Category Archives: Theatre

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Arts, Theatre

Top Five Reasons to See The Nance

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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.   

productionphoto1.THENANCE 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.

productionphoto3.THENANCEDouglas 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.

productionphoto4.THENANCEJonny 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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Arts, Theatre

Two Personalities…One Star, Deborah Cox Shines in Jekyll & Hyde Revival

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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.    

3.182800Everybody 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”. 

3.182796Although 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.

Photos: Broadway.com

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Arts, Theatre

Three the Hard Way – Orphans Steals Broadway

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Sometimes three can be a hard combination to maneuver.  Our society favors couples; hence someone will always be the odd man out.  But I have witnessed an exception, Lyle Kessler’s Orphans has three good reasons for going to taking a trip down to the Gerald Schoenfeld Theatre – Alec Baldwin, Ben Foster and Tom Sturridge. 

Orphans tells the story of two parentless brothers barely surviving on the hard streets of North Philly.  Older brother Treat resorts to petty crime and manipulation to take care of younger brother Phillip.  Living in a dilapidated home and eating tuna fish every day isn’t a satisfactory existence for Treat.  He attempts to upgrade his station by kidnapping a bigwig for a big payday, but he and Phillip get more than they bargain for with Harold.  Harold, also an orphan, provides the boys with a warped sense of stability and a father figure. 

3.185821We have all heard the saying, “honor amongst thieves.”  When actors come together to bring life to a script, they must bring integrity to the role as well as respect for one another.  The cast of Orphans does this in an impeccable fashion.  Each one of these actors played their role as if it was created for them.  Alec Baldwin is Daddy Warbucks meets Captain Hook; his skill as actor simply shines as he leads the boys down the proverbial primrose path that crime offers with compassion and love. Treat, on the other hand, has made a living leading Phillip and others up the old garden path.  I’ve said it before and I’ll say it again, no one dives into the deep end of darkness like Ben Foster.  He definitely didn’t disappoint in his Broadway debut. Foster’s portrayal of Treat is steeped in complex layers of pain that made me want to clutch my purse in fear only to feel an emotional 180, desiring to give him a comforting hug, which he probably wouldn’t accept.  Tom Sturridge’s interpretation of Phillip offered a sense of sincere dynamism and vulnerability.  I enjoyed how he used John Lee Beatty’s set design as his own personal parkour course, strategically crouching and jumping at will as if he was using the art of misdirection to keep Treat unaware of his true intelligence.  Despite all the drama the occurred before Orphans began previews; the drama present on stage is dark, delicious and a great display of acting that is sure to garner a Tony nomination, or two, or three.

3.185820In boxing, a sure way to get a knock out is to connect two punches to the body and one to the head. Orphans executes a theatrical blow that could rival a Mike Tyson KO back in the 80s.  And like Tyson, Baldwin, Foster and Sturridge show that hitting with bad intentions can sometimes be a good thing.

Photos:  Broadway.com

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Arts, Theatre

Breakfast at Tiffany’s Closes on Sunday

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TIMBER!  FAMERS can you say, “I told you so.”  This Sunday the wretched rendition of Breakfast at Tiffany’s will play its final performance, succumbing to Broadway’s spring opening frenzy.  Somehow, I don’t think anyone is surprised to hear the news.  Breakfast at Tiffany’s suffered from poor reviews and empty seats.  With only 38 regular performances under its belt, I have no theories on why the show was doomed.  Bad is bad and the streets of New York City is filled with enough garbage for people to know junk when they see it.  Good riddance…well you know the rest.

To read why I knew Breakfast at Tiffany’s would close early, click http://famenycmagazine.com/2013/03/25/breakfast-at-tiffanys-on-broadway-where-are-audrey-and-truman-when-you-need-them/.

