The Jonathan Larson Project - Revealing A Passion That Still Burns Bright

Reviewed by Judd Hollander

Be it filled with the joy that comes with beginning a new chapter in life, political satire about truth and electability, or a somber ballad of how a musical instrument can restore one’s emotional equilibrium, every offering in the world premiere musical The Johnathan Larson Project has something deeply meaningful to say. Currently at the Orpheum Theatre in Greenwich Village, the show’s selections, some of which have never been performed publicly, help shine a light on a multi-talented artist who at age 35, left this world far too soon. 

While the show has no through storyline per se, one can quickly discern how the work is divided into specific sections. The first of which leads off with the rousing “Greene Street,” as the cast of five extolls the joys of being young and hopefully talented enough to make it in New York City. This premise of following one’s dreams continues through the next several songs as they explore the optimistic naivety youth can bring, along with the creeping realization that achieving success is not always as easy or quick as first imagined. Though there is the opportunity to unwind from such pressures via alcoholic relaxation, as shown in comedic gem “Break Out the Booze.”

(L-R) Andy Mientus, Taylor Iman Jones, Lauren Marcus, Jason Tamt in "The Jonathan Larson Project." Photo by Joan Marcus

Juxtaposed with these situations are ones that examine those who exist on the fringes of society, a place where hope has long since become a thing of the past and simply making it through the night can require the sacrifice of ones very soul. These are folks Larson himself could have seen during the years he lived in Greenwich Village.

The final third of the show assumes a more political bent, with offers that run the gamut from over-the-top satire, such as a skit focusing on the creation of the perfect candidate, to something far more grounded in reality, as when two women compare notes about what it takes to make it in a “White Male World.” Also explored is the fragility of our environment, via the almost dirge-like “Iron Mike,” about the 1989 Exxon Valdez oil spill, along with the ultimate question of who you can trust, especially when everyone seems to have their own personal version of the truth. It also helps that the show’s program contains background information on each of the numbers presented, which help to provide an extra layer of depth and understanding as to their origins.

(L-R) Lauren Marcus, Andy Mientus, Jason Tam, Taylor Iman Jones, Adam Chanler-Berat in "The Jonathan Larson Project." Photo by Joan Marcus

Conceived by Jennifer Ashley Tepper, directed by John Simpkins and presented with the support of the Larson family and estate, many of the songs have an almost poetical feel to them as they pull the audience into the stories being told and the characters who inhibit them. Highlights, in addition to those already mentioned, include the ironically named “Valentine’s Day,” which shows how a desperate need for love can lead to a path from which there may be no escape.

                              Adam Chanler-Berat in "The Jonathan Larson Project." Photo by Joan Marcus

The cast is excellent, with each member of the company getting their own individual moment to shine. Also deserving of mention is the choreography by Bryon Easley, and Charlie Rosen’s work on the musical arrangements and orchestrations. 

The show also contains an overall air of poignancy as it recalls, via video clips, the circumstances surrounding Larson’s passing. He died in 1996 of an aortic dissection on the early morning of the first scheduled preview performance for the Off-Broadway run of his musical “Rent,” for which he wrote the book, music and lyrics. “Rent” would earn Larson, among other honors the Pulitzer Prize, and when the show moved to Broadway, three Tony Awards.

 (L-R) Andy Mientus, Adam Chanler-Berat, Taylor Iman Jones, Lauren Marcus, Jason Tam in "The Jonathan Larson Project." Photo by Joan Marcus

Previously staged as a concert in 2018, the show pays its subject the ultimate compliment when it notes how not a word of what Larson has written was changed for this production. 

With songs that runs a gamut of styles and emotions, The Jonathan Larson Project proves to be a wonderfully entertaining, totally infectious and extremely thought-provoking experience.

Featuring: Adam Chanler-Berat, Taylor Iman Jones, Lauren Marcus, Andy Mientus, Jason Tam

The Jonathan Larson Project

Conceived by Jennifer Ashley Tepper

Scenic Designer: Michael Schweikardot

Costume Designer: Tracy Christensen

Lighting Designers: Adam Honoré, Shannon Clarke

Video Designer: Alex Basco Koch

Sound Designer: Justin Stasiw

Wig and Hair Designer: J. Jared Janas

Music Director: Cynthia Mend

Music Supervision/Orchestration/Co-Arranger: Charle Rosen

Choreographer: Bryon Easley

Director: John Simpkins

Orpheum Theatre

126 Second Avenue

Tickets: https://thejonathanlarsonproject.com/

Running time 1 hour 35 minutes, no intermission

Closes: March 30, 2025

Urinetown – Still Mostly Sharp After All These Years

Reviewed by Judd Hollander

True believers, no matter where they may be on the political, social or economic spectrum, always believe they are doing the right thing. Even if there are those who refuse to see it that way, due to so-called sacrifices that must be made for the greater good. This is the message at the heart of the deliciously satiric musical, Urinetown. Created by Mark Hollmann (music and lyrics) and Greg Kotis (book and lyrics), the show’s recent run as part of the Encores! series at New York City Center marks its first major staging in the Big Apple in over two decades.

