Several Incarnations …One Life- Becoming Dr. Ruth

Holocaust survivor, sniper, sex therapist, author, mother of two, widow, grandmother of four all packed in 5-foot-4-inch frame, can anyone say #WOW?  While some sit and contemplate how to get one life going, Dr. Ruth has had several and at 87 this force of fierceness is still out and about every night.  Listen up Millennials, before there was a Carrie Bradshaw there was Dr. Ruth.  When she launched her radio show, “Sexually Speaking”, in 1980, the idea of a woman speaking so candidly about sex was still taboo. Dr. Ruth is a trailblazer, but what led her to become America’s favorite sex therapist?  That journey is poignantly explored in Becoming Dr. Ruth.

3.192955The one-woman production takes place in 1997 at Dr. Ruth’s apartment in Washington Heights.  Recently widowed, she is preparing to move and talking on the phone when she realizes she has company (the audience).  Dr. Ruth, colorfully played by Debra Jo Rupp, then breaks the fourth wall to lead the audience through a narrative of the events of her life before we came to know her.  Born Karola Ruth Siegel in Wiesenfeld, Germany, Dr. Ruth was forever separated from her family when her mother and grandmother decided to send her to Switzerland as part of the Kindertransport.  She details the harsh reality of living in that environment while still dealing with the issues of childhood.  At 17, she was a member of the Haganah in Jerusalem serving as a scout and sniper.  In 1950, Dr. Ruth moved to France studying and teaching psychology at the University of Paris.  In 1956, she immigrated to New York City, moving into the same apartment she inhabits today.  And if that wasn’t enough, she divorced two husbands, gave birth to a daughter, married her beloved Fred Westheimer, became a mother for the second time, earned a master’s degree in sociology and completed her-post doctoral work in human sexuality before the name Dr. Ruth became synonymous with sex. The play also chronicles what life was like after she became the most famous sex therapist of the 20th century.

Four-stars usually signify that a creative endeavor has achieved an A+ grade.  Well in my opinion, four stars don’t adequately display how wonderful this production is.  Becoming Dr. Ruth is triumphant – a soul-hooking display of the resiliency of the human spirit.  From the time Debra Jo Rupp acknowledges the audience until the lights dim, spectators are swept-up in a tale so epic Homer would be envious that he hadn’t written it.  The narrative is so engrossing that no other characters are necessary.  Dr. Ruth’s story makes for the quintessential one-woman show.

3.192957Playwright Mark St. Germain wrote my favorite play in 2010, Freud’s Last Session, and I believe he has done it again with Becoming Dr. Ruth.  To create a character in your head, infuse him/her with a dose of humanity and make him/her relatable to an audience isn’t an easy commission, but the best writers can make the transformation seem effortless.   What is even more difficult is converting a real person into a character. This is St. Germain’s genius.  He can translate a story, real or fiction, of historical figures that preserves their human quality without making them caricatures.   When St. Germain wrote the play, he knew he wanted Debra Jo Rupp to portray Dr. Ruth and he was so right.  Rupp’s performance is magnificent – she nails the amalgamation of Dr. Ruth’s German, Hebrew, French and English accent with the accuracy of a sharp shooter (pun intended).  To say she is a delight to watch is a gross understatement; her presence is its own spotlight.  She fills the stage warmth.

Becoming Dr. Ruth encompasses everything you want in a play – it tells a powerful story with candor, humor and sophistication.  It’s a brilliant artistic representation that mirrors a life that is equally as brilliant.   Many of us have followed Dr. Ruth’s advice, now take my advice…go to the Westside Theatre and see this play!

Photos: Carol Rosegg, Lanny Nagler

Lady Day Illuminates The Little Shubert Theatre

I always knew that Broadway was haunted. Apparitions of playwrights, producers, actors and famous characters skulk around theaters and are as eternal as the neon lights that electrify the Great White Way.  Each season we are revisited with the ghosts of productions past, but this fall two New York City theaters are being visited by the spirits of iconic vocalists past.  On Broadway, Janis Joplin and her musical influences rock The Lyceum Theatre from floor to roof, and Off-Broadway the music of one of her influences is receiving its day.   Lady Day, the musical about Billie Holiday, provides its audience with a stunning visual and aural lesson in tragedy and triumph.

hc-billie-holiday-20131023Anyone who has seen or read Lady Sings the Blues knows the calamitous story of Billie Holiday’s life.  Overflowing with agonizing memories, abusive men and addiction, the pain Holiday experienced habitually showed in various aspects of her life – most often in her music.  Her sound carried listeners through the valleys of the blues transforming agony into musical ecstasy.  You don’t just hear Billie Holliday…you feel Billie Holiday, and that essence is fabulously represented in this production.

