Review: The Fun Show

By Michael Block 

As you walk into the Palace Theater, the iconic homes of the Bikini Bottom denizens are present on stage. There’s an overwhelming sensory overload of colors and sounds as you take in the transformation within the legendary theater. As the audience spills in, it becomes surround sound excitement of eager children. And suddenly, without warning, a pirate named Patchy takes the stage and prepares us all for the evening’s entertainment as we dive into Broadway’s newest smash hit, SpongeBob Squarepants the Musical. Based on the Nickelodeon mega-series, the musical follows the titular character and his pals as they prepare for the end of the world.
Bikini Bottom is in peril. The end of the world is near and a hero is the only thing that can save the world. If the story sounds eerily familiar, the parallels to present day America are certainly existent. As Bikini Bottom learns that a volcano is about to erupt and destroy their beloved town, Spongebob and his best friends Patrick and Sandy are determined to stop it before the lava flows. But this wouldn’t be a Spongebob story if Mr. Krabs wasn’t concerned about his money, Plankton had a devious plan to take over the soon-to-be-over world, and Squidward, Spongebob’s neighbor, wasn’t pessimistic about the entire situation. Having first aired in 1999, Spongebob has been a consistent staple on Nickelodeon with waves of kid and adult fans alike. I for one, was one of the first generation "Spongebob" fans having watched the show during the original season’s iconic moments including the Krusty Krab Pizza and the ear-worm worthy “F.U.N. Song.” But I grew up and Spongebob wasn’t part of my life after high school. So how do you bring a beloved cartoon franchise to Broadway while maintaining the integrity to an audience of fans old and new and theater-goers who may know little to nothing about it? Introduce a fresh new story that is not only relevant but has the power to impact the next generation. And bring in Tina Landau to revolutionize the artform. That works too. Spongebob Sqaurepants the Musical is the biggest party on Broadway. With a book by Kyle Jarrow and an eclectic songbook from a cavalcade of music stars, this show is simply feel-good fun. The story is accessible with touches of maturity. With a source material notorious for creating their own rules, Landau and Jarrow didn’t necessarily always play by rules of logic opting for silly and fun. For example, the prominent plot line for Sandy Cheeks is that she is a land mammal and is ostracized by the sea creatures for being different. In the cartoon, Sandy can only leave her home if she wears a helmet to breath. In the musical, Sandy roams freely around the world sans any breathing apparatus. Perhaps this inclusion could further hammer in her difference from the others in the world. Act I moves in full force as the stakes are high as can be. With Act II focusing on the final hours before doomsday, there are some severe moments where the momentum stalls, partially due to the slower numbers in the score.

photo by Joan Marcus

Not everyone would have been able to bring Spongebob to life. It takes a true brilliant and creative mind. Tina Landau’s imaginative and vivacious vision is the star of the production. With an extraordinary creative team by her side, she made this show a musical playground. Landau helped guide her company to create dimensionality beyond their 2D personas. While there were moments of cartoon stylings onstage, David Zinn’s scenic and costume design captured the essence of the source material while putting his own stamp on the world. Through color and shape, Zinn captured each character using modern fashion. Zinn incorporated giant sized items into his set giving off the idea that these things may have floated down to the ocean floor. It was a black light extravaganza as Kevin Adams’ lights struck the neon accents strewn upon the deep blue sea set. Adams’ design allowed for the fantastical world to feel a bit more exciting and unique. Once upon a time, there was a musical from Nickelodeon’s rival company about some creatures who lived in the sea. The way they moved through their world was through the use of heelies. Cute in concept, poor in execution. So how would these creatures move about? Well, the main difference is in the cartoon, no matter if you were sponge or fish, you walked on your legs. No problems here. But how they dance? The choreography from Christopher Gattelli gave you that big Broadway with a wallop of whimsey. It was choreography full of exuberance. With the score coming from an array of styles, it was inevitable that there would be a clunker or two in the mix. But the true challenge was how to make the material work cohesively. Tom Kitt, who wore a trio of hats as music supervisor, orchestrator, and arranger is the true hero of Bikini Bottom. Kitt married the music within the world of the show and managed to get songs like T.I.’s rap number and Lady Antebellum country ditty to live organically in the show without feeling haphazard. Special recognition should be bestowed upon foley designer Mike Dobson. Imagine this show without this element. You can’t, because it wouldn’t work.
There are pretty enormous shoes to fill to portray one of the greatest cartoon characters in history. Spongebob is known for his voice and his slapstick persona. Thankfully, the musical found a rising star to fill the shoes. Ethan Slater is a beacon of brightness as the titular sponge. Slater found Spongebob’s voice impeccably while still getting his moments to showcase himself. With slapstick comedy reminiscent of vaudevillian powerhouses, Slater had a comfort and ease about him as he flung himself around the stage. It’s rare to not only make your Broadway debut in such a giant role, but to do it in such glorious fashion? Ethan Slater has catapulted himself to stardom. Taking on the supporting role in this version of Spongebob, Squidward was the epitome of gloom and doom. And yet when the clarinet-playing squid got his moment in the spotlight, a new side shined. Gavin Lee and his extra set of tentacles tapped his way into our hearts. Another vocal master, Lee’s characterization was the epitome of the doubting neighbor. When it came to having fun, no one had more fun than Wesley Taylor as Sheldon Plankton. Who doesn’t love to play a perpetually losing evil genius? Rounding out the main cast, Lilli Cooper as Sandy Cheeks, Danny Skinner as Patrick Star, and Brian Ray Norris as Mr. Krabs easily brought their characters to life. The surprise performance of the night was from a dynamo who literally stops the show as a whale. Jai Len Christine Li Josey took her part and ran during “Daddy Knows Best.” She literally opened her mouth to sing and the audience gasped in astonishment. Her voice is pure gold with a pitch perfect range.
The question is now that Nickelodeon has conquered Broadway, will they follow in their competitor’s footsteps and reimagine other iconic cartoons for the stage? Should Disney be worried? Spongebob Squarepants the Musical is The Lion King of today. It’s planted its flag in the modern technological age of theatrics and will impact the future of innovative storytelling. Spongebob Squarepants is a celebration of what it means to have fun in theater.

