The 2010 Tony Award nominees assembled on the steps of the Plaza Hotel on May 20 for an official class photo. The nominees were all smiles as they posed for pictures, but soon the winners will be revealed. The 2010 Tony Awards will air live June 13 on CBS. F.A.M.E NYC wishes good luck to all the nominees.
Photo: Larry Busacca/Wireimage.com
As I stood outside the Broadway Theatre, my original thought was maybe the name for this production should’ve been changed to lines, lines. The appeal of this play was obvious from the procession of people with tickets in hand anticipating the opening of the doors. While I slowly made my way inside the venue, I had another thought. I realized that every time the curtains rise on a stage a promise is made. So what do you get when you combine a concept based on a Billy Wilder and I.A.L. Diamond screenplay, a book by Neil Simon, music by Burt Bacharach and lyrics by Hal David? You get a formula for success, success. And that is exactly what the revival of Promises, Promises is.
Sean Hayes, Kristen Chenoweth and cast had huge shoes to fill. The original 1968 production garnered a Grammy award for Best Cast Recording and two Tony awards. The simple, soft, yet potent elegance of Burt Bacharach’s and Hal David’s music is deeply woven in the fabric of pop culture. Songs like “I Say a Little Prayer”, “I’ll Never Fall in Love Again”, “Promises, Promises”, and “A House Is Not a Home” have been indelibly ingrained on the psyche of any music lover thanks impart to iconic singers like Dionne Warwick, Luther Vandross and Aretha Franklin. The musical is based on the hilarious, Oscar winning comedy, The Apartment, starring Jack Lemmon and Shirley McClain. Although I was not alive when the original musical appeared on Broadway, the music and movie it was based on is very familiar to me. Needless to say, I had high expectations and I was not disappointed.
From the opening overture to the reprise of “I’ll Never Fall in Love Again”, Promises, Promises delivered absolute amusement. What a joy it was to witness Burt Bacharach’s and Hal David’s music come alive in a way I had never experienced before. Sean Hayes was born to play the charming, ambitious to a fault Chuck Baxter, a young bachelor that works at Consolidated Life. Will & Grace showed he had the comedic chops, but his overall talent shines in this musical comedy. He is exceptional in his Broadway debut, so much so that his portrayal of Chuck has garnered a Tony nomination for Best Actor in a Musical. His constant breaking of the fourth wall in order to narrate the story was a scream.
Kristen Chenoweth is simply adorable as the sadder but wiser Fran Kubelik, the young waitress that has an affair with a married executive, played by Tony Goldwyn, and is the girl of Chuck’s dreams. Her renditions of “Whoever You Are”, “A House Is Not a Home”, “I Say a Little Prayer” and “I’ll Never Fall in Love Again” are heavenly. She and Sean are a delight to watch and have great chemistry.
The slinky, Fossesque choreography of Rob Ashford was right on queue. The hip-swiveling, energetic moves harkens back to a time when the mash potato, frug and monkey ruled. Rob Ashford received a Tony nomination for Best Choreography and it is well deserved. Combined with the orchestrations of Jonathan Tunick, 2010 Tony nominee for Best Orchestrations, Promises, Promises provides its audience with a knock out punch.
For me the breakout star of this musical comedy is Katie Finnerman. She is a sensation as the brassy, sex-crazed Marge MacDougall. She delivers some of the most side-splitting lines of the show and is one of the reasons why “A Fact Can Be a Beautiful Thing” has become my favorite number. Tony Goldwyn and Dick Latessa also give stand out performances as J.D. Sheldrake, the womanizing executive, and Dr. Dreyfuss, Chuck’s cynical neighbor.
Set in Manhattan during the early 60s, Promises, Promises transports the audience back to a simpler time just before the nation lost its innocence from the eruption of Vietnam War protests, assassinations and riots. The show is filled with unethical and immoral subject matter, yet in the wake of all the ills that plague us today, infidelity, nepotism, attempted suicide and turkey lurking hardly seems like issues that would raise any eyebrows. Besides, I so entertained by the performances of the cast that the depravity of the show themes did not register. Sexy…witty…gut-busting humor…memorable music Promises, Promises has it all. It is a tremendous triumph.
After seeing Promises, Promises I walked the streets of the new Times Square floating on a cloud of Bacharach. Once you see it, you will fall in love and stay in love with the revival of this groovy musical. I promise.
