Groovaloo (Joyce Theatre)

By Molly

5 POINTS OR LESS
freestyle hip hop • based on the real life stories of the dancers involved • a dance show with a spoken word backdrop • incredibly athletic • the best hip hop dancers around

BOTTOM LINE: A really incredible dance show unlike anything you've seen before.

The Groovaloos are are a dance company from LA. They are hip hop dancers with diverse backgrounds who came together a while back as a community of freestyle dancers who liked to jam with one another. They are perhaps the most talented group of hip hop dancers out there, at least as far as I'm aware. You've probably seen them on TV in one way or another, as they've been featured on several of those reality talent shows over the past couple of years. Their autobiographical show, Groovaloo, has grown and changed since its inception in 2003, and it now comes to New York to play at the Joyce Theater after a successful run in LA. After it's brief stay in New York (it only plays though September 27th), Groovaloo will tour the country beginning January 10, 2010.

Performance-wise, Groovaloo is an athletic, energy packed ninety minutes that gets the audience's attention and doesn't let go. Each of the 14 dancers is better than the next and with men and women of all cultural backgrounds, the cast is totally captivating. Each dancer gets a solo moment and as the show reveals itself, the audience learns each dancer's story and how they got to where they are now. Although there are many featured moments for each dancer where they can break and freestyle and do their own thing, there are also many synchronized and choreographed moments where some or all of the dancers perform the same steps or tricks in smaller groups or as bigger production numbers. The variety keeps the production moving along at a nice pace.

The highlights of Groovaloo are pretty consistently the amazing dance moves pulled off by the cast. You may have seen someone spin on their head, but have you ever seen someone spin on their head for 10 rotations, no hands, and then go right into another cool move? Back handsprings are pretty average, but you've probably never seen someone do six in a row, in place, right into a back flip after performing several minutes of strenuous choreography. It's like gymnastics on speed, with lots of funk and rhythm. And of course, the dancing is cool too. Both the choreography and the tricks make these performances hard to believe.

Groovaloo is a heartfelt show. It's easy to see how much love these dancers have for one another, as well as for their art. They are passionate and their energy radiates through the audience. You are on their side as you witness their struggle to achieve the dreams. Toward the end, the story gets a little tragic, and then the camaraderie truly becomes palpable. After all, it's a true story about the people you are watching (well, most of them anyway, some of the original cast are no longer in the show).

For a dance show and an inspirational production, Groovaloo is a tremendous experience. As a theatrical production, it's a little obvious thematically speaking. Basically, it's A Chorus Line, except with hip hop. It's formulaic to be sure, but it's also true and sincere. For a first production, Groovaloo is a hit. I have to be honest though, I am really excited to see another show from this company, maybe something with fictional content that uses storytelling with dance in a theatrical way, something that pushes the limits of a narrative on stage. I think with the artistic vision of these performers and the storytelling potential, they could create a tremendous show. I don't believe Groovaloo is the peak for this company and I am excited to see what projects lay ahead. They certainly have the ambition and the talent to take them anywhere. But for now, do yourself a favor and check out Groovaloo. It's an incredible dance production with some of the hottest dancers around.

(Groovaloo plays at The Joyce Theater, 175 Eighth Avenue at 19th Street. Performances are through September 27th, Tuesday and Wednesday at 7:30, Thursday and Friday at 8pm, Saturday at 2pm and 8pm and Sunday at 2pm and 7:30pm. Tickets are $10-$59 and are available at joyce.org or by phone at 212.242.0800. For more show info visit groovaloo.com.)

Psych (Tongue In Cheek Theater)

By Molly

BOTTOM LINE: A respectable production of a deceptive story that will keep you questioning reality.

Psych, by Evan Smith, was first produced by Playwrights Horizons in 2001. Although it was well-received and published after its run, it's not necessarily on the spectrum of shows that are often revived. Although the script isn't perfect (some plot points don't line up very well), it's a captivating story with interesting characters. Smith's tale of a girl who just can't please people despite tirelessly trying keeps the audience guessing who is manipulating whom.

This production, by Tongue in Cheek Theater, is a respectable re-interpretation of the script. With just one act and no intermission, the tension builds in a steady climb and keeps the audience's attention throughout. The ending doesn't give closure (as you learn to expect from the play's opening narration), but it does bring the story together in a satisfying way.

Sunny (Jake Lipman) is a twenty-something New Yorker who works as a dominatrix and wants to go to grad school for psychology. Her good friend from college, Molly (Brynne Kraynak), comes to stay with her while she looks for jobs in the city. Sunny seems doomed from the minute she starts applying to grad school: it seems everyone is out to get her despite her sweet demeanor and ambitious personality. As the story unfolds and her relationships become more tumultuous, the audience is left to wonder who is a victim and who is really, well, psychotic.

Tongue in Cheek Theater does a great job bringing the characters to life with ample conflict, especially between Sunny and Molly as their friendship goes sour. Lipman is the people-pleasing girl next door who occasionally tries way too hard; she finds the balance between kind and creepy and lets her character waver uncomfortably between the two. Kraynak creates the most believable character in the story and the audience is immediately on Molly's side as she navigates the frustrations of a dissipating friendship.