Spotlight On...Lynn Rosen

Name: Lynn Rosen

Hometown: Gary, Indiana (near Chicago)

Education: Brandeis University – BA in Theatre Arts

Favorite Credits: Proud of them all but the world premier of my EST/Sloan play The Firebirds Take The Field at Rivendell Theatre Ensemble in Chicago, directed by Jessica Fisch, this spring was a recent delight. Also proud of my work as co-creator/co-writer on my award-winning web series DARWIN, about a life coach whose life is falling apart, directed by Carrie Preston and Greg Ivan Smith, created with Karl Kenzler and Chris Gerson.

Why theater?: I’ve loved it since I was 6ish and I met Dracula at a kids’ show at The Goodman. He was terrifying and wonderful with his blood-red mouth and fangs. I fell in love with the mystery and the magic of it. Anything larger than life I am a fan of. Don’t we all want our lives to feel lifted and larger than they are? Even fleetingly? Theatre does that for me.

Tell us about Washed Up On The Potomac: Washed Up is a dark comedy set in D.C. about three proofreaders who find out that a coworker who vanished last year may – or may not have – just washed up on the Potomac. This makes them question their own existences and leads them to try to change their lives – no easy feat. Some change their lives more drastically than others. It’s also about the small but vital ways we try to connect with the people around us. And it’s an ode to art itself, and how life and art are entwined.

What inspired you to write Washed Up On The Potomac?: I worked in proofreading for many years. It’s a singular work environment mainly populated by artists wishing they were somewhere else. I was always struck by the personas and myths we’d create for ourselves in order to get through the day without feeling like failures. During that time I did, sadly, know of someone from my past who washed up on the Potomac. Besides being sad and scary, this made me think about the ways we all vanish from our lives. Additionally, I was haunted by the way people would simply not show up to work and never return. Sometimes we knew what happened to them, but more often it remained a mystery and all that was left of them was a sweater or a hat. It was spooky and sad. I guess I felt the need to work it out in my writing.

What kind of theater speaks to you? What or who inspires you as an artist?: I like theatre that is bold, and theatrical, and tells a good story, of course. Anything that involves a transformation gets me. I think that’s what lifts us out of the mundane and gets us thinking, feeling and maybe even connecting. And please be funny. Even just a little. How do people survive in this world without humor? As for inspiration, seeing the Bway tour of Noises Off as a kid made me want to be a playwright. Also Rosencrantz & Guildenstern Are Dead which I read when I was a teen. I’m still haunted by a scene in Mnemonic by Complicité about Otzi the iceman, where a folding chair transforms into a man who is taking his last mortal steps in a snow storm. So simple yet so profoundly moving. I think about it a lot.

If you could work with anyone you’ve yet to work with, who would it be?: This is the starry-eyed version but Francis McDormand or Julia Louis-Dreyfus. I also just did a Playing On Air recording of my one-act I Love You with Bill Irwin – would love to work with him more, I think he’s a genius.

What show have you recommended to your friends?: Recently, The Band’s Visit. And Susan’s and Peter’s plays with The Pool!

Who would play you in a movie about yourself and what would it be called?: Hmm maybe Diane Keaton back in the day and it would be called “That Sounded Better In My Head.” Or “Well, That Was Awkward.”

If you could go back in time and see any play or musical you missed, what would it be?: Being at the show where Abraham Lincoln was shot might be compelling. I’d certainly write about it.

What’s your biggest guilty pleasure?: A certain reality TV show with wives who live in houses in NYC that are supposedly real.

If you weren’t working in theater, you would be _____?: Solvent? Well TV but that’s a boring answer. Actually, right now all my non-theatre work fantasies center around working in journalism and bringing down the Trump administration.

What’s up next?: Washed Up On The Potomac at San Francisco Playhouse this summer, also directed by Jose Zayas, thank god. Developing my musical about Helen Gurley Brown with rock band The Kilbanes at TheatreWorks Silicon Valley this April. Season 2 of my comedic web series Darwin. And working on a TV pilot with Carrie Preston. Also, I’m developing a farce set in a tea shop in Brooklyn called The Imperialists which is about, yeah, imperialism.

For more on The Pool Plays, visit https://www.thepoolplays.org/

Spotlight On...Susan Bernfield

Name: Susan Bernfield

Hometown: Palo Alto, CA

Education: University of Pennsylvania, Circle in the Square Professional Workshop

Favorite Credits: Stretch (a fantasia) at Ice Factory, New Georges and People’s Light & Theatre

Why theater?:  When I was 9, I started doing theater and found my people.  And now I get to meet new people who are my people just about every day.  I’m very lucky.

