Gotta Dance!

The immensely entertaining Gotta Dance!, a creation of American Dance Machine presented by the York Theatre, includes some 17 dance numbers from such classic musicals as A Chorus Line, Sweet Charity, Pippin, West Side Story, Singin' in the Rain, and An American in Paris. With evocative and attractive projections (designed by Brian C. Station); costumes reflecting or recreating the originals (Marlene Olson Hamm); and a seven-person band, the show is handsome and well presented.

But of course it is the dances and the dancers that matter most. They array of dances is wonderful. Gotta Dance! uses original choreography staged for this production by a variety of people, many of whom were in the original shows. For example, Donna McKenchnie stages "The Music and the Mirror and  Baayork Lee stages "One," both from A Chorus Line, and Pamela Sousa stages the "Manson Trio" from Pippin. What a treat it is to see these wonderful numbers again, one after the other after the other. 

Photo: Shawn Salley

The dancers range from solid to excellent. What they lack in star power they make up for with enthusiasm, energy, and charm. They are Brandon Burks, Anthony Cannarella, Barton Cowperthwaite, Deanna Doyle, Paloma Garcia-Lee, Jessica Lee Goldyn, Afra Hines, Jess Leprotto, Kendall Leshanti, Drew Minard, Georgina Pazcoguin, Samantha Siegel, Taylor Stanley, and Blake Zelesnikar.

It is rare that you get to see a show that is all highlights; Gotta Dance! is one of them.

Wendy Caster

Three More Reasons to Love New York

New York Magazine's annual "Reasons to Love New York" issue came out at just the right time for this review. After three successive evenings experiencing amazing talent and creativity in New York theatres, I was already in a "reasons to love New York" mood. Particularly impressive is that none of these three shows was on Broadway or featured big stars or cost a ton of money to see. To switch to a sports metaphor, New York has an extraordinarily deep bench of superb artists, which is a huge reason to love New York and feel grateful to live here. New York Magazine included 37 reasons, so I'll continue from there.

Reason 38 to Love New York: The Broadway Close Up Series at Merkin Hall. This particular edition of Broadway Close Up, titled "The Writers' Room," focused on Broadway composers and lyricists who had gone through the BMI Musical Theatre Workshop. The excellent host, Sean Hartley, interviewed composer Tom Kitt (Next to Normal), lyricist-composer-actor Amanda Green (High Fidelity), and lyricist Kristen Anderson-Lopez and composer Robert Lopez (together: Frozen; Robert without Kristen, Avenue Q; Kristen without Robert: In Transit). The interviews were interspersed with wonderful renditions of some of the songs being discussed. The truly amazing cast included Kate Baldwin, Kelli Barrett, Kevin Csolak, Jenn Damiano, Stephanie D’Abruzzo, Jay Armstrong Johnson, Rick Lyon, Solea Pfeiffer, Ciara Renee, Benjamin Levi Ross, and Margo Seibert. Musical director Cynthia Meng provided accompaniment in a fabulous array of styles.

Amanda Green

This evening was an extraordinary delight. The panelists' stories were fascinating, funny, and enlightening--and inspiring. But performances were the highlights, and the evening was practically all highlights. Kate Baldwin performed "I MIss the Mountains" gorgeously, with a full sense of characterization. Ciara Renee sang the heck out of "Let It Go." Amanda Green killed with "How Long?" from her upcoming musical Female Troubles: A Period Piece. 

The final song was "Our Time" from Merrily We Roll Along; Sondheim was not affiliated with the BMI Workshop, but he was a great mentor to many people, and, really, you don't need an excuse to sing "Our Time" from Merrily We Roll Along. To add riches to riches, "Our Time" was sung unmiked, and it's the perfect song for that treatment with its gentle, heartfelt optimism.

But, but, no one beat Kermit the Frog's guest appearance singing the wonderful "Off to Denver" from Robert Lopez and Jeff Marx's Kermit, Prince of Denmark. Many thanks to Rick Lyon for bringing us Kermit.

And many thanks to Broadway Close Up for bringing us "The Writers' Room."

Reason 39 to Love New York: The Orchestra Now. The Orchestra Now is part of the graduate music program at Bard College. The orchestra periodically performs "Sight & Sound" concerts at the Metropolitan Museum of Art that complement ongoing exhibits at the museum. The charming conductor Leon Botstein introduces each piece, explaining how it fits in with its time period and with the art exhibit. 

The most recent "Sight & Sound" was "Copland, Culture & Politics in the 1930s." Keyed in with "Art for the Millions" at the museum, the concert included "Statements" and "Billy the Kid." Botstein's explanations and anecdotes were fascinating and frequently funny.  The orchestra was terrific, with a clean, full sound and top-notch soloists. With an upcoming generation of musicians of this caliber, the major orchestras of the world have much to look forward to.

Reason 40 to Love New York: The York Theatre Company. The York Theatre's apt tagline is "Where Musicals Come to Life." The York presents old musicals (in the invaluable Mufti Series and in full productions) and new musicals (workshops and full productions). Among the York's best-known shows are the brilliant The Musical of Musicals: The Musical!, as well as Souvenir and Jolson & Company. The creators and performers at the York are among the best.

