THEATRE

Theater Review: LYPSINKA: THE TRILOGY

Not to minimize the contribution that many drag queens make, but let’s be honest: Most of them are a dime a dozen. Walk into any gay bar on any given night of the week and you’re sure to see a bedazzled beauty strutting her stuff and lip-syncing to the latest Top 40 hit. Sure, it takes skill and preparation, but mostly, it’s just bubble gum fantasy with free drink tickets.

Now, take your fabulous self downtown to the Connelly theater and let a genuine and unparalleled diva hypnotize you with her ferocity and glamour. The lady of whom we speak is none other than Lypsinka, who is currently casting a spell in the East Village in the Lypsinka Trilogy. Lypsinka is the persona embodied by John Epperson, an immensely talented individual who has been inventing and reinventing Lypsinka since the late eighties. Even Epperson himself has been known to eschew the title “drag queen” because it “describes an amateur”, and he holds the label of “actor” in much greater esteem. It is a fair declaration because Lypsinka is the grand dame by which all other drag artists should aspire. Three shows are running concurrently at the intimate theater spot and –just in time for the holidays– each of them is a precious gift to theater goers.

Lypsinka! The Boxed Set

At this point, you may be asking yourself, “Who is Lypsinka and why all the praise?” Lypsinka is a throw back to the golden age of stage and screen. Using clips from classic films, interviews, and vintage cabaret clubs, Lypsinka actually lip syncs (imagine!)various sound bytes, incorporating her own flair but still maintaining the integrity of the characters. Bette Davis will appear one moment, followed by Gloria Swanson the next. Barbara Stanwyck, Greta Garbo, Joan Crawford, Lana Turner, Faye Dunaway, and others are also heard. How she is able to pull it all off with such exquisite flair is nothing short of a miracle. But with the subtle raise of a brow, an extended glance, and quivering lips, Lypsinka will mesmerize and amuse.

The Boxed Set is a cornucopia of these silver screen beauties and although there are few costume quick changes, the hostess for the evening will make each and every moment unique. A string of phone calls will be answered, each by a different personality, and a screwball version of “The 12 Days of Christmas” turns the song upside down by replacing the traditional lyrics with a variety of cocktails for each day. The entire show will hold you in delightful captivity, but these two scenes elicit the greatest response from audiences and had me laughing so hard I had to catch my breath. Epperson’s Lypsinka has been at this for years, but make no mistake about the artistry. Under Kevin Malony’s keen direction, this is precision and talent at its finest.

The Passion of the Crawford

One would be remiss to pay homage to the bygone era of Hollywood without mentioning Joan Crawford. Here, Lypsinka, with the help of Steve Cuiffo, recreates an actual interview between Crawford and John Springer (Cuiffo). Clips of radio interviews and acceptance speeches also emerge and once again, we watch in awe of the detailed mannerisms, executed with over the top flair and drama. Malony also helmed this production, which opens with a tight montage of Crawford’s work.

Although it is worth seeing, The Passion of the Crawford should be seen in addition to, rather than instead of, The Boxed Set. Consider The Boxed Set a primer to the living wonder of Lypsinka. Even though the Crawford piece is flawless, The Boxed Set offers more variety. Either way, you’ll become a fast fan of Epperson’s creation. In both cases, Lypsinska knows her audience and she’ll deliver the delicious goods.

John Epperson: Show Trash

When Lypsinka sheds the Edith Head inspired costumes, she is actually John Epperson, the creator of this larger than life personality. Seated behind a piano, Epperson discusses his early days in New York City and the origin of his creation. It is hard to wrap your head around the fact that Epperson is Lypsinka since he embodies none of the qualities as his alter ego. Epperson is slight, unassuming and reserved; She is everything aside from it.

Under Barry Kleinbort’s gentle and able direction, Epperson deserves the utmost respect for sharing his own self. The vulnerability and honesty expressed here is not often on display for drag performers. Yet, one questions whether Epperson’s goal is simply an autobiographical presentation or a plea to be acknowledged as himself rather than dwelling in the mascara mask of his lady. Either way, we can celebrate both Epperson and his female side for bringing pure quality entertainment to life.

