Off-Broadway Review: Marie and Rosetta

 

A Fast, Fierce Friendship Plays a New Kind of Gospel Sound
By Lauren Yarger
Gospel legend Sister Rosetta Tharpe (Kecia Lewis), who was a big influence on the music of Elvis Presley, Johnny Cash, Ray Charles and Jerry Lee Lewis, commands the stage once again in Marie and Rosetta, George Brant’s delightful play with music presented Off-Broadway by Atlantic Theatre Company.

We join Rosetta and her protégée, Marie Knight (Rebecca Naomi Jones), as they reflect on how they met and teamed up to become one of the greatest duets in musical history. Tharpe, the queen of “race records” in the 1930s and ’40s, performed mornings at churches and evenings at the Cotton Club. Her less-conservative-seeming faith and coarse language are at first a challenge for Knight, who wonders whether Sister is “right with God.”

The two form a fast and fierce friendship, however, and realize that only divine blessing could make them sound as good as they do (the women sing and effectively appear to play the guitar and piano under the direction of Neil Pepe and the musical direction of Jason Michael Webb).

For Knight, plucked by the star from a backup group where she never had a chance to try out her voice, this is the start of a whole new career, even if it means leaving her children behind to hit the road. For Tharpe, the young singer’s high voice counters her own and the sound they make together could be her ticket back into the hearts of the gospel music crowd with whom she fell out by trying to interject rock and roll with the spiritual.

“You sing it for me,” Tharpe encourages as Knight is too timid to lend her voice to the jazzed up hymns, “and I’ll church it up for you,’ promising to curb her tendency to bend a lyric or two. When she uses a bad word, she’s quick to apologize to her companion -- and to God in a humorous ritual.

The women bond over having been married unsuccessfully to preachers and by a need to follow their music. That journey takes them to a number of places where singers of color might be accepted on stage, but often are not in restaurants or lodging houses. The meeting here takes place in a funeral home (with the action framed in coffins by Scenic Designer Riccardo Hernández) where they have been offered a place to lay their heads down to sleep, creepy as that thought might be.

Brandt is a gifted storyteller and the 90 minutes without intermission are mesmerizing. I had never heard of this duo by name, though I do know some of Tharpe’s music – “Down By the Riverside,” for example. We immediately feel like we want to know these women better. Brandt includes a satisfying twist in telling the story of how a woman who once was a big enough celebrity to fill a baseball stadium for her third wedding ended up forgotten and buried in an unmarked grave. I felt grateful that Brandt has brought her back to life for us.

That thanks includes powerhouse performances by Lewis (Mother Courage) Jones (Hedwig and the Angry Inch), even though Jones’ voice was sounding a bit strained. The music is heavenly. I felt as though I had attended a worship service.

The limited engagement at the Linda Gross Theater, 336 West 20^th St., NYC, has been extended through Oct. 16, so see it while you can. Performances are Tuesdays at 7 pm; Wednesday through Saturday at 8 pm; Saturdays and Sundays at 2 pm. Tickets are $76.50: atlantictheater.org.

Additional credits:

Costume Design by Dede Ayite, Lighting Design by Christopher Akerlind, Sound Design by Steve Canyon Kennedy

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-- a few minor language issues 

2016 Fall Preview Broadway, Off-Broadway Shows

Which Lights Will Shine Brightest This Fall on Broadway?
By Lauren Yarger
Temperatures are finally dropping and along with Fall’s leaves comes another Broadway theater season.

Big name stars continue to be a trend on The Great White Way as producers compete for entertainment dollars not being spent on or saved up for Hamilton tickets The smash hit continues to be the hottest, hard-to-get ticket in New York with theater goers willing to pay thousands of dollars on the secondary ticket market (and hundreds of dollars at the box office) to see Lin-Manuel Miranda’s  hip-hop version of Alexander Hamilton’s life.

Meanwhile, there are a lot of other good shows playing, including some hits from previous years. Stephen Karam’s The Humans, which recently had the distinction of being the only non-musical playing on Broadway.  Karam’s adaptation of Chekhov’s The Cherry Orchard gets a Broadway run this fall too, starring Diane Lane. And by the way, Chekhov’s The Platonov, with a new modern translation called The Present by Andrew Upton starring Cate Blanchett, begins previews this fall for an early January opening.

