The Oxford English Dictionary lists eight different meanings of the word babe, and that’s not even counting the famous talking pig. Playwright Jessica Goldberg is specifically interested in two of them. In Babe, her 2022 short and sour drama, currently receiving a well-appointed staging by the New Group, Goldberg offers an example of how the term can simultaneously signal affection and condescension. Pitting a powerful, wrong-headed man against two smart women of different generations, the trio admire one another for their singular skills while ruing the destructive power plays that undo their workplace relationship.
Pony Cam’s Burnout Paradise is a madcap smorgasbord of actions that are tied together by a final aim: complete a number of tasks in a certain amount of time, all while walking on a treadmill. Part performance art, part physical theater, the show opens with four performers—Claire Bird, William Strom, Dominic Weintraub and Hugo Williams—on treadmills under a large screen displaying the words “Warm Up.” A soft, muttering soundscape (created by the ensemble) floats through the air, offering thoughts on greatness—“If greatness doesn’t come knocking on your door, you should go knocking on its door.”
Mama I’m a Big Girl Now!, the new musical entertainment at New World Stages, seems so eager to race to the exclamation point that it’s even missing a comma. The show wants to spread exuberance, excitement, and joy. It mostly succeeds.
It may be an overgeneralization, but let’s put it out there: In stage comedies, the more the cast laughs at its own purportedly hilarious exploits, the less the audience does. The onstage hollers and whoops are frequent and loud in The Z Team, Jeff and Jacob Foy’s workplace yuk-fest at Theatre Row, and while some of the audience seemed to enjoy it, those seated in E1 and E2 barely cracked a smile.
Loneliness and pandemic: two words that soared in usage in 2020 and 2021, when the COVID lockdowns kept people apart from their friends, family and regular activities. That pandemic is not the one playwright Olivia Haller references in the title Loneliness Was a Pandemic. Her occasionally thoughtful but not fully engaging drama (in which the word pandemic is never said) is concerned with another topic that’s been top of mind over the past few years: artificial intelligence.
Empire, a musical about the building of the Empire State Building—has a lot of heart. Set in three time periods—1929, 1930, and 1976—the story moves back and forth between Sylvie Lee (Julia Louise Hosack) and Mohawk Grandmother (April Ortiz) in the 1970s and the character of Frances Belle (Kaitlyn Davidson), a.k.a. “Wally,” a firecracker of a woman who is classy in pants, working her magic in a man’s world in the 1920s and ’30s, as the iconic skyscraper is being built.
A Sign of the Times, a new jukebox romp featuring musical riffs and cultural rifts from the 1960s, is full of statements. It has something to say about civil rights, women’s liberation, Vietnam, the course of true love and the influence of Pop Art. But this York Theatre Company production also leaves behind some nagging questions. Can a musical be “woke” when its book is tired? Can stock characters find believable ways to bond? Was Petula Clark right that things will be great when you’re downtown?
The stakes are high, and quite pointy, in Dracula, A Comedy of Terrors. In this jocular take on that jugular-loving creature of the night, blood is sucked, true love is tested and vanity finds a way to survive in the soul of a monster who ironically cannot cast his own reflection in a mirror. Bram Stoker’s 1897 gothic tale provides the groundwork, but the spirit of Mel Brooks and Monty Python, and the ghost of Charles Ludlam, lift the evening to its batty heights.
The last time that Constantine Maroulis trod the boards of New World Stages was in 2008. Capitalizing on his dynamic American Idol appearances, he was cast as the hard rocking Drew in the ’80s-themed jukebox musical, Rock of Ages, a part that he would parlay into a Broadway run. Now, as the title character in Rock & Roll Man, he has returned to the venue, with shorter hair, to lead another period musical that’s full of classic hits. But this time he leads from behind, supporting a sensational ensemble that steals the show and never gives it back.
