ARTS
Goldstar: Making Events More “App”ealing
Do you have friends and acquaintances who sit in their apartments, complain that they are always broke, and announce that there is nothing to do? Now you can resist the urge to smack them in the head and send them back to their native mid-America state by informing them about Goldstar’s brand new Android App. Wait! What is Goldstar? Thank you for asking! Goldstar is both a free website and app which provides listings of shows, concerts, events, dinner cruises, theater and tons of other fun stuff to do in the city–at a fraction of what you’d pay for the full price ticket. Since 2002 this California based company has connected with over 5,000 venues in cities across the United States. Recently, they’ve rolled out in Pittsburgh, PA, Detroit, MI, and are making plans to engage in more medium sized markets.
Goldstar CEO Jim McCarthy recognized the demand from customers to make usage more mobile. As of September 2014, 63% of its’ users were accessing the services on either smartphones or tablets. With the launch of this Android App, McCarthy and his team are making access even more effortless. “Now, Goldstar is there when people think about what they want to do,” he said. It should be noted, however, that the app is not strictly limited to Android. It can work across all other devices as well. Sorry, Gramps…this does not mean your rotary phone!
The new app features include an even wider array of events, reviews from other members who have already attended the event, and a new “sit with friends” option. This means that your friends can buy tickets individually, but you can still sit together. This way, you won’t get stiffed by cheapskate companions who either don’t show up or won’t pay you back. As always, deals are available almost up to the last minute and entry tickets will be sent immediately to your device. Unless the deal is sold out, in which case, you probably should’ve planned better.
Download the app now, sign up for deals and emails, and enjoy a city which is abundant with non-stop activity–at discounted prices. If your buddies continue to mope around like Eeyore, find new friends!
To download the Android app, click https://play.google.com/store/apps/details?id=com.goldstar. On other devices, simply locate “Goldstar” and download.
For more information about Goldstar, visit http://www.goldstar.com
For more information about sitting at home doing nothing, I can’t help you.
Theater Review: “It’s Only a Play”
This is it! Producers of Broadway’s It’s Only a Play have been waiting with bated breath to see what “Manhattan Digest” has to say about playwright Terrance McNally’s revival of his 1982 comedy. Ticket sales hinge upon this very review and so the words are chosen carefully to ensure that the hard-working cast remain employed for the next few months.
Surely, these words are written in jest. Director Jack O’Brien’s star packed revival sent ticket sales soaring through the roof at the Schonefeld theater when it was announced that Nathan Lane and Matthew Broderick (of The Producers fame) would reunite. It that weren’t enough to clinch the deal, producers wisely added other stage and screen celebs including Megan Mullally, Stockard Channing, and F. Murray Abraham. To attract a younger crowd, Harry Potter’s Rupert Grint and rising star, Micah Stock were tacked on to the marquee. The show has become the toast of Broadway and has already announced an extension to March 2015. Originally it was slated to run only through January 4th, 2015.
What is the point then, of writing a review? With such a line-up, one might believe that it would be immune to criticism, even to heavyweight critics whose printed and digital opinions can often dictate the success or failure of a show. (Note: “Manhattan Digest” is not one of these publications!) But, you know what they say about opinions? If you don’t, ask someone for the crass answer. Without further fanfare, I shall share my humble opinion about Broadway’s hottest ticket.
In short, It’s Only a Play is a fun night at the theater. Zippy lines are delivered often enough to keep audiences laughing (or at the very least, smiling). Its’ shortcoming lies in its’ length. For a play with little substance, the bit is drawn out a bit too long and once the curtain falls on this two and half hour sitcom, you’ll feel as though you’ve exceeded your time at the party.