That being said, I have to admit that I did not like the York's current show, The Jerusalem Syndrome. The story of people visiting Jerusalem who come to think they're biblical characters, The Jerusalem Syndrome is based on a real syndrome affecting 200 or so people a year. 

It's an odd time to do a musical comedy based in Jerusalem, a fact that is acknowledged a number of times in the program. The York chose to continue with the musical, "ultimately deciding that the show's message of hope and peace is needed now more than ever." It was the York's right to make that decision, and I respect that.

But the problem with the show is not (just?) the political timing but also that it is written in a style that is dated and shallow for the topic at hand. In fact, The Jerusalem Syndrome frequently feels like it was written in the 1960s, rather than in the 21st century, with its shtick and silliness. I'm not against shtick and silliness per se--I loved Disaster!--but there is a time and a place, and this isn't either.

But even here, there is a fabulous, large cast to enjoy. Dana Costello does a faux secret agent bit, sidling along a wall and then rolling on the floor, that had the audience laughing and then laughing again. She made an excellent God. Farah Alvin, as an ignored wife who comes to believe she is Sarah, gives a moving, well-sung performance. Josh Lamon as Dr. Zion explains the Jerusalem Syndrome in a patter song that he mines for all its humor while nailing all its meaning--and enunciating every word. The rest of the cast, also no slouches, includes Alan H. Green, Danielle Lee James, John Jellison, Garrett Long, Karen Murphy, Jeffrey Schecter, Chandler Sinks, Jennifer Smith, Pablo Francisco Torres (subbing for James D. Gish), Curtis Wiley, Lenny Wolpe, and Laura Woyasz. 

***

And when people bemoan the cost of theatre tickets, remember that two people could have seen all three of these for less than the price of one ticket to Merrily We Roll Along.

Wendy Caster

How to Steal an Election

In this sad time of theatres' laying off staff, shortening seasons, and disappearing altogether, there is at least one bright spot: the York Theatre Company's Musicals in Mufti are back!!

Musicals in Mufti are somewhat informal (actors get only four days of rehearsal, they carry scripts during performances, costumes tend to be simple, etc) but always worthwhile. Sometimes they bring back familiar titles: eg, Tenderloin, Subways Are for Sleeping, I Love My Wife, I'm Getting My Act Together and Taking It on the Road, The Baker's Wife. Sometimes they reconsider iffy but interesting shows: Cyrano, Roadside, Big, Minnie's Boys. And sometimes they provide rare looks at the odd and/or historical: Keen, Theda Bara and the Frontier Rabbi. Sometimes the original creators are involved; Comden and Green rewrote a bit of Billion Dollar Baby, a show they had created 53 years earlier! And the performers are often amazing, whether early in their careers (Kristin Chenoweth) or well-know (Tyne Daly).

I would categorize the current Musical in Mufti, How to Steal an Election, as odd and historical. The cast is astonishing. A satirical revue in which Calvin Coolidge (the charming Jason Graae) explains politics to disaffected young people in the late 1960s, its humor is hit and miss, and its point of view a bit inconsistent. Some of the songs are funny, a few are beautiful, and some aren't either. Is it a great show? No. Am I glad I saw it? Yes: partially just to have seen it; partially to enjoy the high points; partially to watch/listen to that amazing cast; and partially to just be at a Musical in Mufti again after so many years. 

Years ago, when I saw Kristin Chenoweth in Billion Dollar Baby, I knew the second she opened her mouth that she was a star, as did the rest of the audience. You could feel the excitement. A similar moment happened last night when Alex Joseph Grayson started singing. Electricity zinged through the audience, and his applause was long and loud. Gorgeous voice, gorgeous man. For his sake and ours, I hope he works for many, many years in many, many shows. (Some of you may already know his work; he was recently in Parade on Broadway. But he was new to me, and a real revelation.)

While Grayson was extraordinarily extraordinary, the rest of the cast was also wonderful, with beautiful voices, good comic acting, and even some dandy tap dancing: Courtney Arango, Kelly Berman, Emma Degerstedt, Drew Tanabe.

How to Steal an Election is on through next weekend; it closes Sept 3rd. The rest of the season consists of The Lieutenant (opening Sept 10th), Golden Rainbow (Sept 24th), and When We Get There (Oct 8th). The York's website is here.

Wendy Caster

Vanities

The York Theatre Company's production of Vanities, running through April 22, has many strong points. The main strength is the cast.

The story of three friends from roughly age 18 (in 1963) to roughly age 45 (in 1990), Vanities features terrific performances by Jade Jones, Amy Keum, and Hayley Podschun. They have good chemistry and provide full, textured characters. Most importantly, they all have truly beautiful voices.

