George Takei Photo by Joan Marcus

Sondheim wrote in his fascinating (and time sucking) book, ‘Finishing the Hat‘, about a Japanese screen he saw one afternoon at the Metropolitan Museum. It was a three panel work of art that was more about what was omitted than what was depicted, inspiring Sondheim to attempt the same with the 1976 musical, Pacific Overtures. The adage about “Less is More” was incorporated not just by Sondheim in the writing of this beautiful but slightly off-putting musical, but in John Doyle’s presentation of this tale. Doyle, the infamous director of the scaled down musical revivals recently seen on Broadway (The Color Purple, Sweeney Todd, Company) is at it again, simplifying another one of Sondheim’s shows (music/lyrics: Sweeney Todd, Sunday in the Park with George, two of his shows currently on stage in NYC) at Classic Stage Company. Just like he did a few years back with Sondheim’s dark and obscure classic, Passion, he’s whittled down the space inside this small East Village theater and has come out with a distant but thoughtful tale, much like the isolated Japan, being dragged into the western culture, for better or worse. Designing the stage in an attempt to bring focus on the simple story and the loveliness of the music, he brings it back to the basics, just like the screen that inspired Sondheim to write what he called his most “unadorned” and “lean lyrics”. That leanness is keenly apparent from the moment we enter and see the white runway that is the stage.

It’s a fascinating slice of history centered around ancient Japan, and the slow integration of that island and culture into the world’s market place. Custom and old protective law for centuries forbid any foreigner to set foot on the land of the island, but when a fisherman, Manjiro, played solidly by Orville Mendoza (CSC’s Passion) who was lost at sea, and rescued by an American ship, arrives back on the sacred Japanese soil with news of American ships approaching, the Shogun and his Councilors must decide how to deal with the world coming to their doorstep. It’s a history play, set to music, about the the difficult westernization of Japan told from the point of view of the Japanese, and in particular, on the lives of two friends caught in the charge. Within that friendship is the emotional heart of this story, and the one component that pulls us in.

Steven Eng, Megan Mask Haley, Ann Harada.Photo by Joan Marcus

It’s 1853 Japan, and Commodore Matthew Perry is sailing a fleet of ships towards this country with the goal to open trade relations at any cost. Enlisted to solve the doom that is approaching is a simple and kind young Samari, Kayama, wisely and sweetly portrayed by Steven Eng (Paint Your Wagon). He leaves behind his wife, Tamate, a still and kind Kimberly Immanuel (understudy for Megan Masako Haley) to head out and try to stop the Americans, with the help of the fisherman. Playing a strong voiced teacher/narrator, The Reciter, George Takei (Allegiance) majestically guides us through this unique moment in history, one that is filled with fascinating details and interesting tidbits. But does it make a compelling musical?

One wouldn’t think so. But there is an elegance to the story telling, a lovely culturally pointed design and directing point of view, some beautiful singing, and one can’t deny the Sondheim style. His trademarked sound is stamped all over this story, and one can’t help but be reminded of other more compelling stories he has told, like Into the Woods and A Little Night Music. His songs are small stories wrapped in a puzzle, telling us history without relating it action by action (much of what I didn’t like about the much loved, Tony nominated Natasha, Pierre, and the Great Comet of 1812). A perfect example is the unique telling of the meeting between the Americans and the Councilors in a treaty house erected solely to receive them, ‘Someone in a Tree“. It is sung by an old man, a wondrous Thom Sesma (Disney’s The Lion King); a warrior, Kelvin Moon Loh (The King and I, Side Show), who hides under the floor in case he is needed; and a boy, Austin Ku (CSC’s Iphigenia in Aulis) to the curious Reciter who wishes more was known about what was said behind those closed doors on that historic day. It’s an interesting take on an event where few details are known, but a compelling re-creation of those who had a glimpse, but didn’t see or hear the whole story. It connects without resonating or being that emotionally deep, which in itself is what could be said about this creative and detailed musical.

