ARTS

“Side Show” On Broadway Review: Back on the Boards

SIDE SHOW - Emily Padgett and Erin Davie. photo by Andrew Eccles — SIDE SHOW – Emily Padgett and Erin Davie. photo by Andrew Eccles

Just in time for Halloween, Broadway audiences will soon see a dazzling new production of Side Show, a revival of the 1997 musical by Bill Russell (book and lyrics) and Henry Krieger (music). Press audiences were invited to attend a special sneak peek on Friday morning, Oct. 17th at the St. James Theatre, where the cast performed the opening number, “Come Look at the Freaks”.

The cast of SIDE SHOW. Photo courtesy of Andrew Blupe.

Side Show tells the heartbreaking true story of Daisy and Violet Hilton, two conjoined British twins who were part of the Vaudeville circuit in the 1930s. Emily Padgett and Erin Davie star in the show, directed by Bill Condon, who successfully adapted the smash-hit Dreamgirls into an Oscar and Golden Globe Award winning film. This is his debut as a theatrical director. From the palpable energy at this press junket, his golden touch is certain to win audiences. So, dust off the candy basket and pray to the ghosts and ghouls that generous neighbors will “treat” you to tickets–or at least a few dollars towards them. If all else fails, you can sit on their doorstep and sing the show’s 11 o’ clock number, “I Will Never Leave You” at the top of your lungs.

Side Show opens to previews on Oct. 28th at the St. James Theatre , 246 West 44th street (between Broadway and 8th), with an official opening on November 17th. For tickets, visit the box office or online at

http://sideshowbroadway.com/

Theater Reviews: “Indian Ink” and “The Country House”

by Ryan Leeds

Tom Stoppard: Prominent, prolific, and critically acclaimed. Certain playwrights hold a certain shroud of prestige to the point that any talk of criticism towards them is considered heresy. Well, consider me a heretic. Try though I may, I have attempted to read his plays and watch them staged. Each time, I’m left in a state of confusion and frustration. Usually, this is due to the fact that Stoppard’s use of language is so comprehensive one might think that he decides to use every single word of the English language in a single play. Or perhaps I’m a simpleton who just doesn’t “get it.” All the votes on that aren’t in yet.

However, my single vote on Roundabout Theater’s Indian Ink is in, and unfortunately, I’m not voting in favor of it. Indian Ink takes us to 1930s India, where we meet Flora Crewe (Romola Garai) , a British gal who likes to pen poetry and sleep with men-lots of them. As her sister, Eleanor (Rosemary Harris) notes, “She used them like batteries. When things went flat, she’d put in a new one.” Crewes establishes a friendship with Nirad (Firdous Bamji), a painter who asks to paint Crewe’s portrait. She obliges. Meanwhile, she continues to have dalliances with any willing man and is taught lessons of painting styles from Nirad. All of this is seen in flashbacks from Eleanor’s memory. A scholar, Eldon Pike (Neal Huff), is currently writing an academic paper on Crewe’s life and has enlisted Eleanor’s aid to discuss the specifics of her sister’s life. These scenes take place in the 1980s.

There is subtle beauty here. Robert Wierzel’s lighting is exquisite and work beautifully against Candice Donelly’s gorgeous costumes. To completely dismiss Stoppard is foolish and unfair, and he does scribe some genuinely poignant lines. As Pike reads one of Flora’s last letters, she writes: “Perhaps my soul will stay behind, as a smudge of paint on paper.” It’s a lovely sentiment and yet, one wishes that Stoppard could be more laconic. Instead, we must withstand close to three hours of endless dialogue about the cultural differences between India and the British. It’s comparable to being cornered at a party, in a fabulous room, by a guy who incessantly chatters about Amway-all while you hold an empty wine glass and pray for Armageddon to strike.

Indian Ink plays off Broadway through Nov. 30 at the Laura Pels theater, 111 West 46th Street between 6th and Broadway. For tickets and information, visit: http://www.roundabouttheatre.org/Shows-Events/Indian-Ink.aspx

Manhattan Theater Club must subconsciously be channeling classic Russian playwright Anton Chekhov. Last season’s The Snow Geese gathered a family in upstate New York who grieved the recent loss of their patriarch. Those who attended the country getaway spoke only of regret and loss-all in true Chekhovian flair. Now, his spirit presides in the Berkshires, the setting for Donald Margulies’ new dramatic comedy The Country House.

