Is He Dead?

Photo/Joan Marcus

No, he's thankfully alive and kicking in drag! Not Mark Twain, silly -- his recently rediscovered play is but inspiration -- Norbert Leo Butz, who plays the role with such self-awareness (his bray of a laugh never gets old) that the show stays spry and full of "con"plications. The text is filled with puns (a chimney sweep leaves behind a "sootprint"; he's a real "impressionist") and a bright and likable cast. Aside from the bread and butzer of the show, Jean-Francois Millet faking his own death as his implausibly eccentric twin sister Daisy Tolou (that's "to you" to you), there's also his friends: "Chicago" (Michael McGrath, channeling Nathan Lane), "Dutchy" (Tom Alan Roberts, fittingly playing the Pumbaa of the bunch), and Phelim O'Shaughnessy (Jeremy Bobb); his adorers, the Leroux family (John McMartin, Jenn Gambatese, and Bridget Regan); and David Pittu, who fills in everything else. The weak link is the evil yet frequently lovestruck usurist, Bastien Andrew (Byron Jennings), who simply isn't inflated enough. The highlight is adapter David Ives -- having flipped through the original script during intermission, it's clear that Ives understands it's all in the timing (to be fair, so does Blakemore, a veteran of that venerable Noises Off), and he's compressed most of the jokes down so that they have a faster rhythm and a less confusing pace; without him, we'd be asleep long before all the doors start opening and closing in act two.

[Also blogged by: Patrick | David]

The City That Cried Wolf

Photo/Oliver Jevremov

Even though the acting isn't nearly animated enough and the directing belabors sight gags over substance, The City That Cried Wolf will have you simultaneously groaning and laughing thanks to Brooks Reeve's hysterical puns. Whereas Jasper Fforde works the plot into a coherent strand, Reeve tweaks the story (whether it fits Jack B. Nimble's investigation of Mayor Dumpty's murder or not) to pack in anything that might get a laugh. His best moments are perversions of the classics: Little Bo Peep is a dancer at the Hey Diddle Diddle (best known for its "hickory dickory daiquiris"), and for a price, you can sample Miss Muffet's toffets. A pity the rest of the show isn't as clever.

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Cut to the Chase

It takes Cut to the Chase little under five minutes to do exactly that: hyperactive Dilly (Laura Dillman), clad in a bellhop's costume and armed with an infectious laugh, introduces the cast: Dobson (Mike Dobson), the dour drummer; The Great Jeske (Joel Jeske), the director; Julietta Massina (Juliet Jeske), the singing diva; Kasper (Ryan Kasprzak), the lovable scamp; Little Angela (Andrea Kehler), the annoying tease; and Roland Derek (Derek Roland), the lanky illusionist. In of itself, that's not impressive; however, this talented ensemble then continues to entertain both the young and the young at heart for the next hour in a mash of silent comedy and parodies of old song standards like "Shine on Harvest Moon." Mark Lonergan's direction seamlessly uses three farcically placed doors and a few sliding curtains to break out (among many many other things) a tap-triggered light show and a balloon-drumming exhibition. Great fun, for all ages.

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Scapin

What you're looking at above is the almost unbearably bright production of Scapin currently running at the Turtle's Shell Theater, and at Jay Painter (with guitar), the man who is running off with the show. You'll laugh hysterically at the over-the-top antics to be found in this production, but it's hardly Moliere's Scapin anymore (though even he couldn't write all that much clever into this straightforward farce), it's Scapin! with an exclamation point. The problem the show faces is that Painter makes all the other actors look sluggish, so unless he's on stage (a tricky challenge, since he mainly plays pre-show and mid-show entertainment along with being a porter), Shawn Rozsa's direction seems pretty flat. There are some nice moments, particularly from John Freimann's pitiable Geronte (one of the two misers Scapin tricks out of their money -- for the sake of their sons!), but the glass of this scatterbrained production seems half-empty all too often.

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Is He Dead?

***1/2

Lyceum

It's all about Norbert Leo Butz in a dress. In this darling, recently discovered Mark Twain farce about an artist who fakes his own death to drive up his prices, the audience waits patiently for Butz to make his grand begowned entrance and once he does there were guffaws-a-plenty. Like Milton Berle or Jack Lemmon in Some Like It Hot we have the art of bad drag on display and Butz was milking it to hysterical effect. Adjusting one's package in an enormous post civil war gown? Come on, it's funny! No, there are no shattering revelations in this play- other than the fact that Mark Twain wrote a farce- but it turned out to be a lot of simple fun and it seems like something I can take my suburban Methodist parents to when they visit in February.

Edward the Second

Photo/Brian Dilg

Edward the Second is another notch in the belt for Jesse Berger and his Red Bull Theater company. Christopher Marlowe's text, as adapted by Garland Wright, now takes play in an anachronistic time of gay night clubs and gramophones, a world that stresses the characters rather than the themes, and places no judgment on the page, but simply gives it flesh -- erotic, teasing, half-shadowed flesh. Edward II (Marc Vietor) all but abandons his country for the love of his friend Galveston (Kenajuan Bentley), and pays the price for such reckless behavior, as his court, led by Mortimer (a frightening Matthew Rauch), rises up and seize control. The set, from John Arnone, comes across as a modeling runway (only missteps there will lead to more than humiliation), and Clint Ramos's lush costumes keep the play poised at the height of fashion, both of which give Berger's bits of lightly shadowed nudity or blood and grime more contrast. In all, this is a very moving production, and one which doesn't (as befits fashion) show its age.

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