Jade Jones
Photo: Carol Rosegg

The direction by Will Pomerantz, music direction by Deborah Abramson, and choreography by Shannon Lewis are also effective. The scenic design by James Morgan is elegant in its simplicity. The costume design by Barbara Erin Delo succeeds for two of the performers (but does no favors for the third). The band is small in number but not in sound: Deborah Abramson, conductor and keyboards; Jessie Linden, drums/percussion; Jim Donica, electric and acoustic bass; Matt SanGiovanni, electric and acoustic guitar and banjo; and Greg Thymius, flute, clarinet, and soprano, alto, and tenor sax.

Amy Keum 
Photo: Carol Rosegg

I was unimpressed by the show itself, unfortunately. First, I must specify that I believe that anyone should be allowed to write about anyone, across gender, race, and age. For example, Ibsen, John Sayles, and James Baldwin have all written believable compelling women characters. 

Hayley Podschun
Photo: Carol Rosegg

However, Vanities clearly was written by people who have never been--and don't understand--women. Throughout the show, the writers (book, Jack Heifner; music and lyrics, David Kirshenbaum) make mistake after mistake.

First, while the writers clearly want to depict real women in Vanities, they seem to believe that shallow depictions of cheerleaders from the past reflected actual human cheerleaders. As a result, the characters are thinly written, and their discussions are too often cutesy. When, for example, the women talk in 1963 about whether or not to have sex, the topics of birth control (not legal for single women in 1963) and abortion (not legal for anyone) are not mentioned. Potential pregnancy was not a joke in the early 1960s, and only cartoon cheerleaders wouldn't be concerned.

Throughout the show, there is way too much dialogue that relies on cheap, non-character-driven humor and makes the women look like idiots. For example, 

INTERCOM: Students, I am sad to announce the President has been shot.

JOANNE: The president of the student council has been shot?

KATHY And MARY: Oh my God.

INTERCOM: The President was gunned down in Dallas.

JOANNE: Dallas? I just saw him in algebra.

INTERCOM: If this report is true, classes will be dismissed for the rest of the day.

KATHY: What about the pep rally?

INTERCOM: In any case, the football game will take place as planned this evening.

ALL: Oh–THANK GOD.

For old-fashioned musical comedy characters, I guess this is okay. But for real women, which, again, seems to be the show's goal, it's unrealistic and insulting. 

In another example, one of the characters says, "When I found out that George Eliot was a woman, I got all confused." Really?

Also, the show focuses way too much on men. Yes, many women are very concerned, even obsessed, about men, particularly in their late teens and 20s. But that's not all they're concerned about.

[Spoiler] The show is ostensibly about the women's friendships, but only on the most surface level. In fact, the biggest plot point is when one woman sleeps with the other's husband. Why? Because the writers couldn't imagine anything else for female friends to fight about! Also, it's highly unlikely that the cheated-on woman would ever forgive her friend, but it's particularly unlikely that she would forgive her so easily. [End of spoiler]

Many writing books and teachers say, "Write what you know." That's limited advice that would nip the genres of sci fi and historical fiction in the bud. But it might have been a good idea for Heifner and Kirshenbaum. 

One last point: I am a big fan of inclusive casting, but when much of the show is about appearances, it can be awkward. Particularly when they are young, the characters in Vanities judge other people, harshly, by their looks. The show is called Vanities, after all. Having one of these characters be a large Black woman denies the reality (such as it is) of the show. If the other two women were capable of being best friends with a large Black woman--in 1963 in Texas!--they wouldn't be who the show claims they are. 

On the other hand, Jade Jones is a wonderful performer, and I imagine it's not a coincidence that there were many more people of color in the audience than usual, which is great. And I'm certainly glad to have seen Jones. I can't wait until there are enough good juicy roles to go around for people of every type and background.

Wendy Caster

Penelope, Or How the Odyssey Was Really Written

I was excited to see the York Theatre Company's new musical Penelope, Or How the Odyssey Was Really Written (book and lyrics by Peter Kellogg) because I had had sooooo much fun at Desperate Measures (book and lyrics by Peter Kellogg). While I ended up enjoying Penelope, it was no Desperate Measures.

Britney Nicole Simpson
Photo: Carol Rosegg

The first problem was the first act, which slogged along, covering the same ground over and over. While Penelope waits for Odysseus to come home, a gaggle of suitors try to woo her, meanwhile eating her out of house and home. The songs, although often entertaining and listener-friendly, do little to advance the plot, except in the most expository manner. They largely ignore the writing 101 admonition to show, not tell. 

Another problem is the suitors; they come across as a group of petulant gay men in a jokey way that was tired years ago. Each gets maybe half a trait to distinguish him. They are boring company, and while they have way too much to do in terms of stage time, they have way too little to do in terms of remotely being characters. Why not have one who actually loves Penelope? Maybe have two that are a couple but need/want to marry into money and power? And maybe one who is embarrassed at being a parasite, but has no other options? Yes, this is a comedy and, yes, you don't want to focus on them too much, but they could be twice as interesting in half the time. And the feyness is just old.

The third problem is the direction, which focuses heavy-handedly on silly, which is okay in and of itself, but silly for the sake of being silly grows tiresome. 

The thing with silly comedy is that it is still theatre and still benefits from calibration, characterization, and a sense of actual stakes. To me, the best comedies are the ones where you care about the characters. 