                 (L-R) Greg Hildreth as Officer Lockstock and Christopher Fitzgerald as Officer Barrel in 

             the Encores! production of Urinetown at New York City Center (photo by Joan Marcus)

For the last twenty years, the country has been plagued by drought so severe that every bit of moisture is precious. In the wake of this catastrophe, a corporation has arisen - with the tacit approval of the government - that has created a gigantic network designed to collect people’s bodily fluids to be repurposed for later use. The project supported by a tax that people must pay before they can use the Amenity Stations constructed specifically for this function. As Penelope Pennywise (Keala Settle), who runs Amenity #9, “the poorest, filthiest urinal in town,” explains more than once “It’s a Privilege to Pee.” Those who can’t afford the fee and instead use an unsanctioned area to relieve themselves are immediately rounded up by authorities and taken to Urinetown, a place whose name strikes fear in the general public and from which no one has ever returned. 

Penelope Pennywise (Keale Seattle) admonishes Old Man Strong (Kevin Cahoon) in the Encores! Production of Urinetown at New York City Center (Photo by Joan Marcus)

The imposition of the latest pee tax turns out to be the match that threatens to explode the angry powder keg the less-fortunate citizenry has become. All they need is a leader, who appears in the persona of Bobby Strong (Jordan Fisher), a young man who works for Pennywise and who recently saw his own father taken away to Urinetown. Bobby has long believed there is nothing he can do to stop the injustice he sees – where those in power get richer and those without get nothing – but his outlook changes after an encounter with the good hearted, if somewhat naive Hope Cladwell (Stephanie Styles), daughter of Cladwell B. Cladwell (Rainn Wilson), the man who created the imposing Urine Good Company and all that has since followed.

With a newly emboldened Bobby opening Amenity #9 for all to pee at no cost, and Cladwell determined to stamp out any source of rebellion before it spreads, he having no desire to return to the chaos of what came before, it is only a matter of time before these two men come into conflict, with Hope caught right in the middle.

                     Bobby Strong (Jordan Fisher) and the company of Urinetown (Photo by Joan Marcus)

Urinetown’s strength comes from its biting dialogue and absolutely brilliant score - the latter perfectly delivered by the Encores! Orchestra. Each line or lyric capable of provoking one telling realization after another, depending on how deep one cares to look beneath what is being presented on stage. These sentiments include the tenacious grasp one can have on their own personal freedom, questions of culpability, how under the right circumstances most everybody is capable of doing something they would normally consider unthinkable, the dangers of refusing to see the big picture when making a decision, and the understanding that every choice made comes with consequences.

Rainn Wilson (standing on table) as Cladwell B. Cladwell and the company of Urinetown (Photo by Joan Marcus)

For a show of this type to work, the satire it offers needs to be perfectly delivered, which sadly, is not always what happens here. The dialogue at times delivered with an extra pause, or sort of wink to the audience to allow them to be in on the joke. The different characters also need to be played with total seriousness and when they’re not, it destroys the believability of their scenes. Among those with this problem are Greg Hildreth as Officer Lockstock, a character who also serves as the show’s narrator, and whose delivery feels just off enough to made him seem part of the joke, rather than the situation he’s describing. Another person who has this issue is ensemble member John Yi. There are also moments when the show feels a bit rushed and lacking in tension, such as when Bobby and his fellow rebels are regrouping in their secret hideout after their initial clash with Cladwell.  

Wilson does a superb job as Cladwell, whose scenery-chewing rendition of “Don’t Be the Bunny” shows him to be a black-hearted realist who has no intention of relinquishing the power and control he wields. Settle does a good turn as Pennywise, a woman seemingly all business until it turns out she has been hiding a secret of her own. Styles and Fisher do well as Bobby and Hope, though more individually than together as the two characters never feel as if they have that strong a connection. Though both have excellent singing voices, with a particular highlight for Fisher being the rousing “Run, Freedom Run!” Teddy Bergman’s directorial work, while adequate, is not strong enough to keep the show running on an even track and bring all the elements together properly. The choreographic work by Mayte Natalio has the same problem, especially when it comes to movements by a captive Hope during the song “Snuff That Girl.” 

Jordan Fisher as Bobby Strong and Stephanie Styles as Hope Cladwell in the Encores! production of Urinetown at New York City Center (Photo by Joan Marcus)

There is certainly a lot of good to be found in Urinetown, with an overall message that resonates just as powerfully now than when it was first staged; even more so in some cases. Yet the various missteps throughout all combine to make this production far less than it could be. 

Featuring:  Jenni Barber, Josh Breckenridge, Yeman Brown, Kevin Cahoon, Jordan Fisher, Christopher Fitzgerald, Pearl Scarlett Gold, Joshua Grosso, Greg Hildreth, Jeff Hiller, Tiffany Mann, Daniel Quadrino, Geena Quintos, Graham Rowat, Keala Settle, Stephanie Styles, Myra Lucretia Taylor, Rann Wilson, John Yi.

