CABARET review: Lee Lessack - Chanteur @ The Gardenia

American pop music has a plethora of songs with French titles. Take, for example, Rodgers' & Hammerstein's "Dites-moi", and Lerner and Loewe's "C'est moi" from the world of Broadway. And, legendary French pop singers of the past like Chevalier, Piaf, Brel and Aznavour are almost as well known in the US as Dylan, Presley and Sinatra. So, we should not take for granted the effects of French culture on American music. International singer Lee Lessack concurs as he presents an outstanding cabaret of mixed French and American tunes with a French flavor called Chanteur, vibrantly conceived by director Brian Lane Green.

Lessack's towering presence and gentle charisma with his audience are strong and his interpretation of the material intense especially with the music of Jacques Brel and Charles Aznavour. He really has a good ear for these classics, digging deeply into the emotions and playing out the quick dramatic twists and turns to the utmost effect. He manifests an uncanny mastery of Brel's "In the Port of Amsterdam" and "Madeleine" and Aznavour's "She" and "The Sound of Your Name". "Yesterday When I Was Young", also made famous by Aznavour, is a song that was popular worldwide before Paul Anka penned a similar tune for Frank Sinatra, his signature hit "My Way". Mais oui, French composers lent a lot of la vie and l'amour to the American music scene. "L'Importante C'est La Rose" by Gilbert Becaud, who also penned "What Now My Love", echoes further the French influence. Also highlighted in the hour-long set is the remarkable Michel Legrand. Lessack goes to the very heart and soul of "Pieces of Dreams", the haunting "Windmills of Your Mind", and fiercely romantic "I Will Wait for You".

Other dependable favorites include "C'est Si Bon", "Autumn Leaves" by Johnny Mercer and Jacques Prevert and Chevalier's "Thank Heaven for Little Girls" from Lerner and Loewe's Gigi. Lessack's loving encore "Song of Bernadette" by American composers Leonard Cohen, Jenifer Warnes and Bill Elliott richly conveys the undying beliefs of the young French saint in 1858 Lourdes, making universal her hope for the redemption of mankind.

John Randall serves wonderfully as musical director throughout the evening.

Chanteur adds greater dimension to Lee Lessack's already vast musical repertoire, putting him within la creme de la creme of pop musical artists. His rich vocal style and understated charm make his concerts a sell out wherever he goes. This new and exciting French program should delight Parisiens.

London:
May 14 and 15th at 8:30pm
Pizza on the Park
11-13 Knightsbridge, London
Reservations: 0845 6027 017

Lille:
May 16 at 5:00pm
Auditorium a Ronchin
3 bie rue Lavoisier 59790 Ronchin
Reservation: 03 20 53 80 29

Paris:
May 17 at 9:45pm
Le Sentier des halles
50, rue d"Aboukir, paris
Reservations: 0892 68 36 22

new website for Tonys

The Tony nominations will be announced Tuesday May 4 and the awards handed out on June 13.
Check out the new and improved website:
http://www.tonyawards.com/

Bobby Bennett a Singer's Singer

This young man's as vocally reliable as Mel Torme, Bobby Short or Michael Feinstein. He's one singer you'll want to listen to - again and again!

