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

Cirque Du Soleil’s
Corteo
Tuesday - Saturday @ 8PM
Matinees: Friday & Saturday @ 4:00PM; Sundays @ 1:00PM & 5:00PM
Closes July 1, 2006
Blue and Yellow Grand Chapiteau
Randall's Island | New York

Reviewed by Wendy R. Williams

I have just been “Cirqued;” I saw my first Cirque Du Solieil show, Corteo, and am now an addict, feverisly planning a trip to Las Vegas to see O. One of the from out-of-town friends with whom I attended the Randall’s Island production said, “There is no way you can describe this show.” And she is right. It is a circus performed by modern dancers who are the most incredible aerialist, acrobats and gymnasts I have ever seen, anyone of whom could easily have won an Olympic gold medal for their feats. And it is stunningly beautiful and incredibly moving. That is my attempt to put wonder into words, here is how they describe themselves in their press release:

“Corteo, which means "cortege" in Italian, is a joyous procession, a festive parade imagined by a clown. The show brings together the passion of the actor with the grace and power of the acrobat to plunge the audience into a theatrical world of fun, comedy and spontaneity situated in a mysterious space between heaven and earth.

The clown pictures his own funeral taking place in a carnival atmosphere, watched over by quietly caring angels. Juxtaposing the large with the small, the ridiculous with the tragic and the magic of perfection with the charm of imperfection, the show highlights the strength and fragility of the clown, as well as his wisdom and kindness, to illustrate the portion of humanity that is within each of us. The music, by turns lyrical and playful, carries Corteo through a timeless celebration in which illusion teases reality.”

The show starts with three beautiful beaded chandeliers, watched over by a flying angel. Gorgeous aerialists then perform a beautiful “air dance,” dangling from and through the chandeliers. And then there is number after number, each more spectacular than the other. The cast is huge and the costumes and lighting are superb. One of the most moving “sets” was performed by a male and female aerialist, using only two long rubber bands that hung from the huge ceiling of the tent. They simply tied these long bands around themselves, picked up the other aerialist (yes the woman can hold the man), and flew through the air in a moving romantic “air dance.” It was totally breathtaking.

I rarely see shows where I would be willing to return the next night; Corteo is definitely one of those shows. It is my Phantom of the Air.

Corteo was created by: Daniele Finzi Pasca, Creator and Director; Line Tremblay, Director of Creation;Jean Rabasse, Set Designer; Dominique Lemieux, Costume Designer; Philippe Leduc, Composer and Musical Director.

On to some practical matters: You can get to Randall’s Island via New York Waterways. Go to www.nywaterway.com and then click on Catch on Event. The round trip ticket is around $20.00 and can be reserved and paid for online. There are two choices 6:15 and 7:15. I took the earlier boat and should have taken the later boat. It is about a twenty minute ride (there is no traffic on the water after all). You cannot use one of those red and blue Waterway busses to get to the 34th Street pier to go to Randall’s Island (they only go to the Westside piers), but the 34th Street bus lets you off right in front of the pier. There is no where to wait inside at the pier and the boat can be pretty chilly on the top deck. You can also drive to Randall’s Island and there is free parking.

Tickets: $60.00-$95.00 Adult; $42.00-$66.50 Children; $54.00-$85.50 Student/Senior (weekdays only) at http://www.cirquedusoleil.com/CirqueDuSoleil/en/default.htm. Check www.theatermania.com for discounts.

Sandra Bernhard's
Everything Bad and Beautiful
Daryl Roth Theater
Tuesday 8:00PM - Friday 8:00PM
Saturday 7:00pm & 10:00pm
Sunday 7:00pm
Closed July 9, 2006

Reviewed by Terry Maloney

The divine Ms. Sandra Bernhard is back in her beloved New York City and she's funkier and sexier than ever! From the moment she enters the stage of the Daryl Roth Theater (wearing a sexy, slinky, ankle-length dress) she captivates her devoted audience of "Bernhard groupies" with her sultry stylings and pointed observations about today’s political and cultural scene.

Is she somewhat less outrageous then she was in her first two one-woman shows? Perhaps, but who cares? This is classic Bernhard. Starting with her opening number, Christina Aguilera's "(I Am) Beautiful," she not only skewers such easy targets as George W, and Laura Bush and Condoleezza Rice, but also John and Theresa Heinz Kerry, Meg Ryan, Celine Dion, gay drama queens, and the very theater in which she performs. "I can feel the ghosts of De La Guarda...all those Brazilian acrobats who fell to their deaths!"

The story of Condi Rice meeting the ghost of Rosa Parks at the Lorraine Motel (where Dr. King was assassinated) is hilarious. "You don't belong here, Condi Rice!" says Ms. Parks, "Get out of here!" The proud mother of a seven-year old girl herself, Bernhard mocks the "motherhood" book/calendar collaboration of Dion with photographer Anne Geddes.

Ms. Heinz Kerry is depicted as a spaced-out elitist obsessed with her neckwear. ("Don't you just love my scarf?"). Her husband is described as an "arrogant prick." Mrs. Bush is rather harshly attacked by Bernhard for daring to visit New York City. "How dare you! Don't you ever come back here, you c--t!," screams Bernhard to the cheers and applause of the blue state audience.

Like all Bernhard shows this is also a rock concert, and the should-be superstar equates herself quite well with her smoky interpretation of classics such as "Like a Rolling Stone," "Respect," and "I Would Die for You." She is very ably supported by her hot backup band, The Rebellious Jezebels (with musical director LaFrae Sci).