So what other shows are waiting in the wings? A lot of them, many of them Off-Broadway, so stay tuned to find out which ones are the best by reading the reviews posted here weekly. Meanwhile, here are some highlights of what I am looking forward to this Fall. I will list the official opening date, but most are available for several weeks before that in previews.

Broadway

Heisenberg – Manhattan Theatre Club transfers its Off-Broadway hit from last season to Broadway.  Starring Dennis Arndt and one of my favorite actresses, Mary-Louise Parker, the Simon Stephens play looks at a unexpected encounter that sparks a life-changing game between a woman and a much older man.

Opens Oct. 13 at MTC’s Samuel J. Friedman Theatre. Tickets: manhattantheatreclub.com.

The Front Page – a revival of the 1928 comedy by Ben Hecht and Charles MacArthur about newspaper reporters will star some heavyweight names that can make their own headlines: Broadway favorite Nathan Lane, John Goodman (TV’s “Roseanne”), Jefferson Mays, John Slattery, Rosemary Harris and Sherrie Rene Scott. Old-time newspapers and Nathan Lane? I’m in (but as you can see from the photo above, some vulgarity might exit).

Opens Oct. 20 with a run through Jan. 29, 2017 at the Broadhurst Theatre. Tickets: thefrontpagebroadway.com.

Les Liaisons Dangereuses -- Christopher Hampton’s play about sexual intrigue on 18^th-Century France has been a successful play and movie. This revival stars Live Schreiber and Janet McTeer, excellent casting choices for this intellectually – as well as sexually – stimulating game of cat and mouse. (You have been warned – adult content). This production is a transfer from Donmar Warehouse in London.

Opening Oct. 30 with a run through Jan.22 at the Booth Theatre. Tickets: liaisonsbroadway.com.

Natasha, Pierre and the Great Comet of 1812 – This modern take on Tolstoy’s “War and Peace” has one of the best opening numbers I ever have enjoyed (music and lyrics are by Dave Malloy). The show traveled around Off-Broadway a few seasons ago and now comes to Broadway with none other than Josh Groban making his debut as Pierre. Let’s just say I have had plenty of offers from people happy to be my plus-one.

Opens Nov. 14 at the Imperial Theatre. Tickets: greatcometbroadway.com.

Dear Evan Hansen – This charming musical by Ben Pasek and Justin Paul, with a book by Steven Levenson, was probably my favorite show from last season. It played Off-Broadway at Second Stage and trumpeted the arrival of one of New York’s best actors: teen star Ben Platt, who took home an Obie and nominations for Drama Desk and Outer Critics Circle awards. He reprises the role along with cast originals.

Opens Dec. 4 at the Music Box Theatre. Tickets: dearevanhansen.com.

Off-Broadway

All the Ways to Say I Love You – Stars popular actress Judith Light as a high school teacher and guidance teacher in Neil Labute’s one-hour story of making hard choices and fulfilling desires. This is a world premiere presented by MCC Theatre at the Lucille Lortel Theatre is running now through Oct. 16. Tickets: mcctheater.org.

The Band’s Visit – Presented by Atlantic Theatre Company, this new musical based on the film is directed by David Cromer. That is I need to know to want a seat as his directing and the way he can transform a piece is almost magical. This story (book by Itmar Moses) is about an Egyptian police band arriving to play a concert in Israel… Music and lyrics are by David Yazbek. It plays Nov. 11-Dec. 23 at the Linda Gross Theatre. Tickets: atlantictheater.org.

And upcoming shows this Fall at favorite Off-Broadway houses that you should check out:

Playwrights Horizons: Julia Cho’s interesting Aubergine is currently running through Oct. 2, followed by Adam Bock’s A Life, starring David Hyde Pierce Sept. 30-Nov.13. Info: playwrightshorizons.org.

The Vineyard: This Day Forward Nov. 3-Dec. 18 Info: vineyardtheatre.org.

Irish Rep: Brian Friel’s Afterplay now through Nov. 6 and Finian’s Rainbow Oct.26- Nov. 18. Info: irishrep.org.

The Women’s Project: Stuffed by Lisa Lampanelli and directed by Jackson Gay now through Nov. 6. Info: wptheater.org.