Luckily, in the second act, stuff actually starts to happen. The scenes between Penelope and Odysseus work because they are actual scenes, with conflict, interaction, and, yes, actual stakes. I suspect that with the first act cut in half, no intermission, and subtler and more specific direction, Penelope could be a pretty wonderful show.

In terms of performance, the women steal Penelope. Britney Nicole Simpson is excellent and sometimes even thrilling as Penelope. She comes across as the love child of Debbie Allen and Patti LuPone, and really, could you ask for better parents? It's her Off-Broadway debut, and I suspect/hope that she has an exciting career ahead of her. Leah Hocking nails the role of Odysseus's mother, and Maria is lovely as Daphne, shepherdess of the pigs and love interest to Odysseus's son. Among the men, Ben Jacoby and Philippe Arroyo stand out as Odysseus and his son, respectively.

The music, by Stephen Weiner, is fairly generic but quite pretty, and it is well presented by the five-piece band (musical director David Hancock Turner, Gregory Jones, John Skinner, Mike Raposo, and Allison Seidner). While Kellogg's book definitely needs work, his lyrics are clever and often quite funny. James Morgan's set is attractive, and while I wish the show wasn't miked in that small theatre, Bradlee Ward's sound design is clean and well-modulated. 

As it stands, Penelope's second act is a fun ride, but a much better overall show is definitely in there.

Wendy Caster

2019-2020: Looking Back, Looking Forward: The Glories of Off- and Off-Off-Broadway

I was going to do a "best-of" for 2019 plus a "looking forward" for 2020, when I realized that their focus would be much the same: the treasure that is non-Broadway theatre.

I'm not denying the treasure that is on-Broadway theatre. There's something undeniably magical about those buildings, with their plush seats, ornate ceilings, and theatrical history. And there are always incredible shows running. But the prices are truly insane.

Once, when I was a kid, my parents were complaining about the price of something. I said, "But that's what it costs now." And my dad said, "Someday you'll be faced with a 'that's what it costs now' that you just refuse to pay. You just can't." I recently decided to bite the bullet and spend a small fortune to see American Utopia. But a small fortune wasn't enough. Could I have afforded the actual price? Yes, as a special treat. But I just couldn't do it. My dad was right.

Maybe it's because I'm old enough to have spent $9 on a "special treat" ticket--Debbie Reynolds in Irene, first row center. I was making $1.95/hr, minimum wage. Now minimum wage is ~$15/hr, and tickets are hundreds of dollars. Something is wrong on Broadway.

But Off-Broadway, and Off-Off-Broadway, something is right. You can see fabulous shows with brilliant casts from great seats, and it doesn't cost an arm and a leg. Not even a finger.

Here are ten of the theatre companies that I have found to provide reliably top-notch work at accessible, even cheap, prices. (All are linked to their websites; they're in alphabetical order.)

APAC. It's a pleasure to start with APAC (Astoria Performing Arts Center), which is high on my list of favorite theatre companies, mostly because the artistic director--Dev Bondarin--is one of the most reliably excellent directors in New York. In fact, when Roundabout announced their production of Caroline, or Change, my first thought was that I hoped it would be as good as APAC's!

And here's the thing: APAC's tickets for Caroline were only $25 for adults and $20 for students and senior citizens--an insane bargain. (I don't know if they will go up in the future, but even so, APAC will remain a bargain. Their Caroline was every bit as meaningful, beautiful, and heart-breaking as the original Broadway production!)

APAC has given us brilliant productions of Follies (amazing) and Merry We Roll Along (my favorite of all the productions I have seen, including the original), to mention only a couple. The rest of the 2019-2020 season includes the New York premiere of Jump by Charly Evon Simpson and a revival of Man of La Mancha. And who knows what 2020-2021 will bring?

Bedlam. I'm new to Bedlam, but after seeing their excellent revival of The Crucible (and also on the recommendation of a friend whose opinion I respect), I don't plan to miss any of their shows going forward. They don't seem to have announced their 2020 season, and I wasn't able to track down their ticket prices. (I bought my Crucible tickets on tdf.) But click here for their Facebook page, which may provide more up-to-date info than their website.

Elmwood Playhouse (Nyack, NY). I've only seen one show at the Elmwood, and to be honest I've heard some non-raves about their earlier work. But their production of The Little Foxes was solid, entertaining, and moving. Currently running is the Curious Incident of the Dog in the Night-Time, and tickets are only $27 ($24 for seniors and students). The rest of the season includes Born Yesterday, The Drowsy Chaperone, and Calendar Girls.

Flux Theatre Ensemble. I have been a huge Flux fan since 2009 when I saw the wonderful Lesser Seductions of History, a lovely and deeply humane play by Corinna Schulenburg, beautifully directed by Heather Cohn. In the intervening years, I've seen another 15 or so Flux productions, and an insanely large percentage of them have been amazing, incredible, thought-provoking, funny, and all the other things one hopes plays to be.

And talk about inexpensive! Flux doesn't even ask you to lay out money to get a ticket. They do ask you to support Flux in any way you can, but they don't want the price of a ticket to keep people from seeing their shows. (For more info, click here.) I donate to Flux every year.