Lypsinka! The Trilogy plays now through Saturday Jan 3, 2015 at the Connelly Theater, 220 E. 4th Street between Avenue A and Avenue B. For tickets and information visit: http://tweedtheater.org/lypsinkatrilogy/ ,

Essential Voices USA: Holidays at Carnegie Hall and “Cherished Moments”

by Ryan Leeds

Well, New York…It’s that time of year, again. Not, as the popular song goes, “when the world falls in love and every song you hear seems to say ‘Merry Christmas’.” For most city folk, it means cluttered sidewalks rife with tourists, longer lines than normal at the morning coffee shop, traffic jams, and a quick depletion of pain killer from Costco sized bottles. This weekend, however, Essential Voices USA is determined to melt your frozen yuletide hearts as they take to the Carnegie Hall stage for The New York Pops’ annual concert “Home For the Holidays” this Friday and Saturday, December 19th and 20th . The 60 voice chorus, under the direction of Judith Clurman, will be joined by Broadway stars Kelli O’Hara (recent star of The Bridges of Madison County and upcoming leading lady of Lincoln Center’s The King and I revival) and Matthew Morrison (Light in the Piazza, Hairspray, and television’s Glee). On Sunday afternoon , December 21st, a smaller ensemble of Essential Voices USA will join the orchestra for a family holiday concert. The afternoon will feature a staged 50th year anniversary celebration of the beloved television special Rudolph the Red Nosed Reindeer.

Matthew Morrison_small2 (1) — Photo courtesy of Laura Marie Duncan

On Friday and Saturday, audiences will be treated to “It’s The Most Wonderful Time of the Year”, “O Holy Night”, “We Need a Little Christmas” and other holiday favorites. Sunday’s light offering will include “Holly Jolly Christmas”, “Silver and Gold”, and the title song, “Rudolph the Red-Nosed Reindeer”. The afternoon will also feature members of the New York Theatre Ballet as they re-enact scenes from the holiday classic. All concerts will guided by the baton of Steven Reineke, music director and conductor of The New York Pops. As of the writing of this article, tickets for all performances are extremely scare, so you’d better act fast, find a generous friend with an unused seat, or pray for a holiday miracle.

Speaking of miracles, Clurman’s group will honor the season’s festive Jewish holiday within the Friday and Saturday night concerts with “Songs of Freedom: A Celebration of Chanukah.” This collection of songs was arranged collectively by Clurman, Larry Hochman, and Brian Stokes Mitchell. Clurman translated the piece and it originally premiered in December 2010 (under her baton) at Carnegie Hall with Essential Voices USA and Stokes Mitchell. Due to popularity and acclaim, the group will once again revive this joyous song cycle , which is currently being performed nationally by other vocal groups. Although Essential Voices USA’s weekend performances will not be recorded, Clurman’s arrangements of the Chanukah piece have been preserved on the recording, “Cherished Moments: Songs of the Jewish Spirit”, available through the Sono Luminus label on iTunes, amazon, and Spotify. The album not only incorporates “Songs of Freedom”, but other holidays and life events surrounding the Jewish culture and religion. Produced by the Grammy award winning David Frost, it is one of Clurman’s proudest musical achievements. “Each of these pieces is a cherished moment from my own life,” she says. Some of the pieces have been written with the last few years, while others are traditional songs like, “Han’shamalach”, a song that Clurman heard as a child in the synogogue. The album captures the essence of the Jewish experience and Clurman is particularly fond of the idea that, “Jews experience the sacred in time rather than space. It is through these moments that we find meaning and holiness in our lives. This album is a kaleidoscope of who we are as a people.” Both “Songs of Freedom” and “Cherished Moments” capture the essence of Jewish life, but have broad, universal appeal. Clurman observes, “It transcends by being fine music.”

Fortunately, for those who have already purchased tickets, they can experience this musical transcendence live. If you’re one of the unfortunate music lovers who decided to lollygag like a tourist from Topeka around the Rockefeller Christmas tree , download “Cherished Moments” and let it fill your soul with peace and calm during this otherwise harried holiday.

For tickets and information visit: http://www.carnegiehall.org/,

http://www.essentialvoicesusa.com/

http://sonoluminus.com/p-386-cherished-moments-songs-of-the-jewish-spirit.aspx

EVgroup — Photo courtesy of Gertjan Meijer

EXCLUSIVE Interview: Shawna Hamic Sets Sail on Broadway

by Ryan Leeds

What is it like to share the spotlight with an International superstar? Ask Shawna Hamic, who is currently starring in the brand new, musical The Last Ship on Broadway. Written by the former front man of The Police and 16 time Grammy award winner, Sting, it tells the story of Gideon, a young man returning to his small English town to save the pending closure of the shipyard and win back his childhood love. Hamic originated the role of Mrs. Dees, a buxom, no-holds-barred broad who owns the local watering hole. Hamic is making her Broadway debut in the critically acclaimed piece and took a few minutes to chat with Manhattan Digest about riding her ship of dreams to the Great White Way.

PERFORMANCE BACKGROUND

As a child in Southern California, Hamic started singing when she was 3. Her grandfather was a minister and her mother was the choir director at their church, so she often sang in the church services. Her interest in musical theater was peaked in junior high school, and she was first cast as Ado Annie in the musical production Oklahioma! She was cast over upper class men –which was a big deal!