Set in the home of producer Julia Budder (Mullally), “friends” and creative members of Peter Austin’s (Broderick) new play The Golden Egg assemble on the opening night of his show for the cast party and, more importantly, for the reviews. Dimwit Gus Head (Stock) serves as the coat check guy and more than holds his own in his Broadway debut. Head is a self-proclaimed “actor-slash-singer-slash-dancer-slash-comedian-slash-performance-artist-slash-mime”. Attend nearly any cocktail gathering and you’ve rubbed elbows with the type. Austin’s best friend, James Wicker (Lane), is an egotistical television star, who turned down the opportunity to star in his buddy’s play. Lane is doing his usual schtick here, but it works without fail. If there is any other leading man on Broadway working with such comic ferocity as him, please let me know. (Lane will depart the production on January 4th, as Martin Short assumes the role). Channing is Virgina Noyes, a washed up, pill popping diva whose problems with the law interfere with her stage work. As always, the skillfully talented Channing commands the stage, this time with a heavy dose of attitude and self-delusion. Her character’s antics could well be ripped from today’s entertainment headlines. Abraham is the most subtle here as Ira Drew, a theatre critic with an alter ego and bitter disposition. Polished and proper, Abraham’s Drew is wryly delightful as he plays the straight man with great panache. Frank Finger (Grint) is the boy genius director who is lauded by critics, but plagued by his own insecurities. Grint makes a flamboyant and impressive Broadway debut among this predominantly seasoned troupe.
In less talented hands, McNally’s updated romp would not be nearly as entertaining. While it is a work that even outsiders can enjoy, those in theatre circles will find many of the zingers even more enjoyable. Broderick’s Austin may well deliver one the best lines uttered on any stage at the moment: “New York without theater would be Newark!” . While it won’t move mountains, It’s Only a Play is pure escapism which serves as both a valentine and a gently self-deprecating mirror to the fabulous gift of live theater.
It’s Only a Play on Broadway now through March 2015 at the Gerald Schoenfeld Theatre, West 45th street between Broadway and 8th Ave. For tickets and information, visit the box office or log onto: http://itsonlyaplay.com
Movie Review: “Some Kind of Spark”
Since they’ve been introduced to our culture , the performing arts have long been viewed as something reserved soley for affluent high society. It stands to reason, then, why individuals who have not had exposure from a young age would not acquire the appreciation nor interest: The arts seem “too bourgeois” or “out of reach.”
Thankfully, Joseph W. Polisi, President of the prestigious Julliard School recognized that this was a problem. In 1991, after the budget for music education was slashed in New York City public schools, Polisi implemented the Music Advancement Program (MAP). 40 students between the ages of 8 to 14 were chosen from underserved communities and each Saturday, they would work one on one with an instructor, learning about musicianship and their musical instrument. The program not only nurtured an awareness and knowledge for classical music, but it taught self-respect and responsibility.
Twenty three years later, the program continues to thrive and filmmaker Ben Niles has captured the experience of a small group of these students in his documentary Some Kind of Spark which recently premiered at the Fifth Annual DOC NYC competition. NIles should be commended for bringing awareness to this phenomenal program and he stated that he “wanted to try and make my own impact through this film.” On most accounts, he has succeeded. With excellent segments of music lessons, Niles shows the dedication and endless support these teachers have showered upon their students. The bond they establish over this three year period is personal and powerful. What these gifted teachers give to these aspiring young musicians is life-altering and powerful. Yet Niles could do more to elaborate on the personal background and lives of these students. The home lives and personal struggles tend to be glossed over. Were there a more rounded view, the film would leave an even greater impact. Still, Niles has shed light on this impressive program and proves that there is not one socioeconomic rule over the arts. It is, and should be for anyone–and exposure to them should start at an early age, so that they develop a life long appreciation.
For more information about the film and to follow upcoming showtimes, visit: http://www.somekindofspark.com. For more information about the film festival, running through November 20, visit http://www.docnyc.net
Theater Review: “Saturday Night”
It seems fitting that the York Theatre would choose Stephen Sondheim’s musical Saturday Night for their 100th production in their “Musicals in Mufti” Series. For the last 20 years, the company has performed pared down versions of both significant and lesser known musicals, using not much more than scripts and street clothes.
