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In its efforts to continue to promote Louisiana tourism in one of the most devastated areas of the country, local officials from Lafayette, La. presented an upbeat evening in New York City at Bourbon Street Bar & Grill (www.bourbonny.com ) in conjunction with its local talent and show performing at the NYC Fringe Festival (www.FringeNYC.org ), Le Reve Des Marionettes (www.dreamofthemarionettes.com ).

The evening was robust with Cajun Louisiana seafood, drinks and a special abbreviated performance of the burlesque-bawdy Marionettes in their shabby-chic costumes. They are 12 "puppets" of varying body builds in bloomers, vests, corsets overflowing, in more ways than one, in seductive, mischievous country style song and dance along with their pimp-type master. Original songs are by Johanna Divine and Daniel Coolik. They are all Lafayette, La. based.

More urgently, however, were discussions and interviews I held with some of the local officials in an effort to try and better understand and bring to readers the realities of the continuing Deepwater Horizon oil spill in the Gulf of Mexico. Speaking with David Colligan, Director of Business Development Lafayette Economic Development Authority (www.lafayette.org ), along with Celeste Gomez, Director of St. Landry Parish Tourist Commission (www.cajuntravel.com ), they presented as upbeat as possible acknowledging the drop in tourism. Mr. Colligan states that "Louisiana is riding a fine line economically . . .The moratorium heavily impacts the energy sector which is diversifying, it impacts the working people where we need to be most resilient in terms of jobs lost.". . . "We have great leadership on board to help us grow and remedy issues and we're trying to let people know that if the moratorium continues, the people of Louisiana and entire Gulf Coast suffer."… ."We'd like to work with the Federal Government to put in mandates or procedures so the energy sector continues. We don't want to see another incident or impact on our shores and wildlife. We have to be mindful of what these industries provide to our economy. We can bounce back."…"People aren't coming to Louisiana for our beaches. They're going to Florida, Alabama, Mississippi; they come to Louisiana for the culture, the food. . .none of those places were touched by the disasters. We're aware of what has to be remedied."

Celeste Gomez added: "People are coming for tourism. Lots of that hasn't been impacted. You can still come. We're just getting ready to kick off our Fall Festival season. The seafood is probably safer than it's ever been, being so thoroughly tested." In response to my question "How do you make people believe that seafood is safe? There's so much skepticism." Gomez replied, "Well, we're dealing with the egg situation now. How do you make people believe . . .we have to make sure there's lots of testing going on, which has been stepped up. The Governor has asked for more funds so that in the next five years seafood will continue to be tested. The shrimp and seafood is fine. ..It's business as usual for the folks living in the region." Durell: "So you're eating all the seafood coming out of the gulf." Gomez: "We have our suppliers and know who they are. I don't want to mislead you and say that the shrimp industry is not being impacted because it is. They're supplying restaurants here in New York so those customers have to be kept happy…we don't want to make light of the situation because our coastline has been impacted and will be for many years to come."

I also spoke with Rob Guidry, President & CEO of the Greater Lafayette Chamber of Commerce (www.lafchamber.org ) who offered up the following commentaries: "The oil spill by BP has almost killed the tourism industry and fishing industry. But Washington, D.C. is killing the oil and gas industry. It's a complex political issue when it comes to energy, America's insatiable appetite for energy. Washington is hurting Louisiana and jobs but also hampering the American way of life. We're all dependent on petroleum based products; not just what's at the gasoline pump but all the plastics, computers, cell phones and on and on. This Administration, from the outset, is anti-carbon and this oil spill played right into their philosophy…Major oil companies can go anywhere but the independents, which are 90% of those in La. – small business person, are the ones being hampered and hurt. It's the person who cooks for the oil workers, the non-profits. . .it's politically motivated. We're not happy with BP, they made an egregious mistake but it's not a reason to shut down the entire industry. I'm told the moratorium will be lifted sometime in November but because of the permit process it will make it almost impossible to get a permit to drill which is a moratorium in itself. . ."

Words from those who live and work in the heart of the Deepwater Horizon oil spill seem to have the most penetrating meaning. However, the people of Louisiana go forth dealing with adversity with a joi de vivre.

The event was arranged by Cristyne L. Nicholas, CEO, Nicholas & Lence Communications (www.nicholaslence.com )

I WENT TO A MARVELOUS PARTY. . .

It was My Birthday Bash!

By: Sandi Durell
August 2010

I can't help but talk about my birthday party because I can't remember the last time I actually made one for myself nor when I had such fun. Well, this was sort of a biggie! No, I'm not going to reveal my age. Don't be silly. But my invite did say "if you remember records, then you know how old I am."

It was ladies night out with one token male present. You see, they're a set. Edith Drake doesn't go anywhere without her loving husband, Ervin. We were at a restaurant in the theatre district tucked away in our own back room. Most of the ladies and gentle man knew each other so it was talk, talk, talk all evening long, with an occasional lull when the delicious food courses were served.

With many performers in the group, I did remember to have my friend pianist, Seth Weinstein, attend for backup and sing-a-longs. There were parodies and special material galore, especially from Linda Amiel Burns, Bobbie Horowitz, Lynn DiMenna and Jamie deRoy. One of the funniest ladies I know is Laura Slutsky, whose comedy antics brought many to tears from laughter. Multi-talented songwriter Ervin Drake regaled with a medley of songs he had written, as the Queen of Cabaret, Julie Wilson, thoroughly enjoyed the show. My dear friend Pat Addiss almost jumped up as she told me confidentially she had wanted to sing "I'm a Little Teapot." I still want to hear it!

Then there was the special parody written for myself and my loving daughter, Cooper Lawrence, by my long time friend, lyricist Michael Colby. We had a grand time singing it. Just to make sure we were doing it right, I also invited some of my critic friends, Elizabeth Ahlfors and Barbara Siegel. They smiled all the way through, so I think we were a hit.

Wish I could mention everyone who attended but I've probably gone on long enough. The wonderful photos you see here were taken by my dear friend Rose Billings. Hope you enjoy them. Happy Birthday to all the Virgos!

Photos: Rose Billings













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WADE PRESTON

Piano Man & Stunt Billy

By: Sandi Durell

As Noel Coward wrote "I went to a marvelous party. . ." and there I heard one of the hottest boogie and New Orleans Barrel house piano players play a couple of tunes and he just blew me away! Most assuredly, I've never seen fingers fly so fast on those black and white ivories! The man is Wade Preston (www.WadePreston.com ) and many of you may remember his role as the Piano Man in the Billy Joel/Twyla Tharp Broadway hit Movin' Out.

Preston is an original cast member who stayed with the show from its inception to closing. He holds the record as the Piano Man with the most consecutive shows performed without a break and is the only Piano Man who has played the lead role and the synth chair at the same time. Preston did the rehearsals and sound checks for Billy Joel in Hershey, PA and Shea Stadium, essentially as the "Stunt Billy." "Thanks for doing this," Joel said to Wade at a rehearsal in NYC. "You're making my life very easy."

One week after that marvelous party I went to see Wade who was appearing solo at the Triad Theatre (www.triadnyc.com ) on West 72nd Street in NYC. He calls this show Piano, Microphone, Audience because of the intimacy. No technology to get in the way.

This time I was treated to an entire evening's entertainment that opened with "Root Beer Rag," a Billy Joel instrumental, to "Scenes From An Italian Restaurant," "Angry Young Man," "Vienna" and "Zanzibar," to name only a few of the Billy Joel classics (www.billyjoel.com ). By the way, Preston is also a top notch singer. He even plays harmonica while playing the piano. What more can I say?

Additional material included some of his original songs along with "Great Balls of Fire," "Embraceable You" and his own unique arrangement "Bumble Boogie," based on Rimsky-Korsakov's Flight of the Bumble Bee - a mesmerizing treat to the ear and eye.

Preston has cleverly kept together alumni from the Movin Out Band as the nucleus of a band featuring Wade along with Michael Sorrentino (drums); Dennis DelGaudio guitar/vocals); John Scarpulla (sax/percussion/stage antics/vocals; Greg Smith (bass/vocals).

Wade's been a serious musician with his own band for many years. When he was 19, he appeared with Dick Clark and Chubby Checker on American Bandstand and did a number of TV shows with Chubby. Among them, was the short lived Friday's with Victoria Principle as guest host.

Can't wait to see what's next on Wade Preston's plate. Should be something big and grand.

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Questions regarding Abraham Lincoln's sexual preferences have been the topic of numerous writings, most notably C.A. Tripp, a sex researcher and protégé of Alfred Kinsey, whose book The Intimate World of Abraham Lincoln was posthumously published in 2005. The speculation stems from Carl Sandburg's biography of Lincoln in 1926 and an early relationship of Lincoln and his friend Joshua Fry Speed as having "a streak of lavender, and spots soft as May violets." "Streak of lavender" was slang in the 1930s for an effeminate man, and later connoted homosexuality. It appears that men traveling in the early 19^th century would frequently share a bed for lack of space, for warmth and not necessarily for anything other. With the growth of the gay movement in America, the speculation has been pushed even further.

Direct from the NY Fringe Festival, it is a sometimes silly, campy yet amusing and irreverent off-Broadway production with a cast of multi-Honest Abes (who play multiple roles) often cavorting in long black coats, stovepipe hats and beards to bring home the point. What is the point? It all begins as a Christmas pageant in a rural town in Menard County, Illinois where the children play roles of different Presidents, one dressed as Lincoln who speaks about his sharing a bed and being very close with his friend Joshua Speed. That is the impetus for an exploding controversy as teacher Harmony Green (Pippa Pearthree) is accused and brought to trial for teaching 4^th Graders about sex and homosexuality. It's not quite that simple, however, as the production is performed in three acts relating the Trial of the Century from different character viewpoints as an audience member or "representative" gets to choose the order in which the acts are presented. It's the democratic way!

There's Anton (Arnie Burton) the outwardly gay Pulitzer Prize winning reporter from the NY Times who comes sniffing around to see what dirt he can dig up with co-hort Esmeralda (Stephanie Pope Caffey), a dancing Latin bombshell in this act. Welcome back Ms. Pope-Caffey who looks great and still dances ten! Anton wants to destroy Congressman Tom (Robert Hogan) an openly anti-gay rights politician, whose son Jerry (Ben Roberts) is a closet homosexual. In the subsequent Act II, "I will fight for you" Regina (Pope-Caffey), is a Black Republican Congresswoman representing the accused teacher Green at the trial, as a political move against Tom, who's planning to run as well, as she endeavors to climb the political ladder. Her assistant Tina (Lisa Birnbaum) aids and abets by pulling the wool over Lloyd's (Ted Koch) eyes, who plays a slimy political aide. Congressman Tom presents his perspective on it all in Act III where there are wild interludes with mariachis and other schizophrenic mania, including a whole lotta dancing going on. Are you confused yet?

This is yet another in a plethora of gay-themed productions emphasizing political corruption and blunders in a mish mash of sometimes clever and funny writing. It's a frenetic 150 minutes.

The use of three large, movable backdrop boxes that open in various ways as doorways and containing set pieces (table, bar) is wonderfully creative and the brainchild of Bill English. The production is directed by Chris Smith and choreographed by Vince Pesce. Jeff Croiter and Grant Yeager designed the lights and Rebecca Lustig the costumes.

"Abraham Lincoln's Big, Gay Dance Party" is running at The Acorn Theatre on Theatre Row, West 42^nd Street, thru September 5^th. Tickets: 212 239-6200 www.Telecharge.com

SECRETS OF THE TRADE

Be Careful What You Wish For!

Reviewed by: Sandi Durell
August 11, 2010

When you're a 16 year old exceptionally verbal, bright theatre kid, the world is your oyster. . .or so it seemed for Andy Lipman (Noah Robbins). His idol is a sought after Broadway Tony winning director, writer (on the order of Harold Prince perhaps) named Martin Kerner (John Glover). Spurred on by his Mom Joanne (Amy Aquino), and Dad Peter (Mark Nelson), Andy writes the theater celebrity a long letter with clever babbling hoping this will engage Kerner to respond.

It's two years later; Andy is at Harvard when Kerner finally answers. At a lunch meeting at Café des Artistes, replete with nude nymph backdrop ala Howard Chandler Christy, Kerner, a volatile character, name drops like crazy, impressing the vulnerable Andy, ("Kid, you give me such a kick" ) seemingly taking on the role of mentor. Kerner's ongoing message - "Push out the bullshit, aim for the truth." In the midst of this, is Mom, a disappointed dancer wannabe who, in her younger years, had actually auditioned for the great master reminding him she was the one in purple tights. She is feeling threatened by the loss of her son, as well as somewhat jealous of his new relationship with Kerner, with a deeper knowledge of Andy's yet unannounced homosexuality.

There's lots of fast paced, clever dialogue throughout as disappointment, jealousies, love and realities unfold in this comedy-drama as Andy 'comes out' to Kerner telling him "I've seen the gay thing, I've been to piano bars." He proceeds to pour out his heart and in the back of his mind is the ever present hope that Kerner, who drops ever so small hints about one day hiring or connecting Andy, will be the launching pad to Andy's successful theatrical career. But who is actually mentoring who as the characters unfold with Matt Shakman's masterful directing and staging in this stirring and complicated play.

This is Jonathan Tolins' latest unblemished contribution of provocative dynamics in another of this season's gay themed theater pieces. "Twilight of the Golds" was Tolins' most interesting family-themed writing last seen.

Amy Aquino is pragmatically effective as Joanne, and Mark Nelson, as architect husband Peter, tries to make amends in his amusing portrayal. Bill Brochtrup plays Kerner's sardonic gay assistant, Bradley. Glover and Robbins are a gifted duo as the story progresses and the no longer starry-eyed Andy learns true lessons about life, love, expectations and much more than secrets of the trade!

This Primary Stages production runs through September 4th, 2010 at 59E59 Theaters (bet. Park/Madison Avenues) Tickets: 212-279-4200 http://primarystages.org

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SEE ROCK CITY & Other Destinations

A Musical Tour with Heart, Humor & Beach Chairs!

Reviewed by: Sandi Durell
August 2010

Just when we thought there weren't any new mousetraps, along come Adam Mathias (book & lyrics), Brad Alexander (music) and Jack Cummings III clever direction of The Transport Group's (www.transportgroup.org ) latest and intriguing offering "See Rock City & Other Destinations." Don't expect to walk into a theatre and take your seat. Instead be prepared to watch the remarkably talented cast of seven, who play double roles, disentangle the piled up beach and sand chairs leaning against a scaffold to create seating in an otherwise empty space!

Reminiscent of Edward Hopper's "Nighthawks," the first vignette takes place in a diner (a string of fluorescent lights across the floor) as Jess (Bryce Ryness) a lonely, searching young man, powerfully sings "See Rock City" to Dodi (Mamie Parris), the waitress who asks where he's going. Taking only some pie, she joins him in his travels, having never been anywhere but the small town in which she lives. Their heartfelt duet "Mile After Mile" is a contradiction in its meaning to each of them as Jess searches for a connection somewhere.

Stories and lives unfold as the various characters travel the highways and by-ways of life.
Evan (Stanley Bahorek) plants himself and his video camera at Walker Air Force Base in Roswell, N.M. waiting for UFOs while serenading with "We Are Not Alone." The Alamo is the place where Grampy (Ryan Hilliard) and his deceased wife met and heard "the voice" over 60 years ago. He is wheelchair bound, suffering from a stroke and can barely speak, but grand-daughter Lauren (Sally Wilfert) brings him to the same spot each year on the occasion of their anniversary meeting so he can speak to his dearly beloved wife. "I Remember Everything and More" could be a song out of the Great American Songbook of passionate emotions. Afraid Lauren will never connect to anyone, Dempsey (Jonathan Hammond), a caring local lawyer looking for a mate, sits nearby and love blooms.

When three sisters (Donna Lynne Champlin, Mamie Parris & Sally Wilfert) sail to Glacier Bay, Alaska to empty their daddy's ashes in the sea, humorous family dynamics prevail as personalities collide and they become kids again singing their childhood song "Three Fair Queens of the North Are We." Cutter (Ryness) and Rick (Bahorek) are high school kids who cut school to take the Q Train to Coney Island where they explore not only the Freak & Spook Shows but their sexuality and freedom in one of the funniest and physical numbers "You Are My Bitch."

Ms. Champlin, in wedding gown, is the passionate bride Kate afraid of marriage. She goes off on a tour with creepy guide (Hammond) in "Niagara Falls" and must decide if the "leap" is worth going over the edge in a tearful "What Am I Afraid Of."

Dialogue is quick paced and witty throughout. The short stories define the plight of humanity and individual struggles with loneliness, love, loss and fear. In this sparse setting, the creative lighting design by R.Lee Kennedy is simply yet skillfully deployed creating moods with flashlights, lights on wheels and fluorescent strips. Dane Laffrey created the set and character specific costuming. The hard working cast is accompanied by a four piece band. The production is staged at The Duke on West 42nd Street, NYC.

Photo Credit: Carol Rosegg

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CIVIL WAR VOICES

A Musical Remembrance

By: Sandi Durell

The history of the Civil War has never been presented so creatively as in this production written by Jim Harris, a lawyer by profession, and also a singer, who found the Civil War diary of his great great uncle Joseph Henry Harris (Stephen Hope), a cotton planter from Alabama. Other letters and writings left behind are true stories in the actual words of the people who lived during the era.

The true to life characters include Theophilus (Stephen Trafton) and Harriet (Dani Marcus) Perry, a young married couple from Texas, separated when Theo went off to fight for the South and were brought to life in letters of love and sorrow, read with great intensity; Elizabeth Keckley (Danielle Lee Greaves), a slave who eventually bought her freedom and went on to live and work in the White House for Mary Todd Lincoln, and Joshua Lawrence Chamberlain (Michael Sample), a college professor from Maine who enlisted to fight for the Union.

Their hardships, chilling stories of battle and death, injustices and hope for the future are all cleverly intertwined with songs of the period, newly arranged by Mark Hayes and presented by a thrilling cast that included Arthur W. Marks, Bruce Warren, Carly Zien, Catherine Fries Vaughn and Michael Markham who portrays Abe Lincoln.

"Sometimes I Feel Like a Motherless Child," "Oh Freedom" (post-Civil War Freedom song), "Steal Away" (pre 1862, Wallace Willis), "Amazing Grace" (1779 Christian hymn, John Newton), "Beautiful Dreamer (circa 1856, published 1864, Stephen Foster) and "Battle Hymn of the Republic" (abolitionist hymn: music 1855 William Steffe, lyrics 1862 Julia Ward Howe) are only a small part of the spectacular music, a total of 17 songs, woven in and through the actual dialogue. The music was sung by a stellar cast with poignancy and inspiring emotions. Many moments brought tears.

The 90 minute production was creatively staged and directed by Dennis Courtney on a basic barebones stage with well-placed cubes and some historical flags. The grand authentic costuming is by Janell Berte, musical direction by Laura Bergquist with Austin Hartman on violin.

Civil War Voices is an essential piece of American history that brings into focus the hard to believe fact that Americans were shedding each other's blood on their own soil, the horrors of war and cruelty of mankind. Just as the holocaust must be kept alive so must these voices of America. There is talk that this production will have a continuing life as part of the upcoming Sesquicentennial (150 year) commemoration of the Civil War next year. This production was part of the 11th Annual Midtown International Theatre Festival.

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CAROL CHANNING IN CONCERT...

Starring RICHARD SKIPPER

Reviewed by: Sandi Durell
July 27, 2010

In a one-night only musical montage at off-Broadway's St. Luke's Theatre on Restaurant Row, loveable and talented Richard Skipper (www.richardskipper.com) celebrated the life and times of Carol Channing. (www.CarolChanning.org). Skipper has been performing as such for a number of years singing not only the familiar Channing standards, but incorporating his distinctive clever ad-libs, along with other material.

As a precursor to the evening, yours truly was at Joe Allen's restaurant with some friends. In one of the ladies' rooms there hung a show poster of the inimitable Ms. Channing as "Lorelei." I took this as a sign of something special.

The theatre at St. Luke's was sold out. The audience held its fair share of celebrities present including Celeste Holm, Betsy Palmer, Joe Franklin and songwriter Ervin Drake with former showgirl wife, Edith. He's 91, she's 88. In a tribute to Mr. Drake, Skipper included one of Drake's 1967 ditties written for and recorded by Carol Channing, "Widow's Weeds," a long story about a lady who's looking real pretty in her Jefferson City Widow's Weeds each time another husband bites the dust. There was a buzz and excitement in the air as the evening was being filmed as part of an upcoming documentary based on the life and career of Tony Award winner Carol Channing. Ms. Channing and Richard had already made a joint appearance at Barnes & Noble at Lincoln Centre in NYC to a packed house a few days prior.

The evening opened with Martina Vidmar, who looks a lot like Bernadette Peters, singing 'The Best of Times" followed by two additional songs. She's a bit of a screamer and, I must admit, after one song I was anxious to see Carol take the stage. Finally, the elegantly dressed Skipper, in wig, white sparkly brocade and bejeweled gown, large multi-colored rings on every finger, appeared. Skipper captures the essence of the grand lady of theatre in a way that not only embodies her sound, but spirit. Channing has always remarked how thrilled she is to be shown with such love, respect and polish.

Skipper is good on his feet, as they say, with that ability to ad-lib at a moment's notice, especially so when he's engaging audience members in what is always a hilarious interchange. Along the way he provides a running history of Carol Channing from growing up in Seattle, Washington, attending Bennington College, weaving in and through her life personally and in theatre. Many of Channing's best and well-known songs are sung in her incomparably stylized tradition with on-going dialogue of behind the scenes stories.

The highlights included "Elegance," "Diamonds Are a Girl's Best Friend" (as those sparkly rings on Skipper's hands disappeared to eager audience members), "Jazz Baby," and a medley of songs from "Hello Dolly" together with a reprise of "Widow's Weeds" of special lyrics written for Skipper by Drake.

The presentation, without intermission, was nearly 2 hours, a bit on the long side. However, the show is solid entertainment and laughter that sparkles in more ways than one. There is talk about a potential off-Broadway run. Skipper was ably accompanied by John Fischer on piano, Jeff Carney, bass and Steve Bartosik, percussion.

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JIM VAN SLYKE

"The Sedaka Show"

Feinstein's at Loews Regency
New York City

Reviewed by: Sandi Durell
July 21, 2010

There's something to be said for being in the right place at the right time! Luckily, talented charismatic Jim Van Slyke decided to do a tribute to one of the treasures of the music business - Neil Sedaka. Lo and behold, Sedaka hears about it and comes to see Van Slyke. It was a match made in heaven because Sedaka was thrilled with the tribute and especially so with the magical classically trained Van Slyke's melodic tenor. He's been a champion of the interpreter of his music ever since.

Feinstein's was packed as many knew that the one and only Neil Sedaka would be present at Jim Van Slyke's performances. In the audience were Regis Philbin and wife, Joy, cabaret favorite KT Sullivan and sister Heather along with a host of other impressives.

Van Slyke's talent is evident on just about every one of the songs that have imprinted Grammy Winner Sedaka as a master of songwriting. Outstanding was Sedaka/Phil Cody's "Bad Blood" in a duet with Musical Director Tim Di Pasqua, who needed no written music on the piano for the entire show. Of course, the songs that got the most applause, oohs and aahs were the old familiars: "Breaking Up Is Hard To Do" (Sedaka/Howard Greenfield) which, by the way, now has an updated younger generation lyric - - - "waking up is hard to do," - - - "Laughter in the Rain," the doo wops "Oh Carol," "Calendar Girl," Where the Boys Are (rewritten for the tykes as "Where the Toys Are") and "Love Will Keep Us Together." All were highlighted because of the easy going style that makes Van Slyke so instantly likeable.

More serious revealing ballads were sad "One More Ride on the Merry-Go-Round" and "The Hungry Years." The profoundly exciting moment was Sedaka coming on stage at the piano in a duet with Van Slyke on "Should've Never Let You Go." It's obvious Van Slyke has a shining career ahead.

For this reviewer, the evening held more meaning as Neil and I were in high school together (well, he was a few years ahead of me). There was many a time when I could be found rehearsing with him and his band and being included in occasional gigs at the Esther Manor in the Catskills. Now, those were days to remember!


Sandi Durell & Neil Sedaka at Jim Van Slyke's Sedaka Tribute
Feinstein's 7/21/10



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IN GOD'S HAT

"Crazy for my brother!"

By: Sandi Durell
July 18, 2010

Billed as a drama, Richard Taylor, screenwriter, offers up his second play after making his mark on the New York stage with "Burnt." However, with all the intended laugh lines (particularly arousing a group of younger folks in the audience the evening I attended), this edgy, conflicted story about another dysfunctional family dilutes the hair-raising brutality substantially.

Tom Pelphrey, (younger brother Roy) who won two Daytime Emmy Awards for his work as the emotionally incendiary rapist Jonathan Randall in the now defunct Guiding Light, is the Jekyll & Hyde character awaiting his older brother Mitch's (Rhett Rossi) release from prison after serving time for pedophilia. They've had no contact for ten years. When he takes Mitch to a seedy motel near the penitentiary, memories, hatreds and underlying psychological roots and fears are revealed when Arthur Cruter (Dennis Flanagan), a loose cannon Aryan skinhead who tried to kill Mitch in prison, is also released and comes knocking at the door. Is this happenstance or did Roy have other plans?

Roy goes from a low key, mild mannered guy, who sees himself as middle of the road to almost psychotic, terrorizing his brother so as to inflict a greater punishment on Mitch than seems necessary. Taylor almost succeeds in making Mitch a sympathetic character. In the midst of all the brutality and blood are conversations that invoke audience laughter about red dyed pistachio nuts, Mom who died three years prior, not from cigarettes and cancer but being hit by a car, the first Mitch hears about his Mother's death. It's very macabre and, at times, belabored.

Pelphrey and Rossi's performances are, as intended, unnerving, along with Flanagan and Aryan Brother (Gary Francis Hope) who comes looking for Arthur when he disappears. Kevin Kittle surely succeeds as he directs this suspenseful piece.

"In God's Hat" is produced by the Apothecary Theatre Company at the Peter Jay Sharp Theater, 416 West 42nd Street, NYC thru August 7th www.ticketcentral.com 212-270-4200.

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FALLING FOR EVE

"God's Little Secrets!"

By: Sandi Durell
July 15, 2010

The Garden of Eden has a new twist in this musical one act romp currently at the York Theatre as we're privy to some of God's little known secrets!

Tony Award Winner Joe DiPietro's latest offering (he wrote Memphis), puts a new spin on the real first couple and procreation. With Angels Sarah (Jennifer Blood) and Michael (Nehal Joshi) as narrators never far behind, droll matter-of-fact God (Adam Kantor) tells it like it is in a swinging pop opening "God, It's Good To Be Me" -- "when you are the architect, you get respect!"

Creating good looking Adam (Jose Llana), with strong vocals and muscles galore, adorned in a teeny weeny gold lame loin cloth, was a good move as it turns out. But even in Paradise, where green grass rolls out onto a revolving platform with trees of glass lights and multi-colored pillows (genius of Beowulf Boritt), something is lacking in Adam's obedient life. It is purpose. After all, the only man in town can't loll around looking gorgeous 24 hours a day by himself singing "Another Day in Paradise" forever! What to do? Enter God She (Sasha Sloan). Yes, they are interchangeable after all. In an instant, that famous rib is ripped from Adam's body to produce the lovely Eve (Krystal Joy Brown) whom Angel Michael would like to call Man-Rib.

There are a lot of wise-cracking laugh lines and familiar but trite messages such as female God's "the way to keep the children is to let them go in "Only Human," as the more curious Eve wonders why birds leave Paradise. A contemporary version of that forbidden fruit tree comes with liquid filled red glass apples, tempting the couple in "Apple, Apple, Apple, Apple" -- "I want to bite that sucker."

More sobering references to good and evil, innocence lost, obedience, horrors, wars and cruelty to man balances the on-going levity. Eve bites into the forbidden fruit and is banished from the Garden to wander the dark, angry earth in a terror-filled "Where Will I Sleep Tonight?" Brown provides an exquisite interpretation, her heart longing for Adam as she walks the Earth seeing another kind of Paradise and aging over many years, temporarily returning to Paradise to ultimately temp Adam to join her. Meanwhile, God and the Angels are in turmoil as to how the human race will evolve but seeing the future they know "Good Things Are A Comin'" in a clever laundry list of lyrics by David Howard (Galaxy Quest) and music by Bret Simmons (The Megan Mullally Show):

"IF YOU COULD SEE THE FUT-CHA YOU'D FIND THINGS THAT'LL SUIT YA...THERE'S GONNA BE CLOTHES, FIRES, WHEELS, TIRES, PRINTING PRESSES, SILK DRESSES, BOATS, OARS, WOODEN DOORS, THE ALPHABET AND MARBLE FLOORS, RAVIOLI, GUACAMOLE,=LECTRIC POWER, EIFFEL TOWER, MOZART, CUIZENART, ARISTOTLE AND DESCARTES...JAMES BOND, HARRY POTTER, BRIE, CHEDDER AND RICOTTA TEX-MEX, MALCOLM X, GROUCHO MARX, THE JOY OF SEX EINSTEIN, PATSY CLINE, KRISPY KREME, I HAVE A DREAM…

EDITH HEAD, THE GRATEFUL DEAD, LAMBOURGINIS, MARTINIS YELLOW POLKA-DOT BIKINIS..."

There are also musically beautiful ballads "Eve" and "Once A Life Ago."

An array of wonderful color and design is accomplished with Herrick Goldman's lighting and Bobby Pearce is responsible for the effective gold lame and white robe costuming. The clever direction is by Larry Raben working with a talented cast. Kudos to Artistic Director Jim Morgan for making this frolicking new take on a tale as old as time possible! The production runs through August 8th at the York Theatre at St. Peters, 54th & Lexington Ave. Tickets: 212-935-5820 www.yorktheatre.org

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BROADWAY WINNERS!

