All That's Good Shall Remain

Overheard in New York

2007-11-01T08:34:00.000-05:00

I was on the subway last week, standing near two old ladies on the 6 train, who were seated in front of me. They were talking about how horrible it is that no one in the U.S. speaks English anymore. One of them said to the other: "Well, after living in New York for so many years, I've picked up a little bit of Spanish. Don't you know any Spanish?" The second woman responded, "Why should I speak Spanish? My maid is Chinese."

Patti & Mandy, together again

2007-10-22T23:12:00.000-05:00

I love this interview.

Tynan

2007-10-22T22:21:00.001-05:00

Just returned from a one-night only benefit performance of "Tynan" a one-man show starring the inimitable Corin Redgrave as the legendary critic Kenneth Tynan. The play received critical acclaim at the RSC and then later on the West End in 2004, but had never appeared in New York until now. This was Redgrave's first public performance since suffering a heart attack and coma in 2005. What a comeback! Though a few slips of the tongue and pacing pauses seemed to slow the actor down, he forged through the work, a selection of readings from Tynan's diaries. The benefit, which raised money for Broadway Cares and the Actor's Fund, was well attended in the Public Theater's Anspacher space. Seen: Vanessa Redgrave (of course!), Alec (don't call me) Baldwin, and Patrick Pacheco, who sat next to me and was a delight.

Another 'wtf' moment...

2007-09-26T15:39:00.000-05:00

From Tommasini's review of the Met's new "Lucia" comes this idiotic kicker:

"When Mr. Levine appeared for curtain calls, Ms. Dessay bowed and touched the stage floor in tribute. She probably thinks photographs of Mr. Levine should be plastered all over New York as well. She looks better and will sell more tickets, especially when word gets out."

Thanks, Jimmy, for your genius musicianship. But it's too bad that you're an ugly troll.

María de Buenos Aires

2007-09-26T13:56:00.001-05:00

Tonight, you will see me in the audience for the Gotham Chamber Opera's opening night of "María de Buenos Aires," a tango opera written by Astor Piazzolla. Judging from the 1998 Teldec recording, I expect great things. It's the first of three performances.

And now, for a completely different Lucia ...

2007-09-26T13:54:00.001-05:00

Vitas - Lucia Di Lammermoorr (il dolce suono)

Luciano Pavarotti (October 12, 1935 - September 6, 2007)

2007-09-06T07:07:00.000-05:00

"Hair" in the Park

2007-08-01T11:44:00.001-05:00

To celebrate the 40th anniversary of "Hair," the Public Theater will be hosting three free concert readings of the musical at the Delacorte Theater on September 22-24. Free tickets will be distributed the day of the show, just like its Shakes in the Park season. More information can be found here.

Censored and Loving It

2007-07-19T12:20:00.000-05:00

For those who might be wondering about my presence on the Showshowdown, you'll have to inquire with Patrick, who removed my access today following a debate about some non-theater related videos I had posted earlier this week (two YouTube clips you can see below). Within a minute of telling him I wouldn't continue to participate in the competition if he continued to censor my content, he kicked me out. Very telling, of course, and also very childish. It seems some people are a bit obsessive about their blogging and have an unhealthy relationship with control. That's a theater blog, though. Never without the drama.

One for my baby …

2007-07-17T12:03:00.000-05:00

More on the closing of Rose's Turn, courtesy of the New York Observer.

Ring Cycle, day 1 — It's A Wagner Crowd

2007-07-17T07:42:00.000-05:00

The rare staging of a Ring Cycle means that the Wagner crowd will be out in full force. As I spend the rest of my week attending the Mariinksy Theater's Kirov Opera production at the Metropolitan Opera, I'll be surveying the crowd and posting photos of some of the enthusiastic Wagnerites I meet. Last night's performance of "Das Rheingold" gave us a glimpse of what's to come. First up, Karyn and Scott smile for the camera.

I spotted this woman in the crowd after the performance but couldn't catch up to her. She looked grandmotherly and cute.

And this woman just looks completely unsatisfied, but her Valkyrie helmet does seem a bit tight.

The Met has its own Alberich, who I like to call the Ticket Troll. He can often be found outside any theater in Manhattan begging for soon-to-be unused tickets. His usual mating call is "Does anyone have an extra ticket?" and he approaches everyone in vicinity, whether or not they're actually attending the performance or just happen to be standing nearby. Should we pity him? Obviously he's too poor to buy his own entry and I'm all for getting people in to see theater, having given away full-priced tickets to strangers so they don't go unused — the tickets, not the strangers. But he goes a bit over the edge in his desperation. At a performance of Philip Glass's "The Juniper Tree" I saw this past spring, a patron chastised him and he reacted a bit too violently for someone in his position. Beware of the Ticket Troll if you see him. He'll turn on you at the slightest provocation.

Notice how far away I stood and used my zoom lens to capture this photo of him. That's because I'm not stupid. I don't want to end up like the Nibelungen.

Work It Out, Fosse

2007-07-16T14:30:00.000-05:00

Get This Party Started

2007-07-16T14:00:00.000-05:00

Dan: this is the gayest video ever
Dan: gayest
Dan: video
Dan: ever
Dan: there's bel ami porn less gay than this
Christopher: true
Christopher: and that's why I love it
Dan: it's fabulous

I'm leaving my family; I'm leaving all my friends.

2007-07-16T09:56:00.001-05:00

I was going to post this yesterday, but I was too busy drowning my sorrows in a Stoli & tonic to even think about turning on my computer. Having awoke this morning still in the throes of depression brought on by the news, I now feel the responsiblity of spreading word about the imminent closing of the greatest piano bar in the world, Rose's Turn. I'm told that the building has been sold. Last call will be this Sunday, July 22. See you there.

Il Trovatore

2007-07-14T23:59:00.000-05:00

Photo by Thomas McDonald
The reason to go to Caramoor for this "Trovatore" was to hear famed contralto Ewa Podleś in the role of the gypsy Azucena, which was written for mezzo soprano. However, it soon became clear that Ms. Podleś's top notes really weren't there, and this was probably one of her worst public performances. Please remember, though, that the standard is very high, and that even a mediocre performance by Podleś still draws whoops of delight from the audience, as it did on Saturday. But the real stars of the evening turned out to be the tenor Francisco Casanova as Manrico and Julianna Di Giacomo, an up-and-coming soprano who will be appearing this coming season as Clothilde in the Met's "Norma." Both were in top form. Will Crutchfield drew a shimmering bel canto interpretation from the orchestra, which for me, was worth the trek to Katonah. Following the performance, Ms. Podleś confided to someone at the after party that she hated singing Azucena and that it wasn't the right role for her. At least she's aware. Tickets are still available for the second and final performance, which is Friday July 20th. And it's also on TDF, if you're a member.

Broadway! Broadway! How great you are!

2007-07-12T09:56:00.001-05:00

With all this talk of a B'way transfer for the LuPone "Gypsy," has anyone noticed that the Imperial is sitting empty? I'm told it's being saved for "Billy Elliot," but until then? My mind reels with possibility.

Bryn Terfel as "Elijah"

2007-07-11T11:21:00.001-05:00

Though it's really not the right time of year for a visit from the prophet ("Come back in April!"), Bryn Terfel is scheduled to sing a concert performance of Mendelssohn's "Elijah" oratorio with the Collegiate Chorale at Carnegie Hall on Monday, November 19th at 8 p.m. And as if that weren't enough, Metropolitan Opera mainstays Hei-Kyung Hong and Eric Cutler will be joining him. Until August 31st, you can order tickets during the Chorale's pre-sale by going here.

Cattle Battle Is Still A Bitch

2007-07-11T10:49:00.001-05:00

According to my source in Aspen, Kathleen Battle is up to her old tricks as a whining fit-throwing diva. In town this weekend to sing a program of Gershwin tunes at the Aspen Music Festival, the Battle Axe was put up in the St. Regis — the city's poshest digs — and upon being shown to her room, she flew into a rage of discontent and demanded to see every available room in the complex (which resembles an upscale hunting lodge), until she found something suitable to her needs. She also turned down an interview request by the local radio station, saying that the music "should speak for itself," and also has refused to meet with the festival's student singers, defying the tradition of master classes led by seasoned professionals. Perhaps that's because she doesn't have anything nice to say.

"Les Fables de La Fontaine" by Comédie-Française

2007-07-10T23:59:00.000-05:00

The visionary director Robert Wilson has returned to Lincoln Center with a new offering from the Comédie-Française, one of the oldest and most respected theater troupes in the world. A staging of a handful of the French poet Jean La Fontaine's fables based on those of Aesop, "Les Fables de La Fontaine" is an accessible introduction to the tales and makes great theater for children of all ages. The actors wear masks representing the animals and a throaty-voiced Christine Fersen plays Fontaine himself, addressing the audience while weaving between the masquerading characters. The haunting original music by Michael Galasso, lighting and set design by Wilson, and inventive costumes by Moidele Bickel come together to create an engaging spectacle that's not to be missed. My one complaint: inadequate supertitles that only summarize every 10 lines of text instead of giving line-by-line translations of the original French. Thankfully, English language versions of the poems are included in the program, but you'll have to wait until after the show to pour over them.

