Cissy Conner to Play Hepburn

Cissy Conner will play Kate Hepburn in Matthew Lombardo's Tea at Five March 26-May 2 at the Whitmore-Lindley Theatre in NoHo.

A Supercalifragilistic Evening

A Supercalifragilistic Evening with Richard M. Sherman of the renowned Sherman Brothers, pop composers of the Academy Award winning score for Mary Poppins, was held at the El Capitan Theatre on Friday and Saturday February 26 and 27. At the piano Sherman presented career highlights, talked about collaberations with Walt Disney and, during Act II selections from his new musical Pazzazz!, written with Milt Larsen were presented by a wonderful cast, including the inimitable Joanne Worley.

review - Backwards in High Heels

RECOMMENDED

Backwards in High Heels/The Ginger Musical
conceived & developed by Lynnette Barkley & Christopher McGovern
book, original songs/arrangements by McGovern
directed by Caryn Desai
International City Theatre (ICT), Long Beach
through March 21

Legendary star Ginger Rogers is long overdue for a musical show in her honor. Overshadowed by dancing partner Fred Astaire, she was known to have said “I did everything he did only backwards in high heels”. Thus, we have the basis for the title of this classy, snappy new musical at ICT which is an instant audience pleaser.
Taking much liberty with the facts, the book by Christopher McGovern puts Ginger’s mother Lela Rogers center spotlight as the driving force behind her career, which took her on the Orpheum Circuit from Texas to Broadway and eventually on to Hollywood stardom. On a big stage that resembles a ballroom with its floor length shimmering curtains and chandelier as backdrop (fine design by Stephen Gifford), six actors act, tap and sing their hearts out to mostly old standards by the Gershwins(“Fascinating Rhythm”), Dorothy Fields and Jerome Kern (“A Fine Romance”), Harry Warren(“We’re In the Money”) , Irving Berlin(“Change Partners”) and four new songs by McGovern. The plotline follows Rogers' journey from winning a contest as a teen to winning her Oscar in 1940 for Kitty Foyle, her first big dramatic role. Along the way are the various romances and five marriages that all ended in divorce. All of the personal relationships are skimmed over in this treatment; we get merely a glimpse of each with the exception of her first short term liaison with Jack Pepper, who, according to her disapproving mother, resembled her alcoholic, abusive father. Jack’s is the only relationship that gets a whole scene; Lew Ayres, Jacques Bergerac, Jack Briggs and William Marshall come and go within the duration of the musical number “Change Partners” in Act II.
It would be nice to see more of Rogers’ personal life fleshed out, but this story is about entertainment, and immensely entertaining it is. Director Dasai and choreographer Melissa Giattino keep the action moving nonstop. Anna Aimee White makes a sweet, pretty and driven Ginger Rogers. Lovely to look at in some beautiful costumes by Kim DeShazo, White brings out Rogers’ intelligence and fiery sense of independent spirit. Heather Lee is perfection as religious and righteous mother Lela. With less comedy to perform here, Lee brings a grounded quality to the woman some have compared to Gypsy’s Mama Rose. Christopher Carothers, Matt Bauer, Jeff Payton and Robin De Lano provide superb support as the mini chorus, essaying all the other roles in the story including Fred Astaire, Lew Ayres, director Hermes Pan, Jimmy Stewart, Ethel Merman, Katharine Hepburn, Bette Davis and many others.
The book needs some fine tuning, but as is, Backwards in High Heels is heavenly pleasurable fare.
4 out of 5 stars

review - Cousin Bette

CRITIC'S PICK
Cousin Bette
based on the novel by Honore de Balzac
written for the stage by Jeffrey Hatcher
directed by Jeanie Hackett
Antaeus Company @ Deaf West Theatre in NoHo
through March 21