Hamic’s family couldn’t afford a four-year college. so she went to an intensive 3 year performing arts program at a community college (Citrus College in Glendora, California). Here, she gained exposure to all genres including jazz, rock, pop, and traditional Broadway. She also toured Europe twice and Hawaii for a month with her student peers. The entire education cost around $3,000 and Hamic is quick to point out that “ It’s not about where you go, but what journey you take to get there.”

AUDITION PROCESS

Hamic had been on the road for 3 years, playing the brash, swindler Madame Thenardier, in a touring production of Les Miserables. Since the revival was headed to Broadway in March 2014, she auditioned for the same part. In spite of her hope to recreate the role there, the creative team went in a different direction and Hamic wasn’t cast. Instead, she ended up taking a quick trip to Florida to visit family and planned to come back to NYC if there was an audition to attend. Within a few days of arriving in Florida, she received a call from her agent who asked if she could audition the next day for The Last Ship . Hamic packed her bags, caught an early flight to NYC the next day, and crashed at a friend’s apartment.

When she received the first call from her agent, she was told that the casting team wanted her to approximate the Geordie accent when she read sides( Geordie is the region of North East England where the show takes place). She used the concept album (of the same name) which Sting recorded, to mimic the accent. As Hamic is a huge Sting fan, she already owned the recording. Her flight became a rehearsal space while she tried to master the brogue.

She arrived to the audition, with her song, (Cyndi Lauper’s “I’m Gonna Be Strong.” ) Since she had been on the road for 3 years, she hadn’t sung it. But as crafty actors go…Hamic hatched a plan. At the same audition studio, Hedwig and The Angry Inch was holding open auditions. The rumor mill circulating was that the role of Yitzhak had already been cast so the auditionees were sparse. Hamic seized the opportunity and auditioned simply so she could hear her song be played before she auditioned for The Last Ship . How freakin’ clever is that?!? With time to spare, Hamic grabbed some lunch and with it, an unwanted dose of food poisoning. Yikes! While most hopefuls step into an audition room wanting to bring down the curtain, Hamic’s simple prayer was, “Oh God, Don’t let me throw up!”. Apart from going sharp at the end of the number, her initial audition went well, but furiously fast. Hamic was in and out in 5 minutes.

Within 20 minutes of leaving the room, she received a call back from her agent. The creative team wanted to see her again the next day and had notes for her. “Change the ending of the song, wear something simple and pretty, and go “balls- to –the- wall Madame Thenardier” on the sides.” “No problem!”, she thought. And one additional note: Sting would be present at the callback.

Hamic arrived early to the Saturday callback and went to the nearby Westin hotel to compose herself and prepare. Immediately before entering the room and “amping” herself up, the casting directors announced a bathroom break, but Hamic took it in stride, “Well, at least they ‘ll focus on me instead of concentrating on the fact that they all have to go!”, Hamic thought. Although the audition pianist blind-sighted her by racing through the song (traditionally done as a power ballad) she sucked it up, made it work, and plowed through. It apparently went unnoticed by the casting team, who applauded her deft ability to pull off the song.

Then came the side readings. In a moment, Hamic took a deep breath and found instant knowledge of what they were looking for–and she nailed it! As she walked out the door, she heard Sting say, “That was Shawna Hamic, right?”, and she felt overwhelming joy to know that, whatever would transpire, Sting knew her name for two minutes.

That Monday, two days following the callback, dance auditions for the show were being held and Hamic anticipated a callback for the dance portion. Instead, she got a call from her agent (on speaker phone) who announced that he wanted to be the first person to inform her that she had landed her first Broadway show! She didn’t even have to attend the dance callback. Later, she learned from one of the company managers, that she had been cast in the show about 11 seconds after she had left the callback audition.

CREATIVE PROCESS AND SHOW RITUALS

The show premiered at Chicago’s Bank of America theatre on June 10th , 2014. Rehearsals started 6 weeks before that in New York. Since the entire show is a new concept, there was a great deal of trial and error during rehearsals. The Broadway production is primarily the same as what Chicago audiences saw, but creatives changed about 20 % of the show. The collaboration of the creators went very smoothly and everyone was on board to make this the best show it could possibly be. “Sting was never precious about “killing his babies”,” she said. “If a song didn’t work, he would simply write a new one. I tried not to be starstruck when I began working with him because I wanted to view him as a colleague.” At home, though, she admitted to a bit of “fan-girling”. She has much admiration towards him because of his respect for the process. Through the entire rehearsal period and previews, he was always there supporting and encouraging the cast.

In addition to her role as Mrs. Dees, Hamic serves as the photographer of the show as has provided photo documentation of the journey, as well as press photos of Sting, which have appeared in Time magazine and other established publications.

