Dad Girl, A Little Bit Pregnant & Brokeneck Girls (NYC Fringe, Part 5)

New York City Fringe (formally the FRIGID Fringe Festival) is an open, lottery-based theater festival that gives artists an opportunity to let their ingenuity thrive in an environment that values freedom of expression and artistic determination. In true support of the Indie Theater Community, 100% of box office proceeds go directly to the artists whose work is being presented.

Dad Girl

Emily Walsh is a straight woman. Watching Harrison Ford in Air Force One confirmed that. She does, however, own enough hammers to “have a favorite one”. This self-proclaimed Dad Girl embraces her womanhood but acknowledges the need to dress like the dad.

This stand up comic monologue covers a good deal of ground. Gender labels provide laughs. Toddler girls play with dolls and change their diapers “while still wearing diapers”. Ms. Walsh notes that she not a lesbian but admits “I know I would be a good one”. The beginning of this show firmly establishes her Dad Girl persona.

We then learn about her sweetheart of a nerdy husband. A question is posed. “How did this happy little puppy find this sea witch?” She describes her marriage as one to Belle from Beauty and the Beast. He “goes walking through the town smiling” and “I walk behind him as one of the townspeople”. The vivid imagery created in this storytelling is very entertaining.

Advancing age brings up the kid conundrum. To have or have not. She’s been a “vigilant goalie” for decades. Now she wonders why “I’m supposed to give shooting tips.” There is quite a bit of lighthearted fare in her breezy delivery before things get deeper, a little darker and more serious.

That’s the reaction from the audience anyway. Her relationship to her deceased Dad takes center stage. Ms. Walsh has an edgy sense of humor but her jokes about death created some startled silences from the audience which she pointed out a few times. Her surprising sense of humor (which not everyone will embrace) is clearly an asset. Dad Girl is an interesting, fun, real character in comedic development. Plunging unapologetically into the depths, however uncomfortable for some, is a jolting breath of fresh air.

Good jokes are numerous throughout. She covers her fashion sense, bad boyfriends, perfect husband Danny, Vietnam Vet father and her IUD. Will she ever have a child? That would be another chapter in this character’s arc worth a listen. In the meantime if it gets quiet “you can hear my uterus singing “Closing Time”.

A Little Bit Pregnant

If Dad Girl isn’t sure whether or not she wants a baby, Tasha finds herself pregnant at the start of the four character study A Little Bit Pregnant. “Guess what? I’m not dying” she informs her boyfriend as a way of easing into her announcement. The surprise pregnancy clichés appear early and this show begins a bit stale.

Another young couple lives in the building and they desperately want a child. They cannot get pregnant and are considering other options but their situation truly stings. The tension which then develops gives the story more depth and conflict. “If I were you I would be on cloud nine”. A big revelation will ratchet up the wildly different dynamics between these two couples.

Kate Lavut’s short play ponders the question of whether two people in an imperfect relationship should take the plunge into parenthood. There is a good scene between the newly pregnant Tasha and her male friend whose wife is thus far unlucky. Both of their significant others are fuming with circumstances that are not necessarily under their control. This quiet counseling moment between two friends provides some needed perspective and helps us sympathize with an age old dilemma.

Brokeneck Girls: The Murder Ballad Musical

In a western town located somewhere in America, a mayor’s wife tiptoes into a public tavern. She’s annoyed today because her husband wanted her to perform her “womanly duties”. In this case that means washing the dishes. Harmless man bashing kicks off the female empowerment wild west kitchen sink casserole entitled Brokeneck Girls: The Murder Ballad Musical.

A trio (violin, guitar, banjo) will play tunes throughout this semi-plotted excavation of the evils men do. A young girl named Polly went missing. A wolf attack is blamed. The song suggests otherwise. “Into the grave Polly must go” then “debt to the devil, Willie must pay”. Accountability is a theme well-developed in this show.

The town’s female Sheriff arrives and informs the ladies in the tavern that no one can leave until the coast is clear. Train robber Railroad Bill is in town and up to no good. “Does this mean we can’t go to the hanging tonight?” Willie was apprehended. Sadly these whisky drinkers will miss the fun for their own safety.

There are other murders to consider in this “murder ballad musical”. Some may even involve those inside this tavern. A talking bird is an unfortunate eyewitness and needs to go back in their cage so secrets will not gush forth. A song laments “just wanted a kiss from Henry Lee / little bird what did you see / don’t tell a tale on me”. A disturbingly violent episode is shared but the “violin softened it”. Little snippets of humor do appear in this show which is aggressively all over the place. The racism subplot, for example, is an extraneous add on.

Revenge is a dish best served folksy. The trio asks “kill or be killed” and “which one will it be?” There is a hard but welcome turn from folksy to MAGA level rage. Crimes against women are not something to forgive. The barkeep confesses “sometimes I like to do things that make men die”. By that she means kill themselves or each other.

The balance between tongue-in-cheek humor and bloody dark vengeance flips back and forth. “Let’s see if we can name all the girls that have been murdered since Christmas” precedes a call to “shove men off cliffs”. A harder commitment to blinding rage and brutal retaliation could make Brokeneck Girls a very memorable feminist rant.

