"FALLING FOR EVE" - God's Little Secrets"

July 15, 2010

The Garden of Eden has a new twist in this musical one act romp currently at the York Theatre as we’re privy to some of God’s little known secrets!

Tony Award Winner Joe DiPietro’s latest offering (he wrote Memphis), puts a new spin on the real first couple and procreation. With Angels Sarah (Jennifer Blood) and Michael (Nehal Joshi) as narrators never far behind, droll matter-of-fact God (Adam Kantor) tells it like it is in a swinging pop opening “God, It’s Good To Be Me” – “when you are the architect, you get respect!”

Creating good looking Adam (Jose Llana), with strong vocals and muscles galore, adorned in a teeny weeny gold lame loin cloth, was a good move as it turns out. But even in Paradise, where green grass rolls out onto a revolving platform with trees of glass lights and multi-colored pillows (genius of Beowulf Boritt), something is lacking in Adam’s obedient life. It is purpose. After all, the only man in town can’t loll around looking gorgeous 24 hours a day by himself singing “Another Day in Paradise” forever! What to do? Enter God She (Sasha Sloan). Yes, they are interchangeable after all. In an instant, that famous rib is ripped from Adam’s body to produce the lovely Eve (Krystal Joy Brown) whom Angel Michael would like to call Man-Rib.

There are a lot of wise-cracking laugh lines and familiar but trite messages such as female God’s “the way to keep the children is to let them go in “Only Human,” as the more curious Eve wonders why birds leave Paradise. A contemporary version of that forbidden fruit tree comes with liquid filled red glass apples, tempting the couple in “Apple, Apple, Apple, Apple” – “I want to bite that sucker.”

More sobering references to good and evil, innocence lost, obedience, horrors, wars and cruelty to man balances the on-going levity. Eve bites into the forbidden fruit and is banished from the Garden to wander the dark, angry earth in a terror-filled “Where Will I Sleep Tonight?” Brown provides an exquisite interpretation, her heart longing for Adam as she walks the Earth seeing another kind of Paradise and aging over many years, temporarily returning to Paradise to ultimately temp Adam to join her. Meanwhile, God and the Angels are in turmoil as to how the human race will evolve but seeing the future they know “Good Things Are A Comin’” in a clever laundry list of lyrics by David Howard (Galaxy Quest) and music by Bret Simmons (The Megan Mullally Show):

“IF YOU COULD SEE THE FUT-CHA YOU‘D FIND THINGS THAT‘LL SUIT YA…
THERE‘S GONNA BE CLOTHES, FIRES, WHEELS, TIRES, PRINTING PRESSES, SILK DRESSES, BOATS, OARS, WOODEN DOORS, THE ALPHABET AND MARBLE FLOORS, RAVIOLI, GUACAMOLE,‗LECTRIC POWER, EIFFEL TOWER, MOZART, CUIZENART, ARISTOTLE AND DESCARTES…JAMES BOND, HARRY POTTER, BRIE, CHEDDER AND RICOTTATEX-MEX, MALCOLM X, GROUCHO MARX, THE JOY OF SEXEINSTEIN, PATSY CLINE, KRISPY KREME, I HAVE A DREAM…
EDITH HEAD, THE GRATEFUL DEAD, LAMBOURGINIS, MARTINISYELLOW POLKA-DOT BIKINIS…”

There are also musically beautiful ballads “Eve” and “Once A Life Ago.”

An array of wonderful color and design is accomplished with Herrick Goldman’s lighting and Bobby Pearce is responsible for the effective gold lame and white robe costuming. The clever direction is by Larry Raben working with a talented cast. Kudos to Artistic Director Jim Morgan for making this frolicking new take on a tale as old as time possible! The production runs through August 8th at the York Theatre at St. Peters, 54th & Lexington Ave. Tickets: 212-935-5820 http://www.yorktheatre.org/

AWARDS REIGN SUPREME

Mr.& Mrs. William Wolf
Pres. of Drama Desk

Fran & Barry Weissler, Producers

55th ANNUAL DRAMA DESK SEES “RED,” “FENCES”,
“MEMPHIS” and MUCH MORE
May 23, 2010

By Sandi Durell

It was another ‘can you top this event’ at LaGuardia Concert Hall. The evening was hosted by multi Award Winner Patti LuPone. Seated next to me was John Kander who was a winner (see below) and Geoffrey Nauffts nominated playwright for “Next Fall.”

The event is Executive Produced by Robert R. Blume together with a large dedicated staff and volunteers. It reminds me of "homegrown" because of the ease with which Bob Blume presents and includes everyone when he thanks so many. Here is the list of winners and presenters.

Outstanding New Play “Red” - Josh Logan
Outstanding New Musical “Memphis”
Outstanding Revival of a Play “Fences”and “A View From The Bridge”
Outstanding Revival of a Musical “La Cage Aux Folles”
Outstanding Musical Revue “Sondheim on Sondheim”
Outstanding Director of a Play Michael Grandage, “Red”
Outstanding Director of a Musial Michael Mayer, “American Idiot”
Outstanding Choreographer Twyla Tharp, “Come Fly Away”
Outstanding Actress in a Play Jan Maxwell, “The Royal Family”
Outstanding Actress in a Musical Montego Glover, “Memphis” & Catherine Zeta Jones, “A Little Night Music”

Outstanding Actor in a Play Liev Schreiber

Outstanding Actor in a Musical Douglas Hodge, “La Cage Aux Folles”
Outstanding Featured Actress in a Play Viola Davis, “Fences”
Outstanding Featured Actor in a Play Santino Fontana, “Brighton Beach Memoirs”
Outstanding Featured Actress in a Musical Katie Finneran, revival ‘Promises, Promises”
Outstanding Featured Actor in a Musical Christopher Fitzgerald, revival “Finian’s Rainbow”
Outstanding Book of a Musical Alex Timbers, “Bloody Bloody Andrew Jackson”
Outstanding Music David Bryan, “Memphis”
Outstanding Music in a Play Branford Marsalis, “Fences”
Outstanding Lyrics John Kander & Fred Ebb, “The Scottsboro Boys”
Outstanding Orchestrations Daryl Waters & David Bryan, “Memphis”
Outstanding Costume Design Matthew Wright, “La Cage Aux Folles”
Outstanding Set Design- Phelim McDermott, Julian Crouch & Basil Twist-“The Addams Family”
Outstanding Costumes Matthew Wright, “La Cage Au Folles”
Outstanding Lighting Design Neil Austin, “Red”
Outstanding Sound Design in a Musical Acme Sound Partners “Ragtime”
Outstanding Sound Design in a Play Fitz Patton “When The Rain Stops Falling”
Outstanding Solo Performance Jim Brochu, Zero Mostel in “Zero Hour”
Jim Brochu

Unique Theatrical Experience “Love, Loss and What I Wore”
Outstanding Ensemble Awards for Acting were presented by Matthew Modine to
“The Temperamentals” and the Circle Mirror Transformation.

Edward Albee received a Special Award for “The Orphan’s Home Cycle.”

Special Awards were presented by Adriane Lenox to Godlight Theatre Company and Ma-Yi Theatre Company while Angela Lansbury presented a Special Award to Jerry Herman who, unfortunately, could not attend.

Other presenters included Michael Cerveris and Boyd Gaines, Jesse L. Martin, Cheyenne Jackson, Bobby Steggert who presented Scholarships to 2 outstanding LaGuardia High School Theatre students, bawdy and feisty Mitzi Gaynor who is in town doing her one woman show, Leslie Jordan gaining height on a pink box, Ana Gasteyer, Corbin Bleu and Brooke Shields.

The celebs were everywhere – in the theatre and the after party at Broadway’s newest premier venue, 48 Lounge on West 48th Street across from the Cort Theatre, including: Catherine Zeta Jones with husband Michael Douglas, Christopher Walken, Scarlett Johannson, Ben Vereen, Alfred Molina, Martha Plimpton and many more.

The profound words of the evening were spoken by the late August Wilson and quoted during the acceptance speech for “Fences” - “explore the dark parts of ourselves…use the pain as fuel.” A night to remember.

Broadway's 2010 Easter Bonnet Competition Raises over $3Million

It is 24 years since the first Easter Bonnet took place in the basement of the Palace Theatre and raised $1,200. Now, in 2010, over 300 shows on Broadway, Off-Broadway and touring have raised a remarkable $3,265,700!

The Gaga themed opening introduced 106 year old former Ziegfeld showgirl Doris Eaton Travis, as Queen Bunny in her Basket of Egg-mobile. From there on it was non-stop stars and entertainment starting with Jan Maxwell and Dylan Baker, Corbin Bleu and Michael Urie, Chad Kimball and Constantine Maroulis and presenters Bebe Neuwirth, Nathan Lane and Catherine Zeta-Jones.

The funnies flew as they roasted and toasted the obvious: Michael Feinstein & Dame Edna, Sarah Palin (she gets the most free press of anyone), even Stephen Sondheim. The three young kids from South Pacific had their fair share of zingers reading what they learned being on Broadway, including: “You don’t have to be gay to work here, but you do have to be fabulous!”

The special material presented by the various Broadway companies and bonnets made by the cast and crews didn’t seem quite as elaborate as previous years, but many were memorable, like Jim Brochu currently starring in his one man show “Zero Hour” who, with the help of other performers did a parody of “Tradition” while building a creative bonnet from a black hat while performing.

A special tribute to the West Virginia coal miners who perished was presented by the cast of “Billy Elliot,” while the cast of “Next Fall”did an imitation of their producer Elton John to parodied “Don’t Let the Sun Go Down on Me” with a more risqué lyric. Funny man Leslie Jordan (My Trip Down the Pink Carpet), wearing a giant pink top hat with netting, told the story of how his Army Dad (they lived in Tennessee) went searching for a bride doll for him at Christmas when he was 3 years old and when it was given to him, he was so excited that all he could do was squat on the floor and pee.

“Memphis" performed a ballet version of "The Hurt Locker" called "Love Terrorists," with cast members in camo outfits, their bonnet a bomb that exploded into a heart. Yes, if all the terrorists could only be taught to love instead of hate. . .

The winning bonnet came from “Fela” and “Wicked” scored big as the largest fundraiser.

BCEFA. . . Congratulations! You’ve come a long way since those days in the Palace Theatre basement !

PROMISES, PROMISES

Promises Kept in a “Mad” World

The married men at Consolidated Life, the corporate environment 1962, where Promises, Promises is set, are the bad boys of yesteryear looking for a little on-the-side romance. The guy production numbers are certainly energetic as they play leap frog and perform cart wheels all in skinny business suits and hats, while the secretaries roll their coat racks and moving desks in an athletic opening number to cheers and applause.