Next at Flux: the world premiere of Rage Play by Nandita Shenoy, directed by Lori Elizabeth Parquet. Runs March 28 through April 11.

Mint Theater Company. The Mint's tag line is "lost plays found here." And what treasures these lost plays are! Also, the Mint has a truly astonishing batting average, providing excellent production after excellent production after excellent production. There was one show I hated, but about a dozen that I liked, liked a lot, or loved. And Mint productions are often eye-opening. Who knew that plays in the early 20th century were grappling so honestly with sexuality and class?

Currently at the Mint is Chekhov/Tolstoy: Love Stories. While I prefer it when the Mint focuses on more obscure writers, I am sure that this production will be worthwhile. After all, it's the Mint! (Ticket prices: $35.00 - $65.00.)

PTP/NYC. The PTP/NYC is yet another theatre company that provides excellent production after excellent production. Here's how they describe themselves on their website:

PTP/NYC is an Off-Broadway powerhouse of veteran and emerging talent creating socially and politically acute theatre for the 21st century. In its 27 seasons [actually, it's 33 now], the voices of PTP/NYC’s writers have addressed the necessity and difficulty of art, homelessness, censorship, pornography, AIDS, totalitarianism, apartheid and gender wars—always in passionate, deeply human terms. Playwrights whose work is often seen on the company’s stages include Howard Barker, Caryl Churchill, Harold Pinter and Neal Bell. 

I have been blown away again and again by PTP/NYC, particularly by plays directed by co-artistic director Cheryl Faraone. Faraone's productions are lucid and smart; she lets the plays tell their stories with a subtle and smooth hand.

I don't know what PTP/NYC has up their sleeve; unfortunately, their website is terrible. But I do know that, whatever they produce, I'll be there.

Red Bull Theater. The Red Bull focuses on past centuries--often far past. For example, their next (one-night) event is a January 27 reading of Women Beware Women, Thomas Middleton's 17th century social satire. (There are $47 tickets left, and the reading has a very classy cast. For more info, click here). Sometimes I wish Red Bull productions were clearer; sometimes I wish they were truer to the original plays. But I'm always grateful to have seen their productions, feeling entertained and/or educated. And sometimes I'm blown away.

Signature Theatre. The Signature has a unique role in NY theatre, focusing largely on living playwrights but often including revivals of their earlier works. Signature used to pick one playwright per season; now they combine "legacy" and "residency" playwrights. The 2019-2020 season includes plays by Anna Deavere Smith, Horton Foote, Katori Hall, and Lauren Yee. And tickets are $35. Thirty-five dollars! (And ticket packages eliminate any fees, while providing a generous exchange policy.)

Voyage Theater Company. The VTC is brand-new to me, but I'm putting them on this list based on their production of The Hope Hypothesis. There's no way to know if their future productions will be as good, but I do know I'll give them a try.

York Theatre Company. The York is devoted to musicals, old and new, with main stage productions (such as the wonderful Desperate Measures and Unexpected Joy), concert readings (the fabulous Mufti series, recently including the very entertaining The Decline and Fall of the Entire World as Seen Through the Eyes of Cole Porter), and a developmental series of over 30 readings a year. (Shows developed or partially developed at the York include Avenue Q and the brilliant, insanely funny Musical of Musicals: The Musical.) Some York shows are flat-out wonderful; minimally, the Muftis are of of historical interest; the casts are often top-notch; and the voices are unmiked. Main stage tickets are $67.50 - $72.50; Muftis are $45 - $50. Plus you can get a York membership, which reduces the ticket prices significantly, and there are various forms of rush tickets.

***

Strange to think that, for a price of a pair of tickets to a Broadway show, you could see a show or two at all ten of these theatre companies! And I hope you do.

Wendy Caster

Panama Hattie

Panama Hattie, the third show in the York Theatre Company's Cole Porter-a-thon, is a mixed bag that is ultimately great fun.

Simon Jones, Kylie Kuioka, Stephen Bogardus,
Klea Blackhurst, Anita Welch
Photo: Russ Rowland

The positives:

• Oh, those unmiked voices! I could listen to them forever. Panama Hattie starts with the chorus singing, and those combined, natural, beautiful voices are amazing.
• Klea Blackhurst is charming and funny in the role that Ethel Merman originated. As soon as she comes on stage, the audience is on her side; she radiates likability. And her voice is wonderful.
• Kylie Kuioka, who plays the young daughter of the male lead, is having a great time up there. She loves that we love her--eats it right up, in fact. She can deliver a line, her acting is fine, and she's so damn cute. And she knows she's so damn cute, which somehow makes her cuter. And then she sings, and her voice is the icing on the cute cake--lovely!
• The rest of the cast--Stephen Bogardus, Simon Jones, David Green, Jay Aubrey Jones, Lael Van Keuren, Garen McRoberts, Casey Shuler, Gordon Stanley, Joe Veale, Zuri Washington, and Anita Welch--acquit themselves nicely to wonderfully.
• There are some cute jokes and a few good songs. 