Toe tapping along with the trio in between frequent songs diminishes their clearly articulated fury. “Kill all of them that seem dangerous” and “tiny killings on the side are fine” are unapologetically sharp hot-tempered mantras. The final song drives the point home. “There’s no such thing as justice / that’s why we sing this song”.

The New York City Fringe runs through April 21, 2024 at three locations: The Wild Project, 14Y Theater and UNDER St. Mark’s. Most shows are also livestreamed.

www.frigid.nyc/festivals

About This Reviewer - April 20, 2024

Stereophonic

A rock band’s one year odyssey to create a classic album is culled into a four act, three hour play. Stereophonic is a brilliant synthesis of fictionalized documentary, raw human emotions, impressive theatrical staging and an intelligent, wide-eyed glimpse into the creative process. The journey is arduous and the rewards are abundant.

The template is Fleetwood Mac and the album is Rumours, one of the biggest from the 1970’s. David Adjmi has set his play entirely within a recording studio. The engineering booth is in the foreground and the glass enclosing recording studio is behind. This story will traverse both locations covering everything from life’s minutiae to artistic conflicts mid-recording.

How closely does this monitor the Fleetwood Mac story? The five piece band consists of two couples and a drummer. Keyboardist Holly (Juliana Canfield) and bassist Reg (Will Brill) are British like Christine and John McVie. Guitarist and self-anointed king Peter (Tom Pecinka) and writer extraordinaire Diana (Sarah Pidgeon) mirror the long dating American duo Lindsay Buckingham and Stevie Nicks. Then there’s the Dad figure Simon (Chris Stack) who plays drums ala Mick Fleetwood and whose wife and children are back home in England.

This outline was also used as the basis for the novel and television series Daisy Jones and the Six. I read that book and enjoyed much of the series. This foray into familiar territory is far more claustrophobic. It is not necessary to know the real backgrounds being referenced but nostalgic gratification is a bonus for those who have a deep connection to this music and the period.

Mr. Adjmi’s play adds an engineer (Eli Gelb) and his assistant Charlie (Andrew R. Butler) to the proceedings. They are trying to manage the creative chaos. Grover lied about his resume to get the job so the power dynamic rests, at least initially, entirely with the band. The assistant is a good natured, slightly vapid guy. Both struggle to keep these recording sessions on track. That is no easy feat.

The brilliance of this play lies in the realistic naturalism of everyday conversations juxtaposed against the tensions of relationships. The setting allows for detailed character moments in between laying down new music. A good portion of the play takes place in the studio. Will Butler of Arcade Fire penned the original music and they amazingly capture the sound of this band and that album.

Songs are performed but sometimes in snippets. The fits and starts of dealing with technical issues and vocal adjustments are concerns. Five individuals and their unique visions are equally tension generators. You know this album will get made over this year long process and, remarkably, you witness this passage of time. Songs get cut and added, fixed and improved. Watching this musical evolution is as much a treat as immersing oneself into the character conflicts brought to vibrant life with superb and highly nuanced acting performances.

Daniel Aukin directed this superlative cast and every performer inhabits a fully realized character. The play’s arc covers a great deal of territory. Different combinations allow for scenes in larger groups and smaller subsets. The pot scene between the three male band members is both very funny and hugely relatable. The success of this play is in the realistic details effortlessly conveyed. Substance abuse, egos, snare drum screwups and dust on the monitor all factor into the mix.

David Zinn’s scenic design is a two level marvel (I wanted to steal the lamp on stage right). Enver Chakartash’s costumes are a never ending parade of pitch perfect fashions of the era. The sound design from Ryan Rumery is the critical element elevating the entire production. Studio and engineering booth have to be heard differently which occurs beautifully and often simultaneously. Musical moments are so fantastically staged (and sung) that the line between fiction and documentary gets blurry.

Most of the cast in Stereophonic are making their Broadway debuts following a successful mounting of this play last fall at Playwrights Horizons. Mr. Adjmi has written memorably for all of them. Like everyone, these people have flaws and dreams. The real life Rumours album was a watershed moment for the band Fleetwood Mac. Stereophonic ponders the hows and whys, the highs and lows, and the magical happenstance which afforded these people the opportunity to create a masterpiece. This fascinatingly complex and totally satisfying play is an achievement at that level.

www.stereophonic.com

About This Reviewer - April 18, 2024

No Bones About It & A Drag is Born (NYC Fringe, Part 4)

No Bones About It

Writer and performer Matt Storrs is obsessed with dinosaurs. As a child he sent dino themed Valentine’s Day cards. No Bones About It wraps his infatuation into a monologue beginning as a child who now looks back “to see how healthy it really was”.

One Valentine was sent to a girl he liked with a special note written to her. She ripped it up. Another later one results in a friendship that is still lasting. Mr. Storrs asks, and we want to know, “Have I been diagnosed with anything?” The answer is yes. He has been diagnosed with a love of dinosaurs.

Favorite one? Dilophosaurus. You know. The one in Jurassic Park that has those crazy head flaps and spits acid. That movie franchise has taken a few liberties in their characterizations of these beloved creatures. These falsehoods “caused a lot of problems”. There is no denying Mr. Storrs has dinosaurs on the brain.