Known as the father of realism in the 19th century, novelist Honore de Balzac captured French society exactly as he saw it: warts and all. After the fall of Napoleon in 1815, the French upper class were, to say the least, greedy and disloyal capitalists who lived only for sexual favors and money. Such is the background for Cousin Bette. Bette is the poor relation of the Fischer family and serves as the mouthpiece for playwright Hatcher as she narrates the play and tells the story of how her unbearably ruthless relations married into the wealthy Hulot family and made life – well, unbearable for her. The moral of the story, is, of course, when you try to vengefully manipulate something infinitely more powerful than yourself, matching evil for evil, you are doomed to misery and failure. Along the way, though, Bette’s adventures, or better labeled misadventures, provide for a splendid entertainment, especially in Hatcher’s brilliantly audacious adaptation and under the economically ingenious staging of Jeanie Hackett. The Antaeus Company ensemble offers a devilishly dark and venemous Cousin Bette to relish. I haven’t had such fun since Nicholas Nickleby.
On the night I attended there were a mix of actors from both the Fischer and Hulot casts, with Alicia Wollerton supreme as Cousin Bette. What a bravura performance! Wollerton’s passion runs as deep as a river and she drives her plan to its climax with so much unwavering strength, guts and determination, that the audience stays on her side. Others in the ensemble, some sharing two or more roles, are evenly outstanding. John Prosky is deliciously revolting as Hector Hulot, as are Micheal McShane as the disgusting perfume magnate Crevel and Paul Willson as Old Fischer. Dana Green brings an awkward sense of sincerity and purity to the whorish
Valerie Marneffe and Laura Wernette is just right as the beautiful Adeline. David St. Louis is a tower of power as the villainous Demontes and kudos as well to Joseph Ruskin, Jeremy Shouldis, Rebecca Mozo, Katherine Leigh and last but hardly least, Daniel Bass as Wenceslas Steinbock, the struggling artist whose affections get tossed and kicked back and forth more arduously than a football between opposing teams.
This is a production to savor from top to bottom. Presented in three acts and coming in at just about three hours, there is not one monotonous moment. I was engrossed from start to finish. This is richly entertaining classical theatre at its best. Bravo, bravo, bravo to the Antaeus Company Theatre!

5 out of 5 stars

review - The Subject Was Roses

CRITIC'S PICK

The Subject Was Roses

by Frank D. Gilroy

Mark Taper Forum

directed by Neil Pepe

through March 21

Frank D. Gilroy's Pulitzer Prize-winning play The Subject Was Roses depicts a dysfunctional family circa 1946 whose son returns from WWII... a man. The strained day-to-day relationship between the mother and father changes for the better with his return, but only briefly, as buried feelings surface inducing intensely explosive confrontations. The universal themes of love and freedom remain as clear and untarnished as they were in the 60s, and this new production comes full circle for Martin Sheen, who also costarred in the original Broadway version in 1965 as son Timmy.

Kitchen sink reality mixed with just the right amount of humor make for great drama, and Gilroy keeps his Irish wit grounded in the character of father, John Cleary (Sheen). He's a mean, self-centered bastard at times and loves his drink, but it's his irrascible nature and how he breaks into song and dance at the drop of a hat that make us laugh. Timmy (Brian Geraghty) takes after his dad, as he too loves to drink, but set John up on a pedestal? Doubtful, as the son can now better comprehend his parents' dilemma and their weak spots. The chemistry between Sheen and Geraghty is electric; they play so well off each other. Both actors turn in astounding performances.

Long-suffering mother and wife Nettie (Frances Conroy) is one unhappy lady. By today's standards she would have divorced her husband years earlier. However, in the 40s good Catholic couples did not divorce: they stayed together for the sake of the children. Conroy is luminous in her scenes, my favorite being the next to last in Act II, where she confides in Timmy how she really feels about the road she has taken. The memories she shares of her other beaux are vividly drawn. This is a lovely performance, and exquisite writing from Gilroy. Not unlike Amanda Wingfield's description of her gentelmen callers in Tennessee Williams' The Glass Menagerie, Nettie's recollections are illuminatingly lyrical.

A special nod to Walt Spangler for his set of the semi run-down New York middle-class apartment and outline of the neighborhood buildings behind.

Beautifully directed by Pepe, this is a handsome production with elegant acting, that frankly could not be better.