"The Award-Winning Music of Broadway"

By: Sandi Durell
July 12, 2010

It was a sizzling, hot summer night outdoors but more so indoors as Town Hall heated up with an assemblage of talent in a can you top this evening. The 4th Annual Broadway Summer Festival, created, written and hosted by the loveable and talented Scott Siegel, with musical direction by David Hahn, got under way featuring Tony Award winning music and a bevy of performers many of whom were nominees and winners of the coveted award. From the lovely tenor tones of Bill Daughtery's "The Only Home I know" (Shenandoah), to the raunchy "When You're Good To Mama" (Chicago), sung by Terri White, the performances were remarkable and some unplugged (no mics).

A Little Night Music's Christine Andreas sang a whispery "Send In The Clowns" to which our host commented "and now you know the way the song is supposed to be sung." Favorite hunk Marc Kudisch was on hand with Alexander Gemignani (who directed the evening) in a frolicking duet "It Would Have Been Wonderful." Grammy and Olivier Award winning opera performer John Easterlin sang all six characters in a fun-filled "Ice Cream Sextet" (Street Scene), while South Pacific's William Michaels soared on "Some Enchanted Evening." Lovely soprano Kate Baldwin made everyone hungry for some "Vanilla Ice Cream" (She Loves Me) and Farah Alvin wowed with "The Music That Makes Me Dance."

I've saved some highlights for last like diminutive Christina Bianco, in stature only, whose powerful vocals amaze. Siegel said he wondered who people would pay to see as Dr. Doolittle and the celebrity of choice was Celine Dion. Bianco's impression and vocal interpretation of "If I Could Talk To The Animals" was not only funny but one of the best performances I've seen in a long time. This little lady is a star on the rise. The piece de resistance was Emmy & Tony nominee and Broadway's Rosemary in the original "How To Succeed. . .," Michele Lee who flew in from L.A. just for the event. Although it was obvious she was coming off a bad cold, hoarse as she was, she managed to raise the temperature even higher with "Nobody Does It Like Me (Seesaw) and "I Believe in You" (How To Succeed...). As Siegel so aptly said before the company closer,"the common link - they all have "Heart" (Damn Yankees) . . . and much, much more!


Michele Lee
Photo: Maryann Lopinto


William Michaels
Photo: Maryann Lopinto


Marc Kudisch & Alexander Gemignani
Photo: Maryann Lopinto


Company Closing
Photo: Maryann Lopinto


Christine Andreas
Photo: Maryann Lopinto

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EROTIC BROADWAY – VINTAGE VARIETY

"Move Over Rose!"

Reviewed by: Sandi Durell
June 2010

The Triad Theatre and its owner/producer Peter Martin are getting a reputation for the unusual and the exotic. In the genre of celebrity, the latest installation is the monthly Burlesque revue adding to the continuing award-winning and ever popular monthly "Celebrity Autobiography."

Erotic Broadway is a clever turn on an old tradition. This isn't the down and dirty burlesque of yesteryear, but a toned down, chic "take it off" replete with variety performers. There's singing, dancing, comedy and, yes, lots of innuendos and pretty bodies everywhere. In fact, on the small stage of this 130 seat theatre (including mezzanine), there were ten assorted, scantily clad lovelies along with hosts Joe Ricci and Vicki Van Tassel who do lots of wise cracking with a lot of sex thrown into the chatter, clever repartee in the spirit of Abbott & Costello and sing. Van Tassel is always a surprise as each time she appears on stage it's in a new quirky outfit.

The shows include some Broadway performers willing to bare or reveal essential parts such as Martin Samuel (AIDA) who performed a most exotic and erotic ballet with Samantha Zack (Wicked) "These Arms of Mine." One of the most enjoyable suites was a three-part vignette to the music of Flight of the Bumblebee "The Shower," "The Dressing," "The Date" (based on Sunilda Caraballos' stand up comedy) performed by Samantha Zack, Rachel Borgman and Marisa Merliss. Of course, there's the more traditional strip tease like "Sweet Buns" performed by Director/Choreographer Tricia Brouk. Lest we forget, there's quite a bit of testosterone on stage including Brian Brooks Moving Company, like two peas in a pod in a syncopated dance duet from DANCE-O-MATIC, performed by Brooks and Aaron Walter.

But the highlight of it all is "Mistress B" as she/he approximately 6'5" tall, dressed ala Madonna, blows up long suggestive balloons from a pump in her bra while singing "I Never Do Anything Twice." It's a side-splitter!

Closing number"Take Ten Terrific Girls and Only Nine Costumes" is a full cast production number that says it all. Musical Director, Andrew Sotomayor, does an admirable job when he's actually accompanying someone, since most of the music is pre-recorded. Think Gypsy Rose Lee in sophistication, together with a little bawdy, a lot of talent and an evening from which you'll walk away smiling.

Erotic Broadway-Vintage Variety is performed at the Triad Theatre, 158 West 72nd Street near Broadway. Call Smart Tix 212 868-4444 www.SmartTix.com for August date and tickets.

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MISS TAMMY GRIMES

"Favorite Songs and Stories"

Reviewed by: Sandi Durell
June 22, 2010

There's no mistaken the unique nose and upswept hair of Broadway legend Tammy Grimes, who has returned to cabaret doing what she does best: telling stories through lyrically driven songs. A wee bit nervous, but always in charge, Ms. Grimes is truly unsinkable! Creation and direction of this show are in the capable hands of long time collaborator Joel Vig, with accompaniment by Christopher Denny.

At age 76, Ms. Grimes has lived passionate life of great loves and is truly a leading lady. She is a Tony Award winner ("The Unsinkable Molly Brown," "Private Lives"), has been married three times. . .first to Christopher Plummer, the union that begat actress Amanda Plummer, second to Jeremy Slate (who ran nude on a film lot) and lastly to songwriter Richard Bell. She is quirky, lovable and easygoing, her vocals extremely stylized and, well, interesting! It's not a lovely singing voice that generates attention, but the power and spirit of how she engages her audience through stories about her life, both happy and sad.

Reflections on past love in "Martha" by Tom Waits, were a poignant look back as was Berlin's "How Deep Is the Ocean." Her dry wit and theatricality are forefront as she regales her loving audience with the story of Oscar Brown, Jr.'s "The Snake" and Cole Porter's "Tale of the Oyster."

Noel Coward gave Ms. Grimes the part of Elvira in "High Spirits" and she reprised "Home Sweet Heaven" with great gusto. Other songs for which she will forever be identified are Coward's "Someday I'll Find You" ("Private Lives"), Meredith Wilson's "My Own Brass Bed," "I'll Never Say No To You" and "I Ain't Down Yet" ("The Unsinkable Molly Brown"). She closes with a sweet and tender "I'll See You Again/If Love Were All."

Ah, to have been a fly on the wall throughout her young, exciting romantic days of wine and roses! She does relate many tantalizing moments of her loves and long career in this theatrical experience but I know there's so much more to tell!

Ms. Grimes appears at the Metropolitan Room in New York City thru June 30th . Check exact dates & times. 212 206-0440

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DARREN WILLIAMS

"Not The Boy Next Door!"
The Peter Allen Songbook

Reviewed by: Sandi Durell
June 23, 2010

It was nearly a year ago that I saw Darren Williams perform this show at the Metropolitan Room and wanted to revisit the man who is keeping Peter Allen's music alive and well. Williams is an Australian award-winning vocalist now living here in the USA.

My impression hasn't changed. In fact, the impact that Williams has on an audience has grown to new heights in this masterful tribute. Williams is a dynamo crowd pleaser and he does it artfully and cleverly as he builds momentum musically and physically.

Peter Allen had a complicated life, making his way from rags to riches, marrying and divorcing Liza Minnelli and finally acknowledging his homosexuality. His emotions flowed into his music. Williams has captured the essence of the passion and soul of Allen's work and dazzles on songs "I'd Rather Leave While I'm in Love," hot, hot"Bi Coastal," sans jacket, and tender "I Honestly Love You." His falsetto works wonders and he knows when and how to use it.

Remember the Catskill hotels and the days when they gave audience members wooden knockers? Williams' interpretation of those knockers was a little more appealing as he opened his shirt, moved his pecs in rhythm to the song "Knockers" that goes something like, "If you love me, let me see your knockers" and the crowd roared. With Peter Allen's silver sequined maracas, Williams shook and shimmied his lean, trim body to "I Go To Rio" as the audience shimmied in their seats. Darren Williams is much more than a cabaret act; he doesn't impersonate but celebrates Peter Allen, in an exciting, high energy performance. Just close your eyes, picture a big orchestra, showgirls and Darren Williams front and center!

Musical Director/Pianist is Dennis Buck; bass Ray Kilday and drums Ray Grappone.

See also:

DIETRICH and CHEVALIER: THE MUSICAL

Romance in hard times!

Reviewed by: Sandi Durell
June 21, 2010

Two of Paramount Films top stars in the 1930's were Marlene Dietrich and Maurice Chevalier. They became romantically involved when sharing dressing rooms next door to each other on the Paramount lot, a love affair and subsequent friendship that lasted many years and through World War II, although each was married to someone else. Their story has been set to the music for which they are each well known by Jerry Mayer and is currently playing at St. Luke's Theatre on West 46th Street, NYC.

The passionate and complicated story line that binds Chevalier's happy-go-lucky disposition and the more politically outspoken Dietrich, attempts to bring varying degrees of historical information to the audience but seems stilted, sometimes dull, the vignettes purely used for the purpose of setting up the songs. It's a nostalgia-driven revue about two famous celebrities with a loose thread of dialogue that binds.

There are many flashbacks of biographical sequence, as Chevalier (Robert Cuccioli) and Dietrich (Jodi Stevens) recount their individually famous lives and reference "Shanghai Lili," "The Chocolate Soldier" (which Chevalier turned down), Dietrich's family life with husband Rudy, her many love affairs and bisexuality (for which Chevalier ended their relationship) and her denouncement of the Nazis and her homeland.

Dietrich spent most of the war years entertaining the troupes while Chevalier did the same in Paris and Germany, but was forced to sing on German sponsored radio in France to protect his second wife of Jewish descent and her family. After the War, he was subsequently brought up on charges of treason by the Resistance, but cleared.

The highlight of this show is the musical material that Cuccioli delivers with a Chevalier flair and charm, a straw hat, a cane, a jovial smile and good accent: "Louise," "Mimi," "Valentine." He embodies the spirit of Maurice Chevalier.

On the other hand, Stevens seems to have trouble with Dietrich's vocal characterization, sometimes sounding more like Eartha Kitt or Bette Davis. Famous songs "Falling In Love Again," Lili Marlene," "The Boys In The Back Room" are delivered with a sinewy acting portrayal and looking lovely in period costuming by Karen Flood, but require some additional work in order to sound more convincing. They are both aided by talented Donald Corren who plays a variety of roles including a German Ambassador, Rudolf Sieber (husband), Café de Paris maitre d' and Hollywood producer.

There is no amplification which can be a treat to many. Musical direction is by Ken Lundie and direction by Pamela Hall. "Dietrich and Chevalier" have an open run.

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INSIDE BROADWAY'S 2010 BEACON AWARDS

By: Sandi Durell
June 17, 2010

A benefit evening was held by Inside Broadway at The Players at Gramercy Park to honor Tony Award winners KATIE FINNERAN (Promises, Promises), ANTHONY LA PAGLIA (Lend Me a Tenor), Billy Elliot Star JACOB CLEMENTE, along with CRISTYNE NICHOLAS (Nicholas & Lence Communications,CEO) and HARRY COGHLAN (Clear Channel's Outdoors NY), hosted by Fox 5's JULIE CHANG with presenters MAYOR BLOOMBERG and BROOKS ASHMANSKAS.

Inside Broadway produces touring equity musical productions as well as essential after school arts programs providing students with the opportunity to interact with theatre professionals. The awards show also featured a performance by Broadway leading man Hugh Panaro, as well as students from Junior High School 278, Marine Park,Brooklyn.

The evening was well attended making it a win-win for an organization that has brought live theatre to over 30,000 students in 85 schools throughout the five boroughs, along with Westchester, Long Island and Northern new Jersey. It is spear-headed by Executive Director Michael Presser.

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NUNSENSE

It's Habit Forming!

Reviewed by: Sandi Durell
June 20, 2010

The Little Sisters of Hoboken are back where they started in this 25th anniversary revival of Dan Goggin's celebrated musical "Nunsense." After debuting as a cabaret show in Greenwich Village, it transferred to the Cherry Lane Theatre in 1985 where it currently has been reinstated as part of the Heritage Series. After a good ol' Mt. St. Helen's cheer, the impertinent, irreplaceable nuns are, once again, up to their antics of putting on a benefit to bury the four remaining sisters, from the original 52 who fell over dead into their soup, poisoned by Sister Julia, Child of God, while these five were off playing Bingo. The four deceased sisters are currently stuffed in a freezer awaiting their final resting place.

The fun and games are continuous as Reverend Mother Mary Regina (Bonnie Lee), Sister Mary Hubert (Bambi Jones), Sister Robert Anne (Maria Montana), Sister Mary Leo (Stephanie Wahl) and Sister Mary Amnesia ( Jeanne Tinker) provide vignettes of laughter and musical numbers, religious irreverence and everything the convent wit might, or might not, allow in this two hour romp. The scene stealer is Sr. Mary Amnesia whose priceless expressions of angst border between constipation and loonie-bird, trying to recall who she is. Occasionally, there's a feeling of this is old hat and dated, but the nostalgia of the clever creativeness seems to win one back to just sit back, enjoy and chuckle.

Whether the Sisters are describing the Leper colony and poor Rose who lost her nose in "A Difficult Transition" or Sr. Robert Anne is tired of "Playing Second Fiddle" in a long lyric list punctuated with a "kiss your ass-pirations goodbye." The nuns "Tackle That Temptation with a Time Step," in glowing bright colored tap shoes. There's something for everyone especially if you grew up Catholic, including St. Christopher Medals on a correct answer during audience participation.

Dan Goggin directs "Nunsense," which has had numerous reincarnations throughout the many years – "Nunsense A-Men!" "Nunsensation," "Meshuggah-Nuns"and more. Several seasoned actresses, including Rue McClanahan, Phyllis Diller, Kaye Ballard, Darlene Love and Sally Struthers have donned habits and joined the fold. Angelina Fiordellisi, artistic director at Cherry Lane Theatre, hopes this run will help the little theatre whose financing is down over 40%. Goggin has donated the set, his directing and playwriting fees.

This is a piece of theater nostalgia that will, most likely, live on forever.

Cherry Lane Theatre, Commerce Street, NYC through July 18th. Telecharge:
212 239-6200 www.cherrylanetheatre.org

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MICHAEL FEINSTEIN

Returns to His Namesake In "Cool Swing"

Reviewed by: Sandi Durell
June 16, 2010

I must start out by saying I am a dyed-in-the-wool BIG fan of Michael Feinstein. Perhaps it's not fair for me to be writing a review but I do try to be as unbiased as possible. However, that said, how can one not sit back and just revel in the dreamy-like smooth tones of this five-time Grammy nominated man dubbed "The Ambassador of the Great American Songbook?" His set covered Duke Ellington's "It Don't Mean A Thing." Frank Loesser, who would have celebrated his 100th birthday this June 29th, was remembered with ballad "I Wish I Didn't Love You So" (from The Perils of Pauline) and featured violin jazz great Andy Stein who really knows how to deconstruct a violin bow to elicit sounds usually not heard on this instrument. From Gershwin's "They Can't Take That Away From Me" to bluesy "You're Gonna Hear From Me," (Andre/Dory Previn) Michael swings with the best of them. Feinstein covered the gamut of the greats including Porter's "Just One of Those Things" and a Frankenstein take of Berlin's "Puttin' On The Ritz" with a segue into " Slumming on Park Avenue."

Surprises were the order of the evening, as Feinstein spoke about his new Foundation helping young performers and presenting Annie Yokom, a 17 yr. old high school winner of his Foundation's Midwest competition, invited on stage to sing. She's got the chops and drama for a long career! A $160 million, 3 theatre arts center is being built in Carmel, Indiana where Feinstein will serve as Artistic Director.

Surprise #2 were songwriters Alan and Marilyn Bergman in the audience and Alan Bergman coming up to sing "The Way We Were."

John Oddo was on piano (when Michael wasn't) and is musical director/arranger; David Finck, Bass; Dave Ratajczak, Drums; Aaron Heick, Reeds; Tony Kadleck, Trumpet and Andy Stein, Violin. Poignant encore "One Day At a Time" (Charles deForest) are lyrics to live by: "Words like forever are illusions my friend…Quality time not quantity time will count in the end. . ." Michael Feinstein is appearing at Feinstein's at Loews Regency, NYC thru June 19th.

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SUTTON FOSTER at THE CAFÉ CARLYLE

"An Ingenue of Unlimited Charm"

Reviewed by: Sandi Durell
June 16, 2010

It would be easy to picture Ms.Foster running through the corn fields, long hair flowing, a smile of joy and rapture on her sweet naturally lovely face, or perhaps it's Elizabeth Taylor in "National Velvet," a beauty of innocence and enthusiasm. Now that you've got the picture, think Sutton Foster a little more grown up exuding a charm and also a sassy, sexiness. She musically covered the gamut of her young career that has already garnered her a Tony Award as Millie Dillmount in "Thoroughly Modern Millie," along with multiple Drama Desk and Outer Critics Circle nominations and awards.

Crystalline purity of notes sailed forth from "Not For The Life of Me-NYC-Astonishing" while little sly eye flickers here and there punctuated inner meaning to "Warm All Over." Christine Lavin's "Air Conditioner" is the best interpretation I've heard. Foster had lots of stories to relate about cut song "More to the Story" from "Shrek: The Musical" where she played Princess Fiona and a lot more to show in hilarious "Show Off" (from Drowsy Chaperone) as her dress was removed, falsies tossed to a ringside gentleman as she revealed another dress underneath and lots of clever humor.

She keeps focused in long Broadway runs using Angel Cards; those sweet little cards of inspiration. A word a day can make all the difference. They're kept in two large goblets labeled "PIMP" and "HO." For a little audience humor, someone got to choose a song from several tossed into "HO" that she sang from "The Big Book of REEALLY HIGH BELT SONGS" -- "Defying Gravity" from Wicked. The evening was a compilation of Broadway and standards of smooth, cool jazz "The Late, Late Show" and "Down With Love" with lots of vocal nuance, along with "Sunshine on My Shoulders" and a piece de resistance Sondheim's "Anyone Can Whistle/Being Alive." Foster is an open book of emotions that keep pouring out in a refreshingly, easy going manner. Michael Rafter accompanies on piano and did all the arrangements. Kevin Kuhn is on guitar, banjo and ukulele. Mark Waldrop directed. You'll want to see this debut show at Café Carlyle where Sutton Foster is appearing through June 26th!

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CHRISTINE LAVIN

"Cold Pizza for Breakfast: A Mem-wha??"
Book Signing & Performance at Barnes & Noble

June 7, 2010
Reviewed by: Sandi Durell

If you're a fan of contemporary folk music (and more), you've been following the multi-faceted career of Christine Lavin for quite some time. Her personal memoir is now available and it's not only a fun read about growing up one of 9 children, but details her experiences traveling the country, the world, honing her guitar skills with the great Dave Van Ronk, who had mentored Bob Dylan, working at the famed Caffe Lena coffee house in Saratoga Springs where she waitressed and the inside scoop on the record companies, concert promoters and more. Lavin is a self proclaimed expert in the art of knitting and cooking. She also twirls a baton and was one of the original "Four Bitchin' Babes" for 12 years. Her songs are filled with wit and cleverly spun satirical lyrics.

Barnes & Noble, Lincoln Centre was the venue for the book signing, put together by Bart Greenberg. On hand was WFUV Radio Host John Platt to interview the bubbly Lavin wearing a T-shirt with a pizza and multi-colored sneakers. She talks of life-changing awakenings when she saw Dame Edna in Australia (she saw him 38 times) and how Sutton Foster loved and recorded her New York song "Air Conditioner" which she then sang. Her guest of honor, to whom she devotes a chapter in her book, was the famed songwriter Ervin Drake who wrote 'Good Morning Heartache," It Was A Very Good Year" and "I Believe" among others. Ervin, age 91, regaled with stories of his life, Sinatra, his lovely showgirl wife Edith and quipping, "You don't need the Marines when you have Christine."

Drake sang "It Was A Very Good Year" with special verse written for Tierney Sutton. When she met him, she was upset and said something to the effect that she's over 35, but feels she has nothing left to look forward to in between that and the autumn of my years! And so he wrote:
"When I was 52, it was a very good year, it was a very good year for traveling the globe on supersonic wings, seeing everything in a worldwide view, when I was 52." Drake then unveiled, for the first time, his most recent addition to the song -- "When I was 89 it was a very good year, it was a very good year to live the life of one constant fling, Sinatra's ring-a-ding-ding, Jack Daniels instead of red wine, when I was 89." (Yes folks, you're reading it here for the very first time!) Ever popular and sought after Tedd Firth accompanied on piano with Steve Doyle on bass.

Christine Lavin is the author of famed song "Amoeba Hop" which became a children's book. Her songs are life-affirming, filled with heart, her words sincere and real. She'll make you laugh, cry and think and so will this mem-wha!







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THE ADVENTURES of HERSHELE OSTROPOLYER

Folksbeine-National Yiddish Theatre

June 2010
Reviewed by: Sandi Durell

The Baruch Performing Arts Center is currently home to this current one-act musical production. It's theater in the round and although it's in Yiddish, fear not! The English and Russian translations are flashed on the delightfully creative scenic design and easily readable. The National Yiddish Theatre keeps the folk lore of old alive and well. The story line has been changed numerous times as it passes from one generation to the other.

Sit back, relax and laugh out loud as Hershele Ostropoloyer, the wanderer (Mike Burstyn), veteran performer, arrives hungry, tired and in rags to a village where a sweet young couple, Berl (Nimmy Weisbrod) and his love Tspike (Dani Marcus) try to inveigle the rich miser Kalmen (I.W. "Itsy" Firestone) to return Tspike's departed bubbe's (Grandma) gold ring which she pawned while alive. Kalmen's reply is to the point:"Bin Ikh Mir a Soykherl" (I Am a Businessman). Needless to say, things don't work out as planned and it is the clever Hershele who turns the tables on Kalmen as he intricately beats him at his own game with the help of the maid Dvoshe (Daniella Rabbani), everyone's friend Bunim (Shane Bertram Baker) and town policeman, Stanavoy (Edward Furs). Ah, sweet revenge!

It's all a clever little fantasy of a folk tale with a message that is mischievously, comically presented. The klezmer band that accompanies is lithe and enjoyable, the voices, especially lilting soprano Dani Marcus, filled with joy. The actors are all adept in their characters in this generous and genuinely joyful theater piece. Eleanor Reissa adapted, choreographed and directed this delight.

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LEAGUE OF PROFESSIONAL THEATRE WOMEN HOLDS 2010 AWARDS LUNCHEON AT SARDI'S

June 10, 2010
By: Sandi Durell

As a member of LPTW, I was proudly in attendance as the organization honored its own, presenting the Ruth Morley Design Award to Susan Hilferty, Costume Designer responsible for over 300 productions from Broadway to the Bay area and back again as well as internationally. When you think of Ms. Hilferty, think "Wicked," "Sondheim on Sondheim," "Into The Woods" and much more. She is also the Chair of the Department of Design for Stage and Film at NYU's Tisch School of the Arts. She is seen here with member and Broadway producer of "Promises, Promises" Pat Addiss.



In addition, The Lucille Lortel Award was presented to the Queens Company for its innovative productions of classical plays to Artistic Director, Rebecca Patterson. The afternoon was attended by 200 members and guests at Sardi's. LPTW is a non-profit organization committed to promoting visibility and increasing opportunities for women in professional theatre and represents a diversity of women theatre professionals.

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THAT FACE

"One that a mother can love and love!"

Reviewed by: Sandi Durell

Another London import hit is part of the Manhattan Theatre Club's Stage I roster. Dysfunctional family reaches new heights in Polly Stenham's play, written when she was a mere 19 years of age. One must speculate that to write with such intricacies and depths of rage and emotion, it's quite plausible that it's almost autobiographical? Reminiscent of Tennessee Williams and Edward Albee, there isn't one character in this superb play that doesn't evoke a deep reaction. Billed as a dark comedy, I was amazed to hear some twittering hee hee's but for the emotional release they offered from the intensity of the misery, cruelty and bitterness ever-present.

Mia (Cristin Milioti) is away at boarding school and along with her friend the shallow Izzy (Betty Gilpin) have bound, beaten and drugged poor Alice (Maite Alina) with Mia's supply of Mum's Valium in what appears to be some kind of ceremonial ritual. The glee and sinister portrayals are the initial insight into the powerfully depicted outcome of the continuing downward spiraling of a family.

Mother Martha (Laila Robins) is a divorced borderline psychotic drunken pill-popper who has no connection to daughter Mia but is abnormally attached to her 18 year old son Henry (Christopher Abbott). Henry has quit school to take care of Martha (she prefers her children call her Martha) and is asleep in bed with her after another evening of Mum's alcoholic demise. The room is littered with paper, clothing and emotional agony. Hugh (Victor Slezak), ex-husband, living in Hong Kong with his new wife and baby, has been contacted by the boarding school after this brutal incident, and returns to witness Martha's unraveling as he sees Henry dressed in Martha's nightgown and jewelry. One feels sorry for young Henry, a mess of a young man living in co-dependency with his desperate Mum, as his torture-filled rage leaves audiences spinning.

Robins, Abbott and Milioti are excellent in their roles. The play is masterfully directed by Sarah Benson and David Zinn has done a noteworthy job of scenic and costume design. As another dysfunctional family play, this one is at the top of the heap!

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HOUSEWIVES of MANNHEIM

"In the 40's they kept it under wraps!"

Reviewed by: Sandi Durell

It's wartime1944, wives are home awaiting the return of husbands, taking care of their kids, cooking, shopping, cleaning and spending time with the other women whose husbands are also overseas. But then there's a rare one, May, the beautiful, (Pheonix Vaughn) who becomes inspired by a fictional Vermeer painting called "Housewives of Mannheim." The painting is projected on a scrim that opens the play in a well equipped Brooklyn kitchen with a new fridge and gas stove (scenic design by Jessica L. Parks).

The other wives in the building are in and out of May's apartment, including busybody borrower-bargain shopper Alice (Wendy Peace) and the aggressive Billie (Corey Tazmania) who appears to march to her own drummer using language that would make a sailor blush as she plies her trade selling linens. Her husband, a dentist, never got called up and is somewhat of an embarrassment. The latest excitement for the ladies is the new tenant moving into the building, Sophie (Natalie Mosco), an Austrian older woman and former concert pianist, who fled the Nazis and a home in Connecticut.

The theme centers around May's awakening prompted by an uncharacteristic visit to the Metropolitan Museum to see the Vermeer painting, heightening her repressed passions. As an older, wiser woman, Sophie becomes the attractive catalyst that unlocks May's visions and emotions to more than art, music and the possibility of enrolling in college, as May explores the turmoil within herself.

Billie is the erotic expression of the underlying passion that is only acknowledged by May because of an overt push by the bawdy Billie toward new realities. It is all too much for the lovely inhibited May who just wants everything to be the same as it was before her new stirrings. Can life ever be the same after the light bulb shines brightly?

Playwright Alan Brody's characters, I'm told, are based on his life as the little boy, Bobby (May's child) who we never see, and experiences and stories from his childhood. However, it's sometimes difficult to believe May's naivety or that she would become so quickly enamored with Sophie, a mere stranger in their midst, to whom she pours out her heart. Also, no where in the written promotional materials regarding the play is there any slight reference to the actual thematic content which may, or may not, be a decision maker as to whether to see the play.

There's no doubt that Tazmania is the fire that roars throughout this emotionally charged complex play and that each of the ladies turn in fine performances. Suzanne Barabas, the artistic director of the New Jersey Repertory Company, where this play and cast first began, directs with a fine hand. The well suited costumes are by Patricia E. Doherty. "Housewives of Mannheim" runs through June 6th at the 59 East 59th Street Theaters.

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JOHNNY RODGERS

"What A Wonderful World"

Reviewed by: Sandi Durell

What a welcome treat to hear multi-talented Johnny Rodgers at Algonquin's Oak Room! Many performers are referred to as triple threats. Not Rodgers. He's a sextuple threat! Singer, songwriter, folk, pop, country, jazz man. And if that's not enough, let's add brilliant pianist. With boyish good looks and that "aw shucks" demeanor, you just like not only his multi styles but his winning personality.

He chose an eclectic grouping of songs to regale with, as his showmanship kept the audience eagerly anticipating. This Miami boy has traveled extensively performing throughout the country. He was part of Broadway's "Liza's at the Palace" and a recent 2010 Nightlife Award Winner. "Any Place I Hang My Hat Is Home" could be his theme song. He's at ease with himself and his fans. His personal compositions are story songs. "Home to Mendocino" was written while he was in the shower. His Dachshund Maggie makes life simpler and meaningful as did "One More Moment," a song of truth and poignancy written with Lina Koutrakos. Lest we forget, Rodgers has a forceful vocal and rocks on "Birth of the Blues" or Elvis favorite "Jailhouse Rock."

Little known "Huggin' & Chalkin," recorded by Hoagy Carmichael and written by Clarence Leonard Hayes and Kermit Goell is a hoot as it describes a 303 lb. "baby blimp" whose lovers make chalk marks on her as they meet up from opposite directions in colliding ecstasy.

Rodgers has led a charmed and loving life to write (with Richard Barone) the personal heartfelt "The Best of You in Me" as he describes the warmth and affection he feels toward his parents. His lyrics are moving. "What A Wonderful World" will become even more so when Rodgers and his band, perform as "Ambassadors" from Jazz at Lincoln Center and the US Department of Education & Cultural Affairs, as they travel the world making music, bringing workshops, jam sessions and good will to many.

The show is joyous and his band, all nick-named, flow like a cloth of silk. There's "Poppy Sunshine" (Rodgers); bassist Brian Glassman "Mud Man," drummer Danny Mallon "Mad Dog" and guitarist Joe Ravo"Cotton Eye Joe." Don't miss this talented young man and feel-good show!

