Theater Reviews

Susan Granger’s review of Judy Gold’s “Yes, I Can Say That!” (Off-Broadway at 59E59 Theaters)

 

At the very beginning of her provocative one-woman show, Judy Gold says that a comedian’s only goal on-stage is to make audiences laugh. Considering that criterion, the veteran stand-up performer’s hilarious “Yes, I Can Say That!” is a resounding success.

She’s not alone in her sentiment. Victor Borge said, “Laughter is the shortest distance between two people,” Charlie Chaplin attested, “A day without laughter is a day wasted,” and Milton Berle noted, “Laughter is an instant vacation.”

“Calm the fuck down!” Gold demands, beginning her tirade against the sanctimonious book-banning, drag-queen-pursuing gestapo that comprises current Conservative eagerness to censor free speech.

Yet drawing the line isn’t easy. Gold admits that she once made a joke about a Hasidic woman in Brooklyn who had her wig ripped off while she was walking down the street with her children that totally backfired on her. But she cites her collaborator Eddie Safaty, who maintains, “Going to a comedy club and expecting not to be offended is like going on a rollercoaster and expecting not to get scared.”

Acknowledging the great – but often corrosive – female comedians who have influenced her, Gold imitates and cites Moms Mabley, Lily Tomlin, Joan Rivers, Totie Fields, and Phyllis Diller. Plus, she acknowledges comedians who have been imprisoned – even murdered – by their governments, particularly Afghan’s Khasha Zwan, killed by the Taliban.

And she’s open about her venomous reaction to “misogynist pig” Jerry Lewis’ notorious appraisal: “A woman doing comedy doesn’t offend me, but sets be back a lot. I think of her as a producing machine that brings babies into the world.”

Openly lesbian, Gold confesses to a having a childhood crush on Brooke Shields and not ‘coming out’ publicly until the mid-‘90s.

Based on Gold’s 2020 book of the same name, it’s directed by BD Wong for Primary Stages; the show incorporates Shawn Duan’s clever projections and inventive stage business, serving as one woman’s very personal narrative, augmented by Lex Liang’s set design, Anshuman Bhatia’s lighting and Kevin Heard’s sound.

Gold has invited Sandra Bernhard to join her for an after-show talk-back and has scheduled Mary Trump to join her on Friday, April 14^th.

Running 1 hour 20 minutes with no intermission, “Yes, I Can Say That!” is Off-Broadway at 58E59 Theaters through April 16^th.

Susan Granger’s review of “Sancocho” (WP Theater – Off-Broadway)

 

I’m not surprised that the Off-Broadway premiere of Christin Eve Cato’s “Sancocho” is extending its limited engagement through Sunday, April 16, 2023.

Forced to confront the reality of their father’s rapidly declining health since he’s now in hospice care, two Puerto Rican sisters – young, seven-month pregnant Renata (Shirley Rumierk) and much older Caridad (Zuleyna Guevera), whose twin brother died – clash over their inherent cultural differences, scratching the scabs off old wounds.

Meanwhile on the stove, practical Caridad is assembling the ingredients for the hearty Sancocho, teaching Renata how to properly peel plantains. As they take turns stirring the bubbling pot, the mouth-watering aroma of the traditional Caribbean beef stew intoxicates the audience, much the way the scent of hot apple pie wafted through each Broadway performance of “Waitress.”

Set in Raul Abrego’s remarkably realistic East Harlem kitchen, the savory 90-minute family drama unfolds under the meticulous direction of Rebecca Martinez, who adroitly contrasts each sister’s very different background and upbringing.

Born a full generation apart, Caridad’ expectations and experiences are far different than Renata’s, who has become a lawyer, living in New Jersey.

It reminds me of how – at all family reunions – there are various memories of what occurred in the past. Like “Rashomon,” each person has his/her own interpretation – which is why Cato’s theme -encompassing forgiveness and love – has a relatable universality.

FYI: In the program, Cato includes her grandmother’s recipe for Sancocho – which I’m tempted to try.

“Sancocho” is at the WP Theater (2162 Broadway) in a co-production with Latinx Playwrights Circle and the Sol Project, a national theater initiative dedicated to amplifying the voices of Latinx playwrights.

Susan Granger’s review of “Asi Wind’s Inner Circle” (Judson Theater Off-Broadway)

 

 If there were a pantheon of psychic entertainers, Asi Wind would be in the top tier. His 75-minute, one-man show “Asi Wind’s Inner Circle” has played for several months Off-Broadway and will no doubt continue for many more.