Online extra: Calvin Klein is looking leathery these days. Did his contract with Mephistopheles expire or has he stopped drinking the life-giving boy juice that had kept him young for so long? Maybe he's finally started practicing the heterosexual lifetstyle he's claimed all these years?

"Gypsy" by Jule Styne, Stephen Sondheim, and Arthur Laurents

2007-07-09T23:10:00.000-05:00

In a word: Flawless. And that's not just Patti we're talking about, but every single performer on a cramped City Center stage (shared with a full orchestra) who's been directed with the knowing hand of Arthur Laurents. Thankfully, he has been able to capture perfect nuance with the smallest bit of staging, making the tiniest gestures evolve into character defining moments. Encores has spared little expense with a fully-staged production that makes the 2003 Broadway revival look like summer stock. Even the performers outdo their recent predecessors, with LuPone arguably the first Mama Rose to have the vocal chops of Merman, and boy does she use them. Just before the show ended, she stopped it with an incomparable rendition of 'Rose's Turn," audience applauding wildly with a well-deserved standing O. Laura Benanti gets major kudos for her transformation into Gypsy Rose Lee and for her perfect "Little Lamb," which she acts with weepy sincerity. City Center would be smart if they offered frequent flier miles for return visits to "Gypsy," because just like a Pringles potato chip, you can't have just one. I need to go back again and again because it's just that damn good.

"Guilio Cesare" by Georg Frederick Handel

2007-04-21T23:59:00.000-05:00

Ruth Ann Swenson's final performance in "Giulio Cesare" at the Met occured on a warm Saturday afternoon in April. It was a cloudless day and most of my friends were doing outdoor things. The occassional invitation to join them collected silently in my pocket while I bathed in the warm rays of Handel's score and Swenson's scintillating Cleopatra. I couldn't think of a better way to spend the day.

"Coram Boy" by Helen Edmundson, after the novel by Jamila Gavin

2007-04-18T23:59:00.000-05:00

This highly melodramatic epic about three generations in a British family during the 18th century really grabs you by the throat and doesn't let go until it's choked every last tear from the inner reaches of your gut. Interspersed with selections from Handel's "Messiah" and performed by a talented cast, it feels like you're watching an intricately staged Masterpiece Theater serial that incorporates live choral music. Is this the one for "Coast of Utopia" to beat come awards season? Yes, and it will. Nevertheless, "Coram Boy" is a great evening in the theater and is not to be missed. Look for the always charming Jan Maxwell in yet another conniving villainess role.

"110 in the Shade" by N. Richard Nash, Harvey Schmidt, and Tom Jones

2007-04-15T23:59:00.001-05:00

By no means is "110 in the Shade" a perfect musical. But unlike Aaron, I did walk out humming tunes. And not just one. There were at least three lingering melodies in my head giving argument to the already pestering voices. And the reason? Audra McDonald gives a sensational performance as Lizzie Currie. I can't remember the last time I actually felt moved at a musical. Weepy-eyed moved, even. The cast is all around terrific and it's great to see John Cullum back on stage where he belongs. Bobby Steggert is endearingly cute and a bundle of energy. Kudos to Lonny Price for what I'm thinking is his best work yet — No, I unfortunately didn't see "A Class Act." But I'll be going back to see this again once it opens.

"The Distant Sound" by Franz Schreker

2007-04-15T23:59:00.000-05:00

Franz Schreker's opera "Der ferne Klang" (1910) hadn't ever been performed in the United States until Sunday, when Leon Botstein and the American Symphony Orchestra gave the premiere at Avery Fisher Hall. With an altogther glorious cast of relatively uknown singers, particularly the dramatic German soprano Yamina Maamar, who I'm hoping will be in New York again soon, the ASO hasn't sounded this good I think ever. The score, which can only classified as modern Romantic, is bombastic, swooping, hummable, and downright catchy. Just when you're still reeling from an emotional ballad, you're thrown into a dervish of a czardas and your feet can't stop a-tappin.' Why hasn't this been staged in NY yet? Wake up, Jimmy, and give us some Schreker.

"Deuce" by Terrence McNally

2007-04-14T23:59:00.001-05:00

Old women say "fuck," "cunt," and "goddamn" just like the rest of us. That's what I learned on Saturday, after sitting through an interminable 105 minutes of watching Marian Seldes and Angela Lansbury squirm in what appear to be uncomfortable plastic stadium seats. That old adage about the phone book isn't true; it's horrifying when it actually happens. The play ranks among McNally's worst. On top of that, lines were dropped more often than a hot potato in a kindergarten class. Owing, I'm guessing, to a constantly changing script, a scriptgirl was heard from my seat in Row B of the mezzanine, feeding lines to both of the two ladies throughout the show. I stopped counting after I heard the disembodied voice (uncredited, of course) more than 30 times. Let's hope this shapes up, or else what was once the most anticpated Broadway play of the season will quickly become the most panned one. Someone should start a pool to determine how many performances this will actually last. I'd put 10 bucks on any of the single digit squares. Perhaps we should lobby the award committee so the scriptgirl could get a Tony nom?

"The Yeoman of the Guard" by W.S. Gilbert and A.S. Sullivan

2007-04-14T23:59:00.000-05:00

photo by Kate Weiman
The Blue Hill Troupe is one of only two NYC companies that present Gilbert & Sullivan operas every year. What's different and most surprising about the Blue Hill Troupers isn't that they always give us high quality performances, it's that they're (mostly) non-professional actors who work in the evenings and weekends to rehearse and construct two productions a year. Their Spring offering of "Yeoman" bests their previous work of the past few seasons, with high caliber production values as well as superb singing that made for a very entertaining Saturday matinee. On top of that, all proceeds of ticket sales go to a different charity each year, so there's no reason you shouldn't see it. This year's beneficiary The New York Society for the Prevention of Cruelty to Children would agree.

"LoveMusik" by Kurt Weill and Alfred Uhury

2007-04-12T23:59:00.000-05:00

Caught the first preview of a new book musical that uses forgotten songs from the Kurt Weill canon to tell the tale of his tormented love with singer and actress Lotte Lenya. Harold Prince's new project clocks in at three hours. If those three hours weren't so damned entertaining, I would be complaining instead of writing a loose leaf love note to a Germanic musical drama. But in the end, it will need to be cut, as some of those neglected numbers stop the show cold with no clear relation to the the story, as if to say: and while Kurt was suffering attacks from Brecht in Los Angeles in 1944, this song of his was perfomed in (ENTER NAME OF UNKNOWN WEILL MUSICAL HERE) that played Broadway for -10 performances. The orchestrations by Jonathan Tunick are sublime. His overture is a shiny gem of a compliation, and I've never heard "Speak Low" sound so haunting and heartbreaking. Cerveris is exceptional and Donna Murphy is an actress who sings and she knows how to sell each of her big numbers, including Surabaya Johnny and September Song. But she doesn't sound anything like the real Lenya, especially the later Lenya who is preserved on record. But where's Donna's "Pirate Jenny"? After three hours, don't we at least deserve that?

"The Magic Flute" by Wolfgang Amadeus Mozart and Emanuel Schikaneder

2007-04-11T23:59:00.000-05:00

BAM hosted a prodution of "The Magic Flute" that originated at De Munt/La Monnaie, the Royal Opera House of Belgium. The white line animations decorating the show curtain and the subsequent shadow play film clips offered no new insight to the timeless Mozart piece, but do provide winsome entertainment, especially in moments that need it. Using wildlife fantasy isn't anything new to productions of Flute. Where Julie Taymor had dancing polar bears, William Kentridge opted for somersaulting rhinos. The stiffly directed production was decorated with seemingly 19th Century retro costumes and the singers were just O.K. The only standout was the terrible Queen of the Night, who not only was singing in the wrong fach, she was singing the wrong notes. And why is it that the BAM programs never list the name of the librettist? Poor dead white guy Schikaneder.

Ringling Bros. and Barnum & Bailey Circus

2007-04-08T23:59:00.000-05:00

Clowns can be scary. But what's more frightening is the whipping received by the tigers, horses, and zebras during the first half of the Ringling Brothers and Barnum and Bailey Circus this past Sunday evening at Madison Square Garden.

In lieu of an indictment of the poor treatment of animals at the circus, I'm simply going to post a link to PETA's subsidiary activist group that is fighting the good fight. They have a well-organized website. Go to http://www.circuses.com/ for more information.