An always classy and elegant Blythe Danner, leads this superb cast as Anna Patterson, an esteemed actress who has arrived in her home near Williamstown, Massachusetts. It is the first time she’s stepped foot in the house since the passing of her actress daughter, Kathy. Walter Keegan (David Rasche), Kathy’s husband slash hack director who now turns his attention to a B film series called Truck Stop, is also in tow for the family festivities. His eyes happen to be targeted on Nell McNally (Kate Jennings Grant), his weekend companion and an aspiring knock-out actress. She’s also significantly younger in years than Walter. Walter’s daughter, Susie (Sarah Steele) is also bunking down can see right through her father’s mid-life crisis. Patterson’s son, Elliot Cooper, joins as the most Chekhovian character here. Cynical, bitter, and yearning for the unreciprocated love from his mother, Cooper is planning to unveil his latest play, which the family will read. No doubt that Margulies has molded him from Konstantin Treplyov, the forelorn playwright from Chekhov’s The Seagull. With all of these dramatic personalities under one roof, rest assured that sparks will fly. Oh–but wait! Michael Astor (Daniel Sunjata) is coming too. Astor is a fellow friend of Patterson who is now the star of a popular television series. He vows to take the couch for his sleeping preference. Astor is swarthy and handsome and his charm is simply too irresistible to resist- by every female character under this roof. You can probably tell where this is headed.

Unlike Margulies’ last work, Time Stands Still, there is much less weight to this piece- which is not to renounce it. It would be rather ridiculous to compare a piece about a photojournalist who has returned from Iraq after a roadside bomb injury to a play about the petty dramas of an acting family. Still, The Country House provides a perfect vehicle for Blythe Danner to grace the stage and remind us what acting royalty is all about. At one point, her Anna Patterson laments the fact that the likes of Geraldine Page and Julie Harris are gone. “There are no more stars on Broadway,” she says. “Oh sure there are stars on Broadway, but they aren’t Broadway stars.” It’s a cutting and hilarious line, but with respectful disagreement, Danner can take her place among the greats.

The Country House, on Broadway now through November 23rd at the Samuel J. Friedman Theatre, 261 W. 47th betweeen Broadway and 8th aves. Tickets avail at the box office or by visiting http://thecountryhousebway.com/

Theater Review: “Stalking The Bogeyman”

by Ryan Leeds

"Roderick Hill in a scene from "STALKING THE BOGEYMAN" Photo: Jeremy Daniel." — “Roderick Hill in a scene from “STALKING THE BOGEYMAN” Photo: Jeremy Daniel.”

A rhetorical question is asked near the end of the intensely riveting drama, Stalking the Bogeyman: “Do you know what it’s like? To realize that the most horrible event in your life helped shaped the defining characteristics of your entire being?” It is is posed by David Holthouse (Roderick Hill), a journalist who experienced a brutal rape at the formative age of seven. The perpetrator was the son of his parent’s friends, Russ (Murphy Guyer) and Carol Crawford (Roxanne Hart). Their son (Erik Heger) whose real name is intentionally absent until the end, is ten years older than David and is viewed as a big brother to him-at least until the harrowing incident–and then David sets out on a path for revenge against his “Bogeyman.”

This chilling tale is based on a true story that ran on National Public Radio’s This American Life in 2011. For years, Holthouse kept the rape a secret. When the story broke in 2004 in a Denver newspaper (where he was working), emails and letters began pouring in from those who had experienced the same tragedy. The stage version will no doubt strike a chord with individuals who have also endured such abuse.

Even if you are familiar with the story, which has been adapted by Markus Potter, there is a creepy, uneasy feeling that plays out like a first rate thriller. Make no mistake; this is not entertainment in the traditional sense. Instead. it is a fascinating study of human understanding, compassion, and grace. Issues of sexual molestation and abuse have long been topics for movies of the week and television crime dramas, but watching this story unfold on stage brings a visceral permanence to a awkward and uncomfortable topic. Kudos to this creative team for handling such a delicate matter with dramatic strength and truth.

Erik Heger in a scene from the new drama "STALKING THE BOGEYMAN" Photo: Jeremy Daniel." — Erik Heger in a scene from the new drama “STALKING THE BOGEYMAN” Photo: Jeremy Daniel.”

Stalking the Bogeyman is now playing at New World Stages, 340 West 50th street (between 8th and 9th). For tickets and more information, visit the box office or online: http://www.stalkingthebogeyman.com/

Theater Review: “Big, The Musical”

by Ryan Leeds

Big, The Musical. Photo courtesy of Jenny Anderson.

Can you recall what it’s like to have spontaneous, uncalculated fun? If you’ve forgotten, then the perfect reminder awaits at the York theater, where a modest, but winning production of Richard Maltby, Jr. and David Shire’s Big, the Musical is underway. The show kicks off the theatre company’s 20th year of their “Musicals in Mufti” series. According to the program, a “mufti” is a “show performed in street clothes; without the trappings of a full production.” This serves the work well, primarily because it forces the viewer to focus more on the story and content

rather than the splashy spectacle of a full-fledged staging.

