Walk Opening Night

(top from left to right: Fox Carney, DG,
Dick Woody and Larry Eisenberg)
(bottom: a great actor F Murray Abraham, Oscar winner for Amadeus, on hand to see the play)

review of A Walk in the Woods @ Group rep below!

Cloris & Mel on the Red Carpet

Creator Mel Brooks and actress Cloris Leachman (the first Frau Blucher) enjoy a laugh on the red carpet @ the opening of Young Frankenstein @ the Pantages. Through August 8 only!

review below!

review - Robin and the 7 Hoods

CRITIC'S PICK

Robin and the 7 Hoods

book by Rupert Holmes; lyrics by Sammy Cahn & music by Jimmy Van Heusen

directed & choreo-graphed by Casey Nicholaw

Old Globe Theatre, San Diego

through Augsut 29

- - - - - - - - - - - -
Based on the rat pack film of the 60s of the same title with Frank Sinatra, Dean Martin, Sammy Davis, Jr. and Peter Lawford, Robin and the 7 Hoods is now a classy, sassy, jazzy musical, set in the early 60s... with all the glorious old standards by Cahn and Van Heusen, and helmed by the ingenious Casey Nicholaw, whose staging and choreography send it soaring. There is something to please everyone: an engagingly upbeat gangster storyline, that includes not one but two love scenarios, the aforementioned sensational music and dance, and a fabulous dream cast that infuse the whole proceedings with a winning team spirit.

It's the story of how crime bosses controlled and ran Chicago - including the police - and how one woman and one hood fought back and even managed to do a little economic good for mankind along the way. Remember Robin Hood and his merry handouts? You can't take it too seriously, though; it's tongue-in-cheek like the religion in Guys and Dolls. You can pray a bit but just experiment, leaving plenty of room to laugh and enjoy what you see, as if you were at a refreshing summer flick. Gangster themed Guys and Dolls and Robin and the 7 Hoods are both high on the entertainment scale. Whereas G & D has a cartoonish comic strip texture, Hoods is more grounded but, as with film noir, add in lots of stylish gloss. Nothing short of mesmerizing is the toe tapping in "Walkin' Happy", and other pulsating production numbers take off like "The Tender Trap", "Come Blow Your Horn" and "Ring-a-Ding Ding". Great tunes that were simply made to dance to!

Heading the snappy ensemble is Eric Schneider as Robbo Ortona, a little dynamo with a gigantic sex appeal. Filling the shoes of sidekick Little John Dante is magnetic Will Chase. Both make a super pleasing duo that can joke, sing and dance with gusto. Kelly Sullivan is the beautiful and feisty heroine, TV reporter Marian Archer who falls head over heels in love with Robbo ("All the Way") and Amy Spanger is Alana O'Dell, Little John's gal, who calls to mind the gutsiness of Miss Adelaide from Guys and Dolls: sexy, brassy with a great set of pipes. Rick Holmes makes a rather dashing villain as P. J. Sullivan and Adam Heller is scene-stealingly infectious as Inspector Nottingham ( "High Hopes"). Jeffrey Schecter shines as hood Willie Scarlatti in "Walkin' Happy". The entire ensemble simply dazzle.

Set by Robert Brill with its wide open quality, multiple levels and sliding panels is cinematic and works quite effectively to replicate the big city night life of that decade and Gregg Barnes' costumes are colorful and period attractive.

Make no mistake about it, this show has Casey Nicholaw written all over it. It sparkles, crackles and razzle dazzles from top to bottom thanks to his endearing genius. It should have legs and be an enormous hit wherever it sets up shop.

5 out of 5 stars

review - A Walk in the Woods

CRITIC'S PICK
A Walk in the Woods
by Lee Blessing
directed by Richard Alan Woody
Group rep
through September 5/
in tandem with a second production
A String of Pearls*

(left to right: Fox Carney/ Larry Eisen-berg)

A Walk in the Woods by Lee Blessing is an intelligently conceived and tightly-drawn two character play, currently being revived in a spellbinding production @ Group rep in NoHo.

At first glance, this Walk is a heavily dramatic discussion between a savvy Russian diplomat Andrey (Larry Eisenberg) and a novice, yet sharp American negotiator John (Fox Carney), who meet in Switzerland to develop a treaty for nuclear disarmament. Seemingly heavy drama! However, as the piece progresses, during the course of their walk in the woods - to break the monotony of the indoor table talks - the beauty of the outdoors, the clean air, and the less stressful ambiance lead toward an unexpected alliance between the two men. A sort of friendship develops, as it were, that, as in life, plays out in gamelike fashion with a conflicting mix of ups and downs. No room for boredom here, as a fair amount of levity ensues.

John and Andrey are as different and complex as The Odd Couple's Felix Unger and Oscar Madison. John is obsessive-compulsive, a serious, nose-to-the-grindstone, less experienced, but optimistic guy whereas Andrey is much more loose and frivolous and definitely saturated with the work - which has left him cynical, with little hope for the future. In time the two grow more like each other; sadly, though, in a negative way, for nothing gets accomplished. As in life, there's a high probability that nothing ever will. Powerful governments equate power with arms, and so the tiny reductions that are made are never enough to bring a lasting peace. Along the way the lighter moments add much to the enjoyment of Walk as Andrey tries arduously to get John to lighten up the tiniest bit; the dialogue is fresh, humanly funny and thoroughly engaging.

Under Richard Woody's even and smooth direction, both Eisenberg and Carney are super. Eisenberg brings his character inward and completely enjoys himself. He wears the Russian skin as if it were his own. John Honeyman is the perfect fit for Carney. His outward appearance of a workaholic, corporate executive and his inner persistent, unyielding sense of never give up ideally serve the play.

This is a rivetingly topical evening of theatre, astutely written, acted and directed.