"Volume of Smoke" by Clay McLeod Chapman

2007-04-07T23:59:00.002-05:00

This assemblage of fictionalized historical monologues by the victims and survivors of a fire that destroyed the Richmond Theater in 1811 is well constructed and researched. Not bad for a young writer. I was willing to forgive him for the multiple clichés and melodramatic renderings of characters that seemed to bog it down.

"Be" by Mayumana

2007-04-07T23:59:00.001-05:00

Oy. What a headache. I left before the end of this intermissionless show. If I'd wanted to see buskers, I could've descended into the Union Square subway station and watched street artists do it for less money than it cost me to see this Off-Broadway reiteration of noisy bang-on-a-bucket shows.

"A Moon for the Misbegotten" by Eugene O'Neill

2007-04-07T23:59:00.000-05:00

photo by Simon Annand

Kevin Spacey gave a good but also lacking performance. Eve Best gave an amazing performance. While he's no Jason Robards Jr. (who is?), she definitely contends with past Josies, Colleen Dewhurst included. But no matter how well received this production, I still can't get the Cherry Jones/Gabriel Byrne combo out of my head, which I saw twice in 2000.

"Boys Just Wanna Have Fun" by Anthony Wilkinson

2007-04-06T23:59:00.000-05:00

If you find yourself drunk and wandering the streets of the gay West Village on a Friday or Saturday night, I'd say definitely check this out. It's more TV than theater, as the writer is a soap opera veteran, and there's enough high camp to keep you laughing into the wee hours (this past Friday's performance was scheduled for 10 p.m. but actually didn't get underway until a good 20 minutes after that.) The standouts in this gay male comedy were the women and, of course, the men dressed up like women. Fanny Fondue, you have a new fan.

"Flavio" by Georg Handel and Nicola Francesca Haym

2007-04-04T23:59:00.001-05:00

Don't try to figure out the plot in this brain-teasing love story, where the bethrothed are ensconced in love affairs and double-crossing condrundrums that only English court audiences of the 18th century would find remotely amusing. But do go to New York City Opera for the gorgeous score, expertly treated by conductor William Lacey and the fabulous cast headed by not one but two, count 'em, TWO countertenors: David Walker and Gerald Thompson.

"Blackbird" by David Harrower

2007-04-04T23:59:00.000-05:00

Here's something you rarely see: A play about sexual abuse that's highly riveting. Both Jeff Daniels and Alison Pill give gut-wrenching performances. Please let this transfer to a bigger house. During this rainy day Wednesday matinee performance there were no walk-outs, but a gentleman in the audience bearing a striking resemblance to Santa Claus seemed a bit uncomfortable, and at the first use of a four-letter word, he got out of his seat and disappeared into the rear of the theater to watch the rest of it while standing. It's kinda fun to see Santa unsettled.

The Metropolitan Opera's 40th Anniversary Gala

2007-04-03T23:59:00.000-05:00

Scraping the bottom of the Volpe barrel, the Met threw together a gala performance of three acts from three different operas to showcase the vocal talents of Ms. Netrebko (Trebs) and Mr. Villazon (Viz) — T&V for short, henceforth. A friend was recently asking me what "Opera Hot" means. Well, if you look at the above photo, you'll get an idea. Yes, Trebs is a looker, if you enjoy looking at those sorts of things. But those eyebrows on Viz aren't very attractive, and yet he's considered the hot Mexican enchilada in the opera world. Which is strange, I might add, since if you're searching for pretty Mexican tenors, I'd take Ramon Vargas any day over him, and even he doesn't hold a candle to that other Mexican, Domingo.

The singing was all in all quite good, but the bar is a bit low for these two, since they're opera hot and can sell out a house like no one's business. A ticket to the Dec. 5 "Boheme" (featuring T&V) this past fall was harder to get than an STD in a convent. For the gala, they repeated their Act I romantic fireworks from "Boheme," with Viz supplying an excellent "Che gelida manina" that brought down the house. Then Act III, scene 2 from "Manon" gave him a chance to just whip it like a bad boy, a Maurice (!) Chevalier des Grieux dressed as a priest. Sorry, couldn't resist ... it rhymes, in a way. Then Trebs threw herself on the floor and wailed a few French lines, recalling her "Puritani" mad scene (also from December). I'm getting the sense that she sings better while lying down. Then a brief intermission, and the entire second act of John Copley's garish production of "Elisir d'Amour," fully staged and fully entertaining. But the voices seemed to be tired by this point, and Trebs didn't come close to Ruth Ann Swenson's Adina from last season. A full-throttled Viz delivered a hearty "Una furtiva lagrima," sustaining l-o-o-o-o-o-ng notes for the final few bars, bringing down the house again.

But the one standout for the entire evening was Mariusz Kweicien, a young baritone who sang Marcello in the "Boheme" and Belcore in the "Elisir." I forgot who was doing what whenever he took to the stage. His voice is commanding and more than pleasant to the ear. For the first time ever, I wished Adina would just forget Nemorino and run off with the captain. And as for opera hot, well, his sizzle doesn't fizzle.

But back to Viz's eye shingles. If one of the hair dressers at the Met could get one of the stagehands to pin him down for a shave, or at least a plucking, they could harvest enough follicles to make yet another wig for Millo, when she triumphs in her final performance ever at the Met (?) as Maddalena on April 14. Or maybe she could borrow one of Botha's?

78. "Frost/Nixon" by Peter Morgan

2007-04-02T23:59:00.000-05:00

I don't know which president Frank Langella thinks he's mimicking in "Frost/Nixon" but it surely isn't our 37th. At times, the characterization seems a bit other worldly, and in some moments, it sounds like he's channeling Walter Cronkite. That isn't to say his performance is bad — it's quite the opposite. There was only one obvious moment when he completely lost character on Monday night and did his usual effete gesticulation ... during a drunk scene in which Nixon phones David Frost late on the eve of their final interview. With hand raised, palm facing the audience and hip cocked to one side, Langella assumed his typical heroic poet stance as if to say, "here comes the nut" of this entire evening. Peter Morgan's play is overall quite good, but is burdened by an obnoxious tendency to have secondary characters interrupt the action to announce "And this is the moment when we knew Nixon had crumbled" and "Now we've past the point of no return." Duh!

But regardless... I welcome this production with open arms. Bring it on, Donmar!!! I want more.

77. "Oliver Twist" by Charles Dickens as adapted by Neil Bartlett

2007-04-01T23:59:00.000-05:00

photo by Michael J. Lutch
Theater for a New Audience has given us a thoroughly mesmerizing adaptation of the Dickens tale. Too often I've walked out of stagings of "Oliver!" with digusted contempt for a musical that glamourizes a period of history that was anything but cheery. With this Victorian melodrama, justice has been served in the form of a stylized morality tale that weighs good against evil, and exposes the darker side of innocence, blah blah blah. I'd say wait a few more weeks before this production gels, but the run is very short. Sunday evening's performance was a bit stale, with uneven acting and a lack of much needed intensity. Despite that, go now and don't miss it.

76. "Andrea Chénier" by Umberto Giordano and Luigi Illica

2007-03-26T23:59:00.000-05:00

I'm going to reserve judgement on this until I see Aprille Millo in all her glory on April 14, but in the meantime, I will admit that I left between Acts III and IV because Violetta Urmana's "La mamma morta" lacked passion and Ben Heppner fell short, especially during the final bars of the famous Act II duet when he stopped singing altogether. We know he has the notes, now he just needs to sing them.

Letter from London (70-75)

2007-03-25T23:59:00.000-05:00

Cheerio! I spent this past weekend seeing six shows in three days, which I would never recommend to anyone unless they're on lots of caffeine and/or participating in a blog competition such as this one. So without further ado, here's what I saw:

Dirty Dancing: The ~~Disaster~~ Musical
While this has disaster written all over it, and I was warned by some confidantes in London that it is an outright stinker, I couldn't help but be seduced by the notion that there's just no way on Earth anyone could screw up an already bad romantic dramedy filled with awful one-liners, a great soundtrack, and a heartwarming story. Well, in this case, I was proven wrong. I understand that the person responsible for this great injustice is none other than the writer Eleanor Bergstein, who owns all rights to the story and wouldn't let anyone touch her baby. The problem wasn't just in the use of the original film script, word for word, but that there was nothing different about it. Adding to it that every single line fell flat, and the dancing was lovingly ripped-off step by step, I'm not surprised the critics savaged this one. But by some miracle, the show is a success and it was difficult to get a ticket to the Friday matinee. The audience reaction was pretty quiet and not a soul laughed, but the appropriate applause greeted the end of each canned number and the hooting and hollering at Johnny Castle's entrance and the baring of his pecs during the sex scene reminded me that I was in a house full of women.