Saturday Night strikes a core of sweet nostalgia that fits comfortably into this quaint space. Based on a play by Julius Epstein, Front Porch in Flatbush, this musicalized treatment takes us to 1929 Brooklyn where four teens are hoping to score a date on…you guessed it..Saturday night. Gene (Ben Fankhauser) is the alpha dog among his pack of frisky fellows and ends up forging a romance with Helen (Margo Seibert). Of course, the romance is not without its’ complications. Gene has a brilliant idea to sell a car, which belongs to Eugene “Pinhead” Goman (Olli Haaskivi). With an investment in the Montana Chemical Corporation, his stock is sure to rise and he’ll reap the monetary rewards. Unfortunately, it is not a well executed plan, but love still prevails. Meanwhile, he and his cronies go to the movies , accompanied by Mildred (Dana Steingold), an adorable air head who steals the show with her comic spunk. Rounding out this talented ensemble is Lindsay Mendez (Celeste), and Matthew Scott (Hank), sister and brother-in-law to Gene. Both shine in the second act , when they recollect the details of their first date in the endearing “I Remember That.” Fankhauser and Seibert provide quality acting chemistry and vocally, they are both in harmonious sync. (Fankhauser recently starred in Broadway’s Newsies, Seibert was a break-out star in Broadway’s too short lived Rocky).
Saturday Night was one of Sondheim’s first musicals that he penned at the young age of twenty-three. Originally it was to be presented on Broadway in 1955, but due to the sudden death of the producer, it never transpired. Since then, it has received various mountings in London, Chicago, and in 2000, at off Broadway’s Second Stage Theatre. It lacks the edge and sophistication of his later works, and Sondheim himself has said that he is embarrassed by some of the lyrics. It still tips its’ hat to the innocence and eagerness of youth. Besides, let’s just step back for a moment and analyze this: Stephen Sondheim wrote an entire musical (both music and lyrics) at the age of 23. Most of us at that age, including myself, were working a lousy minimum wage retail job. Congratulations, Mr. Sondheim. Your youth was not wasted. Sail on!
Saturday Night runs through Nov. 16 at the York Theatre Company, 619 Lexington Ave on the corner of 54th street. For tickets and information, http://www.yorktheatre.org/
Interview: Judith Clurman’s Essential Voices USA
Judith Clurman and her choral group, Essential Voices USA will take to the stage at Carnegie Hall this Friday evening, November 14th as part of the The New York Pops Series. Audiences can expect to hear selections from Orff’s Carmina Burana, Bernstein’s Candide, Copland’s The Tender Land and others. When the baton is raised, it will be approximately the tenth time Clurman’s singers have performed with the Pops at the ultimate venue, but she has stopped counting. “I just go from one job to the next and make music,” she says with an excited gleam in her eyes. “I could perform in a community theater or in a school. It simply doesn’t matter as long as I’m making music.” Still, she acknowledges the honor of performing here. “There is nothing like it in the world. The sense of history you feel there is unique, and I think many of the chorus members feel that too.” The group regularly performs with the symphony thanks to a relationship she developed with former New York Pops conductor, Skitch Henderson. The symphony is currently under the direction of Steven Reineke, who will also conduct his piece, “Festival Te Deum” during Friday night’s program.
Clurman’s 60 voice volunteer ensemble has been in existence since 2011, though she had conducted other choirs prior to this. Essential Voices USA came from an outgrowth of different chorus work she had done in New York. “I had an entire professional chorus and had also conducted the Juilliard Choral Union. I decided that I wanted to do something different that would fit my needs and the needs of the concert halls, so Essential Voices USA was born.”
As a conductor, Clurman is passionate about her musical work, but also admits to challenges . “There are many group dynamics that have to be confronted,” she observes. “You put people together that you hope will not only sing well, but will sync with each other personally. Rehearsal is one of the few places in the world where people turn off cell phones and work together to make music.” She continues to lament on short attention spans that have waned since she started to learn music. As a trained pianist with degrees in vocal music, Clurman began to hone her craft as a child . “I was accompanying choruses in fourth grade and it continued through my senior year of high school. It was there where I learned how to listen. People in this day and age struggle with that. They don’t know how to be calm for five minutes and I’m faced with that challenge against a frenetic society.”
