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Kenneth Cabral, Eduardo Hernandez, Zell Steele Morrow, Taylor Caldwell, Ruth Righi, Anthony Rosenthal

Kenneth Cabral, Eduardo Hernandez, Zell Steele Morrow, Taylor Caldwell, Ruth Righi, Anthony Rosenthal. Photo by Joan Marcus

It’s funny how the world works sometimes.  Yesterday was not a typical day, but because we find ourselves in the middle of summer, I was particularly less busy at work than normal. And because of that free time, I was able to go see a matinee on a Wednesday, and still be able to see the Encores! Off-Center production of Really Rosie that same night.  The odd thing about this was basically the ‘demographics’.  For the sassy musical, Curvy Widow, I felt I was surrounded by older New Yorkers seeing a show that was basically written for them. It was about a New York woman of a certain age having to rediscover who she is after her husband dies. Sounds a bit morbid but it really wasn’t, it was fun and feisty, just like the lead actress, the very full-voiced Nancy Opel (a Tony nominee for Honeymoon in Vegas).  Than in the evening, I was surrounded by a whole other demographic: younger New York girls, maybe eight years old to early teens, with their parents in tow, (I’m not so great at guessing the ages of kids). We were all there seeing the family friendly kid’s show, Really Rosie, that was, just like the earlier show, basically written for that audience.  This time, it was about a fun and feisty young girl, Rosie, portrayed by a very similar, young and wonderfully voiced dynamo by the name of Taylor Caldwell (School of Rock). Rosie is a firecracker and working very hard in creating a persona for herself as she plays ‘making movies’ with her friends in Brooklyn. Who knew these two shows could be so similar, while also being so demographically the opposite.

Anthony Rosenthal

Anthony Rosenthal (center). Photo by Joan Marcus

Sounds like a parallel process kind of day to me. Too young to really connect with the first one, and definitely too old to connect to the later. But if your idea of fun entertainment is hanging around a band of super precocious young Broadway kids, mugging and trying to hog the spotlight, this could be your thing. The preteens around me seemed awesomely inspired and star-struck by the big voiced star, Caldwell, who most definitely can knock a song out of the ballpark with those lungs and that presence.  She totally shined in the almost-finale, ‘Avenue P‘, one of the few songs sung with somewhat of an emotional core. But for me, as the epicenter of Really Rosie, I found Caldwell lacked the acting chops to find anything beyond a one-note Rosie, and that one-note was basically annoying. I don’t know why any of these kids wanted to hang around with her, she was loud, arrogant, and bossy, with no layers of kindness beneath.  If she was a kid in my neighborhood, I’d probably avoid her at all costs. But these kids seemed to enjoy the bullying. Her posturing and grandiose behavior didn’t grate on them, like it did on me. This tendency to annoy could be said of most in the cast though, especially those who had the spot light aimed in their direction.

Ayadele Casel, Kenneth Cabral

Ayadele Casel, Kenneth Cabral. Photo by Joan Marcus

But there were a few standouts that didn’t irritate this too-old-to-be-in-the-audience reviewer. Anthony Rosenthal (Falsettos) as Johnny carried himself well and seemed more than your average Broadway kid, styling a portrayal that etched out something close to a character than most of his counterparts. Kenneth Cabral (Encores! Runaways) as the tap-tastic Alligator claimed the most endearing spot on my list, especially when he and his choreographer, Ayodele Casel (Spoleta Arts Festival USA’s While I Have The Floor) danced us into a frenzy (check out her youtube video linked above). Mesmerizing is the only word that comes to mind. I wish I could say the same for the others. Poorly directed by Leigh Silverman to be loud and spotlight grabbing, they rarely managed to find much subtlety or character development within the text.  I expected, I guess, a bit more as these kids have resumes that many a Broadway performer would kill for, most notably; Ruth Righi (School of Rock) as Kathy, Zell Steele Morrow (Fun Home) as Chicken Soup, and Eduardo Hernandez (On Your Feet) as Pierre. Charlie Pollock (Violet, Urinetown) as the talented voice in the background does manage to steal the spotlight from these precocious kids. All he has to do is don a pair of glasses and he’s magic, as he created a different tone to portray an assortment of Mothers and one hungry Lion. It brought to mind the unintelligible Charlie Brown adult voices, but this time, we can understand the words.
Ruth Righi