5 out of 5 stars

*Plays Fridays at 8 pm and Saturdays at 4 pm, while String of Pearls plays Saurdays at 8 pm and Sundays at 2 pm

Dr. Frankenstein and His Monster

Roger Bart (top) and Shuler Hensley say hi after the opening LA performance.

review below!

review - Young Frankenstein

CRITIC'S PICK

Young Frankenstein
book by Mel Brooks & Thomas Meehan
music & lyrics by Mel Brooks
directed & choreographed by Susan Stroman
Pantages Theatre
through August 8

I revert to childhood when I see a Mel Brooks movie or show. The sillier the better: the sight gags, the double entendres, the more the merrier. The New Mel Brooks Musical, Young Frankenstein is a real rip-roaring hoot of a show from start to finish with a great cast and zippy fast-paced direction from Susan Stroman.

When the show played New York, it fared poorly with critics and many audiences claimed emphatically that it just wasn't worth it, so not to waste your money and time. If that production was as good as this road show, the claims seem extreme, unfounded and audiences just do not appreciate the sense of humor that the piece puts out. If you like Brooks' zany, campy over-the-top, fantastical satire, you can't help but love it. All the famous lines from the film are intact, and the songs add extra flair. Of course, the film version is incomparable. No one can replace Gene Wilder, Madeline Kahn, Teri Garr, Cloris Leachman and Marty Feldman. They all gave superb performances for the camera. Leachman's Ovaltine scene is so memorable because of the subtle things she did with her eyes and voice. On stage, the performance must be bigger and broader. Wilder had a unique delivery that relied on a look with his eyes, as did Marty Feldman... one smile with those bulging Feldman eyes was enough to make anyone fall off his seat. However, the stage show has to be even wilder and grander in scope and has its own set of pluses to delight.

Take for example the phenomenal cast. Roger Bart makes Frederick Frankenstein totally his own with his soft-spoken, almost whispery deadpan delivery. Cory English is a physical miracle as Igor and Shuler Hensley makes the Monster an agile and loveable piece of work. Brad Oscar as Inspector Kemp/Hermit is another remarkable actor whose versatility shines. His “Please Send Me Someone” as the lonely hermit is deadon believable and hilarious. All the ladies make the female characters distinct. Anne Horak is a delight as Inga, luscious and vulnerably winning, Beth Curry may be a bit detached as Elizabeth but she most definitely creates a woman unlike other Elizabeths thus far. Joanna Glushak is simply great as Frau Blucher. Her over-the-top diva is the typical Brooksian woman, full of sexual mischief - a real spitfire. Her “He Vas My Boyfriend”has enough energy to ignite a forest fire. The entire ensemble work magic under Stroman's amazing choreography, especially noted in "Puttin' On the Ritz", "Join the Family Business" and "Transylvania Mania".

Endless praise as well to Robin Wagner for a dynamite scenic design, to William Ivey Long for fine period costumes, to Peter Kaczorowski for some terrific lighting effects and to Jonathan Deans for sound design. An appropriate set is so vital to the success of this kind of show. The laboratory with its gadgets and operating table, the castle exterior, the scary woods, the quaint old streets of Transylvania Heights – it’s all here, except the castle staircase, thanks to Wagner’s genius.

Brooks’ music , like his songs for The Producers, are tuneful and upbeat. They titillate while we’re listening, even if we do not hum them the next day. His strongest suit is his book. I like how he gives Frau Blucher more involvement with the other characters throughout, and the edge-of-your-seat finale at the gallows and the presence of yet another famous Transylvanian, who will remain nameless.

"Woof! He's going to be very popular." sort of sums up the whole proceedings. Despite the early mixed notices, Young Frankenstein has sold out houses cross country. This is a giant, crowd-pleasing show that will tickle your funny bone, or at least make you smile about every five seconds.

5 out of 5 stars

Double Treat

Since Michele Lee had

devel-

oped laryn-

gitis,

Linda Purl

stepped in to do two sets

in Lee's Catch the Light engagement @ the California International Theatre Festival @ Founder's Hall in Calabasas Saturday July 24. Despite some minor vocal adjust-

ments Lee was just great - a real trouper - and Purl proved a stunning second act. After Purl's first set, Lee came back and screamed "Get off the stage!" and stared her off in typical diva fashion. All in fun! It was a wonderful evening, filled with surprises.

review - Cinderella

CRITIC'S PICK

Cinderella

music by Richard Rodgers;

book & lyrics by

Oscar Hammer-

stein II

Cabrillo Music Theatre

@ Thousand Oaks Civic Arts Plaza

directed by Lewis Wilkenfeld

through August 1 only

- - - - - - - - - - - -

Once upon a time...Rodgers and Hammerstein took a simple fairytale and made it into a captivating musical. Cabrillo Music Theatre's lovely production of their now classic Cinderella has all the right ingredients to enthrall audiences of all ages that can truthfully answer the question "Do You Love Me Because I'm Beautiful?" with a resounding YES!

- - - - - - - - - -

Lewis Wilkenfeld has accomplished some great staging and skillfully guides a charmed cast. Melissa Mitchell is just right as Cinderella, playing it straight out with no frills. Handsome Derek Klena makes a very down-to-earth Prince, and like Mitchell, plays for real without an ounce of exaggeration. Both actors sing exquisitely. The over-the-top comedy in this show is reserved for the supporting characters, who do it sublimely. Sally Struthers as the Fairy Godmother can make any scene or moment funny. With a simple facial gesture, a vocal sound, a quick little jig or movement of a pillow, she's dead-on hilarious. The very funny Marcia Wallace graciously underplays the Stepmother, allowing Dana Shaw as Joy and Ann Myers as Portia to lap up most of the attention as the delightfully and unrelentingly obnoxious stepsisters. Norman Large makes the most of his comedic skill in his brief moments as the befuddled King and Christina Saffran Ashford sings scrumptiously as the Queen. The 40 plus member ensemble including kids do a terrific job under the direction of Wilkenfeld and with Heather Castillo's fine choreography.

- - - - - - - - - -

Sets & costumes (uncredited), lighting design by Jean-Yves Tessier and special effects by Adam Bezark are all wondrously executed. Steven Smith serves vibrantly as musical director.

- - - - - - - - - -

This is a delicious Cinderella for kids 5-100, a royal dessert to partake of abundantly again and again. It proves joyously that nothing is ever "Impossible"!