Tell us about Tania In The Getaway Van:  It’s a play about second wave feminism, the women’s movement of the 1970s, as it was experienced not in magazines or by fancy people but by middle-class suburban women who found themselves facing new choices for the first times in their lives, trying to re-form themselves as people with agency.  Or really the first part takes places in the 1970s, then the mother/daughter story at the play’s center moves forward to 2012 to talk a little bit about expectations met and failed in a fast/slow moving world.

What inspired you to write Tania In The Getaway Van?:  It’s a riff on my own childhood, my own mom and me, then it expands outward… the story was always very much there waiting to find a way out (or for me to find a way in), though I always wondered if it would actually interest anyone, I hesitated to write it. For better or worse, now seems to be the right time for it.

What kind of theater speaks to you? What or who inspires you as an artist?:  I want to be surprised, I want to see something I’ve never seen before.  I gravitate toward big theatricality and big ideas, I’m inspired by work I never could have thought up or made myself, that pushes my conception of what can happen in a theater in one way or another, through heightened language or theatricality or a new kind of theatrical context.  I think I’m more likely to be moved by a sudden image or juxtaposition or aggregation of elements that breaks through and brings an experience together than by a big conventionally-building emotional scene – I like to be snuck up on.

If you could work with anyone you’ve yet to work with, who would it be?:  Guys!  Ha!  Running New Georges, I don’t get to work with a lot of guy playwrights and directors, but sometimes there are guys I meet and I think, well, that’s too bad… that’d be different.  It’s a funny little world I’ve made for myself.

What show have you recommended to your friends?:   Last year I did a lot of recommending of Geoff Sobelle’s The Object Lesson at New York Theatre Workshop, and it’s back on my mind because I saw his Home at BAM today, directed by my friend Lee Sunday Evans, and again, wow.  The way he approaches environment, objects, community, the audience, he creates a relentlessly human and endlessly surprising experience… it draws you in – often literally, cause you’re in it – and eventually you figure out where it’s going and it’s so so moving.  Just when you least expect it, and because of how he’s devised and placed each moment, a perfect example of what I describe above.

Who would play you in a movie about yourself and what would it be called?:  Wow, huh!  Uh… Julia Louis-Dreyfus in “Fast Talking Woman”?

If you could go back in time and see any play or musical you missed, what would it be?:  Geez, I feel like I’m so old now I almost don’t know how to answer this! If I pretend I’m still a kid I’d say Philip Barry’s The Philadelphia Story on Broadway, written for and starring Katharine Hepburn, 1939.

What’s your biggest guilty pleasure?:  Donna Summer.  Live and More.  Holding or pretending to hold those long long screams of notes along with her got me through high school and it’s still delightfully there when I need it. Ditto Patti LuPone on the Evita soundtrack.  Both on my original vinyl.  Packhorse.

If you weren’t working in theater, you would be _____?:   Lately for some reason I’ve been having flower arranging dreams…

What’s up next?:  New Georges presents two sound-centered new plays in rep as part of our year as Anchor Partners at The Flea – Stephanie Fleischmann’s Sound House, directed by Debbie Saivetz, and Lily Whitsitt and Door 10’s This Is The Color Described By The Time.  And I’d like to get back in the game of performing my solo piece My Last Car in people’s living rooms, that was a delightful thing to do.

For more on Susan, visit www.susanbernfield.com. For more on The Pool Plays, visit www.thepoolplays.org

Review: Bioelectromagnetics As a Metaphor for Unleashing Women's Power

By Ed Malin

This December, Jody Christopherson’s new play AMP is running in repertory with her Greencard Wedding at HERE.  The play is directed by Isaac Byrne. Jody Christopherson, live onstage and in projected videos, portrays several unforgettable, electrifying characters from the 19th and 20th Centuries.
Electricity has an important role in life and death.  Italian scientist Luigi Galvani discovered in 1780 that an electric charge can make dead laboratory animals move their muscles.  He later tried that experiment on the corpse of an executed murderer, which also moved around.  Such discoveries and the political discourse of the Enlightenment fascinated the young Mary Godwin (Christopherson), daughter of author Mary Wollstonecraft and future wife of poet Percy Bysshe Shelley.  In an age where other prominent authors such as Rousseau had voiced their belief in the equal intelligence of the sexes and benefits of educating women, Wollstonecraft published “A Vindication of the Rights of Woman”.  Unfortunately, Wollstonecraft died shortly after the birth of her daughter, who found herself disliked by her new stepmother and challenged to defend her late mother’s work from less enlightened men.
 On the same stage where Mary has shown us some macabre scientific devices, such as shock-proof leather coveralls, operating tables and jars of noxious fluids, larger-than life projections fill in the rest of the story.  We also see a film of a mid-20th Century South Boston woman named Anna (Christopherson) who is trying to explain why she has ended up in a mental institution.  Anna studied cello and continually strove for recognition in a male-dominated field.  She is no delicate flower; in fact, her fisherman father taught her the best way to clean a fish. Even when she auditioned for the Boston Symphony—behind a screen—the judges still found a way to discriminate against her.  We see haunting images of Anna, strangely happy in a dilapidated asylum.   Anna’s unrepressible rage led to her imprisonment and to treatment with electroshock therapy.  Which brings us back to Mary.