Big, the Musical is based on the hit 1988 Penny Marshall movie of the same. It starred Tom Hanks and earned two oscar nominations-one for Hanks, and one for screenplay by Gary Ross and Anne Spielberg. In 1996, the late director Mike Ockrent brought the story to Broadway with his then wife Susan Stroman as choreographer. Reviews were mixed and it closed after 193 performances. Since then, John Weidman’s book, Maltby, Jr.’s lyrics and Shire’s score have been overhauled. In this version, eight brand new songs have been added.

The premise of Big is by no means wholly original or unique, but the musical is filled with so much heart that the simplicity of the plot can easily be forgiven. 12 year old Josh Baskin (Hayden Wall) is determined to grow up. He’s tired of living under his parent’s rule and frustrated by his inability to win the affection of his crush, Cynthia Benson (Elainey Bass). Upon visiting the local New Jersey carnival with his best friend Billy (Jeremy Todd Shinder) , Josh encounters an arcade game called “Zoltar Speaks”, where he is granted one wish. His wish is to be a grown-up. Instantly, the adolescent is thrust into adulthood (played by John Tartaglia), where he effortlessly catches the eye of toy company honcho George MacMillan (Richard Maltby, Jr.) and becomes an executive at the company. Here, he meets Susan Lawrence (Kerry Butler) and is forced to navigate through the difficulty of a romantic adult relationship.

Remember the big piano dance mat scene at FAO Schwarz? It’s in here. How about the scene when Josh eats caviar for the first time? Or the “sleep-over” with Susan? That’s in here too. All of the fun moments that made the movie such a hit are included in this stage version, along with some bouncy, memorable tunes that you’ll be humming on your way to the exit. It doesn’t hurt that director Michael Unger has found an engaging and thoroughly talented cast to pull it off. Tartaglia and Butler spark excellent chemistry while Wall and Shinder bring tender authenticity and humor in their astute portrayals of childhood friendship. Due to a last minute change, the actor Walter Charles had to bow out of the production. However, it is a pure joy to see the show’s lyricist, Richard Maltby. Jr. assume the role of George MacMillan.

At a running time of 2 hours and 40 minutes, the show does tend to have some minor moments of sluggishness. While the first act floats with buoyancy and charm, the effervescence slightly fizzles in the second act. Still, there is much to love in this show as it provides a wonderfully sweet look at the minor pains of childhood and the silly pretentions of adulthood. You’d better hurry, though. Much like our cherished youth, the show vanishes after Oct. 19th.

Big, the Musical runs Oct. 15-19th at York Theatre Company. For tickets and more information call 212-935-8520 or visit yorktheatre.org

Theater Review: “You Can’t Take It With You”

by Ryan Leeds

Are you experiencing feelings of sadness or minor depression? Have you just received word that your best friend is moving to a remote island of Zanzibar? Were you recently informed that your partner of twelve years has been cheating on you? Or are you simply existing in a continued state of exuberance with the belief that life can’t get any sweeter? If you answered “yes” to any of these questions, ask your doctor if Kaufman and Hart is right for you. If your doctor has any credibility, the prescription will be a magical elixir of happiness. Side effects may include outbursts of unrestrained laughter, giddy feelings of delight, and the idea that all is right in the world. There is a strong likelihood that this cure will last long after you’ve left the Longacre Theatre, where the classic 1937 comedy You Can’t Take It With You is enjoying a (hopefully) extended residency.

Oh sure. You’re probably thinking, “Classic comedies are about as funny as Bill Moyers on Frontline. They are folksy and outdated and the “jokes” rarely land.” Believe me; this production is different, thanks to an incredibly fine ensemble cast, led by stage and screen giant James Earl Jones. In fact, it may just be the best ensemble working on Broadway right now. With a roster of theatrical names joining him including Annaleigh Ashford, Elizabeth Ashley, Johanna Day, Julie Halston, Kristine Nielsen, and Mark Linn-Baker, there is every reason to expect a joyous night of theater. Lo and behold, those expectations will be met and far exceeded.

George S. Kaufman and Moss Hart’s story takes place in Manhattan’s Upper West Side. David Rockwell’s stunning and sprawling townhouse may cause modern day New Yorkers (living in virtual shoeboxes) to scratch their heads about its’ palatial quality, but this was 1937 after all. Inhabiting this house is the Sycamore family and their quirky band of fringe folk. Grandpa (Earl Jones) spends his days playing with snakes and avoiding taxes. Penelope Sycamore (Nielsen), just happens to be a playwright after a typewriter was accidentally delivered to her doorstep eight years ago. Nielsen brings her typical kookiness into the fold, as only she can deliver. Her stage characters are often similar to one another and yet she makes each one decidedly and deliciously marked. Penelope’s husband, Paul (Linn-Baker) , spends his time in the basement fiddling with fireworks, along with house vistor Mr. DePinna (Patrick Kerr). Later, Penelope rediscovers a unfinished Greek style painting of DePinna and decides to finish it while he poses in a toga. Meanwhile, daughter Essie (Ashford) is being taught ballet by another houseguest, Boris Kolenkhov (Reg Rogers). There’s little hope for Essie’s prowess (or lack therof) in dance, and her bohemian husband Ed (Will Brill) doesn’t add to much to her unskilled routines with his accompanying xylophone pieces.

