Mumbled speaking echoes from a speaker. Subtitled video floods a wall, commenting on the human tendency towards identity and acceptance. White dress shirts, spray painted blue, dangle from hangers above a stairwell. A kitchen table, complete with a carefully set up LIFE board game and a bowl of freshly popped popcorn, is nestled in a corner. An unmarked envelope sits on an end table with a handwritten love note inside.

This is only a sliver of the multimedia installation, A Marriage: 1 (Suburbia). The entire building of HERE Arts Center is transformed, with every inch of space down to the bathrooms, dressing rooms, walls, ceilings and stairwells made into art and part of the experience.

Entering the Main Stage, where the performance events unfold, a plaque introduces artists Nick Vaughan and Jake Margolin as a gay couple married in 2008. "This is our attempt to unpack those structures," it reads - referring to the heteronormative lifestyle and the traditional nuclear family as explored through their eyes as a homosexual, married couple. The performance portion is highly postmodern, using focused, literal movement explorations each night that conclude in the creation of a new work of art to join the ever-changing installation. The Wednesday April 24th performance, "Spray Piece: Autumn Drive 1957," featured Vaughan and Margolin in head-to-toe white clothing, goggles, and surgical masks.

For an hour and a half they slowly made their way from one end of the roughly 6 x 6 white paper taped to the floor to the other. All the while, they spray the paper and each other with a colored assortment of eight cans of spray paint each. It is a beautiful, serene yet messy, intimate yet methodic procession that ends with both stripping off their paint stained clothes and shoes to lay down beside the now-painting they created together.

Throughout the performance space, white platforms (with a date stamped on the corner) showcase materials that will be used for upcoming performances as part of the exhibit, continuing through May 4. Stacks of bubblicious bubble gum, a coiled hose, an ironing table and dinnerware, boxes of sugar below a white picket fence, more spray paint - these are the makings of the installation yet to be seen. A completed artwork from the opening night performance - a framed net of colorful yarn with hanging pencil sharpeners is on display.

Just as it allows for each audience member to direct their own experience, the installation morphs with each performance. Vaughan and Margolin's A Marriage: 1 (Suburbia) is a stellar example multimedia visual art through and through. Each piece has a subtle connection to another, all speaking to the presiding theme of same-sex marriage and its slow merger under the umbrella of the Normal American Couple. More importantly, the work hinges on Vaughan's and Margolin's ambivalence to this shift in society. Nothing presented tells you what to think. Everything presented makes you consider this timely issue, your opinions, and those of others.

One of the most impressive sections of the installation is the clumped, blown-up plastic bags hovering at the ceiling in the Dorothy B. Williams Theatre. At first glance they are intriguing in and of themselves, but upon a second visit, two performers sit at a nearby desk with large transcripts: we observe as they read the court proceedings of Perry v. Schwarzenegger, California Proposition 8 Case into bags. Glancing back at those hanging, air-filled bags, the visual representation of the breath spent on three days' worth of the 13 day-long oral proceedings sets in. Throughout the installation the number of bags will grow as the performers continue to read.

A Marriage: 1 (Suburbia) is presented by HERE Arts Center. Take advantage of the free returning admission for subsequent dates with your ticket.
EYE ON THE ARTS, NY - Jennifer Thompson

Pliant, rubbery joints echo animalistic roots, seeded deep inside the body’s nerve center. Despite the double-jointed appendages and slightly loping gait, Peter’s intellect is clear and precise. Gazing intently at the audience, we learn of the Peter’s capture in the jungle, internment in a cage and subsequent transformation by imitating his captors’ speech, manner and actions. Every now and again, semian instincts surface, contorting a body steadfastly controlled by the mind.

Reminiscent of Charlie Chaplin’s shatteringly human tramp, Hunter’s a schooled, baritone voice issues a deep reservoir of melancholy and haunting wisdom. “Kafka’s Monkey” is a Young Vic production presented by Theater for a New Audience.
EYE ON THE ARTS, NY -- Celia Ipiotis

All the famous acts of the 1960’s and 1970’s swoop onto the stage belting out timeless hits about love, lost love, unrequited love, erotic love, and every other manifestation of obsessive love until President Kennedy and Martin Luther King are assassinated. The country’s civil rights awakening, riots and tragic murders usher in the potent black protest music that penetrates the soundtrack of rebel college students.

An uplifting story of a young African American man intent on breaking into the music business in a bid to feature his multi-talented friends and claim ownership of the product, Berry Gordy (the dynamic Brandon Victor Dixon) uses $1000 to buy a house in Detroit and turn it into Hitsville USA. But this was not just a music label; this was a house that built full-blown performers. Clients were taught how to act, sing, dance, dress, and behave. At the time, blacks and whites did not mix but the infectious soul music became a grand cultural mixer that helped tear down racial discrimination.

Stretched over the thin backbone of a story scripted by Mr. Gordy about the construction of a musical empire, director Charles Randolph-Wright literally pulls one act after another from the wings into the bright lights for a musical teaser. Understandably, the era produced a bounty of hits, and the elimination process must have been grueling, but sometimes you feel cheated by getting a mere glimpse of an act like Gladys Knight (the excellent Marva Hicks) and the Pips nailing “I Heard it On the Grapevine.”

Everyone belts out the truncated classics including standout deliveries by Mr. Dixon, Valisia LeKae (Diana Ross), Charl Brown (Smokey Robinson) Bryan Terrell Clark (Marvin Gaye) and a show-stealing, knockout performance by Raymond Luke, Jr. as the young Michael Jackson. Ms. LeKae succeeds in interpreting Ross’ smoky voice and glamorous vibe, but she occasionally loses pitch. Sailing through dreamy voiced songs, Mr. Brown easily assumes Smokey Robinson’s temperate personality and although Mr. Clark is in fine voice, he lacks Gaye’s vulnerability—but then, that’s what made him such a singular artist. In a clever bit of staging, Mr. Randolph-Wright arranges the male acts on stage like do-wop groups grabbing a pavement corner.

Of course, signature Motown dance routines were central to the Motown sound. Characterized by precision and style nailed to sharp hand gestures, tight spins and punctuated stops, the routines roused young audiences into a frenzy of body-shaking excitement. However, no one can top the original dance sequences devised by the master Motown choreographer Cholly Atkins. Exemplified by rhythmic, crystalline steps contrasted by dramatic pauses, expressive hands and head snaps, these dance routines coupled cool to sex.

For Motown The Musical, these now famous dance routines are re-drawn by Patricia Wilcox and Warren Adams for performers suited-up by costume designer Esosa performers who move through evocative, portable sets by David Korins. Some of the best dance moments come when the Four Tops rip into their in-place, bent leg-to –straight-leg strut and sudden bend at the waist, head down to freeze. Dance sequences tie together scenes using more contemporary steps, but considering the highly skilled ensemble composed of dancers from Juilliard, and major dance companies, the choreography under-rates its dance corps.

As a whole, the production works because everyone loves the story of an outsider transformed into king of his universe who ushered in a music phenomenon that still dominates the soundtracks of film scores, commercials, television and date nights.
EYE ON THE ARTS, NY -- Celia Ipiotis

The three characters spout fragments of Chekhov, send-up the acting establishment and point fingers at their own self-absorbed lives in a strictly circumscribed area that resembles the parameters of their hermetic lives. Nerve-wracked over an impending performance of the Cherry Orchard, the very fine Amato decides that they should all re-enact the final days of Chekhov’s cough-consumed life. This leads to insights into Chekhov’s profound connection to his sister, a love never rivaled by wife or anyone else. The actors morph from being themselves, to characters in Chekhov’s lives or plays.

Now there’s always the question of how well a translation serves the original. Humor is by far one of the most difficult to translate across cultures. Braiding different tonal strands together is complicated stuff, and in Neva, it becomes confusing as well as exasperating despite the strong performances by all the cast members.
EYE ON THE ARTS, NY -- Celia Ipiotis

The audience settles into Hamlet’s Denmark right away, with “Elsinore” shinning in glow-in-the-dark paint on the back wall. Sitting in folding chairs splayed across the stage and facing the theater seating, our focus is diverted, following the directions of whispers and flashlights. The physical sense of uncertainty parallels Horatio’s encounter with the Ghost, and the current state of Denmark soon after the covered-up murder of King Hamlet.

The quartet cast including Ted Lewis, Andrus Nichols, Eric Tucker and Tom O’Keefe play the 27 characters that thread the tragedy together – everyone from the clowns, messengers, Ghost, and players, to Ophelia, and Hamlet and his family, awkward tension and all. That doesn’t even take into account the moments when each become momentary props, sound effects, or rely on members of the audience; needless to say the range of acting is impressive and manages to create a seamless performance despite the dissonance in “who’s who.”

Back in the comfort zone of audience in theater seats and actors on stage, Act II chronicles Hamlet’s plans to avenge his father’s death at the hands of his Uncle Claudius. Tucker claims double credit, also acting the role of Hamlet. He’s most brilliant at portraying the purposefully indifferent and semi-lunatic Hamlet, even enticing laughter through his delivery. Four chairs set up side-by-side house the various conversations had about Hamlet, with Hamlet, and in preparation of his plan to stage a play to “catch the conscience of the king.”

We are welcomed into Act III with the comment, “in forty-five minutes we will all be dead.” Now, our seats encircling the stage, everyone has a front-row view for the climactic end of the play. Anger is everywhere – over King Hamlet’s death, and even Ophelia’s apparent suicide – and arguments and attacks ensue. Most exciting is the active sword-fighting (choreographed by Trampas Thompson) mere feet away from us. The four actors convene for a final wrestle in the pile of dirt meant to be Ophelia’s grave, until, sure enough, each takes their last breath.

Bedlam’s Hamlet is an in-your-face, contemporary take on the classic, that both Shakespearen novices and experts can enjoy at the Access Theater.
EYE ON THE ARTS, NY – Jennifer Thompson

Originating from a poem that she wrote in 2010, Meishar, a lifelong actress, has now developed her dream of a twisted baker into a multi-dimensional play. Already in character, Meishar canvases the theatre, offering freshly baked cookies as the audience files in. As the lights dim, a brief film depicting images to reflect the words of her poem projects on a screen. The play itself, performed by seasoned and well-casted actors, consists of a series of stereotypical characters—a gay couple, a wise, elderly Jewish woman, a brainless hunk, a nature-loving worldly-type, and, of course, the apron and white-tights clad, wholesome bakery owner—introduces intriguing characters and story line, but could use some revision. Perhaps, for example, Meishar could begin the story with the hunk’s thoughtless consumption of a pie containing her naif heart; she could also add a great deal of character development, so each part becomes more than a caricature.

In a way, this play resembled a suicidal version of Sweeney Todd—a story that is outwardly disturbing, and yet relatable and entertaining. Meishar’s concept has great potential and much room for well-anticipated development.
EYE ONTHE ARTS, NY --Elizabeth Sherlock-Lewis

”Unlike most of Castellucci’s work, the set for Sul Concetto is surprisingly hyperrealistic, a living room with sofa, coffee table, TV and potted palm on one side of the stage, a bedroom on the other and a dining room in between. Everything is white. An old man wearing a white bathrobe is sitting on a white sofa. He is watching TV. This might be the beginning of a bourgeois drama if it weren’t for the gigantic reproduction of Antonello da Messina’s 1465 portrait of Christ entitled Salvatore mundi (Savior of the World )that takes up the entire rear of the stage. Scott Gibbons’ pounding soundscape composed of loud voices and metallic noises, contradicts the tranquility of the opening scene.

A well-dressed gentleman comes into the living room. “Is everything all right, Papa?” he asks in Italian. “How are you this morning?” “Did you sleep well?” “What are you watching?” The father mutters something about animals. The son gets ready to go to work but before he can leave, his father is having some sort of attack. A dark brown stain appears on the father’s bathrobe and then on the sofa. The Father has lost control of his bowels. With loving kindness, the son tells him not to worry. He gets a bucket of water, latex gloves, towels and a fresh diaper. He meticulously tends to his father’s needs, taking off his bathrobe and soiled diaper, washing him and putting on a fresh diaper and clothes. He cleans up the mess without a complaint. The father is devastated, of course, and is constantly apologizing and weeping.

Son and father next move to the center of the stage where there is table and chairs. No sooner does the Father sit down than he loses control again. Same scenario, same gestures, same feeling of caring on the part of the son for his father. As the son of God looks on, impassive and serene, the father has yet another accident and the son must once more wash and change him, this time with a bit more impatience. In fact, his head in his hands, he shouts his distress and frustration. The son must finally leave but before he does he faces the portrait, and we hear the word Jesus repeated in an echo.

The father is left sitting on the edge of his bed, the embodiment of dejection and shame. In a final gesture of despair, he pours a bottle of his feces over the bed and himself. A young schoolboy appears out of nowhere. He takes off his backpack and begins to throw fake grenades at the portrait of Christ. He is soon joined by other schoolchildren who follow suit. The explosive sounds of the grenades hitting the image of Christ is deafening as well as unsettling. Yet the portrait remains undamaged and the children sit in a semi circle staring at it before leaving.

Wearing only his soiled diaper, the father walks slowly over to the rear of the stage and out a back door. Black liquid begins to stream down the face of Christ. Loud rumbling noises accompany the astonishing final moments of Sul Concetto. Something strange and extraordinary is happening to the portrait of Christ. It is being torn to pieces by three stage hands standing on scaffolds behind the image. Large white letters begin to appear in English on the remains of the portrait. At first we read : “You are my Shepherd,” but within a few minutes, another word becomes visible, the word “not” in parentheses. “You are (not) my Shepherd.” The son of God, the Savior of the World (the title of Massina’s painting) has not provided succor to this father and son. Overwhelmed by this intense experience, we are left to ask ourselves to what extent we too are implicated in the penetrating gaze of this indifferent Christ?
EYE ON THE ARTS, NY -- Philippa Wehle

The Red and The Black, written and directed by Deloss Brown, is based on Stendhal's (a.k.a writer Marie-Henri Beyle) part romance, part satire, part sociological novel, "Le Rouge et le Noir." The many layered plot hinges on the art of being a diplomat - the men, literally, within their newly conservative society, and the women, ironically, behind the scenes. In fact, Julien learns firsthand the cunning ways and underappreciated intelligence of women the closer he gets to his employer’s wife, Louise.