CABARET review - Bobby Bennett @ Sterling's Upstairs @ Vitello's

On Sunday evening April 25 Bobby Bennett brought his inimitable sounds of A Night of Love to Sterling's Upstairs @ Vitello's. This was his cabaret debut here, although he competed in this past season's LA's Next Great Stage Star 2010. A former finalist on American Idol, Bobby Bennett is so vocally smooth and possesses an easy listening style that makes him the perfect pop recording artist. He infuses his audience, in his very own special way, with a desire to really listen to his music. So, I am naming him the Michael Feinstein of the coming decade.
Bennett kept his Night of Love about relationships on course through song and provided little banter in between. But when he did, it was with a boyish glow and warmhearted humor about his family in Colorado and his varied theatrical tastes. Superb musicianship was enjoyed throughout from musical director James Lent. Highlights included: the giddiness of falling head over heels with "Hold Me, Thrill Me" to the ultimate certainty of Michel LeGrand's "What Are You Doing?', a stunning "Something's Coming" from West Side Story, a delightful Burt Bacharach medley to conincide with the opening on Broadway of the revival of Promises, Promises: "Look of Love", "Alfie" (his favorite since 8 years of age), "Walk On By" and the beautiful "A House Is Not a Home", which as Bennett pointed out symbolizes to perfection the 'I miss you!' that people find so hard to say to one another. This tune, by the way, was just added to the score of the new Promises, Promises. Also on tap was a Nat King Cole trademark "Nature Boy", so right for Bennett's silky chords, from The Music Man "Till There Was You" and a heartfelt finale filled with love and goodwill for his entire audience, "That's All". He encored with what he named his theme song, Sondheim's rousing anthem "Being Alive".
What a terrific debut @ Sterling's for Bobby Bennett! Music agents, note well! It's one thing to move an audience in an intimate space, but not all artists have the qualities that translate equally well to record; Bennett does. The next time you see him perform, close your eyes and his lilting tones will transport you to wherever you want to be.

review - The 39 Steps

CRITIC'S PICK
Alfred Hitchcock's

The 39 Steps

adapted by Patrick Barlow

based on the book by John Buchan

& on an original concept by Simon Corble and Nobby Dimon

directed by Maria Aitken

Ahmanson Theatre

through May 16

Hitchcock is known as the Master of Suspense. This creative team have taken a suspenseful Hitchcock film (1935) and gone a giant step further to fashion a thoroughly entertaining, high comedy cinematic suspense yarn for the stage.

Ted Deasy plays Richard Hannay whose adventure starts out quite simply with a visit to a music hall in London. There things get a bit tense as he meets a peculiar brunette named Annabella Schmidt (Claire Brownell) who shoots off a gun in the theatre and then proceeds to go home with Hannay for protection, as she is being followed by two shady characters who want her dead because she knows too much about The 39 Steps. More about that later. The 2 shady characters (Eric Hissom and Scott Parkinson) play about two dozen characters between them and Brownell plays two other roles besides Schmidt - a Scottish country wife named Pamela and a blonde femme fatale named Margaret who also has eyes for Hannay. He doesn't have to worry very long about Schmidt, as she is killed off close to the top. Slapstick, visual jokes and special effects all add up to a fabulous evening of edge-of-your-seat fun.

The four incredible actors possess impeccable timing. As they mime chases aboard trains, inside and out, through water, against fierce winds and dodging low flying planes, the adventure is nonstop. Just watching one of them pretend to escape through a window is an hilariously novel experience. Plus there is music, visuals and one-liners alluding to just about every Alfred Hitchcock film imaginable, including Psycho, Vertigo, North by NorthWest, Rear Window, The Birds, Strangers on a Train, Torn Curtain and The Man Who Knew Too Much. In the background Bernard Herrman's famous scores from Psycho and Vertigo are heard at death defying moments. The sheer theatricality of this piece makes it an homage not only to Hitchcock movies but also to the theatre itself. The audience watch in awe director Aitken's pacing and the four actors who work at breakneck speed.

Good show!

Oh, I almost forgot... what are The 39 Steps? Well, you're just going to have to see the show to learn the answer to that!

5 out of 5 stars

Bengal Tiger at the Baghdad Zoo

@ Mark Taper Forum - directed by Moises Kaufman.
Opens April 25!

Carol Burnett's Second Installment of her Autobiography

A favorite! Can't wait to read her take on the career years! One More Time (1986) was such a great read - and the lady wrote both books herself without a ghost writer or any assistance! She acts, she writes, what's next, Miss Carol?! Please mount Hollywood Arms in Los Angeles - maybe at the Carrie Hamilton Theatre in Pasadena? Seems like the perfect venue!
We're waiting patiently!

review - Nightmare Alley

Nightmare Alley

book, music & lyrics by Jonathan Brielle

based on the William Lindsay Gresham novel of the same name

directed by Gilbert Cates

The Geffen Playhouse

through May 23

Where's the nightmare? Not nearly as dark as it needs to be or musically enticing enough, Nightmare Alley at the Geffen, by its very nature should be diabolically thrilling like a Kander and Ebb musical but it doesn't cut the mustard, even with its exceptional cast including James Barbour, Larry Cedar and Mary Gordon Murray.