The Theatre 54 performance space at Shetler Studios is a tiny blackbox that provides an intimate experience. It's tough to produce a show that truly rings truthful though, when the audience is basically up the actors' noses. And as Psych is a conversation-driven piece (not much action) with word manipulation and misunderstandings being the basis for the conflict in the first place, all that talking and reflecting can provide a pretty inactive play. In such a tiny space, the only two things that could really transport the audience to another world are really bold directing choices or consistently incredible acting. This production, although solid, doesn't have either of the two aforementioned qualities. As a result, the play feels more like a really polished staged reading (with costumes and tech) than a full-blown production. And don't misunderstand, that's not a bad thing at all, it's just something to know before going to the theatre. You might not be able to lose yourself in the story, but you will enjoy the production regardless.

Psych is a well-written play and a really fun tale to experience. Tongue in Cheek does a commendable job presenting the story in an intriguing way that leaves the audience guessing. Director Jason Bohon keeps the pacing tight so there is always something happening to push the story further (and also muddy the details the audience once thought they knew as fact). With entrances and exits in three of the four corners of the playing space, the movement flows on stage and off and you can sort of get swept up in the back and forth of the action altogether. And as the drama unfolds, it makes it all the more fun to play along and guess what will happen next.

(Psych plays at Theatre 54 at Shetler Studios through September 19. Performances are Wednesday through Saturday at 8pm. Tickets are $20 in advance or $25 at the door and are available at smarttix.com or by calling 212-868-4444. For more show information visit tictheater.com.)

The Bereaved (Partial Comfort)

By Molly

5 POINTS OR LESS
super funny • great dialogue • modern family drama stretched beyond any normal realm • nudity and lots of it • only 70 minutes, no intermission

BOTTOM LINE: Effing funny and freakishly relatable (at first anyway). This play is a prime example that high-quality downtown theatre does still exist.

If one were to see a play called The Bereaved, written by a playwright named Thomas Bradshaw, one might expect a solemn tale, perhaps a depressing story about death or coping with loss. One could not be more wrong. The Bereaved is indeed a story about death, a broken family, and coping with tragedy. But it's also hysterically funny in an "I can't believe that just happened" kind of way. The audience laughs in spite of itself, and very quickly the humor trumps anything intrinsically sad.

The premise is really quite depressing. Carol (McKenna Kerrigan) is a high-powered Manhattan attorney slash wife and mother. She suffers a heart attack and spends the subsequent weeks in the hospital. During that time, she makes sure to finalize plans for her family so that when she dies (she's not optimistic about her recovery) her part-time professor husband Michael (Andrew Garman) and 15-year old son Teddy (Vincent Madero) will be cared for. As Carol anticipates the end, her family and best friend Katy (KK Moggie) try to cope with the situation. And it's perhaps in those coping mechanisms that they lose sight of any responsible decision.

The Bereaved is an appreciated theatrical mindfuck that keeps the audience's attention-you think you're seeing one play and it turns out to be another. As the characters disengage from reality you wonder if they were always bat shit extremists or if their situation is a result of their trauma. The tale Bradshaw weaves builds geniusly: at the beginning the story is relatable, albeit on an extreme level. But as it unfolds, the characters unhinge and their antics, once quirky, exaggerate to the unpredictable. This provides for tremendously fun storytelling as the absurdity escalates and the audience wonders what could possibly happen next.

Although Bradshaw's script is worthy of accolades on its own, the biggest reason The Bereaved is so successful is because the cast is all-around fantastic. The actors deftly develop characters that are all too real and then ride the wave as story progresses. They all have excellent comic chops and the comedy is intentionally played through an understated demeanor. And most importantly, the entire cast remains committed, whether they are naked or not (and there is a lot of nudity). These actors can no doubt justify everything their characters do in this play and as a result, the audience believes them wholeheartedly.

It's to Bradshaw's credit that the audience is kept laughing, but May Adrales deftly directs the play, bringing everything together and keeping it grounded despite the growing ridiculousness. Adralas gives everyone in the cast a time to shine and with every character weighted equally, she creates a truly ensemble piece of theatre.

I don't usually gush about plays I see, especially about new plays off-off-Broadway. But Partial Comfort does good work and The Wild Project is quality downtown venue, and most importantly, The Bereaved is a really well-done production. It's not perfect yet (the ending is a little abrupt) but I sincerely hope it gets the acknowledgement it deserves, and hopefully another run in the future.

(The Bereaved plays at The Wild Project, through September 26. Performances are Wednesday through Saturday at 8pm. Tickets are $15 and are available by calling 212.352.3101 or at ovationtix.com. Wednesdays are pay what you can. For more info visit partialcomfort.org.)

Willy Nilly (FringeNYC)

By Molly

I was excited to see Willy Nilly a new satiric musical parody of the Charles Manson family in the style of the protest musical Hair. The script itself is pretty funny and it does a fine job representing the Manson murders. There are many entertaining references (i.e. the Roman Polanski character is Poland Romanski) and it illustrates a far-out crazy time with an emphasis on crazy (i.e. zany, loony, off-your-rocker whackjobs).

I'm going to assume that this show, written by Trav S.D. (who is also in the cast), is in its early development stages. Although it tells a solid, easy to follow story, the ending just sort of peters out and the moment to moment action is frequently unclear. Although the framework is there, Willy Nilly is kind of just a big, silly acid trip, minus the acid.