Gordon Stanley, Casey Shuler, Joe Veale, Zuri
Washington, Jay Aubrey Jones, Lael Van
Keuren, Garen McRoberts, David Green
Photo: Russ Rowland

The negatives:

• Even in a time period where musical books were silly and thin, Panama Hattie's stands out for its total lack of sense, logic, character building, etc.(which is why I haven't bothered to explain it here).
• Many of the songs are far from Cole Porter's best (although still worth hearing).

The take-aways:

• Panama Hattie is a great example of the importance of what the York does in its Mufti series.* First of all, it allows us to see works that wouldn't be done otherwise. 
• It also reminds us that even the "Golden Age" had its own share of mediocre theatre and that only the best shows have made their way down to us. 
• Whatever its weaknesses, Panama Hattie is make worth seeing by the top-notch work of the cast, musicians, and director Michael Montel.
• And, oh, those unmiked voices!

Wendy Caster

(5th row, press ticket)

*Muftis are staged readings, but so much more than that. While the actors are more or less on book, it never gets in the way of the performances. The orchestra is one piano or a piano and one other instrument. Panama Hattie was beautifully accompanied by piano and bass fiddle. Muftis may also have costumes and choreography. Panama Hattie had both. 

The Decline and Fall of the Entire World as Seen Through the Eyes of Cole Porter

I bought my first Ben Bagley record, Irving Berlin Revisited, for 69 cents at a flea market in New Jersey a million years ago. Albums those days cost around four dollars, so it was quite a bargain, and it introduced me to Blossom Dearie, Bobby Short, and Bagley's unusual world view (world equaling the American songbook in this case). During his career, Bagley also revisited Oscar Hammerstein, Alan Jay Lerner, Arthur Schwartz, Vernon Duke, Harold Arlen, Kurt Weill, Rodgers and Hart, and many others. And he featured performers similarly fabulous: Dearie, Short, Ann Hampton Callaway, Margaret Whiting, Barbara Cook, Nell Carter, Chita Rivera, Kaye Ballard, Karen Morrow, and, again, many others. 

Lee Roy Reams, Diane Phelan, Danny Gardner, Lauren Molina
Photo: Ben Strothmann

Bagley also produced revues. One of them, The Decline and Fall of the Entire World as Seen Through the Eyes of Cole Porter, was perhaps the first to focus on one writer. (According to Wikipedia, Variety wrote that the show "helped pave the way for later Broadway revues like Ain't Misbehavin' and Sophisticated Ladies which surveyed the work of a single composer.")

The wonderful York Theatre Company has revived The Decline and Fall of the Entire World as Seen Through the Eyes of Cole Porter as part of its Mufti series, and it's a treat. 

Lauren Molina
Photo: Ben Strothmann

I have mixed feelings about revues. They can be overdirected, chirpy, and annoying. Each performer gets many songs to sing, so a mediocre singer can really hurt the evening. Some songwriters' songs start to sound repetitious when surveyed in this way.

The Decline and Fall ... Cole Porter has none of these problems. Pamela Hunt's direction is imaginative and spirited. Eric Svejcar's music direction is similarly lovely, and his piano playing is wonderful. Choreographer Trent Kidd's work, which shows a strong familiarity with old movie musicals, is witty and great fun. And the cast is strong: Lauren Molina (someone cast her in Funny Girl ASAP), charming song-and-dance man Danny Gardner, Diane Phelan, and long-time theatre veteran Lee Roy Reams.

Danny Gardner
Photo: Ben Strothmann

As for experiencing an evening of Cole Porter's work (mostly lesser known songs), I actually came out respecting Porter more than I did going in. In general, I find much of his work one-note. He establishes a joke structure and then works it to death, with no development. But the songs in The Decline and Fall ... Cole Porter cover a wide range of styles, and I liked a lot of them much more than his better known work.

A word about the Muftis: they are staged readings, but so much more than that. While the actors are more or less on book, it never gets in the way of the performances. The orchestra is one piano; I didn't put orchestra in quotes because the amazing pianists provide full-bodied musical accompaniment. 

Diane Phelan
Photo: Ben Strothmann

And the performers are not miked! Listening to superb singers unplugged is a delight and a luxury. (It's also nice that the singers don't have mikes hanging out of their hairlines.)

Lee Roy Reams
Photo: Ben Strothmann

On top of all of this, the shows are inexpensive, and matinees are followed by talkbacks that are unusually entertaining. In brief, sometimes the talkers-back dish. At one talkback years ago, the widow of the composer spoke of how glad she was when the original producer died. At this past Sunday's talkback, Reams told a story about Bagley that was, shall we say, risqué, and damned funny. Reams said that the tale was "not to leave this room," and I will honor his request. (Anyway, I couldn't do it justice.) But you do wish you were there.

The Decline and Fall ... Cole Porter runs through October 20th. Catch it if you can.

Wendy Caster
(fifth row, press ticket)

Best Performances of 2018

I am frequently blown away by the depth and quality of the New York acting community. Brilliant performances are everywhere.