There has never been a musical show to my knowledge exploring the 'carni' (carnival) world of Freaks and Geeks. People who work in this atmosphere usually come from unsavory pasts and harbor deep secrets, so they blend right into the world of conning. The unfortunate thing about this book is that we do not find out very much about anyone's past and consequently it is most difficult to sympathize with any of the characters as the storyline progresses. Zeena (Murray), for example, and her husband Pete (Cedar) from the look of the striking banner once had an intriguing act, but we are never allowed entry. What about a flashback? When we meet them, he's a hopeless drunk and she's reduced to reading tarot cards. Pete has an accident, dies, but comes back as a ghost to haunt the man responsible for his death, a loner named Stan Carlisle (Barbour) whose father was supposedly a preacher. Concerning Stan's background, there are also many unanswered questions. He falls for another employee Molly (Sarah Glendenning), works his way out of the carvinal with her in tow and up the ladder into a fake evangelical world full of increasing deceit and betrayal. Although Molly and Stan are lovers, we never really witness them 'falling in love'. If their true love is questionable, how can we be affected by their destinies at play's end? This is but one example of many gaps in the book. Despite Barbour's fierce delivery, conviction and depth, his big numbers in Act II "Nobody Home"/"Surrender" matter less.

Musicwise, Brielle stretches all over the place. "Don't You Love to Watch What People Do?" reminded me somewhat in theme of Kander and Ebb's "Class" from Chicago, but not nearly as bold, cynical , satirical or hummable, for that matter.

The ensemble is first rate. Murray, Cedar and Michael McCarty play multiple roles. Murray's best is the ruthless psychiatrist Dr. Lilith, and Cedar is spot-on in all three especially as the gullible matron Addie Peabody. Barbour has such an engaging bigger-than-life style that this part is a fit. Vocally he slays me every time. He ought to be playing a musical version of Elmer Gantry. Female chorus members Melody Butiu, Anise E. Ritchie, Leslie Stevens, and Alet Taylor all shine.

Cates' staging is continuously fluid and the set by John Arnone colorful and evocative.

Maybe with some reworking, Nightmare Alley will improve. I wanted chills, thrills and spills, to be on the edge of my seat - and with this kind of material, it could happen.

3 out of 5 stars

Actors, take note! New book: Lee Strasberg Notes

Editor/acting teacher Lola Cohen has compiled a priceless book about acting from one of the greatest teachers of our time Lee Strasberg. Strasberg, who advocated Stanislavski and The Method, began his illustrious acting career with the Group Theater and is best remembered for his work on film in The Godfather.

Being an actor, I loved the rich detail of the exercises in this book and was particularly fond of the chapter with Scene Critiques of classic playwrights such as Tennessee Williams, William Inge, David Rabe and Neil Simon, among many others. When an actor prepares to play a role, he must investigate everything about that character in great detail, including physicality and profession. Take Blanche in Streetcar, for example. Blanche was a teacher. Teachers demand a great deal from others; that detail is often overlooked and may help the actor to understand why Blanche always insists on proper behavior from others, at least on the surface.

There are also fascinating perspectives by Strasberg on great actors, starting with Edwin Booth and Sarah Bernhardt and ending with the likes of John Barrymore, Kim Stanley and Patricia Neal.

Ellen Burstyn, who studied with Strasberg at the Actors Studio for over 25 years, says "to read this book is to be inspired and stimulated once again".

Ms Cohen took time from her busy teaching schedule to answer the following questions about The Lee Strasberg Notes:

How was the book compiled? Why has it taken this long?

