ARTS

Green Roofs and the Science of Sustainable Design

Perfecting urban green roofs for their environmental and social benefits is a good example of where science and design meet.

The benefits of green roofs include insulation, reduced energy use, the removal of air pollutants and green house gases, increased roof lifespan, reduced heat stress, stormwater runoff management, beautification, and improved health.

There are two types of green roofs—extensive and intensive. Extensive green roofs have a soil depth of 1”- 5,” and are planted with sedums and short grasses. Intensive green roofs need at least one foot of soil and can be vegetated with trees, shrubs, and perennials.

Biology PhD candidate at York University in Toronto Scott McIvor has questioned the performance of sedum to absorb water and promote biodiversity, claiming that plants adapted to local conditions work better.

Sedum doesn’t absorb water as efficiently as some native species, while it is useful for lowering the building energy requirements of air-conditioning and heating.

Determining which green roofs plants best support biodiversity requires finding the right soil composition for microorganisms to live in. This is an ongoing question scientists are exploring.

Figuring out how to best integrate sedum with other plants, to maximize the potential benefits of a green roof, is where design comes in. Producing a green roof for rainwater run-off and climate management requires creative and efficient design.

Alive Structures is a company of landscape designers and environmentalists based out of Brooklyn. They do residential, community, and educational green roof and garden projects across the five boroughs. Their green roofs often integrate locally grown sedum mats with native plants.

Part of what makes a particular landscape architecture piece interact well with its environment is its artistic quality—a design for beauty as well as function.

I learned this from a friend and gardener, who taught me that working with plants is an art, as much as working with musical notes, letters, or pictures.

The shape and placement of plants produces a wide array of feelings in us, and can contribute dynamically to how we interpret the city’s architecture.

Of course, as a green roof is a part of a whole building, it must also function in support of the people that work or live within that building. One of the most present benefits of green roofs to urban dwellers is the chance to interact outdoors with plants.

Being outdoors and spending time around plants have both been shown to correlate with increased wellbeing, health, and social functioning. This makes sense, as the design function of humans is to actively interact with our environment.

Rooftops play an important role in New York City’s culture and architecture. The conscious Manhattanite is aware of the city on multiple levels—horizontal, vertical, urbane and environmental. Plants are the city’s symbiotic allies—an extra set of lungs to help us breath and continue growing.

Imagine if at the office you could take five minutes to walk outside onto a small field basking in the sun. A space to think and develop a relationship with some part of nature.

The good news is that Bloomberg’s PlaNYC initiative offers a tax abatement to green roof property owners for up to $150,000.

Green roofs can contribute to LEED certification as well—by protecting or restoring habitats, maximizing open space, storm-water quality control, reducing the heat island effect, and increasing water efficiency.

Green roofs support biodiversity by providing a habitat for native plants, invertebrates, birds and other animals.

Small-scale, local food production is also possible with green roofs—creating opportunities for urban communities to partake in healthy, in-season produce.

Green roofs do require maintenance, especially if you expect to grow food on them. But that’s sort of the point—taking time to slow down. If “getting lost” in nature sounds like a waste of time, you can look it as a chance to recharge your battery.

Much of the health benefits of green roofs are rooted in aesthetics. Green roofs give us something beautiful to look at and meditate on. They also reduce noise pollution, which is a major contributor of urban stress.

Evidence shows that simply being around plants leads to lower blood pressure, increased attentiveness, productivity and job satisfaction, lower anxiety, and improved wellbeing. Green roofs can serve as collective spaces for individuals to cooperate and work in, while enjoying the beauty of nature together.

The mental state induced by working with plants has deep evolutionary roots. Tending plants can help the mind form a conscious relationship of stewardship to the environment.

At some level, green roofs might be viewed as a built-in escape mechanism. For me, they are a welcome refuge from the stress, anxiety, and noise of the city.

There is no single or obvious solution to designing sustainable cities. Green roofs may work well in some places, but they are certainly not a fix-all for the environmental shift that we are now experiencing.

However, if designed well, green roofs can support biodiversity, reduce the energy use of buildings, and help mitigate the effects of climate change. Their design and implementation can positively influence how city dwellers interact with and are conscious of their environment.

