Theater Reviews

Susan Granger’s review of “Fiddler on the Roof” (Museum of Jewish Heritage – Off-Broadway)

 

The National Yiddish Theatre Folksbiene is one of the world’s best-known Yiddish theater companies, and this current production of the 1964 American musical is accompanied by English and Russian subtitles, projected on the sides of Beowulf Boritt’s simple set of paper panels and fabric banners.

Based on the folk tales of Sholem Aleichem, the story takes place in the fictional shtetl of Anatevke, where Yiddish was, indeed, the spoken language among its Jewish residents. (The ‘real’ village was probably near Kiev in what is now Ukraine.)

The observant dairyman Tevye (Steven Skybell) converses with God on a regular basis, often concentrating on the tension between religious tradition and the possibility of change.

Israeli actor/director Shraga Friedman’s translation, which debuted in Israel in 1965, has some interesting quirks. For example, Tevye’s signature song “If I Were a Rich Man” has become “If I Were a Rothschild,” referring to the most prominent European Jewish family of that period.

The rest of the exuberant company includes Tevye’s wife Golde (Mary Illes), their ‘eligible’ daughters (Stephanie Lynne Mason, Rosie Jo Neddy, Rachel Zatcoff) and suitors (Daniel Kahn, Cameron Johnson, Ben Liebert), plus, of course, the scene-stealing match-maker Yente (Jackie Hoffman).

Director Joel Grey, perhaps best known as the Emcee in “Cabaret,” confesses he doesn’t speak Yiddish, nor do many members of the cast which include some players from Bartlett Sher’s 2015 Broadway revival – all of whom took a crash course in the language. Actually, Grey is only a generation removed from the Yiddish theater; his father was comic/musician Mickey Katz.

Music Director Zalmen Mlotek conducts the 12-member orchestra, recalling the genuine klezmeric origins to which to music often alludes, while Stas Kmiec reproduces much of the original staging and choreography.

It’s so authentically, joyously Jewish that I was kvelling!

This “Fiddler on the Roof” is made its U.S. debut at the Museum of Jewish Heritage, 36 Battery Place in Lower Manhattan, on July 15 and has been extended through October 25 – and the ticket price includes admission to the museum.

Susan Granger’s review of “Pretty Woman” (Nederlander Theater)

 

“Hopes and dreams are what this town is made of./Give it a shot. You’ve got nothing to be afraid of,” sings the street-hustling Happy Man (Eric Anderson) as this somewhat tawdry, Hollywood fairy-tale begins.

Set to a saccharine, soft rock score by Canadian pop star Bryan Adams and longtime songwriting partner Jim Vallance, it’s almost directly cloned from Garry Marshall’s 1990 romantic comedy that catapulted then-unknown Julia Roberts to fame and fortune.

But that’s not radiant Julia Roberts on-stage. It’s enchanting Samantha Barks with a strong pop soprano voice, deliberately evoking nostalgia with every Julia-nuanced, verbatim line of dialogue and replicated costume. Her initial “Anywhere But Here” is the heroine’s “I Want” number, propelling the plot.

In the hands of director/choreographer Jerry Mitchell (“Kinky Boots,” “Legally Blonde”), the candy-coated concept by Marshall, who died in 2016, and screenwriter J.F. Lawton remains the same: On the seedy side of Hollywood Boulevard, prostitute Vivian Ward picks up cold-hearted, Wall Street billionaire Edward Lewis, who’s ensconced in the luxurious Beverly Wilshire Hotel penthouse for a week of wheeling and dealing.

Charmed by her vulgar, yet refreshing candor, he negotiates her companionship for a week at $3,000. (Incidentally, “$3,000” was the original title of the film.)

Unfortunately, Andy Karl is no Richard Gere. His Edward Lewis is remarkably vapid, totally lacking in charisma, so there’s no sexual chemistry between Edward and Vivian.

In a dual role as the Happy Man/Beverly Wilshire Hotel manager Mr. Thompson, Eric Anderson steals the show, reminiscent of the film’s kindhearted Hector Elizondo, who helps make Vivian’s Cinderella dreams come true. He’s aided and abetted by Orfeh as Kit, Vivian’s streetwalking BFF, and Allison Blackwell singing Violetta in “La Traviata.”

Scenic designer David Rockwell uses silhouetted palm trees to establish the locale; the rest is rather minimalist, even skimpy, for such a seemingly expensive production. And the memorable hooker-to-haute-couture shopping scene on Rodeo Drive is decidedly underwhelming, totally lacking inspiration without Roy Orbison’s catchy “Pretty Woman” tune.