This good natured narrator weaves a light tale recalling some of his dino related diversions and what it means to him. His particular mania gives him “something to focus on whatever is going on in his life”. Some fun facts are interspersed between bits of biographical stories.

My favorite sections were the ones that were quirky and very specific. As a child he was advocating for a carnivorous dinosaur, his favorite one, to be the state dinosaur of Arizona. A religion lesson in middle school teaches the Earth was created in 4004 BC on October 23rd at 9:00 am. How does one reconcile that with the fossil record?

Tales of celebrities trading in bones, the illegal collectors market and commentary on museum collections and their questionable provenance are the more serious topics gently discussed. A sorority party and a drug dealer further solidifies how closely he identifies with these beasts. The world, after all, is inhospitable.

No Bones About It meanders down a genial path but the impact lessens as the monologue continues. A winning smile helps Mr. Storr engage with his audience and there are some amusing asides to enjoy. Who actually collects these bones? “Rich white men with a history of relationships that failed.” he quips.

Finally, and incredibly, this is my third source in the past few weeks (and second in the festival) to reference Jimmy Buffet’s Margaritaville restaurant. I’m starting to wonder if there is a new obsession forming amongst comedic white men. This establishment, appropriately, is in a Jurassic themed amusement park. For Mr. Storrs that must really be a “Cheeseburger in Paradise”.

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A Drag is Born

Fanfare is played. Lights are flashing. Yet no entrance is made. The audience dutifully claps. Then a repeat. More fanfare, etc. A reluctant individual timidly walks on stage but skirts the spotlight. The microphone is approached. “Hello” precedes “can your hear me?” From this tentative beginning, A Drag is Born.

Sweats and a backpack will transform into an outfit. A “Broadway Baby” dances and twirls in a crazy red dress. The spinning reminded me exactly of the mascot Christmas tree for Stanford University. Both are insane and both embrace that insanity head on. Another morph follows and the silhouette is now Bea Arthur.

Edu Diaz is the man thrust into the spotlight for his drag debut. His characterization is clearly newbie to the scene. The show promises clowning and magical realism. A tongue-in-cheek warning also notes “with advanced age, abundant body hair and limited talents, he is an unlikely candidate”.

A Drag is Born is wordless. There are a series of costume changes and reveals. When one leg of the track suit will not cooperate, there is a funny mishap played to the hilt. Clothing no longer needed is unceremoniously flung off-stage. Early on we hear crashing noises backstage. The goofy staging ideas are the most entertaining aspect of this debutante ball.

Pacing is unhurried as exemplified by how long it takes to put on heels. That is probably commentary on the work drag requires but the length of time (after a very slow start) stretches that bit too far. At this point, however, we move into drag show performance complete with lip synching and assorted reveals. The presentation appears to be intentionally manic. The show has the rough around the edges vibe of an amateur drag show performed in a friend’s basement.

There are a few messages touched upon in this mostly mimed performance. I did hear a “Yes!” when Mr. Diaz donned a red feather headdress replete with cape during a Carnivalesque number. Nutty onstage antics were not enough to sustain my undivided interest throughout this hour long solo piece. The wings and heart pendant surely had meaning but I found it difficult to join the celebration as the show never really took flight.

The New York City Fringe runs through April 21, 2024 at three locations: The Wild Project, 14Y Theater and UNDER St. Mark’s. Most shows are also livestreamed.

www.frigid.nyc/festivals

About This Reviewer - April 17, 2024April 18, 2024

The Wiz

My first Broadway show was with friends on a middle school trip to see The Wiz. The tornado dance was a brilliant introduction to creative stagecraft and the allurement of live theater. I still remember the show vividly, including Stephanie Mill’s knockout rendition of “Home”. Much time and many changes to musicals happened from 1975 to 2024. How will this chestnut hold up?

When I started this blog in 2017, I began watching archival footage of shows at the New York Public Library. The Wiz was the first one. This Tony winning Best Musical retold L. Frank Baum’s children’s novel through a then contemporary African American cultural perspective. The show showed its age most notably in the book. Jokes were wildly dated but the songs still worked.

In my blog post I wondered if the book could be fixed. Amber Ruffin has used her magic wand to reorganize and enhance William F. Brown’s original. Even the good witches are impressed. “I have heard of houses and I have heard of murder… but to combine the two!” When our band of misfits finally reach the city gates the guards simply dismiss them as “talking trash and a dusty cat”.

This rewrite certainly links old jokes but instead of using the slum descriptor “projects” the reference becomes the “housing market”. The book was never the most important element since nearly everyone knows the story of Dorothy and her trip to see the wizard of Oz. All of the fun is still intact and a significant number of truly memorable scenes can be had if you just follow that yellow brick road.

Filling Stephanie Mills’ legendary ruby slippers is a tall order and Nichelle Lewis makes the role her own. She’s both a stabilizing presence in a world of outrageous inventions as well as a vocal powerhouse. The “Home” finale, which everyone in the audience waited for with bated breath, is better than one could hope for. Ms. Lewis put her spin on these songs but always let Charlie Smalls’ music and lyrics shine. She has a big, beautiful voice but there is no bombast obstructing the melodies or her gorgeous vocal stylings.