Lucas Wells is excellent as the lead, melting in and out of his innocent, obedient peasant boy act to address the audience with what he is actually thinking. “That’s how rich people talk,” he declares after many an encounters with the upper class.

In a comical scene, Julien, Louise and her friend, Marie, sit side by side discussing the work of Voltaire, as Julien decides to conquer his inexperience and priesthood tendencies once and for all – by holding Louise’s hand. By Act 2 they are in bed together, both committed to their double lives, proving a woman and peasant can dupe all those around them, even when questioned.

Brian Linden was hilarious as de Renal, also addressing the audience intermittently to comment on the “complicated machines” that are “so annoying,” namely women. Keeping in tune with the underlying chauvinistic theme, solely men take the stage opening the play, the maid enters and exits showing her weakness in public fits of hysteria over heartbreak, and Louise announces on more than one occasion that she “doesn’t understand things.”

The Red and The Black is truly an amusing look back into this part-imaginary, yet part-historical society, through young Julien’s eyes at the Theatre at Saint Clement's. EYE ON THE ARTS, NY - Jennifer Thompson

Nestled together under one blanket, two beautiful black heads are entwined like a Brancusi sculpture. Every morning, Philemon (the marvelous William Nadylam) wakes up, admires his beautiful wife Mathilda (Nonhlanhla Kheswa), and makes her breakfast in bed. He considers himself a lucky man. Mornings Philemon meets up with his congenial friends; jokes around, while frantically lobbying for rides to work in Johannesburg, until night draws him back home. But bliss is fleeting, particularly in restless Apartheid Africa.

A pal (Jared McNeill—a wonderfully physical comedienne) spills gossip pointing to his wife and a secret lover. Rushing back home, he breaks in on the couple swooning, but the lover jumps out the window leaving his suit behind. Instead of violating his wife, Philemon forces Mathilda to hang the suit in the closet, and keep it within eyesight at all times.

Never has there been a more passive, yet psychologically debilitating punishment. Time passes, and she blossoms after joining a women’s’ group that offers practical instruction in cooking, sewing, planting, and reading and rekindles her desire to be a professional singer. Jazz music dips around the humor and sadness generally sung in Mathilda’s clear voice. But McNeil delivers one of the most memorable songs when he delivers “Strange Fruit” – a song about lynchings in the American South made famous by Billy Holiday.

Despite the appearance of the suit everywhere—at night in the bedroom, at the dinner table, on walks around town –everywhere, Mathilde feels her universe enlarge. After a house party that includes good-natured guests from the audience, Philemon reconsiders his punishment, but it’s too late—for the couple and for their home Sophiatown—soon to be erased by government bulldozers as part of the relocation plan for blacks in South Africa.

The writing, direction, acting, and music fold seamlessly into each other. Succinct and quietly forceful, a savage poignancy rips through a tale about forgiveness that never forgets.

Directed, adapted and scored by Peter Brook, Marie-Helene Estienne, and Franck Krawczyk The Suite is based on a story by Can Themba, Mothobi Mutloatse, and Barney Simon.

Through the talents of its estimable cast and director Peter Brooks, the haunting play radiates thoughtful repose and places humanity at the heart of the action.
EYE ON THE ARTS, NY -- Celia Ipiotis

This year, ISPA participants gathered in midtown and downtown Manhattan from January 15 – 17. Keynote speeches, and professional sessions illuminated a series of topics including effective management strategies, the implementation of new technologies and pitch sessions.

Before the afternoon session on Wednesday, January 16, a delegate from France told me that he attended ISPA because it was an intimate and informative convening of professionals. In this setting, he felt international artists were taken seriously--not just in terms of their work, but their surrounding social and political issues. For this French arts scout, ISPA felt like a very personalized experience.

In an appetizing prelude, the innovative tap dancer Michelle Dorrance presented a dance excerpt that mixed traditional tap and rhythmic explorations in stockinged feet.

To kick off the panel in the auditorium of the Times Center, the congenial David Baile, ISPA’s Chief Executive Officer, greeted everyone introducing the panelists and encouraging animated exchanges. Moderated by Holly Sidford , an arts consultant with Helicon Collaborative, the panel on “Models of Innovation” included the remarkable Maestro Armand Diangienda, founder, director and conductor of the Dimbanquiste Symphony Orchestra from DR Congo, Diane Quinn from Cirque du Soleil’s management team, and George Steel, Artistic Director of the NYC Opera.

Although each participant had a different story to tell, Maestro Diangienda’s creation of an orchestra and chorus out of nothing—no instruments, no knowledge of music, no access to professionals—was short of astonishing. Granted, he was born a gifted musician, otherwise, it’s impossible to think of anyone else teaching himself or herself how to play the bass, piano, read music and conduct in the space of a few years. It’s also a tribute to the transformative power of the arts in a war-torn region. The human spirit triumphs, and in the process, the local community benefits as the does the world at large.

Perhaps not as dramatic, but equally important, Quinn and Steel explained their routes to greater self-sufficiency and transparency in an era of diminishing funds and competition with electronic/internet platforms. Both underscored their commitment to new productions, built on efficiency and imagination.

Too often, American artists forget they are part of a global arts community. ISPA mirrors work from established international centers and newborn artists.

For more information on the organization’s ongoing activities and programs please visit ISPA.
EYE ON THE ARTS, NY -- Celia Ipiotis

Not exactly the Rosetta Stone language course, performers show us an object, say the word in Mandarin, blow a whistle and we repeat. Sometimes there are physical demonstrations for words like “kung fu” or “feng shui.” ,p>This back and forth continues more or less unbroken, until the elder man flips through a scrapbook, then dons a traditional Chinese opera mask and assumes a curved over position, as if ready to perform. This is the only, deeply personal moment in the production.

Created by the Budapest born Edit Kaldor, Under The Radar's presentation C’est du Chinois makes the immigrant experience palpable.
EYE ON THE ARTS, NY -- Celia Ipitois

This year, the Association of Performing Arts Presenters 2013 Annual APAP Awards recipients, whose service to the performing arts has had a significant impact on the industry and on communities worldwide include:

The William Dawson Award for Programmatic Excellence and Sustained Achievement in Programming: On the Boards, under the leadership of Lane Czaplinski and Sarah Wilke;
The Sidney R. Yates Award for Outstanding Advocacy on Behalf of the Performing Arts: Philip Horn, of the Pennsylvania Council on the Arts;
The Award of Merit for Achievement in Performing Arts: Judith Jamison, legendary dancer and director emerita of the Alvin Ailey American Dance Theater.
The Fan Taylor Distinguished Service Award for Exemplary Service to the Field of Professional Presenting remains undisclosed until Jan. 14. “The annual Arts Presenters awards celebrate the extraordinary talents and contributions distinguished colleagues and organizations have made to our field and to our community life,” says Mario Garcia Durham, APAP president and CEO. “They not only work for the greater good, they provide inestimable role models for the place of the arts, arts leaders and artists in the global, regional and local landscapes.”

A panel of national arts leaders decides on the winners each year based on nominations from the field. This year’s awards committee included: Alicia Adams, vice president of international programming at The John F. Kennedy Center for the Performing Arts (DC) and 2012 recipient of the APAP Fan Taylor Award; emerging arts leader Anna Glass (NY); Houng Vu, community investor at Boeing Corporation (WA); Chuck Helm, director of performing arts at Ohio State University’s Wexner Center; Carlton Turner, executive director of Alternate ROOTS (GA); Mitch Menchaca, COO of Chorus America (DC); Angela Beeching, principal at Beyond Talent Consulting (MA); Beth Morrison, creative producer at Beth Morrison Projects (NY); and Alberta Arthurs, arts and culture consultant and contractor (NY).
EYE ON THE ARTS, NY -- Celia Ipiotis

Lin-Manuel MirandaLin-Manuel Miranda, composer and lyricist for the Tony Award-winning Broadway hit In the Heights, will set the stage for the five-day event as the opening plenary speaker on Friday, Jan. 11.
On Saturday, Jan. 12, the popular pecha kucha, a rapid-fire visual and interactive format, will take place with moderator Jean Cook and presenters Young Jean Lee, Adam Horowitz, Daniel Bernard Roumain (DBR), Stephanie Pereira and Souad Massi.
Reggie Watts and Jeff Leitner will lead IMAGINE This!, an interactive plenary on Sunday, Jan. 13, and singer-songwriter Rosanne Cash will take the stage on Tuesday, Jan. 15, as the closing plenary speaker.
In addition to a track of sessions devoted to presenting international artists, a series of sessions will focus on arts-based initiatives that address climate change and sustainability. The annual convening also includes a consultation program for attendees to meet experts to discuss fundraising and capitalization, taxation, visa policies and procedures, and grants for artists and presenters.
EYE ON THE ARTS, NY -- Celia Ipiotis

Hollow Roots
January 10-20 (Running Time: 55 minutes)
Christina Anderson and Lileana Blain-Cruz (USA)
Written by Christina Anderson, Directed by Lileana Blain-Cruz, Performed by April Matthis
In Hollow Roots, a woman traverses a nameless urban landscape plagued by a question: can a person of color have a "neutral narrative"?

Ganesh Versus the Third Reich< br> January 9-14 (Running Time: 105 minutes)
Back to Back Theatre (Australia)
Directed by Bruce Gladwin
Devised by Mark Deans, Marcia Ferguson, Bruce Gladwin, Simon Laherty, Scott Price, Kate Sulan, Brian Tilley, and David Woods
It begins with the elephant-headed god Ganesh traveling through Nazi Germany to reclaim the Swastika, an ancient Hindu symbol.

Minsk 2011: A Reply to Kathy Acker
January 15-20 (Running Time: 85 minutes)
Belarus Free Theatre (Belarus/UK)
Concept, Adaptation and Direction by Uladizmir Shcherban, Devised by Belarus Free Theatre
If scars are sexy, Minsk is the sexiest city in the world. In Minsk 2011: A Reply to Kathy Acker, strip clubs, underground raves and gay pride parades pulse beneath the surface of a city where sexuality is twisted by oppression.

Blood Play
January 9-20 (Running Time: 75 minutes)
The Debate Society (USA)
Written by Paul Thureen and Hannah Bos, Directed and developed by Oliver Butler
In the tranquil Chicago suburbs in the early 1950s, the kids are away camping with their Jr. Cherokee Troop, and a string of coincidences yields a spontaneous grown-up party.

C’est du Chinois
January 9-16 (Running Time: 80 minutes)
Edit Kaldor (Hungary/Netherlands)
“Thank you for your interest to learn Mandarin. It is a good investment of your time.” Meet the Yao and Lu families from Shanghai, determined to reinvent themselves in a new country.

Arguendo (Work in Progress)
January 12-14 (Running Time: 90 minutes)
Elevator Repair Service (USA)
Directed by John Collins, Created and performed by Elevator Repair Service
In Barnes v. Glen Theatre, a 1991 First Amendment case brought by a group of go-go dancers, the justices of the U.S. Supreme Court debate whether dancing naked in a strip club is an exercise of artistic expression or a crime.

Hamlet, Prince of Grief
January 10-20 (Running Time: 30 minutes)
Leev Theater Group (Iran)
Directed by Mohammad Aghebati, Written by Mohammad Charmshir Using household objects and children’s toys to play out his family’s history of betrayal and death, in Hamlet, Prince of Grief, Shakepeare’s tragic hero comes to terms with his violent fate.

A 20th Century Abridged Concert of the History of Popular Music One Night Only: January 11 (Running Time: 90 minutes) Taylor Mac (USA)
24 concerts will be stitched together culminating in a 24-hour long extravaganza.

Life and Times: Episodes 1-4
January 16-20 (Running Time: Episode 1, 3 hours 15 minutes with a 15 minute intermission; Episode 2, 2 hours; Episodes 3 & 4, 2 hours 30 minutes. Marathon runs 10 hours 15 minutes including three breaks).
Nature Theater of Oklahoma (USA)
Conceived and directed by Pavol Liska and Kelly Copper, Produced by Soho Rep Life and Times: Episodes 1-4 charts one person’s account of their own life from earliest memory through adolescence through music, movement, and mystery.

2 Dimensional Life of Her
January 10-20 (Running Time: 40 minutes)
Fleur Elise Noble (Australia)
Concept, direction, set Design, and performance by Fleur Elise Noble
Fleur Elise Noble creates a parallel world in which everything thought to be flat becomes something else.

Zero Cost House
January 10-20 (Running Time: 110 minutes)
Pig Iron Theatre Company and Toshiki Okada (USA/Japan)
Directed by Dan Rothenberg
A meditation on how Henry David Thoreau's Walden Pond changed a man's life.

ToasT
One Performance Only: January 19 (Running Times: 90 minutes) Lemon Andersen (USA)
Written by Lemon Andersen, Directed by Elise Thoron, Free Tickets
A reading of Andersen’s new play, ToasT, celebrates the poetic history of black oral narratives called “toasts."
please visit www.undertheradarfestival.com Public Theater

Created, directed, designed and produced by Chris March, AKA the "Project Runway" NYC-based designer finalist, it is a ballet that plays up holiday gaudiness taking the classic and setting it in a trailer park - literally. As if that wasn't enough to ensure a hilarious, outrageous rendition of the cherished Christmastime favorite, March played the role of Clara... a whiny, drag version of a girl in time-out atop a toilet seat with a sparkly-bow atop his head.

