchildren, so there was a stark contrast between that and what can happen when the machine starts to break down.” For Kate (her film character), life happens before she is ready. “It’s one of those times in life that we’ve all experienced where all the bad stuff happens at the same time.” And yet, in the film, Kate does find an outlet for life’s stressors by engaging in dalliances with a young police offer, played by the smoldering Karl Geary. (Audiences may remember him as the Irish doorman who is seduced by Samantha in an episode of TV’s Sex and the City). “I’m NEVER cast as the woman having sex,” Clark laughs. “But this is one of the reasons why I wanted to do the film. I get to show that side of myself and that character, which is really interesting. That is what (Kate) does to have fun.”

Clark’s portrayal of a chef, however, is more closely aligned with her personal interests. “My grandmother was a fantastic country cook and I spent many years in the kitchen helping to bake and also preparing cobblers, pies, and salads. My best friend and I were always trying new things. We made a whole pan of bakalava once. We even toasted the pistachios! Our families (in Dallas, Texas) were like ‘What is that?!!?” We said, “It’s an exotic Greek pastry!” But they didn’t like it, so we sat down and proceeded to eat the entire tray!” Admittedly, Clark confesses to being a less than tidy cook, whereas Kate is precise. “My fiance would prefer that I didn’t cook because I am so messy, but I love it. I like the process of it and find it so relaxing.”

Most actors prefer stage or screen but for Clark, she views each as uniquely different. “I am much more familiar with stage. To me, it’s like coming home. I’ve been doing it for so long and it’s a very familiar and comforting medium because you tell the complete story every day. There is something so nice about that. At 8:05, come hell or high water or whether you feel good or bad, we’re going to start telling a story and at 10:30, you take your costume off and there is something so lovely about the routine of that. Film appeals to a part of me that doesn’t like routine so much. You have to take things out of order and that takes a completely different skill set. Both are moment to moment and you have to stay focused, but in terms of the technique, both are very different, challenging, and fun. I hope that this experience will open up more doors for me to do more film work.”

Clark finds herself attracted to roles with strong women characters. “I like characters where an individual is just going about his or her life and then they have an opportunity to make a choice and do something that is impactful. I’m really drawn to those stories. I’m not gonna play a super model or an Olympic athlete. As an actor, I think about how I can make an impact in my chosen profession. How can I best use my time on this planet in a way that both enriches and elevates the human condition? I know that sounds a little ‘out there’, but I think about that all the time. Are the projects I’m choosing going to allow me to help anyone?”

Angela Lansbury, Emma Thompson, Michael J. Fox, Michael C. Hall, Mary Beth Peil, Cherry Jones are just a handful of Clark’s colleagues whom she has deep admiration. “All of them have dedicated their lives to the craft of acting and each of them have unbelievable senses of humor. I admire their strength. longevity, determination, and versatility. I’m really missing Joan Rivers today, too. (The interview occurred on Friday, September 5th, one day after Ms. Rivers passing). “She reinvented herself so many times and there will never be anyone even remotely like her. She was a true inspiration.” Working with Kirkland was also exciting for Clark. “She’s a fantastic person…lovely, funny, and brave on every level.”

When it comes to her craft and balancing her life, Clark offers some sage insights. “Life is full of ups and downs and you have to learn how to not be so in it. You have to distance yourself a little bit, change your perspective and say, ‘Ya know what…if you survive this, then you can survive the next horrible thing that happens to you. And then if you survive that, then you’ll survive the next horrible thing.’ It’s not that life is a series of horrible things, but our characters grow and that’s how learn. It’s no fun when you see them coming down the pike, but you get through. I’m not going to lie. It can be a challenge to balance all of these things, but a lot of it is just coming back to a sense of humor and breathing and asking what really needs to happen in the day. Sometimes life can be crunchy in the way the calendar falls. In this business, it is either feast or famine. People only want you when you can’t be there.”

Clark’s point was beautifully illustrated by life itself. Prior to our interview, she just learned that she was called to an audition and politely apologized for the brevity. Chances are good that this accomplished screen and stage stalwart will continue to dine at the feast of working actors.

Archaeology of a Woman opens this Friday, September 12th at Village East Cinema (189 2nd Ave. at 12th Street) For tickets and information, visit: http://www.villageeastcinema.com/ . To view the trailer, go to: http://bit.ly/1oldSDb .