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PROMISES, PROMISES STARS ARE OUT AND SHINING AT TONY'S DI NAPOLI TO UNVEIL THEIR PORTRAIT

By: Sandi Durell

"Promises, Promises" stars Kristin Chenoweth and Sean Hayes unveiled their portrait by artist Dan May for the "Broadway Wall of Fame" at Tony's Di Napoli Restaurant on May 20, 2010. The ceremony was hosted by Valerie Smaldone and restauranteur Bruce Dimpflmaier. Poster copies will be made, signed by the stars and auctioned off at a future benefit for Broadway Cares/Equity Fights AIDS. Kristin and Sean are two of the sweetest Broadway performers around and have become good friends. The press was out in full bloom. It was a BIG happening with the cast of this hit Broadway show in tow for the festivities. Just adorable!

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MITZI GAYNOR

"Razzle Dazzle! – My Life Behind the Sequins"

Reviewed by: Sandi Durell

If it's Razzle Dazzle show-woman ship you're after, don't miss legendary icon MITZI GAYNOR. Oh what a life it was and is as Mitzi fills our eyes and ears with glittering multimedia, music and memories. It's a one woman tour-de-force from her auspicious Hollywood film career, acclaimed TV specials and personal life. She made her entrance dressed in a sailor suit as Nellie Forbush from her spectacular 1958 movie role in "South Pacific."

Her figure is fab, her face glowing with that cat that just ate the mouse look. She's feisty and show biz real in her reminiscences of her friendship with Ethel Merman, (the woman who told her the dirtiest joke she ever heard) and long time love affair with husband Jack Bean for 52 years who died in 2006. She called him "daddy," he called her "yummy."

Anecdotes and stories just grab and hold as she regales the audience; falling in love with Howard Hughes, tales of co-star Rossano Brazzi on the beach wearing the smallest piece of fabric, and other gems. And she can cook too! Just invite her to dinner and it sounds like she'll tell all!

Her voice was never her major asset as it was her dancing that wowed. Although her vocals are now very frayed, they're secondary to the delightful storytelling and sharing of her life. She reprises many of the endearing South Pacific songs and more. And you won't want to miss the fashion show of gorgeous Bob Mackie gowns (I counted five) as she exits and re-enters wearing something new and dazzling! Musical director/pianist is Ed Czach, orchestrations are by Ovation Award winner Colin R. Freeman (Lorna Luft's Songs My Mother Taught Me) and Helen Hayes Award nominee Nick DeGregorio (42nd Street National Tour), with Paul Kreibich on drums, Gary Nesteruk, keyboard and David Finck, bass. Her performance dates have been extended at Feinstein's at the Loews Regency in NY through May 29th . Give yourself a treat. Go!

See also:

NY Sheet Music Society's Songwriter Series

May 8, 2010

Produced by: Sandi Durell

Gretchen Reinhagen (2010 MAC Award Winner), Steve Ross, Steven Silverstein


Allan Harris, Soara-Joye Ross, Jon Weber


Sandi Durell, Producer & Michael Ogborn

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WHITE'S LIES

What to do when Mom says "I Have Cancer"

Reviewed by: Sandi Durell

Lie! Lie! Lie! It's what Joe White (Tuc Watkins) does best as a womanizing, big city divorce lawyer. A bachelor who has bedded anyone in skirts from the Asian take-out delivery girl to the ditsy lollipop-sucker nurse (all the various women played by Rena Strober), Joe is thrown into a dilemma when Mom (Betty Buckley) announces "I have cancer" and her last wish is to have a grandchild. What to do? What to do?

This is the stuff of pure fluff; a romantic-comedy that allows the audience to sit back, figure it all out and get some laughs. Not a bad thing in this day and age of heavy duty theatre that actually challenges audiences to think!

Solving Joe's conundrum begets what he does best when ex-college girlfriend Barbara (Andrea Grano) arrives at his office to hire him as her divorce lawyer. Just make it up as you go along; create a family! The wheels keep a turnin' as Joe, along with his nebbish associate and long-time friend Alan (Peter Scolari) and gofer Mark "I'm actually a Jr. Assistant" (Jimmy Ray Bennett, who plays multi-roles) aid and abet in a somewhat predictable scheme. It seems that back in those college days when Joe and Barbara did more than study, her lovely young daughter Michelle (Christy Carlson Romano), who could be their "love child," becomes the bright idea to make Mom's wish before dying actually come true. The problem is that Joe falls in love with his "daughter." Hmmm. Now what?

Needless to say, Mom is thrilled to discover she has a ready-made granddaughter. "I feel my cancer getting better." But it's a little more complicated and funny as doors open and close with Joe's girls (Rena Strober) coming and going. Strober is a natural as all the women, slithering here and there. Watkins, hunk that he is, plays typical playboy in perfect harmony. Scolari is herky-jerky hysterical as the nervous partner while Grano, in her disgust with Joe, is ready to throw up, and does, at the realization he is having an affair with Michelle, who is not only lovely to look at, but plays vulnerable so well. Buckley's pragmatic delivery perfects the role of Mom White and zany Bennett, in his multi roles, is a real gem. There are lots of back n' forth scene changes, as Joe's slick high-rise office turns into the local bar, run by Bennett who takes on multi-international characterizations from Mexican to French as the bar owner.

The sleek office setting with inset video screen is a colorful fish tank that becomes the NYC bar backdrops (taxis, bar drinks, hustle & bustle), to the credit and clever design of Robert Andrew Kovach. The comedy is written by Ben Andron who wrote the play based on a friend's real life story. Bob Cline's direction is slick. Lighting is by Solomon Weisbard and sound by Nathan Leigh.

Part Marx Bros. madcap, think of "White's Lies" as two acts of pleasure at New World Stages on West 50th Street, NYC.

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24th ANNUAL MAC AWARDS (2010)

By: Sandi Durell
May 4, 2010

The New York Cabaret Community presented its 24th Annual MAC (Manhattan Association of Cabarets & Clubs) Awards Show on May 4th, 2010 at B.B. Kings to a cheering audience congratulating their own and honoring Leslie Uggams with a Lifetime Achievement Award, presented by her long time friend "Stokes" (Brian Stokes Mitchell). She sang "My Own Morning" from her Tony Award winning performance on Broadway in "Hallelujah Baby." The evening was hosted by Sharon McNight. Peter Leavy, publisher of Cabaret Scenes Magazine received a Board of Directors Award for his many years of support to the community.

Aside from various annoyances that can occur in these circumstances regarding seating and service, the evening proceeded on a high note as various presenters including Mario Cantone, Adam Feldman from Time Out, Karen Mason, David Friedman, Lee Roy Reams and others opened the envelopes to reveal the winners.

Some of the categories and winners included: Celebrity Artist -- Marilyn Maye; Musical Comedy -- Gretchen Reinhagen for her tribute to Kaye Ballard show; Variety Production & Series -- Richard Skipper & Dana Lorge weekly at the Iguana Lounge; Piano Bar Entertainer -- Jerry Scott; Director -- Lennie Watts; Musical Director -- Tracy Stark; Major Recording -- Daryl Sherman; Jazz Vocalist -- Mary Foster Conklin; Major Artist -- Baby Jane Dexter; Male Vocalist -- Hector Coris; Female Vocalist -- Anne Steele and others.
As always, there are many surprises in winning choices which sometimes amounts to a popularity contest and how many friends one has in the community as it is the membership who votes. I guess it's similar to many Awards!

Many superb artists performed including: Eric Comstock & Barbara Fasano and crowd pleaser Peggy Lee impersonator Chuck Sweeney. The most unique and endearing part of the evening occurred when many of the folks we meet at the clubs who are the wait staff, lighting and tech personnel, performed specialty number "Shine The Light". They are an extremely talented bunch behind the scenes. Tonight they were recognized for their own creative and high level of performance skills including Lisa and Tom from the Metropolitan Room and Randy at Don't Tell Mama.

Congratulations to all the Nominees and Winners!

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55TH ANNUAL DRAMA DESK AWARDS
NOMINATIONS ANNOUNCED AT NY FRIARS CLUB

By: Sandi Durell
May 3, 2010 Excitement mounted as Brian Stokes Mitchell and Cady Huffman took center stage at the NY Friars Club on May 3, 2010 at 9:30 a.m. to announce the various contenders in 28 different categories of achievement in theatre on Broadway, Off-Broadway and Off-Off Broadway. In addition, Drama Desk will present an Award to Outstanding Ensemble Performances and a Special Award to recognize significant contribution to theatre.

"Stokes," as he likes to be called, is the current President of The Actors Fund, and a Drama Desk and Tony Award Winner. Ms. Huffman is a Drama Desk Winner and won a Tony Award for her role as i>Ulla in the Broadway production of "The Producers" in addition to multiple stage, film and TV credits.

The Drama Desk Awards is presided over by William Wolf, President, Barbara Siegel, Chairperson of the Nominating Committee, Robert R. Blume, Executive Producer of the Awards ceremony and Randie Levine-Miller, Director of Special Events.

The Awards ceremony will be held on May 23rd hosted by Patti Lupone at LaGuardia Concert Hall. The pre-show reception will be hosted by "Mind The Art Entertainment and VIP post show party will take place at Brian and Carrie Packin's plush, new upscale 48 Lounge.

From the various outstanding nominees announced, there's no doubt it will be a very exciting Drama Desk Award evening! Tickets are available by calling Ovation Tickets
1-866-811-4111 Information: www.dramadesk.com

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LA CAGE AUX FOLLES

"Less is Oftentimes More"

Reviewed by: Sandi Durell
April 27, 2010

At first impression, this third Broadway production of "La Cage Aux Folles," the original 1983, the first revival in 2005, gives the appearance that the producers were thinking economy, economy…can't be too showy. When the seedy looking, worn out lot of six Cagelles (the drag queens at the Nightclub played by Nick Adams, Logan Keslar, Sean Patrick Doyle, Nicholas Cunningham, Terry Lavell, Sean A. Carmon) slither droopingly, costumes and hair awry through "We Are What We Are," it is evident this has nothing to do with money. It's similar to the nightclub scene in "Cabaret"- - "everything is beautiful." And so everything is an illusion. This tone-downed cleverly conceived version is smaller but reeks of the old adage less is more.

The story line is simple. . . well, not that simple. It's all about dysfunctional families which seem to be a seasonal mantra (Addams Family!). Georges (Kelsey Grammer) is the nightclub owner who has been in a long time loving, gay relationship with Albin, known as the performer Zaza (played by Douglas Hodge, from the London Menier Chocolate Factory production). Georges has a son, Jean-Michel (A.J. Shively) who announces he's getting married. Albin's response: "Where did we go wrong?"

Jean-Michel is in love with Anne (Elena Shaddow), the daughter of a very right wing government minister M. Dindon (Fred Applegate) who not only espouses family values, but whose mission is to shut down transsexual clubs. The plan is that Anne, her father and mother (Veanne Cox) are coming for an overnight visit. Not only must the apartment, filled with sexual artifacts, be redecorated and it is with lots of religious items, but Albin must also vacate…he's just too effeminate. Difficulties arise as Georges tries to tell Albin the truth. From there, it's non-stop mayhem.

Heart rendering first act closer "I Am What I Am" sends a chill throughout the audience as Albin, gravely voiced, painfully expresses his anthem message. Grammer is an unruffled counterpart to Hodges' hysteria and has a surprisingly likeable baritone ("Look Over There"). Robin de Jesus plays Jacob, Zaza's assistant-butler-maid prancing around in various outfits as the comic-relief extraordinaire. Lest we forget, there are numerous laugh lines throughout mostly due to Hodges outstanding performance. The interplay between Grammer and Hodges is reminiscent of the delicate balance and intricacies of feelings all couples deal with in long relationships, but perhaps with greater difficulties in their gay showbiz world.

Christine Andreas is Jacqueline, owner of the restaurant Chez Jacqueline, who gets to show off her glorious soprano voice all too infrequently.

And the Cagelles. . . are fabulous! The dance routines are an athletic, raunchy, racy aerobic workout at every turn all to the credit of choreographer Lynne Page. Costuming by Matthew Wright is shabby chic grand with wigs and makeup by Richard Mawbey. Set designer Tim Shortall has created a feeling that the theatre is one large St. Tropez Nightclub. The creative direction is all to the credit of Terry Johnson. "La Cage" is one of the season's top musicals.

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BROADWAY’S 2010 EASTER BONNET

"BCEFA Raises over $3 Million"

Reviewed by: Sandi Durell
April 27, 2010

It is 24 years since the first Easter Bonnet took place in the basement of the Palace Theatre and raised $1,200. Now, in 2010, over 300 shows on Broadway, Off-Broadway and touring have raised a remarkable $3,265,700!

The Gaga themed opening introduced 106 year old former Ziegfeld showgirl Doris Eaton Travis, as Queen Bunny in her Basket of Egg-mobile. From there on it was non-stop stars and entertainment starting with Jan Maxwell and Dylan Baker, Corbin Bleu and Michael Urie, Chad Kimball and Constantine Maroulis and presenters Bebe Neuwirth, Nathan Lane and Catherine Zeta-Jones.

The funnies flew as they roasted and toasted the obvious: Michael Feinstein & Dame Edna, Sarah Palin (she gets the most free press of anyone), even Stephen Sondheim. The three young kids from South Pacific had their fair share of zingers reading what they learned being on Broadway, including: "You don't have to be gay to work here, but you do have to be fabulous!"

The special material presented by the various Broadway companies and bonnets made by the cast and crews didn't seem quite as elaborate as previous years, but many were memorable, like Jim Brochu currently starring in his one man show "Zero Hour" who, with the help of other performers did a parody of "Tradition" while building a creative bonnet from a black hat while performing.

A special tribute to the West Virginia coal miners who perished was presented by the cast of "Billy Elliot," while the cast of "Next Fall"did an imitation of their producer Elton John to parodied "Don't Let the Sun Go Down on Me" with a more risqué lyric. Funny man Leslie Jordan (My Trip Down the Pink Carpet), wearing a giant pink top hat with netting, told the story of how his Army Dad (they lived in Tennessee) went searching for a bride doll for him at Christmas when he was 3 years old and when it was given to him, he was so excited that all he could do was squat on the floor and pee.

"Memphis" performed a ballet version of "The Hurt Locker" called "Love Terrorists," with cast members in camo outfits, their bonnet a bomb that exploded into a heart. Yes, if all the terrorists could only be taught to love instead of hate. . .

The winning bonnet came from "Fela" and "Wicked" scored big as the largest fundraiser.

BCEFA. . . Congratulations! You've come a long way since those days in the Palace Theatre basement!

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PROMISES, PROMISES

"Promises Kept in a 'Mad' World"

Reviewed by: Sandi Durell
April 25, 2010

The married men at Consolidated Life, the corporate environment 1962, where Promises, Promises is set, are the bad boys of yesteryear looking for a little on-the-side romance. The guy production numbers are certainly energetic as they play leap frog and perform cart wheels all in skinny business suits and hats, while the secretaries roll their coat racks and moving desks in an athletic opening number to cheers and applause.

But it's schlemiel CC (Chuck) Baxter (Sean Hayes), rising young executive, who has the key! Literally, it's the key to his West 67th Street, $86.50 a month apartment. If he wants to rise to the top of the ladder, it is his key to success, as promises of advancement are made by the execs Dobitch (an ever funny Brooks Ashmanskas), Kirkeby (Peter Benson), Eichelberger (Sean Martin Hingston) and Vanderhof (Ken Land) for the use of his bachelor pad, imploring him in "Where Can You Take a Girl." Baxter is smitten with Fran Kubelik (Kristin Chenoweth) who runs the Executive dining room, but unbeknownst to Baxter, is having an affair with the leader of the pack, head of Personnel, JD Sheldrake (Tony Goldwyn) who turns in a winning performance.

This revival, 40 years later, is based on the 1968 Bacharach/David/Neil Simon musical adaptation of the extremely funny 1960 film The Apartment starring Jack Lemmon and Shirley MacLaine. Times have changed but since TV's "Mad Men" hit like a lightening bolt, everything 60's is in vogue again

The big surprise here is Sean Hayes who is known for his comic inventiveness on TV's Will and Grace. He's taken to the Broadway stage as though he was born there. In fact, he's never off stage for more than a few minutes carrying most of the laugh lines (which are plentiful) with his audience asides, well-timed humorous takes, that enhance what might otherwise fall flat, and he also has a pretty decent singing voice.

Chenoweth, of Wicked fame, had to tone down her glorious soprano voice into a more mature sounding register in keeping with the character, somewhat reinvented here from the more unsophisticated Fran, which sometimes works and other times feels as if she's being restrained. Chenoweth has been given additional songs added to this score "A House Is Not a Home" and "I Say a Little Prayer" which she delivers with great style.

The show stealer, however, is the delicious, owl feather caped Katie Finneran who plays barfly Marge MacDougall, whom Baxter picks up during a drunken binge when his romantic dreams are dashed learning that sweet little ole Miss Kubelick is playing footsies with Mr. Sheldrake. Finneran is not only hysterical and has great lines and delivery, but is like a rubber doll bending and moving with Hayes atop the bar in showstopper "A Fact Can Be a Beautiful Thing."

Good performances are turned in by Dr. Dreyfuss (Dick Latessa) who lives next door to the comings and goings in Baxter's apartment, along with the ladies of "Turkey Lurkey Time" Megan Sikora, Mayumi Miguel and Cameron Adams all to the credit of director-choreographer Rob Ashford.

Is Promises, Promises a perfect rendering? No, and I'm sure one could nit-pick away and they will. However, it's Bacharach/David's terrific music, lots of good laughs and a show the entire family can enjoy!

The supporting cast deserves kudos along with scenic designer, Scott Pask; costumes by Bruce Pask; lighting Donald Holder; music director Phil Reno; wigs and hair Tom Watson and sound Brian Ronan. Promises, Promises is running at the Broadway Theatre at West 51st Street, NYC

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CLOSER THAN EVER

"29th Anniversary of Malty & Shire's Musical Revue"

Reviewed by: Sandi Durell
April 17, 2010

Cast: Lynn Wintersteller, Sal Viviano, Sally Mayes, George Dvorsky with David Shire & Richard Maltby, Jr.

Queens Theatre in the Park in Flushing, NY is home to the revival of this musical revue first performed 20 years ago. The observations of Richard Maltby, Jr. and David Shire are as fresh and pertinent as ever with a little tweaking here and there. Songs based on life's stories – sad, witty, contemplative, reflections on marriage, divorce, loneliness, parents, children, friendships, lovers, growing old – stories about everyday people living everyday lives, many topics that go unacknowledged by songwriters.

There is no theme, no patter, but each vignette of song is its own story. The set contains a platform on which musical director Patrick Brady (part of the original production) plays along with bassist, Bob Renino, and a series of various size doors hung as a backdrop along with two free standing doors through which the performers come and go, open and close.

Two of the original cast members, Sally Mayes and Lynn Wintersteller, have been paired with Sal Viviano and George Dvorksy, all veteran Broadway performers with resounding voices and superior performing skills. One must listen closely to the intricacies of words to understand the poignancy of each song. Humorous and telltaling "The Bear, The Tiger, The Hamster and The Mole," sung by a female biologist (Wintersteller), revolves around sex among the various species and resolves with the oyster who fertilizes herself and other species who kiss their mates goodbye and raise their offspring alone. Mayes has ownership to "Miss Byrd" as the bespeckled realtor who 20 minutes ago was nude in bed with the superintendent in the basement apartment. Nobody does it better!

Newly added "Dating Again" is the story of 4 people who are single again, their fears, the pitfalls and pleasures of being back in the singles scene – let's dance! Fitness craze "There's Nothing Like It" (all in warm up jackets, jogging) seems funnier and more meaningful. How we wish we were you, watching us! "Next Time/Wouldn't Go Back" is the sorrowful story of lost love, resolution to succeed next time, but with it all probably wouldn't change a thing.

With some nice choreographic moves "Three Friends" go from college through life together but as time goes by, relationships change. Young couple's busy careers humorously leave their baby unattended in "Fandango." "Never There" is a witty rendering on a serious matter – the husband who was never there, symbolically.
In "March of Time" we face the inevitable – cellulite, a prostate; the poignant sweetness of life's heritage is reflected in "Fathers of Fathers."

The title song sums it up as we look at where we are, what we've learned, the pain we've experienced. . .the doors that we have opened or closed; the doors that make us stronger than ever, clearer than ever. . .Closer Than Ever.

The revue is directed by Richard Maltby, Jr. along with co-director and musical staging by Kurt Stamm.

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LANGSTON in HARLEM

"Hold fast to dreams. . ."

Reviewed by: Sandi Durell
April 15, 2010

Langston Hughes was one of the earliest innovators of the new literary art form, jazz poetry. Hughes is best-known for his work during the Harlem Renaissance and for what he wrote about it. Yes, "Harlem was in vogue." Hughes was a thinker and political activist whose desire was to raise the bar for African Americans. This musical, based on his poetry, is his astute observations of human events. It is a collaboration that began with Walter Marks, who wrote book and music, (best known for the song "I've Gotta Be Me") and Kent Gash (book and director). Together, they have brought to life Langston's words "My people, storytellers all."

The small black box theatre of Urban Stages somehow squeezes a cast of 12 singer-dancers onto the sparse stage that comes to life with a superbly talented cast and minimal sets.Langston's DREAM, the word projected on the walls, is the bold story of his friends and writer Zora Neale Hurston (Kenita Miller)and Countee Cullen (Jordan Barbour), and his frustrations encountering the racial divide, lack of jobs, "it's easier to get dope than a job," police brutality and his own homosexuality. His first book, "The Weary Blues" is reviewed as the words of "a brilliant 3 year old…a naïve colored man-child." However, it garners him a rich patron, Mrs. Poindexter, a white woman, played by Francesca Harper, an African-American, who tells Hughes " You will change the face of American Poetry" to which he answers "at least I'll change the complexion." Josh Tower plays the impassioned Hughes who is rarely absent from the stage during this 2 hour remarkable production.

Mrs. Hughes (Gayle Turner)'s rich "Crystal Stair" reminds her son that life is tough when Langston wants it now! Hughes' poetry is insightfully and sensitively presented in a series of songs and choreography that range from blues to gospel, jazz and swing, and bordering on rhythmic hip-hop. Striking voices cry out on "Havana Dreams," Zora's intense "The Sweet Flypaper of Life" and the women's "The Negro Mother." Incredible dance skills enhance swing to Charleston and ethnic Afro beats. Older hoofer, Simple,(Glenn Turner) is elegantly portrayed in an easy soft shoe "Dancer", all to the credit of Byron Easley, choreographer. "Troubled Water" is memorable as Langston meets his sailor-lover, acknowledging his sexual preferences.

There is a powerful hatred that emerges in Hughes' character, anger at society when the dream is deferred as he turns to Communism. "The Gospel According to Madam (C. Kelly Wright), all three verses, reflects the hardships and weariness of blacks, culminating in the emotionally stirring third verse between Madam and Langston at the death of their friend Simple. In spite of the hardships, the song reflects the deep and lasting chant I'm still here. For a riveting look at Hughes and life, get thee to Urban Stages!

Scenic design is by Emily Beck with lighting by William H. Grant III and costumes by Austin K. Sanderson. Sound is by Jason Fitzgerald and projection design by Alex Koch. The music is produced by Barry Levitt with orchestrations by Steve Cohen and musical direction by John DiPinto. "Langston in Harlem" runs thru May 2nd. Urban Stages: 212 868-4444 or www.smarttix.com.

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THE ADDAMS FAMILY

"A Macabre family lives in Central Park!"

Reviewed by: Sandi Durell
April 9, 2010

Alas the long anticipated $16 million dollar musical opened on Broadway, and lo and behold…The Addams Family are living right here, smack dab in the middle of Central Park! Well, there has to be a story line and a setting. But, oh dear, give me a break. Sometimes things should be left just as they were meant to be: a cartoon and, well all right, the long running 1960's TV series worked too.

Try as they may, the assembled cast of notable talents, including Nathan Lane (Gomez) sporting a Spanish accent (?) and his deadpan sexy wife Bebe Neuwirth (Morticia), can't fit a square peg into a round hole even with consultant Jerry Zaks working overtime trying to create a new erector set.

With the opening "Da Da Da Dum – Snap, Snap"( the audience is snapping), the eerie graveyard setting from whence the Addams ancestors emerge (bedecked mummy-like), raises one's hopes at the prospect that maybe something exciting is about to unfold. Unfortunately, it doesn't.

It appears that teenage daughter Wednesday (Krysta Rodriguez) has strayed from the family tradition of abnormal by falling in love with Lucas Beineke (Wesley Taylor), just a regular guy from Ohio. So the Beineke family, including Lucas and his Mom, Alice (Carolee Carmello) and Dad, Mal (Terrence Mann) have been invited to dinner at the Addams' mansion.

The rest of the weird Addams clan includes little brother Pugsley (Adam Riegler),Granny (Jackie Hoffman) a caustic hoot, Uncle Fester (Kevin Chamberlin) who's in love with the moon, and Lurch (Zachary James). We know things are amiss when Mal Beineke asks "What is this, some kinda theme park?"

Most of what unfolds appears to be uninspired vignettes out of which songs appear. The plot is thin, to say the least, but there are highlights. The dinner where tradition calls for "Full Disclosure" unleashes a series of events that loosen up the Beinekes from their conventional behavior. Uncle Fester's moon obsession has him flying through the air in "The Moon and Me" (all to the creative design credit of Phelim McDermott and Julian Crouch, who also directed). Puppeteer Basil Twist is responsible for the giant squid Bernice and the animated curtain tassel.

Lane is brilliant, as is Chamberlin and Hoffman. Rodriquez sings beautifully as does Carmello but Andrew Lippa's music and lyrics just aren't inspirational.

The book is by Marshall Brickman and Rick Elice, who gave it a good try based on the original characters created by Charles Addams, and choreography is by Sergio Trujillo.

For cult fans who must see The Addams Family. . .enter at your own risk! The musical runs at the Lunt-Fontanne Theater.

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LEND ME A TENOR

"Five doors of belly laughs"

Reviewed by: Sandi Durell
April 5, 2010

Stanley Tucci's directorial debut of Ken Ludwig's "Lend Me a Tenor" at the Music Box Theatre, provides all the farcical belly laughs it can muster in this first Broadway revival. Is it all perfectly cast? No, but bottom line – who cares!

When Italian opera singer Tito Merelli (Anthony LaPaglia) arrives at his Cleveland, Ohio hotel suite set in 1934 for a one-nighter at a small community theater gala, he is obviously suffering from the effects of over-eating and drinking, dealing with his temperamental wife Maria (Jan Maxwell) and in no condition to be swept away to rehearsal by the local producer Saunders (Tony Shaloub). Maria and Tito are at each other – "Shut uppa"…"Shut uppa yourself."

What ensues is a series of hilarious and well engineered door openings and closings, a hide and seek reminiscent of the Marx Bros., as Tito is pursued by Saunders' cutesy, kewpie doll daughter Maggie (Mary Catherine Garrison), the sexy slinky ingénue Diana (Jennifer Laura Thompson), the champagne toting "I can sing too" bellhop (Jay Klaitz) and the less believable crowned and silver sequined grand dame board chairperson Julia (Brooke Adams) who asks "How do I look?" to Saunders response "Like the Chrysler Bldg."

But it's poor Max (Justin Bartha), the nebbish aspiring opera singer-assistant to Saunders, who's left to sort out the mess when Tito takes too many pills and too much liquor, leaving him comatose and taken for dead. However, prior to this, Tito had offered Max some loosening up voice lessons that looked similar to a heebie jeebie dance –like routine leaving Max feeling more secure in his abilities. What to do? Othello (in pantaloons and black face) must somehow go on as the new Max dons costume and makeup.

Mistaken identities? Somewhat difficult to imagine what with LaPaglia's large frame, and Bartha more diminutive, but somehow it works and the laughs keep coming as Tito eventually awakens, gets into costume and zany silliness becomes the order of the day. There are lots of guffaw one-liners and clever takes throughout. What's amazing is the perfectly synchronized comings and goings of the cast in and out of the five doors (set designer John Lee Beatty). And, yes, there are also bubbles and a happy ending!

Clever curtain calls are achieved in approximately 2 minutes in a mini-mimed accounting of the entire play. Costumes of the 1930's are deftly accomplished including lavish fur trimmings by Martin Pakledinaz. Stanley Tucci, actor now Broadway director, has made a lasting impression. This is a definite go-see!

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LESLIE UGGAMS

"Uptown Downtown"

Reviewed by: Sandi Durell
April 1, 2010

"I finally made it to the Carlyle. It's my first official New York soiree in 18 years," Leslie, what took you so long? Slim, trim and looking many years younger than her age, Uggams cleverly gave an insightful birds eye view of her musical career, starting at age 9 at the Apollo Theatre in Harlem (that's the Uptown section) to her Tony Award winning performance in Broadway's 1967 Hallelujah Baby! (the Downtown section).

Within this intelligent theme, she manages to pay tribute to the many legends with whom she worked during her Uptown days: Louis "Satchmo" Armstrong ("Lazy River"); the incredible Ella Fitzgerald ("A-Tisket, A-Tasket), who thought Uggams was too skinny, and the Queen of the Blues, Dinah Washington ("I Wanna Be Around") who had 8 husbands. All in all, Uggams has worked with the icons of jazz, rhythm and blues, so it's no wonder she expresses herself brilliantly on "Born in a Trunk" elaborating on her childhood about winning every Amateur Nite contest singing "On The Sunny Side of the Street" and then giving 29 performances a week at the Apollo.

Reminiscing her downtown days in "Hallelujah Baby!" gave rise to the beautiful "My Own Morning" and "Being Good." A soulful, power-filled "If He Walked Into My Life" followed a soaring "I Got Plenty of Nothin'." Having worked with Little Anthony, The Five Satins and many more 50's groups, Uggams presented "Up on the Roof," accompanied by guitar only, as a reflective ballad with such visual intensity, I felt I was right on that roof with her. "Hello Young Lovers" was performed to drums only in a fast and fine rendition.

Ms. Uggams has seemingly boundless energy and is frequently lost in the passion of what she is singing. A glimpse of what's to come was offered up in "Stormy Weather" also the title of the new musical slated for Broadway in which she plays Lena Horne. The power of her delivery elicited cheers and standing ovations.

Leslie Uggams is a show biz icon with the ability to grab and not let go as she soars in musical delight. She is accompanied by brilliant musical director/pianist Don Rebic, with Aaron Heick on woodwinds; Steve Bargonetti on guitar; Ray Kilday on bass and Buddy Williams on drums. Her show continues at the Café Carlyle thru April 17th.