Like a tight-knit family, the cast and crew have a Saturday night ritual with their theatre friends at the August Wilson theatre, located directly across the street from the Neil Simon on West 52nd street. Jersey Boys is currently running here. Each Saturday night, the cast from both shows serenade each other following the show. Usually there is a short rehearsal for it. Upon learning of the ritual, Sting wanted to get involved. “He really just wants to play and he’s up for anything!”, Hamic said, “Including an appearance on “Carols for a Cure”, a holiday album with songs from current Broadway casts, which raises money for Broadway Cares/Equity Fights AIDS. “Soul Cake”, a rambling version of the traditional folk song, is The Last Ship‘s contribution ”

FUTURE

Hamic has a short wish list of roles she’d like to tackle, including Mrs. Lovett in Sweeney Todd. For now, though, she is exceedingly grateful and thrilled to be performing as a feisty bar owner and performing the Act 2 opening number, written expressly for her by Sting (“Mrs. Dees’ Rant). The composer has also become her fellow cast member, as he is currently starring as Jackie White, the foreman of the shipyard through January 24, 2015.

The Last Ship is currently running on Broadway at the Neil Simon Theatre (West 50th between Broadway and 8th Ave.) For tickets and more information, visit http://www.broadway.com/shows/last-ship/ or visit the box office.

The original cast recording of The Last Ship will be released on Tuesday Dec. 16th. “Carols for a Cure 2014” can be purchased now. Both are available on iTunes or www.amazon.com

Theater Review: “Love Letters”

by Ryan Leeds

Candice Bergen is a five time Emmy Award winner, two time Golden Globe award winner, and an Oscar nominee. Alan Alda has also been nominated for Academy Awards and has taken home entertainment trophies for his roles on television’s The West Wing and M*A*S*H. Both Bergen and Alda have graced Broadway stages and have convinced us that they can handle the medium of live theater with comfortable ease.

How is it then that their pairing in Broadway’s Love Letters seems so awkward and mismatched? Love Letters is A.R. Gurney’s 1989 Pulitzer prize-winning play that has found its way back to the Brooks Atkinson theater. Since September, producers have lined up big name talent to read letters written between two complicated lovers slash friends over the course of their lifetimes. Mia Farrow began the run as Melissa Gardner, a girl of affluence who blossoms into an adult in search of herself Along the way, she battles heartbreak, depression, and rehab. In the midst of life’s trials, Andrew Makepeace Ladd III, her childhood sweetheart, comforts, encourages, and at times, frustrates Gardner. Brian Dennehy assumed the role of Ladd upon the show’s opening.

Bergen’s performance is much too brash and self-assured. Gardner is sweet, vulnerable and girlish but still expresses a confidence which suggests that she is not a complete pushover. Here, Bergen plays her too much like Murphy Brown, the character in the sitcom of the same name, and the role for which she is best known. A a hard-hitting TV Anchor, a caustic, annoyed demeanor works. Here, however, her Melissa is too defensive, making it difficult to empathize with her. Alda seems altogether disengaged from the material. Ladd’s likeability hinges on the fact that he is torn between the loves that he did have as adult versus the possibilities of a life with Gardner. Through the years,an abding respect and devotion for Gardner remains intact. This makes Ladd perfectly human and relatable. But Alda’s body language suggests that he is bored and would rather be at a bar, sipping a martini with Loretta Swit. At this particular performance he actually lost his place in the script–with the pages directly in front of him.

And…the…dramatic…pauses…seem…endless. Both actors interject so many of them that the usually brisk 90 minutes feel painfully interminable. There is a fine line between dramatic pause and a lunch break. Candice Bergen is a fine actor. Alan Alda is worthy of critcal praise. Love Letters is a poignant, thoughtful, and deeply felt play. The combination of all three, though, generate an exchange of correspondence that is not much more than a string of misfired missives.Let’s hope that the next line-up (including Diana Rigg and Stacy Keach, Angelica Huston and Martin Sheen) will handle Gurney’s poetic script with more depth and sensitivity.

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

Theater Review: “Little Dancer”

by Ryan Leeds

Goldstar: Making Events More “App”ealing

by Ryan Leeds

Do you have friends and acquaintances who sit in their apartments, complain that they are always broke, and announce that there is nothing to do? Now you can resist the urge to smack them in the head and send them back to their native mid-America state by informing them about Goldstar’s brand new Android App. Wait! What is Goldstar? Thank you for asking! Goldstar is both a free website and app which provides listings of shows, concerts, events, dinner cruises, theater and tons of other fun stuff to do in the city–at a fraction of what you’d pay for the full price ticket. Since 2002 this California based company has connected with over 5,000 venues in cities across the United States. Recently, they’ve rolled out in Pittsburgh, PA, Detroit, MI, and are making plans to engage in more medium sized markets.