Lady Day is an overwhelming emotional tribute to the legacy of Billie Holiday.  The musical takes place at a theater in London.  Billie Holiday and her band are playing the final leg of her European tour.  The first act consists of the rehearsal and the second act is the show.  Woven between 25 of Holliday’s most famous songs is the recounting of her troubled life.  Through music Billie tries to fight the demons haunting her in rehearsal, but winds up still fighting them during the show – something I suspect that happened repeatedly during her brief life.  As Billie exposes her scars, the audience bears witness to an unflinching portrait of pain, but it is how her hurt is translated into song that makes this production shine – each song helps to build the story.  Like Billie Holiday’s music, this production burrows underneath the skin and lingers in the pit of your gut.

lady_dayThe success of this musical is largely due to the performance of Grammy-winner Dee Dee Bridgewater.  She plays the role of Billie Holiday as if she is possessed and her voice is spot-on.  I have never heard anyone capture the timbre of Lady Day as she has.  Bridgewater is simply amazing; you won’t be able take your eyes off of her.  And you won’t soon forget Lady Day the musical.  All artists are tasked with the frightening aspect of revealing their souls to the scrutiny of the masses, but there is something in the way a jazz musician does it that is undeniably raw and palpable.  Billie Holiday’s voice was an instrument that could rival the bent notes and artistry of any of the jazz greats.  She was the voice of her time.  Her influence can still be heard in singers today.

A good story and good music will always yield promising results.  It is as simple as saying one plus one equals two.  At The Little Shubert Theatre, the life of Billie Holiday (which includes her music) and the brilliant showcasing of Holliday’s work (courtesy of Dee Bridgewater) make for compelling theater and two good reasons to see this show.

Photos: Carol Rosegg

John Grisham’s A Time to Kill Is Broadway Ready

A Time to Kill has been captivating audiences for over 20 years.  The novel, which eventually became a best-seller, was first published in 1989.  In 1996, Matthew McConaughey, Sandra Bullock, Samuel L. Jackson and Kevin Spacey starred in the film version.  Adapted for the stage by Tony award-winning playwright Rupert Holmes, A Time to Kill explores the undercurrent of race in our justice system.  A 10-year-old black girl is savagely raped, beaten, almost lynched and left for dead.  The two perpetrators are shot and killed at the courthouse by the girl’s father, Carl Lee Hailey.  Hailey is arrested and charged with first degree murder sparking tensions that had bubbled underneath the surface of a Mississippi town and subsequently gained nationwide attention.   Hailey hires Jake Brigance, a white attorney, as his defense lawyer.  Receiving advice from his disbarred mentor and much needed assistance from a pushy Bostonian intern, Jake begins to build an insanity defense for Carl Lee, while receiving death threats from Ku Klux Klan.  In court he tangles with Rufus R. Buckley, a superstar district attorney on his way to the governor’s office.  And while explosions erupt in and out of the courtroom, Jake uses an impassioned plea to get the jury to acquit Carl Lee.

timetokillThe plot of A Time to Kill is well-known, it’s robust and meaty.   I liken Rupert Holmes’ A Time to Kill to a fillet – some parts are stripped away but there is still enough meat for the audience to sink its teeth in.  The actors of this production had some pretty large shoes to fill considering some of the biggest names in Hollywood performed these characters on screen; the comparisons to the actors of the film are inevitable.  Led by Sebastian Arcelus, who plays Jake Brigance, each member of this cast turn in a fair performance.  Veterans Tom Skerritt and Fred Dalton Thompson offer great portrayals of Lucien Wilbanks and Judge Omar Noose.  Skerritt was as charming as ever as Lucien and Thompson’s feisty Judge Noose was a pleasure to watch, however it’s still the relationship between Jake Brigance and Carl Lee Hailey that drives this story.  Sebastian Arcelus and John Douglas Thompson showed promise as Jake and Carl Lee.

A Time to Kill received negative reviews when it played in D.C. in 2011, but the creative team appears to have worked out some of the kinks and the Broadway version is more solid.  Whether you have read the novel or saw the movie, this adaptation of A Time to Kill ultimately provides its audience with a thought-provoking experience and is a good addition to the legacy of one of John Grisham’s most recognized stories.

VIVA JANIS!

Holy revival Batman!  There is a nightly resurrection going on every night at The Lyceum Theatre.   In an era when rock titans such as Jimi Hendrix and Jim Morrison walked the earth and groups like The Who asked to die before they got old, a little lady from Texas with extraordinary chops offered up pieces of her heart and become just as legendary as the boys –her name was Janis Joplin.