Photo:  Broadway.com

 

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Arts, Theatre

Casualty of War…Hands on a Hardbody Couldn’t Hold On

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Springtime on Broadway is a fast and furious time for openings of new shows.  Competition is fierce and there’re bound to be casualties.  This year, the first to fall was Hands on a Hardbody, a musical based on a documentary of the same name.  In fact, the April 13 closing gave Hands on a Hardbody a new, unfortunate title, “Fastest-closing musical of this season.”  This homegrown musical with is rock and roll score did get fair reviews, but the kind words from critics weren’t enough to fill the seats.  I also thought the musical had potential, yet after only 56 performances the lights of the Brooks Atkinson Theatre will be dark until another production takes the stage.  So what went wrong for Hands on a Hardbody?  Here are a few “non-conspiracy” theories F.A.M.E NYC has come up with…

  1.  The Tony’s Race – The 2012-2013 season ends on April 25.  Spring and fall are always major seasons for Broadway, but the reason why there is an overabundance of shows opening in March and April is to secure the opportunity for consideration for this year’s Tony Awards.  With so many shows opening, the little musical that could didn’t have enough selling power to get past Broadway’s spring frenzy to make it to the summer months when Broadway has an extremely light opening schedule. 
  2. Musical Smackdown – This season Broadway had several musicals going head to head for supremacy.  Musicals like Matilda, Motown the Musical, Jekyll & Hyde, Kinky Boots and Cinderella all have audiences they cater to.  Cinderella is a family-friendly show that will draw from the same audiences that have enjoyed Wicked, The Lion King or Mary Poppins.  Who doesn’t love the music of Motown?  The musical simply just has to use the massive power of its overwhelming catalog to fill seats.  Similar to Hands on a Hardbody, Kinky Boots is based on a true story that audiences may be unfamiliar with but the score from Kinky Boots is all the rage.  Jekyll & Hyde and Pippin already have a loyal fan base, and these revivals will rely on heavily on its fans to compete.   Broadway already has its breakout musical for this season with Matilda, with such heavy competition; Hands on a Hardbody would’ve needed a miracle to survive.
  3. Star Power – Tom Hanks, Bette Midler, Deborah Cox, Constantine Maroulis, Cyndi Lauper, Nathan Lane, Ben Foster, Alec Baldwin, Alan Cumming…need I list more?  Broadway is definitely seeing stars this season.  With the exception of Keith Carradine, Hands on a Hardbody was devoid of recognizable actors. Although I rather enjoyed the ensemble cast, Broadway is a business and stars equal ticket sales.

As Hands on a Hardbody shuffles to the Broadway graveyard, I would also like to make mention of its timing.  What this show suffered from most was the time in which it opened.  Instead of trying to battle for a nomination slot in this year’s Tony Awards, it should’ve waited and opened in the summer.  But you know what they say…should’ve, could’ve would’ve.

Although it’s a moot point, to see what F.A.M.E NYC thought of the show, click http://famenycmagazine.com/2013/03/25/hands-on-a-hardbody-places-its-palms-on-broadway/.

Photo:  Broadway.com

Arts, Theatre

Tony Season Is Here

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The Emmys and Oscars in L.A have come and gone, but in NYC, we’re just gearing up.  Spring brings with it cherry blossoms in Central Park and a slew of new productions on Broadway that culminates with the Tony Awards.  This year the 67th annual award ceremony will air live on CBS on Sunday June 9 from Radio City Music Hall.  The eligibility cut-off date for 2012-2013 season is April 25 with the nominations to be announced on April 30. 

This month The Tony Awards Administration Committee announced its lifetime achievement recipients, which included Bernard “Bernie” Gersten, Executive Producer of Lincoln Center Theater, Scenic Designer Ming Cho Lee and Paul Libin, Executive Vice President of Jujamcyn Theatres.  In addition, theatergoers can view unique content from and about this season’s musicals and plays eligible to receive Tony Awards by visiting Spotlight On, a program, which includes plot summaries, interesting trivia, cast albums, scripts, links to shows’ social media, production history, downloadable music and more. Spotlight On will be updated throughout the season, currently, users can explore over twenty shows with more being added every day. 

If you are interested in going to the 2013 Tony Awards there will be a limited number of tickets made available to the public starting April 30. The American Theatre Wing’s Tony Awards are presented each year by The Broadway League and the American Theatre Wing.

For more information on the Tony Awards, visit www.tonyawards.com.

Follow the Tony Awards on Facebook and Twitter: Facebook.com/TheTonyAwards, @TheTonyAwards.

