It was as good as her books.
To see the crowd gathered at the outdoor PIer 76 screen to see a documentary “Lady Boss: The Jackie Collins Story” was the stuff of a juicy book.
Jackie Collins’ daughters, Rory Green and Tiffany Lerman, joined director Laurie Fairrie on-stage after the screening to share their experience creating the documentary about their late mother, which included reading through her old diaries.
Directed by Laura Fairrie and produced by the Academy Award®-winning Passion Pictures, along with AGC Studios, CNN Films, BBC Arts, and John Battsek, ‘LADY BOSS: The Jackie Collins Story’ takes viewers on an immersive journey through the trailblazing life of novelist Jackie Collins.
Spinning together fact and fiction, this feature documentary reveals the untold story of a ground-breaking author and her mission to build a one-woman literary empire. Narrated by a cast of Jackie’s closest friends and family, the film shares the private struggles of a woman who became an icon of 1980s feminism whilst hiding her vulnerability behind a carefully crafted, powerful, public persona. The film evolves from a celebration of Jackie’s revolutionary novels – which placed female sexuality at the heart of their storytelling – into a multi-layered deliberation on feminism, family dynamics, and the universal quest to understand how our childhood experiences and early traumas ultimately make us who we are.
Ruth Stage’s “Lone Star” Guzzles Down Edgeless Revelations and Trauma at Theatre Row NYC
By Dennis W
Hey, grab yourself a six-pack and head out to Angel’s Bar (at NYC’s Theatre Row) where Ray, Roy, Cletis, and Elizabeth will meet you in the backyard. It’s just a place to hang out, where tired old lawn furniture and a few milk crates hiding in the scrub go before they retire to the junk pile. It’s the early 1970s, and there isn’t much to do in the backwater town of Maynard, Texas, as a matter of fact, the town almost disappeared not too long ago.
The main players, Roy and Ray, in Ruth Stage’s Lone Starwritten by James McLure (Original Adaption by Ruth Stage) seem to be the brothers. They exist here, living out a dark comedy about a psychological casualty of war who comes home. It begins with a substantial monologue and mini-concert by Roy’s wife, Elizabeth, played by Ana Isabelle (Off-Broadway’s I Like It Like That). She is trying to save her marriage to her high school sweetheart, a former soldier who came home from Vietnam two years ago and suffers from PTSD (which was not even acknowledged by the military until the 1980s). Isabelle gives an adequate performance but it feels very odd that she is alone on stage talking about how her husband’s condition has and is affecting her, him, their life together, their family, and their strained marriage. What’s odd is that when she’s finished she leaves, not to be seen again, until just before the final curtain.
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“Angels in America” Cracks the Wall With Intimate Power at BuddiesTO
From the first lines spoken by that aging rabbi, played meticulously well by Brenda Bazinet (Citadel’s Equus), I breathed a huge internal sigh of relief. I had persuaded a good friend from New York City to fly to Toronto to see That Theatre Company‘s production of the epic Angels in America, probably my most beloved play ever written, which is currently playing a much too short run at Buddies in Bad Times Theatre. He had never seen a production of this iconic play, and I really wanted his first experience to be epic and meaningful, as powerful an experience as it is to me. And I knew, from those first few spoken moments, that this play, written so beautifully by Tony Kushner (A Bright Room Called Day; Caroline, or Change) and directed with such grace by Craig Pike (Buddies’ Body Politic), was going to rise up as majestically and magnificently as I had hoped.
The art of the play lies in the poetry of the words and the honoring of them all. If we can believe in them wholeheartedly, the play will fly forward on strong wings. Pike does exactly that. It’s not revolutionary, his approach, but it does play strong tribute to the words and how they are delivered. The rabbi tells us that he did not really know this woman who is being buried in that rectangular box of light before him, courtesy of some brilliant lighting design by Bonnie Beecher (Young People’s The Darkest Dark), but he knew her in a larger and more meaningful way; a grander idea of knowing, that this play resonates most profoundly outward with all of its cleverly constructed characters. We know them all, in some way or another, and believe in their words and actions. They carry emotional connections that feel personal; to ourselves and our loved ones, parts of those still with us and some that are not, and it is in the power of those words spoken at a funeral for a woman who plays no role in this majestic piece of theatre, we find our connection to Angels in America.