I'd recommend seeing this show if gratuitous silliness is your thing, and/or if you're really, really wasted. As silliness is not always my thing, I was pretty turned off by the nature of the presentation. Don't get my wrong, I love satire, especially when it's ironic, snarky and smart. But silliness for the sake of itself rubs me the wrong way. And I never felt like Willy Nilly was being funny for its audience. Rather, it just seemed like the cast, having a rocking good time indeed, could've had as much fun in a basement with a karaoke machine.

And unfortunately the silliness was used as a crutch many times throughout the show. Tedious music? Mediocre performances? Inability to sing the high notes in the song? It's ok, look at how silly we are!!! Throw in a dozen or so STD references and the smart humor gets overshadowed.

If the production can hone in on what this show's about and lift the quirky spoof from its haze of
uninspired (and mostly unfunny) humor, there's probably a really good show waiting. Hell, the premise alone is prime for mockery and the story stands on its own, even more so since the audience knows it's non-fiction.

(Willy Nilly plays at Dixon Place, 161A Christie Street between Rivington and Delancy. Performances are Friday, 8/21 at 5pm, Sunday 8/23 at 2:45pm and Friday 8/28 at 7pm. Tickets are $15. To purchase tickets and for show info visit pipermckenzie.com and for FringeNYC info visit fringenyc.org.)

A Time to Dance (FringeNYC)

By Molly

In solo-show, A Time to Dance, Libby Skala channels her quirky great-aunt Elizabeth (Lisl) Polk and tells the story of her life. Through Skala, we see Lisl grow from remarkable little girl to self-assured old lady and learn about her life and accomplishments along the way. From a childhood in Vienna, a move to New York, a relocation back to Denmark and then Austria after Hitler's invasion, followed by a final transfer back to the States, its clear that Lisl's energy and spirit guided a pretty incredible life.

Skala got the idea for this show after interviewing Lisl for a play she was writing on her grandmother (Lisl's sister), actress Lilia Skala. According to the program notes, Lisl just wanted to talk about herself during the interviews and after reviewing the tapes, Skala realized she had a pretty great story as well.

The biggest strength in A Time to Dance is the charismatic connectedness Skala offers the audience. As the show is about a woman's love for dance, Skala flits around the stage and makes movement paramount to the show's message. The action on stage is interesting from the minute it begins and I personally never lost interest in Lisl's story. It seemed like those around me were also pretty engrossed.

Now, I think most people have quirky relatives with great stories, particularly those who survived the world wars and lived to tell about it. Lisl's life is fascinating but I was also interested in the subject matter beyond the character. Lisl's modern dance background and work as a notable dance therapist really fascinated me and to be honest, I was hoping to learn more about those facets of her life. A Time to Dance doesn't really delve into the technical side of Lisl's life in dance. It's really just the story of this phenomenal person's joie de vie, and certainly one worth telling.

(A Time to Dance plays at the Theatres on 45 Bleecker, 45 Bleecker Street. Performances are Tuesday 8/18 at 8pm, Thursday 8/20 at 9:45pm, Friday 8/21 at 3pm and Monday 8/24 at 9:45pm. For tickets and show info visit libbyskala.com and for more FringeNYC info visit fringenyc.org.)

Celebs on Broadway, 2009-2010

By Molly

It's no surprise that Broadway producers like to cast celebrities in their shows. If your show, let's say, is a dramatic British play about horses that wouldn't attract the average tourist (ehem Equus), throw a naked Harry Potter on the stage and voila, you just made additional millions. (And this is good because Harry Potter probably doesn't get naked for cheap). To no one's surprise, the 2009-2010 Broadway season is stacked with celebrities. Here's who you can expect to see, for better or for worse. Let the celeb worship/bashing begin! (And I suppose it's only fair to remind you that many of these celebs are stage actors with credible resumes).

John Stamos, Gina Gershon
Bye Bye Birdie (musical, revival)
Performances begin September 10, 2009
Henry Miller's Theatre

Daniel Craig, Hugh Jackman
A Steady Rain (drama, new)
Performances begin September 10, 2009
Gerald Schoenfeld Theatre

Jude Law
Hamlet (Shakespearean classic)
Performances begin September 12, 2009
Broadhurst Theatre

Sienna Miller
After Miss Julie (drama, revival)
Performances begin September 18, 2009
American Airlines Theatre

Carrie Fisher
Wishful Drinking (one-woman show, new)
Performances begin September 22, 2009
Studio 54

Julia Stiles, Bill Pullman
Oleanna (drama, revival)
Performances begin September 29, 2009
John Golden Theatre

James Spader, Kerry Washington
Race (drama, new)
Performances begin November 17, 2009
Ethel Barrymore Theatre

Alicia Silverstone, Laura Linney
Time Stands Still (drama, new)
Performances begin January 5, 2010
Samuel J. Friedman Theatre

Evan Rachel Wood, Alan Cumming
Spider-man: Turn Off the Dark (musical, new)
Performances begin February 25, 2009
Hilton Theatre

Nathan Lane, Bebe Neuwirth
The Addams Family (musical, new)
Performances begin March 4, 2010
Lunt-Fontanne Theatre

Bird House (KNF Co.)

By Molly

5 POINTS OR LESS
an imaginative story • existential and thought-provoking • very artistically presented • puppets • cool set design and projection design that meshes two contrasting worlds

Christina Shipp and Cotton Wright in Bird House.

BOTTOM LINE: A fairytale fantasy world about growing up (with puppets).