FAMERS to order discount tickets for Promises, Promises, click http://www.promisespromisesbroadway.com/PPAMC56.php.
Photos courtesy of Promises, Promises.com and Broadway.com
F.A.M.E NYC told you that Fela! was the best production for 2009, and The American Theatre Wing agrees. Fela! nabbed 11 Tony nominations including Best Musical, Bill T. Jones for Best Direction of a Musical and Best Choreography, Sahr Ngaujah for Best Performance by a Leading Actor in a Musical and Lillias White for Best Performance by a Featured Actress in a Musical. The revival of La Cage aux Folles also grabbed 11 Tony nominations with Kelsey Grammer also vying for the Best Performance by a Leading Actor in a Musical award.
The revival August Wilson’s Fences garnered 10 nominations including Denzel Washington for Best Performance by a Leading Actor in a Play, Viola Davis for Best Performance by a Leading Actress in a Play, Kenny Leon for Best Directions of a Play and Branford Marsalis for Best Original Score (Music and/or Lyrics) Written for the Theatre.
Broadway goes to Radio City Music Hall as the Tony Awards air live Sunday June 13 on CBS. To view a list of all the nominees please visit www.tonyawards.com. Good luck to all the nominees and we at F.A.M.E NYC will have our fingers crossed for Fela!
Dozens of strangers corralled into a wide dark space unsure of what will happen next. Strobe lights are overhead as the DJ spins electro-tech sounds. I’m no stranger to clubs (in fact they are my second home) and this definitely feels like one. There is barely anywhere to sit and I began to think to myself, “I thought I was going to see a show.” But before I could get lost in my thoughts, it began.
A man dressed in a white suit begins to run on a treadmill. He accumulates speed as simulated wind and rain try to block him. In a flash a loud shot rings in the air, my heart briefly stops. He is shot and pauses, but the action is just beginning.
Fuerza Bruta Look Up is an explosion of performance art. From start to finish it is a marathon of aerial acrobatics and constant movement, even the audience gets to participate. As a member of the audience you move from one end of the theater to another following the show as the cast moves from one form of movement to the next. You become part of the experience as the cast joins the audience to revel, break boxes of confetti over willing audience members’ heads and dance as water is sprayed from above. And if you enjoy watching women in baby doll frocks slosh around in water, Fuerza Bruta Look Up has that too.
It does not matter how you feel when you enter. The vibes are so kinetic that you will leave soaked with bolts of energy to carry you through the rest of the night. Fuerza Bruta Look Up is an out-of-the-box celebration that can be enjoyed by young and old. It is provocative and absolutely the best fusion of art, nightlife and theater I have ever witnessed. It is carnival on steroids. Look up, look left, look right, but I guarantee you will not look away.
Photos courtesy of fuerzabrutanyc.com
Did the paradise F. Scott and Zelda Fitzgerald constantly crave eventually evaporate, or was it ever really there to begin with? This is the question that has made the public fascinated with F. Scot Fitzgerald and his wife Zelda since the roaring ‘20s. It may have been a question that they separately explored before their untimely deaths. It certainly seemed to be the focus of This Side of Paradise, the engaging new musical playing at the Theatre at St. Clements until May 23.
This Side of Paradise examines the lives of F. Scott and Zelda Fitzgerald and finally gives Mrs. Fitzgerald her say. The musical is told through Zelda’s perspective and opens with Zelda in a psychiatric hospital trying to make sense of her life with F. Scott Fitzgerald by obsessively reading his novels. As she opens up to the doctor, played by Michael Sharon, the audience is able to peer into the past and watch as The Fitzgeralds meet, fall in love, become the toast of the jazz age and ultimately grow farther and farther apart. Because the musical is told through Zelda’s eyes, the story is even more fascinating. In each one of F. Scott Fitzgerald’s novels we are able to see his perception of life and love; it is stimulating to witness a piece of fiction that expresses Zelda’s point of view.
Although the paradise of the Fitzgerald’s world may have been far reaching or even nonexistent, the rapture of their care-free, hedonistic, somewhat reckless yet always intriguing relationship with the public is wonderfully and tragically captured in this production. Born from concept of Nancy Harrow’s jazz compilation Winter Dreams which details in song the relationship between F. Scott and Zelda Fitzgerald, This Side of Paradise is as rich with beautifully crafted music and lyrics as the language in one F. Scott Fitzgerald’s novels.