Theater Review: “The Last Days of Cleopatra”

by Ryan Leeds

Familial dysfunction in drama can often be the basis for a well-executed and entertaining train-wreck. Call it “Schadenfreude” or simply good old-fashioned entertainment, but when relatives unravel, our collective tongues salivate in relief. “Thank God that’s not us”, seems to be the familiar refrain. At Manhattan’s Urban Stages, one such family is on the brink of implosion.

Playwright Laoisa Sexton is an edgy new playwright who received the NY Times Critics Pick for her last work, For Love. Her latest work, The Last Days of Cleopatra is a challenging, slow journey into the souls of well-acted, but hugely unlikable Irish characters. The show centers around an unseen force, Tess, the dying matriarch. Her disjointed family assembles to revisit old wounds and sling accusations towards each other. Each of them rarely interact with one another and the lines are delivered in the manner of long, monologue-like asides.

Harry (Kenneth Ryan) is the father and fancies himself a ladies’ man, although he looks like Tom Skerritt gone through the ring cycle after a long night of Jameison’s. Furthermore, he takes no responsibility for his actions or inactions. His constant refrain is, “That’s what yer up against. Ye know it yerself.” His son, Jackey (Michael Mellamphy) is an insolent homosexual who is essentially bitter about himself, everyone around him, and the world he inhabits. Playwright Sexton steps into a role she created as daughter and sister Natalie, perhaps the most tolerable of this bunch. She earns her keep dressing in a variety of costumes for parties and role-playing.

The program notes that the setting is “Ireland in the middle of its’ never ending recession”, but after awhile, the audience begins to feel as though the play itself might also be never ending, as it seems to grasp for a target. This isn’t to say that Sexton’s writing isn’t merited. Irish immigrants may appreciate the inside humor and colloquial feel. Upon entering the lobby, there is a glossary of slang terms used in the show. The list is long and one can’t help but think that the play, as seen through the eyes non-Irish folks, lands like an episode of Seinfeld to someone who doesn’t understand English.

The Last Days of Cleopatra plays now through Sept. 7 at Urban Stages, 259 W. 30th Street between 7th and 8th ave. For tickets and more information, visit: http://www.thelastdaysofcleopatra.com .

“Ruthless! The Musical”: The Devilish Denmark Returns Through November 29th

by Ryan Leeds

As the old saying goes, “You can’t keep a precocious and ambitious 8 year old psychotic girl who’s willing to kill for a part down.” Ok, so there might be some poetic license scattered within the phrase. At any rate, the creative team behind Ruthless! the musical are thrilled to announce an extension of their musical comedy, which was recently staged at the cabaret venue, The Triad. The laugh out loud performances will continue through November 29th and will star Joel Paley and Marvin Laird, who also penned this deliciously deceitful cautionary tale of unmitigated ego.

The original article below ran on August 24th, 2014 and was updated on October 26th 2014:

Tina Denmark is an adorable 8 year old girl with charm to spare and a yen for entertainment. But like any overambitious, driven performer, she’ll kill you to step into the spotlight. Isn’t that sweet?!?! Its actually quite hilarious–and serves as the basis of the plot for Ruthless! The Musical, a send-up of classic camp movies like All About Eve, The Bad Seed, and Gypsy.

Joel Paley (Author/Director) and Marvin Laird (Composer) are bringing the hell child back to life this September in a new production of their 1993 off Broadway hit. The intimate soiree presentation (Or as Laird puts it: “sort of like an evening at Cole Porter’s house when he was living at the top of the Waldorf-Astoria”) will benefit Broadway Cares/Equity Fights AIDS and will be performed at the Upper West Side’s posh Triad Theater.

Sophia Caruso stars as the “troubled” triple threat child. Laird will step into the role of Sylvia St. Croix, a pushy female talent agent who quenches Tina’s thirst for success. And because there is very little on this earth funnier than a grown man playing an eight year old girl , Paley will assume the role of Tina Denmark for three of the nine performances. His inspiration? A combination of personal affection for the charity and a chance to revive the same role he has played before. Last year, the production was done locally in Connecticut,where the real-life couple reside. On the day of the invited dress rehearsal, the little girl who was cast Tina Denmark came down with the flu. Paley recalls the story: “I called Marvin and asked what we should do. Marvin said, ‘You’re going on as Tina!‘ I didn’t even have a costume! I just wore my Bad Seed/Rhoda Penmark pig tail wig that I just happened to have–doesn’t everybody have one?!!?”, he quipped. “So we thought it would be fun to reproduce this in New York.”