I'm sorry I'm writing this review a little late, because it gives you less time to see Bird House, a captivating new play by Kate Marks currently running at Theatre 3. The short 12 performance run concludes Sunday, July 26th. If you have an inkling to see an artsy (but not fartsy) play with an expressive, "downtown" vibe, Bird House might be your perfect fit.

Bird House is the story of Louisy and Syl, two friends of indeterminate age (let's say young adults) who live together in a treehouse. They live on the Bright Side, the part of the world where things are cheery and peaceful. Syl (Christina Shipp) feels restless and decides to go be a hero on the Lop Side, the other side of the world where a war-ravaged society tries to perservere. Louisy (Cotton Wright) is abandoned by her only friend, and through her lonliness must resume her life and move on.

Bird House is a warped fairy tale, kind of like the Mad Hatter's teaparty. It's sort of nonsensical. It's sort of light and fun. But there's a layer of something darker and unsettling resting underneath. Although it's a story about youthfulness, it's probably not for kids. There are moments of humor to be sure, but there is something deep and poignant at its core.

Marks' script is enthralling. The way she arranges her words and creates these characters is meticulously stylized. She writes in an almost poetic way, where the words themselves are important, not just what is being said. And the world she's created is something unique in and of itself; although little is ever explicitly defined and the audience must interpret the play in their own way, the stylistic vocabulary is undeniably marvelous. It's easy to dive right in to the tale.

Heidi Handelsman's direction keeps the contrast between the Bright Side and the Lop Side crystal clear. Capable actors and puppeteers draw the audience in deeper. Sets, lighting and projections (Sara C. Walsh, Rebecca M. K. Makus and Alex Kock, respectively) keep the audience glued to the story. For a new play off-off-Broadway, I am extremely impressed by the professionalism of the production.

I wish Bird House offered a little more distinction into what was happening specifically, rather than being so open-ended and up for interpretation. Its existentialism was exciting to experience during the show, but I would've liked a little more closure at the end. It's always nice to feel like you've shared a theatrical experience with your fellow audience members rather than being isolated in your own mind. But that is a minor complaint compared to the solid production value and magical story that Bird House has to offer. I'm definitely excited to see what's next from both Marks and producers KNF Co.

(Bird House plays at Theatre 3, 311 West 43rd Street, 3rd Floor. Performances run through Sunday, July 25th: Thursday through Saturday at 8pm and Sunday at 3pm. Tickets are $18 and can be purchased at theatremania.com or by calling 212.352.3101. For more show info visit birdhousetheplay.com.)

Two off-off-Broadway extensions

Just a quick note to let you know that 2 shows Theasy recently covered and loved are extending their runs off-off-Broadway...

The Pied Pipers of The Lower East Side
Extended through August 17, 2009 at PS 122
From The Amoralists Theatre Company, this love story is about young idealists living above a vegan restaurant in NYC. Read Le-Anne's glowing review here.

(Shows take place on Thursdays, Fridays, Saturdays and Mondays at 7:30pm, and Sundays at 5:30pm. Tickets are $25, $15 for students/seniors and $10 for P.S. 122 members, and can be purchased online at www.ps122.org or by calling 212-352-3101. Warning: Explicit sexual content and utopian ideals – no one under 17 will be admitted. Running time is 2 hours and 45 minutes including two intermissions. For more information visit www.TheAmoralists.com.)



Thank You For Being A Friend
Extends through August 23, 2009 at The Kraine Theatre
This unauthorized musical parody inspired by the beloved TV sitcom “The Golden Girls,” features book by Nick Brennan, lyrics by Luke Jones and music by Jeff Thomson. Read Scott's enthusiastic review here.

(Shows take place Sundays at 8pm. The Kraine Theater is located at 85 East 4th Street between 2nd & 3rd Avenues. Tickets are $20, available at 212-352-3101 or SpinCycleNYC.com.)

Summer Best Bets!

Summer is a good time for Broadway. Although it's a bit off a tourist trap, you can find good deals at the TKTS booth and ticket discounts online (since nothing much opens in the summer, there aren't many super-hot, sold-out shows). Here's what Theasy recommends!

BEST BETS SUMMER 2009

Take A Date: Rock of Ages
There is nothing sexier than 80s hair bands and drinking beer during a Broadway show.
Visit broadwaybox.com for future discount codes.

Take Your Parents: Jersey Boys
Tickets are hard to come by, but this story of The Four Seasons is a seriously parental crowd pleaser.
No discount codes, sorry!

Take A Theatre Novice: 9 to 5: The Musical
Light, silly, cheesy entertainment that doesn't require work from the audience.
Use discount code 3BBOX to save 35%.

Take A Theatre Snob: Mary Stuart
This British import boasts some of the best acting on any New York stage.
Use discount code QSBBX615 for $55/$65 tickets.

For A Laugh: 39 Steps
A quick paced salute to Hitchcock movies, this four person play is hilariously clever.
Use discount code 39BX0407 to save over 50%.

For A Cry: Next to Normal
A new groundbreaking musical reminiscent of Spring Awakening and Rent.
Use discount code NNBBX0420 for up to $38 off.

For Brilliant Storytelling: The Norman Conquests
Ayckbourn's play-in-three-parts is British humor at its absolute finest.
Use discount code NCBXEONM to save up to 40%.