photo by Hunter Canning

 In 1816, Mary Godwin, a.k.a Mary Wollstonecraft Shelley, famously finds herself in a villa on the shores of Lake Geneva in the company of her husband, Lord Byron, her step-sister Claire and Byron’s doctor, John Polidori.  The group of creative outsiders decide to write ghost stories.  Mary’s contribution is “Frankenstein”, the story of a monster, a term she explains through its etymology of showing what is inside.  Indeed, what happens when you combine pieces of different creatures and give the result new life?  What is inside of Anna after she receives sock treatment?  If she docile, or furious, or a bit of both?  A beautiful, Romantic cello soundtrack floats through it all, thanks to sound designer (and projection designer and producer) Martha Goode.  The Mary episodes include the vocal talents of J. Stephen Brantley, Chloe Dirksen, Finn Kilgore, Ryan McCurdy and Jonathan West.
This scary and enjoyable piece brings back a sense of wonder about monsters.  In the early 19th Century, Galvanism and other experiments with electricity seemed mystical.  Now, we know (and may have had some relatives who experienced such things firsthand) that electroshock therapy is not the way to treat illness.  How do we strive for equality without continually hurting women?  How hard is it for a progressive idea to flourish in this world?  Jody Christopherson gives us several believable performances.  Anna’s scrappy, South Boston accent is courtesy of dialect coach Chloe Dirksen.  Anna’s earnest longing for success is a fine achievement of director Isaac Byrne.  Stacey Boggs's lighting design sets up ghost stories the way they should be done. The sheer majesty of Mary wearing leather gear and screaming has stayed with me.  The production is enhanced by films shot by Michael Niederman and Erika Phoebus, directed by Isaac Byrne and Jody Christopherson and edited by Christophersen and Martha Goode. The films nicely transition from the long-ago world of 1816 to 1950s world which feels both real and somewhat removed. The establishing shots from a ruined asylum are by all accounts a triumph. So there we stand, looking back at ruinous ideas which ruined lives, and preparing to fight for women’s rights yet again.  I highly recommend AMP and am sure that if you like it you will like Greencard Wedding.

Meet the Queens: The Ultimate Drag Pageant Season 5 Finale

The Ultimate Drag Pageant is about to wrap up their fifth season on Thursday, December 14th at 11:00pm at The West End. Hosted by Marti Gould Cummings and Nedra Bell, this competition is one of New York's finest showcases for emerging drag talent. This season's finale will feature Allegra White, Cholas Spears, Edie James, Helluva Bottom Carter, Miz. Diamond Wigfall, and Petti Cake. Let's meet them! 

MEET THE QUEENS

Allegra White

What has been the best part about being a part of the Ultimate Drag Pageant?: The best part of being in Ultimate Drag Pageant for me has been utilizing all of my creative skills that I basically haven't touched in a couple years (and learning some new ones too!).  I really enjoy performing, dancing, mixing music, crafting, putting together looks, doing makeup, and basically everything else that goes into this, so being willingly forced to do all these things week after week has made me a happier person overall. Huzzah!

What was your favorite performance of the first 8 weeks?: Personally my favorite performance was last week where I did my Honey Boo Boo into Roman's Revenge mix. I've always imagined a performance of "Roman's Revenge" done by one person with costume changes back and forth between Nicki and Eminem, so I wanted to make that a reality - even if my costume changes weren't as polished as I ideally want. Then in order to fit the weekly theme (Pageant) in, I mixed in the Honey Boo Boo/Toddlers and Tiaras quotes which made the number even more ridiculous. But even on top of that, I went into Week 8 coming for blood because I didn't want to be on the bottom again, but at the same time not giving any fucks because if I were to be eliminated I would at least go out on a performance that I loved and felt strongly about. It ended up being so much fun!

What can we expect from you in the finale?: Up until this point most of my numbers have been very quirky and charactery. I've channeled Spongebob, Dracula, Courtney Stodden, Honey Boo Boo, among others. For the finale I am going to be 100% myself without any gimmicks, so I have no idea how that will go over. I do, however, know that my looks and accessories will be glorious as usual.

Chola Spears

What has been the best part about being a part of the Ultimate Drag Pageant?: The best part of UDP is how much material I pulled out of myself for the competition. I came into the competition with one or two mix ideas in my head and once the pageant started, my juices started flowing and I started making mixes and then the costume ideas came to me, yadi yada... and now Chola has some good material!

What was your favorite performance of the first 8 weeks?: Edie James did a Lana Del Rey cover as Donald Duck and it was the funniest thing ever. It was totally not where I thought the mix was going and Edie's facial features throughout the performance were so on point! I dunno how you can serve Lana Del Rey and Donald Duck comedy realness at the same time but she did that shit.

What can we expect from you in the finale?: For the finale, you can expect CHOLA . Chola was born at a Punk Show covered in blood wearing short shorts and a bandana top. Last week was Pageant Queen realness and it was the first time Chola was in a dress! I think I'm going to bring back a little of that grittiness that Chola was birthed from.

Edie James

What has been the best part about being a part of the Ultimate Drag Pageant?: The best part about being part of the Ultimate Drag Pageant has been the opportunity to discover different sides of myself and to express them openly to a supportive audience and panel of judges. Marti and Nedra have really put together a great space for baby queens like myself to learn and grow and I can't thank them enough for allowing me to be apart of it!

What was your favorite performance of the first 8 weeks?: My favorite performance of the first 8 weeks would have to be week 6. The theme was Childhood and I decided to do an autobiographical piece where I came out as my younger (boy) self, and eventually revealed my true nature as a budding drag queen, changing out of my overalls, into a flowered sun-dress. I just remember walking out from behind the curtain after the costume change and hearing the crowd cheer. Really solidified that I was getting my message across/telling my story properly.