Ruth Righi (center). Photo by Joan Marcus

The stage is lovingly decorated with pretty clouds and an odd assortment of steps by set designer, Donyale Werle (In Transit), with garish costumes by Clint Ramos (Six Degrees of Separation), and not so subtle lighting by Mark Barton (Public’s Hamlet). It doesn’t exactly reach the same heights as most of the Encore! productions I’ve seen, but it did offer a colorful kid-pleasing esthetic which didn’t overshadow. With the ever glorious New York City Center Encores! Orchestra (music directors: Mary-Mitchell Campbell and Carmel Dean; music co-ordinator: Seymour Red Press; music supervisor: Chris Fenwick; original arrangements: Joel Silberman) playing those wonderfully charming songs, with music created by the legendary Carole King (1971’s album: ‘Tapestry’, Broadway’s Beautiful) and lyrics by the astounding genius that is Maurice Sendak (recipient of the 1964 Caldecott Medal for ‘Where the Wild Things Are‘), the songs excite and entertain.  These kids can really sell a song, not that this crowd needed much salesmanship to clap wildly with glee.  But this is a Glee world we live in now with these teens loving the big Broadway song (which I must admit makes me a happy theatre camper).  Now I just hope the next show they see has a bit more depth and feeling attached to it.  At least this is how this man of a certain age sees it.

So for more, go to frontmezzjunkies.com

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My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my last...so far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to frontmezzjunkies.com

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Events

Tabitha Brown That’s Your Business Farmer’s Market in NYC

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May 30, 2023

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Tabitha Brown is coming to NYC! On Tuesday, June 6th. Vegan actress and social media personality Tabitha Brown and McCormick will be hosting the free one-day-only “That’s Your Business” Farmer’s Market pop up from 12:30 PM – 4:00 PM (or until supplies last) at Studio 525 in Chelsea, NYC. Tabitha will be on-site to meet attendees and share all her favorite healthy eating tips and tricks!

 The event will be in celebration of the recent launch of five new salt-free, vegan seasoning blends and recipe mixes as part of the McCormick by Tabitha Brown collection and will highlight local produce with family-friendly games and photo moments. 

The location is at Studio 525, 525 W 24th Street.

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Dance

Dance In Times Square Today

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May 30, 2023

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Ailey comes to Times Square for a series of free outdoor dance classes led by Ailey Extension instructors and NYC dance artists. Classes are open to people of all ages and all levels of dance experience!. These dance workshops are presented by Ailey Extension and one will happen today June 2 at 5pm, Broadway & 46th St. The class is Broadway Jazz with Judine Somerville to register click here.

On Wednesday, June 7 at 6pm, at Broadway & 46th St LiveDance /Time: Study III with Bill T. Jones/Arnie Zane Company co-presented with New York Live Arts

Culminating its 40th Anniversary celebration, the world renowned Bill T. Jones/Arnie Zane Company makes its Times Square debut with /Time: Study III. This piéce d’occasion, featuring the outstanding performers of the company and guest musicians, marks the third annual New York Live Arts presentation in Times Square.

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Events

Midnight Moment: The Doors: Lizard Kings

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May 30, 2023

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From June 1–30, 2023 | Nightly 11:57pm – 12am metallic crystal-ridged lizards prowl and skitter across the screens of Times Square in The Doors: Lizard Kings by Zach Blas. Featuring five fantastical computer-generated creatures choreographed across 63 distinct channels, June’s Midnight Moment stems from Blas’s 2019 immersive media installation The Doors, a work exploring psychedelia, drug use, artificial intelligence, and Silicon Valley’s connections to California counterculture from the 1960s.

Slimy, glowing, and covered with mineral elements modeled after nickeline and tungsten, each of the five rendered reptiles takes on distinct personalities derived from AI neural networks trained on a constellation of sources, including Aldous Huxley’s 1954 novel The Doors of Perception and the 1960s California psychedelic rock band The Doors. Blas modeled the creatures after the prehistoric Barbaturex morrisoni, a now extinct lizard named after The Doors frontman Jim Morrison, a play on Morrison’s epithet “The Lizard King” and a prominent symbol of psychedelic liberation in the 1960s. As the lizards move through black mirrored passageways, Blas sees them as traveling in time between the psychedelic culture of the past and the present.

The Doors: Lizard Kings also nods to the contemporary psychedelic trends of microdosing LSD and psilocybin mushrooms, as well as taking nootropics. Blas suggests that this new drug culture, popularized in the tech industry, re-engineers psychedelic experience to optimize labor, promising to “unlock” doors of the mind for workers  to labor faster and more efficiently. The Doors: Lizard Kings proposes a new generation of Barbaturex morrisoni, computational symbols for a 21st century psychedelia predicated on worker productivity, smart drugs, and AI hallucinations.