Scenic Designer: Clint Ramos

Costume Designer: Sophia Choi

Lighting Designer: Justin Towsend

Sound Designer: Nevin Steinberg

Hair, Wig & Makeup Design: Tommy Kurzman, Suki Tsujimoto

Music Coordinator: Kimberlee Wertz

Production Stage Manager: Cynthia Cahill

Casting by: The TRC Company, Kevin Metzger-Timson CSA

Choreographer: Mayte Natalio

Featuring: The Encores! Orchestra

Music Director: Mary-Mitchell Campbell

Director: Teddy Bergman

Urinetown

Presented at New York City Center

131 West 55th Street

Running time: 2 hours, 30 minutes, with one intermission

Closed: February 16, 2025

Maybe Happy Ending - Where The Finish May Be The Beginning

Reviewed by Judd Hollander

“The feeling of love lasts a maximum of 4 years, and then it’s just inertia and fear of being alone that keeps people together,” exclaims a character in the delightful new Broadway musical Maybe Happy Ending. Created by Will Aronson and Hue Park, the show presents a fascinating exploration of two beings who, as they contemplate the end of their existence, find something they never thought possible.

For the past 12 years jazz enthusiast Oliver (Darren Criss) has been living in a tiny apartment at the Helperbot Yards near Seoul, South Korea, with no one but his plant HwaBoon to talk to, and the occasional piece of mail as he waits for his owner to return. Oliver is a Series 3 Helperbot, an artificial being capable of independent thinking created to assist humans in whatever task they need. All the rage in certain circles, Helperbots can also become almost literal extensions of their owners, acting as their confidants and sounding boards. However, as with all things automated, newer models are developed, with those that came before discarded and left to themselves until self-repair is no longer possible and they cease to function.

Oliver (Darren Criss) with HwaBoon in the Broadway musical Maybe Happy Ending at the Belasco Theatre. Photo Credit: Matthew Murphy and Evan Zimmerman.

One day Oliver is startled by a frantic knock on his front door, opening it to find Claire (Helen J Shen), a Helperbot Series 5 cast-off, and his next-door neighbor, who begs to borrow his personal charger as her own has become defective. After some hesitation and verbal sparring, there apparently being some kind of animosity between the Series 3 and 5, he agrees.

With Claire coming by each day to borrow Oliver’s charger, the two soon settle into a comfortable routine. Oliver shares his love of jazz with Claire, and she offers him housekeeping tips in return. We also learn Claire and Oliver were abandoned not because they were becoming obsolete, but because they had become so much a part of their respective owner’s lives, other members of the owner’s families felt neglected. Upon learning Oliver is planning to visit his former owner, Claire, for reasons of her own, decides to come with him, even as she worries Oliver may not get the joyful reunion he has so profoundly envisioned. 

Helen J Shen as "Claire" in the Broadway musical Maybe Happy Ending at the Belasco Theatre. Photo Credit: Matthew Murphy and Evan Zimmerman.

A story where a meet cute turns into something far more, thanks in part to a road trip and a magical firefly encounter, Maybe Happy Ending explores two very basic needs – that of being wanted by another and the attempts we are prepared to go through to avoid being alone. As Claire and Oliver bond over their experiences, they begin to wonder if it’s possible to take the next step in their relationship and become more than friends, especially in the face of an ending neither wants to contemplate. An inevitably every couple must someday face as they get older and realize their time together is finite, which makes it all the more precious. 

The entire experience is shot through with a laidback jazzy feel, thanks to singer Gil Brentley (Dez Duron), a crooner who calls to mind Dean Martin or Perry Como, and whose almost effervescent presence adds an extra integral layer to the story, as he effortlessly delivers Aronson and Park’s tunes and helps set the show’s overall tone, even though this character is technically not part of the ongoing narrative.

Dex Duron as "Gil Brentley" in the Broadway musical Maybe Happy Ending at the Belasco Theatre. Photo Credit: Matthew Murphy and Evan Zimmerman.

Adding important touches to the proceedings are the video effects by Dane Laffrey and George Reeve, whose efforts offer windows to Claire and Oliver’s past; and the lighting by Ben Stanton and sound design by Peter Hylenski. Director Michael Arden is able to bring the story vibrantly to life by alternatively emphasizing moments of humor, pathos and outright comedy. A good example of the latter shown when Claire and Oliver try to have an argument once they have become a couple. There’s also Oliver’s habit of being too literal, as evident during a stay at a less than reputable motel where he and Claire spend the night during their trip.

Criss is perfect as sheltered Oliver, secure in the knowledge things will turn out the way he expects – as shown via the song “World Within My Room.” It isn’t until he meets Claire that he finds in himself a spontaneity he didn’t know he’d been lacking, and a willingness to face unpleasant truths when it comes to his own life. Oliver is also the character who matures the most over the course of the musical.

With an excellent singing voice, Shen is superb as the more realistic Claire. The character having connected with a network of her fellow Helperbots, some of whom she knows well. Equipped with social skills Oliver lacks, she is in her own way far more alone when the two first meet and eventually sees in Oliver a chance to have a very special adventure while she still can. 

Helen J Shen and Darren Criss in the Broadway musical Maybe Happy Ending at the Belasco Theatre. Photo Credit: Matthew Murphy and Evan Zimmerman.

Showing both the fragility and durability of love, and with some heart-wrenching twists, Maybe Happy Ending presents an infectious tale that offers exactly what the title says. Which is all anyone in love can ultimately hope for. 

Featuring: Darren Criss (Oliver), Helen J Shen (Claire), Marcus Choi (James, Junseo & Others), Dez Duron (Gil Brentley), Arden Cho (Jiyeon), Young Mazino (Suhan), Jim Kaplan (Young Junseo), HwaBoon (HwaBoon).

