Theater and Broadway with an added Christian perspective.
Thursday, October 17, 2013
Monday, October 7, 2013
Photos: At the Episcopal Actors' Guild's 90th Anniversary Gala
Scenes from "90 Years of Broadway: EAG's Theatrical Journey," a benefit gala held last night at New York Open Center.
The event was sold out with 150 attendees enjoying a cocktail hour and show, written by Fran Handman and directed by Mark York. Jim Dale was the MC and also performed "There's a Sucker Born every MInute" from Barnum.
 |
| Ellyn Marie Marsh (Kinky Boots) sang Don't Rain on My Parade |
 |
| Sarah Rice: And I Was Beautiful |
 |
| Jennifer Fouche wowed the crowd with a humorous take on Bring on the Men |
 |
| Heather MacRae performed Surrey With the Fringe on Top |
 |
| Marni Nixon charmed with two tunes: All the Things You Are and One More Kiss, performed with Sarah Rice |
 |
| Tonya Pinkins (A Time to Kill) sings My Funny Valentine |
 |
| Lee Roy Reams did a medley of tunes from Hello Dolly. |
 |
| Carol Lawrence improvised a line of male dancers from the attendees. |
 |
| Alicia Sable performed It's a Perfect Relationship. |
 |
| Jayne Summerhays: Don't Blame Me |
 |
| Jana Robbins reprises "Everything's Coming Up Roses |
 |
| Carol Lawrence and Walter Willison, who reprised I Do Not Know a Day I Did Not Love You from Two By Two. |
Wednesday, September 25, 2013
Theater Review: The Jungle Book -- Huntington Theater, Boston
 |
| Akash Chopra (Mowgli) and Kevin Carolan (Baloo) in Tony Award winner Mary Zimmerman’s new musical adaption of The Jungle Book. Photo: Liz Lauren |
By Lauren Yarger
Spectacular flora and fauna bursting with color and size spring to life as a young boy is enticed away from his storybook by a giant peacock (Nikka Graff Lanzarone. So begins The Jungle Book in its newly adapted musical staging at Huntington Theater Company, winner of the 2013 Regional Tony Award, in Boston.
Huntington has partnered with the Goodman Theatre in Chicago, where the show ran prior to Boston, to bring Director Mary Zimmerman’s vision to life. The show is presented by special arrangement with Disney Theatricals.
Fans of Disney's animated film and of Rudyard Kipling's book on which it is based, will find favorite elements intact amid the amazing theatrical costumes and sets (Mara Blumenfeld and Daniel Osling, designers) that enhance the tale of a "man cub" named Mowgli (portrayed first by a puppet, then by Roni Akurati or Akash Chopra who share the role) who is raised by wolves in the deep jungle of India (lighting is by T.J. Gerckens).
As he grows, Mowgli leaves his wolf mother, Raksha (Anjal Bhimani) and the pack and makes other friends as he learns whom he can trust while avoiding ferocious tiger Sher Khan (Larry Yando), who wants to have Mowgli for dinner. Helping him along the way are black panther Bagheera (Usman Ally), who thinks Mowgli would be better off among his own kind, and Baloo (Kevin Carolan), an easy-going bear who helps keep an eye on the young boy and keep him safe from the likes of python Kaa (part puppet and part man played by Thomas Derrah) and a band of hyper monkeys and their leader, King Louie (a very amusing Andre DeShields).
Original music and lyrics by Richard M. Sherman and Robert B. Sherman ( the film) and Terry Gilkyson ("The Bare Necessities") is supplemented with additional jazzy music and lyrics by Lorraine Feather and Paul Grabowsky, Gilkyson and Robert Sherman. Musicians come right up out of the pit (in costume) to play for certain numbers, and a couple even fly in on a sort of tree-top platform to play Indian instruments.Doug Peck is the music director, orchestrator and conductor for the 14-member orchestra. Sound is designed by Joshua Horvath, Ray Nardelli and Andre J. Pluess.