Katsura Sunshine’s Rakugo is a fresh and funny solo show in which the director and star, Katsura Sunshine, spins yarns with entrancing charm in the ancient Japanese comic storytelling tradition known as rakugo. It is a pleasure to come across a piece that deals, wittily and delightfully, with a little-known dramatic art form.
Anthony Burgess’s 1962 novel A Clockwork Orange has developed a life of its own. It doesn’t have the worldwide instant-recognition factor of a Wizard of Oz or a Mickey Mouse, but the opening image of Malcolm McDowell’s Alex deLarge in Stanley Kubrick’s 1971 film is etched in the consciousness of anyone who’s even tangentially encountered the film: chin tucked, eyes leering under the brim of his bowler hat, mouth an inscrutable half-simper, flamboyant fake eyelashes ringing his right eye. No company Halloween party is complete without a Brad or a Dave in deLarge drag. The latest in a long line of theatrical adaptations of A Clockwork Orange, which opened this week at New World Stages, both banks on and challenges this brand awareness, refining the narrative into a piquant, overheated slab of physical theater about the roots of white violence that is part male revue, part alt-rock dream ballet.
Many people are familiar with Hollywood’s The Wizard of Oz and the Tin Man—found in the woods with an ax in his hands and rusted in place from a storm that had passed. But did you know that this man was not always made out of tin? In fact, this Tin Man was once a woodsman made of out of flesh, blood and a real heart.
In the play The Woodsman, the audience is taken back to the days before he turned into tin and the house dropped on the Wicked Witch of the East. Writer James Ortiz constructed his version of the life of the Woodsman. Ortiz collected information from the original book and film and the history of the town that the Woodsman lived in up until the day Dorothy took her first step in Oz.
Playing the leading role as Nick Chopper the Woodsman, Ortiz is also the creator, co-director, set and puppet designer. Although not alone in making this performance possible, Ortiz’s talents are shown not only in his great acting abilities but also in bringing such a memorable childhood story to fruition.
In this production it is the ensemble and the violinist Naomi Florin who bring this performance to life. With Florin and the majority of the ensemble remaining on stage for the entirety of the performance, they are the ones who control the sounds and music. The ensemble manages the set changes and they contribute to the lighting with flashlights. The ensemble also creates sound effects, performs magic, and becomes parts of the set.
The puppets are one of the most important features in this production. Puppet designer Ortiz created puppets that add life to the magical people and creatures that exist within this world. In addition to their other duties, the cast members are also the puppeteers. Although the audience can see the ensemble controlling the puppets, the group of talented actors do a fantastic job at working seamlessly together. The puppets are like an extension of the actors as they move throughout the space and even appear from the shadows. With the help of one to four cast members the puppets become bigger than life. The voices of the puppets come alive by having multiple actors control these magical beings. Layers of sounds and eerie, enchanted sounds are also used.
Audiences are transported into a different world when they enter the theater. The ceiling and aisles are lined with lights, that are encased in mason jars, and hanging from trees. The space feels mystical and like when a story is about to be told to a child. Lighting designers Catherine Clark and Jamie Roderick use lighting delicately to create various shadows and the enchanted forest.
In order to allow quick transitions, Ortiz uses acting blocks that can be moved easily throughout the space to create various settings. Audience members who are not seated in the front row will probably not see one or two of the moments that happen on the stage. However, not seeing these moments will not prevent theatergoers from understanding what is happening.
Overall, The Woodsman is a heart-touching play that brings to life a story that has not been told. With the great music composed by Edward W. Hardy, meaningful lyrics by Jen Loring, and strong visuals envisioned by Ortiz, this play will remind any audience member of The Wizard of Oz and the infamous Tin Man.
The Woodsman runs until May 29 at New World Stages (340 West 50th St. between 8th and 9th Aves.) in Manhattan. Tickets range from $45-$105. To purchase tickets, call (212) 239-6200 or visit thewoodsmanplay.com.