The cast is entertaining throughout. There is usually a battle between the Scarecrow and the Cowardly Lion for favorite sidekick. Phillip Johnson Richardson has far different ideas. His Tinman is a scene stealing wonder from his entrance song “Slide Some Oil to Me” to his second act showstopper “What Would I Do If I Could Feel?” That song is typically a middling moment in a lesser second act. Mr. Richardson turns the moment into solid gold. (I wanted to say Tin Pan Alley showstopper but that pun is both dated and far too silly.)

Understudy Allyson Kaye Daniel played Aunt Em and Evillene the night I caught The Wiz. Her witchy “Don’t Nobody Bring Me No Bad News” remains a high point. Glinda (Deborah Cox) belted “Believe In Yourself” a little too strongly which smothered the words but it was certainly rousing.

Along with the enjoyable performers is a staging concept that was inspired. Schele Williams has directed The Wiz with a nod to 1970’s variety shows. Jaquel Knight’s choreography definitely references that period but also, and ingeniously, takes these highly memorable and admired tunes and gives them a modern kick. The Wiz bridges 1970’s disco movement with hip hop and other more recent dance styles. Many shows try this but do not exceed at this high level.

If all of that is not enough goodness, the visuals on stage are a technicolor fantasia. Sets (Hannah Beachler) and video projections (Daniel Brodie) are superlative, both old school and bursting with color. The harken back to this century old story is nicely glossed with a futuristic flourish. Evillene’s Palace is a particular visual treat. Forest transitions are elegant and varied. Ryan J. O’Gara’s lighting design makes this kaleidoscope of color an eye-popping feast. Even the show’s curtain is alive.

Costumes are hugely important and Sharen Davis has given the characters and this talented ensemble an array of clever designs. The Poppies and the Yellow Brick Road crew are two excellent examples. The Scarecrow (Avery Wilson), Lion (Kyle Ramar Freeman) and Tinman outfits are all expertly realized.

This musical has been reworked and reorganized to great effect. The lagging second half has been restructured to guarantee entertaining moments throughout. The first act now closes with “Be A Lion,” one of the show’s best numbers. If you have never seen this show or want to relive an appealing, popular score from yesteryear, simply ease on down the road to the Marquis Theatre. Green sequins seem to be the perfect fashion choice for a number of attendees.

I have always found the ending of the Wizard of Oz to be a bit sad. Saying goodbye to new friends who have bonded in a life changing and life affirming adventure. The final reprise of “Ease on Down the Road” here is stunningly poignant and truly lovely. This technicolor spectacle even knows how to pause and conjure touching intimacy.

The Wiz is for theatergoers who connect with this material in any of its many incarnations. The Wiz is also for people excited to see a well staged, memorably sung, big Broadway musical. Isn’t that nearly all of us? “Can you feel a brand new day?” I can and did.

www.wizmusical.com

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About This Reviewer - April 15, 2024April 17, 2024

Lempicka

Tamara de Lempicka was an Art Deco artist who gained fame for her highly stylized nude portraits. Her work is described as refined cubism combined with neoclassical. Her entire story is fascinating. This musical based on her life is not.

All of the historical ingredients are there. Born in Warsaw she married a Russian dignitary in 1917 as the projections will dutifully inform. Immediately following it’s 1918 and the Russian Revolution has changed life forever. She flees to Paris after arranging for her incarcerated husband’s freedom. They need money, she likes to paint and an artist is born.

She discovers her bisexuality while ogling a carefree prostitute whom she paints. Her fame comes at a major Parisienne art expo with 1932’s Adam and Eve painting, one of few which contain a male nude. In this telling Adam is her husband and Eve is her lover/muse. On and on it plods along. An interesting story turned into a dull musical. You know a show is falling flat when the too frequent belting numbers pause for extended ovations which do not come.

The sets and look of Lempicka seem to have little to do with her or the Art Deco style. There is an Eiffel Tower like structure providing stairs and platforms which remains through the whole show. People traverse these elevated platforms here and there. For what purpose is the obvious question.

There are indeed some cool lighting effects in certain scenes such as when she discovers lady love in a beautifully lit smoky fade out. Other time the lights are just harsh or weird. Nothing says cheap like the depiction of the nightclub Le Monocle. Speaking of gay, the men in the ensemble are directed and choreographed to be effete caricatures which seemed overly exaggerated.

The house and the studio (same set platform) slides on and off stage awkwardly and frequently. It lumbers more than glides. Go see The Who’s Tommy or The Outsiders to get a glimpse of well designed and directed transitions. To make matters worse, people enter and exit at odd times. During Rafaela’s love ballad, Tamara departs the platform mid-song for no apparent reason.

Not all is lost. There are several supporting performances worth mentioning. Marinetti is one of Tamara’s teachers. George Abud delivers big in each of his scene stealing numbers. Beth Leavel is the Baroness who is an early supporter of Lempicka’s art. Everything Ms. Leavel does is right for the characterization. “Just This Way” is sung near the end of Act II and the song deservedly receives an extended ovation. The show finally has something memorable to say.

Amber Iman is believable and even charming as the model/whore stereotype. As the husband, Andrew Samonsky is not given a great deal to do but the growth of the person makes sense. As the titular star, Eden Espinosa is enjoyable. The show surrounding her takes so much focus off her that she is overshadowed by the theatrical excess. Multiple supporting characters overshadow the protagonist.