The intimate setting, resembling a small Greek amphitheater with a large, round table at its center, involves each member of the audience as soon as they take their assigned seats, writing their full names and initials on the blank back of the black-and-red playing cards that Asi will use throughout that performance.

Opening with a monologue explaining how he left Israel and changed his name to become an authentic New Yorker, Asi’s low-key charisma charms and totally disarms the audience.  Those who are seated around the center table periodically shuffle and mix the cards as Asi calls out various audience members’ names to be participants.

According to Asi, how we respond to the sound of our names is of great importance, as he proceeds to identify various people whom, presumably, he’s never met before. Obviously, each show is different since the composition of the audience changes – but his remarkable ‘effects’ remain the same.

Asi’s hero – master magician Harry Houdini – understood that it’s not enough to fool people with magic. You have to make them care. “A playing card has information on it but – to most people – the diamonds, hearts, clubs and spades mean nothing,” he candidly explains. “But if you put your name on that card, suddenly it has significance. It’s not a card. It’s a person.”

At one point, an audience member is asked to leave the theater and go across the street to Washington Square Park to ask a random passerby for a number – any number – up to 30. When the audience member returns – after some adding and subtraction – Asi guesses the number.

I’ve seen many ‘close-up’ card magicians but none compare with Asi Wind’s simple, elegant, absolutely undetectable sleight-of-hand. He has even fooled Penn and Teller!

Bottom Line: “Asi Wind’s Inner Circle” is awesome and has been extended to September 3. It’s well worth the trek to The Gym at the Judson Theater at 243 Thompson Street in Manhattan.

Susan Granger’s review of “Bad Cinderella” (Imperial Theatre on Broadway)

 

Despite what you may have heard, “Bad Cinderella” is not Andrew Lloyd Webber’s worst musical, nor – alas! – is it one of his best.

Working from a flimsy, trivial book by Alexis Scheer & Emerald Fennell with overly wordy lyrics by David Zippel, the stridently feminist theme seems to be society’s shallow standards of beauty. You see – in the fairyland of Belleville – everyone is measured by his or her superficial appearance.

The women are reputed to be gorgeous (but, unfortunately, the actresses chosen by director Laurence Connor are not). In contrast, the men – displaying their bare beefcake like sexed-up Chippendales dancers – are actually prettier, strutting to JoAnn M. Hunter’s choreography as the turntable spins.

Poor Cinderella (Linedy Genao), a waif dressed in rags, is considered plain which she, rightfully, resents, predictably displaying ‘bad’ behavior. Her only friend is the Queen’s (Grace McLean) hapless second Prince Sebastian (Jordan Dobson). Prince Charming is the presumed heir and Sebastian is the ‘spare.’

But since brawny Prince Charming went AWOL, Prince Sebastian must now choose a wife. Why not Cinderella, whom he loves? Because that would end the show in 30 minutes – and audiences have paid top ticket prices to watch them dither for another two hours, egged on by Cinderella’s wicked, scene-stealing stepmother (Carolee Carmello) and vainly moronic step-sisters (Sami Gayle, Morgan Higgins)

What about Andrew Lloyd Webber’s music?  Sung by Joran Dobson, “Only You, Lonely You” is the most memorable song, followed by Carolee Carmello’s drolly comedic “I Know You” with Grace McLean.  Linedy Genao warbles “Easy To Be Me,” “I Know I Have a Heart (Because You Broke It)” and “Far Too Late,” but they’re quite forgettable.

What I find curious that that all Andrew Lloyd Webber’s leading ladies somewhat resemble his second wife, soprano Sarah Brightman, who starred in “Phantom of the Opera,” among other notable roles. Too bad Ms. Genao lacks Ms. Brightman’s glorious voice and charisma.

It’s also bizarre that in an expensive Broadway production, Gabriella Tylesova’s scenery and costumes are tacky and garish – like those in a second-rate dinner theater.

So should you go to “Bad Cinderella”? Only if you’re a die-hard Andrew Lloyd Webber fan and determined to see every show he’s ever staged.

 

Susan Granger’s review of “The Coast Starlight” (Off-Broadway: Lincoln Center’s Mitzi Newhouse Theatre)

 

When I taught screenwriting, one of my students’ assignments was to ride on public transport in order to eavesdrop on conversations, envisaging the interactions of those around them. That’s one of the most effective ways to learn to write dialogue.

Along those same lines, Keith Bunin’s compassionate new play, “The Coast Starlight,” revolves around six passengers who fantasize what they might have said to one another on the Amtrak Coast Starlight train that runs from Los Angeles to Seattle – a 35-hour trip.