5 out of 5 stars

a very special The Subject Was Roses @ The Mark Taper Forum

Martin Sheen & Frances Conroy costar in The Subject Was Roses @ The Mark Taper Forum. In 1965, Sheen played son Timmy on Broadway with Jack Albertson as the father. He repeated his role on film in 1968 with Natricia Neal and Albertson. Now, playing the father @ The Taper some 40+ years later, Sheen brings his career full circle.

review - Broads! The Musical @ The El Portal

Broads! the musical
music & lyrics by Joe Symon; book by Jennie Fahn
directed by Jules Aaron
El Portal Forum Theatre in NoHo
through April 4

I loved the four gals playing the Broads - all talented - but the show needs a major overhaul. Too many jokes are tired old cliches - and singing about side effects from medications? Audiences do not find that entertaining as many experience these very problems on a daily basis. No one was laughing the night I attended, because most of it wasn't funny!! And death? Who wants to be reminded that funerals are like weddings, but at least at weddings you can smell your own flowers? Also not funny, guys!! Especially for the majority of the audience - over 65!
I recommend the ladies though. June Gable is wonderfully funny and immensely versatile, as is Ivonne Coll as Nilda, a Carmen Miranda with a baritone voice. Barbara Niles has a lovely singing voice and what can one say about Leslie Easterbrook? Nip 'n tuck or not, she is still gorgeous to look at.
A couple of the tunes by Joe Symon are OK, but hardly memorable. If these ladies did a senior citizen version of "The Marvelous Wonderettes" with all old songs and more delicious sexual inuendos, then everybody would love it! When I saw The Full Monty, it was mostly the older ladies that were screaming at the male strippers, "Take it off!" They love sex. Look at The Golden Girls!
Why not keep the concept the same with a performance at the Millenium Manor in West Palm Beach, Florida, but make their concert 'Film Divas of the 30s and 40s'. What possibilities then arise for dynamite musical numbers and fun parody stuff! These 4 ladies deserve better material!!
Director Aaron and choreographer Kay Cole do a great job as always, and many of Shon LeBlanc's costumes are eye candy.
Joe Symon, keep your concept, but make changes, and Jennie Fahn, rewrite with fresh, funnier jokes! Go see The Palm Springs Follies and get a taste of what most old broads would like to be!!!

3 out of 5 stars

review - Bark!

RECOMMENDED

Bark! The Musical

music by David Troy Francis; book by Mark Winkler & Gavin Geoffrey Dillard

lyrics by Dillard, Winkler & Robert Schrock

directed by Stephanie A. Coltrin

choreographed by Karl Warden

Civic Light Opera South Bay Cities (CLOSBC) @ Redondo Beach Performing Arts Center

through February 28

When I first reviewed Bark! The Musical at the Coast Playhouse in 2004 for reviewplays, I said it was a musical "worth yip, yip, yipeaying about. Woof, woof, woof for joy!" Well, now it's on a much bigger stage in Redondo Beach, and because of a fantastic cast and creative team this very intimate little show makes a pleasantly effective transition to its new venue. David Troy Francis has cut six songs, created a brand new snappier opener "Being a Dog" and a couple of other tunes, most meaningful among them "He Likes Me" and Karl Warden's slick choreography and Stephanie Coltrin's meticulous fast-paced direction help it retain its tip-top place as audience favorite.

The ensemble is superb. Dane Biren as Rocks, Janet Krupin as Chanel, Jessica Gisin as Golde, Shanna Marie Palmer as Boo, Justin Michael Wilcox as Sam and Harrison White as King are winners all. Krupin steals Act I with her gorgeous "Il Cane Dell' Opera", with Wilcox close behind with his powerful "Mighty Mutt From Mars". Gisin grabs us with her gutsy Act II "Howling Just to Scare Away the Blues" and White's poignant "A Grassy Field" moves us to tears. Comically splashy is "Senorita La Pepita" and beautifully harmonic the "Siren Symphony". Francis really brings quite a range of music to the show, from opera to blues to rap to pop. Amazing!