Goldstar CEO Jim McCarthy recognized the demand from customers to make usage more mobile. As of September 2014, 63% of its’ users were accessing the services on either smartphones or tablets. With the launch of this Android App, McCarthy and his team are making access even more effortless. “Now, Goldstar is there when people think about what they want to do,” he said. It should be noted, however, that the app is not strictly limited to Android. It can work across all other devices as well. Sorry, Gramps…this does not mean your rotary phone!

The new app features include an even wider array of events, reviews from other members who have already attended the event, and a new “sit with friends” option. This means that your friends can buy tickets individually, but you can still sit together. This way, you won’t get stiffed by cheapskate companions who either don’t show up or won’t pay you back. As always, deals are available almost up to the last minute and entry tickets will be sent immediately to your device. Unless the deal is sold out, in which case, you probably should’ve planned better.

Download the app now, sign up for deals and emails, and enjoy a city which is abundant with non-stop activity–at discounted prices. If your buddies continue to mope around like Eeyore, find new friends!

To download the Android app, click https://play.google.com/store/apps/details?id=com.goldstar. On other devices, simply locate “Goldstar” and download.

For more information about Goldstar, visit http://www.goldstar.com

For more information about sitting at home doing nothing, I can’t help you.

Theater Review: “It’s Only a Play”

by Ryan Leeds

This is it! Producers of Broadway’s It’s Only a Play have been waiting with bated breath to see what “Manhattan Digest” has to say about playwright Terrance McNally’s revival of his 1982 comedy. Ticket sales hinge upon this very review and so the words are chosen carefully to ensure that the hard-working cast remain employed for the next few months.

Surely, these words are written in jest. Director Jack O’Brien’s star packed revival sent ticket sales soaring through the roof at the Schonefeld theater when it was announced that Nathan Lane and Matthew Broderick (of The Producers fame) would reunite. It that weren’t enough to clinch the deal, producers wisely added other stage and screen celebs including Megan Mullally, Stockard Channing, and F. Murray Abraham. To attract a younger crowd, Harry Potter’s Rupert Grint and rising star, Micah Stock were tacked on to the marquee. The show has become the toast of Broadway and has already announced an extension to March 2015. Originally it was slated to run only through January 4th, 2015.

What is the point then, of writing a review? With such a line-up, one might believe that it would be immune to criticism, even to heavyweight critics whose printed and digital opinions can often dictate the success or failure of a show. (Note: “Manhattan Digest” is not one of these publications!) But, you know what they say about opinions? If you don’t, ask someone for the crass answer. Without further fanfare, I shall share my humble opinion about Broadway’s hottest ticket.

In short, It’s Only a Play is a fun night at the theater. Zippy lines are delivered often enough to keep audiences laughing (or at the very least, smiling). Its’ shortcoming lies in its’ length. For a play with little substance, the bit is drawn out a bit too long and once the curtain falls on this two and half hour sitcom, you’ll feel as though you’ve exceeded your time at the party.

Set in the home of producer Julia Budder (Mullally), “friends” and creative members of Peter Austin’s (Broderick) new play The Golden Egg assemble on the opening night of his show for the cast party and, more importantly, for the reviews. Dimwit Gus Head (Stock) serves as the coat check guy and more than holds his own in his Broadway debut. Head is a self-proclaimed “actor-slash-singer-slash-dancer-slash-comedian-slash-performance-artist-slash-mime”. Attend nearly any cocktail gathering and you’ve rubbed elbows with the type. Austin’s best friend, James Wicker (Lane), is an egotistical television star, who turned down the opportunity to star in his buddy’s play. Lane is doing his usual schtick here, but it works without fail. If there is any other leading man on Broadway working with such comic ferocity as him, please let me know. (Lane will depart the production on January 4th, as Martin Short assumes the role). Channing is Virgina Noyes, a washed up, pill popping diva whose problems with the law interfere with her stage work. As always, the skillfully talented Channing commands the stage, this time with a heavy dose of attitude and self-delusion. Her character’s antics could well be ripped from today’s entertainment headlines. Abraham is the most subtle here as Ira Drew, a theatre critic with an alter ego and bitter disposition. Polished and proper, Abraham’s Drew is wryly delightful as he plays the straight man with great panache. Frank Finger (Grint) is the boy genius director who is lauded by critics, but plagued by his own insecurities. Grint makes a flamboyant and impressive Broadway debut among this predominantly seasoned troupe.

In less talented hands, McNally’s updated romp would not be nearly as entertaining. While it is a work that even outsiders can enjoy, those in theatre circles will find many of the zingers even more enjoyable. Broderick’s Austin may well deliver one the best lines uttered on any stage at the moment: “New York without theater would be Newark!” . While it won’t move mountains, It’s Only a Play is pure escapism which serves as both a valentine and a gently self-deprecating mirror to the fabulous gift of live theater.

