The Dish: The four handsome musicians who make up Well-Strung show that they are more than just pretty faces. Whether you're a music lover or just like eye candy, this is the show for you.
Synopsis: Edmund Bagnell (Violin), Christopher Marchant (Second Violin), Daniel Shevlin (Cello) and Trevor Wadleigh (Viola) move and amuse their audience as they play a combo of well-known classics and modern pop hits, ably arranged by David Levinson.
In Depth: You couldn't swing a cat in P'town this summer without hitting one of the boys from Well-Strung. They were everywhere. When they weren't performing at the Art House, they were out front playing for the crowds on Commercial Street and handing out flyers. They showed up at Showgirls, P'town's terrific talent show. You'd see them out and about quite a lot.
Despite that, I only managed to see bits and pieces of their work. Thank goodness they came to New York, so I could see more than just the snippets I'd seen during the summer.
First, the obvious. Their name is pretty awesome. It lets the audience know that they're in for a fun and cheeky evening, and shows that they know they're playing for a mostly gay male crowd. I mean, what gay man could resist a pun like that?
And let's face it, they are hot. Even if they never played a note, they're fun to look at. One has an adorable baby face; another is ripped; one is tall, dark and handsome; and one has a great mischievous smile. But when they play, it's easy to forget all that and focus on the music. Whether it's Bach and Mozart or Britney and Rihanna, these four burn it up.
Some of the best moments of the show come from watching the four musicians interact with one another during the songs. Smiles, nods, broad gestures with their body, a slight roll of the eye - all of this is as entertaining to watch as the music is to listen to.
Though they have the looks and the musical talent, the one thing that could use a little work is their patter. The music is often framed by stories (either about themselves, their lives, their loves, or what have you). Some of this is a little clunky. While it's meant to sound like the guys just chatting with the audience, it comes across as the guys reciting their lines. If they were just as relaxed and natural as they are when they play, the show would be nearly perfect.
Sadly, their current show has closed, but you can keep up with Well-Strung on their website (www.well-strung.com).
Here's a little sample of Well-Strung in action.
Well-Strung
Featuring: Edmund Bagnell, Christopher Marchant, Trevor Wadleigh and Daniel Shevlin
Conceived by Christopher Marchant and Mark Cortale
Written by Donna Drake and Mark Cortale
Additional Material by Jeffery Roberson
Music Arrangements by David Levinson
Additional Arrangements by Daniel Shevlin
Directed by Donna Drake
Production Stage Manager: Timothy Babcock
Lighting Design: Chris Page
Sound Design: Shelley Jennings
Spotlight: Valerie Stanford
The Marjorie S. Deane Little Theater at the West Side YMCA
10 West 64th Street
Closed November 10th, 2012
Thursday, November 15, 2012
Friday, November 2, 2012
Sunday, October 21, 2012
TOSOS's Chesley/Chambers Reading - "Wilson and Wilson"
The Dish: If you are interested in LGBT theatre, new voices and old, and want to mix and mingle with the writers, actors, and directors that are bringing these shows to the NY stage, you should be attending the Robert Chesley/Jane Chambers Playwrights Project reading series.
Synopsis: "Wilson and Wilson" comprised a reading of Lanford Wilson's "Say de Kooning" and Doric Wilson's "The Boy Next Door," a work that was in progress when he passed away last year. "Say de Kooning" features a drama filled afternoon with three unlikely housemates as they pack up their summer rental. "The Boy Next Door" tells the story of a fading porn star who sees a chance for a new career when a playwright sends him his latest work, a story based on the porn star's life. But things never quite work out they way one expects.
In Depth: On October 20th, TOSOS (The Other Side of Silence) held it's latest Robert Chesley/Jane Chambers Playwrights Project reading, curated by Kathleen Warnock. I've been to several of these readings and am always struck by the outstanding quality, not only of the plays being highlighted, but of the talented pool of actors and directors that bring these plays to life. The latest reading featured work by two members of the Caffe Cino crowd, Lanford Wilson and Doric Wilson (Doric is the founder of the original TOSOS company, and along with Mark Finley and Barry Childs, the latest incarnation of TOSOS. He passed away suddenly last year, while still working on "The Boy Next Door.").
These readings offer playwrights an opportunity to have their work read in front of an invited audience. They are not staged, and are not followed by Q&A or other discussion. However, attendees at the reading are invited to an informal reception after the show to meet with the actors, directors and playwrights (when they are in attendence). It's an excellent opportunity to imerse yourself in the world of LGBT theatre.
Visit www.tososnyc.org to find out more.
Justin Utley Stands Up for Provincetown
By Greg Waagner
Summertime on Cape Cod brings all manner of interesting and talented folks to Provincetown. This was most certainly the case when the Crown and Anchor Cabaret welcomed singer-songwriter Justin Utley to its glittery stage for a one-night engagement in July.
Nominated by the LGBT Academy of Recording Arts for four 2010 OUTMusic Awards, including song and artist of the year (and winner for Best Folk/Country Song of the Year for the anthemic “Stand for Something”), Justin began his career as a Mormon contemporary singer/songwriter, garnering plenty of local praise as well as being a featured performer at the Salt Lake City Winter Olympics in 2002. After coming out – and then enduring two years of the Mormon church’s conversion therapy – Justin wrote a self-excommunication letter and broke ties with his Mormon past, which is pretty much the history that inspired his award-winning song.
This reviewer is of a generation which remembers a time when performers were rarely out and almost never sang songs that were overtly about any gay experience. This is happily no longer the case, but let’s not rush to apply labels. While it’s cool for the LGBT community to embrace someone with the descriptor of “gay” singer/songwriter, that’s potentially limiting for an artist whose music clearly has appeal not only to his gay brothers and sisters, but to all music-lovers and fans of the human experience.
So, what about Justin? His show was just terrific, with music and memoir woven together effortlessly. While already a fan of his music, I’ll admit wondering beforehand what introducing memoir about his experiences of growing up Mormon and being put through ex-gay therapy would do to the evening. After all, it seems not to be the most uplifting of tales. Justin’s stories of surviving the experience most certainly are uplifting, however, and through the prism of his bright spirit are both rendered both fascinating and entertaining.
As Justin talks, it is clear it is that spirit (and the support of a few strong and intelligent women in his family) that helped him become this sincere, friendly and happy guy on the other side of that journey. He admits having been the Boy Scout suspicious New Yorkers accused him of being when – “just off the boat from Utah” – he would hold doors and say “hello” to people and also to being caught off guard by the fact that “pot cookies” weren’t named for being a stovetop creation.
Such innocence might lead you to think Justin wouldn’t be much of a rocker, but he’ll prove you wrong from the first notes of tunes like "My Great Escape" and "Nothing This Real" (both about escaping the gravitational pull of Salt Lake City’s Mormons to explore the rest of the world). This guy can bring it, his voice ringing through the room and bringing to life his story-driven lyrics, whether he’s rocking out or letting his voice soar, ballad-style.
Although happy and partnered now (Sorry boys, Facebook says!), Justin has penned his share of break-up songs. They’re a musical staple, after all, and isn’t it always pain that inspires creation? "State of Loneliness" came of a relationship thwarted by another’s struggles with substance abuse and is full of the pain and frustrated heartache born of that struggle (“…I’ll tell you how I feel and never live it down…” ). After the show, Justin worried to us about whether it was a moment that brought the audience down, but that’s not the case at all, as he’s taken that painful situation and turned it into something beautiful – a song that perhaps can bring new light for others who’ve been in similar situations.
"It Is What It Is" is a different kind of break-up song, though: an empowering riff about cutting one’s losses and saying so long to a self-absorbed hot mess. Utley says it’s the fiddle in the studio recording of this one that got him the Country-Western label, and after it’s release, he found himself shopping for boots and flannel to fit the profile when he was to perform at Utah Pride. There’s also a country sound to "Guided Back to You," which is sort of a break-up song, but one with hope that - in this case - the break-up is only temporary ( “…just check your feet’s direction on this map that’s made for two, and if I’m ever lucky, I’ll be guided back to you…”).
"Goodbye Goodbye" is another one that falls into the category of Empowering Break-Up Song, but this one carries a slightly different weight, since it comes from an earlier time in Justin’s story. This one, he tells us, is about a girl he dated as part of his ex-gay therapy homework assignment. It seemed to be going well, but when he found out on Christmas that he was just one of a number of guys she was dating, he learned a lesson about “not making someone a priority who considers us only an option.”
For the show, Justin alternated back and forth between performing solo on stage, with just a guitar, or with the addition of pre-recorded band tracks behind him for a fuller sound (One imagines how much fun it would be to hear Justin perform with a live band in a stadium setting, perhaps at one of the Pride events he’s becoming so popular for.) But then Justin crossed over to the piano for a few numbers, wowing us with a fresh and wonderful arrangement of a piano/vocal cover of "Everybody Wants to Rule the World," which couldn’t have sounded less like the Tears for Fears original.