I can’t even begin to tell you how excited I was to have the opportunity to sit through another 7 1/2 hours of Angels in America this past weekend at Buddies with my friend from NYC. I have seen this play numerous times before; on Broadway, twice (the original and the 2018 revival), the HBO film, the NTLive’s screening of the National Theatre‘s production that eventually transferred to Broadway, and an off-Broadway Signature Theatre production, all compelling in their own ways and means, but now, with my friend, I was going to be able to see it fresh through his eyes and in the glow of this magnificent play once again, this time in Toronto at the “largest and longest-running queer theatre in the world“, Buddies in Bad Times Theatre. It seems completely appropriate, and if anyone doesn’t already have tickets, I suggest you get up off your butts and get them now. This is a once-in-a-lifetime kind of production that will move you beyond anything that you’ve seen before.
It is true that other actors and their performances in this play continue to haunt me as I take in any new production, whether I like it or not. The Broadway stage ghosts of Stephen Spinella, Kathleen Chalfant, (the spectacular) Marcia Gay Harden, and Jeffrey Wright watch over me, as well as the HBO television spirits of Al Pacino, Meryl Streep, and Mary Louise Parker, poking around in my head, asking me to not forget them. But I must say that as I sat and watched this current production at Buddies, I quickly set aside anything beyond what was happening before me on that simple cracked runway of a stage, designed most magically by Brian Dudkiewicz (Neptune’s The Last Five Years). The music and electric soundwaves, courtesy of sound designer John Gzowski (Tarragon’s Post-Democracy), play with our senses, vibrating through us and ushering us in so completely that I lost my sense of time and space. The cascading of the soundscape within the highs and lows forces the past to leave me alone, and not intervene with this epic viewing. Whatever the reason, this current revival is as solidly compelling and complete as one could wish for, and this is quite the understatement, if you ask me. Words can barely describe its wonder. And there shouldn’t be an empty seat in the house for this revival.
The heartbreaking and powerful 7 1/2 hours fly by, born on the energy and excitement of the audience and the intense power of an angel in battle, wrestling with a mortal for his salvation, and I was honored to be in its presence. Part One: Millennium Approaches is by far the most beautiful and far-reaching introduction to our shared History of Gay America in the 1980’s. The opening monologue mysteriously tells us all we need to know for the next 3 plus hours, and maybe for the entirety. Not in terms of the old Jewish woman laying in the coffin, which it does, but about the world and people we are about to embrace. It’s such a sly and wonderful piece of writing that sneaks into our collective soul and sets us up on almost all levels for what is in store. It’s about death, love, and life, but it’s also about pain, suffering, guilt, and abandonment. One thing you can say about Kushner and his writing of Part One is that there isn’t a moment of excess or a wasted scene that could be edited out. Every word seems meaningful and essential in this over three-hour beginning, and it is delivered to us compassionately and honestly.
The cast, as directed most beautifully and dynamically by Pike, is utterly connected, deepening and engaging our connection to them with every simple breath they take. Allister MacDonald (Neptune’s The Rocky Horror Show) as Prior gives us everything we could ever have hoped for from 1980s camp to the angry black-shrouded stalker looking for revenge, bruising, and a deeper understanding, artfully masking the frightened young gay boy beneath. His armored front is something exacting, and quite commonly donned as a shield against all that would want to harm in the world he lives in. It’s a powerful statement against oppressive forces and one that feels as authentic and real as any.
MacDonald leads us through the dark and heaviness of this play with power and hysterical grace, giving us an unforgettable portrayal that is as deep and meaningful as it is funny and smart. Ben Sanders (Showtime’s “Fellow Travelers“) as his guilt-ridden Jewish boyfriend, Louis is fantastically annoying in his defensive wordplay, hiding quite simply behind the intellectual waterfall of concepts and ideas. He dutifully tries with all his might to be present, but those theories and conjectures don’t, in the end, protect him. This stalemate of sorts is most beautifully pointed out by Belize, archly portrayed by the absolutely perfect Kaleb Alexander (Obsidian’s Pass Over), who lets him know, quite clearly, that it does distract him just long enough for him to see how far he is from being engaged with the world around him.