It’s Only a Play on Broadway now through March 2015 at the Gerald Schoenfeld Theatre, West 45th street between Broadway and 8th Ave. For tickets and information, visit the box office or log onto: http://itsonlyaplay.com

Theater Review: “Saturday Night”

by Ryan Leeds

It seems fitting that the York Theatre would choose Stephen Sondheim’s musical Saturday Night for their 100th production in their “Musicals in Mufti” Series. For the last 20 years, the company has performed pared down versions of both significant and lesser known musicals, using not much more than scripts and street clothes.

Saturday Night strikes a core of sweet nostalgia that fits comfortably into this quaint space. Based on a play by Julius Epstein, Front Porch in Flatbush, this musicalized treatment takes us to 1929 Brooklyn where four teens are hoping to score a date on…you guessed it..Saturday night. Gene (Ben Fankhauser) is the alpha dog among his pack of frisky fellows and ends up forging a romance with Helen (Margo Seibert). Of course, the romance is not without its’ complications. Gene has a brilliant idea to sell a car, which belongs to Eugene “Pinhead” Goman (Olli Haaskivi). With an investment in the Montana Chemical Corporation, his stock is sure to rise and he’ll reap the monetary rewards. Unfortunately, it is not a well executed plan, but love still prevails. Meanwhile, he and his cronies go to the movies , accompanied by Mildred (Dana Steingold), an adorable air head who steals the show with her comic spunk. Rounding out this talented ensemble is Lindsay Mendez (Celeste), and Matthew Scott (Hank), sister and brother-in-law to Gene. Both shine in the second act , when they recollect the details of their first date in the endearing “I Remember That.” Fankhauser and Seibert provide quality acting chemistry and vocally, they are both in harmonious sync. (Fankhauser recently starred in Broadway’s Newsies, Seibert was a break-out star in Broadway’s too short lived Rocky).

Saturday Night was one of Sondheim’s first musicals that he penned at the young age of twenty-three. Originally it was to be presented on Broadway in 1955, but due to the sudden death of the producer, it never transpired. Since then, it has received various mountings in London, Chicago, and in 2000, at off Broadway’s Second Stage Theatre. It lacks the edge and sophistication of his later works, and Sondheim himself has said that he is embarrassed by some of the lyrics. It still tips its’ hat to the innocence and eagerness of youth. Besides, let’s just step back for a moment and analyze this: Stephen Sondheim wrote an entire musical (both music and lyrics) at the age of 23. Most of us at that age, including myself, were working a lousy minimum wage retail job. Congratulations, Mr. Sondheim. Your youth was not wasted. Sail on!

Saturday Night runs through Nov. 16 at the York Theatre Company, 619 Lexington Ave on the corner of 54th street. For tickets and information, http://www.yorktheatre.org/

Interview: Judith Clurman’s Essential Voices USA

by Ryan Leeds

Judith Clurman and her choral group, Essential Voices USA will take to the stage at Carnegie Hall this Friday evening, November 14th as part of the The New York Pops Series. Audiences can expect to hear selections from Orff’s Carmina Burana, Bernstein’s Candide, Copland’s The Tender Land and others. When the baton is raised, it will be approximately the tenth time Clurman’s singers have performed with the Pops at the ultimate venue, but she has stopped counting. “I just go from one job to the next and make music,” she says with an excited gleam in her eyes. “I could perform in a community theater or in a school. It simply doesn’t matter as long as I’m making music.” Still, she acknowledges the honor of performing here. “There is nothing like it in the world. The sense of history you feel there is unique, and I think many of the chorus members feel that too.” The group regularly performs with the symphony thanks to a relationship she developed with former New York Pops conductor, Skitch Henderson. The symphony is currently under the direction of Steven Reineke, who will also conduct his piece, “Festival Te Deum” during Friday night’s program.

Clurman’s 60 voice volunteer ensemble has been in existence since 2011, though she had conducted other choirs prior to this. Essential Voices USA came from an outgrowth of different chorus work she had done in New York. “I had an entire professional chorus and had also conducted the Juilliard Choral Union. I decided that I wanted to do something different that would fit my needs and the needs of the concert halls, so Essential Voices USA was born.”

As a conductor, Clurman is passionate about her musical work, but also admits to challenges . “There are many group dynamics that have to be confronted,” she observes. “You put people together that you hope will not only sing well, but will sync with each other personally. Rehearsal is one of the few places in the world where people turn off cell phones and work together to make music.” She continues to lament on short attention spans that have waned since she started to learn music. As a trained pianist with degrees in vocal music, Clurman began to hone her craft as a child . “I was accompanying choruses in fourth grade and it continued through my senior year of high school. It was there where I learned how to listen. People in this day and age struggle with that. They don’t know how to be calm for five minutes and I’m faced with that challenge against a frenetic society.”

