December 18th, 2005

Eugene O'Neil was America's greatest playwright even before he wrote his four last masterpieces beginning with "The Iceman Cometh." A TOUCH OF THE POET, now on Broadway starring Gabriel Byrne, is one of those profound, brilliant explorations of the human soul, and what a pleasure it is to hear his words, In this production, directed by Doug Hughes on the huge stage
of Studio 54, all of O'Neil's amazing flow of language is there, and most of the performances shine-- Emily Bergl as the feisty daughter lights up the stage; Dearbhla Molloy as the long-suffering wife will tear your heart out; the luminous Kathryn Melisle fills the theater with her radiance as an upper-cruster, Byron Jennings gives a powerful rendition as the friend of the play's central character, an abusive drinker with delusions, and the actors in all supporting roles are excellent. The weak link for me in this rendition of the play is the leading man, Gabriel Byrne. He is playing a man who assumes a grande manner, but it is
played all surface, with the lines sung very hammily-he almost never talks like a human being-- he declaims even in conversation. He doesn't ever stop acting, and so even towards the end as a part of him is to be reclaimed, it was himself he moved to tears. And then came some major rug-chewing; bombast as he switched personalities which may fool some people into thinking they are seeing good acting. The best I can say is that he said all the words and didn't bump into the furniture. Whether the choices were those of the actor or the director, the performance I saw, which strong in volume and displayed emotion, was mostly monotonic and boring. Santo Loquasto's rural tavern set gives proper atmosphere and his costumes fit the play perfectly. Lighting by Christopher Akerlind-- the subtlety of his changes and mixes-- is some of the best in town and beautifully enhances the production. The touch of Irish music by piper David Power helps to flavor the atmosphere. O'Neil's words acted with human feeling by most of the cast were reward enough for me
to ultimately enjoy the power of the great playwright.
But I wish.........

Richmond Shepard-- Performing Arts INSIDER and
lively-arts. com

December 15th, 2005

Joe's Pub: I was washed away in the waves of MITCHELL FROOM's rolling roiling soundscapes as his gentle piano, some sections with an electronic wash, some with Val McCallum's guitar counterpointing, giving an eerie effect that will take you on a trip-- to the fargonesphere. Sure, some of it reminds me of Satie
or Debussey in its tender impressionistic melodies, but Froom is unique today. The concert progressed into more electronic underscoring, which was not a contrast, but an uplifting. Using the drone, almost like a bag pipe, creates an other-worldly rich sound. McCallum's soul and consciousness seem to blend
seamlessly with Froom's, and his slide guitar playing in one part slips in nicely. There is an ethereal essence to the whole thing. Then Mitchell plays a riff on a synthesizer trumpet, which sounds like an electronic viola- another dimension. You find yourself in a Froomspell-- enchanted by the sound and feeling. Then there is a tack to the right by the two-- a jazzy theme from a TV show, and there is a light delicacy in their interaction. Tracy Bonner and
her mystical violin and voice entered the mix- part of it giving us a shadow of India. What a great direction this is for contemporary music to go; I believe there is a world-wide audience for it.
Froomspell-- it'll move you to an inner dance that will take you on a trip. Encore: Rock and Roll. It's all Froomjazz- a rolling impressionist voyage with open tones. Can you tell that I loved it?

Richmond Shepard-- Performing Arts INSIDER, and
lively-arts.com

December 14th, 2005

Antiques can be elegant, classy- a lovely taste of a more graceful era, and so is the lively, sparkling Julie Wilson at Helen's. Her songs are more spoken than sung, but it all works well: her smokey voice with a Tallulah undertone is on key, on top of the
beat, and her timing is impeccable. There's not much voice left, but the entertainer is still very much there as she fills the room with her humor and charm. Chris Denny's piano lifts the whole proceedings, and I had a great time visiting Julie Wilson's vivacious spirit and listening to her sing great oldies and one
newie. She's a treasure not to be missed.

Richmond Shepard-- Performing Arts INSIDER, and
lively-arts.com

December 12th, 2005

A LITTLE TRAVELING MUSIC, at Helen's, 169 8th Ave (19th St.), features two seasoned musical theatre performers, Michael Kostroff and Eric Leviton, in the most entertaining two man song and dance act since Hope and Crosby. It's a first class performance by two highly-talented pro entertainers whose show seems plucked from America's past. They're like two of The Guys performing "Brush Up Your Shakespeare." These men are stars, and it's a privilege to see a show this good, this polished, where every song is a delight, every dance is choreographed to perfection, and every joke works. They should have their own TV show. And as an intro to their act, Mary Van Arsdel, who could
standby for Mary Kaye in "Souvenir," sets an operatic tone that works well as an eye (and ear)- opening warmup. It's all lifted up by the nimble fingers of pianist Ed Martel. Directed and choreographed to perfection by Michele Spears, with just the right costumes by Maggie Morgan, this is a show to be savored. Long may they wave! 212/206-0609 thru December 19th.