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Lyrics & Lyricists at the 92nd Street Y

"Fred & Ginger in so Many Words"
The Astaire-Rogers Songbook

Reviewed by: Sandi Durell
March 2010

Iconic songs to delight the soul and caress the eyes and ears are the essence of everything Fred Astaire and Ginger Rogers. A revue in two acts brought smiles and warmth to a welcoming audience, some mouthing lyrics to many of the songs.

Assembling some of the American Songbook's top performance interpreters such as Debby Boone, David Elder, James Naughton, Billy Stritch and Karen Ziemba was the wisdom of Artistic Director Deborah Grace Winer.

Just "Let Yourself Go" cried the talented cast in an evening of musical memories that included incandescent songs from the grand era of the silver screen; songs that were painstakingly crafted by America's finest songwriters – Irving Berlin ("It Only Happens When I Dance With You") beautifully interpreted by Ziemba and Elder in song and dance and bossa style "Let's Face The Music and Dance" by jazz crooner Stritch. "Be Careful, It's My Heart" gave opportunity to guitar legend Bucky Pizzarelli for sole accompaniment to a simply styled vocal for Boone.

Let us not forget the grandeur of the Gershwin brothers "They All Laughed" or the beautiful Burton Lane/Alan Jay Lerner ballad "Too Late Now" from the film Royal Wedding sung by Tony Award winner James Naughton. The brilliance of the lyrics of Dorothy Fields ("A Fine Romance") presented an opportunity for a coy, harmonic duet by Boone & Stritch. David Elder, Broadway song and dance man, performed a rip-roarin' tap dance with Karen Ziemba on the little known Mercer/Borne "(I Ain't Hep To That Step But I'll) Dig It" from the film Second Chorus (1940).

The closing "Dancing Songs" Medley, with full cast, presented the heart of the Fred & Ginger films (The Continental, Change Partners, Top Hat, Carioca, Cheek to Cheek) and would have been better served as a segue from song to song, rather than a stop-start.

Musical Direction and piano was by the versatile and talented John Oddo, musical director/arranger to Rosemary Clooney for over 18 years, along with some of New York's top musicians. The evening was directed by Mark Waldrop and Caitlin Carter.

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THE SCOTTSBORO BOYS

An American Controversy Set to Music

Reviewed by: Sandi Durell
March 19, 2010

A travesty of monumental proportions occurred in the South in 1931 when a group of African-American boys, riding the rails, were accused of a horrific crime, provoking outrage heard for years to come and launching the American Civil Rights movement. In fact, the fury also sparked the songwriting team of John Kander and Fred Ebb ("Chicago," "Cabaret"), along with book writer David Thompson, to write a musical about the bigotry and gross miscarriage of justice that took place in Alabama. When Ebb died in 2004, Kander continued the enterprise.

When nine black youths are accused of raping two white girls, justice has no place in the deep South of the '30s. It's a fait accompli that black equals guilty. Using a format of a show within a show, the framework is minstrel as opposed to "Chicago's" vaudevillian configuration.

Colman Domingo (Mr. Bones) and Forrest McClendon (Mr. Tambo) play the caricature law enforcement, leading a brilliant cast in a variety of roles including white men as well as the two "po'white trash" girls, played by Christian Dante White and Sean Bradford. Brandon Victor Dixon gives an outstanding performance as the illiterate, I'm- not-gonna-take-it-anymore Haywood Patterson, grabbing the spotlight with "You Can't Do Me." The "Interlocutor" (John Cullum) is the only Caucasian in the cast, who is lost in a Southern reverie as Master of Ceremonies.

The musical score is a potpourri of jazz, gospel and cakewalk. Resentment and accusations reign throughout much of the dialogue and melodic musical numbers, through a gauze of cartoonishness.

In the jail scenes, "Electric Chair" becomes all too authentic when the youngest member of the incarcerated bunch, Cody Ryan Wise (Eugene Williams), a 13 year old joy-riding the rails, sees his own death as he sizzles, with brilliant direction and choreography by Susan Stroman, not only in this scene but throughout the production. Clever use of a sheet and lighting provide the eerie shadows to Haywood, Willie (Kendrick Jones) and the Boys in "Make Friends with the Truth," all to the credit of Beowulf Boritt, scenic designer, Kevin Adams, lighting designer, and sound designer Peter Hylenski.

The white folk scream for justice – hang 'em! The system moves slowly as the boys experience life in the cramped quarters of a jail constructed with stackable-moveable silver chairs (the minimalist set design used throughout), until a ruling from a higher court announces the Boys didn't have a proper lawyer, giving them a second chance. In reality, it's the Communist Party who hires New York lawyer Samuel Leibowitz (played by Forrest McClendon) to represent the Scottsboro Boys. He succeeds in the release of four of the group.

"Financial Advice" reeks of the anti-Semitism and bigotry of the time, and is especially offensive. It references Leibowitz as "Schlomo" Leibowitz, his cook named Aunt Jemima, and having bought a change in testimony from Ruby Bates with "Jew money." Ruby was one of the girls claiming she was raped, who retracts her lie for the truth. Political times as they are, with bigotry ever alive, references like these are iffy at best. And the verdict was still…guilty!

The sensitive subject matter seems too infused with appalling realities to even conceptualize as a musical. "The Scottsboro Boys" is not a theme for all palettes but it is a piece of theater that is daring, new with unique satire, lots of clever lyrics and hummable music, and will make good dinner conversation for a long time to come.
My guess is a segue to Broadway.

"The Scottsboro Boys" runs at the Vineyard Theatre, 108 E. 15th St., NYC and is extended till April 18th.

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NEXT FALL

When Religion and Love Collide!

Reviewed by: Sandi Durell
March 15, 2010

With all the wise-cracking one-liners that open Geoffrey Naufft's play, "Next Fall," by Arlene (Connie Ray) who is Luke's (Patrick Heusinger) pill-poppin' mama, set in a hospital waiting room, one would think we're in for a rip-roarin' comedy. It's a fast-talking lot that embraces more urgent matters yet to unfold. Luke is in a coma after a taxi accident. Keeping vigil are his lover, Adam (Patrick Breen), friends Holly (Maddie Corman), Brandon (Sean Dugan) and his Dad, Arlene's ex-husband, a bigoted devout Christian, Butch (Cotter Smith).

Adam, an agnostic intellectual working as a frustrated salesman in Holly's candle shop, and Luke, a committed Christian and wannabe actor, have met at a party, fall in love and struggle through difficult times in their gay relationship as scenes move back and forth to their past and the present hospital.

Adam cannot subscribe to Luke's dogmatic belief in religion. Luke prays after they have sex, saying that his sin will be forgiven because of his unrelenting belief in Christ. He desperately wants Adam to believe. Adam dismisses any religion that refers to gay partnerships as sinful. They are at odds throughout and Breen's quick witted lines sometimes bring too much levity to topics that might present as more serious. Does Naufft intentionally want to put this much spin on these issues?

Luke keeps promising he will tell his parents he's gay, but he's too embarrassed to reveal his preferences especially to his homophobic Dad. When Dad drops in on them at their apartment, Luke asks Adam to help him "de-Gay" the place, then leave because Dad won't understand, promising to tell Dad all next fall. When Dad arrives earlier with Adam still in the apartment, Adam serves him tea asking "honey?" Dad's response: "straight is fine."

Arlene and Adam have recognition of the truth at the hospital's Jewish Chapel presenting a special moment of acceptance. There are various references to Jews which elicit laughs (some might say they border on anti-Semitic); Luke: "A Mezzuzah keeps evil spirits out of NY apartments." Arlene at the hospital: "men with hook noses wearing beanies."

A park scene in Act II between Brandon and Adam when Brandon reveals his sexual preferences and non-belief in love for gays, seems to have no real place other than to give Sean Dugan a raison d'etre for a roll in this play. With some clever repartee for Maddie Corman as Holly, she's the glue between the characters but her role is under-utilized.

The play explores all of society's on-going issues: politics, religion and faith, alternative lifestyles and how we perceive all of it. The ending is sad, as you've probably guessed, and there are tears a-plenty.

"Next Fall" is directed by Sheryl Kaller and efficient set design is by Wilson Chin. It is presented by Elton John and David Furnish having first run off-Broadway in a Naked Angels production. The open run is at the Helen Hayes Theater on West 44th Street, NYC.

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NINE

Guido, Guido, Guido...

Westchester Broadway Theatre
Elmsford, New York

Reviewed by: Sandi Durell
March 12, 2010

Guido Contini's mid-life crisis isn't very unusual, unless, of course, you're being chased and haunted by a bevy of beauties all clamoring for love and affection. Ah, poor Guido! Even running off to a Spa in Venice can't calm his inner struggle to act his age...40 as opposed to nine. Based upon Federico Fellini's film classic "8 ½", this Kopit/Yeston musical endeavors to untangle the blocks to his creative film making.

The big surprise is the elaborate production values that flow from the Westchester Broadway Theatre in Elmsford, NY. The production is cleverly directed and choreographed by Jonathan Stahl using much of the original 1982 staging with sets that include large cubes and a long ramp. The cast, some 20+ strong of remarkably talented singers and actors, is also outstanding for the costuming of Michael Bottari and Ronald Case, exact duplications-all black in the first act and all white in the second-adding to the sophistication.

Robert Cuccioli is a mature Guido perfectly suited for the role with his caressing vocals reminiscent of his Tony Award nominated role in the Broadway production of "Jekyll & Hyde." It's a very physical role as he springs up and about the moveable cubes, rolling on the floor and obviously enjoying every moment. His big number "I Can't Make This Movie" does not disappoint. He's still very much the leading man.

Louisa (Glory Crampton) is the patient wife possessing a lovely warm and adaptable voice. Women are constantly in and out of Guido's tormented life especially sex kitten Carla (Julie Tollivar) who is not only physically striking in animal print body suit, but has a sweet vocal quality. Guido's mother is pragmatically played by Emily Zacharias. Movie producer Liliane La Fleur (Dana Moore) struts her stuff in "Folies Bergere." Zach Rand as Young Guido performs seamlessly throughout in his youthful soprano.

A bit unnerving, is "Ti Voglio Bene/Be Italian" which in and of itself is upbeat and fun but uncomfortably performed by Cari Chrisostomou (Sarraghina, Guido's boyhood whore). The suggestive references of the tambourines to the young boys in this production number make for some uneasiness.

"Nine" is one of the theater community's best kept secrets. Westchester Broadway Theater is an Equity theatre located under an hour off the Saw Mill River Parkway. The ticket price of $75 includes a full dinner and a production with values that could rival many shows on Broadway. Seating and sight lines are very comfortable. I have a feeling this high level prevails in most, if not all, of the shows produced at this venue.

Highly recommended! Westchester Broadway Theatre 914 592-2222 www.BroadwayTheatre.com

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LADIES in RETIREMENT

Murder Gothic Style

Reviewed by: Sandi Durell
March 11, 2010

Mikel Sarah Lambert and Burt Grinstead

The title of this play, originally produced on Broadway in 1940, belies the theme. Written by Edward Percy and Reginald Denham, the story is a thriller, with comedic overtones, based on a famous murder in France in the 1880’s. It starred Isabel Elsom as Leonora and again in the movie version in 1941with Ida Lupino as Ellen Creed. Kudos to the Pulse Ensemble Theatre for unearthing this gem in celebration of its 20th season.

The setting is the comfortably arranged living room in a remote country house located near Gravesend in Victorian England where owner, Leonora Fiske (Mikel Sarah Lambert), a financially secure ex-actress, lives with her housekeeper/companion and presumed friend Ellen Creed (Camille Mazurek) and maid Lucy (Ashley Taylor).
Ellen has two maiden eccentric sisters. When she receives a letter from the London house where Emily and Louisa have been living asking her to remove them, she pleads with Leonora to allow them to come for an extended “visit.”

While Ellen goes off to London to fetch her crazy sisters, her rogue nephew Albert Feather (Burt Grinstead) shows up to ask for a few pounds to pay back money he’s “borrowed” from the bank where he works. Instead he is received by Miss Fiske whom he sweet talks into giving him the money from her hiding place, an old baker’s oven that is now under lock and key.

Four months pass living with the sisters and Miss Fiske has reached her boiling point with Louisa who is childlike, chattering endlessly, and Emily, a rebellious woman of unfocused energy littering the house with twigs, dead birds and shells. Leonora has had enough of the chaos and tells Ellen the sisters must leave. In fact, as they have it out, she tells Ellen to leave as well. The following morning the sisters do leave, Ellen and Leonora mend differences, but it is only a ruse as Ellen has already made her final decision to provide for her sisters in this house. Tensions rise as this piercing but humorous thriller unfolds. Murder, murder!


Camille Mazurek, Hanna Hayes, Carol Lambert

Drama Desk nominee Mikel Sarah Lambert as the haughty, indomitable and colorful ex-actress delights. Camille Mazurek is the tension-provoking, pragmatic and cunning Ellen Creed making the audience wonder what lies beneath the surface yet to be discovered. The “canary bird” sisters are played by Hanna Hayes as “Louisa,” a perfect ditsy childlike twitterer, and Carol Lambert as “Emily” whose rigorousness would today elicit the comment “she forgot to take her meds!” Burt Grinstead is outstanding as the slimy “Albert” and makes one want to wash their hands often. Saucy Ashley Taylor is maid “Lucy” and little seen nun “Sister Theresa” is played by Susan Barrrett.

Director Amnon Kabatchnik has cleverly arranged this talented cast in an impressive set designed by Jhanna Gurvich. Costumes by Angela M. Kahler are sometimes lavish, but always effectual. Yes, you’ll guess what might be happening next, but will enjoy the process thoroughly.

“Ladies in Retirement” continues through April 3rd at Theatre 3, 311 West 43rd Street, 3rd Floor, New York City.

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WHEN THE RAIN STOPS FALLING

Decades Can’t Wash Away the Sorrow...and Fish Soup!

Reviewed by: Sandi Durell
March 9, 2010

Will Rogers and Mary Beth Hurt

Michael Siberry

The rain keeps pouring down on the dysfunctional families who maneuver back and forth in time between 2039 (where the play begins) to 1959, transitioning between Australia and England. A roadmap (Family Tree) is provided in the program, a necessary addition, to better understand and keep track of the deaths, disappearances, suicides, abandonments, bitterness, cruelty and unspeakable and suspenseful puzzle as it unfolds in Andrew Bovell's drama that opened at Lincoln Center's Mitzi Newhouse Theater.

Initially, the weak first few scenes make one want to dismiss the play finding it too confusing or 'too intelligent' for mere mortals. But take heart! The unrelenting rain and swishing characters running back and forth with umbrellas, together with a fish that falls from the sky portend the complicated, tragic lives yet to unfold in a brilliant piece of writing.

Gabriel York (Michael Siberry) has just received a call from his son Andrew (Henry Vick) whom he hasn't seen since he, Gabriel, abandoned the family many years prior. As the story moves through 80 years of family history between two continents, the characters reveal themselves in their present day lives and as their younger selves. Older Elizabeth Law (Mary Beth Hurt) is now an alcoholic toughened by the festering wounds her husband Henry Law (Richard Topol) bestowed when his weaknesses let slip as a younger man. "Pleasuring himself" in public didn't seem to affect the Younger Elizabeth Law (Kate Blumberg) as she portrays the 1950's style wife, all forgiving and extremely intelligent. Their son, Gabriel (Will Rogers) abandoned at the age of 7, is 28 years old as he seeks answers to the puzzle over fish soup.

Repetitions of the same fish soup served throughout the span of the family histories and repeated dialogue of "people are drowning in Bangladesh" (because of the unrelenting rain falls) prevail throughout.

Older Gabrielle York (Victoria Clark) pairs nicely with her Younger self (Susan Pourfar) as she attempts to unravel the mystery of her parents' suicide and brother's death, mentally leaving her loving husband Joe Ryan (Rod McLachlan), when her liaison with Gabriel (Will Rogers) ends in a tragic accident and loss of his life. Clark's performance is heart rendering as she disintegrates.

The intricate direction and staging by David Cromer ("Our Town") is nothing less than luminous. The juxta-positioning of the older and younger selves on the same stage at the same time, illuminate the struggle of the past and present.

The slowly revolving stage and sparse sets (David Korins), together with the billowing gloominess of the sky (grey loosely hung fabric) contribute to the distress and murkiness ever present. The atmosphere is enhanced by Tyler Micoleau's lighting, Fitz Patton's sound and Clint Ramos' costumes.

If you're not confused by now, "When the Rain Stops Falling" will titillate your brain.

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MARILYN MAYE

Marvelous Marilyn is "In Love Again"

Reviewed by: Sandi Durell
March 4, 2010

Marilyn Maye has reached the pinnacle of her singing career and is "In Love Again" at Feinstein's at Loews Regency. It's a mutually beneficial relationship that very much includes her audience. Yes, we do love you Marilyn and you have "touched the sky." You shine as an all encompassing entertainer reminiscent of days gone by. References to performance nights at the Copa, El Morocco and The Living Room made for warm memories of the past.

Ms. Maye is the best party-giver I know as she's all inclusive making each and everyone feel personally connected to what she says and sings. From "The Song Is You" and "Today I Love Everybody" intertwining "Old Friends" and "I Love Being Here With You," it's obvious she very much cares and wants us all to be aware of her deep emotional gut that overflows with love of what she does. What she does, is fill an endless ocean with the depth of her abilities to conversationally present each song flawlessly, and fill our hearts and souls with the beauty of music from the greatest songwriters. She is extraordinary in her sharp witted patter flowing effortlessly into a song. Looking sleek in tight black pants and silver sequined overtop, one tends forget that this woman is soon to be celebrating the ripe young age of 82! She has more energy and oomph than most people half her age.

Stories about her past included friend Steve Allen, who wrote over 8,000 songs, and to which we were treated to only two. But she did pick winners...."This Could Be The Start of Something Big" and the song she considers "one of the best love songs ever written" - "I Love You Today" with lyric my heart wants to draw a crowd and sing out loud. Her interpretation was mesmerizing. Seeing old friend Regis Philbin and wife Joy in the audience, she graciously invited him up for a chat about old times including memories of Allen, Louis Nye, Johnny Carson.

"Bye Bye Country Boy" (Blossom Dearie/Jack Segal) was only one example of her storytelling abilities: You've been a joy, a shiny toy. Glad we played your County Fair. . . you came backstage like I knew you'd do. It's a doggone shame our week is through Bye-Bye country boy, sweet shy country boy.

The arrangement her brilliant musical director-pianist Tedd Firth rendered to "Being Alive" was enhanced with opening and closing lyric "I'll Go My Way By Myself..." But the piece de resistance was taking Lionel Richie's "Hello," treating it as a slow bossa, allowing Ms. Maye to overflow with an emotional impact on every breathe, nuance and intonation.

Bluesy "Rich Man" (written by ?) provided a meaningful message to the female gender: Shop around, check and see if he's a rich man, an incredibly wealthy rich man. Of course, a Maye show should include a Cole Porter Medley and it does, featuring some of his best, giving her reason to leave the stage and move through the tables singing to her adoring audience.

Her world class musicians aside from Tedd Firth, included her drummer Jim Eklof with whom she's worked for 48 years, and Tom Hubbard on bass.

Marilyn Maye embraces her age, her audience and remains the finest interpreter of the standards and then some. I only wish there were more adjectives to describe her faultless interpretation, only heightened by her charming warm manner and sincerity. She gives and gives endlessly.

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TIME STANDS STILL

How far do moral obligations reach in humanity and love?

Reviewed by: Sandi Durell
January 29, 2010

When Sarah Goodwin (Laura Linney) returns home to her Brooklyn loft injured and scarred from shrapnel as a photojournalist in the Iraqi warzone, her significant other James Dodd (Brian d'Arcy James), with whom she's been living for the past eight years, appears overly attentive. She is a bitter and complex person not used to being pampered and eager to return to the action. Jamie, a war correspondent himself, is anxious and feeling guilty for leaving the chaos and Sarah, having suffered a breakdown when people blew up around him.

Donald Margulies' latest drama, that sometimes appears as more of a comedy, is a brilliant conflict of morality and deterioration of relationships. Does the person behind the camera have a moral obligation to step away from it in the face of horror and cruelty and come to the aid of the subjects? According to Sarah "the camera reports life, it doesn't change it." Can an eight year relationship survive when two people have suffered unbearable hurts and no longer share common goals?

Tensions grow as long-time, middle-aged friend, Richard (Eric Bogosian) who is also Sarah's former lover, mentor and the photo editor at a magazine that publishes her photos, shows up with a girl half his age. Mandy (Alicia Silverstone), an event planner, has brought balloons and it's evident she isn't exactly a ‘deep' thinker. Emotions and words pour forth as whatever is in her brain is on her tongue, allowing Sarah to remark to Richard "you always wanted a little girl." However, Mandy's shallow appearance is overshadowed, at times, by stunning outbursts of endearing qualities and words of wisdom. As friendships grow and personalities become apparent, Mandy emphatically remarks to Sarah "there's so much beauty; all you see is misery."

As the story continues, Mandy, who is pregnant, and Richard marry while the stress between Sarah and Jamie to follow the same path reach greater proportions. Sarah reveals a love affair with her now deceased interpreter in Iraq, as Jamie divulges that all he wants is to marry Sarah and lead a comfortable life. Sarah, needing the adrenaline of her profession, thinks she can change things by continuing to take pictures of war. Marriage, babies…are just not part of her life's plan.

The opposing needs of Sarah and Jamie along with past events result in the emergence of true feelings of rage, disloyalty and anger and a love that can never be.

Stars Laura Linney and Brian d'Arcy James are consummate actors who approach their roles with sympathy and understanding unearthing the underlying feelings of the complicated characters they portray. Alternatively, Bogosian and Silverstone's characters are easier and fluffier and a good contrast.

This Manhattan Theatre Club production at the Samuel J. Friedman Theatre, is efficiently directed by Daniel Sullivan with scenic design by John Lee Beatty and lighting by Peter Kaczorowski. The two-hours zip by in scenes that include confrontations, secrets revealed, and a push-pull look at the roads people take in search of happiness and fulfillment.

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A VIEW FROM THE BRIDGE

Tragedy in the life of a longshoreman, Greek style!

Reviewed by: Sandi Durell

Was it time for another revival of Arthur Miller's "A View From The Bridge" after the spectacular 1997 production, directed by Michael Mayer, starring Anthony LaPaglia, Allison Janney and the now deceased Brittany Murphy? The answer is an emphatic "YES!" This latest production is by far the finest interpretation to come to the stage, made viable by the understated, intimate direction of Gregory Mosher.

It is the story of a 1950's blue collar Italian family, Eddie Carbone (Liev Schreiber), his wife Beatrice (Jessica Hecht) and her orphaned17 year old niece, Catherine (Scarlett Johansson), all living in a sparsely furnished, shabby apartment in the Red Hook section of Brooklyn. However, family life isn't exactly normal. Eddie is unduly protective of Catherine in more than a paternal manner, as he dotes on her, his face registering a troubled expression that subtlety grows and changes throughout the play, projecting his conflict as he becomes more obsessed. Adding to the tension and tragedy is the neighborhood lawyer Alfieri (Michael Cristofer) who acts as a moderator or one-man Greek Chorus, giving lofty explanations of Eddie's downward spiraling direction.

When Beatrice's two illegal immigrant cousins Marco (Corey Stoll) and Rodolpho (Morgan Spector) arrive from Italy to seek a better life, they move into the small, cramped apartment, the threat of expulsion from the country ever-present, as the jealous Eddie's passionate fury and fixation on Catherine grow to epic and tragic consequences.

Meanwhile, the sheltered Catherine falls in love with the charming, blond Rodolpho whom Eddie complains is "not right" because of his effeminate qualities, i.e. singing, cooking and dress making and whom he says wants Catherine only because it means a green card. Eddie's counsel with Alfieri to see if he has any legal rights is useless as the lawyer tells him the truth, trying to convince Eddie to let Catherine go. It all falls on deaf ears to the emotionally ravaged Eddie.

Schreiber embodies the essence of Carbone's character and because he is such a great actor, every feeling and nuance is written on his face and physicality as the tension grows. Hecht is totally convincing as the wife who is frustrated by the lack of physical contact with her husband in the bedroom, understanding all too well his obsession with Catherine as she tries, unsuccessfully, to bring this awareness to Eddie.

Screen star Scarlett Johansson easily personifies the young, unglamorous Catherine, exhibiting the quality of her stardom as an actor as she makes an easy transition from screen to stage. She is perfect in the role.

This fast-paced two hour production of Arthur Miller's 1956 drama is a gem that soars on the strength of the leading performances. The sets and lighting are dark and cramped, echoing the characters' anxiety, as the second act builds to the climactic crisis. John Lee Beatty's enhancing revolving set changes from Brooklyn street tenements to interior apartment in easy transition, aided by Peter Kaczorowski's fine lighting. Jane Greenwood has designed the costumes. The production is running at Broadway's Cort Theatre.



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A LITTLE NIGHT MUSIC

Reviewed by: Sandi Durell

Adapted from Ingmar Bergman's Smiles of a Summer Night, A Little Night Music interweaves a tangled web of former and current lovers in sexual pursuit among the upper crust elite of Sweden. Fredrik Egerman (played by Alexander Hanson, imported from the London Menier Chocolate Factory production) is quite believable artistically as the middle-aged successful lawyer who, 11 months ago, married young 18 year old virgin, Anne, but remains in utter and eager frustration having not consummated that union. Anne, played by Ramona Mallory, seems to be in a constant state of ditziness, as she flutters here and there in breathless and hysterical excitation, making it somewhat difficult to always distinguish what she's actually saying.

Fredrick's cello-playing son, Henrik, about to enter the seminary, is played somewhat cartoonishly by Hunter Ryan Herdlicka, who has lovely vocal abilities and is making his Broadway debut. He has also fallen madly in love with his "step mother" Anne. Fredrik's dedication to his blushing bride is doubtful as he reunites with former lover, the famed but fading actress Desiree Armfeldt (Catherine Zeta-Jones). Things grow more complicated when her jealous, married lover Count Carl-Magnus Malcolm (Aaron Lazar) gets wind of the reunion. The coupling and uncoupling comes to a head when Desirée convinces her mother Madame Armfeldt (consummate actress Angela Lansbury), to host Fredrik and his family for a weekend on her lavish country estate, the point being to woo him away from his child wife. Her plan is temporarily foiled when the Count, and wife Countess Charlotte Malcolm (Erin Davie), who knows that Desiree is her husband's mistress but yearns for and protects him, show up uninvited. Ah, that "Weekend in the Country!"

The reason for the potential success of this production is not only Sondheim's brilliant music, but what appears to be the all important insurance factor. Hire a movie star, like Catherine Zeta-Jones, and an outstanding Tony Award winning Broadway actress, Angela Lansbury. Ms Zeta-Jones, however, is not just another pretty face. She gets kudos in this Broadway debut for being a sumptuous Desiree, who can also sing, move sinuously and bring a sophisticated yet earthy sensuality to the character. Her "Send in the Clowns" rendition is a bit broad, but nonetheless well targeted.

Ms. Lansbury, as the regal mother in wheel chair, doesn't have a lot of stage time, but what she has makes a lasting impression of brilliance, especially her all-knowing solo "Liaisons," in which she enlightens her granddaughter Fredrika (Katherine Leigh Doherty) about memories of former love relationships.

Sexually active maid, Petra, is played by Leigh Ann Larkin, who undulates throughout, making herself available to anyone in pants and not leaving much to the imagination in "The Miller's Son."
Considered one of composer Stephen Sondheim's best works, A Little Night Music boasts a sweeping score. The production does slow down in certain scenes -- which needn't be a bad thing, since audiences can take the time to listen for introspective, evocative lyrics about love and relationships. There are many operatic waltzes and stuffy dialogue here and there. However, the overall effect is more than accomplished. The production is directed by Trevor Nunn who has scaled down this revival; choreography is by Lynne Paige, orchestrator is Jason Carr. The sparse sets of mirrors, by David Farley, convert to the walls of various townhouse rooms, a country house and outdoor garden with birches. It's not too colorful but it works. A Little Night Music is a charming revival and has an open run at the Walter Kerr Theatre.

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TYNE DALY

"The Second Time Around"

Feinstein's at the Loews Regency, New York City
January 20, 2010

Reviewed by: Sandi Durell

Certain eras in life denote similar responses from all of us. Tyne Daly, a grandmother, has entered that phase where the subject of "time" is ever present, consciously and unconsciously. However, when you're an award winning stage and TV actress it's not always easy to dig deep enough and discover how to express the subject in cabaret song style…unless, of course, you're the sassy, brassy classy Tyne Daly!

The subject was noted proficiently in words and music when Johnny Mercer and Gene DePaul (1953) wrote "Oh, Happy Day" as they looked into the future in a time warp of man made man, featuring assembly-line husbands, test tube babies and push button homes. Daly performed this obscure samba beat song, setting the tone of what was to come. Her voice seems to have grown on all levels with that little endearing gravel sound remaining.

She is more than comfortable within herself, using her years of dramatic training to get to the nitty gritty of a lyric, whether in a joking manner or with pathos and warmth, and able to communicate the core of each song. Going back in time, she resurrected a Rudy Vallee/J. Paul Fogarty number "Betty Co Ed" ending with a cheerleader's cheer that was pure delight. The pairing of Al Jolson's 1922 "Sonny Boy" and Bill Withers 1971 "Ain't No Sunshine" seemed jarring at first but decidedly brilliant in it's time-warp concept, the sadness and heartbreak plentiful.

Unearthing Bessie Smith's blues number "Send Me to the 'Lectric Chair" was a real treat as she wailed the story about a woman who killed her man and wanted to be punished. "Judge, Judge, please Mr. Judge…Let me go away from here."

Frank Loesser's "Ooh My Feet" (Most Happy Fella) was paired with "Bernstein/Comden/Green's "I Can Cook Too" (On The Town) the former particularly enjoyed by this reviewer who's always complaining about her hurting footsies.