The rewards far surpass her dilemmas however, and Clurman is ecstatic when she discusses her work. “When a chorus knows a piece of music, it’s thrilling. They come together and they’re one. I love seeing the smiles on their faces when they are having a good time.” She also notes the importance of teaching. “That is what being a good conductor is all about- so the chorus will be able to perform all by themselves, whether they are under my direction or another conductor. You just know your stuff,” she states with pragmatic brevity. Clurman also wants her chorus to take something of value from the creative process. “I hope the group learns through it and finds a sense of community and satisfaction.” As for the audience, Clurman wants them to have a good time, too. “I hope that they have fun and will want to come back for another concert. I also hope that they’ll download a recording.”
Fortunately, Clurman has been able to preserve the sound of her group with an album entitled Celebrating the American Spirit. The recording uses a smaller number of Essential Voices USA members, as well as paid professionals. The idea for the album was planted in 2001, two weeks after 9/11, when Clurman’s Juilliard Choral Union sang “America, the Beautiful” at a firehouse on Amsterdam Avenue. “I knew that that I wanted to record that song,” Clurman recalls. “ But as we were singing that night, a fireman put his head on my shoulder. I stopped conducting in the front of this massive group of people and we all cried and sang together. After that, I asked a variety of composers to write music based on the actual words of United States Presidents.” She also enlisted the help of her friends, Broadway stars Kelli O’Hara and Ron Raines. The result of the song cycle is featured on the album. In 2011, National Public Radio invited Clurman to be an artist-in-residence where she, along with the composers of each selection, discussed their individual works at length. “We didn’t want famous words,” Clurman clarifies, “but rather important words.” While there was a bit of controversy and mixed opinion about the Presidents she chose to highlight, Clurman says, “It doesn’t matter. I just wanted to honor the presidency. These pieces are now recorded and published in a series for G. Schirmer music and I’m very excited about that.”
With Thanksgiving approaching, Clurman is also quick to discuss one of her favorite tracks on the patriotic album: “Reason To Be Thankful” by Larry Hochman. Hochman is a Tony award winning Broadway orchestrator who had written the song as part of a collection of American melodies. “When I first heard it”, Clurman says, “I called Larry and told him how beautiful I thought it was. I then asked him if he had ever given thought to adding lyrics to it.” Hochman was open to the idea, and Clurman called her friend Sheldon Harnick, the esteemed Broadway lyricist. “Sheldon is one of the finest, most poetic lyric writers ever. He understands vocal music better than most and he just gets it. I knew he would write something heartfelt and real. We are frustruated with our country sometimes, but we’re thankful we live here. Harnick captures that in this song.” In addition to the Hochman piece, performed by Raines, Clurman cites O’Hara’s powerful rendition of “God Bless America” as another favorite on the track. “Both of these songs are very real. I choose that word, “real”, specifically because there is a healthy rawness in the singing. Raines and O’Hara don’t over-interpret. They just sing the pieces and are truly fine American singers.”
As for her larger ensemble, all 60 members are clearing their throats and fine tuning selections for Friday night’s performance. Following that, they’ll be back in the rehearsal room for three more concerts with the New York Pops on December 19th, 20th and 21st.
For tickets and information about upcoming performances, visit http://www.carnegiehall.org/ For more information about Dr. Judith Clurman and Essential Voices USA click: http://www.essentialvoicesusa.com/
Theater Reviews: “The Brightness of Heaven”, “The Belle of Amherst” and “Livin’ La Vida Imelda”
The Brightness of Heaven
Rest assured that when families convene, drama will ensue. No matter how close or how strained the relationship, words will be shared, opinions forced, and wounds reopened. Playwright Laura Pedersen paints a portrait of a family torn in various directions in her faith based period play The Brightness of Heaven, now playing off Broadway at the Cherry Lane Theatre.
