Author Archive for David Hurst

Jeff Harnar & Alex Rybeck – The 35th Anniversary Show ★★★★★

The Laurie Beechman Theatre in the West Bank Cafe
June 13, 2018

Music Direction & Accompaniment by Alex Rybeck
Bass – Jered Egan
Drums – Dan Gross

You only have to glance at cabaret veteran Jeff Harnar to know somewhere in a dingy attic there’s a full-length portrait of him in oil aging rapidly!  Like Dorian Gray, it’s clear he’s made a Faustian bargain, for how else can one explain that, 35 years after making his cabaret debut, his boyish looks and angelic countenance remain firmly intact.  Whether it’s a pact with the devil or just clean living, there’s no denying Harnar looks amazing.  But perhaps even more astonishing is his voice remains as ageless as his profile.  Like Vic Damone and Steve Lawrence before him, Harnar only gets better with each passing year.  Indeed, it’s not overstatement to propose Harnar may only now be approaching his zenith as a performer.  Of course, it’s impossible to talk about Jeff Harnar without quickly including the name Alex Rybeck, his gifted musical director, accompanist, arranger and friend.  It’s that friendship and artistic partnership which is being celebrated in their smashing retrospective, The 35th Anniversary Show, which debuted last month, June 13, at The Laurie Beechman Theatre in the West Bank Cafe.  A veritable kaleidoscope of greatest hits interspersed with hilarious stories and informative exposition, Harnar & Rybeck are an unbeatable pairing for consummate entertainment.

Together these two men could fill entire libraries with their awards and accolades.  They’ve won everything there is to win in the world of cabaret, but they’re not resting on their laurels in this anniversary show.  Giving us a generous sampling of songs from almost a dozen, expertly-crafted ‘theme’ shows and four major recordings, Harnar & Rybeck run the musical gamut at the Beechman, carefully choosing songs that illuminate their partnership and highlighting what both performers do best.  Harnar’s lyric tenor soars on “There Is A Time (Le Temps)” (Aznavour/Davis/Lees), “Make Someone Happy” (Styne/Comden & Green) and “Time After Time” (Styne/Cahn).  With his impeccable phrasing and diction, he can float a line with finesse as he does singing “I Say Hello,” Dolores Gray’s knockout ballad from Harold Rome’s Destry Rides Again.  Or he’ll surprise you with a Broadway belt as he does in Irving Berlin’s “Blue Skies.”  Musically, the highlight (among many) may be “What a Funny Boy He Is” (Rybeck/Stewart), a gorgeous song written by Rybeck himself with a lyric by Michael Stewart which I first encountered on the late, great Nancy La Mott’s “What’s Good About Goodbye?” disc.  Harnar’s wistful, haunting reading and Rybeck’s beautiful, understated arrangement set the bar high for future interpreters.

Additionally, Rybeck’s arrangements for his trio, including Jered Egan on bass and Dan Gross on drums, are as savvy as they are deceptive.  They do what good arrangements do best – they provide a showcase for Harnar’s voice while also musically reinterpreting songs in a way that allows them to feel and sound new.  A prime example of this is “How Little We Know” (Carmichael/Mercer) in which Rybeck’s subtle arrangement pays homage to the great Stephen Sondheim in its underpinnings.  For comic relief, Harnar & Rybeck have included two medleys in their set which allow them to sing together, much to the delight of the audience.  The Strange Duet Medley includes: “Strange Duet” (Styne/Comden & Green), “Close Harmony” (Styne/Comden & Green) and “The Wrong Note Rag” (Bernstein/Comden & Green); and The Politics Medley includes: “Politics and Poker” and “Little Tin Box” (both Bock/Harnick), “The Men Who Run the Country” (Arlen/Mercer), “The Country’s In the Very Best of Hands” (dePaul/Mercer) and “No Way to Stop It” (Rodgers/Hammerstein II).  The political songs, especially, are frighteningly timely for the world in which we’re currently living.

In addition to his terrific singing, Harnar is more relaxed and humorous that I can remember.  Whether dispensing some ribald advice Sylvia Syms gave him, repeating a Kitty Carlisle Hart anecdote, or channeling Patti LuPone by literally taking a woman’s cell phone away from her during “Put ‘Em In a Box, Tie It With a Ribbon” (Styne/Cahn), Harnar is in his element.  Clearly, milestones breed confidence, as evidenced by Harnar’s eleven o’clock performance of “Come Back To Me” (Lane/Lerner), a fiendishly difficult “list song” on which Harnar included the little-sung verse and made the song his own with a totally unique reading of the lyric, placing emphasis in new and unexpected places.  That’s what an artist does, and what Harnar & Rybeck continue to do very well, indeed.  Miss them at your peril.

