Blizzard doesn’t miss a beat as she keeps the whole room in stitches during the course of this 80 minute performance. Her wit, charm, and wisdom are comedic gold and make for a flawless piece of entertainment. Hidden underneath the humor is the important theme of togetherness and female solidarity as she emphasizes needing your girls to get through life, as they understand many of the emotions/dilemmas that men aren’t able to understand. It is empowering to hear her truth about not trying to be perfect and admitting that sometimes the “crazy” is proof that you are doing this whole thing (“adulthood” and “parent thing”) correctly. [more]
On stage, Birbiglia’s presence differs significantly from that of his fellow comics. It is no exaggeration in referring to Birbiglia as a soft-spoken individual, a term not often associated with a stand-up comedian. Birbiglia embraces his subtlety as his calling card, and this unique quality is the trait that differentiates his style from that of others. Further, because of the way he controls his onstage presence, when he does raise his voice or get particularly physical, it is even more effective as a result. This style paves the way for many different forms of comedy and jokes along the way, thus keeping the show free of any break in pace or monotony. [more]
Leonard Nimoy intended "Vincent" as a vehicle for himself that would showcase his talents. In this Off-Broadway premiere presented by Starry Night Theater, "Vincent" is now such an outlet for Nimoy’s worthy successor James Briggs in this entertaining and insightful production. [more]
For his latest production, Brinkman has assembled over 20 songs which, cohesively, tackle every aspect of the climate crisis. Starting with a background of the physics and chemistry behind what’s happening in the world, he begins the show with a crash course in climate science. Brinkman’s clever lyrics are both informative and comical, and the unique way in which the information is presented to the audience makes learning fun and entertaining. Not only that, the conversational approach in his rapping also helps to make the information more easily digestible. [more]
At the top of the show Cariou tells us that he made his Broadway debut in the Stratford Connecticut Shakespeare Festival’s transfer of "Henry V" in 1969 and six months later in the spring of 1970 appeared at the Palace Theatre in the new musical" Applause." Ever since then, he has had the idea to combine Shakespeare and song with “tunes that either support the text or are the antithesis.” The evening proceeds to pair Shakespeare and song thematically, like the opening sequence which offers Orsino’s “If music be the food of love, play on” from "Twelfth Night," followed by Sondheim’s “Love, I Hear” from "A Funny Thing Happened on the Way to the Forum" and Rodgers and Hart’s “Falling in Love with Love,” from "The Boys from Syracuse," based on Shakespeare’s "The Comedy of Errors." [more]
Asner’s appearance in "A Man and His Prostate" is a delightfully thrilling opportunity to experience his considerable talents live. He vividly grouses, grimaces, and perfectly lands every joke with his monumental comic timing. The seriousness of the play is also conveyed when he skillfully tones his performance down to recite medical facts and to express the fears of the ramifications of the character’s condition and prognosis. Sitting raised above the audience at times he looks and sounds like a sage. [more]
Victor Morales enters and introduces himself and notes that we are at Dixon Place. Mr. Morales who created this piece is stocky, bald, bespectacled, and possessed of a quirky everyman presence. For just under an hour, he delivers an amusing lecture with serious overtones enhanced by the illustrative projections. [more]
Handled as stand-up comedy, Story tells us that he did not at first accept Dr. Gray’s theories until he heard one of his lectures, and then he became a convert to the concept that men and women’s thinking and feeling is so different that they might as well be from separate planets. Story uses his own life as an endless source of comic anecdotes to illustrate Gray’s ideas: his own courtship, marriage and life with his wife Megan. Basically, the theory boils down to men needing trust and approval while women need attention and understanding. Initially, Story’s mirthful tales are of how he caused unnecessary conflicts with his wife by not following these rules. Eventually, he learns the hard way through trial and error, and ultimately improves his life and marriage. [more]
Rubin-Vega dazzles from her first moments on stage. She is sassy and witty while sharing her life story in a raspy tone to match the mood, and maintains this intense connection with the audience the entire time. All eyes are on her as we comprehend her past and are in suspense as we see her present life unfold after learning the secrets of this empanada shop. They are unexpected and gruesome and will make the hair stand up on your head. The lighting design by Bradley King adds to the haunting atmosphere as there are moments when the light shines just right on Rubin-Vega and all you see is her face in the dark. [more]
Wearing a red plaid shirt, black shorts, and black combat boots, the acclaimed lesbian performance artist Marga Gomez vibrantly barrels through her solo show "POUND" with unflagging comic energy. Lasting 90 minutes, it’s a rambling and exasperating semi-autobiographical fantasia that has laughs but doesn’t satisfyingly cohere. [more]
This compelling and moving solo play recounts Yoel's gradual coming out that starts in 1986 when he was ten in Caracas. Comical and dramatic incidents in his childhood, harrowing events during his high school and college years, and his arrival in New York City at the age of twenty-one are vividly presented. [more]
“Who Are You,” recorded by The Who, starts off "The Book of Moron." It’s a well-crafted 80-minute theater piece of observational stand up comedy written and performed by Robert Dubac. The title is a pun on the musical, The Book of Mormon and is representative of Mr. Dubac’s comic sensibility. Those who find him funny will have a great time at this show, and those who don’t, will have a tough time. [more]
Whether or not I am convinced that Hillary Clinton needs to take a lover, and indeed how confident I am in Meek’s sexual aptitude for the task, the presentation was a great success triggering booming laughter thanks to a wit wholly unaccounted for in this age in America, a repartee most welcome to this writer. [more]
The famous late-19th century author Oscar Wilde is a rather paradoxical historical figure. On the one hand, he was a proud Irishman quick to correct anyone who suggested otherwise; on the other, he spoke with the finest English accent. He was too pedantic to relate to the masses, and yet his work was widely revered by all social strata. Many people loved to hate him and others hated that they loved him. In "Diversions & Delights," the 1979 play that recently returned to Manhattan for a one-weekend run presented by The Ensemble Theatre Company of New York, writer John Gay distills these many facets of a complicated man into a solo performance piece that is appropriately pretentious and accessible. [more]
