The New Group Off Stage, a new venture from Off-Broadway’s The New Group in association with John Ridley’s Nō Studios and Frank Marshall, launches with Waiting for Godot, by Samuel Beckett, with Ethan Hawke, John Leguizamo, Wallace Shawn, Tarik Trotter and Drake Bradshaw. Waiting for Godot will premiere online Thursday, May 6 at 7PM EST, and available to stream at the www.thenewgroup.org.
Directed by Scott Elliott, this work features Ethan Hawke (Vladimir), John Leguizamo (Estragon), Wallace Shawn (Lucky), Tarik Trotter (Pozzo) and Drake Bradshaw (Boy).
Waiting for Godot will premiere Thursday, May 6 at 7PM EST and be available to stream online at The New Group website.
On demand viewing can be purchased beginning Monday, April 12. Tickets are $19.99 for a 72 hour (3 day) rental or $24.99 for a 7 day rental, commencing at time of purchase. Audiences may also choose to purchase the $99 Off Stage Access Pass for unlimited, viewing through its release, plus access to upcoming Off Stage projects through 2021.
On Thursday, May 6th, 2021, at 8PM, the Rand Family and many popular and talented Broadway performers invite you to “plug in for PH” as they shine a light on Pulmonary Hypertension (PH) at the 6th annual “Breathless on Broadway” in celebration of WORLD PH DAY. Follow us on Instagram for updates.
To register for this FREE event, click HERE. http://events.r20.constantcontact.com/register/event?oeidk=a07ehsib4246c2a5c94&llr=sm5hsquab
Streaming virtually this year, some of Broadway’s favorites, including Aaron Lazar (The Phantom of the Opera, The Last Ship, A Little Night Music, Impressionism, The Light in the Piazza, Les Miserables, A Tale of Two Cities, Dear Evan Hansen – National Tour, Filthy Rich – TV, Avengers: Infinity War, Avengers: Endgame) Tally Sessions (Big Fish, School of Rock, Falsettos, Anastasia, Company) David Josefsberg (Grease, Motown the Musical, Waitress, The Prom, Beetlejuice) T. Oliver Reid (Hadestown, Once On This Island, Disney’s Mary Poppins, Follies, Kiss Me Kate, Chicago, Sister Act), Laurissa “Lala” Romain, (Broadway: South Pacific, Spike Lee’s Film: Son of the South, Chris Rock’s Film: Top Five) Ali Ewoldt (The Phantom of the Opera, The King and I, Les Miserables), Maria Briggs (Disney’s Frozen, Hello Dolly!, Cats, Mean Girls The Musical), Kevin Schuerig (National Tour: King and I), Zachary Sayle (Alliance Theatre’s Becoming Nancy, National Tour: Newsies, Chitty Chitty Bang Bang, International Tour: Sound of Music, World Premiere: A Christmas Story The Musical) Max Von Essen (Les Miserables, Evita, An American in Paris, Anastasia), Katie Micha (Gypsy, How The Grinch Stole Christmas, Billy Elliot National Tour), Giuseppe Bausilio (Hamilton, Hello Dolly, Cats, Aladdin, Newsies the Musical and BIlly Elliot: The Musical), Nicolas Dromard (Oklahoma, Jersey Boys, Disney’s Mary Poppins, Mama Mia – National Tour, Wicked – National Tour), Desiree Davar (West Side Story, Peter Pan – National Tour) Ellen Harvey (How to Succeed, Phantom of the Opera, Disney’s Mary Poppins – National Tour, Disney’s High School Musical – National Tour), Q Smith (Les Miserables, Disney’s Mary Poppins, Come from Away), Samantha Blaire Cutler (Dear Evan Hansen, Billy Elliot – National Tour, Orange is the New Black – TV) Carol Angeli (Miss Saigon, Disney’s Mary Poppins – National Tour), Jesse Swimm (School of Rock The Musical, Disney’s Mary Poppins), Kevin Massey (Big River, Disney’s Tarzan, Memphis, Gentleman’s Guide to Love and Murder, World Premiere: Bonnie & Clyde The Musical), Kara Lindsay (Wicked, Disney’s Newsies, Beautiful: The Carole King Musical), Raymond Lee (Goundhog Day, Disney’s Aladdin, Anything Goes, Marriage Story – Netflix, Billions – Showtime) Ryan Silverman (The Phantom of the Opera, Cry Baby, Side Show, Wicked – Chicago) Maia Katz (Innovative Artists), Liv Rand (Disney Parks Live Entertainment) and Ava Rand (Marymount Manhattan College) will raise awareness for Pulmonary Hypertension (PH), a rare disease that currently has no cure but can be managed with