Photo Credit - Carol Rosegg
Altar Boyz
Monday - Friday @ 8:00PM
Saturday 2:00PM & 8:00PM
Sunday 3:00PM & 7:00PM
New World Stages

Reviewed by Frank J. Avella

Breezy, slightly-subversive, silly-at-times, too-often-safe…yet damned entertaining, Altar Boyz has been running to packed houses for over a year and it's pretty obvious why. It's the type of show that makes you instantly want to revisit it, with new friends, so you can gage their reaction AND so you can have some mindless fun all over again!

The musical is not groundbreaking or daring and it doesn't pretend to be. You can enjoy yourself whether you're a practicing Catholic or an atheist. But along the merriment way there are a few important messages that seep through about acceptance, tolerance and not selling out to the “evils” of the world and remaining true to yourself.

All that and five cute boys who sing their pants off (okay, not literally…this is NOT Naked Altar Boyz Singing..hmmm…maybe it should be-perhaps in the Amsterdam version…)

The plot is flimsy: Matthew, Mark, Luke, Juan and Abraham (yes, Abraham!) are on a "Raise the Praise Tour" and their goal is to save every soul in the audience. That's pretty much it.

The score itself isn't the most memorable. Except for the exciting opening “We Are the Altar Boyz” and the moving finale, “I Believe”, most of the songs are generic pop. It's the way the boyz perform them that make it a joy to experience.

From the gleefully ironic, “I'm a Catholic,” sung to gay perfection by newcomer Zach Hanna, to the stamina-challenging “Body, Mind & Soul” which Ryan Duncan sings the crap out of, the boyz prove their stage prowess over and over.

As Matthew, Jason Celaya holds the show together and is the key standout performance. With more energy and sly sex appeal than all the Boy Bands, Celaya sends sparks whenever he's onstage (and that's the entire show, folks!)

For sheer kick-ass entertainment, seek worship with the inspirational and cute-as-the-devil Altar Boyz!

Book by Kevin Del Aguila; Music and Lyrics by Gary Adler & Michael Patrick Walker;
Conceived by Marc Kessler & Ken Davenport; Choreographed by Christopher Gattelli; Directed by Stafford Arima. Starring: Jason Celaya (Matthew); Zach Hanna (Mark); Andrew C. Call (Luke); Ryan Duncan (Juan); and Dennis Moench (Abraham).

Tickets $25.00-$75.00 at www.telecharge.com and 212-239-6200 or 800-432-7250

New World Stages|340 West 50th Street

Suzanne Bachner’s
Bite
Fridays @ 10:30PM
June 16 -September 29, 2006
The Red Room

Starring: Bob Brader; Robert Brown; Jennifer Gill; Theresa Goehring; Amy Overman; Justin Plowman; Naomi Warner; and Peter Schuyler.

Would you like to relive your life and see what would happen if you chose a different mate, job, or just a place to get lunch? Well, Bite is your play. Upon entering the audience/dentists' office, you receive a mask with different colored sides from a dominatrix-dressed muscular man. The nurse then takes your name and offers you a lollipop and a seat in the waiting room.

The play begins as you unfold your playbill, which is the brochure for Dr. Bruce Marone, DDS and Dr. Oliver Greenmeadow, DMD. Although the two doctors and two women they pursue are seemingly opposite, they turn out to be perversely alike. Throughout the play, the audience chooses which woman is pursued, where they go and what they do by holding up the red or black side of their mask at each "choice moment" throughout the play.

Theresa Goehring (The Receptionist, Mistress Corbeaux) delivers an impeccable performance as she whips the office and Purgatory (the scene of the second act) into shape. Her performance alone is worth a “visit” to the play. Millie, played by Amy Overman, is the ditzier of the two Dr.'s love prospects. And you won’t forget Annabelle, the sweet southern belle who turns naught so she can pay for root canals. Jennifer Gill characterizes Annabelle with every stereotype we New Yorkers could possibly think of for a "non-New Yorker." Justin Plowman’s portrayal of Dr. Bruce is filled with arrogance. The whole cast was very talented; no one broke character and there was no hesitation no matter what path the audience chose.