— — —

"The Tempest" by Thomas Ades, after William Shakespeare
This new opera premiered at the Royal Opera House Covent Garden in 2004 to great notices.Thankfully, it was revived this year, giving more life to a very risky and ultimately satisfying score. However, the creator decided to strip the play of its musical language by taking away Shakespeare's poetry, thereby dulling it considerably. But to turn the characters of Stephano and Trinculo from comedic boobs into obvious boors was outright idiotic. Thankfully, I was distracted by Ian Bostridge's gorgeous tenor, and the inexplicable Tyranosaurus Rex that dominated the last scene, adding more mess than necessary to an already awkward production. Seen in the audience: Simon Callow.

— — —

"A Midsummer Night's Dream" by William Shakespeare, directed by Tim Supple
If any of the programming directors from the Lincon Center Festival or the Brooklyn Academy of Music are reading this, take note: This is a must for New York audiences in the summer of 2008. There's a UK tour planned after this current run at the Roundhouse Theater in Northern London. I'm guessing The Armory would be an ideal venue in NY. The production is an Southeast Asian retelling of the comedy in seven different languages, with the majority of the actors being Indian or Sri Lankan. A great spectacle.

— — —

"The Gondoliers" by Gilbert & Sullivan
The English National Opera's vivid production of the irreverent G&S operetta is a delight, though it doesn't compensate for the somewhat mediocre singing. Henry Goodman stars as the Duke of Plazatoro. What the hell is he doing in this?!? The sets and costumes could've been designed by Martha Stewart using her K-mart color palette, with vibrant neon and pastel yellows, greens, blues, oranges, and purples. Yikes! A rainbow maker's dream.

— — —

"The Lady from Dubuque" by Edward Albeee
I jumped at this chance to see Maggie Smith in Anthony Page's staging of the Albee comedy, one that suffered a short death on Broadway in 1980. I'd purchased £15 tickets in the gallery via Ticketmaster, but when I'd arrived at the box office to collect them, I was told I'd been upgraded to the Royal Circle. No complaintant, me. This mostly American cast is all excellent, though it was surprising to see Dame Mags have difficulties using an American accent. Catherine McCormack is brilliant as the cancer-stricken Jo. Seen in the audience: Jonathan Pryce.

— — —

"Total Eclipse" by Christoper Hampton
At first I thought this was going to be a bio-musical about the life of Bonnie Tyler (what an idea!), but I was soon to stand corrected that it was indeed a bio play about the turbulent relationship of the French poets Verlaine and Rimbaud. Unknowingly, I had reserved the best for the last. Like in "Dangerous Liasons," Hampton deals with the wayward love lives of the French. Though it's in pretty good shape and I saw an early preview, I couldn't help but wonder how Tom Stoppard might handle the same story. Indeed, there'd be a bit more poetry — they are poets after all — and less historical biography to slow things down.

69. "Mary Rose" by J.M. Barrie

2007-03-21T23:59:00.001-05:00

What a dull play. Well, for the most part. The conceit is kinda fascinating, and the execution ain't too bad, but as a whole, this is just one long episode of "Quantum Leap" set in the 19th Century. The only thing that kept me sticking around for act II was seeing Rhea Pearlman during the intermission, which made me think "if Carla Tortelli thinks it's cool, there must be something to it."

68. "The Fantasticks" by Harvey Schmidt and Tom Jones

2007-03-21T23:59:00.000-05:00

When I am old and gray, there's nothing more I could wish for myself than to be appearing somewhere in the English-speaking world (New York would be nice) in a play that I also happen to have written at a much tenderer age. So it would seem that Tom Jones is already living out one of my many fantasies, and he's doing it with great aplomb and charm under the pseduonym Thomas Bruce in the role of Henry of this current revival of his 1960 musical. And as paired with Robert Oliver as Mortimer, the comic duo are a vaudevillian gem. But let's not overlook the rest of the current cast, who are all... well, fantastic ... particularly Doulgas Ullman Jr. as Matt. See him before he's replaced by some American idol reject this coming May.

67. "The Juniper Tree" by Philip Glass, Robert Moran, and Arthur Yorinks

2007-03-20T23:59:00.000-05:00

Since I had to miss the last performance given by the Collegiate Chorale — a critically lauded "Maid of Orleans" starring Dolora Zajick at Carnegie Hall — I made sure to catch its latest offering, a concert staging of the 1985 one act opera version of the Grimm faerie tale "The Juniper Tree," with a score by Philip Glass and Robert Moran, and video projections of illustrations by Maurice Sendak. The piece is divided into six scenes, three written by each composer. The story is simple but gruesome: a wealthy landowner's first wife eats juniper berries during pregnancy, then dies during childbirth. Years later, his second wife becomes jealous of the first-born son and kills him, then guilts her daughter into believing she's the murderer. Finally, after the dead son is cooked into a stew and eaten by the unknowing father, his bones are buried beneath the juniper tree that marks his mother's grave. The tree bursts into flames and a bird emerges, the reborn spirit of the murdered boy. The bird drops a millstone on his stepmother, killing her. Then he comes back to life and lives happily ever after with his father and step-sister. Awww. Think of the possibilites for a fully staged production.

65 & 66. "The Taming of the Shrew" and "Twelfth Night" by William Shakespeare

2007-03-18T23:59:00.000-05:00

There's nothing more to say about these revelations except go to the BAM website and order your tickets NOW. If you enjoy Shakespeare at all, these twin productions by the Propeller Theatre are the performances to see this year — not including the McKellan "Lear" scheduled for the autumn. Edward Hall's brilliant direction and inventive musical handling of the two comedies are among the finest you'll ever see anywhere. If you know someone who really isn't into Shakespeare, you now have the means of converting them. Go today. Hell, go again. You'll see me there.

64. "The $trip" by Lance Horne, Tiger Martina, and Alyse Rothman

2007-03-17T23:59:00.001-05:00

Over the weekend, four open rehearsal workshops were held for an ambitious new musical that lambastes American culture — all in the guise of a Las Vegas casino floor show. What is amazing isn't the fact that it's a new concept or that the creators have a potential hit on their hands with this pastiche piece, it's that the whole thing was written in less than two months. For such a short period, it's already in decent shape, though of course it'll need at least a few re-writes and a much stronger book to hold all the 20-odd numbers together. The standouts in the 13-member ensemble were Teal Wicks and Michael Cusumano. Oh, and Stephanie D'Abruzzo, but only because she has a recognizeable name.

63. "Edwards Scissorhands" by New Adventures

2007-03-17T23:59:00.000-05:00

photo: Bill Cooper
The dvd of Matthew Bourne's "Swan Lake" is the only one in my small library that receives regular attention. Even the 20th Century Fox Studio Classics edition of "All About Eve" hasn't seen as much playing time. And the reason is that no matter how many times I watch it, his "Swan Lake" always seems new and fresh and plays out like it's the first time I'm seeing it, despite the fact that those viewings have numbered in the hundreds.

So my expectations of "Scisscorhands" were pretty high.

While I did enjoy myself and got swept up by the spectacle, it didn't ellicit as many WOWs as I'd hoped, and I definitely didn't feel anything for poor little freakboy Edward. The treament of the pious Catholic family was hysterical and the topiary ballet was delightful. But it's a shame that my biggest emotional reaction arrived at the curtain call.

62. "Die Ägyptishe Helena" by Richard Strauss and Hugo von Hofmannsthal

2007-03-15T23:59:00.000-05:00

photo: Ken Howard
God I hate teal. It brings back awful memories of holding court at my aunt's wedding way back in the 80s. She chose that putrid color for the bridesmaid dresses and in typical Midwestern fashion the cumberbunds and bow ties were chosen to match. Blech. So it goes without any further explanation that you can't dress up a diva in teal and expect her to look good. Especially when they're teal SEQUINS. Especially when she famously lost a TON of weight. Especially when she's Deborah Voigt. Poor thing needs to re-prove herself to the world since everyone is constantly in disagreement about the "new" voice, but what she really needs to worry about is who is choosing those trashy garments. The voice is still there and still fabulous.

The production isn't as bad as one might suppose, after looking at some photos. But do go to hear Fabio Luisi's excellent command of the Met Orchestra. His hands are dipped in gold.

61. "Il Barbiere di Siviglia" by Gioachino Rossini and Cesare Sterbini

2007-03-14T23:59:00.000-05:00

A second visit to the new production of "Barber" at the Met reinforced two decidedly opposing opinions: Bartlett Sherr's production is still an uneducated mess, and the Met has assembled a handful of the greatest singers on the planet. Let's go through the list: Handsome tenor who hits stratospheric highs? Juan Diego Florez. Check! Sexy baritone to dominate the stage with a purrfect rendition of one of the world's best known arias? Peter Matthei. A hot as fuck swarthy bass to bring a darkly comic spin to the scene? John Relyea. Check! The one big difference since the premiere is the cast change of Joyce DiDonato as Rosina, replacing Diana Damrau who currently is wowing audiences in "Helena" (see above). For those with memory lapses, DiDonato triumped in "Hercules" a year ago at BAM. Now she's back in New York as the coloratura mezzo maiden. Brava.