Choreographer of the production, Ben Franklin, also doubled in the December 19th performance as Clara's Dad. Aside from donning an eye patch, a John Deere cap, and a wife beater tank top, he also harassed the six Milwaukee beer can Ballerinas, performed a solo as Miracle Whip ballerina man, and had a cameo as "dancing Clara" with some pink-stained cheeks, a deep v-neck t-shirt and tutu ensemble at the end.

A trailer decorated with a shiny, plastic wreath, a string of lights, and a nativity scene on top serves as the backdrop for the ballet, with only a hanging car freshener in "Royal Pine" as the Christmas tree. The Nutcracker, played by Associate Choreographer Joshua Dean, emerges from the trash yard with a garbage can atop his large, white-bearded head. He is a talented dancer, jumping and leaping even while sporting his enormous nutcracker headpiece.

Music swells in and out of Tchaikovsky's Nutcracker Suite (sometimes the rock and roll covers), to songs like "I Want Candy," "Tequila," and "I'm Coming Out." Impressive scene and costume changes occur during projected video interludes featuring snippets of TV episodes and movies like "Charlie Brown" and "A Christmas Story."

The six ballerinas are quite good, embracing their outlandish dance suites as beer cans, SPAM, glow-in-the-dark flamingos, tap dancing bowling pins & orthodox Jewish men, sexy lamps, sandwich condiments, clothes-lines, and one connected chain of ugly Christmas sweaters. Throwing elegant, poised facial expressions to the wayside, they are animated throughout and truly look to be having a grand time.

In the end, Clara gets the pointe shoes she was hoping for, and the car freshener pine tree grows to human-size, completing this titillating, trailer-park tale.

The Butt-Cracker Suite is a SubletSeries@HERE presentation, presented at HERE Arts Center.
EYE ON THE ARTS, NY - Jennifer Thompson

As the SITI company’s “Trojan Women (after Euripides ") at BAM begins, they enter the playing area walking solemnly in profile stage rear. Before long, their beautiful white gowns are soiled by the dark gravel that gradually stains the bottoms each time they cross over the circle.

The god Poseidon sings the tale of the great wooden horse as the women begin to tell of their tragedy and their fate. The gods have abandoned them and they are doomed to suffer as the slaves and concubines of their enemy. Destined to become Agamemnon’s concubine Kassandra has clearly lost her mind. She flings herself about the stage, fully aware that she will be killed by Clytemnestra and as she tells us, she welcomes her death.

Andromache, carrying her baby son Astyanax in a sling around her waist, pleads with Envoy to spare her son, but there is no way to convince him that hector’s son will not grow up to avenge his father.

Hecuba is their rock. She holds her daughters close to her even though hers is perhaps the most grievous tragedy of all. Her sons have been cut down, her husband slaughtered and her youngest daughter torn apart. Yet she prevails.

Thanks to Jocelyn Clarke’s contemporary adaptation of Euripides’ 415 BC tragedy, and director Anne Bogart and the members of her SITI company, it is clear that these are not just the women of Troy. They are mothers without husbands or sons, daughters and spouses, all victims of the horrors of war and as such they hold special resonance for us today.

A fourth woman of Troy, Helen, tall, slender and gorgeous, is well aware of her attributes. She may suffer the same fate as her “sisters” but once her husband Meneleus arrives to take her back to put her to death, it becomes clear that he cannot resist her beauty and her seductive wiles. She will be spared.

But “what of me?” Hecuba wonders. Odysseus has won her and he is determined to claim his prize despite her pleas to let her die alone in the remains of Troy. Before leaving, she must bury Astyanax according to Trojan rites. Once she has prepared the baby’s body and gently placed it in his grave, she covers her grandson with Hector’s shield to shelter him from any harm.

Played magnificently by SITI’s Ellen Lauren, she is the enduring tragic heroine. Howling and weeping in her agony, she watches Troy, her home, go up in flames. Despite her grief, she is able to get up off the ground, as she says, and accept her destiny. “We shall endure and comfort one another,” she proclaims at the same time as she laments that “no one will remember us.”

Thanks to SITI’s “Trojan Women (after Euripides),” these tragic women of Troy remain with us as a current reminder of the power of women who have known unconscionable loss to find the strength to move on with their lives.
EYE ON THE ARTS, NY -- Philippa Wehle

To tell the tales of fallen men, Van Hove transformed the stage of the Howard Gilman Opera house into a large international conference hall with press rooms, conference tables, chairs, sofas and even potted plants. TV monitors were everywhere, some offering 24 hour news coverage (there’s Obama addressing the press, and images of recent hurricane damages, and shots of troops in Iraq or Afghanistan), others strategically placed to allow audience members to watch the action on the stage since at various intervals they were invited to join the actors on stage. They could either sit in the opera house seats or go up on the stage where they could buy drinks and food and stand close to Coriolanus as he plots with Aufidius to march on Rome, or watch Brutus plotting with the other conspirators to kill Caesar.

The 300 some people allowed on the stage at one time could also visit the internet station where they could send tweets about their experiences some of which appeared on the dot-matrix display that regularly streamed across the front of the stage (a display that intermittently announced that 205 minutes remained until the death of Brutus, for example, or set change in 30 minutes).

Stage right to the side was the make-up, hair, and costume area, and in the middle of the stage, two Plexiglas screens facing each other provided an area off limits to the audience. Between these screens, a rectangular slab on wheels served as the place where Coriolanus, Caesar, Marc Antony and other key characters end their lives, their bodies shot from above and projected onto a very large screen in startling freeze-frame moments . Clocks stage rear told the time in different parts of the world as if to remind us that such murder and chaos can happen and is happening everywhere.

While closely following key events in Shakespeare’s text but in a modernized Dutch-language version, with English subtitles, Van Hove places the action in contemporary times, and his focus is on politics and politicians not on the civilians, as he puts it. In any case, crowd scenes were not necessary since the audience with their tweets stood in for the vox populi.

Before long, Coriolanus makes his way through the crowd, a hero returned from the war between Rome and the Volscians. His entrance is accompanied by loud drumming, strobe lighting and cymbals clanging. Covered with honors he enters Rome triumphantly to be greeted by his mother Volumnia and Virgilia his wife who welcome him home. Volumnia who has raised her son to be a warrior is especially proud of his twenty seven wounds as well as the news that he may soon be named consul .

Attention is quickly turned, however, to two actors who stand up in the middle of the auditorium. They are the tribunes who represent the people and they yell at Coriolanus for his contempt of the people. After all, as one says, it is a two party system (applause from the audience) but Coriolanus, the patrician, cannot accept democracy and a violent fight between senators and tribunes ensues on the stage.

The fight looks very real, especially Coriolanus’s explosive rage. The hero is banished and out of revenge, he joins forces with his enemy Aufidius to declare war on Rome. Frieda Pitoors’ Volumnia is riveting as she pleads with her son to win the people over to his side with soft words. Coriolanus may have his back turned to us as she speaks but thanks to a close-up of his face on the large screen, we see that he is clearly moved. Even he is capable of weeping. But it is too late. In a flash his body is shown on the slab between the glass panels and we move quickly on in history to Julius Caesar.

“Julius Caesar” opens with a TV anchor woman breathlessly broadcasting the ”Breaking News” that the Senate has offered Julius Caesar a crown three times and three times he has refused it. He even fell down in a faint, she reports and then skips and hops through the crowd over to the desk stage front where Brutus and Cassius are discussing these events. Cassius (played by a woman) fears that Caesar will turn the Republic into a dictatorship. Set change and we are with Caesar and his wife Calpurnia relaxing at home, he in white undershirt and blue sweat pants and she in baggy sweat shirt and socks. Brutus’s wife Portia, also in oversize sweatshirt and socks, pleads with Brutus to tell her his secrets. Despite Calpurnia’s warnings, Caesar leaves for the Senate.

The conspirators (men and women) in dark gray business suits, plot the assassination of Caesar which they quickly carry out but the final death blow is dealt by Brutus on the slab between the two glass panes while the others move downstage separating themselves physically from the man behind the plot: Et Tu Brute? Set Change again and the conspirators gather for a press conference supposedly to pay tribute to Caesar. Brutus speaks first and then hands the podium over to Marc Antony who yanks the mike out of its base and moves down stage to collapse in front of the podium where he begins to deliver his famous lines: “I come to bury Caesar, not to praise him. ”

Mike In hand, he feverishly moves up , down, and around and finally into the audience. He takes out a paper on which an outline of Caesar’s dead body appears and with a red marker, he indicates the stab wounds as the red ink flows down the page which is blown up on the large screen above. He returns to the podium carrying Casesar’s body and ends his moving speech speaking into the mike over Caesar’s body. Loud applause all around.

In contrast, Van Hove’s “Antony and Cleopatra” opens on a domestic scene with Ventidius, Charmian, Antony and Cleopatra sitting or lying around on sofas. Champagne is flowing and Antony, bare-chested and in shorts is watching cartoons on the TV. Charmian is coming on to Ventidius while Cleopatra ,wearing a pink slip that clings invitingly to her slim, sensual body, is delightfully kittenish and seductive as she sidles up to Antony. One minute she is melting into Antony’s body, the next she is dreamily evoking their ardor but soon, she is raging at the news that he has married again shortly after learning of his wife Fulvia’s death. Still Antony’s new wife Octavia (shown in close-up chewing gum and doing her nails) is no match for Cleopatra and Antony is soon back in her arms.

Much else happens in “Antony and Cleopatra,” of course, but for me, the focus in this version of Shakespeare’s tragedy was very much on the very real passion shared by the fated couple. Their final moments together as he prepares to go off to war, as she lovingly and proudly puts on his armor (a business suit and tie), their intimate conversation (she on one sofa, he far from her on another, but together thanks to a split screen), and the anguished look on her face as she watches Antony die through the Plexiglass screen, remain indelible images to me. I left the theater enthralled.
EYE ON THE ARTS, NY -- Philippa Wehle

To someone who identifies as a young woman, "Emotional Creature" stands as a beacon of understanding and enlightenment and to all others, a modem through which they may understand the struggle of facing life as a woman with all the odds stacked against her.

Striking and heart wrenching, anecdotes of sex trafficking were juxtaposed with lighter refections upon the trials of facebook profiling, as portrayed by Ashley Bryant. The cast played their parts well, transitioning seamlessly between characters, cultures, ages and scenes. Tougher themes, were interwoven with skillful character development. Though actress Joaquina Kalukango received the largest applause for her stirring portrayals, each young woman brought a distinct layer to the complex, 90 minute production.

Sade Namei's story of how a plastic surgery disengaged her from her funny personality stood out as a more modern take on how notions of traditional beauty rule society and Olivia Oguma's monologue about working in a Barbie Factory added a dissertation on rampant, blind consumerism. Additional monologues presented by Emily S. Grosland and Molly Carden reminded viewers of the trials of “not fitting in” and the uncomfortable practice of catering oneself to social norms.

Perhaps the only regrettable aspect of the performance was the lack of diversity within the audience. Ensler's story is about the ways in which all women and those who identify as such are viewed and treated. It seems a shame that the crowd to experience such a strong showing did not reflect the diversity so wonderfully represented onstage.
EYE ON THE ARTS, NY -- Kathleen Dalton

In celebration of 85 Years of Rockettes, a special costume parade illustrated the decades, beginning with the 1930's colorful birds of paradise costumes. The 40's acknowledged the sailors and WWII while the1950's were black and white zebra print, heralding the age of television, continuing through the 60's and the space age. Bob Mackie designed the super-sparkly high fashion costumes for the 70's and 80's, ending with today's candy colored costumes bringing the retrospective up to date.

A charming Nutcracker ballet brought the traditions of the holiday season to the stage with Clara on pointe, dancing with teddy bears and pandas to the marvelous Tchaikovsky score played by the Radio City Orchestra. Those terrific wind-up Toy Soldiers came next, in their totally straight regiments and kaleidoscopic patterns, filling the stage until the cannon collapses the line completely.

New red and green checkered coats wrapped the Rockettes as they toured 5th avenue and Central Park, stopping to see the skaters. Popping off the bus, the Rockettes displayed fresh and new choreography tingling with verve, high kicks underneath real fireworks.

A newer section retells the story of a child and mother visiting a department store Santa in the hopes of snagging this year's hot toy, "Jumping Jasmine." Santa saves the day by taking them to the North Pole to his workshop and getting them to play his new video game, "Humbugged." The Rockettes make an appearance as the green warriors who defeat the humbugs, restoring holiday cheer. The scene ends with the charming song, "Closer Than You Know" reminding everyone of the true meaning of the holidays.

After the dancing Santa number and the always stunning and moving living Nativity Scene, gospel singing ushers bring the show to a close in "Let Christmas Shine." With silver sparkles and one more kick line, the evening sends everyone dancing home.

The opening night included a benefit for Garden of Dreams which helps children who are ill or homeless. This charity, (part of the MSG Network) makes dreams come true, just like the magic of the theater.
EYE ON THE ARTS, NY -- Deborah Wingert

Marianne Weems has adeptly woven this classic story into the modern day crisis, jumping back and forth between stories to more effectively compare just how similar they are. She creates a jarring montage of the forces that came together to cause the modern housing crisis, and the despair of the dust bowl family as they’re thrust from their homes onto the hopeless journey for work and food.

Using a New Yorker’s sense of space efficiency, she overlaps the modern day and depression era sets, eschewing set changes in favor of a constant repurposing of the barebones house structure dominating the stage. This building not only serves as a set for action to take place in, but also does double duty as a set of moveable screens in which action can be played onto. In this way pieces of the play take place on top of one another, creating layers of action that form a surprising coherent whole.