What can we expect from you in the finale?: In the finale I want to continue to develop my character and give you her take on the current state of the world. The theme is Activism, and I'm going to be channeling a historical figure, who lead her people to glory in times of darkness. Like always I'll be aiming to tell a story, so please be sure to come and see how it turns out!

Helluva Bottom Carter

What has been the best part about being a part of the Ultimate Drag Pageant?: The best part of UDP was definitely developing a more finite and richer character throughout the weeks. My drag is fully inspired by being a trained actor first and drag queen second so being able to explore that was incredible.

What was your favorite performance of the first 8 weeks?: I think my favorite performance was “Roses Turn” for Broadway week. It was just the closest I’ve gotten to being able to play a fully realized character, and also Patti LuPone, I mean, WHO could deal?!

What can we expect from you in the finale?: The finale definitely has everything I’m just beginning to become known for; Acting beats galore , crazy eyes, fierce dancing, and being a hot mess.

Miz. Diamond Wigfall

What has been the best part about being a part of the Ultimate Drag Pageant?: I’ve loved all of the challenges and how to really apply what “Classic Hollywood” is to Miz. Diamond. Also all of the amazing queens that are connected to this competition  have been so amazing to work with!

What was your favorite performance of the first 8 weeks?: I think the 90s week with my friend Kyra was just so much fun to do! It was really just us being friends and having a great time onstage.

What can we expect from you in the finale?: Well this is one of my favorite numbers that I have. I was so glad when Marti added this week because it didn’t feel right forcing it into another category. I love that we get to have an activist challenge. There is so much going on in the world , Drag is one of the best artistic outlets. I’m excited to make some statements and see what the other competitors have in store. This is it honey

Petti Cake

What has been the best part about being a part of the Ultimate Drag Pageant?: I loved how incredibly supportive everybody was. From Marti and Nedra, to the other girls, and to the crowd. I am so proud to have made my debut here and I never could have imagined such amazing support system.

What was your favorite performance of the first 8 weeks?: I LOVED comedy week where I got to channel Marti. Any chance to poke fun at somebody I look up to is great. The only downside was having to listen to Marti's voice on repeat during my rehearsal period. This week really challenged me to push outside my limits and to tolerate voices with strong nasal qualities.

What can we expect from you in the finale?: You can expect something very simple, heartfelt, and super Asian. Also glitter. Everywhere. You were warned.

Review: Once On This Island Will Provide

By Michael Block

In its first major revival on Broadway, Once on This Island makes a triumphant return. With an atmospheric staging at the Circle in the Square Theater, the focus here is the importance of stories during devastation as stories, at the end of the day, are universal to us all. With the visionary direction of Michael Arden, Once on This Island is the production we needed today.
Written by prolific songwriting team Lynn Ahrens and Stephen Flaherty, Once on This Island follows a group of storytellers who share the story of Ti Moune, a peasant girl who falls in love with an upper class boy as she tries to navigate the battles of class and the four gods who rule the French Antilles, Asaka, Mother of the Earth, Agwe, god of Water, Erzuile, goddess of Love, and Papa Ge, demon of death. Inspired by Rosa Guy’s “My Love, My Love; of The Peasant Girl,” Once on This Island is a beautiful story with a lively score with a tropical flair. This revival is a showcase of the ability of storytelling. Michael Arden’s direction is nothing short of breathtaking. The transformation of the theater by Dane Laffrey brings the Caribbean to Manhattan. It’s a sandbox of ingenuity. Just the simple inclusion of live animals, a chicken and a goat to be specific, brought things over the top. Arden takes the idea of found object storytelling as the central theme of his own storytelling. Clint Ramos dresses the characters, both in and out of story, in attire reminiscent of the island life. Items the audience sees on stage during the preshow are brought in to create some of the gods’ wardrobe, playing into the idea of reality and imagination. The orchestrations from Annmarie Milazzo and Michael Starobin is stunning, especially through the addition of the found instrument design by John Bertles and Bash the Trash. Why use a storm sound cue when you can use instruments! There are challenges in staging when performing in the round, but lighting designers certainly have their work cut out for them. Jules Fisher and Peggy Eisenhauer made it look easy. Arden needed to ensure that the movement in this piece was genuine. Choreographer Camille A. Brown did her homework and aced it from start to finish.

Once on This Island showcased one of the most infectious ensembles on Broadway today. There was not a single weak link in the cast, as each person blended into one cohesive unit. Its original production put its young star, LaChanze, on the map. Similarly, this revival is doing the same for the young woman in the same role. Haley Kilgore gives a delightful debut performance laced with heart and promise. Ahrens and Flaherty have a killer score, but “Mama Will Provide” is certainly a showstopper, thanks in part to Alex Newell’s vocal dexterity. Newell’s tone is pure with moments of growl and whistle tone. Newell’s effervescent performance as Asaka is easily tops of the season. On the other side of the spectrum, Lea Salonga gives a strikingly contained performance as Erzulie. Salonga’s take on “The Human Heart” gives shivers.
No, this production is not revolutionary, but it is unequivocally refreshing. If you don’t walk out of the venue with a smile, you heart may be a few sizes too small. The score will remain with you for days. If you are aware of your surroundings, you can see how the world today was infused in the production. It may feel hammered in, but Arden and his talented company have captured hearts and remind us not only why we tell stories, but why we dance.

