THEATRE

Manhattan Digest Theater Review: “Bronx Bombers”

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

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

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

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

Theater/Performance Review: “iLuminate”

by Ryan Leeds

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

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

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

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

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

Theater Review: “Loot”

by Ryan Leeds

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

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

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

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

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

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

Theater Review: “Mercy Killers”

by Ryan Leeds

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

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

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

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

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

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

by Ryan Leeds

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

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

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

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

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

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

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

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

“Beautiful: The Carole King Musical” Review

by Ryan Leeds

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

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

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

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

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

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

The Best of Theater 2013

by Ryan Leeds

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

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

10. Becoming Dr. Ruth (Play)

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

PHOTO CREDIT - Richard Termine — PHOTO CREDIT – Richard Termine

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

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

8. Hands on a Hardbody (Musical)

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

Photo courtesy of Royal Shakespeare Company

7. Matilda (Musical)

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

6. Here Lies Love (Musical)

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

Dear Santa,

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

Photo courtesy of Larry Downing, Reuters

5. Ann (Play)

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

4. Big Fish (Musical)

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

Photo courtesy of Sara Krulwich, NY Times

3. The Trip To Bountiful (Play)

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

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

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

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

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

Some Final Thoughts:

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

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.

Theater Review: Every Day A Visitor

by Ryan Leeds

For most people, the thought of spending their golden years in a nursing facility brings an overwhelming sense of dread. After all, in such a stifling environment, there isn’t much to do but sit around, play cards, listen to one another complain about the food and personal ailments (provided the hearing aids are intact) , and wait for a knock on the door from the man with the hooded black cloak. For the residents of a Jewish Nursing Home in the Bronx, there is a livelier alternative. In Richard Abrons’ off Broadway play, Every Day a Visitor, this alternative is a world of imagination. Instead of living a painfully drab existence, these spirited seniors decide to take on personas of well known political figures to “role play” themselves into a happier state of mind. While it doesn’t eliminate their realities, it certainly alleviates the monotony of their day to day routines. From Mayor LaGuardia to Bella Abzug, Henry Kissinger to Golda Meir, new dialogues are created and eventually, this all too often forgotten sect of society is reinvigorated.

It is refreshing to see a show that both illuminates and empowers the elderly. Usually, they become stereotyped and neglected by a youth obsessed media driven by beauty and botox. Here, we meet older individuals who realize that, while circumstances may not change, self-perception and self-respect can be altered. While it seems like fortune cookie wisdom, it is a gentle reminder for young and old alike

Unlike other quality works of entertainment that have paved paths for the aging (Recall TVs classic Golden Girls and Ron Howard’s 1985 film Cocoon) Every Day a Visitor has a scarcity of laugh out loud moments. Yet it succeeds in holding a continuous smile. The didactic script can sometimes feel more like a lecture and less like a night at the theater. Perhaps to the great delight of these veteran actors, some of the cast appear to be too spritely to be among the downtrodden and feeble. But under Margaret Perry’s sound direction, Every Day A Vistor takes a maudlin notion and turns it into a breezy, yet poignant piece of accessible theater.

Every Day A Visitor plays off-Broadway at Clurman Theater on Theater Row (410 W. 42^nd between 9^th and 10^th) Now playing through Dec. 14^th. Tickets available at the box office, online, . https://www.telecharge.com/Off-Broadway/Every-Day-a-Visitor/Overview?AID=AFF000022800&cm_mmc=Maxamoo-_-affiliate-_-web-_-AFF000022800 or by phone: 212-239-6200

Theater Review: The Preacher and The Shrink

by Ryan Leeds

The Preacher and the Shrink by playwright Merle Good may well be one the most incredulous plays I have ever seen. The plot centers on Dr. Michael Hamilton (Tom Galantich), a grief stricken minister from rural Pennsylvania whose wife recently passed away from breast cancer. His mentally unstable daughter Constance (Adria Vitlar) has returned home from New York City to rekindle the estranged relationship with her father. Both are dealing with their loss in different ways: Constance copes by being angry and disbelieving in God; Dr. Hamilton mourns in a stoic, quiet way while his once solid, now floundering Christian faith is tested. So far, it has a basis for decent Theological debate. Here is where it takes a turn into the ridiculous zone: Constance has been seeking aid from Dr. Alexandra Bloomfield (Dee Hoty), a caring, but somewhat hard-nosed psychiatrist who just happens to be visited upon by Constance’s Daddy. Bloomfield starts counseling Hamilton and they soon “remember” that they were once childhood sweethearts. Will they rekindle this long past romance? Are you still awake? If so, you’ll soon be zooming down another path of unintentional silliness. Constance makes a sexual harassment claim against one of her father’s church pastors, Rev. David Wheeler (Mat Hostetler). She is willing to drop the charges against him if– well, I won’t ruin it. This play has done enough damage to itself.

This hackneyed script is chock full of pithy lines including, “Grief can tear a family apart”, “I used to think a scar was a sign of hope, but now I think a scar is just a scar” and the ever- so- insightful, “Life can take many turns.” For audience members, a U-turn from the theater might be the best direction.

Luckily, there are a few redemptive qualities in this ill-conceived mess. Vitlar is a promising young actor who gives layered dimensions to her mentally conflicted Constance. Three time Tony award nominee Hoty makes the best of bad writing by delivering Bloomfield’s lines with the best professionalism she can muster. Brian Prather provides a practical, but pleasing set that works
nicely as Bloomfield’s psychiatric office.

Good’s purpose for authoring The Preacher and the Shrink is no doubt well intended. The themes of spiritual conflict and questioning Deity can make for gripping, thoughtful drama. But here, his foundation is flimsy from the start and continues to falter throughout. While it won’t shake any religious beliefs you may have, you may leave questioning your own faith in choosing a better play.

The Preacher and the Shrink is playing now at the Beckett Theater on Theater Row (410 W. 42^nd street between 9^th and 10^th) Tickets available at the box office, online at: https://www.telecharge.com/eventoverview.aspx?cityName=NY%20City%20Area&productId=9918 or by phone: 212-239-6200.

THEATRE

Footer