BEST of 2005
GEM OF THE OCEAN by August Wilson
FROM THE GUTTER TO THE GLITTER, by the Bindlestiff Family Cirkus
DOUBT by John Patrick Shanley
MONTY PYTHON'S SPAMALOT
YOU NEVER KNOW by Leslie Meisel
ORSON'S SHADOW by Austin Pendleton
SHOCKHEADED PETER
PILLOWMAN by Martin McDonough
DIRTY ROTTEN SCOUNDRELS-book by Jeffrey Lane, music and lyrics by David Yazbek
ALL SHOOK UP
GLENGARRY GLENROSS, David Mamet
ALTAR BOYZ-- book by Kevin Del Aguila, songs by Gary Adler and
Michael Patrick Walker
SILENCE! THE MUSICAL
JERSEY BOYS
SWEENEY TODD
CELEBRATION & THE ROOM by Harold Pinter
A LITTLE TRAVELLING MUSIC

Special Award to THE ACTORS COMPANY THEATRE (TACT)--
The best play reading troupe in America

WORST
GOOD VIBRATIONS-- the Beach Boys musical
Shakespeare's JULIUS CAESAR
GOLF- THE MUSICAL
LENNON, book, misconception and misdirection by Don Scardino

December 11th, 2005

A LITTLE TRAVELING MUSIC, at Helen's, 169 8th Ave (19th St.), features two seasoned musical theatre performers, Michael Kostroff and Eric Leviton, in the most entertaining two man song and dance act since Hope and Crosby. It's a first class performance by two highly-talented pro entertainers whose show seems plucked from America's past. They're like two of The Guys performing "Brush Up Your Shakespeare." These men are stars, and it's a privilege to see a show this good, this polished, where every song is a delight, every dance is choreographed to perfection, and every joke works. They should have their own TV show. And as an intro to their act, Mary Van Arsdel, who could
standby for Mary Kaye in "Souvenir," sets an operatic tone that works well as an eye (and ear)- opening warmup. Directed and choreographed to perfection by Michele Spears, with just the right costumes by Maggie Morgan, this is a show to be savored. Long may they wave! 212/206-0609 thru December 19th.

BEST of 2005
GEM OF THE OCEAN by August Wilson
FROM THE GUTTER TO THE GLITTER, by the Bindlestiff Family Cirkus
DOUBT by John Patrick Shanley
MONTY PYTHON'S SPAMALOT
YOU NEVER KNOW by Leslie Meisel
ORSON'S SHADOW by Austin Pendleton
SHOCKHEADED PETER
PILLOWMAN by Martin McDonough
DIRTY ROTTEN SCOUNDRELS-book by Jeffrey Lane, music and lyrics by David Yazbek
ALL SHOOK UP
GLENGARRY GLENROSS, David Mamet
ALTAR BOYZ-- book by Kevin Del Aguila, songs by Gary Adler and
Michael Patrick Walker
SILENCE! THE MUSICAL
JERSEY BOYS
SWEENEY TODD
CELEBRATION & THE ROOM by Harold Pinter
A LITTLE TRAVELLING MUSIC

Special Award to THE ACTORS COMPANY THEATRE (TACT)--
The best play reading troupe in America

WORST
GOOD VIBRATIONS-- the Beach Boys musical
Shakespeare's JULIUS CAESAR
GOLF- THE MUSICAL
LENNON, book, misconception and misdirection by Don Scardino