The rewards far surpass her dilemmas however, and Clurman is ecstatic when she discusses her work. “When a chorus knows a piece of music, it’s thrilling. They come together and they’re one. I love seeing the smiles on their faces when they are having a good time.” She also notes the importance of teaching. “That is what being a good conductor is all about- so the chorus will be able to perform all by themselves, whether they are under my direction or another conductor. You just know your stuff,” she states with pragmatic brevity. Clurman also wants her chorus to take something of value from the creative process. “I hope the group learns through it and finds a sense of community and satisfaction.” As for the audience, Clurman wants them to have a good time, too. “I hope that they have fun and will want to come back for another concert. I also hope that they’ll download a recording.”

Fortunately, Clurman has been able to preserve the sound of her group with an album entitled Celebrating the American Spirit. The recording uses a smaller number of Essential Voices USA members, as well as paid professionals. The idea for the album was planted in 2001, two weeks after 9/11, when Clurman’s Juilliard Choral Union sang “America, the Beautiful” at a firehouse on Amsterdam Avenue. “I knew that that I wanted to record that song,” Clurman recalls. “ But as we were singing that night, a fireman put his head on my shoulder. I stopped conducting in the front of this massive group of people and we all cried and sang together. After that, I asked a variety of composers to write music based on the actual words of United States Presidents.” She also enlisted the help of her friends, Broadway stars Kelli O’Hara and Ron Raines. The result of the song cycle is featured on the album. In 2011, National Public Radio invited Clurman to be an artist-in-residence where she, along with the composers of each selection, discussed their individual works at length. “We didn’t want famous words,” Clurman clarifies, “but rather important words.” While there was a bit of controversy and mixed opinion about the Presidents she chose to highlight, Clurman says, “It doesn’t matter. I just wanted to honor the presidency. These pieces are now recorded and published in a series for G. Schirmer music and I’m very excited about that.”

With Thanksgiving approaching, Clurman is also quick to discuss one of her favorite tracks on the patriotic album: “Reason To Be Thankful” by Larry Hochman. Hochman is a Tony award winning Broadway orchestrator who had written the song as part of a collection of American melodies. “When I first heard it”, Clurman says, “I called Larry and told him how beautiful I thought it was. I then asked him if he had ever given thought to adding lyrics to it.” Hochman was open to the idea, and Clurman called her friend Sheldon Harnick, the esteemed Broadway lyricist. “Sheldon is one of the finest, most poetic lyric writers ever. He understands vocal music better than most and he just gets it. I knew he would write something heartfelt and real. We are frustruated with our country sometimes, but we’re thankful we live here. Harnick captures that in this song.” In addition to the Hochman piece, performed by Raines, Clurman cites O’Hara’s powerful rendition of “God Bless America” as another favorite on the track. “Both of these songs are very real. I choose that word, “real”, specifically because there is a healthy rawness in the singing. Raines and O’Hara don’t over-interpret. They just sing the pieces and are truly fine American singers.”

As for her larger ensemble, all 60 members are clearing their throats and fine tuning selections for Friday night’s performance. Following that, they’ll be back in the rehearsal room for three more concerts with the New York Pops on December 19^th, 20^th and 21^st.

For tickets and information about upcoming performances, visit http://www.carnegiehall.org/ For more information about Dr. Judith Clurman and Essential Voices USA click: http://www.essentialvoicesusa.com/

Theater Reviews: “The Brightness of Heaven”, “The Belle of Amherst” and “Livin’ La Vida Imelda”

by Ryan Leeds

The Brightness of Heaven

Rest assured that when families convene, drama will ensue. No matter how close or how strained the relationship, words will be shared, opinions forced, and wounds reopened. Playwright Laura Pedersen paints a portrait of a family torn in various directions in her faith based period play The Brightness of Heaven, now playing off Broadway at the Cherry Lane Theatre.

Pedersen’s play takes us to 1974 Buffalo, NY to the staunch Catholic home of Ed (Peter Cormican) and Joyce Kilgannon (Kate Kearney Patch) . Ed’s sister, Mary (Paula Ewin) is visiting and they are planning a surprise gathering for Ed, at the local high school where he taught for many years. Soon, their home will be filled by Mary’s children, Grace (Emily Batsford) and Jimmy (James Michael Lambert). Grace is a social recluse who has never dated a man. Jimmy is openly gay, a taboo even more egregious during the Nixon era. Ed and Joyce’s children are soon to arrive as well-Brendan (Bill Coyne), an unsuccessful soul who copes with life through alcohol, Kathleen (Kendall Rileigh) the strong-willed middle child who is making waves with her future nuptials , and Dennis (Mark Banik), who is the only adherent to his parent’s strict values.

