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Off Broadway

Stratford Festival R+J Finds The Descriptive Power in Those Lines



I tried to wipe away the annoyance of a fellow theatre goer who was complaining to the very patient box office person about how terrible her seats were. “I can’t really see the stage, and we booked it sooo long ago, for our anniversary! There’s got to be something you can do! I’m so disappointed with you all!” Little did she know that this production had a lot to say about the visual, but I really tried to separate myself as I waited patiently behind her to pick up my ticket. She went away furious, but somewhere, deep inside me, I hoped she found some release, or at least a sense of peace, as it was a beautiful and warm Sunday afternoon in Stratford, Ontario, and we were about to see some live theatre, something we have all been missing for so long. And for me, especially after reading a bit about the stance of the production, this event was about something much bigger than great sight lines.

So I made my way into the Festival Theater’s tent, the one they had erected beside their main stage for their intrepid new take on Shakespeare’s Romeo and Juliet, entitled R+J. My heart was big and wide open, looking forward to the mystical transportation away from the silly world of good seats or bad. This was the second production of the weekend, with The Rez Sisters the evening before being the first live and in-person play that I have seen since March 2020 (that review will be coming soon). But more importantly, R+J was about something big and important; love, desire, connection, and how it can bring disaster and heartbreak to those who don’t see it for its true value. 

Eponine Lee (left) as Juliet and Dante Jemmott as Romeo in RJ. Photography by David Hou. Stratford Festival 2021 Romeo and Juliet

Directed by Ravi Jain (Soulpepper’s Animal Farm), a magnificent theater creator, who is credited, alongside Christine Horne (The Thistle Project’s Gorey Storey) and Alex Bulmer (Common Boots’ Scadding), with this fascinatingly adept adaptation, the production finds its stance inside the convoluted and guilt-ridden mind of its central character, the Friar, portrayed with an intense and touching despair by the luminous blind actor, Bulmer. Her Friar is flooded with memories, both happy and terribly sad, for their pivotal role in the tragic outcome of these two lovers, Romeo and Juliet. The words and actions play havoc with their mind, as Bulmer’s Friar frets their time on this detailed set, courtesy of designer Julie Fox (Stratford’s Macbeth) and lighting designer André du Toit (Evermore’s Dry Powder). The conceptualization is ripe for interpretation, as it spins around through the muck of the Friar’s memory, rehashing an ending that is troubling and disturbing to their spiritual core.

Just as the director did with Prince Hamlet in a 2017 production that I have, sadly, only read about, this classic Shakespearean tragedy becomes the floor plan of something bigger and more investigative. With Prince Hamlet, Jain centered his production around a performance by a deaf theatre artist, Dawn Jani Birley, as Horatio, using American Sign Language as the medium to unfold this recounting. In a similar manner, this inventive director has taken the well-known tragic tale of these two star-crossed lovers, and unearthed a different central beating heart, the one found inside the blind Friar who can’t help but feel the weight of their untimely death during their every waking moment. Bulmer, captivating in the role, for the most part, shapes the structure around that heart, giving a descriptive shape and form to every element that is engaged with, and every torturous memory that assaults the Friar’s mind and soul.

Eponine Lee (left) as Juliet and Tom Rooney as Nurse in RJ. Photography by David Hou. Stratford Festival 2021 Romeo and Juliet

In the beginning, before we dive headfirst into the drama of the day, they all file out and line up; all of the actors who are about to embody this tale, explaining who they are, and how they look and are dressed. It’s a telling nod to the seeing-impaired stance of the production, in the same way that all actions, stage directions, and notes are described verbally by someone in the cast throughout. This formulation is a compelling configuration, adding a poetic edge to the proceedings and the surroundings, especially with the descriptions by Dante Jemmott, who is making his Stratford debut as our dynamic Romeo, who, as written, adds a smart layer, like they all do, that reminds us of the play’s and specifically, his character’s lyric romanticism. It is his downfall in a way, and his heart, in a way, that stand out here inside his descriptive text, as we are drawn inward by the Friar to the past, and to the couple’s enchantment with each other, and idea of eternal instantaneous love. ‘Love at first sight’, you might say, but here, inside this strategic production that is constructed with the seeing-impaired in mind, that the concept is played with and unpacked musically (thanks to composer and sound designer Thomas Ryder Payne), as never before and with such expertise.

