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Theater Review: Violet

Sutton Foster solidifies herself as one of musical theatre’s most valuable assets in Roundabout Theater Company’s new Broadway production of Violet. Based on Doris Betts’ short story “The Ugliest Pilgrim”, it was originally staged Off Broadway at Playwrights Horizon in 1997. Last year, the Encores! series remounted a concert staging at the New York City Center with Foster in the title role of Violet. It received rave reviews and Roundabout quickly added it to their season after a last-minute postponement of Tom Stoppard’s The Real Thing. I suppose they wanted to delay the presumably inevitable theatrical equivalent of watching paint dry. But fear not, erudite theater goers! You’ll have your opportunity for high brow British intellect in the fall when Ewan McGregor, Maggie Gyllenhaal, and Cynthia Nixon revisit Stoppard’s treatment of melancholy matrimony.

But this review is not about my indifference towards Tom Stoppard. Let’s get back to Sutton Foster. This two-time Tony award winner has earned yet another Tony nod as she continues to win over audiences in this simple and beautiful musical by Brian Crawley (book and lyrics) and Jeanine Tesori (Music).

Violet tells the story a young disfigured girl who embarks on a journey from her southern home to the midwest. Desperate, she searches for a spiritual healing from a snake oil televangelist . It opens with both Violet’s older self and younger self and we soon learn (via a flashback) what has caused the disfigurement. While playing in the barn, she gets too close to her father’s woodpile. Her father (Alexander Gemignani) is chopping wood and the ax handle flies off, hitting his daughter in the face. Although they seek medical assistance, it is from a shoddy doctor and Violet is left with a permanent scar that renders her permanently marked for life. During her trek, she meets two marines, Flick (Joshua Henry) and Monty (Colin Donnell), both of whom offer invaluable life lessons into the burden she bears. Eventually, she comes face to face with the Preacher (Ben Davis), a personality she has only known through a television screen. With eager anticipation, she quickly realizes that his healing powers are nothing short of hocus pocus and flim flam .

Foster has an innate ability for layered performances. With her youthful, versatile looks, She can do “sweet girl next door”, or she can portray the commanding “no-nonsense straight shooter”. Here she gives us both in a beautiful soul clinging to hope and committed to success. Her voice is in top form and Jeanie Tesori’s country twinged score lends itself well to Foster’s effortless vocal chops.

Speaking of vocal chops, let us not overlook Joshua Henry and Rema Webb, both of whom, in their individual rousing gospel numbers, are strengthening the faith of existing believers and offering proof to the skeptics. Henry (Flick), delivers a show stopping statement of confidence and independence to Violet in “Let It Sing”. Later, Webb (Lula Buffington), gives every ounce of soul she has in the stirring and inspired “Raise Me Up”. She ends it with an air of insistent sass. Lula is quick to remind the preacher, “I’m Singin’ for the Lord. Not for You. For the Lord!” Amen, sister! Lucky for us, we get to watch and listen to both of these powerful performances.

Heartwarming though it is, Violet could benefit from a trim. With no intermission, the nearly two-hour show suffers a few sluggish moments. Some of the flashbacks are a bit incoherent and not all of the songs are essential to moving this trip along. Still, it is a crucial reminder that our obsession with nips, tucks, Botox, and plastic surgery mean nothing if our emotional priorities are not in check.

Violet is now playing on Broadway at the American Airlines Theater, 227 W. 42nd street between 7th and 8th avenues. For tickets, visit www.roundabouttheatre.org, call 212.719.1300 or visit the box office.

Theater Review: The Realistic Joneses

by Ryan Leeds

Will Eno’s The Realistic Joneses is far from conventional Broadway fare-and what a relief! What is perhaps the quirkiest show to play the mainstream is also one of the funniest, most profound, and well-acted pieces of theater this season.

Broadway can too often be an outlet for celebrity heavy hitters, clocking in some legit stage time between projects. This can work to a degree; It brings people to the seats and put smiles on the faces of producers. Sometimes though, film and television actors can fall flat when there is no camera to catch their nuanced close ups. This season has challenged that perception. We need not look any further than Bryan Cranston’s rousing portrayal of LBJ in All the Way , Michelle Williams’ heartbreaking debut as Sally Bowles in Cabaret, or Tyne Daly’s flawless performance in Mothers and Sons to prove that Hollywood is delivering the goods this year.

