Broadway

HBO’s The Gilded Age Fails to Sizzle in Episode One. Fingers Crossed Going Forward

Published

2 years ago

January 27, 2022

Ross

“You can tread too carefully,” are the words spoken most seriously by one of the more mischievous servants of the grand new mansion built on the corner of 61st Street and 5th Avenue, trying with all their might to unleash some tension and drama in the downstairs hallways. While upstairs, the residents are basically following the same rules, just with higher brow ways and means. It is a compelling warning though, one that the producers, director, and Julian Fellowes, the creator of HBO’s new series “The Gilded Age“, took in a bit too seriously. The expensive looking series, which debuted on Crave TV here in Canada on January 24th, is directed with a grand scope and vision by Michael Engler (“Unbreakable Kimmy Schmidt“) and Salli Richardson-Whitfield (“The Wheel of Time“). I just wish the intricacies of the interpersonal interactions were treated with a bit more sharp fun and care, and less melodramatically.

It is, most delightfully, filled to overflowing with plots, issues, complications, and Broadway legends taking on epic parts at every turn, giving it a solid air of event television, worthy of the stunning period visuals the production and cinematographers Vanja Cernjul (“Crazy Rich Asians“) and Manuel Billeter (“Ozark“) have created. It could also have been easily called The Gilded Cage, as the characters all seem trapped in their detailed ancestry and social status, either wanting things to change rapidly, for differing reasons, or for them to remain exactly as they have been for years. Moving forward, for them, the old money of New York City is the scariest thing possible, and stalling the inevitable will be what this series is all about. Hopefully with a bit more connection then what the somewhat stilted first episode delivers.

Carrie Coon and Morgan Spector in “The Gilded Age“. (Photo: Alison Cohen Rosa/HBO)

Watching as the impressive white statuary is delivered to that newly built mansion owned by the wealthy, new-moneyed Russells, is an eye-catching wonder, thanks to the impressive work of the design team led by production designer Bob Shaw (“The Wolf of Wall Street“). Every interior is dripping with extensively researched and orchestrated detailing, particularly the Russell’s, which looks more like a cold and opulant palace than anyone’s idea of home. Standing up tall most regally on that status-grabbing corner, the mansion is one for the future, designed for socializing and receiving the wealthiest of New York City, circa 1882.

Yet, across the street, or should I say battleground, is old money personified, where Agnes Van Rhijn, played extremely well by the fabulous Christine Baranski (“The Good Fight“; Broadway’s The Real Thing), holds societal court in her tight well-gloved fist. She, along with her sister Ada Brook, deviously well crafted by Cynthia Nixon (“Sex and the City“; Broadway’s The Little Foxes) and Agnes’s son, Oscar, portrayed by Blake Ritson (“For Elsie“), will never be stepping through those doors, if Agnes has anything to say about it. Nor will anyone of her tight and closely watched social circle. Oscar is the little seen wild card, at least in that first episode. He’s one to watch, as he has some secrets that we are just given a wee glimpse of. But “The Gilded Cage” is really focused on, much to Agnes’s discomfort, the newly arrived niece, Marian Brook, played tightly and not-so-engagingly by Louisa Jacobson (“Gone Hollywood“). The young generational rebels will be the ones to watch, fighting against a system they no longer believe in. Times, they are a-changing, Agnes, and within their safe and solid old neighborhood, the air sizzles with an unwelcoming aroma.

Louisa Jacobson and Denée Benton in “**The Gilded Age**“. (Photo: Alison Cohen Rosa/HBO)

“The old have been in charge since before the revolution,” Agnes tells us most distinctly, demonstrating that she has no intention of letting that power slip away. Baranski digs most wonderfully into the part, dismissing the Russells without barely lifting her eyes to watch their arrival. She’s electric and on point, along with Nixon, who both give the sisters an edge and complication that works its magic, even when the script barely supplies those needed requirements.