December 10th, 2005

THE COLOR PURPLE, based on Alice Walker's novel, book by Marsha Norman, Music and lyrics by Brenda Russell, Alii Willis and Staphen Bray, is a musical about transformation: from the pits to the heights, from slave to success, from ogre to kind man-- it's like a hundred year old melodrama mixed with the contrast to
the central drama of old ladies twittering. It's two shows: cute, funny rural characters and a young girl's tragic story. LaChanze, who plays the lead, is an amazing performer, and gives a transcendent performance. When she is fourteen, at the beginning, you'd swear that you're seeing a real, very young girl
on the stage. When she's fifty at the end, we see a real fifty-year old. She'll blow you away- not an unconvincing moment, and a big voice that will lift you out of your seat. And the powerful Felicia P. Fields as a strong feisty woman is the other cornerstone of strong reality in the show, aided by Renee Elise Goldsberry, Brandon Victor Dixon and Elizabeth Withers Mendez. Much of the rest is caricature: the bad guy is an animal with no human
feeling, the cute townfolk entertain us with surface performances demonstrating rather than being their characters. There is a good men's chorus of six, there are women dancers who are athletic without being really sensuous-it's all a gesture of sexuality with
no steam. Not that bouncing around and booty-shaking aren't fun-- it's very entertaining, but there is so much more to this story. The theme is too powerful to sink into mere entertainment, but I guess the producers want to broaden their audience base and not keep it too serious for too long. There is a really active, artistically beautiful set by John Lee Beatty, good costumes by Paul Tazewell that fulfill the productions motifs, and fine lighting by Brian MacDevitti. Donald Byrd's choreography, including an
African-themed dance, is fun. There is a number near the end about pants that gives us an upturn as Cinderella- - uh- - Celie (LaChanze) regains her inheritance (an Andrews Sisters type song). The sentimentality takes over for the happy ending
drenched in sugar, and there wasn't a dry eye in the house, including mine, as the closing anthem filed the theatre. Sure I enjoyed it. The chance to see the magic of LaChanze is worth the trip.

Richmond Shepard-- Performing Arts INSIDER, and
lively-arts.com

December 6th, 2005

The Atlantic Theatre Company now has two of Harold Pinter's plays on, beautifully directed by Neil Pepe. The first, THE ROOM, is his very first play (1957), and Pinter throws us his initial excursion into intriguing obscurity. It's a curious slice of curious
life in which all relationships are ambiguous and open to interpretation. The excellent cast takes us on a trip with peculiar twists, turns and interactions all related to a room and its occupants. It's a mystery. The second play, his very last, CELEBRATION (1999), although full of mysteries and strange behavior and interactions among two brothers married to two sisters celebrating an anniversary, and another couple at the
next table, one apparently upper and one lower crust, is a comedy. In this one he uses contemporary vernacular as required by the characters, and his sense of non-sequitur and mystery is still there: strange behavior and interactions, outstanding true
intellectual absurdity with profundity stirred in, lots of high-level laughs. It's all totally engaging, and the top notch cast on Walt Spanglers fine set keeps us enthralled. This is Pinter at its best. If
it doesn't get you I'll give you a dollar.

Richmond Shepard-- Performing Arts INSIDER, and
lively-arts.com

December 5th, 2005

In Edward Albee's play SEASCAPE an old couple, played by Frances Sternhagen and George Grizzard, chit chat on the beach, on a magnificent set by Michael Yeargan, about what is more important at this stage of life: to live or to rest. She's lively, he's depressed. Both are totally convincing, engaging actors. Enter two talking lizards with great physicality played by Elizabeth Marvel and Frederick Weller, who mirror the dominant wife and subservient husband. It seems to be an allegory about human development, which becomes simplistic rhetoric about prejudice and bigotry. The lizard costumes by Catherine Zuber are sensational, but teaching about life and its lessons in simple talk
can get tiring. Grizzard's character has no sense of wonder at the lizards, just his same unmotivated grumpiness. It's all an interesting idea that needs another tangent to really work dramatically. Subtle lighting changes by Peter Kaczorowski enhance all the proceedings, and director Mark Lamos gives the play verve and energy, but it becomes a description of
evolution on a childish level, a schoolroom for naïve lizards, and the end, to me, defeats the message (if there really is one). Albee is a bright guy, usually has an ear for believable dialogue, and has an innate sense of the dramatic, and the play in its entirety does hold you as an audience, especially with the
excellent performances. But as a work trying for philosophic import, it's got a ways to go, and it did not leave me with a sense that I had learned something or been well-entertained except for the visual images.