(I've linked to my reviews for shows I did indeed review.)


THE ENSEMBLES

In the following shows, everyone was wonderful.

A Chorus Line

Band’s Visit

Dance Nation

Desperate Measures

Follies

Hello Dolly

Ordinary Days

The Possibilities/The After-Dinner Joke


ENSEMBLES, PLUS

In the following shows, everyone was wonderful but one or two people stood out, usually in lead roles.

Conflict--great cast, especially Jeremy Beck

Fabulation--great cast, especially Cherise Boothe

Ian Lassiter and Cherise Boothe
Photo: Monique Carboni

Happy Birthday, Wanda June--great cast, especially Jason O'Connell and Kate MacCluggage

Holy Ghosts--great cast, especially Oliver Palmer

Jerry Springer The Opera--great cast, especially Will Swenson


INDIVIDUAL PERFORMANCES

And then there are two individual performances I want to single out.

Farah Alvin was a new discovery for me in Inner Voices 2018. I think she can do pretty much anything.

Farah Alvin
Photo: Russ Rowland

In contrast, Ethan Hawke has long been a favorite of mine. I enjoy his all-in, balls-to-the-wall commitment to his roles, and I enjoy even more that he knows when to pull back. In True West, he is mesmerizing.


SECOND THOUGHTS?

Now I'm wondering if I should have included Jerry Springer The Opera, Ordinary Days, and The Possibilities/The After-Dinner Joke on my "best of" list. They were all wonderful. But what would I have removed from the existing list to make room?

Wendy Caster

Best of 2018

In 2018, I saw 74 shows. Only nine of them were on Broadway; those prices, even when discounted, keep scaring me away. However, I've lost little by skipping Broadway shows (as much as I would have liked to see some of them). But Off-Broadway and Off-Off-Broadway remain amazing, with OOB being particularly affordable.

Before making this list, I did a quick grading of the shows I saw. It was a good year: 27 rated A; 28 rated B; 7 rated C; and 12 rated D. I didn't rate any of them F, because I love and admire theatre and the people who make theatre happen.

This is not a top ten. It's a top 13, and I managed to actually include 18 shows. In cases where I reviewed the show, I've linked to the review. Oh, and I certainly understand that this is really a list of "shows I liked best of the shows I saw" and not truly a "best of" list. But calling these lists "best of" is the custom, and I'm going along with that.

The list is alphabetical.

A Chorus Line: It was a truly extraordinary experience to get to see a first-class production of this wonderful show in such an intimate setting. Kudos to the Gallery!

Lonesome Blues

Akin Babatundé, with the outstanding support of guitarist David Weiss, is giving a heck of a concert in Lonesome Blues at the York Theatre Company. Babatundé's voice travels from pure falsetto to rumbly bass and back again, and it can thrill every step of the way. Babatundé's interpretation of the blues offers a wide palette of emotions, and he's charming.

Akin Babatundé, David  Weiss
Photo: Carol Rosegg

However, Lonesome Blues is billed as a musical rather than a concert, and on that level it is less successful. Based on the life of Blind Lemon Jefferson (1893-1929), it takes place on the day of his death as he reminisces about his life and his music. Unfortunately, his story is not clear as written (by Alan Govenar and Babatundé), performed, and directed (by Katherine Owens), and it can be hard to tell who he's talking to and what he's saying. As a  result, the show is never really engaging.

The authors write in the program that "Lonesome Blues is not a literal bio-musical, but instead a poetic rendering of Blind Lemon's memories." Unfortunately, the poetic renderings just don't track. It's also unfortunate that Babatundé wears dark glasses, because it puts a barrier between the actor and the audience, a barrier that is particularly damaging in a one-man show. (Yes, I do understand that Jefferson's blindness necessitates those dark glasses, but they still come at a cost.)

Here's the thing, though: Akin Babatundé really is giving a heck of a concert in Lonesome Blues. For all its flaws, the show offers a dynamic and rewarding evening in the theatre.

Wendy Caster
(press ticket, sixth row)
Show-Score: 80

Desperate Measures

I love meaningful musical theatre. I adore Sondheim. Caroline, Or Change is one of my favorite shows. But sometimes an old-fashioned, well-done, energetic, deeply silly musical is the perfect way to spend an evening. As in: Desperate Measures.

Joseph Wallace, Lauren Molina, Justin Rothberg
Photo: Carol Rosegg

Desperate Measures is sorta, kinda based on Shakespeare's Measure by Measure. Most of the plot is gone. It takes place in a Old Western world of saloon girls and handsome, rugged sheriffs. All the characters have different names. In fact, it's so little like the original that I suspect that the creators just wanted an excuse to use iambic-pentameter couplets. And that's fine with me: they are extremely funny iambic-pentameter couplets (book and lyrics by Peter Kellogg; the listener-friendly music is by David Friedman).