Jeff Harner & Alex Rybeck – The 35th Anniversary Show
Encore Show on Friday, September 21st at 7:00 pm
The Laurie Beechman theatre in the West Bank Cafe
407 West 42nd Street at 9th Avenue
www.beechmantheatre.com or 212-352-3101

http://jeffharnar.com/

Stearns Matthews – December Songs ★★★★☆

December Songs

Produced by Randy Crafton for Chlo-Rita Productions
Executive Produced by Stearns Matthews for Chlo-Rita Productions
CD Design and Packaging by Michael Hetrick
Markus Grae-Hauck – piano
Amy Crafton – clarinet, bass clarinet & soprano saxophone
Dave Richards – contrabass

If anyone can thaw your heart during the freezing winter of 2018, Stearns Matthews and his landmark recording of Maury Yeston’s haunting song cycle, December Songs, can.  Originally written in 1991 as a commission for Carnegie Hall’s centennial celebration, December Songs was premiered by the cabaret chanteuse Andrea Marcovicci.  It’s been recorded in English by Marcovicci, Isabelle George (who also recorded it in French), Harolyn Blackwell, Hetty Sponselee, Sheila Conolly and, most recently, by the Tony-nominated Broadway star Laura Osnes who included the cycle on her gorgeous 2013 recording, If I Tell You – The Songs of Maury Yeston on PS Classics.   There are also recordings in German (Pia Douwes) and Polish (Edyta Krzemien) but I digress.  Matthews new, self-produced release of Yeston’s cycle is a revelation not just because it’s a man singing, but because he sings it so beautifully and with such insightful sensitivity.

December Songs is essentially a retelling of Franz Schubert’s 1827 classical song cycle, Winterreise, in which a man travels through a linked sequence of reflections on his life and lost loves over the course of 22 poems by Wilhelm Müller.  Matthews, a Bistro and MAC Award winning vocalist, dives into Yeston’s cycle with confidence and artistry.  His soaring, lyric tenor is a perfect conduit for Yeston’s intricate melodies that comprise the ten songs in his cycle.  Yeston’s songs blend a classical underpinning with his Broadway flair (Nine, Grand Hotel, Titanic, etc.) that makes for a sophisticated collection of songs accessible to anyone who may fear classical music.  Wisely, Matthews brings an ‘everyman’ sensibility to his performance that roots his performance in solid ground while giving himself the license to paint Yeston’s lyrics with vocal colors and flourishes.  “Please Let’s Not Even Say Hello” has a new urgency with Matthews plaintive quality, and “Bookseller In The Rain” conveys a haunting darkness I hadn’t heard before.  “I Am Longing” has an aching loneliness that’s palpable and “My Grandmother’s Love Letters” has an entirely new sensibility in the hands of a man.  (Note: Though he didn’t record the entire cycle, Philip Chaffin contributed a ravishing recording of “I Am Longing” on PS Classics’ 2003 release, The Maury Yeston Songbook.)

Modestly packaged with excellent liner notes courtesy of Barry Kleinbort, the arrangements on Matthews’ December Songs are lovely and beautifully performed by Markus Grae-Hauck (piano), Amy Crafton (clarinet, bass clarinet & soprano saxophone) and Dave Richards (contrabass).  If there’s a quibble with Matthews new disc, it’s that – at only ten songs – it truly leaves you wanting more.  But in a good way.  Perhaps when he hears this superb December Songs recording, Maury Yeston will write Matthews a new song cycle all his own.  “I Had A Dream About You,” indeed!

Stearns Matthews’ 2014 debut recording, Spark

https://www.stearnsmatthews.com/december-songs/

Jeff Macauley – Hollywood Party – Movie Songs: 1928-1936 ★★★★☆

Pangea
October 30, November 30, December 15 & 27, 2017

Music Direction & Accompaniment by Tex Arnold

No one likes being late to a party, but that’s how I felt recently watching the supremely entertaining Jeff Macauley holding court at Pangea in the smartest show in town, Hollywood Party – Movie Songs: 1928-1936.  As he unfurled one delicious, forgotten gem after another I wondered how Macauley’s insouciant blend of wit, charm and sophistication could have eluded me for so long.  After all, he’d won a Bistro Award in 1998 for MWAH! The Dinah Shore Show (which he encored in 2016 to critical raves) and has been MAC nominated the last two years for Best Male Vocalist.  Where had I been?  Why had no one told me?  Ah well, better late than never!  And now that I’m at the party, wild horses couldn’t drag me away.

