Flavorpill: Blank! The Musical!

Originally published on Flavorpill.

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There’s a foreboding program insert at Blank! The Musical with lots of instructions about how to use the show’s web app, peppered with reassurances that if you don’t have a phone, or if the app doesn’t work, or if you hate audience participation, you’ll be fine, you can just watch the show. You see, Blank! The Musical is an improvised musical, different each night, not unlike what you might see from any of the two-dozen groups showcased at last month’s New York Musical Improv Festival at the Magnet Theater. What sets Blank! apart is the app, a product of Livecube (“the world’s most engaging event app” according to its program bio), allowing the audience to offer suggestions and vote on everything from song titles to lines of dialog, unlike those other plebian improv shows that rely on the audience shouting and applauding to do the same. Well, that and the increased ticket prices ($29-$69) that come with the show’s Off-Broadway address at New World Stages. Continue reading

Flavorpill: Stalking the Bogeyman

Originally published on Flavorpill.

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“This time last year I started plotting to kill a man.”  Roderick Hill, portraying investigative journalist David Holthouse, opens Stalking the Bogeyman with this admission, and it’s clear from the get-go that this is going to be an intense evening of theater. Based on the real story of Holthouse confronting the man who raped him as a child, the stage version has been adapted and directed by Markus Potter, who first encountered the story (as many of us did) in a 2011 episode of This American Life. Potter’s production never shies away from darkness, and in the intimacy of New World Stages’ 199-seat Stage 5 theater, terrible acts of violence and vulnerability are close enough to leave the audience shaken. Continue reading

Flavorpill: Scenes from a Marriage

Originally published on Flavorpill.

Scenes from a Marriage

When the audience arrives at New York Theatre Workshop for Scenes From A Marriage, director Ivo van Hove’s three-and-a-half hour minimalist stage adaptation of Ingmar Bergman’s lauded 1973 Swedish miniseries-cum-feature-film, each patron receives a colored wristband and two pages of instructions on how this play will work. The audience is divided into three groups, each of whom will experience the first three episodes of the show in a different order, before taking a half-hour break and reconvening for a joint experience in a reconfigured theater space. Continue reading

CastAlbums.org: Review: Lady Day at Emerson’s Bar and Grill

Originally published on CastAlbums.org.

Lady Day album coverLady Day at Emerson’s Bar & Grill is one of those shows that feels like it’s been around forever, making regular appearances at small venues around the country whenever a local singing actress wants to flex her chops a bit with a show that’s pre-sold on the name of its subject, Billie Holiday. In reality, the show debuted in 1986 at the Alliance in Atlanta before coming to New York in a well-received off-Broadway production and has been twice recorded before, in 1997 with Gail Nelson in the title role, and in 1998 with Pamela Isaacs.

I had never given much thought to the play itself, structured as a concert during Holiday’s drug-fueled decline, and when it was announced for Broadway with no less than Audra McDonald in the title role, I was frankly surprised she’d bother with the show. But once performances started, it quickly became a hot ticket, and I don’t know anyone who’s seen her performance and not been thrilled. Continue reading

Jewschool: Meet the Man Behind The Men of the Naughty Jewish Boys Calendar

Originally published on Jewschool.

Naughty Jewish Boys CalendarLast February, I shared a link right here on Jewschool to a Craigslist ad advertising for models for a “Naughty Jewish Boys” calendar. I was so tickled by the idea when I saw it on my friend Duncan Pflaster‘s Facebook page, I didn’t even realize that he had posted the ad – or that the Jewschool post would bring it widespread Jewish media attention. Fast forward five months, and the calendar is a real thing that exists in the world in two versions: the regular and extra-naughty editions. I sat down with Duncan this week to chat about his adventures in putting these calendars together.

Naturally, the first thing I wanted to know about was what kind of controversy the calendar had generated. Duncan’s run-ins with the creator of the Nice Jewish Guys calendar have been well documented elsewhere, but I had to know: were religious people offended at the images of nearly-naked men with ritual objects? Were liberals offended at a non-Jewish photographer eroticizing or even fetishizing Jewish men? Nope. “Most everybody has thought it’s been a fantastic idea,” he told me, “Especially the Jewish press.” While he did have a couple of people get upset over eroticizing Judaism, the more common response has been from women saying “it’s incredible. Thank you so much for doing this.” Continue reading

CastAlbums.org: REVIEW: West Side Story – San Francisco Symphony

Originally published on CastAlbums.org.

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Leonard Bernstein only wrote four Broadway musicals in his career, and all four already have widely available symphonic recordings to complement their various stage cast recordings and film and television soundtracks. What need could there possibly be for new recordings of any of these scores in 2014? The new symphonic recording of West Side Story from the San Francisco Symphony, under the baton of Michael Tilson Thomas, makes such questions irrelevant by sheer force of artistry. (We’ll revisit this question in the fall when the 2014 revival cast recording of On The Town debuts.)