60. "The Madras House" by Harley Granville Barker

2007-03-13T23:59:00.000-05:00

The Mint Theater Company is one of the few off-Broadway houses that consistently presents excellent productions. And the artistic director Jonathan Bank has made a name for the small company by dusting off forgotten plays —some of them gems — that deserve more time in the sun. Unfortunately, "The Madras House" isn't a gem, but this sizeable cast gives it a nice polish. The four acts all seem like separate plays that have loose ties binding them into one packaged evening. But at three hours, it feels a bit tedious. Nevertheless, I enjoyed it. Some highlights: Roberta Maxwell's breakdown in Act IV, and a passing reference to Trenchard Voysey. And why does George Morfogen always seem like the walking dead in everything he does?

59. "Faust" by Charles Gounod, Jules Barbier, and Michel Carré

2007-03-12T23:59:00.000-05:00

This was the first public performance given by Ruth Ann Swenson since it was announced last fall that she had been diagnosed with breast cancer. I'm not sure what her bill of health is these days, but what I can say is that her Marguerite continues to be nothing short of glorious. And as if I didn't know it already, her curtain call was evidence enough. I'm already looking forward to her Cleopatra, as well as her Agrippina. Positively golden indeed.

58. "Solo" by Philippe Decouflé

2007-03-11T23:59:00.000-05:00

photo: Anita Gioia
This solo multimedia work is utterly charming and entertaining. At only 70 minutes, it's a breath of fresh springtime air. Don't miss Decoufle's homage to Busby Berkeley, accomplished with the use of cameras, one body, and lights. You won't believe it until you see it.

57. "Baal" by Bertolt Brecht

2007-03-11T18:30:00.000-05:00

The main problem with this new showcase of "Baal" isn't its low budget — the costume designer made good use out of whatever materials and money she had — and it wasn't the concept — alternative takes on the early Brecht work have been done countless times with decent results. Unfortunately, shoddy direction and overdone performances drove me to the exit at intermission. One performance worthy of note: Jadelynn Stahl as Baal, who has great musical talent.

56. "Jack Goes Boating" by Bob Glaudini

2007-03-11T17:00:00.000-05:00

A dull romantic comedy about losers in love. While the play did have some promise in the first 20 minutes, by the end of the first act I ......... Zzzz........Zzzzz...... decided to leave at intermission. I do remember a particularly inventive scene in which John Ortiz's character tries to teach Philip Seymour Hoffman's character how to swim. Other than that... I won't remember much.

55. "The Apple Tree" by Jerry Bock and Sheldon Harnick

2007-03-10T16:30:00.000-05:00

My only previous run-in with Kristin Chenoweth was in "Wicked," so it was great to see her in a musical with a real book. Not only did she nail every single song, including the classic "What Makes Me Love Him?" she also brought the house down with her rendition of "Tiger, Tiger," which as Patrick says, could be a master class on how to perform musical comedy.

54. "Curtains" by John Kander, Fred Ebb, Rupert Holmes, and Peter Stone

2007-03-09T23:59:00.000-05:00

Debra Monk steals the show. Debra Monk steals the show. Debra Monk steals the fucking show... and then David Hyde Pierce steals the fucking show. It's a classic musical comedy whodunit filled with showstoppers, knee-slappers, and side-splitters. And DHP is just too cute for words. His bumbling detective cum community theater star is pitch perfect. I can't wait to go back and see it again. It's everything "The Drowsy Chaperone" wants to be and more. And did I mention that Debra Monk steals the show?

53. "King Hedley" by August Wilson

2007-03-08T23:59:00.000-05:00

Of course I'm going to compare this new production at Signature Theater to the Broadway premiere in 2001, which won a Tony for Viola Davis. Are there any standout performances this time around? Yes, definitely. All of them. And thankfully, Stokes isn't anywhere near this production. And it's nice to see Mr. Gaines on stage. But while this gritty production is first-rate and leaves you with the sort of depression that's common with Wilson, it isn't the right time for New York audiences to return to this play. We need a first-rate revival of "Fences" above anything else.

52. "The Pirate Queen" by Alain Boublil, Claude-Michel Schönberg, Richard Maltby Jr., and John Dempsey

2007-03-07T23:59:00.001-05:00

photo: Joan Marcus
Granted, it was an early preview, so I'm going to reserve judgement with the very strong (and very doubtful) hope that somehow, this show can be saved. A lot of money has been put into it and many, many people are working on it. The size of the cast alone is surprising. The only thing that worked for me in this 2.5 hour wannabe spectacle was Graciela Daniele's Irish step-dancing choreography. The biggest disappointment is Stephanie J. Block, who I don't feel has the charisma to carry an entire show. During her act two duet with Linda Balgord (Queen Elizabeth I), all I heard was shrieking from one (Balgord) and belting from the other (Block). Sharp and flat don't cancel each other out, and they definitely don't create harmony. Eugene Lee's set design is all ropes and sails — attempting to create the illusion of a full-scale pirate ship. But that's also part of the problem. Like his ship without a mast, this is a musical without a backbone.

51. "Dante Variations" by Paul Taylor Dance Company

2007-03-07T23:59:00.000-05:00

I caught Paul Taylor's adaptation of the work of Dante. I'm assuming he's referring to Dante's "Inferno" because it seems like this piece was choreographed straight out of Hell. Don't go and expect anything artistic. The costumes alone (designed by Santo Loquasto) are enough to want you to look at anything but the stage, but DO go to hear Ligeti's beautiful "Musica Ricercata" for the barrel organ.

50. "The Year of Magical Thinking" by Joan Didion

2007-03-06T22:00:00.000-05:00

photo: Bridgette Lacombe
With a soft intensity that builds during the 90-minute monologue, Ms. Redgrave reminds us why she's ~~one of~~ the greatest living stage actresses. The recitation of Ms. Didion's carefully chosen words rarely rises above a gentle whisper, and the musical cadence of her speech can lull you to sleep if not for the fact that the story is so compelling and that you couldn't possibly bear to avert your eyes for fear of missing something magical. And it does happen — especially when she invades you with those devastating deep-set blue eyes, as she did me, sitting in Row C, seat 9, against the side wall. When Ms. Redgrave touches upon you and connects in that way, you know you'll never feel the same again.

But don't let me lavish all the praise on just one. Ms. Didion's play is both beautiful and hideous, emotional and stoic, introspective and philosophical. Just when you expect a major emotional thunderbolt, you are left out in the field waiting for the rain.

49. "The Sisters Rosensweig" by Wendy Wasserstein

2007-03-05T23:59:00.000-05:00

photo: Henry Leutwyler
Mama, izzatchu?
Perhaps I'm desensitized and having Baranski overload after having seen her in "Regrets Only" and then the "Follies" concert, but in last night's special one-night-only reading of "The Sisters Rosensweig," she gave her best performance of the season as Gorgeous Teitelbaum. Maybe it was because she was sitting next to Stockard Channing, who could heal sick children and the disabled with the touch of her hand, but those two women gave excellent performances, even for a reading. During the intermission, a bunch of rich old Jews (it was a benefit!) gathered in the bathroom, and while staring at themselves and praying for a miracle at the urinals, I over heard one of them say "That Robert Klein! He's the best. He's really stealing the show." Oh please.

48. "Some Men" by Terrence McNally

2007-03-04T23:59:00.000-05:00

photo: Antoine Tempe
When I'd read a manuscript of this play well over a year ago as the Philadelphia Theater Company was casting the world premiere production, I really had no hope for it. It was a schmaltzy mess of stereoptypical scenes about the way gay life has changed in the past 50 or so years. What a delightful surprise to see that Mr. McNally has tightened the script, eliminated a few characters, and added a few more punchlines. It helps that there's a terrific crew of actors involved. David is going to go wild with Hot Guy Alerts, though I'm sure a few of these guys are already on that page. Did every gay man living in NYC during the Stonewall Riots take part? For some reason, I thought so, but after seeing this play, you are reminded that history doesn't always involve everyone — it can pass you by if you let it — but it will always affect you, much like the way this play does. I saw one of the first previews and I can only imagine it will get better in the weeks ahead. Oh, and David Greenspan steals the show with his rendition of … well I don't want to ruin it for you. Just go and see it for yourself.

47. "H.M.S. Pinafore" by Arthur Sullivan and W.S. Gilbert

2007-03-04T18:30:00.000-05:00

The Gilbert and Sullivan canon has been begging for a revisionist staging for years, and finally the Vortex Theater company has heard the call. I consider most modern performances of the G&S operettas to be an exercise in complete boredom because they're attacked with such sincere amateurity by non-professional actors and singers. Rarely do we see a quality mounting of a G&S classic. And even then, the stage usually is filled with huge choruses who wear identical costumes, allowing the main characters to get lost in a sea of tediousness… And now for something completely different… Vortex has pared down "H.M.S. Pinafore" using a children's book as its model. A cast of seven cover all the parts. And it works. Not only is this 80-minute adapation highly entertaining, the young actors all turn in well-rehearsed and thoroughly enchanting performances. I'd love to see this in a bigger Off-Broadway house and with a much larger budget.

