[title of show] is closing 10/12

I'm sad to report that my favorite new musical, the snarky [title of show], will play its final Broadway performance on Sunday October 12th. This creative little musical with meager beginnings and big hopes made a serious name for itself, it's just a shame that the tourist crowd couldn't sustain its success. Although I guess it's not a huge surprise, as [title of show] maintains a downtown feel despite its residence at the Lyceum Theatre on 45th Street. If you haven't seen it yet, you should check it out while you still can. And hopefully this is just the beginning of Jeff Bowen and Hunter Bell's rightful place in the Broadway arena.

Read the Theatre Is Easy review of [title of show] here.

Bonnie and Clyde: A Folktale

BOTTOM LINE: Light, Fresh, Irreverant

So, while I did expect twangy accents and a bit of fiddling from Bonnie & Clyde: A Folktale, (running at the American Theater of Actors through 9/28 as part of the NYMF festival) the words "ass-fire" and "boob-sweat" were definitely not part of the standard, old-timey, country-western fare I anticipated. And it's that irreverant spirit that sets this new musical apart. The script (by Urinetown's Hunter Foster) supports a hilarious group of actors as they bring a motley crew of vibrant characters to life. Diane Davis and Jason Wooten, in the title roles, are disarmingly charming as they alternately bicker and hold up the audience, and the supporting players - including riotously funny turns by Julie Johnson and Kevin Cahoon - will have you rolling.

Unfortunately, the night I saw it, there were some sound issues, which I think kept me from enjoying the music (and there is a lot of it) fully. That said, the roving band of "marihoochis" and rousing finale are strong additions structurally, musically, and comically. Visually, director Mark Waldrop works wonderfully in the space, using scaffolding, catwalks, and house aisles to create a physically encompassing show.

There's not a whole lot in this play that will break your heart or change your life, nor should there be - it's a musical comedy. There are, however, great comic pay-offs and a cast of gems. It's most definitely a fun, fresh show for you and your partner-in-crime.

(Bonnie and Clyde: A Folktale plays at the American Theatre of Actors, 314 West 54th Street (between 8th and 9th Avenues). Remaining performances: Sunday, Sept. 21st at 5pm and 9pm, Saturday, Sept. 27th at 4:30pm, and Sunday, Sept. 28th at 5pm. Tickets are $20. Visit www.nymf.org for more details and to purchase tickets.

The Annual Broadway Cares Flea Market - This Sunday!

Rub elbows with your favorite Broadway stars, shop for one-of-a-kind memorabilia and help fight AIDS... all in one Sunday!

This Sunday is the Annual Broadway Cares Flea Market in Shubert Alley.  Just about every show will have something there from collectables, autographed goods, playbills, and all kinds of good stuff.  Don't be surprised if you see some of your favorite cast members shopping as well!  It's all for a good cause so come on out on Sunday and get yourself a piece of Broadway!

What:  The Annual Broadway Cares Flea Market

When:  Sunday, September 21st

Time:  10 am - 7 pm

Where:  Shubert Alley (44th Street/West of Broadway)

Minnie Pearl Does Broadway (Don't Tell Mama)

Mark Alan Jones as Minnie Pearl.

BOTTOM LINE: Howdeeeeeee! She's back from the dead to try her hand at showtunes. Minnie Pearl Does Broadway might be the most fun you can have on 46th Street.

Minnie Pearl, the legendary Hee-Haw star, country singer and stand-up comedian is back on Earth (embodied by Mark Alan Jones) for an evening of Broadway standards. You see, when Don't Tell Mama cabaret has a performer cancel, Minnie graciously offers to come down from Heaven and fill-in, as she's always had a hankerin' for showtunes. Joining her onstage is her cantankerous yet harmonic Uncle Nabob (Darron Cardosa).

