News
& Reviews from New York |
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February
18th, 2005
WE'RE STILL HOT, book lyrics and co-composition by J.J.McCall, Rueben
Gurr co-composer, a musical about menopause, features four terrific singers,
all "women of a certain age", all with long stage and musical
experience. Led by the charismatic Deborah Jean Templin, whose strength
and subtleties in her interpretations of the songs holds it all together,
the other three are also powerful performers: Jane Seaman, Deirdre Kingsbury
and Marnee Hollis, and each has her moments to shine. The four part harmony
in "Ninety-Seven Percent" is top drawer. Most of the musical
numbers, which have a wide range of influences, are quite good; the scenes
about the lives of these women, their marriages, their sensibilities,
don't reach the same level of entertainment. Set by
Diego Studios, costumes by Philip Heckman, lighting by Greg Cohen, are
all fine and appropriate, but direction by Sue Wolf could bring a bit
more reality instead of caricature to some of the scenes, and it might
play better. I believe women would appreciate the show even more than
I since they most probably can identify with the tribulations of menopause
more than I can.
I enjoyed WE'RE STILL HOT because of the singers.
Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
STARS OF THE 21ST CENTURY INTERNATIONAL BALLET GALA
was a great event. Featuring the star duos from some of the world's best
companies, it was a wonderful look at the variety of work and styles the
ballet world has to offer. American Ballet Theatre: grace, fluidity, precision
(Xiomara Reyes), thrilling leaps, twists and balon- what every male ballet
dancer aspires to
(Herman Cornejo). Paris Opera Ballet: liquid fluidity (Eleonora Abbagnato),
quicksilver movements (Alessio Carbone) a great choreographer (Roland
Petit) who cuts through the rhythm. And other favorites: the powerful
dynamic Angel Corella as "Le Corsaire," Lucia Lacarra as "Carmen"
and in "La Prisonniere"--- her
body goes beyond most dancers, and Alina Cojocaru-- clean, sparkling and
radiant in "Don Quixote." And, as a contrast, to start Act Two,
the Martha Graham Company- twelve women playing with steps and visual
images. All in all a great evening of world class dance.
Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
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February
15th, 2005
A quick view of Act One of GOOD VIBRATIONS, the Beach Boys musical on
Broadway: shallow, inane book by Richard Dresser; great set by Heidi Ettinger;
some good singing voices; boring, unengaging. Director/choreographer John
Carrafa's work had no
dynamic in it. We escaped at Intermission.
-* Richmond
Shepard-- Performing Arts INSIDER,and
lively-arts.com
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February
14th, 2005
SHIFT CHANGE, by Ben Carlin, now at Producers Club II on Ninth Ave, gives
us a very good production of an Absurdist play with a solid performance
by Chet Carlin. There is a Beckettesque duo in this (mostly) linguistically
clever Genie-in-the-bottle switch, and
Carlin is captivating and quite strong and varied in the shifts he goes
through. Explanations aren't really necessary in Absurdist theatre, and
there are theatrical hints in the play as it progresses, like a tricycle
appearing (perhaps a foreshadowing of playful things to come), but the
play needs more seeds planted: a clue, a hint. A lot of the banter and
word play is fun, some seems deliberately obscure and overly prolonged.
In Act Two it begins to expand into theatricality, thanks in part to the
fine, many-layered set by Kevin Lock, but it sinks into not very profound
philosophy. Tony Angelini has created a musical soundscape that lifts
the production, and Sean Linehan's lighting fits perfectly. Shawn Rozsa
has directed the piece with as much clarity and theatrical
zip as one could hope for, keeping the action flowing and jumping. Ultimately,
it is that rare bird: an interesting Absurdist drama.
Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
1966, the resurrection concert, now at Flamingo a Go-Go on West 21st St.