The praise continues with this top notch cast, directed with precision by Sam Gold. Toni Collette (Jennifer), Michael C. Hall (John) , Tracy Letts (Bob) , and Marisa Tomei (Pony) star as two pairs of neighbors living in Small-town, USA. Jennifer and Bob are reserved, discontent, and guarded. Bob is suffering from a medical condition which helps explain his slightly caustic but winning demeanor. His “glass half full” outlook is perfectly pessimistic. “I don’t think anything good is going to happen to us”, he says, “But, you know, what are you going to do”. His wife matches his defeatist attitude with her wry observations. Upon defending husband Bob’s name during a conversation with John, she states, “I like it. It’s easy to remember. I think dyslectics find it comforting.”

Meanwhile, John and Pony bring a fresh-spirited naiveté to their cynical new friends. Both seem delightfully dim on the surface yet, like Jennifer and Bob, they continually search for deeper meaning “out there”. All of our players are searching for a greater purpose in this existential new dramatic comedy. Thanks to Eno’s crisp writing and humorous observations, there is a realness to their quest that will be instantly relatable to anyone living a human experience. When the curtain falls at the Lyceum theatre, you’ll be glad you decided to keep up with these Joneses.

The Realistic Joneses is now playing on Broadway at the the Lyceum Theatre, 149 West 45th street (between 6th avenue and Broadway). For tickets, visit www.telecharge.com, call 212.239.6200 or go to the box office.

Theater Review: Mothers and Sons

by Ryan Leeds

Playwright Terrance McNally and the cast. Photo courtesty of Joan Marcus. — Playwright Terrance McNally and the cast. Photo courtesy of Joan Marcus.

Every so often, a play comes along which reminds us of why we love the theater so much. For in it, we find moments of enlightenment and truth which transform us into better people. We walk out, deeply moved, challenged, and changed by what we have just seen. Terrance McNally’s new Broadway offering, Mothers and Sons is such a piece.

The play opens in the elegant apartment of Cal Porter (Frederick Weller), shared with his significantly younger husband, Will Ogden (Bobby Steggart), and their adopted son, Bud Odgen-Porter (Grayson Taylor). Cal is making small talk with an unexpected visitor, Ms. Katherine Gerard (Tyne Daly). Katherine is the mother of Porter’s former lover, Andre. Years before, Andre was a promising stage actor whose life, like many gay men of his era, was snuffed out by the AIDS epidemic. Even after twenty years, an unfulfilled personal life coupled with the shame of a homosexual son is too much for Katherine to bear and she has come to their home to air her grievances, frustration, and disapproval. Meanwhile, Cal and Will remain proud of the lives they have led.

The subject of parental discontent over sexuality is too often drawn in shades of black and white. Here, there is proper room for gray. What is most humanizing about McNally’s script is that it does not vilify Katherine. It could simply portray her as rigid and unforgiving, and yet Tyne Daly has provided us with well-rounded matron of complexity, sure to resonate with many theatergoers. If a look is worth a thousand words, Ms. Daly is giving us the entire Wikipedia in 90 minutes. Her fellow co-stars shine equally in this sympathetic, heartfelt, and timely play about facing uncertainty and forging forgiveness.

Mothers and Sons is now playing on Broadway at the Golden Theater 252 West 45th Street between Broadway and 8^th avenue. For tickets, call 212-239-6200, online at www.telecharge.com, or go to the box office.

Back On My Feet’s 2 Year Birthday: Continuing the Run towards Self-Improvement

by Ryan Leeds

Back on My Feet's Uptown group celebrates its graduates. Photo courtesy of Back On My Feet. — Back on My Feet’s Uptown group celebrates its graduates. Photo courtesy of Back On My Feet.

