The Hip Hop show HOLLER IF YA HEAR ME, book by Todd Kreidler, lyrics by Tupak Shakur, directed by Kenny Leon, choreographed by Wayne Cilento, is basically kvetching about the problems of being black and the desperation from being trapped in the conflicts of the neighborhood- performed in rhymed slang verse. Saul Williams plays the ultimately self-destructive protagonist, and he is a vivid performer. They’re ALL vivid: the lovely-voiced Saycon Sengbloh, Christopher Jackson, Ben Thompson (as the white man), Dyllon Burnside, the wonderful Tonya Pinkins, and the entire crew of this innovative hoppin’, boppin’singin’. Dancin’ energetic bunch. To an 85 year old Ofey, it’s a fascinating anthropological study of the music, rhythms and culture of 2014 that kept me jiggling and foot-tapping in my seat.

Richmond Shepard—

Performing Arts INSIDER, lively-arts.com, Outer Critics Circle

CLOWN BAR, a production of the Pipeline Theatre Company at The Box on Christie Street, is a kind of vaudeville show/Halloween party by Adam Szymkowicz, with music and additional lyrics by Adam Overlett, directed by Andrew Neisler, creates a kind of Clown Mystique which, real or imaginary, is quite entertaining. The cast is red-nosed, white-faced, and loud, and they give you a red nose to wear as you enter. No, you don’t have to do anything but enjoys the raucous party, which includes murder, mayhem, melodrama, romance between a marvelous singer/clown, Jessica Frey, and a John Garfield- Shane Zeigler, plus , a super stripper, Claire Rothrock, vaudevillian Michael Lorz, and a cast of enthusiastic silly clowns spouting corny jokes, with a bang-up Shakespearean ending. It’s all MC’d by singer/actor/clown Salty Brine and underscored by the terrific Ian Axness on piano. And they serve drinks. Frey has all the elements to be a star- terrific looks, physical flexibility, charm, comedic timing, and an excellent singing voice (other than that she’s got nothing going for her). Don’t go unless you want to have a good time.

Richmond Shepard—

I think that singer Carole J. Bufford, whom I just saw at The Metropolitan Room, is one of the greatest America has to offer. She has vast talent, and finely developed artistry in her work. Her show SHADES OF BLUE spans the decades of blues from Richard M. Jones in 1924(“Trouble In Mind”), Gershwin in 1935 (“Summertime) through Harold Arlen and Johnny Mercer (“Any Place I Hang My Hat Is Home”- 1946) Through Lennon and McCartney (“Oh! Darlin’”- 1969), Johnny Cash, Bessie Smith, Randy Newman (Guilty”- 1974), to 2012. With the super pianist Ian Herman at the piano and terrific bass player Tom Hubbard lifting her up, Bufford cooks. She has a very musical rich throaty voice and an electric quality in her that transfixes. Her life and vitality constantly made me want to dance. She’s as good as it gets. What a treat to experience this great performer.

Richmond Shepard—
Performing Arts INSIDER and lively-arts.com, Outer Critics

Moss Hart’s autobiographical ACT ONE is one of the best books ever written on the intricacies of putting a play together and taking it to Broadway. The play of the same name, written and directed by James Lapine, gives us, in Act 1, an overblown expansion of the background leading up to the collaboration between Hart and the well-known writer George S. Kaufman. Act 2 gives us the meat of the book: the process of creating, of taking a show on out-of-town tryouts, the frustrations, steps up the ladder, and the payoff. Tony Shalhoub shines as both the old Hart and as Kaufman, and all the cast are top notch. This show is a must for anyone deeply involved in Theatre as a patron or participant.

Richmond Shepard—

Performing Arts INSIDER and lively-arts.com, Outer Critics Circle

THE REALISTIC JONESES by Will Eno, directed by Sam Gold, struck me as the lowest level of sophomoric sitcom aimed at IQ of about 60, who might, out of laugh-track habit, laugh when the actors hit a punch line- or didn’t. A middle-aged couple is on the stage: Tracy Letts and Toni Collette. A couple of younger ninnies arrive: Michael C. Hall and Marisa Tomei. There is a quest for medical treatment in the vicinity. There is interaction with innuendos. Non-profound occasional clever thoughts are expressed. Letts growls, Tomei and Collette are attractive, believable and quite good-looking, Hall is OK. If shallow sitcoms are your cup of humor, have fun. It’s not my genre.

Richmond Shepard—

Performing Arts INSIDER and lively-arts.com.

John Douglas Thompson gives a very strong, quite convincing performance playing two dynamic characters in SATCHMO at the Waldorf by Terry Teachout: trumpet player/singer Louis Armstrong, about to perform his last gig at age seventy, and his manager, Joe Glaser, deftly switching voice, physicality and tone from distinct character to distinct character as Armstrong’s life and career is revealed- from poor New Orleans boy to major star, to conflict with Glaser. He also plays several other characters including Miles Davis who mocked Armstrong, calling him an “Uncle Tom.” There are many references to familiar Civil Rights action, much about discrimination. Thompson is a really good actor, and worth seeing. The only thing missing is that Thompson doesn’t sing or play the trumpet, so, good as he is at conveying the personality and emotions of Armstrong and the others, the music isn’t there, and without the sound there is really no Louis Armstrong.

Richmond Shepard—

Performing Arts INSIDER and lively-arts.com.