Category: Theater

Do you believe in magic?

Regardless of if you do or don’t, the show “In & Of Itself” at the Daryl Roth Theatre will convince you that you do in 75 minutes. Executive Producer Neil Patrick Harris presents a unique theatrical experience that blends illusion with a narrative of identity. Derek DelGaudio, the sole actor, does a fantastic job crafting an authentic performance, taking audience members on an emotional journey that explores identity, memory, how others perceive us, and what is meaningful in one’s own life.

Walking into the theatre, guests are presented with a standing board of “I am” cards. Guests are invited to choose a card that will later be used throughout the show. I chose “I am a ray of sunshine.” Why? It spoke to me. But they had a wide range of options, from alien, to C.E.O, philosopher, accountant, and troublemaker. Identities one strives to be are paired with true identities, such as occupation or family titles. You pick one that speaks to you, whether accurate, funny, or fictional.

The theatre is small and intimate. Perfect for what unfolds next. Delgaudio combines magic and storytelling seamlessly, leaving audience members in awe not only of the tricks he pulls, but also at the story he seeks to tell. Both personal and relatable, the story brings up our own memories and experiences – forcing us to confront who we are and how we identify.

The interactive element of the show is what really allows for the human quality of the production to come through. Each night something different occurs on stage because of the unique audience members present, who each bring with them their own identities and perceptions of themselves. Delgaudio forces you to question your identity labels and reminds you that sometimes people will never fully see you and your experiences for what they are – but that’s okay.

You will ask: Who am I? How do others perceive me? How do I perceive myself? Does it even matter? That’s the point of the show. Delgaudio reminds us to be cognizant of the fact that people are more than what they appear to be (just as magic is more than what it appears to be!). Dig a little deeper and you’ll see more and more of who a person is. It’s a glorious thing to dig below the identities we assign to ourselves and allow others to assign to us.  

If you want a different theater experience that is both intimate and beautiful, then see this show. Keep an open mind and go with someone you care about. It’s an experience worth sharing.

 

“In & Of Itself” runs through May 6, 2018 at the Daryl Roth Theatre. Tickets can be found here.

Photo Courtesy of davemalloy.com

Fresh off starring in his other musical, Natasha, Pierre and the Great Comet of 1812, Dave Malloy, Brittain Ashford, and Gelsey Bell are currently performing in Malloy’s show Ghost Quartet. Performing with them is  Brent Arnold, who was not part of the Great Comet cast, but is just as talented.

The show, currently being performed at Next Door at NYTW is in an intimate space that brings all of the audience close to the chilling performance. In the performance I attended, Ben Stiller was sitting right behind me, reminding me once again of the wide range of people you will see while exploring New York City. The show is centered around a “haunted song cycle about love, death and whisky.” Indeed, during one of the songs, everyone in the audience is handed an actual shot of whisky to drink with the cast. As a result, many of the performances are 21+ (a few shows have specifically been allocated to be for all ages). Throughout the performance, the audience is transported across multiple centuries and characters and, at times, plunged into complete darkness as Malloy’s gorgeous, yet eery songs emanate throughout the small theater.  

As the show rushes towards an unknown ending, the audience is asked to participate by directly supplying the music for the show. While there are multiple articles online that go into much more depth about the plot, I definitely recommend going into the show having not listened to the songs or knowing the plot. With such an intimate setting, the experience when seen fresh is absolutely one not to miss.

While tickets to Ghost Quartet’s initial run are sold out, the run is being extended today, October 11, to include more showings, as announced by the NYTW via twitter yesterday.

As stated in their tweet, tickets will go on sale at noon here. For more information about the show, you can also check out the NYTW website here.