The liner notes for this album stake its uniqueness on it being the only live, symphonic, nearly-complete recording of the Broadway version of the score, but the hair splitting requited for that distinction to mean anything likely doesn’t matter to most listeners. What does matter is this: it’s the entire show, including all dance music (but thankfully excluding most scene change music, bows, and exit music), played by world-class musicians utilizing the excellent original Broadway orchestrations. Unlike the dreadfully operatic symphonic recording conducted by Bernstein himself back in the 80s (starring Kiri Te Kanawa and José Carreras), this recording features appropriate tempi, an orchestra that knows how to swing when necessary, and most importantly, a cast of singing actors from the world of Broadway who understand the idiom for which the music was intended. Continue reading

CastAlbums.org: REVIEW: If/Then

Originally published on CastAlbums.org.

Recording Cover

If you enjoy original cast albums in the Goddard Lieberson mold, which is to say, those that reconfigure the songs to be enjoyed without needing to follow the story from which they’re drawn, then you’re well-primed to appreciate If/Then, the new Idina Menzel vehicle by Tom Kitt and Brian Yorkey. The show follows two different life stories of the same urban planner, Elizabeth, exploring how one inconsequential choice might set off two entirely different life paths. These two parallel lives are portrayed in alternating (and occasionally overlapping) scenes on stage, with different color schemes, nicknames (“Liz” and “Beth”) and the hardest working pair of eyeglasses this side of Clark Kent cueing the audience which timeline they are seeing.  Continue reading

Talkin’ Broadway: Book Reviews – The Untold Stories of Broadway

Originally published on TalkinBroadway.com.

Untold StoriesHistory, as we all learned from Stephen Sondheim’s “Someone in a Tree,” is shaped as much by the storytellers as it is by the story. Herein lies both the charm and the challenge of The Untold Stories of Broadway by Jennifer Ashley Tepper, the first in a projected four volumes of “tales from the world’s most famous theaters.” Tepper, armed with little more than a tape recorder and chutzpah, interviewed over 200 Broadway professionals, including actors, writers, musicians, designers, stagehands, producers, ushers and doormen, to create this oral history of Broadway organized by theater.

For those unfamiliar with Ms. Tepper, she is the 28-year-old director of programming at 54 Below, and the Millennial most likely to be dubbed Mayor of Broadway when it’s time for that title to pass to her generation. Between assisting Michael Berresse on the Broadway production of [title of show], working for Davenport Theatricals on shows such as Godspell and Macbeth, and producing a variety of beloved concert series including If It Only Even Runs A Minute (celebrating Broadway’s flops), Once Upon a Time in New York City (featuring new songs by Broadway composers reflecting on their relationship with the city), and the Joe Iconis & Family shows, it seems like Jennifer is everywhere and knows everybody.  Continue reading

CastAlbums.org: REVIEW: Bullets Over Broadway

Originally published on CastAlbums.org.

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When it was first announced that Woody Allen and Susan Stroman were teaming up to bring Bullets Over Broadway to the musical stage, the news was greeted with tremendous anticipation, tempered only slightly by the news that the show would feature a score cobbled together from songs from the 1920s, the era in which the show is set. As the show approached Broadway, anticipation built around the casting of Helen Sinclaire, the role for which Dianne Wiest won an Oscar in 1995. When Marin Mazzie won the role amidst rumors that the show’s creators were hoping for a star but couldn’t find one who matched Mazzie’s winning take, Broadway fans rejoiced. And then the show opened…  Continue reading

CastAlbums.org: REVIEW: Nice Fighting You: A 30th Anniversary Celebration Live at 54 Below

Originally published on CastAlbums.org.


Nice Fighting You

Lynn Ahrens and Stephen Flaherty have the kind of versatility that makes it hard to consider their output as one body of work. Do the Caribbean rhythms of Once On This Island have anything in common with the Americana of Ragtime or the soft rock of Rocky? This new release on Broadway Records argues not only that they do, but that each of these scores and the rest of the Ahrens and Flaherty catalog bear revisiting.

Recorded live over the course of three nights at 54 Below, the New York City nightclub in the basement of Studio 54, Nice Fighting You offers 36 of the duo’s songs performed by a starry cast of Broadway talent, many of whom have (or, in one case, will) played these roles in original productions and Broadway revivals. Your favorites are all here, sounding their best: Liz Callaway revisiting “Journey to the Past,” which she introduced in the film Anastasia, Mary Testa proving she can belt “Rita’s Confession” and “Fancy Meeting You Here” from Lucky Stiff as thrillingly as she did in 1988, and Marin Mazzie proving that “Goodbye, My Love” and “Back to Before” work as well in a tiny cabaret as they did in the gigantic original production of Ragtime. Kevin Chamberlin‘s gentle reading of “Solla Sollew” from Seussical may leave you wondering how that show could have possibly flopped. And Jeremy Jordan‘s introduction of “Dancing Still,” from the upcoming Little Dancer may compel you to research tickets to Washington, DC, where the show will have its first production at the Kennedy Center this fall.

That new song isn’t the only surprise on the album. Continue reading