For additional information on Spotlight On check out, http://www.tonyawards.com/en_US/multimedia/spotlight/index.html.

Photo courtesy of Slate PR

Arts, Theatre

Breakfast at Tiffany’s on Broadway, Where are Audrey and Truman When You Need Them?

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It’s a good thing that Audrey Hepburn and Truman Capote have gone on to their greater glory so they wouldn’t have to bear witness to the goings on at the Cort Theatre.  On the other hand, maybe someone should’ve performed a séance before curtain call, so that their presence could guide the cast.  Breakfast at Tiffany’s was one of the productions I was most looking forward to this season.  Sadly, I must report that the core of this production, which on the surface seems to be about beautiful people sipping martinis and champagne, is a flat as an eight-day-old open bottle of Pink Champale.  It was unconvincing, inauthentic and could evoke more zzzz’s than a bottle of Ambien. 

The 1958 Truman Capote novella of the same name and its protagonist Holly Golightly are iconic symbols of American literature and culture.  Audrey Hepburn became synonymous with the character after portraying her in 1961 film.  Unfortunately, this production didn’t bring with it the spirit of Holly Golightly or the colorful characters of Capote’s book or Blake Edwards’ movie. 

4.185113Sometimes it is difficult to step into shoes that are as recognizable as Dorothy’s ruby slippers.  Nevertheless, it can be done.  Patti LuPone’s Evita was legendary, but Madonna (who isn’t necessarily known for her acting chops) gave the role new life when she played the larger than life wife of Juan Peron for the silver screen.  Outside of George Wendt, most of the cast’s feet were just too small to fill and walk in shoes of these characters.  It is rare that I can’t find one redeeming quality about a production, but as hard as I wrack my brain, I can’t find one.  Breakfast at Tiffany’s was more like breakfast at Denny’s there was no moon river, no dose of fabulosity.  Holly Golightly said it best when she explained to her husband Doc, “You musn’t give your heart to a wild thing. The more you do, the stronger they get, until they’re strong enough to run into the woods or fly into a tree. And then to a higher tree and then to the sky.”  In essence, that is the problem with Breakfast at Tiffany’s, Richard Greenberg and Sean Mathias gave their hearts to a wild thing that had flown the coup way before it hit the stage.

Photos: Broadway.com

Arts, Theatre

Hands on a Hardbody Places Its Palms on Broadway

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“As American as baseball and apple pie.” If everyone had a dollar each time that phrase was uttered, one probably could rival the new multi-million dollar winner of this weekend’s Powerball. Without a doubt, that saying is probably as old as the White House and in this day and age could probably be replaced with myriad representations of American iconography and culture.  New musical Hands on a Hardbody, shines a spotlight on two USA symbols, rock and roll and trucks.  And after viewing Hands on a Hardbody two things are evident, this musical is made for Americans by Americans and is as true to the red, white and blue as the old “stars and stripes” itself.

While not often seen in the New York metro area, a pickup truck is a still the automobile of choice for scores of Americans in the heartland and southern regions of the U.S. and is the main character for this production.  Based on a 1997 documentary of the same name, Hands on a Hardbody centers on a group of contestants in Longview, Texas hankering to win a brand new truck by placing their hands on the vehicle and enduring the heat and exhaustion until all but one drops off. 

5.185220The musical features an ensemble as eclectic as the proverbial melting pot.  A middle-aged husband (who is an unemployed, disabled worker) is doubling down and trying to relive his youth by winning.  A young Mexican-American man is hedging his bet to go to medical school.  Another young man is looking to prove just how much of a Texan he is by winning the truck and a young woman that wants to burn rubber and drive that truck right out of Texas.  A marine fresh from combat, a holy-rolling songstress, a gregarious playboy, a vixen with a few tricks up her sleeve, a no-nonsense middle-aged woman and a former winner looking to reclaim the glory of victory round out the characters placing their mitts on the truck.  A conniving salesman, his racist female colleague, the mates of the older contestants and the announcer complete the cast of the production.