Bite is a great New York night out. The crowd was laughing, participating and even interacting with each other. Once again Horse Trade has produced a sexy comic gem and writer/director Suzanne Bachner is to be commended for “pulling it off.” Tickets are $20 at www.smarttic.com, but if you return to get a second nip, your guest gets in for free. For further information check out: http://horsetrade.info/redroom.html.

The Red Room |85 East 4th street |Third Floor

Drumstruck
Tuesday @ 7pm
Wed- Fri. @ 8 pm
Saturday @ 2 & 8pm
Sunday @ 3 & 8 pm
New World Stages

Reviewed by Julie McAlinden

It’s impossible not to become completely engaged with Drumstruck. For ninety minutes you are immersed in African culture as you participate in one of the central events of traditional African communities: song and dance. The two foot drum placed on every seat invites you into the drumming circle. Sitting at the edge of your seat; hands cocked, ready for action, you’re a slave to the drumbeat. No one is left out at Drumstruck. It’s the power of the drums; its rhythms pound you into a shared spiritual experience.

Not an experienced percussionist? Not to worry. Different members of the cast rotate conducting the audience to create a harmonious symphony of fabulous beats. If you lose yourself in the process, Drumstruck has accomplished its goal. Several times one of the cast members suggest that you save your “office chair position” for the following morning. Promoting participation rather than observation, Drumstruck touches on the importance of playing an active role not only in your community but also in your personal life.

Aside from the infectious beats, one of the most compelling aspects of the play is the positive energy propelled outward to the audience. Bright smiles radiate love, happiness, and celebration. The stage is a colorful tropical paradise. The energy of the performance asks each of us to put a little more purpose into our step.

We can all use such a light hearted pick me up to remind us of why we’re here. To all of those “office chair slumped” auras out there, I say, “Watch out.” Drumstruck can cast its spell on you, leaving you swirling as you skip down the street. Yes, that’s right. You’re a slave to the beat…

The cast members are originally from South Africa’s Ga, Zulu, and Batswana tribes. Many cast members are part of Drum Café, a South African drum and dance group whose goal is to share traditional African culture with the world. Formed in 1997 in South Africa by Warren Lieberman, the Drum Café is now increasing its international presence by undertaking new projects such as a museum, a resource center, archives, and the first ever traditional South African orchestra. Drumstruck was conceived by Warren Lieberman & co-created by Kathy-Jo Ross; directed by David Warren & originally produced in Johannesburg, South Africa by Drum Café. The show is directed by Kathy-Jo Ross and stars: Nicholas Africa Djanie; Nicollette Sebatane; Emmanuel Nathi Kumalo; Enock Bafana Mahlangu; and Tiny.

Tickets run from $26- $66 and can be bought at 212-575-9710 or www.telecharge.com. Visit http://www.drumstruckNY.com/ for more information.

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New World Stages|340 West 50th Street

Bertolt Brecht's
Mother Courage and Her Children
New Adaptation by Tony Kushner
Tuesday Through Sunday @ 8PM
August 8th – September 3rd
Delacorte Theater in Central Park

Reviewed by Frank J. Avella

Meryl Streep must be the most praised actress ever. She’s certainly the most acclaimed. She’s arguably the most lauded actor (across gender lines) of all time. This year alone Streep has delivered two remarkable, Oscar-worthy screen performances in Robert Altman’s Prairie Home Companion and The Devil Wears Prada.

The woman holds the record for the most Oscar nominations of any actor ever. She has conquered screen, stage and television. Her name is pretty synonymous with ultimate excellence.

Isn’t it time we say enough already?

The answer is...a vehement...NO!

The grande dame of stunning thespianism has done it again. This time onstage (and for free for all to see) at the Delacorte in Central Park in the Public Theater’s crafty and potent production of Mother Courage and Her Children.

One tends to run out of superlatives when writing about Streep and her accomplishments. There are only so many thesaurus synonyms for “amazing” and “brilliant.” How many different ways can one say “astonishing?” But after seeing her amazingly brilliant and astonishing performance in Mother Courage, I wish I could invent an entire new language with exciting and original words that would do her justice.

I gush, yes. Admittedly. Profusely. Unabashedly. Because in all my many years of theatregoing--and I have been fortunate enough to see some great stage performances--I believe Meryl Streep’s Courage may just be the greatest.