Bottom Line: This production is slick and tourist-friendly – with a huge advance. Meaning it will play at Broadway’s Nederlander Theater for the foreseeable future.

Susan Granger’s review of “The Saintliness of Margery Kempe” (Off-Broadway at the Duke on 42^nd)

 

Playwright John E. Wulp’s episodic comedy revolves around the misadventures of Margery Kemp (Andrus Nichols) a late 14^th century English housewife who utterly fails at running a brewery in Bishop’s Lynn, north of London in Norfolk.

Determined to make her mark, she then decides to leave her husband John and six children to become a saint, which should not be difficult if she can perform a ‘true’ miracle – like surviving unscathed when a church collapses – in addition to having miraculous ‘visions.’

So, after contacting the seductive Devil – a.k.a. the Man in Black (Vance Quincy Barton) – it’s off to Jerusalem, where Margery bucks ecclesiastical propriety, among other amusing things, following Friar Bonaventure (Jason O’Connell) and his picaresque companions from Yarmouth to the Holy Land.

Shakespeare once said, “All’s well that ends well,” but, unfortunately, this doesn’t. Wulp’s third act suddenly gets all-too-serious, proclaiming, “Life is a prostitute and death is a whore.”

The real Margery Kempe was a Christian mystic who left her husband and 14 children to undertake pilgrimages, supposedly honoring Jesus Christ. Never having joined any particular church, she was chastised for preaching without holy sanction.

Supposedly illiterate Ms. Kemp dictated “The Book of Margery Kemp,” which was discovered in 1934 in an ancient manor house in Derbyshire and is said to be among the first English-language autobiographies.

Written in 1958, this tepid play remains somewhat unfocused, despite Austin Pendleton’s fervent direction and a memorable performance by Andrus Nichols. Yet it’s a bit disconcerting to update the heroine to a spunky, self-righteous, contemporary woman.

Tackling multiple roles, the excellent ensemble includes Timothy Doyle, Pippa Pearthree, LaTonya Borsay, Michael Genet, Ginger Grace and Thomas Sommo.

Working with the Perry Street Theatre company, now 90 year-old playwright Wulp designed the sparse black-box set with minimal props, relying on the lighting by Jennifer Tipton and Matthew Richards to bring it to life, along with Barbara A. Bell’s costumes and Ryan Rumery’s music/sound effects.

FYI: Originally performed in 1959 Off-Broadway at the York Playhouse, the cast included Frances Sternhagen, Gene Hackman, Charles Nelson Reilly, Patricia O’Connell and George Maharis.

The Saintliness of Margery Kempe” runs through Sunday, August 26, at the Duke Theater on 42^nd Street.

Susan Granger’s review of “The Understudy” (Westport Country Playhouse)

 

Playwright Theresa Rebeck pens an amusing ‘backstage’ comedy, revolving around an understudy rehearsal of a Broadway play by Franz Kafka that stars a highly popular, A-list Hollywood action hero. It could also be called The Actor’s Lament.

Striding down the aisle and ascending the stage, Harry (Eric Bryant) identifies himself as the titular, newly hired understudy.

After suffering far too many rejections, he’s admittedly bitter about the powerlessness of actors in show business and particularly indignant about working with snide, condescending Jake (Brett Dalton), a B-list action-movie performer doing a supporting role in this two-hander.

Supervising the rehearsal so that the actors can run the lines/blocking is the frustrated stage-manager, Roxanne (Andrea Syglowski). She was summarily dumped by Harry six years earlier, just two weeks before their wedding.

Understandably irritable and resentful, Roxanne quit being an actress for steadier managerial employment. Her exasperation is intensified by the utter ineptitude of Laura, the (unseen) light, sound and scenery tech who’s usually stoned but able to hang onto her job because her uncle is an IATSE (union) official.

Adroitly maximizing each laugh line delivered by his excellent, superbly cast trio, director David Kennedy relishes the absurdly ridiculous idea of an incomprehensibly existential, three-hour Kafka drama being a hit on Broadway just because of the marquee value of its megabucks star. And the concluding ‘dance’ captures the soulful essence of this eccentric flight of fancy.

FYI: Born in Prague, Franz Kafka (1883-1924) was a German-Jewish visionary whose works reflected the anxieties and alienation felt by many in 20^th century Europe.

Adding immeasurably to the manic mayhem are designers Andrew Boyce (scenic), Matthew Richards (lighting), Fitz Patton (sound), Noah Racey (choreography), Michael Rossmy (fight) and Maiko Matsushima (costumes).