Then, as if to answer the desire for other backing musicians, Justin welcomed his bassist friend, Ricardo Rodriguez, to the stage for a performance of Utley’s latest single, "Moment For Me" and then – far too quickly – the evening was coming to a close with Justin’s award-winning "Stand For Something," bringing the audience to their feet.
During the course of the evening, Justin’s vocal range and song constructions carried for this reviewer echoes of Jonathan Larsen and "Rent" (Justin would be a great Roger, IMHO). After the show, I mentioned this and pointed out how his songs all come from such interesting stories and experiences and asked if he’d ever considered creating a musical to showcase those songs. He hadn’t, as it turns out, but was gracious enough to respond like it was the best idea ever, even if he didn’t agree.
So, pay attention, music and theatre fans. It’s true Broadway may already have "The Book of Mormon," but The Book of Justin is just a few chapters in and anything’s possible. Keep your eyes peeled for performance notices in your area (and find him on Facebook), so you don’t miss an opportunity to hear this terrific artist when he comes to your town.
*****************************************************
A note to the venue: The Crown and Anchor hosts a heavy schedule of programs and presentations during the Summer season. We’d surely be disappointed if they didn’t brighten our summer nights with a glittering array that includes Tawny Heatherton, Matt Alber, Miss Richfield, Dina Martina and so many others. But that heavy schedule may be having an unfortunate side-effect. As Justin was introducing his last number, the stage manager’s voice was heard over the sound system of the caberet, encouraging him to wrap things up, as the next show’s audience was que-ed up outside waiting to enter. And as our eager applause faded after that song, we were quickly reminded by that same voice to find our way to the exit to clear the way for the next show.
Sure, everyone understands that other shows are going on and it’s a busy time of year, but this unprofessional bum’s rush of both artist and audience left this reviewer feeling like this was less of a cultural event and more an amusement park ride, which is not only unfair to the performer, but seems like exactly the wrong impression to leave with an audience after a $25 cover charge and the price of drinks.
Nominated by the LGBT Academy of Recording Arts for four 2010 OUTMusic Awards, including song and artist of the year (and winner for Best Folk/Country Song of the Year for the anthemic “Stand for Something”), Justin began his career as a Mormon contemporary singer/songwriter, garnering plenty of local praise as well as being a featured performer at the Salt Lake City Winter Olympics in 2002. After coming out – and then enduring two years of the Mormon church’s conversion therapy – Justin wrote a self-excommunication letter and broke ties with his Mormon past, which is pretty much the history that inspired his award-winning song.
This reviewer is of a generation which remembers a time when performers were rarely out and almost never sang songs that were overtly about any gay experience. This is happily no longer the case, but let’s not rush to apply labels. While it’s cool for the LGBT community to embrace someone with the descriptor of “gay” singer/songwriter, that’s potentially limiting for an artist whose music clearly has appeal not only to his gay brothers and sisters, but to all music-lovers and fans of the human experience.
So, what about Justin? His show was just terrific, with music and memoir woven together effortlessly. While already a fan of his music, I’ll admit wondering beforehand what introducing memoir about his experiences of growing up Mormon and being put through ex-gay therapy would do to the evening. After all, it seems not to be the most uplifting of tales. Justin’s stories of surviving the experience most certainly are uplifting, however, and through the prism of his bright spirit are both rendered both fascinating and entertaining.
As Justin talks, it is clear it is that spirit (and the support of a few strong and intelligent women in his family) that helped him become this sincere, friendly and happy guy on the other side of that journey. He admits having been the Boy Scout suspicious New Yorkers accused him of being when – “just off the boat from Utah” – he would hold doors and say “hello” to people and also to being caught off guard by the fact that “pot cookies” weren’t named for being a stovetop creation.
Such innocence might lead you to think Justin wouldn’t be much of a rocker, but he’ll prove you wrong from the first notes of tunes like "My Great Escape" and "Nothing This Real" (both about escaping the gravitational pull of Salt Lake City’s Mormons to explore the rest of the world). This guy can bring it, his voice ringing through the room and bringing to life his story-driven lyrics, whether he’s rocking out or letting his voice soar, ballad-style.
Although happy and partnered now (Sorry boys, Facebook says!), Justin has penned his share of break-up songs. They’re a musical staple, after all, and isn’t it always pain that inspires creation? "State of Loneliness" came of a relationship thwarted by another’s struggles with substance abuse and is full of the pain and frustrated heartache born of that struggle (“…I’ll tell you how I feel and never live it down…” ). After the show, Justin worried to us about whether it was a moment that brought the audience down, but that’s not the case at all, as he’s taken that painful situation and turned it into something beautiful – a song that perhaps can bring new light for others who’ve been in similar situations.
"It Is What It Is" is a different kind of break-up song, though: an empowering riff about cutting one’s losses and saying so long to a self-absorbed hot mess. Utley says it’s the fiddle in the studio recording of this one that got him the Country-Western label, and after it’s release, he found himself shopping for boots and flannel to fit the profile when he was to perform at Utah Pride. There’s also a country sound to "Guided Back to You," which is sort of a break-up song, but one with hope that - in this case - the break-up is only temporary ( “…just check your feet’s direction on this map that’s made for two, and if I’m ever lucky, I’ll be guided back to you…”).
"Goodbye Goodbye" is another one that falls into the category of Empowering Break-Up Song, but this one carries a slightly different weight, since it comes from an earlier time in Justin’s story. This one, he tells us, is about a girl he dated as part of his ex-gay therapy homework assignment. It seemed to be going well, but when he found out on Christmas that he was just one of a number of guys she was dating, he learned a lesson about “not making someone a priority who considers us only an option.”
For the show, Justin alternated back and forth between performing solo on stage, with just a guitar, or with the addition of pre-recorded band tracks behind him for a fuller sound (One imagines how much fun it would be to hear Justin perform with a live band in a stadium setting, perhaps at one of the Pride events he’s becoming so popular for.) But then Justin crossed over to the piano for a few numbers, wowing us with a fresh and wonderful arrangement of a piano/vocal cover of "Everybody Wants to Rule the World," which couldn’t have sounded less like the Tears for Fears original.
Then, as if to answer the desire for other backing musicians, Justin welcomed his bassist friend, Ricardo Rodriguez, to the stage for a performance of Utley’s latest single, "Moment For Me" and then – far too quickly – the evening was coming to a close with Justin’s award-winning "Stand For Something," bringing the audience to their feet.
During the course of the evening, Justin’s vocal range and song constructions carried for this reviewer echoes of Jonathan Larsen and "Rent" (Justin would be a great Roger, IMHO). After the show, I mentioned this and pointed out how his songs all come from such interesting stories and experiences and asked if he’d ever considered creating a musical to showcase those songs. He hadn’t, as it turns out, but was gracious enough to respond like it was the best idea ever, even if he didn’t agree.
So, pay attention, music and theatre fans. It’s true Broadway may already have "The Book of Mormon," but The Book of Justin is just a few chapters in and anything’s possible. Keep your eyes peeled for performance notices in your area (and find him on Facebook), so you don’t miss an opportunity to hear this terrific artist when he comes to your town.
*****************************************************
A note to the venue: The Crown and Anchor hosts a heavy schedule of programs and presentations during the Summer season. We’d surely be disappointed if they didn’t brighten our summer nights with a glittering array that includes Tawny Heatherton, Matt Alber, Miss Richfield, Dina Martina and so many others. But that heavy schedule may be having an unfortunate side-effect. As Justin was introducing his last number, the stage manager’s voice was heard over the sound system of the caberet, encouraging him to wrap things up, as the next show’s audience was que-ed up outside waiting to enter. And as our eager applause faded after that song, we were quickly reminded by that same voice to find our way to the exit to clear the way for the next show.
Sure, everyone understands that other shows are going on and it’s a busy time of year, but this unprofessional bum’s rush of both artist and audience left this reviewer feeling like this was less of a cultural event and more an amusement park ride, which is not only unfair to the performer, but seems like exactly the wrong impression to leave with an audience after a $25 cover charge and the price of drinks.
Saturday, September 15, 2012
Is That a Sonic Screwdriver in Your Pocket, or Are You Just Happy to See Me?
Following in the footsteps of Hotsy Totsy Burlesque’s successful "Mad Men," "Game of Thrones" and Superhero themed shows, Cherry Pitz and Joe the Shark present Doctor Who Returns To Hotsy Totsy.
The Doctor is sick and tired of everyone making a profit off of his name, his face, all over the Internet, and even his brilliant mind can’t find a way to delete every reference. So embracing his fame he’s decided to host a galactic burlesque show, but like any celebrity soirée, there are a lot of party crashers - Daleks, Weeping Angels, Cybermen, and so forth. But the Doctor has a message for the nearly naked space monsters – “Run!”
Hotsy Totsy is New York’s only episodic, monthly burlesque show featuring a new script each month and a rotating cast. Hotsy Totsy is a high camp soap opera featuring some of the best burlesque talent New York has to offer.