proper care and treatment.Broadway’s Zach Rand (Les Misérables & Disney’s Mary Poppins, World Premieres: A Christmas Story The Musical, Bonnie & Clyde The Musical, National Tours: Disney’s Mary Poppins, Radio City Christmas Spectacular) will co-host the event with his siblings Liv, Ava and Elijah in honor of their sister Chloë and all whose lives are touched by PH.”My family and I are honored to be hosting this event to raise awareness for a very personal cause. And while my sister Chloë isn’t here to witness this, we continue our fight for the many other families affected by Pulmonary Hypertension, like Broadway’s Phyllis Newman and jazz legend Natalie Cole. This year we are able to reach beyond the doors of Sardi’s and share our story with the PH and Broadway communities alike. So many of our PH specialists have been working the front lines, and this is just as much for them.” said Zach Rand. Liv Rand said “Music has always been a vital aspect of communication for our family, and we are elated to bring together performers from over 30 different shows to unite their voices and raise awareness for those who often lack the breath to speak. Likewise, we’re bringing Broadway into the comfort of home in an accessible way that brings many of our friends back into the spotlight. We’ve also been working on some new and exciting projects with Noah Sunday Lefkowitz (Disney Parks Live Entertainment, Walt Disney Imagineering) that are going to be featured this year!” Tune in to Virtually Breathless for some great surprises!”The idea for breathless on Broadway began in the car driving home one night when Zach was appearing in Les Miserables on Broadway. He asked if someday his voice would be big enough to help other people. He was nine years old. Just before Zach’s eighteenth birthday, the first breathless on Broadway happened. We are grateful Virtually Breathless is generously supported by Janssen Pharmaceutical Companies of Johnson & Johnson, Acceleron, United Therapeutics Corporation, GossamerBio, Altavant Sciences, Inc. and Stage Door Designs.” said Marie Mascia-Rand.Pulmonary hypertension (PH) is a rare, life-threatening disease affecting the arteries of the lungs that can lead to right heart failure. PH patients experience symptoms such as shortness of breath, dizziness and fatigue. While there’s currently no cure, there are 16 FDA-approved therapies available to help patients live better lives. Without treatment, mean survivability is only 2.8 years. The Breathless franchise is dedicated to raising global pulmonary hypertension awareness and raising funds for critical PH research. Learn more at: breathlessonBroadway.com
Sometimes One Musical Star Just Isn’t Enough! The York Theatre Company (James Morgan, Producing Artistic Director), in association with Tom D’Angora, Michael D’Angora, and Tim Guinee, has added more of Broadway’s best to the All-Singing, All-Talking, All-Virtual special benefit presentation of the Off-Broadway hit The Musicals of Musicals (The Musical!)…and More!.
With music by Eric Rockwell, lyrics by Joanne Bogart, and book by Joanne Bogart and Eric Rockwell, this special presentation is directed by Tom D’Angora and Michael D’Angora, with music direction and arrangements by Deniz Cordell and associate music director Annie Pasqua. Original director Pamela Hunt is serving as artistic supervisor. This event will raise funds to help The York recover and rebuild after devastating damage from a water main break on January 4, 2021.
Joining the all-star roster of cast members are Alexandra Billings, Charles Busch, Robert Creighton, Ana Gasteyer, Beth Leavel, Lauren Molina, and Sarah Stiles. They join the previously announced Christy Altomare, Colleen Ballinger, Betty Buckley, André De Shields, Richard Kind, Kevin Smith Kirkwood, Telly Leung, Jose Llana, Kelvin Moon Loh, Patti LuPone, Lesli Margherita, Andrea McArdle, Brad Oscar, Christine Pedi, Randy Rainbow, Jelani Remy, Chita Rivera, Soara-Joye Ross, Jackie Sanders, Ethan Slater, Michael West, and Lillias White.