First to board the sleeper coach is T.J. (Will Harrison), a young Navy medic who’s – instead of facing another deployment to Afghanistan – has decided to go AWOL with stolen identification. He’s followed by Jane (Camila Cano-Flavia), a movie animator who is travelling to visit her boyfriend and, being naturally observant, enjoys sketching those around her.

Then there’s Noah (Rhys Coiro), a bartender/Army vet traveling to Oregon to visit with his elderly mother who is suffering from dementia, and loud-mouthed Liz (Mia Baron), who’s suffering from a humiliating break-up with her boy-friend after participating in the Esalen Institute’s “Extraordinary Couples Workshop.”

Finally, there’s liquored-up Ed (Jon Norman Schneider), who lost his driver’s license after a DUI and is heading for a tech industry meeting, and Anna (Michelle Wilson), who is returning home after the grisly task of identifying the body of her heroin-addicted brother from whom she’s been estranged for ten years.

We learn about these characters since each delivers an explanatory monologue. While their actual interaction is limited, Noah cautions T.J. about the long-term consequences of his desertion – one that would necessitate him living the rest of his life on-the-run. Like this, most of the confessional conversations are imagined.

Directed by Tyne Rafaeli, the ephemeral interaction of the acting ensemble is extraordinarily effective, perhaps because at least half of them have been working together since the play had its 2019 premiere at the La Jolla Playhouse.

Arnulfo Maldonado’s rotating square platform set has moveable Amtrak seats while 59 Productions’ projections reflect California’s western coastline whizzing by, superbly lit by Lap Chi Chu. Asta Bennie Hostetter’s costumes capture each person’s personality, and Daniel Kluger’s music is appropriately melancholy.

Running 95 minutes, “The Coast Starlight” plays at Lincoln Center’s Mitzi E. Newhouse Theater until April 16, 2023.

 

Susan Granger’s review of “The Wanderers” (Off-Broadway at Roundabout’s Laura Pels Theatre)

 

While Katie Holmes is best known for “Dawson’s Creek,” she’s no stranger to the New York stage, having made her Broadway debut in Arthur Miller’s “All My Sons” with John Lithgow, Dianne Wiest and Patrick Wilson; she also starred in Theresa Rebeck’s “Dead Accounts” opposite Norbert Lee Butz and Judy Greer.

Now in Anna Ziegler’s “The Wanderers” at the Off-Broadway Laura Pels Theatre, Katie Holmes is playing Julia Cheever, a glamorous movie star who causes chaos when she sends an e-mail to acclaimed novelist, igniting an infatuation that threatens his marriage and raises questions about happiness within a relationship.

The poignant, five-character drama focuses on two couples who live in Williamsburg, Brooklyn, in different time periods. One marriage involves two contemporary secular Jewish writers and the other a 1970s pre-arranged union between two young Hasidic Jews.

Having won a Pulitzer Prize and two National Book Awards before he was 30, Abe (Eddie Kaye Thomas) is married to frustrated Sophie (Sarah Cooper), whose first book was a critical and commercial disaster. They’ve known each other all their lives since their mothers were close friends who both left the cloistered Hasidic community. They have two children and are contemplating a third.

Years before, Orthodox Jews Esther (Lucy Freyer) and Schmuli (Dave Klasko), who barely met before their wedding day, come to realize their future is dictated by the strict laws of the Torah. But Esther is chafing at the confines of being a dutiful stay-at-home wife yearning, instead, for an independent identity as a librarian.

Utilizing scenes from these parallel relationships, the perennial question posed by playwright Anna Ziegler is: Can we be happy with what we have while we have it?

Or, as Sophie says, “It can take a lifetime just to grow up…to let go of a sort of galvanizing restlessness that always leaves your empty.”

Subtly and sensitively directed by Barry Edelstein, Artistic Director of San Diego’s Old Globe, where Ziegler’s play premiered in 2018, it’s filled with spiritual and emotional questioning, centering on Jewish life in its various aspects.

Edelstein’s superbly cast ensemble production is enhanced by Marion Williamson’s shape-shifting, book-constructed set, exquisitely lit by Kenneth Posner.

In a limited engagement, “The Wanderers” is presented without an intermission at the Roundabout’s Laura Pels Theatre in the Harold and Miriam Steinberg Center for Theatre (111 West 46^th Street) through April 2, 2023.

 

 

Susan Granger’s review of “Without You” (Off-Broadway at New World Stages)

 

I knew Anthony Rapp as Lt. Paul Stamets on “Star Trek: Discovery,” but I had no idea about his fascinating backstory until I saw his one-man musical “Without You” at New World Stages.