Additional Voices: Michael Arden, Will Aronson, Caroline Fairweather, Nikki M. James, Andy Mientus.

Maybe Happy Ending

By Will Aronson and Hue Park

Scenic & Additional Video Design: Dane Laffrey

Costume Design: Clint Ramos

Lighting Design: Ben Stanton

Sound Design: Peter Hylenski

Video Design: George Reeve

Hair & Wig Design: Craig Franklin Miller

Makeup Design: Suki Tsujimoto

Orchestrations: Will Aronson

Music Director: John Yun

Music Coordinator: Kimberlee Wertz

Music Supervisor: Deborah Abramson

Directed by Micheal Arden

The Belasco Theatre 

111 West 44th Street

Tickets: 212-239-6200 or www.telecharge.com

Running time: 1 hour 45 minutes, no intermission

Open run

Jelly’s Last Jam – Hopefully Not Truly The Last

Reviewed by Judd Hollander 

The trick when presenting a biographical vehicle is to make sure the audience is able to relate to the subject in question. Especially if that subjects happen to be, in the words of director Robert O’Hara, “sexist, prejudiced, colorist, misogynist and elitist.” Fortunately, the Encores! production of the 1992 Broadway musical Jelly’s Last Jam, about the life of jazz pioneer Ferdinand Le Menthe “Jelly Roll” Morton (1891-1941), is able to do exactly that, and more. Strongly directed by O’Hara, this deeply stirring presentation can be seen at New York City Center through March 3rd.

The story takes place at The Jungle Inn, “a run-down club somewhere's ‘tween heaven n’ hell,” where Jelly Roll Morton (Nicholas Christopher) has been summoned in the immediate aftermath of his death. He’s greeted upon his arrival by the no-nonsense Chimney Man, (Billy Porter, in a superlative performance); a being who will make the determination of exactly where Jelly will spend eternity. Chimney also has no patience for Morton’s airs of self-assurance and superiority. Both of which Jelly wears like a protective second skin. Not to mention his habit of continually stretching the truth. Like how he claimed to have invented jazz.

Nicholas Christopher in the Encores! production of Jelly's Last Jam at New York Center. Photo: Joan Marcus

As Jelly waits to learn his fate, he finds himself reliving pivotal moments from his past. Such as the passion when he first hears musician Buddy Bolden (Okieriete Onaodowan) playing the cornet one night in New Orleans; the joy at reconnecting with an old friend (John Clay III); and the anger he feels when he believes himself betrayed by those closest to him. There’s even a moment of wonder when he finds himself face to face with himself as a young man (Alaman Diadhiou). The younger Jelly having the same amount of swagger and bravado as his older self.

More than just a straight through-line story of Jelly Roll Morton, the musical paints a picture of the title character as a deeply tormented soul. One with a fear of rejection so acute, he instinctively pushes away anyone he fears might someday hurt him. This fear stems in part from a long-ago trauma when, as a teenager, he was disowned by his grandmother (Leslie Uggams) for playing in a local bar and disgracing the family lineage. Morton’s continual fixation of his Cajun roots from that point on, and thus seeing himself as “better” than other people of color with whom he interacted with, might also have been an attempt to reclaim that part of his heritage he feels was taken from him.

Leslie Uggams in the Encores! production of Jelly's Last Jam at New York City Center. Photo: Joan Marcus

We also see flashes of Jelly’s artistic integrity throughout the story. As evidenced by his musical contributions to the art form of jazz; and also his strong business sense. He often refusing to sign deals with record companies unless he had control over his material. It was an arraignment that worked well when he was turning out hits. However as times and musical styles changed and other jazz greats began coming up through the ranks, Jelly finds his star power beginning to wane.

While the story offers more than enough material to hold one’s attention, George C. Wolfe’s book does feel a bit rushed at points. Particularly in the much shorter second act. What makes the show stand out is the excellent orchestrations by Luther Henderson, (additional orchestrations by Daryl Waters and William David Brohn), Edgar Godineaux’s marvelous choreography, and a top-notch cast.

Nicholas Christopher and the company of the Encores! production of Jelly's Last Jam at New York City Center. Photo: Joan Marcus

Christopher is perfect as Jelly Roll Morton. The actor imbuing the character with a strong sense of style and swagger, plus more than a bit of narcissism and ego. All of which hide the insecurities he carries inside. These sometimes competing factors show Jelly to be a complicated individual always striving for the next big thing. While at the same time always running from what he has lost.

Joaquina Kalukango is excellent as Anita, the great love of Jelly’s life, and also someone who can give as good as she gets whenever they have an argument. She’s also the only person Jelly is comfortable enough with to confide in. Their quiet moments together offer the audience an important bit of insight into Jelly’s tightly controlled persona. Elsewhere, Clay is nicely amicable as Jelly’s longtime friend Jack the Bear; while Diadhiou does a nice job as Young Jelly. Also quite good is Onaodowan, who gives an effective performance as Bolden.