Created by Julian Fellowes, with writing duties shared with Sonja Warfield (“Will & Grace“), the straightforward structuring suggest everything that we could have hoped for from the man who majestically created “Downton Abbey” and the wonderful “Gosford Park“, so it is utterly surprising to find such flatness in the pace and energy. The worlds and words feel appropriate and well placed, but lacking in drive and fire, falling flat on the well carpeted ground when they should be flying across the room. The wicked spark is missing (oh, where are you when we need you, Dame Maggie?), even in the fiery formulation of the aspiring socialite Bertha Russell, played to the nines by Carrie Coon (“Gone Girl“), who along with her wealthy and ruthless railroad tycoon husband, George Russell, portrayed solidly by Morgan Spector (“Boardwalk Empire“), demands to be taken seriously. Even when they should know better.

From watching only the first episode, “The Gilded Age” really needs to find its hook. “Downton Abbey” had its snobbish undercurrent that sizzled with contempt, but it also shined with loving care and solid attachments. The balance worked, especially in the back hallways with the servants. There was drama and conflict, but also an understanding and connectivity, even between the classes that drew us in. “Gosford Park” is also a perfect example of well crafted brittleness mixed with an emotional undercurrent of care. I can’t quite remember how I felt watching the first episode of “Downton Abbey“, but it certainly grabbed hold of my heart as it moved forward. So I’m hoping that “The Gilded Age” finds its subtle way in, but within that first hour and a half, in the words of a good friend who I think nailed it when he wrote me that the first episode was all “about her [Bertha] throwing a party that no one cared about.” And why should we? We couldn’t help but wonder how she didn’t see the end result coming, even before the first invitation was delivered. Curiousity in a house is not enough to overcome the ideals people like Agnes hold tight.

Cynthia Nixon and Christine Baranski (center front) in “The Gilded Age“. (Photo: Alison Cohen Rosa/HBO)

“*The Gilded Age*” is a panoramic social exercise, filled with somewhat bland dialogue emeshed with a number of compelling scenarios that could, if executed with a bit more spark, redefine itself. Race, something that Fellowes has yet to address in his other two period-piece classics, does find space in the back rooms of the Van Rhijn’s, even if half of her staff is quite upset by the presence of Peggy Scott. Played beautifully by Denée Benton (“*UnREAL*“), the character elevates the surrounding stuffiness, hinting at some compelling things to come. She might just be the match waiting to be struck. Giving me some hope for the future of “*The Gilded Age*“. I’m excited and curious how the series will tackle this tense integration, more than the quick, almost too obvious flirtatious interaction between Jacobson’s Marian, who, so far, is far from interesting, and the handsome, somewhat rebellious Larry Russell, played sweetly by the handsome Harry Richardson (“*Dunkirk*“). The lines have been crossed by these two, hopefully sparking some fire in both those houses. Now what’s that line from *Romeo and Juliet*?

Happily, especially for this theatre junkie, the Broadway elite is most lovingly paraded out, both upstairs and down, with beautifully crafted appearances by Kelli O’Hara as Aurora Fane, Donna Murphy as Mrs. Astor, Katie Finneran as Anne Morris, Linda Emond as Clara Barton, Audra McDonald as Dorothy Scott, Michael Cerveris as Watson, Bill Irwin as Cornelius Eckhard, Debra Monk as Armstrong, Celia Keenan-Bolger as Mrs. Bruce, Patrick Page as Richard Clay, Kelley Curran as Turner, Kristine Nielsen as Mrs. Bauer, and Claybourne Elder as an intriguing John Adams. We only are given glimpses of them all, but I’m hoping they are going to given ample screen time to shine in their tv spotlight.

Exciting stuff, I’m praying, and entertaining to see these pros hard at work, but for now, when that first episode came to its lackluster unsurprising ending, the energy, even with all those spectacularly beautiful costumes designed by Kasia Walicka-Maimone (“*Moonrise Kingdom*“) on display throughout, the show just doesn’t snap like it should. So far. It feels somewhat lazy and predictable, failing to fit humor, wit, or intrigue within its splendor and standardized dialogue. But I still have some hope that it could all turn on a dime. The ideas are there, and the conflicts, waiting to find their fuel and their fire. Here’s crossing our fingers and toes that as the episodes are released, one every Monday at 9pm ET, their all-so American blunt directness will spark something far more compelling than a failed party and a melodramatic threat in response. Pretty please?