THE STORY

Even in the often quoted “city that never sleeps”, the hours between 5 AM and 7 AM are considered sacred moments of slumber for most individuals . For nearly two hundred New Yorkers however, these pivotal hours have provided profound life transformations through the incredible non-profit organization called Back On My Feet (BoMF). This unique running club began in Philadelphia in 2007 by founder Anne Mahlum. Mahlum convinced the administration of a local homeless shelter to offer a running program to its residents. The group’s mission was (and still is) to provide hope to those experiencing homelessness through group running. It quickly caught on and has since expanded to 10 other cities. This month, the New York City chapter is proud to celebrate its 2 year birthday, with many fun events in store. Since April 2012, 193 members of the chapter have gained employment, found housing, enrolled in education, or accomplished a combination of the three. In New York, there are four branches: Uptown, Times Square, Bowery, and Brooklyn. Three mornings a week at 5:30AM, each team meets, completes a warm-up , forms a circle of serenity, and executes the planned run. At the end of each run, the teams reconvene to their circle of serenity. Each meeting point is a shelter or half-way house and their teams are comprised of both residents and non-residents (volunteers). In addition, all of the locations offer treatment programs as many of the residents have experienced issues with alcohol and/or drugs.

CRITERIA

Aside from the daily subway paper am New York and the occasional free coffee coupon from Starbucks, recipients of BoMF have come to realize that there are few handouts in life. In order to qualify for help from the program, each member must have 90% attendance. After 30 days, they are eligible for the “next steps program”, which consists of financial literacy and job preparedness. After 90 days with 90% attendance, they are eligible for financial assistance. BoMF will grant them the option to remove a one time roadblock, helping them to achieve a personal goal. The roadblocks range from a security deposit for an apartment to paying parking tickets so that they may obtain a CDL license. Funding for these opportunities are provided through corporate sponsorships and via fundraising.

JOHN’S STORY

Anthony (L) and Half marathon finisher John (R) from Back On My Feet's Uptown team. Photo courtesy of Back on My Feet. — Anthony (L) and Half marathon finisher John (R) from Back On My Feet’s Uptown team. Photo courtesy of Back on My Feet.

John has been running with back on my feet since November 2013. A U.S. Army veteran, he moved to New York in 1989, shortly after a three and a half year service commitment. Plagued by a long battle with substance abuse, he sought recovery at Samaritan Village in Queens. It was there where he discovered the group that would become his destiny. “Every morning, I would sit on the porch, smoke a cigarette, and drink a cup of coffee. I saw this group and I asked someone what it was about. It just looked like something I wanted to be a part of. So I joined.” Aside from drills in the Army over 20 years ago, John didn’t have a physical fitness routine. “At the beginning, it was a lot of discipline. I wasn’t used to waking up that early and being around people who were more excited than me at that hour!”. He continued, “But i just kept doing it and now, it’s like nothing to get up when the alarm goes off at 5:00 AM.” BoMF took John out of his comfort zone. “It challenged me to do something that I said couldn’t be done. Then I realized after a short period of time, that it could be done. The only person that could do it was me.” He added, “This group has really encouraged me.” Their support and his own self-confidence has served him well. Just last month, John completed the New York City half-marathon- for someone who only recently reignited an exercise routine, the 13.1 mile trek was quite an accomplishment. “It started as a joke, but then I became serious about it,” he says. “I started doing long runs on the weekend, starting at 8 miles and then continuing to 10.” Humbly, he acknowledges his fellows from his BoMF Uptown group. “They helped me to overcome my fear and taught me that it didn’t matter where I placed in the half marathon. The important thing is that I finished the race.” John continues to lead the morning warm-ups as Team Captain: “I like feeling that I am part of something and contributing to the group.” He observes, “Running is the easy part; discipline is the hard part.” John will continue that daily focus as he prepares for his first ever marathon in NYC in November. His professional mission is a practical venture: “Run in the morning. Work during the day. Rest at night.”

2 YEAR BIRTHDAY AND VOLUNTEER OPPORTUNITIES

Hugs are abundant at Back on My Feet. Photo courtssy of Back On My Feet.

As BoMF NYC celebrates two solid years of tenure, it has some engaging activities planned for April and beyond. On April 9th, all four branches met at the Delancey Street offices for their Birthday run. They also launched the 180 challenge, encouraging non-residents to fund raise $180 per person for the organization. On May 1st, BoMF welcomes the entire NYC community to a group run in Central Park. Participants will meet at New York Running Company’s Columbus Circle location at 6:30 pm for a fun run, a scavenger hunt, and some mingling. On May 31st, BoMF will proudly partner in the 5k Color Run, to be held at Citifield in Queens. Non-residents and community individuals are strongly encouraged to volunteer.

