The Frogs

The time is the present. The place is Ancient Greece. The fabulous lyrics and music are by the one-and-only Sondheim. The hysterical book is based on Aristophanes' The Frogs, as loosely adapted by Burt Shevelove and then loosely-er adapted and readapted by Nathan Lane. The brilliant cast includes Lane as the Host, along with Douglas Sills, Kevin Chamberlin, Peter Bartlett, Dylan Baker, Chuck Cooper, Marc Kudisch, Jordan Donica, and Candice Corbin. The chorus is the magnificent MasterVoices. The fabulous choreography is by Lainie Sakakura. The wonderful evening is conducted and directed by the invaluable Ted Sperling. Once again, the MasterVoices hits a grand slam home run.

The basic story of The Frogs is simple: the demi-god Dionysus, despairing of the state of the world (same as it ever was), goes to Hades to bring back George Bernard Shaw, believing that Shaw's writing can open up people's eyes and inspire them to save the world. As it happens, Shaw has to debate Shakespeare, and Dionysus decides that Shaw's brilliant logic lacks the power of Shakespeare's poetry. Shakespeare agrees to go back to earth, and the final song exhorts the audience to "shake your ass" and do something to make the world better.

Photo: Erin Baiano

Can art inspire people to save the world? I don't know. But art itself makes the world a better place. What is more glorious than watching some 150 people work together to make something ephemeral and beautiful? Seeing shows reminds me that people can be generous, loving, and cooperative. Seeing shows almost makes up for reading the news.

One thing: when this show is done again, forget Shaw and Shakespeare. The artist the show should bring back is Sondheim.

Photo: Erin Baiano

Wendy Caster

Jukebox: The Musical

Over the years, the Broadway Close-Up series has featured selections from  musicals-in-development, including discussions with their creators; salutes to established composers and writers of musicals, including interviews and scenes from their shows; evenings of songs grouped by theme; and tributes to the greats (see, for example, the upcoming Party at the Princes'). And now Broadway Close-Up has presented its first original jukebox musical. Or perhaps it should be "original" jukebox musical. But, then again, how original can a jukebox musical ever be?

Sean Hartley

The one-night-only Jukebox: The Musical satirized jukebox musicals by being a jukebox musical devoted to, well, jukeboxes. Written, assembled, and narrated by Sean Hartley, producer of the Broadway Close-Up series, it was wry, silly, and a great deal of fun. The paper-thin plot concerned two inventors trying to develop the first viable jukebox; descriptions of some of the failures were exactly as goofy as they needed to be.

The show featured an excellent cast, A.J. Shively, Allison Blackwell, Nick Cearley, Elena Ricardo, and Gabrielle Stravelli, all of whom had ample opportunity to strut their stuff. 

***

The problem with reviewing one-night-only shows is, of course, that's it's always too late to recommend them. I can, however, suggest that you check out the two remaining evenings in the Broadway Close-Up series:

Party at the Princes’: November 13, 2023

The Writers’ Room: December 4, 2023

Wendy Caster

Partnership

The fabulous Mint Theater Company is presenting Partnership, the third in their "Meet Miss [Elizabeth] Baker" series. The first, The Price of Thomas Scott (review here), from 1913, movingly explores the clash between profit and principle. The second, Chains (review here), from 1910, vividly depicts how having a job can choke the joy out of life; it is sadly still timely. Both of these, while a little flabby, were effective, sometimes excellent, pieces of theatre, well-presented by the Mint. Unfortunately, the third play, Partnership, from 1917, falls short of the first two in both writing and presentation. 

Kate has a small dress shop. Now that Lady Smith-Carr-Smith is a customer--and plans to recommend the shop to a duchess--success seems guaranteed. Kate would like to acquire the shop next door to combine with her own. However,  rumor has it that George Pillatt, described as "a pig" and "cold as a tadpole," has taken the shop. To Kate's surprise, Pillatt suggests that they become partners in business, and in life. Kate says yes.

It's not clear why Kate would say yes. She knows that she is an "eligible" young woman. She doesn't need someone to support her. And she never even suggests to Pillatt that they be business partners only. 

Yes, women in the early 20th-century frequently made non-romantic marriages. I just don't see why Kate would. And, as you could probably predict, Kate promptly falls in love with someone else. Nothing that happens afterward is remotely surprising or particularly compelling. The play might come across better with a more lively production, but it is a surprisingly lackluster night at the Mint.