Richmond Shepard-- Performing Arts INSIDER, and
lively-arts.com

November 18th, 2005

John Doyle has taken SWEENEY TODD, music and lyrics by
Stephen Sondheim, book by Hugh Wheeler, as adapted by
Christopher Bond, and transformed it into a fully expressionistic, awe-inspiring production that may be the most exciting show on Broadway at this time. Doyle, who directed and designed the event, takes us, with marvelous stylization and amazing musical
arrangements by Sarah Travis, into another dimension of theatre. With Patti LuPone and Michael Cerveris as the leads, she with her fabulous voice, he with his powerful baritone and sense of menace, aided and abetted by a top notch ten member cast including Mark Jacoby (a proper villain), the non-stop visuals,
inspired use of set pieces and the lighting by Richard G. Jones, is all breathtaking. Its non-literalness takes us beyond the horror of the murders into a strange universe that we have never seen before. All of the actors on the stage play multiple musical
instruments that comprise the orchestra, and Doyle's innovations are nothing less than thrilling. LuPone's sense of physical mischief is the dessert to this splendid theatrical feast.

Richmond Shepard-- Performing Arts INSIDER, and
lively-arts.com

November 14th, 2005

BACH AT LEIPZIG by Itamar Moses, now at The New York Theatre Workshop, is an intriguing title. It conjures up hopes of an "Amadeus," perhaps a "Souvenir" or a "Travesties" (Tom Stoppard). Alas and alack. Moses has a splendid idea- let six musicians (the requisite number of voices in a fugue) in 1722 compete for the job of music master, let them discuss fugues, and end with a verbal fugue. Unfortunately, the director, Pam
MacKinnon, who is excellent at moving people around on the stage, doesn't control their hysterics and declamations when they speak. Reg Rogers as the most disreputable one sounds every in-breath and spits his plosives, Jeffrey Carlson, playing a foppish
ne'er-do-well swallows his words unintelligibly- they are swamped anyway by his slight lisp as he camps his role. Boyd Gaines and Michael Emerson are quite fine, until their long declamations without modulation pour forth. There is much too much strutting and fretting in the production. So although the script is quite
witty in some places, it is undermined by the acting. There is a simplistic argument about whether to innovate or not in music, another, off the main subjects, into nonsense by Rogers' character trying a con game, and then long exposition about gambling. Yes, there is a light sprinkling of good jokes, but they are sparse. There is a vivid physical explanation about what a fugue is (MacKinnon at her best), and we see a conflict between Lutheranism and Calvinism. Ultimately Rogers, who has a strong
presence, shows that he could be quite good if his bad habits were curbed by the director-- he becomes like the villain in an old-time melodrama. Moses, who is smart and knowledgeable, has them give an argument about form and content in a play- perhaps he did the whole thing as a platform for his ideas. But he is no
Tom Stoppard or Oscar Wilde, and there isn't enough sparkling wit or awesome insights, so it sums up to pretentiousness. At the end it turns into a French Farce with fast entrances and exits, and it deteriorates into foolishness. And the punch line, where the six voices turn their arguments into a fugue, instead of being the soaring tour-de-force that it needs to be, is just lines overlapping without a blending note, without the musical/intellectual thrill
it should be. And-to top all the disappointments, Bach never appears- we hear some of his music at the end. The set by David Zinn is excellent, as are the costumes by Mathew J. LeFebvre and wigs by Tom Watson. David Landers' lighting is the best thing in the show-- it's absolutely brilliant as it lifts scenes up, highlights characters, brings everything to life, and gives us a spectacular finish at the end. He should win awards- I'll nominate and vote for him. As we say, I walked out whistling the lighting.

Richmond Shepard-- Performing Arts INSIDER, and
lively-arts.com

November 11th, 2005

Frankie Valli and The four Seasons are alive and well at the August Wilson Theatre on 52nd Street in JERSEY BOYS-- book by Marshall Brickman and Rick Elice with music by Bob Gaudio, lyrics by Bob Crew (except for the Golden Oldies the boys sing before Gaudio. Although it starts as an ordinary climb up the ladder to success story, ultimately it is a lesson in how to put together a show of this kind. The direction by Des McAnuff, who has the hand of a master- changing angles of view, utilizing the levels of the spectacular set by Klara Zieglerova and lighting by Howell Binkley, throwing in Peter Max-like cartoon projections by Michael Clark, all, along with the book, keep this show, which is basically a long Four Seasons concert, increasingly engaging to its sock
nostalgic finish. Sergio Trujillo's choreography (and I assume musical staging) is crisp, clear, and goes way beyond the moves of the usual four-person presentation of songs. Everyone in the show is a genuine Broadway-level singer, and this one has a real
star-- John Lloyd Young who plays Valli. If you like this music, it is performed here by a group that is as good as it gets, and you'll love it. If it's not your cup of harmony, Carnegie Hall is not far away, and Iridium Jazz is right around the corner.