Before It's Too Late: Avenue Q
This 2004 Tony Winner for Best Musical closes September 13th. Its R-rated puppet madness is not to be missed.
Use discount code AQBBX0313 to save up to 40%.

9 to 5: The Musical (Marquis Theatre)

By Molly

5 POINTS OR LESS
music and lyrics by Dolly Parton • who doesn't love Allison Janney? • new musical based on the movie • optimistic and energetic

Stephanie J. Block, Megan Hilty and Allison Janney plot their boss's demise in 9 to 5.

BOTTOM LINE: Check your theatre pretension at the door.

Dolly Parton's sassy new musical, 9 to 5 (based on the 1980 movie of the same name), is about three ballsy ladies sticking it to their chauvinistic boss, Mr. Hart. Parton starred in the movie as Doralee, the big-boobed Texan with a brain. The other two women, Violet and Judy, were played by Lily Tomlin and Jane Fonda, respectively. Though not a particularly challenging story, 9 to 5 is an uplifting tale of girl-power and ultimately women's rights. And due to its cheery, happy-ending nature, it translates pretty effectively to the stage.

For what it's worth, 9 to 5 is an enjoyable musical theatre experience. Directed by the Joe Mantello (Wicked, Assassins) and choreographed by Andy Blankenbuehler (In the Heights, The Wiz at Encores!), the show is as schnazzy as you would expect from a theatre extravaganza with Parton at the helm. It delivers glitzy Broadway pizazz and still maintains that down-home, inside-jokey, fun-loving spirit that Parton is all about.

The three leading ladies, Allison Janney as Violet, Megan Hilty as Doralee and Stephanie J. Block as Judy, are all incredible performers perfectly suited to be playing these roles. Janney gets the humor in Violet, and Hilty and Block have Broadway-diva voices. They certainly make a solid threesome. Marc Kudish as Mr. Hart is also well-cast; he is a despicable caricature whom the audience loves to hate.

9 to 5 has been relatively snubbed by the theatre community since it opened in the spring. Both in reviews and at the Tony Awards, this show hasn't received much positive attention considering it's a big, expensive production with big, impressive names attached. It has, however, received a great audience response and when I saw the show on a Tuesday, the house was packed and the audience was having a blast. 9 to 5 is very silly, pretty low-brow, and certainly not a theatrical challenge...but that doesn't mean it's not a good time. Despite feeling underdeveloped and overproduced, 9 to 5 delivers an entertaining evening for any audience member looking for an uplifting night out. And sometimes that's all you need. I can easily put on my critic pants and tell you everything that I feel is wrong with 9 to 5, but it feels unnecessary to go there with this show.

Parton's music and lyrics are exuberantly sincere and the score itself is pretty decent on the whole. "9 to 5," the title track from the movie, is also the opening number in the musical and plays throughout the production between scenes. And 9 to 5 is all about the music. Sure, it's musical theatre, but this show provides a consistent barrage of production numbers, power ballad solos and hamonic trios. And the entire cast is talented, capable and fun to watch.

9 to 5 is a giddy theatrical spectacular and great escapist entertainment. It's a good pick for out-of-towners who want to experience Broadway but aren't theatrically inclined. Anyone with a penchant for classical theatre or anyone who watches theatre with an analytic eye should be warned that this show is a fun romp and not much more. You won't enjoy yourself if you give it too much thought. But if you're looking for an upbeat evening out, 9 to 5 is worth experiencing.

(9 to 5 plays at the Marriot Marquis Theatre, 1535 Broadway between 45th and 46th Streets. Performances are Tuesday at 7pm, Wednesday at 2pm and 8pm, Thursday and Friday at 8pm, Saturday at 2pm and 8pm and Sunday at 3pm. Tickets are $75-$125 and can be purchased at ticketmaster.com or by calling 1800.982.2787. Win tickets for $36 by entering the lottery held at the 9 to 5 box office. Click here for lottery info. Visit 9to5themusical.com for more show info.)

Irena's Vow to close Sunday June 28

By Molly

Irena's Vow, the new Broadway play starring Tovah Feldshuh, will close Sunday, June 28th. Based on the true story of Irena Gut Odpyke, a Polish Catholic woman who helped hide Jews in Germany during World War II, Irena's Vow is definitely a compelling story. Theasy writer Le-Anne saw the show in May...read her review here.

Since I just saw Irena's Vow (better late than never) this post is pretty tardy. But with five remaining performances I think it's worth putting a mention out there for those who might have a chance to see it. Irena's Vow is a sincere and moving portrayal of life in Germany during the Holocaust. Aside from certain shortcomings in the production, the audience leaves with a powerful sense of understanding and enlightenment about that time and about who Irena Gut was. The production, led by the gifted Feldshuh, is inspirational because it is inspired. It's clear that everyone on that stage is there to tell an important story, and a true story at that; they aren't just entertaining an audience of 900 and then collecting a paycheck. Irena's Vow does a great job of preserving a true story and presenting it with integrity and respect.

I can't say I'm that surprised that the production is closing (biographical dramas about World War II don't provide the same summer escapism that other Broadway shows offer). But I do think Irena's Vow holds a solid place in the theatre world and it is certainly worth seeing while you still can. Its message is important and you'll be glad you got to experience this story.