Joining the star-studded evening of special appearances are Iain Armitage, Joel Grey, Perez Hilton, Megan Hilty, Amanda Lopez, Darlene Love, Julianne Moore, Jinks Monsoon, Bernadette Peters, Anthony Rapp, George Salazar, Brooke Shields, Renée Taylor, John Tartaglia, Ben Vereen, and writers Gerard Alessandrini, Sara Bareilles, Debra Barsha, Nell Benjamin, Douglas J. Cohen, Gretchen Cryer, Nancy Ford, Amanda Green, Sheldon Harnick, Erik Haggensen, Joe Iconis, Tom Jones, Peter Kellogg, Richard Maltby, Jr., Alan Menken, Laurence O’Keefe, Stephen Schwartz, Marc Shaiman, David Shire, Charles Strouse, Stephen Temperley, John Weidman, David Yazbek, and Maury Yeston. They join previously announced special guests Matthew Broderick, Lewis Black, Giancarlo Esposito, Jane Krakowski, Audra McDonald, Debra Messing, Isaac Mizrahi, Mandy Patinkin, Martha Plimpton, and Mercedes Ruehl. The evening will also include remarks from Former Secretary of State Hillary Rodham Clinton.
After a Lexington Avenue water main break in early January caused a massive flood in their space, The York Theatre Company has been forced to temporarily relocate for the first time in nearly 30 years while their home undergoes major remediation. The York is spread among various storage facilities across the tri-state area, and their plight caught the attention of producing trio Tom D’Angora, Michael D’Angora, and Tim Guinee, who had recently stepped in to raise funds to save the West Bank Cafe and Birdland Jazz Club. The trio wanted to help and, donating their time, have taken on The York as their next project.
Perfect Crime, the longest running play in New York City history, today announced that it is the first show to receive Actors’ Equity approval to re-open on Sunday, April 18th at 7:30PM – its 34th anniversary performance. The production is the first Actors’ Equity production on or Off-Broadway to return to NYC with live actors. Perfect Crime will reopen with a newly updated ventilation system, a fully vaccinated cast and staff, and numerous safety precautions and policies in place.
Perfect Crime will do a special “preview” performance on Saturday 4/17 at 8:00PM and then officially reopen on Sunday 4/18 at 7:30PM (a celebratory performance where the audience will be given complimentary champagne before entering the theater). The permanent schedule will be as follows: Monday-Tuesday and Friday 8 PM, Saturday 2 & 8 PM and Sunday 3 & 7:30 PM. www.perfect-crime.com
The Covid-19 pandemic did what 9/11, the subsequent worst recession since the Great Depression and the Swine Flu pandemic could not – temporarily suspend performances of the long running murder mystery. The production, written by the late Warren Manzi and produced by Armand Michael Hyatt, has the distinction of being the only show (on or Off-Broadway) that has run over the course of five different decades – during the 80s, 90s, 2000s, 2010s and now the 20s. The ‘urban legend’ has managed to withstand the test of time – evolving with the changing styles, technology, culture, audiences, and various crisis’ around it.
The show will begin its 35th year of performances is reopening with numerous safety upgrade, precautions, and policies in place
Ken Fallin’s Broadway: Spamalot
Here is the amazing cast of Spamalot. Christopher Fitzgerald as Patsy, James Monroe Iglehart as King Arthur, Leslie Rodriguez Kritzer as The Lady of the Lake, Ethan Slater as The Historian/Prince Herbert, Jimmy Smagula as Sir Bedevere, Michael Urie as Sir Robin, Nik Walker as Sir Galahad and Taran Killam as Lancelot.
I was so inspired I drew the whole cast.
To read T2C’s review click here.
Vineyard’s “Scene Partners” Gets Stuck Between Floors
“This is exactly how it happened “ we are told, followed by a big wide screen opening that descends upon us, but it does not quite land where it, and our leading lady’s character, most likely intended it too. Finally escaping the 11th floor on a folding chair and faulty pulley system, Meryl Kowalski, as portrayed as only the magnificently gifted Dianne Wiest (Broadway’s All My Sons; “Purple Rose of Cairo“) could, finds flight and falter inside this fascinating exploration of some sort of demented dream. Giving the “correct response“ to abstract questions and assignments, Wiest delivers a befuddled and determined performance that elevates a play that fractures realities every chance it gets. As written with a wild wandering spirit by John J. Caswell, JR. (Wet Brain), the play is an absurdity of utter invigorating complexity, playing with and sometimes delivering itself forward in a fascinating but distancing dementia. Is it a post-traumatic disassociation of epic proportions or a fractured descent into grief and mental illness, played for a laugh or a tug at the heart? Or is it something quite else that was lost on this avid fan of this Oscar-winning actress? And I don’t even know if there is a clear correct answer to this. But that is half the fun in this half-fun exercise in abstractionism and determination.