Similar to In the Heights, the plot of this musical is about achieving the American dream – life, liberty and the pursuit of happiness and each of these characters have a different comprehension of that dream.  Courtesy of MGM and the Broadway musicals of old, I expect to view a musical with a bunch of extras that help to drive the musical numbers and along with the set, assist in making the numbers spectacular.  Hands on a Hardbody isn’t that kind of musical.  Although the pared down cast equates to a small group, the central character as well as the majority of the set is the truck.  It is a frugal musical that fits well with this economy.  It has a lot of heart and soul; I didn’t miss the pomp that most musicals can have one bit. 

4.185219Most of the grit that makes Hands on a Hardbody grand comes via music by Amanda Green and Trey Anastasio and a book by Doug Wright.   Songs like “Joy of the Lord”, “My Problem Right There”, “Born in Laredo”, “It’s a Fix” and “Keep Your Hands on It” offer an accurate description of the modern American experience and allows their rock /bluegrass soundtrack to resonate with the audience.  Led by veteran actor Keith Carradine, the cast does a superb job with the material.  Instead of looking like perfectly trained artisans belting out songs and acting out a script, they appeared more like regular people sharing their dreams and stories of heartbreak and redemption.  Each one of them was someone that you have probably met sometime in your journey and could’ve been sitting in the audience right next to you.  If there were any negative aspect to this musical, it would be the lack of choreography.  The choreography was very pedestrian and reminded me of something I might have seen in a 1990’s Fat Boy Slim video.  Still, the choreography, or lack thereof, had its usefulness.  The movements were on par with the look of the cast.  After all, a pack of ordinary people, which the cast is supposed to embody, would look a little silly trying to complete choreography that required tons of strength and agility.

All and all I thoroughly enjoyed Hands on a Hardbody and could understand why the musical made its way from the La Jolla Playhouse to the Brooks Atkinson Theater on Broadway.  I throw my thumbs to ceiling on this one and would suggest scooting on down to see a musical that is as American as you and me.

Photos: Broadway.com

Arts, Theatre

Top Five Reasons Why I Can’t Wait To See Ben Foster in Orphans

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Everybody knows Shia LaBeouf dropped out of Orphans, which begins previews on March 26, and was replaced by Ben Foster.  While I do like LaBeouf, the addition of Foster to the cast makes me want to run outside and sing in the street as if I were Julie Andrews singing on a grassy hilltop.  Ben Foster is one of the brightest stars of his generation and I’m waiting on bated breath to see him display his talent live on stage.  If you don’t know about Ben Foster, you better ask somebody.  Or, you can just ask me – I will give you five reasons why I can’t wait to see Ben Foster on Broadway.

  1.  Alpha Dog…Alpha Dog ….ALPHA DOG!  His performance in this movie was so visceral that I had to write the title more than once. 
  2. No young actor slips into darkness better than Ben Foster.  Whether we are talking about his character in Contraband, 30 Days of Night or  the remake of The Mechanic, Foster can thread the line of master manipulator and  bat sh*t crazy with the skill of an expert tailor.  The audience never sees the hemlines, just a beautifully crafted performance partly because Foster isn’t afraid to go there.
  3. Hottie….Hello?!  Ben Foster is cutie pie with a side of brooding sex appeal.
  4. He knows how to pick ‘em.  The secret to an actor’s success is the selection of the right films early in their career.  Judging by Foster’s body of work, I believe this choice will only strengthen his already accomplished body of work.
  5. Foster is the better man.  No offense to La Beouf (he has had his share of blockbusters), but Foster is the better man to tackle a role like this.

Orphans will be playing a limited engagement at Gerald Schoenfeld Theatre. Don’t foster any delusions about missing this production; I predict it will be one of the best productions this season.   

Photo: Jerry Avenaim/Creative24

Arts, Theatre

Golden Boy Top Revival for 2012

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Good theater is like fine wine, it just gets better with age. I venture to say that good theater is better than a fine wine.  Wine usually peaks after 20 years, good theater is timeless.  All that glitters ain’t gold, but after 75 years Golden Boy shines like a California nugget into the sun. 

To view F.A.M.E NYC Editor’s review of Golden Boy, click http://famenycmagazine.com/2012/12/04/golden-boy-dazzles-with-sweet-science/.

Photo:  Paul Kolnik