Photo Courtesy of Matthew Murphy


Hal Prince has undoubtedly influenced the world of Broadway, inspiring others to pursue careers in the theatre industry. When entering the theatre, the expectation was that the show, in the process of highlighting Prince’s works, would using meaning

The Prince of Broadway celebrates sixteen shows that the legendary Hal Prince directed, and as the musical states, some of them were flops and some were successes, but all of them, he believed, were creatively daring and meaningful. Thus, it was up to the audience’s discretion for this show if they agreed with his direction of this somewhat-seeming self-serving musical, and with the statement aforementioned, some of the performances were flops and some were major successes.

Tony Yazbeck in Follies. Photo by Matthew Murphy.

For instance, Tony Yazbeck truly shined throughout all numbers he was in, most notably in “The Right Girl” from the musical Follies. His exquisite tap dancing followed by his intense acting sent the crowd roaring for more of his excellence. And that wasn’t the only star performance by Mr. Yazbeck. Even from his first spotlight on the Friedman theatre, one could tell by his poise that he would shine in every performance that he was staged in, success or flop.

However, with many successes, there are usually some flops tagged along. In this showcase of a musical, there were clearly some weaker moments. For example, pretty much every time the eponymous “Hal Prince” would narrate in the transitions between each performance, the delivery fell flat. It was almost to the point of cringeworthy between musicals that we were anticipating when the dialogue would end in exchange with the performances of yesteryear.

Overall, whether you are a Broadway aficionado wanting to relive some of the glories of the Great White Way or a newcomer wanting to delve deeper into the greats of the past, the Prince of Broadway is a wonderful showcase of brilliant performance and a pleasant night at the theatre.

Prince of Broadway is part of the Manhattan Theatre Club which offers a program called “30 Under 30” where anyone under the age of 30 can qualify for $30 rush tickets. Click here for more information.

Christine Ebersole and Patti LuPone. Photo Courtesy of Joan Marcus.

“There are no ugly women, only lazy ones.”

Helena Rubinstein, cosmetics entrepreneur and rival of Elizabeth Arden, repeated that over the course of her career. Beauty was revolutionized by Rubinstein and Arden, but more importantly, they were powerful entrepreneurs in a male-dominated workforce. War Paint, a new musical at the Nederlander Theatre, gives us a glimpse of the day-to-day of the lives of these women and their rivalry.

The set design was beautiful, the costumes were magnificent, and, of course, the two-time Tony Award-winners Patti LuPone (Helena Rubinstein) and Christine Ebersole (Elizabeth Arden) were fantastic, as expected. The musical progresses from the advertised topic, the rivalry of these two beauty entrepreneurs, to a broader reflection on their internal struggles as powerful women. By the end of the musical, drugstore cosmetics lines have devalued the image of timeless beauty, and the two women are forced to reflect on the value and impact of their lives’ work.

While a compelling and moving narrative put to incredible music, the flow of the lyrics was sometimes stilted. Elizabeth Arden, despite her humble upbringing and incredible corporate empire, was portrayed as a brainless blonde in contrast to Helena Rubinstein. She was ‘obsessed’ with her packaging, as opposed to obsessed with how good her porcelain containers were for business. In wartime, the outfits of her sales representatives were exaggerated by ‘military women’ in short skirts, contrasted sharply by Rubenstein’s clinical containers and women in military-inspired uniforms. The rivalry between the two women was written with a strong hand and exaggerated dialogue, while their hesitant coming together seemed much more natural. And at the end of the performance, a question about the unresolved impact of cosmetics on women’s freedom seemed to be misplaced. The narrative of two successful women strong enough to create a lasting industry was diluted by the question of their lasting impact, not on professional women but on beauty standards.

Overall, War Paint brought this narrative into the 21st century with grace and respect for the immense task that both Rubinstein and Arden faced in building companies named after and run by women.

Photo courtesy of BBB.