It’s big on ‘concept’, directed with a strong forward vision by Rachel Chavkin (Broadway’s Hadestown), obviously enjoying the ride and the wandering with glee. The visuals ride and slide in and about, thanks to the incredibly detailed and smooth work of video and projection design by David Bengali (Broadway’s The Thanksgiving Play), lighting designer Alan C. Edwards (Vineyard’s Harry Clarke), and scenic designer Riccardo Hernández (Broadway’s Indecent), giving depth and clarity to this otherwise meander into fractured and fantastical thinking. Supported by clever extravagances by costume designer Brenda Abbandandolo (Broadway’s The Sign in Sidney Brustein’s Window), the effect is a fevered dive into the mind of a woman beaten down hard to the ground by a now-dead husband whose death has freed her to her desire; her dream and determination to be a big famous movie star, and she’ll point the barrel at anyone who might stand in her way or say otherwise.
Scene Partners feels anything but safe and secure, as we join Wiest’s 75-year-old widow from the Midwest as she steadily abandons her needy mess of a daughter, played with clever calculations by Kristen Sieh (Broadway’s The Band’s Visit), to jet, train, or sled herself off to Hollywood to become a big gloriously famous movie star even before her now-dead violent abusive husband has been buried six feet under. The framing is slanted, with efforts to keep us off balance. Finding a flavor in its madness and splitting. The name of Wiest’s woman is Meryl Kowalski, and she’s not to be ignored. She is told quite clearly and quickly that she must change it if she really wants to be an actress, as that first name of hers has already been taken by that other, already famous and award-winning actress with the same first name that we all know and love. But this Meryl holds firm, inside and out of her first acting class somewhere out there in Los Angeles. It’s there, when confronted by her over-the-top acting teacher, played with wild abandonment by the perfect Josh Hamilton (Broadway’s The Real Thing), that she reveals another level of strong abstractionism. This particularly twisted Meryl’s dead husband was named Stanley Kowalski, and her Streetcar husband made Tennessee Williams’s character seem like quite the gentle nice guy.
At this point, the play stands shakily in some abstract parallels that are fun, clever, complicated, and a bit distancing, playing with fragments of trauma and grief that don’t fully come together. It pulls and pushes at about the same level of conflicted engagement, until Johanna Day (Broadway/MTC’s How I Learned to Drive) as Meryl’s half-sister comes into play, shifting the formula with a centered grounding that makes us sit back and question what’s really going on. When a doctor also enters the picture, played well by Eric Berryman (RT’s Primary Trust), a medical diagnosis once again adds a different framework that could alter the whole process. Where are we with these two half-sisters and their shared knowledge of a non-collaborated trauma of abuse? Especially after a (pre-recorded) interview with a very well-positioned Sieh asking pertinent questions that illicit praise from Hamilton’s pompous character and a disappearing act of a half-sister who might never been. It plays with the head, in both an engaging and disassociating manner that works, and doesn’t.
Scene Partners doesn’t play easy with our unpacking, leading us down blind endless alleyways decorated with an abundance of movie imagery that either leads us to brick walls or bottomless pits to fall into. Wiest’s Meryl has necessarily immersed herself in these vintage cinematic panoramas, probably to unconsciously avoid the abusive reality she found herself trapped in, and in that trauma response, Wiest has found the perfect embodiment for Mrs. Kowalski, bringing feisty and forceful complexities to the forefront as she shuffles and stabs herself into frame. And even if it doesn’t, in the end, add up to much, this Vineyard Theatre production is flavorful in its twisted construction and projections. The “Doctor Zhivago” impressions and pop-culture references overwhelm, not just our heroine, but also our connections to emotional clarity and authenticity, leaving us hanging halfway down and in between floors waiting for something to fully make an impact.
Make Me Gorgeous Tells Of One Man’s Authenticity
Make Me Gorgeous! playing at Playhouse 46 in a nut shell is about the life and times of LGBTQ+ trailblazer Kenneth Marlow. Embodying Marlow is Wade McCollum, who tells us how he was born in 1926 in Des Moines, Iowa, and how he became a hustler, private hairdresser, stripped in mob-controlled nightclubs, became a female impersonator, a madam of a gay prostitution ring, until in the 70’s when he became Kate, throwing a “Ball to End all Balls” to fund gender-affirming surgery. We learn how she documented her life in books. In between he was a private in the U.S. Army; a Christian missionary; a mortuary cosmetologist and a newspaper columnist.