This months show features performances by: Cherry Pitz, Lana Firebird, Lewd Alfred Douglas, Little Motown, Matt Knife, Nasty Canasta, Nelson Lugo, Ruby Solitaire, Teddy Turnaround and Handsome Brad as Dr. Who!
Every third Tuesday of the month, you are invited to the basement of The Home For Wayward Girls and Fallen Women. The residents of the home need money to keep their hotel open and to buy G-strings and glitter. Sadly, the shows have had their technical difficulties and in the past as they’ve had to combat, zombies, gangsters, human-animal hybrids, televangelists and snake oil salesmen. The performers promise you beautiful, clothing-averse women, lots of laughs, spinning tassels, and flying underpants. So join us for Hotsy Totsy Burlesque at The Home For Wayward Girls and Fallen Women where the motto is “We’ve fallen, we can’t get up, and we like it that way!”
R-Bar * 218 Bowery (between Prince and Spring)
8pm * September 18, 2012 * $10
www.hotsytotsyburlesque.com
Advanced tickets available on Brownpapertickets.com
Sponsored by Sailor Jerry Spiced Rum who promise drink specials and awesome swag!
Upcoming Shows:
Oct. 16th -- Cherry Pitz: Vampire Hunter.
Nov. 20th -- A Charlie Brown Burlesque Thanksgiving.
Dec. 18th -- Hotsy Totsy Tribute to the Star Wars Holiday Special!
The Doctor is sick and tired of everyone making a profit off of his name, his face, all over the Internet, and even his brilliant mind can’t find a way to delete every reference. So embracing his fame he’s decided to host a galactic burlesque show, but like any celebrity soirée, there are a lot of party crashers - Daleks, Weeping Angels, Cybermen, and so forth. But the Doctor has a message for the nearly naked space monsters – “Run!”
Hotsy Totsy is New York’s only episodic, monthly burlesque show featuring a new script each month and a rotating cast. Hotsy Totsy is a high camp soap opera featuring some of the best burlesque talent New York has to offer.
This months show features performances by: Cherry Pitz, Lana Firebird, Lewd Alfred Douglas, Little Motown, Matt Knife, Nasty Canasta, Nelson Lugo, Ruby Solitaire, Teddy Turnaround and Handsome Brad as Dr. Who!
Every third Tuesday of the month, you are invited to the basement of The Home For Wayward Girls and Fallen Women. The residents of the home need money to keep their hotel open and to buy G-strings and glitter. Sadly, the shows have had their technical difficulties and in the past as they’ve had to combat, zombies, gangsters, human-animal hybrids, televangelists and snake oil salesmen. The performers promise you beautiful, clothing-averse women, lots of laughs, spinning tassels, and flying underpants. So join us for Hotsy Totsy Burlesque at The Home For Wayward Girls and Fallen Women where the motto is “We’ve fallen, we can’t get up, and we like it that way!”
R-Bar * 218 Bowery (between Prince and Spring)
8pm * September 18, 2012 * $10
www.hotsytotsyburlesque.com
Advanced tickets available on Brownpapertickets.com
Sponsored by Sailor Jerry Spiced Rum who promise drink specials and awesome swag!
Upcoming Shows:
Oct. 16th -- Cherry Pitz: Vampire Hunter.
Nov. 20th -- A Charlie Brown Burlesque Thanksgiving.
Dec. 18th -- Hotsy Totsy Tribute to the Star Wars Holiday Special!
 |
| Photo by Ben Trivett - Handsome Brad and Cherry Pitz |
Thursday, July 19, 2012
"Hairy Tails & Rhymes" - It's not Grimm, you silly Goose
It takes a warped mind to turn innocent, beloved fairy tales into raunchy, gender-bending dance numbers. Thank goodness choreographer John Paolillo has a warped mind. His latest creation, Hairy Tails & Rhymes, takes the characters you know from childhood - Humpty Dumpty, Little Red Riding Hood, Jack & Jill, and Little Miss Muffet, to name a few - strips them bare, and shows you there was a lot more going on in those stories than you thought.
Featuring some hot dancers (I dare you to sit still during the "Three Men in a Tub" scene!), vibrant choreography, marvelous strip tease, and the dirtiest nursery rhymes you've ever heard, Hairy Tales is on this month's must-see list.
Hairy Tales is performed Tuesdays at 8 PM in July (remaining performances July 24th and 31st) at XL Cabaret, 512 W. 42nd Street.
Hairy Tails & Rhymes
Creator/Director/Choreographer - John Paolillo
Cast: Audry Hamilton, Brandon Mason, Pixie, David Thomas Guggino, Jubilee Diamond, Luxury Cartax, Marisa Jo Merless, David Gifford, and Holly Dae
With special guest Molly "Equality" Dykeman
Featuring some hot dancers (I dare you to sit still during the "Three Men in a Tub" scene!), vibrant choreography, marvelous strip tease, and the dirtiest nursery rhymes you've ever heard, Hairy Tales is on this month's must-see list.
Hairy Tales is performed Tuesdays at 8 PM in July (remaining performances July 24th and 31st) at XL Cabaret, 512 W. 42nd Street.
Hairy Tails & Rhymes
Creator/Director/Choreographer - John Paolillo
Cast: Audry Hamilton, Brandon Mason, Pixie, David Thomas Guggino, Jubilee Diamond, Luxury Cartax, Marisa Jo Merless, David Gifford, and Holly Dae
With special guest Molly "Equality" Dykeman
Gay artists tackle anti-gay issues with laughter in "Gay Camp" at NY Fringe
Gay comedic actors Christian Mansfield (Broadway Bares, National Tour of 42nd Street), Ken Urso, and Philip Mutz (also co-author) will star in the upcoming production of Gay Camp in this year’s New York International Fringe Festival, running from August 11 – August 22.
With Mansfield, Urso, and Mutz playing more than a dozen different zany characters, Gay Camp is a quick-change farce that follows the stories of several young campers at a gay reform camp. They have been sent away by their parents to be ‘fixed’. Instead, they learn how to love – themselves and one another.
Partners Philip Mutz (co-author) and Phillip Fazio (director) find the project particularly near and dear to their hearts. Believing laughter is sometimes the best medicine, this production leaves no (comedy) stone unturned. While successfully dissecting stereotypes and sending a powerful message about tolerance and acceptance, Mutz and Fazio still find a way to inject every moment with humor.
Start with a deliciously evil headmaster and a closeted lesbian guidance counselor, throw in a few electrified fences, disco balls, boy-boy love, girl-girl love, gay Twister, Rick Santorum surprises, slow-motion fantasies, whips, handcuffs, flannel, and more innuendos than you can shake a dildo at, and you've got Gay Camp. Gay Camp is fast, funny, and not pulling its punches as it takes on the anti-gay morons in America.
It’s gay. It’s camp. It’s Gay Camp.
Gay Camp will perform at HERE Mainstage Theater, 145 Sixth Avenue, NYC.
Gay Camp runs 75 minutes and will perform the following performance schedule:
SAT 8/11 @ 7:00-8:15pm
TUE 8/14 @ 9:15-10:30pm
FRI 8/17 @ 2:00-3:15pm
SAT 8/18 @ 10:00-11:15pm
WED 8/22 @ 9:45-11:00pm
Tickets will be on sale starting July 20 at http://www.gaycamptheplay.com/.
For more information on Gay Camp, visit our website at http://www.gaycamptheplay.com/
Gay Camp
Written by: Philip Mutz and Susan-Kate Heaney
Directed by: Phillip Fazio
THE NEW YORK INTERNATIONAL FRINGE FESTIVAL
AUGUST 10th-26th, 2012
Tickets $15 in Advance, $18 at Door
Tickets on sale at http://www.fringenyc.org/ or at http://www.gaycamptheplay.com/
Artist Bios
Phillip Fazio – Director
Phillip Fazio graduated from The Boston Conservatory with a BFA in Musical Theatre and Directing. Immediately upon graduating, Phillip began a three-year contract as an Artist in Residence at Phoenix Theatre. Now in it’s 92nd Season, Phoenix Theatre is the oldest arts organization in the state of Arizona. Regional Directing credits include Proof, Rent, Ragtime, Grey Gardens, Hidden in this Picture, West Side Story, Macbeth, The Last Five Years, Rocket Man, Cabaret, Smokey Joe’s Cafe, and Almost Maine. Assistant Director credits include the Center Theatre Group/Deaf West revival of Pippin (Directed by Tony Award Nominee Jeff Calhoun) at the Mark Taper Forum in Los Angeles and the New England Premiere of Take Me Out at Speakeasy Stage Company in Boston. New York City directing credits include Ben and Leslie Save the World and SuperBen for The Think Theater Project and The Real Life with The Identity Theatre Company. Phillip is a member of the Lincoln Center Theatre Directors Lab and Actors’ Equity Association.
Susan-Kate Heaney – Co-Author
Susan-Kate Heaney is an actor and writer currently based out of Los Angeles. She is a graduate of New York University with a BFA in Drama. Most recently, she has been performing her comedic solo show Mop-oholic in New York and Los Angeles, at UCB, the Pit, iO West and Second City. Susan-Kate is a co-creator and lead actor in comedic web series The Reality Whores. She has performed in theaters all around New York including Bank Street and Rattlestick. Recent work includes the role of Jessica in Mercy (NBC) and the abused nanny in We Need to Talk About Kevin. One of her latest projects is a writer and lead actor for the web-series One-UPs, which can be found on Funny or Die. She works regularly in voice-overs.
Christian Mansfield - Actor
Mansfield was most recently seen in this summer’s Broadway Bares benefit in NYC. His previous Fringe endeavors include The Penguin Tango at both Actors Playhouse and Theater Row, and Odysseus DOAwhere his cast was awarded “Best Ensemble”. Other NYC credits: That Other Woman's Child (NYMF) and Christmas Rappings. Some regional favorites include 42nd Street (nat'l tour), Cabaret (Barter), and Romeo and Juliet (South Florida Shakes.) Christian is a Long Island native with a BFA in Musical Theatre from the University of Miami.
Ken Urso - Actor
Urso has served as director, actor, producer, guest artist, and dramaturg throughout the U.S. His acting credits include Twelfth Night (Manhattan Rep), Lieutenant of Inishmore (Strollers Theatre), The Shape of Things (Actor's Repertory Theatre), and Art (Actors Studio Drama School). For two seasons, Ken was an Artistic Associate at Actor's Repertory Theatre in Washington. Ken holds a BFA in Acting from the University of Wisconsin-Stevens Point, and an MFA in Directing from the Actors Studio Drama School.
Philip Mutz – Co-Author and Actor
Mutz is a writer and actor in New York City. Recent acting credits include Comedy of Errors, Henry V, Midsummer Night’s Dream, and Cymbeline (Shakespeare Theatre of NJ), Kidnapping Laura Linney (Midtown International Theatre Festival), Gay Camp (Peoples’ Improv Theatre), King John (NY Shakespeare Exchange), and Romeo and Juliet (Columbia Stages). His writing credits include The Real Life (Identity Theater Co), Gay Camp (the PIT), Kidnapping Laura Linney (MITF), and SuperBen (Think Theater Project). He is currently head writer for the web series The Reality Whores (webisodes can be viewed at www.therealitywhores.com). His recent viral video Sh*t Gay Guys Say to Straight Guys has nearly one million views on YouTube. Philip holds a B.F.A. in Drama from NYU’s Tisch School of the Arts and has trained in sketch writing and improv with the Upright Citizens Brigade.
Monday, July 9, 2012
Friday, July 6, 2012
SONGS IN THE KEY OF LGBT: A Cabaret Benefit for ALI FORNEY CENTER
SONGS IN THE KEY OF LGBT: A Cabaret Benefit for ALI FORNEY CENTER
This Sunday, July 8, 2012, at 7:00 PM
One night only!
Featuring the amazing:
Eric Michael Gillett
La Tanya Hall
Marieann Meringolo
Carolyn Montgomery-Forant
Julie Reyburn
Arbender Robinson
Nina Siegel
Niki & Viki Sorrentino
Cookie Stark
KT Sullivan
Special Surprise Guests!
Produced and Musical Directed by Jeff Cubeta
Direction by Eric Michael Gillett
Hosted by Carolyn Montgomery-Forant
Ali Forney Center provides housing and social services for homeless LGBT youth. It is the only housing organization in the nation that identifies itself as a "safe space" for these young people. Five weeks ago, the mayor presented a budget that would eliminate 160 of Ali Forney Center's 250 beds. (And there are over 3000 homeless youth identifying as LGBT in New York City alone.)
Please join us as we support this incredible organization.
SONGS IN THE KEY OF LGBT
A Cabaret Benefit for Ali Forney Center
Sunday, July 8, 2012, at 7:00 PM
Doors open at 6:00 PM
Laurie Beechman Theatre
407 West 42nd Street, 10036
$20 Music Charge (Proceeds benefit Ali Forney Center, a non-profit organization)
$15 Food/Drink Minimum
Reservations: 212-695-6909 (after 12:00 PM)
If you would like to attend but are unable, perhaps you might consider making a donation to Ali Forney Center. Please feel free to click here for more information.
This Sunday, July 8, 2012, at 7:00 PM
One night only!
Featuring the amazing:
Eric Michael Gillett
La Tanya Hall
Marieann Meringolo
Carolyn Montgomery-Forant
Julie Reyburn
Arbender Robinson
Nina Siegel
Niki & Viki Sorrentino
Cookie Stark
KT Sullivan
Special Surprise Guests!
Produced and Musical Directed by Jeff Cubeta
Direction by Eric Michael Gillett
Hosted by Carolyn Montgomery-Forant
Ali Forney Center provides housing and social services for homeless LGBT youth. It is the only housing organization in the nation that identifies itself as a "safe space" for these young people. Five weeks ago, the mayor presented a budget that would eliminate 160 of Ali Forney Center's 250 beds. (And there are over 3000 homeless youth identifying as LGBT in New York City alone.)
Please join us as we support this incredible organization.
SONGS IN THE KEY OF LGBT
A Cabaret Benefit for Ali Forney Center
Sunday, July 8, 2012, at 7:00 PM
Doors open at 6:00 PM
Laurie Beechman Theatre
407 West 42nd Street, 10036
$20 Music Charge (Proceeds benefit Ali Forney Center, a non-profit organization)
$15 Food/Drink Minimum
Reservations: 212-695-6909 (after 12:00 PM)
If you would like to attend but are unable, perhaps you might consider making a donation to Ali Forney Center. Please feel free to click here for more information.
Thursday, June 28, 2012
Tonight - Benefit performance of Doric Wilson's "Street Theater"
Thursday, June 28 2012 : 7:30pm – 9:00pm
Thursday, June 28, 2012
Doors Open 7PM, Performance 7:30PM
Center Performance presents Street Theater by Doric Wilson
In loving memory of our friend, mentor and guiding light Mr. Doric Wilson, the Center is presenting a special benefit performance of Street Theater, Doric's award winning satire about Stonewall.
Buy Tickets Here!
A participant in the Stonewall Uprising, Doric Wilson wrote Street Theater not so much as a history of the event but as a record of the people he knew and the incidents he was involved in on Christopher Street in the months, days and hours leading up to the night gays fought back. The play focuses on a panorama of drags, dykes, leathermen, flower children, vice cops and cruisers— the innocent and not-so-innocent bystanders who would turn June 28, 1969 into Stonewall—the D-day of gay history.
About Doric Wilson
Frequently called the “father of modern queer theatre,” Doric Wilson’s 50 year dedication to queer culture has been recognized with the first Robert Chesley Award for Lifetime Achievement in Gay Theatre; the 2007 IT Award for Artistic Achievement; in 2009, the ATHE (Association for Theatre in Higher Education) Career Achievement Award for Professional Theatre; and last year the Fresh Fruit Festival presented playwright Doric Wilson with the 2010 PassionFruit Award for Enduring and Continuing Pioneer Work in LGBT Theater.
About TOSOS
In 1974, playwright and gay activist Doric Wilson founded the first professional gay theatre company. It was called The Other Side of Silence (TOSOS for short). In 2002, directors Mark Finley and Barry Childs and Wilson resurrected the company, rededicating it to an honest and open exploration of the life experience and cultural sensibility of the GLBT community and to preserving and promoting our theatrical past in a determined effort to keep an important literary heritage alive. TOSOS has presented a number of critically acclaimed plays by playwrights David Bell, Meryl Cohn, Linda Eisenstein, Mark Finley, Robert Patrick, Chris Weikel, The Five Lesbian Brothers, Lanford Wilson and Charles Busch. TOSOS also runs the highly successful Chesley/Chambers play reading series under the directorship of Kathleen Warnock. The program is a recipient of grants from The Dramatists Guild Fund. For more information about TOSOS visit http://www.tosos2.org/.
Tickets to benefit TOSOS and the LGBT Center:
$20 online; $25 at the door
Cash bar reception with the cast, director, and veterans of Stonewall and the early days of the movement.
Thursday, June 28, 2012
Doors Open 7PM, Performance 7:30PM
Center Performance presents Street Theater by Doric Wilson
In loving memory of our friend, mentor and guiding light Mr. Doric Wilson, the Center is presenting a special benefit performance of Street Theater, Doric's award winning satire about Stonewall.
Buy Tickets Here!
A participant in the Stonewall Uprising, Doric Wilson wrote Street Theater not so much as a history of the event but as a record of the people he knew and the incidents he was involved in on Christopher Street in the months, days and hours leading up to the night gays fought back. The play focuses on a panorama of drags, dykes, leathermen, flower children, vice cops and cruisers— the innocent and not-so-innocent bystanders who would turn June 28, 1969 into Stonewall—the D-day of gay history.
About Doric Wilson
Frequently called the “father of modern queer theatre,” Doric Wilson’s 50 year dedication to queer culture has been recognized with the first Robert Chesley Award for Lifetime Achievement in Gay Theatre; the 2007 IT Award for Artistic Achievement; in 2009, the ATHE (Association for Theatre in Higher Education) Career Achievement Award for Professional Theatre; and last year the Fresh Fruit Festival presented playwright Doric Wilson with the 2010 PassionFruit Award for Enduring and Continuing Pioneer Work in LGBT Theater.
About TOSOS
In 1974, playwright and gay activist Doric Wilson founded the first professional gay theatre company. It was called The Other Side of Silence (TOSOS for short). In 2002, directors Mark Finley and Barry Childs and Wilson resurrected the company, rededicating it to an honest and open exploration of the life experience and cultural sensibility of the GLBT community and to preserving and promoting our theatrical past in a determined effort to keep an important literary heritage alive. TOSOS has presented a number of critically acclaimed plays by playwrights David Bell, Meryl Cohn, Linda Eisenstein, Mark Finley, Robert Patrick, Chris Weikel, The Five Lesbian Brothers, Lanford Wilson and Charles Busch. TOSOS also runs the highly successful Chesley/Chambers play reading series under the directorship of Kathleen Warnock. The program is a recipient of grants from The Dramatists Guild Fund. For more information about TOSOS visit http://www.tosos2.org/.
Tickets to benefit TOSOS and the LGBT Center:
$20 online; $25 at the door
Cash bar reception with the cast, director, and veterans of Stonewall and the early days of the movement.
Sunday, June 17, 2012
Broadway Bares XXII "Happy Endings" Tonight
BROADWAY BARES XXII
SET FOR EVENING OF "HAPPY ENDINGS"
SPECIAL GUESTS INCLUDE 2012 TONY AWARD-WINNER JUDITH LIGHT,
LADY BUNNY, KYLE DEAN MASSEY, RACHEL POTTER,
MIRIAM SHOR, AND JENNIFER TILLY
BROADWAY’S HOTTEST NIGHT TO BE HELD
SUNDAY, JUNE 17 (9:30 PM & MIDNIGHT)
AT ROSELAND BALLROOM
PRODUCED BY AND BENEFITING BROADWAY CARES/EQUITY FIGHTS AIDS
EXECUTIVE PRODUCER JERRY MITCHELL
PRESENTING SPONSOR M·A·C VIVA GLAM
A storybook night of your favorite fairy tales is on tap as more than 200 of New York's sexiest dancers bring BROADWAY BARES XXII: HAPPY ENDINGS to life for two performances (9:30 PM and midnight) this Sunday, June 17. BROADWAY BARES XXII: HAPPY ENDINGS, which is produced by and benefits Broadway Cares/Equity Fights AIDS, will be held at Roseland Ballroom (239 West 52nd Street, NYC).
This year's BARES will feature a special appearance by Tony Award-winner Judith Light, who this month won the Tony Award for Featured Actress in a Play for her role in Other Desert Cities. Kyle Dean Massey (Next to Normal) will appear throughout the show as the lead character looking for his fairytale happy ending. Miriam Shor (TV's “GCB”) will sing an original opening number, “Happy Endings,” written by Chad Beguelin and Matthew Sklar. Rachel Potter (Evita) will perform the finale, “Happily Ever After.” Other special guests include Academy Award nominee Jennifer Tilly (Don't Dress for Dinner) and legendary New York drag queen Lady Bunny.
Tickets to both performances are sold out. A limited number of tickets may be available between 3 PM and 7 PM only on Sunday, June 17 in the lobby of Roseland Ballroom. Ticket availability will be based on cancellations and returns. Tickets will be first-come, first-served. Cash or credit cards will be accepted.
Lee Wilkins (Elf, Spamalot) direct this year's 22nd edition of BROADWAY BARES, where New York's sexiest and most delectable dancers will take you to a land where rubbing a magic lamp reveals more than just a genie.
BROADWAY BARES was created by Tony Award-winner Jerry Mitchell, who also serves as executive producer, and is produced by Broadway Cares/Equity Fights AIDS, led by Producing Director Michael Graziano.
BROADWAY BARES combines the naughtiness of burlesque with the razzle-dazzle of Broadway and has been a smashing success since its inception in 1992. The event, featuring the hottest male and female dancers on Broadway, has become one of BC/EFA’s signature events. The first BROADWAY BARES featured just seven dancers performing choreographed stripteases on a bar and raised more than $8,000. Through 21 editions, BROADWAY BARES has raised more than $8.6 million for Broadway Cares/Equity Fights AIDS.
The presenting sponsor of BROADWAY BARES XXII: HAPPY ENDINGS is M·A·C VIVA GLAM and the event is generously sponsored by United Airlines.
Broadway Cares/Equity Fights AIDS is one of the nation’s leading industry-based, nonprofit AIDS fundraising and grant-making organizations. By drawing upon the talents, resources and generosity of the American theatre community, since 1988 BC/EFA has raised more than $195 million for essential services for people with AIDS and other critical illnesses across the United States.
Broadway Cares awards annual grants to more than 400 AIDS and family service organizations nationwide and is the major supporter of the social service programs at The Actors Fund, including the HIV/AIDS Initiative, the Phyllis Newman Women’s Health Initiative and the Al Hirschfeld Free Health Clinic.
For more information, please visit Broadway Cares online at broadwaycares.org, like us on Facebook at facebook.com/BCEFA or follow us on Twitter at twitter.com/BCEFA.
SET FOR EVENING OF "HAPPY ENDINGS"
SPECIAL GUESTS INCLUDE 2012 TONY AWARD-WINNER JUDITH LIGHT,
LADY BUNNY, KYLE DEAN MASSEY, RACHEL POTTER,
MIRIAM SHOR, AND JENNIFER TILLY
BROADWAY’S HOTTEST NIGHT TO BE HELD
SUNDAY, JUNE 17 (9:30 PM & MIDNIGHT)
AT ROSELAND BALLROOM
PRODUCED BY AND BENEFITING BROADWAY CARES/EQUITY FIGHTS AIDS
EXECUTIVE PRODUCER JERRY MITCHELL
PRESENTING SPONSOR M·A·C VIVA GLAM
A storybook night of your favorite fairy tales is on tap as more than 200 of New York's sexiest dancers bring BROADWAY BARES XXII: HAPPY ENDINGS to life for two performances (9:30 PM and midnight) this Sunday, June 17. BROADWAY BARES XXII: HAPPY ENDINGS, which is produced by and benefits Broadway Cares/Equity Fights AIDS, will be held at Roseland Ballroom (239 West 52nd Street, NYC).
This year's BARES will feature a special appearance by Tony Award-winner Judith Light, who this month won the Tony Award for Featured Actress in a Play for her role in Other Desert Cities. Kyle Dean Massey (Next to Normal) will appear throughout the show as the lead character looking for his fairytale happy ending. Miriam Shor (TV's “GCB”) will sing an original opening number, “Happy Endings,” written by Chad Beguelin and Matthew Sklar. Rachel Potter (Evita) will perform the finale, “Happily Ever After.” Other special guests include Academy Award nominee Jennifer Tilly (Don't Dress for Dinner) and legendary New York drag queen Lady Bunny.
Tickets to both performances are sold out. A limited number of tickets may be available between 3 PM and 7 PM only on Sunday, June 17 in the lobby of Roseland Ballroom. Ticket availability will be based on cancellations and returns. Tickets will be first-come, first-served. Cash or credit cards will be accepted.
Lee Wilkins (Elf, Spamalot) direct this year's 22nd edition of BROADWAY BARES, where New York's sexiest and most delectable dancers will take you to a land where rubbing a magic lamp reveals more than just a genie.
BROADWAY BARES was created by Tony Award-winner Jerry Mitchell, who also serves as executive producer, and is produced by Broadway Cares/Equity Fights AIDS, led by Producing Director Michael Graziano.
BROADWAY BARES combines the naughtiness of burlesque with the razzle-dazzle of Broadway and has been a smashing success since its inception in 1992. The event, featuring the hottest male and female dancers on Broadway, has become one of BC/EFA’s signature events. The first BROADWAY BARES featured just seven dancers performing choreographed stripteases on a bar and raised more than $8,000. Through 21 editions, BROADWAY BARES has raised more than $8.6 million for Broadway Cares/Equity Fights AIDS.
The presenting sponsor of BROADWAY BARES XXII: HAPPY ENDINGS is M·A·C VIVA GLAM and the event is generously sponsored by United Airlines.