Rousing applause closed the night at Bandstand, the latest of Broadway’s American musicals. Bandstand boasts an all-original storyline and an all-American plot, addressing the inaction of American government and society in addressing the needs of our veterans in a post-World War II, swing-era context. A tantalizing portrayal of the not-so-glorious aftermath of World War II, Bandstand catalogues the story of Donny Novitski (Corey Cott), a swing pianist from Cleveland with a desire to make it big in the city that never sleeps, and Julia Trojan (Laura Osnes), a recently widowed choir singer who decides to pursue the dream of being a jazz vocalist in order to cope with the unfortunate demise of her husband in the war.

The musical tells the story of a group of veterans gathered by Donny (in a wonderful scene in which each character has a chance to declare “I know a guy”) who form a band to compete in a national radio contest in New York City while struggling to fit into their old lives and deal with the lingering effects of the war. The prize could guarantee celebrity status to its winners, but dealing with complicated interpersonal relationships and the challenges of finding jobs in post-war America, provides obstacles to the band that confront not only the dismal treatment of veterans, but also the essential flaws haunting any pursuit of the American Dream.

Throughout the musical’s opening, Donny is tormented by his role in Julia’s late husband’s death, and is not alone in his burden. Every character bares the marks of the war on their minds, in their music, and in their hearts. Physical ailments are paired with post-traumatic stress and beautifully choreographed scenes wherein the actors physically struggle under the weight of men in military uniform— dragging their ghosts with them. Even Julia, as she joins the band of veterans, struggles with her own loss in the aftereffects of the war.

In addition to survivor’s guilt, Donny has to overcome his pride and fear. His failure to save Julia’s husband presents a very cutting scene on stage in part because Donny is the epitome of the trope of the overconfident male with complete faith in his ability to achieve the American Dream. In fact, in a beautifully belted solo, Danny even quite forcefully inserts himself among the era’s greats, denigrating Sinatra’s skills in comparison to his own.

Altogether, Bandstand hits on a sensitive and relevant topic in today’s society in a way reminiscent of White Christmas’ classic “What Can you Do with a General,” an early commentary on the aftereffects of war; however, with Bandstand modern theater brings us a portrayal more unapologetically gritty and honest…

And, as the musical clearly elucidates, contentious.

It is often hard to like Donny as he gives in to his pride and aggression, losing himself at times to his own mind, but as Julia comes around to see him in a different light, audience members cannot ignore his charm— nor the damage unfairly done to him by the lack of support and representation for returning veterans, veterans living in a society that does not want to acknowledge the scars inflicted on their brothers, fathers, and sons.

Occasionally the complexity of projecting multiple perspectives onto the stage (i.e. the first scene, which is both set at home with Julia and simultaneously abroad in the trenches) and pairing them with interpretive demonstrations of the characters’ mentalities manifests in Bandstand as strange staging and slightly confusing choreography. But, considering the massive scope of the undertaking, Bandstand does an impressive job of playing out its various plotlines.

The only real criticism that came to me in the mutterings of the audience and my own hesitations while watching Bandstand was the distinctly awkward inadmission of the concurrent issue of racial segregation during the 1940s and early 1950s. After all, Brown v. Board of Education didn’t even occur until 1954. As a result, it was a little disconcerting to see the token black character come to life in their use of Kevyn Morrow, the only POC cast member, as blanket ensemble in ambiguous roles with minimal speaking, the musical’s realism marred by its refusal to acknowledge its historical context in this regard. At one point, he is a preacher (for an all-white church), and, at another, he works as a radio executive (for an otherwise all-white station). To leave this unacknowledged is to pretend the harsh reality of the segregated social climate did not exist.

That being said, the musical dealt and dealt well with the issues it did confront, and it is understandable (though unfortunate and perhaps uncomfortable) that, in the stress of dealing with such a hugely important and controversial subject as the mistreatment of veterans, certain aspects of the play became “unreal” and certain unpalatable realities went unacknowledged.

Still, we can learn from Bandstand, in its message and its omitted lines, a great deal about the change that our society calls for, that America needs. So I would still call Bandstand a great American musical, and, with its hard-hitting message on veterans’ needs and its equally stunning choreography, certainly worth watching.