Review: A Love Worth Living

By Michael Block 

The most important question upon leaving Hundred Days is when will we get the recording of this production! Playing New York Theatre Workshop following a stint at the Under the Radar Festival, The Bengsons and Sarah Gancher’s Hundred Days is turning theatrical art form upside down. A hybrid theater piece that marries book musical with concert, Hundred Days is a folk-rock fantasia of love and grief.
For just over an hour, Abigail and Shaun Bengson share the story of their cinematic meeting, their three-week relationship turned engagement, and the journey through highs, lows, hardships, and flashes of loss and love. Stringing the story along is Sarah Gancher, who helps guide this autobiographical song cycle. Joined by a band of players, of both instrument and story, Hundred Days is a more of a concert, but not quite a classic work of theater. Abigail and Shaun carry the majority of the dialogue, but a third character, Max, is played by the hypnotizing Jo Lampert. The trouble though, if Max is an important physical presence, we desire more personas as a singular realized character pulls from the dynamics of our gallant pair. There’s something enticing and special about this mesmerizing experience, but it’s missing that spark to really let it ignite.

photo by Joan Marcus

Even so, Hundred Days will leave you longing for more of the vocal acrobatics from Abigail Bengson. Her vocal prowess would not only land her a four chair turn on “The Voice,” she’d likely be given a record deal on the spot. There are very few performers who can bare their entire story through their exceptional voice. Abigail Bengson is a treasure. Shaun Bengson is a tantalizing support for Abigail, both in story and on stage. At first glance, you might view the couple as an unlikely pair, but their love transcends all.
Anne Kauffman brings her strong sense of storytelling to the stage to guide the pair through their own story. Perhaps there was a stray in reality, Kauffman ensures you’d never know. To bring the story beyond a concert, the movement direction from Sonya Tayeh allows the ensemble to use their instruments as a limb of expression. When you walk into New York Theatre Workshop, you’ll see a concert style setup with that theatrical vibe. If you feel the hanging industrial lights on Kris Stone and Andrew Hungerford’s scenic design might be derivative, you’re absolutely correct. Hungerford’s ability to use these lights in a unique manner, however, brings the visual to the next level. Hundred Days is a sound design victory by Nicholas Pope. Pope does more than make sure the music is mixed well, he captures emotion through encapsulating the room is sound.
Like the sands of time, when the last grain drops, love and life may be over, but The Bengsons allow you to leave with the reminder to live each moment to its fullest. Hundred Days is an illuminating production that catapulted them beyond songwriters. They are theatrical artists.

Review: The Perfect Christmas Gift

By Michael Block

Tis the season for the good tidings and gay apparel. Alongside her closest pals, Showbiz Spitfire Paige Turner rings in Christmas with her newest holiday extravaganza. Hoping to put on her twisted rendition of A Christmas Carol, Paige and friends run up against a plethora of obstacles while searching for the true meaning of Christmas. The Grinch May have stolen Christmas, but Paige Turner defiled it. Paige Turner’s Christmas Carol is a perfect stocking stuffer.

photo by Michael Block

Back at the Laurie Beechman Theatre, Paige Turner has fantastically twisted Christmas and in turn, created quite possibly one of the best Paige Turner shows to date. The show tells the tale of Paige’s attempt to put on her spin of the Dicken’s classic. Her uber long and twisted version casts her slurp as Tiny Twink and the beloved Jackie Cox as an old hag, among others. And to give this show a boost, Dante invites his Grandma CC into the fold. CC being of course Carol Channing, as portrayed by James Mills. As they hit roadblock after roadblock, we learn just how ridiculous Paige’s adaptation is while sprinkling in some of her best-written parodies yet. Phylicia Rashad is all you need to know. This holiday show worked because it didn’t attempt to be more than it was. It moved along fluidly while maintaining its comedic integrity. The more we ingratiate ourselves in the mind of Paige Turner, the more her world becomes realized and comes to life before our eyes. The stakes are certainly low here, but Paige commits to giving each individual a purpose and an arc. Dante, effortlessly played by Remy Germinario, gets one of his biggest moments yet. He’s so lovingly stupid that you just want to pinch his cheeks. In the other shows, Jackie Cox is the butt of the jokes. We see how it bothers her, but, like a good side kick, she brushes it off and doesn’t bother her. To now see a different side of Jackie, through her animosity with Carol Channing, offers depth to the character. Mills plays upon the wackiness of the Carol we know and love, while being completely out of touch to the world. The Paige Turner persona, in this theatrical setting, is just a bit out of touch, but the moments of real world self awareness are brilliantly funny. The digs, jabs, and references bring the audience inside the jokes and keep things fresh. Like any great drag show, the quartet turned out look after look. Special recognition should be given to Gloria Swansong for the stunning dress Paige donned at the top of the show.
The holiday cheer was in full gear at Paige Turner’s Christmas Carol. Paige Turner is a staple in New York City and the drag community at large. If there’s one holiday show to check out this season, this one’s probably it.