YouCan't_Joan Marcus — The Cast of YOU CAN’T TAKE IT WITH YOU. Photo courtesy of Joan Marcus.

Let’s not forget two veteran actresses who know to milk every blessed moment each time they step foot on a stage: Elizabeth Ashley and Julie Halston. Ashley plays Olga, a grand Russian duchess and friend to Kolenkhov. Though it occurs towards the end of the show, her entrance is the stuff of theater legend and her performance overflows with vivacious joy.

Not since Halston appeared downtown in Charles Busch’s The Divine Sister have I been more amused. Here, she plays Gay Wellington, a drunk actress planning to participate in the read through of Penelope’s new play. Her stage time is quiet limited, but after witnessing this comedic genius slink up a staircase reciting a limerick, you’ll be doubled over so far with laughter that you might need resuscitation. This is not a hyperbolic statement: just be warned.

Then there are the “normal” ones. Alice (Rose Byrne) and her fiance, Tony Kirby (Fran Kranz). Alice is the only seemingly grounded individual in the Sycamore clan. Kirby’s pedigree is much more prim and polished and, like all couples, they must face the uncomfortable situation of introducing each other’s parents. Byron Jennings and Johanna Day (Mr. and Mrs. Kirby) are excellent as uptight WASPs who look as though they’ve been baptized in pickle juice. It doesn’t take a brain surgeon to figure out how the initial meeting will unfold.

The message of You Can’t Take It With You is simple and straightforward: Relax. Enjoy Life. Don’t Stress. While it remains true that classic comedies can often feel outdated, nothing is further from the truth with this production . With Scott Ellis’ fine direction and a cast that dreams are made of, its’ timeless lesson is a perfect reminder for our all-too-frequent stressed out selves.

You Can’t Take It With You is now playing at Broadway’s Longacre Theatre 220 West 48th St. (between Broadway and 8th ave.) For tickets, visit the box office or http://youcanttakeitwithyoubroadway.com/

Theater Review: “The Money Shot”

by Ryan Leeds

The Money Shot. Photo courtesy of Sara Krulwich

Newton’s third law of physics indicates that for every action, there is an equal and opposite reaction. To paraphrase Sir Issac, this reviewer’s law of theater might observe that for every die-hard fan of Neil LaBute, there is usually an equally opposite reactor. Count me among the dissenters who fail to see what the big hullabaloo about this Tony and Olivier nominated playwright is all about. His dramatic voice is relatively unmistakable (although it does draw a close resemblance to David Mamet at times), and his dialogue is razor sharp. At the same time, it is vapid and cruel and falls incredibly short on the redemption factor. If this is desirable theater for you, then you will love The Money Shot.

The setting for LaBute’s latest ode to cynicism occurs in the Hollywood home of Karen (Elizabeth Reaser) , an “out” lesbian who is quick to remind everyone around her of the career she used to have. Now, she is struggling as an actress and coupled with her lover, a headstrong film editor, Bev (Callie Thorne) . Their banter throughout the entire evening shifts between affection and accusation, a distinct contrast between their visitors, Steve (Fred Weller) and Missy (Gia Crovatin)-a couple so incredibly dense they make a cheese sandwich seem intelligent. Still, they’re too self absorbed and smitten with one another to even notice or care.

Enter the dramatic tension : In order for Karen and Steve to recharge their careers, they must act out a sex scene in the current film they are shooting-a film which may re-position( no pun intended) their star status. The conversation evolves around what they will and will not be permitted to in their intimate screen moment. Missy and Bev observe from the sidelines and offer their opinions and allowances. Bets are placed and a wrestling match later ensues between an exhausted Bev (frustrated by Steve’s oblivion) and a testosterone laden Steve. In typical LaBute style, nothing is left to imagination about the sexual proceedings that will ensue. All four carry the piece in brisk, witty fashion under Terry Kinney’s sharp direction and there are some laugh out loud one-liners showered throughout this MCC production. A particularly hilarious scene includes Missy re-enacting a scene from her high school production of Arthur Miller’s The Crucible. In the end though, the play feels as empty as the characters themselves.