Thom Sesma, Megan Masako Haley, George Takei, Marc Oka — Thom Sesma, Megan Masako Haley, George Takei, and Marc Oka Photo by Joan Marcus

Simply dressed in clothes that don’t represent the time period at all, Ann Hould-Ward (*The Visit*) in a very different approach to other productions, has forgone old Japanese costuming and uses swathes of fabric over simple modern dress to give clues to titles and positions of power. It’s as simple as it comes, just like the lighting design by Jane Cox (*Amelie*, NYTW’s *Othello*) and the sound by Dan Moses Schreier (*Falsettos*) working on the same strong theatrical ideal that inspired Sondheim. Musically, this piece is lovely and moving (orchestrations: Jonathon Tunick; music supervisor: Rob Berman; music director: Greg Jarrett; music coordinator: Seymour Red Press) and the story being told by book writer, John Weidman (*Assassins, Road Show*), is a fascinating slice of history that fluctuated between ‘America the Great’ and ‘America the Oppressor’. In what is generally the opening number of Act 2 (here Doyle has tightened the piece, wisely, into a one act 90 minute piece suitable to the story), the song ‘*Please Hello*‘ represents the world at Japan’s doorstep. The countries demand Lord Abe, the First Councilor (Sesma) to the Shogun to sign treaties with each of them, granting various trade alliances. Each country is wonderfully and hilariously represented by an Admiral; the French Admiral, portrayed by the my favorite cast member, Ann Harada (*Avenue Q*), British Admiral (Ku), Russian Admiral (Moon Loh), American Admiral (Karl Josef Co), and the Dutch Admiral played by Marc Oka (*The King and I*). Each one showcases the aggressive style of the western world forcing themselves on a country that had tried for centuries to remain disconnected and untangled from these oppressive colonizers. The outside world has come and forced itself on this ancient civilization, and as the story veers off in a dizzying side story of murder and revenge, the end apparently has come to the old ways. My fellow theater companion, who witnessed his first Sondheim show that afternoon, wondered if America was being seen in a positive or negative light in the final moments of this complex show. It’s not so obvious in this production, but the Western world appears to be forcing itself onto the shores of Japan in a violent intrusion; culturally apocalyptic in nature. It’s a disturbing scenario to take in at the end of a slightly detached musical. But leave it to the wonderful Takei to solidify the moment:

“There was a time when foreigners were not welcome here. But that was long ago…” the Reciter says, “Welcome to Japan.”

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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

Off Broadway

Golden Rainbow…indeed!

Published

23 hours ago

September 29, 2023

Writer

By Jacqueline Parker

Nature’s reward for enduring a spate of rain and gloomy weather is a rainbow. The York has delivered just that in their latest production in their Mufti series, Golden Rainbow. This musical from the late 60s is always mentioned among aficionados of this art form with wistful smiles and fond remembrances. The York has brought it back to life in a version that features some new lyrics by original composer/lyricist Walter Marks that carry the storyline into this century.

Robert Cuccioli , Max Von Essen
Photo Credit: Rider R. Foster

From the opening notes of the Jule Styne-esque overture to the rousing finale, the audience was toe-and-finger tapping along to the sounds so evocative of the time when most of us were very young. The story itself is touching—a single father of a boy on the brink of teenhood must wrestle with the choice of saving his livelihood or letting his son move to the other side of the country with his aunt. The connection between father and son is made clear through several songs delivered touchingly by dad Max Von Essen and son Benjamin Pajak.

Mari Davis Photo Credit: Rider R. Foster

The arrival under a false pretense of Mara Davi as Aunt Judy sets the plot spinning and allows Robert Cuccioli as mobster Carmine Malatesta and Danielle Lee Greaves as Jill to play their part in the resolution with songs hilarious and touching.

Max Von Essen and Mara Davis Photo Credit: Rider R. Foster

If the story seems familiar it’s because it is taken from the film “A Hole in the Head,” based on the same source material, that starred Frank Sinatra and Eddie Hodges singing the Oscar-winning song High Hopes. Golden Rainbow opened in 1968 starring Steve Lawrence and Eydie Gorme in the leads. They were household names at the time, based on their talent and popularity from television appearances and cabaret performances.

