Off Broadway
He Says: Halfway Bitches Go Straight to Heaven, with a Stop Midway
Patrice Johnson Chevannes (Wanda Wheels), Elizabeth Canavan (Rockaway Rosie), Benja Kay Thomas (Queen Sugar), Pernell Walker (Munchies), Victor Almanzar (Joey Fresco), Liza Colón-Zayas (Sarge), Andrea Syglowski (Bella), Neil Tyrone Pritchard (Mr. Mobo), Wilemina Olivia-Garcia (Happy Meal Sonia), Sean Carvajal (Mateo), Kara Young (Lil Melba Diaz), Viviana Valeria (Taina) and Esteban Andres Cruz (Venus Ramirez). Photo by Monique Carboni.
Struggling against all the issues of today; misogyny, privilege, addiction, mental illness, criminality, transphobia, and sexuality confusion, Stephen Adly Guirgis’s new play, Halfway Bitches Go Straight to Heaven climbs across the divide with wise authentic language and hard believable characterizations. It slaps and drives upward with a straight-forward brutality of clear minded banter, straight from the true-to-life situations presented. All the stereotypes are present, but delivered without the staleness of the obvious, which is a feat in itself, as the cards are played with obvious intent, but each card has found its own purity of vision.
The cast, filled to the brim with detailed explicitness, sits back and listens in that first tense exploratory scene, gathering themselves in a messy half circle of chaotic group dynamics. It seems haphazardly run (and it is, from this psychotherapist/social worker’s perspective), but the intentions by the talented crew are pure, especially as we are slapped with a strong dose of internalized pain by the youngest member of this pack of brave female survivors, Little Melba Diaz, played strongly by Kara Young (Duke’s Revolving Cycles…). She rhymes out her tragic backstory with a purity of vision and deeply felt misfortune. It’s hard to sit back and listen at times to her story, as it is when we learn, one by one, the events that have brought each one of these characters to this place and time, and even though I wasn’t in the frame of mind to indulge these women when I was at the Atlantic Theater over the holiday season, I couldn’t help myself to be moved and disturbed. They have all managed somehow to find some sort of safety in this women’s shelter – described more as a refuge, not a destination – from the outside world of violence and oppression, and in their pain and safety, we find enlightenment and disruption.
It’s not funded well, this safe haven for abused women, particularly with their security systems, but thanks to the determined staff, particularly the interestingly well-formulated Father Miguel, strongly portrayed by David Anzuelo (Northern Stage’s Our Town) and the straight talking director, Miss Rivera, wonderfully constructed by the talented Elizabeth Rodriguez (Broadway’s The Motherfu**er with the Hat), the place feels as real as one can image. This is a complicated space, just ask the out-of-her-element social worker, Jennifer, deftly portrayed by Molly Collier. The center is filled to the edge with anger and loving care, even though the set, designed by Narelle Sissons (Public’s Julius Caesar), with costumes by Alexis Forte (Signatures’ Our Lady…), lighting by Mary Louise Geiger (TACT’s Three Wise Guys), and sound/original compositions by Elisheba Ittopp (Baltimore Center’s Men on Boats) overflows outward and upward with a fussy and overworked intentionalism.