5 out of 5 stars

Cinderella's Prince and Fairy Godmother

Derek Klena as the Prince and

Sally Stru-

thers as the Fairy God-mother in Cabrillo's

Cinder-

ella

greet their public

on opening night.

review above!

review - BEYOND

RECOMMENDED

Beyond

conceived & directed by Aurelien Roulin

El Portal Mainstage

through August 1

Described as a mix of Cirque and French cabaret, Beyond has music -songs and a lot of dance, aerial acts, a contortionist, beautiful girls, well-toned handsome boys and many added surprises to please the senses. Conceived by Aurelien Roulin as an international type of variety cabaret, its prime goal is to entertain - and that it does quite copiously.

Dressed in gorgeously colorful authentic Parisien costumes, the entire ensemble dance in celebration of the 40s in Boogie Woogie jazz style and later switch gears, crossing the pond, so to speak, to do a high kicking can-can with equal agility and panache. There is also a fabulous Bollywood or Persian dance Forbidden Temple that closes the first half with an abundant array of color and flesh on display. There's even an exotic striptease with a bevy of beauties - but most tastefully performed, Shadows of Desire.

Ganchimeg Gyunchimeg is the adorable contortionist whose spectacular body twists and turns amaze. She also pops up dancing in other segments of the show. Sunny Soriano is also terrific as Aurelien Roulin's dance partner in Love Birds and the awesome New Birth where the two literally float out over the audience wrapped only in a delicate sheet attached to a cable. This will take your breath away! Roulin's solo on the red ribbons is equally tantalizing and breathtaking.

Ripley Rader is a delightfully pleasant chanteuse as she recreates in song Edith Piaf La Merveilleuse Edith. An audience participation with two men selected, blindfolded and dressed as can-can dancers is hilarious, especially when they try to perfrom the high kicks. And the can-can itself is fast, furious and sheer ecstasy. Alex David is precious as the Dreamer who leads the audience in and out of the numbers like a Cirque clown: his awkward movements - on purpose! - and silent humorous business are all fun to watch.

Praise as well to company members/dancers: Rachel Bowman, Arthur Davis III, Christine Ivy, Liz LeGrande, David Matz, Yusuf Nazir, Brittany O'Connor, Jill Otte, Michael Pena, Kavita Rao, Sarah Romanoswky and Jennifer Shields.

This is a fun and exciting show for most ages; I'd leave the little ones at home. Though it's a clean show, there are provocative sexual allusions. Much of the show's success comes from Aurelien Roulin's artistic vision and unyielding determination and from the staff of the El Portal for their love and incredible support.

Go and enjoy!

4 out of 5 stars

____________________

Check out my interview with Aurelien Roulin on my Blog Interview page and @ BWW!

CABARET review - Catch the Light

Michele Lee brought her acclaimed night club act Catch the Light to the California International Theatre Festival @ Founder's Hall in Calabasas for one night only Saturday July 24. Although suffering from a bout of laryngitis, Lee proved the consummate trouper, doing about half of her show and substituting a few other songs to suit the lower registers of her voice. Lending a helping hand was Festival Director actress/singer Linda Purl who sang 2 sets of tunes, thus giving Lee some rest time in the wings. Ah, the unpredictability of live theatre!

The evening turned into a fantastic double bill as both ladies gave their all for the sake of art. Highlights of Lee's show included: "Pure Imagination", "I Believe In You" from How to Succeed in Business Without Really Trying, "The Boy Next Door", "Nobody Does It Like Me" from her Broadway hit Seesaw, a heartwarming "Time After Time", as Lee talked about her son David Farentino and Joni Mitchell's stunning "A Case of You", as she bemoaned the loss of love. There was also a sweet "I've Got a Crush on You" dueting with accompanist Ron Abel and her wonderful finale "It Started with a Dream". The theme of Lee's show is the quest for imagination, that her father (a famous Hollywood makeup artist) instilled in her as a little girl, when he played a game, holding a pocket mirror in his hand every night and letting the glare from it bounce on her bedroom wall, as she tried to catch the light. Lee is a magnificent actress who digs deep for the meaning of every lyric and comes up shining. She gives 150% and is nothing short of sheer heaven.

Purl grew up in Japan and extoled the virtues of her father (a chemical engineer), who, like Lee's father, instilled in her a love of the arts. Purl's father's favorite music was the Big Band era of the 30s and 40s. In fact, he used to dance her around the living room as a little girl to the tunes of Benny Goodman and Duke Ellington, which infused her selections in the concert. They included: "The Best Is Yet to Come", "At Last", "Sentimental Journey", "It Don't Mean a Thing (If It Ain't Got That Swing)" "Too Close For Comfort", a lovely "I'll Be Seeing You", "Out of This World" and a lullaby to her 15 year-old son "This Time Tomorrow" from her Broadway run in The Adventures of Tom Sawyer. Purl, like Lee, is a fabulous actress who invests her music with everything she's got.

The evening was a double dose of joy capping off the second successful season of the California International Theatre Festival in Calabasas.

CABARET review - The Peggy Judy Show

On Sunday July 18, The Peggy Judy Show played Sterling's Upstairs @ Vitello's with Special Guest Star Perry Lambert. Peggy Judy is deliciously played by comic actress/singer Molly Brandenburg. Judy is a sendup of all those 60s lounge act singers who dreamed of making it big but somehow never made it past the Barstow or Fresno lounge. Remember Loretta Haggers from Mary Hartman, Mary Hartman, who longed to be a country-western singing superstar, but never left the Capri Lounge Bowling Alley?* Well think a wannabe Peggy Lee instead, and you've got Miss Peggy Judy. Dressed in leopard cape, leopard gloves and boa over a slinky black dress and wearing a pouffy blonde wig and heavy light blue eye makeup, Judy sings a song, recounts a sad story, sings some more, tells another anecdote and without even trying, serendipitously dazzles.

One story was about her 4th, no 3rd husband- she couldn't quite make up her mind - Rudy Judy, whose Pontiac broke down

in the desert one night on the way to a local gig. To boot, Rudy

told Peggy he no longer loved her - and to top it all, it was

Christmas Eve. But she still never gave up hope of replacing

Bette Midler in Vegas one day, despite rumors of Cher's imminent takeover. Peggy Judy's laid-back, rather blase delivery made it all sound heartbreakingly hilarious, even the referral to her recent rehab provoked more laughs than sighs.