But it’s schlemiel CC (Chuck) Baxter (Sean Hayes), rising young executive, who has the key! Literally, it’s the key to his West 67th Street, $86.50 a month apartment. If he wants to rise to the top of the ladder, it is his key to success, as promises of advancement are made by the execs Dobitch (an ever funny Brooks Ashmanskas), Kirkeby (Peter Benson), Eichelberger (Sean Martin Hingston) and Vanderhof (Ken Land) for the use of his bachelor pad, imploring him in “Where Can You Take a Girl.” Baxter is smitten with Fran Kubelik (Kristin Chenoweth) who runs the Executive dining room, but unbeknownst to Baxter, is having an affair with the leader of the pack, head of Personnel, JD Sheldrake (Tony Goldwyn) who turns in a winning performance.

This revival, 40 years later, is based on the 1968 Bacharach/David/Neil Simon musical adaptation of the extremely funny 1960 film The Apartment starring Jack Lemmon and Shirley MacLaine. Times have changed but since TV’s “Mad Men” hit like a lightening bolt, everything 60’s is in vogue again

The big surprise here is Sean Hayes who is known for his comic inventiveness on TV’s Will and Grace. He’s taken to the Broadway stage as though he was born there. In fact, he’s never off stage for more than a few minutes carrying most of the laugh lines (which are plentiful) with his audience asides, well-timed humorous takes, that enhance what might otherwise fall flat, and he also has a pretty decent singing voice.

Chenoweth, of Wicked fame, had to tone down her glorious soprano voice into a more mature sounding register in keeping with the character, somewhat reinvented here from the more unsophisticated Fran, which sometimes works and other times feels as if she’s being restrained. Chenoweth has been given additional songs added to this score “A House Is Not a Home” and “I Say a Little Prayer” which she delivers with great style.
The show stealer, however, is the delicious, owl feather caped Katie Finneran who plays barfly Marge MacDougall, whom Baxter picks up during a drunken binge when his romantic dreams are dashed learning that sweet little ole Miss Kubelick is playing footsies with Mr. Sheldrake. Finneran is not only hysterical and has great lines and delivery, but is like a rubber doll bending and moving with Hayes atop the bar in showstopper “A Fact Can Be a Beautiful Thing.”

Good performances are turned in by Dr. Dreyfuss (Dick Latessa) who lives next door to the comings and goings in Baxter’s apartment, along with the ladies of “Turkey Lurkey Time” Megan Sikora, Mayumi Miguel and Cameron Adams all to the credit of director-choreographer Rob Ashford.

Is Promises, Promises a perfect rendering? No, and I’m sure one could nit-pick away and they will. However, it’s Bacharach/David’s terrific music, lots of good laughs and a show the entire family can enjoy!

The supporting cast deserves kudos along with scenic designer, Scott Pask; costumes by Bruce Pask; lighting Donald Holder; music director Phil Reno; wigs and hair Tom Watson and sound Brian Ronan. Promises, Promises is running at the Broadway Theatre at West 51st Street, NYC

Travels to San Miguel de Allende

A “Magical” Paradise
By: Sandi "D"

A familiar place getting some recent media attention is San Miguel de Allende, a historical City in the State of Guanajuato, Mexico. It’s a small town in the mountains sitting at an altitude of 6400 feet and whenever the name is mentioned everyone seems to have a relative, neighbor, friend, or friend of a friend, who has vacationed or perhaps even lives full time in this quaint little City. Founded in 1542 by a Spanish Franciscan missionary, Fray Juan de San Miguel, it is referred to by many as a ‘magical place.’

It was in the 18th Century that the heroes of the independence movement were born. Ignacio de Allende y Unzaga, a revolutionary, born on January 21, 1769, joined forces with Father Don Miguel Hidalgo leading the famous Cry of Independence speech in September 1810 and the resulting insurgency. But Spain was too strong and the patriots were defeated. Both Hidalgo and Allende, along with others, were executed, their heads hung in cages outside a Guanajuato granary. On March 8, 1826, in recognition of Allende’s heroism, the state government changed the name of the town to San Miguel de Allende.

In 1926 SMA was declared a National Monument, preserving the historical aspects of the town which is why the town is free of traffic lights today. With the opening of the Instituto Allende Art School in the late 1930’s, the foreign population began to grow and today retired Americans and Canadians make up much of the expat community, numbering between 2000-4000, depending upon season.

This was technically my first stay in the historical Mexican town. I say “technically” because it was almost ten years ago that a friend moved to San Miguel from New York full time and we visited. It was a short visit but I never forgot the charm of the area, keeping the thought I would return. And so it was, the opportunity arose and we spent the month of February learning about and participating in the magic.

San Miguel is a physical daily exercise in itself with its hilly cobble-stoned streets, narrow sidewalks and winding side streets. Every turn is a discovery of interesting little shops, boutiques, jewelers and artisans¸ art galleries and restaurants. The streets are very clean as each morning shop-keepers sweep and wash the stone pavements. It is rare to see a piece of paper strewn on the streets. However, there is major street work going on throughout San Miguel as streets are being ripped open to put power lines underground. The City is undergoing modernization all the time. Crossing the street becomes an artistic endeavor as traffic usually comes to a halt to allow pedestrians the right of way. All the near traffic misses as automobiles pull up to corners, sometimes passing each other with only inches to spare, quickens the heartbeat. Don’t forget, there are no traffic lights or stop signs in SMA!
Walking down and around the winding streets, we wondered what could be behind some of the large old wooden Hacienda doors. We were afforded the opportunity to find out on several occasions and each time our surprise was broadened by the spectacular gardens, fountains and beautiful homes within; many with three living levels, high 14 foot ceilings, skylights and roof top gardens. True architectural wonders.

The town is alive with the creativity of artists, writers, theatre people and musicians and includes a large population of Gringo public service groups who work tirelessly to benefit many Mexican charities. The weekly “Bible,” newspaper Atencion (written in Spanish and English), lists every conceivable activity and happening. One would need an excessive number of hours or a clone in order to participate in everything. The central focus of all cultural activities is the Biblioteca, where concerts, movies, lectures and theatre abound and where the intelligencia usually hang out engaged in serious discussions on all topics.

Depending on one’s lifestyle, choices are innumerable when it comes to accommodations: hotels, B &B’s, apartments, villas, condos, and private homes….all available for rent. To be in the heart of it all, one would probably prefer the area known as “El Centro” where most everything is within walking distance. And if it’s not, then a taxi ride can be had for 25 pesos (a little more than $2.00) to any location within the main city of San Miguel. We were quite content in our B & B Villa Mirasol Hotel on Pila Seca, recommended by a friend, well run with a courteous staff, good breakfasts, conveniently located a short 3 block walk to the Jardin, the town square, around which there are many restaurants, stores and street hawkers. At the Jardin in the Plaza Principal stands the beautiful 18th Century Parroquia (Church), constructed of rose colored quarry stone. The Church bells ring each morning beginning at 6:30 a.m. and if per chance you didn’t hear them, a repeat performance follows at 7:00 a.m. and during the evenings as well.

The Jardin is the place where everyone congregates (especially on weekends) to exchange information about who’s doing what, where and when and with who and what’s new and happening. It’s also a place to sit during the day to read, talk and people watch. It’s Peyton Place at its best, Mexican style! On any weekend evening there are three or four different kinds of musical groups playing and singing, people dancing in the streets, lovers holding hands and swaying to the romantic sounds, especially of the Mariachi. Valentine’s Day was celebrated with a variety of Mariachi Bands playing in front of the Parroquia in the Jardin to crowds of families.

Did you say you’re looking for a variety of activities? How about brushing up on your Spanish at one of the many Spanish schools. Perhaps you’re a Bridge player or would like to be…try the San Miguel Bridge Club (http://www.smabridge.com/) located at the Hotel Real d’Minas. Many evenings can be spent attending gallery art show openings that include cocktails and more. It’s also a great way to meet people.

Never having taken an art lesson, I knew this was my opportunity. Classes in Expressionist Life Drawing in Charcoal seemed a good place to begin. I had a ball and even discovered there’s a little talent submerged (the operative word being little). My teacher was artist, Henry Vermillion, who has a gallery in town and is also an actor, director and set designer. The norm in SMA is the wearing of multi-creative hats! There are numerous art classes and teachers in every medium – painting, drawing, sculpture, ceramics, jewelry making. The Instituto Allende is a popular place for art and Spanish lessons, along with monthly Art Fairs. Lest I forget, there are cooking schools, yoga classes, zumba classes…you name it and it probably is happening in San Miguel. Even Arthur Murray has opened a studio with classes in Latin and Ballroom instruction! By the time I was finished going from class to class, day to day, vacation time was nearly over!

Let’s talk about the plethora of restaurants that fill the tiny streets. Aside from the obvious Mexican cuisine, ethnic foods prevail at every turn featuring menus sprinkled with Mexican flavorings. Some of the sought after Italian restaurants include MiVida, Vivoli, Socialitte (try to have Jorge wait on you as he’s extremely friendly), Toscana and more. An extremely popular and well priced restaurant is Hecho en Mexico where an international menu of well prepared foods prevails. A sweet little luncheon place run by an Argentinean is El Tomato billed as a natural food cocina. Many of the restaurants feature outdoor dining in magical gardens of flowers, plants and fountains while the sounds of guitar or piano and romantic songs in Espanol and English enhance the flavors.

Bugambilia is a long time authentic Mexican dining experience where Chile Rellenos are the specialty. Good jazz and food can be found at Tio Lucas where owner Max meets and greets his guests. It’s the place for carne and the sounds of Ken Bassman, Robert Kaplan and occasionally Doc Severinsen as well. Berlin is a newcomer with an international menu and a busy bar scene. Upscale second floor restaurant, with elevator, is the glamorous Jackie’s, all in white with outdoor dining overlooking the City. It’s a bit on the pricey side for San Miguel, but a nice special occasion evening. Woolie’s Kaban has good food, atmosphere and on weekends is a hot spot for music and dancing. It goes without saying, that, yes, there is a Starbucks!

Food is plentiful and delicious at Planta Baja where manager Juan is always smiling and attentive to customer needs. It is also home to three Brits called “The Literary Cabaret” who, for 16 years, have performed their brand of satirical humor of clever skits, poetry and songs featuring anything from Shakespeare to naughty Noel Coward and rock n’ roll. They write their own shows which change regularly. The group includes Rick Davey (who also plays guitar), Marilyn Bullivant and Reesha Browning.

St. Paul’s Church is a place for concert music with its ProMusica Series, bringing wonderful classical concerts to San Miguel. The Baroque Festival was about to begin just as we were leaving and fills many churches and other spaces with music for several days. There is also opera¸ folk and flamenco.

