With all of the critical acclaim at its’ feet, it is no small wonder that Fun Home has become one of the hottest musical tickets on Broadway. Originally premiering in 2013 at downtown’s Public Theater, it now has taken up residency in midtown. Just last week, it smashed Circle in the Square’s box office record of any musical that has ever played in the space. What is a wonder however, is the show itself. [Read more…] about Theater Review: 12 Time Tony Nominated FUN HOME
OPINION
Theater Review: THE UNEXPECTED GUEST
Richard Warwick is dead. His wife, Laura (Pamela Sabaugh) stands before him, gun in hand. But is she the murderer? Herein lies the major question in Theater Breaking Through Barrier’s current revamp of Agatha Christie’s The Unexpected Guest. For the next two hours and thirty minutes, members of Warwick’s house are questioned, suspected, and motivated to find the true killer.
Originally premiering in 1958, the play is a rather lumbering piece of theater. As it is with most stage adaptations of Christie’s work, there is seemingly infinite exposition in an attempt to strip away the evidence of clues. Fortunately, this talented cast makes the most of the material by keeping the pace of what could be an unendurable exercise light and breezy. Nicholas Viselli shines in the title role as a gentleman who stumbles upon the corpse after a roadside car breakdown. Sabaugh strikes effective chemistry with her co-star and the two handle the overly loquacious script, balancing it with the right amount of levity and intrigue. The remaining ensemble complements their leading players, each having their “moments” of shared secrets and in some cases, interrogation.
Christie spent a great deal of time crafting the plot, but the primary riddle audiences will be left asking themselves is, “Why does any of this matter?” All of her characters point to the fact that Warwick was a demanding, abusive alcoholic whose demise is almost celebratory. Perhaps these proclamations add to the mystery?
While The Unexpected Guest might not be one the most enigmatic shows you’re likely to see, high credit should be paid to this fine acting troupe and it will be a delight to watch their quality continue in upcoming works.
The Unexpected Guest is now playing through May 10th at Theater Row (W. 42nd between 9th and 10th) For tickets and information, visit the box office or http://www.tbtb.org/
Review: GiGi New York Embossed Python Leather Crossbody & Wallet
The brand best known for its luxurious python leather products, GiGi New York, offers the finest combination of classic and edgy style that one will find in bags and their accompanying accessories. The visible pattern and texture if the python skin with the durability of the highest quality leather are only the most obvious attributes of their products that one sees at a first glance. Actually use their products, and a whole different world of distinction and beauty is opened up to you.
The day my GiGi New York items came in the mail, it was easily the most exciting snail mail I’ve gotten in 2015. Packaged in a durable black box with their logo stamped in gold foil, were my new go-to items. First, I opened the embossed python leather crossbody bag, and then the embossed python leather phone wallet to match. Each item was individually packaged in protective plastic bagging, with leather cleaning towels, complete with the GiGi logo, enclosed.
From the first finger I laid on the python leather, I knew I was touching one the best quality items one could own. GiGi New York sources their leathers from all parts of the world, utilizing every region’s specialties, including the worldwide leaders in fashion tanning, Italy and France. Most of the products are made in the United States, guaranteeing the greatest attention to detail in the creation of every item.
Excited to use my new bag and wallet, I quickly began a top to
bottom inspection of the products. The bag is 10 inches wide and 8 inches tall with a detachable adjustable strap, offering up to a 27 inch drop from shoulder to bag. It has a zip top closure, and a front pocket that zips closed, as well. On the front of the bag there is a simple logo plate attached at the top, in the center of where the widest section of the python leather runs. Inside the bag is a soft material, stamped with the GiGi logo, giving a delicate look to the durable interior of the bag.
The bag is both chic and practical, with a slick appearance yet reasonable size for day to day use. It has proven to perfect for day trips when you don’t want to bring much with you, as well as for regular use like work and family visits. With spring in the works and summer around the corner, the crossbody is ideal for festivals and outings in the nice weather. Because of its size, it will hold what you need for the day without weighing down your arm during the time you’re trying to enjoy yourself.
The phone wallet is 7 inches wide and 4 inches tall, fitting perfectly inside the crossbody bag. The wallet also features the logo plate in the widest section of the leather, creating a flawlessly balanced look between the embossed leather and the metal add-ons. There are two spaces for cash, a zip closure back pocket for change, six credit card slots, and a slot to hold a variety of phone types- Apple and Android alike.