Film Credits
Zach Blas, The Doors: Lizard Kings 2019 / 2023
Originally commissioned by Edith-Russ-Haus für Medienkunst, Oldenburg, Germany; de Young Museum, San Francisco, US; and Van Abbemuseum, Eindhoven, Netherlands

  • Computer Graphics Supervisor: Harry Sanderson
  • Animation: Mikkel Aabenhuus Sørensen
  • Animation Assistant: Yan Eltovsky
  • Modeling and Visual Effects: Dayne Kolk
  • Simulation Assistant: Aslak Kjølås-Sæverud
  • Compositing: Felix Lee
  • Video Editor: Martin Gajc
  • Project Manager: Talia Golland
  • Project Assistant: Audrey Amman

Sound Credits
The original presentation of The Doors featured an aural accompaniment that oscillates between abstract soundscapes and poetry spoken in AI generated voice resembling Jim Morrison’s.

  • Machine Learning Engineers (video and poetry):  Ashwin D’Cruz and Christopher Tegho
  • Machine Learning Engineers (voice and music): Sam Parke-Wolfe and Cameron Thomas
  • Musicians: xin and Aya Sinclair
  • Supervising Sound Editor: Tom Sedgwick
  • Mix Engineer: Ben Hurd

Zach Blas (b. Point Pleasant, West Virginia) is an artist, filmmaker, and writer whose practice spans moving image, computation, theory, performance, and science fiction. Blas engages the materiality of computational technologies while also drawing out the philosophies and imaginaries lurking in artificial intelligence, biometric recognition, predictive policing, airport security, the Internet. Blas has exhibited, lectured, and held screenings at venues internationally, including the 12th Berlin Biennale, Walker Art Center, Tate Modern, British Art Show 9, 12th Gwangju Biennale, de Young Museum, the 68th Berlin International Film Festival, Los Angeles County Museum of Art, ICA London, Van Abbemuseum, e-flux, ZKM Center for Art and Media, and Australian Centre for Contemporary Art. His practice has been supported by a Creative Capital award in Emerging Fields, the Arts Council England, Edith-Russ-Haus für Medienkunst, and the UK Arts and Humanities Research Council. His work is in the collections of Museo Universitario Arte Contemporáneo, National Museum of Modern and Contemporary Art, Seoul, and Whitney Museum of American Art. Blas’s practice has been written about and featured in Artforum, Frieze, ArtReview, BBC, The Guardian, and The New York Times. His 2021 artist monograph Unknown Ideals is published by Sternberg Press. Blas is an Assistant Professor of Visual Studies in the Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto.

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Broadway

League of Professional Theatre Women’s 10th Annual Women Stage The World March

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May 30, 2023

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 The League of Professional Theatre Women (LPTW) will hold its 10th Annual “Women Stage the World March”  — a Suffragette-inspired project to educate the public about the role of women in the theatre industry — on Saturday, June 17.   The march will begin at noon, at Shubert Alley and weave through Times Square and the Broadway Theatre District, wrapping up at about 2 p.m.

“The event is FREE and LPTW invites all theatre women and allies to join us as we increase awareness, lift our voices, and advocate for more opportunities for women in theatre,” said Ludovica Villar-Hauser, Co-President of LPTW.

“The Women Stage the World March is designed to educate the public about the role women play in creating theatre and the barriers they face as men continue to outnumber women by 4 to 1 in key roles such as playwright, director and designers.  Women buy 67% of the tickets and represent 65% of the audience, yet 80% of the storytelling on stage is shaped by men’s voices,” said Katrin Hilbe, Co-President of LPTW.

Handouts during the March will prompt ticket-buyers to ask three questions as they make buying decisions: (1) Who wrote, directed and designed this play? (2) What is this theatre’s track record in giving opportunities to women? (3) How can you spread the word and promote women’s voices?

“All participants are encouraged to dress as their favorite historical theatre woman, or dress all in white.  March participants will gather at Shubert Alley starting at 11:30 AM, in preparation for the start of the march at noon.   Women Stage the World sashes and signs will be provided, as supplies last,” noted Penelope Deen, LPTW member and organizer of the event. Those interested in participating in the event please R.S.V.P. at: https://www.theatrewomen.org/women-stage-the-world or contact Penelope Deen at:  Womenstagetheworld@Theatrewomen.org

LPTW Co-President Ludovica Villar-Hauser added:  “The League of Professional Theatre Women stands alongside the Writers Guild of America (WGA) as they demand fair wages and take action to ensure more protections for artists. We encourage LPTW members to find a time to join the WGA on the picket lines this month as the strike continues.  Women writers are the future of the film and television industry, just as they lead the way in theatre.  LPTW supports the women on the frontlines of this movement as they call for long overdue change. We are stronger together.”