Lauren Yarger reviews Broadway and Off-Broadway theater. She is Second Vice President of the Drama Desk and a voting member of the Outer Critics Circle. She also is a member of the American Theatre Critics Association, the League of Professional Theatre Women. the Lambs Club, the Episcopal Actors' Guild and Christians in Theatre Arts. www.TheWritePros.com.

Evan Hansen Switches Broadway Theater

The Broadway premiere of the musical Dear Evan Hansen will open at the Music Box Theatre, 239 West 45th St., NYC, and not at the Belasco Theatre, as previously announced.

All dates remain the same; the show will still begin previews on Nov. 14 and open Dec. 4. If you purchased tickets on Telecharge.com or by phone prior to Sept.  18 you may have Belasco tickets, but you will be notified via email or telephone regarding the method of exchange to the Music Box.

All previous transactions will remain intact and customers will be provided comparable and possibly identical, locations at the new location.

Dear Evan Hansen has a score by Tony-Award nominees Benj Pasek &and Justin Paul and is directed by Michael Greif, Ben Platt, who led the world and New York premieres of the musical, will once again star as Evan Hansen, a performance for which he won the 2016 Obie Award and was nominated for the Outer Critics Circle Award. Platt will be joined by Laura Dreyfuss, Rachel Bay Jones, Jennifer Laura Thompson, Mike Faist, Michael Park, Will Roland and Kristolyn Lloyd.

Read the review of the show's Off-Broadway production here. 

Tapping into Fred Astaire

Cabaret veteran Richard Holbrook returns to Episcopal Actors' Guild Hall with a musical tribute to the legendary Fred Astaire 7 pm Monday, Sept. 19.

Most remember Astaire as a singer and dancer but he was also a gifted songwriter, excellent musician, and a superb interpreter of song. The Untapped Fred Astaire Revisited features the work of composers Irving Berlin, George and Ira Gershwin, Jerome Kern and Dorothy Fields, Howard Dietz and Arthur Schwartz, and Harold Arlen and Johnny Mercer, all of whom had their music and lyrics introduced by Fred Astaire.

Holbrook will be accompanied by Tom Nelson on piano. The show is directed by veteran Broadway and cabaret performer and Academy Award-winning documentary filmmaker Richard Barclay. All proceeds from the evening’s performance will benefit New York actors in financial crisis.

The concert will be followed by a wine and cheese reception. Suggested donation: $15  members/$20 non-members: 212-685-2927; office@actorsguild.org.

Off-Broadway Review: A Day By the Sea EXTENDED THROUGH OCT. 23

Katie Firth, Jill Tanner, Kylie McVey, Polly McKie, Athan Sporek, Philip Goodwin, Julian Elfer, Curzon Dobell, and George Morfogen. Photo: Richard Termine.

A Slow, Very Slow, Long Day by a Quiet Sea
By Lauren Yarger

A family gathers for A Day by the Sea and surrounded by sand, colorful umbrellas and picnic baskets, they gaze out expectantly on the horizon waiting for something to ride in on the tide.

In this first New York revival of N.C. Hunter’s play, which had a 1955 Broadway run featuring Hume Cronyn and Jessica Tandy, they are disappointed – and so is the audience – because very little happens in the three-hour-with-two-intermissions production which marks the Mint Theatre’s first in its new home in residence at Theatre Row.

Unlike past productions like Women Without Men or The Little Journey, where audiences feel like they have stepped back in time and discovered a forgotten theater gem (the Mint’s specialty), A Day by the Sea has us wondering how this play ever got produced in the first place, let alone beat out others more deserving of a revival.

Directed by Austin Pendleton, who has a long history with the Mint, this production features good actors, but the slim plot, sketchy character development and exposition-laden dialogue don’t give them much to work with, unfortunately.

The family has gathered at the Dorset, England home of widow Laura Anson (Jill Tanner), who has in residence her elderly brother-in-law, David Anson (George Morfogen), who needs the constant care of Dr. Farley (Philip Goodwin, whom you might recognize from the “Pink Panther” movies), who is happy to read to the old man and help him dress for free lodgings where he thinks he can hide his addiction to alcohol.

Also on holiday are an old friend of the family who is recently divorced, Frances Farrar (Katie Firth), her two children from a previous marriage, Toby and Elinor (Athan Sporek and Kylie McVey), and their governess, Miss Mathieson “Matty” (Polly McKie).