(Irena's Vow plays at the Walter Kerr Theatre, 219 West 48th Street. Remaining performances are Thursday, June 25th at 8pm; Friday, June 26th at 8pm; Saturday, June 27th at 2pm and 8pm; and Sunday, June 28th at 3pm. Tickets are $41 - $98 and student tickets are available at the box office same day for $25. Standing room tickets are also available. For tickets visit telecharge.com and for show info visit irenasvow.com.)

The Wiz (City Center)

By Molly

5 POINTS OR LESS
take the kids • a good production of a bad musical • potentially headed for Broadway • the In the Heights creative team • "Ease on Down the Road" will be stuck in your head for days

Ashanti and James Monroe Iglehart in The Wiz.

BOTTOM LINE: Alvin Ailey meets Disney on Broadway meets the sale rack at JC Penney.

The Wiz is an urban musical version of The Wizard of Oz with an all-black cast that originally opened on Broadway in 1975. The production did well in the '70s, playing for four years and spawning a movie version starring Diana Ross as Dorothy and Michael Jackson as the Scarecrow. It was revived on Broadway in 1984 and received a less stellar response...it closed after only two weeks. And here-in lies the problem with The Wiz: you better have an incredible production because in the end, it's just not a very good show.

This new version, playing through July 5th at City Center, is a part of the Encores series with the potential for a future Broadway run. Encores employs high caliber casts and creative teams to produce musical revivals. With somewhat minimal sets and a limited three week run, the point is to put a staged but unfinished version of the show up in front of an audience and to see the response and potential future for the production. For example, the 2007 Broadway production of Gypsy with Patti LuPone started at Encores and then played a spectacularly successful run on Broadway. I'm not sure The Wiz will make the transfer, but I'd love to see this cast together again. For all the ways the production misses the boat there are some truly wonderful moments as well.

The Wiz utilizes the In the Heights team (Thomas Kail directed, Andy Blankenbuehler choreographed, and Alex Lacamoire is musical director). This is a solid decision since both musicals are happy and hopeful with an urban vibe; they also both focus on the idea of what it means to be home. To their credit, Kail, Blankenbueher and Lacamoire do a great job with the material. They have a tremendous cast and orchestra, so performance-wise the show really cooks. The weakest link is Grammy winning pop star Ashanti, as Dorothy. This is her stage debut and it's pretty apparent that she's not an actress. But she has a lovely voice and the kids in the audience were going crazy (I guess anything that gets kids to the theatre can't be all bad). Luckily, Ashanti is surrounded by a fantastically talented cast including Tony winner LaChanze at Aunt Em (The Color Purple), Orlando Jones as the Wiz, and a whole slew of other singers and dancers that round out a stellar ensemble.

The story itself is very presentational and formulaic so each scene introduces a new character who gets a fun solo to sing. In a lot of ways, it's like watching bad-show-tune night on American Idol (if such a night existed). With the exception of 'Ease on Down the Road,' the rest of the music is pretty forgettable, even with a talented cast singing their respective faces off. Two songs that don't suck are the wicked witch's gospel-esque diva number called 'No Bad News' and the gorgeous ensemble song 'Everybody Rejoice' which was actually written by Luther Vandoss.

Blankenbuehler's choreography is creative and the dancers certainly perform it with grace and athleticism. As a dance show, The Wiz impresses. The staging is tough with Encores though, because the orchestra is showcased on stage (which, don't get me wrong, is incredibly cool and well-deserved). The result is that the cast of 30 is forced to maneuver around a large, winding staircase and platform. I'm not sure if this is part of the reason the pacing of the show is off or if it is the fault of book and the score, but the scene changes are often disjointed.

It's not that this production of The Wiz is bad. It's entertaining, energetic and brimming with talent. For what it's worth, it's a great kids show as well. It just lacks the wow moments needed to revive an insipid musical and make it new again. But it's worth seeing while it's playing this summer, especially if you have a personal connection to the musical or the movie.

(The Wiz plays through July 5th at City Center, 130 West 56th Street. Tickets are $25-$110. For the performance schedule and to purchase tickets visit nycitycenter.org/tickets.)

The Popdose Interview with Brian Yorkey

By Molly

(I interviewed Brian Yorkey, playwright and lyricist of the new Broadway musical Next to Normal, for popdose.com last month. He had a lot of great insight about creating a new musical and even though the article is pre-Tony Awards and therefore a little outdated, I think it's still worth sharing. Hope you find it interesting.)


Brian Yorkey is not an asshole. The playwright of the new Broadway musical Next to Normal would never write disparaging comments on a blog post critical of his show. He actually welcomes intellectual discussions about Next to Normal and is much more humble than proud. So it was obviously disconcerting when he discovered an impostor was posting offensive comments as “Brian Yorkey” on a handful of websites this past spring as Next to Normal opened on Broadway.

That’s actually how I met Brian. Faux-Yorkey posted a snotty comment on my review of Next to Normal (on popdose.com) and Brian contacted me to do some apologetic damage control. Since the Internet feeds the fire of anonymous trash-talking, it’s hard to know Faux-Yorkey’s intentions. Deeply defensive of any semi-negative feedback about the show, he (or she) is either a creepy, obsessive fan or rather someone with whom the show resonates strongly. Writing a critically acclaimed rock musical about mental illness is sure to attract a passionate following, after all.