Nancy Harrow really hits the mark. The music in This Side of Paradise truly illustrates the zany, status seeking relationship that the Fitzgerald’s shared as well as the obsession with youth and beauty that Zelda possessed throughout her life. Songs like “Belle of the Ball”, “This Side of Paradise” and “Oh God, I’m Sophisticated” bring the world of the Fitzgerald’s jazz age to life with energy and vigor. “Lost Lady”, “Until It Comes Up Love” and “The Extra Mile” paint a picture of the sadness of unrequited satisfaction.
The cast absolutely excels in bringing Nancy Harrow’s music and lyrics and Will Pomerantz’s choreography alive. Maureen Mueller’s voice is a treasure; she is completely mesmerizing as Zelda. Rachel Moulton’s and Michael Shawn Lewis’ portrayal of F. Scott and Young Zelda Fitzgerald is superb. Together they seize every opportunity to show the Fitzgerald’s rollercoaster relationship and captivate the audience the way the real F. Scott and Zelda did in life. Though the part of Scottie, the Fitzgerald’s only child, is small, Mandy Bruno is exhilarating and makes an indelible impression. Her voice is as lively as a breath of fresh air.
Although the scene changes can be a bit distracting, This Side of Paradise provides an animated understanding about the complex world of F. Scott and Zelda Fitzgerald that may have been overlooked in books. Co-book writers and creators Nancy Harrow and Will Pomerantz have a stuck musical gold. Whatever happiness Zelda failed to achieve in life the success of this musical has surely made up for it.
Photos: Lee Wexler
All aboard! This train is travelling to Dixie, but not the “Hooray Dixie Land” sung in lyrics, it is Jim Crow’s Dixie that is the subject matter of this musical. The Scottsboro Boys, playing at the Vineyard Theatre, is a portal into a time in America’s history that has been forgotten. It almost seems peculiar that a story as heavy as the Scottsboro Boys trial, a series of trials in which nine black youths were tried and convicted of raping two white women, would end up on stage as a musical, but it is the musical numbers that makes the subject matter more palatable. The musical takes on some of elements of minstrel show and is a nonstop rollercoaster of emotions. At times I was offended, other times I was brought to the brink of tears and at certain times I could not help but to burst with laughter, regardless of what I was feeling I was always entertained.
I enjoy viewing productions in which the actors play multiple roles because the audience gets a true glimpse of the actors’ range. The cast with exception of Sharon Washington (the omnipresent female figure) play several parts and the character changes are as smooth as the choreography.
Each character was thoroughly developed and the passion for the material was reflected in the actors’ performances. Another interesting aspect of the production is the cast with exception of the Interlocutor, brilliantly portrayed by two-time Tony award winner John Cullum, are all black. Watching black actors playing white southerners so convincingly proved the level of depth and talent that illuminated the stage. Lights make the actors come alive, but it is the actors that make the stage come alive.
When the curtain opens with a woman waiting to get on a bus then the mood suddenly becomes electric as Mr. Bones, Mr. Tambo and the Scottsboro boys make a raucous entrance down the aisle steps to the stage for the first musical number “Hey, Hey, Hey, Hey.” The set is basically comprised of chairs and wooden planks that are seamlessly transitioned by the cast to suit a scene or musical number, and it is the musical numbers that are the real treat of this production. “Financial Advice” was a scream, “Make Friends with the Truth” was equally as hilarious, “You Can’t Do Me” was compelling, but my favorite was “Electric Chair.”
The thought of turning capital punishment into a song and dance may appear to be reaching, but reaching is exactly what John Kander, Fred Ebb and Susan Stroman did and the result is a thrilling tap sequence that Bojangles and Gregory Hines would have been proud of. From the opening number to the closing one, the songs and choreography transformed The Scottsboro Boys from experimental theater into a rootin’ tootin’ time. I was completely mesmerized.
Bold, contemporary and filled with vigor, The Scottsboro Boys sizzles with electricity, hats off to the team of John Kander and Fred Ebb and Susan Stroman. I also salute the cast; they worked like a well-oiled machine oozing with experience and raw soul. In the wake of President Obama’s historic ascension to the highest office in our country, it may be easy for some, the youth in particular, to overlook this nation’s turbulent history with regards to race. The most important component about The Scottsboro Boys is that it builds a bridge between the past and present and through quality art like this production an interest can be sparked inspiring us to learn more about the countless stories that prelude the day Rosa Parks decided not to go to the back of the bus.