The original inspiration for the show was sparked by an idea to musicalize the 1956 film The Bad Seed. As much as they tried, the couple had difficulty acquiring the rights to the movie, thanks to the tight reins of the Maxwell Anderson estate. Anderson had written the screenplay. They soon learned that they didn’t need rights to parody the film and expanded their scope to include other campy classics.

The show continues to be a favorite among regional theaters and different productions are continually being staged around the globe. This particular staging has generated such good will. Paley and Laird observe. “We have lucked into the best cast we have ever had…great cast, great designers, great artists, and great costumers and all for a great cause. The show has touched alot of people and many of them already knew of it, so they were very excited to be a part of this. We’re just blown away by that and it’s so wonderful.” Paley continues, “Before it became a full musical it was a long one act, but in the transformation, it became a two act musical because that’s what was required to get it off Broadway. In this staging, we’ve done away with the intermission and have streamlined it into 85 minutes that is roller-coaster sharp and fast.”

This will also mark the first time that the couple has collabaorated as actor (Laird) and director (Paley). “I haven’t performed like this since college, so this is a big step to be taking at this point in my career “, says Laird. “I can’t think of anyone who is more protective and more considerate of my talent than Joel, so it’s a real treat. After watching him direct and wishing I could benefit from his directing prowess, I finally got my wish. It’s also good time to observe that it’s never too late to fulfill a lifelong dream.”

“If you’re on this planet, you’ve got an ego”, Paley states. “This show is about ego run riot, much like the reality TV show Toddler and Tiaras.” The show also appeals to a gay audience. Laird explains that “every character in this show is a mystery wrapped in a cloak. They each have a hidden agenda that is stripped away gradually and it is kind of like the gay experience. At one point in your life, you’ve had to try to hide the fact that you’re gay. Their characters are also striving against the odds, much like Judy Garland.” Paley also points to the universal appeal, “Everybody at some point in some place wants to be famous, but wind up not being, and they try to make peace with that, but secretively they want to be doing something else on a bigger scale. I think that most people aspire to a greater notoriety than they are.”

Ironically, the two have worked through the ego that is so prevalent in the show. Rather than focus on the glitter and “what-ifs” of what’s next for the future of Ruthless! , the two have set out to do the show their way and show people what it really is. “We’re having more fun making fun of the ego,” Paley observes,”Because we’re not doing it from a place OF ego.” In addition, says Laird, “We’re sharing this creative experience with our wonderful cast and crew who have such joy and love for the project. In return, we are getting so much back and simply enjoy doing it.”

Ruthless! The Musical, playing now through November 29th. Stage 72 @ The Triad, 158 W. 72nd Street between Columbus and Amsterdam. There is a two-drink minimum for all shows. Performance schedule varies. Please visit http://www.brownpapertickets.com/event/890419 for schedule and tickets.

Theater Review: Revolution In the Elbow of Ragnar Agnarsson Furniture Painter

by Ryan Leeds

CADY HUFFMAN as Manuela in REVOLUTION IN THE ELBOW OF RAGNAR AGNARSSON FURNITURE PAINTER . Photos: Carol Rosegg — CADY HUFFMAN as Manuela in REVOLUTION IN THE ELBOW OF
RAGNAR AGNARSSON FURNITURE PAINTER .
Photo: Carol Rosegg

There is something to be said for starting a revolution. In the case of the new off-Broadway rock musical Revolution In the Elbow of Ragnar Agnarsson Furniture Painter, the most obvious comment might be: “What in the holy name of Robert Redford is this show about?” Why Redford? Because his name is frequently evoked and a prayer is made to him by residents of Elbowville in this head scratcher of a show. Effective revolutions generally require a strong sense of organization and logic in order to thwart oppression or overthrow power. This one only demands a taste of irony and the ability to comprehend non sequitur jokes about lobstering and living in the physical space of someone’s elbow.

Press releases and “googling” suggest that our Elbowvillians are spinning a tale which reflects the Icelandic Financial Crisis. (It’s a good idea to have a bit of background going into this, so you can brace yourself for the oddities that await.) Here’s the gist: In this once serene place, a driven boy wonder, Peter (Merrick Smith) unveils a new “prosperity machine”, a contraption which produces money. What happens when the cash runs low? Simply turn on the machine and voila!- more monetary merriment abounds. In theory, it seems like the perfect utopia. Yet the dollar weakens and once the material possessions of homes and cars are purchased, there is no way to pay back the loans. Sound familiar? It should, as it paralleled the economic woes of our own Nation starting in 2008. A search was made high and low for a musical team to write Revolution In the Left Ventricle of Dick Cheney Devil Incarnate but no one had the heart to stage it. Sarcasm aside, there’s more to the story; as the perception of acquired wealth growths for the elbow inhabitants, they desire more and are led down the path of dalliance by the leaders of the town, Kolbein (Patrick Boll) and Manuela (Tony award winner Cady Huffman). And because everything but the dish and spoon are already crammed into this show, a Faustian-like character, Mandrake (Rick Faugno) also makes an appearance.