Nicholas Christopher and Joaquina Kalukango in the Encores! production of Jelly's Last Jam at New York City Center. Photo: Joan Marcus

Among the highlights in the score is the torch song "Play The Music For Me," beautifully sung by Kalukango. Other memorable tunes include "Michigan Water," in a rendition by Onaodowan and Tiffany Mann; the rousing "The Whole World's Waitin' to Sing Your Song", delivered by Christopher and Diadhiou; and the poignant "The Banishment, strongly put across by Leslie Uggams. Also quite good is the mournful “The Last Chance Blues,” sung by Christopher and Kalukango. Though there are a few times when the music tends to drown out the lyrics, thus lessening the number’s overall impact.

From the performances to the music to the message, there is quite a lot to unpack in the Encores! production of Jelly’s Last Jam and it is certainly worth checking out.

Jelly’s Last Jam

Featuring: Nicholas Christopher (Jelly Roll Morton), John Clay III (Jack the Bear), Alaman Diadhiou (Young Jelly), Mamie Duncan-Gibbs, Stephanie Pope Lofgren, Allison M. Williams (The Hunnies), Joaquina Kalukango (Anita), Tiffany Mann (Miss Mamie), Okieriete Onaodowan (Buddy Bolden), Billy Porter (Chimney Man), Leslie Uggams (Gran Mmi)

Ensemble: Raymond Baynard, Shawn Bowers, Amanda Castro, Joshua Dawson, John Edwards, Ari Groover, Morgan McGhee, Jodeci Milhouse, Ramone Nelson, Paul Niebanck, James Patterson, Antonia Raye, Salome Smith, Taylor Mackenzie Smith, Funmi Sofola, Jordon Simone Stephens, Renell Anthony Taylor, Nasia Thomas, Sir Brock Warren, Chanse Williams

Book by George C. Wolfe

Music by Jelly Roll Morton

Lyrics by Susan Birkenhead

Musical Adaptation & Additional Music Composed by Luther Henderson

Arrangements & Orchestrations: Luther Henderson

Additional Orchestrations: Daryl Waters & William David Brohn

Scenic Designer: Clint Ramos

Costume Designer: Dede Ayite

Lighting Designer: Adam Honoré

Sound Designer: Megumi Katayama

Hair & Wig Designer: J. Jared Janas

Music Coordinator: Kimberlee Wertz

Production Stage Manager: Karen Moore

Casting by The Tesley Office, Destiny Lilly, CSA

Score Consultant: Daryl Waters

Choreographer: Edgar Godineaux

Tap Choreographer: Dormeshia

Featuring: The Encores! Orchestra

Guest Musical Director: Jason Michael Webb

Directed by: Robert O’ Hara

Presented at New York City Center

131 West 55th Street

Tickets: 212-581-1212 or www.nycitycenter.org 

Running time: 2 hours, 20 minutes, with one intermission

Closes: March 3, 2024

Once Upon A Mattress - Sheer Perfection

Reviewed by Judd Hollander

Every once in a great while, all the elements in a theatrical production align perfectly. So it is with the Encores! Production of the 1959 musical comedy, Once Upon A Mattress. Based on the Hans Christian Anderson fairy tale The Princess and the Pea, the show - with music by Mary Rodgers, lyrics by Marshall Barer and book by Jay Thompson, Dean Fuller and Marshall Barer - can be seen at New York City Center through February 4.

The year is 1428 and there is great unhappiness among the people in a far-off mythical kingdom. For until Prince Dauntless (Michael Urie) takes a wife, no one in the realm is permitted to marry. Though there were many princesses from neighboring kingdoms who sought the Prince’s hand, everyone candidate so far has failed a test of character set by his mother, Queen Aggravain (Harriet Harris). 

(L-R) Harriet Harris, Michael Urie, Cheyenne Jackson and Nikki Renée Daniels in Encores! "Once Upon A Mattress." Photo: Joan Marcus.

The laws of the kingdom also state that once the Prince weds, he becomes King; therefore the current King and Queen must abdicate. But Queen Aggravain has no intention of ever ceding power. Her husband, King Sextimus the Silent (David Patrick Kelly) has nothing to say on the matter. This due to the fact he was struck mute years earlier as the result of a curse. Much of the backstory explained by the court's Jester (J. Harrison Ghee), who also serves as the narrator of the piece as he works to separate fact from fiction regarding unfolding events.

Harry (Cheyenne Jackson), a Chivalric Knight of the Realm, is determined to marry his true love, Lady Larken (Nikki Renée Daniels), and so sets off to find a suitable bride for the Prince. Harry and his Lady's efforts born of desperation when she learns she is going to have a baby. Fortunately, Harry is able to find an available princess. However it soon becomes apparent the woman in question, one Princess Winnifred (Sutton Foster), may not exactly be royalty material.

                         Sutton Foster in Encores! "Once Upon A Mattress."  Photo: Joan Marcus.

Princess Winnifred comes from a less-than-fashionable domain. One filled with marshes and swamps. Where the biggest thrill is watching mosquito larvae; and where items such as soap and houses with roofs are considered luxuries. Her first meeting with Queen Aggravain, Prince Dauntless and rest of the royal court - this after she swims the castle moat in her eagerness to meet the Prince - calls to mind the Beverly Hillbillies crashing a fancy ball in a Jane Austin novel. The Queen is horrified beyond words at Winnifred’s unkempt appearance and lack of proper etiquette. Prince Dauntless, one the other hand, is instantly smitten with her. An attraction the Princess quickly returns. 

