Tag: Fun

Cabaret Review: Donna McKechnie

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Donna McKecknie is the definition of triple threat – Broadway dancer/actor/singer – being herself one of the first generation of such creatures. And one of the best triple threats of that time (the 1960s and 1970s), who has famously played exactly that kind of triple threat in A Chorus Line (her character, Cassie, has to work hard to stop acting so that she can blend in with the rest of the chorus). So it’s a great boon that the stage at 54 Below has enough room for her to move – she’s a dancer before everything else.

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Jonathan Warman to direct a reading of “The Passion of Ed Wood” a new musical

EdInAngora Jonathan Warman will direct a reading of the new musical The Passion of Ed Wood, presented by Musical Mondays (on Thursday) Theatre Lab, on Thursday January 10, 2013 at 6pm at the Jerry Orbach Theater in the Snapple Theater Center. The Passion of Ed Wood has a book and lyrics by Justin Warner and music by Rob Kendt. Musical director is Jody Schum.

In The Passion of Ed Wood, the infamous 1950s Z-movie director, labeled the “worst director of all time,” gets a chance to redeem himself by presenting his incredible life story, narrated by his idol Orson Welles.

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CD Review: Forbidden Broadway: Alive and Kicking (The Un-Original Cast Recording)

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Forbidden Broadway has relentlessly and lovingly assaulted the Great White Way since 1982, when Gerard Alessandrini, then a struggling singer-actor, created the first edition for himself and his friends to perform. After a break between 2009 and now, Forbidden Broadway is back with a vengeance in this new edition sub-titled Alive and Kicking. The show, as always, is wickedly clever from the “Prologue”: A quartet wanders around the theatre district, stumbling down the aisle, saying “isn’t this the theatre where Forbidden Broadway used to play?” and then break into music from Brigadoon – a distant chorus chanting “Broadway’s on the brink-of-doom, brink-of-doom.” Alessandrini always has an obvious soft spot for certain shows, and this season it’s Newsies, which he mostly dishes for its almost-too-frenetic energy. Some of the harshest barbs go to Once in “Once is Enough”. The “Finale”, as often is the case for Forbidden Broadway, is a love note to the future of musical theater. Alessandrini seems to see plenty of hope (which he didn’t in 1982), and that’s a very good sign.

To purchase, click here.

For more reviews and interviews by Jonathan Warman, see his blog Drama Queen.

Theatre Review: Jackie Hoffman’s A Chanukah Charol

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Jackie Hoffman’s schtick is telling hilarious self-deprecating jokes about the sad state of her career. So has she changed her tune with A Chanukah Charol, turning the satire outward to spoof Charles Dickens? Nope, not really – she’s actually done something more creative, using Dickens’s hoary holiday chestnut as a frame to…well, continue telling hilarious self-deprecating jokes about the sad state of her career. She was already at “bah, humbug,” anyway, right?

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Cabaret Review: Justin Vivian Bond

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Back in the days when Justin Bond mostly performed as Kiki DuRane of Kiki & Herb, that deranged duo would always do Christmas shows that were the most hilariously blasphemous and vitriolic thing in town. Now that Justin Vivian Bond has shed the DuRane persona and stands ever more firmly center stage (and in the center of the gender specturm), v’s Christmas show naturally takes a much different form.

In “Snow Angel”, this year’s Christmas show, JVB’s own persona is plenty big enough and v’s wit is spontaneous, an acidly funny stream of consciousness – what do you know, hilarious blasphemy and vitriol still come pretty naturally to Justin! The stories v tells now are more personal; now, instead of toying with Kiki’s complicated fictional relationship with Christianity, Bond can actually put v’s own pagan ambivalence about Christmas at the heart of the show. And the music can be performed with less irony and greater feeling – after singing Jay-Z and Kanye’s “Made in America”, JVB specifically said “I hate post-rap irony, so I did my best to be sincere.”

There’s a lot of songs by Melanie Safka (of “Brand New Key” and “Lay Down (Candles in the Rain)” fame), and Melanie’s dangerously earnest passion defines the tone of this act. The musical backing from Brett Every on piano and Nath Ann Carrera on guitar is sophisticated, warm and rich. Amber Martin on backing vocals can stand up to Bond’s titanic vocal power, a very tall order. There’s nothing particularly jazzy about the arrangements – if anything they are redolent of folk rock and chamber pop – but there is a powerful sense of improvisational give and take.

Bond is one of the most original and potent performers of our time, whom I think everybody should see at least once. Or more often – there’s something new and freshly rewarding about every single performance.

For tickets, click here.

For more reviews and interviews by Jonathan Warman, see his blog Drama Queen.

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