Disposing of the need for set changes allows the action to build undisturbed. As Steinbeck’s story comes crashing into the modern housing crisis an underlying message emerges; that history repeats itself again and again, in a painful circle that we seem unwilling to learn from or avoid.
EYE ON THE ARTS, NY -- Jessie Gonthier

Jessica Chastain, though Julliard trained, was most recently seen in the movie "The Help." She plays Catherine Sloper, a young, shy daughter of a wealthy, prominent New York doctor. She becomes caught between duty to an emotionally distant father and a passionate suitor, who awakens her desire. Dan Stevens, recently of Downton Abbey on PBS, plays the young paramour Morris, who's desire includes Catherine's fortune, as an heiress.

The strong play returns to another world with costumes by Albert Wolsky, and sets by Derek McLane, allowing the audience to feel as if they are in the room with these characters. Producer Rose Caiola said "It is wonderful to see film and television actors do this kind of work. This is the real Broadway. " With direction by Kaufman, actors Judith Ivey and David Strathairn, and original music by Peter Golub, this play promises to engage the audience and compel them to inhabit the world of "The Heiress."
EYE ON THE ARTS, NY -- Deborah Wingert Sent from my iPad

The three female leads – the naïve Lily (Mary Mossberg) looking to get over her divorce, the skeptical Clarity (Brenda Braxton) on a feminist research mission for graduate school, and the ring-leader of cougars everywhere, Mary Marie (Babs Winn) cross paths on their journeys. In the 90 minute tale they all learn one thing, maybe being a cougar can be fun…if only temporarily.

Opening with a broadway-esque number “On The Prowl,” the trench-coated and sequined trio dance and purr. “Shiny and New” features the three chorusing in a nail salon, prepping for their pursuit of barely graduated boys. Mixed in are more “serious” numbers like “Gary’s Right,” Lily’s acceptance of her divorce, and “Love is Ageless,” speaking to the loss and gain of love in all shapes, sizes and ages.

Danny Bernardy proves to be a man of all trades, interchanging from one type of potential man meat to the next, with a brief, hilarious, interlude as “Eve” the manicurist. The climactic moment comes in the reveal of “Naked Peter.” Another Bernardy role, the scene epitomizes the ridiculousness of this lifestyle at its extreme; an online suitor arrives for a naked meet-and-greet with blonde bombshell Mary-Marie, only to unfold into a rather traumatizing mother-son reunion. The audience’s laughter rolls into the next number, “Mother’s Love” with a drunk Mary-Marie momentarily re-thinking her lifestyle.

Under the direction and choreography of the Tony Awards nominee Lynne Taylor-Corbett, the beauty in this production is in its simplicity and little endearing moments that complement the over-the-top plot and humor.
EYE ON THE ARTS, NY -- Jennifer Thompson

Smart and beautiful, Roxane (Clemence Poesy) is credible in her devotion and erotic attachment to the word. Intent on spurning the marvelously pompous Comte de Guiche (Patrick Page), she marries the attractive, but verbally vacant Christian (Kyle Soller). In the famous wooing scene, when Cyrano voices the poetic words of amour mouthed by Christian, the jockeying back and forth under her balcony blossoms into a kinetic physical comedy.

Before running off to war, the trigger-fingered swordsman, swears he will protect Christian and see that his daily letters find her loving eyes.

Hodge succeeds on a dizzying number of levels because he emotionally enriches the role of a natural born leader, a man among men who single handedly raises the morale of despondent troupes, the purity of his love almost becomes to much to bear.

After Christen dies on the battlefield, Roxane enters a convent where Cyrano visits every Sunday to relay political gossip. More so than in any other production, Roxane’s true feelings for Cyrano emerge stunningly believable.

The whole cast deserves praise for an energetic performance of a historic play brimming with youth in the translation by Ranjit Bolt with Max Baker, Bill Buell and Geraldine Hughes at the Roundabout Theatre Company's American Airline Theater.
EYE ON THE ARTS, NY -- Celia Ipiotis

A social worker named Lewis finds himself asked to put on a play to help bring the patients out of their shells. Adam Zivkovic plays Lewis with a gentle manner and a good amount of skepticism. When meeting the crazy cast of characters, Roy (Matthew Foster) is introduced as the mastermind behind the opera Cosi Fan Tutte. The first problem is no one can actually sing. Then there is Henry( Stuart Williams), the stuttering ex-lawyer, Zac (Duke Anderson), the pianist who hates Mozart and prefers Wagner, and Doug (Clint Zugel) the pyromaniac!

As for the women, there's the over sexed Cherry played with delicious quirkiness by Annie Worden, the junkie Julie ( Kathleen Foster) and Ruth (Laura Iris Hill) the confused realist. Each character reveals their malady as they interact learning lines and following stage directions. In a personal twist, Lewis's grandmother was in an asylum so this job has a personal relevance for him.

Lewis also has friends; a political activist girlfriend, Lucy(Olivia Etzine) and university mate and fellow director Nick (Zach Bubolo). Lucy thinks the play is silly and that love is 'icky' while Nick espouses "politics is real theater," a statement made all the more funny considering today's election news.

After attempting to burn down the theater, Doug is placed in lock-up so Lewis has to take his part. The comedy continues with a scene in the leaky theater when the lights go out. Cherry searches for Lewis, who is kissing Julie in the corner, while Zac gropes Ruth and is immediately slapped and knee-ed by her. Roy battles his manic depression, downing 'an upper' for his stage fright. The production goes on, without Zach, who has passed out in the dressing room from too much medication. But by the end each member of the cast has grown from this experience, and the audience has enjoyed many laughs.
EYE ON THE ARTS, NY -- Deborah WIngert

A grand opening ceremony called forth politicians, BAM supporters and artists. Designed by Hugh Hardy/H3 Hardy Collaboration Architecture, the 21st century, flexible space performing arts center opens up to a rooftop deck with views of the Statue of Liberty and down seven floors.

Inside, The Alan and Judith Fishman 250 seat theater is an intimate space that was baptized by the young, progressive choreographer Jonah Bokaer and visual artist Anthony McCall. Spacious rehearsal space invites the development and practice of new works in the Rita K. Hillman Studio while education programs are housed in the Max Leavitt Theater Workshop space. Both a street level and lower lobby showcase works by visual artists and offers the public a selection of nibbles and drinks at the concession stand.

For more information on the vast selection of performance, film and special events go to BAM
EYE ON THE ARTS, NY -- Celia Ipiotis

Her mother, a white militant Jewish woman, instilled in her a social conscience and her father instilled the gift of humor. Pryor’s well-publicized addiction and near-death flare-up is held up for scrutiny next to his desire to be loved and final courageous battle living with multiple sclerosis.

Wielding a full-bodied voice, Ms. Pryor is a fine singer, mimic and astute storyteller. Her solo performance, “Fried Chicken and Latkes” is performed at the modest Actors Temple Theatre.
EYE ON THE ARTS, NY -- Celia Ipiotis

On stage, trees and brambles wrap around a winding wood staircases exploding into a jungle-gym maze of greenery (John Lee Beatty and Soutra Gilmour), creased in darkness and speckled light by Ben Stanton.

Out of the green tangle, flawed and bawdy fairytale characters materialize and criss-cross paths on life-transforming journeys through the woods. A young boy appears, plunking down action figures out of his backpack. Serving as the narrator—of sorts--he recedes and the make-believe characters erupt into one twisted storyline after another.

On the brink of destitution, a comical, chain-smoking mother (Kristine Zbornik) forces her mild mannered son Jack (Gideon Glick) to sell the pet white cow at market. In exchange for the cow, Jack gets a handful of beans that sprout into the first of many gargantuan problems.

When the dispirited Baker (Denis O’Hare) and his accommodating Wife (Amy Adams) lament their barren marriage, black widow-appendages spike the ground announcing the lusciously wicked Witch (Donna Murphy). Horrified by their visitor, the wily witch dictates the ingredients required to finally conceive and reverse the spell she cast on them years ago. These magical properties are collected but all does not end well.

Dressed to blaze through the woods in crash helmet and messenger bag, Little Red Riding Hood (audience favorite Sarah Stiles) is alternately repelled by and attracted to the erotically ravenous Wolf (Ivan Hernandez). Sassily tough, the strong voiced Stiles emerges as the fairyland ring-leader. Around the edges of the magical woods, director Timothy Sheader whips up one storyline after another into a spider web of interconnected expectations and delusions.

Each character starts out tracing a traditional storybook route, until; reality upends the fairytale and traditional happy endings. But that doesn’t detract from the production’s allure. In one of the show’s highlights, an outrageous giant finally make an appearance to the delighted squeals of youngsters in the audience. The humongous, bobble-eyed giant dwarfs the top of the trees, physically and vocally (Glen Close) overpowering the human minions. Already well practiced in racing around the stage, everyone scatters.

When this production originally appeared on Broadway, the second act felt flat. But in this new, amped up, outdoor interpretation by Sheader, the first and second halves meet on equal footing.

Sondheim’s difficult score challenges the cast but several gallantly equalled the musical occasion including Murphy, Mueller, Hernandez and Stiles. There may be no full-throated happy endings in life, but there certainly was a pretty happy audience feasting on Sondheim’s playfully physical “Into The Woods.”
EYE ON THE ARTS, NY -- Celia Ipiotis

A veritable blizzard of performance, education, film, and exhibition activities will draw audiences to engage with home-grown and international productions beginning with the revival of the masterful avant-garde opera “Einstein on the Beach.”

It will not be a question of what to see, but more likely, what to miss. The rich slate of events can be accessed at BAM.

In September, modern dancer Jonah Bokaer and installation artist Anthony McCall baptize the BAM Fishman Space inside the Richard B. Fisher Building with a piece called “Eclipse.” Fond of integrating disciplines, Bokaer collaborates with McCall as well as lighting designer Aaron Copp and sound designer David Grubbs in the fashioning of a piece experienced in “the round” (four sided seating) accenting the space’s flexibility. (Sept. 5 – 8).

A powerful dancer from Zimbadwe, Nora Chipaumire’s “Miriam” delves into images of women in Africa. Directed by Eric Ting, music is performed live by the top-notch Afro-Cuban composer and pianist Omar Sosa. (Sept.12 – 15).

Theater claims space when multi-disciplinary artist Derrick Adams’ seriocomic “The Channel” flaunts the influence of commercialism on self and others and ends with a DJ set/benediction—(sounds a little like Reverend Billy). (Sept. 19 – 22).

The duo Ian Axel and Chad Vaccarino deliver music inspired by Tim Burton and the Beatles (9/28) while Tamar-kali tosses out Pseudo acoustic Siren Songs: Tales of Love and Angst that draw on Nina Simone through Kate Bush (Sept. 29).

Breaking into October, “Paris Commune” by Steven Cosson and Michael Friedman of the Civilians is a musical play tapping into the 1871, zeitgeist of working class Parisians. (Oct. 3 – 7).

Over at the BAM Howard Gilman Opera House, doors open to the post modern classic “Einstein on the Beach, An Opera in Four Acts” by Robert Wilson, Philip Glass and Lucinda Childs. If you’ve never this heart-catching production, then here’s our chance to see the production that helped revolutionize opera and theater in the late 20th century. (Sept. 14 – 23).

One of the finest music and dance collaborations resulted in the partnering of choreographer Garth Fagan and jazz musician Wynton Marsalis in the making of “Griot NY.” The pair returns for another whack at greatness with “Lighthouse/Lightning Rod and excerpts from “Griot NY.”

Eugene Ionesco’s rarely produced absurdist drama about conformity “Rhinoceros” is interpreted by Theatre de la Ville and directed by Emmanuel Demarcy-Mota. (Oct. 4 – 6).

Moving into Oct. choreographer Hofesh Shechter presents “Political Mother,” (Oct. 11 – 13). Tanztheater Wuppertal Pina Busch return with a piece directed and choreographed by the late Bausch “…como el musguito en la piedra, ay si, si, si…” Like Moss on a Stone. (Oct. 18 – 27). Builders Association taps into “The Grapes of Wrath” for inspiration. The result is House/Divided written by Moe Angelos and James Gibbs and directed by Marianne Weems. (Oct. 24 – 27).

The popular Brazilian dance troupe, Grupo Corpo, performs two works by Rodrigo Pederneiras including “Ima” and “Sem Mim.” (Nov. 1 – 3). Robots and artificial intelligence make a stand in “Sans Objet” by Compagnie 111 and directed by Aurelien Bory. Lots of interest in Chekhov this year, and more is on the way. “Donka: A Letter to Chekhov” is written and directed by circus artist Daniele Finzi Pasca. Movement, music, acrobatics and puppets meld together in homage to the great Russian artist. (Nov. 14 – 18). The enticingly innovative theater director Ivan Hove tackles a theatrical event that merges Shakespeare’s “Julius Caesar,” “Anthony and Cleopatra,” and “Coriolanus” in a five hour production “Roman Tragedies” by the Dutch group Toneelgroep Amsterdam. (Nov. 16 – 18).

Inspired American director Anne Bogart also looks to the past for inspiration in her wholly contemporary “Trojan Women (After Euripides)” created and performed by SITI Company and adapted by Jocelyln Clarke. (Nov. 28 – Dec. 2).”Red Hot + Cuba” heats things up just before the holidays with music direction by Andres Levin and CuCu Diamantes (Nov. 30 – Dec. 1).