Rachel Chavkin (Hadestown) staged Lempicka and the direction seems to be the show’s most glaring flaw. A great history about an inventive artist for sure. A decent Broadway musical, however, this is not.

Lempicka is playing at the Longacre Theatre.

About This Reviewer - April 14, 2024April 14, 2024

Miami Madness & Stroke of Genius (NYC Fringe, Part 3)

Miami Madness

My first and last experience in the fabled city of Miami involved my hotel room being robbed and my wallet pickpocketed. When I went to board a plane and explain to the TSA agent why I had no identification he said, “that’s Miami”. Did I need to go back and immerse myself once again in Miami Madness? Thanks to writer and performer Dennis Rodwin the answer is a resounding yes.

His story begins over a year ago. Mr. Rodwin is asked to write a musical about the history of Miami. This show will take place on a boat. What follows is a one man monologue jam packed with jokes, historical tidbits, danger, sexy conquistadores, a lesson in first class upgrades and offensive Native American costume design.

We learn about a funny religion called “commercial theater producers”. They believe they can make money. Our host has spent a career in this world and wouldn’t mind making a few bucks. He is approached by a deal making, probably shady foreign accented wheeler and dealer. He has some bizarre ideas for this show (which would be both amusing and revolting to see).

This grand adventure begins on a plane flight to Miami. Should he take this gig? Is Oleg on the up and up? A desire to contribute something to the theatrical community is a driving force. His producer wants to create the “most successful musical ever made” in a very short timeframe. Costumes are made before there is a script.

Side adventures take place in a car, in the ocean and at hotels. Every diversion is entertaining. The show is one hour long. An impressively dense story feels whimsical and moves along swiftly. The twists and turns never fail to surprise and captivate. Little side trips are funny and silly scary. Has Mr. Rodwin embellished (or fabricated) some or all of this story? If so, his madness is our gain.

Research is obviously required to write a musical about sunny Miami Beach where there’s “always a view, never a Jew”. The rampant antisemitism prevalent during the development of this area provides commentary on our country’s racial injustices without ever launching into preachiness. The litany of examples cited led me to learn more from Google.

The large Cuban population is also covered. I did not know that Desi Arnaz from television’s landmark series I Love Lucy is credited with introducing the conga line to the United States. That brief description is vividly memorable. The storytelling here is meticulously organized and confidently told. The journey is endlessly fascinating and equally idiotic, an ideal combination.

Quite a few confessions are made. Mr. Rodwin likes Jimmy Buffet’s Margaritaville restaurant chain. Apparently it is surprisingly good. Two weeks ago I listened to Colin Jost’s memoir. In it, he also exclaims the joys of this establishment. I’m going to give in and grab a cheeseburger in paradise. Hopefully I will savor its juicy delights as much as I did with Miami Madness.

Stroke of Genius

Dr. Walter Winkworth-Perez is academia’s foremost authority on Pantomime Masturbation theory and practicum. Puns like that appear non-stop during this lecture on such theory throughout performing arts history. Stroke of Genius is a good natured lightly raunchy trip spanning imagery from 3,000 year old pottery shards featuring large penises to 1920’s silent film star Ira K. Goldsmith, aka “The Spankin’ Shyster”.

The professor tells us that his field of study is admittedly eccentric. We are told that we are allowed to laugh. He banters with his students in a fill in the blanks section. Riffs include ridiculous asides (“hand to gland combat”) and more aggressively vulgar ones (“making stomach pancakes”).

Through the ages this lecture travels. Shakespeare parodies include “Much A Goo About Nothing.” This comic idea is relentless in its focus. Unfortunately the jokes proffered do not garner the expected laughs so the silences are awkward.

Numerous well-made film clips feature phallic excess from famous films of yesteryear. Frankenstein is an example using “monster-bation tropes”. In the shipboard clip Friggin’ the Riggin’ our seaman is “quite the jolly Roger”. DW Griffith and Jules Verne get a rewrite as well. Charlie Chaplin is an obvious influence. He played The Great Dictator after all.

Stroke of Genius is conceptually a great idea for a farcical sex comedy about a taboo topic not normally given an uninterrupted hour of analysis. Shane Mayforth plays our droll professor and writer Vulva Va-Voom (also in this festival’s TransMasculine Cabaret) pulls dual duty as writer and film star. Both are game clowns, serious and stupid.

Comedy is, to put it bluntly, hard. The material in this show is underpumped so the expected climaxes of hilarity are muted. I do think this show could be coaxed into becoming a playful bit of burlesque-y bar stage fun. Maybe as part of a drag show. An inebriated audience craving potty humor might be the target demographic.

Whatever the future holds (get it?) there will be women in the audience. Presumably masturbation is more universal? Perhaps a nod to the ladies is advisable. Movie idea: Inside Daisy’s Clover. The gem of an idea has been sown. The reaping of endless laughter will require some more tilling.