Curious to see theatre in SMA, we got tickets to “My Old Lady” a comedy/drama by Israel Horovitz presented at the Teatro Santa Ana at the Biblioteca. It had been getting good reviews both in print and word of mouth. It was directed by Lola Smith, a professional actress and an active member of the SMA theatre community. This show was delightfully performed by Michael Gottlieb, Siobhan Bryne and Bea Aaronson and provided many laughs along with the pathos it deserved. The Play Readers are part of the theatre scene that performs at St. Paul’s Church where rotating directors choose a play or plays that are read on book by a cast of actors, accessorized with some scenery and costuming. The evening I attended included short works by playwrights Ethan Coen from ”Almost An Evening” and Will Eno, “Enter the Spokeswoman Sideways” and others. Some were funny, and I do mean laugh out loud ha-ha, others clever and somewhat silly, but all provided a good evening’s entertainment. Next up is Mamet’s “Speed the Plow” directed by none other than my art teacher and actor, Henry Vermilliion!

A highlight evening was spent at the Biblioteca watching an award winning documentary “In a Dream.” Although a “Sold Out” sign was posted, I started speaking with a woman who, as it turned out, was the lady who curates this series called “Reel Docs.” Her name is Caren Cross and with partner Jennifer Posner, have brought some remarkable documentaries to the Biblioteca. Caren advised waiting until the last minute to see if seats would become available. Luckily, more chairs were added and we sat in the first row which made the film even more engaging. The story is about mosaic artist Isaiah Zagar and his wife Julia, from Philadelphia. In the bohemian neighborhood of South Philly, 50,000 square feet of concrete have been covered with tile and mirrors, all created by Zagar who shares his torture, torment and unusual lifestyle and family with audiences around the world. Having allowed his younger son to film their day to day existence, Isaiah and Julia’s love story and subsequent betrayals, including an older son’s drug problems, are all captured and documented for the thousands who have viewed this remarkable film. The story can cause great discomfort at times, but we all know that’s what makes great art. The realities were even clearer when Isaiah and Julia came on stage post showing, submitting themselves to audience questions and participating in a cocktail reception afterwards. It is a not-to-be missed film should one have the opportunity.

Speaking of films, there is a place called The Market Café where, approximately 15 years ago, a Frenchman named Daniel cleverly started showing films of all sorts; foreign and classics. The small room seats around 22 people who watch film DVDs on a large screen in comfortable seating and for the price of 60 pesos also receive a drink of choice (including wine, beer and margaritas) and a bag of popcorn. What a deal!

Continuing excitement seemed to fill most of February as the San Miguel Writer’s Conference, scheduled for five days at the Hotel Real de Minas, began on February 19th featuring keynote speaker and respected writer Barbara Kingsolver. I had ordered tickets prior and was part of the packed ballroom of 800 to hear her gentle voice explain how she found her way into writing her latest bestseller “The Lacuna.” An auction preceded her speech intended to raise funds for this organization to which many local artists and shopkeepers donated their talents.

Having never experienced a bull fight, the opportunity presented a couple of days before our scheduled departure. We already had tickets to a benefit performance for Haiti, but decided to make it a donation and forego the concert for a chance to see a famous Portugal rejoneadore (a bullfighter on horseback) namely, Pablo Hermosa de Mendoza, renowned for his skill, grace, genius and beautiful horses. Rejoneo means using a lance and is the oldest form of bullfighting and was an activity for the nobility - the Arabs in North Africa and later the Moorish in Spain. Matadors, using capes and swords, became prominent in the early 19th century.

We made our way to the small ring, arriving on the early side to secure seats as close as we could get. Our general admission tickets entitled us to seats above the first four rows, all seats being on concrete slabs. We wound up in the 5th row and watched as the ring filled and excitement mounted. The Corrida de Toros is a happening as rejoneadores appear perhaps every three years in San Miguel. Cigarette and cigar smoke filled the air, along with cries of hawkers selling chips and hot sauce, foods of all kinds, beer, tequila, margaritas and more. People were jammed together, some on cushions others on the hard concrete. The three ladies in front of us shared some tequila, cap by cap, brought in a vitamin bottle passed between then.

Bullfighting is a gory business and not for the faint of heart. The poor bull doesn’t have a chance. But it is traditional pomp and circumstance and part of a cultural harmony. After seeing three animals slaughtered, we’d had enough and left early as the crowd continued to yell “oh lay.”

Throughout our stay in SMA, I continued playing my favorite sport, tennis, at Weber’s Tennis Club (red clay courts). My game of choice was mixed doubles with a lovely lady from Hungary and Texas, along with two gentlemen, one from Montreal, the other from Ottawa. We all really liked each other and made sure we played 2-3 times every week. Playing at 6400 ft. above sea level with pressurized tennis balls surely added a new spin to the game, creating interesting challenges.

The world is small as we met people who live within a five mile radius of us in the heart of Manhattan. However, the great majority of visitors and expats are from Canada, Texas, Washington State, Oregon, California with sprinklings from all over the USA.

SMA is the kind of town where total strangers stop and talk on the streets as everyone is anxious to get to know others, especially if you’re a newcomer. One evening we were making our way to a restaurant when a couple (from Minnesota) started talking to us and we spent the next half hour getting to know each other, exchanging names and numbers so we’d be sure to stay in contact. Of course, this episode repeated itself several times during our stay.

In case you haven’t heard, SMA attracts many ladies from the States seeking beauty ala plastic surgery and such, at a third of the cost or less. There are a few fine surgeons (trained in the best USA hospitals) but do your research and get recommendations.

A not to be missed visit is to the historic Fabrica Aurora, an old cotton mill, on the outskirts of town turned into gallery and studio space, where home furnishings, jewelry and antiques are plentiful. There are multi shops and spaces to visit, along with two delightful cafes when you get hungry.

Day trips or overnights are plentiful. We spent a wonderful day in the City of Guanajuato (it means the mountain place of frogs), a charming European style City and the capital of the State. It is a multi-colored, twisting cobblestoned wonder with a subterranean through which to drive and where visits to the Diego Rivera Museum and the Museum of Mummies can be highly enlightening. It houses the prestigious University of Guanajuato, considered Mexico’s finest school for music and theater. A ride on the finicular to the very top (about 6600 ft.) is a must for 360 degree views of this beautiful and colorful City which, in 1988, was declared a World Heritage Zone by UNESCO.

San Miguel is a favorite with retirees on fixed incomes as it provides a wonderful lifestyle at approximately one-half or less the cost of living in the States. It’s not for everyone as walking and getting around can be difficult. Don’t forget the altitude and the uneven terrain. Many of the locals speak English which is a plus for those who know little to no Spanish. The bottom line, however, is that if one is active, a little on the rugged, adventurous side and loves a cultured, artistic environment….this is the place for you.

Here’s a quote I’ve heard repeated many times: “people go to Florida to die, but they come to San Miguel to live! Hasta luego amigos.

TIME STANDS STILL

TIME STANDS STILL

How far do moral obligations reach in humanity and love?

Reviewed by: Sandi "D"

When Sarah Goodwin (Laura Linney) returns home to her Brooklyn loft injured and scarred from shrapnel as a photojournalist in the Iraqi warzone, her significant other James Dodd (Brian d’Arcy James), with whom she’s been living for the past eight years, appears overly attentive. She is a bitter and complex person not used to being pampered and eager to return to the action. Jamie, a war correspondent himself, is anxious and feeling guilty for leaving the chaos and Sarah, having suffered a breakdown when people blew up around him.

Donald Margulies’ latest drama, that sometimes appears as more of a comedy, is a brilliant conflict of morality and deterioration of relationships. Does the person behind the camera have a moral obligation to step away from it in the face of horror and cruelty and come to the aid of the subjects? According to Sarah “the camera reports life, it doesn’t change it.” Can an eight year relationship survive when two people have suffered unbearable hurts and no longer share common goals?

Tensions grow as long-time, middle-aged friend, Richard (Eric Bogosian) who is also Sarah’s former lover, mentor and the photo editor at a magazine that publishes her photos, shows up with a girl half his age. Mandy (Alicia Silverstone), an event planner, has brought balloons and it’s evident she isn’t exactly a ‘deep’ thinker. Emotions and words pour forth as whatever is in her brain is on her tongue, allowing Sarah to remark to Richard “you always wanted a little girl.” However, Mandy’s shallow appearance is overshadowed, at times, by stunning outbursts of endearing qualities and words of wisdom. As friendships grow and personalities become apparent, Mandy emphatically remarks to Sarah “there’s so much beauty; all you see is misery.”

As the story continues, Mandy, who is pregnant, and Richard marry while the stress between Sarah and Jamie to follow the same path reach greater proportions. Sarah reveals a love affair with her now deceased interpreter in Iraq, as Jamie divulges that all he wants is to marry Sarah and lead a comfortable life. Sarah, needing the adrenaline of her profession, thinks she can change things by continuing to take pictures of war. Marriage, babies…are just not part of her life’s plan.

The opposing needs of Sarah and Jamie along with past events result in the emergence of true feelings of rage, disloyalty and anger and a love that can never be.

Stars Laura Linney and Brian d’Arcy James are consummate actors who approach their roles with sympathy and understanding unearthing the underlying feelings of the complicated characters they portray. Alternatively, Bogosian and Silverstone’s characters are easier and fluffier and a good contrast.

This Manhattan Theatre Club production at the Samuel J. Friedman Theatre, is efficiently directed by Daniel Sullivan with scenic design by John Lee Beatty and lighting by Peter Kaczorowski. The two-hours zip by in scenes that include confrontations, secrets revealed, and a push-pull look at the roads people take in search of happiness and fulfillment.

A VIEW FROM THE BRIDGE

A VIEW FROM THE BRIDGE
Tragedy in the life of a longshoreman, Greek style!

Reviewed by: Sandi "D"

Was it time for another revival of Arthur Miller’s “A View From The Bridge” after the spectacular 1997 production, directed by Michael Mayer, starring Anthony LaPaglia, Allison Janney and the now deceased Brittany Murphy? The answer is an emphatic “YES!” This latest production is by far the finest interpretation to come to the stage, made viable by the understated, intimate direction of Gregory Mosher.It is the story of a 1950’s blue collar Italian family, Eddie Carbone (Liev Schreiber), his wife Beatrice (Jessica Hecht) and her orphaned17 year old niece, Catherine (Scarlett Johansson), all living in a sparsely furnished, shabby apartment in the Red Hook section of Brooklyn. However, family life isn’t exactly normal. Eddie is unduly protective of Catherine in more than a paternal manner, as he dotes on her, his face registering a troubled expression that subtlety grows and changes throughout the play, projecting his conflict as he becomes more obsessed. Adding to the tension and tragedy is the neighborhood lawyer Alfieri (Michael Cristofer) who acts as a moderator or one-man Greek Chorus, giving lofty explanations of Eddie’s downward spiraling direction.