Alexander as Belize, the nurse and friend of Prior (and travel agent for Harper) grounds the piece in sharpness and clarity that echoes throughout the play, filling it with an emotional heart that forever stays within. Wade Bogert-O’Brien (Grand’s Controlled Damage) is organically exacting as the desperately unhappy Joe, unearthing layers of skin and authentic pain throughout. The battle that plays out inside this Marlboro Man’s head ricochets throughout the theatre and into our hearts, clawing at us with his need, both to crush and live fully inside his darkness and sexuality. He is the one truly tragic figure of this play, left desperate and in need without any support or care from any one soul in his sad, unhappy life.
Christine Horne (Tarragon’s Light) as Joe’s tortured and torturing wife, Harper, tackles one of the hardest parts in this complex play and triumphs. Her dementia is clear, thoughtful, and profound, leading us carefully through her fear and mistrust with an intelligence and bravery that is awe-inspiring. “Weird stuff happens”, she knows. “Like you,” she says to the travel agent who appears out of nowhere offering her escape from the monsters that wait for her in the bedroom. Once again, I was awestruck by the scene that unfolds between Harper and Prior. Something about these two coming together as we watch MacDonald’s Prior gently caress her face with his makeup brush, is by far the most electric and emotionally engaging tie in the play, making that lump in my throat rear itself up for the first of many times. The thin hair of connective tissue between these two holds the piece together in the same way that their “threshold of revelations” sinks deep inside, destroying and freeing themselves all within the same breath. The fragile and intimate way they can see inside the other and know their pain is what creates that added weight and meaning to the whole. And it adds layers and layers of fierce and unfair constructs to the two that electrify their existence in the world.
Bazinet and the magnificent Soo Garay (Factory’s Belle) have the joy and the difficulty of playing numerous roles spanning from a caring nurse, a distraught Mormon neighbor, a perplexed male doctor, a homeless disturbed woman, a patient Ethel Rosenberg, Joe’s angry mother, to a Rabbi and an angel. Horne also is given the sweetest of opportunities to showcase her profound skills playing a smarmy male friend of Roy Cohn, as does Bogert-O’Brien and Mezon as previous Priors coming back around to help guide and enlighten. But some of the finest work in this play is done by both Bazinet in her assortment of characters, especially the doctor who knows that hooker wasn’t a female, and Garay, who majestically embodies both the thoughtful nurse and the compelling angel (and Harrah’s real estate agent and friend) with a power and force that is out of this world magnificent. They all perform Kushner’s profound poetry with an ease that makes it look so effortless, yet deeply personal and authentic. Jim Mezon (That Theatre Company’s A Number) is exacting and deliberate as the closeted horrible Roy Cohn. His Roy Cohn is as layered and fiery as one could hope for, devastating and cruel but desperate for some sort of masculine connection. He, and the others, bring clarity and connection to the front without distancing themselves from the pain and suffering that surrounds them all. For a production running fast and furious forward, their work is unparalleled.
“I want the voice, it’s wonderful. It’s all that’s keeping me alive.”
Kushner spoke often about Angels in America‘s need to be seen as artificial in a theatrical framework, with all the strings and artifice showing. And in that stance, That Theatre Company’s tender and intimate production succeeds gloriously. The landscape plays perfectly with space and time, with expert framing of light by Beecher and perfect costuming by Louise Bourret (DWYT’s The Producers), expanding and highlighting all aspects of this play. It engages the characters through effortless transitions and authentic arrangments, blending the emotionality expertly from one moment to another through connective tissues of delivery that feel simple and true. The intimacy is palpable, especially in the intricate engagements.
“Greetings, Prophet. The Great Work Begins. The Messenger Has Arrived.”
One of the striking things about Angels in America Part Two: Perestroika is just how epic and large Kushner’s stroke is as he paints his complicated and captivating canvas. He opens this second half with the oldest living Russian Bolshevik (Bazinet) delivering a speech about revolution, passion, and theory. It’s captivating in its wordplay, painting a deep psychological meaning about living life and moving forward. Not just for Russians, or people with AIDS, but for humanity as a whole. The Bolshevik spins words and ideas out into the space that are sometimes overwhelming in the moment, but never without passion and a heavy meaning on its even bigger canvas. Hanging on to these ideas and ideals for the next four hours through heaven and earth only adds to their power and brilliance. Kushner shapes our minds with an expert hand, preparing us for what is to follow, unconsciously, and brilliantly, because the work really has begun for these souls, and we are ready to follow along.