Next to Normal is a breakthrough original musical, receiving astonishing praise from both critics and fans. The show opened at the Booth Theatre in April and is up for a whopping 11 Tony Awards, including Best Musical, at this year’s awards. (Editor's note: Next to Normal won Tony Awards for Best Original Score, Best Leading Actress - Alice Ripley, and Best Orchestrations).

The show details the life of bipolar mother Diana, played by Alice Ripley, and how her debilitating mental illness effects both her and her family. The touchy subject matter is delicately and passionately deconstructed while a thumping rock score accompanies the characters’ struggles. It’s certainly an emotional musical, and one that offers a connection to its audience as everyone takes the journey together.

When I sat down with Brian to discuss his experience writing the book and lyrics for Next to Normal, I expected his insight to be almost transcendent, in accord with how the musical elicits such a passionate reaction from its audience. Instead, he told me about his experience with the show’s composer, Tom Kitt, and their journey from when it began as a 10-minute piece at the BMI Musical Theatre Workshop a decade ago. Called Feeling Electric at the time, Brian and Tom wanted to write an edgy final project for the workshop, contrasting from their otherwise traditional peers in the class (and their otherwise traditional work). They were fresh out of college and ready to work on their craft; the subsequent 11 Tony nominations a decade later prove that talent and artistic ingenuity have to start somewhere.

Next to Normal’s journey from 10-minute piece to full-length Broadway musical was somewhat arduous, given all the people that were involved from its inception. The creative team was purely interested in telling the story and discovering the characters and their relationships. Unlike other theatrical endeavors that are about selling the show to a paying audience, Next to Normal didn’t have its sights set so commercially high, at least not at first. And that probably has a lot to do with what makes it so intimately resonant. When you don’t have to add schmaltz and sparkles to make your audience feel like they’re getting their money’s worth, you are at liberty to do what’s best for the story. Then, if a ticket is worth a Broadway price, you’ve not only done your job well, but you haven’t sold out to get there. It’s a sad rarity in theatre these days, especially with ticket prices so astronomically high.

I was curious to hear from Brian what it’s like to write a truly original musical, given that most of the new theatre out there is based on a story previously told in another form (movie, album, comic, etc). Brian admitted it’s “exponentially harder to write an original musical. Musicals that go wrong can be ridiculous because it’s a ridiculous artform. People bursting into song can be ridiculous. But musicals that go right can be sublime.” He was quick to quote Spinal Tap: “it’s a very fine line between clever and stupid.”

Currently 19 musicals are playing on Broadway. Next to Normal finds itself in the company of only two other complete originals (Avenue Q and In the Heights). Sure, there are other original musicals on Broadway, but they’re all based on a story or idea that has previously been told (Wicked, Shrek and 9 to 5, for example). In the 2008-2009 Broadway season, 14 new musicals opened. Of those 14, only four were completely original (Next to Normal, Story of My Life, [title of show] and 13). The only one of those shows still running is Next to Normal.

What is it about original musicals that make them so few and far between? Are people out of ideas? Are previously told stories simply an easier sell? Brian was quick to remind me that adaptations have always graced the Broadway stage, and that maybe “original musicals are the exception rather than the rule.” Really, Next to Normal wasn’t written to be a new, innovative comment on society or the art of theatre. Brian quotes Harold Prince, saying “You don’t set out to break new ground, you set out to write a show.” He adds, “Rent, Falsettos, Tommy, Hair…[Next to Normal] wouldn’t be there without those shows.”

Best-case scenario, Brian hopes that Next to Normal sets a precedent for original musicals in the future. He hopes producers can look at the success of the show and think that maybe it’s possible to develop an ambitious, challenging, new musical and make money at the same time. He believes the success of Next to Normal can prove that you don’t have to resort to sweet, lighthearted productions in the interest of making bank — and sometimes the risk can be worth the reward.

Will the production be around for a while, tour the country and play regionally? It seems likely. Brian counts Spring Awakening as a sort of kindred spirit of Next to Normal. Spring Awakening is the rock musical that won the 2007 Tony Award for Best Musical and has since had much success touring America. It is a unique, non-traditional show, based on a controversial story from the late 1800s. Like Next to Normal, Spring Awakening employs taboo topics (i.e. teens doing it) although Next to Normal doesn’t have the gratuitous nudity of the aforementioned musical — but Brian would put Next to Normal’s Aaron Tveit’s butt against Spring Awakening’s Jonathan Groff’s anyday.

Really, Brian hopes Next to Normal will strike a chord with typical American families because he sees the problems his characters go through as not-too-rare occurrences that many people cope with on a daily basis. He believes with the accessibility of Tom’s music and the relatability of the story, Next to Normal will have much success in the Midwest and other parts of the country. And at best, he hopes that kids who deal with mental illness in their own families will be able to connect with the story and feel comfort knowing they’re not alone.

Completely modest and full of appreciation for the success of his show, Brian still finds his 11 Tony nominations hard to believe. He himself is up for two awards: Best Book of a Musical and Best Original Score, although collecting two Tonys for his mantle is not his Tony fantasy. He’d actually just like to have an in-depth conversation will Dolly Parton about whatever’s on her mind and then have someone take a picture of them together. He’d also like to chat with Sir Elton. And it would be great if his tux was slimming. Of course, he’d like Next to Normal to win Best Musical, and he’d also like it if Alice Ripley, Bobby Spencer and Jen Damiano could win their respective Best Actor/Actress awards — and if Aaron Tveit could also win in a write-in vote. When asked about winning the Tonys he’s personally up for, he humbly admits he might not even vote for himself in those categories — but adds that he won’t turn them down if, in fact, he wins.