When Laura’s son Julian (Julian Elfer) joins them, he makes it known to family barrister William Gregson (Curzon Dobell) that he still has no interest in co-managing the family’s estate with his mother. His dismissive attitude gives us an idea why things didn’t work out long ago between him and Frances. When Humphrey Caldwell (Sean Gormley) pays a visit to tell Julian he is being recalled from his post, mostly because he just isn’t liked very much, Julian begins a mid-life-crisis review of his life and wonders whether it is too late to accomplish something meaningful.

He begins to wonder whether he and Frances shouldn’t have a second chance. For reasons not exactly clear, though she appears to have always been in love with him, she isn’t interested in his proposal. There’s that sketchy character development raising its head.

The action (I use the term loosely) takes place in the garden of Laura’s home and at the picnic on the beach, both locations designed by Charles Morgan, framed with blurry leaves hanging overhead with large impressionistic paintings depicting the country side and beach as backdrops. The blurry art is indicative of the characters efforts to bring a sharper focus on the meaning of their lives. The costumes designed by Martha Hally don't change much between scenes, so the family looks a bit awkward at the beach in dresses and suits.

Matty perhaps has the clearest vision of what her life will be like if she doesn’t take some action. What chance does a plain-looking governess have of a family of her own when she forms bonds with other people’s children  only to have those ties severed when they no longer need her? She decides setting up house with the drunken doctor just might be her ticket to happiness (though it kind of makes us cringe to have a women sell herself so short, especially when the actress playing her has some impressive stage presence that might have been used for a more interesting character.) The audience laughed at the ages these two characters say they are: the actors seem beyond those years.

Not much happens in the way of developing any of those plots, however, despite moments of hope for insightful thought like when David metaphorically reflects:

“Years ago, there used to be a splendid elm tree standing there. And one October afternoon, in a great gale, it fell. What a sight! And a wrenching, tearing sound that seemed to fill the world.”

At one point in the first act, I counted seven audiences members sleeping. My thought at the start of the second act was that this point in the story would have made a better beginning and that most of Act One could be cut. The dialogue is so laced with explanations of past events to give us background that I audibly groaned when one of the characters mentioned a year worth remembering because I thought she probably was going to launch into a prolonged speech to tell us everything that had taken place during it. The doctor suddenly has a monologue about politics; characters sing for reasons that escape me.

Particularly annoying are awkward entrances by the actors throughout. Often actors seem to be walking onto stage and distracting attention  just so they can get to their marks for upcoming lines. Conversation stops, then we hear cued from offstage some lines of dialogue that telegraph, “Here come some more characters.” The two children appear to be posed (there’s a nice porch swing) so the audience will think, “Aww, aren’t they cute?” They need some additional experience on stage to develop technique, however, and we are unable to hear most of their lines (sound design by Jane Shaw).

Tanner is solid, even if her character is not. We’re never quite sure whether she is an overprotective mother who has spoiled her son’s chances at happiness or simply a woman doing the best she can with the life she has been given. Morfogen scores the most laughs. As the old man who frequently nods off, then suddenly wakes in the middle of a conversation, he has lines like, “Does something happen soon? It’s pretty dull, this,” which brought laughs of appreciation from the audience thinking the same thing.

A Day By the Sea plays through Sept. 24. Performances are Tuesday through Saturday at 7:30 pm with matinees Saturday and Sunday at 2:30 pm. Special Wednesday matinee Sept. 21at 2:30 PM Tickets: $57.50 : Telecharge.com; 212-239-6200. More information: minttheater.org.

Additional Credits:

Lighting Design by Xavier Pierce, Sound Design by Jane Shaw, Properties by Joshua Yocum, Dialects and Dramaturgy by Amy Stoller; Hair and Wig Design by Robert Charles Vallance.

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-- No content notes. Enjoy.

Off-Broadway Theater Review: Implications of Cohabitation

Connie Saltzman, Andres de Vengoechea, Gladys Perez, Vanessa Verduga. Poto: Michael Blase

New Theater Group Features Work by Promising Playwright

By Lauren Yarger
Summer is a great time to find some gems Off-Broadway that might get overlooked in the crush of the regular Broadway season. Vanessa Verduga’s Implications of Cohabitation, getting a run at Theatre Row by Sudacas Theater, a new Latino-American company, is a recent find. With tickets at just $20.25, you’re not likely to find a bigger bang for your buck in New York.