The wallet is easily the most versatile item I’ve owned. It fits great in any regular size bag, it tucks away just right in the crossbody, and it’s even excellent just on its own. The slot for the phone is what has me cheering the most. I didn’t want to get tangled in bag straps while maneuvering groceries, so I opted for a wallet only excursion with my phone securely tucked away inside of it. Not to mention, the wallet zip on the top and only one side, so when I opened it to pay, my belongings were not out in the open.
After being introduced to GiGi New York and experiencing their products first hand, there isn’t another brand I’d go to for this type of unmatched quality. Well, except for their parent company, Graphic Image.
All GiGi products come with the option for personalization of up to three letters, which can add the finishing touch to a gift for yourself or a loved one. So, head over to their site now to check out their variety of top quality items, and be sure to sign up for their e-mail list to receive 10% off your next purchase!
Theater Review: AIRLINE HIGHWAY
A close friend of mine once told me that the idea of eulogies eluded him since it made more sense to share kind words with the living rather than about them once they’ve gone. He shares the same sentiment with Miss Ruby (Judith Roberts), the dying matriarchal figure in Lisa D’Amour’s heartfelt drama Airline Highway.
Direct from Chicago’s Steppenwolf, Airline Highway takes us to the parking lot of the Hummingbird motel, an unsavory dilapidated refuge for the downtrodden of New Orleans. Miss Ruby, once the beautiful grand dame of the Hummingbird and caretaker of her “little duckies”, is nearing her death and wants to go out in style. With the help of motel manager Wayne (Scott Jaeck), Tanya (Julie White) , a worn out, but but beautifully broken prostitute, Sissy Na Na (K. Todd Freeman) , a flamboyant drag artist, Francis (Ken Marks), a half-baked bohemian who lives life with carefree aplomb, and Krista (Caroline Neff), a returning visitor to the Hummingbird, each pull together to recall fond memories and bury some secrets from their past.
Bait Boy (Joe Tippett) returns for the day’s festivity as well, along with his significant other’s daughter, Zoe (Carolyn Braver). Bait Boy was once an inhabitant of the Hummingbird, but escaped to Atlanta for a better life. Zoe has joined him on the pilgrimage to write a school paper on sub-cultures. She has come to the right place, for there are fewer colorful spots and characters along this stretch. Her pie-eyed view of the world is shattered, however, when her subjects defiantly object to the fact that Zoe wants to encapsulate their life into one article in one afternoon. How are lives stuffed with dashed dreams, endless struggle, regret and poverty summarized in one paper?
D’Amour delivers a genuine cast of vagabonds filled with grace and dignity, bringing to mind David Newman, Ira Gasman, and Cy Coleman’s heartwarming musical about Times Square hookers in 1997’s musical The Life. Though they lead unconventional lives, each soul offers searing personal stories of where they’ve been and what they could-or won’t-ever be.
It is not simply good luck that explains why Tony Voters gave Airline Highway four nominations. Under Joe Mantello’s masterful hand, the show reminds us of our own good fortunes, evokes empathy for those who don’t have them, and instills an unbreakable appreciation and zest for life.
Airline Highway is now playing on Broadway at the Samuel J. Friedman Theater, 261 West 47th street between Broadway and 8th. Tickets available at http://www.manhattantheatreclub.com/season-tickets/ or by visiting the box office.
Fashion Review: Yosi Samra Foldable Flats
After a long search for a new pair of flats for the spring, I came across the brand Yosi Samra. The name caught my attention, as did their claim of “fashionable yet comfortable”, as well as incredibly convenient, flats. Yosi Samra is a second generation footwear designer, bringing fashion, comfort, and convenience into his product lines like no other brand has before. His site has a wide range of styles and colors for foldable flats, along with a variety of other shoes for both women and kids. Roughly two hours after finding the website, and after looking at every shoe at least three times over, I purchased a pair of Samantha Cap Toe foldable flats in “smoke black”.
First of all, shipping was incredibly fast. I selected basic ground shipping, and they were at my front door the very next day. Granted, I do relatively close to Manhattan, where they ship from, though next day delivery was far from expected. The packaging is likely the smallest shoe box one will ever receive since the flats come folded up.
Though the price of the shoes, $77 for the ones I chose, reflected a better quality than the average flats, I was not expecting the high level of quality they really are. Not only do they fold without ruining the material or foot bed of the shoe, but the sole is similar to that of a sneaker. It’s the comfort of a pair of Keds with the style of designer flats- what more could a girl ask for?!
The snake skin-like pattern is beautifully detailed, with different shades of grays and blacks throughout, quilted with stitching. The leather upper cap toe is very durable, despite the sides of the shoe being rather flexible and soft. Inside is a soft foot bed, complemented by sneaker like soles. Also, one of my favorite details, the top edge of the flat is lined with an elastic material, guaranteeing a comfortable fit that will not slide off your foot. And, on the back of the heels are metal YS logos, adding a small and chic designer detail to the shoes.