46. "Carmen" by Compañía Metros

2007-03-04T15:30:00.000-05:00

photo: Josep Aznar
In a perfect world, people would express themselves with body language and movement. On one hand, it is unfortunate that we live in a world dominated by the spoken word, which can cause more damage than any action that comes to mind. I enjoy seeing dance theater for this very reason: it gives us a chance to imagine what a perfect world might be. This performance of "Carmen," is as an example of that.

45. "Dying City" by Christopher Shinn

2007-03-03T23:59:00.000-05:00

photo: Sara Krulwich
Half of this play is good. The other half ~~is complete shit~~ needs a re-write. Which means that 45 minutes are bearable -- the other 45 had me staring at the slowly revolving stage. It's difficult writing something bad about a playwright you respect, so I will try to keep my comments mostly friendly. But the one troubling thing I do find with Shinn's work is that he tries far too hard to create psychological characters who don't exist beyond the limits of their own inner demons. In an Arts & Leisure piece about him from a few years ago, Shinn revealed that he sees a therapist daily. After seeing "Dying City," I'm not surprised, but therein lies the fault with this play. As their creator, he has overanalyzed his characters to death. Thankfully, there are talented actors trying to bring them to life, though good talent will only take you so far.

44. "Simon Boccanegra" by Giuseppe Verdi and Arrigo Boito

2007-03-03T17:00:00.000-05:00

photo: Marty Sohl
If you go to the opera expecting to be entertained, I wouldn't make "Simon Boccanegra" your first choice, especially with so many great options this season at the Met. But if you are content with just hearing a good score and great voices sing it, then by all means try to catch one of the two remaining performances of "Boccanegra" -- albeit neither of them star the stunning Angela Gheorghieu, who sang her final commitment for the Saturday broadcast. She, Marcello Giordani, and Thomas Hampson, playing the title character, were all in fine voice. The stage design often evokes an Italian Renaissance painting brought to life, and while subtle, it strikes a powerful chord.

More photos from China

2007-03-03T11:00:00.000-05:00

The Chinese version of "Do Not Touch."

Photos from China

2007-03-03T10:45:00.000-05:00

43. "Prelude to a Kiss" by Craig Lucas

2007-03-02T22:30:00.000-05:00

Because I'd arrived at the American Airlines Theater early, I was directed by an usher to take an elevator to the theater's fifth floor and wait in the Penthouse Lounge. A pre-performance lecture was in progress and while I listened to the Roundabout flak go on about this "magical" play and the "brilliance and genius" of "homosexual" and "not very attractive" Craig Lucas, I couldn't help but recall that one of the playwright's AOL screenames includes (or at one point in time included) a derivation of the word "Skinflute." This made me smirk while I ordered a $3 cup of burnt coffee and watched the senior crowd as they listened attentively.

As for the performance, John Mahoney is adorable in this revival. The two leads aren't.

Letter from China

2007-03-02T09:17:00.000-05:00

Two weeks in China is enough to give you a taste, but also enough to leave you hungry -- and I didn't even try the canine stir fry. Due to a busy schedule that encompassed seven cities in 14 days, there were only two occasions that permitted a night at the theater. Both of those outings were spent at Chinese opera. I explored two of the five or so varities that constitute the ancient artform: Cantonese and Peking/Beijing. While in Hong Kong -- a city whose manners have been ruined by a few centuries of Western domination -- we ventured out of the downtown area to a theater that offers soap opera confections set to a percussion-heavy score. The most fascinating thing about Cantonese opera is that it is attended by elderly female groupies who arrive early to purchase large bouquets of flowers, which they place on stairs on either side of the stage to honor their favorite singers. I couldn't tell you the name of the opera I saw, nor could I determine the plot since there were no supertitles or English language program, but I can say that the time flew by when I started pretending that the actors onstage were performing an old episode of "I Love Lucy." It's just too bad that none of them were redheads.

In Beijing, we opted for more touristy fare. Three scenes from popular operas with titles such as "Goddess of Heaven Scattering Flowers" and "Presenting A Pearl on the Rainbow Bridge" that combined music, dance, acrobatics, and kung fu. Like Cantonese opera, the Beijing variety doesn't compare to the Western tradition in tone or harmony. It has to be experienced at least once, and despite the jarring sound, I left wanting more.

Also, the Chinese audiences don't hesitate to burp, eat, drink, talk, or take bathroom breaks during performances. They'd feel right at home seeing a Broadway show.

Bonus: The audience is invited to watch the actors prepare for the performance in the 30 minutes prior to curtain while they apply makeup and get into costume.

Regret: Not seeing "Cats" in Tokyo during a two-day layover.

40. "Eugene Onegin" by Pyotr Ilyich Tchaikovsky

2007-02-13T23:59:00.000-05:00

I was lucky (and smart enough) to buy tickets for "Onegin" a few months ago when only a handful were still remaining, and I was glad that I did. Arguably, this opera is Tchiakovsky's finest. The tunes swirl around you like waltzers at a ball, and Tatijana's theme grabs at your heart in the same way that Mozart's clarinet concerto will always make you think of "Out of Africa." But in "Onegin," there are plenty of gorgeous arias. In this minimalist staging by Robert Carsen, the focus is on the music and the acting. Tatiana's letter scene isn't just a long aria for a soprano, it's a dramatic soliloquy by a young girl who has awakened to the joys of teenage love and submits to it without care or consequence. It is a joy to watch the 40-something Renee Fleming run in passionate circles onstage, throwing fallen leaves into the air with youthful abandon. And Gergiev's conducting, while unpredictable, is nothing short of perfect.

For those readers who aren't in New York, the Met will be broadcasting "Onegin" into movie theaters Feb. 24 and on PBS in April.

39. "Follies" by Stephen Sondheim and James Goldman

2007-02-11T23:59:00.000-05:00

Was this a perfect "Follies"? No. Was it an entertaining one? Yes. The highlights for me were of course Victoria Clark and Donna Murphy, both who brought new insights to their characters. It was the first time I'd seen Sally as a bit of a selfish doozy and the first Phyllis for whom I had any compassion. Victor Garber was cold and steely as Benjamin. But the low points for me were Christine Baranski, who massacred "I'm Still Here" and the Solange of Yvonne Constant, who just talked her way through "Ah, Paris!" without any flirtatious charm. Oh, and one more thing: I want to see Joanne Worley as Auntie Mame.

38. "Howard Katz" by Patrick Marber

2007-02-11T17:00:00.000-05:00

While I disagree with Aaron and Patrick's assessments of "Howard Katz," I do acknowledge the points they make about this play's faults. But despite them, I was blown away by this tale about a man who, after his father's death, makes a string of bad decisions that eventually lead to his downfall. Alfred Molina is superb and he's supported by a cast of pros, including the perfectly cast Alvin Epstein and the graceful Elizabeth Franz.

37. "Journey's End" by R. C. Sherriff

2007-02-10T23:59:00.000-05:00

While it doesn't hit all the marks that the Shaw Festival production did in 2005, this is still an excellent revival of Sherriff's World War I drama that first premiered in 1928. Director David Grindley manages to convey an intimacy that I was doubtful could exist in the cavernous Belasco, mostly by extracting great performances from Jefferson Mays, Boyd Gaines, and Hugh Dancy.

36. "Every Day Above Ground" by SaBooge Theatre

2007-02-10T18:55:00.000-05:00

Though this young theater company (which defines itself as a "devised-theater collective") based this performance on Michael Ondaatje's "Collected Works of Billy the Kid," somewhere along the way it lost a sense of focus. The overplayed performances made the characters seem like carnival freak show attractions. Was there a story in there somewhere? I don't know... the onstage antics made it all undecipherable. One plus, though: The stage imagery was haunting, thanks to the lighting tricks and set design by Simon Harding, who evoked the Wild West with a gritty loneliness.

35. "25 Questions for a Jewish Mother" by Kate Moira Ryan and Judy Gold

2007-02-10T16:30:00.000-05:00

What I love most about Judy Gold is that she's loud. And in one bit, she likens herself to Anne Frank. This intimate exploration of Jewish mothers is rip-roaringly funny, but despite that, a number of people got up and left during the performance. I noticed that these quiet departures seemed to coincide with the moments when Judy talks about the Holocaust and its survivors. Hmmm... sometimes you have to take the good with the bad.

34. "The Jew of Malta" by Christopher Marlowe

2007-02-09T23:59:00.000-05:00

How do you make a 400-year old play about a wealthy conniving murderer who happens to be Jewish seem not so offensive? Play it up, of course! And that's just what director David Herskovits did in his companion production to the Theater for a New Audience's "Merchant of Venice" so (heavily) handled by Darko Tresnjak (love that name!). Yes, this "Jew of Malta" is in some ways quite the opposite of "Merchant" … it's a period production, and it never once aims for the high road. The cast (same actors as "Merchant") crank the comedy knob way past Farce and aim for something in the danger zone. I laughed my ass off, but unfortunately I was easily heard over the (mostly) silent audience.