Photos: Carol Rosegg
The pair of jeans I wore when I went roller skating and met the worst mistake of my life…the black suit that I have worn to every funeral since I was 25…the denim jumper I wore when I got my ears pierced at the age of 12…the navy blue straight leg silk pants with embroidered baby’s breath flowers I wore on my first overnight date with the man that taught me what true love really meant… all articles of clothing cloaked in memories. It is true that women cling to the clothing they wore as events fill the chapters in the books of our lives, after all what’s a story without the accessories that give it vivid detail. This notion is brilliantly and hilariously explored in the off-Broadway production of Love, Loss and What I Wore playing at The Westside Theatre.
Nora Ephron and Delia Ephron
Based on the best-selling book by Ilene Beckerman (and adapted for the stage by Nora and Delia Ephron) Love, Loss and What I Wore is a collection of stories performed by an all-star rotating cast that has included Rhea Perlman, Rosie O’Donnell, Rita Wilson and Tracee Ellis Ross. Each cast performs in four week intervals. The March cast stars Didi Conn, Fran Drescher, Jayne Houdyshell, Carol Kane and Natasha Lyonne. The play starts and ends with Gingy’s Story with other narratives woven in between. The cast, dressed in black, sit and deliver the monologues. The set is a tapestry of dresses changing in color.
March Cast
The play covers the full gamut of emotions from a fashionable perspective. At times I was bursting with laughter and at others I found myself fending off the lump forming in my throat. It even covers topics like the frenzy women experience when trying on outfits in the dressing room, the obsession with being fat or thin, the hell women put their feet through for a pair of sexy stilettos, all topics that drive women schizophrenic. Other stories are more personal like Boots, an anecdote about neglect, even fashion icon Madonna was paid homage.
Beautiful, touching and filled with humor Love, Loss and What I Wore intimately tell tales that any woman can relate to and provide a little insight into a woman’s mind for the men sitting in the audience. In fact, my greatest confirmation that this play is a must see was provided by the man that accompanied me. This is a man that I thought had the inside track on women, but to my surprise he left the theater enlightened. Mental note, the plum dress and limited edition patchwork Timberlands I wore when I helped a man from Mars learn more about the planet Venus. A new memory has been created.Photos: Carol Rosegg courtesy of O&M Co.
When the first act of Blessed Unrest’s adaptation of Shakespeare’s A Midsummer Night’s Dream ended with a spirited interpretative dance to Lady Gaga’s “Bad Romance”, it became evident that this was not my mother’s interpretation of William Shakespeare. But in truth, the signs were already there. From the first scene of the play, the physicality in which the actors approached the material changed my perception of this play. Instead of focusing on the dialogue, I was more interested in the emotions of the characters brilliantly displayed by the actors. The almost clichéd idea of loving someone that doesn’t return your love and the trickery one might devise to change that situation spells for a bad romance indeed.
Jessica Burr
Blessed Unrest is a non-profit experimental theatre company that has been generating original work since 1999. Director Jessica Burr has been running the company for nine years. “What really grabs me about this story is the love relationships,” Jessica states about A Midsummer Night’s Dream, “So we worked a lot [the relationships] to find the heart of them. Often times they are glossed over, but we really wanted to get to the meat of it and make it very real and very passionate.”
This production of A Midsummer Night’s Dream definitely has passion. In fact, it is all heart, soul and fluid movement. “As a company we train every month in physical theater. I like to see bodies moving. It’s just pleasing,” Jessica explains as she smiles. The actors seamlessly weaved through the production playing multiple characters. The authenticity in which they approach each character led me to believe the cast took a class in multiple personality syndrome. Another enjoyable aspect was the transition of Lysander, played by Stephen Drabicki, to a hearing impaired young man and the company’s incorporation of sign language into the script. It added another layer to an already intricate story.
At the core of A Midsummer Night’s Dream are the themes of love and obsession which makes it perfect for a non-profit troupe like Blessed Unrest. It could be said that art and the business of entertainment is a bad romance. So often artists remain in the theater because they are in love or even obsessed by what they do. Unfortunately as much as the arts are coveted in this country, our government doesn’t provide the financial support to the arts as other countries. It is sad to think that in a city as creative as Manhattan that an artist simply cannot live as an artist and have their craft be their only occupation. The love of breathing life into new and classic material is inherent with the members of Blessed Unrest, many of whom were in attendance on the opening night lending their support in the audience and various off-stage roles. “There’s something to be said for obstacles and challenges, and I really do think it makes us stronger and makes us more creative because we have to find ways to make money,” Jessica says.