The Best of Theater 2013

by Ryan Leeds

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

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

10. Becoming Dr. Ruth (Play)

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

PHOTO CREDIT - Richard Termine — PHOTO CREDIT – Richard Termine

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

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

8. Hands on a Hardbody (Musical)

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

Photo courtesy of Royal Shakespeare Company

7. Matilda (Musical)

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

6. Here Lies Love (Musical)

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

Dear Santa,

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

Photo courtesy of Larry Downing, Reuters

5. Ann (Play)

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

4. Big Fish (Musical)

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

Photo courtesy of Sara Krulwich, NY Times

3. The Trip To Bountiful (Play)

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

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

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

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

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

Some Final Thoughts:

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

Theater Review: “A Gentleman’s Guide to Love and Murder”

by Ryan Leeds

Before the curtain rose, I was hooked. As is my typical routine, I leafed through the playbill and literally laughed out loud at the custom page titled, “A Gentleman’s Guide to Attending the Theatre”. Among my favorites: “A Gentleman never kicks the seat of the audience member in front of him (unless of course, it’s deserved)”, and “A Gentleman always stands to let other theatergoers seated in his row pass by. Tripping them is optional.” Instantly, my expectations were raised by this cheeky insert and I knew that I would be in store for for a good time. I sorely underestimated just how marvelous a time I would have.

Broadway’s A Gentleman’s Guide to Love and Murder is in a word, brilliant. I hesitate to use that adjective since it is frequently overused for the undeserved. Yet under Darko Tresnjak’s deft directorial hand, Gentleman’s Guide.. can proudly and properly take its’ rightful place among the realm of theatrical brilliance.

This high spirited Victorian-era musical opens with Monty Navarro (Bryce Pinkham), a financially strapped bachelor who learns that his recently deceased mother was a member of the D’Ysquith family, an extremely wealthy clan who tend to thumb their noses at the less fortunate. As Lord Adalbert D’Ysquith (Jefferson Mays) points out in song: “I Don’t Understand the Poor.” For Navarro, that isn’t much of an issue. Lord Adalbert won’t be alive much longer. Neither will the rest of the D’Ysquith family. The cunning Navarro, who is eighth in line to inherit the throne, plans to extinguish each member until he at last, is the successor. While he hacks away at the lineage, you’ll be on the edge of your seats glued to every clever line and rolling in the aisles at each murderous outcome.

There is so much genius rolled into this single show, beginning with Robert L. Freedman’s book and lyrics. Based on the 1949 British film, Kind Hearts and Coronets, Freedman’s book is quick-witted and smart, combining both silly slapstick with high-brow humor. Composer and Co-lyricist Steven Lutvak has graced us with delightfully catchy offerings of Gilbert and Sullivan proportions. With beautiful lush melodies and tuneful patter songs, Lutvak’s music is the best original score heard in quite some time.

Jefferson Mays. Again–sheer brilliance. Mays plays not only one D’Ysquith family member, but all eight–men AND women! How is this possible? It is a feat that must be seen, as mere description does not do it justice. Bryce Pinkham’s gold-digging Navarro oozes more confidence and charm than James Bond at a roulette table. His laissez faire attitude towards murder is disturbing, but is done with such ease, you’ll be grinning from ear to ear. The methods by which the D’Ysquiths are eighty-sixed are comic gold. Let’s just say you may never look at beekeeping in quite the same way. Lisa O’Hare and Lauren Worsham sparkle as two of the love interests (Sibella Hallward and Phoebe D’Ysquith, respectively) . A particularly intricate scene between all three ensues in Act II (“I’ve decided to Marry You”). Stage and screen legend Jane Carr delights as the doting, daffy Miss Shingle and the stiff-upper- lipped ensemble reeks of impeccable propriety.

Aside from taking awhile to generate steam, Gentleman’s Guide to Love and Murder is a fine-tuned Stradivarius and the best new original musical to hit Broadway in ages. Not since OJ Simpson’s infamous trial bombarded American televisions has romance and murder been so entertaining. I guarantee you’ll have a great time, but if you don’t, remember that this critique is simply my opinion: Please don’t kill me.

“A Gentleman’s Guide To Love and Murder” now playing at the Walter Kerr Theater 219 W. 48^th street (between Broadway and 8^th ave.) Tickets available at the box office, by phone:800-432-7250, or www.telecharge.com

The cast with Bryce Pinkham as Monty Navarro (standing center), Jefferson Mays as Lord Adalbert D'Ysquith (red), and Jane Carr as Miss Shingle (seated) in a scene from "A Gentleman's Guide to Love and Murder" at the Walter Kerr Theater. Photo credit: Joan Marcus. — The cast with Bryce Pinkham as Monty Navarro (standing center), Jefferson Mays as Lord Adalbert D’Ysquith (red), and Jane Carr as Miss Shingle (seated) in a scene from “A Gentleman’s Guide to Love and Murder” at the Walter Kerr Theater. Photo credit: Joan Marcus.