It only takes glancing at the titles of Macauley’s shows to see why he’s the toast of the town and a tastemaker in style:  It Was Me: The Lyrics of Norman GimbelMr. Lucky: The Songs of Henry Mancini and Le Grand Tour: The Music of Michel Legrand.  A performer with panache and savvy, Macauley’s Hollywood Party is actually a revival of a show he created more than 20 years ago.  But it’s a testament to Macauley’s presentation and his material’s timelessness that Hollywood Party remains a breath of fresh air and a thrill to experience.

Photo courtesy of James Gavin

Boasting intuitive arrangements and the sensitive playing of the superb Tex Arnold, in Hollywood Party Macauley steps back in time to the Golden Age of film music with a collection of rarities, obscure oddities and – most delightfully – completely unknown songs.  When was the last time you watched a cabaret show and had never heard the vast majority of songs being performed?  And how exciting is that?  As our emcee and bon vivant narrator, Macauley relishes in turning the pages of time, in this case from 1928 to 1936.  Boasting writers as disparate as Rodgers & Hart, Dorothy Parker and Yip Harburg, you’ll also experience Herman Hupfeld, Clifford Grey & Victor Schertzinger and George Marion & Richard Whiting.  The lyrics Macauley has chosen are unerringly smart, funny and frivolous – all qualities Macauley himself embodies as he takes us into his confidence.

Cutting a cool figure in his tuxedo, Macauley’s sex appeal is as magnetic as it is dangerous.  His light, lyric baritone often roams into tenor territory but he never pushes, caressing the notes with an even fineness that’s a welcome relief from the glut of belters who equate volume with emotion.  Younger singers would do well to emulate Macauley’s sumptuous phrasing and consummate breath-control.  It’s refreshing to watch a show where the performer understands the lyric is paramount, and to take breaths where dictated by the text.  No breaking up phrases or taking a gigantic breath before the last word in a sentence for Macauley.  It’s this attention to presentation, along with his eclectic taste in repertoire, that Macauley reminds me of the terrific Chicago-based performer Justin Hayford.  They both have a gentle approach to their material but there’s always a sly wink in the execution.  And that wink is everything.

Photo courtesy of James Gavin

Whether he’s advising us to “Never Swat A Fly” (from Just Imagine, 1930 – Fox: by B.G. De Sylva, Lew Brown and Ray Henderson) or to “Bend Down Sister” (from Palmy Days, 1931 – United Artists: by Ballard MacDonald/Dave Silverstein and Con Conrad), Macauley is genuinely having fun and his rapt audience is along for the ride.  Selfishly, I can’t wait to see what he does next!

Jeff Macauley next appears at The Duplex Cabaret Theatre on Sunday, January 14th at 9:30 pm in
Little Crumbs of Happiness with James Judd, Terri Mintz & Ann Talman
http://www.purplepasss.com

(Note: A word about the wonderful cabaret room at Pangea at 178 Second Avenue in New York City.  I’d been to Pangea many times, but it had been many years since my last visit and I’d never experienced the charming and intimate performing space now lovingly ensconced at the back of the restaurant.  It’s the perfect size space for cabaret shows with excellent sight-lines.  And the food was delicious!)

Latin History for Morons ★★★★☆

John Leguizamo in “Latin History for Morons” (photo: Joan Marcus)

The Public Theater
February 24, 2017 thru April 23, 2017
Opened March 27, 2017

Written and Performed by John Leguizamo
Directed by Tony Taccone

It’s hard to think of another performer in history who’s mounted a succession of solo stage productions with the dramatic scope and cultural impact of John Leguizamo.  Starting off-Broadway with Mambo Mouth in 1990, and Spic-O-Rama in 1992, before moving to Broadway with  Freak in 1998, Sexaholix in 2001 and Ghetto Klown in 2011, Leguizamo has proven time and time again there’s nothing he can’t do.  He returns to his off-Broadway roots at The Public this spring with the shrewdly titled Latin History for Morons which follows his patented blueprint of sociological autopsy by hilarious personal insight.