I have heard from many theatergoers that Part Twoshould be edited down well beyond its four-plus hours’ length. They say the story could and would still be told with a good 30 minutes at least cut, and I agree with that point if story-telling is all we are here for. But like great works of Shakespeare and others, the piece would lose a great deal of its magic with each subtraction of text. Every poetic word and utterance feels utterly important somehow, and I truly believe they are in a way that is unconscious or unfathomable. When it is all said and done, the piece carries its weight well into the heavens, and beyond. The canvas is brilliantly textured; sad, terrifying, and confusing, but filled with desire, long after the last stroke is applied. And I wouldn’t want to lose one phrase for the sake of a few minutes here and there.
“The fountain’s not flowing now, they turn it off in the winter. Ice in the pipes. But in the summer…it’s a sight to see, and I want to be around to see it. I plan to be, I hope to be.”
Boop! Leaps To Life In Chicago
Boop! the new musical officially opened its pre-Broadway tryout in Chicago last night. This is a delightful entertainment. Tony winning director-choreographer Jerry Mitchell has assembled a terrific cast, stunning visuals, strong movement and a heartfelt score into a seamless production that keeps the audience smiling at her antics.
Betty Boop was first introduced to the world by the Fleisher Studios in 1930. As a comedic representation of the free spirit of jazz age women. Betty has entertained and inspired audiences for over ninety years, even after being sanitized by the Hayes Code. Betty also has some real historical precedents, which are ignored by this creative team. As such, the character of Betty herself remains no more than a cute cartoon in the end.
Betty is introduced in a brilliant montage of projections and cardboard cut outs, as if we are seeing her perform in a series of her black and white, 1930s cartoons. She recaps the scenarios in which she got to save the day with her song, “A Little Versatility”. Jasmine Amy Rogers, as Betty is a sexy, cuddly, and touching musical theater dynamo, who adds her own considerable personal warmth to the character.
When the song ends, we are in the monochromatic world of the Max Fleischer cartoon movie studio. Betty complains to her director (Aubie Merrylees) and his megaphone-toting assistant (Ricky Schroeder) that she is suddenly feeling the pressures of cartoon stardom. She says she needs a vacation from herself. She also says she needs to find out who she really is, although nothing in particular has happened to incite that decision.
Actor Stephen DeRosa, in a deliberately cartoony depiction of Betty’s grandfather character, Grampy, who introduces Betty to a time and space machine, which is a Rube Goldberg contraption wedded to an overstuffed armchair. In an instant, Betty is transported from the world of black and white cartoons to the real world. She appears magically at the New York City Comicon 2023, which pulsates with Mr. Mitchell’s energetic choreography. There, Betty discovers the joys of life in living color.
At Comicon, Betty is befriended by a preteen girl, Trisha. This character is given a theater-shaking performance by petite sixteen year old Angelica Hale, who wowed the world on America’s Got Talent. Whenever she opens her mouth to sing, she literally brings the house down. If you are the parent of an aspiring young performer, you must bring your child to see this amazing young role model.
The problem is the story puts baby, or Betty, in the corner. Betty tells Trisha that she doesn’t want to be recognized as famous, she just wants to be normal. Betty asks Trisha to help her remove her signature makeup and make her look like a real girl, so we expect to see that happen. But it never does. Betty continues throughout the show looking and acting just as cartoony as she does from the beginning.
Also at Comicon, Betty meets Dwayne, an aspiring jazz trumpeter played with unforced charm and appeal by Ainsley Anthony Melham. Dwayne turns out to also be Trisha’s baby sitter, who comes over when her Aunt Carol (Anastacia McClesky) has to go to work as campaign manager for Raymond Demarest, a former city sanitation superintendent now running for mayor. Erich Bergen as Demarest is very funny and perfectly sleazy as this shady character, whose excremental campaign slogan is to “Doo doo” what needs to be done.