And if the movement of the orchestra, along with cast members bounding up the aisles, Choreographer Christopher Gattelli (of the gymnastic Newsies and Godspell on Broadway) puts the large ensemble through its paces. Gattelli works with Indian dance consultant Hema Rajagopalan to combine elements of classical Indian dance forms with jazz and tap. One particularly fun number is an elephant march, with a bunch of ear-flopping, hornblowing pachyderms led in drill by Colonel Hathi (Ed Kross) and Lt. George (Geoff Packard). Some twirling butterflies are fun too, though a male insect, who I think is supposed to be a bee, also wears a skirt and is the only question mark of the evening.
Ticket demand has forced a second extension of the run of The Jungle Book at Huntington Theatre Company, 264 Huntington Ave., Boston, through Oct. 20. Tickets: huntingtontheatre.org; 617-266-0800; Avenue of the Arts / BU Theatre and South End / Calderwood Pavilion box offices.
 |
| Monique Haley (Elephant), Akash Chopra (Mowgli), Ed Kross (Colonel Hathi), and Anjali Bhimani (Baby Elephant) with the rest of Colonel Hathi’s elephant army. Photo: Liz Lauren |
Monday, September 23, 2013
Quick Hit Broadway Theater Review: Romeo & Juliet with Orlando Bloom and Condola Rashad
 |
| Orlando Bloom and Condola Rashad. |
By William Shakespeare
Starring Condola Rashad, Orlando Bloom and Jayne Houdyshell
Directed by David Leveaux
What's It All About?
If you have to ask, let me suggest you go read it, or get the Sparks Notes. In this version, the Capulets are black, the Montagues are white. Romeo (Orlando Bloom of "Pirates of the Caribbean" "Lord of the Rings" fame) makes his entrance on a motorcycle wearing red biker boots. You get the picture. Juliet (Condola Rashad (Ruined, Stick Fly and Trip to Bountiful) is the pure innocent, white clad object of his affection (Fabio Toblini creates the costumes). Their stars are crossed.
What are the Highlights?
Jayne Houdyshell as the nurse is fun. Some fire pillars (set design by Jesse Poleshuck) at the Capulets ball are very cool. Nancy Bannon provides some clever movement to original music by David Van Tieghem (who also designs the sound). Christian Camargo is the standout in this production, as a funny and sharp Mercutio. Chuck Cooper also gives a nice turn as Lord Capulet.
What are the Lowlights?
Let's start with no chemistry between Romeo and Juliet. Rashad has her best moments playing the famous balcony scene with some humor, but overall, her Juliet comes off so innocent and pure that she almost seems like a simpleton. Blame must rest with director David Levaux, because Rashad certainly has shown her ability to find deeper character in her other roles on New York stages. Brent Carver, another talented actor, is grossly miscast as Friar Laurence and most of the humor in that role is lost. Even Houdyshell doesn't seem to take a role, definitely suited for her comedic talents, and run with it. It's all sort of ho-hum and leaves us wondering why this particular version should have been the one to come to Broadway.
Technical irritations: the lighting (design by David Weiner) is problematic throughout, especially for the balcony scene (this is supposed to be night and Juliet isn't supposed to be able to see Romeo, but neither is designed) and Juliet is lost in the shadows at the moment Romeo supposedly spies her and falls in love. Also, Poleshuck uses a large bell that hangs ominously over the set (when it's not being raised or lowered to the stage for no apparent reason) as a constant reminder of -- what? Bells have no significance in Romeo and Juliet. Ask not for whom the bell tolls? The lighting also causes shadows of the rope to distract from the scene in the tomb..At any rate, Bloom almost collided with the thing while making a quick stage-left exit in the dark, but swerved just in time to avoid injury.
More information:
Romeo and Juliet is set to run through Jan. 12, 2014 at the Richard Rodgers Theatre226 West 46th St., NYC. Tickets: 800-745-3000.
Christians might also like to know:
-- Sexually suggestive moves
Quick Hit Off-Broadway Theater Review: Mr. Burns, a Post-Electric Play
 |
| Sam Breslin Wright, Colleen Werthmann, Jennifer R. Morris, Quincy Tyler Bernstine, Susannah Flood & Gibson Frazier. Photo: Joan Marcus |
By Anne Washburn
Music By Michael Friedman
Directed By Steve Cosson
Playwrights Horizons
What's It All About?