Minnie is "jest so proud to be here" as she happily performs her audience-participatory act for you. Her set list includes the gems Razzle Dazzle (Chicago), I Can't Say No (Oklahoma), Nothing (A Chorus Line), and Ease on Down the Road (The Wiz), just to name a few. You'll also get some personal anecdotes, jokes, and a question and answer session. And if you're lucky, you might even win a door prize.

Minnie Pearl Does Broadway is tounge-in-cheek cabaret at its finest with talented performers to carry it through. Jones has a great voice, making you think Minnie should've canned Nashville and headed straight for New York in the first place. And the song list is upbeat and energetic; its hard to be in a bad mood when Minnie's belting. Cardosa, as Uncle Nabob, is the perfect sidekick.

If you like cabaret, especially of the gender-bending, touch-of-country, ironically comedic fashion, then this show is certainly for you. It's a great time with a great energy. Hopefully Minnie Pearl Does Broadway will secure a weekly gig, but for now you can check back here at Theatre Is Easy for updates and performance times.

(You can catch Minnie Pearl Does Broadway next on October 6th at 7pm at Don't Tell Mama, 343 West 46th Street (between 8th and 9th Avenues). There is a $12 cover and a two drink minimum.)

The Marvelous Wonderettes (Westside Theatre)

BOTTOM LINE: Shut up and sing.

There is a lot to like about The Marvelous Wonderettes. First and foremost are the Wonderettes themselves, who are in fact, quite marvelous. Farah Alvin, Beth Malone, Bets Malone and Victoria Matlock are four ridiculously talented women who shimmy, bop and sway in unison, and who sing a catalogue of 50’s and 60’s songs I defy anyone not to be entertained by. And they don’t just sing, they sing! All four women are able to mine the maximum amount of emotional value from one iconic song, then turn around and belt the shit out of another equally identifiable one. Watching them unleash their interpretive and vocal powers for two hours, one gets the sense that no matter what happens with this show, these four ladies have major careers ahead of them. And not just in musical theatre, any one of them could easily have pop, R&B or even jazz and blues success. Simply put, they are amazing – goose bumps amazing – and alone are worth the price of admission.

While nothing else that happens during the show carries the impact of the stars, several other creative touches are worth noting: the theatre has been converted into a high school gym on prom night circa 1958 (and, in Act II 1968), and all the details are there. The offstage band is hot and manages to maintain the integrity of each song, while at the same time making it sound fresh and alive. Each Wonderette is dressed in a period appropriate prom dress that, with the aid of color and cut, helps identify the archetype she represents. Wigs and glasses and other accessories and such have all been well thought out and executed. This show certainly delivers a lot to look at and listen to.

The one thing the play does not deliver, however, is anything resembling an interesting, believable or compelling plot. This is a problem mostly because after the first thirty minutes or so, you wish they would dispense with the dialogue that is meant to resemble a narrative and just focus on the music. It would have been fine with me if the plot was: “It is 1958 and you are at a Marvelous Wonderettes concert. The end.” There is no need to create one-dimensional characters and then try to find silly reasons to tie songs together and make a story. I don’t think this play exists because writer director Roger Bean had an epic story inside of him that needed to be let out. I think he wanted to celebrate and pay tribute to the songs and idealism of a more innocent time. It’s just too bad he didn’t trust the music and his Marvelous Wonderettes enough to let them do the job for him.

(The Marvelous Wonderettes plays off-Broadway at The Westside Theatre, 407 West 43rd Street. The run is open-ended and performances are Monday, Tuesday, Friday and Saturday at 8pm, Sunday at 7pm, and matinees Wednesday, Saturday and Sunday at 3pm. Buy tickets at telecharge.com or by calling 212.239.6200. Tickets are $75. Visit marvelouswonderettes.com for more show info.)

Photo by Carol Rosegg...Front: Bets Malone; Back: Farah Alvin, Beth Malone, Victoria Matlock

There or Here (The 14th Street Theatre)

BOTTOM LINE: phone sex, angry North Americans, cancer, surrogacy, text messaging limited by generation, Spring-Winter romance, God’s existence, insomnia, first and third world’s colliding, masturbation, loneliness within a marriage….you name it and There or Here deals with it.