The New York City Fringe runs through April 21, 2024 at three locations: The Wild Project, 14Y Theater and UNDER St. Mark’s. Most shows are also livestreamed.

www.frigid.nyc/festivals

About This Reviewer - April 12, 2024

The Outsiders

Avid theatergoers are occasionally rewarded by a musical that is nearly perfect. Even less frequently is one that is essentially flawless. Such is the case with this magnificent staging of S.E. Hinton’s bestselling classic novel The Outsiders. All the themes are present: communities divided by economic inequality, the circle of violence, individual identity, overcoming struggle, self-sacrifice, honor and the value of friendship and loyalty.

Two rival gangs are featured in this coming of age story. Their socioeconomic class defines them as either working class Greasers or the upper middle class Socs (as in Socials). The novel and this musical are narrated by Ponyboy Curtis. The story begins one night when he is jumped leaving a movie theater in the wrong neighborhood.

The Outsiders was published in 1967 and is considered a classic, selling fifteen million copies. Francis Ford Coppola made a film starring soon to be famous young actors in 1983. Imbeciles have been banning this book for years. A new generation has mined this dramatic gold and adapted Ponyboy’s tale into a superlative Broadway musical.

This adaptation is written by Adam Rapp and Justin Levine. The story is clear eyed and focused from the initial violent act through the intense gang warfare and quietly devastating conclusion. Jamestown Revival (Jonathan Clay and Zach Chance) along with Mr. Levine penned the music and lyrics. The songs propel the story, showcase the characters and completely belong in a tale which takes place in Tulsa, Oklahoma in 1967.

Scenography is by AMP featuring Tatiana Kahvegian. This entire show is staged on one primary set, a marvel of dreamlike imagery and function. The lighting design (Brian MacDevitt) is stunningly evocative and menacing as needed. We completely know where we are at all times. We are watching a character based drama inside a consummate diorama.

Many members of this cast are making their Broadway debuts. Bravo to Tara Rubin Casting and Xavier Rubiano who assembled this impressive ensemble. Everyone is perfect. Perfect. Absolutely everyone. They all look right for the parts they are playing and inhabit the roles with unceasing conviction. When conflict comes, therefore, it arrives with unbearable tension even for those who know what’s about to happen.

In a supremely confident Broadway debut, Brody Grant is Ponyboy Curtis, the center of this maelstrom. Brothers Darrell (Brent Comer) and Sodapop (Jason Schmidt) are outstanding as Ponyboy’s only remaining family who valiantly try to maintain a safe home with few prospects. A scene in the house near the end of the play is so damn fine with an enormous emotional payoff. Watch their body language which equals, or even exceeds, the spoken words.

Joshua Boone’s Dallas is the roughest of the Greasers. His bond with Ponyboy is strong and his character drives key plot points. Mr. Boone is an extraordinary presence but his performance never throws the musical off balance. The critical part of Johnny Cade, Ponyboy’s damaged best friend, is portrayed by Sky Lakota-Lynch with all of the heartbreak and bravado required.

The Socs cannot be forgotten here either. Kevin William Paul’s Bob is spot on as the uber privileged rich white jock terrorizing the unfortunate with his best bros. Emma Pittman plays Cherry Valance, the girl who converses nicely with Ponyboy at the Drive-In. The realism achieved in that scene is amazing. I have not yet mentioned Rick & Jeff Kuperman’s intricate, muscular choreography. There is just so much to love here.

How nice it is to see fresh faces mounting new shows on Broadway. I have previously seen three plays directed by Danya Taymor off-Broadway (Heroes of the Fourth Turning, Evanston Salt Costs Climbing and queens). Ms. Taymor knows how to tell stories brilliantly in memorable tableaus while drawing out intensely realized performances. This time she does it with music and we are the beneficiaries beholding her massive talent and storytelling vision.

The Outsiders is a theatrical masterpiece from beginning to end. This production seamlessly blends a great streamlined book with supremely tuneful and character appropriate songs. A striking and superbly creative production design launches this riveting drama into the stratosphere of artistic excellence through a unbeatable cast of young actors giving phenomenal performances. Pay the extra money for really good seats in the orchestra if you are able. That is the ideal location to be astonished. Thank you Ms. Taymor and the entire company of The Outsiders. I am in awe.

www.outsidersmusical.com

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About This Reviewer - April 11, 2024April 14, 2024

In Harmony & Walt Kelly’s Songs of the Pogo (NYC Fringe, Part 2)

In Harmony

The second song in this thoughtfully constructed musical entertainment features “The Beanstalk” from Renascence, one of my favorite musicals over the last decade. In Harmony uses songs selected from both theater and popular music to vocalize the foibles and fables, the journeys and side tracks, the hits and misses one experiences during the maturation process into adulthood.

A young man sitting on the floor opens a book then sings “when I grow up I will be smart enough to answer all the questions that you need to know the answers to before you’re grown up”. This gorgeous Matilda tune paves the way for the exploration that follows. A dozen and a half winning performers ranging in age from 20’s to early 30’s meditate on life’s journeys using an assortment of thematically linked introspective lyrics.

Variety mirrors the diverse individuals represented on stage. Comedic turns and ballads. Solos, duos, trios and more. “Make up your mind to explore yourself” is the plea (Next to Normal). About twenty selections make up this show and there are no lulls whatsoever. The performance joy exhibited by this cast is infectious.

