It’s dlevy!: David’s Favorite 2015 Theater

Originally published on itsdlevy.net.

I’m not sure how many shows I saw this year, and I didn’t keep good enough record to count. Suffice it to say, I saw a lot, but not everything. Therefore, I’m not in a position to tumake a “best of” list or anything of the sort. Instead, I present to you a list of my favorite theater from 2015, in alphabetical order.

Last year, I listed a top 13, with one honorable mention plus three additional shows I had loved enough in previous years to see for a second time during 2014. This year’s list includes 15 shows, two of which were return trips, plus two honorable mentions, so I guess I have a fairly consistent amount of love in my heart available for great theater.  Continue reading

Keshet: An Interview with Luzer Twersky: From Ultra-Orthodox to “Transparent” Star

Originally published on Keshet’s blog on MyJewishLearning.com.

Luzer Twersky

Luzer Twersky is an actor who plays Mendel in Season Two of Amazon’s hit television show “Transparent.” He grew up in an insular Hasidic community in Brooklyn, which he left in his early 20s, with help from Footsteps, an organization that helps formerly ultra-Orthodox Jews integrate into mainstream society. He is best known for his role in the film “Félix & Meira,” which is Canada’s submission for the Best Foreign Language Oscar this year. Luzer spoke with Keshet’s David Levy last week after the first episode of “Transparent” was released.

DAVID LEVY: Let’s just start by saying congratulations on being part of “Transparent.” Have you had the opportunity to watch the finished product yet?

LUZER TWERSKY: I watched the first episode of the new season, and it’s very good. I’m very happy with it and very proud of it.

DL: I saw your name in the credits but didn’t spot you in the episode itself. I assume you’re in the German flashback?

LT: In the first episode I’m a little “blink-and-you-miss it.” These flashbacks will happen all season. You’ll see the parallel between what’s happening at the wedding with all the dancing and the craziness and what’s happening at this party filled with queers and gays and gender-fluid people, and then you see those same kind of people 100 years ago in Berlin. And you also notice that Simon, Maura’s nephew, seems to be in those scenes in Berlin. It’s all going to tie together.

And then you’ll notice at the end of the episode, when you see Ali standing on her balcony, and then you see someone next to her who we had seen dancing in that Berlin scene.  Continue reading

Talkin’ Broadway: Book Reviews – On Sondheim: An Opinionated Guide by Ethan Mordden

Originally published on TalkinBroadway.com.

On SondheimIn Passion, Fosca sings, “If you have no expectations, you can never have a disappointment.” These are wise words to bring with you to Ethan Mordden’s latest book, On Sondheim: An Opinionated Guide. Judging by its title, you might expect the book to provide a complete listing of Sondheim’s output with the author’s assessments of same, but it is oddly inadequate as both opinion and guide. The book immediately shirks its guide obligations by referring readers on the very first page to SondheimGuide.com (without a mention of Michael H. Hutchins, the man responsible for putting it together). It falls short in the opinion arena as well, offering far fewer than the title implies and hardly any that might register as controversial. And yet, taken on its own terms it offers pleasures for both the Sondheim expert and newbie alike.

Mordden knows his subject well, but he occasionally lets that get the better of him. Acknowledging in his preface that he generally did not consult other books on his subject in the writing of this one, he lets the occasional misstatement slip through. Mordden’s prose style is characterized by an awkward combination of SAT words (“manumission,” “equiponderant”) and slang (relating an artistic disagreement as a “hard-on contest,” or describing the opening scene of My Fair Lady as “an Instagram of the show’s analysis of class”). A quick poll of acquaintances who have read other Mordden uncovers that this is a common quirk of his writing about musicals, and the percentage of those who hate it is fairly close to those who adore it.  Continue reading

CastAlbums.org: REVIEW: The Wiz Live! Original Soundtrack of the NBC Television Event

Originally published on CastAlbums.org.

197.pngIt makes sense that The Wiz Live!, the best of NBC’s recent live musical broadcasts, should produce the best album of the three as well. Even so, you might be surprised by just how good this soundtrack is. As exciting as the live show was, there were some iffy notes and more than a few moments of sub-par sound mixing. None of that is in evidence on the album. Superstar producer Harvey Mason, Jr. and co-producer/music director Stephen Oremus have lovingly spun the raw material from the broadcast into recording gold. And despite the addition of effects (most obviously a lot of additional reverb and yes, some auto-tuning) to create a sonic experience more akin to a studio-recorded pop album, The Wiz Live! never sounds overproduced and, oddly enough, comes out more theatrical than the self-consciously pop original cast recordingContinue reading

250 Word Reviews: Puffs

Originally published on 250 Word Reviews.