“love fail” by David Lang and the haunting Anonymous 4, follows a storyline by Lydia Davis that knits together retellings of the famous Tristan and Isolde love story. (Dec. 6 – 8). Inspired by Goethe, “Faust a Love Story” directed by Gisli Orn Gardarsson is written by Bjorn Hlynur Haraldsson, Gisli Orn Gardarrson, Nina Dogg Filippusdottir, Vikingur Kristjansson, Carl Grose and music by Nick Cave and Carl Grose. (Dec. 12 – 15). Another mixing of media is featured in Ain Gordon’s “Where We Live,” with the inventive So Percussion. (Dec. 19 – 22).
EYE ON THE ARTS, NY -- Celia Ipiotis

One production featuring a line-up of comedy and NPR personalities claimed “sold out” status at The Kraine Theater even before their brief “Fringe” season opened. In “Tail! Spin!” text is comprised of verbatim comments made by disgraced politicians Senator Larry Craig – tapped out mating call to man in next stall; Representative Mark Foley –sent sexually explicit emails to underage page; Governor Mark Sanford –vanished for one week to South America into the arms of his one and only Argentinan bombshell; and Representative Anthony Weiner—sent a tweet that went round the world of his alleged “package.”

Lined up in chairs across the lip of the stage, Rachel Dratch, Sean Dugan, Dan Hodapp, Mo Rocca, and Nate Smith, assume different rolls for a little over one hour. Positioned in the center seat, Dratch, a natural, speaks volumes by rolling eyes, stretching lips into a smile, and flinging perfectly timed double takes.

Although some cast members are more comfortable than others, director Dan Knechtges smartly feeds one personal drama into another, picking up the pace considerably in the final 3o minutes. Sad how easy it is to poke fun at our elected representatives, but then, it sure makes for an entertaining evening.
EYE ON THE ARTS, NY -- Celia Ipiotis

In a rousing song, the three B's get ready for their night on the town as 'kings for an evening' in a crotch grabbing, macho display of testosterone filled dancing. The choreography by Christopher Gattelli (of Newsies fame) made use of the creative multi- level set and costume design of David Zinn in a strip number where the men go from military garb, to white BVD's to casual civilian garb. Because the choreography plays to their strengths, watching these men as leap and cavort on the revolving stage becomes a highly pleasurable experience.

In order to win the “dogfight” the men bet to see who brings the ugliest date. It is a disgusting game dealt with through humorous dating escapades. The delightful Annaleigh Ashford as Marcy, Boland's date, is particularly funny yet savvy, as she struts her stuff and dental rack, working the competition to her favor.

But it is Rose Fenny, played by Lindsay Mendez that catches our heart and becomes the catalyst for change in Eddie's life. Eddie hears Rose playing the guitar and singing in a soulful, folk voice while on break from the diner. Dumpy and awkward, Eddie thinks he’s found his “win.” Although he figures she’s easy to manipulate, as the evening wears on his conscience interferes.

In a heartrendingly brave moment, while preparing for the date, the fleshy Ms. Mendez exposes her unconfined body in bra and panties. With lighting by Paul Gallo, Rose’s facial expressions and anticipation are palpable.

The second half centers on Eddie's need to apologize and his developing desire for Rose. While Boland and Bernstein get tattoos, an exceptionally funny swearing scene erupts when Eddie takes Rose to dinner in a fine Italian restaurant. To make a point about the offensiveness of Eddie’s flagrant swearing, she orders a “goddman steak” with a “shitty side of vegetables. Point scored. Back in Rose’s room, their bumbling kisses, and a protective moment when both turn around to undress is resolved when Eddie asks Rose to leave the light on so he can see her.

After the war, a wounded Eddie returns to find Rose, who simply says "Welcome Home." Peter Duchan's book delivers an honest ending to a thoughtful and astute coming of age story.
EYE ON THE ARTS, NY -- Deborah Wingert

Tripping fantastically from one book to another, the two congenial performers punch out the key points like the good guys, the bad guys and the end of the story. Elementary school theater sets add to the homemade feeling of the production. The only thing missing is a white mattress sheet doubling as a curtain.

Knowledge of the single most popular book in current history is nice, but really not necessary. Audience members are called upon to sing, shout out lines, act up and bang a huge, plastic ball around the theater in a mock game of Quidditch. One is lanky the other dowdy, but both exude a warmth and "joie de good humor" that pulls the audience into their adorably wacky and twisted universe.

Written by Clarkson and Turner and directed by Richard Hurst, “Potted Potter” will probably thrive in a never-ending life on the college campus circuit.
EYE ON THE ARTS, NY -- Celia Ipiotis

Add to this mix Jurgen’s free-spirited daughter Batina (Shannon Garland), two professional African American ladies Shareeta (Marsha Stephanie Blake) – who wields a mean left hook—plus the smooth, Jackie (Shamika Cotton) and you get an emotionally volatile, brawling comedy.

Jurgen (Nick Wyman), a militaristic, single father dotes on his daughter and a prized German World War II gun. His strictly organized household is upended by the surprise attendance of Frankie, Dago-Czech, Shareeta and Jackie at his daughter’s birthday celebration. Mayhem is unplugged.

Director Woody Harrelson (of “Cheers” fame) affectionately imbues life into the small-town, large characters mired in daily complications, made even more complicated by the reigning “Animal House” mentality.

At one point the gun is stolen, and Jurgen means to get his “pound of flesh.” Fingers point to the loosely charming and easy moving, African-American, Frankie. In fact, the highly physical show demands the characters speak as much through their lines as through their movements. Each cast member assumes a different physical persona---Frankie, creamy and loose-limbed; Zach, bunchy and klunky; Dago-Czech, wiry and staccato; Shareeta, compact and punchy; Jackie, lean and lyrical; Batina, petit and perky; and Jurgen, ram-rod straight.

Appearing at the New World Stages, “Bullet for Adolf" is a genially funny, energetic summer entry.
EYE ON THE ARTS, NY -- Celia Ipiotis

Dressed in a neat dark suit, Mikhail Baryshnikov removes a hat revealing spiked gray hair when he enters an asymmetrical, “Alice in Wonderland” restaurant. A waitress in a visually skewed room carries out a tilted white table and chair. An absurdist play, the text sets up a rhythm compounded by the distinct measured walks and choreographed costume removals and additions.

Baryshnikov flirts with the waitress, Olga (Anna Sinyakina) in the course of an abstract courtship dance choreographed by Alexei Ratmansky. Both are missing spouses in action, both are lonely; both are Russian and well, not bad looking. Clever sets and props, including a robotic mouse that squeaks and runs helter-skelter, form scraps of stories that are dropped into a jagged puzzle made up of words, images and movement.

Standing on the side, a large woman warbles Carmen's famous Habanera when the love story begins to steam up. Baryshnikov shoots out a leg, pulls up his back into a hyper-extended arch feigning a toreador and snapping off a few clicks of the heels.

When thy go for a ride, a cardboard car arrives and rolls around the rotating set by Maria Tregubova . In another amusing moment during the restaurant scene, the set revolves revealing the wait-staff eavesdropping on the lovers like mice huddled inside the walls.

At the end, in a lovely romantic scene, a Chaplin film Anna Sinyakina flashes and in a surprise stroke by director Dmitry Krymov, arrives lifted up by wires. She walks weightlessly across Baryshnikov’s up stretched palms and then hangs upside down over his head.

“In Paris” is adapted from a short story by Ivan Bunin, and is performed as part of the Lincoln Center Festival 2012.
EYE ON THE ARTS, NY -- Celia Ipiotis

The Finnish accordionist, Kimmo Pohjonen (who is credited with the concept, music and performance of this work) overheard a fellow accordionist mention playing at wrestling matches in the ‘40s and ‘50s. Curious, he did some research to find that accordion-playing at wrestling matches – Finland’s most popular sport - was in fact a common tradition in the ‘20s before “loud amplified music” took over as the sport’s companion.

Partnering with Director Ari Numminen, Pohjonen brings this tradition to the stage in an overly animated production featuring 10 Helsinki Nelson Wrestlers – all Olympic Gold Medalists. Every now and then text is projected on the backdrop screen, taking the audience deeper into the specifics of this seemingly odd and unfamiliar practice. This includes the stardom held by the accordionist, his practical responsibility to play loudly to cover any flatulent moments (apparently common in the wrestling scene), political bias in referee decisions, and the gradual acceptance of female wrestlers in the sport.

The novelty of what’s happening before us comes to a climactic finale that can only be described as a wrestling meets Lord of The Flies. The circling group of buff wrestlers closes in on Pohjonen and his accordion, the accordion becomes a beating tool and suddenly Pohjonen’s legs and arms are taped together, the accordion taped to his chest, and he is carried atop their heads.

It was wrestling as you have never seen it before.

Kimmo Pohjonen& Helsinki Nelson: Accordion Wrestling was marking its U.S. premiere at Damrosch Park Bandshell as part of Lincoln Center Out of Doors
EYE ON THE ARTS, NY – Jennifer Thompson

Deft at establishing characters in the space of a few seconds, the performers evoke a mini-universe of rich, daily situations. Since many of the jokes are X-rated, detailed descriptions are problematic. But here’s one: Why don’t Jewish mothers drink? They don’t want to dull the pain.

Created by Peter Gethers and Daniel Okrent it features Bill Army (young, lanky adult), Marilyn Sokol (elderly lady clown), Todd Susman (fast speaking, Yiddish accented elderly fellow), Audrey Lynn Weston (young, attractive adult) and Lenny Wolpe (elderly, tall jokster).

Affectionately directed by Marc Bruni, a bonus arrives in a video clip of comedienne Alan King expertly working a nightclub audience. Holding a newspaper in his hand, King coerces festively attired ladies into reading obits that invariably end the same way---dead man survived by his wife---even when a despondent wife attempts suicide by jumping out a third story window, she lands on her husband, who dies while she lives. Really delicious.

Although my friend guffawed throughout the evening, she particularly related to one joke about a man who lost his private parts in an accident. When told insurance would pay for the new part that could extend five or even ten inches, he discussed it with his wife, came back and announced the money would buy---a) ten-inches, b) five inches, c) a granite counter----you decide.
EYE ON THE ARTS, NY -- Celia Ipiotis

In the one woman play, written and performed by Dina Ninette Plotch, we meet this thirty-year- old New Yorker who “had it all” and chose, much to a mother’s dismay, this path of greater resistance on the heart and sudden, unfamiliar independence.

With the dim of the lights, Plotch transforms from herself to a comical coworker with a weekly “roster of men,” a text-obsessed, “I haven’t even looked at the menu yet” girlfriend, a concerned and comical caricature of her mother, a wise bikini waxer, and a sensitive, ex- manager of a prostitute ring turned bathroom attendant.

Multiple Plotchanalities, as the title suggests, pulls from Plotch’s own life, putting snippets of random encounters on display – whether it be a draining lunch with a self-involved girlfriend, to a bikini wax, and a couple of grocery store meetings with her mother.

Most memorable is Plotch’s spot-on performance as a slightly ditzy, superficial young girl, making comments like, “Honestly, I was going to like die and throw up at the same time,” earning a number of laughs from the audience.

Directed by Leslie Collins, the hour and fifteen minute production is a mash up of these everyday life scenarios that affected the woman as she tries to move on and live with her decision, interspersed with increasingly angry voicemails from Kleinman’s Wedding Dress Shop, and her mother checking in. It all comes to a close in an endearing, not at all over the top or happily ever after ending, but rather with a simple sigh of content, confirming Plotch has found her way back to being ‘ok’ again.

Multiple Plotchanalities is presented by the Midtown International Theatre Festival at the Dorothy Streslin Theatre.
EYE ON THE ARTS, NY – Jennifer Thompson

The newbie to this life after life, he sits back to see a screening of the Adam and Eve fiasco and is abandoned by a chatty man who holds his file and isn’t keen on letting him run off to Heaven.

This seemingly ‘Joe Schmoe’ lawyer Simon Ackerman (played by Matt Lewis) finds himself amidst a motley group of characters, both tempting and frightening as they go about living eternity in Hell over liquor and snide remarks about Heaven’s untalented singers. Clearly an outcast amongst the secret virgin Don Juan, a sexy Mother Theresa with a Princess Diana pet- peeve, the crazy Lizzie Borden and an alcoholic Vlad the Impaler, Ackerman debates whether he belongs in Heaven, as he always thought, or in this intriguing Hell.

Written and directed by Seth Panitch, who also plays the energetic Interviewer at Hell’s gates, the play is both comical and witty exploring a philosophical realm of what the afterlife could be: a luring, even enjoyable Hell swarming with interesting people who made distinguishing decisions in their life – good or bad – or a Heaven, surely pleasant, though full of conformists who spent their lives obedient and safe.

In particular, Dianne Teague shines as “God” with her endearing performance as gentle yet omnipotent whether in a golden gown or argyle golf-wear, even showing sadness at her own decision to banish Lucifer to Hell.

As the performance nears its end at 59E59, Ackerman learns he was jipped of his God-given right to a ‘defining moment’ (much to God’s bashful dismay). As he is ripped from the underworld to finish out what should have been his last day on Earth, he ignores the ‘rules’ to do the right thing in the date rape trial he’s working, finding he may not be all that different from Hell’s forward- thinkers.
EYE ON THE ARTS, NY – Jennifer Thompson

Bright lights rise on a small, one couch apartment originally inhabited by three. Now it’s one roommate down, two female roommates left, the landlord's at the door and there's lots of neurosis ahead. The blonde haired, male magnet Connie (Anna Chlumsky) speaks in a rapid- fire monotone and moves dazed throughout the emotionally overwrought episodes.

Plagued by an acute inferiority complex, the decidedly husky voiced, short-haired, boyish brunette Linda (Hannah Cabell) dances her frustrations away. Worried about making rent, the girls bicker until a naked hunk, Brad (Jake Silbermann) stumbles in from the kitchen. Right behind Brad comes the hip shifting, moonwalking, friend Terry (Eddie Cahill). A gag guy he’s the male version of Connie.