J3Janis Joplin was born in Port Arthur, Texas in 1943.  She was raised in a cocoon of various musical influences courtesy of her mother and father.  When she finally did spread her wings, she flew to San Francisco in 1963.  She briefly returned to Texas only to go back to California in 1966 to join Big Brother and the Holding Company as their lead singer.  By the time of Joplin’s untimely death in October 1970, she had ensured her legacy as a rock goddess and with her unique interpretation of songs, one of the most recognizable voices ever.

I don’t think the world needed any reminders about the raw power and beauty of Janis Joplin’s voice, but in case it did A Night with Janis Joplin served a stunning aide-mémoire.  This production is a hot rocking time capsule.  Once it starts the audience is shuttled back to the Age of Aquarius with one of its most colorful figures as mistress of ceremonies.

J2I expected A Night with Janis Joplin to typical a jukebox musical chronicling the highs and lows of Joplin’s life with the musical numbers accentuating the book.  I was pleasantly surprised.  A Night with Janis Joplin is more like a concert and is all about the music, mainly the singers that influenced Joplin’s sound – singers like Nina Simone, Bessie Smith and Etta James.  Even the Queen of Soul was present to do a number with Janis that injected everyone in the audience with the spirit. Mary Bridget Davies is nothing short of phenomenal as Janis Joplin, it’s like she comes from another plane.  For an individual who didn’t get the opportunity to experience Janis Joplin when she was alive, Davies’ performance is awe inspiring. Taprena Michelle Augustine, De’Adre Aziza, Allison Blackwell and Nikki Kimbrough round out the cast of ladies on stage playing The Joplinaires as well as The Chantels, Bessie Smith, Nina Simone and Aretha Franklin –their voices soar to right out of the theater and up to heaven.

A Night with Janis Joplin is a loving tribute to music of the Pearl and the strong, mainly unsung women that inspired her.  There was never a point in the show where I wanted to be contained in my seat, my feet never stopped tapping.  I wanted to sway, shake and move in the aisle and enjoyed watching the audience becoming part of the show and singing along.  Hearing “Me and Bobby McGee”, “Ball and Chain” and “Stay with Me” performed live brought me to tears.   Mary Bridget Davies doesn’t just sing she performs a séance.  A Night with Janis Joplin is a prime example of how music can transport and uplift the soul.  It’s a must see.

Photos: Joan Marcus

Romeo and Juliet, #TheBomb or #Bomb…

When it comes to love stories, none is more well-known than that of Juliet and her Romeo.  William Shakespeare literally wrote the book (or should I say play) on the notion of star-crossed lovers.  The adaptations of this classic are endless, yet the public never tires of the story of love gone awry.  So it goes that after 36 years, William Shakespeare‘s Romeo and Juliet has returned to the stage of the Richard Rodgers Theatre.

0306_Romeo&Juliet (c) Carol RossegDirector David Leveaux’s version of Romeo and Juliet takes Shakespearian English and injects it into modern setting.  Another added twist to the original plot is the subject of race – the Montagues are a white family and the Capulets are black.  Hollywood hottie Orlando Bloom and Broadway sensation Condola Rashad play the young, ill-fated lovers.  All these elements should’ve have produced results that were more explosive than a NASA rocket launch to the moon.  Instead, it was more the equivalent of high school chemistry nerds experimenting after class – yeah; there was a little smoke, but no real fire (except for the random bursts of fire on stage).

Although I wasn’t expecting Romeo and Juliet to declare their love on Facebook, I also didn’t expect the term ‘modern’ to be interpreted in such a banal fashion.  The set, which consisted of a ginormous bell, an elevated plank of wood for a balcony, and a wall that contained a Renaissance secco, was uninspiring and a poor match for the lush verse of one of William Shakespeare’s greatest works.  The first time Orlando Bloom appears on stage he is riding a motorcycle, and while that might be modern it is also clichéd.  At the Capulet’s soiree, I thought the choreography would carry an element of hip-hop or krunking, something other than the interpretations of African dance that were exhibited on stage. The nurse walking a bicycle to deliver a message to Romeo and the parkour climbing of the graffiti-ridden mural does add a nod to a more modern era; however these devices failed to deliver on such a promising idea.

0024_Romeo&Juliet (c) Carol RossegThe cast seem to hurry through the dialogue as if they were just trying to get it over with.  Shakespearean English is a mouthful, literally, but the pace was so rushed that some of the beauty of Shakespeare‘s poetry was lost in this interpretation.  While Orlando Bloom and Condola Rashad certainly looked as if they had the potential to rival the flames that occasionally appeared on stage, their scenes together were undersupplied of the heat necessary for me to believe that these two would rather die than live life apart.  Brent Carver, Christian Camargo and Jayne Houdyshell’s portrayals of Friar Laurence, Mercutio and the Nurse were an absolute pleasure to watch and brought balance to this production.