Max Von Essen and Benjamin Pajak
Photo Credit: Rider R. Foster

Perhaps most impressive in this production was Von Essen’s version of the hit song “I Gotta Be Me.” It was haunting as it built in intensity and left the audience almost breathless at the end of Act 1.

Benjamin Pajak
Photo Credit: Rider R. Foster

Pajak, familiar to all from his recent appearances in Oliver! and The Music Man was astounding in his ability to project the at times heartbreaking and lovingly joyous emotions of his character.

Mari Davis Photo Credit: Rider R. Foster

Mara Davi’s character has her own roller coaster ride of emotions, which she transmits with style and conviction.

Robert Cuccioli Photo Credit: Rider R. Foster

Robert Cuccioli was hilarious as a mobster singing Taste,

Danielle Lee Greaves Photo Credit: Rider R. Foster

and Danielle Lee Greaves delivered two of the new songs, making me hope for a new recording of this terrific show soon.

Max Von Essen and Benjamin Pajak
Photo Credit: Rider R. Foster

The clock is ticking on this gem of a show – it closes Sunday, October 1st. Get your tickets at yorktheatre.org and find your own pot of gold at the end of this rainbow.

Max Von Essen and Mara Davis Photo Credit: Rider R. Foster

Broadway

Theatre News: Here We Are, Some Like It Hot, A Beautiful Noise, All The Devils Are Here: How Shakespeare Invented The Villain and The Laramie Project

Published

23 hours ago

September 29, 2023

Suzanna Bowling

The curtain rose last tonight on the first performance of the final Stephen Sondheim musical. Here We Are, the new musical from David Ives and Sondheim, is on stage at The Shed’s Griffin Theater (545 W. 30^th Street), with an Opening Night on Sunday, October 22, for 15 weeks only.

Directed by two-time Tony Award winner Joe Mantello, the cast of Here We Are will feature Francois Battiste, Tracie Bennett, Bobby Cannavale, Micaela Diamond, Amber Gray, Jin Ha, Rachel Bay Jones, Denis O’Hare, Steven Pasquale, David Hyde Pierce, and Jeremy Shamos. The understudies for Here We Are are Adante Carter, Lindsay Nicole Chambers, Bradley Dean, Mehry Eslaminia, Adam Harrington, and Bligh Voth.

Here We Are is inspired by two films, The Discreet Charm of the Bourgeoisie and The Exterminating Angel, by Luis Buñuel.

Here We Are will include choreography by Sam Pinkleton, set design and costume design by David Zinn, lighting design by Natasha Katz, sound design by Tom Gibbons, orchestrations by Jonathan Tunick, musical supervision and additional arrangements by Alexander Gemignani, hair & make-up design by Wigmaker Associates, and casting by The Telsey Office.

Tickets are on sale on TheShed.org.

For each performance, a limited number of $25 tickets will be available via a weekly lottery, which will open for entries on the TodayTix app each Sunday at 12:01 AM for the coming week’s performances and will close at 12:00 PM on the day before each performance. Winners will be notified by push notification and email between 1 – 4 PM on the day before their selected show, and will have 30 minutes to claim their tickets in the app. Entrants may request 1 or 2 tickets, and entry is free and open to all.

Via TodayTix’s mobile rush program, a limited number of $40 same-day rush tickets will be available for that day’s performance of Here We Are at 9:00 AM each day on a first-come, first-served basis. Users can download the app and “unlock” rush tickets by sharing the program on social media ahead of their desired performance day.

The most award-winning musical of the 2022-2023 season, Some Like It Hot, will play for 13 more weeks through Saturday, December 30, 2023, at Broadway’s Shubert Theatre (225 West 44^th Street) before launching a national tour and West End production.

Awarded Best Musical by The Drama League, Drama Desk and Outer Critics Circle, Some Like It Hot received over 20+ major awards throughout the 2022-2023 season, including four Tony Awards for Best Lead Actor in a Musical (J. Harrison Ghee), Best Choreography (Casey Nicholaw), Best Orchestrations (Charlie Rosen & Bryan Carter) and Best Costumes in a Musical (Gregg Barnes). J. Harrison Ghee made history as the first non-binary performer to take home the Tony Award in their category.