The tough tempered Army vet, Sarge, played with force by the magnificent Liza Colón-Zayas (NYTW’s Mary Jane), jumps forward flinging a verbal violence towards a trans women, Venus, played with determination by the wonderful Esteban Andres Cruz (Steppenwolf’s Domesticated). Claiming that Venus has no right to be in this shelter, Sarge attacks with a vengeance that confuses, although it makes more sense as the drama deepens. Registering on numerous difficult levels, the space created by the wonderfully detailed wording of Guirgis (Between Riverside and Crazy) overflows with the harshness and difficulty of the modern world. It’s not all warm and fuzzy, this Halfway house. It’s more convoluted and uncomfortably delivered than some casual sitcom, even when it feels somewhat like a lead-in to a Netflix show like ‘Orange is the New Black‘, which many of the cast herald from. There is the manipulative mother, interestingly named ‘Happy Meal Sonia’, played strongly by Wilemina Olivia-Garcia (Primitive Grace’s QUOTIDIAN) who bursts through the seams of her self, twisting situations and a controlling harness that is tied around the neck of her troubled not-so-young daughter, Tiana, delicately portrayed by a wise Viviana Valeria. And the engaging alcoholic Wanda Wheels, dynamically portrayed by Patice Johnson Chevannes (NYTW’s Run Boy Run & In Old Age) who bonds with great delicacy with the token young teenage boy, Mateo, kindly played by the appealing Sean Carvajal (Signature’s Jesus Hopped the ‘A’ Train) whose presence there feels somewhat forced, even with his need of socks. Chevannes once again finds a humanity in the difficulty of being alive and troubled, delivering a performance that aches with troubled beauty and clarity.
As directed with a fine combed force by LAByrinth Artistic Director, John Ortiz, Halfway Bitches… climbs up the ladder to the righteous place of authenticism, strutting out a modern place and time that needs attention. It’s clearly defined, but not always comfortable to take in, especially if you are not in the mood. There are no easy answers or simple solutions given, and even when, midway through, the piece almost upends itself with a hard-edged stereotypical tragedy centered around the well constructed Bella by Andrea Syglowski (LCT3’s queens) who as a character falters, almost too casually, with the needy help of the somewhat too naive Cruz’s Venus, the play survives. Halfway Bitches… ends on a less overly dramatic note, which is a great compliment to the strength of the piece, leaving us sitting on the curb alongside Sarge, wondering how we will all survive this cruel inhumane world.
For more, go to frontmezzjunkies.com
Events
Jason Robert Brown, Chuck Cooper, Janet Dacal, Sutton Foster, Lillias White and More To Perform at TheaterWorksUSA Spring Gala
TheaterWorksUSA, currently presenting the hit family show Dog Man The Musical at New World Stages, will host its annual Spring Gala on Monday, April 24 (cocktails begin at 6 PM) at The Current at Chelsea Piers.
100% of the net proceeds from the event will support our mission to create exceptional, transformative theatrical experiences that are accessible to young and family audiences in diverse communities across New York City and North America.
This year TWUSA will honor Lisa Chanel (TWUSA Board Chair 2019-2022), Andréa Burns (Award-winning Broadway actress & educator), Peter Flynn (TWUSA alumnus and award-winning director, writer, and educator), and Holly McGhee (Founder and Creator of Pippin Properties, New York Times best selling author). The event will feature appearances by some of Broadway’s biggest stars, including Jason Robert Brown, Chuck Cooper, Janet Dacal, Kevin Del Aguila, Sutton Foster, Lillias White and more.