The sleazy landlord Mr. Wicker (Bill Buell) punches out one lame homophobic joke after another, while his emotionally distended wife is unable to focus her life. Hungry for love and acceptance, all the cast members hide sexual desires that confuse and blunt their growth.

Directed by Jackson Gay, hyperactive verbal sputterings animate decidedly odd personalized trajectories into sexual ambiguity and existential loneliness. Everyone in the cast has distinctive word meters. They sound like separate instruments in a jazz band-- a convergence of strong individuals in search of a common voice.
EYE ON THE ARTS, NY -- Celia Ipiotis

Charlotte St. Martin, Executive Director of The Broadway League, said, "Our thoughts go out to friends, family, and colleagues of Marty Pakledinaz. His contributions to Broadway, opera, dance, and regional theater via costume design inspired countless performers and creative teams to tell stories with truth and style. His passion and deep knowledge of American theatre history, combined with his detailed approach and natural creativity was a gift to all of us.”

Pakledinaz was nominated 10 times for Tony Awards® (most recently for Nice Work If You Can Get It and Anything Goes) and won twice. He received the 2002 Tony Award® for Best Costume Design for Thoroughly Modern Millie and the 2000 Tony Award for Best Costume Design for the revival of Kiss Me, Kate.

He became interested in theatre when a teenager; initially, he had dreams of becoming an actor. He began his career in New York costume design doing sketches for Theoni V. Aldredge and worked as a designer on productions at The York Theatre, New York Shakespeare Festival, McCarter Theatre and Roundabout Theatre Company. For director-choreographer Kathleen Marshall, he worked on Broadway revivals of Wonderful Town, Grease, The Pajama Game and Anything Goes, as well as the new musical using old Gershwin songs, Nice Work If You Can Get It.

In addition to his contributions as a designer, Mr. Pakledinaz was a generous contributor to countless charities and funds, and taught on the graduate level at NYU's Tisch School of the Arts.

Marty was a dear friend to many. His mind was constantly in motion and he loved artists--and the feeling was always returned. C.I.

Intent on making their residency miserable, the stuffy British Press Officer, Major Booke-Jervaux (Bradford Cover) tosses them in the frigid attic, inhabited by a single cot and clothesline of faded white tablecloths.

However, the supremely capable women (who travel with mink coats and tons of suitcases) activate their feminine wiles, sex appeal and ultra smarts, to scoop their cohorts.

When the women arrive, newspaper headlines scream about the impending marriage between a pretty, very girly chanteuse Daphne Rutherford (Margot White) and Annabelle Jones’ (Julie Jesneck) former reporter/husband Joe Rogers (the appealing Rob Breckenridge). Spousal rivalry split the marriage between Daphne and Joe, but not the attraction.

A hilarious botched up mission to the front transforms the pampered Ms. Rutherford into an unlikely heroine at the expense of Mason’s story and heroic acts.

Despite their independence and innate ability to wrangle trips to dangerous locations, the women are not immune to men and promises of marital bliss. But in this “war of the sexes” comedy, everyone comes off a little bit self-centered, and romantic; untiringly independent and intent on professional careers.

Driven by a strong cast and nicely scored characters, like Jay Patterson’s Tex Crowder, a good ‘ole guy always looking for an easy way out, “Love Goes to Press” celebrates the bravery of all who volunteer to document the incivilities of war.
EYE ON THE ARTS, NY -- Celia Ipiotis

This is all part of The Amoralists’ exuberant production of Derek Ahonen’s “The Bad and the Better.” Animated direction by Daniel Aukin, allows the uniformly strong cast to tread a fine-line between total caricature and believability. Characters bounce off the walls taut with pent up emotions and single-minded gusto.

In a quirky way, this production resonates truths about fraternities born of law enforcement officials, radicals and politicians. Everyone’s community has its own set of rules and regulations. And even though plenty of sloganeering whips through the stage, real feelings gurgle to the surface.

A fast pistol-fingered, disgraced detective Rick Lang (William Apps) tries to excavate himself from a demoted, mindless desk job and cranky wife. Revered by rookie police officers, his womanizing brother—also a cop-- Chuck (David Nash) poses as a playwright, infiltrates an anarchist group of misfits and gets into lots of other trouble.

There’s the friendly cop-bar hangout and feisty femal bartender, the lusty Betty Boop styled secretary perfectly realized by Sarah Lemp, and lots of hard feelings that pus up into a shoot ‘em out blood bath at the end. The action swirls inside the spare but evocative set by Alfred Schatz and moody lighting by Natalie Robin.

Curling up the edges of theatrical convention at the Peter J. Sharp Theater, The Amoralists strike again.
EYE ON THE ARTS, NY -- Celia Ipiotis

The two leads, ambitious, powerhouse Kelli O’Hara and un-ambitious, low-keyed playboy Matthew Broderick meet and mate in the midst of ribald prohibition era dealings. In the first dance “Sweet and Lowdown” at a speakeasy, a rondo of three different movement patterns unfurl on either side of Broderick who resembles a butterfly with wings made of brightly outfitted, high kicking, back flipping dancers. Stage space is broken up into cubicles of animated physicality.

Characters are recognized as much for their words as for the their posture, walk, shift of weight and moves. That’s the sign of a director who understands that character, particularly in musical comedies, speaks loudest through distinctive, organized gestures.

Of course it helps when two of your cast members—Michael McGrath (blustering wise-guy Cookie McGee) and Judy Kaye (tea-tottling, barrel chested Duchess Estonia Dulworth) break the humor barrier with their expertly broadened personalities.

Another check on the plus side for Ms. Marshall, she includes individual head-shots of the dance corps in the playbill. These musical theater gypsies are visible partners who rarely get acknowledged and who can sink or sail a program.

For those who haven’t see “Nice Work If You Can Get It” at the Imperial Theatre, get off your rump and join the kick-line of enthusiasts.
EYE ON THE ARTS, NY -- Celia Ipiotis

Thin and intense, the teenage Lucy (Jordyn DiNatale) scrubs and scrubs a blood stain on a ratty rug while her attractive, blonde-haired mother Justine (Katya Campbell) rambles on about fatties on reality shows. Whatever happened, they must evacuate the premises and take refuge in a strange man’s home.

Misfits boxed in a Spartan apartment-- the mystery is just beginning. Is this part of an identity protection program? Protective of her anti-social daughter, Justine warms to the young, hesitant guardian David (a fine Caleb Scott) while the explosive Lucy recoils against his kind overtures. Imminently appealing, Ms. Campbell is a natural making her relationship to David and Lucy quite touching.

At school, Lucy meets another odd child, Quinn (Owen Campbell). Both are being tested and observed for violent behavior by a zipped up, socially inept medical type Charlotte (Colleen Werthmann). Comic relief seeps in during their awkward courtship with Quinn garnering many of the evening’s laughs.

Director Adrienne Campbell-Holt taps into the dark humor, but the complicated genetic relationships and plot twists pile up and then, too quickly, unspool. Violence births and ends "Recall" a sometimes tonally slippery, but intriguing play.
EYE ON THE ARTS, NY -- Celia Ipiotis

Directed by Daniel Sullivan, the actors clearly and deliberately enunciate every single word. That makes for clarity, but it also adds drag to the lilting Elizabethan meter. In an odd twist, the imminently danceable bluegrass musical meter composed by Steve Martin suits the 19th century American South setting while simultaneously harking back to Elizabethan jigs.

Only minutes after meeting and melting over Rosalind, the fair wrestler Oralndo flees from his oppressive brother’s murderous intentions. In short order, another venal character, Duke Frederick (the convincing Andre Braugher) expels Rosalind from court, forcing his daughter-- Celia (Renee Elise Goldsberry)—to accompany her lifelong friend’s flight into the woods.

At this point, the forest of Arden is crawling with court refugees, lovers, clowns, sages and rustic folk. Dressed as a young page (Gannymede) Rosalind is accosted by pitiable, rhyming love letters littering tree trunks by the lovesick Orlando. Although not well disguised as a boy in Jane Greenwood’s costume, Rosalind fools Orlando and invites him to practice his wooing techniques on her. Summoned daily, the most convincing moment surfaces when Orlando is delayed, and Rosalind despairs.

Two equally contrasting characters supply a humorous boost, Platt as the thinking fool, Touchstone and the marvelously natural Spinella as the existential philosopher, monk-like loner Jacques. This production basks in the production’s playful serendipity and goodness barely touching on the thorny, darker issues of power lust, urban greed and brutality.

“As You Like It” crowns the Public Theater’s 50th anniversary of service to the theater community and citizens of NYC. Doggedly intent on heightening theatrical literacy, Joseph Papp’s vision and legacy famously resonates in Jacques soulful soliloquy:

“All the world's a stage,
And all the men and women merely players:
They have their exits and their entrances;
And one man in his time plays many parts….”

EYE ON THE ARTS, NY -- Celia Ipiotis

Willy (Chad Kimball—last seen in an outstanding performance in “Memphis”) is on trial for ripping an inmate’s throat out with a spoon. Hundreds witnessed the crime, but it happened within hours of Willy’s release from three years in solitary confinement (no light, 30 minutes of exercise a year). Disorientation was only one of his problems.

Initially incarcerated because of petty theft, he tried to escape and that landed him in Alcatraz. Unfortunately, this story is repeated in one version after another year in and year out in the daily papers. In this production based (somewhat) on a true case, the drama remains relatively muted until the end of the second half, when the young, Harvard educated attorney finally jams into a verbal groove.

Although the story is compelling, director Parva’s pacing melts one scene into another instead of jutting ahead, building an indisputable head of steam.

In an understated performance, Kimball speaks softly, dazed by the years of incarceration and unable to connect with anything except baseball cards and the idea of women. Intent on saving him from the death penalty, Guy Burnet (Henry Davidson) puts Alcatraz on trial. A ballsy move for a first time court authorized Defender; he believes that saving Wally from the death penalty will equal success. But that is not the case.

In one of the most affecting scenes near the end of the second half, Wally cries out for a guilty plea because life back at Alcatraz is worse than death. A committed company of actors inhabits the tame production.
EYE ON THE ARTS, NY -- Celia Ipiotis

Baptized “The Common Pursuit,” the publication is Stuart’s (Josh Cooke) baby. Designated the Editor/Publisher, Stuart draws in the wealthy Martin (Jacob Fishel) to attract advertisers or just pour in the contents of his own wallet. A handful of personalities cluster around the four-way love affair between Stuart, his girlfriend Marigold (Kristen Bush), Martin and the periodical. The acting is mixed, compounded by thick-mouthed English accents.

Director Moises Kaufman, who can count many theatrical successes, delves into the individual vacancies rather than the inherent humanity. At one point, the philandering historian Peter Whetworth (Kieran Campion) forgets the curtain rods requested by his wife on the shelf in Stuart’s room. A sharp-eyed elderly man shouts out, “he forgot the curtain the rods!” --and that my friends got the biggest laugh of the evening.
EYE ON THE ARTS, NY -- Celia Ipiotis

Down-- but not giving up, the homeless Davies is invited into the dingy home of a very organized but odd man Aston (Alan Cox). Why Aston would open his house to such a vagabond is never made clear. Guided by a set, daily routine that never wavers, Aston’s well-charted day is disrupted by the fast-talking and surprisingly demanding Davies. But that’s not the greatest mystery in the play, Mick (Alex Hassel)—supposedly Aston’s hotheaded,tautly physical brother—slams into the apartment concocting harebrained schemes with Davies that add another layer of subdued violence to the action.

Power within the trio shifts, but nothing remarkable ever materializes. All three maneuver effectively through their odd characters, in a production that teeters on the edge of magnified realism.
EYE ON THE ARTS, NY -- Celia Ipiotis

  In old Athens, the young Hermia (Christina Ricci) loves Lysander (Nick Gehlfuss), while Helena (Halley Wegryn Gross) loves Demetrius (Jordan Dean) who loves Hermia, Distraught over her father’s insistence she marry Demetrius (upon pain of banishment to a nunnery or death), Hermia flees into the woods with her true love Lysander. Not to be abandoned by his amour, Demetrius races after Hermia and in his wake flies Helena. Inside the woods, fairy quarrels threaten the tree-lined tranquility.

  Over the spongy, grass filled stage by Mark Wendland tilts a mirrored wall reflecting the human antics and visual sprays of color and rose petals. Deep in the verdant darkness, the king and queen of the fairies are having their own little dust up over an adopted Indian boy. King Oberon (Anthony Heald) demands Queen Titania  (Bebe Neuwirth) hand over her attractive changeling for his entourage, but Titania will have none of it. To punish the unbending Queen, the theatrically persuasive Oberon commands Puck spray her with a flower’s drug that will make her fall in love with the first thing she sees upon awakening.

With his trunk of outfits plus manic desire to appease his master and jolly up life, Puck consistently snatches the spotlight. When the two pairs of lovers land, Oberon decides to turn Demetrius’ eye towards Helena with a little help from Puck’s magic love potion. Only Puck sprays (literally) Lysander who suddenly pines for Helena. Now Helena and Hermia are about as big as two Barbie dolls compared to Lysander and Demetrius who are buffed studs.

Their size animates George de la Pena’s choreographic decisions and Carrie Brewer’s fight sequences posting the women on the shoulders of their two centaur-like beaus while they tear at each other’s hair in a true joust. All four race, drop and roll across the green carpeted floor, in tricky twisting patterns throughout the breathless evening.

 In another section of the forest, Titania wiggles her arms like a mesmerizing swan, and wakes to the love-filled vision of a donkey (Steve Skybell) who scratches and hoofs along under her adoring gaze.

As for Shakespeare’s language, Heald and Mac navigate the text like pros and Gehlfuss, Dean and Skybell include a few good turns.