Jean Hartig serves as Director of Communications and Corporate Relations for the New York City chapter. “There is an opportunity for runners, joggers, and walkers alike to share in an activity that has brought them so much joy.” She continues, “To be able to share that joy with those experiencing a life transition helps create community. Ideally, we want to build that community beyond the morning runs.” While the primary focus is on running, there are all levels of participation. Hartig explains, “The goal is really to get outside, circle up, talk to each other, and become more active.” She has witnessed the positive affect BoMF has had on so many. “When there is that activity to look forward to and that team to be held accountable to, changes happen in our members.”

Whoever said second chances can’t happen, should log on to the site, lace up their sneakers, and look at the results.

THE DETAILS

WHAT: Back On My Feet

WHEN & WHERE: Every Monday, Wednesday, and Friday morning.: 4 locations in New York City. For specific information, log-on to http://nyc.backonmyfeet.org

WHY: Haven’t YOU ever hoped for a second shot?

Pierre Dulaine: Peace on the Dancefloor

by Ryan Leeds

If the Nobel Peace prize committee is searching for nominees, they should look to the world of ballroom dance. Here, they will find Pierre Dulaine- a former dance champion turned social activist who is changing hearts and minds literally one step at a time.

In 1994, Dulaine founded “Dancing Classrooms”, a New York City based program which teaches elementary and junior high school students to dance with each other. He realized through his own experience just how effective the art form can be in building life skills and working with one another . His work was chronicled in the 2005 award-winning documentary Mad Hot Ballroom. One year later, it received the Hollywood treatment through the 2006 feature film Take the Lead, starring Antonio Banderas as Pierre Dulaine. After conquering Gotham, (where the program continues to thrive), he took his method across the nation and around the globe. The Dulaine method is now being taught in 31 cities, 5 countries, and 200 schools.

Born in Jaffa, Dulaine decided in 2010 to return to his homeland, where he would undertake the challenge of teaching Jewish and Palestinian children to dance together. He enlisted the aid of producer Diane Nabatoff who had also produced Take the Lead. Within two months, Nabatoff quickly secured financing, assembled a crew, found a director and joined Dulaine to record the experience. The result is Dancing in Jaffa, which will premiere in New York City on April 11th and in Los Angeles and other cities on April 18th.

The documentary has already trotted off with numerous awards at major international film festivals, most recently in France. The modest and eloquent Dulaine was in attendance. “There were eight screenings and, with all due respect, there were standing ovations at every single one”, he said. Nabatoff has also shared in the achievement and has noted how the movie is both cross-cultural and cross-generational. “We were just at a screening in Virginia. Afterwards, a young, beautiful girl in her twenties approached us to let us know that this was the most important film she had ever seen. Another lady (at the same screening), who was close to eighty shared that her parents were Holocaust survivors and that this was the most important movie she had ever seen. Everywhere we’ve gone, we’ve gotten standing ovations, so people are connecting to this film on an emotional level.”

Breaking through cultural barriers was a challenge. Dulaine had to convince the principals of participating schools that his program would be beneficial for the kids on an academic level. He shared the transformative results his program had in New York and finally won them over. Nabatoff observes, “He teaches them self-respect, respect for your partner, and that one doesn’t preclude the other. She added, “Pierre always says ‘If you change the children, you change the future’. He went in and he transformed these children. They were spitting on each other, would not touch each other and hated each other.They were 11 years old. How do you have that much hate?” After 10 weeks of finesse, interaction, and implementation of the Dulaine method, the animosity faded. “By the end of the program, they were holding each other and respecting one another,” said Nabatoff.

Dulaine jokes that he’d like to teach Democrats and Republicans how to dance together. It’s a quixotic idea, but not out of the scope of Dulaine’s optimistic worldview. “He goes into areas of conflict and brings people together,” said Nabatoff. “It’s just unbelievable.” Someone recently posted a quote on the film’s facebook page (https://www.facebook.com/DancingInJaffa) which said, “Pierre makes the impossible, possible.” This should make us all celebrate an elegant man who can spin a daunting dance with the devil into a hopeful, heavenly waltz.

Dancing In Jaffa premieres in New York City on Friday April 11th. For showtimes and more information, visit www.dancinginjaffa.com. For more information about Dancing Classrooms, including the 2014 Fundraising Gala on May 21st, 2014 at the Plaza Hotel, visit www.dancingclassrooms.com.