A national tour will launch in September 2024 and a West End production will follow in 2025, produced by The Shubert Organization and Neil Meron in partnership with Ambassador Theatre Group.

At the time of the final performance, the production will have played the Shubert Theatre for over a year, for a total of 483 performances.

Will Swenson and the cast. Photo by Julieta Cervantes.

Will Swenson, who is electrifying audiences with his star turn in A Beautiful Noise, The Neil Diamond Musical, will play his final performance as ‘Neil Diamond – Then’ at the Broadhurst Theatre (235 West 44^th Street) on Sunday, October 29. Casting for the role of ‘Neil Diamond – Then’ will be announced at a future date.

The unofficial commencement of “spooky season” takes place this Friday, September 29, when Tony Award® Nominee and Grammy Award® Winner Patrick Page returns to the New York stage in All The Devils Are Here: How Shakespeare Invented The Villain, a new work created and performed by Mr. Page, based on the villains of William Shakespeare. Directed by Simon Godwin, the solo show will play the DR2 Theatre (103 E 15^th Street) beginning Friday, September 29, with an Opening Night set for Monday, October 16, for 14 weeks only.

Tickets are now available at allthedevilsplay.com, Telecharge or by visiting the DR2 Theatre box office (103 E 15^th Street).

Julie White

Julie White and Brandon Uranowitz will join Ato Blankson-Wood in a staged benefit reading of The Laramie Project. Moises Kaufman and the Members of Tectonic Theatre Project’s The Laramie Project, will bedirected by Dustin Wills (Wolf Play, Wet Brain). The event, which will raise funds to support the work of The Trevor Project, will take place on Monday, October 16^th at 7:00 PM at Peter Norton Symphony Space, and is being produced by District Productions. Additional casting is soon to be announced. For tickets and more information, visit https://www.symphonyspace.org/events/vp-the-laramie-project-a-benefit-staged-reading

Off Broadway

Meet Michel Wallerstein and Spencer Aste of Chasing Happy

Published

2 days ago

September 28, 2023

Suzanna Bowling

Pulse Theatre will be presenting Chasing Happy a new comedy by Michel Wallerstein (Flight, Five Women Waiting, Off Hand). Directed by Pulse Theatre co-Founder Alexa Kelly (Strings Attached).

Video by Magda Katz

The company of Chasing Happy features Spencer Aste (Wake Up, Axis Theatre), Jenny Bennett (City of Ladies, Pulse Theatre), Schyler Conaway in his Off-Broadway debut, Christopher James Murray (The Falling Season, Theatre Row), and Elizabeth Shepherd (Relatively Speaking and Conduct Unbecoming on Broadway; War and Peace and Inherit the Wind in London’s West End).

T2C talked to Michel Wallerstein and Spencer Aste to learn more.

Chasing Happy is a modern comedy about personal identity, love, acceptance …and the elusive pursuit of happiness. Nick is in love with another man’s boyfriend. (Oops.) Nick’s mother says George Clooney wants to date her (Really?). Nick’s ex-wife says she has to have surgery.( Now?) …It’s a laugh a minute on an unexpected merry-go-round when you’re chasing happy.

The limited engagement will play a five-week limited engagement, October 11 through November 11, at Theatre Row (410 West 42nd Street, NYC). Opening night is Thursday, October 19 at 7PM. Tickets are now on sale at TheatreRow.org or by calling the box office, 212-714-2442 ext. 45.

For more information visit www.ChasingHappyOffBroadway.com.

Off Broadway

Primary Stages’ “DIG” Does Exactly That Into What’s Underground

Published

3 days ago

September 27, 2023

Ross

By Dennis White

The theater is filled with eerie almost tribal music with birds chirping as the audience finds their seats for Primary Stages’ production of DIG at 59E59 Theaters. It’s a new play written by Theresa Rebeck (Bernhardt/Hamlet) who also directs and as the name implies, DIG is not going to let us just see what’s on the surface. This story wants us to DIG to find out what we don’t see going on underground. The play’s setting is a garden shop that we’re told is failing but is filled with what looks like thriving plants.

