Monday, July 30, 2018

July 29, 2018 Radio Show

I am now linking my weekly Broadway radio show, "On Broadway" via my blog.  There are two ways to listen:
Click & Listen - You can click here to listen to this week's episode.  There are also hundreds of past episodes available on my website.

Podcasting - Each week a new program will be available by podcasting. If you have iTunes you can subscribe to the weekly "On Broadway" podcast or download it.

The podcast address is:
http://www.broadwayradioprograms.com/podcasts/Broadway.xml

TONIGHT'S THEME - Case #2
Below is the playlist from July 29, 2018.  Tonight, there is no theme.  Just songs from my case #2 of original cast recording CDs.

Name of Song
Name of Show

A Hundred Million Miracles
Flower Drum Song
The Rain in Spain
Forbidden Broadway, Vol 2
Just One Day
Freaky Friday
Man
The Full Monty
Doing Good
It's a Bird, It's a Plane, It's Superman
My Cup Runneth Over
I Do I Do
I Love My Wife
I Love My Wife
You I Like
The Grand Tour
Timeline
john and jen
kid Inside
Is There Life After High School?
Stranger in Paradise
Kismet
August Winds
The Last Ship
I Love Betsy
Honeymoon in Vegas
The Country's in the Very Best of Hands
L'il Abner

Review of "Oliver!"


Oliver! Is that musical where you know most of the songs, even if you don’t know you know them.  This makes the show, with book, music and lyrics by Lionel Bart, a perfect Goodspeed style presentation.  Surprisingly, there has never been a production of Oliver!at the East Haddam theater.  [Trivia Note: selections from Oliver! were performed on The Ed Sullivan Show the same night The Beatles made their American debut on the television show.]

“Food, Glorious Food” The cast of Goodspeed Musicals’ Oliver!, now playing at The Goodspeed through September 13.  Photo Credit © Photo By: Diane Sobolewski

The story is based on Charles Dickens classic, Oliver Twist.  It’s a time where orphaned children were warehoused and poorly treated in squalid workhouses.  Michael Schweikardt’s set, consisting of an elevated steel catwalk with metal stairs descending to the minimally designed stage, gives a dark tonal quality to the show as well as an impression of early 19th century London. 

We are introduced to Oliver and his fellow youthful denizens, all overseen by the cruel and apathetic Mr. Bumble and Widow Comey, as they somberly, and rhythmically, march down for their daily portion of gruel. Oliver’s impudence  - “Please sir, I want some more” – sets off a chain of events where he is sold off to be apprenticed with an undertaker, escapes and travels to London, and is befriended by the Artful Dodger, the pre-teen leader of a gang of youthful pickpockets.  The ringleader, an aged criminal named Fagin, welcomes the fresh recruit and introduces him to the ways of his new world.  Mixed in with the group are two former members, Nancy, a tough, but tenderhearted young woman and Bill Sikes, a twenty-something thug.  Circumstances quickly change for Oliver as he is nabbed by the police on his initial outing.  This leads to a drastic change in his destiny as well as the fortunes of all others.
“Consider Yourself, one of the family” Gavin Swartz (The Artful Dodger) and Elijah Rayman (Oliver Twist) in Goodspeed Musicals’ Oliver!, now playing at The Goodspeed through September 13.  Photo Credit © Photo By: Diane Sobolewski

Lionel Bart’s score offers a dizzying array of well-known numbers that have such diverse influences as the English Music Hall and traditional Broadway melodies.  They are tuneful, full of life, and will have you humming as you leave the theater.  They include the opening “Food, Glorious Food,” “Where is Love?,” “It’s a Fine Life,” and “As Long as He Needs Me.”

James Gray’s choreography is used sparingly in the show but when utilized provides a welcome Oom-Pah-Pah to the production.

“You’ve Got to Pick a Pocket or Two” The cast of Goodspeed Musicals’ Oliver!, now playing at The Goodspeed through September 13 Photo Credit © Photo By: Diane Sobolewski

The cast is superb led by the outstanding performance of Donald Corren as Fagin.  He fits the role perfectly.  He is a mischievous rascal, more comic foil then villainous scoundrel.  He delivers his two signature numbers, “You’ve Got to Pick a Pocket or Two” and, especially, “Reviewing the Situation” with showmanship and panache.  Elihah Rayman’s portrayal of Oliver seemed forced and slightly tentative, at first.  But, as an orphan, this would be his natural inclination.  As the show progressed he became more assured and natural in the role.  His innocence becomes a beacon of hope and optimism.  Gavin Swartz is a cocky and confident Artful Dodger.  As a boy living on the edge he does seem too clean-cut and well mannered.  His performance, though, fittingly complements the virtuousness of Oliver.   EJ Zimmerman gives Nancy a tough exterior but she also imbues the character with an inner tenderness and understanding.  The actress also possesses a powerful singing voice. Brandon Andrus is appropriately menacing as the grown rapscallion Bill Sikes.  He is a towering presence that says little, but carries a big stick with disturbing results.  Richard R. