I’ve always had an affinity for artists who use nature as the subject for their work. After all, the relationship between man and nature is a constant balancing act just as nature invariably teeters between the physical and mystical. If an artist can achieve an accord between these two properties as well as Kathleen Elliot, then they are worthy of acclaim. On May 3, Elliot’s nationwide tour of Imaginary Botanicals landed in Manhattan, taking residency at the Tenri Cultural Institute. Using flamework glass to create sculptures, Elliot manufactures pieces that harmoniously merge the delicate, elegant and resolute beauty of nature.
With Imaginary Botanicals, Elliot infuses human elements into plants turning them into abstract narratives about the symbiotic relationship between man and the environment. Other more literal interpretations of plant life are equally striking. In addition to her exploration of plants and man, Elliot showcases another aspect concerning the continuity of humans and nature with “Questionable Foods”, two sculptures that combine Elliot’s intricate glasswork with stitched logos of food brands fashioned to look like fruit growing from branches. These pieces make the viewer ponder how our choice of food, and food brands in particular, affects Mother Nature. Powerful, yet refined Elliot’s statement about the way in which corporations sometimes shirk their responsibility to the planet comes across as subtle as a tap on the shoulder.
The pieces that resonated with me the most were “Offerings”, glasswork pieces displayed in three palms made of wood and plaster. The appearance of the open palms extending through the walls to humbly hold the glass pieces raised them to a spiritual plane and really highlighted the 3D aspect of the entire exhibit.
Seemingly fragile and muted, the exquisite glassworks of Imaginary Botanicals explode with a soulful presence that fills the Tenri Cultural Institute and vibrates with the same dynamism as a drive through Central Park in the spring. Imaginary Botanicals will be in full bloom at Tenri Cultural Institute until May 25 and definitely shouldn’t be missed.
To learn more about Kathleen Elliot, check out this video.
Photos: F.A.M.E NYC Editor
Video courtesy of Kathleen Elliot
The Nance opened April 15 at the Lyceum Theatre. Starring Nathan Lane, Jonny Orsini, Lewis J. Stadlen, Cady Huffman, Jenni Barber and Andrea Burns, The Nance vividly paints the portrait of the world of burlesque at its zenith as well as the beginning of its demise. After viewing this production, I can happily report that I wasn’t disappointed. The Nance is witty, thought-provoking and one of the most complete shows I’ve seen this spring. If you desire a night at the theatre that offers a little sex, lots of laughter and a provocative narrative, then I suggest you get down to the Lyceum Theatre and say, “Hi, simply hi,” to the ticket agent and get yourself a ticket to The Nance. And just in case my word isn’t good enough, below are F.A.M.E NYC’s top five reasons to go see The Nance.
Nathan Lane – Nathan Lane is a no stranger to the neon lights of Broadway. In fact, with productions like Guys and Dolls, The Producers, The Odd Couple and The Addams Family under his belt, Lane is a veteran and a box office draw. In The Nance, he plays Chauncey Miles, a seasoned burlesque performer known for his flamboyant routine. Chauncey’s high-pitched, double entendres and musical performances are a regular riot until the city decides to crackdown on the lowbrow environment the burlesque world entertains. Chauncey, a republican, believes it is just political grandstanding until he reluctantly becomes the poster boy for free speech and subsequently for gay rights. Lane steps into the role of Chauncey as if he is placing his feet into the most comfortable pair of slippers. It is made for him and highlights all the attributes that fans have come to love about watching Nathan Lane on stage or on film. A true comedian, his timing is impeccable and his delivery of the material truly deserves the standing ovation given by the audience at the end of the show. What Audrey Hepburn did for the character of Holly Golightly, I believe Lane has done for the character of Chauncey Miles. He has given the role unmistakable life that will not easily be duplicated.
Douglas Carter Beane – With all the flowers, and some weeds, that sprouted on Broadway this spring, playwright Douglas Carter Beane has created a rare rose. Beane not only offered audiences a peek into the world of burlesque, he also featured a glimpse of the New York City and the world pre-Stonewall and created a direct line to the issues the LGBT community still face in the 21st century with style and humor. There is no part of this story that lags; it is a Babe Ruth home run out of the park.
John Lee Beatty – When a production is running on all cylinders, the set design is a crucial element to its viability. John Lee Beatty’s set design is as vital to The Nance as New York City is to Law and Order. It is without a doubt the silent character. His swiveling sets allow the actors to change scenes without switching gears and make the transition between The Irving Place Theatre and Chauncey’s apartment flawless. The sets permit the audience to ride side-by-side with the cast on a journey back into time courtesy of Douglas Carter Beane’s wonderful script.
Jonny Orsini – What a cutie pie! He steams up the stage of the Lyceum Theatre with his nude scene and smile that can be seen in the last row of the balcony. Orsini plays Ned, Chauncey’s younger, naive love interest. Chauncey believes picking Ned up would only result in a one night love affair, but Ned’s tenderness uncovers another layer to Chauncey’s cynical New York veneer. Orsini and Lane create authentic chemistry.
The members of Irving Place Theatre - Chauncey’s act at the Irving Place Theatre aren’t a one man show. Members Efram, Sylvie, Joan and Carmen help to generate the laughs and raw emotion that make The Nance a smash. The quirky show business family they produce made me want to hop out of my seat and join the circus.
Individually, the parts of this production are great, but together The Nance explodes with emotive fervor. It’s an instant classic! I suggest meeting the cast around the corner of W. 45th Street and checking out a fantastic show.
Photos: Joan Marcus
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One of the greatest notions about a revival coming to Broadway is generations of new theatergoers having the opportunity to view essential productions that have set and changed the paradigm for good theater. Another is the chance for diehard fans to discover something fresh that breathes new life into the show. For admirers of Jekyll & Hyde the Musical that breath comes courtesy of Deborah Cox.
Everybody knows the story of Jekyll and Hyde. It is the story about duality, one man’s sojourn to the dark side of human nature. The original production opened March 21, 1997 at the Plymouth Theatre, now called The Gerald Schoenfeld Theatre. The original company starred Robert Cuccioli as Jekyll and Hyde and Linda Eder as Lucy Harris. The show played 1,543 regular performances and closed January 7, 2001 as the longest-running show in the history of the Plymouth Theatre.
The 21st century revival is playing at the Marquis Theatre and features Constantine Maroulis as the virtuous and deviant lead characters and Deborah Cox as Lucy Harris, the sensuous brothel worker that falls for Jekyll and tangles with Hyde. The role of Jekyll and Hyde can be compared to the story of Atlas carrying the heavens on his back. Indeed, the musical’s success or lack thereof rests squarely on the actor’s shoulders. Unfortunately, the role didn’t rest well in Maroulis’ possession. I was excited to see Maroulis back on Broadway; I thought he was perfect as Drew in Rock of Ages; however I saw too much rock and roll in his portrayal of Jekyll and Hyde. As Jekyll Maroulis wasn’t convincing, but fared much better as his bad boy alter ego. His fans will definitely enjoy his rendition of “Alive”.
Although Maroulis portrayal of Jekyll and Hyde may be as unbalanced as the characters themselves, there is no doubt that Cox steals this production. From the moment she saunters on stage, she commands the audience with her powerful, lush voice. She makes Lucy a force to be reckoned with and isn’t sparse with the sexy. Together she and Maroulis make a steamy pair. The Marquis Theatre may read Jekyll and Hyde the Musical on the bill, but once the curtain rises, it’s “The Lucy Show”.
There used to be a toy on the market called a Weeble. The catchphrase was “Weebles wobble, but they don’t fall down.” This catchphrase could’ve encompassed the reinvented Jekyll and Hyde in its entirety. However, Deborah Cox’s presence created moments when this production actually stood tall and pushes Jekyll and Hyde the Musical from one star to two and a half stars.