Coltrin's direction is a joy as is the fabulous choreography from Warden. These doggies move, move, move from start to finish and never let up. Brings back really fond memories of my cocker spaniels with their exuberant energy and undying loyalty.

Much could be done with this show to bring out more extensive canine tricks and feats. It could become a vaudeville, or traveling circus or western sideshow. As is, with its simple focus and tribute to dog loves master and master loves dog it comes up a gratifying concoction. Even non dog lovers will enjoy. Bring the kiddies to this one!

Bark! is best suited to off-Broadway as opposed to Broadway. Its endearing sense of intimacy and man/canine friendship will get lost on a Broadway stage.

4 out of 5 stars

opening night of Bark!

top photo: friends Chuck Pelletier and C Stephen Foster, authors of the successful touring musical The Green Room; middle photo: Janet Krupin (Chanel in Bark!) and bottom left photo: Bark! choreographer Karl Warden @ CLOSBC opening night in Redondo Beach.

review - The Price

RECOMMENDED
The Price
by Arthur Miller
directed by Stu Berg
Theatre West
through March 21

Arthur Miller's talky play The Price does not quite stand up to his masterpieces All My Sons or Death of a Salesman. Focusing in on the disagreement between two brothers who come together for the first time in 16 years to sell off their father's antiques, it has its moments of tenderness and deep feeling, but is overall less moving and certainly less urgent. Theatre West offers a skillful production with some very excellent work.

The one thing I noticed about Act II is the repetitiousness of the conflict. Brother Walter (Don Moss) takes his coat off and puts it back on at least three times to stay and rehash an argument that we have been hearing over and over for two hours. Stay and take care of an aging father, sacrificing your own dreams, or take off and pursue with abandonment your own selfish ambitions!

Both Moss and Cal Bartlett as Victor are fine as the brothers, but the hesitations, especially from Moss, showed a lack of readiness on opening night. Most likely with time, the scenes will play stronger. Dianne Travis as Victor's wife Esther is simply marvelous. She is gutsy, beautiful and thoroughly real, especially convincing in her downtrodden weariness, almost a female Willy Loman. The best actor of the evening hands down is Marvin Kaplan as Soloman, the appraiser who comes to offer a price for the antique furniture. This is a dream role for Kaplan, whose talent and remarkably original sense of humor have served him well in the business for 82 years. He gives us a slow-moving, but quick witted, deliciously wise and reflective man who knows how to look out for himself by clinching the perfect deal. What a likeable con artist! A bravura performance!

Berg is resourceful in filling the large space and Jeff Rack's set design (with actual donated antique pieces) of the decrepit attic apartment is right on target.

No man is to blame for another man's failure. We all pay a price in our lives. Sometimes we wish we could go back and make changes; other times, we stand firm and refuse to compromise. Some win, some lose; that's the game of life, and no one expresses it better than Arthur Miller. But, I really believe he could have cut at least 20 minutes from The Price. Irregardless, it is a thoughtful, ruminating view of living from an older perspective - and Theatre West's fine revival merits our attention and respect.

4 out of 5 stars

review - The Female of the Species

RECOMMENDED

The Female of the Species
by Joanna Murray-Smith
directed by Randall Arney

Geffen Playhouse
through March 14

Hearing Margot Mason's (Annette Bening) brash opening words on the phone to her publisher "F*** You!", people will either automatically turn on or turn off to Joanna Murray-Smith's The Female of the Species about the misadventures of a fictional best-selling feminist writer plagued by writer's block. This is an egomaniac who's used to getting her own way in every aspect of her life until an intruder turns her 'self-absorbed' world upside down. Farce is wildly exaggerated comedy, and as such, makes audience laugh out loud because they can see themselves onstage. The Female of the Species has enough laughter for three plays and still manages to be thought-provoking about contemporary gender misconceptions. Men and women are supposed to behave a certain way and when they don't...both are human after all, so why not ease up and view the whole issue with some humility.