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Ross

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

Broadway

Theatre News: Wicked, Kimberly Akimbo, Alice in Neverland and Ballad of Dreams, The Night of the Iguana and Ode To The Wasp Woman

Published

1 day ago

October 3, 2023

Suzanna Bowling

On Monday, October 30^th, the blockbuster musical Wicked will celebrate its 20^th Anniversary on Broadway, a milestone achieved by only three other Broadway productions in history. To commemorate this landmark, Wicked is partnering with several national organizations to celebrate all things Oz.

Additional Wicked celebrations, including cast appearances, New York City food and drink collaborations, and special events throughout the month of October, will be announced in the coming weeks.

A KIND OF RECIPE BOOK. FOR CHANGE…

In celebration of Wicked’s 20th Anniversary on Broadway, Moleskine has created a beautiful Wicked-inspired 20^th Anniversary notebook that can be purchased in theatre, Moleskine Direct channels, and with several Moleskine wholesale partners, beginning October 23rd. This limited-edition notebook will inspire Wicked fans to put pen to paper (following in the footsteps of Wicked novelist Gregory Maguire and book writer Winnie Holzman) to bring their own stories to life.

PINK GOES GOOD WITH GREEN…

Hill House Home, a New York-based fashion brand founded by Nell Diamond, worked closely with Wicked’s Tony Award-winning costume designer, Susan Hilferty, to create a Wicked-inspired Nap Dress™ collection in honor of the show’s 20th anniversary. The collection will include two adult dresses and two children’s dresses inspired by the characters Glinda and Elphaba. The styles will be available for purchase online and in Hill House’s store at Rockefeller Center toward the end of the year.

LIKE A HANDPRINT ON MY HEART…

Little Words Project, which started in 2013 in founder Adriana Carrig’s parents’ basement, creates handcrafted word bracelets with messages of kindness and love that aim to support women and to remind us to be kind to one another. In the past ten years, the company has become a worldwide brand with an extremely engaged and loyal community of fans. This fall, Little Words Project is partnering with Wicked to create four exclusive bracelets inspired by the unique friendship between Elphaba and Glinda. The collection will be featured in all nine Little Words retail stores across the country. To honor 20 years on Broadway, Little Words Project has designed Wicked-inspired bracelets. Little Words Project creates handcrafted bracelets, each with an inspirational word displayed on the beads. The bracelets – in the spirit of the “pay it forward” movement – are meant to uplift the wearer, and then be passed on to someone else who needs them more. The Wicked bracelets are inspired by Glinda and Elphaba, who helped uplift one another through their friendship; they will feature the words “Wicked,” “Unlimited,” “Defy Gravity,” and “For Good.”

WHAT’S THE MOST SWANKIFIED PLACE IN TOWN?

Beginning October 6^th, WICKED fans can indulge in the elegance of The Plaza Hotel’s Wicked–themed Afternoon Tea at The Plaza’s famed Palm Court Restaurant. The “Defying Gravi-tea” will feature special sweet and savory delights, like the “Look To The Brest’ern Sky” pate a choux, or the “Flying Monkey” Macaron. Under the Palm Court’s iconic dome, which will be lit Emerald Green, guests can also enjoy The Palm Court’s mixologists’ most Wicked cocktails in high Plaza fashion. The venue will be adorned with emerald-green accents, glittering with hints of emerald and black, paying homage to Wicked’s beloved story.

The Plaza is also offering “The Emerald City Experience,” which includes a stay at The Plaza, as well as tickets to the special 20th anniversary “Green Performance” of Wicked on October 29^th, the Wicked-themed Afternoon Tea, a Playbill signed by the full company, and house car transportation to the Gershwin Theatre. For details, pls visit The Emerald City Experience | The Plaza (theplazany.com)

ONE SHORT DAY, FULL OF SO MUCH TO DO…

Capital One became Wicked’s official Credit Card Partner in May of this year, marking the first time the company has partnered with a Broadway musical. Eligible Capital One cardholders had pre-sale access to tickets for the anniversary performances on October 29^th and 30^th. Cardholders were also able to gain entry to exclusive events taking place at the Museum of Broadway during Wicked’s Anniversary weekend, featuring alumnae Brittney Johnson and Kara Lindsay, available only on Capital One Entertainment.