Streep’s ability to wholly embody a character and give her the multi-dimensions of a real, idiosynchratic person (even in a satire!), her capacity to make you forget you are watching an actor and believe you are invading the privacy of someone’s inner world--their darkest fears and most elated joys...it’s something I marvel at and basque in.

Meryl’s Mother brought to mind various incarnations of scrappy, bufoonish old west gals like Annie Oakley and Molly Brown, a few ballsy gals like Mama Rose and Murphy Brown as well as many a Lucille Ball creation. Thoughts of appropriation aside, ultimately her Courage is an original, tortured and a torturer, gutsy and gutless, a loser and a survivor. Watching her ‘hyena of the battlefield’ is like watching our country through a frenzied, fast-forward dvd trip through the last century. You can’t stop peeping...not for any of the three hours.

And let me not forget to mention that this Mother Courage is a musical, allowing Meryl to belt with the best of them. Her opening number, “The Song of the Great Capitulation” and “The Ballad of Mother Courage” stand with the best musical theatre moments. Period.

Ah, but one needs to continue the kudos to a few others who have contributed to one of the most dazzling evenings of theatre in the last decade. Firstly, the clever and cutting Tony Kushner (Angels in America, Caroline or Change, Munich) who adapted the great work of genius Bertolt Brecht.

Kushner’s version adds quite a heap of modern political parallels to the plot. The anti-war sentiment is there and is hit upon repeatedly and appropriately but Kushner also focuses on what war does to a person. How it mangles and alters. And how it seems to be what man does best. While Mother Courage and Her Children takes place in the 17th Century amidst the Thirty Days War in Europe, it contains universal themes.

Director George C. Wolfe achieves some extraordinary moments with his cast, especially the build to the finale. Wolfe should always work with Kushner. They’re magic together.

Jeanine Tesori’s original music perfectly marries itself with the Brechtian/Kushner milieu.

Kevin Kline leads the impressive featured cast in the subtle yet penetrating turn as the roguish Cook. Kline and Streep are magic together as they were twenty-four years ago in the masterwork Sophie’s Choice. Watching them banter, sing and him hold a cleaver, I was struck by a dream that they would play Mrs. Lovett and Sweeney Todd onscreen together...alas it is not to be...but perhaps one day on the Broadway stage...

Frederick Weller, Alexandria Wailes, Geoffrey Arend, Jenifer Lewis and Austin Pendleton are all fine and achieve individual moments of excellence. What Pendleton does with a twig is comedy at it’s most hilarious.

The night I attended, nature seemed to be in synch with the production. The wind seemed to blow and howl at frighteningly appropriate moments adding to the overall chilling effect.

A Broadway run would be a dream but my guess is that scheduling conflicts probably prohibit the possibility.

So Theatre-lovers, you have until September 3rd. Trust me, this one is worth camping out for. It’s simply great theatre with a touch of of the Meryl-poet tossed in for...courage.

Performances of Shakespeare in the Park will be Tuesday Through Sunday at 8:00 p.m. Tickets are FREE and will be available on the day of the performance (two per person) at the Delacorte Theater in Central Park beginning at 1:00 p.m. and at The Public Theater, 425 Lafayette Street (near Astor Place), from 1:00 p.m. to 3:00 p.m. The closest entrances to the Delacorte are at 81st Street and Central Park West or 70th Street and Fifth Avenue.

Delacorte Theater in Central Park

Photo Credit - Dick Larson
John Murray & Allen Boretz’s
Room Service
Thursday - Saturday @ 8:00PM
Sunday @ 3:00PM
Closes August 5, 2006
Bank Street Theater

Reviewed by Frank J. Avella

In 1937, the first staged version of Room Service opened to great notices and ran for 500 performances. The 1938 film version featured the Marx Brothers and a 1944 musical version starred Frank Sinatra!

The Peccadillo Theater Company prides itself on reviving work from the early 20th Century and has a knack for faithfully breathing new life into these fine gems.

Room Service, written by John Murray and Allen Boretz, is a fluffy and frenetic farce about a driven Broadway producer, attempting to get backing for a play titled, ‘Godspeed’. Broke and befuddled, the producer, director, playwright and entire company of twenty-two actors are about to be tossed out of the hotel they’re staying in. The zany ways in which they escape eviction, secure backing and eventually get the play from page to stage makes up the lunatic plot of Room Service.