The selections in the book were culled from transcriptions of 100s of hours of classes and seminars video-taped at the New York and Los Angeles Strasberg Institutes between 1975-82 and represent Lee’s teaching techniques during the final stages in the development of his Method. It is because of my long standing relationship with the Institute and my commitment to Lee's teachings that I was entrusted with the responsibility to create The Lee Strasberg Notes.

What will be the impact of the book on students now and in the future?

Lee’s work and legacy continues to grow at the Institutes in New York and Los Angeles. The book can make a significant difference to the student and teacher by having Lee’s authentic words at their fingertips to refer to. Part one of the book deals with training and exercises. Lee presents his ideas and philosophies in detail and with such clarity. The book can also be considered a manual for actors and directors as well a personal memoir. Part six, Lee Strasberg on Theater, Acting and Actors contains illuminating contemporary and historical anecdotes from world theater and film which Lee used to make points about acting, directing, and the creative process.
Also, in the introduction I state that one of my objectives is to inform students who may not be familiar with the Method and who are trying to choose what type of training to pursue with the information about how the Method works to allow them to make a choice from an informed point of view.
The book also contains 36 scene critiques from very well known plays which will be valuable for all acting and directing students assisting them in choosing scenes for their own education as well as providing Lee's insights into the scenes, the characters and the whole play.

Publisher: Routledge
ISBN: 978-0-415-55156-1 Publication date: March 15, 2010 Pages: 201 Price: $24.95

book review/Interview with Marge Rivingston

Singing coach Marge Rivingston has written Do You Hear What I Hear? a practice guide for the singing student. With over 40 years in the business, she knows a thing or two about how to prepare yourself for the craft and how to preserve the health of your voice. In our talk, she presents an optimism that resonates with those students who have been lucky enough to put her vast knowledge to profitable use.

Q: What is the happiest moment to date as a vocal teacher? What experience lent the most joy?

My happiest moments have been seeing such dramatic results vocally with students who were struggling with their vocal abilities. The most joy I have had was the experience of being the vocal coach on many Broadway Shows during the '80s, and working in London on Pirates of Penzance. I was back and forth to London for almost two years continuing to coach new people into the show.

Q: If you had to pick just one rule or guideline for the singer to remember, what would that be?

Remember to breathe fully and deeply before singing.

Q: Who are your favorite composer and Broadway show, new or classic?

I have loved many Broadway composers but I would say my favorite of all time is Frank Loesser and the shows Guys and Dolls and Most Happy Fella.

Q: What brings you continued happiness, big or small?

My faith makes me happy and my continued teaching. Watching the results of my teaching so that others can reach their full potential vocally. Also, lecturing and doing Master Classes to promote my book.

You've heard the best advice a Master Singing Teacher can give!
____________________________________________________














BOOK REVIEW:
Revered singing teacher to the stars Marge Rivingston has written a new book Do You hear What I Hear? which is a definite must have for those interested in a singing career-or for anyone who just wants to sing better. With a foreward by Bette Midler, a former student, and a CD replete with vocal exercises for both the male and female voice, this is one book which is much much more than just your ordinary autobiography.
First, Marge Rivingston had a fascinating career in New York under Joe Papp @ the Public Theatre long before she started coaching privately. Her students read like a list in Who's Who,
including Midler, Meryl Streep, Robert De Niro, Estelle Parsons, Kaye Ballard, Treat Williams, Faye Dunaway, Sarah Jessica Parker, Andy Gibb, and Lesley Gore to name a few. Not just actors who needed to learn how to sing for a particular role, but real honest-to-goodness singers who wanted to improve their vocal range. As Midler boasts: "You can improve the tone of your voice past all recognition, past what you yourself thought possible, and that is Marge Rivingston's gift."
Rivingston's advice includes health tips for the voice. I particularly enjoyed this section, as step by step it presents all the normal problems singers encounter and then attempts to answer the questions on what to do if...for example, you are subject to excessive hoarseness or lack the proper endurance to sustain the notes of a song. There are also a variety of warm-up exercises to keep the singer (singing student) motivated throughout practice. What a practical and handy reference book for every type of singing enthusiast! I know I'll treasure it.