It's the Simpsons. It's us. Set "near, soon," a small band of survivors of a catastrophic nuclear catastrophe that has taken out most of the world's population, pass the time recreating episodes from The Simpsons television show. They can't watch it, because there isn't any electricity following the disaster. Communications are sketchy too, and a visitor to the campsite might just be greeted with guns and brisk pat down. The survivors perform a ritual of sharing the names of their loved ones who are missing in the hopes that the newcomer has run into them on his trek through the ruined cities of Boston and abandoned Providence. Seven years later, the group has moved into a studio of sorts, where they produce episodes of the Simpsons, complete with commercials, as best as can be pieced together by their collective memories. The friends take on the various roles (the acting is quite good) while still letting us know that the world, and man's greed for the supplies that still are available, is a danger that lies just under the surface. Fast forward 75 years into the future, and we have an operatic version that combines the memories of the nuclear holocaust with the Simpsons episodes, which make a statement about the myths that become reality as well as the enduring resilience of the arts.
What are the highlights?
An exemplary ensemble cast: Quincy Tyler Bernstine, Gibson Frazier, Susannah Flood, Matthew Maher, Nedra McClyde, Jennifer R. Morris. Colleen Werthmann, Sam Breslin Wright.Cutting edge music from Bloody, Bloody Andrew Jackson composer Michael Friedman.Washburn's play is smart and witty and as leap years ahead of anything we have seen on a New York stage as we hope the Armageddon-like future of Mr. Burns will be.
What are the Lowlights?
If you aren't a fan of the Simpsons, and haven't seen the Cape Fear parody episode which the survivors reconstruct, you won't be totally lost, but you won't enjoy this play as much as aficionados of the animated TV series. As good as Friedman's music in the short second act is, the post-intermission part of the play seems forced and unnecessary. Somehow the shocking ending to the first act struck me as a better and more unsettling ending for the play.
More information:
Mr. Burns has been extended through Oct. 20 at Playwrights Horizons, 416 West 42nd St., NYC. Performances are Tuesdays and Wednesdays at 7 pm, Thursdays and Fridays at 8 pm, Saturdays at 2:30 and 8 pm and Sundays at 2:30 and 7:30 pm. There’s a special Wednesday matinee on Oct. 2 at 2 pm. Tickets start at $85: www.TicketCentral.com; (212) 279-4200 (Noon-8 pm daily), or at the box office.
Christians might also like to know:
No content notes.
Quick Hit Off-Broadway Theater Review: The Old Friends
By Horton Foote
Directed by Michael Wilson
Signature Theatre
What's It All About?
The characters of Mamie Borden (Lois Smith), Albert Price (Adam LeFevre) and Julia Borden Price (Veanne Cox) from Only the Heart are revisited in the world premiere of Horton Foote's play focusing on the the dynamics of family and relationships in 1965 Harrison, TX. Sybil Borden (Hallie Foote, the playwright's daughter) and her husband, Hugo (Mamie's son) are moving back to rent her childhood home from her sister, Julia, following their hard times in South America. It's humiliating, especially when spoiled Gertrude Hayhurst Sylvester Ratliff (Betty Buckley), an old nemesis, sees Sybil -- or the jewelry the impoverished woman needs to sell, rather -- only as the object of winning a competition with Julia as the women try to outbid each other in a show of wealth. The competition extends to men too, as lushy Gertrude stakes her claim on Howard (Cotter Smith), the brother of her late husband and the manager of her ranch, whom she jealously thinks Julia likes. Julia flirts, forcing her rotund, husband Albert (he's lushy too) into fits of jealousy. But Howard would rather be around his old love, Sybil. Rejected, Gertrude throw herself at young farmhand Tom Underwood (Sean Lyons) and threatens financial ruin for Howard if he tries to leave her employ. Mamie, however, seems oblivious to the intrigue around her and happily makes plans to go live with kind, welcoming Sybil.
What are the Highlighs?