Performed without an intermission, it’s just too long. Many members of the audience were visibly squirming in their seats after the 100-minute mark.

Nevertheless, it’s well worth a visit to the Westport Country Playhouse to see “The Understudy,” on-stage through Saturday, September 1^st. Call 203-227-4177 or go online to www.westportplayhouse.org.

Susan Granger’s review of “Kiss Me Kate” (Summer Theatre of New Canaan)

 

The Summer Theatre of New Canaan tackles Cole Porter’s “Kiss Me Kate,” a musical filled with memorable songs, witty lyrics and a comedic storyline, exploring the perennial battle-of-the-sexes.

At Ford’s Theater in Baltimore in the 1940s, Fred Graham (David Sattler) is the imperious actor/manager of a theatrical troupe, touring with his contentious ex-wife Lilli Vanessi (Mary McNulty) as his leading lady.

The play they’re presenting is set in Italy and based on Shakespeare’s “The Taming of the Shrew.” It stars Katharine/Lilli as a strong-willed, independent woman in Padua who gets a comeuppance and on-stage spanking from Petrucio/Fred. (Yes, the timing is troublesome in the era of the #MeToo movement.)

Beginning with “Another Op’Nin, Another Show,” there’s a lot of backstage intrigue, mania and mayhem, particularly when a bouquet of flowers with a loving note is delivered to the wrong actress.

Sam and Bella Spewack’s book cleverly utilizes a dramatic device, or ‘plant,’ to propel the plot, namely: the $10,000 IOU that gambler/dancer Bill (Tim Falter) blithely signs with Fred Graham’s name which, in turn, introduces two gangsters (Brett Alters, Brian Silliman) who bring down the house with their zestful “Brush Up Your Shakespeare,” as the audience roars with laughter.

As Lilli/Katharine, dazzling Mary McNulty delivers a glorious, powerhouse performance. When she’s singing “Wunderbar,” “So In Love,” and “I Hate Men,” you can’t take your eyes off her.

In contrast, David Sattler comes across as a portly ‘park-and-bark’ baritone, warbling the dutiful title song, totally missing Petrucio’s essential sense of his own absurdity. Granted, it’s a difficult role but Alfred Drake mastered the duality on-stage, as did Howard Keel in the screen version.

Also jarringly off-kilter is Rachel MacIsaac’s bizarre interpretation of Lois/Bianca, which suggests the brassy blonde Adelaide in “Guys and Dolls,” rather than Katharine’s sweetly docile, younger sister.

While director Allegra Libonati and choreographer Doug Shankman strive for precision, the entire production, particularly the dance numbers, runs far too long.  Screenwriter Dorothy Kingsley, director George Sidney and choreographer Hermes Pan tightened it considerably for the 1953 film.

The Summer Theatre of New Canaan’s “Kiss Me Kate” plays through July 29 in Waveny Park. For ticket information and directions, call 203-966-4634 or go to www.stonc.org.

Susan Granger’s review of “Skintight” (Roundabout’s Laura Pels Theatre – Off-Broadway)

Playwright Joshua Harmon’s new, darkly comedic drama explores sex, youth, beauty and family, as Tony Award-winning diva Idina Menzel tackles her first non-musical leading lady role.

Recently divorced, 40-something lawyer Jodi Isaac (Menzel), whose middle-aged husband left her for a 24 year-old woman, flies from Los Angeles with her 20 year-old gay son, Benjamin Cullen (Eli Gelb), to visit her wildly successful, wealthy, fashion-designer father, Elliot (Jack Wetherall), ostensibly to celebrate his 70^th birthday.

When they arrive at his stylish-yet-sterile West Village townhouse, they discover that Elliot is romantically involved with muscular, 20 year-old Trey (Will Brittain), an adult film star whose wrist is adorned with a $450,000 watch, given to him by Elliot.

“Hot is everything,” vain, testosterone-propelled Elliot tells grouchy, derisive Jodi. “It’s everything!”

So it’s not surprising that cynical Benjamin, who has been studying “queer theory” in Budapest echoes, “I’m sorry, but no one cares about the person inside.”

In addition to the focal foursome, there’s Elliot’s former lover-turned-manservant, Jeff (Stephen Carrasco), and Hungarian housekeeper Orsolya (Cynthia Mace).

Best known for “Bad Jews,” “Significant Other” and “Admissions” Joshua Harmon never refers to fashion designer Calvin Klein by name but his premise bears more than a passing resemblance to tabloid gossip from eight years ago involving Klein’s relationship with 20 year-old male model Nick Gruber, particularly since Trey wears a bum-baring Calvin Klein jockstrap.