Daly's French lyric to "Stardust" (Carmichael/Parish) was homage to her fantasy of being Edith Piaf and was lovingly sung. The show ended with the pairing of Jerry Herman's "Each Tomorrow Morning/And I Was Beautiful/I Don't Want To Know" (Dear World) and was the icing on the cake, powerful and clear in its introspection. The theme of Dear World: idealism, love and poetry win over those of greed, materialism and science.

Tyne Daly was surrounded by a magical group of musicians led by John McDaniel, Musical Director/Pianist/Arranger, Tom Hubbard on bass, Ray Marchica, percussion, Rick Heckman, woodwinds and Peter Sachon on cello.

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Race

"Provocative Racial Commentary? Not exactly."

Reviewed by: Sandi Durell

(l-r) Kerry Washington, James Spader, Richard Thomas, David Alan Grier

David Mamet is at it again, as writer and director of what was slated to be another provocative and disturbing commentary on racial issues and political correctness. Ooh, all those ethnic slurs and four letter words that are supposed to make our blood boil as barely a sentence goes by without what is supposed to be shocking dialogue. We must all be thoroughly desensitized by now so that rather than gasps and outrage, the result is giggles and some chuckles. Well, with our first African-American President in office, things they are a changin'!

The story is about a rich, married white man Charles Strickland (Richard Thomas) who is accused of raping a young black girl wearing a red sequin dress. The dress is an important piece of information as its essence is more than just an object of clothing. We never see this girl whom Strickland says was his mistress and the sex consensual. However, when she accuses him, then sues him for rape, he chooses a law firm to represent him comprised of one white lawyer and one black.

Jack Lawson (James Spader) is the fast-talking, cynical know-it-all white lawyer, and Henry Brown (David Alan Grier) (is that name Brown a racial slur?) is his black partner equally adept. It's unclear whether Susan (Kerry Washington) is a new fledgling lawyer or an assistant who was recently hired because, as Jack puts it, "I hired you because you've got talent." Regardless of her position, she endures verbal abuse by both her bosses until she reveals her own agenda.

As the story twists and turns and the second act develops, Susan is illuminated as more than just a new hire with talent. Eventually, her underlying mission as an advocate to right the wrongs inflicted on black women result in a pivotal moment in the story.

The play is filled with Jack's brand of sarcastic knowledge: black people are inclined to commit adultery, black people are fragile because they deal with shame, Strickland wants to confess because he's white, all black people hate white people, and the usual lawyer conventions 'we get paid either way' along with accepted references to the theatrical nature of the practice of law. One-liner insults fly steadily between Strickland and Brown on the issues of race, their new client (is he innocent or guilty), their new hire Susan and the legal profession as a business. It all comes off as a big scam. . . who's doing what to whom, when and how.

All four performers are well suited for their rolls, with Spader and Grier seeming more self-assured and Thomas a bit stiff until the play heats up in the second act allowing for more dynamics. Washington, too, grows exponentially in the second act.

"Race" has an open run at Broadway's Ethel Barrymore Theatre, also the home of former Mamet productions "Speed the Plow" and "November." The scenic design is by Santo Loquasto.

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BYE BYE BIRDIE

"Bye Bye"

Reviewed by: Sandi Durell

After nearly 50 years, musical comedy Bye Bye Birdie made its way back to the Great White Way. It's an imploding tongue-in-cheek rendering of silly and sillier. That's not to say, that it isn't an audience pleaser in some ways! One can't help but laugh at the over-wrought vaudevillian antics of loveable mime Bill Irwin (Harry MacAfee), the role originally played by Paul Lynde, or the smothering Jewish mother syndrome of Jayne Houdyshell (Mrs. Mae Peterson) who would rather lay down on the tracks and divide her mink coat into three's rather than see her sonny boy John Stamos (Albert Peterson) marry his secretary-girlfriend Gina Gershon (Rose Alvarez).

If you recall, Albert was originally played by Dick Van Dyke and although Mr. Stamos gives it his best shot, it appears as if he may have watched the original version too many times and absorbed too much of Van Dyke characteristics that he hoped he could channel but instead comes out looking rather clownish. He plays the showbiz agent who manages teen heart-throb Conrad Birdie. Albeit, he does a pretty good singing job on "Put On a Happy Face" considering this isn't his prime talent.

Gina Gershon, a fine actress, is miscast as Rose Alvarez, and although she stays on pitch it's a frail attempt. It was Chita Rivera who originally played this part. Both she and Mr. Stamos have neither the singing nor dancing skills needed for the roles. Bill Irwin makes up for his singing by clowning. Mrs. McAfee (Dee Hoty) and son played by Neil McCaffrey are fine.

The story line is simple but one feels a comic book has come to life on stage. Nolan Gerard Funk as Conrad Birdie, is underplayed and needs a shot of adrenaline most of the time, but at least can sing and gyrate as needed for the screaming teenies who adore him in Sweet Apple, Ohio. He's been drafted and his send off is a kiss from fan club admirer Kim McAfee (originally played by sex kitten Ann-Margaret) who is more realistically portrayed by Allie Trimm who can sing, a 15 year old whose steady, Hugo, played by Matt Doyle becomes extremely jealous. Does this sound familiar? Think Elvis Presley.

Color coordinated families in bright colored 50's costumes (by Gregg Barnes) are eye appealing, and the set including moving train car on tracks (by Andrew Jackness) works well. Some of the production numbers are more than likeable; "The Telephone Hour" performed on a jungle gym, "One Last Kiss" fun and campy; nice harmonic arrangements by the Bar Quartet (John Treacy Egan, David McDonald, JC Montgomery, Timothy Shew) on "Baby Talk To Me." But, alas, the basic choreographic and directorial skills of Robert Longbottom seemed to be lacking in totality giving a disconnected feeling to the production.

Bye Bye Birdie is produced by the Roundabout Theater Company. Unfortunately, the show had an abbreviated life span and so it's bye bye to Birdie!

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KATE BALDWIN

"Let's See What Happens"

Reviewed by: Sandi Durell

As pretty an Irish lass as anyone could imagine, rising star Kate Baldwin (currently leading lady on Broadway in "Finian's Rainbow"), made her New York cabaret debut at Feinstein's at the Loews Regency in New York City. The occasion celebrated the release of her new CD "Let's See What Happens."

What happened is simple. A glamorous lovely, in black strapless gown with red hair tied up in a ponytail, graced the stage and charmed each and every audience member. Her crystal pure soprano is bewitching! Accompanied by master piano-conductor/arranger Rob Berman and a four piece band, Ms. Baldwin not only musically lifted the spirits of her eager audience, but regaled them with sweet stories of the almost 10,000 hours it took to reach her current status, insight into her married life to actor Graham Rowat, quips about her fans on Facebook and a flashback to her camp days when she was in bunk "Brigadoon" and paired with boys bunk "Paint Your Wagon." I guess you had to be there to get the full impact and laughter that prevailed from these stories.

She's as real as they come, displaying her clarity of voice and enunciation of each and every lyric in songs including "I Like New York in June (How About You?), strength and power on "Come Back To Me" and a sassiness on "I Like The Likes of You." Her lovely rich soprano shown brightly on 'So Much More Than a Dream" while swingtune "Poor You" (I'm sorry you're not me. . .) provided a vehicle for lighter moments.

Finian's Rainbow co-star Cheyenne Jackson sat nearby taking in the glory bestowed as she referred to his thighs when he starred in Xanadu, what fans have said to her at the stage door i.e. "I wanted to applaud for you when you made your first entrance but I didn't want to be the only one" - all midstream while singing "I'm The Bravest Individual I Have Ever Met." There was a particularly good swing arrangement on "The Merry Old Land of Oz" and novelty Latin rhythm "I Don't Think I'll End It All Today." Poignant and lilting "The World Is in My Arms" was an evocative ending. She's a crowd pleaser and as leading ladies go, Kate Baldwin is perfect!

Other band members included Lou Bruno, bass; Steven Kenyon, woodwinds; Antoine Silverman, violin and Brian Koonin, guitar.

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NEWSical - The Musical

They Distort...We Decide!

Reviewed by: Sandi Durell
December 10, 2009

What a year it's been as evidenced by the opening song "Everybody's Full of…" Oh well, I guess nothing much changes except the name of the party in the White House. But there was certainly lots of political and newsworthy fodder for Rick Crom, book, music and lyrics writer, to use in this latest topical review. With a jab here and a stab there, the overall feeling was a kinder, gentler production, not too down and dirty.

Leaving few stones unturned, each of the cast has outstanding moments. Michael West portrayed Obama (especially in character when he adds the ears) along with Clinton and Gore as perfectly as anyone could in "Disclaimer." Christine Pedi as Joan Rivers and Christina Bianco as Nancy Pelosi were emotion-less with "Botox" (Rivers buys hers by the case at Costco), with one of the funniest segments by newcomer Rory O'Malley in "Gitmo" the newest vacation spot where you not only get deluxe accommodations but a Holy Quran. Just call 1-800-GOGITMO!

Everything and anything was put on hold when "The Boy in the Balloon" made news, brought to life by the cast and the addition of a clever pull on costume with a little boy doll stitched on the front and real hands peeking through. Not many escaped Crom's notice including Nancy Grace, Dr. Phil, Glenn Beck, John McCain, even the Pope (Michael West) had some choice words for the Arabs "stop blowing stuff up…give it a rest" (ah, if only they would heed these words!) and most hilariously portrayed was Susan Boyle (Rory O'Malley) with hair, eyebrows and dress.

Pedi does a good job as Hillary and also as Oprah (My Ups and Downs - fat again, skinny again, fatter than ever...). The most political it got was on company song "Yes We Can" if we stand behind Obama, blah blah blah. Some updated lyrics to "Denial" (you're in Denial when you wear Spandex but weigh 300 lbs. . .) ended the show.

My impression: Christina Bianco and Rory O'Malley are the show stoppers.
All in all, there were many laughs and clever lines but some things that just didn't work, i.e. Snow White found in a coma, seven dwarves brought into custody. Too lengthy, not really funny. Maybe Liza should take a hiatus since she's been around long enough, even though Pedi is one of the great interpreters.

NEWSical is more than ably directed by Mark Waldrop with costume designs by David Kaley, lighting by Matthew Gordon and Scenic Design by Jason Courson. It has an open run at the 47th Street Theatre at 304 W. 47th Street in New York City.

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RAGTIME

An American Melting Pot

Reviewed by: Sandi Durell

For those familiar with the original Broadway production in 1998, the noticeable comparisons are obvious. More was better when money flowed. Was it necessary? Debatable! Given the current economic times, however, a scaled down, almost drab sameness prevails as a three tier platform construction (railway station) serves as the backdrop for the entire show. The actors use this set to play their roles at varying levels. Truth be known, there is no choice but to focus on the performance, songs, choreography and production values. Marcia Milgrom Dodge, Director/Choreographer has surely brought audience awareness to new levels in this revival production.

"Ragtime" is the story of America's melting pot, its bigotry and racial tensions during the turn of the century and is always relevant. Three families – Father (Ron Bohmer), Mother (Christiane Noll), Mother's Younger Brother (Bobby Steggert), Little Boy (Christopher Cox), in their lovely upscale New Rochelle segregated community discover an abandoned black baby in their garden. This is the child of Sarah (Stephanie Umoh), a cleaning lady, and her lover Harlem piano player, Coalhouse Walker Jr. (Quentin Earl Darrington) an event that changes their lives forever as Mother makes the decision to take in the baby while Father is away for a year trekking in the North Pole and yonder. The third story is of Tateh (Robert Petkoff) and his young daughter (Sarah Rosenthal) coming to America, their struggles from tenement squalor to eventually living the American Dream as Tateh makes his way from silhouette artist to successful silent film producer.

Other essential folks of the time period make appearances including showgirl Evelyn Nesbit (Savannah Wise), radical rebel rouser Emma Goldman (Donna Migliaccio), Booker T. Washington (Eric Jordan Young), and escapist extraordinaire Harry Houdini (Jonathan Hammond) who makes his first entrance hanging upside down from the rafters.

Is it fair to compare performances and performers from the two productions? Maybe not, but when Brian Stokes Mitchell and Audra McDonald played Coalhouse and Sarah in 1998, the electricity sizzled and sparks flew. Their voices undeniably brought the house down. This is not meant to demean Mr. Darrington and Ms. Umoh but this version seems jazzier, more R & B in feeling and although they are both fine performers, there is a noticeable difference in the vocal timber and the magnetism.

Poignant compositions like "The Wheels of a Dream" and lively "Atlantic City" along with ongoing thread "Ragtime," continuous throughout, are always memorable. Production dance numbers are a highlight.

Christiane Noll is a perfect choice as Mother, her dulcet soprano tones shown to perfection on "Back To Before." A chance meeting of Tateh and Mother early on evolves into an opposites attract later-on relationship as Mother emerges into a new awareness of womanhood.

Although Act I is too long and even somewhat lackluster at times, the pace does quicken throughout Act II, a redeeming factor.

"Ragtime" is an important historical musical that should run a long time. However, times being what they are and Broadway being what it is make it questionable.

Music (Stephen Flaherty) and Lyrics (Lynn Ahrens) are the glue that keep it all together with book by Terrence McNally based on the 1975 novel Ragtime by E.L. Doctorow. Costumes by Santo Loquasto are top notch. Set is by Derek McLane, lighting Donald Holder.

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MICHAEL FEINSTEIN and DAVID HYDE PIERCE

"One is Circumcised and the Other is Circumspect"

Reviewed by: Sandi Durell
December 2, 2009

Theme less! Yes, it's all about not having a theme. That's what Michael Feinstein and David Hyde Pierce said of their new act at Feinstein's at the Lowe's Regency. What does it matter? They're two long time friends who knew each other from L.A. and even their families are friends. I guess that's enough to make for solid fun and entertainment as they cavort, seemingly unrestrained in slapstick mode "Together With Music" (Noel Coward).

Banter and ad-libs run wild as Pierce describes Feinstein as having a Presidential Library of music in his mind resulting in a duet of Porter's "You're The Top." Pierce says "people are going to Geitner and Buffet for economic solutions but no one has asked Jerry Herman" who seems to have it all figured out with "Penny in My Pocket" (song cut from Hello Dolly). Pierce' droll humor and easy delivery make it all seem so effortless! Feinstein is boyish and dreamy as ever, in great tenor voice, with Strouse/Adams "A Lot of Livin' To Do" highlighted by an opening Christmas medley. Feinstein's rousing dramatic "What Kind of Fool Am I" is met with show stopper "You Won't Succeed On Broadway" which Pierce performed on Broadway in Monty Python's Spamalot.

They are a perfect match, "The Best of Friends" (Shaiman/Bergmans) and master of the art of teamwork. As Pierce so succinctly puts it: "I'm a WASP, he's Jewish; one is circumcised and the other is circumspect." Both sat down at the piano to end the evening with Scott Joplin's "Maple Rag Leaf" at top speed.

John Oddo was at the piano and is musical director/arranger with mark Vinci on reeds; George Rabbai on trumpet/flugelhorn; Jim Saporito on drums and Jay Leonhart on bass.
The merriment continues through New Year's Eve.


Michael Feinstein, Sandi Durell, David Hyde Pierce
(that's Press Agent Dan Fortune in the background!)

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"FELA!"

Welcome na de Shrine!

Reviewed by: Sandi Durell

Afro-beat King, Fela Kuti (Sahr Ngaujah), Nigerian musician and political activist is a turbulence of rebellion, albeit exaggerated (?) but nonetheless flamboyant and riveting in his continuing role as he makes the trek from Off-Broadway to Broadway's Eugene O'Neill Theatre. The primal drum beat is the heart beat of all life on earth and choreographer/director Bill T. Jones (of Spring Awakening fame) means to infuse its elements in this multi-dimensional, can't stay in your seat, theatrical production. From the opening "Everybody say Ya Ya!" the audience is engaged visually and musically by the undulating cast bedecked in bright, sexy Afro costuming, and the scenic designs (Marina Draghici)and the larger-than-life Fela Kuti's musical artistry.

Studying music and composition in England, he chose the trumpet as his instrument of choice, formed his own band in London, was overwhelmingly influenced by James Brown leading him on his path to find his own musical voice, in the tradition of Yoruba (High life and jazz), giving birth to Fela's Afro-beat. He traveled to L.A. to tour and record, became aware of and influenced by Malcolm X and other proponents of Black Nationalism, returning to Nigeria where he founded his own recording studio and nightclub, The Shrine.

Kuti's songs are filled with political rage and social injustice. For most of us who are inexperienced in this genre, it would be difficult to understand the complexity of the culture that gave rise to the horrors portrayed in Nigeria 1977 when the government set fire to The Shrine, arresting many and inflicting fatal injuries Lord knows, the horrors of war continue to this very day in too many parts of the world providing essential fodder to theater pieces such as this, as a constant reminder of man's atrocities to man.

From basic instinct musical number "Underground Spiritual Game (The Clock) where the cast and audience share in the undulating body movements necessary to touch the various numbers on the clock, to "Black President" (an imagined movie of Fela's life) and tearful and bloody "The Storming of Kalakuta" to the spiritual "Zombie" haunting (glorious costuming!), one feels swept away into a nightmare of realities. The use of projections of actual scenes of the times further enhances the enlightenment.

Personally, Kuti married 27 women at one time and after the uprising and exile, returned to form his own political party, running for president in two elections; small tidbits of the historical information constantly emerging which can sometimes make for confusion.
Be that as it may, this is a production to be seen and savored not only for its high level of theatrical creativity and production values, but for the important educational history.

Lillias White is notable as Kuti's activist mother, Funmilayo Anikulapo-Kuti who is eventually thrown from a two-story window during the Government tear gas attack of The Shrine. Favorite Fela female love interest is played by Sandra Isadore (Saycon Sengbloh).

Fela is presented by Shawn "Jay-Z" Carter and Will & Jada Pinkett Smith. The book is by Jim Lewis and Bill T. Jones who also conceived the project together with Stephen Hendel. Antibalas, and other members of the NYC Afrobeat community, under the direction of Aaron Johnson, perform Kuti's rousing music. Lighting design, Rob Wierzel; Sound design, Rob Kaplowitz; Projection design, Aaron Johnson and Jordan McLean.

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The Sixth Annual

"BROADWAY UNPLUGGED"

Town Hall, New York City

Reviewed by: Sandi Durell
November 16, 2009

The indomitable Scott Siegel was at it again as producer, writer and host of one of Town Hall's most successful series, Broadway Unplugged. His self-imposed task is to fight the unbeatable foe - amplification! In so doing, he has created an event where the human singing voice can be heard in its natural splendor sans microphones. Opening song by William Michals "The Impossible Dream" surely enhanced the spirit of the evening.

The two-act show combined a progression of mostly Broadway performers unrestrained by technology including Daniel Reichard, from Jersey Boys, pleasantly surprising everyone with more classical vocal nuances in the ever lilting "Come to Me, Bend to Me" from Brigadoon.

Siegel's description of the tales of every man and woman were woven into a song cycle to include "Joey, Joey, Joey" sung by Manu Narayan, who starred in Bombay Dreams; "Tell Me on a Sunday" sung by the passionate voiced Janet Metz; cabaret's own David Brian Colbert singing "What Kind of Fool Am I?" and Jill Paice with "Not a Day Goes By."

Emboldened Emily Skinner was right on the money with "When You're Good to Mama" (Chicago) and Bill Daugherty, creator of and currently starring in the off-Broadway show "Brother Can You Spare a Dime" projected his tenor vocals to the last row of the balcony with this plaintive title song.

Surprise guest, little bright eyed Kelsey Fowler, currently in Mary Poppins, would have been a good choice as Annie with her rendition of "Tomorrow." Lisa Howard weighed in with "On The Other Side of the Tracks" and it was a tearful Terri White, currently knocking ‘em dead in Finian's Rainbow, who sang "Mama, A Rainbow."

Basso profundo Marc Kudisch was in high spirits slipping and sliding along with Jeffry Denman on pre-holiday "Have Yourself a Merry Little Christmas." On a more serious note he and lovely soprano Sarah Jane McMahon were joyous on "My Heart Is So Full of You."

Speaking of Sarah Jane and her gorgeous classically trained voice, one of the evening surprise highlights was a riveting German aria (which Siegel translated prior) with American opera star John Easterlin; "Dein is Mein Ganzes" (Yours In My Heart). Could it be that Scott Siegel is subtly raising the bar to include more serious musical renderings? Not a bad idea!

The evening was ably directed by Scott Coulter with Musical Direction and arrangements by Ross Patterson with his band.





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FINIAN'S RAINBOW

Everything Old is New Again!

Reviewed by: Sandi Durell
November 5, 2009

The original Broadway production of Finian's Rainbow, with book by E.Y. Harburg and Fred Saidy, lyrics by Harburg and music by Burton Lane, opened in 1947, running for 725 performances. It had 3 revivals: 1955 starring Helen Gallagher, Merv Griffin and Will Mahoney; 1960 starring Jeannie Carson, Howard Morris, Robert Guillaume and again in 1967. After a New York City Center Encores! Series concert version earlier this year, it is happily back on Broadway.

It's a charming jewel that twinkles brightly and one reason is that just about every song is a knock out. Does anyone not know "How Are Things in Glocca Morra?" or "Old Devil Moon" or "Look to the Rainbow"? Beautiful melodic tunes like these are hard to find nowadays.

Finian's Rainbow is a whimsical, romantic story with a political racism that is old hat but relevant even today. Finian McLonergan, the twinkly eyed Jim Norton, leaves his Irish town of singing skylarks and emigrates to the mythical State of Missitucky, to Rainbow Valley, which bears a resemblance to Glocca Morra. With him is his beautiful daughter Sharon (Kate Baldwin). He is intent upon burying a stolen pot of gold close to Fort Knox where he thinks it will grow, multiply and make them rich. Og (Christopher Fitzgerald) is the leprechaun- in -pursuit trying to recover the stolen pot before he turns completely mortal.

Ms. Baldwin's classic soprano is warm with radiant color as she sings the legendary and yearning "How Are Things in Glocca Morra?" which is gleefully reprised twice more throughout the show. Local boy Woody Mahoney (Cheyenne Jackson) immediately falls for her as they unite in the romantic harmonies of "Old Devil Moon." Jackson is a perfect romantic lead with his glorious dreamy vocals and good looks. Hilarious Leprechaun Og has also fallen for Sharon where love is more comically presented in "Something Sort of Grandish." However, Woody has a mute sister Susan (Alina Faye) who dances her language in classical ballet style to which Og is drawn as well.

Implications of racial divide are ever present as big, brawny and boisterous Senator Rawkins ( David Schramm) tries to take over the land at a tax auction where the poor sharecroppers eke out a living growing tobacco resulting in the gospel showstopper "Necessity" featuring powerful performer Terri White as Dottie. Sharon, without realizing the mystical properties of the pot of gold, unknowingly makes one of the three wishes it holds, accidentally turning the Senator black. This counterpart is played to perfection by Tony Award winner Chuck Cooper who becomes part of a quartet in the song & dance "The Begat."

Relevant topics include "When the Idle Poor Become the Idle Rich," a satirical pronouncement of the seduction of a line of credit from the Sheers and Robust catalog, along with topics of foreclosure and the "misbegotten G.O.P." Og is deliciously impish as he flits around in "When I'm Not Near the Girl I Love" eventually falling for Susan as he realizes that turning human is not so bad.

Yes, it's a complicated theme of love, romance, fantasy, wishes, satire, racial bigotry and it all comes together in this delightful big ole' fashioned Broadway musical where every song is a hit and audience members walk out singing and humming the wonderful music.

Yes, everything old is new again!

It is cleverly directed and choreographed by Warren Carlyle with efficient scenic design by John Lee Beatty and where the orchestra (in the pit) is musically directed by Rob Berman. Finian's Rainbow has an open run at the St. James Theatre.

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"ONLY MAKE BELIEVE"

Benefit at Shubert Theatre
November 2, 2009
Hosted by Sir Ian McKellen

By Sandi Durell

Sir Ian McKellen was the roughish sneaker clad host of the 10th Anniversary Benefit for "Only Make Believe" at the Shubert Theatre, the charity founded by Dena Hammerstein when her husband James (son of Oscar Hammerstein) passed away. The concept was her desire to introduce children living with chronic illnesses and disabilities to the magical world of theater. Since trips to the theater proved to be too overwhelming for many of the children, Dena decided to bring the theater to them, helping to create a unique version of live theater in which each child plays an integral part.

Taking my place on the red carpet prior to the show gave me some opportunity for face to face tidbits of exciting information. You may not think this is too exciting, but if the face looking at and talking to you happens to be Jude Law (currently starring in "Hamlet") a question like "did you find any time to have some Halloween fun?" got this response: "I did have two shows that day, but for the first time went down to Greenwich Village after and had lots of fun." Christopher Meloni (star of "Law & Order") spent the evening wrangling 25 kids at a friend's apartment while his 5 year old son dressed as a spandex breadstick. Sir Ian wasn't having any of it, but does recall that the best Halloween he ever had was in L.A.'s "Night of the Dead." Gorgeous powerhouse star of "Memphis" Montego Glover said there was lots of candy and boo's backstage.

Many more stars turned out to honor those who have played a role in their commitment to charitable causes. Theater and cabaret favorite Seth Rudetsky was among the honorees receiving "The OMB Volunteer Award" presented by long time friend Andrea Martin who decided to tell some unscripted choice stories about Rudetsky. Broadway lovelies Julia Murney, Kate Shindle, Ann Harada and Shoshanna Bean sang some funny parodies to the Ahmahzing Rudetsky who took his turn performing what it's like to be a swing dancer in a Broadway show. He must have done a great job as he got lots of applause, especially from Tommy Tune sitting right in front of me!


Seth Rudetsky

Euan Morton wrung the last breathe out of Whitney Houston's "I Have Nothing" (written by David Foster/Linda Thompson) and Big Apple Circus was represented by Picaso Jr. in a mind-boggling juggling feat of flying plates and ping pong balls. Chris Meloni had some fun re-enacting a Law & Order scene to see just how Sir Ian might do as a perp.

Jude Law was on hand to help Dena Hammerstein present "The OMB Founders' Award" to Christopher Wearing, of Accenture, an international financial services company. Sade Baderinwa of ABC News presented "The James Hammerstein Award" to Bernadette P. Longford, from Disney Worldwide Outreach.

The company of The Lion King was on hand to open the Gala and the company of Hair closed the evening. The high priced ticket holders were then treated to a special after party with the stars at Sardi's.



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LOVE, LOSS and WHAT I WORE

Westside Theatre – New York City
November 1, 2009

Reviewed by: Sandi Durell

Being a woman surely helped as I listened to the continuing resounding mantra we all have in common, "I have nothing to wear!"

The play is based on the book by Ilene Beckerman and written by Nora and Delia Ephron. It's a compilation of women's stories and the familiarities that bond and bind us together. It doesn't matter what part of the earth you happen to live on, what color you are, how tall or short, fat or thin, blond, brunette or redhead. Sometime during your lifetime you have fought with your mother over what she wants you to wear because Mom thinks it's ‘tres chic" even though you hated what it was, or what it was like shopping for your first bra ("my father took me," "training bras are over there").

A rotating cast keeps the stories alive and the evening I attended featured celebrity Tyne Daly as first lady of the production which also included: Mary Birdsong, Lisa Joyce, Jane Lynch and Mary Louise Wilson.

Mary Louise Wilson was given the story of Gingy in a unique presentation with a rack of minimalist dress sketches that explained everything from Brownie uniform to leggings ("you'll get polio if you don't wear them") through a lifetime of several marriages and children including her grandmother. Tyne Daly's story was filled with the sadness of losing a mother at the age of 39 and finding that the new stepmother was wearing the same bathrobe her mother wore, but in a different color.

Grandma always had cure-alls including hot tea for anything wrong inside and Vaseline for anything gone wrong outside. Then there were the various lessons learned because Mother said so: wear clean underpants in case you're in an accident; Jewish girls don't get their ears pierced; cut your hair/grow your hair; you're pretty enough for all normal purposes; no white after Labor Day, no white at all!

Every conceivable topic of womanhood was covered especially ladies' purses and their housekeeping. Try and find anything in one! After a story about a friend looking for an antique Kelly Bag (you know what that is? Grace Kelly's little over the wrist thing) at a price of $3000, Tyne Daly brought out what she considers the perfect purse: A big Metro Card yellow and blue plastic purse. It goes everywhere with her.

Yes, there were serious issues having to do with cancer, mastectomy and reconstruction. But it still ended in a chuckle when the woman was asked what kind of breasts she'd like and answered "Bay Watch."

Mostly there were many comic moments and lots of audience laughs as the commonality of the female gender united as one! As for the few men in the audience, well, hopefully they understood women's insanity through the ages.

The show is directed by Karen Carpenter with sets by Jo Winiarski; lighting Jeff Croiter, sound Walter Tarbach. It is presented by Daryl Roth.


Mary Louise Wilson, Lisa Joyce, Tyne Daly, Jane Lynch and Mary Birdsong
Photo credit: Carol Rosegg

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LIZ CALLAWAY - "Passage of Time"

Metropolitan Room, New York City
October 22, 2009

Reviewed by: Sandi Durell

Honey voiced Liz Callaway is always a joy to hear and behold. Hard to believe that this show celebrates the release of her 4th Solo Album, the first CD in eight years! However, the "Passage of Time" surely focuses on the realities we must all face – life goes on and before you know it, you're an empty nester! With her kids out of the house, she can now concentrate on songs like Brazilian rhythm "Let Go," (Baden Powell/Vinicius de Moraes/English lyrics:Norman Gimbel) with special lyrics to "let the world know I've a brand new CD and spent over a year making something (she assumes) no one will hear!"

Callaway is joyous and sincere as she charms with patter that seems off the cuff (but well thought out and rehearsed) telling stories about the old days of Tower and Virgin Records where she would appear incognito in dark glasses to check out her CDs on the racks. Alas, those days are gone but there's always Amazon.com and CDBaby.com!

The show and CD feature songs that are a potpourri of who she is today. Flaherty/Ahrens "Nothing To lose (But Your Heart)" is a poignant and hopeful song about starting over which triggered romantic thoughts about the fact that she and hubby just celebrated their 24th wedding anniversary leading into "Make Someone Happy (Styne/Comden & Green) and "Something Wonderful" (Rodgers/Hammerstein). What's particularly enchanting about her is her soft, quiet and internalized emotion that bubbles to the top.