Saturday nights at 8: PM, is a showcase for this contemporary rock band
with an ear to the past. The show starts with recorded songs from the
era, and a bevy of very beautiful girls in terrific sparkly, shimmering,
fringey costumes by Robert Guy, dancing, spotlighted in corners and balconies
of the club. Then the live band comes on, arranged by the brilliant Doug
Katsaros, with lead singer Jamie Gustis, a rather good, rough-voiced rock
singer. The songs are 60's, the look and feel is now,
forty years later. It's not a peek at an antique, not a nostalgia trip-
it's entertainment for today- a current take on the 60's. (I loved Katsaros's
arrangement of Weill's "Moon of Alabama.) Director Judy Jacksina
takes us on a fun musical journey (and I
got to dance with a beautiful blonde).
Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
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January 30th,
2005
John Rubinstein gives a powerful performance as the lawyer, the central
figure in Elmer Rice's 1931 play COUNSELLOR-AT-LAW. He brings a dynamic
vitality to the part that fills the theatre. His acting has the depth,
dimension, strength and charisma of a star, and that is must what this
old, fascinating look into the life and office of an up-from-the-gutter
achiever in the '30's needs. (Paul Muni did it on Broadway, and John Barrymore
did the movie.) With a good surrounding cast including Robert O'Gorman,
Beth Glover, Lanie MacEwan, Mary Carver and Tara Sands, Director Dan Wackerman
keeps things clicking and jumping as the twenty-one people in the cast
enter, react, exit, and we're on to the next crisis- all well-costumed
with 30's flavor and flair by Amy
Bradshaw. Chris Jones' excellent set and Tyler Micoleau's subtle lighting
are just right. Sit back and visit the views, the energy of our grandparents'
era. It's a soap for all time, and the audience loved it.
Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
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January 25th,
2005
You'd have to be really jaded not to enjoy the new musical LITTLE WOMEN
(book by Allan Knee, music by Jason Howland, lyrics by Mindi Dickstein).
The tall but elfin Sutton Foster as the leader of the sisters is lively,
endearing, and a spunky 19th Century example of a woman with a will, a
way, and universal
good looks and charm. She has great comic timing, intonation and physicality.
All of the cast are really good singers (as is apropos on Broadway), and
then there is Maureen McGovern as the mother. When she sings in Act One
it's sublime, and when she opens up her pipes for her big number in Act
Two it's a killer. With the fine performances by the entire cast, an imaginative
active set by Derek McLane, Catherine Zuber's costumes and Kenneth Posner's
lighting, director Susan H. Schulman draws us into
this family until we feel we are part of it. It's a long show, but as
it ended I said to my date, "I'd love to stay for one more chapter."
Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
Geraldine Hughes was brought up in poverty in Northern Ireland during
the time of "The Troubles," and is now performing her one-woman
show based on her experiences at The Culture Project in The Village. Besides
herself, the lively Ms. Hughes plays a dozen or so characters of all ages,
each with its own physicality,
manner of speech and attitude. The terrible impact of the senseless killing
between Catholics and Protestants hits the audience in the gut, as well
as the hope and final victory of this one spunky (and lucky) girl to leave
all that behind and begin her
climb up the Showbusiness ladder. She's a fascinating performer, and with
the enhancement of her stories by Jonathan Christman's scenic digital
imagery which gives visual context to the verbal descriptions, we are
there- in her environment. It's a gripping show.
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January 16th,
2005
Shift your consciousness back about 230 years, to a different, somewhat
stilted style of writing, and soon the universality of the humor in this
ancient soap opera begins to work, and the laughs emerge in Richard Brinsley
Sheridan's THE RIVALS, now at Lincoln Center. Sheridan is a master of
wordplay, and his Mrs. Malaprop's ridiculous inappropriateness in her
use of words has become part of our common language. Mischief makers,
fools, lovers- and Sheridan's trick is that here and there a hint of almost
malapropism slips into everyone's speech. Dana Ivey's Mrs. M
lifts the play with her every appearance, and her clear diction underlines
the jokes. Jeremy Shamos makes a powerful idiot, Richard Easton is the
ultimate martinet of a father, and the lovers, Matt Letscher and Emily
Bergl are appropriately attractive and sincere. The entire cast is excellent,
and costumes by Jess Goldstein help set the era quite well until the caricature
dresses of Ivey and Bergl late in the play which try to underline the
ridiculousness of the scene, and so undermine it. John Lee Beatty's classic
Commedia set is just right, and Mark Lamos has
directed THE RIVALS with a sure sense of comedy timing.
*** Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
Ed Dixon,
a strong-voiced overweight old man with a barrel of charm, is the strong
center of Kathie Lee Gifford's children's musical UNDER THE BRIDGE about
a tramp under a Paris bridge and the three fatherless children whose mother
leaves them in his care. She did the lyrics and adaptation from Natalie
Savage
Carson's book, contributed to the music by David Pomerantz, and helped
(along with Paul Raiman) with the very good vocal arrangements. While
the dialogue is simplistic, the songs are rather charming, and the singers
can really sing. Outstanding are Jacquelyn Piro as the mother and Maggie
Watts as the oldest
child. I'd like to see what this songwriting team could do with a more
interesting and exciting book. As we went further into Act Two, I began
to look for other descriptive words- trite? Familiar?
Derivative? Stereotypical? Eventually the saccharin sentiments became
a bit tedious. Thank goodness for the high-quality singing. The set by
Jim Kronzer is a bit bulky for the small Zipper Theatre stage, and Chris
Lee's lighting is weird, with strange and sudden changes. Director Eric
Schaeffer keeps it all moving
quite well.
** Richmond
Shepard-- Performing Arts INSIDER, and
lively-arts.com
Get out a
pen. Write this down: Kim Cea, the singer/comedienne, has reached star
level, and will be at Studio 54, 254 W. 54t St., on Saturdays, February
19th and March 19th, at 10:30 PM. This Broadway ("Smokey Joe's Café")
and off Broadway ("Newsical")
star has been building and honing her solo act, and it's achieved what
she reached for. I saw her perform it twice in the last couple of years,
and now, in her January performance at Studio 54, it has grown to the
level of a star turn in Vegas or Atlantic City. She sings beautifully,
whether in her own voice or in
several absurd/right-on impressions of well-known singers, and her comic
observations on her life are hilarious. Looks- 10, voice- 10, comedy-
10. This is a polished, totally entertaining act. Go. You'll laugh, you'll
shed a tear, you'll have a drink--
you'll walk out smiling.
**** Richmond
Shepard-- Performing Arts INSIDER, and lively-arts.com
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January 14th,
2005
August Wilson's remarkable play GEM OF THE OCEAN, part of his cycle of
plays about the black experience in Pittsburg, gives us a working class
family in 1904, not all that long after slavery was ended. Starting with
flavorful ordinary conversation, like Horton
Foote, the play grows and expands into Real Theatre with unforgettable
characters. There is lots of exposition, but it's grand, and the stories
are vivid, with a sprinkling of folk humor. The fine ensemble cast, including
an extraordinary Phylicia Rashad, who burns up the stage as a very old
seer, draws us into
this drama through Wilson's insight into the good, the bad and the weird.
The old survivor, played by Anthony Chisolm, the dynamic antagonist, Ruben
Santiago-Hudson, feisty LisaGay Hamilton with young rebel John Earl Jelks-
they and all of the cast are
fascinating characters. In Act Two a mystical spell is cast-a surreal
dreamlike voodooish spell-- an exorcism that is a very far-out trip to
experience on a Broadway stage. The fine set by David Gallo, creative,
defining costumes by Constanza Romero and
super lighting by Donald Holder all help make director Kenny Leon's vivid
vision come alive. Yes, love will go a long way in making you right with
yourself. This play really is a gem.
**** Richmond
Shepard-- Performing Arts INSIDER, and lively-arts.com
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