That's the theme of Smith's play in a nutshell, but crystallizing it takes time, as there's excessive exposition, with many bizarre characters each with his own tantalizing life history ... so it all gets very complex, but intriguingly funny nonetheless.

Giving the plot away spoils the enjoyment, so all I will say is that Mason's day becomes a nightmare in which the unknown causes her to completely rethink her weaknesses as a writer and more importantly as a woman and mother.

Bening is masterful and brave as the opinionated, caring, soul-searching Mason. This woman may not always be right, but Bening makes her stand her ground with the utmost assurance. Mireille Enos as Tess, Mason's married daughter, is astounding. Her monologue about walking out on her children is heartbreaking and hilarious in one fell swoop. David Arquette as Bryan makes the most of a milktoast role, as he becomes the women's ultimate victim. He is at his best in expressing the man's feminine side. Josh Stamberg steals the play out from everyone as the brash, macho cab driver Frank who somehow manages, in a sensitive manner, to brighten everyone's day, especially that of Tess - and, unpredictably, Margot's. Julian Sands has a thankless role as publisher Theo, but makes the best of it with his strong presence and humor and Merritt Wever as Molly brings a believably nonconformist quality to the intruder, whose intentions fuel the fire, but become of lesser importance as the plot thickens.

No one misses a beat under Arney's top-notch direction, as he keeps the action clicking. Murray's writing is not flawless, but stands apart. When we can relate, the author's work rings true. Every daughter will appreciate the possible demise of an overprotective mother - and every man has a gentle, soup-serving side as well as the overly expected abrasive and fearless one.

Takeshi Kata has designed a lovely.to.look.at country home, but it could stand a few more books and papers scattered about, as untidiness befits most preoccupied writers.

An exceptionally worthwhile evening of theatre not to be missed!

4 out of 5 stars

Stan Mazin Reviews the West End - January 2010

Theatre Royal
Haymarket
I've wanted to see a production of Breakfast at Tiffany’s since I danced in Holly GoLightly for Michael Kidd. I enjoyed this show even though it resembled less of the movie, which I loved. But I was told by someone at the theatre that this production was more true to Capote’s book, than the movie was. Its set was simple but worked quite well, and I enjoyed the cast very much… even the cat which was onstage twice. Samuel Adamson did this stage adaptation,, and it starred Anna Friel. My main critique of the show would be that the director, Sean Mathias directed the secondary lead Joseph Cross to be as ‘hyper’ as Holly was. She was hyper because she wanted to be anyone but herself, and I felt he should have been more subtle… not unlike Cliff in Cabaret. But the play was still the thing, and I found much to be enjoyed from it.

Noel Coward Theatre
I was delighted to find out that Janie Dee was starring in Calendar Girls, since I met with her before I directed Comic Potential (written by Alan Ayckbourn) , which she starred in, in London. And I saw her afterwards as well. The play, by Tim Firth, was delicious, funny, and empathetic as well. The cast was quite good, and the events leading up to each one’s photo for the calendar were quite amusing. The direction by Hamish McColl was moving and never had a slow moment in it for me. It’s difficult to forget Helen Mirren’s marvelous portrayal in the movie, but Janie Dee came across with such feeling that I was immediately taken in. Perhaps I’m prejudiced, but I try not to make comparisons to other venues when I see something. Judging a show on it’s own merit, I find I can enjoy it.

Palace Theatre
Well and appropriately over the top, Priscilla Queen of the Desert the musical (Olivier Award nomination) is a phenomenal follower to the successful movie of the same name. The sets, the costumes, the choreography, and the lighting were sensational, as well as the cast, being headed by Jason Donovan, Tony Sheldon (Olivier Award nomination) and Oliver Thornton. If you didn’t like the movie, chances are you will feel the same way about the play, but I loved the movie and was absolutely taken for the ride of my life through Australia, with this musical. The music were songs performed and heard before. Although not original, they lended beautifully to this show, since it is about lip-syncing performers on their trek to Ayer’s Rock. The direction was by Simon Phillips, and greatly supported with choreography by Ross Coleman. When it comes to New York, and eventually tours, don’t miss it… particularly if you enjoyed the movie. You won’t be disappointed.