There or Here is the kind of theater I love to see. Not only is this play funny and dramatic, it also touches on so many intriguing subjects from outsourcing surrogacy to technology’s impact on our culture to battling cancer in a struggling marriage.

Jennifer Maisel’s playwrighting is brilliant; she eloquently deals with so many issues in today’s world. Her characters and dialogue seamlessly transport you into the world of the play. My only complaints are that she cheats us at the end of the play by not showing us what could have potentially been one of the play’s most interesting scenes, and I would have liked to see a little more evidence of the affection and love between the two main characters, Ajay and Robyn-evidence of the love they are trying so hard to get back to.

There or Here has an incredibly strong ensemble of actors including Annie Meisels, Alok Tewari, Purva Bedi, Judy Rosenblatt, Shalin Agarwal, and Deepti Gupta; each actor is specifically smart in the character that he or she plays. Amy Feinberg’s direction is superb; her staging is flawless and the 95 minute performance captivated my attention the entire play. Highly recommended.

(There or Here runs through September 28th at The 14th Street Theatre, 344 East 14th Street (between 1st and 2nd Avenues). Performance times are Thurs. at 7pm, Fri. & Sat. at 8pm and Sun. at 2 pm. Tickets are $18, available at 212-352-3101 or www.TheaterMania.com. For more info visit hypotheticaltheatre.org.)

This is Burlesque (Corio restaurant)

BOTTOM LINE: If you like burlesque, you will LOVE this show!

This is Burlesque is a complete burlesque show with a hilarious host, beautiful women, and sexy red lighting. The host of the show, Murray Hill, is a DRAG MASTER! He is also one of the best comedians I have ever seen; he has mastered the art of improv. His interaction with the audience is pure brilliance and he is right at home in the world of burlesque. This show is perfect for a fun night on the town!

The dancers include Angie Pontani, Peekaboo Pointe, Helen Pontani, and Ms. Saturn. Angie Pontani is the “Reigning Queen of Burlesque” as she just won “Miss Exotic World 2008” in Las Vegas. She is absolutely gorgeous and has a refreshingly curvy body. In her opening act, she mounts a drum and actually plays it; I have to say it was pretty damn sexy.

Helen Pontani is beautiful and amazingly talented. Not only is she a fabulous tap dancer, she also is the costume designer of the show (and the costumes are all gorgeous, sexy, and creative). Peekaboo Pointe does things with tassels that I didn’t think were possible. And Ms. Saturn is incredibly skilled as the queen of the hula hoop; at one point she had so many hula hoops going on her body that I lost count.

Corio is the restaurant that houses this burlesque show. As for the food, the prices are very expensive (even for New York) but it definitely smells good. Check out Corio's menu here. However, I was less than enchanted with the glass of Shiraz that I ordered. What you really need to know: Beer runs $7-9, wine is $8-10, and mixed drinks are $12-13. Side note: the chairs without backs aren't very comfortable, make sure you request a table with seats with backs if you care about that sort of thing.

(This is Burlesque plays every Thursday and Friday at 8pm and Saturday at 7:30pm and 9:30pm at Corio, 337 West Broadway at Grand Street, right on the corner. Tickets are $25, available at 212-966-3901 or smarttix.com. For more info visit thisisburlesque.com.)

Kidstuff (Kirk Theatre)

BOTTOM LINE: Why are the bad ones too long and the good ones too short?

Kidstuff is a charming play about the things we do, the things that are done to us, the choices we make, the choices others make and how hard it is to come to terms with and make sense of it all.