Third or Nothing

PUFFS, OR: SEVEN INCREASINGLY EVENTFUL YEARS AT A CERTAIN SCHOOL OF MAGIC & MAGIC
(Off-off-Broadway: The Peoples Improv Theater)

Churchill said, “History is written by the victors,” but how often do we hear about life during great events for the rest of us? Playwright Matt Cox provides this lens on the Second Wizarding War, through the eyes of one Wayne Hopkins (Zac Moon). Wayne dreams of being the hero of his story, but that position has already been filled be a certain Mister Potter. Neither brave nor smart nor anguine, he is sorted into the house for everyone else, Hufflepuff, and makes two best friends: Oliver, a math whiz (Langston Belton) and Megan (Julie Ann Earls), a wannabe villain. Mentored by Cedric Diggory (Evan Maltby), the Puffs’ rallying cry represents their dreams of someday not coming in last: “Third or nothing!” Do they have a chance at making a difference in a world dominated by legendary heroes and villains?

Like Kapow-i GoGo (from the same team) before it, Puffs transcends parody and fan service to create a three-dimensional world populated by believable characters whose tragedies resonate as strongly as their triumphs. There’s a lot of story to get through in 80ish minutes, but director Kristin McCarthy Parker’s sure hand keeps the story clear even as the pace gets frenetic. Moon’s performance, more Hamlet than ham, provides a strong center around which wackier characters orbit. The whole cast excels, but special kudos to Andy Miller for the best “rally the troops” moment this side of Henry V. Knowledge of the Potter canon is helpful but not necessary to love Puffs.

Production photograph by Colin Waitt: Zac Moon (l) as Wayne with (l-r) Nick Carillo, Andy Miller, Eleanor Philips, Jessica Cannizzaro, Madeleine Bundy, and Stephen Stout.

In the interest of full disclosure, I’d like to note that I contributed $10 to this production’s Kickstarter campaign.

Jewschool.com: Why the Syrian Refugee Crisis Encourages Me to Talk about My Least Favorite Subject

Originally published on Jewschool.

Syrian Refugees

The last thing I want to talk about is the Holocaust. From where I stand, it’s bad enough that Hitler decimated our grandparents’ generation. Letting discussion of the Third Reich and the Final Solution parasitically take over Jewish discourse two generations later seems to me that it’s giving Hitler a posthumous victory. A full year of my own Hebrew School education was dedicated to learning every minute detail of Hitler’s plan – memorizing the names of death camps and the terminology for each different position in the camp hierarchy, not to mention God knows what else. Imagine if, instead, we had spent a year learning about Rashi, Maimonides, and Heschel instead of Goebbels, Mengele, and Braun. Continue reading

250 Word Reviews: The Pavilion

Originally published on 250 Word Reviews.

The Pavilion

THE PAVILION
(Off-off-Broadway: The Producer’s Club)

You know the story: middle-aged white guy has a mid-life crisis, so attends high school reunion to attempt to rekindle things with his high school sweetheart. In Craig Wright’s The Pavilion, the white guy in question is Peter (Jeffrey Delano Davis), returning to Pine City, MN from his life in the Twin Cities to make amends for impregnating then abandoning Kari (Ayesha Adamo). Their encounter is placed into cosmic context by a professorial narrator (Jon Adam Ross), who alternates between spouting philosophy about the nature of time and giving voice to all the other (unseen) reunion guests.

Michael Kostroff’s direction is strongest in the scenes between the two former-lovers, which find Davis exposing raw vulnerability only to be met by Adamo’s measured resistance. Ross is less successful overcoming his obstacles, often lecturing from a podium far off to the side of the stage or adopting ridiculous character voices while facing the opposite direction of his scene partners. The play’s reliance on a projection design (by Javier Molina) that feels straight out of Myst is unnecessary at best and often distracting. Zoey Russo’s simple but effective sets would have more than sufficed on their own.

The play itself isn’t nearly as profound as its philosophizing monologues indicate it wants to be, but it does feature a nice moment of meta-theatrics in the second act that offered one of the few surprises in the writing.

Production photograph by Melissa X. Golebiowski: Jeffrey Delano Davis as Peter and Ayesha Adamo as Kari.

250 Word Reviews: Dada Woof Papa Hot

Originally published on 250 Word Reviews.