When Beatrice’s two illegal immigrant cousins Marco (Corey Stoll) and Rodolpho (Morgan Spector) arrive from Italy to seek a better life, they move into the small, cramped apartment, the threat of expulsion from the country ever-present, as the jealous Eddie’s passionate fury and fixation on Catherine grow to epic and tragic consequences.

Meanwhile, the sheltered Catherine falls in love with the charming, blond Rodolpho whom Eddie complains is “not right” because of his effeminate qualities, i.e. singing, cooking and dress making and whom he says wants Catherine only because it means a green card. Eddie’s counsel with Alfieri to see if he has any legal rights is useless as the lawyer tells him the truth, trying to convince Eddie to let Catherine go. It all falls on deaf ears to the emotionally ravaged Eddie.

Schreiber embodies the essence of Carbone’s character and because he is such a great actor, every feeling and nuance is written on his face and physicality as the tension grows. Hecht is totally convincing as the wife who is frustrated by the lack of physical contact with her husband in the bedroom, understanding all too well his obsession with Catherine as she tries, unsuccessfully, to bring this awareness to Eddie.

Screen star Scarlett Johansson easily personifies the young, unglamorous Catherine, exhibiting the quality of her stardom as an actor as she makes an easy transition from screen to stage. She is perfect in the role.

This fast-paced two hour production of Arthur Miller’s 1956 drama is a gem that soars on the strength of the leading performances. The sets and lighting are dark and cramped, echoing the characters’ anxiety, as the second act builds to the climactic crisis. John Lee Beatty’s enhancing revolving set changes from Brooklyn street tenements to interior apartment in easy transition, aided by Peter Kaczorowski’s fine lighting. Jane Greenwood has designed the costumes. The production is running at Broadway’s Cort Theatre.

"RACE" - Mamet at it again

RACE

Reviewed by: Sandi "D"
January 2010

David Mamet is at it again, as writer and director of what was slated to be another provocative and disturbing commentary on racial issues and political correctness. Ooh, all those ethnic slurs and four letter words that are supposed to make our blood boil as barely a sentence goes by without what is supposed to be shocking dialogue. We must all be thoroughly desensitized by now so that rather than gasps and outrage, the result is giggles and some chuckles. Well, with our first African-American President in office, things they are a changin’!

The story is about a rich, married white man Charles Strickland (Richard Thomas) who is accused of raping a young black girl wearing a red sequin dress. The dress is an important piece of information as its essence is more than just an object of clothing. We never see this girl whom Strickland says was his mistress and the sex consensual. However, when she accuses him, then sues him for rape, he chooses a law firm to represent him comprised of one white lawyer and one black.

Jack Lawson (James Spader) is the fast-talking, cynical know-it-all white lawyer, and Henry Brown (David Alan Grier) (is that name Brown a racial slur?) is his black partner equally adept. It’s unclear whether Susan (Kerry Washington) is a new fledgling lawyer or an assistant who was recently hired because, as Jack puts it, “I hired you because you’ve got talent.” Regardless of her position, she endures verbal abuse by both her bosses until she reveals her own agenda.

As the story twists and turns and the second act develops, Susan is illuminated as more than just a new hire with talent. Eventually, her underlying mission as an advocate to right the wrongs inflicted on black women result in a pivotal moment in the story.

The play is filled with Jack’s brand of sarcastic knowledge: black people are inclined to commit adultery, black people are fragile because they deal with shame, Strickland wants to confess because he’s white, all black people hate white people, and the usual lawyer conventions ‘we get paid either way’ along with accepted references to the theatrical nature of the practice of law. One-liner insults fly steadily between Strickland and Brown on the issues of race, their new client (is he innocent or guilty), their new hire Susan and the legal profession as a business. It all comes off as a big scam. . .who’s doing what to whom, when and how.

All four performers are well suited for their rolls, with Spader and Grier seeming more self-assured and Thomas a bit stiff until the play heats up in the second act allowing for more dynamics. Washington, too, grows exponentially in the second act.

“Race” has an open run at Broadway’s Ethel Barrymore Theatre, also the home of former Mamet productions “Speed the Plow” and “November.” The scenic design is by Santo Loquasto.

Finian's Rainbow - delightful

FINIAN’S RAINBOW
Everything Old is New Again!

Reviewed by: Sandi "D"
November 2009

The original Broadway production of Finian’s Rainbow, with book by E.Y. Harburg and Fred Saidy, lyrics by Harburg and music by Burton Lane, opened in 1947, running for 725 performances. It had 3 revivals: 1955 starring Helen Gallagher, Merv Griffin and Will Mahoney; 1960 starring Jeannie Carson, Howard Morris, Robert Guillaume and again in 1967. After a New York City Center Encores! Series concert version earlier this year, it is happily back on Broadway.

It’s a charming jewel that twinkles brightly and one reason is that just about every song is a knock out. Does anyone not know “How Are Things in Glocca Morra?” or “Old Devil Moon” or “Look to the Rainbow”? Beautiful melodic tunes like these are hard to find nowadays.

Finian’s Rainbow is a whimsical, romantic story with political racism that is old hat but relevant even today. Finian McLonergan, the twinkly eyed Jim Norton, leaves his Irish town of singing skylarks and emigrates to Rainbow Valley in the mythical State of Missitucky, which bears a resemblance to Glocca Morra from whence he comes. With him is his beautiful daughter Sharon (Kate Baldwin). He is intent upon burying a stolen pot of gold close to Fort Knox where he thinks it will grow, multiply and make them rich. Og (Christopher Fitzgerald) is the leprechaun- in -pursuit trying to recover the stolen pot before he turns completely mortal.

Ms. Baldwin’s classic soprano is warm with radiant color as she sings the legendary and yearning “How Are Things in Glocca Morra?” gleefully reprised twice more throughout the show. Local boy Woody Mahoney (Cheyenne Jackson) immediately falls for her as they unite in the romantic harmonies of “Old Devil Moon.” Jackson is a perfect romantic lead with his glorious dreamy vocals and good looks. Hilarious Leprechaun Og has also fallen for Sharon where love is more comically presented in “Something Sort of Grandish.” Woody has a mute sister, Susan (Alina Faye), who dances her language in classical ballet style to which Og is drawn, creating another romantic liason.

Implications of racial divide are ever present as big, brawny and boisterous Senator Rawkins ( David Schramm) tries to take over the land at a tax auction where the poor sharecroppers eke out a living growing tobacco resulting in the gospel showstopper “Necessity” featuring powerful performer Terri White as Dottie. Sharon, without realizing the mystical properties of the pot of gold, unknowingly makes one of the three wishes it holds, accidentally turning the Senator black. This counterpart is played to perfection by Tony Award winner Chuck Cooper who becomes part of a quartet in the song & dance “The Begat.”

Relevant topics include “When the Idle Poor Become the Idle Rich,” a satirical pronouncement of the seduction of a line of credit from the Sheers and Robust catalog, along with topics of foreclosure and the “misbegotten G.O.P.” Og is deliciously impish as he flits around in “When I’m Not Near the Girl I Love” eventually falling for Susan as he realizes that turning human is not so bad.

Yes, it’s a complicated theme of love, romance, fantasy, wishes, satire, racial bigotry and it all comes together in this delightful big ole’ fashioned Broadway musical where every song is a hit and audience members walk out singing and humming the wonderful music.

Everything old is new and delightful again!

Memories: On the Red Carpet at the 63rd Annual Tony Awards

63rd ANNUAL TONY AWARDS

By: Sandi "D"
June 7, 2009


THE NOMINEES ARE. . .AND THE WINNER IS . . .

The 63rd Annual Antoinette Perry Awards took place on Sunday June 7, 2009 at Radio City Music Hall. At the Red Carpet, this writer was given the golden opportunity of up close and personal chats and overhearing tidbits from many nominees and celebs passing through on their way inside Radio City Music Hall. The women be-jeweled and be-gowned, many in designer frock, were all smiles. Martha Plimpton, nominee for Featured Actress in a Musical (Pal Joey) revealed “I was terrified and got through because Graciella Daniele is a mammy choreographer.” Nominee for Leading Actor in a Play Hope Davis looked glamorous in a more simplified Peter Soronen dress (he dresses Michele Obama) as she met up to chat with God of Carnage co-actors Jeff Daniels and James Gandolfini.

Stage mates Janet McTeer and Harriet Walter (Mary Stuart) walked arm in arm, a friendly pair of competitors, as nominees for Best Performance by a Leading Actor in a Play. Young, talkative Mark Indelicato told me he was the official Twitterer for the evening while Tovah Feldshuh (in strapless Christian Lacroix) and currently appearing on Broadway in “Irena’s Vow” was off to co-host the event at Duffy Square. Lin-Manuel Miranda of In The Heights fame, when asked what he said when Sondheim called him to rewrite lyrics in Spanish for West Side Story….”I said yes, yes!” Lovely Sutton Foster, swathed in orange gown, said that by age 14 she knew that Broadway was for her. Rock of Ages Constantine Maroulis confided that he feels surreal and is looking forward to going on the road with the show.

Red Carpet photo ops gave sponsor Audemars Piguet (maker of distinguished Swiss watches) the opportunity to showcase specially designed clocks where many celebs posed. Is that Dolly Parton being ushered through? Yes! Darn, she still has an 18” waist!

Before I knew it, everyone was safely tucked into their seats inside Radio City as I made my way up to the 64th Floor Rainbow Room’s Media Room to watch the Tony Awards simulcast. While Doogie Houser, M.D. was hosting the Awards, I mean Neil Patrick Harris, and making with the funnies, I was about to have some downtime, relaxation and food; the perfect solution for tired feet and brain.

It didn’t take long, however, before the first winners were announced and escorted to the Media Room for interviews and photos. The writing was on the wall as Martin Koch arrived for Best Orchestrations followed by Paul Arditti for Best Sound Design , both for “Billy Elliot.” Here comes Angela Lansbury hugging her Tony for Best Featured Actress in a Play (Blithe Spirit) while Roger Robinson took the Award for Best Featured Actor in a Play (Joe Turner’s Come and Gone). Karen Olivio won Best Featured Actress in a Musical for West Side Story saying she feels transported when she performs finding it very liberating to sing lyrics in Spanish, while acknowledging that Arthur Laurents gives notes in the best way he can to get what he needs and doesn’t coddle his performers. Her influence: Rita Moreno.

Leading Actor in a Play went to Geoffrey Rush who said he was thrilled to be performing in such an obscure Ionesco play; “It’s like eating spinach.” He’d love to come back to Broadway if the right role comes along. Harvey Firestein was already announcing Best Revival of a Play to The Norman Conquests and soon the entire cast and creative team were busily answering questions in the Media Room. They are a lively bunch!

