Tony Award-winning producers Tom Kirdahy, Robert Ahrens and Hunter Arnold are pleased to announce the three-time Best Revival Award-winning Little Shop Of Horrors – in partnership with the Times Square Alliance and the Westside Theatre – will be hosting a Skid Row Block Party on Saturday, July 23, 2022, in honor of the 40th anniversary of the musical’s premiere at the Orpheum Theatre in July 1982 and the 500 perforce of the revival. The free block party, which will follow the matinee performance on Saturday, July 23, from 4:00–6:00 PM outside Westside Theatre (407 W. 43rd Street), also celebrates the hit revival surpassing 500 performances.
The event will feature live cast performances; a DJ booth by S.N.O.B.; face painting; Carvel, Mister Softee & Van Leeuwen ice cream trucks; Popcorn & Cotton Candy Machines; Schmackarys, Sticky’s, and Baked By Melissa tables; and a 360-Degree Camera for fans and friends alike to virtually join in the celebration. There will also be a free raffle, with prizes that include tickets to Little Shop, a Cast Album, a cast-signed poster, and a signed Playbill. To join in on the fun, the show’s neighbors Bea and Little Pies will offer exclusive discounts with proof of a ticket from either performance on July 23. The party – originally scheduled for Friday, May 6, but rescheduled due to rain – is free and open to the public.
The current company of Little Shop Of Horrors includes Tony Award nominee Rob McClure (Mrs. Doubtfire the Musical, Beetlejuice the Musical), Emmy Award winner Tammy Blanchard (Life with Judy Garland, Gypsy) as Audrey, two-time Tony Award winner Christian Borle (Something Rotten!, Peter and the Starcatcher) as Orin Scrivello, D.D.S., Aaron Arnell Harrington (RENT 20th Anniversary Tour) as The Voice of Audrey II, Stuart Zagnit (Caroline, Or Change, Newsies) as Mushnik, Khalifa White (Caroline or Change, School of Rock Nat’l Tour) as Ronnette, Cristina Raé (“America’s Got Talent”) as Crystal, and Khadija Sankoh (Paper Mill Rising Star Nominee) as Chiffon. Rounding out the cast is Teddy Yudain, Michael Iannucci, Josh Daniel, Camryn Hampton, and Chelsea Turbin. Eric Wright will play his final performance on Sunday, July 17, and beginning on Tuesday, July 19, Weston Long joins the cast.
With a book and lyrics by Grammy and Academy Award winner Howard Ashman (The Little Mermaid, Beauty and the Beast), and music by Tony and Academy Award winner Alan Menken (Aladdin, Newsies), Little Shop Of Horrors had its world premiere at the WPA Theatre on May 6, 1982 and became an instant sensation, transferring Off-Broadway to the 299-seat Orpheum Theatre on July 27, 1982 — where it proceeded to run 2,209 performances over the next 5+ years; making it, at the time, the highest-grossing off-Broadway production ever. The musical, which won the 1983 Drama Desk Award, Outer Critics Circle Award, and Drama Critics Circle Awards for Best Musical, then catapulted into a global phenomenon with productions across the world and a hit 1986 film adaptation directed by Frank Oz that starred Rick Moranis, Ellen Green and Steve Martin. In 2019, Little Shop Of Horrors made its long-awaited return to its Off-Broadway roots, with the current hit revival directed by Tony Award winner Michael Mayer (Hedwig and the Angry Inch, Spring Awakening), nabbing a Grammy nomination for its cast album, and winning seven major 2020 theater awards, including the Drama League, Outer Critics Circle, and Drama Desk Awards for Best Musical Revival.
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.
For more go to frontmezzjunkies.com
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!
T2C Talks to Patrick Olson About Emergence
Patrick Olson, is a musician-scientist and now a performer with his own show Emergence, Off-Broadway at The Pershing Square Signature Center through January 7, 2024.
T2C talked to this prolific artist to learn more about what seems more like a movement and a unique experience.
See t2C’s review here.