As the deconstruction of the remembrances flow forth, the power of the lines spoken are lifted up and inwards becoming musical songs and duets that fill the space with such a strong aroma of love that it’s hard to take in emotionally sometimes. I have seen this tragic story enacted so many times that it sometimes, if not done extremely well, struggles to enter fully into this lovestruck world of pain and magic, but here, with the tender inclinations of Jemmott’s Romeo and Eponine Lee’s (Shakespeare in the Ruff’s The Winter’s Tale) magnificent Juliet, this particular restructuring of R+Jpulls us in with a language and an air that wraps itself around us with ease, making each of their scenes magical and captivating. We feel their innocence tug, and even though we are only verbally told about their intense physical interactions, we never actually see them embrace or kiss. They barely even touch one another, if my memory holds, which is appropo to this production, I suppose. Now, whether this is a COVID creation or an outward artistic construct, I’m not sure, but they, as well as that beautifully choreographed fight scene with Benvolio, dynamically portrayed by Lisa Nasson (Roseneath’s Spirit Horse), and Mercutio, cleverly played by Sepehr Reybod (Theatre ARTaud’s Blood + Soil) against a nasty seething Tybalt, compellingly portrayed by the brilliant Beck Lloyd (Lloyd also shifts seamlessly back and forth when she plays the complex and fascinating Lady Capulet), the idea uncovers much, shedding light on the emotional core, and delivering the stabs as painfully clear as any fight choreographer could possibly create. 

Beck Lloyd as Tybalt in RJ. Photography by David Hou. Stratford Festival 2021 Romeo and Juliet

The set-up is brilliant, in theory and action, although sometimes, I must admit, that even with the intimacy that this show enlists, the energy occasionally stalls when the focus sits too long on the heart-broken Friar sitting in a chair pinning for the failure of the plan. But all that is forgotten the moment Tom Rooney (Stratford’s Tartuffe) appears as the Nurse. Rooney finds layers upon layers in this role, completing the sentences of their ward, the bold shy Juliet, filling in the tender spaces of attachment with every smile and nod. It’s a captivating engagement, worthy of the biggest praise that I have heaped on any actor in this role since Mariam Margolyes opened my eyes to the part’s brilliance in Baz Luhrmann’s epic and marvelous film version, “Romeo + Juliet.” (Yes, I’m noticing the parallel “+” as a signal for some strong reimagining from within. A fascinating equation.) Speaking of that film, I did ponder and miss Paul Rudd’s Dave Paris in his spaceman suit (when don’t I?), while also wondering what the legendary Pete Postlethwaite would have done with the role, like he did in the film version as the Father/Friar. But hold on, now I’m just fantasizing. 

Deep in this fascinating reconstruction, the haunting alliance is so happily proved. The passionately powerful Mercutio and Tybalt fight overlap with the descriptive violence inside the Friar’s mangled memory. The guitar playing teenage nightingale that is Juliet, is quickly knocked about by Rick Roberts’ visceral portrayal of Capulet, overturning the tenderness with a blast of violence that unhinges the complex Lady Capulet, regally embodied by Lloyd (Stratford’s Richard III) all dressed in stylish white. As the memories of the Friar race to the already known deathly conclusion, with all the cast mourning and turning away from the doomed separated lovers, tears surprisingly welled up in my eyes. This play, even when well done, is so known to me that it rarely affects me that authentically, leaving me speechless and connected. I can only imagine how magnificent this concoction would be in the darkened theatre, reconstructing murky memories in pools of light that aren’t possible outdoors, but stop, once again I am fantasizing. The Friar’s epilogue over-explains the guilty confessional in the end, once again stalling the proceedings, but the lump in my throat steadfastly remains, making me take in the sadness of this known outcome as if it was new. In its blindness, this R+J soars, finding a tender engagement in its descriptive telling that is as dazzling and connecting as one could possibly hope for. 