Ostensibly structured as a lecture by a professor, Latin History for Morons is merely a sly way for Leguizamo to tell us stories about life with his teenage children who are smarter and cooler than him.  What he tries to teach them and what they ultimately teach him is framed thru a prism of historical anecdotes about the various Latino peoples of the world.  Woven throughout these anecdotes, shrewdly directed by Tony Taccone on a clever set by Rachel Hauck, is Leguizamo’s quest for the perfect Latino hero for his son to incorporate into a school presentation.  Unsurprisingly, his son rejects each of his suggestions.  Throughout it all, Leguizamo gives us what has become his specialty – that of an observer of life who can spin even the worst humiliation into comic gold.

https://publictheater.org/Tickets/Calendar/PlayDetailsCollection/16-17/Latin-History-for-Morons/

Sweat ★★★☆☆

Michelle Wilson & Johanna Day in “Sweat” (photo: Joan Marcus)

Roundabout – Studio 54
March 4, 2017 thru (open ended)
Opened March 26, 2017

Written by Lynn Notage
Directed by Kate Whoriskey

If ever a new play was at the right place at the right time it’s Lynn Nottage’s Sweat, now ensconced at Studio 54 following a successful run at The Public Theater last fall and, before that, productions at the Oregon Shakespeare Festival and Arena Stage in Washington, D.C. in 2015.  To be sure, it’s wonderful Nottage is finally represented on the Great White Way, but I was less convinced by Sweat than most critics so my opinion is definitely in the minority.  I think it’s a good play but I don’t think it’s a great one, and I was both surprised and disappointed it transferred to Broadway when Nottage’s far better Intimate Apparel and Ruined did not.

Capitalizing on the political strife roiling the country, the anti-immigrant sentiments espoused by the new administration, and the continuous depletion of blue-collar jobs throughout the country, Sweat is a portrait of unionized factory workers in Reading, Pennsylvania, watching their American dreams spiral down the drain.  Their way of life is over for these working-class Americans, they just don’t know it yet.  It’s a dissection of friendship, loyalty, and race as filtered thru a plant closing which shatters lives and extinguish dreams.

Sweat opens in 2008 on a parole officer, Evan (Lance Coadie Williams), meeting separately with Jason (Will Pullen) who is white, and Chris (Khris Davis) who is black.  The men are being released on parole for an unknown crime that happened eight years earlier and the action flashes back to 2000 where their story unfolds.  The real action of Sweat  takes place in a bar where a core group of factory workers meet after their shifts to knock a few back and live their lives.  Stan (James Colby) owns the place, Oscar (a quietly powerful Carlo Alban) suffers in silence as his bar-back, and Cynthia (a superb Michelle Wilson), Tracey (the hardworking Johanna Day) and Jessie (Alison Wright) are the regulars who hold court in a banquette.  Brucie (the wonderful John Earl Jelks) shows up from time to time to borrow money from his wife Cynthia and his son Chris, as well as Chris’ friend Jason whose mother is Tracey.  The three women are best friends whose primary past-time seems to be boozing it up and complaining about their life in the factory as union workers on the shop floor.

But change is coming, and not just whether Cynthia or Tracey is going to be chosen as the new supervisor.  The changes Nottage details in painful detail (after doing extensive interviews with laid-off workers in Reading, PA) involve cutbacks, layoffs, relocations to Mexico and the disintegration of lifelong friendships.  The growing anger and frustration in Nottage’s characters is palpable and, when it comes to a boil, an act of violence occurs that changes the fates of those involved irrevocably.  As the story comes full circle, it’s clear these are the same blue-collar workers who voted for Trump in the last election.  It hasn’t dawned on them yet how misplaced their confidence was and remains.  It’s an American tragedy and we are the witnesses.

Addendum: on April 10, 2017, it was announced Sweat had won the 2017 Pulitzer Prize for Drama.

http://sweatbroadway.com/

Come Back, Little Sheba – William Inge in Rep ★★★☆☆

Heather MacRae & Joseph Kolinsky in “Come Back, Little Sheba” (photo: Carol Rosegg)

Transport Group Theatre Company
Gym at Judson
February 23, 2017 thru April 23, 2017
Opened March 26, 2017

Written by William Inge
Directed by Jack Cummings III
Original Music by Michael John LaChiusa

Running in repertory with their excellent revival of Picnic is The Transport Group’s new production of William Inge’s Come Back, Little Sheba starring Heather MacRae and Joseph Kolinski in the lead roles.  Though it’s not as solid as Picnic, Jack Cummings III’s staging of Sheba is worth seeing but there are certain choices that don’t make sense and performances that are inconsistent with the characters as Inge wrote them.