Youthful missteps (“Why do we play with fire?”) and serious reflections (“I’m getting older too”) nicely sit side by side with vivid storytelling numbers such as “Changing My Major” from Fun Home, one of In Harmony’s high points. Composers who have metaphorically spoken to this creative team are celebrated here but also employed to show others, who are not yet as self-assured, that there truly is a way forward.

Microphone issues marred the performance I saw. Another one of life’s punches live and unplanned. How these performers handled the unfortunate technology issues added to the overall effect. Addressing the onstage drama head on during “I’ve Got Life” from Hair resulted in a hilarious delivery of the line “and bad times too”.

This show ends simply and perfectly with the young man once again sitting on the floor. Humans are never truly finished. There is always more to learn. Life can be compared to ascending the giant beanstalk on a glorious adventure to meet the Giant. Even better to sing about the wandering journeys each of us takes in our own way. “La, la, la, la, la, la, la… what a climb!”

theaterreviewsfrommyseat/renascence

Walt Kelly’s Song of the Pogo

The long running (1948-1975) syndicated cartoon strip Pogo featured an opossum, the title character. It incorporated social and political satire. Walt Kelly’s Songs of the Pogo was an illustrated collection of his original songs. I must have missed that piece of info during this show so I was just confused.

This musical revue “suitable for the whole family” is a mash up of these songs interspersed with Kelly’s personal memoirs and a magazine interview with the comic book creator Gil Kane. Frank Farrell and Ben Masterton adapted these sources and placed the action at radio station WOGPI in 1969. The radio setting idea provides a nice framework for this material.

I remember enjoying Pogo as a kid and I clearly recalled “I have met the enemy and he is us” when the line was spoken. That, however, was a long time ago. The musings of the interview and the silly song presentations were difficult to connect with. The show feels like inside baseball. If you know the material perhaps you will smile with recognition. I cannot fathom what a newbie to the world of Pogo would think.

Some jokes are funny (both the carpenter dog and the short girl). The cast of six works diligently to yuck it up. Danny Crawford was quite good developing a persona for Mr. Kelly. He ably carries it through regardless if we know what he is talking and singing about or why. Greg Horton was an inspired Larry King-like radio interviewer.

Scattered within this hodgepodge are some interesting nuggets like “a cartoonist should be angry about the times he lives in”. Those moments speed by and it’s back to the Okefenokee Swamp. We hear that this cartoonist’s work is the best darn work being done out there. Super fans created this homage. Novices need a lot more focus to be able to engage and comprehend the obvious passion behind the creation of this work.

The most well-known ditty (thank you Google) in Walt Kelly’s published song collection is “Deck Us All With Boston Charlie”. This number is performed early on. Each year at Christmas time, it was traditional for the strip to publish at least the first stanza (fun fact). The purposefully ridiculous last line is “boola boola Pensacoola hullabaloo”. This hullabaloo wants us to be excited about Mr. Kelly but it’s hard to understand what the fuss is all about.

The New York City Fringe runs through April 21, 2024 at three locations: The Wild Project, 14Y Theater and UNDER St. Mark’s. Most shows are also livestreamed.

www.frigid.nyc/festivals

About This Reviewer - April 10, 2024

“Oh, Mary!”

I first encountered the comedic talents of Cole Escola in the underappreciated television series At Home With Amy Sedaris (which I loved). During the isolation days of Covid I streamed and blogged about a bunch of shows including “Help, I’m Stuck!” which was a recording of a silly show they performed. “Oh, Mary!” has arrived downtown and, as they say in the biz, we are live! Time to skewer and slay.

The Mary of the title refers to Abraham Lincoln’s wife. The play opens with Abe busting into his office with his assistant. He is in a mad frenzy to find where Mary has hidden the liquor bottle. He bellows “no one is safe while my wife has access to booze!” The tone of the play is established immediately. This one’s going to be a big broad historical spoof.

Mary Todd Lincoln is reimagined as a “well known niche cabaret singer”. Hanging out in the White House with her prim chaperone is soooooo boring. She yearns to be back on the stage where people crave her “short legs and long medleys”. Abe is against the idea, to put it mildly.

Not so honest Abe cannot imagine what people will think. The Civil War is still raging. How would it look if the President’s wife was flitting around in a cabaret act? “Sensational!” she exclaims. He finally agrees to hire a teacher to give Mary acting lessons. That’s all the plot you need to know.

Cole Escola has written this extremely funny play and it’s a sturdy branch on a family tree which includes Charles Ludlum and Charles Busch. Mary is deliciously foul and nasty. And that’s before she finds the hidden bottle. Jokes are splattered everywhere. Even the portrait of George Washington is utilized for a great laugh. Think vulgar, narcissistic Lucille Ball meets Virginia Woolf.

Escola’s performance is madcap and zany but also smart and cleverly detailed. The audience roared throughout this eighty minute celebration and reincarnation of campy hilarity. Many jokes are crude, the physical comedy is classic and, as you might suspect, at least one man on stage might be a closeted homosexual. Cue the hijinks and have a blast.

