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

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

Sam Shepard’s
Forensic and the Navigators & States of Shock
Wednesdays & Thursdays @8PM Sept 13th - October 5th
One Final Performance on Friday, October 6th
The Big Little Theater

Reviewed by Frank J. Avella

The Michael Chekhov Theatre Company is still going strong in their mission to present all of Sam Shepard’s work through December 2007.

Currently on the Big Little Theatre boards, two Shep one-acts: Forensic and the Navigators, written in the 1960’s and States of Shock, a killer anti-war play written in 1991.

The doublebill provides audiences with the slight and the searing.

Forensic is an enigmatic and sometimes annoying play set in a post-apocalyptic future. It reminded me of a David Lynch film, only without too much imagination, loaded with nonsensical dialogue and typical Shep-oddball Midwest character quirks (ex: Emmet’s inexplicable need to consume Rice Krispies). Director Tom Amici keeps it moving and Forensic does offer some terrific acting--especially Tim Scott as the 2nd Exterminator.

It’s worth sitting through the muck of Forensic to get to the thrilling States of Shock, written during the Gulf War but just as timely today as it was back then. Perhaps, moreso.

In Shock, Shep presents us with two army war vets who gather in a diner (repping the US of A). The young Stubbs has been permanently maimed by the war. The older Colonel, is a staunch militarist who lost his son in the unnamed conflict. Colonel looks after Stubbs but, adding to the intrigue, the bullet that killed his son actually went right through Stubbs first! Some wonderful, thought-provoking monologues follow.

The rest of the diner-ites include: Glory Bee, an inept waitress as well as an older couple who have ordered clam chowder and keep waiting and complaining but never leave. Concerned only with the superficial, these two pretty obviously represent America and our lack of concern for anything that doesn’t directly effect us.

States of Shock is impressively directed by Joe Benenati and features a owerhouse performance by Aaron Firicano as Stubbs as well as nice work by Natalie Barback, Judy Guyll and Allen Magnus. The play would have been better served with a more daring turn by Steve Abbruscato as the Colonel, though.

States of Shock contains some of Shep’s most biting and wicked wordplay. It’s a condemnation of war...any war--all war--and, as presented by the Michael Chekhov Theatre Company, it’s great theatre!

THE SAM SHEPARD FESTIVAL will be at The Big Little Theatre, 141 Ridge St. (one block south of Houston). States of Shock (and Forensic and the Navigator will run at 8 pm on Wednesdays and Thursdays, Sept 13- October 5 with one final performance on Friday, October 6.

Tickets will be $18 and can be purchased by calling SmartTix at
(212) 868-4444 or by visiting www.smarttix.com . For more information, visit www.chekhovtheatre.com/shepfest.html.

The Big Little Theatre, 141 Ridge St.
(One block south of Houston).

The Wedding Singer
Tuesday 7:00PM
Wednesday 2:00PM & 8:00PM
Thursday 8:00PM
Friday 8:00PM
Saturday 2:00PM & 8:00PM
Sunday 3:00PM
Al Hirschfeld Theatre

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