TWO BEST FRIENDS…

American Girl, known for helping girls grow up with courage, confidence, and strength of character, has teamed up with Wicked to celebrate their 2023 Girl of the Year™, Kavi Sharma™. Kavi is an Indian American girl growing up in New Jersey who loves singing, dancing, and performing with her friends. Her favorite Broadway show is Wicked and American Girl has designed special Wicked costumes for Kavi to celebrate her love of the musical.

Hear Your Song – a nonprofit organization dedicated to empowering young people with serious illnesses and complex health needs through collaborative songwriting – continues its partnership with Broadway’s Tony-award winning show Kimberly Akimbo with a special concert at Green Room 42 on November 12th at 7 pm. You can find tickets to the in-person concert and livestream alongside more details here.

In this evening of songs and performances from both Kimberly Akimbo and Hear Your Song, Broadway company members sing alongside youth songwriters to showcase the score of Kimberly Akimbo and a treasure trove of songs written by kids who, in a lot of ways, have a lot in common with Kimberly. There will be performances by Kimberly Akimbo company members, such as Tony nominee Justin Cooley, Alli Mauzey, Betsy Morgan, Miguel Gil and Alex Vinh, as well as children and teens from Hear Your Song.

Within this partnership, Hear Your Song participants had the opportunity to develop their own songs and gain a deeper understanding of the songwriting process through a songwriting masterclass led by Kimberly Akimbo’s creators, composer Jeanine Tesori and lyricist David Lindsay-Abaire. 16-year-old Hannah, who will be performing at the concert, is an accomplished youth songwriter living with Crohn’s Disease. She shared her songs with Tesori and Lindsay-Abaire in a virtual masterclass in March.

Hear Your Song’s mission is to provide a platform for youth to share their experiences and perspectives through the art of songwriting. By partnering with members of the Kimberly Akimbo team, Hear Your Song is able to offer a unique opportunity for young people living with serious illnesses to be heard by a wide audience as they learn from professionals in the industry and gain valuable skills and experience.

All of Hear Your Song’s programming is free of charge for youth and families. Please visit www.hearyoursong.org to learn more about how to get involved and donate to support hundreds of youth songwriters like Hannah.
A sequel to one of the most beloved stories of all time, Lewis Carrol’s “Alice in Wonderland,” and a prequel to J.M. Barrie’s “Peter Pan,” the new musical Alice in Neverland took place. The cast was led by Allie Seibold, Heath Saunders (Company), Kyle Selig (Mean Girls), Grace McLean (Bad Cinderella), Courtnee Carter (Parade) and Rob Colletti (Almost Famous).

Growing older and obsessed with her memories of Wonderland, Alice embarks on the daring journey to recapture youth – including the sacrifices that might be required to never grow up.

Alice in Neverland features book, music and lyrics by Phil Kenny and Reston Williams, director Catie Davis (Beetlejuice, Moulin Rouge), music director Kris Kukul(Beetlejuice), and general manager Joey Monda (Sing Out, Louise! Productions). The reading is being presented by six-time Tony Award® winning production team 42nd.club (& Juliet, Hadestown, Moulin Rouge).

Rounding out the reading cast are Travis Artz, Bobby Daye (Moulin Rouge), LaVon Fisher-Wilson (Chicago), Mia Gerachis, Stephanie Gibson (Charlie and the Chocolate Factory), Donnie Hammond, Benjamin Henderson, Eddie Korbich (The Music Man), Garth Kravits (Gettin’ the Band Back Together), Elliott Mattox (Beetlejuice), Tiffany Mann (Be More Chill), Adelina Mitchell, Chase Petersen, Honor Blue Savage, and Emmet Smith.