Adapted from his 2006 memoir of the same name, it reveals how Rapp got his ‘big break’ in 1996, playing videographer Mark Cohen in the innovative rock musical “Rent.” The night before that show’s Off-Broadway premiere at New York Theater Workshop, its writer Jonathan Larson, abruptly died of an aortic aneurysm; during the subsequent Broadway run, Rapp’s mother Mary succumbed to cancer.

These losses were pivotal to Rapp’s life – and he revisits both in “Without You,” beginning with the song he did for his audition: R.E.M.’s “Losing My Religion.” Apparently, Larson made a cassette of him singing – for Rapp to learn for his callback. Listening to that is eerie and even a bit surreal.

“The fact that Jonathan wasn’t there just tilted everything in this really strange way, but it also made us collectively that much more committed to it,” 51 year-old Rapp recalls. “No one missed a performance, which never happens on any show, let alone a show as demanding as ‘Rent.’”

About the same time “Rent” moved to Broadway, his mother, who lived in Joliet, Illinois, began her losing battle with cancer, making that Opening Night performance the last thing she ever saw him do.

With his distinct voice and versatile physicality, Rapp not only plays himself but every other character, including his mother and Larson. Director Steven Maler’s staging is impeccable, as are Musical Director/keyboardist Daniel A. Weiss’ orchestrations, featuring Clerida Eltime on cello, Paul Gil on bass, Jerry Marotta on drums, and Lee Moretti on guitar.

It’s not surprising that ‘Rentheads’ – the iconic musical’s most devoted fans – are very visible and audible during “Without You” performances.

Although the narrative is drenched with honesty, concluding with “Seasons of Love,” there are several facets of his life that Rapp does not delve into…first, his casting as the first openly gay principal character in Paramount’s “Star Trek” franchise. Then there’s the civil lawsuit he lost against actor Kevin Spacey, alleging sexual misconduct dating back to 1986 when Rapp was only 14. And, most recently, Rapp’s becoming a first-time father to Rai Larson with his partner Ken Ithiphol via a surrogate.

Running about 90 minutes, “Without You” is presented at New World Stages – 340 W. 50^th Street, between 8^th and 9^th Avenue – through April 30^th.

Susan Granger’s review of “Merrily We Roll Along: (New York Theatre Workshop: Off-Broadway)

 

Oddly enough, I remember seeing “Merrily We Roll Along” when it opened on Broadway mid-November, 1981, even though it closed 12 days later after only 16 performances. I loved Stephen Sondheim’s songs but the George Furth’s book never quite jelled.

Based on the 1934 comedy by George S. Kaufman & Moss Hart, it’s a cynical commentary on the toll that fame and fortune can take on friendship, focusing on three pals navigating the bittersweet twists and turns of the entertainment industry over three decades – as they age backwards from 40 to 20, growing younger and more naïve.

Now – thanks to director Maria Friedman at the New York Theatre Workshop (Off-Broadway on 4^th Street) – it’s back and better than ever. “Better look back,” the chorus sings as the show starts, and so their stories unfold – in reverse chronological order.

It’s 1976 in California when their story begins. The thematic focus is on Franklin Shepard (Jonathan Groff), a composer-turned-movie producer with two divorces behind him and a third in progress.  Charlie Kringas (Daniel Radcliffe) was his artistically purist lyricist – until they split in 1973. And Mary Flynn (Lindsay Mendez) is a drunk, embittered novelist-turned-theater critic who was once in love with Franklin.

There are other subordinate parts with several actors – Krystal Joy Brown, Reg Rogers and Katie Rose Clarke – as different characters. Music director Alvin Hough Jr. and eight musicians, perched above Soutra Gilmour’s serviceable set, seem to relish Jonathan Tunick’s orchestrations.

This current production was originally staged in 2012 at London’s Menier Chocolate Factory and then transferred to the West End, where it won an Olivier Award for Best Musical Revival. Its North American premiere was at the Huntington Theatre in Boston in 2017 and it’s now expected to open on Broadway this coming Fall with Groff, Radcliffe and Mendez reprising their starring roles.

The musical’s 2 hours, 40 minute production at the New York Theatre Workshop runs through January 22^nd. It is sold-out, but there are always cancellations particularly in bad weather. Catch it while you can and keep an eye on www.MerrilyOnBroadway.com

Susan Granger’s review of “A Man of No Importance”  (Off-Broadway: Classic Stage Company)

 

Since this small-scaler Off-Broadway revival is based on one of my favorite Albert Finney movies, I was curious to see what Jim Parsons – after his successful 12-season run as Sheldon Cooper on the popular sitcom “The Big Bang Theory” – would bring to the role of Alfie Byrne, the closeted Dublin bus conductor.