The shoes come packaged in their tiny box inside a dust bag. The dust bag is great for storage, as well as for when toting the shoes with you. Yes, they absolutely make great everyday flats. My feet happily survived a week straight in my Yosi Samra flats, including a day of heavy walking in the city. But, they are also perfect for “back up shoes” on nights you’ll be wearing heels. Undesirable situations, like going barefoot at a wedding or limping during an event, can be avoided with a practical pair of flats to come to the rescue when your feet need it most.
With a ready to shop website, and over 100 boutiques across the United States, there is absolutely no excuse to not do your feet the favor of picking up a pair.
The shoes only come in whole sizes, and Samra is right when he advises half sizes to order the next size up. For reference, I am usually a loose 7.5 and I ordered a size 8. They fit perfectly with a little room, but nothing to worry thanks to the elastic edging.
And please, as per the care instructions, take care of your YS shoes by keeping them out of the rain and away from oils, greases, and lotions.
Theater Review: WOLF HALL: PARTS 1 AND 2
Picture this: It’s 1527. You’re Henry VIII. Your wife, Katherine is just not cutting it anymore. You’re bored and you want the “D” word. You also want your mistress, Anne Boleyn. So, you ask the Cardinal if he’ll divorce you and Katherine so you can live happily ever after with Boleyn. He says (paraphrasing), “Are you barmy?!?! That totally goes against the doctrine of the Roman Catholic Church!” But you sally forth with your plans and enlist the help of your chief confidante, Thomas Cromwell. After all, Cromwell used to be the Cardinal’s secretary. He might have some leverage, right? Answer: Nope. Not really. (Sigh) Oh well! Eventually, you decide that shaking up the court, the church, and your country is well worth the price of marrying someone who you will end up leaving for yet another woman. She’s not gonna be a dandy, either. Geesh Henry! You’re really a rebel-rousing whore, aren’t you?
This is primarily the plot of Wolf Hall, the astonishing two part drama currently playing at Broadway’s Winter Garden Theatre. The production comes to New York after a sold out, hugely successful run in London where it recently nabbed a couple of Olivier awards. It is likely to garner several Tony nominations as well. If justice is served, it will not not walk home empty handed.
Mike Poulton has effectively adapted Hilary Mantel’s works of historical fiction into dual parts. Part One (Wolf Hall) lays the groundwork for all the political machinations that will ensue, but Part Two (Bring Up the Bodies) moves at an even swifter pace, drawing the audience into its fold and keeping them on the edge of their seats. The entire saga clocks in at 5 hours (2 hrs. and 30 minutes for each part) and yet it never feels like a chore, thanks to the superb acting from The Royal Shakespeare Company. There is no finer acting ensemble treading the boards in New York City right now.
Christopher Oram has been charged with the task of conceiving both the set design and the costumes. On both counts, he succeeds with kingly admiration. A sparse, cold, gray brick and cement interior strikes remarkable polarity against his bedazzling ornate costumes. Lighting designers Paule Constable (Part 1) and David Plater (Part 2) also add a thrilling brilliance to an already flawless stage production.
I confess that I am not a history fiend and knew very little about the trials and tribulations of King Henry VIII or his court, so it is with much admiration that I give to director Jeremy Herrin and his team of consummate professionals and producers who have quenched the thirst of historians and simpletons like myself by presenting a captivating, accessible, surprisingly humorous, and hugely entertaining political tale that is worth selling your only child for seats. Weigh the options: You can always find another kid, but Wolf Hall will only be here until July.
Wolf Hall Parts One and Two. Now playing at Broadway’s Winter Garden Theater on Broadway between 50th and 51st. Tickets are available for both parts or can be purchased individually. For more information, visit http://wolfhallbroadway.com/
Theater Review: HAND TO GOD
It has often been noted by people of faith that “the good Lord works in mysterious ways.” For all intents and purposes, He may well be taking a vacation or turning a blind eye to the mischievous antics that are unfolding at Broadway’s Booth theater, where the marquee darkly exclaims that “Broadway is going to hell in a hand puppet.”
Hell is both a figurative place and a frame of mind in Robert Askin’s outrageous play Hand To God. Set in a fundamental christian church in a nondescript town in Texas, Hand to God introduces us to Jason (Steven Boyer), the shy and reserved Mama’s boy to Margery (Geneva Carr), a deeply repressed widow who is leading the church’s puppet ministry. Nerdy Jessica (Sarah Stiles) and bad boy Timothy (Michael Oberholtzer) round out the “puppeteers” as Pastor Greg (Marc Kudisch) watches over his flock–and a close, seductive eye on Margery.