She had many life experience stories to tell about her career beginnings debuting on Broadway in Sondheim's "Merrily We Roll Along" to Tony Award nomination for her performance in "Baby" and subsequent five years as Grizabella in "Cats."

Ed Kleban's "Better" doesn't need a bit of improvement as it was perfect as a samba and "Patterns," cut during the preview of "Baby," was filled with depths of heart wrenching emotion with the knowledge of how difficult it is to break familiar day to day life routines and change. Top notch arrangements are by Alex Rybeck, Musical Director/ pianist on her CD along with Jered Egan, bass; Kevin Kuhn, guitar; Ray Marchica, drums and direction by husband Dan Foster.

The bottom line is James Taylor's "Secret O' Life"- - it's a lovely ride, enjoy the passage of time.

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THE ABINGDON THEATRE COMPANY and "MARATHON ‘33"

By Sandi Durell

In January 1993, Abingdon Theatre Company was founded by five theatre artists with one common goal — to develop and produce new plays exclusively by American playwrights. It is located in New York City headed by Artistic Director Jan Buttram. Since its inception many notable productions have graced their main stage known as the June Havoc Theater.

Webster Hall was the chosen venue to which 275 guests flocked in support of Abingdon on October 19, 2009. What could be more meaningful than to create a benefit evening celebrating June Havoc, the seven marathons in which she danced starting at age 14, the twenty-two Broadway plays and two autobiographies upon which "MARATHON 33" is based!

MARATHON '33, which Miss Havoc (now 93 years of age) also directed, is the story of her participation in these marathons. In 1933, the entire country was steeped in the Great Depression and unemployed, but a group of talented performers competed to see who could dance the longest -- and collect the much-needed prize money. Sixty couples began the competition. After five to six months of endless dancing, the field was narrowed to a handful. The marathoners danced for 45 minutes out of every hour, 24 hours a day. The 11-minute rest period and the two minutes to get to and from the dance floor were enough rest for the first 800 to 1,000 hours. Sleeping while leaning on one's partner was a necessity. Calluses developed after the first 500 hours. After the 1,000-hour mark, sprints, grinds and similar events occurred until contestants collapsed and fell by the wayside.

The tribute and re-creation of this dance competition from the 1963 Broadway show that starred Julie Harris, brought out many of the "Baby June/Dainty June" actresses including Leigh Ann Larkin, Sami Gayle, Jacqueline Mayro, Alice Playten and Merle Louise. The evening's Honorees included five-time Tony Award-winner Julie Harris and Abingdon Board Chairman Emeritus Margot London. Tony Award-winner Karen Ziemba, star of Broadway's CURTAINS, CONTACT, STEEL PIER and NEVER GONNA DANCE, performed standards of the Great Depression Era, in an evening co-directed and co-choreographed by Tomé Cousin and Peter Gregus.

In the spirit of Miss Havoc's play, a cast of more than twenty performers did the jitterbug and jive to the sounds of bygone days. The ensemble cast of MARATHON '33 included Noah Aberlin, John Alix, Lisa Anthony Biagini, Peter Brouwer, Julie Connors, Mark Stuart Eckstein, Curtis Howard, Sonia Iannetti, Scott Larsen, Steve Luker, Bill Nabel, Ron Nahass, Cassandra Palacio, Rachelle Rak, Andrew Rannells, Francis J. Roach, Kelsey Robinson, Erika Shannon, Bara Swain, Laura Swanson and Kirstin Tucker.

Guests had the fun of swing dance lessons and filled themselves with era comfort foods including hot dogs, pretzels, peanuts, cotton candy and beer.

The Abingdon Theatre Company is a New York City mainstay producing fine theater and should be on everyone's list whether resident or visitor!







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"Memphis"

"It's the 1950's, Rock n' Roll and Racism"

Reviewed by: Sandi Durell
October 20, 2009

Why would a cracker boy be wandering into an R & R, soul club below ground, namely Club Delray, on Beale Street, in the black part of town, Memphis, Tennessee in the 1950's? No he's not crazy, he's possessed by the sound. . .it's "The Music of My Soul" cries Huey Calhoun (Chad Kimball), a slippery, sometimes seedy, character who's a quirky, smooth-talking dissenter of the times. The folks down there are ready to toss him out on his butt, until he sits down at the piano and knocks out a tune showing them he's for real. The potential for love develops quickly when he hears Felicia (Montego Glover) wail and groove out "Underground." From that moment, he has big plans to get Felicia heard and make her a star.

The score is smoothly written by Bon Jovi's David Bryan with Joe DiPietro and is a compilation of rock n' roll, blues, gospel with some soul for good measure. David Gallo's sets have a multiplicity as they easily change from club to radio station to shabby living apartment.

Huey can't read, he's a school drop-out but all that aside; he's clever and has a vision. A stock boy at a department store, he figures out a scheme to perk up sales in the record department (or lose his job), and as real life singing pop ups of white folks' music, i.e. Perry Como and such, reinforce the status of things as they are, Huey sneaks on black folks' music, making record sales fly thru the roof. However, he is fired from his job and looks for employment as a DJ at a local radio station. When the DJ leaves the booth, Huey quickly locks himself in and spins "race" records to a young white audience, previously listening to Patti Page and Roy Rogers, are hungry to groove. Station owner, Mr. Simmons (Michael McGrath) tells Huey to "get on the air, tell ‘em you're white" as ratings rise and "Everybody Wants to Be Black on a Saturday Night."

Needless to say, Felicia and Huey fall in love, but with times as they were in the south of the 1950's, that was fodder for violence as racial laws and social injustice were not color blind. Felicia's brother, Delray (J. Bernard Calloway), isn't too fond of Huey either. Huey's Mama (Cass Morgan), a God fearing waitress, all but faints when she meets Felicia who she says "ain't nothin' but a colored girl." By the second act, however, Mama is singing along with the black gospel choir as her boy, who she never thought would amount to anything, is rated numero uno, has his own TV show taking along Bobby (James Monroe Iglehart), the janitor at the radio station, who turns out to also be a singer and turns in one of the top performances both vocally and other with "Big Love."

Huey buys Mama a house, introduces her on TV, where she no longer looks frumpy and seems won over by the new move for equality. This quick change brings up the book's short comings and the amateurish approach to the entire race issue.

Finally, achieving his goal of Felicia singing live on his TV show, he commits the ultimate no,no; kissing her on TV, in front of all to see, in a world that hasn't yet assimilated black and white. Felicia gets a big record offer in New York as Huey begs her to stay with him in Memphis where he's happy doing his thing. Included in the book are the obligatory violence and pathos, sadness and tears.

Kimball's slippery sloped, sweet talkin' Huey works well as does his vocal prowess. Glover is lovely as Felicia, with just enough rough girl attitude and a big, big voice to wow any audience. Costumes by Paul Tazewell are slick, colorful and pizzazzy, with terrific lighting by Howell Binkley. The choreography by Sergio Trujillo is inspirational and direction is well crafted by Christopher Ashley.

"Memphis" isn't new as it's already had a pre-runner, "Hairspray," albeit more caricature-ish. However, the theme: music breaks the color barriers and heals all, is always good reinforcement. No matter what the downsides might be, the audiences will like this show and from what I'm told, are already giving it standing ovations.

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"Cross That River"

By Sandi Durell
October 13, 2009
"Cross That River" is a new musical set in the Wild West of the 1860's that depicts the tragic, sometimes humorous, life of Blue, a run-away slave who escapes to Texas to become one of America's first Black Cowboys. Yes, there was a Black West!

It is the brainchild of jazz singer, songwriter, musician Allan Harris who portrays the narrator and the character Blue as he introduces the songs and historical data that unveil the facts that more than one-third of America's cowboys were black men, not the Lone Ranger, not John Wayne, but escaped slaves, free men.

The story line, told in the first person, is Blue's journey from slave to free man when he crosses that river to escape the lynch mobs in Louisiana and lands on the Circle T Ranch in Texas. He works off his room and board handling horses and cattle, eventually being hired for a long, dangerous cattle drive. Boy Blue (Brandon Gill), plays Blue's alter ego. As a slave child he was given to the plantation owner's daughter, Miss Courtney, (Whitney Bashor), as her play friend and we bear witness to their friendship transcending the color barrier and Boy Blue told by Mama Lila (Soara-Joye Ross) he must steal a horse and escape to save his life.

Love interest Annie Hutchinson (Wendy Lynette Fox), seeking a better life in Abilene, answers a want ad for a mail order bride, winding up with a poor dirt farmer Ben Tuller (Charles E. Wallace) who abuses her until she runs away and becomes the whore of Diamond Jimmy (Joseph Melendez), owner/gambler of Diamond Jim's Saloon, who is hiding his secret passing as a white man. Blue, in love with Annie, regardless of her occupation, decides to rescue her in a violent gun battle leaving Diamond Jimmy dead.

Tony Perry plays Dat Deere Preacher and full company production number of the same name is a song and dance spectacular that could only evolve from the professional hand and eye of Tony Award Winner Donna McKechnie, Choreographer.

Soul wrenching "I Must Believe," sung by Mama Lila, is the star performance of the show and "Cry of the Thunderbird" (Blue, Slave) and love ballad "High on a Hill" both memorable. Other cast members include: Timothy Warmen as Lucius and Ole Sam Eye.

Allan Harris' music and lyrics have already garnered much attention, rightfully so, with book by Andrew Carl Wilk who also directs. Musical Direction and Arrangements are by David John Madore. Cross That River began as a song cycle, evolving into a fully staged theater piece. It is an important historical depiction and has lots of potential. In Blue's words "I Do Believe America's Our Hope!"

Cross That River has formed an exclusive restaurant partnership with Ted's Montana Grill and is part of the 2009 New York Musical Theatre Festival.

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"Superior Donuts"

"A One-Two Punch and glib dialogue make for hope and human kindness."

Reviewed by: Sandi Durell
October 4, 2009

It's one-two punch throughout most of Tracy Letts' recent contribution to the American stage, Superior Donuts currently running at the Music Box Theater, as he lets loose with a machine gun of glib dialogue of social commentary, racial slurs and true emotions. No one is spared! However, this is a kinder, gentler Letts if comparisons are made to his Pulitzer Prize winning dysfunctional drama August: Osage County or paranoid Bug or thriller Killer Joe.

A dark comedy, filled with hope and human kindness, emerges as Arthur Przybyszewski (Michael McKean) a middle aged, 60's style ponytailed hippie of Polish decent, finds his long time family donut shop vandalized, reacting with little emotion since that left him long ago. The intrusion is reported by the Russian shopkeeper of the DVD store next door, Max Tarasov (Yasen Peyankov), an irritating character who wants to buy Arthur's shop in order to expand. He is being grilled by two officers, Randy (Kate Buddeke) who has a crush on Arthur, and black officer James (James Vincent Meredith) the butt of on-going jokes as a member of the Star Trek Association. To complete the picture, enter Lady (Jane Alderman), who is very funny as the local alcoholic who stops in for her daily donut.

Arriving on the scene shortly thereafter is sassy, brash Franco Wicks (Jon Michael Hill), a 21 year old black man looking for a job and who quickly sweet talks his way into employment. He immediately launches into a bombardment of ideas to update and upgrade the shop with non-stop suggestions like healthier menu choices – "Superior Donuts. It ain't horse fat!" or poetry readings and yoga posters to make the place homey. And how about profit sharing? "I believe in it", says Arthur, "I just don't provide it."

In the midst of the comings, goings and quick repartee, there are Arthur's flashback monologues providing the details of his growing up, family, marriage, flight to Canada to escape the draft, divorce and recent death of ex-wife, and the fact that he has a 19 year old daughter whom he hasn't seen since she was 13 years old.

Franco surprises as he produces stacks of writing pads and notebooks that are his manuscript, the Great American Novel entitled "America Will Be" which he asks Arthur to read but not without first giving him the Name ten black folks test. Wicks (Hill) is surely the engine that runs the train with his wit and charisma as he brashly wiggles his way into Arthur's heart revitalizing him in all ways regarding his dressing and grooming, enabling him to pursue love interest Randy – "trim your eyebrows…you want the lady cop to frisk you…" and to help him emerge from an emotional sleep that has plagued him all his life.

Franco is not without his own problems having recently left college in order to take on a fulltime job to pay off gambling debts that eventually lead to violence against Franco and a fight scene where Arthur not only pays off Franco's debts to the bookies, but physically attempts to defend his honor and in a heroic effort takes quite a beating himself.

The upshot is the emotional liaison that develops between Arthur - McKean who is understated in his portrayal, and Franco - Hill making his Broadway debut and putting himself on the map, as he teaches Arthur the art of living, learning an invaluable lesson himself.

Superior Donuts is directed by Tina Landau; sets by James Schuette, costumes by Ana Kuzmanic, lighting by Christopher Akerlind, sound by Rob Milburn and Michael Bodeen and is a Steppenwolf Theater Company production. It has an open run.

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"A BOY and HIS SOUL"

"Childhood Memories make for an emotional musical ride"

Reviewed by: Sandi Durell
October 2, 2009

Childhood memories are forever albeit sometimes recessed deep within until a time, a word, a moment a place or a smell bring them bubbling to the surface. This is the premise for Colman Domingo's autobiographical piece "A Boy and His Soul" at the Vineyard Theatre in New York City. The catalysts are his parents' vinyl LP records found in the basement of their deteriorated house in Philadelphia when sold and left in JJ's hands to clean out. JJ is Domingo's nickname.

So begins a stirring and emotional musical ride listening to the R & R and soul music of the singers and groups of the 1970's and 1980's that shaped and formed the experiences of this young, black, eventually coming out, gay boy. It's non-stop nostalgia from Diana Ross, Marvin Gay, Curtis Mayfield, Earth Wind and Fire, Switch, including a Michael Jackson homage. As each record memory is played and simultaneously sung by Domingo, he transforms into the family characters magically and effortlessly, shifting vocally between step-Dad Clarence's gruff ‘be the man' baritone, a student of the University of Marvin Gaye and James Brown, to sweet voiced religious Mom Edie, a Diana Ross fan, always refined and wishing to instill culture in her son and with a fascination for watching Tom Jones.

Adding to the on-going charisma of Domingo's characterizations are his cigarette-puffing stereotypical sassy sister Averie, a Donna Summer fan, who can tongue whip at a moment's notice, and his macho brother whom he portrays consistently by holding his crotch. Other real life characters include Big Aunt Wynita and a radio D.J., all of whom provide the continuing specifics of Domingo's musical life memories.

A trip to a gay bar as a college boy is cause for on-going laughter as Domingo faces the realities of his much talked about transvestite cousin Sypherdine, who is "Miss Roxy," and an encounter with a stripper and a lap dance segment at his brother's favorite hangout, Poochie's Brown Biscuits! Eventually coming out to his brother, sister, Mom and Dad are a series of quick character changes and a sigh of relief when Dad repeats Mom's seemingly only concern: "You don't wear no scarves and things?"

Colman Domingo was last seen on Broadway in the Tony Award-winning musical Passing Strange and reprised his roles in the film version directed by Spike Lee.

If you love this music, superior acting, singing and dancing "A Boy and His Soul" is a must-see. It is a solo show written and performed by Domingo, directed by Tony Kelly, choreographed by Ken Roberson with sets by Rachel Hauck, costumes by Toni-Leslie James, lighting by Marcus Doshi, sound by Tom Morse and presented at the Vineyard Theater.

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R.R.R.E.D. A Secret Musical

Based on a True Story

Reviewed by: Sandi Durell
October 2, 2009

What if Redheads became a thing of the past? If globalization and population intermixing by the year 2100 caused the recessive red hair gene to become... EXTINCT ?

R.R.R.E.D, with music and lyrics by Katie Thompson and book by Adam Jackman, Patrick Livingston and Katie Thompson, offers up a way to fight back; a revolutionary organization to take matters into their own hands. It's THEM (blondes, brunettes, whatever) against US !!! A farce becomes a serious matter to Victoria (Katie Thompson) and GJ (Patrick Livingston) her assistant, as they take matters into their own hands standing up for the rights of red-heads everywhere.

A silly premise to many, but funny to audience peers of a certain age, R.R.R.E.D. certainly maintains an on-going vitality albeit at many times irreverent in its cause to protect red-heads everywhere. The rules: Have a lot of sex with red-heads, procreate in order to further the red population. If it's not red, it doesn't get in your bed. And beware of dye jobs! Songs like "What Good's A Blonde Anyway?" (they infect all with their highlights) and "Revenge" to counter color slurs like copper top or fire snatch, become the on-going mantra and maintain a steady beat throughout. Additions to the cast are made as they appear with Testimonials such as "I'm Not Pregnant, I'm Just Fat" (Kathy Deitch) and "I Like You" (Nathan Balser).

The big happening occurs with a celebrity guest cameo appearance, and at the performance I attended it was Tony Award Nominee Tovah Feldshuh who sabotages the revolutionary meeting with "Redheaded Step-Child" a song about her husband's little red-headed bitchy daughter. This was by far one of the funniest pieces in the show.

Katie Thompson and Patrick Livingston, who star in their production, are extremely talented and creative, not only singing and dancing, but accompanying themselves, each other and the other cast members on piano, making the 90 minute production continually entertaining. Costuming by David Mendizabal works well and Shea Sullivan, producer, does a splendid job as choreographer. Hats off to director Andy Sandberg!

R.R.R.E.D. is a Special Event and part of the 2009 New York Musical Theatre Festival.

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Cabaret and Other Wanderings with Sandi Durell

Welcome to Camp "PINK"
Down Payment Productions WorkShop Theater Main Stage

Reviewed by: Sandi Durell
September 20, 2009

Stephanie Strohm, Kaela Crawford, Caitlin Mehner, Alison Scaramella & Julia Giolzetti
The Cast of "PINK"

Ah, pubescence, those wonderful years of honesty, no cares, exploration. In this case, however, the girls at Camp "Pink" are the result of a more modern day phenomenon. They are the Me Generation capable of saying and doing anything. They are nasty, vicious and abusive. Five nymphets finding womanhood at sleep-away camp, obsessed with everything sexual as they refer to each other as Vagina and batter each other with brutal honesty, eventually turns into the ultimate horror.

Samantha (Julia Giolzetti), the quiet book reader, sensible and mature is the butt of much battering and ‘odd girl out'; Ashley (Caitlin Mehner) sexually mature, is the leader of the pack, suffering from the dysfunctionality associated with sexual abuse by her father. She is mean, lies and capable of anything as we see at the conclusion. Zoe (Kaela Crawford) is Ashley's shadow, slave and play toy. Tracy (Alison Scaramella) is good natured, fair and understanding but sometimes caught in the web of being just a 12 year old trying to grow up. Abby (Stephanie Strohm), a bit overweight, would like to have experienced more and finds herself confused much of the time as she is tossed around in the emotional play of the Me Me's.

The 90 minute ride provokes both laughter and riveting disgust as they tear each other apart with everything from whose Bat Mitzvah they will attend ( 2 of the girls have the same date), the experience of a first menstruation, dealing with parents' affairs, fashion, cheating, boyfriends, first sexual experiences and all the bitchiness one might imagine.

The final horror occurs as Ashley wants to give Abby the experience of sexuality and, with Zoe's assistance, Abby is tied up and inadvertently smothered to death. In typical Ashley style, she immediately blames Zoe as she tries to deny who and what she is and has done.

The cast is top rate in their performance abilities, the play disturbing and thought-provoking, and although playwright Stacy Davidowitz assures that the content is entirely fictional and none of the characters and events are based upon real people and events, there remains a BIG question mark in my mind! The run of this play is complete but should it be revived I recommend you see it and decide for yourself.

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Cabaret and Other Wanderings with Sandi Durell

THE BEECHMAN FOLLIES
The Laurie Beechman Theatre – New York City

Reviewed by: Sandi Durell
September 19, 2009

The Laurie Beechman Theatre at the West Bank Café has been presenting some of the finest talent from the Cabaret and Broadway communities. Owner Steve Olsen made the right choices when he brought aboard manager Kenny Bell and the fine producing skills of Phil Geoffrey Bond. This event was a culmination and tribute to the recent extraordinary diverse talents that have graced the Beechman stage. Given the mathematics, in the past three years since Bell and Bond have been aboard, the Beechman has produced an average of 40 shows a month, 440 shows a year, totaling 1,440 shows in the past three years. That's a WOW!

Opening the show was Carey Anderson, who has appeared in Mamma Mia, Avenue Q, and looked like a little baby doll singing "Skylark"; seasoned Barbara Walsh (Big, Company) chose Jason Robert Brown's "Stars and the Moon"; MAC & BISTRO Award Winner Jonathan Whitton sang "Box of Photographs." Molly Pope, a funny, sassy young Diva, sang a passionate "Happy In The Meantime" a message song from A.J. Popoff/Allen Shellenberger/Jeremy Popoff; Alexander Gemignani accompanied himself on Adam Guettel's distressing "How Glory Goes" while petite Cindy Marchionda (Kiss/Spider Woman – Chicago, Wizard of Oz – Madison Square Garden) sang an eye catching arrangement of "Goody Goody," slow and bluesy to swingin'.

Heather MacRae (Catered Affair, Falsettos, Coastal Disturbances, original cast Hair) was a standout on Amanda McBroom's freedom saga "Wheels" sung with all the meaning and fervor it deserved. Quirky, spoofy Susie Mosher (Hairspray) kept the American Songbook going with "Love Me or Leave Me/It's Alright With Me."

Kleban and Larson Award Winner Joe Iconis and his menagerie of talented musicians and singers were a BIG hit with "The Whiskey Song" (Whiskey sure works, lawdy I love it . . .) while Diva Testa (Mary that is; Guys & Dolls, Xanadu) reigned in the crowd with "Lay Down Your Head" (Christmas); Clever and witty Phil Geoffrey Bond, an Indiana boy, read a childhood letter he wrote to Carol Burnett, while the channeler of celebrities, Christine Pedi, evoked the spirits of Bette Davis, Ethel Merman and Joan Rivers with "I Will Survive" to throngs of audience laughter. Small and powerful Gabrielle Stravelli (bound for Broadway in Ace) was all bluesy/jazzy on "Please Don't Tempt Me."

Clever Jana Robbins re-enacted her 1989 audition for Arthur Laurents to play the role of Mizepa and understudy Tyne Daly on Broadway in Gypsy with "Zip." She's still got all the moves, bumps and grinds and smart paced repartee. Annie Golden (Xanadu, original Hair) sang "Clara Bow" which she wrote.

Judeen, Judelle and Belva, The Chalks, were born and raised in Boggy Depot, Oklahoma. These three gals are a hoot for country music fans as they sing, cavort and play guitar, washboard, harmonica and shake a Quaker Oats box for accompaniment on "Mud Flap Mama." Everyone's favorite singer/songwriter Steven Lutvak, whose show The Truth About Monty is Broadway bound, sang the poignant "Museums." The evening came to a close with cabaret favorite Nightlife Award Winner Lisa Asher on Joni Mitchell's "Both Sides Now."

The ever talented and much sought after Barry Levitt and trio provided the musical accompaniment.


Lisa Asher, Carey Anderson, Jonathan Whitton, Susie Mosher, Gabrielle Stravelli


Joe Iconis and his menagerie of talented musicians and singers


The Chalks
*All photographs by Maryann LoPinto

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Cabaret and Other Wanderings with Sandi Durell

TISH ONEY
"The Peggy Lee Project"
Metropolitan Room, New York City

Reviewed by: Sandi Durell
August 14, 2009

Poised and confident Tish Oney (also referred to as Dr. Oney) brightened the Metropolitan Room stage, pretty in red, to celebrate the songwriting talents of Peggy Lee. Ms. Oney had an immediate effect on her audience displaying clarity and directness opening with "It's A Good Day" (music, Dave Barbour).

Peggy Lee wrote lyrics to some 270 songs, many of which remain unknown. In a short conversation with Tish Oney I learned that, happenstance, Ms. Oney met Peggy Lee's daughter, Nicki, at a conference in L.A., was told that Ms. Lee had many songs that singers had never sung and several unreleased. A light bulb went off in Tish Oney's head as she decided this was the perfect Doctoral project as well as putting together this cabaret act that she performs nationwide. She received her Doctorate in Jazz from USC in 2007.

The many songs presented included only a handful of the familiar, "I Don't Know Enough About You" (Barbour), "He's A Tramp" (Sonny Burke, from the movie Lady Is A Tramp), "I'm Gonna Go Fishin' (Duke Ellington, from Anatomy of A Murder) or "Where Can I Go Without You" (Victor Young).

Oney pays strict attention to phrasing and a lyric, creating a warm and sweet vocal on the yearning "The Shining Sea" (Johnny Mercer, from The Russians Are Coming…) and a sexiness on never released "Brand New Baby" (John Chiodini, Lee's former music director). She is understated in her approach, producing an effortless jazz style. Frequently scatting midstream on many of the tunes, Oney is pitch perfect and the picture of finesse especially on Peggy Lee poem "Burn It Slow," which Oney set to music in a bossa nova rhythm.

Peggy Lee had a flair for writing songs of encouragement: "It Must Be So," originally recorded with the Mills Brothers and "There'll Be Another Spring" (Hubie Wheeler, Shearing album Beauty and the Beat!) that became part of the show's section of optimism.

In this reviewer's opinion, some exploration of more dramatic vocal color would enhance the overall effect and although Ms. Oney is accomplished in the world of academia and the musical director and arranger on her show, the addition of another eye or musical director or director would augment the performance. Also, some of the information I personally received on how The Peggy Lee Project evolved as well as more anecdotes about Peggy Lee would surely have been of interest to an audience.

Ms. Oney's musicians included former mentor Steve Brown on guitar and Paul Beaudry on bass, both great assets.

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Cabaret and Other Wanderings with Sandi Durell

LEE SUMMERS in "WINDS OF CHANGE"

Reviewed by: Sandi Durell
August 3, 2009

Is that Lee Summers on stage, singing and cavorting? Why usually he's the quiet, nice looking man greeting people at the door on many a night at the Triad Theatre where his title is General Manager. Well, hold on to your seats because he's changed hats and released his true talents as an entertainer replete with humor, charisma and just the right amount of playfulness to garner attention!

His show is autobiographical revealing life during college days in the late 70's while holding down a gig in Nashville's Opryland, seeing Lena Horne on a street corner whose few words to him "Goin' up to New York? They'll give you a good stretchin' out!" which seemed to reverberate with significant meaning. From there he found himself a struggling singer in the 80's at The Improv, later gigs at the Motown Café, and moving to French Lick, Ind. to work with a new cabaret theater where he learned the ropes while teaching aerobics because of his dance background. And then his moment arrived – back to New York to debut on Broadway in "Dreamgirls." But as he described it, it was such a small part he was barely visible and three years later. . . unemployed! But through it all, his roguish spirit never faltered and after a serious accident breaking his leg in 3 places, with nothing to do for 9 months but heal at Mama's house, he wrote the off-Broadway musical "From My Hometown."

This show was a compilation of a focused "If You Could Read My Mind" (Lightfoot) to a fun-loving, audience pleasing Motown medley including "Can't Help Myself" (Holland-Dozier-Holland) and "Ooo Baby Baby" (Robinson). As a songwriter, his original piece "Winds of Change" was inspirational and poetic. He shone in his characterization as "Mr. Bo Jangles" (Walker) in a brilliant heart filling vocal rendition including all the right moves and special accompaniment on cello by Daniel Shevlin. Accompanying Mr. Summers on piano was Timothy Graphenreed (The Wiz). Leslie Dockery directed.

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Cabaret and Other Wanderings with Sandi Durell

THE EDISON BALLROOM – a renovation and regeneration blended with the sounds of young crooner GARY FIELDS

Reviewed by: Sandi Durell
July 1, 2009

The preservation of New York City history continues with the talents of the new management team at the Edison Ballroom and the reopening of this gracious venue.

With a long and colorful history, it originally opened in the 30's as the grand ballroom for the Hotel Edison. It was constructed in the classic "art deco" design and offered dining and dancing to its patrons, while featuring many famous bands and singers from the Swing Era. It was converted to the Edison Theater where various Broadway theatrical productions were offered, the most famous Oh! Calcutta! running 13 years (beginning in 1976). In 1991 the Edison Ballroom became "The Supper Club" where patrons dined and danced to big-band style orchestras or used the venue for private functions.

The renovations removed some of the more recent familiar look such as the star carpeting along with banquets from the main seating area adding more tables. The design by Glen Cohen and Company, a student of David Rockwell (who himself designed the original Supper Club), provides a modern art deco setting and a VIP area.

It's a lovely space reminiscent of the now defunct Rainbow Room. New management is looking towards satisfying the needs of corporate and private individuals seeking a well located event space as well as providing weekly dining and dancing to big bands thereby continuing its legacy.

It should prove to be a successful new addition as the City recovers from the financial distress that has plagued all sectors of our economy and the entire country. The management team includes Bill Kaelblein, enthusiastic GM and press representative, Sean Campbell booking manager for private functions, and food by Mina Newman of Food Network's Chopped. (

Cabaret and Other Wanderings with Sandi Durell

MERRILL GRANT
"My Shirley Years"
Metropolitan Room – New York City

Reviewed by: Sandi Durell
June 22 & 29, 2009

Cabaret and Other Wanderings with Sandi Durell

MARILYN MAYE
"Mercer The Maye Way"
Metropolitan Room – New York City

Reviewed by: Sandi Durell
June 12, 2009

Cabaret and Other Wanderings with Sandi Durell

MARK NADLER
". . .His Lovely Wife Ira"
Ira Gershwin with and without George

Reviewed by: Sandi Durell
June 11, 2009

Cabaret and Other Wanderings with Sandi Durell

63rd ANNUAL TONY AWARDS

by Sandi Durell
June 7, 2009

THE NOMINEES ARE. . .AND THE WINNER IS . . .