Members of the company in RJ. Photography by David Hou. Stratford Festival 2021 Romeo and Juliet

For more from Ross click here

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 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


Drama Desk Awards Backstage In The Press Room



T2C was backstage at the Drama Desk Awards last night. Here is a look at the action.

First in the room:

Kara Young

Celia Keenan-Bolger

Celia Keenan-Bolger and Jessica Lange

Jessica Lange

Sarah Paulson

The Cast of Stereophonic-Will Brill, Sarah Pidgeon, Juliana Canfield, Andrew R. Butler, Tom Pecinka, Chris Stack and Eli Gelb

Nikiya Mathis

JR Goodman, Ray Wetmore and Camille Labarre

Nikki M. James

Patrick Page

Enver Chakartash

Paul Tazewell

Cole Escola

How to Dance in Ohio cast members that includes-Liz Weber, Jeremy Wein, Ava Xiao-Lin Rigelhaupt, Nicole D’Angelo and Becky Leifman

Paul Tate dePoo

Avran Mlotek, Motl Didner, Dominick Balletta and Zalem Miotek

Jane Cox

Brian MacDevitt

Brian MacDevitt and Jane Cox

Isabella Byrd

Ryan Rumery

Walter Trarbach, Cody Spencer and Kai Harada

David Yazbek

Itamar Moses

Lady Irene Gandy

Nathan Lane and Matthew Broderick

Matthew Broderick

Nathan Lane

Will Butler

Marco Paguia

Shaina Taub

Justin Peck

Daniel Aukin

Jessica Stone

Corbin Bleu and Sarah Hyland

Andre Bishop and James Lapine

Keisha Lewis

Maleah Joi Moon, Brian d’Arcy James and Kelli O’Hara

Maleah Joi Moon

Keisha Lewis and Maleah Joi Moon

Kelli O’Hara

Brian d’Arcy James

Peter Nigrini

Carole Rothman and Branden Jacobs-Jenkins

Amy Herzog

David Adjmi

Adam Greenfield, David Adjmi

Sarah Hyland and Debra Messing


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The 2024 Winner’s Of The Drama Desk Awards The Red Carpet



The 2024 Annual Drama Desk Awards were announced last night at NYU Skirball Center. Tony Award Winners Sutton Foster and Aaron Tveit hosted the ceremony.

Sutton Foster and Aaron Tveit

Aaron Tveit

Sutton Foster

T2C was on the red carpet.

Andrew Durand

Jeff Kuperman and Rick Kuperman

William Jackson Harper

Shaina Taub

Peter Nigrini

Kecia Lewis

Celia Keenan-Bolger

Jocelyn Bioh

Laura Benanti

Jesse Robb and Shana Carroll

Jessica Lange

Camille Labarre, Ray Wetmore and JR Goodman

Michael Starobin, Andrea Grody and Shaina Taub

Will Brill

Sarah Paulson

Richard Ridge

Sarah Hyland

Maleah Joi Moon

Patrick Paige

Brooke Shields

Brooke Shields, Maleah Joi Moon

Brian D’Arcy James

Will Keen

Michael Stuhlbarg, Will Keen

Mary Louise Burke

Isabella Byrd

Justin Peck

Kara Young

Marco Paguia

Miss New York Rachelle diStasio

Josh Breckenridge

Lorin Latarro

Ricky Ubeda

Glauco Araujo

Dorian Harewood and Nancy Harewood

Mark Williams

Brody Grant

The Cast of Stereophonic-Andrew R. Butler, Will Brill, Tom Pecinka, Juliana Canfield, Eli Gelb, Chris Stack and Sarah Pidgeon

Paige Davis and Patrick Page

James Monroe Iglehart

Sarah Pidgeon

Nikiya Mathis

Montego Glover

Cole Escola

Tom Pecinka

Chris Stack

Leslie Kritzer

Miriam Silverman

Andrew R. Butler

Pat Swinney Commissioner of the Mayor’s Office of Media and Entertainment with Juliana Canfield