New York City Photography: The Queensboro Bridge

by Mark Giarrusso

The Queensboro Bridge is one of the most iconic crossings in the world. It spans the East River along side the world famous Roosevelt Island Cable Car. The bridge draws thousands of tourists and commuters per day. It also is one of the only toll-free crossings in all of New York City.
One of the best parts of the bridge is that it is available to pedestrians. Along the walkway is a chain link fence where many people leave locks with messages on them. Others are blank, leaving only the ones that have placed them to know their true meaning. It’s definitely something you have to look for but priceless when you find them.

FDR Drive, New York City, Photo by Mark Giarrusso, 2013

Queensboro Bridge, New York City, Photo by Mark Giarrusso, 2013

1st Ave., New York City, Photo by Mark Giarrusso, 2013

Roosevelt Island, New York City, Photo by Mark Giarrusso, 2013

New York City Photography: 5 Ave Homeless

by Mark Giarrusso

In New York City, there is no greater divide between the haves and, quite literally, the have-nots than in Midtown Manhattan. According to reports from CBRE in 2012, rents between 49th and 59th Street on 5th Avenue were $3,000/ sq ft. Tourists line up to pay $60 for a t shirt and there are 24 hour computer stores. However, lost amongst the glitz and glamor are those who have fallen through the cracks of city society. Those whose stories are too infinite to mention and whose circumstances are too complicated to explain. They sleep on church steps and subsist on hand outs and charity.

If you have followed this journal you have seen some of these photos before. One could argue that it has been some what exploitative of me to use others destitution as “art”. I assure you that was never my intention, but only to simply showcase life as I saw it. However, I think there may be some merit to that argument. In order to rectify this I am re-presenting those same photos in this journal specifically to raise awareness to their plight.

In the end, it really doesn’t matter what keeps them on the streets, be it drugs, or mental illness, or disability, or anything else; just as it doesn’t matter what you do about it, as long as you do something. Give something. Even if all you do is think about it and discuss it in polite company. I hope that by doing this journal I have done something. I hope to do more.

Sleeping — Photo by Mark Giarrusso, 2013

Umberella — Photo by Mark Giarrusso, 2013

Theater Review: “After Midnight”

by Ryan Leeds

The cast of "After Midnight" Photo courtesy of Matthew Murphy — The cast of “After Midnight” Photo courtesy of Matthew Murphy

To those who read their playbill before a show begins, I am not disclosing any spoiler alerts here. The second to last musical number in Broadway’s After Midnight is called “Freeze and Melt”. It is a boisterous song and dance number in which this hugely talented cast strikes choreographed poses that are either frozen in place or fluid and sexy. The song could also summarize your feelings to what has occurred in the previous eighty-five minutes at Broadway’s newest musical offering.

After Midnight, which opened at the Brooks Atkinson Theater on Sunday night, is a reconcieved version of Cotton Club Parade, a hugely successful revue which played briefly at City Center Encores a few seasons ago. Led by the debonair Dule Hill (TV’s Psych and The West Wing), After Midnight is a tribute to jazz legend Duke Ellington, whose fifty year career included four years at New York’s famed Cotton Club, the central setting for the piece. Hill serves as the narrator and recites the poetry of Langston Hughes between generally familiar American standards.

From the start,this revue experiences a frozen moment. What should be a rousing, full throttle introduction to the ensemble and the night that awaits is instead only a competent and functional opening number (“Daybreak Express”). For a song structured like a locomotive picking up steam, this version lacks vigor and vitality. Moments later however, when an elegant trio of ladies (Carmen Ruby Floyd, Rosena M. Hill Jackson, and Bryonha Marie Parham) cozy to the microphone and provide a smokin’ version of “Between the Devil and the Deep Blue Sea”, we have no choice but to swoon and melt. Luckily, we are treated to more of these moments including American Idol’s Fantasia whose renditions of “I Can’t Give You Anything But Love” and “Stormy Weather” infuse a new, livelier breath into already solid classics.