Director Baz Luhrmann attempted a modern interpretation Romeo and Juliet on screen in 1996, back when I thought modern versions of Shakespeare were a sacrilege, and it actually became one of my favorite depictions of this classic love story.  Perhaps Leveaux should’ve taken a few notes from this film.  After 36 years, this Romeo and Juliet ascended to no grander heights nor did it plateau to a great theater low.  All and all it was steady and flat, just like the boards of the balcony – wooden and just plain regular.

Photos:  Carol Rosseg

Dirty Great Success

By Martin Burgess

FAMERS if you are up for some British action check out Dirty Great Love Story at 59E59 Theaters. It’s a clever, stripped down, well-delivered, simple play about Richard Marsh and Katie Bonna, whose relationship takes two years to develop into something serious after a one-night stand.

DGLS3webIt all begins when Richard and Katie meet for the first time in a nightclub; both happen to be at a bachelor and bachelorette party. In a drunken blur Richard and Katie wake up in a cheap hotel room the following morning.  He’s in to her, she’s not in to him and runs away trying to forget about the whole thing. The problem is…Richard’s friend Westie has hooked up with Katie’s friend CC, and the hilarity ensues as Richard and Katie keep bumping into each other at social events.

Here’s the twist; there are only two actors on stage, no set, no costumes, nada – just two chairs, mood lighting and some background music. If you’re worried about the fact that it’s British and you’re still traumatized by Shakespeare in high school, do not be, the language is very modern and easy to understand. The script is well written and the delivery is flawless. The dialogue weaves between spoken word and poetry, which really helps keep the play flowing smoothly.

Because the play is British there are lots of drinking references, which only leads to one thing, highly embarrassing moments. This new interpretation of the classic “boy meets girl” story is universal. Even hip hop fans should check it out; there is lots of good rhyming and call and response.

Pia Furtado directs this production and the play is written and acted out by Richard Marsh and Katie Bonna, who give an outstanding and unblemished performance. They have great chemistry between them and do a superb job of connecting to the audience and setting up the scenes.  Dirty Great Love Story is part of 59E59 Theaters’ Brits Off-Broadway Festival and will be playing a limited engagement until June 30.

Photos: Carol Rosegg

 

 

59E59 Theaters Gets Sailing With Brits Off Broadway and The Boat Factory

Yes, despite the miserable weather it is that time of year to catch some jolly ole productions from across the pond as Brits Off Broadway takes residency at 59E59 Theaters.  The Boat Factory is set in Belfast 1947 and centers on a 16-year old boy beginning an apprenticeship at Hartland & Wolffs’ Titanic Shipyard.  World War II is over but the ripple effects of the war are still fresh.  This production provides a powerful voice to everyday people struggling to make a living during the glory days of Belfast’s shipbuilding era.

The Boat Factory’s limited engagement run will end on Sunday, June 30. Tickets are available by calling Ticket Central at 212-279-4200 or online at www.59e59.org. For more information, visit www.britsoffbroadway.com.

Broadway Comes Together for the 2013 Tony Awards

Every year there is always one night that ensures all the stars and legends of The Great White Way are going to be under one roof.  Last night that roof was Radio City Music Hall as the 2013 Tony Awards aired live on CBS.  The spirit of Bob Fosse was alive and well as the producers of Pippin danced away with the Tony Award for Best Revival of a Musical; Kinky Boots won for Best Musical and as always Neil Patrick Harris stole the show.

la-courtney-b-vance-took-a-chance-on-lucky-guy-001Veteran actor Courtney B. Vance is unsung no more; he won his first well deserved Tony for Best Featured Actor in Play.  I became a fan of Patina Miller when I saw her in Sister Act.  We can now add Tony Award-winner to her list of growing accolades.  The world always knew that Cyndi Lauper could pen a good tune.  Her efforts for Kinky Boots were well rewarded with a Tony for Best Original Score.

Judith Light is always a delight to watch and the Tony voters agreed.  She won the Tony for Best Featured Actress in a Play.  Tom Hanks lost out to Tracey Letts in the Best Lead Actor in Play category.  But it was Cicely Tyson who showed grace and humility as she accepted the Tony for Best Lead Actress.  Her win proves you are never too old to realize a dream.  Indeed, everyone involved in bringing these shows on stage dream an impossible dream that they make come true eight times a week.  To all the winners and nominees I would like to thank them for giving me something to write about and aspire to.

2.165379For a full list of the winners please check out http://www.tonyawards.com/en_US/nominees/winners.html.

Top Five Reasons to See The Nance

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

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

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