33. "Death in Venice" by The Hamburg Ballet

2007-02-08T23:59:00.000-05:00

I'm usually against artists who appropriate the work of others. Case in point, an entire ballet score that's an amalgam of pieces written by three different composers who never intended their work for that purpose. But in John Neumeier's spectacular staging of "Death in Venice," based on the novel by Thomas Mann, it actually works. Had he decided to set his finale pas de deux to the original orchestration of the Liebstod from "Tristan und Isolde," it would've been borderline ridiculous… but the Liszt orchestration for piano made it all the more effective. And the decision to set a death dance to Jethro Tull's "Bourrée," a re-working of a piece by Bach, was nothing short of genius. And of course, there are the corps of boys cavorting in swimsuits. Ah, aesthetics…

32. "The Merchant of Venice" by William Shakespeare

2007-02-07T20:00:00.000-05:00

A modern dress production of "The Merchant of Venice" just might be what it takes to point out that the times really haven't changed and that the Jews still are money hungry revenge seekers… oops, I mean…that racism still is rampant in the world, especially in the realm of business. Oy. People hate other people. Race just makes it easier. While the ensemble turns in a satisfactory performance, F. Murray Abraham rises above the status quo and delivers a heartfelt Shylock. And it's fun to watch him fumble with a cell phone.

31. "Salvage" by Tom Stoppard

2007-02-06T23:59:00.000-05:00

Finally, the trilogy is complete. Jack O'Brien has accomplished the feat of his career with these three productions. Tony's® all around. Thank you, Mr. Stoppard, for your genius and your artistry. There's more to be said, especially in response to Charles Isherwood's ignorant piece in Arts & Leisure this past weekend, but I've run out of patience. It's too bad people are afraid of theater that asks them to watch with a discerning eye and a hungry mind.

UPDATE: Still can't stop thinking about "Coast of Utopia." Now having seen all three parts, I want to go back and see them all in one shot. Does anyone have an extra marathon ticket?

30. "Mr. Fabulous" by Bill Russell

2007-02-06T21:00:00.000-05:00

This was a staged reading of a play with music that the York Theater is planning to produce later this season. Following its previous successes "Thrill Me" and "Souvenir," the York is preparing another two character show. "Mr. Fabulous" is a thinly veiled biographical musical play about a flamboyant closeted gay showman who wears flashy garments and plays classical piano at a casino in Vegas. There's even a reference to a piano-shaped pool. Hmmm... who could that possibly be? I'm guessing that Mr. Russell couldn't secure the rights to use Liberace's name in the show, especially since he paints him as a hypocritical freakshow. The actor playing the Liberace character does a good impersonation and can play the piano quite well, and the beefcake love interest will attract the show's target audience, especially if the bit of skin he bares is featured in the marketing campaign. A favorite line: "We all have burdens to bear. Mine just happen to sparkle!"

29. Kit and the Widow

2007-02-05T23:00:00.000-05:00

Imagine Tom Lehrer and Noel Coward doing a show together and you'll have a decent understanding of Kit and the Widow. Their appearance at Joe's Pub ("the performance mecca for Londoners"), was met by a smattering of the elderly and homosexuals, some of who fit into both groups. While the comedy is a bit dry — it is British after all — there's nothing like hearing a performer say to an audience member after a sing-along: "You have quite a useful baritone, madam." Highlight: a musical jab at Joan Rivers in "Old Woman Rivers," sung to the tune of the Kern and Hammerstein classic. The coup de théâtre was the finalé, a cue-card performance of "Nessun dorma" sung in Punjabi. Their version of the language, however, was a mish-mash of menu items from an Indian restaurant. Who knew Vindaloo could easily stand-in for "Vincero!" ?

28. "Company" by Stephen Sondheim and George Furth

2007-02-04T23:45:00.000-05:00

My second trip to John Doyle's imaginative staging of the 70s era musical comedy of sexual manners was a treat, mostly because it was a special Actor's Fund performance, which means that the audience was highly enthusiastic and appreciatve. Raul Esparza never ceases to amaze me. His renditions of "Marry Me A Little" and "Being Alive" brought rounds of tears and his subdued, complacent Bobby made perfect sense. The ensemble has really tightened since the early preview I saw. Nevermind the Superbowl when there are moments like these.

27. "A Spanish Play" by Yasmina Reza

2007-02-04T17:00:00.000-05:00

This is a play about actors performing a play about actors performing ... so let's talk about the acting. When John Turturro directs, I have come to expect a certain sophisticated styling that teases out each actor's innate gifts. Of course, every actor brings to the table his or her strengths as well as weaknesses. And that's exactly what you see in a Turturro production: flaws and all. This is not always a good thing. A good director would help his cast find a unifying tone for each collaboration, help his actors cut away the fat and concentrate on telling a good story in a compelling way. Fortunately for us (and for Mr. Turturro), his cast is made up of some of the finest actors around, specifically Zoe Caldwell and Linda Emond. But unfortunately, Dennis O'Hare is also in the cast and he is permitted to perform his role in that epileptic style that worked well in "Take Me Out," but here just doesn't, and Larry Pine lectures his lines in bulletpoint succession. But, I do want to see the lovely Katherine Borowitz in something else very soon. A better play, perhaps? Note to Reza: Pirandello already wrote it.

26. "Evil Dead: The Musical" by George Reinblatt, Frank Cipolla, Christopher Bond, and Melissa Morris

2007-02-03T23:45:00.000-05:00

It was one of those nights that will go down in cult horror history. Or maybe, it'll just go down as an example of what is so thrilling about the erratic possiblity of live theater. On this particular night, the understudy was on for the role of Shelly, the younger sister, who is usually portrayed/overplayed by Renee Klapmeyer (to an annoying degree). About 25 minutes into Act I, the understudy twisted her ankle while being molested by the trees. Finally, after a 30-minute impromptu intermission, it was announced that the male understudy, emboldened with "the show must go on!" fervor, would continue in the role of Shelly. Just when I thought this high camp horror bloodshower couldn't get any campier…

25. "The Vertical Hour" by David Hare

2007-02-02T23:45:00.000-05:00

I almost passed this one by after reading the disappointing notices about Julianne Moore. But I'm sure as hell glad I didn't listen to the critics, otherwise I would have missed two great performances. Bill Nighy is sparkling and charming and Julianne shows that she does have a refined skill for live performance, though she is playing a character unlike her usual roles for the mechanical media. And though David Bell has already stated his thoughts on Dan Bittner here, I am adding this photo of him to remind you, dear reader, of how pretty he is. Oh, and the play itself? It's pretty good.

24. "Jacques Brel is Alive and Well and Living in Paris"

2007-01-31T17:30:00.000-05:00

My second visit to the new revival of "Jacques Brel" doesn't really offer any new insight — Patrick and David pretty much summed it up in their recent posts. Gay Marshall is still the highlight, with Robert Cuccioli following in a close second. The younger roles are filled by Jayne Paterson and Constantine Maroulis, neither of who are very impressive. I do have one word for Maroulis: doofus. He can't act, and it's a pity that so many other talented performers in New York were bypassed for this role. Instead, the producers decided to cast someone with a "name" that might draw ticket-buyers. The Wednesday matinee audience gave a tepid response even though Cuccioli and Marshall really turned up the heat on their numbers. Wake up, people!

Help Save the New Globe!

2007-01-30T15:21:00.000-05:00

Your action is needed. In case you weren't aware, many planning efforts have been made to construct a New Globe Theater on Governor's Island in New York Harbor. Unfortunately, the National Park Service might bar the plan. Which is where you come in. Visit the link below and send your personalized message to the NPS to let them know you support the theater.

New Globe Theater Action Letter

23. "Jenůfa" by Leos Janácek and Gabriela Preissová

2007-01-29T23:59:00.000-05:00

Wow. What a stunner. This 1904 opera must've rattled a few operagoers back in the day. And it still does. Thanks in large part to Karita Mattila and the legendary Anja Silja (she who once was lover to Wagner's grandson) — together make a powerful duo capable of vocal feats you won't hear anywhere else. The dramatic intensity in this Moravian tale doesn't subside. A woman kills her daughter's newborn son to prevent shame and bring perfect happiness to the family. And that's just what gets the ball rolling. By the epilogue, I was overcome with anguish. Here is music theater at its finest. I'll see you at the remaining five performances.