Are blatant descriptions of coitus and misogynistic epithets considered quality play writing? Like any art, this is a matter of subjectivity. Perhaps the interactions in LaBute’s world may generate conversation about how we interact with one another in our real worlds. Yet even if the questions are asked and answered, The Money Shot doesn’t forge any new ground in the “lambasting and lampooning of LA” drama genre. Commentaries on the superficial landscape of Hollywood have been around since…well…Hollywood started making movies.

The Money Shot plays off Broadway now through Oct. 19th at The Lucille Lortel Theatre (121 Christopher Street, slightly east of Hudson Street). For tickets and more information, visit http://mcctheater.org/

Theater Reviews: Quiet Shows, Big Impacts

by Ryan Leeds

While there’s nothing more titillating than seeing family brawls, drunken tirades, unearthed secrets, shocking surprises or feverish romance, theatrical drama doesn’t necessarily need to always incorporate these elements in order to grab attention and make an impression. These three shows are currently on the boards, each of which are leaving an indelible mark in subtle fashion.

Love Letters

A wise sage once observed that “You never forget your first love.” Playwright A.R. Gurney proves this proclamation in Love Letters, his 1989 Pulitzer prize-winning play which charts the lives and loves of Andrew Makepeace Ladd III (Brian Dennehy) and his childhood crush, Melissa Gardner (Mia Farrow). Comprised only of a desk with two chairs, the duo sit and read letters they have written to one another over a fifty year period. Each of them take completely different paths and yet continue their faithful correspondence through boarding school, political campaigns, stints in rehab, nervous breakdowns, and multiple marriages.

The piece could easily sink into saccharine ground, but Gurney’s writing is so tender and gentle that its’ universal appeal will connect with anyone who has ever longed for a lost love or wondered what might have been if Cupid’s arrow had been more targeted. Gurney fully grasps the complexities of human interaction with his observation that there is not just one true love–some leave an indelible mark on our on lives that can only be expressed through time and written conversation. In an age where texts and e-mails fade into the crowd of daily routine, there is an enchanted quality which exists in the dying art of letter writing.

I had first seen Gurney’s play in 1994 at Allenberry Playhouse in Pennsylvania when the roles of Ladd and Gardner were played by Marty Ingels and his Academy Award winning wife, Shirley Jones (respectively). As a naive teenager, I knew nothing about the gains or losses of love. Now, through the lens of adulthood, the play resonates on a much different level. Full disclosure: my eyes were not completely dry when I left this Broadway theater. As I glanced around at others making their way towards the exit, I noticed that I was not alone. Obviously the script still tugs at the heart, some 25 plus years after it debuted.

Producers are hoping that this modest show will attract the baby boom generation and those wanting to huddle in the same room with a line-up of Hollywood heavy hitters. Following Mia Farrow (who ends her run on Oct. 10th), Carol Burnett, Candice Bergen, Diana Rigg, and Angelica Huston will assume the role of Melissa Gardner. Brian Dennehy will stay past Oct. 10th and continue in the role of Andrew Makepeace Ladd III. Then Alan Alda, Stacy Keach, and Martin Sheen will take turns sitting at the desk to recount the sweet journey between soul mates. Given this array of talent , you can rest assured that each performer will infuse his or her own flavor and turn Gurney’s words into a rhapsody of romance.

Love Letters plays on Broadway at the Brooks Atkinson theater, 256 W. 47th (between Broadway and 8th ave.) Tickets available at the box office or by visiting: http://lovelettersbroadway.com/. Visit the site for the guest star schedule.

A Walk In the Woods

Another Pulitzer nominated play, A Walk In the Woods opened one year before Love Letters in 1988 . It starring Robert Prosky and Sam Waterston as

polar opposite negotiators who convene in Geneva, Switzerland for a peace summit. Determined to find common ground and gain understanding, the two take a literal walk to seek a greater human connection than can be achieved by hours of sitting around tables.

A new version of Lee Blessing’s thoughtful two-character drama recently landed off-Broadway at Theatre Row, where it is enjoying a new make-over under Jonathan Silverstein’s deft direction. In the original Broadway staging, Prosky starred as Russian diplomat Andrey Botvinnik and Waterston portrayed the American counterpart John Honeyman. Here, our Russian lead is female and is portrayed with exceptional perceptiveness by the accomplished Kathleen Chalfant. An equally sharp Paul Niebanck masterfully holds his own as John Honeyman.

When the play first premiered, Reagan’s presidency had ended and talks of Cold War discussions with Gorbachev had topped International headlines. While these are merely footnotes in recent history, the potency of Blessing’s work still echoes. Under the surface, after all of the missile talks, number of arms, power struggles, and economics, there is a vulnerable humanity that exists across all nations and languages. One only need to scan a newspaper to realize that our accomplishment on that front is far from fully realized.