Ronald Keaton gives us an amiable but charmless man. (The latter is arguably authentic.) He replicates faithfully the halting speaking style (young Churchill stammered), but rarely gives the sense of calculated intensity with which Churchill could deliver even the most anodyne remarks. The man of steel who stood up to Hitler without blinking, who rallied Londoners suffering daily loss of life and property from relentless Nazi bombardment--that man is nowhere to be found. [more]
The fabric of the community of a small Jersey shore town is torn apart in the wake of the mysterious disappearance of young Leonard Pelkey. At first this one-man show, written and performed by James Lecesne, follows the lines of every crime drama you have seen. Yet, "The Absolute Brightness of Leonard Pelkey" proves to be much more than superficial intrigue and ends up challenging the very conscience of society. The standing ovation and second curtain calls this show has been receiving in previews are already setting this piece of theater apart. [more]
Hugely talented singer-comedienne Christina Bianco has become famous for her "Forbidden Broadway" and YouTube appearances where she has performed many impressions. Most notable has been her YouTube clip of her rendition of “Total Eclipse of the Heart” in which she impersonates 19 inimitable singers and which has received over seven million views. In the new one-woman, Off Broadway comedy, "Application Pending," she outdoes herself doing 40 voices often at breakneck speed. Bianco is a wonder to listen to. Unfortunately, the show which attempts to satirize the culture that believes that kindergarten classes at fashionable private schools are the only way to get ahead in life is a one-joke plot which becomes tiresome long before its 75 minutes are up. [more]
Performer-scholar Baba Brinkman has done a series of shows which follow the same basic format, essentially a lecture with rap interludes. A recent example seen at the Soho Playhouse was his Rap Guide to Evolution, in which he posited that if we wanted the welfare of the human race to improve, our watch cry needs to be “don’t sleep with mean people.” At the end he gave out buttons with this phrase (I still have mine). His current show is the very entertaining (and informative) "Rap Guide to Religion." [more]
"Every Brilliant Thing" is a wonderful evening in the theater and a reminder that though life may offer bad or unhappy episodes, that there are wonderful things to live for and new surprises every day. Making his New York debut, Jonny Donahoe proves himself to be a charismatic performer and makes this a memorable and inventive show. At 65 minutes, the show is just the right length to make its point without overstaying its welcome. [more]
The creative script by Mr. Wallace and Ms. Levitsky is adapted from Douglass' writings with evocative excerpts from the plays of William Shakespeare, and includes appropriate songs and hymns. Focusing on his early years and detailing the horrors of slavery in the United States in the 19th century, it eschews a typical recitation of "greatest hits," often found in many biographical one-person shows. With a booming voice, tremendous physicality, and a highly expressive face, Mr. Wallace commandingly portrays Douglass and other figures from his life during the show's very well paced eighty minutes. [more]
Author Tom Dugan has expertly incorporated obviously well-researched historical and biographical details into this dramatization. Theatrical touches besides the audience as a tour group include phone calls for Weisenthal to answer and speak to other people, including comic chats with his wife. There are also flashbacks with other characters brought in. [more]
Mr. Celdran weaves these and many other tales and observations into an compelling event that alternates between inciting laughter and thoughtful silence. With his well-honed recitation, personal charm, fluid physicality, and native perspective, he is the perfect conduit for this material. Director Ralph B. Pena's staging, has Celdran purposefully all over the stage. Nick Francone's set design presents a detailed and whimsical space for the character giving the lecture. Becky Bodurtha's costumes simply and artfully convey the authentic look. [more]
"Ladies and Gentlemen! Miss Joan Crawford!" announces the host. Embodying old-time Hollywood glamour, Mr. Epperson regally enters, wearing an elegant black gown with a bejeweled collar, voluminous crimson wrap, strawberry blonde updo, ruby bracelets, and diamond rings, to the sound of recorded and live audience applause. Then he and the host sit down on puffy white chairs, with black and white hanging dots in the background, a bottle of Pepsi on the table, and proceed to meticulously lip synch to the actual 1973 interview that included the host's questions and those from the audience read from index cards. Off to the side are illustrative slides of Crawford and her career that are projected onto a large screen. [more]
Mr. Pulos' writing concisely and effectively defines each character. Some could view them as typical gay stereotypes, but with descriptive biographical details and personality traits, they come across as real individuals. Visits to a bathhouse, a public health clinic, and nightclubs are rendered with authenticity. [more]
Most of the pieces will be familiar to the readers of The Portable Dorothy Parker: "The Garter," "A Telephone Call," "The Waltz," "Just a Little One," "The Taxi," and a few poems. This is supplemented with bits from more ephemeral work, such as her book reviews. [more]
This was my first in-person experience of Finley's work, and unfortunately it was a shambles. What could have been forty intense minutes of poetry and music was padded with rambling introductions and mostly aimless patter to more than twice that. The night I attended she was nervous and flustered, repeatedly losing her place in the program, and allowing herself to be distracted over and over again by a leaky water pitcher. (Why didn't the stage manager just replace it?) [more]
During 70 engrossing minutes on a bare stage with only a tall stool as a prop, he vividly recounts these long ago incidents with great detail. Youthfully complaisant during his three prior drug runs, his fourth turned nightmarish with a dramatic arrest by armed soldiers at the airport. Four harrowing years in various oppressive prisons were made endurable by his strength and the aid of his benevolent father who provided money for bribes. Then the incredible escape, "catching The Midnight Express" to freedom.
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