The Boulevard Closing Night

The cast of THE BLVD did a grande finale performance at the Macha Theatre Sunday April 18. Top photo (l. to r. Miguel Caballero, Lana Luster, Danny De La Paz, Quentin Elias, Joe Garcia and Brad Milne say farewell.)
Bottom photo (stars Joe Garcia as Max/Baby Jane & Lana Luster as Norma flank an appreciative fan.)

CABARET review - Lee Roy Reams

Triple threat Lee Roy Reams performed his cabaret act on Tuesday April 13 at the Inner Circle of the Magic Castle to an SRO crowd. The marvelous Ron Abel served as musical director at the piano. This was a benefit for SEALED WITH A WISH Foundation, Inc, which "enriches the lives of our troops living in combat zones by providing comfort and care items that they would not normally receive".

To say the least, Reams' set was dazzling, as he told his life story starting as a boy in Covington, Kentucky with tap and ballet classes, moving onto Ohio for college and then to the Great White Way where he instantly found success as a dancer in such classic musicals as Sweet Charity, Lorelei, Hello Dolly, Applause and 42nd Street, to name a few. There were Las Vegas engagements with Juliet Prowse and TV with Danny Kaye, Carol Burnett and the Ernie Flatt Dancers, but for Reams Broadway was the thing and he made it there, captivating with his very own flamboyant humor. He had to fight for some roles, but got them. The man simply oozes charisma, and not only sang beautifully but danced along with most of the songs.

Highlights of the 90 minute set included: "Lullaby of Broadway", "Real Live Girl", tributing Prowse, medleys from Sweet Charity with Gwen Verdon's dramatic solo "Where Am I Going?" a thrilling standout, Dolly with a light but substantially rich song cut from the original show "Penny in My Pocket" and a comical tribute to how "Dolly has been used and abused" through the years with singing impressions of its stars including Carol Channing, Pearl Baily, Ethel Merman and the man himself, Louis Armstrong. The medley from 42nd. Street was particularly touching as Reams put in "I Only Have Eyes For You" as a loving homage to Ruby Keeler the film's original star, whom he befriended during his New York run of the show. She remained close until her death. The finale was upbeat and patriotic in keeping with the mission of SEALED WITH A WISH to bring the troops home, a George M. Cohan medley: "Grand Old Flag", "Over There", and "Yankee Doodle Dandy". And, oh, those delicious backstage stories throughout about Prowse, David Merrick, Gower Champion, Carole Cook (seated at a table front and center), far too many to mention here, but sheer heaven!

Lee Roy Reams is a treasure. As if performing in his parlor, he welcomed us in magnanimously with enough charm to launch a ship. What a uniquely entertaining evening! How many other big names give so much of themselves to their public and honestly, without concealing their true identity? I was first blown away by his performances a few years back of "La Cage Aux Folles" and as Roger De Bris in The Producers, so my only comment to him afterwards was, "Where was the boa?" His response? "I could have used one tonight!"Actually folks, he's an immensely talented bundle of joy without it!

lee roy reams - what a showman!

lee roy reams is one dazzling cabaret performer. His backstage stories alone make the evening worthwhile, dahling!

Kres Mersky Plays Einstein's Secretary

Kres Mersky gives a compelling performance Saturday April 10 @ Theatre West.
review below!

review - The Life and Times of A. Einstein

CRITIC'S PICK
The Life and Times of A. Einstein
one act play written and performed by Kres Mersky
directed by Paul Gersten
Theatre West
through May 16

It is no small feat to recreate a genius and even more challenging to fashion the man's personal assistant, the woman who ran his life, especially when so little is known about her. Nonetheless, Kres Mersky has achieved a comedic & dramatic tour de force with her solo play The Life and Times of A. Einstein.