As Inge’s first play in 1950, Sheba revolves around the marriage of Doc and Lola Delaney.  A recovering alcohol who struggles mightily with his sobriety, Doc now works as a chiropractor after being forced to abandon a promising medical career when Lola became pregnant, ultimately losing the baby.  Now overweight and slovenly, Lola spends her days in mild flirtations with the mailman and the milkman.  She lives vicariously thru Marie (Hannah Elless), a young woman who rents a room in their house and has designs on both the muscular Turk (David T. Patterson) and the successful Bruce (Rowan Vickers).  Lola encourages Marie but Doc sees in Marie the life he didn’t have.  When he discovers she’s not as innocent as he thinks it sends him on a alcoholic bender and unleashes his pent-up rage.

 David T. Patterson and Hannah Elless as Turk and Marie

Cummings opens up his staging to a large, in-the-round performing space with clearly delineated “rooms” for the kitchen, the dining room and living room, all of which flow one into the next.  Much of the time MacRae, an expressive actress who wears her heart on her sleeve, seems ideal for Lola, and a late second act phone call to her mother is shattering.  But occasionally MacRae’s characterization lacks depth and she seems adrift emotionally.  In Lola’s many scenes with the mailman and the milkman (both portrayed by John Cariani) she’s supposed to be actively flirting with them but, for some reason, MacRae merely ‘chats’ with them.  Perhaps nothing is more difficult that playing drunk on-stage and when Joseph Kolinski’s Doc falls off the wagon his characterization is overwrought and out-of-control.  Several times Doc’s “anger” turned almost psychopathic in Kolinski’s performance.  It’s a choice, but I think it’s the wrong choice as Inge has written him.  Still, despite these problems, this Sheba has palpable moments of power and heartbreak, possessing luxury casting in its small supporting roles, including appearances by such veterans as Jennifer Piech, Jay Russell and David Greenspan.

The last New York production of Come Back, Little Sheba was MTC’s production directed by Michael Pressman and starring S. Epatha Merkerson as Lola, Kevin Anderson as Doc and Zoe Kazan as Marie at the Biltmore  in 2008.  Even if The Transport Group’s revival isn’t perfect, it’s an opportunity to see an important work from a major playwright of the mid-20th century whose subject matter still resonates powerfully today.

http://www.transportgroup.org/come-back-little-sheba-inge-rep

Picnic – William Inge in Rep ★★★★☆

Michele Pawk & Ginna LeVine in “Picnic” (photo: Carol Rosegg)

Transport Group Theatre Company
Gym at Judson
February 23, 2017 thru April 23, 2017
Opened March 26, 2017

Written by William Inge
Directed by Jack Cummings III
Original Music by Michael John LaChiusa

Director Jack Cummings III’s excellent revival of William Inge’s Pulitzer-winning drama about 1950’s angst in the waning days of summer in a small Kansas town, is a showcase for a talented cast – several of whom we know primarily for their work in musical theatre but are equally at home in comedy and drama.  Staged by The Transport Group at the Gym at Judson with a spartan set (Dane Laffrey) and period-evoking costumes (Asta Bennnie Hostetter), the great Michele Pawk plays Flo Owens, mother of two daughters: Madge, “the pretty one” who’s unsure what lies ahead for her, and Millie, a bookworm determined to be a writer.  A struggling, single-mother, Flo takes in boarders in her house so the tart-tongued teacher Rosemary Sydney, played to perfection by a terrific Emily Skinner, is on-hand to dispense advice and wonder aloud why her boyfriend Howard Bevans, a befuddled John Cariani, hasn’t married her yet.  The adjoining porch next door finds Helen Potts, a warm-hearted Heather MacRae, and her elderly, infirm mother who proves high-maintenance for her daughter.  It’s hot, tempers flair and the town is preparing for its Labor Day picnic.  Into this volatile mix arrives Hal Carter, a smoldering David T. Patterson, a handsome drifter who captures the attention of every woman in town – young and old.  Hal’s in town to look up his college roommate, Alan Seymour, a worshipful Rowan Vickers, who happens to be dating Madge Owens with plans to marry her.  Hal asks Alan to help him find a job but when he meets Madge the sparks fly and the fragile balance of everyone’s existence is upended by passion, despair and longing.