Directed with pitch-perfect pace and breathless precision by Dan Wakerman, this revival boasts an outstanding ensemble. Sterling Coyle is hilarious as the mean, gruff supervising director of the hotel. Scott Evans proves quite impressive as the naïve playwright from Oswego. But it is Fred Berman who steals every comic moment possible as the director of ‘Godspeed’. Berman is a master gagist and his delivery is impeccable.

Gail Cooper-Hecht’s costumes perfectly capture the period and the lighting design by Jeffrey E. Salzberg nicely compliments the cozy Bank Street stage.

Already hailed by the New York critics as one of the funniest productions in recent memory, Room Service definitely deserves a life beyond its currently scheduled run.
Tickets $20.00 (212) 868-4444.

Bank Street Theater |155 Bank Street, West Village.

Steve Sater & Duncan Sheik’s
Spring Awakening
Tuesday - Sunday @ 8:00PM
Saturday @ 2:00PM & 8:00PM
Sunday @ 3:00PM
Through August 5, 2006
Atlantic Theater Company

Reviewed by
Frank J. Avella

For exciting, enthralling and strangely-enchanting theatre, look no further than the Atlantic Theater Company’s production of Spring Awakening.

The sheer audacity of this work is enough to recommend it but it actually--for the most part--lives up to the lofty ambitions and the audience is treated to a thrilling new way to tell an old story. And how rare is that in ANY medium nowadays. It is also immensely helpful (if sad) that the repression theme is as relevant today as it was in the late 19th Century!

Based on Frank Wedekind’s highly controversial 1891 play The Awakening of Spring (not produced until 1906), and adapted by Steven Sater (book & lyrics) and rock star Duncan Sheik (music), the ‘play with songs’ (quoted by Sheik) focuses on adolescent schoolboys and girls at the age of sexual and spiritual awakening. The central figures being the good looking, wave-making Melchior (Jonathan Groff), his sweet, naive girlfriend Wendla (Lea Michele) and his troubled, oddball friend Moritz (John Gallagher, Jr.) as well as a slew of other angst-ridden, sexually-stirred, hormonally-bonkers characters.

As directed by the gifted Michael Mayer, Spring Awakening is mesmerizing to the eye--and ears. It’s a deliberately hard-edged visual and aural cacophony of the evils of repression--religious and societal (usually one begets the other).

The at-first-disarming, but ultimately richly-rewarding anachronistic nature of the work adds to its originality and freshness. Although the piece is set at the turn of the last century, the actors whip out mikes and perform raw, intensely-modern rock songs. The device achieves a Brechtian break in the ‘period’ action. It’s as if the audience has warp-sped a century to a 2006 rock concert. But the songs are the inner monologues and emotional mindstates of Everykid. And that is why it works so well.

Sheik’s music is extraordinary, whether it be a rousing ballad (the Act One tour de force “I Believe”) or an angry rant (the fantastic “Totally Fucked”) and are matched by Sater’s intelligent, sometimes obscure lyrics. And by the extraordinary ensemble’s vitality and conviction in song as well as performance.

Melchior is that perfect blend of youth: a walking sack of sexual energy mixed with smarts and savvy and Groff brilliantly brings him to life...and to despair as is necessary. Moritz is a tad more difficult since, as written he goes from frustration and confusion to doom way too quickly, yet Gallagher, Jr. transcends the trappings of the too two-dimensional character (especially in Act Two’s “Don’t Do Sadness”.)

Michele’s Wendla is another matter. She doesn’t seem able to convey the dizzy feelings of love blended with naivete the character needs, nor did I understand why someone like Melchior would be so taken with her. On the other hand Lauren Pritchard’s Ilse brims with sex appeal and evoked the perfect combo of tumult and rebellion.

Jonathan B. Wright is perfectly smarmy and charming as the homosexual survivor about to feast on his prey.

Beyond the masterful score, near-perfect performances and deft direction, I had a craving more emotional ties to the characters. I didn’t quite feel as passionately drawn in as I wanted to be. But then I reminded myself that it wasn’t until I saw another groundbreaking show THREE TIMES that I finally realized the entire transcendent nature of the piece. That show was Sondheim & Lapine’s landmark Sunday in the Park with George. And while I am not saying Spring Awakening is in the same league as that work of art, I am saying that I’m looking forward to seeing it again...and again...to see how well it may measure up.