Although the provocatively privileged situation and its resulting banter is droll and superficial, director Daniel Aukin elicits excellent performances, especially from Idina Menzel, and keeps the pace as taut as Botox will allow, making the most of Lauren Helpern’s slate-gray, modern-minimalist living-room set, Jess Goldstein’s costumes and Pat Collins’ lighting.

The limited engagement of “Skintight” extends through Aug. 26 at the Roundabout’s Laura Pels Theatre in the Harold and Miriam Steinberg Center for Theatre – 111 West 46^th Street – www.roundabouttheatre.org.

Susan Granger’s review of “Mamma Mia!” (ACT of CT)

 

There’s a new Equity theater in Southern Connecticut – an absolute gem, situated deep in suburban Ridgefield. It’s ACT – A Contemporary Theatre – of CT. And if its opening musical is any indication of its intent to bring Broadway to Ridgefield, local theater-goers are in for a treat!

After a long New York run, national tours and a Hollywood musical starring Meryl Streep, it’s undoubtedly familiar.  Originally conceived by Judy Craymer, It’s a jukebox musical by Benny Andersson and Bjorn Ulvaeus, showcasing ABBA, the Swedish rock group that dominated the charts from the mid-70s to the early ‘80s.

Set on a sunny Greek island, the paper-thin plot revolves around bride-to-be Sophie (Emily Rogers), who yearns to have her father walk her down the aisle. Problem is: her feisty, free-spirited mother Donna (Juliet Lambert Pratt) never told her who her father is.

When Sophie discovers Donna’s diary, she realizes that, when she was conceived, her mother was romantically involved with three different men – Sam (Michael Hunsaker), Harry (Victor Hernandez), and Bill (Craig Ramsay). So she secretly invites all three of them to her wedding.

Chaos ensures and complications inevitably arise, yet Donna and her wickedly zany BFFs (Jodi Stevens, Sheri Sanders) sing and dance their way through the celebration.

Opening and closing the show, Emily Rogers’ “I Have a Dream” ballad melts your heart. Juliet Lambert Pratt’s “The Winner Takes it All” has irresistible poignancy and her exuberant “Dancing Queen” gets your toes tapping. Jodi Stevens’ seductive “Does Your Mother Know?” is sheer fun, while Sheri Sanders pleads “Take a Chance on Me.”

Under the leadership of founders Katie Diamond, (director) Daniel C. Levine, and Bryan Perri, the professional quality is top-notch. There isn’t a bad seat in the house – and members of the audience have no problem deciphering every word of each song. (Other CT theaters could take some pointers here.)

By popular demand, “Mamma Mia!” has been extended through July 1. And unless you’re familiar with the area, set your GPS to 36 Old Quarry Road in Ridgefield. For further information and tickets, visit www.actofct.org.

 

Susan Granger’s review of “Flyin’ West” (Westport Country Playhouse)

 

Diversity in story-telling and ‘minority’ inclusion are the current cultural buzzwords, so Westport Country Playhouse gets admirably high points for opening the new season with Pearl Cleage’s troubling, finely textured, powerful play.

Set in the 1898 in the tiny Kansas town of Nicodremus, founded by African-Americans soon after the Civil War, this melodrama revolves around Miss Leah (unbeatable Brenda Pressley), a former slave and now the elderly, resourceful matriarch of an ‘adopted’ extended family.

There’s shotgun-toting, pioneer-woman Sophie Washington (Nikiya Mathis) and sweetly optimistic, empathetic Fannie Dove (Brittany Bradford), who has a respectful, protective admirer, Wil Parish (handsome Edward O’Blenis).

As their story begins, they’re awaiting the arrival of their beloved, recently married sister Minnie Dove Charles (Keona Welch), returning from London, England, with her nasty, scheming husband Frank Charles (Michael Chenevert), a light-skinned mulatto who is trying to claim part of his deceased Caucasian father’s estate.

Their background and relationships are explained in the tediously expository first act. The harsh reality of Minnie’s abusive marriage and Frank’s despicable duplicity highlight the second act.

The thought-provoking drama is heightened by the authenticity of Heidi Leigh Hanson’s costumes, Marjorie Grandle Kellogg’s interior farmhouse set, and Stephen Strawbridge’s effective lighting.

Unfortunately, seated under the balcony in the third row from the back, I found deciphering the dialogue difficult, particularly for the lengthy soliloquies delivered by the female characters. Even those near me with auditory devices had problems. Why director Seret Scott didn’t tell her actresses to project more or use microphones is a mystery.