The London Palladium
I missed Sister Act the musical (Olivier Award nomination) in Pasadena, and found myself going to see it, since there was little else to see on that day. What a delightful surprise!!! The sets, the costumes, the lighting, the acting , were all brilliantly done, and I enjoyed this show much more than I thought I would, and it was one of the most enjoyable shows I saw this year. The lead, Patina Miller (Olivier Award nomination) did it in Pasadena, and she was very good, as well as her supporting cast. I didn’t expect to see Whoopie Goldberg, and I didn’t… but it all worked for me. I doubt that the Pasadena production could have compared to the one in London, but I heard so many wonderful things about the first production that I could easily see that with the additional budget, you saw all the money invested on the stage. I recommend this show wholeheartedly.

Donmar Warehouse
How can you not enjoy a 2 character play at the Donmar Warehouse, written by John Logan, directed by Michael Grandage, and starring Alfred Molina and Eddie Redmayne!?! (Olivier Award nomination) RED has brilliant acting, about the real artist Mark Rothko and his ‘assistant protégé’. See it when it comes to Broadway next year. An intense play perhaps not based on true incidents, but filled with truths, nonetheless. Highly recommended although starring a very egocentric character.

National Theatre
The Pitmen Painters is a fantastically acted and directed true story about this group of miners who get together for a set of classes in art appreciation. Performed at the Littleton in the National Theatre, it is bound for Broadway, I’m sure. Great cast, with great directing. Once in a while the accents are slightly difficult to comprehend but after a while you certainly understand everything that is going on. Highly recommended.

I saw 2 other shows which I had seen before, and I can rave about one of them, and give kudos to the other.
The show I have seen time and again is Chicago, playing at the Cambridge Theatre, directly across the street from our hotel in London. The show is clean, black, slick, and well performed. In spite of all of this, I still prefer the original with Chita and Gwen (of course, wouldn’t that make me a little more prejudiced?). But younger audiences will no doubt take this show to heart, even though is seems a little ‘cold’ to me. I mean, who can ever forget Richard Korthaze’s one-man jury, switching from chair to chair, and changing characters that quickly!?!

My favorite show is still a spectacular visual show called War Horse. Originally it had about 65 persons in it, and it played the Olivier Theatre at the National. They have moved it to the New London Theatre, where Cats played for all those years. They’ve reduced the cast to about 35, but that certainly has not reduced the power of the show. The story is about a drinking father who gives his son a colt, then as the son and the colt grow, the father in a drunken state, sells the horse for the war effort during WWI, for a price of course. The boy joins the army to look for his horse. The horses are all puppets operated by 1, 2, 3, and 4 persons at a time. The effect is stunning, and if they can ever afford to produce it on Broadway or on the road in the USA, it is definitely not to be missed. I warn you, your eyes may water, more than once.

Until our next theatre tour - Broadway in April, this is Stan, signing off.

review - Stage Door

CRITIC'S PICK
Stage Door
by George S. Kaufman & Edna Ferber Open Fist Theatre Company
directed by Barbara Schofield
through March 13

Even if we've seen and heard it a million times over, the old show biz debate about devotion to stage versus film is a treat as served up in Kaufman and Ferber's Stage Door, being given a red carpet production at the Open Fist Theatre.

This 1936 play was the basis for the 1938 film of the same title with Katharine Hepburn, Ginger Rogers, Eve Arden, Lucille Ball and Ann Miller. However, the plot line of the play is radically different. The one thing they have in common is the suicide of the young Kaye Hamilton (Rebecca Rosenak Phelps) who would rather die than live in a state of constant career rejection. The other characters like Terry Randall (Amanda Weier) and Jean Maitland

(Kim Swennen) have dissimilar entanglements. On stage, Randall, no great beauty, but a true artist, vows to make it big on Broadway; gorgeous model-type Maitland sells out to Hollywood and stardom at the cost of cheapening her acting style.

