Colin Quinn is one of the better comics doing political satire – he communicates highly complicated ideas through the most mundane and absurdly funny examples. I’ve thoroughly enjoyed his previous shows Long Story Short and Unconstitutional, which brought enormous issues wittily down to a comprehensible human scale. So I got excited when I heard about this new show about the the history of New York.
This girl is big!!! I mean for one thing, Alaska’s just very, very tall!! For another thing, her greatest gift as a performer is a knack for imaginative exaggeration. One would hope so: her full drag name is Alaska Thunderfuck 5000 from the Planet Glamtron, and that’s a lot to fill out. More than anything else, Alaska T5ftPG is a talented caricaturist.
The Minj is quite the little singer! Well, maybe not little…Ginger has genuine article musical theatre training and chops, and has made the intelligent move of structuring her cabaret act Crossdresser for Christ: The Musical, A Drag Queen Confessional around a songlist made up exclusively of showtunes. She made the equally smart choice of going for variety within that songbook, using tunes from shows as disparate as Oklahoma and Hedwig and the Angry Inch.
The setup for An Act of God is that the King of the Universe has come to speak directly to the Jewish people – which is why he’s chosen to appear on Broadway. He’s brought along a new set of Ten Commandments that confirm mostly that a) humans should be nicer to each other and b) they shouldn’t bother him. Jim Parsons plays the deity, and he is the primary reason to see the show, combining the effortless winsomeness he’s known for with a more authoritative edge. His comic timing is razor-sharp as always, made even sharper with the danger of an all-powerful deity slowly realizing something is seriously wrong with him.
This is totally charming! And with a cast that features personal favorite Christine Ebersole as well as Julie Halston, Tony Sheldon and a slew of similarly singular talents, Ever After is also eminently watchable. Oh and did I mention that the score by composer Zina Goldrich and lyricist Marcy Heisler is one of the more tuneful and solid I’ve heard in a while. I guess I’m a fan!