Broadway Cares/Equity Fights AIDS is one of the nation’s leading industry-based, nonprofit AIDS fundraising and grant-making organizations. By drawing upon the talents, resources and generosity of the American theatre community, since 1988 BC/EFA has raised more than $195 million for essential services for people with AIDS and other critical illnesses across the United States.
Broadway Cares awards annual grants to more than 400 AIDS and family service organizations nationwide and is the major supporter of the social service programs at The Actors Fund, including the HIV/AIDS Initiative, the Phyllis Newman Women’s Health Initiative and the Al Hirschfeld Free Health Clinic.
For more information, please visit Broadway Cares online at broadwaycares.org, like us on Facebook at facebook.com/BCEFA or follow us on Twitter at twitter.com/BCEFA.
Monday, April 16, 2012
“On a Clear Day You Can See Forever” (On a Clear Gay…)
Review by Nic Dris
Photos by Paul Kolnik/Nicole Rivelli
You have to understand first and foremost that this is a musical comedy. The odds are the score will be a blast, the performances will be comedic, and yes, sometimes things may be far fetched and come out of left field --- but that’s part of the wit and charm of the musical comedy, right? You understand it? Good. Let’s move on.
What can be described as a magical modern day fairy tale (Burton Lane, you do have a knack for the genre), On a Clear Day You Can See Forever brings us to New York City 1974. Flower power. Rebellious. Sexual and yes, there’s a bit of Freud in there too. David Gamble (David Turner) is in a committed relationship with his starry-eyed lawyer Warren Smith (Drew Gehling) and Warren has just asked David to move in with him -- the ultimate commitment for a gay couple in 1974. There’s one snag though! David can’t quit smoking and Warren thinks he’s quit already. That could pose as a problem when a man asks you to move in with him. Enter the widower Dr. Mark Bruckner (Harry Connick Jr.) who tries to hypnotize David out of his smoking habit, but ends up conjuring David’s past life/self Melinda Wells (Jessie Mueller) instead. No harm though. It’s not a foreign concept for a gay man to act like a woman, except that Dr. Mark begins to fall for Melinda and cure his lonely heart more so than David’s smoking habit.
Director Michael Mayer has reconceived this production from its original storyline where our character David Gamble was once played off as the lead female character Daisy. Mayer tries to bring a more modern approach to the story by spinning the core storyline on a 1970s gay man’s quirky life instead. Michael Mayer does this so successfully. Honestly, I can’t imagine this musical being as charmingly wonderful. Not to mention, how the stakes have risen for the character of Dr. Mark Bruckner in this incarnation. Think about it. A 1970s heterosexual widowed doctor falling for a gorgeous 1940s jazz singer, inside a gay man’s body. That’s theatrical conflict if you’ve ever witnessed it.
David Turner plays a coy and sweet David Gamble who you can’t help but fall for. His sweet, bouncy personality echoes well later on when we meet his past life/1940s jazz sensation, Melinda Wells. Jessie Mueller is a fresh breath of air to musical theater. Her breakout performance can only be described as a revelation. Her versatility with Burton Lane’s score soars from jazz up tempo numbers to gorgeous torch songs. Mueller’s vocal versatility, charming demeanor, and undeniable stage presence will no doubt advance her career beyond this production. Much like his past life’s energy, David Turner brings it to a new level with the famous 11 o’clock number, “What Did I Have That I Don’t Have?” This character, who comes off a bit insecure for most of the show, finally finds the guts and the glory to take charge of his life and MAKE a decision in this metamorphosis of a song. Filling the stage with this energy, this power, this roar of a voice, David Turner showed you that his character, Gamble, still might have whatever he had before.
Other notables include one of Broadway’s sweethearts, the gentle and considerate Kerry O’Malley playing Dr. Sharone Stein. Stein needs a prescription for her lovesick heart for Dr. Mark Brucker, but that didn’t come off so well. In all of Michael Mayer’s intelligent decisions to re-envision this piece with book writer Peter Parnell, I wish they had written more material for Ms. O’Malley. There was a powerfully intrinsic quartet towards the end of the second act, “S(He) Wasn’t You,” where our four lovers sing about wanting one another. I believed it between every combination except for Dr. Mark and Dr. Sharone. Perhaps if Mayer had included a sweet, positive musical number such as Warren Smith’s love song, “Love With All the Trimmings” to his beloved David, O’Malley’s character would have worked more positively.
So there were parts that made no sense and came out of left field. I’ll admit it. When David Gamble’s boyfriend, Warren Smith, jumps into an infectiously joyous number “Wait Till We’re Sixty-Five”, joined by an ensemble of jubilant college kids? Yes. I was a little lost. The thing about Burton Lane’s score though is that no matter how left field it is (Finian’s Rainbow, anyone?), you can’t help but grin and enjoy it. It’s the magic of his music. You can hum the tunes. You remember the tunes and at times, you want to join in on the tunes. Lane is magical like that.
Burton Lane’s whimsical score and Alan Jay Lerner’s poignant lyrics transpired into this fairy of a production, which was brought even more real by its production team.
Though Christine Jones’ set was a little over the top at times, her period styling’s lent itself to the musical comedy aspect well and brought a quirky feel to the set. Zuber’s costumes found solid colorings to complement and contrast characters and their environment well. Kevin Adams, as always, creates an extraordinarily whimsical environment with the lighting he befalls onto his actors. The collaboration between these three brings an extreme version of the 1970s, but this is an extreme story so the mood is called for.
I know. You’ve noticed that I haven’t mentioned much about the elephant in the room, Harry Connick Jr. With good reason. Granted the character Dr. Mark Bruckner is meant to be the straight man of the piece (literally, with this incarnation!), Connick left me feeling a bit underwhelmed by what he had to offer. Harry Connick Jr. does a very good job playing himself. We all love Harry Connick Jr. He brings a lot of nice qualities of himself to whatever character he plays. However, in a production where sets, lighting, characters, and plots are brought to extremes, Connick’s mellow, laid back persona stood out. Choreographer JoAnn Hunter did a great job at involving Harry Connick Jr.’s in picturesque movements, such as the closing of Act I “Melinda,” where Dr. Mark was dancing with David, then Melinda, then both until it ended on high note between Mark and Melinda (or was it David?) Hunter brought a very “Brady Bunch” psychedelic to the productions big hits “Wait Till We’ve Sixty-Five” and “When I’m Being Born Again” and with Lane’s score, you couldn’t help but grin.
Was this production perfect? No. Did it deserve the bad word of mouth it got? Definitely not. This production deserved a much longer run and the reason behind the bad word of mouth is anyone’s guess. One thing is for certain though. The fruits of labor from everyone involved in this piece was evident in the story that I saw get told. You saw passion, dedication, and effort in every single cast member and to me, that’s really one of the true tricks to a well done musical comedy. Investment. If you ever find yourself hypnotized and you regress into your past self, do yourself and favor and try to transport yourself to 2011 New York City so you can relive this truly remarkable revival of On a Clear Day You Can See Forever.
On a Clear Day You Can See Forever
Featuring Harry Connick Jr. (Dr. Mark Bruckner), David Turner (David Gamble), Jessie Mueller (Melinda Wells), Kerry O’Malley (Dr. Sharone Stein), Drew Gehling (Warren Smith), Sarah Stiles (Muriel Bunson), Paul O’Brien (Anton, Dr. Leo Kravis, Maurice, Mr. Van Deusen, Gene Miller, Wesley Porter), Heather Ayers (Leora Kahn, Club Vedado Singer, Betsy Rappaport, Cynthia Roland, Radio Singer), Lori Wilner (Vera, Mrs. Hatch, Mrs. Lloyd, Radio Singer), Benjamin Eakeley (Preston, Announcer, Radio Singer, Stage Manager, Ensemble), Alex Ellis (Hannah, Ensemble), Kendal Hartse (Ensemble), Grasan Kingsberry (Ensemble), Tyler Maynard (Roger, Sawyer, Radio Singer, Ensemble), Zachary Prince (Alan, Wesley Porter, Ensemble), Alysha Umphress (Paula, Ensemble), Sean Allan Krill (Standby), Philip Hoffman (Standby), Julie Reiber (Standby), Patrick O’Neill (Swing), Christianne Tisdale (Swing)
Original Book: Alan Jay Lerner
New Book: Peter Parnell
Music: Burton Lane
Lyrics: Alan Jay Lerner
Director/Re-Conceiver: Michael Mayer
Choreographer: JoAnn M. Hunter
Set Design: Christine Jones
Lighting Design: Kevin Adams
Costume Design: Catherine Zuber
Sound Design: Peter Hylenski
Orchestrations: Doug Besterman
Casting: Jim Carnahan
Stage Manager: Rachel Wolff
Production Stage Manager: Lisa Iacucci
General Management: Charlotte Wilcox Company
Press Representation: The Hartmann Group
St. James Theatre
246 W. 44th St.
New York, NY
Running Time: 2 hours and 30 minutes
Closed January 29, 2012
Photos by Paul Kolnik/Nicole Rivelli
You have to understand first and foremost that this is a musical comedy. The odds are the score will be a blast, the performances will be comedic, and yes, sometimes things may be far fetched and come out of left field --- but that’s part of the wit and charm of the musical comedy, right? You understand it? Good. Let’s move on.
Director Michael Mayer has reconceived this production from its original storyline where our character David Gamble was once played off as the lead female character Daisy. Mayer tries to bring a more modern approach to the story by spinning the core storyline on a 1970s gay man’s quirky life instead. Michael Mayer does this so successfully. Honestly, I can’t imagine this musical being as charmingly wonderful. Not to mention, how the stakes have risen for the character of Dr. Mark Bruckner in this incarnation. Think about it. A 1970s heterosexual widowed doctor falling for a gorgeous 1940s jazz singer, inside a gay man’s body. That’s theatrical conflict if you’ve ever witnessed it.
Other notables include one of Broadway’s sweethearts, the gentle and considerate Kerry O’Malley playing Dr. Sharone Stein. Stein needs a prescription for her lovesick heart for Dr. Mark Brucker, but that didn’t come off so well. In all of Michael Mayer’s intelligent decisions to re-envision this piece with book writer Peter Parnell, I wish they had written more material for Ms. O’Malley. There was a powerfully intrinsic quartet towards the end of the second act, “S(He) Wasn’t You,” where our four lovers sing about wanting one another. I believed it between every combination except for Dr. Mark and Dr. Sharone. Perhaps if Mayer had included a sweet, positive musical number such as Warren Smith’s love song, “Love With All the Trimmings” to his beloved David, O’Malley’s character would have worked more positively.
So there were parts that made no sense and came out of left field. I’ll admit it. When David Gamble’s boyfriend, Warren Smith, jumps into an infectiously joyous number “Wait Till We’re Sixty-Five”, joined by an ensemble of jubilant college kids? Yes. I was a little lost. The thing about Burton Lane’s score though is that no matter how left field it is (Finian’s Rainbow, anyone?), you can’t help but grin and enjoy it. It’s the magic of his music. You can hum the tunes. You remember the tunes and at times, you want to join in on the tunes. Lane is magical like that.
Burton Lane’s whimsical score and Alan Jay Lerner’s poignant lyrics transpired into this fairy of a production, which was brought even more real by its production team.
Though Christine Jones’ set was a little over the top at times, her period styling’s lent itself to the musical comedy aspect well and brought a quirky feel to the set. Zuber’s costumes found solid colorings to complement and contrast characters and their environment well. Kevin Adams, as always, creates an extraordinarily whimsical environment with the lighting he befalls onto his actors. The collaboration between these three brings an extreme version of the 1970s, but this is an extreme story so the mood is called for.
I know. You’ve noticed that I haven’t mentioned much about the elephant in the room, Harry Connick Jr. With good reason. Granted the character Dr. Mark Bruckner is meant to be the straight man of the piece (literally, with this incarnation!), Connick left me feeling a bit underwhelmed by what he had to offer. Harry Connick Jr. does a very good job playing himself. We all love Harry Connick Jr. He brings a lot of nice qualities of himself to whatever character he plays. However, in a production where sets, lighting, characters, and plots are brought to extremes, Connick’s mellow, laid back persona stood out. Choreographer JoAnn Hunter did a great job at involving Harry Connick Jr.’s in picturesque movements, such as the closing of Act I “Melinda,” where Dr. Mark was dancing with David, then Melinda, then both until it ended on high note between Mark and Melinda (or was it David?) Hunter brought a very “Brady Bunch” psychedelic to the productions big hits “Wait Till We’ve Sixty-Five” and “When I’m Being Born Again” and with Lane’s score, you couldn’t help but grin.
On a Clear Day You Can See Forever
Featuring Harry Connick Jr. (Dr. Mark Bruckner), David Turner (David Gamble), Jessie Mueller (Melinda Wells), Kerry O’Malley (Dr. Sharone Stein), Drew Gehling (Warren Smith), Sarah Stiles (Muriel Bunson), Paul O’Brien (Anton, Dr. Leo Kravis, Maurice, Mr. Van Deusen, Gene Miller, Wesley Porter), Heather Ayers (Leora Kahn, Club Vedado Singer, Betsy Rappaport, Cynthia Roland, Radio Singer), Lori Wilner (Vera, Mrs. Hatch, Mrs. Lloyd, Radio Singer), Benjamin Eakeley (Preston, Announcer, Radio Singer, Stage Manager, Ensemble), Alex Ellis (Hannah, Ensemble), Kendal Hartse (Ensemble), Grasan Kingsberry (Ensemble), Tyler Maynard (Roger, Sawyer, Radio Singer, Ensemble), Zachary Prince (Alan, Wesley Porter, Ensemble), Alysha Umphress (Paula, Ensemble), Sean Allan Krill (Standby), Philip Hoffman (Standby), Julie Reiber (Standby), Patrick O’Neill (Swing), Christianne Tisdale (Swing)
Original Book: Alan Jay Lerner
New Book: Peter Parnell
Music: Burton Lane
Lyrics: Alan Jay Lerner
Director/Re-Conceiver: Michael Mayer
Choreographer: JoAnn M. Hunter
Set Design: Christine Jones
Lighting Design: Kevin Adams
Costume Design: Catherine Zuber
Sound Design: Peter Hylenski
Orchestrations: Doug Besterman
Casting: Jim Carnahan
Stage Manager: Rachel Wolff
Production Stage Manager: Lisa Iacucci
General Management: Charlotte Wilcox Company
Press Representation: The Hartmann Group
St. James Theatre
246 W. 44th St.
New York, NY
Running Time: 2 hours and 30 minutes
Closed January 29, 2012
Saturday, April 14, 2012
Interview with Miriam Kulick of "Open Hearts"
By Byrne Harrison
Miriam Kulick, an actor, playwright, director and teacher, first performed "Open Hearts" at the 2011 Washington D.C. Fringe Festival where it was named Pick of The Fringe by DC Theatre Scene. Prior to that she co-founded Miami’s Square Peg Productions whose first production, "Three Angels Dancing on A Needle" received the 2007 New Times Best of Miami award for Best Ensemble Production and for which she was named Best Actress. "Three Angels" was also performed in New York at the Brick Theater. Her solo show "Full Circle" was performed at Ensemble Studio Theatre’s Octoberfest. She has appeared in numerous productions in both Florida and New York City, where she hails from. On television she’s been featured in America’s Most Wanted and in the Doris Wishman Documentary on HBO. She’s a member of Actor’s Equity, SAG and AFTRA. She can be found at miriamkulick.com.
The main character in "Open Hearts," your one-woman show opening on April 19th, is 90-year-old Sadie Nussbaum. She sounds like she's a lot of fun to play. How did you create her?
She is an inspiration from a still living 95-year-old woman who lives in NY and has been a life-long friend of my family. It is not directly based on her life, but snippets and attitudes about getting older and having a feisty spirit do come from her. Also, years ago I was a licensed massage therapist and I use to give massages to a pair of 90 year old twin sisters who lived together after their husbands died and actually threw a small ball back and forth to each other to try and keep limber as well as limbering their minds. I use a ball in my show.
Sadie's daughter Deborah is a lesbian involved with a woman who is still coming to terms with her lesbianism. Deborah also sounds like a bit of an activist (she's planning to go to Darfur to help the refugees). Which is harder for Sadie to deal with, having a lesbian daughter or having a daughter that's planning to head to a war zone?
For Sadie, I think it's both- if she had to choose, I would say Darfur- there is the potential of real danger there and the possibility of not coming home alive, and mainly being far away from home when one gets old, who knows when their last day might be or they might fall down and break a hip?
What else can people expect from "Open Hearts"?
To realize that no matter who you are, your age, temperment, or sexual orientation, we all struggle with striving towards that proverbial happiness, in wanting more authentic and fulfilling lives and having the courage to go after where our heart really lies.
I felt like a complete slacker after reading your biography. Actor, dancer, writer, teacher, world-traveler, wife, mom, commuter (between NYC and Miami), and that is probably just the tip of the iceberg. But what caught my eye was your work with Pridelines Youth Services in Miami. How did that come about?
First off, thank you for acknowledging all that I have done. As a person working on feeling OK about not falling into the habitual zone, of "nah, I've really not amounted to too much of anything", I will, as the new me, say, "geez thanks." Pridelines Youth came about from a good friend of mine who ran a gay-lesbian themed based theatre company in Miami. They received a grant to work with at-risk youth that had to deal with, "Coming Out - Staying In" stories. We had an 8 week workshop which culminated in an informal presentation of their work, mainly writing and putting it together in a theatre production format. I was a former teacher of his and he knew my teaching style and thought I would be great for this type of project.
The stories the kids shared dealt with the coming out process, an emotionally fraught topic. What was it like working with them?