Gregory Jbara, Best Featured Actor in a Musical, (Billy Elliot) says he wouldn’t be here if it wasn’t for the sacrifices his wife made stating he was a bit intimidated going into rehearsals, finding it hard maintaining the accent, and stating that it’s like ‘electricity inside me….I’m free, I’m free!”

Special Lifetime Achievement in the Theatre Award went to composer Jerry Herman who is now 77 years young and responsible for Hello Dolly!, Mame and La Cage aux Folles. Jerry said he was born right near Radio City and he’s here because his Mother and Frank Loesser believed he had the talent to make it big. What does he look forward to now? Enjoying my houses in Palm Springs and Beverly Hills!

Best Revival of a Musical went to Hair, along with Best Direction to Diane Paulus who said she worked closely with Jim Rado on this revival and that he did write some new lines about the draft card. She said the musical speaks to all generations; it’s about the rebirth of idealism.

Best Direction of a Play went to Matthew Warchus for God of Carnage. He was also up for the same award for The Norman Conquests. Pretty good odds.

The three young “Billy Elliots” won Best Performance by a Leading Actor in a Musical. David Alvarez, Trent Kowalik and Kirl Kulish were all adorable and somewhat tongue-tied trying to answer questions saying it’s like a dream. But they all had some advice: to all the kids out there who want to dance. . .never give up! No surprise that the announcement soon came that Billy Elliot had just won the Tony for Best Musical, making a total of ten Tonys!

Marcia Gay Harden took home her Tony as Leading Actor in a Play for God of Carnage looking stunning in a long green gown.

Best Actress in a Musical was given to Alice Ripley in Next To Normal. Ms. Ripley was explicit in saying that she channels her character Diana everyday and is happy she has a patient husband. It takes a lot of energy to stay focused and deliver her on stage. How did she feel winning the Tony? I feel complete; it feels natural and makes sense I have this Award. It’s other-worldly and a dream come true!

Before I could finish taking notes, I looked up and there was Elton John eager to speak to everyone. He was a little worried opening Billy Elliot in these tough times and admitted he’d never been to the Tonys before but found it more enjoyable than the Oscars because you’re being entertained from start to finish. Do you feel the need to control the performance of your music? Having done four musicals Elton remarked, you have to check your ego at the door and be part of a team. No immediate stage plans at the moment but he is working on a Disney film.

Lest I forget, Liza won Best Special Theatrical Event for Liza’s at the Palace. And the audience cheered and cheered both at Radio City and in the Media Room.

Other awards presented included: Regional Theatre Award to Signature Theatre in Arlington, Va.; a first time Isabelle Stevenson Award presented to Phyllis Newman and a Tony Honor for Excellence in the Theatre to Shirley Herz.

The evening was now complete or almost as Neil Patrick Harris sang the 11:00 o’clock song, a parodied “Tonight” as the credits rolled, featuring lyrics such as “this show could not be gayer if Liza was named Mayor and Elton John took flight. . .” Oh well, it’s the Tonys. See you next year!

BYE BYE BIRDIE . . . bye bye

BYE BYE BIRDIE
“Bye Bye”

Reviewed by: Sandi "D"


After nearly 50 years, musical comedy Bye Bye Birdie made its way back to the Great White Way. It’s an imploding tongue-in-cheek rendering of silly and sillier. That’s not to say, that it isn’t an audience pleaser in some ways! One can’t help but laugh at the over-wrought vaudevillian antics of loveable mime Bill Irwin (Harry MacAfee), the role originally played by Paul Lynde, or the smothering Jewish mother syndrome of Jayne Houdyshell (Mrs. Mae Peterson) who would rather lay down on the tracks and divide her mink coat into three’s than see her sonny boy John Stamos (Albert Peterson) marry his secretary-girlfriend Gina Gershon (Rose Alvarez).

If you recall, Albert was originally played by Dick Van Dyke and although Mr. Stamos gives it his best shot, it appears as if he may have watched the original version too many times and absorbed too much of Van Dyke characteristics that he hoped he could channel but instead comes out looking rather clownish. He plays the showbiz agent who manages teen heart-throb Conrad Birdie. Albeit, he does a pretty good singing job on “Put On a Happy Face” considering this isn’t his prime talent.

Gina Gershon, a fine actress, is miscast as Rose Alvarez, and although she stays on pitch it’s a frail attempt. It was Chita Rivera who originally played this part. Both she and Mr. Stamos have neither the singing nor dancing skills needed for the roles. Bill Irwin makes up for his singing by clowning. Mrs. McAfee (Dee Hoty) and son played by Neil McCaffrey are fine.

The story line is simple but one feels a comic book has come to life on stage. Nolan Gerard Funk as Conrad Birdie, is underplayed and needs a shot of adrenaline most of the time, but at least can sing and gyrate as needed for the screaming teenies who adore him in Sweet Apple, Ohio. He’s been drafted and his send off is a kiss from fan club admirer Kim McAfee (originally played by sex kitten Ann-Margaret) who is more realistically portrayed by Allie Trimm who can sing, a 15 year old whose steady, Hugo, played by Matt Doyle becomes extremely jealous. Does this sound familiar? Think Elvis Presley.

Color coordinated families in bright colored 50’s costumes (by Gregg Barnes) are eye appealing, and the set including moving train car on tracks (by Andrew Jackness) works well. Some of the production numbers are more than likeable; “The Telephone Hour” performed on a jungle gym, “One Last Kiss” fun and campy; nice harmonic arrangements by the Bar Quartet (John Treacy Egan, David McDonald, JC Montgomery, Timothy Shew) on “Baby Talk To Me.” But, alas, the basic choreographic and directorial skills of Robert Longbottom seemed to be lacking in totality giving a disconnected feeling to the production.

Bye Bye Birdie is produced by the Roundabout Theater Company. It debuted at the newly renovated Henry Miller Theatre on West 43rd Street, a comfortable and well designed theatre that will make future audiences very happy.

Unfortunately, this show has had an abbreviated life span and so it’s bye bye to Birdie!

LIZA - And her legs still look great

“LIZA’S AT THE PALACE”
starring LIZA MINNELLI

Reviewed by: Sandi "D"
December 2008

Watching a cult phenomenon such as Liza is mesmerizing and inspiring. No, she doesn’t have the remembered high kicks or high notes, but at age 62 she gives ‘em what she can and what they want! Often breathless and perspiring and in need of a few moments of recovery, it all doesn’t matter because Liza continues to be the sweetheart of live performance, the Queen of ‘Cabaret’- a munificent, unstoppable presence.

She’s a contradiction to an opening of “Teach Me Tonight,” for who could? Liza knows and understands every nuance of the how, what, where and when. Cleverly directed and choreographed by Ron Lewis, every strut, move, inflection and hand movement has something to say. Breathing hard after “If You hadn’t, But You Did” she affectionately says “I’m so glad you’re here.” Regaling the audience with stories of her childhood and entry into show business, she talks about the 70’s, replacing Gwen Verdon as Roxy Hart in ‘Cabaret’ for five weeks renewing the nostalgia with Kander & Ebb’s “Maybe This Time” and “Cabaret.”

“Palace Medley,” originally sung by mom, Judy Garland at the Palace, is given a new twist by David Zippel, John Kander and Billy Stritch. Right hand man Stritch, who has been with Liza for 17 years, plays her soul and secrets, she admits.

Act II was an ode to Godmother Kay Thompson whom she portrays as an extraordinary life force. Thompson was also the author of the “Eloise” books, vocal coach at MGM, a singer/dancer who took center stage in the 1957 movie “Funny Face” and songwriter of “Hello, Hello,” “Jubilee Time” and “I Love A Violin” all splendidly performed. Suffice it to say that the tribute to Ms. Thompson’s heyday at Ciro’s Nightclub on Sunset Blvd. is the highlight of the evening, as Ms. Minnelli and her super-slick quartet of modern jazz males deliver flawless singing and dancing production numbers together with cool vocal assist from Billy Stritch who is also tinkling the ivories. The high energy doesn’t stop there as Johnny Rodgers, Cortes Alexander, Jim Caruso, Tiger Martina and Liza continue non-stop with Gershwins’ “Clap Yo’ Hands’ at record speed. With slicked down hair, close harmonies and sharp choreographed moves, this quartet outdoes the Williams Brothers.

Yes, Ms. Minnelli’s vocal sh’s and raspy sounds are plentiful but it didn’t deter the audience from applauding wildly and giving standing ovations after just about every song. Liza is adored by her fans. The unending adulation that flows onto the stage is beyond love of celebrity. Liza channels her mother and, as such, is the only living connection to the powerful bond that was and continues to exist to Judy Garland.

Liza’s sequin costumes were vintage Halston and her legs…still look great.

Charles Aznavour - A Life Force

CHARLES AZNAVOUR
En Liberte
City Centre, NYC

Reviewed by: Sandi "D"
April 2009

Charles Aznavour is an international legend and a life force. The most famous French singer that has ever lived, he invented the French chanson and maintains an international cult following rivaled only by the late Charlie Chaplin In 1998 he was voted ‘Entertainer of the Century’ by CNN and users of Time Online worldwide, edging out Elvis and Bob Dylan. In the throes of his global Farewell Tour which began in 2006, he was treated to thunderous applause and cheers by an enthusiastic audience that filled almost the entire City Center theater.

Born in Paris, the son of Armenian immigrant parents, his career began as a child. He is now 84 years young and this short man with the gravely low notes and profoundly clear and reaching tenor upper range, can still mesmerize over a thousand people easily. Backed by a 10 piece band and 2 back up singers, he announced he would be singing only in French, to which many audience members applauded. His patter and song set-ups, however, were in English. This reviewer was a bit disappointed having studied Spanish back in school and having little knowledge of the French language. However, it was evident that language could never be a barrier as the deep emotional soul of this man is ever present. “Je T’Aime ’possessed an urgency and “Je Voyage” talked about the fading of time and the past.

Aznavour sings mostly of love. Noting there are many Egyptian love songs, but not many songs about the kinds of love making that exist, he gave very specific examples that led into an erotic middle-eastern musical beat “Une Vie D’Amour. “ The only missing element here was the belly dancer.

Dubbed ‘The Frank Sinatra of France’, Aznavour has written over 800 songs and recorded more than 1000 in French, English, German and Spanish. He has been in the international limelight as an actor, composer, arranger, writer and public activist.
Telling short tales preceding many of his songs, the 1 hour 45 minutes he was on stage flew by as he moved efficiently from one song to another.

An especially poetic moment occurred in “Non, Je N’Ai Rien Oublie” as he spoke of the memories of lost youth. His most popular song in America “Yesterday When I Was Young” produced many oohs and ahhs as it flowed into the sounds of “Dance In The Old Fashioned Way” as Aznavour danced effortlessly across the stage wrapping his arms around himself as if he were holding the woman of his dreams.