Based on the best-selling novel, Ballad of Dreams a new musical, will get an invite-only industry presentation on October 12, 2023, at Pearl Studios.

Inspired by a true story, a love letter to New York City, Ballad of Dreams illuminates the struggle of two resilient women fighting for their place in the glittering world of 1940’s theater, chasing the dream of being a performer and being a mother. Against insurmountable odds they must confront the universal question faced by women of every era: can we truly have it all?

Audrey McKenna, a vibrant grandmother and mother of thirteen, is confronted with the unfulfilled dreams of her youth to perform at Carnegie Hall in New York City, circa WW2. With the help of her best friend Rose, they each journey in discovering love, their own identities, and independence as women in a time when society tried to define that for them.

The cast includes Hunter Parrish (Broadway: To Kill a Mockingbird, Showtime’s “Weeds”), Erin Davie (Broadway: Diana, The Musical, Sunday in the Park with George), Nicholas Rodriguez (Broadway: Company), Allyson Hernandez (Off-Broadway: If This Hat Could Talk), Robb Sapp (Broadway: The Lion King, Wicked), Alan H. Green (Broadway: Charlie and the Chocolate Factory), Sharon Wheatley (Broadway: Come From Away), Neal Mayer (Broadway: Les Misérables), Emily Walton (Broadway: Come From Away), Elizabeth Bedley (Regional: A Chorus Line), Noah Wolfe (Regional: A Little Night Music), Laura Sky Herman (National Tour: Hello, Dolly!), Emily Jewel Hoder (Broadway: The Music Man) and Charlie Carroccio (Film:The 12 Days of Christmas Eve), with Harmony Harris (Associate Director), Jamibeth Margolis, CSA (Casting) LDK Productions (General Manager).

For more information on Ballad of Dreams, please visit www.BalladofDreams.com La Femme Theatre Productions (Jean Lichty, Executive Director), renowned for its dedication to showcasing the diverse female experience, is set to illuminate the Off-Broadway stage this season with an evocative 21st century production of Tennessee Williams’s timeless masterpiece, The Night of the Iguana. Under the direction of Tony Award nominee, Emily Mann , this production will star Emmy Nominee Tim Daly (Broadway: The Caine Mutiny Court-Martial. TV: “The Sopranos,” “Madam Secretary,” “Wings’), Tony Award – Winner Daphne Rubin-Vega (Broadway: Rent, Anna in the Tropics), Drama Desk nominee Lea DeLaria(Netflix “Orange Is the New Black.” Broadway: POTUS) , Tony nominee Austin Pendleton (Broadway: Between Riverside and Crazy, The Minutes) , and Jean Lichty(Off-Broadway: La Femme’s A Lovely Sunday for Creve Coeur, The Traveling Lady ). It will begin performances on December 6 in advance of its opening on December 17. It will run through February 25, 2024 at The Irene Diamond Stage at The Pershing Square Signature Center (480 West 42nd Street, Jim Houghton Way) . The Night of the Iguana is not a production of Signature Theatre.

Sean Young (Blade Runner, Fatal Instinct) in Ode To The Wasp Woman, a new play by Rider McDowell (The Mercy Man, Wimbledon). The limited 13-week Off-Broadway engagement will play October 30, 2023 through January 31, 2023, at The Actors Temple Theatre (339 W. 47th St, NYC). Opening night is Thursday, November 9 at 7:30PM. Tickets are now on sale at Telecharge.com.

Ode To The Wasp Woman chronicles the last 48 hours in the lives of four 1950’s B movie stars; Susan Cabot, leading lady of the Roger Corman’s cult classic The Wasp Woman; George Reeves, the man who brought Superman to life on TV screens across America; Carl ‘Alfalfa’ Switzer of the beloved “Our Gang” comedies; B-movie queen Barbara Payton. The desperate and sensational events that lead to the demise of these four fallen stars are told in four one acts with music, a veritable homage to film noir and true crime.