Partial Comfort Productions has done a lovely job staging this play and the cast is in fine form. All the players handle their multiple roles with aplomb, but ultimately it is Sarah Nina Hayon in the role of Eve that makes the play fly. Hayon is able to masterfully maintain a delicate balance of emotions that elicits true empathy but never crosses the line into pity. Watching her navigate her way through her highschool experiences as revisited in group therapy and her adult life (which looks curiously similar to her highschool one) in real time is a great ride, and Hayon proves to be a great emotional vessel. He face, body and voice are able to suggest all the physical and emotional complications of her circumstances without ever being didactic. Certainly a trap into which an actor of lesser skill could easily fall. Kudos, too, to director Erica Gould for steering the entire cast clear of the obvious – and therefore much less interesting – choices.

My only criticism is that I wanted more. Edith Freni has written a really wonderful play with themes basic to the human condition and I wanted to be engaged longer and more fully. The play clocks in at not much more than an hour, so a second act is certainly a possibility. Not really a criticism, I guess, but the topics touched upon in this play are big and emotionally packed and totally universal and I found myself wanting issues to be more fully investigated. I was curious, for example, about Eve’s relationship with her mother. I wanted to know and understand why her brother is so angry and her father so distant. The list goes on. It seems to me that the fine people at Partial Comfort Productions decided to take a less-is-more approach to this play. And while that's a rule I usually think that is a good idea, in the case of Kidstuff, maybe more is more too. Although what you do get from this show is certainly a lot.

(Kidstuff plays at The Kirk Theatre at Theatre Row, 410 West 42nd Street at 9th Ave, through September 27. Showtimes are Wednesday through Saturday at 8pm. Visit ticketcentral.com for tickets and see the show's website, partialcomfort.org for more info.)

Rent closes Sept. 7th

Rent, the most uplifting/most depressing musical of the ‘90s will close Sunday, Sept. 7th after playing over 5100 performances on Broadway. Although it's time for the now culturally dated show to bow out gracefully, it's not without tribute that Rent leaves its home at the Nederlander Theatre.

For myriad reasons, Rent spoke for a generation (and not just because my high school friends and I would sing the score from beginning to end on all road trips). The story resonates deeply with its audience: young people living in New York, trying to maintain their artistic integrity and not sell out despite the lure of a cushier life. The characters encounter love and loss, drug abuse, self-revelation and living with HIV. Rent is a rock opera and the tone of the production both musically and visually was hip and approachable for teens and young adults. At the same time, the show's marketing incorporated a grungier look than what other Broadway shows had, making it visually attractive to its target audience. Rent is a show about coming into one's own and it was gratefully appreciated by millions of people who understood exactly what it was trying to say.

It's kind of amazing that so much can happen in a mere 14 years. Rent is now somewhat of a period piece, and when it's revived down the road it will surely define Generation X (and sometimes Y). The show takes place in Manhattan, specifically in the slums of the East Village. With frantic gentrification, living in the East Village is hardly slumming it anymore, what with a Starbucks on every corner and $2000/month studio apartments. Also, a major theme in the show is the prevalence of AIDS in America. When Rent opened in 1994, the AIDS crisis was a terrifying epidemic. Fourteen years later, it's a wonderful thing to say that the disease is much less of the death sentence it used to be.

Rent has found enormous success throughout the world and will continue to tour (a 2009 tour with original cast members Adam Pascal and Anthony Rapp is in the works). The show has been translated into every major language and has been performed on six continents. Here in New York, it closes as the 7th longest running show in Broadway history. From its original off-Broadway run at New York Theatre Workshop to a Broadway run that grossed over $280 million dollars, Rent holds a solid place in musical theatre history. And when it's revived in a few decades I'm going to feel really, really old.

Kansas City or Along the Way extended

Kansas City or Along the Way, the touching FringeNYC show I enjoyed ever-so, has been extended post-festival! You can check it out September 10-14 at 8pm at the Access Theatre (80 Broadway, 4th Floor, 2 blocks south of Canal). Tickets are $15...get them at smarttix.com or by calling 212.868.4444.

BOTTOM LINE: romantic, artsy, well-executed. A love story told through different narrative structures with just a two person cast. It includes original music (but not enough of it) and lovely performances.

Read the full Theatre Is Easy review here.

For more information, visit the show's website at disgracedproductions.com.