There is tender mercy in this thoughtful work, though the construct is forced. It seems like every taboo possible is represented by each family member, the culmination of which feels like a sermon on sinful living. Yet the kindness Pedersen gives each if her characters is commendable. No one is vilified and understandings are forged. Kathleen, fed up with her parents’ dogma of Catholicism explains, “I’m  more  interested  in  Heaven  on  Earth―a  place  where  all  God’s  creations  are  at  home,  complete  with  all  the   glorious  faults,  differences,  and  desires  that  He  in  His  infinite  wisdom  bestowed  upon  us.” It is a poignant and heartfelt sentiment, just one of many in this sometimes syrupy, but overall lovely view of familial dynamics.

The Brightness of Heaven is now playing off-Broadway at the Cherry Lane Theatre, 38 Commerce Street (west of 7th Ave. South). For tickets and information, visit http://www.cherrylanetheatre.org/onstage/the-brightness-of-heaven/

The Belle of Amherst

Thank heavens for great actors who can single-handedly turn a dangerously droll piece of drama into a significantly less droll night at the theater. Currently, we have the gifted Joely Richardson to thank for that. Richardson, the youngest daughter of the famed Redgrave family, is assuming the role of America’s most prolific poet, Emily Dickinson in a revival of William Luce’s The Belle of Amherst. Luce initially had written the piece for the late Julie Harris, who earned a fifth Tony award for her 1976 performance.

Going into this show (which I was drawn to solely on the Richardson factor ), I had little knowledge about Dickinson’s life. According to various reference sources, she was rather reclusive and was considered to be an outcast among her local Massachusetts townsfolk. In Luce’s work, she speaks of her shyness and her failure to connect with boys who are choosing prettier girls. She also speaks of cake. Upon introduction, she provides the entire ingredient list for a black cake she has just baked; it’s sort of like watching the Victorian Food Network minus the razzle dazzle. The most excitement the play conjures is a visit from Thomas Wentworth Higginson, a contributor to the Atlantic Monthly. Higginson asks for submissions for young writers, and eventually pays a visit to Amherst to visit young Emily.

The profundity of Dickinson is irrefutable, and no rational soul would argue over the beauty in her work. Richardson, the consummate actor that she is, makes the most of every moment. “Words are my life”, says Dickinson. “I look at words as if they were entities, sacred beings. There are words to which I lift my hat when I see them sitting on a page…I hesitate which word to take when I write a poem. A poet can choose but a few words and they have to be the chiefest words, the best words.” As a writer and lover of linguistics, it is an inspired moment. However, these moments are all too rare and under Steve Cosson’s static and flat direction, Luce’s words fall short of delicate song. Audiences keen on finding a mesmerizing character are instead saddled with the unfortunate burden of soldiering through to the curtain call.

The Belle of Amherst playing through Nov. 23rd at the West Side Theatre, 407 West 43rd street between 9th and 10th ave. For tickets and information, visit http://belleofamherstplay.com/

Livin La Vida Imelda

Carlos Celdran has some juicy gossip to share, so get comfortable and pay attention. In the spirit of the smash hit musical Here Lies Love (currently running downtown at the Public Theater), Celdran delivers his own tell all tale of Filipino President Ferdinand Marcos and his First Lady Imelda. It’s no secret how this powerful political duo went to great lengths to keep up appearances and abuse their power, but Celdran delves into the reasons behind their ethically questionable tactics and shares some lesser known tidbits about their reign.

Celdran, who wrote and stars in the show, speaks from personal experience, having been a tour guide in his native country of the Philippines. Using basic but effective projections Celdran charts the political rise of this controversial couple and interjects with his own commentary. Respectfully and keenly, Celdran does not single out the Marcos administration in his chastisement. ” If you are going to get Ferdinand Marcos and Imelda for everything that they have done”, he observes, “Then you’ve gotta get everyone else in the world who knew exactly what President Marcos and Imelda were doing.” It is a sobering thought that could well be contemplated for the actions of our current world leaders.

Celdran is an affable performer and his easygoing manner serves him well as a storyteller. Structurally, the show tends towards erratic sequence and is sometimes repetitive. By the end however, we’re left with an informative and rewarding tale of ego run amok. But don’t sprint from your seats too soon; Celdran has a very special surprise guest near the finale.

Livin La Vida Imelda plays off-Broadway through Nov. 23rd at Theater Row, 410 West 42nd Street between 9th and 10th ave. For tickets, visit the box office or online at https://www.telecharge.com/Off-Broadway/Livin-La-Vida-Imelda/Overview

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