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New York City - Theatre

Barbara Blumenthal-Ehrlich’s
Double Vision
Fringe Encore Series
Saturday, September 8 @ 2:30pm
Sunday, September 9 @ 9:15pm
Wednesday, September 12 @ 9:30pm
Thursday, September 13 @ 7pm
Saturday, September 15 @ 5pm
Sunday, September 16 @ 7pm
Bleecker Street Theatre

Double Vision Gives Insight into Modern Relationships


Reviewed by William S. Gooch during the 2007 New York International Fringe Festival

In a time when some groups are fighting for the right to have their relationships honored, the dark comedy Double Vision demonstrates that sometimes the grass is not greener on the other side. Playing to a sold-out house at the 2007 Fringe Festival, it is easy to understand why this play about strained relationships would resonate with New Yorkers who struggle to balance career and love life against the backdrop of a city filled with temptations.

Indecisiveness, infidelity, and illusion characterize the six characters in Double Vision. Although they all yearn for meaningful connections, past experiences and current baggage inhibit their ability to make good choices. Playwright Barbara Blumenthal-Ehrlich brilliantly constructs probing dialogue that gives illumination to the struggles of modern-day urban couples.

Dave (Shane Jacobsen), the main character, lacks the guts or fortitude to commit to his girlfriend, Mary (Rebecca Henderson). On the other hand, Mary must decide whether to accept a lucrative job offer in San Francisco or stay with indecisive Dave. Dave’s roommates, Mark and Ben, also have relationship issues; Mark (Quinn Mattfeld) only dates married women, and middle-aged roommate Ben (Christopher McCann) knowingly pursues relationships that are doomed to fail. Lastly, next-door neighbor, Celia (Linda Jones), a night nurse in a cancer and AIDS ward, suffers from boredom in a predictable, lackluster relationship.

All the actors in this production deliver noteworthy performances, but special mention goes to Sarah Silk in the smaller, supporting role of Michelle, Ben’s French girlfriend. As the young soubrette in love with an older man, Silk embodies all the qualities of a young girl foolishly in love for the first time. She beams as Ben pontificates about love and life, and their loud, orgasmic lovemaking to Tchaikovsky’s 1812 Overture is only fitting for the uninhibited and newly in love. Silk also carries off Michelle’s accent with natural aplomb.

As Dave, Shane Jacobsen is convincing as a man whose relationship phobia causes him to identify closely with a naked man in the subway. Feeling unworthy of love and believing his relationship with Mary is doomed, Dave goes into lengthy diatribes about courtship and commitment. He concludes by saying, “It takes just as long to get over a relationship as it takes to be in one.”

Mary, aptly portrayed by Rebecca Henderson, is emotionally torn by Dave’s reticence and her own fear of abandonment. Longing for Dave to move with her to San Francisco, but fearing he won’t go, she says, “It’s a lot of moving and responsibility, but somehow it makes me sad.”

Christopher McCann portrays Ben as a man who takes great joy in analyzing the world, but doesn’t want to take responsibility for his life choices. “When I was married, I wasn’t faithful, I felt it was my duty to make women feel less empty.”

Next-door neighbor Celia loves the stability of her lackluster union, but keeps her options open for excitement and escape by keeping her car handy. “Cars give you the power to get away…“ As Celia, Linda Jones gives a nuanced performance that demonstrates that although commitment and monogamy can be a good thing, variety is the spice of life.

If there are blind spots in Double Vision they come from a script that gets heavy with psychoanalytical jargon, reducing the pace of the play on occasion to a slow crawl. Still, Double Vision is successful in getting audiences to look through that dark glass of urban relationships to the other bright side for truth and reconciliation.

Tickets $18.00 By Phone 212-691-1555 http://www.fringenyc-encoreseries.com/


Bleecker Street Theatre | 45 Bleecker Street




Karen DiConcetto and Rochelle Zimmerman's
I Dig Doug

Friday September 7 @ 11:30PM
Saturday September 15th @ 7:30PM
Sunday September 16th @ 5:30PM
Bleeker Street Theater

Reviewed by Katharine Heller at the
2007 New York International Fringe Festival

In this age where everything political is so depressing sometimes all you can do is laugh, it is refreshing to see that a show like I Dig Doug. This one act comedy, currently playing at the New York International Fringe Festival Encore Series, takes a stab at our apathetic culture more obsessed with reality TV than a real war, all the while exploring the definition of honesty and the meaning of truth.