Blessing chose to change the gender of his Russian character by stating that “the gender change can wake us up a bit more to a play that discusses issues that haven’t been on the front burner (in quite this way at least) for decades. It reminds us that more and more women are finding their way into our society’s biggest socio-political discussions, and that they have already proved themselves every bit as competent as their male counterparts.” With Chalfant in the role, her competency is not only proved, but should be preserved as a lesson for all current and aspiring actors. There remains not a single ounce of artifice in her performance.

Keen Company is exemplifying its’ mission to create theater that provokes emotional connection. With Niebanck and Chalfant, this is one conversation on which you’ll want to eavesdrop.

A Walk in The Woods plays through Oct. 18th at off Broadway’s Theatre Row. 410 West 42nd (between 9th and 10th). For tickets and more information, visit the box office or keencompany.org.

Port Authority

There is a new cure on the market for sleep deprivation. Unfortunately it is not covered under any insurance plan and it costs around $70. It goes by the name of Port Authority and is dispensed nightly around Union Square. This latest version of celebrated writer Conor McPherson’s 2001 work is receiving a new treatment from the Irish Repertory Theater, and you’re probably going to want a pillow for it.

Under Ciaran O’Reilly’s direction, Mcpherson’s 90 minute snoozer leaves a different type of mark from the others mentioned above; one so solemn that it plays like a funeral dirge. This piece involves three Irishmen, each at different phases of their lives. James Russell is Kevin, a young lad who speaks about the quagmires of falling in love. Billy Carter portrays Dermot, a middle-aged man who finds life too much to handle, and Peter Maloney is Joe, a senior citizen who resides in a care facility and speaks about his now deceased wife. The three men sit on a rather stark stage and each of them take turns delivering lengthy monologues, all of which are nearly as interesting as asking a five-year old to explain quantum physics. Carter’s Dermot is the only riveting performance and even then, you’ll likely find your mind wandering into the near realm of REM sleep.

Forty minutes into this particular performance, a lady in the front row got up and left. Moments later, a scratching sound behind me prompted me to turn my head where I witnessed another obviously disengaged theatergoer filing her nails. When the curtain fell, my guest for the evening turned to me and said, “I think I would have enjoyed that so much more on a sofa, covered in a blanket.” In Irish brogue, ya can draw yer own conclusions, lads and lassies.

Port Authority plays off Broadway through November 16th at The DR2 Theatre. 103 East 15^th Street (between Park and 3rd ave.) For tickets and information, visit http://www.irishrep.org/

Theater Review: 9 to 5 the Musical

by Ryan Leeds

9 to 5 The Musical at Walnut Street Theatre. Philadelphia, PA. Photo courtesy of Marl Garvin — 9 to 5 The Musical at Walnut Street Theatre. Philadelphia, PA. Photo courtesy of Mark Garvin

Technically, the name of this online publication is Manhattan Digest. And it’s easy for our New York elitism to bleed through into…well…practically every aspect of our daily lives. Sometimes we Gothamites are so deeply entrenched in our belief that New York City is the center of it all, that we fail to take notice to the notable offerings around us. I use the collective “we” here, because I too, have been guilty of this snobbery.

This happened last weekend when I crawled out of my hole of oblivion and hopped an Amtrak train from Penn Station to Philadelphia. Granted, I was there to to run a half marathon,but prior to my departure, I was reminded of the terrific and often overlooked theater scene dwelling in Pennsylvania’s largest metropolis. It was here where I saw a delightful and improved stage version of Dolly Parton’s notorious film about eighties working girls, 9 to 5: The Musical.

The show had a short life when it opened on Broadway in April 2009. Critics found it tawdry and dated and although Parton’s name and influence was present, it wasn’t enough to generate box office dollars. The production, in Times Square’s Marriot Marquis closed 6 months later in September. Since then, it has found its’ groove among regional theaters, including the well regarded Walnut Street theatre where it is enjoying a run through Oct. 19th.

This story of girl power centers on Violet Newstead (Dee Hoty), Doralee Rhodes (Amy Bodnar), and Judy Bernly (Amanda Rose). This spunky trio punches the daily clock and attempts to climb the corporate ladder but is shot down at every angle by their misogynistic boss, Franklin Hart, Jr. (Paul Schoeffler). If that weren’t enough, they must deal with Hart’s obsessively loyal administrative assistant, Roz Keith (Mindy Dougherty). Violet cautions an overwhelmed Judy on her first day that Roz is Mr. Hart’s eyes, ears, and throat and “if you want to gossip in the ladies room, check under the stalls for feet first.” The women concoct a plan to kidnap Hart and finagle a way for Roz to attend a French Vocabulary School. They continue on their mission to teach Hart a lesson on respect.