The 63^rd Annual Antoinette Perry Awards took place on Sunday June 7, 2009 at Radio City Music Hall. At the Red Carpet, this writer was given the golden opportunity of up close and personal chats and overhearing tidbits from many nominees and celebs passing through on their way inside Radio City Music Hall. The women be-jeweled and be-gowned, many in designer frock, were all smiles. Martha Plimpton, nominee for Featured Actress in a Musical (Pal Joey) revealed "I was terrified and got through because Graciella Daniele is a mammy choreographer."  Nominee for Leading Actor in a Play Hope Davis looked glamorous in a more simplified Peter Soronen dress (he dresses Michele Obama) as she met up to chat with God of Carnage co-actors Jeff Daniels and James Gandolfini.

Stage mates Janet McTeer and Harriet Walter (Mary Stuart) walked arm in arm, a friendly pair of competitors, as nominees for Best Performance by a Leading Actor in a Play. Young, talkative Mark Indelicato told me he was the official Twitterer for the evening while Tovah Feldshuh (in strapless Christian Lacroix) and currently appearing on Broadway in "Irena's Vow" was off to co-host the event at Duffy Square. Lin-Manuel Miranda of In The Heights fame, when asked what he said when Sondheim called him to rewrite lyrics in Spanish for West Side Story…."I said yes, yes!" Lovely Sutton Foster, swathed in orange gown, said that by age 14 she knew that Broadway was for her. Rock of Ages Constantine Maroulis confided that he feels surreal and is looking forward to going on the road with the show.

Red Carpet photo ops gave sponsor Audemars Piguet (maker of distinguished Swiss watches) the opportunity to showcase specially designed clocks where many celebs posed. Is that Dolly Parton being ushered through?  Yes!  Darn, she still has an 18" waist!

Before I knew it, everyone was safely tucked into their seats inside Radio City as I made my way up to the 64^th Floor Rainbow Room's Media Room to watch the Tony Awards simulcast.  While Doogie Houser, M.D. was hosting the Awards, I mean Neil Patrick Harris, and making with the funnies, I was about to have some downtime, relaxation and food; the perfect solution for tired feet and brain. 

It didn't take long, however, before the first winners were announced and escorted to the Media Room for interviews and photos. The writing was on the wall as Martin Koch arrived for Best Orchestrations followed by Paul Arditti for Best Sound Design , both for "Billy Elliot."  Here comes Angela Lansbury hugging her Tony for Best Featured Actress in a Play (Blithe Spirit) while Roger Robinson took the Award for Best Featured Actor in a Play (Joe Turner's Come and Gone).  Karen Olivio won Best Featured Actress in a Musical for West Side Story saying she feels transported when she performs finding it very liberating to sing lyrics in Spanish, while acknowledging that Arthur Laurents gives notes in the best way he can to get what he needs and doesn't coddle his performers. Her influence: Rita Moreno.

Leading Actor in a Play went to Geoffrey Rush who said he was thrilled to be performing in such an obscure Ionesco play; "It's like eating spinach." He'd love to come back to Broadway if the right role comes along.  Harvey Firestein was already announcing Best Revival of a Play to The Norman Conquests and soon the entire cast and creative team were busily answering questions in the Media Room. They are a lively bunch!

Gregory Jbara, Best Featured Actor in a Musical, (Billy Elliot) says he wouldn't be here if it wasn't for the sacrifices his wife made stating he was a bit intimidated going into rehearsals, finding it hard maintaining the accent, and stating that it's like ‘electricity inside me….I'm free, I'm free!"

Special Lifetime Achievement in the Theatre Award went to composer Jerry Herman who is now 77 years young and responsible for Hello Dolly!, Mame and La Cage aux Folles.  Jerry said he was born right near Radio City and he's here because his Mother and Frank Loesser believed he had the talent to make it big.  What does he look forward to now?  Enjoying my houses in Palm Springs and Beverly Hills!  

Best Revival of a Musical went to Hair, along with Best Direction to Diane Paulus who said she worked closely with Jim Rado on this revival and that he did write some new lines about the draft card. She said the musical speaks to all generations; it's about the rebirth of idealism.

Best Direction of a Play went to Matthew Warchus for God of Carnage.  He was also up for the same award for The Norman Conquests.  Pretty good odds.

The three young "Billy Elliots" won Best Performance by a Leading Actor in a Musical. David Alvarez, Trent Kowalik and Kirl Kulish were all adorable and somewhat tongue-tied trying to answer questions saying it's like a dream. But they all had some advice: to all the kids out there who want to dance. . .never give up!  No surprise that the announcement soon came that Billy Elliot had just won the Tony for Best Musical,  making a total of ten Tonys!

Marcia Gay Harden took home her Tony as Leading Actor in a Play for God of Carnage looking stunning in a long green gown.

Best Actress in a Musical was given to Alice Ripley in Next To Normal. Ms. Ripley was explicit in saying that she channels her character Diana everyday and is happy she has a patient husband. It takes a lot of energy to stay focused and deliver her on stage. How did she feel winning the Tony?  I feel complete; it feels natural and makes sense I have this Award. It's other-worldly and a dream come true!

Before I could finish taking notes, I looked up and there was Elton John eager to speak to everyone. He was a little worried opening Billy Elliot in these tough times and admitted he'd never been to the Tonys before but found it more enjoyable than the Oscars because you're being entertained from start to finish. Do you feel the need to control the performance of your music? Having done four musicals Elton remarked, you have to check your ego at the door and be part of a team.  No immediate stage plans at the moment but he is working on a Disney film. 

Lest I forget, Liza won Best Special Theatrical Event for Liza's at the Palace. And the audience cheered and cheered both at Radio City and in the Media Room. 

Other awards presented included: Regional Theatre Award to Signature Theatre in Arlington, Va.; a first time Isabelle Stevenson Award presented to Phyllis Newman and a Tony Honor for Excellence in the Theatre to Shirley Herz.

The evening was now complete or almost as Neil Patrick Harris sang the 11:00 o'clock song, a parodied "Tonight" as the credits rolled, featuring lyrics such as "this show could not be gayer if Liza was named Mayor and Elton John took flight. . ."  Oh well, it's the Tonys. See you next year!

Alice Ripley - 'Next to Normal' Elton John Janet McTeer & Harriet Walter - 'Mary Stuart' Tovah Feldshuh

Lin Manuel Miranda Hope Davis Jerry Herman

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Cabaret and Other Wanderings with Sandi Durell

"SUNDAY IN NEW YORK: MEL TORME IN WORDS AND MUSIC"
Lyrics & Lyricists at the 92nd Street Y

Reviewed by: Sandi Durell
June 6, 2009

Billy Stritch, consummate jazz pianist/singer, served as Artistic Director and co-scriptwriter with Mark Waldrop on this comprehensive and insightful program into the life, words and music of Mel Torme. Torme started singing with the radio at the age of one. By age 4, he was standing on a chair performing at the Black Hawk Restaurant in Chicago earning him a 5 month gig at $15 per show. He made his film debut at 17 in Higher and Higher which also debuted Frank Sinatra. For those who remember, Torme was part of a vocal group known as The Mel-Tones in the late 30's and 40's, with a sleek harmonic sound that later influenced Manhattan Transfer.

Stritch pulled together some of the finest singing talent to tributize Torme, a prolific writer of music and lyrics. "County Fair" (1948 with Robert Wells), sung by Stritch, is an entire production consisting of great rhythm changes and lyrics. The beautiful, willowy LaTanya Hall spiced up Peggy Lee/Duke Ellington's "I'm Gonna Go Fishin' and resonated sultry tones on Hart/Rodgers "Blue Moon." Porter's "What Is This Thing Called Love" was a four part masterpiece of harmonies and scat featuring LaTanya, Hilary Cole, Johnny Rodgers & Stritch.

Johnny Rodgers regressed back to childhood with Oscar Brown,Jr./Bobby Timmons "Dat Dere." Rodgers' honeyed crooner tones on "The Best Things in Life Are Free" are reminiscent of The Velvet Fog himself. A multi-talent, Rodgers was at the piano while Stritch, Hall & Cole performed a blow-the-roof off "Comin' Home Baby" (Dorough/Tucker). Hilary Cole reached down deep with her lilting vocals on Torme favorite "The Folks Who Live on the Hill" (Hammerstein/Kern) and scatted effortlessly with Stritch on Berlin's "Cheek to Cheek" perched atop the piano.

Completing the package was favorite Marilyn Maye who entices her audience with the simple truth – it's all about the lyric! It doesn't get any better than "Mountain Greenery" (Hart/Rodgers) duet with Stritch or Mercer lyric "When The World Was Young" providing Ms. Maye the opportunity to strut her stuff.

Torme the Stritch way was didactic, harmonically polished and a fitting end to this season's Lyrics & Lyricists series. Completing the package were David Finck, bass and Mark McLean, drums.


Photo Credit: Richard Termine

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Cabaret and Other Wanderings with Sandi Durell

MICHELLE COLLIER
"A Tribute to The Hollywood Blondes"
Metropolitan Room – New York City

Reviewed by: Sandi Durell
May 23, 2009

"I Want to Go to Hollywood" – well doesn't everyone? But if Michelle Collier, blond and looking very 40's in a tight fitting sexy gown, should get there. . . she'd fit right in! Occasionally performers choose a genre of song and style that also fits them physically and vocally. This is one of those times. In a tribute to film entertainment featuring the Hollywood blondes, Collier provided a plethora of research information (perhaps more than needed) about each and every one of her chosen celebrity bombshells.

More importantly, Collier is an exuberant entertainer with a big voice and belt and a sparkle in her eyes who also fills in the gaps with dance breaks. From the energetic and frenetic Betty Hutton's "Arthur Murray Taught Me Dancing in a Hurry" (Mercer/Schertzinger) to the staid, sweet Jane Powell's "Too Late Now" (Royal Wedding), where Collier produced a simpler inner passion, it appears that blondes do have more fun!

Sexy and sultry Marilyn Monroe was memorialized as Collier, perched atop the piano, emoted the sad "Help Me File My Claim" from River Of No Return. It was non-stop blond on blond, from Dolores Gray and Doris Day to Mitzi Gaynor and Shirley Jones. The piece de resistance of hilarity was Collier's tribute to comedic Madeline Kahn playing Lili Von Shtupp in Blazing Saddles, as she rolled around on the piano crying (with accent) "I'm tired, sick and tired of love…everything below the waist is kaput!"

Collier appears to be more at home vocally in country-western genres such as Olivia Newton John's "Hopelessly Devoted to You" and Meryl Streep's "I'm Checking Out of This Heartbreak Hotel" (Postcards From The Edge). Although Collier can become a bit shrill on her high belts, she has a good solid range that enables her to sing the wide variety of styles of these Hollywood Blondes. She was ably accompanied by veteran Musical Director Rick Jensen, with Matt Wigton on bass and Fred Kennedy on drums. Celebs in the audience included: Marilyn Maye and Julie Wilson.

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Cabaret and Other Wanderings with Sandi Durell

"DON'T LEAVE IT ALL TO YOUR CHILDREN!"
Actor's Temple – New York City

Reviewed by: Sandi Durell
May 20, 2009

Baby Boomers unite! You're in good company coming of age with The Beatles, Sly Stallone, Sally Field, Michael Douglas, Ann Margaret and Dolly Parton. If you can also relate to Henny Youngman type jokes like getting up ten times a night to pee, sexual parts that no longer work, you might have a chuckle here and there. The thing is that this musical revue is really geared to Seniors who are beyond the Boomer years.

"Don't Leave It All To Your Children" is a compilation of songs (20 of them) and interspersed skits written and directed by Saul Ilson, a 76 year old who happens to be an Emmy Award comedy writer for 40+ years, cautioning his Adults Emeritus that any similarity between what you see on stage and your lives is purely intentional! Much of the song essence and patter are cliché. However, the audience of mostly silver haired veterans can't help but relate. Yes, retirement can be more than acceptable if one considers the alternative, which is the on-going mantra throughout the 90 minute perspective on aging.

Casting is right on with veteran show biz performers Barbara Minkus (Picon Pie), Marcia Rodd (The Last of the Red Hot Lovers), Ronnie Schell (Gomer Pyle) and Steve Rossi (half of the famous comedy team of Allen and Rossi, who also recorded the hit record "More."). The ladies look fit and lovely in the wardrobe outfits selected by Thom Carlsen and are vocally astute as each shines; Barbara Minkus on "A Singles Cruise" as she fights off the other females trying to steal her guy who turns out to be gay; Marcia Rodd in her rah rah inspirational message songs "March in the Parade" and "Age Is Not A Factor" - age is just a number and my number is unlisted…stop counting and go girl go! Rossi has a difficult time trying to keep from cracking up and does a fine impression showing off commanding vocals on "Ed Sullivan" (whose show him and partner Allen appeared 47 times). His shining number "My Grandchildren and Me" is a warm and fuzzy reminder of entitlement to spoil one's grandchildren, giving lots of nachas to many in the audience.

Although the skits and songs all present the aging message loud and clear, there's a spark that is missing. Is it that there's really nothing new to say?

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Cabaret and Other Wanderings with Sandi Durell

LYNNE HALLIDAY
"Let Yourself Go"
Laurie Beechman Theatre – New York City

Reviewed by: Sandi Durell
May 20, 2009

It was "My Night to Howl" (Mercer/Dolan) sang the perky, playful Lynne Halliday in her latest offering "Let Yourself Go." Ow-ooooh !

Ms. Halliday is reminiscent of a throwback era in demeanor and look with long red hair and an air of lighthearted sophistication. She's a little gal with a sweet soprano range that she shows off to advantage, and together with Musical Director/Arranger David Brunetti they have constructed a potpourri of the Great American Songbook relying upon varying personal impulses. . . good and bad, that may require some letting go. Let go of ideals, people and just have a good time quips the blue-eyed Halliday !

"Nice Little Girls"/"Control Yourself" (Allen/Langdon/Previn) were perfect combinations along with "Crazy"/"After Midnight" (Nelson/Hecht/Block), enhancing the storyline. Halliday understands these lyrics and presents them with humor and sincerity. She has a penchant for novelty and wittiness and does them well especially on Cahn/Raye/Lunceford/Chaplin's "Rhythm in My Nursery Rhymes" - a trip to the farm where we encountered a lot of swingin' cats! On the other hand, some better reflection would augment her take on Jones/Schmidt's "The Room is Filled With You."

Porter's "Begin the Beguine" provided a truthful rendering with dynamic introspection. Ms. Halliday likes challenges as she takes on "Music of the Night." "Everybody Says Don't," "I Don't Want To Know" and encore "By Strauss" showed off her good diction and ability to handle lyrics and lists. To learn a little more about how to Let Yourself Go musically and other, try Lynne Halliday's course! Frank Wagner is on bass.

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Cabaret and Other Wanderings with Sandi Durell

TYNE DALY: ‘SONGS'
Feinstein's Loews Regency

Reviewed by: Sandi Durell
May 13, 2009

If we think of Tyne Daly it's usually in conjunction with her work on TV in "Cagney and Lacey" or her Tony Award winning performance as Rose on Broadway in "Gypsy." Ms. Daly wouldn't be on everyone's list, however, as a cabaret performer. Well, surprise, surprise or actually no surprise, because Ms. Daly is an astute and intelligent artist with the ability and understanding of how to do it all - Movies, Television, Broadway and now Cabaret!

Tyne Daly is a great actress, a good singer with boundless humor and an innate ability to keep her audience laughing and wanting more. "Forget Crime Time", says Ms. Daly, "I got a hold of John McDaniel. . . yes, these are my original legs," showing off her high heeled red shoes. And we were off to a rip-roaring start with "Some People." The title of her show belies the actual depth of a well thought out retrospective of her journey through life, love and disappointments. Her song selections are remarkably in keeping with everything she wanted to convey.

"Let's talk about love; bellyache, heartache, headache, nervous blood on the loose" leading into a new song "Crayola" (Kristin Andreassen/Megan Downes) and the soft quiet arrangement of "Oh Boy" (West/Tilghman/Petty), followed by a raspy powerful "Real Emotional Girl" (Randy Newman). For all the Johns in her life, she offered up a rambunctious "Row, Row, Row" taking us back to 1912.

In the business of acting for 48 years, Ms. Daly reflected on women's dreams and desires, of being a great French chanteuse segueing into a moving "Que Reste T'il (I Wish You Love)" (Chaulliac/Trenet) and "Not Exactly Paris" (Leonard/George).

There were many highlights but top of the list acknowledgements go to the introspective but sad "Killing Time" (Styne/Leigh), referred to in jewel terms as an emerald and preceded by a story relating a much earlier time period when Ms. Daly auditioned for Jule Styne. Piece de resistance of pure, honest, earthy delight was "Captain Hook's Waltz" from Peter Pan (Styne, Comden/Green) and Weill/Brecht's "Pirate Jenny."

What is great cabaret? The freedom to feel at ease, to take charge with openness and honesty, to lay out emotions without regret and engage its onlookers completely. The cabaret world has a few performers who shine in such a way; - Barbara Cook, Marilyn Maye and the great Tyne Daly.

Ms. Daly's carefully chosen band included:Tom Hubbard, bass; Ray Marchica, percussion; Rick Heckman, woodwinds; Peter Sachon, cello and her wonderful Musical Director/Pianist/Arranger John McDaniel. David Galligan directed.

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Cabaret and Other Wanderings with Sandi Durell

"DANNY and SYLVIA": The Danny Kaye Musical
St. Luke's Theatre – New York City

Reviewed by: Sandi Durell
May 10, 2009

If one tried to write a show about the complete life of Danny Kaye, it would be exceedingly difficult to capture the multi-talents and comprehensive essence of this one-of-kind legend. Choosing a particular segment and some overview is the best anyone could hope for. So why not Kaye's younger days as the ultimate tummler in his humble Pocono beginnings to his rise to worldwide fame and include Sylvia Fine –accompanist, composer, collaborator, eventual wife, manager and orchestrator of his entire career.

This isn't a new show as it has had an earlier life in Washington, D.C., New Jersey and other parts several years back also starring Brian Childers as Kaye. The shows's title has been slightly changed.

The highlights of this production relate to the comical, zany character Kaye portrayed in his movie heyday and the songs for which he is best known. Sylvia Fine wrote many of Kaye's special material songs (‘Anatole of Paris,' ‘The Malajusted Jester' and ‘Melody in 4F') which Childers performs with zest and an overabundance of flamboyance. Although Childers is one of the best Danny Kaye interpreters around as a singer-dancer, no one is or could come close to the real McCoy! The tongue-twister "Tchaikovsky" (Weill/Gershwin) embodying 58 Russian composers, sung in 38 seconds, is a race to the finish, leaving one breathless in its wake. Kimberly Faye Greenberg plays the sweet but controlling Sylvia.

Problems are inherent throughout as the show relies heavily upon original lyrics added by book writer Robert McElwaine (who was Kaye's publicist way back when) to Bob Bain's original music. What the audience really craves are all the songs that the great Danny Kaye made famous but are only sparsely interspersed throughout this two act production. "Minnie The Moocher" and "Ballin' The Jack" are other examples of the celebrated Kaye songs.

For those of us who remember the legendary Danny Kaye, and the audience had a multitude of silver fox nostalgia seekers, "Danny and Sylvia" will surely fulfill some of that need.

Scenery is minimal except for a piano prop that Sylvia uses and a couple of telephones along with an occasional backdrop projection of Kaye's caricature. Direction is by Pamela Hall with choreography by Gene Castle. The show has an open run at St. Luke's Theater.

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Cabaret and Other Wanderings with Sandi Durell

LYNN DiMENNA
"MY HUCKLEBERRY FRIEND"
A Centennial Salute to Johnny Mercer

Reviewed by: Sandi Durell
May 2, 2009

"We're after the same rainbow's end, waiting round the bend, my Huckleberry Friend"- - Some of the best known and poetic lyrics are the clever title to Lynn DiMenna's tribute to prolific songwriter Johnny Mercer on this his 100^th birthday year.

Charming and glamorous, Ms. DiMenna appeared one night only at New York's Metropolitan Room to pay homage to the man from Savannah, Ga. who won 4 Academy Awards for Best Songs, including "Moon River," Breakfast at Tiffany's (1961), with music by Henry Mancini.  Johnny Mercer, who wrote over 500 songs, is known for having had more collaborators than any other American songwriter.

DiMenna did her homework, putting together a wide variety of some of the grandest Mercer songs including "Dream Medley" (Dream, This Time the Dream's on Me, Hit The Road to Dreamland) and "Mercer Medley" (Too Marvelous for Words, The Angels Sing, Moon River, Atchison Topeka & Santa Fe, My Shining Hour and others).  She is a sincere singer and her sweet lilting vocals are easy on the ears especially on bossa beat "Out Of This World."  DiMenna gave a gutsy rendition of "Blues in the Night" and on what she referred to as The Revenge Song, "Goody Goody," both strong suits to her performance. 

Many performer friends turned out in support of the popular Ms. DiMenna including Julie Wilson, Andrea Marcovicci and Daryl Sherman. DiMenna produced/hosted a popular radio show "Welcome To The Club" for ten years and currently co-hosts with Jeffrey C. Williams a show called "At The Ritz" heard on the net at www.attheritz.org. where many of today's cabaret, jazz and Broadway artists have been guests.

Debuting his talents as musical director and singer was Steve Doyle, whom we see on stage more often strumming his bass, and who added some extra zing on duet "Two Of A Kind." On drums was David Meade and on bass Chris Higgins.  The show was directed by Linda Amiel Burns, founder of The Singing Experience 32 years ago.

Cabaret and Other Wanderings with Sandi Durell

JAN ABRAMS
"On My Way To You"
Metropolitan Room, New York City

Reviewed by: Sandi Durell
May 9, 2009

Cabaret and Other Wanderings with Sandi Durell

JON PETERSON
"SONG MAN DANCE MAN"
Triad Theater, New York City

Reviewed by: Sandi Durell
May 5, 2009

Cabaret and Other Wanderings with Sandi Durell

CHARLES AZNAVOUR
En liberte
City Center

Reviewed by: Sandi Durell
April 29, 2009

Cabaret and Other Wanderings with Sandi Durell

LOLI MARQUEZ-STERLING
'SHAKEN NOT STIRRED'
Metropolitan Room, New York City

Reviewed by: Sandi Durell
April 19, 2009

Cabaret and Other Wanderings with Sandi Durell

BARBARA COOK
"Here's To Life"
Feinstein's at Loews Regency, New York City
April 14 thru May 2, 2009

Reviewed by: Sandi Durell
April 14, 2009

Cabaret and Other Wanderings with Sandi Durell

REASONS TO BE PRETTY
Lyceum Theatre, New York City

Reviewed by: Sandi Durell
April 8, 2009

Cabaret and Other Wanderings with Sandi Durell

A CELEBRATION OF TALENT AND LIFE ON THE OCCASION OF SONGWRITER ERVIN DRAKE'S 90th BIRTHDAY!

by Sandi Durell

Cabaret and Other Wanderings with Sandi Durell

IRENA'S VOW

Reviewed by: Sandi Durell
March 30, 2009

Cabaret and Other Wanderings with Sandi Durell

MARIN MAZZIE & JASON DANIELEY
"OPPOSITE YOU"
Feinstein's, Loew's Regency, NYC

Reviewed by: Sandi Durell
March 26, 2009

Cabaret and Other Wanderings with Sandi Durell

SHPIEL! SHPIEL! SHPIEL!
The National Yiddish Theatre Folksbienne

Reviewed by: Sandi Durell
March 18, 2009

Cabaret and Other Wanderings with Sandi Durell

SHEERA BEN-DAVID "LET ME SING and I'M HAPPY"
Oak Room at the Algonquin

Reviewed by: Sandi Durell
March 2009

Cabaret and Other Wanderings with Sandi Durell

CHERRY SMOKE
Kirk Theatre – New York, NY

Reviewed by: Sandi Durell
March 1, 2009

Cabaret and Other Wanderings with Sandi Durell

ANN HAMPTON CALLAWAY
A Musical Triumph at
Dizzy's Club Coca Cola - Jazz at Lincoln Centre
February 26, 2009

Reviewed by: Sandi Durell

Into her two week engagement, jazz artist Ann Hampton Callaway was still packing the house at her ‘favorite jazz club in the cosmos,' in celebration of her latest CD, "At Last," ably assisted by Ted Rosenthal on piano, Jay Leonhart on bass and Victor Lewis on drums.  Released from her usual duties at the piano, she is free to fly in what she dubs ‘a collection of love songs for adults.' And what a take off!

Her silky vocal fluidity and control are a singer's dream. "The Best Is Yet to Come" (Coleman/Leigh) is a potent rendition while Jonathan Latoche's "Lazy Afternoon" proclaims an introspective intimacy as she ascends the musical scales.  If Hitchcock were writing a love song, says Ms. Callaway, "Comes Love" (Tobias/Brown) would be it" - another forceful interpretation.  Michel Legrand's (Bergmans/lyric) haunting "On My Way To You" was meaningful and soul-fulfilling.

On this particular night, former Manhattan Transfer singer Laurel Masse got to wing it with Ann as they scatted and duetted in the ‘key of surprise' to "I Can't Give You Anything But Love."  Diva power!

In a more contemporary style was Stevie Nicks' folk-rock ballad "Landslide."

Chick Corea/Al Jarreau's "Spain" was presented at top speed in a race to the finish that included vocal agility that few performers could display. And, finally, the title song of the CD "At Last" was a slow swing sung full out -  no subtleties here. Probably the only negative is not hearing the usually exquisite Ms. Callaway's expertise on the ivories.

Closing the evening was an encore of improv as she took words called out from the audience, snickers, plethora, mayonnaise and hope, summoned the muse of ‘harmony, melody and words that rhyme and somehow make sense' and sandwiched them into a song.

Ann Hampton Callaway is a giving, affectionate performer with a great sense of humor and a master class for every jazz artist.

Cabaret and Other Wanderings with Sandi Durell

LANSKY
St. Luke's Theatre, NYC
February 2009

Reviewed by: Sandi Durell

Cabaret and Other Wanderings with Sandi Durell

TONY MARTIN
Feinstein's Loews Regency
January 13-17, 2009

Reviewed by: Sandi Durell

One of the only entertainers who has four ‘stars' on Hollywood's ‘Walk of Fame' is Tony Martin.  At 96 years of age, he is an icon in the movie, TV, radio and recording industry. He has appeared in 20 films including Show Boat, Til the Clouds Roll By, Hit the Deck and millions of people recall his 1950's TV variety series, "The Tony Martin Show." After all, how many nanogenarians are crooning love songs on the stage of Feinstein's ?

Mr. Martin's mid range timbre is still recognizable and if you close your eyes you are transported back down memory lane on his perfectly recollected lyrics "To Each His Own, " "I Get Ideas," "La Vie en Rose" and "There's No Tomorrow."  Trying to reach for higher notes, however, no longer works.

Settled on a stool for the entire show, he embodies the style of the great crooner as he sings with heart, soul and gestures recalling the love of his life, wife of 60 years Cyd Charisse, who passed away last year. It is her image he conjures for the sentiment on "The Very Thought of You," "Begin the Beguine," "Unfortgettable" and theme song "I'll See You In My Dreams."

Mr. Martin relies on his Musical Director Dick Parent for cues to both the patter he uses between songs as well as to several of the songs themselves.  When he hears a name: Russ Columbo, Edith Piaf, Bing Crosby or Nat King Cole, he recalls the where and what comes next.  This is the bitter-sweet of aging giving pause to the realization that when one is fortunate enough to stay healthy, the payoff is the continuation of pursuing a life-long love and love songs!

Dick Parent was assisted by Jerry Bruno on bass and Bobby Shankin on drums.

Cabaret and Other Wanderings with Sandi Durell

JULIE HALSTON
"HOLIDAY MUFFULETTA"
Birdland Jazz Club, NYC

Reviewed by: Sandi Durell
January 5, 2009

Muffuletta?  I had to try and figure out why Julie Halston called her show by this name. So here's what a Muffuletta is. It's a sandwich originated in New Orleans in 1906 at the Central Grocery. For almost 100 years, they have served up the Muffuletta sandwich, which is right up next to the Roast Beef Po-Boy as a signature sandwich. It consists of the round loaf of crusty Italian bread, split and filled with layers of sliced Provolone cheese, Genoa salami and Cappicola ham, topped with Olive Salad: a chopped mixture of green, unstuffed olives, pimientos, celery, garlic, cocktail onions, capers, oregano, parsley, olive oil, red-wine vinegar, salt.

Now that we've gotten this out of the way and I'm still trying to figure it out, the closest I come is to the fact that Julie's show is comprised of a little bit of this, a little bit of that and it all makes up one BIG FUNNY!  Halston, as an actress, writer and comedienne is at the top of her game because she's one of the few comics who is really funny, works clean, (no four letter words here) and uses her own life experiences. It's the best material!

Her latest Broadway run was in Hairspray, other Broadway credits include Gypsy, The Women and The Man Who Came to Dinner.  She is a founding member of Charles Busch's legendary theatre company, Theatre-in-Limbo and received a Drama Desk nomination for her performance in Mr. Busch's play Red Scare on Sunset. She co-starred with Mr. Busch in many of his plays including Vampire Lesbians of Sodom, The Lady in Question and You Should be So Lucky.

Starting with her defining moments between the ages of 5 and 9 growing up in Commack, Long Island, with December 7^th   being her birthday and learning it was also Pearl Harbor Day and the start of WWII, she moves on to Egg hunts at her house on Easter Sundays with her sisters finding most of the eggs as she sees what she thinks is the prize winning egg in her father's open bathrobe as he's sitting on the couch, legs splayed open; and her story of being invited by Liza to Streisand's "Farewell Tour" at the Garden (the 1^st Farewell) and enlisting her gay swat team to figure out what to wear.

A Julie Halston interpretation of what it means to be an actress: "stick a wig on, say a line, gesture and get off" which worked until she performed in Broadway musicals and had to sing and dance at the same time and was told she also has to listen to the other actors. "Really", says Julie, "I never even looked at another actor, let alone listen!"

Reading from the newspaper gay wedding announcements was just plain hysterical and all real life stories. Last, but not least, was the "Dear Ann Landers" letter (you had to be there) and the audience shouting out their comedy requests!

The filled-to-capacity room was packed with fans and theater folk including Jesse Tyler Ferguson, Mary Louise Wilson and Julie Wilson to name a few.  One night only is surely insufficient for this Muffuletta!