Charles Aznavour has and always will be a charmer. The theme now is more specific – it is ‘the autumn of my years.’

MARILYN MAYE - A Cabaret Icon Swings Mercer

MARILYN MAYE
“Mercer The Maye Way”
Metropolitan Room – New York City

Reviewed by: Sandi "D"
June 2009


Presenting The Grand Duchess of Cabaret – Marilyn Maye. It seems the other titles are spoken for by other female performers of prominence and this one fit perfectly.

Ms. Maye has had a lengthy career having been named “one of the best singers in the business, outstanding, a super singer.” by the late great Johnny Carson. She appeared 76 times on The Tonight Show.

The cabaret community climbed aboard the Marilyn Maye train when it landed at the Mabel Mercer Convention and Metropolitan Room in 2006 and has stayed aboard the speeding locomotion created by this lady (of a certain age) who continues as an eminent teacher of the art of performing.

In a celebratory tribute to the man of words Johnny Mercer, on this 100th Centennial of his birth, Ms. Maye creates a party every time she’s on stage opening with medley “My Shining Hour,” “Too Marvelous for Words,” “Jeepers Creepers,” “Something’s Gotta Give”. . . and the audience roared. It’s a love-in as the crowd savors every morsel. She didn’t have a lot of time to put this show together, has a lot of lyrics in her head and since there’s no teleprompter, “I have a music stand” (of which she’s usually disapproved) confided Ms. Maye. No matter, the few lyric glitches only endeared her more, showing off a jewel of professionalism.

Her technique of pairing songs that compliment rhythms like “Out of this World” and “Old Black Magic” is artful and filled with passion. Relating to Mercer’s drinking, Maye quipped it was surprising they didn’t get married since all her husbands were alcoholics. It was a great set up to a medley of songs including “Drinking Again” and “One For My Baby and One More For the Road” filled with riffs and vocal maneuvers that became a theatrical wonderment. Down and dirty “Blues in the Night” continued the momentum.

Mercer wrote many female name songs like “Emily,” “Laura” and “Tangerine” as well as Academy Award winning movie songs “Moon River,” “Days of Wine and Roses” and the celebrated “On The Atchison, Topeka and the Santa Fe.” They all took on new meaning the Maye Way.

She swings with the best of them, particularly on favorite rhythm, the jazz/waltz as she relates to finding the much sought after Tedd Firth (her pianist) at Birdland one evening when she got up to sing “Luck Be A Lady.”

The great lyricist and great lyric interpreter Marilyn Maye shown bright “When The World Was Young.” After hearing the inexorable Ms. Maye, the question is…is there any other way but the Maye Way? Adding to the accompaniment was Tom Hubbard on bass and her drummer for 40+ years, Jim Eklof.

NEWSICAL - The Musical Off Broadway... "Everybody's Full of ..."

NEWSical - The Musical
They Distort. . .We Decide!

Reviewed by: Sandi "D"
December 2009

What a year it’s been as evidenced by the opening song “Everybody’s Full of…”
Oh well, I guess nothing much changes except the name of the party in the White House. But there was certainly lots of political and newsworthy fodder for Rick Crom, book, music and lyrics writer, to use in this latest topical review. With a jab here and a stab there, the overall feeling was a kinder, gentler production, not too down and dirty.

Leaving few stones unturned, each of the cast has outstanding moments.

Michael West portrayed Obama (especially in character when he adds the ears) along with Clinton and Gore as perfectly as anyone could in “Disclaimer.” Christine Pedi as Joan Rivers and Christina Bianco as Nancy Pelosi were emotion-less with “Botox” (Rivers buys hers by the case at Costco), with one of the funniest segments by newcomer Rory O’Malley in “Gitmo” the newest vacation spot where you not only get deluxe accommodations but a Holy Quran. Just call 1-800-GOGITMO.

Everything and anything was put on hold when “The Boy in the Balloon” made news, brought to life by the cast and the addition of a clever pull on costume with a little boy doll stitched on the front and real hands peeking through. Not many escaped Crom’s notice including Nancy Grace, Dr. Phil, Glenn Beck, John McCain, even the Pope (Michael West) had some choice words for the Arabs “stop blowing stuff up…give it a rest” (ah, if only they would heed these words!) and most hilariously portrayed was Susan Boyle (Rory O’Malley) with hair, eyebrows and dress.

Pedi does a good job as Hillary and also as Oprah (My Ups and Downs - fat again, skinny again, fatter than ever...). The most political it got was on company song “Yes We Can” if we stand behind Obama, blah blah blah. Some updated lyrics to “Denial” (you’re in Denial when you wear Spandex but weigh 300 lbs. . .) ended the show.

My impression: Christina Bianco and Rory O’Malley are the show stoppers.
All in all, there were many laughs and clever lines but some things that just didn’t work, i.e. Snow White found in a coma, seven dwarves brought into custody. Too lengthy, not really funny. Maybe Liza should take a hiatus since she’s been around long enough, even though Pedi is one of the great interpreters.

NEWSical is more than ably directed by Mark Waldrop with costume designs by David Kaley, lighting by Matthew Gordon and Scenic Design by Jason Courson.

Michael Feinstein - David Hyde Pierce at Feinstein's Loews Regency

MICHAEL FEINSTEIN and DAVID HYDE PIERCE

“One is Circumcised and the Other is Circumspect”

Reviewed by: Sandi "D"
December 2009

Theme less! Yes, it’s all about not having a theme. That’s what Michael Feinstein and David Hyde Pierce said of their new act at Feinstein’s at the Lowe’s Regency. What does it matter? They’re two long time friends who knew each other from L.A. and even their families are friends. I guess that’s enough to make for solid fun and entertainment as they cavort, seemingly unrestrained in slapstick mode “Together With Music” (Noel Coward).

Banter and ad-libs run wild as Pierce describes Feinstein as having a Presidential Library of music in his mind resulting in a duet of Porter’s “You’re The Top.” Pierce says “people are going to Geitner and Buffet for economic solutions but no one has asked Jerry Herman” who seems to have it all figured out with “Penny in My Pocket” (song cut from Hello Dolly). Pierce’ droll humor and easy delivery make it all seem so effortless! Feinstein is boyish and dreamy as ever, in great tenor voice, with Strouse/Adams “A Lot of Livin’ To Do” highlighted by an opening Christmas medley. Feinstein’s rousing dramatic “What Kind of Fool Am I” is met with show stopper “You Won’t Succeed On Broadway” which Pierce performed on Broadway in Monty Python’s Spamalot.

They are a perfect match, “The Best of Friends” (Shaiman/Bergmans) and master of the art of teamwork. As Pierce so succinctly puts it - “I’m a WASP, he’s Jewish; one is circumcised and the other is circumspect.” Both sat down at the piano to end the evening with Scott Joplin’s “Maple Rag Leaf” at top speed.

John Oddo was at the piano and is musical director/arranger with mark Vinci on reeds; George Rabbai on trumpet/flugelhorn, Jim Saporito on drums and Jay Leonhart on bass.

Miami Beach - A Trip Down Memory Lane

My Trip Down Memory Lane -
Collins Avenue, Miami Beach on down to Ocean Drive, South Beach.

By Sandi "D"
February 2009


“I Started Out To Go To Cuba, I Landed in Miami Beach. . . ” – Well actually I started out on a day trip to Miami Beach in my quest to not only relive my parents’ and grandparents’ stories about the fabulous 1950’s and 1960’s when Collins Avenue was the most celebrated resort playground in America, but to see the gentrification that has taken place in recent years.

First, a brief history of Miami Beach begins in 1870 when John Lum, from New Jersey, was returning from Havana, saw what is now Miami Beach from a ship, and decided it looked like a promising place to establish a coconut plantation. He and his son and wife tried to live in the area, but it was primarily a swampy jungle and so they gave up and left. Southern Florida got a boost from a man named Henry Flagler who co-founded Standard Oil with John D. Rockefeller. Despite being retired, Flagler became interested in Florida on a visit, and bought two railroads. He extended those further south than they had previously been, reaching Miami in 1896. The area really took off based on the efforts of a man by the name of Carl Fisher, an Indianapolis automobile baron. Fisher acquired a substantial amount of land, formed some of the islands which are now part of Miami Beach, including Star Island, Belle Island, and Sunset Island. The dredging also had the beneficial side effect of making Biscayne Bay suitable for recreational boating.The ultimate purpose of Fisher's huge investment was to sell the resulting property. He helped two Miami banker brothers, named J.E. and J.N. Lummus, set up the first real-estate company, Ocean Beach Realty. The main portion of Miami Beach was originally a peninsula. Fisher spent many years cultivating and promoting Miami Beach as a vacationland for people from the midwest and the northeast. He built incredible homes and hotels, and enticed his many millionaire friends to likewise develop elegant hotels and homes. It was his money and connections that largely were responsible for the upscale orientation that has long been a part of Miami Beach's (and South Beach's) history.

Mega-resort complexes like the Fontainebleau and the Eden Roc, built in the 1950’s, reigned as the leading resorts symbolizing the glamour of Miami Beach. Legendary celebrities and entertainers filled its nightclubs: Elvis Presley, Bob Hope, Lucille ball, Judy Garland and the fabulous ‘Rat Pack.’

The 1970s and 1980s were a down period for Miami Beach and especially for South Beach. In 1960, the average age of a Miami Beach resident was 50. In 1972, the average age had increased to 65. And not only were many of the residents fairly old, they were increasingly poor and suffering from bad health. South Beach was in fact nick-named "God's waiting room" by some. Crime was also rampant throughout the area. And so what was once a golden age for the resort area declined. By the 1980s, it became clear that something had to be done to bring back the glory days of Miami Beach. One major effort was the replenishment of the beach itself. By 1982, Miami Beach had a completely new beachfront. The resurrection had begun.

Fast forward to the present and the grandeur of the past is now and then some.

Collins Avenue is alive and vibrant with the luxury of the newly opened (November 2008) $1 billion reinvention and expansion of The Fontainebleau Miami Beach. When hotelier Ben Novack purchased the Firestone Mansion in 1952 for $2.3 million, he envisioned the creation of one of the most opulent and magnificent resorts in the word. . . The Fontainebleau Hotel. Today it is replete with 17,000 sq. foot lobby, 1504 rooms and two new towers, 11 restaurants and lounges, a 40,000 sq. foot spa and dramatic oceanfront. It still includes the legendary “Staircase to Nowhere” along with electrifying million dollar Ai WeiWei chandeliers and magnificent art and sculpture. Lunch at this fabulous resort was just the right choice.

