As a long time reviewer, every once in a while I come across a spectacular performer who has the range and versatility of a Lily Tomlin, or Whoopee Goldberg, who can snap from character to character, with contrasting voices, physicality, age, and emotions. In her show NAKED IN ALASKA, which chronicles her personal journey as a stripper, pole dancer, and person, with passion and full commitment, Valerie Hager gives a powerful, entrancing performance as she displays a range of physicality and emotion during the ups, downs and sideway tangents in her life, including drugs, that will knock your socks off. She radiates a personal beauty of body and persona, and a Mime flavor, that is rare. Her pole dance has gymnastic strength and flexibility, and yet sends out a sensuality that can ensnare. It’s well directed and timed by Scott Wesley Slavin. With the diversity of character that Valerie can play, she should be on Saturday Night Live.

Richmond Shepard—

Performing Arts INSIDER and lively-arts.com.

THE BRIDGES OF MADISON COUNTY, book by Marsha Norman based on the novel by Robert James Waller, music and lyrics by Jason Robert Brown, is Musical Theatre at its best- innovative in staging by Bartlett Sher and beautiful, magical, dynamic scenic design by Michael Yeargan, this story of a love affair between a housewife (Kelli O’Hara) in Iowa and a wandering photographer (the very strong, handsome Steven Pasquale) catches you from the first note O’Hara sings in her clear lovely voice. Sher uses the chorus as atmosphere, stationed in recesses on the stage, as a town’s characters, costumed nicely by Catherine Zuber, and all is well-lighted by Donald Holder. Brown’s music is quite lovely- there is perfect integration of words and music, and the romantic and nostalgic songs are quite moving. Cass Morgan and Mighael X. Martin are delightful as nosey neighbors, Whitney Bashor does a fine singing turn and so does Katie Klaus. The show has a killer ending as O’Hara and Pasquale shake the house with voice and emotion, stirring us with a universal message about past possibilities that struck a cord in this old reviewer. It is a privilege to be in the audience for a show this good.

I see at least six Tony nominations for next Spring.

Richmond Shepard—

Performing Arts INSIDER and lively-arts.com.

What a theatrical treat! Harold Pinter’s NO MAN’S LAND is full of intellectual games with meaning within meaning, and the author’s strange tangents and angles are fully fulfilled, expressed with verve by a cast that is merely superb: the vivid Ian Mckellen, a handsome, strong, sexy Billy Crudup, a formidable Shuler Hensley and Patrick Stewart playing a man much older than himself-- he actually dodders ( which enables him to take some great falls with the grace of a mime). What’s it about? Stewart brings a man (McKellen) whom he just met home from a pub for a drink. He is served in various ways by Crudup and Hensley.
Mysteries are explored, especially in Act two: the men may have been old acquaintances with memories, (real and imagined?) including the funniest expo of sexual adventures ever. The play gives us a flow, a torrent of verbosity unequaled (except by Beckett). It’s a fascinating encounter: thrust and parry-- Memories? Fantasies? Both? Great line: “I’m in the last lap of a race I forgot to run.” Sean Mathias has directed these masters with exquisite timing, set by Steven Brimson Lewis is perfect- reflecting time and character, and his costumes have flair – including a bright green handkerchief adorning Stewart. Lighting by Peter Kaczorowski is quite expressive. This is Theatre at its best. Don’t miss it.

Richmond Shepard—

Performing Arts INSIDER and lively-arts.com.

What a marvelous production of THE PIRATES OF PENZANCE by Albert Bergeret's, NY Gilbert & Sullivan Players at Symphony Space. The overture alone, by the precise, zippy orchestra, nimbly conducted by Bergeret, was worth the price of admission. With a splendid cast, all fine singers, including James Mills as the Major General, Daniel Greenwood as Frederic, and Sarah Caldwell Smith as Mabel, all elements, including imaginative costumes by Gail J. Wofford and an agile set by Lou Anne Gilleland for the agile cast of singer/dancers, Bergeret and his co-director/ David Auxier and choreographer Bill Fabris have found the visual humor in the work as well as the lyrical in the rhymed verses (which are the best integration of words and music ever written). The physical expressions through gesture give a dimension to the work I've not seen before. It's a totally delightful show, and it could do well on Broadway. If only I had four million dollars.

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

The New York Gilbert and Sullivan Players production of PATIENCE gives us a great chance to see this rather silly gem about romance sought and spurned, performed by their lively, enthusiastic, company of excellent singer/actors, with lovely (in looks and voice) Sarah Caldwell Smith in the title role. With James Mills as the fey poet Reginald, David Macaluso as Archibald, whom women can’t help loving, Caitlin Burke ss the large, sensible Lady Jane, and the ensemble of lovesick maidens and sturdy cadets, all fine singers, it’s a very entertaining trip. With imaginative (though classic) costumes by Gail J. Wofford and a working set by Lou Anne Gilleland for the large cast, director Albert Bergeret and his co-director/choreographer David Auxier have once again found the visual humor in the work as well as the lyrical in the rhymed verses. The physical expressions through gesture give a wonderfully comic dimension to the work. It's a totally delightful show, performed by a terrific company.

Richmond Shepard—

Performing Arts INSIDER and lively-arts.com.