To be fair, the show has inexhaustible energy, exciting choreography by Lee Proud, and a driving, infectious score. Although some songs end with anti-climactic buttons and one wishes that composer Ivar Pall Jonnson would have taken them to a higher plane, for which he is certainly capable. For a rather confusing piece, this gifted cast makes the most of the material and generally, the show is often entertaining. It is certainly one of the more unique offerings to be staged in some time. Jonsson, a native of Iceland, also wrote the book and lyrics. It remains unclear exactly what his intended meaning might be. Perhaps the point is that we are all occasional victims of cosmic chaos and that there is little which is absolute? Who knows! In the early nineties, C&C Music Factory had a hit song called, “Things that Make you Go Hmmm.” Revolution In the Elbow… is one of those things.

Revolution In the Elbow of Ragnar Agnarsson Furniture Painter is now playing off- Broadway at the Minetta Lane Theater, 18-22 Minetta Lane between Ave. of the Americas and Minetta Street. For tickets visit http://revolutionelbow.com.

Theater Review: “Piece of My Heart”

by Ryan Leeds

For Frankie Valli and the Four Seasons, Jersey Boys told their tale(s) . For Carole King, Barry Mann, and Cynthia Weill, Beautiful made them shine. For Stevie Wonder, Diana Ross, the Jackson Five, and other notorious soul singers, Motown: The Musical had these legends taking center stage. For Bert Berns, it is the current off-Broadway tribute slash bio-pic show Piece of My Heart that has revitalized his legacy. Wait a minute…Bert who? Do you mean you’ve never heard of the man who penned the pop hit “Show Me Your Monkey?” Ok, probably not, but you likely have heard the show’s title song, made popular by Janis Joplin.

This is precisely the point of Piece of My Heart . Berns never reached the level of stardom and fame his singer-songwriter contemporaries of the sixties enjoyed, but in just seven years, he penned countless hits including “Hang On Sloopy”, “Here Comes the Night”, “I Want Candy”, “Tell Him”, and “Twist and Shout”. Book writer Daniel Goldfarb and the creative team behind this jukebox musical have set out to explain the story of a man who died all too young and whose business partnerships left his name as “nothing more than a footnote.” His life is a sad reminder of the corruption and lack of loyalty that often pervades a rise to the top. Still, there are plenty of joyful moments in the show and this accomplished cast offers some of the finest ensemble singing and dancing seen in quite some time.

Zak Resnick, who stars as Berns, brings just the right amount of drive, determination, and vulnerability to the role. It doesn’t hurt that his voice is capable of melting hearts either. Candace (De’Adra Aziza) , Berns girlfriend, is full of sass and verve. Upon meeting her “nice Jewish Boy”, she is quick to inform him that she is “experienced, knows all the down cats and is gonna blow his mind.” Aziza’s stage presence is commanding and her beautiful vocals are noteworthy. The always reliable Leslie Kritzer delivers another fine performance as Jessie, Berns daughter and a girl who never knew her father except through his music. Linda Hart stops the show as Ilene, Berns’ widow, in a rousing and hilarious number, “I’ll Be a Liar”

Goldfarb’s book is thin and much of the dialogue reads like a script from a Hallmark television movie. Yet it still shines a spotlight on a music legend whose contributions should not be overlooked nor forgotten. There is buzz about the show seeking a move to Broadway. Whether it does or does not remains to be seen. For now, it is worth a trip to The Pershing Square Signature Center to see and hear this hugely entertaining untold story from the archives of music history.

Piece of My Heart: The Bert Berns Story, now playing off- Broadway through September 14th at The Pershing Square Signature Center (480 W. 42nd Street Between 9th and 10th Ave). For tickets and information visit http://pieceofmyheartmusical.com .