Pedersen’s play takes us to 1974 Buffalo, NY to the staunch Catholic home of Ed (Peter Cormican) and Joyce Kilgannon (Kate Kearney Patch) . Ed’s sister, Mary (Paula Ewin) is visiting and they are planning a surprise gathering for Ed, at the local high school where he taught for many years. Soon, their home will be filled by Mary’s children, Grace (Emily Batsford) and Jimmy (James Michael Lambert). Grace is a social recluse who has never dated a man. Jimmy is openly gay, a taboo even more egregious during the Nixon era. Ed and Joyce’s children are soon to arrive as well-Brendan (Bill Coyne), an unsuccessful soul who copes with life through alcohol, Kathleen (Kendall Rileigh) the strong-willed middle child who is making waves with her future nuptials , and Dennis (Mark Banik), who is the only adherent to his parent’s strict values.
There is tender mercy in this thoughtful work, though the construct is forced. It seems like every taboo possible is represented by each family member, the culmination of which feels like a sermon on sinful living. Yet the kindness Pedersen gives each if her characters is commendable. No one is vilified and understandings are forged. Kathleen, fed up with her parents’ dogma of Catholicism explains, “I’m more interested in Heaven on Earth―a place where all God’s creations are at home, complete with all the glorious faults, differences, and desires that He in His infinite wisdom bestowed upon us.” It is a poignant and heartfelt sentiment, just one of many in this sometimes syrupy, but overall lovely view of familial dynamics.
The Brightness of Heaven is now playing off-Broadway at the Cherry Lane Theatre, 38 Commerce Street (west of 7th Ave. South). For tickets and information, visit http://www.cherrylanetheatre.org/onstage/the-brightness-of-heaven/
The Belle of Amherst
Thank heavens for great actors who can single-handedly turn a dangerously droll piece of drama into a significantly less droll night at the theater. Currently, we have the gifted Joely Richardson to thank for that. Richardson, the youngest daughter of the famed Redgrave family, is assuming the role of America’s most prolific poet, Emily Dickinson in a revival of William Luce’s The Belle of Amherst. Luce initially had written the piece for the late Julie Harris, who earned a fifth Tony award for her 1976 performance.
Going into this show (which I was drawn to solely on the Richardson factor ), I had little knowledge about Dickinson’s life. According to various reference sources, she was rather reclusive and was considered to be an outcast among her local Massachusetts townsfolk. In Luce’s work, she speaks of her shyness and her failure to connect with boys who are choosing prettier girls. She also speaks of cake. Upon introduction, she provides the entire ingredient list for a black cake she has just baked; it’s sort of like watching the Victorian Food Network minus the razzle dazzle. The most excitement the play conjures is a visit from Thomas Wentworth Higginson, a contributor to the Atlantic Monthly. Higginson asks for submissions for young writers, and eventually pays a visit to Amherst to visit young Emily.
The profundity of Dickinson is irrefutable, and no rational soul would argue over the beauty in her work. Richardson, the consummate actor that she is, makes the most of every moment. “Words are my life”, says Dickinson. “I look at words as if they were entities, sacred beings. There are words to which I lift my hat when I see them sitting on a page…I hesitate which word to take when I write a poem. A poet can choose but a few words and they have to be the chiefest words, the best words.” As a writer and lover of linguistics, it is an inspired moment. However, these moments are all too rare and under Steve Cosson’s static and flat direction, Luce’s words fall short of delicate song. Audiences keen on finding a mesmerizing character are instead saddled with the unfortunate burden of soldiering through to the curtain call.
The Belle of Amherst playing through Nov. 23rd at the West Side Theatre, 407 West 43rd street between 9th and 10th ave. For tickets and information, visit http://belleofamherstplay.com/
Livin La Vida Imelda
Carlos Celdran has some juicy gossip to share, so get comfortable and pay attention. In the spirit of the smash hit musical Here Lies Love (currently running downtown at the Public Theater), Celdran delivers his own tell all tale of Filipino President Ferdinand Marcos and his First Lady Imelda. It’s no secret how this powerful political duo went to great lengths to keep up appearances and abuse their power, but Celdran delves into the reasons behind their ethically questionable tactics and shares some lesser known tidbits about their reign.