Determined Winnifred will never marry her son, the Queen plans to place a tiny pea underneath 20 mattresses upon which the Princess will spend the night. If Winnifred does not feel the pea when she goes to sleep, she will be have failed the test and be sent on her way. Though determined as the Queen may be that the Princess fail, there are those just as determined she succeed. This leads to a continual battle of wits with the future happiness of the kingdom hanging in the balance.

                         Sutton Foster in Encores! "Once Upon A Mattress." Photo: Joan Marcus.

Once Upon A Mattress can best be described as a cheerful romp where everybody gets exactly what they deserve. Eventually. Also stressed is the need to stand up for whatever and whoever you believe in, regardless of the consequences for doing so. It also has a book extremely on the lightweight side. Thankfully, the production’s other creative elements make it all imminently watchable. Especially thanks to its winning cast.

From the moment she first appears, Foster completely nails the role of Princess Winnifred. The character equal part determination and homespun naiveté. Most importantly, Foster is able to bring forth the extensive physical comedy required for the part. From struggling to climb the castle wall to wrestling with the 20 mattresses as she tries to find a comfortable place to sleep.

(L-R) Michael Urie and Sutton Foster in Encores! "Once Upon A Mattress." Photo: Joan Marcus.

Urie is great fun as Prince Dauntless. A misfit who proves the old adage there is somebody perfect for everyone. A point made clear in his scenes with Winnifred. Dauntless is also the character who matures the most as he learns to step away from his mother’s control and become a man in his own right.

Harris wonderfully embodies Queen Aggravain, the comedic villain of the piece. A woman determined to keep a tight hold on her power by any means necessary; yet also the perfect straight woman for Foster ("you swam the moat?") and anyone else in her orbit. 

J. Harrison Ghee in Encores! "Once Upon A Mattress."  Photo: Joan Marcus.

Ghee is a real treat as the Jester. A person who basically owns the stage whenever seen on it. Striding rather than walking, with a "try to get in my face and see what happens" air, Ghee imbues the Jester with an attitude of loyalty to those who deserve it: an insider’s knowledge of exactly what is going on at all times: and an unassuming ability to make sure events turn out the way they are supposed to. This despite anyone's plans to the contrary. 

Daniels and Jackson work well as Lady Larken and Harry. Two people very much in love, though it's Larken who has more on the ball mentally. Harry a bit more befuddled, in a good-natured way and also perhaps a bit too obsessed with his title. Elsewhere, David Patrick Kelly does a nice turn as the silent King and plays off well against Ghee and Urine in their scenes together.

          (L-R) Harriet Harris and Francis Jue in Encores! "Once Upon A Mattress." Photo: Joan Marcus.

The direction by Lear Debessonet is excellent. Her efforts reveal a firm grasp of the material as she takes things almost but not quite over the top into parody. As well as reining in the cast just enough to make the characters and situations real enough to care about. Credit must also go to Lorin Latarro's enjoyable choreographic work and Andrea Hood's costumes. The latter of which add vibrant splashes of color to the proceedings.

The score is fun, if not particularly memorable. Highlights include Foster singing "Happily Ever After," a riff on other fairy tales heroines; and “Shy,” a comical ballet where she proves Winnifred is anything but. There’s also Ghee's delightful work in "Very Soft Shoes," a wistful number calling to mind the Jester's father. Also quite good is the comic love duet "Yesterday I Loved You," as sung by Larken and Jackson. A tune which has more than a few echoes of “You’re Awful” from the 1949 movie version of On The Town.

Michael Urie, Sutton Foster and the company of Encores! "Once Upon A Mattress." 

Photo: Joan Marcus.

Once Upon A Mattress offers fluff and merriment, with a batch of songs and a gentle morale or two. To its credit, the show doesn’t try to be anything more, and for this production, that is all that’s needed.

Featuring: Nikki Renée Daniels (Lady Larken), Sutton Foster (Princess Winnifred), J. Harrison Ghee (Jester), Harriet Harris (Queen Aggravain), Cheyenne Jackson (Sir Harry), Francis Jue (Wizard), David Patrick Kelly (King Sextimus the Silent), Michael Urie (Prince Dauntless)

Ensemble: Shavey Brown, Demarius R. Copes, Kaleigh Cronin, Cicily Daniels, Ben Davis, Ta’nika Gibson, Gaelen Gilliland, Jaquez, Andrea Jones-Sojola, Paul Kreppel, Amanda Lamotte, Abby Matsusaka, Adam Roberts, Ryan Worsing, Kristin Yancy, Richard Riaz Yoder

Once Upon A Mattress

Music by Mary Rodgers

Lyrics by Marshall Barer

Book by Jay Thompson, Dean Fuller & Marshall Barer 

Scenic Designer: David Zinn

Costume Designer: Andrea Hood

Lighting Designer: Amith Chandrashaker

Sound Designer: Kai Harada

Hair & Wig Designer: J. Jared Janas

Physical Comedy & Effects: Skyler Fox

Music Coordinator: Kimberlee Wertz

Production Stage Manager: Cody Renard Richard

Casting by The Telsey Office, Bernard Telsey, CSA, Craig Burns, CSA

Orchestrations by Hershy Kay, Arthur Beck & Carrol Huxley

Concert Adaptation by Amy Sherman-Palladino

Choreographer: Lorin Latarro

Featuring The Encores! Orchestra

Music Director: Mary-Mitchell Campbell

Director: Lear Debessonet

 