Juliana Canfield

Enver Chakartash

Robert Pickens and Katie Geil

Will Butler

David Adjmi

Daisy Prince

Debra Messing

Lena Hall

Debra Messing

Nikki M. James

Michael Stuhlbarg

Paul Tazewell

Camille A. Brown

Marin Ireland

How To Dance in Ohio-Liz Weber, Jeremy Wein, Ava Xiao-Lin Rigelhaupt, Nicole D’Angelo and Becky Leifman

Jacob Karr

Dylis Croman and Robert Montano

Eli Gelb

Walter Trarbach

Steven Valentine

Peter Charney and Brendan George

Rebecca Frecknall

Lady Irene Gandy

Timo Andres


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The 2024 Winner’s Of The Drama Desk Awards With Interviews



Photo Aaron Tveit and Sutton Foster Photo by Genevieve Rafter Keddy

The 2024 Drama Desk Awards were a star-studded ceremony at NYU Skirball Center co-hosted by Sutton Foster and Aaron Tveit. This is the only major NYC theater awards for which Broadway, Off-Broadway, and Off-Off-Broadway productions are considered in the same categories. Two recipients in each of the gender-free performance categories were announced and in some categories not only were their ties but three winners selected.

The winners are:

Outstanding Play: Stereophonic, by David Adjmi, Playwrights Horizons

Outstanding Musical: Dead Outlaw

Outstanding Revival of a Play: Appropriate, Second Stage Theater

Outstanding Revival of a Musical: I Can Get It for You Wholesale, Classic Stage Company

Outstanding Lead Performance in a Play:
Jessica Lange, Mother Play, Second Stage Theater

and Sarah Paulson, Appropriate, Second Stage Theater

Outstanding Lead Performance in a Musical: Brian d’Arcy James, Days of Wine and Roses, Atlantic Theater Company, Maleah Joi Moon, Hell’s Kitchen and Kelli O’Hara, Days of Wine and Roses, Atlantic Theater Company

Outstanding Featured Performance in a Play:
Celia Keenan-Bolger, Mother Play, Second Stage Theater and Kara Young, Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch

Outstanding Featured Performance in a Musical: Kecia Lewis, Hell’s Kitchen and Bebe Neuwirth, Cabaret at the Kit Kat Club

Outstanding Direction of a Play:
Daniel Aukin, Stereophonic, Playwrights Horizons

Outstanding Direction of a Musical:
Jessica Stone, Water for Elephants

Outstanding Choreography: Justin Peck, Illinoise, Park Avenue Armory

Outstanding Music:
Shaina Taub, Suffs

Outstanding Lyrics: David Yazbek and Erik Della Penna, Dead Outlaw

Outstanding Book of a Musical: Itamar Moses, Dead Outlaw

Outstanding Orchestrations: Marco Paguia, Buena Vista Social Club, Atlantic Theater Company

Outstanding Music in a Play:
Will Butler, Stereophonic, Playwrights Horizons

Outstanding Revue: Amid Falling Walls, National Yiddish Theatre Folksbiene

Outstanding Scenic Design of a Play: David Zinn, Stereophonic, Playwrights Horizons

Outstanding Scenic Design of a Musical: Paul Tate DePoo III, The Great Gatsby (includes projections)

Outstanding Costume Design of a Play:
Enver Chakartash, Stereophonic, Playwrights Horizons

Outstanding Costume Design of a Musical:
Paul Tazewell, Suffs

Outstanding Lighting Design of a Play: Jane Cox, Appropriate, Second Stage Theater

Outstanding Lighting Design of a Musical:
Brian MacDevitt and Hana S. Kim (projections), The Outsiders

Outstanding Projection and Video Design: Peter Nigrini,Hell’s Kitc

Outstanding Sound Design of a Play: Ryan Rumery, Stereophonic, Playwrights Horizons

Outstanding Sound Design of a Musical:
Nick Lidster for Autograph, Cabaret at the Kit Kat Club, Cody Spencer, The Outsiders and Walter Trarbach, Water for Elephants

Outstanding Wig and Hair:
Nikiya Mathis, Jaja’s African Hair Braiding, Manhattan Theatre Club

Outstanding Solo Performance:
Patrick Page, All the Devils Are Here: How Shakespeare Invented the Villain