Down the road is the newly transformed Eden Rock. Originally built in 1956 with a painting of “The Rat Pack” in its lobby, it is the recipient of a $200 million renovation still under completion, featuring 632 guest rooms as well as two new glass to ceiling oceanfront ballrooms and rooftop terrace. It is targeting convention groups boasting a 46,000 sq. feet of indoor meeting space and 25,000 sq. feet of outdoor meeting space. This timeless treasure was home to many celebrities including Milton Berle, Jerry Lewis, Nat King Cole, Frank Sinatra, Ed Sullivan and the Miss America Contests by the pool. It’s a luxurious beachfront venue replete with the new ‘Spa of Eden,’ restaurants and pools.

The Gansevoort Hotel was the vast 1960s building called the Roney Plaza and is now a 334-room hotel along one edge, with large 600 sq. foot rooms, and the rest of the building reserved for condominiums. The lobby, with a million-dollar shark tank, adds interest to the hotel’s many public spaces. Other hangouts include the roof bar called Plunge. But the masterstroke of the new owners was in persuading David Barton, of the eponymous gym chain, to open a large and gorgeously designed branch in the same complex.

The Delano, a 238-room hotel built in 1947 and named, in the patriotic spirit of that postwar time, after President Franklin Delano Roosevelt, now boasts a $28 million renovation, perhaps a little surreal, by hotelier Ian Schrager. It is the Stateside resort for the St. Barts crowd. The Delano’s tower is four-winged and is one of the tallest buildings in the area. It is the first hotel in America with an indoor and outdoor lobby and features billowing floor-to-ceiling curtains and whimsical furniture. “Water Salon” - conceived by Philippe Starck as his first exercise in pool design, features underwater classical music, a continuous waterfall and furniture in the pool. The rooftop spa, Agua, offers a full line of treatments. The spa has a 360-degree view of Miami Beach and is modeled on an ancient bathhouse.

Step into the plush, revitalized, and effervescently alive Hotel Victor, located on popular Ocean Drive in the Art Deco District, meticulously redesigned by French designer, Jacques Garcia for a step back in time. Still present in the lobby are some of the original lighting fixtures, along with a wonderful photo of the original building. Hotel Victor reopened in February 2005 and features 89 luxurious rooms and has become a favorite among Hollywood heavy hitters including Paris Hilton, Adrienne Grainer, Sting and Ashlee Simpson.

When my producing partner and friend, Shari Upbin and I, completed our little Miami and South Beach hotel tour, we had to walk down the street from the Hotel Victor to the ultra fabulous former Versace Mansion, Casa Casuarina, to see the excitement where groups of on-lookers stood outside taking pictures. It is an exquisitely preserved 1930’s mansion built by architect, philanthropist, author and political reformer Alden Freeman as an homage to the oldest existing house in the western hemisphere, the “Alcazar de Colon” in Santo Domingo, which was home to Christopher Columbus’ son Diego in 1510. One of the Casa’s cornerstones contains original brick from the “Alcazar de Colon.” In 1992, world renowed couturier Gianni Versace saw Casa Casuarina for the first time. It was in great disrepair but Versace fell in love with it, purchased it and made substantial changes to the property. In September 2000, after Versace’s tragic death, Telecom exec Peter Loftin bought the Casa. It has been a members-only Private Club but is now operated as a luxury boutique hotel for discriminating visitors.

The Casa has ten suites, a high-end restaurant and boasts the famous thousand mosaic pool where we topped off our whirlwind day with a glass of wine and our own mini-tour of what we could see on the lower level. The full tour of the mansion costs $50 per person and suites run around $1000 a night, but that does include dinner.

If you’re inclined to days in the sun, miles of glorious beaches, upscale restaurants and luxurious hotels, Miami and South Beach is the place to be. Only 3 hours flying time from New York, it is a plethora of entertainment and activities and you’ll envision the days of yesteryear and, if you close your eyes, even see some of the greatest entertainers of all time still roaming the lobbies.

MEMPHIS - finally, an original new musical

“MEMPHIS”
It’s the 1950’s, Rock n’ Roll and Racism

Reviewed by: Sandi "D"
October 2009


Why would a cracker boy be wandering into an R & R, soul club below ground, namely Club Delray, on Beale Street, in the black part of town, Memphis, Tennessee in the 1950’s? No he’s not crazy, he’s possessed by the sound. . .it’s “The Music of My Soul” cries Huey Calhoun (Chad Kimball), a slippery, sometimes seedy, character who’s a quirky, smooth-talking dissenter of the times. The folks down there are ready to toss him out on his butt, until he sits down at the piano and knocks out a tune showing them he’s for real. The potential for love develops quickly when he hears Felicia (Montego Glover) wail and groove out “Underground.” From that moment, he has big plans to get Felicia heard and make her a star.

The score is smoothly written by Bon Jovi’s David Bryan with Joe DiPietro and is a compilation of rock n’ roll, blues, gospel with some soul for good measure. David Gallo’s sets have a multiplicity as they easily change from club to radio station to shabby living apartment.

Huey can’t read, he’s a school drop-out but all that aside, he’s clever and has a vision. A stock boy at a department store, he figures out a scheme to perk up sales in the record department (or lose his job), and as real life singing pop ups of white folks’ music - Perry Como and such, reinforce the status of things as they are, Huey sneaks on black folks’ music, making record sales fly thru the roof. However, he is fired from his job and looks for employment as a DJ at a local radio station. When the DJ leaves the booth, Huey quickly locks himself in and spins “race” records to a young white audience, previously listening to Patti Page and Roy Rogers, are hungry to groove. Station owner, Mr. Simmons (Michael McGrath) tells Huey to “get on the air, tell ‘em you’re white” as ratings rise and “Everybody Wants to Be Black on a Saturday Night.”

Needless to say, Felicia and Huey fall in love, but with times as they were in the south of the 1950’s, that was fodder for violence as racial laws and social injustice were not color blind. Felicia’s brother, Delray (J. Bernard Calloway), isn’t too fond of Huey either.
Huey’s Mama (Cass Morgan), a God fearing waitress, all but faints when she meets Felicia who she says “ain’t nothin’ but a colored girl.” By the second act, however, Mama is singing along with the black gospel choir as her boy, who she never thought would amount to anything, is rated numero uno, has his own TV show taking along Bobby (James Monroe Iglehart), the janitor at the radio station, who turns out to also be a singer and turns in one of the top performances both vocally and other with “Big Love.”

Huey buys Mama a house, introduces her on TV, where she no longer looks frumpy and seems won over by the new move for equality. This quick change brings up the book’s short comings and the amateurish approach to the entire race issue.

Finally, achieving his goal of Felicia singing live on his TV show, he commits the ultimate no,no; kissing her on TV, in front of all to see, in a world that hasn’t yet assimilated black and white. Felicia gets a big record offer in New York as Huey begs her to stay with him in Memphis where he’s happy doing his thing. Included in the book are the obligatory violence and pathos, sadness and tears.

Kimball’s slippery sloped, sweet talkin’ Huey works well as does his vocal prowess.
Glover is lovely as Felicia, with just enough rough girl attitude and a big, big voice to wow any audience. Costumes by Paul Tazewell are slick, colorful and pizzazzy, with terrific lighting by Howell Binkley. The choreography by Sergio Trujillo is inspirational and direction is well crafted by Christopher Ashley.

“Memphis” isn’t a new concept as it’s already had a pre-runner, “Hairspray,” albeit more caricature-ish. However, the theme, music breaks the color barriers and heals all, is always good reinforcement. No matter what the downsides might be, the audiences will like this show and from what I’m told, are giving it standing ovations.

FELA - a theatrical masterpiece

FELA
Welcome na de Shrine!

Reviewed by: Sandi "D"
November 2009

Afro-beat King, Fela Kuti (Sahr Ngaujah), Nigerian musician and political activist is a turbulence of rebellion, albeit exaggerated (?) but nonetheless flamboyant and riveting in his continuing role as he makes the trek from Off-Broadway to Broadway’s Eugene O’Neill Theatre. The primal drum beat is the heart beat of all life on earth and choreographer/director Bill T. Jones (of Spring Awakening fame) means to infuse its elements in this multi-dimensional, can’t stay in your seat, theatrical production. From the opening “Everybody say Ya Ya” the audience is engaged visually and musically by the undulating cast bedecked in bright, sexy Afro costuming, and the scenic designs (Marina Draghici)and the larger-than-life Fela Kuti’s musical artistry.

Studying music and composition in England, he chose the trumpet as his instrument of choice, formed his own band in London, was overwhelmingly influenced by James Brown leading him on his path to find his own musical voice, in the tradition of Yoruba (High life and jazz), giving birth to Fela’s Afro-beat. He traveled to L.A. to tour and record, became aware of and influenced by Malcolm X and other proponents of Black Nationalism, returning to Nigeria where he founded his own recording studio and nightclub, The Shrine.

Kuti’s songs are filled with political rage and social injustice. For most of us who are inexperienced in this genre, it would be difficult to understand the complexity of the culture that gave rise to the horrors portrayed in Nigeria 1977 when the government set fire to The Shrine, arresting many and inflicting fatal injuries. Lord knows the horrors of war continue to this very day in too many parts of the world providing essential fodder to theater pieces such as this, as a constant reminder of man’s atrocities to man.

From basic instinct musical number “Underground Spiritual Game (The Clock) where the cast and audience share in the undulating body movements necessary to touch the various numbers on the clock, to “Black President” (an imagined movie of Fela’s life) and tearful and bloody “The Storming of Kalakuta” to the spiritual “Zombie” haunting (glorious costuming!), one feels swept away into a nightmare of realities. The use of projections of actual scenes of the times further enhances the enlightenment.

Personally, Kuti married 27 women at one time and after the uprising and exile, returned to form his own political party, running for president in two elections; small tidbits of the historical information constantly emerging which can sometimes make for confusion.
Be that as it may, this is a production to be seen and savored not only for its high level of theatrical creativity and production values, but for the important educational history.

Lillias White is notable as Kuti’s activist mother, Funmilayo Anikulapo-Kuti who is eventually thrown from a two-story window during the Government tear gas attack of The Shrine. Favorite Fela female love interest is played by Sandra Isadore (Saycon Sengbloh).

Fela is presented by Shawn “Jay-Z” Carter and Will & Jada Pinkett Smith. The book is by Jim Lewis and Bill T. Jones who also conceived the project together with Stephen Hendel. Antibalas, and other members of the NYC Afrobeat community, under the direction of Aaron Johnson, perform Kuti’s rousing music. Lighting design, Rob Wierzel; Sound design, Rob Kaplowitz; Projection design, Aaron Johnson and Jordan McLean.