Written by and starring the delightful team of Karen DiConcetto and Rochelle Zimmerman, this play introduces us to a young woman (DiConcetto) whose world is turned upside down when it is revealed that her favorite reality star is actually a big phony. This realization causes her to boycott any news organization that is covering her fallen idol only to find that there is none. Except for what must be a "new channel", C-Span. This is where she finds the man that will change her life- presidential candidate Douglass Ward.

Accompanied by her reluctant friend, (Zimmerman) the two go on a road trip to Iowa to meet Doug. Along the way, they meet an interesting cast of characters, all played with incredible range and wit by the talented Zimmerman. The ending is a bit of a surprise but suffice to say the two women learn a lot about truth, politics and the American way. Funny, touching and overall entertaining, this show is a wonderful accomplishment on the part of DiConcetto and Zimmerman.

Directed by Bert V. Royal, this show might at times come off as a campy extended sketch, but the witty writing, relevant story and intriguing characters leaves you feeling extremely satisfied.

For more information, log onto: http://fringenyc-encoreseries.com

Bleecker Street Theatre | 45 Bleecker Street


 



Legally Blonde - The Musical
Wednesday 2:00pm & 8:00pm
Thursday 8:00PM
Friday 8:00PM
Saturday 2:00PM & 8:00PM
Sunday 2:00PM, 7:00PM & 8:00PM
The Palace Theatre


Reviewed by Katharine Heller
katharineheller.com


To compare Legally Blonde the Musical to great theater would be like putting a Twinkie up against the Miso Black Cod at Nobu. But goddamn it, sometimes, nothing beats a good Twinkie.

Based on the box office hit of the same title, Legally Blonde rarely strays from the original script. For the five of you who are not familiar with the premise of the story, I'll sum it up. Beautiful Delta Nu sorority sister Elle Woods is crushed when her beau Warner dumps her before leaving for Harvard Law. Elle applies and gets
accepted to Harvard (even though I would assume the application deadline had passed- I never quite got that part, although the rest of the story is perfectly plausible) in hopes to win back her man. Long story short she realizes she doesn't need Warner, makes some new friends and solves a murder case in court along the way.

The stage translation is exactly what you would expect, complete with spunky dance numbers, an energetic young cast and tunes so catchy I might consider quarantine for a good few hours after the show. I still cannot get the opening number, aptly called "Omigod, You Guys!" out of my head. No, seriously, it's pretty frustrating.

The fresh faced and immensely talented Laura Bell Bundy as Elle carries the show with grace and confidence. Right behind her are Richard H. Blake as the arrogantly hilarious Warner and Christian Borle as her sweet love interest, Emmett. The obvious cast standouts however are Chico as her faithful Chihuahua, Bruiser, and Chloe the Bulldog as Rufus. (Rufus is the dog of Elle's friend Paulette played
by the singly named human, Orfeh.)

The amusing book, written by Heather Hach with music and lyrics by Laurence O'Keefe and Nell Benjamin, includes other engaging numbers such as the infamous, "Bend and Snap!" and "Gay or European". With crisp direction and choreography by Jerry Mitchell, this family friendly show is a lot of fun. Just make sure those you see it with have a sweet tooth.

Tickets $40.00-$110.00 212-307-4747 www.ticketmaster.com

Palace Theatre | 1554 Broadway




BILLY THE MIME in
AMERICA LOVESEXDEATH
Tuesday and Wednesday evenings at 7:00PM
Thursday through Saturday at 7 PM and 10 PM
August 23rd – September 29th
Opens September the 6th
The Flea Theater

Never a Mumblin’ Word

Reviewed by William S. Gooch

In America’s short history, three overarching themes dominate the cultural landscape: love, sex and death. We love sex, we love violence, and we are in love with what we love, even if it is bad for us.

In AMERICA LOVESEXDEATH, Billy the Mime has created a mélange of vignettes that illustrate the lives of famous and infamous Americans. Using very few props and, of course, no dialogue, Billy the Mime has formulated a production style that gives the audience an insider’s view into a particular cultural event or phenomenon.