It’s set in 1964, when homosexuality was repressed in Ireland, so fey, middle-aged Alfie seeks creative satisfaction by staging amateur theatricals and sharing his favorite literature with anyone who will listen. What’s endearing is how the regular passengers on Alfie’s route eagerly await his daily readings, particularly from the writings of Oscar Wilde.

Since Aflie’s job is to collect tickets, he leaves the bus driving to heterosexual Robbie Faye (A.J. Shively), whose rendition of “The Streets of Dublin” is outstanding.

After work, Alfie goes to the home he shares with his spinster sister Lillian (Mare Winningham), who is blissfully unware of her brother’s sexual preference and seems determined to help him find “the right girl.”

Problems arise, however, when Alfie – having decided to mount a production of Wilde’s oft-banned play “Salome” in the Social Hall in the basement of St. Imelda Church – encounters opposition from the traditional Roman Catholic parish.

“Wilde had no life aside from art. Remember that,” Alfie intones. “He lived in the realm of the aesthetic. He never descended into the sewer.”

And Alfie’s urged on by Wilde’s ghost (Thom Sesma).

With songs by composer Stephen Flaherty and lyricist Lynn Ahrens and book by Terence McNally – best known for creating the musical “Ragtime” which ran for two years on Broadway in the late 1990s – the premiere of “A Man of No Importance” occurred in 2002.

Unfortunately, Jim Parsons flounders a bit too much, oozing earnestness yet never achieving the necessary audience rapport.  Plus he doesn’t have a strong voice and his Irish accent wavers. So it’s left to the rest of the cast – Shereen Ahmed, Mary Beth Peil – under the resourceful direction of John Doyle – to propel the production.

Doyle’s aptly aided by Ann Hould-Ward’s costumes, Adam Honoree’s lighting, and Sun Hee Kit’s sound.

-“A Man of No Importance” plays at the Classic Stage Company through Sunday, December 18^th.

Susan Granger’s review of “& Juliet” (Stephen Sondheim Theatre on Broadway)

 

“& Juliet” is the most fun I’ve had on Broadway in ages! It’s a witty, amusing Elizabethan jukebox musical, incorporating pop hits in a girl-power screwball version of Shakespeare’s most famous play.

The revisionist history begins in 1597 in Stratford-on-Avon as Will Shakespeare (Stark Sands) and his irritated, oft-neglected wife, Anne (Betsy Wolfe), bickering over the ending of the Bard’s latest play, “Romeo & Juliet.”

Quill-wielding Anne not only doesn’t want Juliet Capulet (Rachel Webb, admirably subbing for Lorna Courtney) to die but also to break free of the prejudiced Verona patriarchy that ruined her life. So Juliet takes off with her non-binary best-friend May (Justin David Sullivan) to Paris, where they – separately – bump into confused Francois DuBois (Philippe Arroyo).

Complications arise, particularly when flirtatious Juliet discovers Romeo (Ben Jackson Walker) was a womanizer. The situation is worsened by Francois’ domineering father, Lance (opera star Paulo Szot), who – years earlier – bedded Juliet’s devoted Nurse Angelique (Melanie La Barrie).

Shakespeare’s own play-within-a-play concept is drolly directed by Luke Sheppard and athletically choreographed by Jennifer Weber with a campy, clever book by Emmy-winning “Schitt’s Creek” writer David West Read and 29 songs from the extensive catalogue of Swedish producer Max Martin and Friends.

What was extraordinary is – thanks to Bill Sherman’s orchestrations – I could understand all the lyrics in music popularized by Ariana Grande, Bon Jovi (“It’s My Life”), Backstreet Boys (“I Want It That Way”), Demi Lovato, Katy Perry (“I Kissed a Girl and I Liked It’), Britney Spears (“I’m Not a Girl, Not Yet a Woman,” “Oops…I Did it Again”), Kelly Clarkson (“Since U Been Gone”), Kesha, Celine Dion, Pink, NSYNC and Justin Timberlake.

Howard Hudson’s lighting design is effective, along with Andrezy Goulding’s video/projections, Paloma Young’s Renaissance costumes (corsets & doublets with Doc Martens) and Soutra Gilmour’s sparse set design, which is eventually strewn with confetti.

FYI: In 2019, Luke Sheppard directed England’s West End version, which premiered in Manchester.

Running 2 hours, 30 minutes with one intermission, “& Juliet” is frothy, exuberant, feel-good fun.