David Mason in Primary Stages’ DIG at 59E59 Theaters. Photo by James Leynse.

Roger, the owner, played with elegant restraint by Jeffery Bean (Broadway’s Amadeus, Bells Are Ringing) seems content with keeping his shop even though developers are buying up the neighborhood. But Roger is unaware of how his complacent life is going to change thanks to his longtime friend Lou played by Triney Sandoval (Broadway’s Bernhardt/Hamlet), a man who reluctantly has his tormented daughter Megan come live with him. Megan deftly played by Andrea Syglowski (Broadway’s Pass Over) is a woman lost but even though it seems futile, she has not given up – completely. Entering the shop Megan takes a seat in the corner facing the wall attempting to camouflage herself in greenery covering her face with a hoodie.

Greg Keller, Jeffrey Bean, and Andrea Syglowski in Primary Stages’ *DIG,* photo by Justin Swader.

She has committed an unforgivable act that has made national headlines. After a failed suicide her father agrees to supervise his daughter’s release even though he cannot forgive her. Megan reaches through her pain and within minutes she offers to repot a plant hoping to convince Roger he needs her help and she’ll work for free. You can feel how Syglowski’s Megan feels caught like the plant’s bound roots pushing against the sides of the pot, trapped and in pain. But she sees hope in the garden shop and Roger. The relationship between Roger and Megan is tenuous at first but the actors reel in the audience. The garden shop is coming alive as a place where they can both grow but it’s not as easy as they find out.

The rest of the cast is vital as they build the grotesque puzzle pieces of Megan’s horrifying past with pros like Mary Bacon (Public’s Coal Country) as Molly. Bacon does a good job as the judgmental nosy customer who turns into a helping hand. Stoner Everett aptly played in what can be described as a life lived in a pot cloud haze by Greg Keller (Playwrights Horizons’ The Thanksgiving Play) seems like a comical diversion but there’s a darker side coming. A surprising element is the appearance of Adam, Megan’s ex-husband, played with the intensity of a caged animal by David Mason (Broadway’s Pictures from Home) who makes the most of this small part. You can feel the audience cringing through the entire scene as writer/ director Theresa Rebeck finally gets her chance to see her play fully realized as she saw it in her mind, line by line.

Jeffrey Bean and Mary Bacon in Primary Stages’ *DIG*, photo by James Leynse.

DIG takes us to places we could not imagine when we first meet the characters. She builds relationships, tears them down, and then gives them some hope by the end. The play’s surprising revelation leaves the audience stunned, gasping at the turn of events and the secrets revealed. Rebeck’s direction seems effortless, moving her actors in the garden shop through this story of realization, forgiveness, and redemption. The scenic design by Christopher and Justin Swader (Off-Broadway’s The Boy Who Danced On Air) fill the garden shop with life, growing and changing reflecting the events of the play. Lighting by Mary Ellen Stebbins (MCC’s Space Dogs) helps set the mood with deep shadows and the original music and sound design by Fitz Patton (Broadway’s Choir Boy) give us an ominous melody to add to the tension, giving DIG a chance to get a lot of it right. The cast led by Syglowski and Bean hit all the right notes as they travel through tormented waters, some raging, while others swirl below the surface. Rebeck’s play with its unexpected twists and turns wrenches our guts and we follow gladly to the end.

Jeffrey Bean and Greg Keller in Primary Stages’ *DIG*, photo by James Leynse.
For more information and tickets, visit primarystages.org/.

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Ken Fallin's Broadway

Ken Fallin’s Broadway: Dracula: A Comedy Of Terrors

Published

6 days ago

September 24, 2023

Ken Fallin

Dracula: A Comedy of Terrors, is now playing at New World Stage, 340 West 50th Street, until January 7, 2024 or beyond.

In this caricature you will find James Daly’s Dracula and clockwise: Andrew Keenan-Bolger, Arnie Burton, Ellen Harvey and Jordan Boatman who make up this amazingly talented cast.

You can read T2C’s mouth watering review here.