What makes this production such fun to watch are the simply scrumptious costumes from Shon LeBlanc, incredibly on target hairstyles of the period and a wonderful staging by Schofield of 24 actors whose chemistry together just crackles, especially the female contingent. The entire company is having a ball and it shows. Kudos to everyone, with standouts: Weier as Randall, a delightfully real actress with a down-to-earth approach, Judith Scarpone, just precious as elderly but elegant Mrs. Orcutt, Stephanie Erb a delight as wisecracking Judith, Arthur Hanket debonair as David Kingsley, Michelle Lema and Laetitia Leon as Big and Little Mary, who travel as a pair, et al.

This is a fabulous presentation that I could sit through again and again. It's visually splendid, beautifully directed and acted. A must-see!

5 out of 5 stars

review - 25th Annual Putnam County Spelling Bee

RECOMMENDED
The 25th Annual Putnam County Spelling Bee
book by Rachel Sheinkin; music & lyrics by William Finn
directed by Jeff Maynard
La Mirada Theatre for the Performing Arts
through February 21

Talk about quirkiness and how it can be used to its best advantage in a musical! The 25th Annual Putnam County Spelling Bee is terribly funny in a rather intelligent and offbeat manner with prize worthy characterizations of lively eclectic people.
It may be a tad too long like the actual spelling out of words (that are not to be believed!)opening segment - loved the audience involvement, though! Nevertheless, the unpredictability in denouement is another plus.

And this cast is a wonder. Under Jeff Maynard's fast-paced direction, Daniel Tatar as 'Magic Foot" Barfee, Cassie Silva as Schwartzandgrubenierre (this lady totally immerses herself into the character), Shanon Mari Mills as Olive, Brett Ryback as Coneybear, Lana McKissack as Marcy Park and Tom Zohar as Tolentino make an unforgettable team. Laura Griffith as MC Rona Peretti sings beautifully and Jason Graae as Vice Principal Panch shakes it all up with his hilariously deadpan 'word.used.in.a.sentence' readings and overly energetic dancing. Melvin Abston completes the terrif ensemble as Mitch Mahoney whose juice and hug sure go a long way to make an unpleasant exit smooth.

William Finn's music is up and pleasing with "The I Love You Song" the most memorably lilting and meaningful. David O's musical direction and DJ Grey's choreography are top-notch.

We can all relate to at least one of these kids in their awkward moments of competition, and if not, well, at least we can laugh...aplenty!

4 out of 5 stars

review - A Prayer for My Daughter

CRITIC'S PICK
A Prayer for My Daughter
by Thomas Babe
Crown City Theatre
directed by Albert Alarr
through March 6

In 1978, Thomas Babe's A Prayer for My Daughter impacted audiences who were living through the post-Vietnam syndrome. Casual use of drugs, crime and police brutality were rampant. We were in a state of moral decay. In retrospect, it has all gotten progressively worse. So, the intense drama is like holding a mirror up to nature as it'were in 2010, and Crown City Theatre has a surefire audience grabber.

Director Alarr has wisely staged the play against the right wall, with audience seats in the three-quarter, as the intensity in a New York police precinct office gets fiercely stronger and stronger as the action progresses. Being almost on top of it, I felt every blow all the more.

The 4 actors deliver astoundingly raw performances. Matthew J. Williamson has never been better as junkie, homophobic Det. Jack Delasante. In and out of violent mood swings, Williamson brings delicious humor to his quieter moments as he gloats over Norman Mailer's Prisoner of Sex. This male chauvinistic pig is a piece of work and Williamson holds nothing back. Gary Lamb is marvelous as sleazy Simon Cohn, the gay conman accused of murder. Lamb creates a complex three-dimensional character whose affectingly human stories of loving a Vietnam soldier make one question his lack of morality. Matthew Thompson is equally riveting as junkie Jimmy Rosehips who will carry off just about anything in playing the game to get what he wants. Young, but hardly innocent, Jimmy has sadly seen and done it all. Thompson is perplexing as he conveys the wonder of witnessing his child being born. These so-called criminals convey a sensibility so lacking in the authority at hand. Speaking of whom, then there's alcoholic Det. Francis Kelly who would rather verbally abuse these convicts than attend to an ailing suicidal daughter that he fails 'to understand'. Kevin Brief is terrifc as failure Kelly. How many fathers can relate to this asshole!