Opening the act was Perry Lambert, a delightful impressionist, singer, comic who somehow, after telling a few opening jokes, magically squeezed Bugs Bunny, Arnold Schwarzenegger, Archie Bunker, Louis Armstrong, Jimmy Stewart, Humphrey Bogart, Jackie Gleason, Cary Grant and Elvis into singing parts of the song "Unforgettable", made famous once more when Natalie Cole decided to re-release it as a duet with her dad Nat King Cole. This was a super number for Lambert's outstanding skill. He later returned to do a raffle and banter with the audience and to join Peggy Judy in a Sonny & Cher duet of "I've Got You Babe".

Highlights of Judy's act included some terrific 60s hits from Peggy Lee like "Fever", Neil Diamond's "Solitary Man" appropriately changed to "Solitary Woman", "Something Cool", "Route 66", and her rousing opener of "Everything's Coming Up Roses" from Gypsy. Brandenburg's lovely voice has quite the range and she also managed to crank out, between jokes and stories a beautiful "My Funny Valentine", "Crazy", "I'm a Woman" and "A Song For You". The Cher medley was a treat, consisting of "The Beat Goes On", "Gypsies, Tramps, and Thieves", "The Way of Love", "Half Breed" and even the later released hit "Turn Back Time", which has since become a Cher classic. The beat went on with Lambert and Judy smashingly dueting the ever-popular "I've Got You Babe".

Brandeburg is a very funny lady with a great voice and keeps a consistently dazed, sort of drugged-out, star-wannabe style throughout, never breaking character for a second. She was divinely backed by accompanist Ron Snyder on piano and a combo of other great musicians: Al Johnson, Tim Emmons and Jack LeCompte.

This was a decidedly different act for Sterling's, used to presenting Broadway and pop style singers in concert - and a truly delightful and refreshing change of pace. Brandeburg's act is great fun to watch, especially if you lived through the 60s and ever chilled out in a lounge or two, and the talented Perry Lambert was an extra special treat. Don't miss them the next time they come this way, if they do manage to find their way west once again from the Barstow circuit.

* Postscript: A diehard MH2 fan wrote on BWW to remind me that Loretta did do a Dinah Shore show and made sweet potato pie. I honestly forgot that! I still feel the comparison holds, though, as Loretta's success was shortlived - sad to say!

review - title of show

RECOMMENDED*

[title of show]

written by jeff bowen (music & lyrics) and hunter bell (book)

directed by Michael A. Shepperd

Celebration Theatre

through September 5

- - - - -

Self-indulgent shows, into whose category [title of show] definitely falls, can be a complicated mess. [title of show], which has had a great amount of success, garnering 3 Obies and a Tony nomination for its short Broadway run, worked most likely because of the endearing comraderie of its two writers, who also happen to be lifelong friends. Surely the presence of Hunter and Bell playing themselves onstage added a great deal to the New York run. This production @ the Celebration, despite some great effort to crystallize the friendship between the boys, lacks the charisma and charm necessary to make it cracle. Director Matthew Shepperd keeps the pace moving at lightning speed and choreography by Ameenah Kaplan has an appropriately frenetic style to match. It's not all bad, but it's not all

good either.

- - - - -

The two members of the quartet who walk away with the show are the ladies: Carey Peters as Heidi and Jennifer R. Blake as Susan. They are enthusiastically comedic, both sing up a storm and provide the greatest moments of joy and down and out fun. Peters' "A Way Back to Then" near play's end is beautifully heartwarming. Great voice! Blake's overall "Oh, puleeze!" attitude is comically winning.

Then there are the guys. Even though Jeffrey Landman as Jeff and Micah McCain as Hunter can sing and dance well, there's something missing that would make us really care about their endeavor. They work terribly hard; maybe that's half of the problem - too hard. Gregory Nabours as musician Larry provides some very funny moments, like when he asks one of the gals if she does in fact intend to hit the right note by opening night. Fun stuff!

- - - - -

The good thing about [title of show] is that at its core there is a believable backstage story about the making of a musical. How can you possibly please everyone? Producers, actors, crew, investors! Impossible! Aren't the general public who are buying the tickets and upon whom the success of the show ultimately depends more important? Do you leave out the things that are too personal? Or cut the curse words? Well, yes, if that's what it takes! What stays in a fledgling show is a big, big problem and can oft times make or break it. And then there are the feelings of the composer/writer to consider. After all, it is their baby, their very own creation!

- - - - -

Adding to that difficulty is the problem that lies in the presentation of this show. Do you allow everything that is happening to the four people onstage to play out consecutively before the audience in what seems rapid-fire, nonstop, over-the-top, in-your-face musical numbers and then also include the super-fast analyses and banter of what works and what does not? The playing out of the entire process is much too much.

- - - - -

Through all of this, certain moments are stunning, like the dream sequence played out in dance with the four speaking in British accents, and, for those atuned to the popularity of Buffy..., there's a campy "Die, Vampire, Die!"that is quite cute and appealing. Another comic gem is "Awkward Photo Shoot" that entails who will be included in the pix and who will not. Remember, if it's going to Broadway, there are always those unfair but face-the-facts cast changes. The song "Nine People's Favorite Thing" may be what we strive to create, so as not to cheat our own integrity, but, bottom line, it's not realistic. A show cannot and will not run based on a lack of popular acclaim. Every intelligent issue is here; its presentation needs some refinement.

- - - - -

*With reservations: Has its appealing fun moments, a few nice songs and two terrific female performances, but not a thoroughbred; though others may disagree.