The legendary director Harvey Cocks once claimed, “An actor must never be afraid to make a fool of himself.” And real men shouldn’t be afraid to be fools, either. At least that is the perspective of the creators of Real Men: The Musical, the playfully vaudevillian show at the New World Stages, an Off-Broadway multi-theater venue in Midtown Manhattan. This new award-winning musical comedy has been brought to New York City from the Actors’ Playhouse in Coral Gables, Florida. The show is cleverly written by Paul Louis and Nick Santa Maria, with impeccable musical direction by Martin Landry and exquisite arrangements by Manny Schvartzman.
Real Men: The Musical is a man’s view of men. As the characters read to us from the Book of More Men, we learn the truth about what goes on in a real man’s mind. Apparently, not much besides sex and sports. At least they are able to laugh at themselves about it. And sing about it. And play with puppets (and themselves) about it. As the piece follows the men in their journey into married midlife suburban crisis, we learn that they do want to understand why they are so stupid. According to the playbill, the play is set in “Present Day” to suggest that some things never change. It also reads that the place is "Everywhere," but Boynton Beach and Boca Raton sure are recognizable. Jerry Seinfeld's parents would love it. And who doesn't love South Florida?
The musical stars Stephen G. Anthony (I Love You, You’re Perfect, Now Change) along with the writers, Louis (from the 1995 TV series "Jelly Bean Jungle”) and Maria (Secrets Every Smart Traveler Should Know). Under the manly guidance of award-winning director David Arisco, these performers give us a hilarious and harmonious examination into the minds of men. All three performers effortlessly mastered the melodies and harmonies; a real twisted Rat Pack with the Three Stooges. While they were campy at times, that was what they were striving for and they did it well. The inclusion of puppet women heightened their point that men see women as objects with talking heads, breasts and derrières.
Some of the lyrics were hysterical; some were a bit dated—heard them from my ex-husband and his father, in South Florida years ago. But again, they reiterate the point that men are limited in their thinking and that it is a universal disease. The production definitely caters to the older bridge and tunnel crowd. Married and divorced couples will get it but younger theater-goers might need variety in the music and a younger perspective (maybe the son in the song "That’s My Boy" could appear). The music was well-written and performed, reminiscent of the old great standards—but a bit repetitive in certain spots. There was most certainly room for a rock song, or other style of music, too. And while the men can sing, and move well, an audience does like to see nice legs. Not that Anthony's legs weren’t nice—he looks great in drag. While it was especially delightful to hear these real men’s confessions, the character development could have been further expanded.
Particular songs that really hit the mark were "I’m Not with Nick" and "Married Man’s Lament," a hysterical number sung by Louis with help from Maria, Anthony and a giant penis. "That’s My Boy" was a real surprise. It was flawlessly carried by Nick, who has a real sense of character, comedic timing and honest acting. Anthony had a powerful voice, nice hair and could really move his hips. Paul was a hoot with the puppets; he really knew how to work them smoothly into his performance. Plus, he looked great in his cowboy outfit and tutu. They all had undeniable chemistry and it was clear they were enjoying themselves. So we enjoyed them, too. We all knew these fellows. They were our fathers and husbands in true form. It was nice to laugh at them and not get in trouble.
Real Men: The Musical is running through Jan. 2, 2016 at New World Stages (340 West 50th St. between 8th and 9th Aves.) in Manhattan. Check the performance schedule here. Tickets range from $59-$79 and can be purchased by calling 212-239-6200 or visiting Telecharge.com.
Back when I was in high school, my cousin and I made up an impromptu jazz-age musical called Loser: The Musical, wherein a lowly, poor broom boy (based on a broom boy at the local Dunkin' Donuts whom my cousin and her sister insisted I had a crush on — don't ask) falls in love with a rich girl he stumbles upon one day. As one could expect, there were cheesy numbers galore, with inclusion — of course — of the musical's title theme, "Loser," which our hero would sing forlornly as the rich girl drove away with her Also-Rich-But-Also-A-Jerk fiance.