Theater Review: All The Way

by Ryan Leeds

Since the days when sketch comedy became a part of our popular culture, it has been challenging to view portrayals of celebrities and/or politicians with an objective eye. It is especially difficult if those personalities are larger than life figures. Difficult, but not impossible. Currently, Bryan Cranston is proving this theory wrong in a layered and complex performance as President Lyndon Baines Johnson in Broadway’s All the Way.

This rich political drama begins in 1963, shortly after the assassination of President Kennedy. With Johnson now at the helm, he is forced to pass the Civil Rights Act, which has both the nation–and congress–at complete odds. It is a pivotal moment for Johnson. While he honestly feels as though it is the right thing to do, he must fight against archaic opposition from those more concerned about their own political careers and approval from constituents.

Over the course of 3 hours, deals are dealt, hands are shaken, secrets are whispered, and there’s “a whole lotta cajoling goin’ on”. Johnson’s southern charm is prominent, but so are his razor sharp tactics. No one is spared from his drive to succeed, not even his own wife, Lady Bird Johnson (Betsy Aidem), whom he enlists to speak in front of audiences in the days leading up to the 1964 election.

Though the cast is 20, most of them play multiple roles of actual figures. Robert Petkoff is perfectly obsequious as Senator Hubert Humphreys, who serves both as Johnson’s right hand man and punching bag. Rosyln Ruff renders a brief performance during a memorable scene. Her character, Fannie Lou Hamer, is appearing at a press conference on national television to describe the cruelty she endured as a young black girl. William Jackson Harper ignites the audience with a fireball performance as Stokley Carmichael, a civil rights organizer demanding equality. It is effectively staged, as Carmichael delivers his plea from the orchestra. There is potency in the language and an immediacy which cannot be ignored.

Cranston is clearly the star here, but the rest of the cast can fully hold their own. With simple use of projections, scene changes are made within the confines of the US Congressional House. This is truly theater at its’ finest. Robert Schenkkan’s script is crisp, riveting and thoughtful. He has successfully given us the first must see hit of the year.

All the Way is now playing on Broadway at the Neil Simon Theater, 250 West 52nd Street between 8th and Broadway. For tickets, call 1- 800-745-3000, visit ticketmaster.com, or go to the box office.

Boys Like Me Like Boys Like Courtney Act- Review

by David Baxter

If you’ve been following RuPaul’s Drag Race, you probably know who Courtney Act is. Some of you might also know her from her videos with Willam or there might even be a few of you who recognize her from Australian Idol.

Theater Re-Reviewed: “After Midnight”

by Ryan Leeds

Honey is drippin’ from the stage of the Brooks Atkinson theater. Since opening in November 2013, After Midnight has been blowin’ the proverbial roof off of the building, mostly in part to the Jazz at Lincoln Center All-Stars, handpicked by jazz genius Wynton Marsalis. A tribute to the legendary Duke Ellington, After Midnight highlights some of his finest arrangements, blended with first rate vocals and dance.

American Idol’s Fantasia Barrino opened the likeable revue (and will incidentally return to the show on May 13th), portraying the role of Special Guest Star. This, as an ode to the Cotton Club tradition, the posh Harlem nightclub where Ellington made his mark. Each week, jazz greats including Judy Garland, Lena Horne, and Bessie Smith would take to the microphone, amidst the glamour and brass accompanying them. The tradition continues here on Broadway. After Fantasia, k.d. Lang stepped into the role, and soon, Vanessa Williams will soak up the spotlight prior to Barrino’s return.

But now, 6 time Grammy award winning Toni Braxton is infusing her own R&B style on the work-and giving new life to already iconic songs. Braxton’s interprets “I Can’t Give You Anything But Love” and “Stormy Weather” with a delicious mix of vulnerability and sass. Her dulcet tones combine her established sound as a pop artist with the flavor of Blossom Dearie. It doesn’t hurt that she can sell both numbers with ultimate grace and sexiness. Braxton makes a dazzling Broadway debut.

Joining her in this juke joint is Kenny “Babyface” Edmonds, a 10 time Grammy award winning artist, who is also appearing on Broadway for the first time. Edmonds replaces television’s Dule Hill as the Host, a role which drives the show through the poetry of Langston Hughes. Edmonds is making a much smaller splash here and appears uncertain of his next line and choreographed move. His tentative delivery pales in comparison to his predecessor’s more self-assured manner.