Unique Theatrical Experience: Grenfell: in the words of survivors, St. Ann’s Warehouse, National Theatre, and KPPL Productions

Outstanding Fight Choreography: Cha Ramos, Water for Elephants

Outstanding Adaptation: An Enemy of the People, by Amy Herzog

Outstanding Puppetry:
Ray Wetmore, JR Goodman, and Camille Labarre, Water for Elephants


Ensemble Award

The cast of Stereophonic – Will Brill, Andrew R. Butler, Juliana Canfield, Eli Gelb, Tom Pecinka, Sarah Pidgeon, and Chris Stack – who execute David Adjmi’s hypernaturalistic text with extraordinary care and precision, while also performing Will Butler’s music with the freshness and life that makes us believe we are witnessing, first-hand, the creation of a new American classic.

‘Sam Norkin Off-Broadway Award

Cole Escola, who both wrote and stars in one of this season’s biggest hits Off Broadway, Oh, Mary! Following in the long legacy of queer artists who write themselves into American history, Escola’s new “gay fantasia on national themes” is a hilarious reminder of why we must continue to interrogate our past.


How to Dance in Ohio Authentic Autistic Representation Team – Sammi Cannold, Nicole D’Angelo, Becky Leifman, Ava Xiao-Lin Rigelhaupt, Liz Weber, and Jeremy Wein  – for their steadfast support of autistic theatermakers, and their strides toward true accessibility for neurodiverse individuals both on and offstage.

Lighting designer Isabella Byrd, whose self-described technique as a “darkness designer” has earned her a cache of nominations and awards in the United States and abroad. During this season, Byrd illuminated two Broadway shows done in the round, An Enemy of the People and Cabaret at the Kit Kat Club. Off Broadway, her spotlight on quiet, small-scale stories both enchanted us in Primary Trust and mesmerized us in Infinite Life, with a parking-lot sky that marked the passage of time.

Lady Irene Gandy, for career achievement. A press agent extraordinaire for over five decades, Lady Irene has always demonstrated her passion, dedication, and love for theater. A Broadway producer and Sardi’s honoree, she is a zealous advocate for inclusion, diversity, and equity in the arts.


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Live From The Hotel Edison Times Square Chronicles Presents David Zayas Jr.



We are so pleased to announce our guest this week is David Zayas Jr.

David Zayas Jr. is making his Off-Broadway directorial debut with Simpatico at The Chain Theatre, 312 West 36th Street 3rd Fl. Simpatico plays until June 29th. David most recently directed the Jesus Hopped the A Train staged reading starring Common, John Ortiz, and David Zayas. David also directed LABs 30th Anniversary and the Barn Series, which included three New Works in progress by Stephen Adly Gurgis. A Bronx Native, theater and film Director, Actor, and Photographer, David is a member of The Actors Studio’s Playwright/Directors Unit and LAByrinth Theater Company. He has directed with Planet Connections, Actors Theatre of NY, NY Theater Festival, Samuel French OOB Festival, and Chain Theatre along with award winning films in over 20 festivals.

“Live From The Hotel Edison Times Square Chronicles Presents ”, is a show filmed at the iconic Hotel Edison, before a live audience. To see our past episodes; First episode click here second episode click here,  third episode click here, fourth episode click here, fifth episode click here, sixth episode here, seventh episode here, eighth episode here, ninth episode here, tenth episode here, eleventh episode here, our twelfth episode here, thirteenth episode here, fourteenth here, fifteenth here , 16th here, 17th here and 18th here.

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Off Broadway

David A New Musical Opens At The AMT Theater



David, A New Musical, with music by Al Tapper, book and lyrics by Martha Rosenblatt, Gary Glickstein, and Tapper opened yesterday at the AMT Theater. With the music direction by David Wolfson, direction and choreography by Kyle Pleasant, this show does well, on all these accounts, which is remarkable considering there are 14 in the cast. All sing and move incredibly well.

Timothy Warmen, Kenny Morris, Caleb Mathura
Photo Credit: Russ Rowland.