Presented by Encores! at City Center

131 West 55th Street

Tickets: 212-581-1212 or www.nycitycenter.org 

Running time: 2 hours, 20 minutes, with one intermission

Closes February 4, 2024

A Matter of Faith - Where Just Having Conviction Is Not Enough

Reviewed by Judd Hollander

The question of faith and what it represents can be found at the core of Ian Richard Barnes' very intense and sometimes talky drama, A Matter of Faith. Presented by Reckless Few Theatrical Productions at the Chain Theatre, this is definitely not a work for the faint of heart.

The story opens in the squalid basement home of Seamus (Henry Frontini), a longtime drug addict. Seamus has fallen so far, he has completely given up on life and just wants everything to end. Temporary salvation arrives, ironically, in the form of his supplier, Kenley (Barnes). Seamus it seems, owes him money and Kenley has no intention of letting him go anywhere until matters between the two are resolved.

(L-R) Ian Richard Barnes and Henry Frontini in "A Matter of Faith." Photo credit: Matt Weinberger.

The story eventually shifts to The Beacon, a rehabilitation facility/halfway house where Kenley has now been living for over a year. He claims his triumph over his own demons occurred once he learned to let Jesus into his life. Though Izzy (Ava Paris Locknar), a recovering addict who works The Beacon overnight shift, clearly doubts this. Kenley seemingly just talking the talk when it comes to salvation, rather than actually having done the work necessary for recovery. Not to mention his trying to flirt with Izzy while keeping out of sight from people still looking for him. Izzy also considers the place where Kenley claims to have started his rehabilitation process a questionable one at best. 

Matters come to a head with the arrival of Seamus' brother, Patrick (Frontini). A former priest and current alcoholic, Patrick is wracked with guilt over his refusal to be his brother’s lifeline until he gets serious about fixing himself. Now the only thing Patrick wants is to find comfort through the teachings of the Bible. Kenley however, who is seeking his own form of forgiveness, has other ideas.

(L-R) Henry Frontini and Ava Paris Locknar in "A Matter of Faith." Photo credit: Matt Weinberger.

As the play makes clear, the idea of finding something to believe in, be it faith, self-awareness or whatever you want to call it, means nothing unless one is willing to do the work needed to begin the process of healing. Something Kenley and Patrick have yet to come close to achieving. It’s a credit to the story that for all the continual talk about what faith does or does not mean, one never gets the feeling the playwright is trying to impose his own particular point of view on the characters he's created.

While much of what unfolds is very good, with the audience often on the edge of their seats as they wait for the next potential explosion to occur, the show’s quieter moments tend to drag somewhat. The various discussions in regards to the different perceptions of faith, while involving, could easily have been trimmed as a sameness in these conversations soon emerges. In addition, the opening sequence between Seamus and Kenley might have worked better if it were folded in later as a sort of flashback and interspersed with the action at The Beacon rather than a standalone scene. Something for the creative team to think about before the play’s next incarnation.

Barnes is the standout of the cast. His performance embodies Kenley with an angry nature that continually simmers just below the surface. One which threatens to erupt at any moment. Conversely, he’s also someone you want to like at times, with his wisecracks and seemingly jovial attitude, but also a person you do not want as an enemy. Especially as his so-called attempts to make amends can be quite disconcerting, to say the least.

(L-R) Ian Richard Barnes and Henry Frontini in "A Matter of Faith." Photo credit: Matt Weinberger.

Frontini is riveting as Seamus, a tormented soul who knows that he has destroyed his life. The scene where he swears that the "fix" he is about to give himself will really and truly this time be the last one he ever takes is heartbreaking in its intensity. He also does well as Patrick, a man who carries feelings of anger inside he never knew he had, and ones he must be willing to face before he can finally begin his own healing process. 

                            Henry Frontini in "A Matter of Faith." Photo credit: Matt Weinberger.

Barnes and Frontini's performances are helped tremendously by director Augustus Childres' understanding of exactly what these two characters are capable of and allowing the actors to play off each other brilliantly in their scenes together.

Locknar is fine as Izzy, the bit of stability Kenley and Patrick revolve around. A woman who has learned to temper her compassion for her fellow addicts with a no-nonsense resolve when it comes to rule-breaking on her watch. While also never afraid to open up about her own struggles, and admitting there is still much that she can learn.

A Matter of Faith looks at the process broken people go through as they try to reclaim their lives. Not an easy play to watch, it offers a powerful message about healing, recovery and what must be done before becoming whole is even a possibility.

Featuring: Ava Paris Locknar (Izzy), Ian Richard Barnes (Kenley), Henry Frontini (Seamus & Patrick).

A Matter of Faith

An original play by Ian Richard Barnes

Presented by Reckless Few Theatrical Productions

Production Stage Manager: Kimberly Van Vo
Sound Design: Sam Henry
Lighting Design: Lauren Lee

Directed by Augustus Childres

The Chain Theatre

312 West 36th Street, 4th Floor

Tickets: www.eventbrite.com 

Running time: 1 hour, 40 minutes, no intermission

Closes: February 4, 2024

SCENE PARTNERS - It's Never Too Late, or Is It?