Blessed Unrest’s production of Shakespeare’s A Midsummer Night’s Dream will be playing at The Interart Theatre, 500 West 52nd Street, until April 12. Blessed Unrest claims to be theatre for the adventurous, and their declaration did not disappoint. Also, with ticket prices set at $15, it is a journey that is affordable for every New Yorker. FAMERS I suggest an evening frolicking in Shakespeare’s magical woods with this innovative company. I found it to be a dream that is hard to forget.
To learn more visit www.blessedunrest.org.
New York City and L.A. have an endless rivalry. It can be seen in music, fashion and overall lifestyle. Growing up in the ‘80s, there was not much I envied about L.A. After all New York City had it all, with the exception of Aqua Net teased, spandex clad, lipstick wearing studs turning themselves into Rock Gods. In the ‘80s if you had dreams of Rock stardom, you went to L.A. and in 2010 the old Sunset Strip has returned in like a totally major way in Rock of Ages on Broadway.
Rock of Ages is a hilarious musical comedy that explores following your dreams and the music of the great hair bands. Walking into the Brooks Atkinson Theater I felt as if I was entering a Mötley Crüe video. The strip was alive at the Bourbon Room, the setting for the musical, and was completed with a video monitor, huge signs and a band on stage. The Bourbon Room has all the makings of a sordid‘80’s bar where Rock ruled and debauchery was not far behind.
Emily Padgett is a wonderful as the young, naive Sherrie, the young small town girl who just arrives in L.A. in pursuit of an acting career. Her bright, bubbly smile and fantastic singing voice is a great addition to the cast, and her legs in those mini skirts are not so shabby either.
American Idol finalist Constantine Maroulis was born to play the role of Drew, the sensitive rocker with a soul. His voice simply shines in this musical and it is no wonder why he received a Tony Award nomination. Maroulis shows why he will be an idol for a long time to come.
James Carpinello is comical as rock-star Stacee Jaxx. His portrayal of the out-of-control, self-absorbed frontman for the fictitious band Arsenal is extremely convincing.
Mitchell Jarvis
Mitchell Jarvis is the true break out star of this musical as Lonny, the narrator and Dennis’ (the owner of the Bourbon Room) sidekick, played by Adam Dannheisser. Jarvis is a cola shooting through the nose crack-up as he takes the audience through the plot with humorous banter. The unrequited relationship between Adam and Lonny is also funny.
Paul Schoeffler is entertaining as the German corporate raider Hertz looking to rid the Sunset Strip of all its perversion and turn it into a clean, respectable place.
Tom Lenk and Lauren Molina are a scream as Franz and Regina. Their discovery of love through protests to keep the strip alive helps to add another layer to the plot. Michele Mais is simply marvelous as Justice, a role she has played since the start of Rock of Ages, the strip club owner with a heart.
The major component of Rock of Ages is of course the music and is the heart and soul of this production. It revisits the best of ‘80s hair bands with music from Poison, Journey, Styx, Bon Jovi, Twisted Sista and Asia. I particularly like the way in which the songs were used to illustrate the cast’s emotions. When Stacee Jaxx arrives at the Bourbon Room for an interview with a reporter, he sings Bon Jovi’s “Wanted Dead or Alive” to describe what it is like to be a rock star. When Sherrie arrives, we are reminded of her innocence with “Sister Christian”. As the cast deals with conflict they belt out “Every Rose Has Its Thorn”. The careful selection of the music in Rock of Ages is the reason why it is a winner and a musical that I predict will have a long life with multiple incarnations.
After almost a year on Broadway, it is apparent that this production is solidly built on Rock n’ Roll. But for me it is built on nostalgia. I thoroughly enjoyed singing along with the cast to songs that I used to listen to while doing my homework. I equally enjoyed watching the audience enjoy the performance. The audience was a tapestry of young and old faces and families. The idea that there was a “Sherri and Drew” in the audience that met and fell in love to these tunes and are now sharing them with their kids was a thought that was endearing to say the least. It was great to see how many young adults were in the audience enjoying the show, raising their lighters and rocking in their seats.