Emergence: Things Are Not As They Seem: Signature Center, 480 West 42nd Street through January 7th. Tickets and information: emergenceshow.com
Video by Magda Katz
Off Broadway Girl Talk Madwomen of the West
Right now at the Actors Temple Theatre, 339 West 47th Street is the New York premier of Sandra Tsing Loh’s Madwomen of the West. The show in a way reminded me of the 1996 play Love, Loss, and What I Wore, where celebrities joined on stage. Here you have Caroline Aaron, Brooke Adams, Marilu Henner, and Melanie Mayron, all actors who have performed on film, TV and stage. They are like long lost friends, they are so familiar.
The four have gathered together for Claudia’s (Mayron) birthday. It is being thrown at the Brentwood home of Jules (Adams) and Marilyn (Aaron) has decorated. Enter the long lost Zoey (Henner) and what you think you know about these friends, isn’t what it seems. As a matter of fact, this birthday brunch is about to turn into the brunch from hell. These Baby Boomers, are also feminists admiring Hilary Clinton and Gloria Steinem, though not always on the same side. They break the 4th wall, as they banter back and forth to themselves and to us, the audience. They confront, encourage, justify and talk about transgender, health, the horror of Trump and those “pussy hats”, sex and so much more. Think “girl-talk” to the max.
They sit on couches, as a backdrop of palm trees, and a lone piñata take center stage, thanks to set designer Christian Fleming. The play has no money, so the production is bare bones…. so they say. Everything about this show is tongue and check and is well directed by Thomas Caruso.
Each actor here shines and in an out of the way aside, each has pieces of their real selves written into the roles they play. Not having seen Aaron on stage before, I was impressed by her vocal quality and humor. Adams brings sophistication and Mayron adds that knowing, we are all in the same messed up boat. Henner will make you want that body and her sex appeal.
These women knocked down doors for the women to come, but I was surprised that the one issue they missed out on was that women are still not equal in this country. It takes 1, count it 1 state to approve this and yet plays about feminism leave this vital information out.
The show ends with “The Bitch is Back.” they sing in glee. I guess it is ok when we call ourselves that.
Madwomen of the West: The Actors Temple Theatre, 339 West 47th Street through December 31.
“Stereophonic” at Playwrights Horizons Sings Solidly
It’s July 1976, in a recording studio in Sausalito, CA and we are being invited into a space that only a select few get to visit, let alone witness. This is art in the making, pure and simple, with ego and love, getting mixed and faded in through the process most musically. In Playwrights Horizons‘s magnificent new play, Stereophonic, written most delicately by David Adjmi (The Blind King Parts I and II), a band on the cusp of greatness has assembled, and they are tasked, casually and with great intent, to something magnificent and meaningful, a lasting piece of musical art, to follow up their last album that has become, over the timeframe, a breakout hit.
The play is exceptionally well framed and constructed; both musical and meandering, in the best of all possible ways, yet somewhere inside Adjmi’s engaging Stereophonicand its three-hour running time, a deeper level of contextual art formulation is unpacked quite beautifully. It saunters forward, with a complicated level of exhaustion, angst, and inspiration, unearthing something that almost defies expectations and compartmentalization. It’s a 1970s rock saga, clearly modeled on the legendary Fleetwood Mac and their dynamic backstage friction, that leans into and plays with the problematic relationships within this unnamed band as they try to create magic behind a glass wall, while also trying to fulfill their emotional needs in the confines of the studio and real life.
It’s all emotional breakups and reconciliations, with a layer of bored and sleep-deprived banter; around a broken coffee machine and the annoying reverberations of (not only) the drum. It’s electric and conflictual, playing havoc on every one of these characters’ insecure hearts, while offering up no grand solutions or final product. Stereophonic is all about the tiny details and the little frustrations that grow and become emotional cannonballs bent on destruction, leveled and defused out of an undercurrent of love and need for creation. It is incandescent in its artful construction, displaying and writing about a realm few of us can understand. It’s the agony and ecstasy that lives and sings inside the magnificent creative process of musicians, arts, singers, and writers, who hear aspects that most of us can’t understand, let alone hear or comprehend. And we have been invited in, to bear witness to its creation, in all its meticulously dull and exhausting detail. Giving light to the darkness of the process, and how art can both create and destroy those involved in its coming to life.
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