Shows of this sort live and die by the direction and performances, and both are swell. Director Bill Castellino paces the show perfectly, and the cast throw themselves whole-heartedly into the crazy goings-on. I recently learned the phrase "commit to the bit": these performers commit to every single bit with fervor and skill. They are Gary Marachek, Lauren Molina (particularly fabulous), Sarah Parnicky, Conor Ryan, Peter Saide, and Nick Wyman; beside their comic talents, they all sing beautifully. The wonderful musicians are Anthony Festa, Celia Hottenstein, and Tom Souhrada.

As a woman in the lobby after the show summed up Desperate Measures, "You may get here grumpy, but you won't leave grumpy."

Wendy Caster
(discount ticket; 7th row)
Show-Score: 95

Unexpected Joy

No doubt: the York Theatre Company is on a roll. Its last show, Desperate Measures, received a bouquet of nominations for best musical (Drama Desk, Lucille Lortel, etc.) and will soon open at New World Stages. And now the York is presenting the lovely Unexpected Joy.

The fabulous Courtney Balan, Celeste Rose,
Luba Mason, and Allyson Kaye Daniel
Photo: Carol Rosegg

Joy is a singer best known as half of the successful duo Jump and Joy. Jump died a year ago, and Joy is organizing a concert in his memory. She hopes to get her daughter, Rachel, and granddaughter, Tamara, to participate. Joy is a committed hippie (when someone is asked if Joy still smokes weed, she answers, "Only when she's awake") for whom protest is as important as breathing. Rachel has gone completely in the other direction; she is married to a TV preacher and lives a rule-bound life. Tamara is more like her grandmother, chaffing against restrictions and boundaries. The three women try to use this occasion to make peace. As you might imagine, it doesn't exactly go smoothly.

Dear World

By the time you read this, the York Theatre Company production of Dear World will be over. Part of the York's Musicals in Mufti series (their version--in many ways better--of Encores!), this production was a total delight. Tyne Daly took the lead role of Countess Aurelia, and she was nothing short of magical. I've read complaints here and there about the limitations of her singing, but superb, funny, subtle, heart-breaking acting transcends perfectly hit notes. (Isn't this why people are paying $299 to see Glenn Close in Sunset Boulevard?) And, yes, Daly was superb, funny, subtle, and heart-breaking.

Tyne Daly
Photo: Ben Strothmann

The show itself was much better than I expected. It has a mediocre reputation, but as a mood piece, it's quite good. And the plot is depressingly timely--a bunch of rapacious businessmen want to blow up Paris to get to the oil underneath. They have more money than they could ever spend; their actions would kill hundreds of people and destroy the lives of thousands more; they don't care. They just want more money and more money and more money. In the terms of Dear World, greed is a disease. In the terms of our present, as corporations blithely destroy the wilderness and people's water to squeeze out every penny of profit they can, yes, greed is a disease.

Rothschild & Sons

Have you noticed that whenever someone announces a "re-imagining" of a musical, the show gets smaller? Why does no show ever get bigger? Why does no one add more instruments? Why doesn't Dames at Sea have a chorus on Broadway?

Jamie LaVerdiere, Nicholas Mongiardo-Cooper,
David Bryant Johnson, Robert Cuccioli,
Curtis Wiley, Christopher M. Williams
Photo: Carol Rosegg

Of course, I'm being disingenuous here. We all know the answer: money. Shows with smaller casts and orchestras--i.e., less expensive shows--have a better chance of being produced in New York and elsewhere.

Texas in Paris

Osceola Mays was the daughter of sharecroppers and the granddaughter of slaves. She sang for the love of singing, her family, and Jesus. John Burrus was a rodeo cowboy who sang cowboy songs and hymns. In 1989 they were brought to Paris to sing a series of concerts together. Texas in Paris, presented by the York Theatre Company, was written by Alan Govenar, based on his interviews with the actual Mays and Burrus and on the actual concerts they gave. Govenar is a writer, folklorist, photographer, and filmmaker. What he is not, unfortunately, is a playwright.

Photo: Carol Rosegg

Texas in Paris is slight and rife with missed possibilities, some of which are also director Akin Babatundé's responsibility. The plot, such as it is, follows the changing relationship between Mays and Burrus. Specifically, it shows Burrus's growing acceptance of a friendship with the cheerful, talkative Mays, despite his lack of experience with African-Americans, mild-mannered racism, and general laconic grumpiness. It is a slight plot, but potentially serviceable--except that it is treated as little more than filler between the songs. For example, [slight spoiler], the pair sings their songs separately. Mays sings a cappella; Burrus accompanies himself on the guitar. The first time she sings harmony with him, it should be a moment. Burrus should at least give her a look of surpris. He doesn't. And the first time he starts playing guitar for one of her songs, it should be a big moment. In fact, it should be as climactic as anything can be in this little piece. It's not. [end of spoiler]

Texas in Paris is not without its charms, the main one being Lilias White's lovely performance as Mays. White tamps down her usual theatrical exuberance and gets to the heart of this unassuming woman who sang for the love of singing. Scott Wakefield is good as Burrus. Best of all, they are not miked, and it is a treat to hear their unadorned voices in the York's cozy theatre.

Ultimately, Texas in Paris is a pleasant but minor 80 minutes in the theatre.

(press ticket, fifth row)