The supporting cast excels. Conrad Ricamora hits the bullseye playing Mary’s beleaguered husband who has a few secrets of his own. Tony Macht is Abe’s very able assistant who knows how to play the game. Bianca Leigh is Mary’s chaperone. Mary insists she tell one of her secrets and swears she won’t tell. That will happen and it’s unforgettably ridiculous and ultimately hysterical.

Last but not least, in the tradition of all drag homages to previous camp classics, there is a hunky male character. James Scully is Mary’s acting teacher. She is extremely abusive to him. Mary wants cabaret not Shakespeare. You know this female train wreck only knows one speed and that is “me, me, me”. And we, we, we are the lucky recipients of her screamingly funny largesse.

There are ample twists and turns in this extended sketch. To describe them is to spoil the fun. Special kudos to Scenic Designer Dots who created a perfect and surprising stage for all the antics which will unfold. The torch has been successfully passed in New York’s downtown camp comedy scene. I cannot wait to see what’s next. In the meantime, pass the whiskey Mrs. Lincoln. We all want a sip too.

“Oh, Mary!” is running at the Lucille Lortel Theatre until May 12, 2024. Take a minute to gaze at the theatrical photos displayed in the lobby. Like this play, they purport to be historical.

www.lortel.org

theaterreviewsfrommyseat/seclusionsmörgåsbordx/helpimstuck

About This Reviewer - April 9, 2024

Water For Elephants

A bestselling book and a major movie have now been transformed into a wildly inventive Broadway musical. Circus aficionados step right up. Water For Elephants is stunningly well told, visually enthralling and jam packed with excellent performers of both the circus and musical theater varieties.

Sara Gruen’s book is well known. A young man flees his family trauma and hooks up with a failing traveling circus struggling mightily during the depths of the Great Depression. His veterinarian skills will be put to the test. An aged narrator looks back on his life story. Throw in a love triangle, a sadistic ringleader and a slew of memorable characters. This show is a sumptuous feast for the senses.

An extraordinary scene early on features Marlena comforting her prized horse Silver Star. The horse (and all the animals) are presented in the form of puppets, sometimes in representative pieces. This horse is injured and weak from being overworked. Marlena sings “Easy” to soothe her circus act star as only she knows how.

The imagery begins simply and becomes wonderfully evocative. You believe her, the horse and the pain. Then the emotion is added. The horse, or more precisely a performer (Antoine Boissereau), takes flight in an elegant Spanish Web spectacle using dangling white fabric. The aerial dance is beautiful and you can imagine the horse flying with joy though suffering through injury. As Marlena sings and pets what is essentially a head on a stick, remarkable theater magic is created. The whole show contains multitudes of images which astonish and, even more excitingly, propel the story and its underlying emotions and tensions.

Director Jessica Stone (Kimberly Akimbo) deftly balances the awe-inspiring circus feats against a narrative which occurs both in the present and in the past. Jesse Robb and Shana Carroll’s choreography is impressively athletic and more vividly airborne than any other show on Broadway. Takeshi Kata’s scenic design includes the improbable live raising of a big top tent. The visual details of the entire creative team merge seamlessly and are smile inducing and jaw dropping in equal measure.

Darkness underlying this tale also takes center stage allowing the dramatic intensity to never fall away amidst the eye-popping splendor. Circus owner Augustus boldly inhabits his two faces as grinning ringleader and evil tormenter. Paul Alexander Nolan (Escape from Margaritaville, Jesus Christ Superstar) is devastatingly good in the role. We are asked to hate him but there is also an ability to recognize the pressures that made the man who he is.

Grant Gustin and Isabelle McCalla conjour slow burn chemistry that we and the entire circus company can see. There is no hiding from this love story despite her marriage to Augustus. Both of these actors shine. Mr. Gustin’s Jacob Jenkowski is likable and appropriately naive. Ms. McCalla is delicately touching but equally adept at navigating her fraught situation between choosing real love and managing a dangerous husband.

The circus characters are well developed personas given ample stage time for us to know and care about them. Stan Brown, in his Broadway debut at age 61, is superb as Camel, the hard drinking, long-time employee at the end of his career. Joe DePaul’s Walter is the dog owning clown with a big chip on his shoulder and is very funny indeed. Wade McCollum is exceptionally fine as the menacing henchman who gets his hands dirty and does Augustus’ bidding.

Theater veteran Gregg Edelman (City of Angels) is the elder Mr. Jankowski and he effortlessly and winningly tells his fascinating tale during an extended break from a nursing home prison. Marissa Rosen’s Sue is one of the most memorable Kinkers as the circus performers are known. The entire company, however, should be commended for an exceptionally fine display of acrobatics, musical theater song and dance, and tightly orchestrated yet seemingly fluid storytelling.

Much credit has to be given to Rick Elice’s book which clearly articulates the story and allows for so many excellent individual characterizations. Time period and carnival appropriate music and lyrics are by Pigpen Theatre Co. Their marvelously inventive 2012 Off-Broadway show The Old Man and the Old Moon is the reason I was inspired to see this show in a month of so many options.

And what about Rosie the elephant? She’s colossal in everyway imaginable with her five human helpers. For those of you who know how this one ends, prepare yourselves to be wildly impressed. Hop on the circus train to savor this underbelly slice of Americana; enjoy the nostalgia and marvel at the stagecraft. Water For Elephants is a wonder.