Dwayne invites Betty to join him at a jazz club where he sits in as a trumpeter. After saying she doesn’t want to be recognized, Betty inexplicably outs herself, belting the joyous song, “Where I Want to Be.” As the first act closes, our expectation is that Betty will be pursuing a career as a performer in modern times. That doesn’t happen either. Instead, the second act opens with Dwayne doing another jazz number on the stairs in Times Square for Betty’s benefit. Betty just sits on the sidelines, watching passively. Then, Demarest enlists Betty to be his assistant mayor, and help generate publicity for his campaign. In her innocence, she allows Demarest to exploit her fame as a cartoon character because she hopes to help women’s causes. Demarest does not allow Betty to speak or express an opinion. This again makes Betty just a passive observer of the story she should be driving.
Young Trisha supposedly admires Betty for the various roles she was given to play in her cartoons, however Betty shows none of the initiative and accomplishment in New York which inspired her young fan from watching her cartoons. That’s a story shortcoming which could have been turned into a positive, if it elicited disappointment on Trisha’s part, and created a crisis between her and Betty in the second act, but the book skips over this issue, and misses a great opportunity to raise the emotional stakes in its story.
Grampy is given an old flame to fan, in the form of Tony winning Broadway legend Faith Prince, as a once young scientist, Valentina. She is reunited with Grampy after a supposed forty year absence (an inexplicable timeline, given that the play takes place ninety years after the cartoons). They rekindle their romance with a charm song,“Together, You and Me”, and a little suggested senior sex. But Ms. Prince’s considerable comedic talents are vastly underutilized here.
Finally, Chicago puppeteer Phillip Huber of The Huber Marrionettes brilliantly and unobtrusively manipulates his marionette puppet of Betty’s dog, Pudgy. He delights us all with this fluffy white creature.
Apart from the wonderful cast, the real star and saving grace of this show is lyricist Susan Birkenhead (Jelly’s Last Jam, Working). Literally all the emotion and character development in this show are in her outstanding lyrics. Ms. Birkenhead says everything in song that the show’s book writer, Bob Martin (The Drowsy Chaparone, The Prom), should have said in his libretto. Together with Grammy winner David Foster’s excellent music. This fine score is the beating heart of this musical, as it should be.
Mr. Martin’s book makes a joke or two about Betty’s cartoon origin as a dog character. But the glaring omission here is the lack of any reference to her real life origin story.
Betty Boop was a parody created by animator Max Fleisher of a white performer named Helen Kane. Unknown to Fleisher at the time, Ms. Kane had stolen the act of a very real black performer, 1920’s jazz singer Esther Jones, known as “Baby Esther,” who first popularized the phrase, “Boo boop a doop”. Ms. Kane had seen Ms. Jones in performance in 1928, and copied her signature expression. A lawsuit brought by Ms. Kane against Mr. Fleisher finally brought out the truth. Casting Ms. Rogers, a black performer, as a character who was initially a white misappropriation of another black performer’s identity, and give her no awareness of it, skirts the most sociologically and dramatically important story opportunities in the show. What if Trisha were to tell Betty that she is really based on a black singer who received no credit from history? What if Betty doesn’t know what color she really is? What if she feels white on the outside and black inside? So many interesting possibilities. Sadly, there is no consideration of any of them here. Even the program note, “About Betty Boop and Fleischer Studios,” blithely whitewashes her history and makes no mention of this.
In the beginning, Betty says she wants to take this journey to learn who she really is and yet, the creative team fails to let her explore the real answer to her question. Color is used in the end only to illustrate romantic passion. The story Bob Martin has crafted is cute, but insignificant.
The show ends with squeaky-voiced Betty inexplicably delivering a throaty power ballad, which states “I know I want something …but I don’t know what I want”. That might have made sense for Betty to sing at the end of the first act, but it’s ridiculously out of place at the end of her story. Yes, Ms. Rogers stops the show with that song, just because she can, but they should cut the song, or move it to the first act, and give Betty a final number where she gets to really express what she has learned.
Chicago audiences are not easily manipulated by flash over substance. We’ve seen too much smart work. We demand depth, even from our cartoon characters.