Well, it's Horton Foote. I happen to love everything written by this playwright who recently died at the age of 92 after rewriting this piece. It has his daughter, Hallie Foote, and Director Michael Wilson, two of the premiere interpreters of the playwright's work, involved. That's a lot of highlight. LeFevre also stands out at the mean-spirited, sad Albert.
What are the Lowlights?
These folks seem a bot darker than the usual family and folks we know in Harrison. They are somewhat less forgiving, with a less hopeful message. The women might not be as likable in this work, but they still are written by a writer who understands and respects them, so their stories feel real. Betty Buckley is larger than life as Gertrude, but spends a great deal of her time yelling.
More information:
The Old Friends has been extend through Oct. 13 at Signature Theatre, 480 West 42nd St., NYC. Tickets: (212) 244-7529.
The design team includes Jeff Cowie (Scenic Design), David C. Woolard (Costume Design), Rui Rita (Lighting Design), John Gromada (Sound Design), Paul Huntley (Wig & Hair Design), Gillian Lane-Plesica (Dialect Coach), Mark Olsen (Fight Director).
Christians might also like to know:
-- God's name taken in vain
Wednesday, September 11, 2013
Quick Hit Theater Review: The Machine
By Mark Charman
Directed by Josie Rourke
Park Avenue Armory
What'sIt all About?
The famous man vs. machine chess mach between World Champ Garry Kasparov (Hadley Fraser) and Deep Blue, IBM's chess-playing computer in 1997. Kasparov, perhaps the best chess player in the game, starts beating champs at a very young age (Lorenzo Allchurch and Nicholas Croucher share the role of young Garry) in his native Russia thanks to the efforts of his mother, Clara (Francesca Annis), who recognizes her son's talent and trains him. He becomes the world's youngest world champ at age 22.
Meanwhile, over at Carnegie Mellon University, Murray Campbell (Trevor White) and Feng-Hsiung Hsu (Kenneth Lee) team up to make the chess-playing computer designed by their professor, even faster, which gives their machine a chance at beating a human. They hire Joel Benjamin (Brian Sills), a grandmaster who once played the undefeated Kasparov to a draw, to help program Deep Blue.
What are the Highlights?
The match ensues amid flashbacks to tell the story, staged with clever choreography by Jonathan Watkins and an almost boxing-match look to the set (Lucy Osbourne is the designer), placed on the floor (which evokes the design of a computer chip) and surrounded by stadium style seating with video trons overhead and play-by-play by Mandy Dinkleman (Phil Nichol) and others. The performances are nicely developed and the suspense is tangible, even if you know the outcome. An ensemble supporting cast plays multiple characters from the principal characters' lives.
There's a love story thrown in too -- Hsu's relationship with Tamsin (Antonia Bernath), a cheerleader at school. His obsession with work and becoming a success in this country threatens their chance of a future together, however.
The Renaissance Revival hallway and staircase with their turn-of-the-19th-century lighting fixtures are exquisite.
What are the Lowlights?
Sound Designer Ian Dickson for Autograph Sound has a real challenge in the armory's cavernous, 55,000-square foot drill hall with an 80-foot high, barrel vaulted roof and echoes abound.
More Information:
Performances: Wednesday, Sept. 11 at 7:30 pm; Thursday, Sept. 12 at 7:30 pm; Friday, Sept.13 at 8 pm; Saturday, Sept. 14 at 2 and 8 pm; Sunday, Sept. 15 at 2 pm; Tuesday, Sept. 17 at 7:30 pm; Wednesday, Sept. 18 at 2 pm. Tickets: $90/$45 www.armoryonpark.org / (212) 933-5812.
The Machine had its world premiere at the Manchester International Fringe Festival and is a co-production by Park Avenue Armory, Donmar Warehouse (where Rourke is the artistic director) and the festival. Park Avenue Armory has an exciting line-up of offerings including shows, family programs, lectures and artist talks. For tickets and information:
Christians might also like to know:
-- Lord's name taken in vain
Subscribe to:
Posts (Atom)
Gracewell Prodiuctions
Producing Inspiring Works in the Arts
Custom Search
Theater Critic Lauren Yarger