For the past 10 years LPTW members, affiliated union members, theatre artists and their allies have hit the streets in a March reminiscent of the Suffragette parades of the early 20th Century, with some marchers dressed in traditional suffrage garb and colors. ​ Like the Suffragettes before them, participants in the Women Stage the World March empower women and men to become aware, take action and influence others.

The League of Professional Theatre Women (LPTW) is a membership organization championing women in theatre and advocating for increased equity and access for all theatre women. Our programs and initiatives create community, cultivate leadership, and increase opportunities and recognition for women working in theatre. The organization provides support, networking and collaboration mechanisms for members, and offers professional development and educational opportunities for all theatre women and the general public.  LPTW celebrates the historic contributions and contemporary achievements of women in theatre, both nationally and around the globe, and advocates for parity in employment, compensation and recognition for women theatre practitioners through industry-wide initiatives and public policy proposals.   LPTW is celebrating its 40th Anniversary in 2023.

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Celebrity

The Glorious Corner

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May 29, 2023

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G.H. Harding

LASSO’S MOM CITY — I believe that the best ever episode of Ted Lasso was dropped this week, entitled Mom City. It started off innocently enough with Ted leaving for work and walking right past his mother! He realized it and turned back to her. Turns out she had been in London for a week and was just now seeing Ted.

Ted introduced her to just about everyone and she immediately bonded with the team as well as Leslie and Rebecca. As Ted watched he realized that good-time feeling she generated (and he did too) with everyone held back a devastating fact: that Ted’s dad committed suicide.
They eventually resolved their issues, but Ted’s mom said she was there for a far more specific reason; that his son Henry was missing him. It immediately set up perhaps the last-ever episode of the show next week.
Elsewhere, Jaime dealt with his own family issues. Re-connecting with his mother and step-father. Keeley and Roy joined him and found themselves at one point alone in Jaime’s childhood room and at one point spied posters of themselves from years back. It was, quite possibly, the funniest moment ever in the series.

Harry Nilsson

Also, Harry Nilsson’s “Puppy Song” was a key musical moment in the EP. Harry, we love you!

All resolved, the show ended abruptly as Ted was going to tell Rebecca some news.
Many have said that in this third season, the show had lost it’s way a bit. In this episode, it was all pulled together quite beautifully. All I can say is, what a great show. It will be missed for sure.

Joel Diamond

SHORT TAKES — The #1 iTunes song currently is Tina Turner’s “What’s Love Got To Do with It.” Much deserved … Producer Joel Diamond used to live at 220 Central Park South in NYC. His building was torn down and re-built. It is now part of what they call Billionaire’s Road. WSJ-reporter Katherine Clarke’s new book is about just that.. Via Random House, Billionaire’s Row is out on June 13 …

Sasha Prendes

We dropped the name of new Latino-artist Sasha Prendes last time; we just saw a teaser clip for her new video “Shake This.” Check it out here: https://www.sashaprendes.com/video … Micky Dolenz headlined at this week’s Abbey Road On The River and delivered his usual high-octane performance.

James Burton

He leaves for England this week for the James Burton & Friends/One Night Only event June 4 at London’s Palladium … Terry Jastrow interviewed by Brad Balfour for his podcast this week …

Finally caught A Man Called Otto starring Tom Hanks and enjoyed it immensely. Hanks did a movie, with Steven Spielberg in 2004 called The Terminal, which was fantastic. This movie reminded me of that; a tremendously nuanced performance by Hanks as a peculiar man who found trouble with almost everyone and everything after the death of wife. He describes his life and wife in one great line: My life was in black and white and she was the color. Based on the film A Man Called Ove and with a sensational screenplay by David Magee and directed by Marc Forster, I just loved it …

Whoopi Goldberg

ENDQUOTE: Via Deadline: The View’s Whoopi Goldberg Claims ‘American Idol’ Led To The Downfall of Society. Ouch! Check it out here: https://deadline.com/2023/05/the-view-cohost-whoopi-goldberg-claims-american-idol-led-to-downfall-society-1235380500/ … Happy Bday Buddy Blanch and Bobby Shaw!

NAMES IN THE NEWS — Jodi Ritzen; Rich Dart; Daryl Easlea; Ali Hawthorne; Adrianba Kaegi; Wayne Avers; John Billings; Jane Blunkell; Tom & Lisa Cuddy; Chris Gilman; Zach Martin; Anthony Noto; Anthony Pomes; Rhonda Shore; Howard Bloom; Robert Funaro; Michael Jensen; Bob Merlis; Roy Trakin; Evan Evanston; and CHIP!
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