Wendy Caster

Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch

It's difficult to decide where to begin discussing the wonders of Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch. The incredibly funny, smart, musical writing; the extraordinary acting; the smooth, perfectly paced direction; the handsome, practical scenery and lighting; and the attractive, character-enhancing costumes all mesh into one brilliant unit. Discussing them individually feels inappropriate and reductive.

Leslie Odom, Jr.

The website describes the play as " the rousing, laugh-filled comedy by . . . Ossie Davis that tells the story of a Black preacher’s machinations to reclaim his inheritance and win back his church." True. But it's also a story of getting by, overcoming mistreatment, fighting for the truth (sometimes by lying), humanity, and love.

Kara Young

Starring Leslie Odom Jr. (remarkable), Vanessa Bell Calloway, Billy Eugene Jones, Noah Pyzik, Noah Robbins, Jay O. Sanders, Heather Alicia Simms, Bill Timoney, and Kara Young (a wonder). Directed by Kenny Leon. Set by Derek McLane. Costumes by Emilio Sosa. Lighting by Adam Honoré. Sound by Peter Fitzgerald. Hair, wig and makeup by J. Jared Janas. Fight direction by Thomas Schall. Original music b, Guy Davis. Executive producers, Maia Kayla Glasman and Brandon J. Schwartz; production stage manager, Kamra A. Jacobs.

The list of producers over the title suggests the need to reinforce the stage any time Purlie Victorious wins an award. For this show, it did indeed take a village: Jeffrey Richards, Hunter Arnold, Leslie Odom, Jr., Louise Gund, Bob Boyett, Willette and Manny Klausner, Salman Moudhy Al-Rashin, Creative Partners Productions, Irene Gandy, Kayla Greenspan, Mark and David Golub Productions, Kenny Leon, John Gore Organization, Morwin Schmookler, Van Kaplan, Ken Greiner, Patrick W. Jones, Nicolette Robinson, National Black Theatre, Alan Alda, LaTanya Richardson Jackson, Samuel L. Jackson, Phylicia Rashad, Nnamdi Asomugha, Kerry Washington.

It's a funny, heart-warming (and occasionally heart-breaking), impressive evening in the theatre. A true delight.

Wendy Caster

alt-Hamlet

What do you get if you stir together abortion rights, cancel culture, and Hamlet, throw in hints of Becket and Brecht, and add sharp writing, excellent acting, and fabulous make-up and costumes? The impressive alt-Hamlet, beautifully written and directed by Suzanne Willett, which is at the Players Theatre on MacDougal St through September 24th.

It's a heady mix, often funny, always insightful, frequently confusing, sometimes stunning. (It's also a little flabby, being maybe 15 minutes too long, but, oh, well.) It is very hard to describe!

Davon Howard, Yuliya Donovan

Photo: Find the Light

Alessandro Caronna

Photo: Find the Light

Here's what the website says:

Two Berkeley sisters come to realize the economics of being a woman.

A ghost, Gloria B.--the mother of Susan and Bella--tells her daughters to avenge her murder by uncovering their father’s guilt. Susan, a newly converted economics major, feigns madness by obsessively interpreting events through economics. Her sister, Bella, does the same via psychology. As the sisters gradually uncover the depth of their father’s duplicity, they spiral down into a cancel culture contest with deadly consequences. It’s a comedy.

But this description leaves out so, so much. More useful is this note from the script: "This is a carnivalesque/grotesque style of performance. Nothing should be sacred." The father is a demented ring master, his new wife a giant spider. Pregnancy is represented by balloons, abortion by excruciating popping thereof. One character is obsessed with representation via social media. And that still leaves out so much.

Leah Barker, Miranda Renée

Photo: Find the Light

Emily Ann Banks

Photo: Find the Light

Here's the thing: this is a rich and fascinating theatrical experience that doesn't feel required to explain itself and that dares to teeter over into too-too-much-ness. Watching it, I vacillated between thinking that this was Off-Off-Broadway pretentiousness and being sure it was brilliant. I was sometimes bored. I was frequently thrilled. There is great skill here, and great commitment. 

I left astonished yet again at the amazing things one can see in a nondescript theatre in a nondescript building, put together by people who give their time and effort and intelligence and talent for little outer reward (but, I hope, great inner reward). It's an incredible accomplishment.

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