On behalf of TheaterWorksUSA’s Board of Directors, we are thrilled to celebrate the people who have generously supported our mission, making it possible for us to bring high-quality theater to young audiences of all backgrounds throughout the country. We look forward to recognizing Lisa, Andréa, Peter, and Holly publicly at this very special event. – Tracy A. Stein, Board Chair
It’s a privilege to honor these individuals for playing such an important role in the work we do. Their vision, creativity, and ongoing commitment to our mission is truly something to celebrate. They are very much a part of our TheaterworksUSA family.- Barbara Pasternack, Artistic Director
TheaterWorksUSA (Barbara Pasternack, Artistic Director; Michael Harrington, Executive Director) has led the Theater for Young and Family Audiences movement in New York City and across North America for over half a century. At TWUSA, we believe that access to art—and theater, in particular—is vital for our youth. Since 1961, the 501(c)3 not-for-profit has captured the imaginations of 100 million new and veteran theatergoers with an award-winning repertoire of over 140 original plays and musicals. Acclaimed alumni include Kristen Anderson-Lopez and Robert Lopez (Disney’s Frozen), Daphne Rubin-Vega (Rent), Jerry Zaks (The Music Man), Benj Pasek and Justin Paul (Dear Evan Hansen), Miguel Cervantes (Hamilton), Kathleen Chalfant (Angels in America), and Chuck Cooper (Tony award-winning actor, The Life). WWW.TWUSA.ORG
Broadway
Theatre News: Bob Fosse’s Dancin’, Parade, The Shubert Organization Donates to ECF and Millennials Are Killing Musicals,
Tovah Feldshuh, Huma Abedin, Hillary Clinton at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
Secretary Hillary Rodham Clinton at Bob Fosse’s DANCIN’. Photo by Bruce Glikas
The curtain was raised last night at The Music Box Theatre (239 West 45th Street) as Bob Fosse’s Dancin’, the American showbusiness legend’s landmark musical tribute to the artform that defined his life, opened on Broadway 45 years after the original smash-hit production premiered. The production’s direction and musical staging is by Tony Award-winner Wayne Cilento, one of the stars of the original Broadway production, and is produced in cooperation with Nicole Fosse.
Wayne Cilento and Bernadette Peters. Photo by Emilio Madrid
Chita Rivera at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
In attendance on opening night were Secretary Hillary Rodham Clinton, Nicole Fosse; original A Chorus Line cast members Baayork Lee, Donna McKechnie, Priscilla Lopez; Chita Rivera; Erich Bergen; Jordan E. Cooper; Tovah Feldshuh; J. Harrison Ghee; Jane Krakowski; Adam Lambert; Ralph Macchio; Abby Lee Miller; Audra McDonald; Casey Nicholaw; Justin Peck; Tiler Peck; Bernadette Peters; Tonya Pinkins; Tony Roberts; David Rockwell; Krysta Rodriguez; Christopher Sieber; Jennifer Simard; Will Swenson and more.
A CHORUS LINE original cast members Priscilla Lopez,Donna McKechnie Baayork Lee photo by Bruce Glikas
Priscilla Lopez at Opening Night of DANCIN. Photo by Emilio Madrid
Dancin’is Fosse’s full-throated, full-bodied celebration of dancers and dancing. Utterly reimagined for the 21st century, this Dancin’brims with a level of warmth, emotion, and color seldom seen in modern interpretations of Fosse’s influential style and features some of his most inventive and rarely performed choreography. With New York’s hottest cast performing wall-to-wall dance, including Fosse classics such as “Mr. Bojangles,” and “Sing Sing Sing.” Dancin’ delivers the quintessential Broadway experience for Fosse fans and first-timers alike. You think you’ve seen dancing, but you’ve never seen Dancin’like this.
Cast of Bob Fosse’s DANCIN’ Opening Night photo by Emilio Madrid
Curtain call of Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
The cast, consisting of some of the best of Broadway’s elite dancers includes Ioana Alfonso (Hometown: Miami via DR/PR), Yeman Brown (Hometown: Tallahassee, FL), Peter John Chursin (Hometown: San Francisco, CA), Dylis Croman (Hometown: Dallas, TX), Jovan Dansberry (Hometown: St. Louis, MO), Karli Dinardo (Hometown: Melbourne, Australia), Tony d’Alelio (Hometown: Roanoke, VA), Aydin Eyikan (Hometown: Fairfield, CT), Pedro Garza (Hometown: Abilene, Texas), Jacob Guzman (Hometown: Brockton, MA), Manuel Herrera (Hometown: Charlotte, NC), Afra Hines (Hometown: Miami, FL), Gabriel Hyman (Hometown: Chesapeake, VA), Kolton Krouse (Hometown: Gilbert, Arizona), Mattie Love(Hometown: Layton, UT), Krystal Mackie (Hometown: Brooklyn, NY), Yani Marin (Hometown: Miami, FL), Nando Morland (Hometown: Colombia / Denver, CO), Khori Michelle Petinaud (Hometown: Centreville, VA), Ida Saki (Hometown: Dallas, TX), Ron Todorowski (Hometown: Pittsburgh, PA), and Neka Zang (Hometown: Scottsdale, AZ).