The standouts in the 12-plus vignettes performed on September 5 at the Flea Theater were, “The Abortion,” “The Sixties,” “Thomas & Sally–A Night at Monticello,” “A Night with Jeffrey Dahmer,” “ A Night in San Francisco: 1979,” and “The Clown & The Beautiful Woman”. Although each vignette lasts no more than five minutes, Billy the Mime expertly conjures up images that remind us how much these cultural events and icons have informed our lives.

In “The Sixties,” Billy the Mime helps the audience experience such cultural images and icons as Mick Jagger, Jimi Hendrix, Richard Nixon, the Vietnam War, and the Summer of Love. With an arched back, puckered lips and defiant strut, Billy puts an ageless rock star front and center. Folded arms and the peace sign bring to mind the 37th President, and mimed scenes of protest and police brutality evoke anti-war demonstrations.

“Thomas & Sally–A Night at Monticello” is perhaps the most racially sensitive subject of the evening. Billy the Mime comically presents Thomas Jefferson as a man of the southern gentry with a dirty little secret. Between minuets with folks of his social class and standing, Jefferson surreptitiously sneaks out for a little hanky panky with sweet Sally Hemmings. With each clandestine rendezvous, Jefferson’s lust for his café au lait mistress grows stronger. Jefferson’s lustful urges are so powerful that he can barely resist the smell of Sally’s sexual sweetness on his fingers while dancing the minuet.

The most macabre vignette on the program was that of “A Night with Jeffrey Dahmer.” Billy the Mime acts out Dahmer meeting his victims, drugging them, killing them, cannibalizing them, and storing their heads in the refrigerator. Again, using only mime and movement, Billy takes the audience on this psychopathic journey without missing a beat. He unapologetically and eerily becomes Jeffrey Dahmer.

If there is one drawback to AMERICA LOVESEXDEATH, it may be that some of the vignettes are cultural and age specific. Case in point, in “ A Night in San Francisco: 1979,” anyone under the age of 30 may not have understood the reference to gay night clubs, multiple sex partners, and the beginning of the AIDS epidemic. Still AMERICA LOVESEXDEATH does what good performance art should do: educate, entertain and inspire. And all accomplished without a word mumbled.

Marcel Marceau eat your heart out!

Tickets for AMERICA LOVESEXDEATH are $35 Tuesday through Thursday, $40 Friday and Saturday. For tickets, visit www.theflea.org or call 212-352-3101.

Flea Theater| 41 White Street
Between Church and Broadway



Margaret Garner:
Medea in Sepia Tones
September 29th @ 8PM
New York City Opera

Reviewed by William S. Gooch

Most great stories in grand opera have tragic heroines. There is Flavia Tosca in Tosca, Cio Cio San in Madama Butterfly, and Lucia in Lucia Di Lammermoor, just to name a few. These operatic heroines usually kill themselves, someone else or go insane while singing gloriously about lost love, lost innocence or betrayal. No shrinking violets or dutiful wives and daughters here, only fully fleshed out, passionate women fit the bill.

In Margaret Garner, America has its first African American tragic heroine. Based on the true story of fugitive slave, Margaret Garner, who murdered her own daughter rather than have her return to a life of chattel slavery, the opera details the horrors of American slavery while showing one woman’s determined fight for freedom and human dignity.

With music by Grammy Award winning composer Richard Danielpour and libretto by Nobel and Pulitzer Prize Award winning author Toni Morrison, Margaret Garner combines rich atonal sounds with the revelatory expediency of Morrison’s words. “No more, no more” cry the slaves and their progeny in the opening scene of the opera. With this defiant affirmation, Morrison sets the tone for Margaret Garner. Unlike the passive, morally questionable characters found in Porgy and Bess, Morrison imbues each slave character with vision and righteous fervor. She also employs language that magnifies the indignities of chattel slavery. “How much, how much, for a mammy, pickaninny and a buck.”

Danielpour’s mixture of haunting melodies and dissonant chords illuminate the humanity of the slaves and their hopeless situation. By weaving gospel rhythms and the conviction found in Negro spirituals into the music, Danielpour accomplishes the difficult task of bringing authenticity without sacrificing dramatic urgency. If there is one flaw in the score, it’s evident in the second act where the music fails to dramatically support several climatic scenes. However, Danielpour is effective in the choral scenes, particularly the courtroom scene where the whites menacingly chant, “She is not like us.”