Theater Review: Drop Dead Perfect

by Ryan Leeds

There’s no need to leave Manhattan in search of the ideal summer “camp”. All one needs to do is take a trip to the Theatre at St. Clements for a dose of Idris Seabright’s histrionics. Seabright, a Floridian old maid, is played with masterful comedic skill by Everett Quinton. Quinton is best known for his collaboration of the Ridiculous Theater company with his late partner Charles Ludlam. Through August 10, this “drag-tastic” performer is savoring each moment of extended gazes and glances as though they were his last theatrical bites on earth. Let us pray to Gods of comedy that they are not, as Quinton’s star turn in Drop Dead Perfect is absolute perfection.

Seabright resides in a shabby chic Key West beach house and is lamenting the potential loss of Vivien, a young lady (played with delicate drag charm by Jason Edward Cook) with her sights set on an art career in New York. More will be revealed on that relationship later. Phineas Fenn, Seabright’s lawyer, shows up to ply her with hallucinogenic pills. To add spice to the mix, a fiery Cuban named Ricardo (Jason Cruz) knocks on the door to sweep Idris off her feet.

The plot continues to unfold like a melodrama from the fifties and, under Joe Brancato’s direction, this wonderfully versatile cast makes the most out of each hyperbolic moment. Any show incorporating a dance to Yma Sumac’s “Malambo No. 1” not once, but twice, earns its’ mark for silliness of the highest quality. If you’ve never heard the song, watch it on youtube and brace yourself for a fit of giggles.

The script, which makes numerous references to TV’s I Love Lucy, is penned by Erasmus Fenn. After reading Fenn’s curious bio in the program, one must wonder if he and Quinton aren’t the same individual. Whether they are or aren’t makes no difference. This is one delicious piece of theater you’ll be glad you attended. Be advised, however: Drop Dead Perfect ends this Sunday, August 10th, so you’d better hurry. Oh, and leave the kiddies at home.

Drop Dead Perfect plays at Theatre at St. Clements. 423 West 46th street between 9th and 10th. For tickets and more information,visit http://www.dropdeadperfect.com/

Theater Review: “Atomic”

by Ryan Leeds

The good news: An interesting and thought-provoking piece of theater is currently being staged off Broadway at Theatre row. The bad news: they’ve set it to music . In most cases, adding “the Musical” to any title is enough to make this reviewer giddy as a sugarplum fairy. Here however, we find a compelling story saddled by a mediocre score. Unfortunately, it diminishes the potency of an otherwise riveting tale.

Atomic is a new musical dramatization about the scientists responsible for The Manhattan Project, a top-secret initiative that led to the invention and eventual use of the atomic bomb. With Hitler’s Third Reich gaining momentum in Germany, American scientists were determined to be the first creators of such a nuclear weapon J.Robert Oppenheimer (Euan Morton) Leo Szilard (Jeremy Kushiner). Enrico Fermi (Jonathan Hammond). Arthur Compton (David Abeles) and Paul Tibbets (Randy Harrison) comprise this group of genius masterminds who left a literal and figurative mark on history.

Danny Ginges and Gregory Bonsignore have crafted a stimulating book that is equally as entertaining as it is educational. Years later, questions of ethical practicality in detonating the bombs over Hiroshima and Nagisaki remain . What makes Atomic tick, however, is that Ginges and Bonsignore do not inflict their personal views in the text. We witness both the actual faces of Japan’s human loss, and the conflicted faces of those physicists who believed that they were actually defending and protecting humanity for the universal good. Did we really need superfluous song and dance numbers for such questions to be raised? Not really–although the thought of injecting the Pointer Sisters “Neutron Dance” did come to mind. Still, fine performances, slick staging, brilliant lighting and solid direction by Damien Gray make this a worthwhile piece of live summer entertainment.

Atomic is playing now through Aug. 16 at the Acorn Theater on Theater Row, 410 West 42nd Street between 9th and 10th aves. For tickets, call 212-239-6200, go to www.telecharge.com or visit the box office.

Theater Review: “Pageant” `

by Ryan Leeds

Photo courtesy of Jenny Anderson. Looks courtesy of of make-up and a splash of mother nature — Photo courtesy of Jenny Anderson. Looks courtesy of of make-up and a splash of Mother Nature.

Wisconsin might be known for its‘ dairy but right now, New York is rivaling the mid-west state for cheese production in a revival of Bill Russell and Frank Kelley’s drag musical Pageant. Originally premiering in 1991, this spoof on beauty pageants pits six “ladies” from various parts of the country against one another to earn the title of Miss Glamouresse. One by one, each of the six contestants struts “her” stuff in swimsuit, talent, and interview competitions. The hair is sprayed, the nails are dried, the lashes done, the lipstick applied and…the tuck secure?!?