3 out of 5 stars

Franny McCartney After Her Wonderful Evening @ The Gardenia

CABARET review - Franny McCartney

Franny McCartney's CD As Is is indeed blissful, but seeing her perform live is even more heavenly. The lady is so genuine and funny and warm and caring that whether she's singing or talking, you just do not want to see the performance end. On Saturday July 17, McCartney returned by popular demand to the Gardenia with the remarkable pianist/accompanist Howlett (Smitty) Smith for a wonderful 80 minute concert. Nine songs from the CD As Is were rendered along with "By Myself", the 'comic dirge' "To Keep My Love Alive" from A Connecticut Yankee in King Arthur's Court, which provided her with some hilariously droll moments, Cole Porter's 'list song' "Let's Do It", amazing lyrics and just fun, fun, fun for McCartney and her finale "A Dream Is a Wish Your Heart Makes" in honor of the recent passing of Ilene Woods, who sang Cinderella in the original 50s animated film Cinderella. There was also a powerful "My House" written by Smith, whose compositions are truly awesome. It was a sweet and memorable evening with many McCartney friends in attendance, including Stephanie Zimbalist and Jean Smart.

Brava!

- - - - - - - - - - -

The following is my review of As Is, first published here and on BWW in December 2009 after its release:

_______________________________________________

If you like a smooth singer, one to listen to when you cuddle up with that extra special person by the fireside, then there is no one better than Franny McCartney. Her low-key, velvety tones can be both serious or playful as she runs the gamut of emotions from A-Z in her new jazz/pop/blues CD entitled As Is.
What a variety of songs! There's a sensually passionate "Besame Mucho", a very sultry & evocative "Something Cool", and then lighter, more tongue-in-cheek humor in "White Girls Get the Blues Too" and the toe-tapping, upbeat "Grass Is Always Greener". Accompanying and sometimes singing with McCartney is composer Howlett "Smitty" Smith, who can bring out the magic in just about any blues song. Also on tap are my personal favorites "Put a Little Love In Your Heart" and the always make me feel good "It's a Good Day". Then, there's plenty of seasonal lunacy with "Strawberry Spring", "Wintertime", "For One Whole Spring" or "Midnight Sun".
This is an album that will brighten any mood, that will definitely raise your spirits...and one that you will want to play over and over again. Whenever you need that lift, McCartney has the gift! As Is keeps giving pleasure.
Goldie Productions
Visit Franny McCartney @
http://www.frannymccartney.com/
www.myspace.com/frannymccartneymusic
http://www.thestaggeringharlettes.com/

review - Hello Dolly

CRITIC'S PICK

Hello Dolly

music & lyrics by Jerry Herman

book by Michael Stewart

directed by Calvin Remsberg

The OC Pavilion, Santa Ana

through August 1

- - - - - - - - - - - -

Some shows I can see again and again, especially if they're composed by Jerry Herman. Hello Dolly is one of those extra-special feel-good musicals and 3D Theatricals' production now in Santa Ana @ The OC Pavilion is wondrously delectable.

Director Calvin Remsberg has an eye for the big picture and many beautifully staged scenes could almost be framed for picture postcards. Kami Seymour has done a wonderful job as choreographer, especially with the 'Waiter's Gallop' in Act II, and Gerry Sternbach, always sensational, serves as musical director.

The cast is nothing short of perfection - and they all sing exceedingly well, individually and in chorus. Ruth Williamson makes Dolly Gallagher Levi totally her own, laced with her trademark effervescent humor and comedic style and sterling singing voice. David Allen Jones makes a delightfully believable Horace Vandergelder; his delivery is consistently warm and lowkey. Bryan Feldman is a sincere and loveable Cornelius Hackl, Taylor Simmons an equally appealing Barnaby Tucker, especially in the awkward moments, and Hannah Simmons rather underplays Minnie Fay's innocence. Lilting soprano Virginia Weber is just wonderful as Irene Molloy. Kudos as well to Garrett Deagon as Ambrose Kemper, Dani Kerry as the whimpering Ermengarde, Claire V. Solly deliciously funny as Ernestina Money and to the rest of the enjoyable chorus.

This is a fine production that is colorfully costumed by Sharrell Martin and with great set design by John Iacovelli. I especially liked how the exteriors open up - like a pop-up greeting card - to form the hat shop and Harmonia Gardens restaurant. Very turn-of-the-century elegant!

This lovely Dolly promises to "never go away again" ...well, until August 1, so do 'put on your Sunday clothes', board that train and catch up with her while there's time!

The trip to Santa Ana is definitely worth it.

5 out of 5 stars

Backstage at Hello Dolly

David Allen Jones

(Vander-

gelder)

& Ruth

William-

son (Dolly)

say hi.

Bix

Barnaba

chats with

old actor

pal

Jones.

Keala Settle, SP's Bloody Mary

It was great to meet Keala Settle and to wish her well as she continues the South Pacific tour to Denver next week.

check out our interview on my BLOG Interview page!

review - The Lieutenant of Inishmore

CRITIC'S PICK /The Lieutenant of Inishmore/by Martin McDonagh/directed by Wilson Milam/Mark Taper Forum/through August 8

"It's incidents like this put tourists off Ireland!" mutters Donny (Sean G. Griffin) looking over the blood-soaked floor of his Home Sweet Home Irish cottage in Martin McDonagh's brutal over-the-top dark comedy The Lieutenant of Inishmore. INLA (Irish National Liberation Army) rebels spend two hours pretty much wiping each other out of existence in a theatrical nightmare that is bound to peak and hold your interest.

Even the most sheepish will be mesmerized by what they see and hear. The IRA (Irish Republican Army) was founded some 5o years ago to free Ireland from British control. Over the years the IRA split into various factions, especially by the 80s, creating more chaos than unity. Consistently senseless violence erupted, keeping the country divided.

As the play opens there is a plot to bring back a cocksure local lieutenant named Padraic (Chris Pine) to account for his actions. It seems that he has been brutally torturing drug dealers upon whom many of the rebels have come to rely for sustenance. Donny has been caring for Padraic's pet cat Wee Thomas and when the cat gets killed, Donny and young Davey (Coby Getzug), who swears he's not responsible, hilariously concoct a stupid plan to dupe Padraic into believing that the cat is alive but ailing. Greasing an orange cat with black shoe polish provides some inane but infectiously funny moments. Within a short space of time, as the rebels close in on Padraic, who has returned home to his da Donny, everyone is thrust into immediate danger, and McDonagh brilliantly uses an excessive number of criminal acts to illustrate the futility of violence. This is a bloody good ... bloody play, literally.