Celdran, who wrote and stars in the show, speaks from personal experience, having been a tour guide in his native country of the Philippines. Using basic but effective projections Celdran charts the political rise of this controversial couple and interjects with his own commentary. Respectfully and keenly, Celdran does not single out the Marcos administration in his chastisement. ” If you are going to get Ferdinand Marcos and Imelda for everything that they have done”, he observes, “Then you’ve gotta get everyone else in the world who knew exactly what President Marcos and Imelda were doing.” It is a sobering thought that could well be contemplated for the actions of our current world leaders.
Celdran is an affable performer and his easygoing manner serves him well as a storyteller. Structurally, the show tends towards erratic sequence and is sometimes repetitive. By the end however, we’re left with an informative and rewarding tale of ego run amok. But don’t sprint from your seats too soon; Celdran has a very special surprise guest near the finale.
Livin La Vida Imelda plays off-Broadway through Nov. 23rd at Theater Row, 410 West 42nd Street between 9th and 10th ave. For tickets, visit the box office or online at https://www.telecharge.com/Off-Broadway/Livin-La-Vida-Imelda/Overview
Theater Review: “On the Town”
Stop what you’re doing. Just stop. Ok-first finish reading this review. Then, point your web browser to http://www.ticketmaster.com or take a walk to Broadway’s Lyric Theater on West 42nd street. Here, you can treat yourself to tickets for the finest Broadway show you’ve ever seen. If you’ve been a thoughtful and caring person, consider it a personal reward. If you’ve been a miserably cantankerous heel, this show is certain to transform you into the exuberant child that lies within.
The third revival of the classic On the Town is back and it is the greatest gift any theatre goer could ask for. If ever there were any plodding moments or hoary lines of script in the original 1944 version, they have been scrubbed away and renovated by a new production that is as exciting and fresh as a visitors’ first time in New York City. For Chip (Jay Armstrong Johnson), Ozzie (Clyde Alves), and leading man Gabey (Tony Yazbeck), the playground of Gotham is their premiere experience and in 24 hours, they plan to capitalize on the sights and sounds (particularly those of the female type). Three sailors, twenty-four hours, numerous sights and countless women. That generally summarizes the plot. How is it then, that a show with such a flimsy story could be stretched out into a full-fledged, two and a half hour production that packs enough entertainment value to make Las Vegas seem like Bayonne, New Jersey?
To begin with, Leonard Bernstein wrote the music. Even non theater aficionados will likely be familiar with the same man who wrote West Side Story. This score is every bit as sophisticated as West Side Story, and under James Moore’s sharp musical direction, the orchestra elevates it to angelic proportions. These are the original arrangements which were used in the 1944 staging. With 28 players (the largest orchestra currently represented on Broadway) nothing but brass and honey float from the pit. There is audible evidence from the moment the familiar strains of “New York, New York (A Helluva Town)” are heard, but prior to that, a rousing orchestral version of “The Star Spangled Banner” fills the theater with pomp and anticipation. Audiences are encouraged to sing along, and the level of expectation for what will soon unfold sky-rockets. Add to this the timeless lyrics of Betty Comden and Adolph Green and the recipe only gets richer. Even in the World War II era, Comden and Green were able to fully capture solitude in a metropolis. In “Lonely Town”, Gabey, feeling deflated after not having met Ivy Smith aka “Miss Turnstiles” (Megan Fairchild) sings about his solitary sadness: “A town’s a lonely town/When you pass through/and there is no one waiting there for you/You wander up and down/The crowds rush by/A million faces pass before your eye/Still it’s a lonely town.” The staging during this song is dramatically precise as Gabey stares longingly from downstage into the audience. Here, nameless ensemble members, parked in the theater aisles, provide back-up as well as the essence of the constant city dweller’s dismay-one of aloneness in a land of many.