Alone to fend off the press, Ellen Schoenhammer, a German Jewish woman who is loyal to a fault and definitely a no nonsense task master, manages quite well to entertain while she excuses Professor Einstein's tardiness from his prior symposiums.

As a writer, Mersky makes the secretary's statements terribly funny, and as an actress conveys them with a sparkling caustic wit. She warns members of the press not to ask him to explain that (of course, referring to his Theory of Relativity), and then matter of factly concludes: "He'll tell you anyway!" She denies understanding much of it and then offers a layman's view that is at once understatedly sensible and undeniably amusing.

There are three conferences, covering a period of over twenty years in the life of this woman. Einstein, of course, is only present in spirit. The last, in 1955, is the most poignant, as Schoenhammer announces Einstein's passing. She never has to tell us about how rewarding her life has been. It shows in her every gesture, facial expression and the manner in which she simply talks about her boss - his face, his big toes (barefoot in sandals), his handling of her when she challenges his theory of light: "Ellen, you need a vacation!" and his insecurity with his inconclusive United Field Theory: "Am I a fool?" We come to know Einstein through Ellen's bright gleaming eyes and intense adoration.

Mersky's performance, under Paul Gersten's perfectly paced direction, simply glows with warmth and sincerity, laced with an abundance of charm ...and love. She makes us see how much this sturdy woman loved her job - and the man himself. "Not the Lord, but he may be the closest thing to it!"

You need not have a passion for science or even Einstein, but if you want to witness how one human being can be thoroughly devoted to another, then you do not want to miss The Life and Times of A. Einstein or Kres Mersky's outstandingly meticulous performance.

5 out of 5 stars

Runs in rep with Acting The First Six Lessons. Saturdays at 8pm and Sundays at 7pm @ Theatre West, through May 16.

review - ACTING The First Six Lessons

CRITIC'S PICK
Acting The First Six Lessons
one act play by Beau & Emily Bridges
based on Richard Boleslavsky's classic book
directed by Charlie Mount
Theatre West
through May 16

Acting The First Six Lessons gifts to theatregoers a rare opportunity to see a famous actor/father and budding star actress/daughter live onstage together. The illustrious Beau Bridges and daughter Emily have spent the better part of two years piecing together a soulful story about acting and living through the activities of Richard Boleslavsky's book. The resultant work of art @ Theatre West is a beautifully written and acted gem for the theatre community and world at large.

Under Charlie Mount's loving direction The Bridges create a very intimate story of a teacher and student of acting, circa 1933, and trace the development of their relationship over five years. We see the student (Emily Bridges) blossom under the tutelage of the master teacher (Beau Bridges), from her floundering and insecure initial audition, to an actress of consummate poise and stature as she follows her teacher's insistence on Boleslavsky's six steps: concentration, memory of emotions (sense memory), dramatic action, characterization, observation and rhythm. The scenes involving each are richly evocative of daily living. Take, for example, the student's aunt who visits the teacher's studio for tea to check on her niece's progress. Ms Bridges creates a stuffy, pompous character who can gossip in minute detail about the atrocities of other ladies' apparel. The teacher, pulling her into his world via a little game, tells her that an actor can make the very same observations...but silently. He proceeds to replicate every movement of her pouring a cup of tea for him without saying a word and challenges her to do the same. This is but one instance of an absolutely delicious humor conveyed throughout the 90 minutes. Actors will relish the subtleties from moment to moment, but even those outside the profession will delight in their candor. Life's lessons from which everyone may glean at least
a particle of truth!

Beau Bridges is at the top of his form, like a wise prophet who has been cautiously taught. Emily is so captivating at every turn. It is simply beautiful to watch her grow into Ophelia after being given some simple directions on how to change her character's movements and intentions.

Both actors listen intently to one another, challenge each another and over the course of the brief time that we see them, solidify an intensely bonded relationship....kind of like a father and daughter, which is what we have in real life. Art imitates life, and life imitates art. The two become lovingly intertwined.
A very stimulating and uniquely entertaining evening of theatre not to be missed!
5 out of 5 stars




Runs in rep with The Life and Times of A. Einstein Fridays at 8pm and Sunday matinees at 2pm @ Theatre West through May 16.

review - PS Follies - Let the Good Times Roll with Supreme Mary Wilson

A Supreme lady (above) joins an equally supreme show through May.