As Margaret Garner, Tracie Luck brings a rich, mahogany mezzo-soprano voice to her debut at New York City Opera. Her voice is utilized best in the aria before her rape where she convincingly sings, “Love is the only master my heart obeys.” Unfortunately, Luck’s lack of rage and desperation renders a milquetoast portrayal of Garner. The historical Margaret Garner was a defiant slave who not only killed her daughter to prevent her from being returned to bondage, but also courageously stood on trial for her crimes. This resolute defiance never quite comes across in Luck’s performance.

On the other hand, Lisa Daltrius gives a vocally powerful performance as Cilla, Margaret’s mother-in-law. With a transcendent voice that rings with celestial vibrancy, Daltrius creates a character that believes that freedom is just and ordained by God.

Gregg Baker in his New York City Opera debut as Robert Garner—Margaret’s husband—brings his deep, resonant baritone—familiar to many New Yorkers from his Metropolitan Opera performances—back to the New York stage. Baker portrays Robert Garner as a man on a mission. His bittersweet love duet, “ You are my shoulder, you are my spine,” with Tracie Luck is absolutely gorgeous.

Although Margaret Garner lacks dramatic cohesion and falls flat musically at times, it does expand the American operatic repertoire of tragic heroines. Finally, we have an American Medea. And she comes draped in rich, sepia tones.

Margaret Garner will be performed at New York City Opera through September 29.
See nycopera.com for more details.



 




Photo Credit Raquel Davis

Corey Dargel's
Removable Parts
Through September 15, 2007
HERE Arts Center

Reviewed by Sharyn Jackson

Amputation has been thrust into the spotlight lately, with the body-chopping serial killer on Showtime's critically acclaimed Dexter on one end of the spectrum, and Lindsay Lohan's questionable career choice aka summer film I Know Who Killed Me on the other. Adding a truly original perspective to the mix is composer Corey Dargel's Removable Parts, now at HERE Arts Center. Inspired by studies of psychiatric patients who voluntarily amputate limbs for sexual or emotional purposes, Dargel created an unlikely musical exploring the history of the compulsion—and of those who take love to shocking levels.

Dargel's gorgeous experimental score is the perfect method with which to address the fascinating, creepy topic of voluntary amputation. In one standout number, Dargel samples a harpsichord through speakers atop the piano his accompanist Kathleen Supové pounds at zealously with metal finger cuffs. At other times, the brilliant Supové pecks away at a tinny toy piano. The music, whether soothing or riling, is brought to life by clever lyrics about various body parts ( i.e. "Hands," "Toes," "Fingers", "Brain") and their relationship to love for "devotees, wannabees, and amputees." In the opening number, Dargel sings a love song for a voluntary amputee, admitting that "caressing your skin-tone plastic was nothing short of divine/It was fantastic holding your phantom hand in mine."

Dargel and Supové's awkward banter and mechanical "dance" numbers also accent the strangeness of the topic. However, the sentiments they express are relatable regardless of one's desire to remove a body part. Body image issues plague relationships and lead to intimacy fears that most people face in life. It's opting for the hemispherectomy that makes you different.

Written and performed by Corey Dargel with pianist Kathleen Supové. Directed by Emma Griffin.

Tickets $20 / $15 at www.here.org and 212-352-3101. For more information: www.here.org.

HERE Arts Center | 145 Sixth Avenue


 

 

Steve Sater & Duncan Sheik’s
Spring Awakening
Monday 8:00pm
Wednesday 8:00pm
Thursday 8:00pm
Friday 8:00pm
Saturday 2:00pm & 8:00pm
Sunday 2:00pm & 7:00pm
Eugene O'Neill Theatre

Reviewed by Frank J. Avella

When I first heard that Spring Awakening was moving to Broadway, I was a bit concerned. Would such an intimate show lose all potency and urgency in a big Broadway house?

Well the answer, thank the theatre gods, is a resounding no!

I am elated to report that this exciting, enthralling and oddly-enchanting production thrives at the Eugene O’Neill Theatre. And it’s improved greatly from the version I saw this past summer.

It’s still audacious and ambitious but it now has a wonderful sense of humor as well. The original production took itself a wee too seriously. But the gifted director Michael Mayer has found the perfect blend of comedy and pathos here. And it doesn’t hurt to have the extraordinary Christine Estabrook on board.