Rider McDowell directs Sean Young as Susan Cabot, leading a company of actors, To be announced, portraying George ‘Superman’ Reeves, Carl ‘Alfalfa’ Switzer, and B-movie queen Barbara Payton.

Broadway

Ossie Davis’s Purlie Victorious Is A Satire On Fire

Published

2 days ago

October 2, 2023

Suzanna Bowling

The cast of Ossie Davis’s 961 satire Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch, is helmed by Leslie Odom Jr. as a conniving preacher with a conscience and made into comic genius by Kara Young. This revival brings humor against a prejudice South whose injustices were a crime against humanity. They say that all good comedy is bore out of pain and this show aims to fight historic injustice with laughter.

Leslie Odom, Jr Photo by Marc J. Franklin

The play tells the fictional story of Reverend Purlie Victorious Judson (Leslie Odom, Jr.), a dynamic traveling preacher who has returned to his hometown in rural Georgia, to save his small hometown church Big Bethel. He left due to a brutal whipping by the land owner Ol’ Cap’n Cotchipee (Jay O. Sanders) twenty years, but has come back to save his church, and emancipate the cotton pickers who work on oppressive Ol’ Cap’n Cotchipee’s plantation. He has brought with him Lutiebelle Gussie Mae Jenkins (the adorable Kara Young), to impersonate his long-lost cousin, Bee, and trick Ol’ Cap’n into handing over a five-hundred-dollar inheritance that he owes the family.

Kara Young Photo by Marc J. Franklin

To pull off this scheme he needs the help of his sister-in-law Missy (Heather Alicia Simms) and his brother, Gitlow (Billy Eugene Jones) who is the Cap’n’s main singing and shuffling work hand.

Kara Young and Heather Alicia Simms Photo by Marc J. Franklin

However thanks to another Black member of Ol’ Cap’n’s household Idella (Vanessa Bell Calloway), who raised Ol’ Cap’n’s son, Charlie (Noah Robbins), as if he were her own, does the church and Purlie get saved with a brave act of defiance.

Noah Robbins and Vanessa Bell Calloway Photo by Marc J. Franklin

Davis wrote and performed this play at the height of the Civil Rights Era, when Martin Luther King, Jr. words were having an impact. He even attended the show.

Leslie Odom, Jr. and Kara Young Photo by Marc J. Franklin

Kenny Leon keeps this show at a fast pace, with wit and sarcastic humor abounding. He brings his exceptional cast to peak performances. Odom, Jr. (Hamilton’s original Aaron Burr), inhabits this preacher with conviction, fighting for justice and the rights of his people. Jones (Fat Ham and On Sugarland), brings a charm to Gitlow as he embodies those who had to bow low just to survive. Simms and Calloway ground the show with warmth and maternal longing. O. Sanders plays the Cap’n looking like a Tall Colonel Sanders, but sounding like Foghorn Leghorn. He is as amusing, as frightening as it is to look at the past. Playing his son, Robbins offers the hope of seeing and righting the wrongs. But it is Young (Cost of Living, Clyde’s) who walks away with her remarkable performance. Completely and utterly in love with Purlie, Young is a whirlwind of emotions and physical comedy. She is big and broad, all in one petite compact body. When she comes to tell of the misjustice done to her by the Cap’n she has us in the palms of her hands.

Leslie Odom, Jr. and Kara Young Photo by Marc J. Franklin

Purlie in a word is victorious.

Kara Young, Heather Alicia Simms, Leslie Odom, Jr., Vanessa Bell Calloway, Billy Eugene Jones, and Noah Robbins Photo by Marc J. Franklin

Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch, Music Box Theatre, 239 West 45th Street, until January 7th.

Broadway

Barry Manilow’s and Bruce Sussman’s Harmony Meets The Press Part 3

Published

2 days ago

October 2, 2023

Suzanna Bowling

We told you how the cast and creative’s met the press. Then we played you some of the songs from the show. Today we’ll introduce you to the cast.

Barry Manilow, Bruce Sussman

First up The Harmonists; Sean Bell, Danny Kornfeld, Zal Owen, Eric Peters, Blake Roman and Steven Telsey

The vocally winning Sierra Boggess was next on our list.