The multi-talented Verduga (she’s a lawyer who among other things created the popular digital series and comic book “Justice Woman” and is recording her first solo urban Latino album called “Soy Mujer” -- “I am Woman”) creates interesting characters and thought-provoking situations, directed here by Leni Mendez.

Siblings Jenny (Connie Saltzman) and Kevin (Andres de Vengochea) are a bit surprised when their father, Nelson (Anthony Ruiz) turns their mother’s memorial service into a family reunion of sorts by inviting their half sister, Sara (Verduga, showing that multiple-talented thing again, plays this role in her play). Nelson had left their mother for a waitress in the Ecuadorian restaurant where they meet and the two families have never been close. Sara’s mother, Carmen (a solid Adriana Sananes) – loathingly referred to by Kevin and Jenny as their father’s baby mama -- also was abandoned by Nelson, when he left her to go back to his first wife.

Nelson compounds the awkwardness in the air by announcing that he plans to sell his home and move in with each his children to get to know them better. This, to put it mildly, doesn’t go over well with the kids. Kevin, an actor, and Jenny, a musician, feel their father doesn’t understand them and they are sure they can never measure up against Sara’s successful career as a lawyer.

Besides, there is some other cohabitation going on. The kids have things in their private lives that make it difficult to have a father move in: Sara lives with her fiancé, Ben, and has an ex, Jake (James Padric), who complicates things. Jenny enjoys taking hits off of her bong while composing and Kevin has a sexual partner who drops in behind the back of his live-in girlfriend, Amy.

Rejected from each of his children’s households, Nelson finds himself chatting on a park bench with a homeless man (David Pendleton) who offers some wisdom and advice.

Though the script needs an edit and some of the action in the 100 minutes with intermission could be tightened (one scene played like two actors groping for their lines), the characters are engaging and likable. They deal with real emotions and we can relate to most of what they experience (even annoyance with an overly enthusiastic waitress played by Gladys Perez).

When Carmen helps her daughter put on her wedding dress and tries to console Sara when she thinks her father won’t show up to give her away, we’re looking at real life, not just a drama at Theatre Row. I am looking forward to more from this theater company and this playwright is in my radar.

Implication of Cohabitation plays at the Clurman Theatre, 410 West 42nd St. NYC (Theatre Row) through Aug. 26. Performances are Thursday through Saturday at 8 pm; Aug. 17 at 2 pm. Tickets: $20.25; (212) 239-6200; ImplicationsOfCohabitation.com

Credits:

By Vanessa Verduga; Directed by Leni Mendez, Assistant Direction by Joseph Barone, Scenic Design by Anna Grigo, Costume Design by Steven Daniel, Lighting Design by Jackson Miller, Sound Design by Lawrence Schober; Properties by Emilie A. Grossman.

Broadway Theater Review: CATS

Quentin Earl Darrington as Old Deuteronomy and Company of CATS. Photo: Matthew Murphy

A Steetlamp Sputters and Katz Makes the Memory Live Again

By Lauren Yarger

Some nonsensical poetry, amazingly realistic makeup and costumes, cat-like choreography and a dynamic score by Andrew Lloyd Webber caused a sensation when CATS opened on Broadway in in 1982.

The show gave us “Memory,” which might well be one of the most soul-stirring ballads ever written for the stage and forever nailed Betty Buckley’s star to her dressing room door. CATS went on to have far more than nine lives: it played on Broadway for the next 18 years and has been seen in more than 30 countries. So a revival begs the question of why now? Why this cast? Why is it worth $149 a ticket?

The revival which opened last week at the Neil Simon Theatre doesn’t offer a lot of good answers to those questions, except that “to hear Webber’s music played by a Broadway orchestra” (this one under the direction of Kristen Bodgett)  is always a good answer for why a show should be revived-- please bring back Sunset Boulevard!

The story – what there is of one, that is, -- comes from “Old Possum’s Book of Practical Cats” by T.S. Eliot in which we are invited to enter the night-time world of cats, who all have different personalities and secret names. They all also hope they will be chosen after the Jellicle Ball for a trip the Heavyside layer to be reborn into a new life. I have heard of the Heavyside layer, but don’t ask me exactly what a Jellicle is. The opening number “Jellicle Songs for Jellicle Cats” makes it clear right away that this is one of those shows, like Cirque du Soleil, where we’ll probably never quite understand what is taking place, but we’ll enjoy the visible and vocal display on stage.