Reviewed by Judd Hollander

“The past isn’t as frightening with one foot in the present.” So says a character in Scene Partners, the new comedy-drama by John J. Caswell, Jr., now at the Vineyard Theatre.

The year is 1985. Following the long-awaited passing of her abusive husband (though she refers to him in far more colorful terms), 75 year-old Meryl Kowalski (Dianne Wiest) is at last celebrating her independence. Determined to become an internationally famous film star, she heads for Hollywood and the promise of new beginning. Left behind is her former home, her drug-addicted daughter, and a lifetime of painful memories.

After a train ride to Los Angeles, with a possible detour through Russia, Meryl arrives at her destination. Determined to no longer be ignored, and thanks to some fast talking, iron determination and a loaded gun, she soon signs with an agent. From there, it’s a quick step to an acting class where she immediately bonds with the instructor, one Hugo Lockerby (Josh Hamilton). Hugo seeing in Meryl a brilliant untapped potential.

                                          Dianne Wiest in Scene Partners. Photo by Carol Rosegg.

While she is seemingly on her way and set to become a star via a documentary about her life, Meryl’s past keeps trying to intrude in her new existence. Including appearances by her late husband, who possesses the bodies of those around her. His purpose, to let Meryl know she will never be free of him. Meryl also finds herself guided by the essence of her long-lost father; who once tried to make it in show business, but failed.  His attempts to do so cost him his family and for Meryl, eliminated any possibility of a happy childhood.

Scene Partners offers a lot to unpack. On one level, it focuses on how it’s never too late to follow through on your dreams. With Meryl intent on grabbing as much as can from life in the time she has left. Also stressed is the importance of being able to come to terms with the past. As well as one's subsequent actions or inactions therein.

Also explored is the need to remove oneself from those who threaten to consume you via their own self-destructive natures. Several of these points explored during a long overdue heart to heart talk between Meryl and her younger half-sister, and former actress, Charlize (Johanna Day).

                                            Josh Hamilton in Scene Partners. Photo by Carol Rosegg.

The play also offers a hilarious send-up of the world of show business. Particularly thanks to Hamilton's wonderfully over-the-top portrayal of a temperamental acting guru. He of multiple accents, with a habit of throwing cans of Diet Coke whenever he becomes angry. The scene where Meryl gets herself an agent also calls to mind similar, though not so outrageous stories, recounted in Hollywood lore from time to time.

However as things progress, one starts to wonder how much of the story is only taking place in Meryl's mind. As she has begun to show signs of a medical condition which may be warping her perceptions of reality. This not only adds an extra layer of context to the play, but also increases Meryl urgency to realize her goals. It’s a testament to the script that just when you think you’ve figured out what’s actually happening, the ground shifts just enough to make one question these assumptions. 

                              (L-R) Dianne Wiest and Johanna Day in Scene Partners. Photo by Carol Rosegg.

Wiest gives a fantastic performance as a woman determined to make it in a business where so many others have failed. Including several in her own family. The way she juggles her character's different emotional situations - ones ranging from anger and determination to happiness and introspection - comes across very, very well. All the while never making Meryl an object of ridicule.

It must also be pointed out that this is not a perfect show. The use of various video clips and TV monitors, coupled with possible non-linear sequences, can at times feel rather disjointed. In addition, the opening and closing scenes of the play feel somewhat dragged out. Also a scene where Meryl recounts her life story, as told via several other cast members, would have worked better if shortened somewhat.

The cast, many of whom play multiple rules, all do strong work here. Rachel Chavkin’s direction, like the play itself, moves in fits and starts.

(L-R) Dianne Wiest and Eric Berryman in Scene Partners. Photo by Carol Rosegg.

Part tale of rebirth and new beginnings, part performance/multi-media piece, “Scene Partners” leaves one with much to ponder. Thanks to an interesting idea and a standout turn by Wiest.

Featuring: Eric Berryman (Chuck + Others), Johanna Day (Charlize), Josh Hamilton (Hugo + Others), Carmen M. Herlihy (Cassie + Others), Kristen Sieh (Pauline + Others), Dianne Wiest (Meryl Kowalski).

Scene Partners

A New Play by John J. Caswell, Jr.

Scenic Design: Riccardo Hernández

Costume Design: Brenda Abbandandolo

Lighting Design: Alan C. Edwards

Sound Design: Leah Gelpe

Video & Projection Design: David Bengali

Hair, Wig & Makeup Design: Leah Loukas

Props Supervisor: Andrew Diaz

Video Producer: Anne Troup

Fight Choreographer: J. David Brimmer

Tapestry Design: Patricia Marjorie

Music Director: Nehemiah Luckett

Choral Arranger: Orion Johnstone

Dialect Coach: Beth McGuire

Directed by Rachel Chavkin

 

Vineyard Theatre

108 East 15th Street

Tickets: 212-353-0303 or https://Vineyardtheatre.org/shows/scene-partners

Running time: 1 hour, 45 minutes, no intermission

Closes: December 17, 2023