Other vignettes in the show seem a bit shoddy. As our leading man, Hill (an accomplished actor with less accomplished vocal skills) begins to sing, “I’ve Got the World On A String”, he grasps a red balloon. Soon he is surrounded by ensemble members who join in his “balloon-ography”. What could be modest and charming staging instead has the earmarks of a show with cheesy production values.

Tony Award winner Adriane Lenox raises the thermostat and brings two winning moments to the show. In “Women Be Wise”, she offers boozy, but sage wisdom to ladies who might want to show off their men. In “Go Back Where You Stayed Last Night”, Lenox is a woman scorn, but delivers it with a lighthearted, tongue in cheek fashion.

There is much to admire in After Midnight, the first of which is the predominantly marvelous choreography by Warren Carlyle (who also directed). The cast delivers first rate dancing with seamless flair. Vocally however, there is little to applaud aside from the previously mentioned female trio and Ms. Barrino.

Without a doubt, the best part of After Midnight is the brassy, classy, phenomenal sound of the the orchestra. This seventeen piece band, hand picked by jazz great Wynton Marsalis, remains onstage during the show and accomplishes for the American songbook what Steve Jobs accomplished for computers. They alone make staying up late well worth it.

“After Midnight” at the Brooks Atkinson theatre (256 W. 47th between Broadway and 8th Avenue). Tickets available at the box office, online at www.telecharge.com or by phone at 1-800-745-3000. In the “guest star” role, Fantasia is featured through February. k.d. Lang succeeds her, and Toni Braxton will appear with “Babyface” in March.

Theater Review “Becoming Dr. Ruth”

by Ryan Leeds

For 36 years, a world famous personality has lived in the same Washington Heights apartment. But now she is moving, and you are invited to watch. Typically, when friends and relatives solicit help with packing, you’re likely to find better excuses like getting the dog groomed or scheduling an appointment with your periodontist. Yet there are exceptions to the rule, and this spitfire makes a strong case for clearing your calendar and dropping in on her cluttered stash of cardboard boxes and knickknacks. Don’t worry, you won’t have to pack any dishes or lift any heavy objects. Instead you can sit back, relax, and be mesmerized by a true story of humility and chutzpah, vulnerability and ultimate victory. It is a tale told by Karola Siegel, known to the world as sex therapist Dr. Ruth Westheimer.

Debra Jo Rupp, most recognizable for her role as Kitty Forman on TV’s That 70s show is the perfect embodiment of the petite powerhouse in the new Off Broadway solo play “Becoming Dr. Ruth”. In one hundred swift, intermission-less minutes, Rupp holds the audience in the palm of her hands and sheds a whole new light on a beloved figure that, until now, has mainly been viewed only as a seasoned maven of sexual matters.

Without divulging too many of the intimate details, Westheimer has suffered some of life’s darkest atrocities. She has confronted the fragility and eventual dissolve of two marriages. As a single parent, she found employment at a job which would inspire her to pursue higher education and later mold her to into the famous “Dr. Ruth”.

Mark St. Germain’s script is generally tight and frames Westheimer’s story in a unique fashion. Many of the items left in the apartment serve to trigger memories, which propel the story in a simple, but effective manner. At times the writing teeters on the brink of over-sentimentality, but this is easily overlooked by the incredible depth and human quality shared by this fascinating woman, Solo shows may well be one the most difficult feats to accomplish in the theater, but Rupp handles it with boundless energy and confidence. It is my hope that voters from various awards organizations (Drama League, OBIE, etc.) will take notice. “Becoming Dr. Ruth” in a nutshell, is excellent.

“Becoming Dr. Ruth” now at the Westside Theatre 407 W. 43rd Street (between 9th and 10th ave.) For tickets: 212-239-6200, online at www.telecharge.com, or at the box office.

Theater Review: “The Snow Geese”

by Ryan Leeds

The ghost of Anton Chekhov is alive and well and living through the pen of playwright Sharr White at the Samuel J. Friedman theater. White’s period drama, “The Snow Geese” evokes all the elements of the esteemed Russian dramatist’s works: grief, sadness, unfulfillment, pining, and jealously. These adjectives also describe the love life of this reviewer. But that is most likely too much information for the reader and not particularly relevant to this critique. So let’s refocus our attention to this profound, new, American play.