Trevor Nunn directs again. John Napier re-creates his junk-cluttered alley set and costumes, which are similar to the original, but possibly less detailed. So what’s new?

Well, original Choreographer Gillian Lynne was replaced by Hamilton-hot Andy Blankenbuehler. Why, exactly, is a bit puzzling – especially to Lynne who created a bit of a fuss when she was passed over for the revival’s creative team. To be honest, these 2016 Cats seem more like they are just dancing around instead of making us forget they are actors and not really cats. Without that added charm, I felt like taking a big stretch into a cat nap at intermission.

There are a few highlights, however:

• Quentin Earl Darrington is compelling with a beautiful baritone as Old Deuteronomy, the wise old cat who gets to choose the member of the community who gets to go “up, up, up to the Heavyside layer.”
• Jess LeProtto (Mungojerrie) and Shonica Gooden (Rumpleteazer) have a fun, smoothly synched number where the choreography finally shines and when the audience seems most engaged.
• Georgina Pazcoguin’s graceful ballet causes kit Victoria to stand out from the caboodle.
• Christopher Gurr entertains as Gus and gets a few laughs.

British recording sensation Leona Lewis (“Bleeding Love”) plays the role Buckley made famous: Grizabella, the Glamour cat, a feline star who has fallen on hard times as an alley cat. She sings well and does justice to “Memory,” (though every nerve in my body didn’t tingle like when Buckley sings it). Lewis doesn’t have the acting skills for Broadway, however. She seems awkward and uncertain – which Grizabella should be, but we sense it’s more the actress than the cat.

The best thing in this revival is the Katz. No, that’s not a typo. Lighting Director Natasha Katz, that is. Lighting throughout the two-plus hours is exquisite – some of the best I have seen on stage recently. Every otherwise humdrum minute of this show is the cat’s meow because of her varied and skilled use of lighting.

The stage is animated by cat eyes glowing in the dark, hues of different color indicating mood, sprays of light introducing new cats, a moon shining down over the action, a mystical rocket jet beneath a flying tire (Projection Design is b Brad Peterson) Some lights create action, as do the actors, when they make their way into the house. Katz’s master work here is purrfectly illuminating.

Watch CATS play on the stage at the Neil Simon, 250 West 52^nd St. NYC. Performances are Monday, Tuesday, Thursday at 7 pm; Wednesday at 2 and 7:30 pm; Friday at 8 pm; Saturday at 2 and 8 pm; Sunday at 1:30 and 7 pm. Tickets are $59 - $149: catsthemusical.com/broadway; 877-250-2929.

Additional credits:

Associate Choreography by Chrissie Cartwright, Orchestrations by Andrew Lloyd Webber and David Cullen, Sound Design by Mick Potter.

Full cast:

Leona Lewis…. Grizabella

Giuseppe Bausilio ....  Carbucketty

Quentin Earl Darrington ....  Old Deuteronomy

Jeremy Davis ....  Skimbleshanks

Kim Faure ....  Demeter

Sara Jean Ford ....  Jellylorum

Lili Froehlich ....  Electra

Daniel Gaymon ....  Macavity

Shonica Gooden ....  Rumpleteazer

Christopher Gurr ....  Gus/Bustopher Jones

Tyler Hanes ....  Rum Tum Tugger

Andy Jones ....  Munkustrap

Kolton Krouse ....  Tumblebrutus

Eloise Kropp ....  Jennyanydots / Gumbie

Jess LeProtto ....  Mungojerrie

Georgina Pazcoguin ....  Victoria

Emily Pynenburg ....  Cassandra

Ariana Rosario ....  Sillabub

Ahmad Simmons ....  Alonzo

Christine Cornish Smith…. Bombalurina

Corey Snide ....  Coricopat

Emily Tate ....  Tantomile

Ricky Ubeda ....  Mistoffelees

Sharrod Williams ....  Pouncival

Richard Todd Adams Aaron Albano Callan Bergmann Claire Camp Francesca Granell Jessica Hendy Harris Milgrim Madison Mitchell Nathan Patrick Morgan and Megan Ort…. Ensemble

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-- No content notes, but some very tight costumes reveal what is underneath.