Cabaret and Other Wanderings with Sandi Durell

STEVE ROSS
"I Remember Him Well"
The Songs of Alan Jay Lerner
The Algonquin – Oak Room

Reviewed by: Sandi Durell
January 7, 2009

The words used to describe Steve Ross are plentiful and accurate. . .debonair, sophisticated, smooth, masterful. Mr. Ross opened the legendary Algonquin Hotel's Oak Room in 1980 and 29 years later he is still the erudite master of the Great American Songbook.

As the leading interpreter of the words and music of Noel Coward and Cole Porter, he has happily turned his attention to JFK's Harvard classmate Alan Jay Lerner. (one of the Lerner Shop descendants) Working in New York as an advertising copywriter, Lerner met composer Frederick Loewe at the Lamb's Club and together they collaborated on some of the greatest musicals ever written: Brigadoon, Paint Your Wagon, My Fair Lady (deemed ‘the perfect musical'), Camelot and the film "Gigi." Lerner found great pleasure in the English language and in enhancing romantic themes. As Ross notes, Lerner seemingly had an affinity for flora. . . trees, flowers, hillsides, buds and accelerated plant growth!  "I Never Met A Rose" (Little Prince), "I Talk To The Trees" (Paint Your Wagon) and with Burton Lane, "Hurry, It's Lovely Up Here" (On A Clear Day You Can See Forever) all sung in Ross' amusing and mellow conversational manner.

Unproduced, "My Man Godfrey" finally received its New York premier at the Oak Room with some witty tongue-in-cheek lyrical matrimonial tidings "Try Love," "I've Been Married" – I have tied the wedding knot until the blood began to clot – and "Dancing My Blues Away." Maybe someone will actually produce it after hearing these songs!

Facing the terror of the blank page in trying to create a title song, eight months elapsed as Lerner wrote 91 sets of lyrics while working with Burton Lane and finally wrote "On A Clear Day You can See Forever."

Ross continues his musical charm, wit and embracing manner on songs from "Gigi," beautiful fantasy gems from "Brigadoon" (The Heather On The Hill) and the perfection of "My Fair Lady" (written while Loewe was living at the Algonquin). Songs of regret (with Burton Lane), "Too Late Now," "What Did I Have That I Don't Have?" were introspective and touching, especially "Come Back To Me."

A time warp exists in this genre of the musical salon. As I watched the reaction and faces of the audience, I saw the reality of a certain age related population who continue as lovers of the Great American Songbook and it became clearer and more urgent that evenings such as these are part of an important and wonderful heritage that must forever carry on to future generations.

Steve Ross continues these magnificent evenings throughout the month of January.

Cabaret and Other Wanderings with Sandi Durell

daryl glenn & jo lynn burks
play and sing
robert altman's " Nashville "

By: Sandi Durell
December 20, 2008

"Nashville" – the movie?  Shades of The Grand Ole Opry?   What's it doing in New York City and at the Metropolitan Room?  It's actually been a while since Daryl Glenn and Jo Lynn Burks got together to present their musical interpretation of Robert Altman's 1975 movie "Nashville."  To top it all off, "Nashville" has just won the 2008 Nightlife Award for Best Cabaret Duo and Group.

Together with a five piece back-up band that aided and abetted the former Miss Alabama and Miss Miami Jo Lynn Burks on piano (she is also Musical Director and Arranger with lots of Broadway credits) and Daryl Glenn, who cleverly conceived the show and is, in his own words, a native Kentuckian doin' his country thang, the movie lives musically featuring famous Keith Carradine songs "It Don't Worry Me," "I'm Easy" and Ronnie Blakely's "Bluebird" and "Tapedeck in his Tractor."

Nashville is a 1975 American film drama, directed by Robert Altman, depicting the country music and gospel music businesses in Nashville, Tennessee and combines them with material on U.S. presidential politics. The film weaves together multiple storylines that eventually coalesce in the final half-hour in a climactic sequence at the Parthenon in Nashville. Among its many musical sequences, the song "It Don't Worry Me" is the film's theme, heard sporadically throughout and then performed at the climax. The film featured a large ensemble cast including David Arkin, Barbara Baxley, Ned Beatty, Karen Black, Ronee Blakley, Keith Carradine, Geraldine Chaplin, Shelley Duvall, Scott Glenn, Jeff Goldblum, Barbara Harris and many more.

The show is quite an undertaking on the part of Daryl and Jo Lynn that rewards the creators and the audience. Other reminiscences of the movie include "Memphis" and "Rolling Stone" (Karen Black) and "For The Sake of the Children" (Richard Baskin) that pulls on the heart strings.

Between the songs were audience participation questions such as "What put Barbara Jean in the hospital?" The answer: A fire baton twirling incident! And there were prizes for the right answers. And what were the prizes?  GooGoo Cluster Candy Bars!

Surely a musical departure for the Metropolitan Room, it was a treat that needs repetition, hopefully, sooner than later. The fabulous band was comprised of Ivan Bodley, bass, Chris Delis, guitar, Dan Gross, drums, Kenny Kosek, fiddle, John Widgren, pedal steel guitar. Back up vocals included Tanya Holt and Bryan Dobson.  The show is directed by Vince DeGeorge.

Cabaret and Other Wanderings with Sandi Durell

MOTHER RUSSIA
Three Generations, One Struggle, One Story
A Musical by Andrew J. Wight & Winston Shaw
By Sandi Durell

On December 19, 2008, a snowy cold wintery evening, a one-night concert presentation of the musical "Mother Russia" was performed at Zankel Hall at Carnegie Hall in New York City.  It was as if the Gods were in compliance, ordering up weather to accessorize the theme of the evening.

Set during the turbulent times in Moscow of 1991, the story is a love triangle between Steve (Kevin Vortmann), a young American reporter, Tolya (Peter Samuel), a KGB colonel who hosts the Miss KGB contest, and Jenya (Kate Shindle), a KGB operative planted at the Moscow TV Studio to monitor Steve's movements. Jenya and Steve meet and there is an underlying attraction ("Could I Be Interested In You?"). Ludmilla (Evangelia Kingsley) trying to resist the regime, is perfect as the grandmother to Jenya, lamenting "Only One Life."

The ‘opening demonstration' is ably assisted by Janice Martin on violin, as she weaves in and out of the masses, not only as a creative addition, but easy on the eye in long tight red gown and flowing golden hair. She is a brilliant musician.

There are beautiful costumed dancing girls in the Miss KGB contest, a chorus of wonderful singers and harmonic splendor - all the ‘bells and whistles' in tow for a big Broadway show. However, the story line seemed thin. However, in fairness, this was a concert adaptation, a highly abridged version of the book not allowing for full development of the plot. Perhaps there is more meat! One would think the music would be serious and heavy but instead much of it is light rock and witty lyrics albeit sometimes repetitious but nonetheless pleasing.

Other notable performances included Nat Chandler as Slava, Todd Horman as Misha, Jane Brockman as Olga and Betsy DiLellio as Luba.  The creative team is top notch with Tim Janis, producing and Nick Corley, as Director.  Todd Sullivan's orchestrations are ably enhanced by Lanny Meyers and Phil Reno sharing piano intervals. The writers have plans to workshop the musical out of town and then bring it into New York for a 2010 Broadway opening. www.motherrussiamusical.com

Cabaret and Other Wanderings with Sandi Durell

LIZA'S AT THE PALACE"
Starring
LIZA MINNELLI
Reviewed by Sandi Durell
December 2008

Cabaret and Other Wanderings with Sandi Durell

MOTHER RUSSIA
How a British Solicitor, with expertise in banking and finance, and an American Diplomat wrote an epic musical!
Interview with Andrew J. Wight, Composer/Lyricist
December 14, 2008
By Sandi Durell

In 1996 Andrew J. Wight was living and working in Moscow. A successful internationally known British solicitor with expertise in banking and finance specializing in aircraft finance and leasing, Andrew was selling a bed!  Yes, that's right, a bed!  The buyer, a piano player, noticing the piano in Andrew's apartment, forgot all about the bed. Instead, he invited Andrew to play for his supper at a party in a 200 year old apartment where a 6 foot grand piano stood in the center. It was at that party that Mr. Wight met Mr. Shaw (Winston Shaw, book/lyricist), an American diplomat in Moscow.  It didn't take long for them to realize they had a lot in common and it had nothing to do with law and diplomacy. No, it was more soul fulfilling.  Andrew is a composer-lyricist; Winston writes stories and lyrics. When Andrew read a script entitled "Tomorrowland," he immediately wrote six songs in the blink of an eye. Now that's inspiration!

This is only the beginning of the birth of "Mother Russia" and it is a rather unique story. The truth is that the show was mostly written via email as Andrew and Winston found themselves in different parts of the world. "Mother Russia" is the carryover from what began as "Tomorrowland." A recording of the show was made at the famous MosFilm Studio by the Bolshoi Theater Orchestra.

The composer/writing team continued their long distance project, actually meeting in Prague, in person, in a little café where they spent an entire day writing, eating pizza and drinking coca cola.

Andrew and Winston were together for only one day in the 1990's in preparation for a fully staged production in one of Moscow's largest theaters where it ran for three weeks, playing to audiences of 10,000, with a 56 piece orchestra. Matinees were performed in Russian and evenings in English. It received outstanding rave reviews. They were sponsored by Pepsi and Sheraton Hotels.

"Mother Russia" is a love triangle with a theme of standing up for what one believes. It is set during the turbulent events in Moscow of 1991 that eventually resulted in the downfall of the Soviet Union.  Andrew equates its essence to songwriter Chris Rea's statement: "You can spend a whole lifetime trying to be exactly what's expected of you, but you'll never be free."Why Carnegie Hall? Andrew relates that top musicians say the music is exceptional and ‘since today's music is wallpaper,' "Mother Russia's" American debut concert belongs at Carnegie Hall.  He equates it to Rodgers & Hammerstein: music you can hum and whistle! What are the expectations? Workshop versions of "Mother Russia" in Philadelphia and Chicago with an anticipated 2010 Broadway opening. Andrew says there is good precedent for a lawyer writing a musical show. Gilbert of Gilbert & Sullivan was a solicitor and Hammerstein studied law.

This concert version includes graphic projections, an all-star cast and two Musical Directors: Phil Reno Musical Director/Arranger for Broadway's Drowsy Chaperone, The Producers, Thou Shalt Not, Cats, Dame Edna: The Royal Tour and Back With a Vengeance and Lanny Meyers, Emmy winner, composer/orchestrator/arranger Another World, The Berenstein Bears-' Littlest Leaguer, Easter Surprise, Valentine Special, Christmas Tree and Remember WENN and orchestrator on the 40th and 44th annual Tony awards.  Tim Janis is Arranger/Producer and well known composer, having sold over one million albums, produced five National Public TV Specials, including " An American Christmas Carol" with James Earl Jones and "Celebrate America" having worked with some of the top artists in the music and entertainment business -- from Paul McCartney, Billy Joel, and Ray Charles, to George Clooney. Janis creates what many in the media have called Music With a Mission, music projects which aim to advance important causes through music.

Cabaret and Other Wanderings with Sandi Durell

20TH ANNUAL GYPSY OF THE YEAR
Broadway Cares – New Amsterdam Theatre
December 9, 2008
Reviewed by Sandi Durell

An amazing total of over $3 million dollars was raised in 2008 for the 20^th Annual "Gypsy of the Year" event by the 63 Broadway, Off-Broadway and National Touring Companies to benefit Broadway Cares/Equity Fights AIDS. The total monies raised since 1989 is a staggering $35 million dollars. The ever hilariously funny Seth Rudetsky hosted with special guests Tyne Daly and Jonathan Hardary, the hosts of the first Gypsy of the Year Competition that took place at the St. James Theatre on November 28, 1989.

The show's opening number "The Gypsy Robe" – featuring five of the legendary Gypsy Robes, was directed and choreographed by Joshua Bergasse, created by musical director Ben Cohn and lyricist Nathan Tysen, and featured 24 of Broadway's gypsies as they parodied "La Vie Boheme" from  Rent and "Brand New Day" from The Wiz. 

Examples of creative and clever were the cast of Gypsy wondering what if Sarah Palin herself decided to take over the role of Rose, while Grease featured Palin's daughter, Bristol, as the pregnant teen Rizzo singing "There Are Worse Things I Could Do."  

Ensemble members from The Lion King continuing their Gypsy of the Year tradition, presented a stunning dance piece entitled "Guess Who's Coming to Dinner" that featured six dancers performing breathtaking feats around an oversized dinner table, ultimately winning them first place in the competition. Equus offered star Daniel Radcliffe performing an original song, written by Mr. Radcliffe, titled "The Love That Dare Not Speak Its Neigh" that included the show's "horses" dancing and cavorting with their young star, garnering them first runner up status. Rudetsky, Daly, and Hadary were joined by Harvey Fierstein (Hairspray), John Lithgow (All My Sons) and Christine Baranski (Boeing, Boeing) for the presentation of the afternoon's awards. Celebrity judges included: Elizabeth Ashley (Dividing the Estate), Paige Davis (Boeing, Boeing) and her husband Patrick Page (A Man For All Seasons), Howard McGillin (The Phantom of the Opera), Kate Mulgrew (Equus), Peter Sarsgaard (The Seagull), and BC/EFA major donors Dr. Harold Brody, Marion Duckworth Smith and Kendall D. Ward.

Cabaret and Other Wanderings with Sandi Durell

JEFF HARNAR / KLEA BLACKHURST / ANNA BERGMAN
"The 1959 Broadway Songbook"
59E59 Café
December 3 – 12, 2008
Reviewed by Sandi Durell

Cabaret and Other Wanderings with Sandi Durell

MICHAEL FEINSTEIN
"THE SINATRA HOLIDAY PROJECT"
Feinstein's Loews Regency
December 2-30, 2008

Reviewed by: Sandi Durell
December 4, 2008

Possessed with limitless energy and boyish good looks, Michael Feinstein will soon approach his 25^th professional debut anniversary. This will also mark another Grammy nomination for his latest album and show of the same name, "The Sinatra Project," which debuted at Feinstein's in September.  The update to that is the inclusion of several of Sinatra's favorite Christmas songs plus!  The ‘plus' is Latin instrumental "Brazil" giving Feinstein the opportunity to remark ‘boy are my hands tired!'

After a big blast opening "Luck Be A Lady"/"All I Need Is The Girl," Feinstein, feigning exhaustion, remarked ‘Thank you and goodnight!'  A little surprised at the fact that the ballroom (where this show runs) wasn't filled to capacity, Michael said he didn't understand it since 30 more people had paid reservations and didn't show up. But after some audience members yelled out ‘a lot of people are sick now' it seemed to ease his concerns. After all, Mr. Feinstein has become accustomed to overflowing crowds and understandably so!

With his 17 piece band of New York's finest musicians, he is at the top of his career. A clever and witty performer, Feinstein made with the jokes at all the appropriate moments.

He regaled the audience with intimate stories of the Frank and Barbara Sinatra private Christmas parties he played and how thrilling the experience. "Have Yourself A Merry Little Christmas" was a reinterpretation of the famous Sinatra rendition to what Michael deems the "now" sound.  "White Christmas," introduced by Bing Crosby and of which there are 142 million recordings, came with a story about the rare soundtrack, in Michael's possession, of the film "Battle Ground" (1947) on which one can hear an early Sinatra vocal if you listen really closely.

Most impressive is seeing Mr. Feinstein away from the piano a great deal of the time, fronting this big band, and using his sweet falsetto on song endings like "All The Way" and "Begin The Beguine."  What I call that dreamy sound!

A bit of informative trivia: - Sinatra recorded 87 Sammy Cahn songs.  Cahn wrote specifically for Sinatra i.e. "All My Tomorrows."  When Sinatra was 54 years old he recorded "For Once In My Life" and after that always included this song for the remainder of his career.  This was also Michael's BIG ending to the show which was a knock-your-socks off performance necessitating a second BIG ending. 

Sitting behind me was legend Margaret Whiting with comedienne/singer Christine Pedi.

The band was comprised of Rosie Clooney's piano conductor, Musical Director/Pianist John Oddo, along with the best of the best musicians (too many to name), including Bucky Pizzarelli on guitar.

Cabaret and Other Wanderings with Sandi Durell

THE NATIONAL YIDDISH THEATRE
FOLKSBIENE
"GIMPEL TAM"
JCC – Nov. 23 – Dec. 28, 2008
Reviewed by Sandi Durell

Reputed to be New York's oldest theater company, in English or Yiddish, commercial or not, Folksbiene is marking its 94^th consecutive season with the new Yiddish musical based on the Isaac Bashevis Singer classic short story "Gimpel the Fool" herein called "Gimpel Tam."

It is a morally rich story of the character Gimpel, otherwise referred to as a schlemiel, an unlucky man followed through life by misfortune after misfortune.  Gimpel (played by Adam Shapiro making his Folksbiene debut) is taunted by his fellow townspeople in a mythical Eastern European shtetl called Frampol. When his grandfather dies, he must find a way to earn a living and becomes a baker. The town's matchmaker soon comes to him saying he must now have a wife and children and finds him the town slut. Child after child is born, always with Elke's (the wife, played by Daniella Rabbani) excuses making Gimpel believe the children are his while the town continues its deceitful ways toward Gimpel. When given an opportunity for revenge, Gimpel's faith instructs him to accept things as they are. It is only when Elke dies and he leaves Frampol and wanders the world returning at an old age that he sees the truth. The folktale is a haunting relevance to modern times.

Singer, a Nobel Prize winner, published "Gimpel Tam" as a short story in the Yiddish Forward in New York in 1945. Saul Bellow had translated it into English in 1953 and it has been restored to its original language. This musical rendition was written and directed by Moshe Yassur, a New York and Bucharest based director/writer. Music is by Radu Captari with lyrics by Moshe Yassur. The cast of thirteen is a potpourri of mostly experienced Yiddish Theater talent doing justice in song and dance to this parable.

A four piece Klezmer Band is comprised of Joshua Camp, Louisa Strouse Boiman, Dmitri Slepovitch and Taylor Bergren-Chrisman.  Scenic design (Roger Hanna) is minimal consisting of two wooden risers (on which the scenes take place signifying a house or bake shop), some stools and objects as well as long tree trunks against gravestones, setting the tone of a small Eastern European shetetl.

Don't be concerned if you don't speak or understand Yiddish, as the English translation is flashed above the stage on a scenic overhead banner. You will enjoy original songs like "Keyner Hot Nisht Ale Mayles" (No One Has All Virtues) and "Az Der Rambam Zogt S'iz Kosher" (If The Rambam Says It's Kosher) which are witty and clever. It's really a gantseh megillah that makes you laugh a bisel and cry a bisel!

Cabaret and Other Wanderings with Sandi Durell

CHITA RIVERA
Feinstein's at Loews Regency
November 18-29, 2008
Reviewed by Sandi Durell

Can James Taylor's "Secret O' Life" simply be the electrifying and glamorous Chita Rivera at age 75?  This bundle of energy is a life force to be reckoned with on all levels.

She doesn't stop moving for an instant albeit announcing she's not going to dance! She just can't help herself. Anything musical or dramatic commands movement. She was a proud peacock in red flutter dress and matching high heels declaring at the opening "Let Me Sing and I'm Happy" (Irving Berlin).

Says Ms. Rivera, the only time she comes to the Eastside of New York from the Westside, where she resides, is when she's at Feinstein's. There was some attention paid to the transition of using a female musical director instead of a guy and how sexy it is singing with a trio instead of a big orchestra. Big band, trio, whatever. . .Chita Rivera could perform a capella on a street corner and we'd be mesmerized!  She's joyous and her rhythm of life is surely a powerful beat! She keeps in touch with every nerve ending and muscle in her body at all times, evident on Latin rhythms like "Sweet Happy Life" and "Mas Que Nada."

On the evening I attended, her explosive self was even more engaged with John Kander sitting ringside as she introduced him and bowed in reverence.  She's been a part of the Kander/Ebb songwriting life for so many years with songs like "Chief Cook and Bottle Washer" (‘The Rink'); "Nowadays" (‘Chicago') and "Love and Love Alone" (‘The Visit').

Jacques Brel's "Carousel" came alive with movement, spinning out of control with the madness of darkness. Other song highlights included "Camille, Collette, Fifi" (‘Seventh Heaven'), a fun-loving rendition albeit the show a flop; Cy Coleman/Dorothy Fields (‘Sweet Charity') "Big Spender/There's Gotta Be Something Better Than This/Where Am I Going?" Of course, Chita's big break came in 1957 with her electric performance as Anita in the Broadway premiere of "West Side Story" (the show soon to resurface on the Broadway circuit) and hearing "A Boy Like That/America" was a rousing memory of just how thrilling a performer she is.

A two time Tony Award winner, Ms. Rivera re-created the essence of her Broadway show ‘A Dancer's Life' with "A Woman the World Has Never Seen," special material written by Lynn Ahrens and Stephen Flaherty, that includes excerpts from all her famous roles. "All That Jazz" was the crowning encore with the audience roaring for more. Yes, it would have been easy to sit and just keep watching and listening to this all-engaging performer strutting her stuff. But, alas, we'll have to wait till next season.

The impeccable trio was comprised of Carmel Dean, Musical Director/Piano; Michael Croiter, Percussion/Drums; Mary Ann McSweeney, Bass.

Cabaret and Other Wanderings with Sandi Durell

BRIAN STOKES MITCHELL
"SONGS…I LIKE TO SING"
Feinstein's at Loews Regency
November 11-15, 2008
Reviewed by Sandi Durell

‘Joy to the world' can best describe the exuberance that emanates from the depths of the soul of this man who is with everyone at all times from the moment he enters and opens his mouth singing "I've Got You Under My Skin" (Cole Porter) to his scat and pliable "One Note Samba" (Jobin/Mendoca). 

Brian Stokes Mitchell, or as he likes to be called ‘Stokes', was back in his living room at Feinstein's after five years away. How we've missed him in this intimate setting!  But he's a busy performer enjoying a spectacular career as the inimitable leading man, winning a Tony Award for the Broadway production "Kiss Me,Kate" along with Tony nominations for "Ragtime" and "King Hedley II" and active television and film appearances as well as impressive concert performance dates.

The stage at Feinstein's was noticeably changed with no piano, making room for his Grammy winning guitarist, flown in from Hawaii, Jeff Peterson, along with Gary Haase on bass and one-of-a-kind percussionist Bashiri Johnson.  Stokes is particularly fond of Brazilian music making this grouping the perfect backup. He is not perfunctory in his introductions of each of these musicians, giving them the kudos they readily deserve. He gave a shining spotlight to Jeff Peterson on a tune presented with ‘slack key guitar', invented in Hawaii, where one string is loosened to produce a certain sound.

Radiant and having fun at every moment, Stokes was child-like in his presentation of "A Tisket, A Tasket" (Feldman/Fitzgerald) calling it his ear worm that bore into his brain when he was a child, likening it to ‘ring around a rosy' and broadening the pleasure by adding ‘was it purple….no, no, no, no – was it puce. . .chartreuse or chocolate mousse.' Jobim's list song "Waters of March" (it's the mud, it's the mud, it's the joy in your heart") was an impeccable feat of lyric.

Unrestrained by Broadway's legit expectations, Stokes is at ease singing effortlessly with back up guitar on Carmichael/Washington's "the Nearness of You."  Traditional Hawaiian ditty "Keemo Kymo" ‘will solve all the problems in the US', says Stokes, as he engaged the audience in helping him sing the song.  As a pianist and songwriter, Stokes wrote "Life Is What Happens"- surely a story of humanity - ‘life is what happens while you're waiting for life to begin. Don't let it pass you by, it's gone in the wink of an eye' Poignantly true!

Excited about the direction of change in our country, enthusiasm abounded with "America The Beautiful" combined with Flaherty/Ahrens "Wheels of a Dream" and speaking about his incredible experience playing Colehouse Walker in "Ragtime" and the hope and possibilities presented.  Happiness is a thing called Stokes!

Cabaret and Other Wanderings with Sandi Durell

THE MABEL MERCER FOUNDATION
THE 19th NEW YORK CABARET CONVENTION
Rose Theater – Home of Jazz at Lincoln Centre
October 30, 2008
Reviewed by Sandi Durell

It was "Hats Off to Liz Smith" the recipient of a Mabel Mercer Award that sparked the out-pouring of stars appearing at Rose Theater. 

For those not familiar with Mabel, she was an English-born cabaret singer who performed in the United States, Britain, and Europe with the greats in jazz and cabaret. She had become the toast of Paris by the 1930s, with admirers who included Ernest Hemingway, Gertrude Stein, F. Scott Fitzgerald and Cole Porter. When WW II broke out, she traveled to America to sing in the finest supper clubs in New York City. She also made many concert appearances across the U.S.  The Mabel Mercer Foundation was established with the efforts of her long-time friend and professional associate Donald K. Smith in 1985. This not-for-profit arts organization was formed to keep Mercer's memory alive, and to contribute to the art of cabaret performing by supporting artists and providing information resources.

Gracing the stage was singing icon Marilyn Maye opening the evening with a 20 minute medley including songs "Looking At You," "Fabulous Face," I Get a Kick Out of You," "Just One of Those Things" to mention a few. Marilyn is known for her impeccable phrasing and being a master class every time she performs!  "Grey Gardens" star Christine Ebersole (soon to be appearing on Broadway in Noel Coward's Blithe Spirit) believes that New York is the center of the Universe and Liz Smith puts a face on it saying ‘she's a good time gal with cowboy boots.' Her renditions of "My Funny Valentine" and "I Wish You Love" were heartfelt. Ann Hampton Callaway declared her love of the American Songbook with the quintessential song of yearning "Over the Rainbow" and then proceeded to compose a song to Ms. Smith with words and phrases from the audience, i.e. Diva, Texan, natural blond, Queen of Dish…and a glorious song it was!  Other singing notables included powerhouse Klea Blackhurst with "It's Today" and Jeff Harnar with musical director Alex Rybeck presenting a timely "Politics and Poker/Little Tin Box" from "Fiorello" that brought the house down.

Special appearances were made by Robert Osborne, Marion Seldes and the one and only Michael Feinstein who lovingly played and sang "Old Friend."  Liz, who was mad about Mabel, always giving her the news coverage she deserved, wowed us by singing "The Glory of Love."  Surprise guest artist Florence Henderson closed the evening with her national anthem "The Brady Bunch." Yes, we all sang along!

Cabaret and Other Wanderings with Sandi Durell

4th ANNUAL BROADWAY CABARET FESTIVAL
"A Tribute to Lerner & Loewe"
Town Hall – October 17, 2008
Reviewed by Sandi Durell

One of the busiest guys in town is Scott Siegel. Together with wife, Barbara, they cover an almost endless vista from producer to critics and book writers. Scott is not only responsible for producing this Festival, but the Broadway By The Year Series, Broadway Unplugged and The Nightlife Awards. He wears all hats: creator, writer, director and host.  Attentive to historical details, one can always rely upon him for accurate data surrounding the various songwriters and original performers in Broadway musicals as well as trivia-related information that only hardcore Broadway and Cabaret addicts, like me, must know. For instance; Loewe arrived in this country in 1924 and was a prospector and a boxer. Lerner was a Harvard grad whose family owned the Lerner Shops (oh, that Lerner!) and was married eight times.

This year's Annual Broadway Cabaret Festival was a virtual plethora of some of the best on the Broadway stage, featuring beautiful ingénues as well as handsome leading men. Brigadoon opening "Almost Like Being in Love" was a magical blend of vocal harmonies by soprano lovelies Julia Murney (Wicked, The Wild Party), Sarah Jane McMahon (Pirates of Penzance) and Erin Crouch Denman (42^nd Street, revival - yes, she and Jeffrey Denman, director/choreographer were recently married!). Other Brigadoon highlights included "Come to Me, Bend to Me" sung unplugged (sans mic) and hymn-like, by tenor Ron Bohmer (Phantom of the Opera, Scarlet Pimpernel) on bended knee, Irish brogue and all.

Camelot was represented by Robert Cuccioli (Jekyll & Hyde) with "C'est Moi" as well as Lerner and Burton Lane's On A Clear Day with "She Wasn't You." Cuccioli has a fan club wherever he appears by the sound of the screaming and cheers!  Daniel Reichard of Jersey Boys fame was a big surprise presenting his legit vocal side in My Fair Lady's "On the Street Where You Live."  Douglas Ladnier (2007 BackStage Bistro Award, Jekyll & Hyde), Ron Bohmer, Jeffrey Denman (Naked Boys Singing) and Kevin Worley (A Chorus Line) were splendid harmony buddies on Paint Your Wagon's "They Call the Wind Maria." Cast Party's bon vivant host Jim Caruso smoothly sang and danced his way thru the Royal Wedding "Sunday Jumps" with Jeffrey and Kevin in this song and dance extravaganza. From the same movie "How Could You Believe Me" was another top notch choreographed piece performed by newlyweds, Mr. & Mrs. Denman. Also appearing was Lorin Latarro (Curtains, Movin' Out).

Special guest Marni Nixon (4 Emmy Awards, etc.), the singing voice of screen idols Deborah Kerr, Natalie Wood and Audrey Hepburn as well as Broadway star in her own right (Follies), enchanted us with "I Could Have Danced All Night" & "Loverly" (My Fair Lady), culminating in swells of cheers, applause and ovations.  Yes, it was a grand night for singing and stars!

Cabaret and Other Wanderings with Sandi Durell

MARY CLEERE HARAN
"Mad About Manhattan"
Feinstein's at Loews Regency
October 16, 2008
Reviewed by Sandi Durell

Cabaret with Sandi Durell

THE JERUSALEM SYNDROME
New York Musical Theatre Festival
Reviewed by Sandi Durell: September 23, 2008

Cabaret with Sandi Durell

"DORIS DAY: The Untold Story of the Girl Next Door"
by David Kaufman - 8 years in the writing and acknowledged by Liz smith as "The Definitive Biography."
Interview reviewed by: Sandi Durell - September 21, 2008

Cabaret with Sandi Durell

ANNA BERGMAN
"My Heart Stood Still: The Love Songs of Richard Rodgers"
Feinstein's at Loews Regency
Reviewed by Sandi Durell: September 14, 2008

Cabaret with Sandi Durell

MICHAEL FEINSTEIN – "THE SINATRA PROJECT"
Feinstein's at Loews Regency – September 2 - 6, 2008
Reviewed by Sandi Durell