Tickets are $60 at 222.telecharge.com. 212-239-6200 or 800-432-7250

Atlantic Theater Company| 336 West 20th Street
New York, NY 10011

Reviewed by Frank J. Avella

The current and seemingly popular endeavor of transforming mediocre films into Broadway musicals is right up there with the genius notion of the jukebox musical in the annals of ATROCIOUS ideas purpotrated on audiences and theatre afficianados, in an effort to mediocre-ize the used-to-be-Great White Way and transform it’s stages into a type of hellish, paint-by-numbers product--perfect for the whole Midwestern family, but lacking in any creativity or passion.

And while The Producers and Hairspray stand on their own as good shows, isn’t anyone frightened at the lack of faith in original ideas?

So along came The Wedding Singer, gasp! The original film I wholly admit I have only seem in bits and pieces while channel surfing. I happen to dislike both stars, Adam Sandler (who’s only good performance is in the little-seen Punch-Drunk Love directed by the amazing Paul Thomas Anderson) and Drew Barrymore, who has never been good in anything! I shuddered at the idea of turning a Sandler vehicle into...a Broadway musical!??

I had assumed it’s Tony nomination for Best Musical was due solely to the fact that they needed to fill the catagory and was not based on any true merit.

Now imagine how flabberghasted I was to find myself actually enjoying The Wedding Singer. This Broadway bon-bon is a pure delight--damn entertaining, but also a pretty smart satire on the Reagan decade.

It’s a pretty simple story. Boy gets dumped by whorish girl. Boy falls for dullish good-girl waitress. Boy spends rest of production trying to get her.

One of the main reasons this musical soars so high is it’s star, Stephen Lynch. Intelligent enough NOT to evoke too much Sandler, Lynch creates a true and unique character who is incredibly vulerable, free of narcissism and completely adorable. A throwback to the leading men of days gone by with more than a sprinkle of Jerseydude, his Robbie runs in the face of the greed-infested 80’s. He’s an artist as well as a poet. And he believes in love. And he’s cute and sexy, but in a real way.

The dynamic Lynch gets mucho ensemble support.

Amy Spanger kicks performance ass and proves she’s no second-banana as the unapologetically slutty Holly. Spanger is so red-hot-and-talented, she’s ready for her own Broadway show.

And in just two too-brief scenes, Felicia Finley manages to channel many an 80’s rock chick (from Lita Ford to the Heart babes) and steal the spotlight, gyrating sexily and crooning the crap out of her numbers.

Kevin Cahoon is also a stand out as Robbie’s Boy George-esque friend.

The book, by Chad Beguelin & Tim Herlihy, is pretty witty and damn funny--especially near the end with an impersonation extravaganza that includes Tina Turner and Imelda Marcos!

The songs are mostly infectious, specifically the rousing “It’s Your Wedding Day”, “All About the Green” and “Saturday Night in The City”--which perfectly captures the Bridge and Tunnel invasion that took place (and continues to take place) every weekend.

Director John Rando keeps things moving at a brisk pace. The production design, costumes and lighting all impressively capture that 80’s yuck feeling.

I do have a few minor complaints about the show. The grandmother character falls flat. It’s as if the creators were trying too hard to make her cool and they ended up with a wholly unbelievable and irritating cartoon. Also, it would have been nice if the creators had given George SOME kind of love interest, instead of making him the typical stock gay character with no life outside of his friendship with the leading man.

Finally, I was underwhelmed by understudy Tina Maddigan in the Julia Sullivan role. I can only imagine Laura Benanti brings a vitality and much-needed charisma to the underwritten part that was wholly missing from Maddigan’s interpretation.

That said, I highly recommend The Wedding Singer as a happy alternative to the bombast of Phantom of the Opera and the predictablitity of the now-too-many Disneyfied cookie cutter shows out there.

Tickets $56.25 -$111.25 212-239-6200 or 800-432-7250 www.telecharge.com

Al Hirschfeld Theatre| 2 302 West 45th Street