As much a dance as a theater production, this version of A Midsummer Night’s Dream lifts the spirit and sticks to the memory.
EYE ON THE ARTS, NY -- Celia Ipiotis

The spare but rich re-telling of Dave Barry and Ridley Pearson's “Peter and the Starcatcher” boasts one of the most engaging casts in the city. Audiences at the Brooks Atkinson Theatre are transported by Rick Elice’s adaptation and thrilling direction by Roger Rees and Alex Timbers. Imagining the roots of the beloved Peter Pan, “Starcatcher” introduces all the seminal characters in their seminal falseness, fearlessnes and purity.

This raucous adventure plays out on the high seas of villainy and righteousness, pitting the noble Lord Aster (Rick Holmes) and protector of “starstuff” against the gloriously smarmy pirate Black Stache (Christian Borle). A single parent, Lord Aster’s thirteen year old daughter Molly, the utterly splendid Celia Keenan-Bolger, shares her father’s intellectual curiosity and loyalty to Queen Victoria.

When the father races off on the Queen’s mission, Molly is left in the hands of the winningly bawdy governess Mrs. Bumbrake (Arnie Burton). Aboard deck, Molly meets the “lost” orphan boys and snaps into a deep personal connection with the lanky, sympathetic Boy (Adam Chanler-Berat) who becomes Peter and “leads” (only because Molly lets him) the youth brigade. Instead of props and sets depicting locations, the physically and vocally flexible twelve member cast mutates into evocative formations by Steve Hoggett.

All the cast members and creative staff deserve hearty applause. This is the one theater production you really don’t want to miss.
EYE ON THE ARTS, NY---Celia Ipiotis

The pages turn back to the day the bus broke down, bank books dried up and jail was only a county- line away. Right there, in the parched countryside of Sweetwater, the traveling tent show stops for three days. Plans go awry when the young, good looking sheriff, Marla McGowan (Jessica Phillips), proves to be a sharp shooter, and unfazed by Jordan's claims--at least for a few minutes.

A widow, her husband died in a car accident that forced her ten year old son, Jake (Talon Ackerman) in a wheelchair. Equally bruised by family loss, Jordan and Marla meet in front of his camper and test each other's vulnerabiltities in one of the show's most effective songs by Alan Menken and Glenn Slater "I Can Read You."

Jordan's sister, the tough but sweet Sam (Kendra Kassebaum)-- masterminds the business, while the big hearted gospel diva Ida Mae Sturdevant (Kecia Lewis-Evans)---oversees the Angles of Mercy, a free wheeling gospel choir. And even though the thrust stage jettisons Esparza's seismic personality into the audience, and actors praise the lord in the aisles right  up to the balconies, Michael Kosarin's direction never explodes.

There is plenty of dance action, both set and intuited. Choreographer Sergio Trujillo manages quite well in coordinating the Angels. Shoulders rhytmically shake up and down in unison over pogo jumps, Motown routines and some Bo Diddly crroked knee, single foot hops. Even Esparza gets his James Brown on, shimmying his feet side to side, dropping into a split and jogging manically in place. Because of his kinectic brilliance, Esparza jolts the eye in his direction whenever he breaks into "moves." Too bad he didn't dance more. Less effective, is the large scalea, free-form modern dance and acroabtic sequences for the town folks.

Intent on protecting her son from the charlatan's claims, Marla incarcerates Esparza. Besides Esparza's tension filled attraction to Marla, there's Esparza and his new convert, Jake. The scenes between the deeply appealing Jake,and Esparza are truly moving. You believe. Three strong gospel voices, Ida Mae, her daughter Ornella (Krystal Joy Brown)and Bible School Reverend son, Isaiah (Leslie Odom, Jr) are a fine match to Esparza's raw, solidly trained voice.

Despite the weakness of the book by Janus Cercone and Warren Leight, Esparza knits together an enduring cocktail of vulnerability and sass particularly in his final howl "Jonas' Soliloquy."

Yes, this show is predictable, as is Menken's country-inflect score. You know where "Leap of Faith" headed and where it will end up,  but the ride is still mighty tasty whe Esparza is there to light the way.
EYE ON THE ARTS, NY -- Celia Ipiotis

That’s just a schmear of the frivolity and out of mind fun that erupts like a happy rash throughout Richard Bean’s “One Man, Two Guvnors.” Beware, because Henshall busks his way around the stage releasing a personality large enough to be seated next to each person in the audience.

The evening's revelry splashes around a silly and wonderful concoction based on the 18th century farce by Carlo Goldoni, and employing 16th century Commedia dell’Arte traditions. Masterfully helmed by Nicholas Hytner of the National Theatre of Great Britain, his Swiss clockwork precision keeps tangled storylines and gags running like an expert juggler spinning half-a-dozen plates simultaneously in the air.

In truth, the story set in the 1960s, hardly matters but it does involve murder, mistaken identities, money, intrigue, sex and love. Central to the plot is the murder of a thug, Roscoe Crabbe reincarnated by his dandy sister Jemima Rooper and Henshall’s decision to assist two employers—Roscoe and the theatrically overblown Stanley Stubbers (Oliver Chris)--both hiding out in a English seaside pub.

Lust fuels the acrobatics coordinated by Cal McCrystal animating the couples: Roscoe and Stubbers, Pauline Clench (Claire Lams) and Alan Dangle (Daniel Rigby), plus the perkily buxom Dolly (Suzie Toase) and Henshall. In a brilliant portrayal of an aged, rickety waiter, Tom Edden --tray in hand, back hinging to the floor, barely averting catastrophe--handily nabs show stopping applause. But everyone in the cast deserves applause including Martyn Ellis, Trevor Laird, and Fred Ridgeway. Mark Thompson’s costume and set desgins enforce the play’s sly visual wit and Associate Director and Choreographer Adam Penfrod assists in the eye-catching physical design.

From the moment the show starts with the young, energetic Skiflle band The Craze(Jason Rabinowitz, fine guitarist Austin Moorhead, Charlie Rosen and Jacob Colin Cohen) pounding out light rockabilly tunes, “One Man, Two Guvnors” takes off and never lands until the last person departs the theater. This should be a destination play for all those who believe in the health benefits of Laughter Yoga.
EYE ON THE ARTS, NY -- Celia Ipiotis

Living mostly on the streets of a thankless NYC, the rag tag bunch of boys band together to form the Children's Crusade demanding fair pay for all manor of menial services. Led by a tussle- haired, disarmingly appealing Jack Kelly (Jeremy Jordan—who caught lots of eyes in “Bonnie & Clyde”) this natural leader teams up with Davey (Ben Frankhauser) the brainy guy and Les (Lewis Grosso) Davey’s young, scene-stealing, wheeler-dealer brother.

Running from orphan homes, and dogging cops, Kelly is a man of many talents. Befriending Medda (Capathia Jenkins), the proprietress of a Bowery Burlesque theater, Kelly releases his inner Picasso by painting her backdrops. That’s where he meets the lovely, young reporter Katherine (Kara Lindsay) who publishes the striking boys’ story. Protective of his younger brother, a truly sympathetic Crutchie (Andrew Keenan-Bolger), Kelly nearly loses heart when Crutchie is severely beat and tossed in jail. Well, ultimately Kelley does lose his heart—to Katherine.

The book by Harvey Fierstein whips up most of the action around the boys and plucky Katherine. Media mogul Joseph Pulitzer (John Dossett) and the Mayor (John E. Brady) along with a few other adults make an appearance, but they merely cast shadows.

What rings out in Newsies is the spicy direction by Jeff Calhoun and choreography by Christopher Gattelli. The all male corps leaps and turns, flips and stretches legs, dodging simple step routines for innovative twists on a theme. Counterpoint dance sequences add texture to the usual step, kick, and turn. Ankles beat together before an air turn, legs jut out at an angle as boys swing off the metal labyrinth of fire-escapes by set designer Tobin Ost. Broadway dance meets ballet, acrobatics and tap in this dance tour de force led by the dance captain “Specs” (Ryan Steele) and his hoofer pals Alex Wong, Aaron Albano, Tommy Bracco, Kyle Coffman, Jess LeProto, Ephraim Sykes and all the Newsies.

Strong orchestration by Danny Troob punches up the music by Allan Menken and lyrics by Jack Feldman, but make no mistake, this is an exciting Broadway “dance” show in the best sense.
EYE ON THE ARTS, NY -- Celia Ipiotis

Always a reason to cheer when an original production swims upstream to Broadway, “Once” shines in the arms of a tuneful pop score by Glen Hansard & Marketa Irglova, leavened with Irish folk music and soft jazz contours, skillfully orchestrated by Marin Lowe. Joyous music rolls off the stage where a group of casually dressed musicians romp inside a Dublin pub designed by Bob Crowley. Stocked with dark wood tables, chairs, bar and piano, a gallery of antiqued mirrors rim the walls reflecting shards of cast members—particularly useful to those sitting on the far side of the theater.

Prepared to turn his back on a music career and girlfriend, the attractive Dubliner, Guy, falls in love with the pixyish Czech girl Cristin Milioti and her “must do” attitude. After she hears Guy play the guitar and sing “Leave,” Milioti insists he fix her Hoover vacuum (he’s in the business with his father, David Patrick Kelly).

All the cast members double as actors, singers and musicians, kicking up political and social issues including a nod to the 99% vs. the 1%. Movement passages by Steve Hoggett are cast in the vein of Bill T. Jones’ choreography for “Spring Awakening,” where gestural phrases issue from pedestrian movements--but the “dancing” in “Once” works best when the cast plays instruments and moves naturally.

A defining rhythm pumps the music and theatrical direction by John Tiffany, who understands the essence of pauses and silence, expertly deploying deep, theatrical breaths to generate superb comic and dramatic timing.

Most of all, this is a deeply felt love story. Thankfully, the end is not predictable, although it is inevitable.
EYE ON THE ARTS, NY -- Celia Ipiotis

According to one of the theater, dance and opera community’s most active and beloved costume designers, Martin Pakledinaz believes his job is to support the director’s or choreographer’s vision. And that he does.

This year alone--the two time-Tony Award winning, in-demand costume designer--Pakledinaz suited up Frank Langella for Manhattan Theater Club’s “Man and Boy,” glamorized “Anything Goes” and added dazzle to costumes for the famed Radio City Music Hall Rockettes.

As a young person, Pakledinaz who liked drawing, felt an immediate affinity for the theater. “I just wanted to be in the theater and I had a talent for drawing clothes. When I looked at people, I noticed what they wore and how it was designed. Cuts and colors, and draping fascinated me. When I came to NYC after getting a graduate degree in costume design from the University of Michigan, I worked with Theoni Aldredge for seven years. She always said to learn from everyone you ever meet. Look and then think about it. For instance, I might borrow an overall style, and then tailor it to my sensibility. In the end, the costume becomes an extension of the production. My costume designs are character driven and known for a certain elegance--not funky—I’m not known for funky.”

“For instance, a strong, deep thinking actor like Frank Langella poses a different design situation from the vibrant Sutton Foster in “Anything Goes.” You know, I designed the costumes for Sutton in “Thoroughly Modern Millie” – the production that brought her into adulthood. She’s wearing those lavish evening gowns in “Anything Goes” like they are blue jeans—she’s terrific! (And anyone who has seen her perform knows she can belt songs like the old style Broadway stars).”

“One thing I do that surprises people at a fittings is to ask them to show me how they move. The actors (and dancers) need to feel comfortable executing the largest as well as the smallest gesture or movement. You have to find a good fit and one that breathes with the character. “

“Inevitably, each form (theater, dance, opera, film) has its own needs, but sometimes it’s surprising what does not change. Comfort factors in for everyone. There’s always a woman who wants a smaller waistline or man who wants his body lengthened. What I find, is that everyone breathes in a different place. Some breathe from the back, others from the abdomen. I ask questions—pretend you are hugging someone very tight. Then I can see how much their back expands. Or I might ask them to squat or lunge in order to better calculate how the costume fills out the bottom half of the body.”

“For Frank Langella, I brought a chair and told him to sit and cross his legs. See if the fit is comfortable no matter what position the body assumes. Along with the director Maria Aiken, we decided on a double-breasted, dark suit to telegraph seriousness and power. I try to be logistical about breaking down the script. I don’t feed artistic vision in it until I hear the idea.”

“When I walked into Radio City Music Hall and met with the Rockettes, they were delighted by my urging to move around and explain what was comfortable and what was problematic so I could change the costumes accordingly. They couldn’t believe someone was asking their opinion. And you know those dancers work as hard as any professional ballet or modern dancer. The Rockettes have countless costume changes and have to do everything from tap to ballet while looking perfectly collected.”

“Everything I do has its own joy.”

And Martin Pakledinaz gives many people untold joy.
EYE ON THE ARTS, NY – Celia Ipiotis

On Thursday, Oct. 27, City Center will throw open the doors to the opening show of the Fall For Dance Series, flaunting a newly refurbished façade, marquee, lobby, auditorium, promenade, patrons room, and – yes, more bathrooms! A couple of days before the Fall For Dance Season (Oct. 27 – Nov. 6), City Center will celebrate with a spectacular Opening Gala Event on October 25.

Arlene Shuler who started her professional career on the City Center stage as a dancer with the Joffrey Ballet, now runs that same theater. Giddy with excitement, Shuler joined with Duncan Hazard, Partner in Charge of Ennead Architects, LLP, to highlight just a few of the numerous visual and physical adjustments.

To start, the City Center marquee is visible from both (6th and 7th) avenues. For those who stand in front of the theater waiting for guests or star-gazing, overhead heaters minimize winter’s chill. Inside, the box office area sports a new bar “Joe’s Bar” (a gift of Joseph S. and Diane H. Steinberg Charitable Trust) that will operate at intermission, creating additional lobby space. Just beyond the ticket-takers, the lobby wall is dotted with six high-definition plasma monitors projecting artists’ videos (currently showcasing work by Rashaad Newsome) curated by the New Museum. Gone is the little balcony that jutted out, and instead, the stairways on either side are gracefully enlarged, adding a touch of grandeur that welcome the theater going throngs.