Review: A Lot Going On Downtown

By Michael Block

Welcome to the late 1970s in Greenwich Village. Times are a bit different. And yet, from a modern perspective, there seems to be some very common themes. A new play written by Seth Zvi Rosenfeld, Downtown Race Riot follows the Shannon family as they attempt to make the best out of life, despite scamming each other, themselves, and, well, the government. With an impactful historical backdrop on its side, Downtown Race Riot reels back to pack a powerful punch, but it just doesn’t land.
Downtown Race Riot captures the essence of racial tension in New York City through a drama about loyalty and morality. Jimmy “Pnut” Shannon is the young son of a Mary, woman living off of disability and a bit of an addiction. Not only is she addicted to drugs, she’s addicted to mooching off of anyone she can lay her hands on, as she’s willing to utilize false pretenses to make a scam believable. Mary is eager to sue the city for lead paint poisoning by exploiting Pnut’s asthma attacks. While Pnut plays caretaker of the family, he is also urged to riot in Washington Square Park alongside his white vigilante friends and his Haitian best friend Marcel, also known as “Massive.” Unfortunately for Massive, only Pnut and his gang know the truth that he is being tragically set up in the race war. Forced to play savior, Pnut puts fate in his own young hands in hopes of doing right by all. There is a lot going on in Rosenfeld’s single act story. There is tension for sure, but Downtown Race Riot suffers from some sluggish pacing due to the lack of presence in the story. With swirling themes ranging from drug addiction, racial tension, and financial insecurity, Rosenfeld paints an outline of each without ever filling it in. True to the historical elements as well. Rosenfeld lacks context in his themes, hoping that the character studies of his thin characters are enough to carry the show. Despite being a new play, Rosenfeld is able to capture the period through his dialogue, though some of the actors make the language feel a bit artificial. His ability to write in this manner does highlight the rawness of the individuals he depicts. He shines a bright light on their imperfections and flaws.

Chloe Sevigny is the headliner of the production, but she plays second fiddle to David Levi’s Pnut. As the center of the wheel, Levi was the focus of this story. Levi’s performance was something closer to a scene study class than an Off-Broadway play. Levi seemed to be exploring the character on the fly as he tried to be rough and tough when deep down, he’s just a genuine kid. As his dope-fiend mother, Sevigny floated through the production. She encapsulated the character’s lethargic demeanor naturalistically. If you felt an uneasiness watching Mary and Pnut, you’re not alone. There is a sense of lust on the part of the pair. This is not an Oedipal arrangement, just a son doing whatever he can to take care of his mom, even if that means getting a little too close for comfort. Moise Morancy as Marcel gave one of the stronger supporting performances. Morancy showcased Marcel’s heart and desire to fit in while ignoring the sad reality of the time. Morancy’s performance was the most heartbreakingly authentic. While the rest of the ensemble were capable performers, they seemed to have been told to research stereotypes and play that.
There was certainly a lot to unpack in Downtown Race Riot and director Scott Elliott juggled every spinning plate Rosenfeld handed him. Unfortunately, many of those plates smashed to the ground. Elliott took a naturalist play and had his designers create a world to fit. His actors, though, did not. Derek McLane’s representation of a lived-in two-bedroom apartment was quite spectacular. With photos in one room and a tapestry in another, you were certain who occupied each space. The scenic elements matched the period with its warmer tones. Yael Lubetzsky kept in the natural feel of the piece through the lights, but found a way to magically transform the two bedrooms, Mary’s in particular, into a fantastical sanctuary of soothing colors. As Mary was on her trip, so were you. If ever there was doubt of the time period, Clint Ramos ensured you were reminded with the high-waisted bell bottoms and tight shirts on the gang. The most action in the play happens with a final fever pitch cumulating a giant fight at the end. While not a blood bath, enough stage blood was shed. UnkleDave’s Fight-House choreographed a dangerous montage of punches that was the most realistic moment of the entire piece.
There’s a large chunk of the play where Sevigny’s Mary sits on her bed dozing off. There were certainly many in the audience who followed suit. It’s unfortunate that Rosenfeld’s engage as much as it should have. The most explosive thing that happens is at the end, and even then it feels artificial and blown up comparatively. There is little gratifying in Downtown Race Riot. It’s likely going to be one of those plays that will get lost in time.

Review: Drew Droege's Wild Ride

By Michael Block

Weddings. They bring family and friends together to celebrate the bond of two people in love. But the legal union of matrimony isn’t always for everyone. We all may have that right in this country today, but in certain cases, some people are better off on their own. Enter Gerry, the main character of Drew Droege’s Bright Colors And Bold Patterns. Playing the Soho Playhouse, the return of Droege’s hilarious comedy continues to resonate despite a slightly dated message.
Gerry is invited to the wedding of Josh and Brennan. He and his old friend Dwayne, along with Mack’s boyfriend and his ex Neil, rent a house nearby. As soon as Gerry arrives, he starts talking about everything and seemingly never stops. A thesis in post marriage equality, Gerry questions why a big celebration and why marriage at all, ignited by the attire request on the wedding invitation. Bright Colors And Bold Patterns is Mr Toad’s Wild Ride of solo comedies. Droege’s writing is snappy and accessible. In a way, Gerry represents an “everygay” stereotype. Sure, this may offend some as the character of Gerry can simply be called “extra.” The conceit of the show Droege drafts is Gerry is the only seen character. He interacts with a trio of others despite not being present to the audience. So are these people real, unlike Gerry’s imaginary boyfriend he eventually reveals, or is he conducting the conversations he wishes he could have? The ambiguity plays highly into Droege’s quick tempo comedy, aptly directed by the brilliant Michael Urie, a sharp comedian in his own right. The combination of Droege and Urie is quite possibly why this production moves as swiftly as it does. With only one moment of reprieve for the audience, and actor alike, once you strap your seatbelt on, you’re off to the races. Droege bounces from menial stories to personal exposition to significant hot topics by balancing the weight for the audience without becoming daunting or overwhelming. The title of the play refers to a line on the card regarding the wedding attire. It is something shocking to Gerry. How dare anyone try to hide the pride at a wedding? This request plays a big part of the story yet it never fully resolved itself. We never quite get to see what Gerry is going to wear. Though, you can assume it’s up to us to decide. Will Gerry submit or is he playing by his own rules?