David T. Patterson as Hal Carter

One of the biggest problems in casting a production of Picnic is finding a young man to play Hal who audiences will believe could wreck havoc with the women of the town, but Cummings has no such problem with David T. Patterson.  His well-toned physique and rippling abdominal muscles (particularly his external obliques) elicit gasps from the audience (both women and men!), and he’s a good actor, too.  If anything Patterson’s body is a distraction and one could make the argument no men in the 1950’s had the kind of sculpted musculature Patterson has.  But that’s the equivalent of saying a cake has too much frosting or a piece of fruit is too sweet.  Ultimately, nobody cares.

John Carriani and Emily Skinner as Howard and Rosemary

Michele Pawk is wonderful as a conflicted mother who doesn’t want to see her daughter make the same mistakes she made but is helpless to stop her.  Stepping into the coveted role of Rosemary – and the shadow of both Eileen Heckart and Rosalind Russell – Emily Skinner is simply magnificent portraying a woman at the end of her romantic rope who’s desperate to marry.  She’s paired beautifully with John Cariani and their scenes together are among the production’s finest.  Ginna LeVine makes a strong impression as Madge which turns out to be perhaps the most complicated and difficult role in the show.  It’s tricky playing a beautiful girl who’s aware of her looks but deeply unsure of who she is and what she wants.  Supported by an original musical score by the award-winning Michael John LaChiusa (with whom Pawk worked on his original Hello, Again back in 1993-94), this evocative revival of Picnic -now playing in repertory with a strong revival of Come Back, Little Sheba – is a welcome addition to the off-Broadway season.

http://www.transportgroup.org/picnic-inge-rep

Significant Other ★★★★☆

Gideon Glick, Rebecca Naomi Jones, Sas Goldberg & Lindsay Mendez in “Significant Other” (photo: Joan Marcus)

Booth Theatre
February 14, 2017 thru April 23, 2017
Opened March 2, 2017

Written by Joshua Harmon
Directed by Tripp Cullman

After a critically acclaimed, off-Broadway run in the summer of 2015 at the Roundabout’s Laura Pels Theatre, Joshua Harmon’s heartbreaking comedy, Significant Other, transfers to a Broadway run at the Booth Theatre.   Starring the marvelous Gideon Glick in a breakout bid for stardom, Significant Other tells the story of Jordan Berman, a gay New Yorker in his late 20’s played with anxiety-ridden delight by Glick, and his posse of single BFF’s: Kiki, a dizzyingly daffy Sas Goldberg; Vanessa, the hilarious Rebecca Naomi Jones; and Laura, Jordan’s soulmate played to perfection by the gifted Lindsay Mendez.  Their friendship bond is unbreakable but then, one by one, Kiki, Vanessa and Laura pair up with straight men and get married, leaving Jordan searching for his own man to love.  Left on his own to deal with the fear that comes with abandonment and self-doubt, Jordan wonders what’s wrong with him as he grows more lost with each friend’s wedding.

Along the way Jordan takes care of his sassy grandmother, deftly portrayed by Broadway legend Barbara Barrie (the original Company), who is having memory problems and tends to repeat stories when her grandson stops in for a visit.  But she understands Joshua is struggling to connect and dispenses grandmotherly wisdom with equal doses of love and common sense.  Barrie’s scenes with Glick are the emotional center of Significant Other and it’s a thrill seeing this indispensable actress fully inhabiting such a pivotal character.  Filling out the cast are Luke Smith who plays one of Jordan’s gay co-workers, as well as handsome John Behlmann who plays Will, another man in Jordan’s office who’s probably straight but could possibly be gay that Jordan falls for and then makes a fool out of himself over.


Smartly directed by Trip Cullman on a terrific set by Mark Wendland, Harmon’s Significant Other breaks new ground with the depiction of gay men and their relationships, women and the way they interact with their gay male friends, as well as the challenges gay men face as they enter their 30’s and 40’s.  It’s an unromantic romantic-comedy, of sorts, and Harmon’s perceptive and bracing dialogue – so different than his lacerating Bad Jews – resonates deeply while hitting multiple nerves.  There’s a scene near the end of Significant Other where Jordan and Laura finally “have it out” with each other in a fight that pulls no punches and takes no prisoners.  It’s painful to watch because it’s so authentic and it’s an argument that, undoubtedly, many of us have had with our own friends.  But Significant Other isn’t afraid to push those buttons and speak ugly truths.  It also lets us know that not knowing what lies ahead can be okay, too.

http://www.significantotherbroadway.com/

Sweeney Todd: The Demon Barber of Fleet Street ★★★★★

Siobhán McCarthy & Jeremy Secomb in “Sweeney Todd” (photo: Rex Features, via Associated Press)