Under Milam's meticulous direction, the ensemble is outstanding. Pine is an obstinate psychotic as Padraic, who will destroy for his principles and out of love for Wee Thomas. Zoe Perry is wonderful as Mairead, Davey's sister who has been training herself to join the army and to win Padraic's heart. Griffin and Getzug make an irrational pair of misfits: slow, hardly dimwitted, but appearing so, loyal and throroughly loveable Irish creatures. Andrew Connolly, Kevin Kearns and Ian Alda beautifully play Padraic's enemies, an eclectic assortment of characters whose hopeless outlook is bleak at best. There's an all too serious attempt at a political discussion, quoting and misquoting Marx and the Jesuits in the same breath, that provokes tremendous laughs. Brett Ryback as the drug dealer James has one very strenuous and memorable scene as he hangs suspended upside down in an unbelievable round of torture (see photo above). It's a great scene and Ryback is physically and emotionally in tune. Pine is at his best here, fearlessly forceful, then reduced to a whimpering mess of insecurity when he learns of his cat's illness.

This is not a play for grandma or the wee ones - too graphic! Leave them at home. Prepare yourself for the unexpected, and trust your imagination to make sense of the action. This is theatre where anything can, should and does occur to propel your mind to new levels of enjoyment.

5 out of 5 stars

CABARET review - Natalie Toro & The Broken Road

Brave, gutsy, passionate to volcanic proportions, singer/actress extraordinaire Natalie Toro brought her new cabaret show The Broken Road to the Inner Circle of the Magic Castle on Monday July 12 for one night only. She captured the focus of the wall-to-wall audience with her opening number "Life of the Party" from Andrew Lippa's "The Wild Party" and never lost control. Fiercely funny and fearless in her entire approach, Toro covered her career on the road - cruel and lonely - with an infectious sense of humor. Any actress who can share her negative reviews - actually read them aloud - has my respect and adoration. That takes courage with a capital C and Toro has it in spades.

The almost 2-hour show went by in a flash with 18 songs and much banter in between tunes about the people she met in various locales while performing Evita, Jesus Christ Superstar, West Side Story & Cats, among others. Favorite anecdotes include her crush on Donny Osmond, who was performing Joseph and the Amazing Technicolor Dreamcoat simultaneously to one of her tours, working with the incredible Carl Anderson in JC Superstar, who taught her how to really accept compliments, playing Mary to Sebastian Bach's Jesus, doing Evita with Raul Esparza, overhearing a husband arguing with and lying to his wife on the telephone in an adjoining hotel room and a freakish date in Japan which nearly turned disastrous.

Song highlights include: "Everybody Says Don't", "On My Own" (en espanol - que bonita!), a hilarious interp of Googie Gomez (Toro's original take on the Puerto Rican character from The Ritz) singing "What Ever Happened to My Part" and one super hilarious duet with David Baida (Piragua Guy from In the Heights) playing Meat Loaf in a mockup audition Toro had for his tour with "Paradise By the Dashboard Light". Toro knows how to pull out all the stops vocally and at the same time can beautifully interpret such ballads as "Unusual Way" from Nine, "If I Could", dedicated to all parents, "Anyone Who Had a Heart" , "Here's That Rainy Day", "Gypsy in My Soul" and Streisand's "This Is One of Those Moments" from Yentl. Toro possesses a magnificent vocal range.

The lady was backed up by great musicians Justin Mendoza on piano (musical director), Josh Weinstein (guitar), Lynn A. Keller (bass) and Loraine Faina (drums) who brought down the house more than once. Aside from Baida as Meat Loaf, there was also a special appearance from Yvette Gonzalez Nacer on violin. Produced by Dawn Makay The Broken Road is a wild, crazy, totally engaging evening of cabaret from one of the greatest contemporary artists of our time Miss Natalie Toro. Like a Latina Patti LuPone, Toro has an act that ranks right up there with the best of the best and I will drop what I'm doing in a split second to catch it once more. In the meantime, don't miss her at the Pantages in In the Heights until July 25 before the road continues! Catch our interview on my Blog Interview page and photos of opening night at the Castle below!

Visit:

www.natalietoro.com

to purchase new CD Natalie Toro

Natalie Toro's Cabaret II

Dean Butler and his lovely wife Katherine (Cannon) were also in attendance. Dean played Tony to Natalie Toro's Maria in a touring production of West Side Story.

Natalie Toro's Cabaret - The Broken Road

(top) Natalie Toro,

(middle) Lin-Manuel Miranda

(bottom) Danny Bolero

Raquel Sandler Glows

Raquel Sandler soars @ Sterling's in her cabaret debut after being chosen a runner-up in LA's Next Great Stage Star 2010.

see review below!

Cabaret review - Raquel Sandler

One of the top five finalists in LA's Next Great Stage Star 2010 Raquel Sandler successfully premiered her cabaret gig @ Sterling's Upstairs @ Vitello's Sunday July 11 to a packed house. This outstanding singer/character actress picked tunes that not only show off her tremendous range as a vocalist but as comic actress as well.

Those highlights included: the eclectic "Miss Marmelstein" that made Barbra an instant hit in I Can Get It For You Wholesale, "Adelaide's Lament" from Guys and Dolls, which Sandler performed as naturally as if it had been written for her, and the terrific "I Am Aldolpho" from The Drowsy Chaperone, some delightful gender-bending here from Sandler and even some fun audience participation! In a more serious vein, there were "So This Is Love"/"I'm Beginning To See the Light", the plaintive "Funny Girl" from the film of Funny Girl, nicely paired with the torchy "Music That Makes Me Dance" from the stage version of Funny Girl, and her finale/encore "The Wind Beneath My Wings", a tribute to her parents, as Sandler accompanied herself on piano. James Lent served splendidly as musical director/accompanist for the rest of the show. There were also two lovely duets with middle school/high school chum Charlotte Bashner: "Somewhere Out There" and a gorgeous "For Good" from Wicked. Their vocal harmony was exquisite.