At first when I started out I worked just with the girls, and then they had me work with the boys as well and we became one group. When we began many were wary of trusting me, a middle-aged white married straight woman, who on the surface to them, seemed not to be able to connect or understand them, as well as the general fear of opening up about their own lives, to just even talk, some just sat there. There were a few, as in any type of teaching situation, who were so excited to begin and explore. Some dropped out, but most stayed, and when we actually performed it they were all so into it and felt so good about themselves, that people actually came to see them, to hear what they had to say, to hear their own personal stories and be touched by what they shared. It was truly confidence building for them and many audience members in the older gay community were moved to tears, as they shared that they never had the opportunity for self-expression, to be heard, when they were their age.
Do you have any plans to do similar workshops in the future?
I am always up for it, I love the idea of theme-based workshops, be it within the gay community as what I did or my latest idea is working with anyone 45 or older, actually any age, and calling it the 3 L's: love, loss, and longing- I incorporate writing, acting, drawing, music.
What else will you be working on this year?
My primary focus is on touring this show in the college circuit and other theatre venues that will produce me. I plan to move back to NY and work as an actor in other areas, to get an agent or manager to represent me and to teach acting.
And one completely random question. If you could do a two-person show with any actor, living or dead, who would you perform with, and what would the show be about?
Oh, I'd have to think long and hard on that one - Meryl Streep, if she would have me, but everyone would just focus on her, or Jon Hamm because who wouldn't want to work next to him? Why not the 3 L's: love, loss, and longing.
Open Hearts begins at the Studio Theatre at Theatre Row (412 W. 42nd Street between 9th and 10th Avenues) on Thursday, April 19th. Performances are Thursday, April 19th, Friday April 20th, Friday, April 27th and Saturday April 28th at 7:30PM. For tickets go to http://www.telecharge.com/ or call (212) 239-6200. For more information go to www.theatrerow.org.
The main character in "Open Hearts," your one-woman show opening on April 19th, is 90-year-old Sadie Nussbaum. She sounds like she's a lot of fun to play. How did you create her?
She is an inspiration from a still living 95-year-old woman who lives in NY and has been a life-long friend of my family. It is not directly based on her life, but snippets and attitudes about getting older and having a feisty spirit do come from her. Also, years ago I was a licensed massage therapist and I use to give massages to a pair of 90 year old twin sisters who lived together after their husbands died and actually threw a small ball back and forth to each other to try and keep limber as well as limbering their minds. I use a ball in my show.
Sadie's daughter Deborah is a lesbian involved with a woman who is still coming to terms with her lesbianism. Deborah also sounds like a bit of an activist (she's planning to go to Darfur to help the refugees). Which is harder for Sadie to deal with, having a lesbian daughter or having a daughter that's planning to head to a war zone?
For Sadie, I think it's both- if she had to choose, I would say Darfur- there is the potential of real danger there and the possibility of not coming home alive, and mainly being far away from home when one gets old, who knows when their last day might be or they might fall down and break a hip?
What else can people expect from "Open Hearts"?
To realize that no matter who you are, your age, temperment, or sexual orientation, we all struggle with striving towards that proverbial happiness, in wanting more authentic and fulfilling lives and having the courage to go after where our heart really lies.
I felt like a complete slacker after reading your biography. Actor, dancer, writer, teacher, world-traveler, wife, mom, commuter (between NYC and Miami), and that is probably just the tip of the iceberg. But what caught my eye was your work with Pridelines Youth Services in Miami. How did that come about?
First off, thank you for acknowledging all that I have done. As a person working on feeling OK about not falling into the habitual zone, of "nah, I've really not amounted to too much of anything", I will, as the new me, say, "geez thanks." Pridelines Youth came about from a good friend of mine who ran a gay-lesbian themed based theatre company in Miami. They received a grant to work with at-risk youth that had to deal with, "Coming Out - Staying In" stories. We had an 8 week workshop which culminated in an informal presentation of their work, mainly writing and putting it together in a theatre production format. I was a former teacher of his and he knew my teaching style and thought I would be great for this type of project.
The stories the kids shared dealt with the coming out process, an emotionally fraught topic. What was it like working with them?
At first when I started out I worked just with the girls, and then they had me work with the boys as well and we became one group. When we began many were wary of trusting me, a middle-aged white married straight woman, who on the surface to them, seemed not to be able to connect or understand them, as well as the general fear of opening up about their own lives, to just even talk, some just sat there. There were a few, as in any type of teaching situation, who were so excited to begin and explore. Some dropped out, but most stayed, and when we actually performed it they were all so into it and felt so good about themselves, that people actually came to see them, to hear what they had to say, to hear their own personal stories and be touched by what they shared. It was truly confidence building for them and many audience members in the older gay community were moved to tears, as they shared that they never had the opportunity for self-expression, to be heard, when they were their age.
Do you have any plans to do similar workshops in the future?
I am always up for it, I love the idea of theme-based workshops, be it within the gay community as what I did or my latest idea is working with anyone 45 or older, actually any age, and calling it the 3 L's: love, loss, and longing- I incorporate writing, acting, drawing, music.
What else will you be working on this year?
My primary focus is on touring this show in the college circuit and other theatre venues that will produce me. I plan to move back to NY and work as an actor in other areas, to get an agent or manager to represent me and to teach acting.
And one completely random question. If you could do a two-person show with any actor, living or dead, who would you perform with, and what would the show be about?
Oh, I'd have to think long and hard on that one - Meryl Streep, if she would have me, but everyone would just focus on her, or Jon Hamm because who wouldn't want to work next to him? Why not the 3 L's: love, loss, and longing.
Open Hearts begins at the Studio Theatre at Theatre Row (412 W. 42nd Street between 9th and 10th Avenues) on Thursday, April 19th. Performances are Thursday, April 19th, Friday April 20th, Friday, April 27th and Saturday April 28th at 7:30PM. For tickets go to http://www.telecharge.com/ or call (212) 239-6200. For more information go to www.theatrerow.org.
Monday, March 26, 2012
Playwright Duncan Pflaster On Kickstarter Campaigns and the Taint (but not the one you think)
We sat down with Duncan to discuss his latest project, "The Taint of Equality."
Tell me about "The Taint of Equality." And is it okay that I giggle a little when I say taint?
What inspired "Taint"?
It's loosely inspired by a turn-of-the-previous-century ten-minute play called "Another Way Out", by Lawrence Langner. It's about a terribly modern heterosexual couple living together without being married. It's amusing, though wildly outdated. I took the basic idea, changed it to a same-sex couple to reflect current marriage politics, then added more characters (13!) and some more farcical complications to wind it out to a full-length play. Most plays take me a year or so to write; once I had the idea for it, this one took me two months.
You're currently running a Kickstarter campaign to get it funded. When and where will the production be?
I know that producing a play can be expensive. You have to pay for rehearsal space, costumes, actors, techies, fluffers, PR people... the list goes on and on. How much are you trying to raise?
I noticed that one of the rewards for backing "The Taint of Equality" at $100 or more is a picture of the all-male cast. Any chance it's a picture of the cast wearing their costumes from the sex club scene?
You're one of those playwrights who always seems to have several projects going at once. What else is coming up for you in 2012?
To find out more about Duncan's play, "The Taint of Equality," and to become a backer, click here.
Saturday, March 17, 2012
Occupy the Empty Space: A 10-Minute Play Festival on Occupy Wall Street Themes
By Byrne Harrison
After a night (or possibly a day and night) of green beer-fueled excess, do your conscience some good and attend the Occupy the Empty Space 10-minute play festival tomorrow at Judson Memorial Baptist Church.
This has been a passion project for the occupiers and artists facilitating, along with 250+ writers and 100 actors and directors who expressed interest in the project. They have playwrights and performers of various stages in their career--participants include Naomi Wallace, Ismail Khalil, Ali Rose Dachis, Dan Kinch, and Caridad Svich.
In between these short plays, they will intersperse teach-ins by many well known organizations and activists in NYC, such as Picture the Homeless, Frank Morales of o4o, Queer Rising, Time's Up! and others.
The event is this Sunday, March 18th, from 2:30-7:30 @ Judson Memorial Church's meeting hall, and like most things Occupy-related is completely free.
After a night (or possibly a day and night) of green beer-fueled excess, do your conscience some good and attend the Occupy the Empty Space 10-minute play festival tomorrow at Judson Memorial Baptist Church.
This has been a passion project for the occupiers and artists facilitating, along with 250+ writers and 100 actors and directors who expressed interest in the project. They have playwrights and performers of various stages in their career--participants include Naomi Wallace, Ismail Khalil, Ali Rose Dachis, Dan Kinch, and Caridad Svich.
In between these short plays, they will intersperse teach-ins by many well known organizations and activists in NYC, such as Picture the Homeless, Frank Morales of o4o, Queer Rising, Time's Up! and others.
The event is this Sunday, March 18th, from 2:30-7:30 @ Judson Memorial Church's meeting hall, and like most things Occupy-related is completely free.
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