Barrow Street Theatre
February 14, 2017 thru (open ended)
Opened March 1, 2017

Book by Hugh Wheeler
Music & Lyrics by Stephen Sondheim
Directed by Bill Buckhurst
Choreographed by Georgina Lamb
Music Supervision & Arrangements by Benjamin Cox

Any new production of Stephen Sondheim and Hugh Wheeler’s masterpiece, Sweeney Todd: The Demon Barber of Fleet Street, is cause for celebration, but the reports from the 2014 Tooting Arts Club’s production in London, staged inside Harrington’s Pie and Mash Shop – the city’s oldest continuously operating pie shop – sounded simply too delicious for the show not to transfer to New York.  And now it has, to the Barrow Street Theatre in Greenwich Village.  At Harrington’s, an intimate audience of 35 people watched Sweeney slit throats as they nibbled their pies, but at Barrow Street a more robust audience of 130 will get to enjoy the carnage and, yes, they’ll get to eat pies, too.  And for the record, the pies (either chicken or vegan) by former White House Executive Pastry Chef William ‘Bill’ Yosses (dubbed ‘The Crust Master’ by President Obama) are scrumptious!

But you’re probably asking yourself, “how’s the show?”  How can anyone do Sweeney with a cast of 8 and an orchestra of 3?  The answers are: “it’s incredible,” and “with imagination, that’s how!”  Reprising their roles from London, New York audiences will get to enjoy Jeremy Secomb and Siobhán McCarthy as Sweeney Todd and Mrs. Lovett thru April 9th and, starting on April 11th, Broadway veterans Norm Lewis and Carolee Carmello will assume the roles.  The other roles changing hands on April 11th will be the Beggar Woman/Adolfo Pirelli (Stacie Bono will replace Betsy Morgan), Judge Turpin (Jamie Jackson will replace Duncan Smith) and Tobias (John-Michael Lyles will replace Joseph Taylor).  Performing with both companies are Matt Doyle as Anthony, Alex Finke as Johanna and Brad Oscar as The Beadle.

Dispensing with a synopsis of the plot (if you’re reading this you already know it), the first thing you’ll notice as you enter the Barrow Street Theatre (formerly Greenwich House) is the interior has been completely reconfigured to approximate the Harrington Pie shop in London.  To say it’s unrecognizable would be an understatement.  Audience sit at communal benches and the cast performs around, about and often on top of you as the show progresses.  It’s up-close and personal, creating a thrilling atmosphere to see a show as brutal and immediate as Sweeney Todd.  As for Sondheim’s brilliant score, you might think it would have its impact lessened by being orchestrated for piano (Matt Aument), violin (Tomoko Akaboshi) and clarinet (Michael Favreau) but – amazingly – it has a new clarity and immediacy, distilled as it is down to its basic elements.  Of course, purists will miss the strings and Jonathan Tunick’s irreplaceable orchestrations.  But I would urge you to give this spare, stripped down orchestration by Benjamin Cox a chance; I suspect it will win you over as it did me.

For its part, the cast is superb.  Secomb brings a malevolent, psychotic underpinning to his Sweeney that’s as harrowing as it is exciting.  True, some of the low A’s and B-flat’s in “No Place Like London” are too low for him to project properly, but Secomb glosses over them stylishly till he’s back in his vocal comfort zone.  Balancing him nicely is the effervescence of McCarthy’s Mrs. Lovett.  She’s got nerves of steel but her love for her barber is never far from the surface.  She doesn’t have the vocal power of Patti LuPone, but she handles Lovett’s songs with humorous panache.  As Anthony, Doyle is the whole package and perhaps the best sung and acted Anthony I’ve ever seen after more than a dozen productions of this show.  His performance of “Johanna” in such tight quarters is simply spine-tingling.  For her part, Finke’s Johanna is also sublime.  It’s beautifully sung, particularly the tricky harmonics in “Green Finch and Linnet Bird” and the fast passages in “Kiss Me (Part II)” when it turns into a quartet with the Beadle and the Judge.  (For the record, the best Johanna I’ve ever seen remains Celia Kennan-Bolger in The Kennedy Center’s Sondheim Festival production.)   Oscar is wonderful as the Beadle (even if he doesn’t have Jack Eric Williams’ high B’s), Smith is appropriately scary as the Judge and Taylor is heartbreaking as Tobias.