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.

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 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 modern day rock concert. But the songs are the inner monologues and emotional mind states of Everykid. And that is why it works so well.

Sheik’s music is extraordinary, whether it be a heart-wrenching ballad (”The Song of Purple Summer”) or an angry rant (the fantastically fun “Totally Fucked”) and are matched by Sater’s intelligent lyrics and by the extraordinary ensemble’s vitality and conviction in song as well as performance. These guys were great last summer. They’re even better and seem more assured now.

“The Bitch of Living”, in particular, raises the levels through the rafters!

Melchior is that perfect blend of youth: a walking sack of sexual energy mixed with smarts and savvy and Jonathan Groff brilliantly brings him to life...and to despair as is necessary. Groff has a command now that is dazzling to behold.

Moritz is a tad more difficult since, as written he goes from frustration and confusion to doom very quickly, yet Gallagher, Jr. transcends the trappings and let’s us inside the loopy/scared mind of this tragic hero (especially in Act Two’s Don’t Do Sadness”).

Michele’s Wendla still feels too tentative as Wendla but she conveys naiveté much better and has an amazing voice. Lauren Pritchard’s Ilse still brims with sex appeal and evoked the perfect combo of tumult and rebellion. And king of smarm and charm, Jonathan B. Wright nails his role down perfectly as the gay survivor about to feast on his prey. His self-pleasure moment is a riotous combo of delight and embarrassment. Special mention to Gideon Glick as the adorable Ernst.

Newly added cast members Stephen Spinella, and especially, Christine Estabrook give the show a great lift as well.

Beyond the masterful score, near-perfect performances and deft direction, I had
a problem last time with feeling emotionally caught up in the lives of the characters. This, too, has changed. I DID feel passionately drawn into their worlds and I did care about their fates.

Spring Awakening is a triumph that should be seen by anyone who cares about the future of musical theatre.

Tickets $66.25-$111.25 at www.telecharge.com

Eugene O'Neill Theatre | 230 West 49th Street | New York, NY 10036





Xanadu
Tuesday @ 8PM
Wednesday @ 2PM & 8PM
Thursday @ 8PM
Friday @ 8PM
Saturday @ 2PM & 8PM
Sunday @ 3PM
Opened July 10, 2007
Helen Hayes Theater


Reviewed by Frank J. Avella

Okay, how bloody tiresome has it become for the Broadway theatregoer to have to withstand yet another screen-to-stage translation? In recent years, we’ve had to suffer through the abysmally bad (Saturday Night Fever, Footloose) and the not-so-bad-but-why-the-frig-bother (The Wedding Singer, Legally Blonde). And then there’s Disney, in the ‘ you own the world so just stop it already’ category. All this appropriation has shown a complete lack of originality and proven producers have no faith in the audience.

Of course, no one has tackled the bad Hollywood movie musical adaptation yet. Then again, exactly how many bad Hollywood movie musicals can actually boast having a terrific score? Not that many. Certainly very few in the last thirty years. Actually one. A notorious debacle from 1980 known as Xanadu.

Now, I have to admit to having my own personal love/hate relationship with the screen mess known as Xanadu. Every time I watch it (and yes, I have watched it many times) I keep waiting for it to be different. I keep wanting the performances to improve and I keep praying someone will come along and actually DIRECT and CHOREOGRAPH those great songs (written by Jeff Lynne and John Farrar) in some way that isn’t catastrophically impossible to watch. Alas, I am always disappointed.

Yet I keep revisiting Xanadu. Why? I have never quite figured it out. It isn’t even a very campy film--the kind that’s so bad it’s good. But it does feature Olivia Newton-John and Gene Kelly...and a tiny spark of a good idea...and have I mentioned the fantastic score?

When I read about plans to bring it to Broadway, I thought: “well, it couldn’t possibly be as bad as the film.” Then I read that Douglas Carter Beane, thanks to the dogged persistence of producer Robert Ahrens, had been cajoled into writing the book. At that point, I knew it would have some merit. And I knew that if anyone could tap into the reason why so many folks are Xanadu-obsessed, it was Beane. After all he was responsible for the brilliantly biting and insightful play, The Little Dog Laughed, the funniest work to hit Broadway in the last few years. (and of course it closed prematurely!) My hopes were high.