Audiences will be pleased to hear that there are 500 fewer seats, staggered and re-upholstered for optimum viewing and comfort not to mention an extra, really speedy elevator. Windows on the promenade level are now clear glass replacing the plastic faux stained glass versions allowing people to see the glorious ceiling from outside the building. A photographic display on the Promenade curated by Lynn Garafola for the Jerome Robbins Foundations focuses on choreographer Jerome Robbins in class and rehearsal.

But the most thrilling part of the $56 .6 million renovation is the painstaking refurbishment of the ceilings, glorious metal filigree and walls detailed in exotic Moorish colors (painting restoration by Creative Finishes) resembling precious stones of gold, blue and turquoise, clay, cream, emerald and more. It was noted as well that the terra cotta tiles were manufactured by Boston Valley, one of only two exiting companies in that “old crafts” line of work.

From the outdoor lobby to the sweep of the promenade ceiling, heads will be crooked up, staring and admiring the glory of what once decorated the hall when it was built in 1923 as a meeting hall for the Ancient Order of the Nobles of the Mystic Shrine and transformed 1943 into the city’s first major performing arts center.

There’s much to applaud and much to see at City Center.
EYE ON THE ARTS, NY -- Celia Ipiotis

These dancers navigate a steel stage with moving parts, change costumes multiple times and portray various emotions, all while dancing...and singing! The choreography is by Matthew Bourne and Stephen Mear, and they know how to enhance the action and move the story line along in an utterly delightful way. In "Jolly Holiday" Gavin Lee as Bert gracefully cavorts through the scene, but never steals the limelight.

Each character dances with importance and motivation and this moves the story from narrative to song to dance. As Mary, Laura Michelle Kelly moves with dancer-ly grace as she unpacks her bag and extols her virtues in 'Practically Perfect', whoops it up with Bert and the chimney sweeps in 'Step in Time' and is super perky each time she seems to glide up those stairs! Janelle Anne Robinson is bubbly and enticing as Mrs. Corry in her marvelous shop, and Barrett Davis is wonderfully sinister as Valentine, one of the toys come to life.

From beginning to end I wanted to dance along and sing and found myself smiling over at my young companion as we watched each dancer pirouette, leap and do those high kicks! As the ?nal curtain came down she looked at me and sighed, " I want to do that! To be on Broadway!" And I felt that same magical delight!
EYE ON THE ARTS, NY -- Deborah Wingert

A striking presence, the long and lean Armitage is keen on collaborations. That trait came in handy when director Diane Paulus called Armitage in to choreograph the hit musical “Hair.”

First produced in the 1960s, Armitage never saw “Hair” in production but, like so many counter-culture people growing up in the 1970’s and 80’s, could sing all the songs by heart.

When I caught up with Karole by phone, she was speeding off in a limousine to the airport for a project in Beijing and explaining in a matter-of-fact tone to the driver how to negotiate Canal Street –“Why do I think you should go that way???? Maybe because I’ve lived here for 30 years.”

Armitage insisted this was a perfectly good time to chat about her experience as the choreographer of the energetic revival of “Hair” currently at the St. James Theater through September 10.

When asked how she was tapped for the part, Armitage explained “my involvement began because the Public Theater was producing the musical and they already knew I was a team player from my contributions as choreographer of “Passing Strange” (2008 award- winning Broadway musical).

Originally revived as a special entry in the Public’s Shakespeare in the Park series-- “40th anniversary production of "Hair" in 2008”--Armitage recalled the production was realized at whiplash speed. Because there was no time for dance rehearsals, Armitage would shout instructions from the wings or just grab actors on the fly. Despite the harried pace, Armitage had a “pure feeling for Hair” and knew exactly how she wanted the choreography to look. Later, when the wildly successful "Hair" transferred to Broadway, Armitage got more body-to-body time to “turn my line drawing into a painting.”

Eager to fold the movements invisibly into the dramatic action Armitage noted “I wanted to make the choreography invisible; make it look seamless so it was completely personal and spontaneous.” Despite the improvisational look of the material, she designed a hidden structure and crafted the sequences in a way that gave focus and emotional coherence to the randomness.

Naturally, working with actors who aren’t dancers posed a different set of challenges. Armitage linked the movements to the lyrics (Gerome Ragni and James Rado) combing through the songs “word for word” with the actors to understand how a gesture matched an idea and the music (Galt McDermot). She went on, “Take the line ‘the mind’s true liberation, Aquarius!’ I asked them to tap their foreheads demonstrating ‘consciousness.’ (During the show, some tap their foreheads with two fingers, others use the palm of their hand, two hands or run fingers lightly sideways). By letting each person find their own way, and then setting the movement, I realized better results—the right vibrations."

"Of course, not being trained dancers; movement memory was not as acute. For example, during group sequences, they might not always go through the same hole. And I had to tamp down a tendency to break into big brassy show businessy attitudes, hip-hop or American Idoly stuff. But these are their references.”

"Ultimately, the freedom I felt in pursuing this very personalized process is really a tribute to director Diane Paulus."

But before the “official” opening, the spectacle played out in print and the blogosphere. Impatient journalists broke through the embargo line to release ill-tempered reviews of a show in process. Snarky slams aside, audiences drawn by the show’s controversy and reputation for crashing aerialists, plowed into the Foxwoods Theater. Now that the aerial glitches are – at least temporarily resolved—all are zeroing in on the production.

With the replacement of Julie Taymor by Phillip William McKinley and insertion of playwright Glenn Berger, the new folks have re-tooled the show reportedly simplifying the storyline and adjusting the action through-line.

And what’s the result? A thrilling, ceiling scanning battle scene between the Green Goblin and Spider-Man at the end of Act II, a few good songs-- among them Rise Above, and If The World Should End, not to mention the theme music that breaks in for those few memorable chords only to vanish never to fulfill it’s orchestral promise. In terms of talent, the invigorating, scene-noshing performance by Patrick Page as the genius scientist Norman Osborn/Green Goblin scores big next to an adorable romance between Reeve Carney (nerd Peter Parker/Spider-Man) and the lovely Jennifer Damiano (MaryJane Watson).

The curtain rises on Arcahne (T. V. Carpio)—suspended from the ceiling spinning the tale of the mortal who boasted her gifts as a weaver were greater than Goddess Athena’s—and well, it’s not nice to upset a Greek Goddess who takes her revenge by transforming a braggart into a spider. Back on earth events unfold around a nerdy young man, his lovely, red-haired girlfriend and the genius scientist gone villainously green.

Ms. Taymor’s Indonesian and Bread-and-Puppet Theater inflected visuals add theatrical imagination to an otherwise traditional format. NYC’s skyline fans out in an arc like a black and white Marc Chagall landscape shot through with airborne figures and uprooted buildings. Instead of real life bad guys terrorizing the throngs, over-sized, 2-D heads painted in broad black and white, menacing bad-guy caricatures sprint along. The costumes and masks reference earlier Taymor works including Lion King, Grendel (the opera) and Juan Darien.

Bullied by school rough necks, Peter Parker—the shy, prize winning science wonk--falls for school sweetheart Cynthia. Things get dicey when Parker’s class visits a futuristic lab run by the uber-scientist Norman Osborn. One of his prized lab spiders escapes, accidentally biting Peter and transforming him into the super Spider-Man. Slipping off the edge of reality, Osborn goes nuts trying to retrieve the spider, ultimately losing his lab’s funding and beloved wife only to lock himself in a coffin like blender, and emerging as the green goblin dragon.

Just a cabaret artist at heart, Goblin channels Queen Liberace and tacky supper club entertainers in his glorious Second Act musical asides to the audience. In his day Parker lands an internship as photographer for The Daily Bugle. The blustery tabloid publisher, J. Jonah Jameson (Michal Mulheren (another grand character actor) spits out his share of expletives and eschews truth for sensationalism in his unchecked mania to capture the bold face Spider Man in photographs.

Not knowing how much of choreographer Daniel Ezralow’s choreography was affected by the switch in creative personnel, suffice it to say that his athletic style suits the format without really bringing anything new to the mix. In addition, Chase Brock, who has a strong visual sensibility, offers “additional choreography.”

In terms of pacing, Act I moves along at a moderate, flat pace spiked now and again by Spider-Man soaring to the balcony’s ledge, while Act II jumpstarts all the fantastical aerial events and percolating character eruptions. My teenage nephew was impressed, tweeting pals at intermission and during bows, so it does have its appeal. Oh, and hats off to all the production’s fearless aerialists.
EYE ON THE ARTS, NY--Celia Ipiotis

When a graduating class of Mormons accept missionary assignments, tall, blond golden boy Elder Price (Andrew Rannells) is paired off with short, chubby, fibber Elder Cunningham (Josh Gad).

Carted off to Africa, Elder Price dreams of Orlando, Florida while Elder Cunningham just wants someone-anyone—even his parents-- to like him. Two by two the Mormon Elders infiltrate Uganda, braving blistering heat, maggots, murderous tribal lords, rampant AIDS, infant rape and uninhibited female circumcision. And you call that fun? Well, the campy songs, and perky numbers by Trey Parker, Robert Lopez and Matt Stone make death and destruction pop to a Dr. Seuss-like musical beat.

But these aren’t your every day bible thumpin’ sorts. They wield the book of Gideon, and trade on the crystal-gazing visions of New York state’s Joseph Smith, buried gold tablets plus an angel called—no really, this is the name—Angel Moroni. OK, go ahead, crack a few jokes. That’s exactly what the Parker, Lopez and Stone triumvirate intended for their wily musical “The Book of Mormon.”

Lack of conquests in Africa and a frown lashing from the Mormon Church brass jazzes Cunningham into converting the natives by switching-it-up and telling “tall” Mormon tales. The sacred Mormon mythology passes from northern NY and Salt Lake City to the hobbits and “Star Wars” iconography. Much more colorful and useful in everyday conversions than any Angel Moroni, randy mouthed Ugandan natives succor spiritual enlightenment from the band of Mormon Boy Scouts decked in white short sleeved shirts and black pants palming The Book of Mormon.

Duly impressed by Elder Cunningham’s remarkable success, Mormon brass pay a visit. To honor the Elders, the Ugandan natives put on a play to demonstrate their true devotion to Mormonism. In a giddy flip on the “The King and I” retelling of “Uncle Tom’s Cabin” the natives re-enact the Mormon scripture according to the Lord of the Rings and Star Wars.

In Scott Pask’s appropriately cartoonish set, fragments of the Mormon Tabernacle frame the proscenium and a disco ball splinters celestial light over the Mormon dust. Choreographer/director Casey Nicholaw kicks up some basically unremarkable soft shoe toe-heel clicks, jazz dance potions and traditional African body contractions. Still, the cast members give it their all.

Jokes about suppressing naughty (gay) feelings by metaphorically turning off the switch, blacks’ acceptance into the Mormon Church only after 1978 and Cunningham’s inability to articulate African names calling the lovely and dynamic Nabalungi (Nikki M. James) Neosporin or Noxzema keep the laughs coming.

But as my nephew said at the end “ya think this might offend some people?” Ya think? Politically correct it’s not, but it is a clever musical diversion that points to the grace we all feel when helping others and embracing and believing in something larger than ourselves. Unselfish acts yield spiritual laughter.
EYE ON THE ARTS, NY--By Celia Ipiotis

Eager for a feel-good holiday tonic? Walk past the Rockefeller Plaza Christmas tree and head straight for the Broadway musical "Jersey Boys."

Whether or not you know the music of Frankie Valli and the Four Seasons, your spirits will dance to the tune of their story. Rising from Newark’s gritty, working class, four guys merge into a wildly successful pop vocal group identified by Frankie Valli’s stratospheric, three-octave falsetto. And like the original group, this amiable cast positively quakes with the high-voltage performance of John Lloyd Young as lead singer Frankie Valli.

This economic production struts with a well balanced diet of story line, music and nostalgia. Director Des McAnuff nimbly captures the exhilarating spirits of young men catapulted into the music industry. In the process they shed names and members before finding their "sound" but never lose their pronounced loyalty to each other. Contracts between band members were honored by a simple handshake. Mob ties oiled their ascent to stardom and their near demise. So strong was their brotherhood that when Frankie’s mentor and fellow band member faces financial and possibly bodily ruin, Frankie pays off his debts.

But all of this would not pop if the cast wasn’t so totally inside the 60’s style. That comes from the Jersey swagger and spot-on choreography by Sergio Trujillo. Granted, the cast excels in the choreographed sequences, lashing out tight moves, finger snapping bounces and unison spins -- but Trujillo is a master at replicating standard pop routines and tweaking them with fresh, bold gestures.

McAnuff revels in his tight cast, as he animates the clear and amply detailed book by Marshall Brickman and Rick Elice. The ambiance is accessorize with large comic strip styled pop art by Michael Clark while the set suggests urban sprawl and claustrophobic clubs as visualized by designer Klara Zieglerova.

The dynamite cast revolves around the charismatic Christian Hoff as Tommy DeVito and Young along with strong performances by Daniel Reichard as Bob Gaudio, and J. Robert Spencer as Nick Massi. (My only concern: the wear and tear on Young’s vocal chords).

A kicky pit band lead by Music Director, Ron Melrose juices up this show about an all-American band rooted in New Jersey’s urban sprawl and mob camaraderie. "Jersey Boys" will keep you smiling long after you leave the theater singing "Sherry"-----"Sherry Baby!"

"Jersey Boys" at the August Wilson Theater features music by Bob Gaudio and lyrics by Bob Crewe. Tickets move fast, so get in line.

Celia Ipiotis