No one seems terribly enthused about the idea of performing in front of the church and suddenly, rehearsals only get worse once Jason’s puppet, Tyrone, springs to life on his hand. This devil incarnate quickly sets out to terrorize anything and anyone in his path and soon, the entire church is victimized by an uncontrollable, foul-mouthed, sock puppet.
One might quickly dismiss Hand to God as a crude, sacrilegious work of simple comedy. But Askins morality tale delves deeper, inviting us to explore the direction of our moral compass. Do we choose to do wrong or does wrongdoing control us? Furthermore, how long can we repress natural inclinations before they push us past the precipice of confinement?
Let’s not overlook the comedy factor here, though. Hand to God is laugh out loud funny, thanks mostly to this finely tuned cast. Boyer seems to effortlessly toggle between Jason and Tyrone but his contrasting personalities are as deliriously different as night and day. Carr is wonderful as a mother desperately trying to hold it all together–and failing miserably. Oberholtzer’s punkish behavior adds even more devilish fun to the mix, and Stiles delivers a first-rate, understated performance as the brainiac who is fed up with everything and everyone. Stage veteran Kudisch offers a solid and stoic portrayal of an opportunistic spiritual leader.
On the surface, Hand to God is a bawdy, adult rated stage comedy but like human nature itself, it is layered by nuance, complications, and empathy. As a new American play, it delivers a jolt of freshness and originality to the genre.
Hand to God plays at the Booth Theater, 222 West 45th Street (between 8th and Broadway). For tickets and information, visit the box office, or http://handtogodbroadway.com/
Theater Review: R&J- An Uncivil Tale
Earlier this year, Rebel Theater Company mounted a massive production entitled Black Footnotes which chronicled the lives of African-American women doctors who made great contributions, but whose names were erased from the history books. Read the review here: https://www.manhattandigest.com/2015/02/14/theater-review-black-footnotes/
The play consisted of a cast of 28 members, quite a large feat for such a small space. It ran at Nuyorican Poet’s Cafe. Rebel theater has returned to the famed performance space, where a current, large scale re-imagining of Shakespeare’s Romeo and Juliet is afoot
Writers Adam Mace and Kaitlyn Schirard have now enlisted 30 actors, and have placed the famous tale of young romance during the height of the Civil War in 1863 Kentucky. Juliet (Julia Boyes) hails from the wealthy Capulet family while Romeo (Jordane Christie) is from the former slave house of Montague. Once, he and his family had worked for the Capulets, but they were sold to an abolitionist who set them free. In true lover’s fashion, love binds them together, much to the dismay of both families.
To set the piece during the most challenging time of our nation’s history is both thoughtful and appropriate.In the program notes, director Adam Mace tips his hat to Abraham Lincoln (also timely, given the fact that we commemorate his assassination this month). After Romeo murders one of the Capulets in a brawl, his mentor, Reverend Laurence (Christian Lee Branch) unleashes a fiery sermon to parishioners. “I don’t understand is how the Lord can allow such hate to be in our world today. To allow our brothers and sisters to be beaten, sold, tortured, and killed!”, he says. Sadly, the words could be delivered from a contemporary pulpit. Mace expresses the fact that the story far exceeds the confines of romance, but rather, reflects the state of a nation.
Christie and Boyes create fiery passion and Adiagha Faizah is particularly touching as Mama Opal, Juliet’s slave. The supporting ensemble are in top form.
Occasionally, Mace’s script is a bit heavy handed and wrought with too many histrionics. Once the scale is tipped towards the highest level of dramatics, there is little room to build tension. Still, he should be commended for the fine work that he and his assistant director, Najah Muhammad create. It is a joy to watch this theater company evolve, develop, and generate crucial conversations with their provocative works.
R&J: An Uncivil Tale, runs through April 26th at the Nuyorican Poet’s Cafe, 236 E. 3rd street (between Ave B and C). For tickets and information, visit http://www.rebeltheater.com/#!r–j/c131s
Theater Review: CLINTON The Musical
Love ’em or leave em, it is hard to deny the impact of larger than life politicians, Bill and Hillary Clinton. How can we forget the bountiful years of economic growth, the (dare I say it) “ambitious” first lady who tackled health care problems, and of course, the intern who shook a nation.