Adam Lambert at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
Abby Lee Miller at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
Bob Fosse’s Dancin’ is produced by Joey Parnes, Hunter Arnold, Kayla Greenspan, Rodger Hess & Michael Seago, Jay Alix & Una Jackman, Bob Boyett, The Shubert Organization, James L. Nederlander, Tim Forbes, Carson Gleberman, Park West Productions, McCabe Ventures, Fran Kirmser & Jodi Kaplan, Greg Young, The Fabulous Invalid, Julie Hess & Tommy Hess, and The Old Globe in cooperation with Nicole Fosse.
Wayne Cilento at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
Nicole Fosse at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
Bob Fosse’s Dancin’ originally opened on Broadway at the Broadhurst Theatre on March 27, 1978 and later transferred to the Ambassador Theatre. The production ran for 1,774 performances. Dancin’ was nominated for seven Tony Awards, including Best Musical, and brought Fosse his seventh Tony Award for Best Choreography.
Nicole Fosse and Wayne Cilento photo by Emilio Madrid
This production of Bob Fosse’s Dancin’ premiered at San Diego’s Old Globe Theatre from April 19, 2022, to June 5, 2022.
Interscope Records is proud to announce the cast album for the “brilliant” (Variety) 2023 revival of Parade — Alfred Uhry and Jason Robert Brown’s award-winning musical, which opened on March 16 at New York’s Bernard B. Jacobs Theatre to rave reviews. Parade (2023 Broadway Cast Recording) features the vocal talents of Tony, Grammy, and Emmy Award® winner Ben Platt and Micaela Diamond and conducted by composer Jason Robert Brown, and will be released on Thursday, March 23. Pre-order it HERE.
Leo and Lucille Frank (Ben Platt and Micaela Diamond) are a newlywed Jewish couple struggling to make a life in the old red hills of Georgia. When Leo is accused of an unspeakable crime, it propels them into an unimaginable test of faith, humanity, justice, and devotion. Riveting and gloriously hopeful, Parade reminds us that to love, we must truly see one another.
The current revival of Parade, which is directed by two-time Tony Award nominee Michael Arden, has received overwhelming acclaim since its debut. Entertainment Weekly called it “a phenomenal production that feels more poignant and powerful than ever,” while Variety said, “Ben Platt stuns in a powerful Broadway production of an essential American musical.”
Platt (Dear Evan Hansen, The Book of Mormon) and Diamond’s performances (The Cher Show) were singled out for praise. Deadline gushed “Ben Platt has no trouble reminding us just why he’s become one of Broadway’s most beloved performers. His vocals here are stunning in a pitch-perfect performance,” while The Guardian raved that “Micaela Diamond’s singing voice is luminous.” “Micaela Diamond, as Lucille Frank, breaks your heart with no affectation whatsoever, and a voice directly wired to her emotions,” wrote The New York Times in its Critic’s Pick review. Tickets are available now at www.paradebroadway.com.
Parade (2023 Broadway Cast Recording) showcases their voices, as well as other members of the all-star cast, while capturing the essence of a musical that, Entertainment Weekly writes, “is the most gorgeous production on Broadway.” Viewers will get a special preview of the musical on March 23 when Platt and Diamond perform its signature ballad “This Is Not Over Yet” on NBC’s Today accompanied by Jason Robert Brown on piano.