Delasante derisively sings "You Are My Sunshine" at various points throughout the play, and that song along with a token prayer at play's end cast a heavy cloud over our continually failing sense of duty to our fellow man and even worse to ourselves. We tend to take it all for granted, so Babe's prophetic play is a brutally realistic reminder.

5 out of 5 stars

review - Sweeney Todd

CRITIC'S PICK

Sweeney Todd

book by Hugh Wheeler; music & lyrics by Stephen Sondheim

directed by Calvin Remsberg

Musical Theatre West (MTW) @ The Carpenter Performing Arts Center, Long Beach

through February 14

Hard to believe, but Sweeney Todd first bowed on Broadway in late 1979 and I was in New York to witness the brilliant achievement of Sondheim, Angela Lansbury and Len Cariou and the entire creative team. MTW is presenting the masterwork for the first time and to celebrate its 30th anniversary. They may rightfully be exceedingly proud of this production, as it replicates everything that the original achieved. I rarely use the word 'brilliant', but I must, as I sat mesmerized at Saturday's matinee by every move and every musical beat.

Norman Large as Sweeney, Debbie Prutsman as Mrs. Lovett, Jim Holdridge as Tobey, Michelle Duffy as the Beggar Woman, Dan Callaway as Anthony, Sarah Bermudez as Johanna, Roland Rusinek as Beadle Bamford, Alan M-L Wager as Pirelli, and Richard Gould as Judge Turpin are all superb under Remsberg ingenious direction. The set, costumes and staging look remarkabley like the original, and who can remember it better than Remsberg who played the Beadle in that production.

Bravo, bravo, bravo!

through next Sunday only!

5+ out of 5 stars

review - Souvenir

Brent Schindele and Constance Hauman as Florence Foster Jenkins in Souvenir at the Falcon.

RECOMMENDED
Souvenir
by Stephen Temperley
directed by Gregg W. Brevoort
through February 28

When I first saw Souvenir 3 years ago in Brentwood with its Broadway star Judy Kaye, I marveled at her Tony nominated performance, but did not like the play. I took a look at it again Friday at the Falcon Theatre, enjoyed the performances, but have not changed my mind. The production is first rate, but it leaves me cold and sorrowful about the true meaning of friendship.

Let me explain. Cosme McMoon (Brent Schindele in an engaging performance), accompanist to Florence Foster Jenkins (Constance Hauman - no Judy Kaye, but she carries off the cockeyed - cockeared? - flair convincingly), who thought herself possessing perfect pitch as a singer, became her endearing 'soul mate' over the course of 12 years from 1932-1944. Annually she gave recitals at the Ritz Carlton in New York for friends, but her popularity grew and grew and in 1944 she actually sang at Carnegie Hall in tribute to our returning troops. McMoon stayed with her all this time, and despite misgivings about lying to her, convinced her that she had a rich vocal instrument, when in fact, she could not sing a note. She was a joke. People in the audience would bolt to the exits laughing their heads off at her incompetence. When she first teamed with McMoon she begged him to be brutally honest with her...but he was not. He lied, misled her, deluded her, and even shen she heard the laughter at the Carnegie Hall performance, he convinced her it was not to her derision. Bad fellow, in my book!
I don't care if she had a style like no other, I don't care if she heard something different in her head from what she was capable of producing. She should have been told the truth. I cannot buy into this whole facade.
Audiences today are so into attacking/enshrining contestants on TV's American Idol and do not see how cruel they really are when they help to turn a no-talent into a hit star. They are not laughing with them, but at them. It's disgraceful! Maybe I'm too serious about music, but that's my choice.

Good comedic direction, fine performances!
Today's audiences eat it up.
4 out of 5 stars for production values alone