Dada Woof Papa Hot

DADA WOOF PAPA HOT
(Off-Broadway: Lincoln Center Theater at the Mitzi E. Newhouse)

Most gay men of a certain age never envisioned a world in which they could get married and have children. At its surface, Dada Woof Papa Hot examines how two couples-with-toddlers adapt to this reality. But at its heart, Peter Parnell’s play considers whether relationships can survive when partners have radically different ideas of what their partnership should look like. Alan (John Benjamin Hickey) came of age in the pre-AIDS-crisis days of gay sexual liberation but was never much interested in partaking. By 2015, he’s married to Rob (Patrick Breen), who dotes on their daughter and relishes fatherhood – another activity in which Alan has only mild interest. They seek out friendship with younger dads Scott (Stephen Plunkett) and Jason (Alex Hurt), which goes well until Jason and Alan have a tête-à-tête, permitted in the Jason’s relationship but a clear violation on Alan’s part. Alan never wanted kids, Jason never wanted monogamy, and their partners who convinced them into their current arrangements feel betrayed.

As directed by Scott Ellis, the play feels more like a math problem than a drama, with a dose of armchair psychology sprinkled in for flavor. John Lee Beatty’s elaborately modular set is the most interesting thing on stage. Despite strong performances, particularly by Hickey and Plunkett, one gets the sense that neither the characters (beyond Jason) nor the playwright seriously considered that gay people might create and fit into relationships that don’t simply mimic heteronormativity, so the play becomes a straw man argument hardly worth engaging.

Production photo by Joan Marcus. Pictured (l-r): Alex Hurt, John Benjamin Hickey, Stephen Plunkett, and Patrick Breen.

CastAlbums.org: REVIEW: What About Today? Melissa Errico Live at 54 Below

What About Today?Originally published on CastAlbums.org.

One of the joys of spending an hour of so with a Broadway star in a cabaret setting is the ability to really get a sense of who they outside of the parts they play. Melissa Errico‘s new album, What About Today? Live at 54 Below, gives you the sense that Errico is all over the place. Capturing a cabaret act conceived and directed byRichard Jay-Alexander, the disc opens with a track called “Why are actors so nuts?” and that very well could be the title of the album.

The good news is that Errico’s brand of nuts has produced a diverse and often thrilling set of songs that might not otherwise find their way onto the same album, from the art-pop ofMichel Legrand (“The Summer Knows”) and Burt Bacharach (“April Fools”) to musical theater classics like “How Are Things in Glocca Morra?” (Finian’s Rainbow) and “Small World” (Gypsy) to more contemporary fare like “The Heart is Slow to Learn” (Dracula) and even a dip into disco (“Last Dance”). Her voice is as beautiful as ever, equally at home lending warmth to the soprano numbers and character to her belt. The three-piece band under the direction of Tedd Firth provide a strong backbone for the evening, and producer Michael J. Moritz Jr. preserves the intimacy of the 54 Below experience — just add your own cocktail.

As for the bad news? Well, patter isn’t Errico’s strong point, and there’s a lot of it on this album. She doesn’t always trust her material, leading to oddities like half-a-rendition of “It’s An Art” from Working, like she hadn’t convinced herself as to whether the number was in her act or not.

Still, the album’s delights far outweigh the questionable moments (and for those, we have the “skip” button). Errico’s “No More” (from Into the Woods) prove the she’s as good with a lyric as she is with a melody, and her long-time fans will thrill to finally have a recording of her feisty “Show Me” from My Fair Lady (which Errico starred in on Broadway in 1993).

250 Word Reviews: On Your Feet: THE STORY OF EMILIO & GLORIA ESTEFAN

Originally published on 250 Word Reviews.

onyourfeet

ON YOUR FEET:THE STORY OF EMILIO & GLORIA ESTEFAN
(Broadway: Marquis Theatre)

One gets the feeling about halfway through the first act of On Your Feet that were you to quiz the cast where the song they were performing takes place, most of them would fail. The cynic in me says it doesn’t matter: the Latin rhythms (provided by a band that includes six members of the actual Miami Sound Machine), spiffy pastel costumes (by ESosa), and energetic dancing (courtesy of Sergio Trujillo) are entertaining enough that we can set dramaturgical demands aside and enjoy the concert. But while Alexander Dinelaris’s book aspires to be more than a greatest hits revue, it’s only intermittently successful. Jerry Mitchell’s nebulous direction does it no favors, and the show trips over itself to fit in most of Estefan’s hits while charting the rise of her career against the destabilization of her family. The latter gets shortest shrift, despite Eliseo Roman, Andréa Burns, and Alma Cuervo all making the most of two-dimensional characters. Genny Lis Padilla, as sister Rebecca, doesn’t even get that much, existing somewhere between prop and backup singer.

Regardless, the show lives and dies on the strength of Ana Villafañe and Josh Segarra as Gloria and Emilio. Villafañe perfectly embodies the Estefan we remember from the 80s: beautiful, strong, and with a voice that never falters. Segarra cuts a striking figure, but his breathy singing never quite makes it past the lip of the stage. Regardless, the show should please Gen X’ers who longed for a Jersey Boys of their own.

Production photo by Matthew Murphy: Ana Villafañe as Gloria Estefan with ensemble.