It has been 12 years Mary Louise-Parker broke hearts and nabbed the 2001 Tony for her portrayal of Catherine, the conflicted and troubled daughter of a math wizard in David Auburn’s Proof. Parker’s long awaited return has been well worth the wait as she continues to break hearts as Elizabeth Gaesling, a once affluent member of high society who is now widowed and left in debt. Of course, the financial burden bestowed on her matters little to the deluded matron as she continues to play the violin while Rome burns around her. Joining her in this state of delusion is her oldest son, Duncan (Evan Jonigkeit). Regardless of his father’s passing and potential deployment to Europe for war duty, he revels in his callow and arrogant behavior. After all, he is the spoiled Princeton grad and the “golden goose” of the family. Jolting them back to reality is Arnold (Brian Cross), the youngest and more rational son who warns that the family’s monetary goose may well be cooked. Yet he is quick to bat eyes at Viktorya (Jessica Love), the Ukrainian maid. Elizabeth’s disapproving sister, Clarissa Hohmann (Victoria Clark) and her husband, Max (Danny Burstein) , round out the glum tribe as they keep their seats warm and contemplate both their lives long gone and imminent bleak futures.

The family has gathered in their country home in Upstate New York in 1917- a short time after the passing of Theodore Gaesling (Christopher Innvar) . Aside from shooting game, there isn’t much to do here. Elizabeth is sad, Clarissa doesn’t want to do anything remotely resembling fun, Max is so bored that he’s reading several newspapers a day, Duncan is happy to pontificate, Arnold attempts to warn the family of troubled financial waters ahead, all while Viktorya repeatedly polishes the silver.

By now you are probably thinking, “My goodness! This sounds more fun than a Breaking Bad marathon! How can I get tickets to see this rollicking tale? ” In true Chekhovian style, the pace is in fact slow. Yet White’s play shoots at the heart of where our societal values lie, and strikes the target with intelligence, subtlety, and grace.

Stage veterans Victoria Clark and Danny Burstein create brief, but wonderfully delightful moments while Broadway newcomers Jessica Love and Brian Cross make commanding debuts. John Lee Beatty’s beautifully cozy set is full of warmth- a distinct contrast to the family that inhabit the space.

“The Snow Geese” is playing a limited run through Dec. 15^th. If frivolous, cotton candy entertainment is what you’re seeking, “Mamma Mia” will be more than happy to have you. But if fine performances and poignant themes are more in line with your idea of a lovely night at the theater, aim to get a ticket before these “geese” fly away.

“The Snow Geese” on Broadway at the Samuel J. Friedman Theater (W. 47th between 8th and Broadway.) Now through December 15, 2013. Tickets are available at the box office, online: http://www.telecharge.com/Broadway/The-Snow-Geese/Ticket or by phone: 212-239-6200 or 800-447-7400.

New York City Photography: Pershing Square

by Mark Giarrusso

In the heart of New York City, there is a tiny section named Pershing Square. However, in all of Manhattan, there is more asked of this little square than of any other neighborhood. Located directly outside Grand Central Station it serves as a gateway to all who exit the old, Art Deco designed train station. Emerging from it’s doors is like a trip back in time and a welcome to the modernity of the city all in a first glance.

Park Avenue, NYC, Photo by Mark Giarrusso, 2013

Central Cafe — Pershing Square, NYC, Photo by Mark Giarrusso, 2013

Grand Central Station — Pershing Square, NYC, Photo by Mark Giarrusso, 2013

William Blake: Croonin’ the Blues for Etta James

by Ryan Leeds

William Blake delivers his songs with sass, sensuality, and soul—sometimes all three in one number! Manhattan Digest’s Ryan Leeds caught up with this explosive rhythm and blues artist about his upcoming Etta James tribute show at NYC’s finest jazz club, Birdland. Just don’t talk during his set- or he will call you out!

RL: This is the third engagement of your Etta James tribute at Birdland. What drew you specifically to her?

WB: My parents had great taste in music. R&B was really their “bag” so I grew up listening to Sam Cooke, Otis Redding, Ike and Tina Turner, and others. I think what really attracted me to Etta James was the kind of woman that she was. She went through a lot of hardships and struggled for a long time in the music industry. I just really found her life story fascinating.

RL: What do you want your audiences to know about Etta James?

WB: That she had more songs than just her popular ones (“At Last, “Sunday Kind of Love”). More importantly is the pure joy that she had in performing. She was vivacious and captivating and really knew how to rouse an audience.

