It’s an extra pleasure to attend a play that has ideas, intellectual insights, and political understandings within a context of friends with various sexual attractions. DISGRACED by Ayad Akhtar, with Hari Dhillon as a Moslem financial worker, the gorgeous Gretchen Mol, the epitome of blond white woman, Josh Radnor as a Jewish friend, Karen Pitman as his African American wife who works in the same financial office as Dhillon, and Danny Ashok, are all fine actors with depth of character, and the pacing, timing, emotional ups and downs (there are several startling actions) are clearly defined by director Kimberly Senior on John Lee Beatty’s excellent living room set. It dips deeply into examination of many Islamic doings, including the deep indoctrination of Moslems as they break from the concept of separation of church and state, and try to make the church and state one, and ISIS considers itself a harbinger of, and headline player in the imminent end of the world. That is one examined thread, another is politics in the financial world’s internal battles, the third is prejudice, and there is a sexual ribbon threaded through the whole evening. I was with four friends- four of the five of us with published books, and this play provoked an hour and a half discussion among us at a nearby restaurant. All you smart cookies better run and see it before it closes.

Richmond Shepard, Performing Arts Insider, lively-arts.com, Outer Critics Circle.

HONEYMOON IN VEGAS, book by Andrew Bergman, music and lyrics by Jason Robert Brown, is a grand old just for fun lively musical with sparkling super costumes by Brian Hemesath, beautiful dancing showgirls choreographed by Denis Jones, and a lively, clever, nostalgic set by Anna Kiuizos. It starts with a band concert that really cooks ((music director Tom Murray). Rob McClure is terrific as the man who promised his mother (the show-stealer Nancy Opel) he would never marry. But with a beauty like Brynn O’Malley, who could blame him. Tony Danza plays the antagonist, and he has a lot of strength, but he growls much of his dialogue in a Bensonhurst Brooklyn accent, and when he sings a love song, it’s painful. He redeems himself when, late in the show, he reveals that he can really tap dance. With Flying Elvises, David Josefberg as lounge singer Bobby Rocky who is always flanked by the gorgeous showgirls Leslie Donna Flesner and Erica Sweaney in pink, lively, bouncy direction by Gsry Griffin, this show is nothing but fun. They don’t make ‘em like this anymore. Don’t miss it. If you don’t have a good time I’ll give you a dollar.

Richmond Shepard, Performing Arts Insider, lively-arts.com, Outer Critics Circle.

In COWARDLY SWANN, an inspired mixture of Noel Coward and the English comedic duo Flanders and Swann, whom I saw on Broadway in 1959, Delphi Harrington and the pianist Woody Regan, who tickles the ivories with a deft light touch, sing their way through a delightful evening of lyrical fol-de-rol. The clever sophisticated material integrates beautifully. It’s a lovely nostalgic show with a peek into a gone era. Songs like “Have Some Madeira, M’Dear”, “Gnu” and “Mrs. Worthington” still tickle the artistic funnybone and resonate as much as they did in the past. They’ll do three more performances: Wednesdays March 25,and April 15, at 7pm, and Saturday May 2 at 1pm. Don’t miss it.

Metropolitan Room, 34 West 22nd St. 212/206-0440.

Richmond Shepard, Performing Arts Insider, lively-arts.com, Outer Critics Circle.

THE HEIDI CHRONICLES by Wendy Wasserstein, which covers twenty years in a woman’s life, is a rare, particular delight for educated intellectuals as it explores the intertwining relationships among a group of friends. It explores feminism, gender, styles, and lots of thought-provoking ideas and contrasts. Elisabeth Moss is a vibrant Heidi- especially when she lectures on Art. Jason Biggs is quite strong as her friend, Bryce Pinkham gives it all a tilt that is terrific, and all of her women friends are clear, clean and distinctive. One of them, Tracee Chimo, in two small roles, each a sparking gem- a militant lesbian and a talk show host, steals the show. Adeptly directed by Pam Mackinnon on John Lee Beatty’s deft set, this is a show that communicates (and entertains) on all levels. I can see why it won the Pulitzer years ago when it first played. It’s a treat.

Richmond Shepard, Performing Arts Insider, lively-arts.com, Outer Critics Circle.

In WILD CHILD IN THE CITY, written and performed by Tjasa Ferme, a Slovenian dynamo, about the adventures of a single woman, she’s wild, sexy, fearless, can change clothes in front of us, interact with the audience, including having one of them tie her up, and shows us that even grooming can be really entertaining. She’s Performance Art at its highest level. She’s a Robin Williams- jumping from story to story, character to character, all fascinating. Dating, leaving Slovenia, throughout, she’s a top level comedienne with the most sensuous legs in town. She does great puppy, and when she runs I wanted to chase her. There are marvelous holographic projections by Phillip Gulley of her own image, while speaking, projected onto her face and body. She’s a star in looks, flexibility, vivid persona. A unique, terrific actress and dancer with broad dimension. They don’t make many this good, with her range. Lily Tomlin’s first show in New York was in my Mime troupe. I saw her talent and potential. Tjasa has that range of talent and possibility. It’s directed with flare, perfect timing and great imagination by Ana Margineanu.

Richmond Shepard, Performing Arts Insider, lively-arts.com, Outer Critics Circle.

Barbara Horn, former chairperson of the Theatre Department of St. John’s University, and author of eight published books on Theatre, noted the following: A talented young woman, Tjasa Ferme, cleverly manipulates audience members into action on the stage--dressing, braiding hair, fetching water, binding her hands, etc.--,breaking the 4th wall barrier without assault, skillfully engaging the audience into participation. A beautiful young woman, her well-toned body and semi-calisthenics, call to mind a young Kathleen Turner. With the proper exposure, she is destined to the same heights.

Richmond Shepard—

Performing Arts INSIDER, lively-arts.com, Outer Critics Circle