In a sense Marlow was raised to be who he was dressed in girls clothes as a child, then became drawn to feminine clothes and his female relatives encouraged him. In high school he ran around in drag. in Iowa in the 30’s took some kind of guts. His father never showed him love and left, his mother was a raging alcoholic. He took to the cinemas populated by men to find what was missing in life, then to the church. When he is shipped off to California, he meets and hangs out with the transgender prostitutes finding feeling at home. He ends up with a sugar daddy who is unattractive, ends up in Chicago, ends up as a hairdresser and then a stripper in Calumet City as “Mr. Keni Marlo, Exotic Queen of the Boys” and that takes us to the 40’s.
In the end he ended up becoming the hairstylist to Phyllis Diller, Lucille Ball, and Gypsy Rose Lee, among others. His side job need up being documented in Mr. Madam: Confessions of a Male Madam, Cathouse Mother, Male Oral Love, and Around the World with Kenneth Marlowe.
I have loved McCollum’s work ever since Ernest Shackleton Loves Me. This man is a consummate actor, whose rich voice and glamours gams make him perfect to tell this story. He brings everyone he is talking about to life. You feel as if you know each character. McCollum’ has oodles of charisma, so the tawdry tale he is telling comes off less crass. With lines like “I liked that men paid to have sex with me. And those who appealed to me usually didn’t have any money…so I did a lotta pro-bono work” if you are not exactly open this may not appeal to you. A couple walked out the night I went. McCollum is a natural with Sally Rand’s Fan Dance and glorious performing a song Marlow wrote with jazz pianist Reggie DuValle. The most pignut part of the story comes when he is drafted and is raped by 14 men. There is however a disconnect as on a book cover he wrote “He was raped by fourteen men in his barracks — and enjoyed it!”
The theater is styled like a cabaret, with velvet curtains and bistro tables. Black and white photographs of drag queens hang on the walls. On the stage Walt Spangler’s set looks like a cross between Barbie’s house and cotton candy. I really want the black dress designed by Jeffrey Hinshaw and the lighting by Jamie Roderick’s and sound by Ien DeNio’s really help to enjoy the evening
Smartly directed and written by Donald Horn, I was on the edge of my seat the whole performance and definitely learned a thing or two or three about this culture.
Make Me Gorgeous! Playhouse 46, 308 W 46th Street, through Dec. 31st.
Essential Voices USA, Judith Clurman and Christmas Joy
Essential Voices USA, Judith Clurman, Music Director and Conductor, announces the release of Christmas Joy,a new collection of holiday music that was all recently commissioned by Essential Voices USA. The centerpiece of the recording is “Christmas Joy,” a through-composed work, scored for chorus and string quartet. The arrangement and text adaptation are by Josh Clayton and Judith Clurman. The carols heard are Silent Night; Hark! The Herald Angels Sing; Angels We Have Heard on High; O Come, O Come, Emmanuel; O Come, All Ye Faithful; and Joy to the World. The two other pieces are “Illumination” by Pierre Jalbert (music) and William Schermerhorn (lyrics) and “The Snow” by Bill Cutter (music) and Lewis Carroll (lyrics). The recording on Albany (Troy 1955) can be streamed on all platforms. The recording was produced and engineered by Silas Brown, who was assisted by Doron Schacter and Michael Schwartz. The recording can be streamed on all major platforms. The published scores will be available in 2024.
Members of Essential Voices USA: Phillip Cheah, Paul D’Arcy, Olivia Sue Green, Chloe Holgate, Heather Jones, Linda Jones, Helen Karloski, Enrico Lagasca, Elizabeth Lang, Steven Moore, Neil Netherly, Nicholas Prior, Gregory Purnhagen, Elisa Singer Strom, Jason Weisinger with Apprentice members – joining on Christmas Jo y- Michael Douris, Roberson Keffer, Marie Schwab, and Norman Schwab; The Essential StringsSuliman Tekali and Yu-Chie Wang violins; Caeli Smith viola; and Coleman Itzkoff cello.