That's right, Mary Wilson is the guest star with the current Palm Springs Follies show Let the Good Times Roll through May 16. At 66 this lady is beautiful and has as much dynamic energy as she did when she performed with The Supremes in the 60s , so she fits right into the Follies. All these folks look and act like they are at least 20-30 years younger - take Dorothy Kloss, the oldest living showgirl according to the Guinness Book of World Records. At 86 she has gorgeous legs like Juliet Prowse and can still tap dance at electric speed.

At this visit to the Follies I paid particular attention to detail and reveled at how director Riff Markowitz constantly changes and tweaks a liitle here, a little there to create a perfect scenario. This is one perfectionist whose work pays off. Loved the new mambo number at the end of Act I, thanks to choreographer extraordinaire Joan Palethorpe. "That Old Black Magic" has never sounded and looked quite this good.

Ventriloquist Brad Cummings and Rex continue to enthrall with their unique comic revelry ...and now... just a few glowing comments about Mary Wilson. She's amazing and blew us away with Supremes' hits including "Love Child", "My World Is Empty Without You", "You Can't Hurry Love" and "Stop! In the Name of Love". And her heartfelt rendering of "I'm Changing" from Dreamgirls was offered as a tribute to fellow Supreme Florence Ballard who passed away much too early in 1976. She also offers lightning charged renditions 0f "Satisfaction" and "Brown Sugar" 9 shows a week. Some hard-working diva!

It's time to pay tribute, since I have the space, to all of the Follies and the Gentelemen who dance their hearts out and give us so much of themselves in every single show. Here they are folks, God bless them one and all:

Natascha Ahlborn, Wayne Albritton, Judy Bell, Hank Brunjes, Leila Burgess, Leonard Crofoot, Randy Doney, Dick France, Jill Gordon, Glenda Guilfoyle, Marcia Harp, John Kendrick, Dorothy Kloss, Jani Naber, Jill Owens, and Suzanne Vitale.

Can't wait until next season - the 20th Spectacular Anniversary Season with guest stars: The Crystals / Lesley Gore / The Four Preps

Until next season!

review - The Psychic

CRITIC'S PICK
The Psychic, a Murder Mystery ^of Sorts
written by Sam Bobrick
Falcon Theatre
directed by Susan Morgenstern
through April 18

In Lenny's Back, a vibrant one-person play about the late controversial comic Lenny Bruce, Sam Bobrick and wife Julie Stein penned an unpredictably exhilarating look at a man that for many fans was the king of comedy. In Bobrick's latest comedy The Psychic, he does not choose anyone famous; on the contrary, he creates a fictitious struggling writer and five ordinary people with quite extraordinary ambitions and goals. Bigger than life, not unlike cartoons, the sextet create one unforgettably entertaining evening of theatre at the Falcon.
Adam Webster (Jeffrey Cannata) is a psychic, or is he? Well, at least that's what the sign in his basement apartment window says. Look closer! He's a mystery writer moonlighting to make a few bucks, but who, with the best of luck, in his very first attempt, encounters a bevy of richly eclectic folks that one by one help him create the perfect mystery novel. A writer's dream! There's a beautiful wife (compelling Dana Green), a cheating husband (mysterious Cyrus Alexander), a frisky, feisty mistress (delicious Bridget Flanery), a comicbook mobster or self-described gangster cliche of the 40s (devilishly hilarious Richard Horvitz) and an earnest detective, who just happens to have a penchant for romantic stories (ever resilient Phil Proctor). Each enters Webster's abode with a specific recomendation on improving the comfort of the cheap dingy basement decor (appropriate set design by Jeff McLaughlin), the funniest being -"Add a skylight!" The retort? "This is a basement, not an attic!"
This is definitely Neil Simon, Woody Allen fare, like a contemporary Bullets Over Broadway that pokes fun at the mystery writing genre and gets a lot of mileage from allusions to crime films with multiple suspects, descriptions of thrilling car chases, death defying escapes and the gruesome discovery of an ungodly number of dead bodies in car trunks. At the heart, of course, there's romance; in fact, a couple that seem doomed to failure even before they begin. But, never doubt the power of the pen!
Morgenstern achieves just the right pacing throughout and judiciously allows her actors free reign to proceed with the utmost flair.
The Psychic is a laugh-filled unexpectedly entertaining ride that gratifies copiously from moment to moment. A definite must see with an electrically charged cast!
5 out of 5 stars