Sandler is an incredibly strong performer, with a ballsy but loveable charisma, who can literally do it all. She is perhaps a tad too young for Adelaide and other fiercely diva-ish character roles that she is perfect for, and so must wait a bit for her turn in the star spotlight. However, proving herself a great interpreter of song, she will hopefully be in high demand as a club singer and that one big break will be right around the next corner. Producers/casting directors, take notice!

Brava!

review - Black Coffee

CRITIC'S PICK

Black Coffee

by Agatha Christie

directed by Bruce Gray

Theatre 40

through August 1

There's only one mystery writer, in my book, who has managed to capture and enthrall the hearts of millions through the past century, the one and only Agatha Christie. Her plays, like the longest running play on the West End The Mousetrap as well as this early hit Black Coffee, not only keep audience on the edge of their seats, guessing whodunit, but are as entertaining and fun as all get out, particularly when led by the devilishly fun Miss Marple, or in this case, the unparalleled Hercule Poirot. Theatre 4o's handsome production of Black Coffee is a real treat with a stellar ensemble.

Without the perfect choice for Hercule Poirot, despite the mix of other wonderful characters, the play cannot function at top-notch speed. Thanks to the marvelous Tom Dugan, Poirot is in great hands. He is dapper, quick-thinking as well as quick-witted and marvelously droll. He is meticulous with every detail. Fun to watch as well is LizAnne Keigley as Aunt Charlotte Amory. She has the gift of gab and makes the woman a fascinating supporting character. Beautiful Shelby Kocee plays Lucia, a difficult role to essay, as it is not always clear just how guilty this woman may be, but Kocee is sincere and straightforward in her approach. Katharine McEwan is also a delight as the seductive Barbara. Randy Vasquez makes a deviously intriguing Carelli, Nicholas Hosking is ever so appealing as the fumbling assistant to Poirot, Hastings, and Corey Rieger makes another difficult character Richard, Lucia's new husband, as interesting and likeable as humanly possible. Completing the formidable group are Lary Ohlson as Raynor, Don Moss as Japp, David Hunt Staffford as Sir Claud, and John McGuire as Treadwell, all terrific. And, not to be forgotten are Christy Holy in her brief scene as Dr. Graham and Tim Astor who did double duty as Constable and the butler Treadwell at the matinee I attended. Apparently McGuire was indisposed, but it provided a delightful adlib in a later scene when one character commented, "Didn't I see you as the butler?" Astor responded, "My brother, sir!" Fun!

Gray's direction is fluid and fast-paced and Jeff G. Rack's set of the library, just stunning!

This is a beautifully mounted and thoroughly entertaining ensemble piece that merits your visit. Agatha Christie would highly approve! Through August 1 only!

5 out of 5 stars

Life Could Be a Dream in Laguna

(top)(left to right) Creator Roger Bean, and original cast members Doug Carpenter, Jessica Keenan Wynn, Daniel Tatar, Ryan Castellino and Jim Holdridge.

(bottom) Daniel Tatar et moi.

Alan Cumming in a Calm, Serious Vein

Is he momentarily respectful? What's he contemplating? Wait, I know he'll change!
(see below!)

A Delectable Creature Is Alan Cumming

Camping it up with musical director Lance Horne. Looks like he's preparing to play one helluva devilish demon! Watch out, world!

review - Thurgood

RECOMMEN-

DED

Thur-

good

by George Stevens, Jr.

directed by Leonard Foglia

Geffen Playhouse

through August 8

Solicitor General of the Supreme Court Thurgood Marshall (1967-1991) was hardly a saint. He was an alcoholic and a womanizer - at one point in his collegiate years - he dated 7 coeds at once. Fits the bill as a typical politician, you may say? Maybe, but unlike many political figures, this man was indeed a hero, for he singularly championed human rights throughout an almost 60 year career, and as played by the remarkable Laurence Fishburne, Thurgood Marshall will be eternally idolized as one great humanitarian.

George Stevens, Jr.'s well-documented play Thurgood may be a bit too long, repetitive and self-indulgent, but its strongest asset is its resilient character, who resolved to make a difference at the top of his law career and never, ever gave up. Although he didn't make it into the University of Maryland Law School - his law degree was from Howard University - because he was black, he saw to it that one black man eventually did in 1935, Donald Gaines Murray. He also in Brown v. Board of Education in 1954 worked tirelessly for a Supreme Court ruling that put an end to segregated - separate but equal - schooling in South Carolina. Although it was a triumph primarily on the books - as many states objected and refused to comply for years - it was a first and milestone decision. Overall, Marshall won 29 out of 32 cases he tried, and in his latter years he fought hard for an end to capital punishment and supported abortion rights.

Fishburne is exceedingly comfortable in the role at this point after having played it on Broadway in 2008 and just before the Geffen at the Eisenhower Theatre at the Kennedy Center in D.C. He envelops the man's sense of humor and deep-seated pride - in his achievements, his background - and, most urgently, without ever losing track of the fact that he was just one African American who used the law as a weapon of change for the good of his people. Two sons are following in their father's footsteps in D.C.

Foglia's direction is highly skilled. The white flag behind the podium serves effectively as a screen for digital projections that show Marshall's life and highlights of American history from the 30s to the 90s, when he passed away at the age of 84.

For the most part, an educational and enjoyable experience, suited to high school groups!

4 out of 5 stars

old/new review of Alan Cumming

When Alan Cumming performed his solo show I Bought A Blue Car Today @ the Geffen in October, here was my review:

I Bought A Blue Car Today

Few cabaret performers electrify an audience. Peter Allen was able to do it with sheer energy, talent and drive. You had to see him jump on top of the piano to understand just how much of that energy was used up. Hugh Jackman can do it. His personality and good looks alone drive both men and women crazy. His stamina is also phenomenal. Then there's Alan Cumming, whose extraordinary style and devilish sense of humor can keep a show in high gear. He's hard to describe-on the surface, a shy, retiring soul with a lot of the bad boy underneath that creeps out to shock us every now and again - but, wow, what a magnetic vocalist...and those bizarre, outlandish, outrageous anecdotes he tells...like you're getting familiar with someone famous for the very first time. I never knew Ann Miller wanted to see more ...well, bless her!
Whether he sings from John Cameron Mitchell and Hedwig, or a Dore Previn or William Finn ballad, his emotional range is incredible, he pulls you in and you are hooked!
Cumming has star quality, whatever that means; he has what it takes to be SUPER-GREAT!
I Bought a Blue Car Today, as it happens, was a sentence on his examination for US citizenship last year and he found it so appropo to the American energy and financial crises, that he decided to title his solo show after it. His new solo CD with the same title has the show pretty much in tact, with the addition of Cindy Lauper and John Bucchino songs. Good stuff! And Lance Horne, musical director, has some fab arrangements and original tunes.
Alan Cumming, I'm proud to announce early, is my choice for Best Male Solo Performance of 2009.