I Illumination 3:13
II The Snow 2:06III Christmas Joy 13:48
STREAMING LINK on all platforms
The premiere performances Judith Clurman will conduct her Essential Voices USA in A Concert and Family Carol Sing-Along on December 16, 2023 at St. Malachy’s – The Actors’ Chapel (239 West 49 Street), New York City, at 7:30PM. The chorus will be joined by The Essential Strings (Suliman Tekalli & Rita Wang violins, Caeli Smith viola, Aaron Wolffcello), Organist Stephen Fraser, and David Chase and Paula Leggett Chase, who will read beloved Christmas poetry. The event is part of EVUSA’S The Community Project, a program which provides concerts and sing-alongs and is free of charge to the NYC community.
The evening will include the World Premieres of the three new works that are featured in the ensemble’s recent holiday recording “Christmas Joy” (Albany Records): “Christmas Joy” – arranged, with text adaptation by Josh Clayton and Judith Clurman; “Illumination” – by Pierre Jalbert (music) and William Schermerhorn (lyrics);and “The Snow” – by Bill Cutter (music) and Lewis Carroll (lyrics). The poems that will be read include “The Night Before Christmas” (Clement Clarke Moore), “little tree” (E.E.Cummings), and “Love Came Down at Christmas” (Christina Rossetti). Organist Stephen Fraser will play an organ fantasy on the beloved carol “O Holy Night,” and the audience will sing-along with EVUSA on traditional carols, with newly arranged accompaniments for string quartet by Bill Cutter.
Here We Are Or The Search For The Meaning of Life
Let me just state that I love the Stephen Sondheim/David Ives musical/play Here We Are. It’s as if the genius, known as Sondheim was trying to resolve his life. The first act is cynical and the characters are hypocritical, while the second act is about coming to with grips with life’s choices and surrendering to the inevitable.
The music is like playing Sondheim jeopardy. His motif’s from other shows are blended into new songs that make you want to have a pen and paper to play the game. I can’t wait until the CD comes out. I’ve been told that it is being recorded in January.
The show is highly surreal, with life’s journeyIn question. Think “The Outer Limits” or “The Twilight Zone,” very Rod Serling.
Based on two Luis Buñuel films “The Discreet Charm of the Bourgeoisie” (1972) and “The Exterminating Angel” (1962). Act one has Leo Brink (Bobby Cannavale) a entitled tycoon whose opinion is the only one that matters, his wife Marianne (Rachel Bay Jones) who lives for beauty and is a bit on the vaped side, their friends Paul Zimmer (Jeremy Shamos), a plastic surgeon celebrating his 1,000th nose job, his wife, Claudia (Amber Gray), an agent who lives for the celebrity of it all, Raffael Santello Di Santicci (Steven Pasquale), an ambassador from Moranda who lives for the number of notches on his belt and Fritz (Micaela Diamond), Marianne’s younger sister, who wants a revolution, while also wanting to live the good life, searching for brunch. It turns out Leo, Paul and Raffael run a drug cartel. As the day goes down the hill Marianne keeps asking Leo to “buy this perfect day for her.”
Act two is a little more dark. While they finally find food, the consequences of their choices keeps them trapped in purgatory. Enter a colonel (Francois Battiste) whose parents were killed for $26.15, a soldier (Jin Ha) who has feelings for Fritz due to his dreams and a bishop (David Hyde Pierce) who wants another job, has a shoe fettish, and plays piano, until there is no more music. This act is very reminiscent of Steambath. I love the homage to “The World According to Garp” and the bear.
Playing butlers and maids and assorted restaurateur’sare the incredible Tracie Bennett and Denis O’Hare. Kudos has to go out to the wigs by Robert Pickens and Katie Gell and the neon various establishments. white box set and costumes by David Zinn.
Joe Mantello’s staging is exquisite, allowing for each of these brilliantly talented performers to take center stage. This is true ensemble acting and I hope when the Drama Desk is giving out awards this wins.
Where many have criticized the lack of music in the second act, it makes perfect sense. The music stops. The concept very much reminds me of Davids Cromer’s Our Town, when Emily dies and suddenly things are in color and have smells. It makes complete sense that once you are trapped the music would die.
Natasha Katz’s lighting really helps the shinny set take shape, Tom Gibbons’s sound makes the inner world come to life and Sam Pinkleton’s choreography is just enough to make this move seamlessly.
Alexander Gemignani, and Jonathan Tunick, make Sondheim’s music an art and I for one appreciate the subtlety and musicality. Many may not know that Sondheim was a game master and in this it is like he won the final game of “putting it together”.
Here We Are, is intelligent, witty with so much to say and if you ponder the meaning of life you to will walk away extremely fulfilled.
Here We Are, The Shed, 545 West 30th through January 21st
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