The cast? Flawless. Yazbeck’s vocals and physicality are astounding. In his Gabey, he is able to combine both a masculine confidence with the wide-eyed innocence of youth. Fairchild, making her Broadway debut from the New York City Ballet, has gently landed at the Lyric, where her portrayal of Ivy Smith is nothing short of adorable. When the two lovers unite to create a dream sequence Coney Island ballet, there is beauty and grace like no other. Accompanying the dance are the consistently lush orchestrations, which are best enjoyed in silence. At this particular performance, a rude couple behind me felt the need to chatter about what was happening onstage during the scene. I darted them an icy stare until it froze them into apology, followed by silence. I would encourage those reading this review (once you purchase tickets) to fully savor this moment and offer menacing looks to those around you who may be disrupting the moment. I digress. Where was I? Oh right. The cast! Elizabeth Stanley is Clair De Loone, an anthropologist forcefully sinking her hooks into Ozzie. Stanley is channeling a dose of Lucille Ball and a dash of Joan Crawford creating a character that is kooky, campy, and downright hilarious. Joining her on this camp wagon is Alysha Umphress, the buxom, cab driver, Hildy. Hildy eyes Chip as her next “customer”, and proceeds to lure him to “Come Up to My Place” in a song that also showcases the dexterity of Johnson. Let us not forget Jackie Hoffman, the only character actor I know who could turn a funeral into a fun house. Hoffman’s antics shine once again as she embodies numerous parts, the funniest of which is Maude P. Dilly, a vocal “coach”. The rest of this ensemble pulls off the nearly impossible feat of both singing and dancing with absolute finesse and impeccability. Joshua Bergasse’s choreography was inspired by Jerome Robbins’ original. Not being knowledgeable in dance it is difficult to offer accurate criticism, but I can assure you that it is the most involved musical theater dancing I’ve witnessed. All of the players use the clever book and the score to create lengthy moments of comic slapstick, none of which are too much, but rather exactly on target.
Beowulf Borrit’s scenic and projection design is a kaleidoscope of colorful, cartoonish cheeriness. Combine that with Jason Lyons’ glistening lighting design and Jess Goldstein’s period perfect costumes, and you’re left with an intoxicating visual cocktail that will quench your thirst for top-notch production value. Director John Rando has overseen every aspect of this gem with cool detail and playfulness.
Have I convinced you? Allow me to drive the point home. On the Town is simply astounding. It recalls time when the naivete and aspiration of every visitor to New York was pulsating and alive. As residents, we can tenderly relate to the first time desire to experience all that we could, for we were once the Gabeys, Chips, and Ozzies of Times Square. Now, as we inhabit the streets on a daily basis with a cocksure sense of entitlement and pride, we view the show as a reminder of what makes our town so alluring and vivid. Upon meeting Ivy Smith, Gabey sings, “What a night/Suddenly you came in sight/Looking just the way I’d hope you’d be/I’m so lucky to be me.” Let us please share in your luck, Gabey. For it is any wise ticket buyer to this marvelous production who will be just as fortunate as you.
On the Town is now playing on Broadway at the Lyric Theater, 213. W. 42nd Street between Broadway and 8th Ave. For more information, http://www.onthetownbroadway.com or visit the box office
Solo Shows: “Riding the Midnight Express” and “Bad With Money”
Riding the Midnight Express
Riding the Midnight Express is a nearly unbelievable (but true) tale about Billy Hayes, a young man who was arrested in 1970 at the Istanbul airport for possession of marijuana. Sentenced to life imprisonment, he escaped after five years and returned to the U.S. Here, he wrote a tale which was translated into 18 different languages and became an American best seller. Hollywood heavyweights Alan Parker and Oliver Stone turned the work into a successful film as director and screenwriter, respectively. The movie was released in 1978 and the title was shortened to Midnight Express.
Now, Hayes is 67 years old and is recalling his escape to freedom in his one man show, currently running at the Barrow Street theater. Is it a gripping story? Sure. Is our leading man a captivating personality? Absolutely. But, is this actual theater? Not really. In 70 minutes, Hayes spins his tale, perched only a single bench with a static projection of amber lit hues as a backdrop. While great theater need not rely on the gimmicks of large sets and splashy costumes, it seems that Hayes could have accomplished the same goal by promoting this as a TED talk or cabaret piece. He does, after all, beat this same drum in lectures and talks throughout the country.
