Ashley Blanchet

Titanic

June 18, 2024

The tapestry Stone weaves with his multitude of characters—too many to mention here—is always fascinating in its subtle details. Each person stands on his or her own helped by superb performances by the entire cast under the skilled direction of Anne Kauffman ("Mary Jane" and "The Sign in Sidney Brustein’s Window"). Under her care they all sing magnificently helped by guest music director Rob Berman’s sensitive handling of the Yeston score, directing the large Encores! Orchestra to bring out all the facets of the almost operatic music. [more]

The Sound of Music (Paper Mill Playhouse)

December 5, 2022

The new production of "The Sound of Music" at New Jersey’s Paper Mill Playhouse is such an utter delight, you shouldn’t be wasting time reading this review, you should be ordering tickets right now (www.papermill.org). I’ve seen countless productions at Paper Mill since the 1970’s. This production, running through January 1st, is one of the most satisfying productions I’ve ever seen at that theater—which is saying plenty. Director Mark S. Hoebee tells the familiar story—rich with honest sentiment--clearly and well. The show, with more than 30 actors on stage and 16 musicians in the pit, is handsomely produced. [more]

The Bedwetter

June 16, 2022

Comedian Sarah Silverman has turned her bestselling memoir, "The Bedwetter: Stories of Courage, Redemption and Pee," into a musical with the help of co-book writer Joshua Harmon, author of this year’s award-winning "Prayer for the French Republic," and composer Adam Schlesinger ("Cry-Baby"), who passed away in 2020 just as the show was about to go into rehearsal prior to the pandemic. The new musical, simply called "The Bedwetter," like the book is by turns amusing, first hilarious and later serious. Anne Kauffman’s production has a top-notch cast headed by Bebe Neuwirth, Caissie Levy, Darren Goldstein and Rick Crom. [more]

Fifty Million Frenchmen

October 3, 2019

Still delightful, mainly due to Porter’s score, the book by Herbert Fields (who went on to write six more Porter shows) has its charms with its snappy Jazz Age dialogue which makes fun of the ugly Americans in Paris, loaded with money but making one faux pas after another while mangling the French language. The version being used by the York Theatre production is that of the 1991 Tommy Krasker/Evans Haile adaptation for the Cole Porter Centennial first performed at the French Institute/Alliance Française which reduces the cast from 100 to a manageable eleven. It also reallocates some of the songs and includes some of the songs cut both on the road and after the opening. [more]