There is much to appreciate in the fine sets by David Rockwell, delicious costumes for Betty by Gregg Barnes, flashy lighting by Philip S. Rosenberg, clever projection design by Finn Ross, hair and wig design by Sabana Majeed, makeup design by Michael Clifton, and musical supervision by Daryl Walters. The performances are all great, the songs are fun, and Mr. Mitchell makes everyone’s work look its best.
If Mr. Mitchell came to Chicago, as he has done in six previous productions, he would have learned something which only this city can teach him about Boop!, and that would be that Betty’s own story still needs a lot more fleshing out.
Boop! continues through December 24 at the CIBC Theater, 18 West Monroe Street, in Chicago. For tickets visit ticketmaster.com.
Countdown to Christmas Day: Map The Song Of Your Life
17 days to go! Every year people panic to find the perfect gift. We at T2C have been collecting idea’s all year long to bring you the perfect gift guide at all price levels. When you’re at the end of your rope trying to find the perfect Christmas present this year, come to this guide for some great suggestions.
How unique is this Spiral Song Lyric with Night Sky Map Clock.
Looking for a way to capture a meaningful day and text in one beautiful design? Grab a Personalized Star Map for you on a clock. Have questions about this design or how to personalize it for you or a gift? Message, as customer happiness is their #1 goal.
You give the company The Artist, Song Title or enter lyrics, a quote, names, address (for night sky) and the date and a spiral print will be printed showing the star map, alignment of the stars and constellations from your special day. Personally I think it is an amazing gift at $53.97 .
Free proofs are provided as well as quick edits to make sure you love your design before it’s printed.
To personalize your night sky spiral print, click here.
Have You Begun Dreaming of It Yet? (PART I)
What else – White Christmas, of course!
December is jampacked with great entertainment, so I hope you’re caught up on your shopping, because there are lots of treats for you this month. Here’s a stockingful of events that you shouldn’t miss.
If you’re looking for probably the most glamorous gift of the season, drop by Doyle Galleries to at least look at The Ellin and Irving Berlin Sapphire and Diamond Ring. Bidding is estimated to begin at $200,000 at the December 14th auction.
Jason Henderson kicked off the month reprising his highly acclaimed latest venture, Getting to Noël You at Don’t Tell Mama on the 4th. If you missed this evening, don’t worry – he’s back by popular demand—same time, same location—on January 24th and February 11th. It’s quite a curious and fast-paced ride he takes us on, and it’s one not to be missed.
The York Theatre has delivered a mitzvah–just in time for Christmas. Billed as a Musical Comedy of Biblical Proportions, The Jerusalem Syndrome certainly lived up to expectations. You must see it to discover the meaning of the title, which is fact, not fiction.
While this has been in development for several years, the skilled midwifery of the York brought forth a little bundle of joy that had the audience laughing at its humor and touched by its message. Sensitive to the current Middle East conflict, the York bravely went ahead with the project, which affords everyone a chance to marvel and understand the miracle that is Israel.
It’s running through the end of the year—visit the York website https://yorktheatre.org for more info.
Urban Stages has announced its “2023 Winter Rhythms” series, the award-winning music festival at Urban Stages Theater (259 West 30th Street – between 7th & 8th Avenues).
It began with a gala on December 6 entitled “Nights at the Algonquin: A Celebration of The Oak Room Supper Club,” featuring many legendary cabaret performers including Natalie Douglas, Boots Maleson, Steve Ross, and Daryl Sherman. Hosted by Michael Colby (author of The Algonquin Kid), the evening began with a champagne and wine reception followed by the show at 7:30 with a post-show gathering to follow.
On Sunday, December 10 at 3pm “Created at the Algonquin: Songs from Musicals Written at The Algonquin,” featuring performances by Craig Bierko, Shana Farr, Jenn Gambatese, Anita Gillette, Jon Peterson, Steve Ross and others. The program will be directed by Sara Louise Lazarus with Michael Lavine directing the music.
As part of the festivities, Shana Farr will reprise her glorious Barbara Cook tribute on the 16th. Ice Cream,. Anyone?
Everyone’s favorite is Karen Mason, whose show Christmas! Christmas! Christmas! is one night only at Birdland at 7 pm on the 11th.
Stay tuned for Part II for Christmas romance, tradition, and good will!
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