RAGTIME - revival and comparison

RAGTIME - An American Melting Pot
Reviewed by Sandi "D"
December 2009


For those familiar with the original Broadway production in 1998, the noticeable comparisons are obvious. More was better when money flowed. Was it necessary? Debatable! Given the current economic times, however, a scaled down, almost drab sameness prevails as a three tier platform construction (railway station) serves as the backdrop for the entire show. The actors use this set to play their roles at varying levels. Truth be known, there is no choice but to focus on the performance, songs, choreography and production values. Marcia Milgrom Dodge, Director/Choreographer has surely brought audience awareness to new levels in this revival production.

“Ragtime” is the story of America’s melting pot, its bigotry and racial tensions during the turn of the century and is always relevant. Three families – Father (Ron Bohmer), Mother (Christiane Noll), Mother’s Younger Brother (Bobby Steggert), Little Boy (Christopher Cox), in their lovely upscale New Rochelle segregated community discover an abandoned black baby in their garden. This is the child of Sarah (Stephanie Umoh), a cleaning lady, and her lover Harlem piano player, Coalhouse Walker Jr. (Quentin Earl Darrington) an event that changes their lives forever as Mother makes the decision to take in the baby while Father is away for a year trekking in the North Pole and yonder. The third story is of Tateh (Robert Petkoff) and his young daughter (Sarah Rosenthal) coming to America, their struggles from tenement squalor to eventually living the American Dream as Tateh makes his way from silhouette artist to successful silent film producer.

Other essential folks of the time period make appearances including showgirl Evelyn Nesbit (Savannah Wise), radical rebel rouser Emma Goldman (Donna Migliaccio), Booker T. Washington (Eric Jordan Young), and escapist extraordinaire Harry Houdini (Jonathan Hammond) who makes his first entrance hanging upside down from the rafters.

Is it fair to compare performances and performers from the two productions? Maybe not, but when Brian Stokes Mitchell and Audra McDonald played Coalhouse and Sarah in 1998, the electricity sizzled and sparks flew. Their voices undeniably brought the house down. This is not meant to demean Mr. Darrington and Ms. Umoh but this version seems jazzier, more R & B in feeling and although they are both fine performers, there is a noticeable difference in the vocal timber and the magnetism.
Poignant compositions like “The Wheels of a Dream” and lively “Atlantic City” along with ongoing thread “Ragtime,” continuous throughout, are always memorable. Production dance numbers are a highlight.


Christiane Noll is a perfect choice as Mother, her dulcet soprano tones shown to perfection on “Back To Before.” A chance meeting of Tateh and Mother early on evolves into an opposites attract later-on relationship as Mother emerges into a new awareness of womanhood.

Although Act I is too long and even somewhat lackluster at times, the pace does quicken throughout Act II, a redeeming factor.

“Ragtime” is an important historical musical that should run a long time. However, times being what they are and Broadway being what it is make it questionable.

Music (Stephen Flaherty) and Lyrics (Lynn Ahrens) are the glue that keep it all together with book by Terrence McNally based on the 1975 novel Ragtime by E.L. Doctorow.
Costumes by Santo Loquasto are top notch. Set is by Derek McLane, lighting Donald Holder.

ROME - a splendid contradiction

Christmas time in the Eternal City is especially chaotic as families from all parts of Italy and the world converge at the spiritual home of Christianity. I don’t think I was prepared for the sheer numbers of people on the streets, in the restaurants and at the major sites. However, being one of them I soon had no choice but to adjust, relax and enjoy what some have called “Bella chaos.” Rome is a bustling city to be savored and I soon realized that with a sense of humor and cool optimism, all would be fine.

This was a mother-daughter vacation planned several months prior as a belated birthday gift to me. My daughter, a radio personality and writer, could only get away over Christmas and New Year’s. So we left the husbands, her dog, my cat and…
Buon Giorno Roma.

After an 8 hour overnight flight on Alitalia, we landed early morning at Fiumicino Airport in a light rain, spent an extra hour running back and forth between two carousels to corral our luggage and were off with car and driver to our lovely small boutique hotel off the Via Veneto. Let me be sure to mention that our driver did not get off his cell phone for even a minute while driving at top speed.

Hotel Villa Pinciana is located in a statuesque palazzo dating back to the start of the 1900's. This luxurious 25 room hotel was inaugurated in June 2009. Rooms are spacious for Italian hotels, bathrooms are marble and there’s free internet service in each room. The staff is friendly and courteous giving much attention to service and breakfast (included), is served in a small tastefully decorated setting. For those seeking small luxury hotels, I would highly recommend Villa Pinciana.

After unpacking and a short nap, we were out walking, making our way to a restaurant that had been reserved in advance for an early Christmas Eve dinner. Much to our amazement, the restaurant on via Ripetta was closed! No problem since, as we winded our way through the small cobblestoned streets, we had noticed several restaurants open and serving. We enjoyed a lovely dinner at a small ristorante/wine bar, Ad Hoc, and were asleep as soon as our heads hit the pillows.

My usual method when traveling is to get an overview of where I am and the Hop-On Hop Off bus is perfect. It was 15 years since I had last been in Rome and my daughter never. This turned out to be a smart idea, giving us the orientation we needed. In addition, I had pre-booked a series of walks and tours, another really smart idea.

The Vatican and St. Peter’s Basilica had the usual lines but even more at holiday time. However, I circumvented by going to the Vatican site online prior to the trip where I had booked reservation entry time in advance, including a guided tour. Upon arriving, we by-passed the miles of people waiting for what would be hours, walked right up to the front, showed our reservations and were ushered into the building to pick up our tickets and tour through the various rooms and Sistine Chapel. The last time I was there, much of the glorious art in the Chapel had not yet been cleaned. This was an eye opener of bright color with some of the old dirt left in place in order to see the difference. Aside from the crowds of people, this turned out to be a splendid tour.

We had hired a private guide for a walking tour of the Colosseum, Forum and Palantine Hill, the House of the Vestal Virgins, Circus Maximus (remember Ben Hur?) for more creative and in depth information of the Ancient City. We couldn’t have been happier as we got to know our guide, Inga, a transplanted American gal from Michigan living in Rome for the past 10 years, fluent in Italian and having majored in Italian art and history. The spectator sport of killing became major entertainment necessitating the building of the Colosseum in A.D. 80, where 50,000 people could watch the Gladiators, lions and others fight to the death in the name of fun. Just close your eyes and suddenly it’s all very real.

The following day, we continued with Inga to the other side of the Tiber River for a tour through the Jewish Ghetto, the forced home of Rome’s Jewish population for 300 years in an area known as Trastevere. It reminded me of our East Village just not as ancient.

It was unique seeing Kosher Italian restaurants, a Jewish Bakery and men wearing traditional Yarmulkes. A visit to the Synagogue and Museum built in the early 1900’s, where Pope John Paul III’s historic visit took place, provided additional insights. Hearing the stories of Jewish persecution through the ages tears at the soul.

We wandered on our own through Churches filled with beautiful paintings (Caravaggio, Michelangelo, Raphael) mosaic tile work, sculpture and statuary - Santa Maria Maggiore, Santa Maria del Poppolo, Church of St. Cecilia, Church of San Luigi del Francesi, Church of San Ignazio, San Clemente, Cappuccin Crypt (artistically arranged bones); the Pantheone, its dome a model for Michelangelo’s dome of St. Peter’s, with Bernini sculpture appearing at every turn throughout the ancient city streets.

For a day trip out of the City, albeit 13 hours total, we settled on a tour bus to Naples, a city of commerce and the birthplace of pizza, and after one short off-the bus photo op, continued to the real destination, Pompeii. Founded in 600 B.C. it was eliminated from the face of the earth in A.D. 79 by the eruption of Mt. Vesuvius. Pompeii holds an eeriness of life 2000 years ago as hot volcanic ash brought this thriving City to an end on August 24th. Archaeologists are still at work uncovering more ruins of Roman life where excavations began in the 1700’s. So much has been unearthed giving insight into everyday life: rich and poor lived on the same streets; the rich just had fancier houses. See the fish and produce market, the bakery, the brothel, the baths, theater and temple; Houses of the Tragic Poet, the Faun, the Vetti and the ash outline of bodies at the moment they died. It’s all a remarkable experience not to be missed and well worth the long day.

We enjoyed some very special time with a gracious and wonderful theater couple we met at a party during the summer here in New York and through the efforts of a dear friend of mine, I was put in touch with them. They arranged to take us to see a musical comedy at the Il Sistina Theater called “Aggiungi un posto a tavola” (“Add a place at the table”) which continues to be revived in major cities in Italy since the 1970’s. With a little insight on the theme from Viviana and Aldo, our new Italian friends, we were soon laughing along with the audience. After the show we went backstage to meet the star, Gianluca Guidi, who is not only a very fine actor but sings and sounds like Sinatra and Bennett wrapped into one. I’m already thinking of ways to bring him to New York to appear at one of our upscale night spots. We all went to a local Steak and Hamburger restaurant (they don’t eat pizza and pasta every night) where some of the cast and friends joined in for food, wine and beer, telling stories, giving more insights into theater, its politics and culture. We talked and laughed until 3:30 a.m.

Our last day, with pre-arranged mandatory reservation time, we went to the Borghese Gallery to see a fine exhibit of Caravaggio and Francis Bacon paintings, creatively hung, in the beautiful Borghese family villa which stands amongst the surrounding gardens. Each room is a masterpiece of art, furnishings and beauty.

Since our viewing time was between 5 – 7 pm, we had made dinner reservations in Trastevere at a recommended restaurant, “Spirito diVino.” The building in which it is located is an ancient medieval house with Hebrew character carvings still visible. It has a famous history where an ancient bronze statue by Greek sculptor Lisippo (4th Cent. B.C.) was discovered in the cellar and can now be seen in the Vatican. The house was used as a synagogue, a convent, a foundry and private residence. Twelve years ago a retired Italian couple opened this little gourmet gem. He was a business man, his wife a very good cook and a scientist. They give attention to each table explaining the history, discussing the menu options and inviting their guests to walk down the stairs to partake in the history and antiquity of the cellar, now filled with an extensive wine selection.

Suddenly it was New Year’s Eve, the evening before our departure. We opted for an early dinner near the Campo de’ Fiori area where we could also do some last minute shopping in some posh boutiques, returning to our hotel early just before the pouring rain began. While we packed, we watched TV and the New Year festivities worldwide ushering in 2010, and listened to nearby firecrackers coming from the Spanish Steps.

Up at 5:30 a.m. January 1st, we arrived at the airport around 2 ½ hours prior to our morning flight back to the U.S. With new tightened security, our flight did not leave on schedule but almost 2 hours later but somehow we arrived almost on time.

It was a wonderful, insightful trip with some unique experiences but as I always say when I’m back on American soil and especially in New York- - - there’s no place like home.

January 4, 2010