Then casting problems followed as well as the leading male (James Carpinello, the only good thing in Saturday Night Fever) being injured while skating and having to be replaced. Was all this a sign?

I am elated to report that--Spring Awakening notwithstanding--Xanadu is the best musical currently running on Broadway! Actually, it’s the smartest and most entertaining musical to open in quite a long time!

How could this be, you ask?

It’s fairly simple. Assemble the best creative team possible. Cast actors who are working at the top of their game. Shake. Stir. Shimmy. Skate!

Part of the heavenly ‘magic’ on display at the Helen Hayes Theatre has everything to do with a keen awareness of the tongue-in-cheeky satire at play. But no one ever condescends to the audience. Quite the contrary, they invite the audience in on all the jokes (and they are legion).

Beane has written an intelligent, witty and clever script and manages to work several miracles in the process. Firsty, he remains faithful to the original film while drastically improving the story, making spendid script alterations and adding much-needed character dimensions. He creates a believable, old-fashioned love story where the audience roots for Kira and Sonny--even though she’s a Greek daughter-of-Zeus pretending to be an Australian and he’s a mere mortal AND struggling artist.

Beane also does justice to each and every one of his cast of characters, so rare in a musical, especially one that clocks in at ninety minutes! Finally, he has penned a ton of ovation-inspiring one-liners that will have you howling with laughter.

The tremendously talented director, Christopher Ashley (along with choreographer Dan Knechtges), ingeniously finds enormously entertaining ways to stage those wonderful ditties mentioned earlier (so poorly rendered onscreen). From the delightful opening number, “I’m Alive” to the sensational title tune at the end, Xanadu explodes with an exuberant and euphoric energy and life, most musicals would kill for.

A new Broadway star is born in Kerry Butler. She is absolutely remarkable as Kira/Clio. Having seen her shine in Hairspray, Little Shop of Horrors and the devilishly delightful Bat Boy, I was still wholly unprepared for her performance here. She has perfect comic-timing and displays so much verve and charisma, you will truly have a tough time taking your eyes off of her. She also happens to be quite stunning. Her Kira is a rich parody of Newton-John infused with some daffy Nicole Kidman, yet she creates a loveable, complicated and quite memorable character that is ultimately her own. She also happens to have a powerhouse voice and is particularly divine singing “Magic” and “Suspended in Time.” Butler fascinates right up until the curtain call.

When you are able to look away from Butler, Cheyenne Jackson (All Shook Up) provides delicious eye-candy, but so much more than that. From his very first bit of dialogue, he seduces the audience and endears himself as a loveable lump of a hunk, wide-eyed and earnest. It’s a fabulous performance, filled with comedic gem moments. Jackson is also an excellent songman, tearing the roof off with the showstopping “Don’t Walk Away.” And, boy, does he look good in those denim shorts. Yikes!

Tearing through the production like two hungry tigresses are stage vets Mary Testa (as Melpomene, muse of Tragedy) and Jackie Hoffman (as Calliope, muse of Epics). These two scenery-chewing vamps have a bloody blast with their parts. The duo’s rendition of “Evil Woman” is rousing and ‘nasty’, in the best sense of that word. Testa’s turn is particularly Tony-courting.

The rest of the ensemble seem to be having the time of their lives as well with Curtis Holbrook providing a killer tap dance during “Whenever You’re Away from Me”. Veteran stage actor, Tony Roberts has his own fun in the Gene Kelly role and really impresses as Zeus. One of the oh-so-may highlights involves both the song “Have You Never Been Mellow” and the Harryhausen film Clash of the Titans. I can’t say more, lest I spoil a classic musical theatre moment.

So, what is it that Beane and the Xanadu team are able to do what the original filmmakers couldn’t? Because...they have found the magic in Xanadu as well as the irony and the joy. They tell a simple love story in a complex and interesting way. They comment on art and the creative gifts that are given to us. And they show us a damn good time while doing it. What more could we ask for? Okay, maybe just ninety minutes more, because once you see this show, you will want to see it again...

Xanadu Tickets $51.25-$111.25 Buy tickets online www.telecharge.com - Phone 212-239-6200 & 800-432-7250


Helen Hayes |240 W. 44th Street


 

 


 

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