Special praise is reserved for the vocal pyrotechnics of Betsy Morgan who not only brilliantly sings the dual roles of the Beggar Woman and Pirelli, but also is assigned all the crazy high notes in the ensemble’s transitional music.  She tosses of high C-sharp’s and high D’s (!!!) effortlessly.  It’s insane what she’s singing.  The original production had 18 people in the ensemble and here’s it’s barely 3 people.  Bill Buckhurst’s staging feels organic and unforced even though the performers and audience are sharing an incredibly tight space.  He cleverly has the cast often walking on top of the narrow tables to maximize their playing area.  The only drawback to this concept and design is it’s impossible to have a functioning barber’s chair with a chute for the victims.  There’s a staircase, upstage center, utilized for this purpose and, although it works in theory, it’s not an optimal solution.  But you can’t have everything with a concept as bold as this one and the environmental thrills and immediacy of the performances more than compensates for any minor deficits brought about due to the performing space.  But be warned, with a psychopath literally singing in your face this Sweeney Todd isn’t for the faint of heart!

http://www.sweeneytoddnyc.com/

The View Upstairs – A New Musical ★★★☆☆

Jeremy Pope, Taylor Frey & Nathan Lee Graham in “The View Upstairs” (photo: Kurt Sneddon)

Lynne Redgrave Theater at Culture Project
February 15, 2017 thru May 21, 2017
Opened February 28, 2017

Book, Music & Lyrics by Max Vernon
Directed by Scott Ebersold
Choreographed by Al Blackstone

The View Upstairs, a new off-Broadway musical about the catastrophic fire on June 24, 1973, that claimed 32 lives at the Upstairs Lounge, a gay nightclub in New Orleans’ French Quarter that also doubled as a home for the Metropolitan Community Church, is a welcome addition to a theatre season stuffed with new musicals.  Despite some book problems, The View Upstairs possesses an impressive score and enough sparkling performances to make even the most tired, jaded drag queen stand up and say “Amen!”

Written solely by Max Vernon, a 28-year old upstart who attended NYU and has made a name for himself on the internet, the score for The View Upstairs is steeped in catchy melodies and, for the most part, smart lyrics that propel the plot and help define character.  Vernon is fortunate to have a top-drawer line-up of performers portraying the denizens of the Upstairs Lounge and singing his songs, particularly the sinfully handsome Taylor Frey as Patrick (“What I Did Today”), a fierce Michael Longoria as the budding drag queen Freddy (“Sex on Legs”), luscious Frenchie Davis as Henri (“The World Outside These Walls”) and the righteous diva herself, Nathan Lee Graham as Willie (“Theme Song”).  Into their 1973 world steps Wes from 2017, portrayed by Jeremy Pope who starred in Tarell Alvin McCraney’s Choir Boy to great critical acclaim.  Wes is a budding fashion designer who can’t afford Brooklyn anymore so he’s moved back to New Orleans where he plans to purchase the fire and water-damaged second floor of a three-story building to open up his new studio.  As he walks around the space the ghosts from the past come to life and give Wes an old-school education in gay history and gay culture.

It’s too bad Vernon didn’t engage a collaborator to help him with the book as this kind of time-traveling with ghosts materializing from the past is trickier to pull off than it sounds.  (Just ask James Goldman and Stephen Sondheim.  Follies, anyone?)  Additionally, a lot of the dialogue and banter between Wes and the patrons of the Upstairs Lounge provokes eye-rolling and needs to be improved.  But then the cast starts to sing and almost all is forgiven.  Jason Sherwood has magically turned the theatre space into a deliciously tacky gay bar, complete with every conceivable kind of trapping, poster and decoration you can imagine.  It’s an impressive achievement and is complimented by the terrific costumes by Anita Yavich, the wigs courtesy of Jason Hayes, the lighting by Brian Tovar and the sound by Justin Stasiw.  The musical direction and orchestrations are by James Dobinson who leads an expert 7-piece, off-stage band with sass and panache.

It’s worth noting that, until the Orlando massacre at the Pulse nightclub which killed 49 people in 2016, the arson in 1973 at the Upstairs Lounge was the deadliest know attack known on a gay club.  When we don’t remember our history we’re doomed to repeat it.  Vernon deserves credit for bringing the Upstairs Lounge’s story – and it’s victims stories – back into the public’s contemporary consciousness.  With a little more tweaking, The View Upstairs could become a musical theatre staple across the country and around the world.

http://www.theviewupstairs.com/#home