Out of the Box Theatrics (Elizabeth Flemming, Founder and Producing Artistic Director; Ethan Paulini, Associate Artistic Director) is pleased to announce that Grammy and Emmy Award winner Kristolyn Lloyd (Dear Evan Hansen) will star in the Off-Broadway developmental production of Millennials Are Killing Musicals, written by Drama League songwriting contest and NAMT Challenge winner Nico Juber. The production, to be directed by Ciara Renée(Waitress, Frozen), will play a limited engagement from May 7-28, 2023, at Theatre 71 at the Church of the Blessed Sacrament (152 West 71st Street). Opening night is May 15. Tickets are on sale now at Ovation Tix.
Bob Wankel Photo by Natalie Powers
The Entertainment Community Fund, formerly The Actors Fund, the national human services organization supporting the needs of those working in the entertainment and performing arts industry, today announced that The Shubert Organization has made a $5 million gift to the Fund to support expansion of The Samuel J. Friedman Health Center for the Performing Arts in New York City, the Actors Fund Home in Englewood, New Jersey, and affordable housing and a community arts center at The Hollywood Arts Collective in Los Angeles.
The $5 million gift will be used to expand doctors’ offices and services at The Samuel J. Friedman Health Center for the Performing Arts in New York City, with additional support to the Actors Fund Home in Englewood, NJ. Funds will also be used to bolster the construction and programs of The Hollywood Arts Collective, a new affordable housing and community arts center located in the heart of Hollywood where the Central Gardens will be named in honor of The Shubert Organization.
The Shubert Organization has long supported the Fund’s ongoing work to help people in performing arts and entertainment. In 2017, The Shubert Organization unveiled The Shubert Pavilion: an expansion to the Actors Fund Home, an assisted living and skilled nursing care facility located in Englewood, New Jersey. The Shubert Pavilion houses a 25-bed short-stay rehabilitation center available to the general public and intended for people who are recovering from illness or surgery, as well as 14 assisted living beds. The facility also includes a fully equipped gym for physical, occupational and speech therapies.
Robert E. Wankel, Chairman and CEO of The Shubert Organization, also serves as Chair of The Actors Fund Housing Development Corporation Board of Directors, a role in which he supports and guides the development of affordable housing for the performing arts and entertainment community to improve lives, create jobs, foster economic development and revitalize communities. In 2022, Wankel received the Entertainment Community Fund’s Medal of Honor, an award presented at the Fund’s annual gala that recognizes individuals who have had a profound impact on the entertainment community.
“The Entertainment Community Fund is honored by the long-standing commitment of The Shubert Organization and the countless ways it supports our work to provide a safety net for people in the performing arts community,” said Fund Board Chair Brian Stokes Mitchell. “A special thank you to Bob Wankel for his continued leadership not only at The Shubert Organization, but also with the Actors Fund Housing Development Corporation Board of Directors.”
“The Shubert Organization is proud to strengthen the Entertainment Community Fund’s ability to provide affordable housing, medical care, emergency financial assistance and so much more to those in our industry,” said Robert E. Wankel. “We look forward to all that’s to come in our ongoing collaborations, from Englewood to Times Square to Hollywood and beyond.”
My guest absolutely loved Asi Wind’s Inner Circle, but if you have been to Speakeasy Magick at The McKittrick Hotel, much of what is here will seem repetitive, though still amazing.
Asi is good looking, charming, amusing and displays a wonderful sleight of hand. The Gym at the Judson has been designed and lit by Adam Blumenthal to make the space warm and inviting. The space only has 100 seats, so you are up-close and personal.
Before the show starts, audience members are asked to write their names and initials on a blank card with red or black sharpies. These are the cards he uses as his deck, so that each night the show is personalized.
Wind is a wonderful storyteller and loves his craft. He is infectious about his passion and so brings his audience in. Each trick is celebrated as he builds his momentum. You will have seen most of these tricks before if you have been to The McKittrick, but Asi makes it fun and exciting.
My guest could not wait to bring her grandson and thoroughly enjoyed the show. That alone made the performance special.
Asi Wind’s Inner Circle: Gym at Judson, 243 Thompson Street, until May 28th.
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