Another element of the show that sparked a hint of nostalgia was the parallel between the Sunset Strip and a beloved area of mine. The quest to clean up the Strip and make it “family friendly” is similar to the transformation of Times Square. When I was a kid Times Square was seedy with strip clubs galore and was not a place to be at night unless you were looking for sex or trouble. It was dark, dangerous and forbidden, and I loved it. Now that Times Square is a string of boulevards dedicated to corporate branding, it makes me miss the Times Square I remember as a child even more. In some respects, the soul has been taken out and replaced with a strip mall. One thing I took away from Rock of Ages is that grit is good. Long live Rock n’ Roll!
Photos: RockOfAgesMusical.com
With all the leftover Valentine’s Day cards, candy and stuffed animals littering the shelves at Duane Reade and Walgreens, the remnants of the world’s biggest day of manufactured adoration is still lingering in the city, but are special shared menus, boxes of chocolate and Hallmark cards true representations of love? Love is more than corporate displays of affection. Last Friday, I attended the opening performance of “all about love”, an off-Broadway production at the Paradise Factory Theater.
Donysha Smith
“all about love” is an engaging and truthful exploration of love and its many facets. Written by Donysha Smith, who is also making her directorial debut, “all about love” is a wonderful reflection of a lifetime labor. “I used to put on plays at three-years-old. I used to put the tablecloth around my neck and become a different character and perform for my family and extended family at cookouts,” she says. Smith is a Philadelphia born playwright, producer and actress. She earned a B.F.A in Dramatic Writing from the Tisch School of the Arts at New York University. She has held several roles in NYC Theater, Media and Fashion. “This is all I ever wanted to do my entire life and I’m finally at a place in my life where it’s like this is what I’m going to do,” Donysha adds.
Wesley Voley, Zdenko Slobodnik and Aubyn Peterson
“all about love” is a tapestry that combines three perspectives of love. The first, Three Point Stance at the Edge of the World, journeys into the psyche of soldiers living for the love they receive through letters from family and lovers at home. Zdenko Slobodnik, an Iraq War soldier, and Wesley Voley, a Union soldier during the Civil War, provide a harsh glimpse into the alienation, somber, stressful and loveless existence that a soldier during wartime endures. Sometimes love is a desperate thing. Through Slobodnik’s and Voley’s narration of the letters they send home the audience can feel their desperation and frustration to get home, back to the people they love. The choreography in this scene is sharp and aggressive and compliments the performances given by these two actors.
Bianca Lemaire and Erickson Dautruche
The second, Carmelita 1:13, provides a modern “Thorn Birds” look at love. The scene involves a young couple in the throws of a break up. Carmelita’s love for the lord is driving a wedge between her relationship and is pushing her and her man to the brink of insanity. When falling in and out of love, one can sometimes forget how another person’s upbringing and religious beliefs can affect their views on love. Carmelita 1:13 is a poignant observation of a relationship from the other side of the spectrum. As the characters played by Bianca Lemaire and Erickson Dautruche share memories while also expressing anger and confusion, the audience is reminded of how a breakup is just as multi-dimensional as a relationship and sometimes people must break apart in order to find their way back to each other.
Jeff Kozel and Warren Katz
After a brief intermission, the audience is treated to an amusing display of Casual Addictions and Lost & Found, the third and final scene. Lost and Found is a touching story about acceptance and unconditional love. While shopping for a family dinner, an elderly gay couple comes to grips with failed past relationships, a disapproving daughter and dementia. As the scene ends, they learn the only way to move forward is with love, and a dance doesn’t hurt either. Jeff Kozel, Warren Katz and Aubyn Peterson are extremely convincing and moved me to the brink of tears.
Aiding in the transition of the scenes are video interludes and the music of Stevie Wonder. “I think that Stevie’s music is hopeful, it’s honest [and] it is resonant,” Donysha explains about the use of Stevie Wonder’s music in the show, “He’s one of those artists that everybody loves. Everyone knows a Stevie Wonder song. No matter what their age, class [or] race, everybody can hear one of his songs and is like that is my jam.” The video contains footage of New Yorkers talking about their perception of love and their experience with it, and creates a love letter to New Yorkers in general.
A percentage of ticket sales from “all about love” will go to the Fistula Foundation, www.fistulafoundation.org. The Fistula Foundation a nonprofit corporation dedicated to raising awareness of and funding for fistula treatment, prevention and educational programs worldwide.
“all about love” will be playing at the Paradise Factory Theater until February 21. I suggest all FAMERS get a dose of love before this productions ends.
To purchase tickets for “all about love”, please visit www.allaboutloveshow.com.
Photos courtesy of D. Austin
F.A.M.E NYC Magazine 