RL: Is there one particular song of hers that is your absolute favorite?

WB: Probably “Fool That I Am.” It’s a song that describes how it feels to love someone when they don’t love you back. We’ve all felt that way at one time or another. Anyone who says they haven’t is lying. So I think that this song really tugs at my heartstrings.

RL: Your show will have back-up from “The Peaches.” Tell me a bit about how they were formed and the origin of their name?

WB: The Peaches were actually Michael Thomas Murray’s idea. In addition to being my best friend, he is my musical director and arranger. Initially, it was just going to be a rhythm section and me. When we started working on “Echoes of Etta”, Michael was trying to create this “doo-wop” girl group so we decided to add them. Etta James had two backup singers known as The Peaches and I have three (Ashley Betton, Shira Elias, and Stephany Mora.) They will also be presenting some songs from their own tribute show to the Queen of Soul, Aretha Franklin.

RL: Your background is primarily in theater . How did you get into the cabaret scene?

WB: I went to college for theater but left after my sophomore year. I was fortunate to be getting so many singing gigs. After I was on the fourth season of American Idol my gigs picked up even more. It’s really been rewarding to play such esteemed rooms. Returning to Birdland with this show is the biggest thrill we can ask for. We love playing this club so much because it’s our home and the best club in the world!

RL: What other music legends have you drawn inspiration from?

WB: In terms of contemporary artists, Kurt Elling and my great friend and colleague, Jane Monheit. Past artists would include Ella Fitzgerald and Billie Holiday.

RL: What is your assessment of the popular singers today in terms of their style and techniques?

WB: I don’t really listen to newer artists. I’m really an “old soul” when it comes to music so I don’t get into “Glee”, Demi Lovato, Miley Cyrus, or Lady Gaga. I think that those artists are still finding themselves and are growing up. But we’ll continue to find them interesting in adulthood if they stay in the industry. In terms of vocal style, leave the pyrotechnics at home because you know, if you play with fire, you’re gonna get burned.

RL: Who is the absolute one singer you would give anything to meet and/or sing with?

WB: Nikka Costa. She is a funky, solid, well-rounded musician. I would give my right arm to be on stage with her!

RL: If you could go back in time and see any live performer who would it be?

WB: Judy Garland- either at The Palace or Carnegie Hall. Her Carnegie Hall recording is still in print. To have been a fly on the wall of that space for that concert would have been a dream come true.

RL: What is your advice to those seeking a career as a vocal artist?

WB: Stay true to who you are. Sing what you know and be passionate about it. The Etta James songs are songs I connect with. If you don’t connect, trash it and move on. Also, find a great musical director you trust.

RL: Do you have any pre or post show rituals?

WB: I don’t really sleep well the night before a show because I’m so excited. I put on a lot of music and jam out. And before my show, I have to have bourbon on the rocks- but just one!

RL: How do you take care of your voice?

WB: I have an ENT I see once or twice a month, especially since I suffer from allergies. I also stay practical in rehearsals by not over singing and try to stay quiet on the day of the show.

RL: Cleary your audiences love you, but are there any particular pet peeves from a live audience that really annoy you

WB: Not really. I’ve been heckled by the best of them. I will just heckle right back. I remember one night, there was a loud audience member who kept yelling from his seat. After every song he would say, “Oh my gosh! This is the best show I’ve ever seen!” It was flattering, but he was pretty obnoxious. At one point, I looked at him and said, “I know this is the best show, right?!!? Now will you please sit back and just be quiet!” The audience just loved it. Talking during my set is also a pet peeve. But I know how to deal with it; I just call them right out on it!

RL: So what’s on your docket after the Etta James show?

WB: I started out singing in piano bars at 19 years old. Next month, I’ll be returning to do that again on a week long cruise to the Mexican Riviera. I’m really excited about it because I need a vacation! After that, I’ll be performing private engagements through the end of the year.

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WHAT: Echoes of Etta II featuring William Blake, Mike Murray & The Peaches – 7PM, Doors open at 5PM

WHEN: Monday, Oct. 28^th 2013

WHERE: Birdland Jazz Club, 315 West 44th Street New York NY 10036.

Price: $30 Cover, $10 minimum

WEB: http://www.birdlandjazz.com/event/396675-william-blake-michael-thomas-new-york/

http://www.williamblakesings.com

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