Just in time for Hillary’s announcement of a Presidential bid comes Clinton The Musical, a smartly satirical reflection of the trials and tribulations of William Jefferson Clinton and his family. Director and choreographer Dan Knechtges has assembled a hugely entertaining and talented cast that will leave audiences aghast and amused.
Paul and Michael Hodge have written a keenly insightful book incorporating not one, but two Bill Clintons into the script. One is the stately, professional, and polished politician (Tom Galantich); the other is a good ‘ole boy skirt chasin’ philanderer (Duke Lafoon). Both actors beautifully capture the duplicitous essence of our 42nd president. Kerry Butler assumes the role of Hillary Rodham Clinton, and while she is a fine actor with a dynamic voice, it’s hard not to sense a bit of miscasting here. Butler’s natural girlishness lacks the edge needed to fully embody Mrs. Clinton.
John Treacy Egan and Kevin Zak steal the show as Newt Gingrich and Kenneth Starr (respectively), a maniacal duo with an unquenchable thirst to bring down the President. Judy Gold also adds hilarity as both the Ghost of Eleanor Roosevelt and Linda Tripp. The real firecracker here, though, is Veronica J. Kuehn who recreates the infamous girl in the blue dress, Monica Lewinksy. Her number about her tryst with the President, “Monica’s Song” is a gleeful, upbeat R- rated dittie that will, no doubt, have you in stitches.
Clinton The Musical is everything great satire ought to be: clever, funny, well-acted, and above all, thoughtful. No matter what side of the aisle you favor, this is one wild party you won’t want to miss.
Clinton The Musical plays Off Broadway at New World Stages, 340 West 50th Street between 8th and 9th avenue. For tickets and information, please visit the box office or http://clintonthemusical.com/ . ***Special $20.16 seats available for a limited time. ***
Theater Review: MY NAME IS RACHEL CORRIE
“If any of us had our lives and welfare completely strangled and lived with children in a shrinking place where we know that soldiers and tanks and bulldozers could come for us at any moment, with no means of economic survival and our houses demolished; if they came and destroyed all the greenhouses that we’d been cultivating for the last however long do you not think, in a similar situation, most people would defend themselves as best they could?”
This is but one of the numerous diary and email writings by a young, peace seeking activist Rachel Corrie. Corrie was a 24-year-old from Olympia, Washington who devoted her life to help the prevention of bullying from the fourth largest super power in the world (Israel), to a mostly unarmed people (Palestine). In 2003, in the midst of a peace movement, she was struck and killed by an Israeli bulldozer driver. Her story is currently onstage in a gut wrenching production at The Lynn Redgrave Theatre at Culture Project, which runs through April 12th.
Originally staged in 2005 at London’s Royal Court Theatre, the production was well received and pointed its sights towards the New York Theater Workshop. Here, the idea of mounting such a politically charged work was met with too much disagreement and dissension so the transfer was scrapped. Instead, it found a commercial run at the Minetta Lane theater in 2006, where it opened to mixed reviews.
Under Jonathan Kane’s insightful direction, it is now back on the boards where Charlotte Hemmings faces the daunting challenge of recreating Corrie’s activism and understanding of a continually heated, complex, and aggravating situation. At the performance I reviewed, Hemming met and far exceeded the demands, as evidenced by the stunning silence and tears which were wiped away by the end of the 90 minute show (including my own). Hemmings brings a vital urgency to a girl who “still really wants to dance around to Pat Benatar and have boyfriends and make comics for my co-workers” but also just wants the injustices to stop.
It is simple to take absolute stands on what we think is the truth, but in the hands of Katherine Viner and British actor Alan Rickman, who have masterfully edited Corrie’s prose, we are forced to look at this ongoing conflict through a different lens. When Corrie offers to pay for her housing to her Palestinian family, they refuse stating, “We are not a hotel. We help you because we think maybe you will go and tell people that you lived with Muslims. We think they will know that we are good people. We are quiet people. We just want peace.”
After the tragically sobering ending, a video is shown of a 10-year-old Rachel Corrie presenting at her school’s fifth grade press conference on World Hunger. The young, wide-eyed idealist offers a compassionate plea: “We have got to understand that people in Third World countries think and care and smile and cry just like us. We have got to understand that they dream our dreams and we dream theirs.” Corrie is no longer with us, but her enduring words remind us of the possibility for change and that those who seek it with passion and sincerity will have not lived their lives-whatever the length- in vain.
My Name is Rachel Corrie plays through April 12th at the Culture Project’s Lynn Redgrave Theater. 45 Bleecker Street. For tickets and information, visit http://cultureproject.org/current/rachel-corrie/