David is the biblical story of David of David and Goliath fame. Now King, David (Timothy Warmen) feels he is dying and wants to set his affairs in order. His son Solomon (Caleb Mathura) seems a bit too delighted and is chomping at the bit. David wants the prophet Nathan (Kenny Morris) to officiate, but Nathan is not interested. So David goes back down memory lane. Here we meet the younger version of David (Ethan Zeph), who slays the giant, because friends with King Saul’s (Danny Arnold) son Johnathan (Jacob Louchheim) and falls and marries Saul’s daughter Michal (Olivia Vadnais).

Ethan Zeph (center) and cast
Photo Credit: Russ Rowland.

In Act two David makes a deal with Achish (Jay Aubrey Jones) a Philistine, cheats on Michal, even though she gave up everything to be with him and somehow Sodom and Gomorrah gets in the picture. All through this, Nathan claims he was not really chosen by God, but by the end David is not dying …..yet and the two recognize their friendship.

Pictured: L to R: Danny Arnold, Jacob Loucheim, Ethan Zeph, Timothy Warmen and cast
Photo Credit: Russ Rowland.

There are a few things missing here, first David was known for his legendary skills as a poet, harpist, and hymnist. Saul plotted to kill David way before Michal, out of fear he would replace his sons, which he did. A chance for some real fun with Bathsheba, is null and void instead we get a seriously boring plot line and mundane songs with Michal. Also please somebody tell me why young David has brunette hair, when it is mentioned several times in text and song that he has blondish/reddish hair? Change the text or the hair.

Kenny Morris, Ethan Zeph, Timothy Warmen and cast

The reason I mention the later is what is done to perfection is the set design by James F. Fenton and the costume design by Ashley Soliman.  Though I like the  lighting design by Mary Ellen Stebbins at times the show is too dark. Sound designer Elisabeth Weinder needs to listen to the show as the sound is uneven and the drums over power at times.

The direction and choreography are impressive considering the size of the stage and the amount of people on it. I just wished the show had been cut because it is way too long at two and half hours. The audience loses focus as the show is not tight enough and has way to many songs that seem unfocused.

In reading Mr. Tapper’s extremely long bio, the fact that there is an over abundance of songs makes sense. Though catchy, many are generic. The score is inconsistent, but has some wonderful themes that if edited could really be good. A prime example of this is the opening number which is good, but does not tell us really where we are going, as David is not dying and Solomon is not going to be king for awhile, at least not according to the end of the show. A better song would have been based on the fact King David doesn’t want to be remembered as the kid with the slingshot, which he is. Now there is a clear picture of where we are going.

Curtain Call photo Genevieve Rafter Keddy

The cast also excels here especially the scenes with King David and Nathan and ones with Johnathan. All three are terrific actors with wonderful voices.

Curtain Call photo Genevieve Rafter Keddy

Kudos has to be given to he ensemble consisting of Ashley Marie Arnold, Blair Alexis Brown, Bruce Blanchard, Scott Harrison, Garland Ray, and Jodi Snyder. They sing, act and dance well.

Curtain Call photo Genevieve Rafter Keddy

While David, A New Musical, has a lot to work on, it is well done for an Off Broadway show and I wish it well.

David, A New Musical: AMT Theater, 354 W. 45th Street until July 13.

Opening Night Photo’s Genevieve Rafter Keddy

Ethan Zeph, Olivia Vadnais 

Olivia Vadnais

Ethan Zeph

Ethan Zeph, Al Tapper

Al Tapper

Timothy Warmen

Ethan Zeph, Timothy Warmen

Jacob Louchheim

Garland Ray

Garland Ray, Ashley Marie Arnold

Ashley Marie Arnold

Gary Glickstein, Al Tapper

Scott Harrison

The cast

The cast

Jay Aubrey Jones

Kenny Morris

Al Tapper, Kenny Morris

Gary Glickstein, Blair Alexis Brown, Garland Ray

Jay Aubrey Jones, Blair Alexis Brown

Blair Alexis Brown

Caleb Mathura, Jodi Snyder, Danny Arnold

Olivia Vadnais, Ashley Marie Arnold, Blair Alexis Brown

Jacob Louchheim

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