Richmond Shepard-- Performing Arts INSIDER, and
lively-arts.com

November 7th, 2005

ASHLEY MONTANA GOES ASHORE IN THE CAICOS OR: WHAT AM I
DOING HERE? Is the name of the show by Roger Rosenblatt directed by Jim Simpson. By it's end I, too, felt the way of the "OR." I went because that great star and Tony winner, Bebe Neuwirth is in it. It's a four person sketch comedy troupe with competent performers, some cute, lightly political bits, some
clever plays on words, fun non sequiturs, but only some of the jokes work, and lots of the material doesn't. When one hits, I kept wishing more of them would. Basically there's not enough real bite or consistent humor. Of course when Bebe sings, it's a
different show- she's magnetic and I wanted more. But when we have Bill Maher, or Jon Stewart, or the review that comes in once a year from Washington, Capitol Steps, for political humor, this show is a try that misses. Rosenblatt calls it "Almost a Play"--
it's Almost a Show, and needs to go a long way to be a full evening's entertainment.

Richmond Shepard-- Performing Arts INSIDER, and
lively-arts.com

November 4th, 2005

In FIVE COURSE LOVE by Gregg Coffin, now at The Minetta Lane Theatre, three vastly talented singer/comedians, Heather Ayers, John Bolton and Jeff Gurner, broadly directed by Emma Griffin, sing their way through five ethnic restaurants, and although I
found little wit or real comedy at first, just people trying to be funny, the material seemed to get better as it progressed (or I liked the variety and range of the singing) and as they reached the mock opera in the Mexican restaurant, with music, let's say "influenced by," "Man of La Mancha," it grew into a real
entertainment. Their physical accomplishments in movement, choreographed by Mindy Cooper, sparked the latter half, so that I left the theatre feeling that I has seen a rather good comic musical. And they gave us super-delicious crème-puffs as we exited the theatre-- a nice tag.

Richmond Shepard-- Performing Arts INSIDER, and
lively-arts.com

CAPTAIN LOUIS is an inept kids show performed by kids who sing well but leave a lot to be desired in the acting department. But the play's the thing that sinks the project. Based on "The Trip" by Ezra Jack Keats, the book for the show, by Anthony Stein, is
condescending, trite, saccharine, and basically at such a low level that my grandnephew, Mathew Sprague, who is nine, said, "It was kinda young for me." Some of the scenes, where Louis goes back to his old neighborhood are based on rejection without
motivation, and throw the whole mess further out of whack. There are a couple of good songs by Stephen Schwartz, including "Trick or Treat," and some cute Halloween costumes by Elizabeth Flauto, but director Meridee Stein keeps it all false and presentational. The clunky set was based on drawings from Keats' book, but they lack the grace of theatricality. The dialogue is unconvincing, there are no surprises or thrills, and Matthew (and his mother and I) were glad when the very long fifty-five minute show ended.

Richmond Shepard-- Performing Arts INSIDER, and
lively-arts.com

November 2nd , 2005

Barra Grant's play A MOTHER, A DAUGHTER AND A GUN, now at Dodger Stages, is an old fashioned comedy- full of schtick and non sequiturs- with a matchless duo leading the proceedings. Veanne Cox and Olympia Dukakis are like an old time vaudeville team as they cross swords verbally as overbearing Jewish mother and her distraught, dominated daughter whose husband has just left her and she's bought a gun to shoot him with. Cox plays her absurd lines with complete conviction, her pauses are perfectly timed, her physical agility and comic presence totally fills the
theatre Dukakis is firm and totally convincing in her character of destroyer, and the banter between the two women is classically snappy. The two women have a bit of Amanda Wingfield and Laura in the unreal view Dukakis has of her daughter, and they are equal antagonists, each with powerful presence. And in Act
Two there's George S. Irving as the father-- he tells a tale like the master he is. All of the supporting actors are excellent, especially Mario Campanero as a flashy, dancing, ridiculous Latin narcissist. Director Jonathan Lynn has staged the farce with great timing and insight as he allows the few serious moments to unfold and engage us too. Jesse Poleshuck's set is a fascinating invention as it shifts from living room to kitchen, and costumes by
David C. Woolard and lighting by Beverly Emmons enhance the proceedings very well. This play won't end the Iraq war or fight poverty or injustice. It's just a lot of laughs performed by theatrical masters.

Richmond Shepard-- Performing Arts INSIDER, and
lively-arts.com