It turns out, underneath all of the perfectly flowing hair and dazzling dresses, that our bevel of beauties is really a bunch of beaus. Nick Cearley (Miss Great Plains), Nic Cory (Miss Industrial North East), Alex Ringler (Miss Texas), Marty Thomas (Miss Deep South), Seth Tucker (Miss West Coast), and Curtis Wiley (Miss Bible Belt) each make dazzling divas and shine individually throughout the show. The real standout here though, is John Bolton, who brings an unctuous charm to the evening’s proceedings as Frankie Cavalier. Channelling Pat Sajak, Bert Parks, and every other obsequious TV host, Bolton’s Cavalier is the stuff of parody heaven. As the night gets underway, our hammy host engages audience members to become the night’s judges.

Musically there is nothing particularly memorable in Pageant, but let’s be honest: No one intended this to be a sweeping epic with French flags and heroic war anthems. Much like a traditional beauty contest, the vacuity cup is filled to the brim. Thankfully, both the cast and audience are playfully self-aware and siphon every drop of glitter and camp from this amusing beauty bowl.

Pageant is now playing off Broadway at the Davenport Theatre, 354 West 45th Street between 8th and 9th. Showtimes are Saturdays through Mondays. For tickets and more information visit http://www.pageantmusical.com/

Broadway Barks: A “Fluff” Piece

by Ryan Leeds

Bernadette Peters and James Franco. Photo courtesy of Ryan Leeds

Tourists, residents, and Broadway aficionados all had reason to “paws” in the center of the theater district this past Saturday as celebrities and shelter animals took to Shubert alley for an event which left every spectator “feline” fine.

For the past 16 years, screen and stage star Bernadette Peters has spearheaded Broadway Barks , an event which raises awareness for shelter animals and encourages their adoption. Peters co-founded the organization with her long time friend and fellow celeb Mary Tyler Moore and was cheerfully present on Saturday afternoon, July 12th. She spoke briefly to Manhattan Digest, “It’s very important for everyone in the world to give attention where it is needed, and if something sparks your interest that needs help, I think you should try to do something about it.” Peters is the proud owner of a dog, Charlie, who apparently yodles at home with the songstress.While the rest of us beg, borrow, and steal to see this stage legend in concert, Charlie gets serenaded by Sondheim simply for showing up to food bowl- Lucky dog! Peters authored two children’s books based on her love for man’s best friend (“Broadway Barks” and “Stella is a Star”) and will release a third in Spring 2015.

Dogs weren’t the only four legged creatures hopeful to find a home. Bebe Neuwirth (Chicago) and James

Bebe Neuwirth. Photo courtesy of Ryan Leeds

Franco (Of Mice and Men) flaunted a “purr-fectly” adorable kitty, eager to live the rest of its lives (plural) in New York domesticity. Aladdin’s genie and recent Tony award winner James Monroe Iglehart was also on hand to aid in the cause. “This is my first year,” he told Manhattan Digest. “I’m a rookie, but I’m proud to be involved. I used to work at Memphis, which was here at the Shubert Theater, and I used to see the event happen. I thought it was so cool that they were doing it, so when they asked me to be a part of it, I jumped at the chance.” Iglehart is the proud owner of two finicky cats, Zoe and Missy. “They don’t even go outside when it’s cold. They just look and decide that they’ll stay inside to watch all the birds flying by.” Others, like Ciare Renee (Pippin) were there to show support , but were not pet owners themselves. “I don’t have any pets” she said. “I just pretend that Barnum (pictured below) is my dog.” When asked if she was taking any home with her, she said , “I wish! But I think my roomate would be mad!”

L-R Kyle Dean Massey, Ciara Renee, and Rachel Bay Jones with Barnum. Photo courtesy of Ryan Leeds

Zach Braff (Bullets Over Broadway), Jessie Mueller (Beautiful) , Justin Guarini and Mary Testa (Wicked) , Norm Lewis and Sierra Boggess (Phantom of the Opera), Audra McDonald (Lady Day at Emerson’s Bar and Grill) and many others offered their time and talents to the cause by performing at the notorious venue, located between 44th and 45th streets. While the summer sun poured onto the city streets, few found little to “growl” about as New York City shelters and adoption agencies found happy homes for many eternally grateful animals- and that’s no shih tzu! For now, this journalist must sign off. With all of these obviously tacky puns, this story has gone to the dogs. Groan!

Ryan Leeds

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