_______________________________________________________

Now it's Alan Cumming Uncut @ The Broad July 9:

Cumming's impish charm is undiminished. The show was 15 minutes shorter, with 12 songs instead of 15. The best anecdotes are still in, like Ann Miller's obscene comment about Eyes Wide Shut, and there are a few new ones, like about his 45th birthday tupperware party and the hilarious saga of his participation in Macy's Thanksgiving Day Parade 2009, but the banter is still fresh and spontaneous and typically Cumming-esque. 7 songs remain from the CD I Bought a Blue Car Today and a couple of new songs have been added. I especially loved the medley of Bacharach and Sondheim - "I Still Have That Other Girl"/"Losing My Mind" that do work beautifully together, the original song "I Want To See You" - take away all that plastic surgery! - written by Cumming and Lance Horne, and Horne's satirical tune about what it means to be "American".

Cumming with a G, not Cummings with an S - is as precious as ever. I overheard someone say "I just want to take him home with me!" I can just imagine how his deliciously quick-witted brain would react to that comment! He's one unique individual that makes a show forever fascinating, always gutsy and real and totally entertaining!

with Lance Horne on piano & vocals

with Yair Evnine on cello, guitar & vocals

5+stars

original/new review of Life Could Be a Dream

Life Could Be a Dream @ the Laguna Playhouse, which opened Saturday July 10 with its original cast in tact and the very same creative dream team, is even stronger on a bigger stage. Opening it up for the Moulton Theatre in Laguna has not diminished one grain of its vibrant electricity. In fact, it's readier than ever for the lights of New York! Doug Carpenter, Daniel Tatar, Jessica Keenan Wynn, Jim Holdridge and Ryan Castellino are simply sensational with Roger Bean's stellar direction and Lee Martino's brilliant choreography that make it rock. One song "The Great Pretender" has been cut and instead of "Unchained Melody" reprised at the finale, it's now "Life Could Be a Dream", which, as the show's title, makes much more sense!

Bravo! Brava!

5+ stars

_______________________________________________________

(from Summer, 2009)

CRITIC'S PICK
Life Could Be a Dream

written/directed by Roger Bean

Hudson Mainstage Theatre

limited engagement through September 27 (extended and extended into one year and still playing as of July 1, 2010)

Roger Bean's current off-Broadway nostalgic musical hit The Marvelous Wonderettes with 60s female rock group classics performed in the style of an intimate concert could very easily be considered the female counterpart of the long-running all-male musical giant Forever Plaid. Bean has wisely changed formats in creating Life Could Be a Dream, his world premiere male version of The Wonderettes.

On the heels of the international success of Mama Mia, he has concocted, not a revue, but a more traditional book-type musical play in which the various 60s rock songs are cleverly utilized to advance the plot. To take but one example, a nagging mother complains about her loafing son and then, imitating her, he bursts into song with "Get a Job". It's heavenly to hear such golden oldies played out within a brand new story context -from an era we've lived through and can relate to on levels of joy and anxiety. It's the story of an all-boy singing group out to win a radio contest. The smart and inspired incorporation of a beautiful female sponsor and coach (Jessica Keenan Wynn) and an Elvis-like adonis from the wrong side of the tracks (Doug Carpenter) to magically give the group its 4th singer works wonders in magnifying audience appeal. Inside out, from top to bottom, Life Could Be a Dream is a winner.
The entire cast are magnetic. Like the boys in Plaid, there are distinct characters that Bean, for guaranteed comic effect, plays out to the extreme. The most obvious is the nerdy and awkard Eugene played to the hilt by versatile Jim Holdridge. To give Eugene a romantic edge with Lois (Wynn) because of a past flirtation, is nothing short of comic genius. It works dynamically, all the boys fall madly in lust for her, and this element keeps the audience in stitches for a very long space of time. Then there's the leader, the dreamer Denny played solidly by Daniel Tatar. His name must go before everyone else's, until Skip (Carpenter) shows up. Of course, there's the dutiful choirboy Wally - a religious boy meant so very much back in the 60s - played beautifully by Ryan Castellino. He receives the least comedic attention of the mix but stands apart with his lilting voice. Carpenter as Skip is a forceful leading man that dominates the stage when he's on, as did Robert Goulet in the 60s. Skip's back story becomes poignant and tender, especially with Lois' loving attention. Not enough praise can be given the stunning Wynn whose true beauty shines from within.
There are some vibrant musical arrangements by Bean and Jon Newton, like "Tears On My Pillow", "The Wanderer", "The Great Pretender" "Duke of Earl" and a glorious 'angel' medley.
The boys shimmy, shake and do all the right bodily moves thanks to choreographer extraordinaire Lee Martino. Ever reliable Michael Paternostro serves as musical director.
Basement set by Tom Buderwitz with a staircase, partial laundry room and cluttered memorabilia is period perfection, as are Shon LeBlanc's costumes. Loved those blue (leopard panelled) bowling shirts and the finale in black and leopard. Leopard is in!
Bean's direction is tight and his script, playfully cute. Listen for the 60s take on superglue! This little show is heaven-sent and will run everywhere for many years to come - and may even beat out that ...aforementioned classic...
Does it really matter? There's always room for nostalgia well done and, as served up here, Life's to LIVE for.
5 out of 5 stars
ps On a constructive note, change the group name from Denny and the Dreamers (with Skip in the lead) to just The Dreamers.