Finally, since baking an apple pie is integral to the second act, it’s too bad there was no aroma when it came out of the oven. The musical “Waitress” revolves around pie-baking, and the theater was filled with the intoxicating scent of freshly baked apple pie, which added immeasurably to the reality.

“Flyin’ West” runs at the Westport Country Playhouse through June 16. For tickets and information, call the box-office at 203-227-4177 or go to westportplayhouse.org.

 

Susan Granger’s review of “Leslie Orofino: Cocktails with Cole” at B.J. Ryan’s Magnolia Room

 

Leslie Orofino was “D’Lovely,” inviting audiences to “Misbehave” at B.J. Ryan’s new cabaret club called the Magnolia Room on 57 Main Street in Norwalk.

Exploring the Cole Porter songbook in song and story, Ms. Orofino enchanted patrons with her flirtatious stage presence, down-to-earth personality and a sense of humor that seems to come naturally. Between songs, she sprinkled short anecdotes or personal musings to set up each number.

According to Ms. Orofino, when Cole Porter was at Yale, he first found his niche as a song writer, which led to his disastrous Broadway debut, writing the comic opera “See America First.” After that flopped, Cole fled to Paris, where he spent 20 years as the toast of café society.

With a sound that is simultaneously subtle and seductive, this supple-voiced songstress delighted with “You Don’t Know Paree,” “C’est Magnifque,” and “Let’s Fall in Love.” That heralded Cole’s meeting elegant divorcee Linda Lee Thomas, whom he married in 1919.

Adding to what I thought I knew about Cole Porter, Ms. Orofino explained how his close friendship with Irving Berlin brought Porter back to the United States, writing American songs with a French flavor for the show “Paris,” which introduced “Let’s Do it,” moving pop songs to a more sophisticated musical and emotional level.

The tragic horseback riding accident Porter suffered in 1937 left him in constant pain for the rest of his life, yet he composed ”Night and Day” and “Begin the Beguine,” among many others.

Other of Ms. Orofino’s highlights include “I Get a Kick Out of You,” blended with “You Do Something To Me” and “What Is This Thing Called Love?” Plus “It’s Too Darn Hot,” from “Kiss Me Kate.” The melodies, which were perfect back in Porter’s dry-martini era, are still perfect today.

Ms. Orofino is accompanied by Daryl Kojak at the piano and Boots Maleson on the bass and directed by Louis Pietig.

When her enthusiastic audience clamored for an encore, Ms. Orofino concluded the evening with “You’re the Top.” She’s the top! Leslie Orofino’s nostalgic and heartfelt tribute to Cole Porter is not to be missed.

Susan Granger’s review of “The Illusionists: Live from Broadway” (Palace Theater/Stamford & Bushnell/Hartford)

 

When Simon Painter conceived “The Illusionists: Witness the Impossible,” he wanted to showcase magic in a very modern way. Now this magic ‘spectacular’ is on tour with stops at the Palace Theater in Stamford and the Bushnell in Hartford.

“The concept was to find the greatest illusionists in their respective fields and present the best of what they do in their particular genres,” Painter explains.

For their two Connecticut appearances, the cast includes:

The Trickster – Jeff Hobson, the host, whose specialty is comedic magic.

The Deductionist – Colin Cloud, Britain’s Sherlock Holmes of entertainment, whose mind-reading skills will definitely dazzle you.

The Inventor – Kevin James, who happens to be related to the legendary P.T. Barnum and whose original concepts are used by Doug Henning, David Copperfield, Penn & Teller.

The Manipulator – South Korea’s card shark, An Ha Lim.

The Daredevil – Jonathan Goodman, whose risks life and limb doing stunts. Unlike the others, he is neither a magician nor illusionist. Everything you see him do is very real.

Many of their tricks are staples of the art form, others are tributes to the great magicians who first introduced them.

For example, Kevin James puts his on twist on David Copperfield’s floating rose trick, where a piece of paper bounces around mid-air and is eventually transformed into a long-stemmed red rose, which he presents to an enthralled audience member.

Jonathan Goodman pays homage to legendary Harry Houdini, escaping from a water torture block, a stunt that Houdini first performed back in 1912.

One warning, however. I was seated in the mezzanine and, while there’s a large screen focused on the performers, much of the audience interaction was directly below me in an orchestra area that was not visible. For me, it was like watching a show on television – which – at these prices, is not acceptable.

So, if you’re planning to attend, purchase orchestra seats as close to the front as possible – or don’t bother.

ADDENDUM: THE ILLUSIONISTS is crossing the pond…it’s in London, and here’s the link: https://seatplan.com/london/the-illusionists/