Chip Zien and director/choreographer Warren Carlyle shared insights.

Finally Julie Benko, Allison Semmes and Andrew O’Shanick.

Harmony begins previews at the Barrymore Theatre on Wednesday, October 18, ahead of a Monday, November 13 official opening night.

Broadway

Melissa Etheridge My Window A Rock Goddess Spiritual Journey

Published

4 days ago

September 30, 2023

Suzanna Bowling

Oscar and Grammy winner Melissa Etheridge’s autobiographical musical My Window is an informative, riveting, raw, intimate and musically thrilling alsmost 3 hours of entertainment. With 22 albums to her name, Etheridge is a female rock goddess and is on par with Aretha Franklin, Tina Turner, Ann Wilson, Grace Slick, Joan Jett, Pat Benatar, Stevie Nicks, Debbie Harry and the incomparable Janis Joplin.

I originally saw this show when it opened at New World Stages almost a year ago and Etheridge’s theatrical solo show has only gotten better and tighter. She invites theatergoers into an exhilarating evening of storytelling and music. Starting with her birth, we learn about her childhood in Kansas, groundbreaking career highlights, coming out, her lovers, the drugs she has taken, her spiritual journey, her wives, her kids, cancer and what makes Melissa who she is. She is charming, revealing, illuminating as she bares her heart & soul to all who attend.

Photo by Jenny Anderson

In between learning about this bluesy warrior are her confessional lyrics, the raspy, smoky vocals and classics numbers like “Like The Way I Do,” “Twisted Off To Paradise,”“I’m the Only One,” “Come to My Window,” “I Want to Come Over”.

Photo by Jenny Anderson

Winning a tiny trophy gave way to winning a Grammy for Best Female Rock Vocalist in 1998 and again in 1995. Before that in 1993 Etheridge came out publicly, early on in her career. In 2005 Etheridge took the Grammy stage after having cancer to join in a tribute to Janis Joplin. She appeared hairless. Etheridge also won an Oscar for Best Original Song in 2007 for “I Need To Wake Up” for the film “An Inconvenient Truth.”

Photo by Jenny Anderson

It turns out Etheridge has always loved musical theatre, as she treated us to a wonderful rendition of “On Broadway.” She did make her Broadway debut in a weeklong stint as St. Jimmy in Green Day’s American Idiot in 2011, but she doesn’t talk about that.

Melissa Etheridge My Window, is wonderfully is written by Etheridge with additional material by Linda Wallem-Etheridge (“Nurse Jackie” showrunner, “That ’70s Show”). The direction by Amy Tinkham is succent and well done.

Everything about this production is well done from the scenic design by Bruce Rodgers, lighting design by Abigail Rosen Holmes, fabulous projection design by Olivia Sebesky and the sound design by Shannon Salmon, which keeps this show clear and clean.

Kate Owens is hysterical as the Roadie/ Stage Manager. This little girl is a star in the making with her rubber face and facial expressions galore. She adds to this show immensely and I definitely want to see more of what she can do.

This is a must see show for anyone LGBTQIA. The message is positive and life affirming. This is a women who owns her talent, charisma and choices, which makes this a joy to watch.

Photo by Jenny Anderson

Melissa Etheridge My Window: Circle In The Square, 235 West 50th Street. Closes November 19th.

Broadway

Barry Manilow’s and Bruce Sussman’s Harmony Meets The Press Part 2

Published

5 days ago

September 29, 2023

Suzanna Bowling

Yesterday we told you how the cast and creative’s met the press.

The cast and creatives

In today’s edition hear director Warren Carlyle, Barry Manilow and Bruce Sussman describe their show.

Then it was a treat as the cast sang 5 songs from the show. Including “Harmony,” Hungarian Rhapsody,” “Where You Go’ and “Stars in the Night.”

Hear The Harmonists Sean Bell, Danny Kornfeld, Zal Owen, Eric Peters, Blake Roman and Steven Telsey, along with Chip Zien, Sierra Boggess and Julie Benko.