The premise is implausible, but the sense of nostalgia is perfectly intact. So are the vocals from this predominantly female cast. Each of them have their moment to shine and deliver Parton’s score with fresh vivacity and vigor. It is possible that producers caught wind of the weaknesses of the Broadway production and the criticism that it felt out of date. In this version, a pre-recorded Dolly Parton welcomes the show via digital projection and introduces all of the leading players. Parton informs the audience that the show takes place in a time when “apples and blackberries were things I picked from the field” and knowingly winks at the time frame. Admit it: If Dolly Parton can’t bring a smile to your face, you’re either the world’s crankiest person or you’ve had one too many botox injections.

There is nothing overly cerebral about the story, but it remains a feel-good satire on the injustices and monotony of office life. It also provides the opportunity to hear some fresh Grammy nominated music from Dolly, delivered by a Broadway quality talent. So, dispense with your New York City highbrow attitude and shower our neighboring city of brotherly love with a bit of romance.

9 to 5: The Musical is now playing at Philadelphia’s Walnut Street Theatre (825 Walnut Street) now through Oct. 19th. For tickets and information, visit: http://www.walnutstreettheatre.org/ or call 215-574-3550.

Andrew Lippa Gives ‘Em Hope

by Ryan Leeds

Andrew Lippa is one audacious composer. A few years ago, he received an unsolicited email from Dr. Timothy Seelig, conductor of the San Francisco Gay Men’s Chorus (SFGMC). In it, Seelig stated that SFGMC was seeking commissioned works from 10-12 composers, inviting them to write a five-minute piece based on their experiences and observations about Harvey Milk. Milk (in case you happen to be of the millennial generation or are just now crawling out from under your rock), was the first openly gay politician who served on San Francisco’s Board of Supervisors in 1978. He served for a mere 11 months before being fatally shot by his former colleague Dan White.

Lippa was “floored and thrilled” by the email, so he called Seelig immediately. “I am so excited that you’ve asked me to write a five minute piece about Harvey Milk,” he told the conductor. “But I don’t want to write a five-minute piece. I want to write a sixty minute piece!” Lippa couldn’t believe that he was so bold to suggest it, but they both discussed the reasons before agreeing to a project that would become I Am Harvey Milk. After a 2013 debut by SFGMC, this powerful concert and theatrical event has been performed by other gay choruses throughout the country. This Monday night, October 6th, it will make a New York City premiere at Lincoln Center’s Avery Fisher Hall.

Lippa pointed to his kinship with Harvey Milk, “Harvey spent most of his adult life in New York- as have I. Harvey was raised Jewish-as was I. Harvey was 48 years old when he was assassinated- I was the same age when the piece premiered. Harvey’s interest in gay politics came later in life-as did mine.” Lippa’s husband was also the marketing director for Focus features, the studio behind the oscar winning bio-pic Milk starring Sean Penn. The producers of that film were also the producers of Lippa’s Broadway musical Big Fish. Obviously, universal forces were working to his favor. Lippa interpreted this as a sign and an opportunity to write about his own gay experience and his relationship with this heroic politician. He had no idea that the individual songs would morph into full orchestrations and a recording , nor did he consider playing Harvey Milk himself. “I wrote the piece and kept sending demos to Tim (Seelig)”, Lippa recalls. “And he just kept encouraging me to send more!” Lippa prepared a workshop performance of what he had written in New York and presented it to Seelig, producer Bruce Cohen, and approximately 100 others. Lippa was overwhelmed by the enthusiasm. “I had never seen anything like it in my entire career” he said. “I literally had people approach me when it was over, asking me how much money we needed.” After visualizing the potential, an equally forthright Seelig said, “We can’t do this with a 10-piece orchestra. We need 25 pieces- at least!”

Lippa also recounted the nearly unanimous decision by his private audience for him to play the role of Harvey Milk. ” I was a little reluctant at first because I wanted this to be a piece about Harvey Milk and not Andrew Lippa. But I agreed to do it in San Francisco.” Since then, he has done it in Los Angeles and will perform on Oct. 6th as well. In March, Seattle audiences will see the composer take center stage, followed by stops in London and Australia. It’s safe to assume that his reluctance has waned.

The night that Lippa’s choral worked debuted in San Francisco also proved to be synergistic. Earlier that day, June 26th, 2013, the US Supreme Court struck down the Defense of Marriage Act (DOMA) and Proposition 8, making marriage equal and fair for all gay couples. Bruce Cohen, who not only produced the piece, is an outspoken gay activist who was on the board of the non-profit group which help defeat DOMA and Prop 8. Cohen was in DC the night before the announcement and was on the Supreme Court steps the morning of June 26th. Cohen recorded footage of the event and then hopped a plane to San Francisco, where the director and visual designer included that same “hot off the press” footage into a video presentation for the evening show. “The energy in San Francisco that night was unreal,” Lippa said. “In the same city where Harvey had achieved such incredible feats, there we were celebrating yet another milestone in gay rights. It was indescribable on that particular day.”