photo by Russ Rowland

Wearing two hats as writer and performer, Drew Droege seamlessly balanced the two. The character of Gerry is a loose lipped, mile-a-minute person who seems to have lost his filter. You might say he has verbal diarrhea. He’s the sort of person who has a plethora of thoughts, but when they leave his mouth, it’s certainly unrehearsed given the tempo and frequency of his observations. Droege is a high energy performer who has the ability to make his material fresh and new, fitting for this character. Droege crafts a character that is able to read anyone in the room while still remaining genuine. There is immense difficulty by being the sole performer on stage that is required to engage in conversation with unseen people. Droege remains present while listening to his imaginary scene partners. And this is a big part of where the comedy comes in.
Pairing Droege with Michael Urie is a winning combination. Urie pilots Droege through his unhinged character and his rollercoaster writing. Dara Wishingrad has designed an exceptional poolside getaway. It’s colorful splashes of white and blue mixed into the outdoor furniture sets a relaxing ambiance that easily puts your mind at ease. Wishingrad’s brilliant use of depth is extended into the depths of the stage which allows the audience to get a glimpse of the inside of the house. If ever there was a misfire, it’s the unfortunate black platform used to raise the dining table and chairs. The umbrella naturally gives levels and Urie only has Droege use the area late in the game. While it’s fine that the stage is black, there needed to be something, even if it was artificial grass, to cover up this evident theatrical platform.
Bright Colors And Bold Patterns is a mostly satisfying comedy that keeps the mind racing. In its return engagement, Drew Droege maintains the fun and quirkiness of his script. While it desires to be a beat or two shorter, Droege’s accessible commentary keeps the play current.

Review: Run "Freedom" Run

By Michael Block

Very seldom do we, the theater community, get to watch the journey of a new musical as it goes from one tiny thing to something bigger. Kait Kerrigan and Brian Lowdermilk had created a musical to which their songs captured acclaim from young musical theater kids before the show really became a “thing.” Go on YouTube and look at just how many covers of “Freedom” there are. The piece took many shapes and turns before finding a how with Prospect Theater Company as The Mad Ones. But not every journey is smooth sailing and not every destination is paradise. The Mad Ones showcases their duo’s catchy score but the thin story proves that there is a spark missing.
Kerrigan and Lowdermilk’s The Mad Ones, formally known as The Unauthorized Autobiography of Samantha Brown, is the non-sequential story of Sam, a young woman who is raring to get out and see the world and see the world with her best friend Kelly. But after the untimely death of her best friend, Sam must reevaluate her future through her journey of self-discovery. At its core, The Mad Ones is a journey through grief. And yet Sam, the central protagonist, has a focus on other teenage woes like boys, driving tests, and college. Sam is cookie-cutter perfect. Kelly, the true mad one of the pair, is not. And thus, when we learn about her death, it doesn’t come as a shock. With the non-linear approach as the conceit of the show, Kelly is present on stage throughout Sam’s emotional expedition. She is the constant opposition to Sam’s future-focused mom Beverly and her lackadaisical and too-good-to-be-true boyfriend Adam. Whether it’s the nature of the storytelling or the lack of depth from the character, The Mad Ones desperately longs for higher stakes. Which is shocking as the stakes are pretty damn high already. What The Mad Ones does offer is an exceptional score. From “Freedom” to “Run Away With Me,” Kerrigan and Lowdermilk know how to craft an album ready hit. But at the end of the day, The Mad Ones is not a concept album, it’s a fully realized musical that still needs to find itself, just like Sam.

photo by Richard Turmine

The four-piece ensemble is top-notch, especially in the vocal department. They provide exquisite vocals that transcend the genre. As Sam, Krystina Alabado is precious and shatterproof, at least that’s what she gives off to those around her. She is a high-striving person who just wants to do something different. Alabado exemplifies precision in her performance, but often comes off as a bit too calculated, especially compared to the free-wheeling Kelly, played by Emma Hunton. Hunton has a booming voice and rasp in her tone that makes you believe she’s seen it all. Even as the more daring of the two, Hunton’s Kelly is grounded and vulnerable. Albado and Hunton have a great balance, but Hunton gives that slight edge. Leah Hocking as Beverly is a dynamo. Even with her minimal stage time, she uses it wisely. Jay Armstrong Johnson eases into the role of Adam. With a slight stoner demeanor, his lovability is the draw.
Directed by Stephan Brackett, the musical moves along gracefully. Brackett finds the charm and heart of the themes through the minimal and effective staging. Allowing the music and words to take focus, there are few bells and whistles to Adam Rigg’s set. The clean line and bleacher-style set up allowed for Bracket to explore levels while giving David Lander a lighting designer’s dream show. With the ability to define the mood through color, Lander’s expressive lighting design was a true standout in this production. Despite a realistic approach to the costumes, Jessica Pabst dressed the characters in a bit of a pedestrian manner. You certainly can say they were genuine for the characters, but they still felt as if they were from the actors’ closet and they were standing in for a dress rehearsal while waiting for the real looks.
The hype surrounding The Mad Ones was strong. Kait Kerrigan and Brian Lowdermilk are a songwriting dream team of tomorrow, but The Mad Ones, as a book musical, isn’t the piece that will propel them to superstardom. But fret not, it’s bound to happen. Prospect Theater Company is known for fostering new musicals, but it seems they were hoping the music would allow the musical to stand on its own rather than develop it with one final workshop.