Yes, some critics say that Bernhard has mellowed since her last one-woman show, but I'd rather describe it as an evolution. Now in a hard-to-believe mid-forties, Bernhard is finally in a long-term relationship with a woman she dearly loves and together they are raising a young daughter. Yes, parenthood and stability do tend to change one's perspective on the world, but not to worry. Bernhard is still Bernhard and she does not disappoint..

I came to the show a casual Bernhard fan, but I left a devoted Bernhard groupie. She is contagious, she is habit-forming and she is amazing!

Tickets are $35-$70 at telecharge.com.

Daryl Roth Theater |20 Union Square East

Reviewed by Frank J. Avella

Sam Shepard’s work is always fascinating. And a good mounting of even his most enigmatic plays can prove mesmerizing, if a wee-bit maddening. Understanding Shepard is key. But Shep-comprehension can be a bit like logarithms--unless you're from the Midwest...and can speak poet.

The Michael Chekhov Theatre Company continues their mission to present ALL of the Pulitzer Prize winner’s work through December 2007.

I caught two lesser know Shep one acts: Geography of a Horse Dreamer & Chicago, (running in rep with Icarus’ Mother). Directed with manic glee by Ann Bowen & Tom Amici, respectively--in the intimately tiny Big Little Theatre--the results yielded exciting as well as exasperating theatre.

Some of the head scratching-ness is due to Shep’s beguiling if obtuse poetry since most of the actor’s assembled seemed to truly immerse themselves into the milieu of the playwright’s distinctly etched Americana.

Horse Dreamer finds the victimized Cody (Tom Pavey in an amazing performance) being held against his will by a couple of mob errand boys because of his abilities to ‘dream’ winners of horse races--although, of late, he is in a bit of a slump. The character of Cody can be viewed as a metaphor for the artist struggling to maintain his identity...his voice...and be able to pursue his vision in a world that would prefer he yield to societal pressures and exploitation. The play is quite savage and satiric right up until it’s deliberately silly deus ex machina ending--almost as if Shep wants to find hope where there isn’t any.

Do ‘horse dreamers’ really exist? Damned if I know. Either way the play is an inventive indictment of what society does to its misfits...its artists...

What can I say about the madcap Chicago? Well, first and foremost Tim Scott is captivating as Stu, the loon splashing around in the bathtub. This oddball one-act soars or sinks depending on the casting of it’s verbose lead. Luckily Scott is on hand to deliver a tour de force of lunacy and profundity--simultaneously.

What is it about? Well, it seems to take place in an alternate reality...a dream-like one. It may be an indictment of the cutthroat corporate world (specific to the yuppie 80’s but certainly valid today). It may be a meditation on an artist attempting to survive in a value-less, meaningless, money-obsessed, “dirty” culture. It could have something to do with evolution. It may simply be a verbal mosaic of platitudes ending with a lesson on how to breathe properly. I do heartily recommend it (both plays, actually) because it is enthralling theatre. Regardless of what you may take away with you. I promise you will not be bored!

I am looking forward to more Shepard from this admirably ambitious and talented troupe.

Horse Dreamer and Chicago remaining shows are on July 12, 13 ,14th. See www.smarttix.com for information on tickets and prices.

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.

Jose Rivera's
School of the Americas
Closed July 23, 2006
Public Theater

Reviewed by Anusha Alikhan

Written by Jose Rivera, creator of The Motorcycle Diaries, School of the Americas tells the tale of Che Guevara’s last days spent imprisoned in a Bolivian school following his capture by an American led military contingent in 1967. The play is based partly on historical fact, but conceptually developed by Rivera, following his completion of the Motorcycle Diaries. Director Mark Wing-Davey’s adaptation of Rivera’s play is pervasive in its scope, offering strong performances by the small cast, and a gritty realistic backdrop. Scenic designer, Andromache Chalfant fashioned an impressive set capturing both the expanse of the dusty school courtyard, equipped with live chickens, and the dank confines of the room where Che spends his last days.

The story takes root when a young Catholic school teacher, Julia Cortes (Patricia Velasquez), convinces the hard-nosed Cuban Lieutenant, Felix Ramos (Felix Solis) to allow her a brief meeting with Che. Despite his fervent hatred of the prisoner, Ramos agrees, under the condition that Cortes reveal any information she learns about Che’s militant activities. What ensues is a journey of transformation for Cortes, Che, and ultimately even Ramos.

Velasquez delivers a resonating performance as the idealistic teacher who instinctively believes in Che’s humanity in spite of her resistance to his atheism and militant politics. She shares her personal struggles with Che developing a friendship with the initially antagonistic revolutionary. The character’s simple dignity and passionate nature are conveyed by Velasquez with ease in her professional stage debut.

Ortiz’s portrayal as a bound and brutalized Che was fiery although sadly limited by the play’s script. While historically Che is known as a pervasive revolutionary leader, his charisma is not translated to the character. His lengthy pontifications are contradictory at times, and he appears to goad Cortes to adopt his ideals by playing on her insecurities rather than supporting his arguments. While Ramos, a jeering CIA operative, attempts to balance Che’s vehement communist convictions listing the failures of the doctrine, Rivera’s adoration still sifts through, largely romanticizing the revolutionary. Additionally, Ramos’ convincing performance is ultimately undermined by his unlikely conversion to Che-ism.

Rivera’s intention is however well-received thematically with a view to the play’s title – it draws on the fine line between the student and the teacher -- as each character is left with a lesson imparted and one that is learned.

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