Lippa believes that Milk’s legacy has endured due to a very simple concept. ” Like our greatest spiritual teachers, Harvey’s message was to come out…be present.be in the room and let them know who you are. Be true to yourself and people will find their way around their own prejudices. His message was terrifically unencumbered and it has inspired countless artiststic works.”

The advice has also resonated with heterosexuals. Lippa explained, “The final movement in the work is a song called “Come Out” in which the chorus sings those two words 49 times and triumphantly ends with the proclamation to literally come out. When we performed it for the first time in the NYC workshop, a straight man in the audience said, ‘I’m not gay and even I want to come out after that!’ That is exactly what I had hoped would happen. Everyone holds some secret about themselves that they don’t want other people to know. the term “coming out” is just not for homosexuals, but is a human need to allow ourselves to be vulnerable. The idea of being seen and seeing others sometimes sounds like a radical notion, but Harvey understood that if we are seen, then we exist.”

Lippa will be joined on the Avery Fisher stage by Tony Award winning actress Kristin Chenoweth and the All Star Broadway Men’s Chorus, which is comprised of actors who have worked or are working on Broadway. This production will also bring more dancing, more projections, and the inclusion of the World class Orchestra of St. Luke’s, the largest group of musicians that has ever performed the piece.

“I’ve written 7 or 8 musicals” Lippa said. “I love writing them and I’ve got another one coming up ( it will be based on Jules Feiffers’ children’s book The Man in the Ceiling). But I am also interested in writing a partner piece for I Am Harvey Milk. We’ve had a lot of interest in something that is fuller length and suitable for a theater or opera house. I’m just starting to write it now and will hopefully do another workshop.” In the meantime, Lippa is taking dance lessons and enjoying his title of an ordained inter-faith minister.

Composer.Performer.Dancer.Activist.Humanitarian.Minister. The real Harvey Milk must be shining with admiration from the celestial grand staircase above.

I Am Harvey Milk is a one night event. Monday, October 6th @ 7:30 PM at Avery Fisher Hall, 10 Lincoln Center Plaza. For tickets and information, visit http://www.iamharveymilknyc.com .

For a video preview, https://www.youtube.com/watch?v=tAhRAqRFmgw#t=84.

For additional information about Andrew Lippa, visit his website: http://andrewlippa.com/

Theater Review: The McGowan Trilogy

by Ryan Leeds

The antagonist, Victor M. McGowman (Paul Nugent) Photo Courtesy of Garlia C. Jones-Ly

Don’t piss off Victor McGowan. His milky white complexion and innocent eyes might seduce you. You’ll drink some ale, share some tales,and reminisce about the good ‘ole days. It will be like spending time with an old friend and it will bring comfort. And then…(spoiler alert)…you’ll be dead as a doornail.

McGowman (Paul Nugent) is the central figure in Seamus Scanlon’s contemporary Irish play The McGowan Trilogy: a Serial in Three Acts. In Act 1 (“Dancing at Lunacy”), McGowman bursts into an Irish pub circa 1984. At first he befriends and later terrorizes Ahern (Matt Golden), Pender (Phillip Callen), and the barman (Conor McIntyre), each of whom have unknowingly irritated McGowan in a way that leads to their “permanent removal”.

The second act (“The Long Wet Grass”) takes us into a wooded area where Mcgowan and a former love interest (Anna Nugent) meet to discuss their past. Polite discussion ensues, followed by tense talks, and topped off with…you guessed it…”permanent removal”.

In the final act (“Boy Swam Before Me”) McGowman is charged with taking care of his ill mother, May McGowan, a feeble, dementia and bed ridden soul whose constant questioning and singing exacerbates her son’s angst. Eventually, things don’t end very well with her.

McGowan’s fiery revolutionary seems to respond to each of his discontents with abrupt violence. Maybe this is due to his fierce loyalty to the Irish Republican Army. Maybe paranoia adds to his burden? . Whatever the case, life seems to be nettlesome and overwhelming. Nugent portrays him with honest sincerity and deep complexity. His fellow cast mates, however, seem to be playing on a different field. The Irish brogues sound feigned and it is difficult to pinpoint where they actually from.

The play itself carries the same tone and pacing of a Martin McDonagh piece. It us unpredictable, warped, and shocking. Only McDonagh’s language is clever and darkly funny. With him. there is no attempt to be provocative. There simply is provocation. Playwright Seamus Scanlon appears to be emulating the same subversive style , but is unfortunately coming up empty-handed

The McGowan Trilogy plays now through Oct. 5, 2014 at the Cell (338 W. 23rd Street between 8th and 9th ave.) For info and tickets, http://www.thecelltheatre.org/events/2014/9/11/the-mcgowan-trilogy-7-pm

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