2009 Tony Awards wrap-up

By Molly

The three boys who play Billy in Billy Elliot: the Musical celebrate after winning the award for Best Lead Actor in a Musical.

Well, the Tony Awards aired last Sunday night and there weren’t any surprises of note. Everyone who was supposed to win took home their respective awards and aside from the teleprompter being apparently really hard to read, the night pretty much went as planned. Billy Elliot won almost all of the awards it was up for, including the coveted Best Musical prize. God of Carnage won the award for Best Play, as expected. Neil Patrick Harris proved to be a decent Tonys host, not terribly cheesy but still endearing to Grandmas in Ohio. And the G-rated entertainment offered more musical performances this year including the tours of Legally Blonde, Jersey Boys and Mamma Mia (because that's apparently what people want).

Other highlights included NPH's blatant mockery of Jeremy Piven's "mercury poisoning" (his reason for dropping out of Speed-the-Plow earlier this year) and Frank Langella's snarky "I'm not mad I wasn't nominated for a Tony" rant. Winners were genuinely gracious and most, like Gregory Jbara (who won the Best Featured Actor in a Musical award for Billy Elliot), gave truly thoughtful speeches. It was also pretty great that The Norman Conquests won Best Revival of Play, even though none of the four actors who were up for acting awards won (that's okay, it really is an ensemble show).

There were a lot of unfortunate things about the Tonys, too. First of all, Bret Michaels sang with Rock of Ages in the opening performance (a pretty great idea) but got injured exiting the stage by some moving scenery (seriously, he fractured his nose). I feel bad for Bret; I mean, there were a whole lot of people on stage in that opening clusterfuck. Another issue I'm bothered by is that the creative awards (including Best Choreography, Best Book of a Musical, and all of the designer awards) don't get to be announced during the live broadcast. Instead, they are announced at a small, less significant ceremony beforehand. I understand people might not care which play had the best lighting design, but the broadcast had the 48,000th tour of Mamma Mia performing for god's sake. Another Tony problem: CBS mixed up the Mary Stuart ladies (Janet McTeer and Harriet Walter) when showing their close-ups as the Best Leading Actress in a Play nominees were announced. I know they're British and starring in a drama but come on, there are five people in the category, get it right.

For the full list of Tony winners, visit tonyawards.com.

Orange Flower Water (InProximity Theatre Company)

By Molly

5 POINTS OR LESS
a well-written play by the guy who wrote Six Feet Under and Brothers and Sisters • inaugural production for a new theatre company • sexually charged • conflict-heavy • thoughtfully produced and performed

Laurie Schaefer and Brent Vimtrup in Orange Flower Water. Photo by Blair Blackman.

BOTTOM LINE: A perceptive play about love and infidelity.

I was excited to see InProximity's inaugural production of Craig Wright's Orange Flower Water because I am a big fan of Wright's work and because it's always fun to see a fledgling company fresh out of the gate. I was impressed with the production; the four person cast attacks these characters with fervor and empathy, exposing their humanity despite a tricky, immoral situation.

Orange Flower Water was written in the early part of the decade and performed off-Broadway at Theatre For the New City in 2005. It is the story of two suburban couples intertwined in a messy love affair. David (Brent Vimtrup) and Cathy (Jolie Curtsinger) are married, so are Brad (Michael Poignand) and Beth (Laurie Schaefer). They're all pretty unhappy but are set in their ways with their children and lives. After a few years of benign flirting at soccer games, David and Beth finally make a move and their affair becomes official. Their spouses find out, they leave them and move in together. The message is that sometimes you have to hurt innocent people to make yourself happy...life is never as neat and easy as it should be.

The stakes are high in this play and the actors do their best to deliver aggressive emotion with empathy for their individual plights. Everyone is sort of the victim of their own desire for happiness, and the audience witnesses David and Beth make it out of their tedious despair, in exchange for true happiness with one another (although it comes at a very high price and might not even last forever). Everyone is wounded in one way or another. Wright is a master at writing dysfunctional relationships at their breaking points. His previous work includes TV shows Six Feet Under, Brothers and Sisters, and Dirty Sexy Money; he is great at exposing sympathetic honesty in confrontational situations.

The four actors do their best to tell the story with honesty, although the space at Theatre 54 is a bit distracting. The night I was there my attention was often pulled from the play to the opera auditions in the room next door, and then to some other audience members cracking open smuggled-in cans of Heineken (it's not a Nascar race folks, a little decorum please). But those distractions are clearly not the fault of anyone involved with the play. All that aside, and although the production is a bit self-aware at times, the story resonates strongly in the four actors (who remain on stage throughout the performance...a blocking note specified in the script). Orange Flower Water is a great play that delves into intense relationships that feel all too real and InProximity does the script justice with this production. I respect that their first show is a ballsy one and I look forward to subsequent offerings.

(Orange Flower Water plays at Theatre 54, 244 West 54th Street. Remaining performances are Thursday, May 28 at 8pm, Friday, May 29 at 8pm, Saturday, May 30 at 8pm and Sunday, May 31 at 2pm. The show runs 1 hr. 30 min. with no intermission. Tickets are $18 and are available at ticketcentral.com. For more show info visit inproximitytheatre.org).