Most of the original cast remains, as well as members of the best orchestra Broadway has heard in years. Braxton alone is worth the price of admission (she appears only through March 30^th) , and the ensemble continues to pour their souls into the footlights. Adriane Lennox’s scene stealing numbers remain my favorite, as well as the trio of beauties (Bryonha Marie Parham, Carmen Ruby Floyd, and Rosena M. Hill Jackson) who melt the house, specifically with “Beyond the Devil and the Deep Blue Sea.”

After Midnight now playing on Broadway at the Brooks Atkinson theatre (256 W. 47th between Broadway and 8th Avenue). Tickets available at the box office, online at www.telecharge.com or by phone at 1-800-745-3000. Toni Braxton and Kenny “Babyface” Edmonds appear through March 30. Vanessa Williams succeeds Braxton beginning April 1- May 11 and Fantasia returns May 13- June 8^th

Interview: Michael Harren and his Half-Hearted Shield

by Ryan Leeds

Brooklyn based composer, pianist, and performance artist Michael Harren is wearing a shield of armor these days–but only haphazardly. Currently, he’s preparing for his solo show, Tentative Armor directed by Adam Fitzgerald. Manhattan Digest caught up with this musical dynamo to discuss his debut at NYC’s esteemed Dixon Place on March 19th @ 7:30 PM

MD: Can you elaborate on the title of your show?

MH: Tentative Armor refers to those things we do to protect ourselves, but only half-heartedly. For instance, if a subway stranger falls asleep on our shoulder, we can become totally annoyed. But on the other hand, we can understand the sweetness in this. The whole show is really a spiritual journey about our willingness to become creative. Some of the pieces have already existed. I was in a Queer performance group in the 90s called QUAC in Houston, TX. So I’ve taken some of those pieces and added new ones. I also drew inspiration through experiences with my mother.

MD: Will the music be original or will there be covers?

MH: The show has completely original songs (by me), but it is more of a theater piece than a concert. There will some comedic monologues as well.

MD: Have you performed this show before?

MH: I have done some readings of it, including one at Judson Memorial Church, but this is the first fully staged performance.

MD: Who are your musical influences?

MH: I have many, but I would say that the inspiration for this show is mostly drawn from combination of Laurie Anderson and Louis C.K.

An interesting combination for sure , but there is little doubt that Harren’s audience is in for an intimate and reflective evening of performance. After all, if he is good enough for delicious diva Sandra Bernhard (for whom he continues to serve as a piano accompanist), then he has earned his status with the rest of us!

WHAT: Michael Harren’s Tentative Armor

WHEN: Wednesday March 19th at 7:30

HOW TO BUY: For tickets and more information, visit www.dixonplace.org. or http://michaelharren.com

Theater Review: “London Wall”

by Ryan Leeds

Shady business is rearing its’ ugly head at the impeccably impressive law offices of Messers. Walker, Windemere, and Co. It turns out that their boy wonder, Mr. Brewer (Stephen Plunkett) , has taken a liking to the ladies-too much in fact. The object of his affection happens to be his sweet-tempered employee, Pat Milligan (Elise Kibler), who is hesitant to accept his advances, but ultimately feels trapped. Meanwhile, the tough talkin’ “I’ve been around the block and can see through this guy like cellophane” Miss Janus (Julia Coffey) is protective of her fellow secretarial colleague. Janus has a friend in mind for Milligan, Mr. Hammond (Christopher Sears). Hammond is much more age appropriate and not nearly as lecherous. But my oh my…is he ever shy. Will he work up the courage to court Miss Milligan?

Such issues were at stake in the 1930s in the Mint Theater’s charming revival of John Van Druten’s London Wall. While a Broadway production never materialized, this law firm did open its’ practice across the pond. It opened in the West End in May 1931, where it ran for 170 performances. Mint Theater is known for finding lesser known classic works and giving them a touch-up. Happily, they have done a marvelous job here with capturing the essence of the period.

The first act plays out much like a more formal version of 9 to 5, but it does not move at a terribly fast clip. Yet under Davis McCallum’s hand, the dialogue is as frothy and light as it can be. In act two, justice does prevail and the proverbial “dog has his day.” Along the way, there are some lighter subplots which all make for an enjoyable night at the theater.

London Wall plays through April 13 at the Mint Theater, 311 West 43rd Street between 8^th and 9^th avenues. For tickets, call: 1-866-811-4111 or visit www.minttheater.org.

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