Ticket price: $40

22. "Must Don't Whip 'Um" by Cynthia Hopkins

2007-01-28T22:00:00.000-05:00

Hmm... where to begin? This piece wasn't my cup of tea, but I'm trying to reserve judgement because I feel like I'm not in the loop on why this is considered art. Maybe if I'd seen the first installment of this trilogy, I'd be a little more educated. For starters, I think what mostly left me questioning the validity of the piece and the artistry of its creator is the rambling mess of incoherent thought that pours out of her during the progression of the performance. Her songs and her voice have the resonant whine of Norah Jones. Ick. The story is pretty lame and there are moments that are borderline ridiculous, but without anything to ridicule, except perhaps Arabic culture. I kept wondering what an Islamic audience member might make of all this? A silly girl cavorting around stage with a tamborine on her head, trying in vain to resemble a American-Moroccan ex-patriate. This is art without reason or politics and to me, came across as self-indulgent and masturbatory. But most of the audience responded favorably, so what do I know? Despite that, I'm glad St. Ann's Warehouse is producing this kind of work.

Ticket fee: $3.00

21. "The Color Purple" by Marsha Norman, Brenda Russell, Allee Willis, and Stephen Bray; after Alice Walker

2007-01-23T23:00:00.000-05:00

My third visit to "The Color Purple" was a treat … mostly because it was nice to finally see someone else as Celie. No offense to La Chanze, who won the Tony over our dear Patti and who was perfect in the role. In Jeannette Bayardelle, we have a serviceable replacement, though hers is no star turn. Her wide toothy grin is too beautiful for words. I was again caught up in the story and the music. And it's great to see Elizabeth Mendes-Withers and Felicia P. Fields in the roles they created well over a year ago.

Ticket fee: $3.00

20. "Invincible Summer" by Mike Daisey

2007-01-22T23:30:00.000-05:00

Mike Daisey rose to fame for giving the inside scoop on Amazon.com after the dot-com bubble burst. He's still at the monologue game and has perfected his craft, and some claim he is soon to become this generation's Garrison Keillor. Now Daisey, sitting behind a desk and a pile of yellow loose leaf pages, is lecturing about the MTA subway system, the tragedy of September 11th, and his entrée to NY in 2001 after landing a book deal (owing to his success with the Amazon.com spiel). The excitement of a book deal, he explains, is in the announcement of the deal itself. Everything else is downhill after that, including the second half of this monologue, which he randomly highlights with a turn of a page. The yellow loose leaf piles on the desk serve only as props (and transitory punctuation), since he doesn't rely on them as notes, at least from what I could see from the 10th row. A lack of description of his family members made me care about them not at all, and his thoughts on the Iraq War and current politics bore no revelation.

Ticket fee: $3.00

19. "Another You" by Allen Johnson

2007-01-22T20:30:00.000-05:00

As a blue collar philosopher, Allen Johnson is raw masculine energy personified, belying his subversive intellect, which will suckerpunch you with a wallop. In his one hour monolgue he discusses innate animalistic urges, love, discontent, and the inherent beauty of all the ugliness in the world. Lights up on him, pants down, sitting on a commode. He tells of a desire to search for God, to stand under the warm pressure of his shower head as it hits his anal pucker, of his fisting adventures with an ex-girlfriend, and of being raped by his father, to list a few. He left me in awe and a sweat.

Ticket fee: $3.00

18. "The Be(a)st of Taylor Mac" by Taylor Mac

2007-01-21T23:55:00.000-05:00

The beauty that is Taylor Mac. Donned in drag and with ukelele in hand, Mac ascerbically roasts social conventions and pop culture with a piercing tenor voice and witty barbs. The transition from nightclubs to the stage is long-overdue.

Ticket price: $18.00

17. "Two Songs" by John O'Keefe

2007-01-21T22:00:00.000-05:00

The first song (written and performed by O'Keefe) was a blathering mess of fragments that he delivered in a spasm of shouts and whines... allthewhile a metronome kept its own time on a stool next to his. It was a lovely metronome... the arm swinging back and forth, back and forth... Twenty minutes of listening to the tick, tock, tick, tock while a man rattled on and on, disturbing our lovely conversation.

The second song was an adaptation of Walt Whitman's "Song of Myself." What an appropriate subject for the self-indulgent Mr. O'Keefe! While he delivers a soothing, baritonial rendition of the Whitman masterpiece, in the end I doubted whether Mr. O'Keefe entirely understood the words he was reciting. I do have to give him credit for his fearlessness with the audience, obstructing their gaze with direct eye contact and occassionally sitting next to them in nearby empty seats (there were many).

Ticket fee: $3.00

16. "A Beautiful View" by Daniel MacIvor

2007-01-21T20:30:00.000-05:00

This play could have been subtitled "Two Lesbians and a Tent," except that the main conflict of the story isn't really between two lesbians — it's between two women who are unsure if they're lesbians, or rather, are unsure of whether or not they want to call themselves lesbians, but regardless are in love with one another. The program told me that the women are supposed to fall in and out of love three times in the course of their 20s, 30s, and 40s, but I didn't get that. Instead, I witnessed a love story between two women who had difficulties accepting themselves before they could accept their love for each other. By the end they haven't matured (those supposed 20 years weren't obvious) or learned anything from their mistakes, and when they are finally eaten by a bear in the woods (spoiler alert!), I thought "How appropriate!" MacIvor is a writer of great skill and broad talents. His "Cul de Sac" — performed at P.S. 122 in 2004 – was delivered with the same quiet care as "A Beautiful View." This time around, it would've been wise had he let someone else direct his work.

Ticket fee: $3.00

15. "Nine Years" by Lone Twin

2007-01-20T23:00:00.000-05:00

The bearded duo recounts their first nine years together as they traveled the world and performed impromptu theater on the street for the local citizens of whatever town they happened to visit – often dressed in their bicycle gear (pictured). Their schtick is that they spend the days doing outrageous things, such as holding hands while standing on a bridge for 12 hours in a small town in Candada and waiting for anyone to join hands with them, or riding their bicycles around town looking for unique characters, or box-stepping in empty theaters while blindfolded and dressed as cowboys, allowing passers-by to join them for an hour or more. The stories were interspersed with Beckettian monologues — one of which was repeated six times with only slight variation — and fast-paced film clips of their travels. Zzzz...

Ticket fee: $3.00

14. "En Un Sol Amarillo (Memorias de un Temblor)" by Teatro de Los Andes

2007-01-20T20:30:00.000-05:00

A Bolivian theater troupe presents incidental real-life accounts of the survivors of an earthquake that rocked their homeland in 1998 and the government's lack of proper measures to rebuild the destroyed infrastructure. The quake was ingeniously re-enacted with a few ropes and pulleys as wooden furniture pieces flew around the actors and into the air. At one point, wadded up balls of masking tape were given to the audience, who were encouraged to pelt actors portraying politicians. A lasting image: portraits of the dead, framed within wooden squares and breathing smoke during a snapshot series at the finale.

Ticket fee: $3.00

13. "Famous Puppet Death Scenes" by The Old Trout Puppet Workshop

2007-01-20T15:30:00.000-05:00

Enchanting puppet theater that shows the many faces of death. And what a discovery! How have I never made acquaintance with the Old Trouts until now? Two dozens death scenes, some funny, some sad, all performed by a cast of puppets. The re-occuring scenes with Quibble are among my favorite. I'd put "Death Scenes" right up there with "Shockheaded Peter" and Edward Gorey's macbre world of darkness and despair.

Ticket fee: $3.00

12. "The Mammy Project" by Michelle Nicole Matlock

2007-01-19T23:30:00.000-05:00

Michelle Matlock's 55-minute lecture on racist stereotypes (namely that of the fat black matron known as "Mammy" to anyone who has ever sat through all 14 hours of "Gone With The Wind") is meant to dispel the presence of that image in American pop culture. Interpersing historical tidbits about Nancy Green — the first "Aunt Jemima" spokes-model — and a hip hop examination of the minstrel show in the context of American music alongside her own personal monologue about being typecast as a maid, Matlock pulls all sorts of theatrical tricks from under her oversized apron, when all I really wanted her to do was stand on stage and scream: "I'm black as hell and I won't take it anymore!" But is she effective? Yes. However, a few hours later I'm still humming the tune to "Mammy's little baby want short'nen short'nen. Mammy's little baby want short'nen bread." Now THERE'S a catchy tune.

Ticket fee: $4.50

11. "At Least It's Pink" by Bridget Everett, Michael Patrick King, and Kenny Melman

2007-01-19T21:30:00.000-05:00

Potty-mouthed fat chick sings bawdy songs about anonymous online sex, getting fucked in the ass, and loving big black dick. If that isn't your cup of tea, well... stay away from Ars Nova. But if you're like me, run to Ars Nova for some sheer comic brilliance. Bridget Everett is the girl next door who dares to tell the truth, and if you're a slutty fag, then she'll remind you of your best friend from high school, all grown up and whoring it up in NYC with the best of them. I need to see it again, just to hear "Can Hole" a second time. "Trashy little show" indeed.

Ticket fee: $4.50