It is obvious that Hayes wanted to confine his tale to this one specific incident in his life, and yet we never get a clear picture of who this man really is. Aside from the folly of youth, what was his motivation? He does manage to correct some of the misrepresentations of the film, which was a much more sensationalized cinematic treatment. Still, one gets the feeling that this is simply a self promoting marketing vehicle for Hayes and with many other fine solo shows jockeying for attention, reading his book might be a more affordable alternative.
Riding the Midnight Express runs now through Nov. 30th at the Barrow Street Theatre, 27 Barrow St at 7th ave South. For tickets and information, visit http://ridingthemidnightexpress.com
Bad With Money
Just a few blocks north of the Barrow Street Theater, Ben Rimalower is tackling difficult topics with humor and honesty in his one man show, Bad With Money. Rimalower, a well known figure in cabaret circles, authored and starred in the smash hit solo show, Patti Issues, where he recounted his obsession and eventual interactions with stage and screen diva Patti Lupone.
He returns in a show that is even more personal, intimate, and soul-baring. Here, Rimalower takes us through his financial history, beginning with the debt accrued on his first credit card to attending (and then shirking) Debtor’s Anonymous meetings. In between, he acquires cash in ways unimaginable to most. The results are both hilarious and heartbreaking. While this cabaret piece does maintain its’ focus on Rimalower’s economic woes, he also confronts his other self medicating addictions with substance abuse. It is a brave and courageous move that pays off (no pun intended) through his engaging narrative. Aaron Mark’s keen direction has served the show’s writer and performer quite well. One only wishes the he would close the loop by detailing how he was able to dig himself out of the deficit.
Rimalower acknowledges that “money talk” is the most taboo subject-and he is absolutely correct in his observation. His show will strike a chord with anyone who has attempted to roll like a Rockefeller on a barista’s budget. If we’re truly honest with ourselves, we can probably admit that most of us have walked this same precarious road–but without the fabulous, blaze of destruction stories to accompany it.
Bad With Money runs through December 18th at the Duplex, 61 Christopher Street at 7th Ave. South. For tickets and information, visit http://badwithmoney.net
Theater Review: “The Believers”
How far are you willing to go for your beliefs? This appears to be the bottom line question in Robert Carroll’s world premiere of The Believers, a new work presented by the capable Storm Theatre Company. Carroll drew his inspiration for the play by working for various candidates and politicians within the New York City area. One might think, given his insider knowledge, that his experiences would generate an explosive and riveting tale. After all, there are fewer subjects more fertile than politics for dramatic tension. And yet The Believers comes across as, well…tame.
Chris (Taylor Anthony Miller) is a young, overly ambitious campaign manager adamant on getting his candidate, Eugene Johnson, elected to the city council. With the aid of George (Joe Danbusky) and Dan (Christopher Bellant), Conner shrewdly decides to fight his opponent using a smear poster filled with half truths and some outright lies. On the eve of election, the three of them decide the ethics of canvassing their election districts with this literature. Chris’ stubbornness causes him to take matters into his own hands and fight viciously to the finish, even while it blinds him to the severity of a life altering event.
Miller creates a compelling and gripping character in Chris, bringing an intensity that wavers between dogged determination and self detonation. His fellow cast members provide excellent support in evoking an authentic campaign atmosphere. Josh Iacovelli has created a realistic set in the black box space, complete with clutter, cardboard boxes and coffee cups-everything one imagines a candidate’s office to be. One only wishes that Carroll would have channeled his resources into a dishy roman a clef and shortened this overly long piece (which runs nearly two hours) into a brisk 90 minute one act. Still, it is reassuring to know that Storm theatre is continuing its’ commitment to quality on actual production values.
The Believers runs through November 1st at Theatre of the Church of the Notre Dame. 405 West 114th Street, NY NY. For tickets and information, visit http://www.stormtheatre.com/