review - Playing Jordan Goldman

Playing Jordan Goldman
by David and Andy Neiman
Theatre Theater
directed by Cynthia Levin
through April 23 (Thursdays and Fridays only @ 8pm)

It is difficult not to be engaged in a well-written comedy with Jewish humor. Take Woody Allen's many plays or, for example, Jewtopia, which was such a gigantic hit a few years ago. Jewish people are not afraid to admit who they are and are the first to poke fun at their own family traditions and religious practices.
The Neiman brothers' piece Playing Jordan Goldman is labeled The New Jewish Comedy - and it does have an abundant amount of humor about how a Jewish young man takes advantage of his religion to make money - and how the corporate world of TV will make mega bucks at the expense of the millions of Jews who celebrate a Bar Mitzvah. Despite the socially relevant comedic statement, the play misses the boat for two major reasons.
First of all, when we meet Jordan Goldman, age 30, he is taking no responsibility for his life and that alone makes it difficult for an audience to like him. No wonder his girlfriend kicks him out and that he is constantly at odds with his sister. What a schmuck! And then when he tries to make money off a Bar Mitzvah, that he doesn't really take to heart, should we condone him? We expect that eventually he will see the light and change for the better, and when he finally befriends a rabbi, who tries to set him on an insightfully humane path, can we honestly feel sorry for him in those moments when he doesn't know how to cope? For me, it's an impossible task. I can accept an alcoholic or a drug addict, who have been overpowered by weakness or someone unduly victimized or abused by negativity, but someone who has just passed away the time composing music and living off of others without pulling his own weight?
No, no, no!!!!!!!!!!!
Secondly, when he finally does have a transiton to manhood, befriends his ex-girlfriend's nephew - a sweet kid who went through stomach stapling and gained all the weight back -and realizes that there are others more deserving of the money than himself, it seems all too predictable. Where's the shock, the element of surprise that made his salvation possible? Is an instilling of the biblical doctrine enough? Maybe have Jordan fall in love with the rabbi. Something peculiar and unexpected that will bring him closer to his own sense of truth and identity and at the same time engage the audience more. Right now the discovery comes directly from the rabbi's religious indoctrination, and as such, this makes the story plod along instead of soar.
Within this presentation that is definitely more suitable to the screen than to the stage, there are some wonderful character performances. Paul Stroili is drop dead funny in two roles, especially as the corporate exec who has learned in later life about his own Jewish heritage. Joseph George Makdisi is thoroughly genuine as Jordan's gay pal Matt. Christopher Meehan is terrific in a variety of roles, and Lynn Freedman is precious as Jordan's sister Emily. Director Levin is a hoot as a Long Island Woman at an early Bar Mitzvah. I would like to see more of her onstage! Pier Fiedorowicz makes a cute and loveable Mikey Rosenthal. Andy Neiman fits the bill of rabbi Jim to a tee and David Neiman does his best to convince us of his sincerity throughout his inner turmoil.
The small film within the play presenting the TV commerical for Jordan's Bar Mitzvah sponsored by Gillette is quite delightful.
In its current state, Playing Jordan Goldman will not be more than a passable movie. Creators, think of Benjamin in The Graduate and Harold in Harold and Maude and how each found his self-worth. In each of these entertainments there's an element of shock that takes us by surprise, jolts us and makes us think.
3 out of 5 stars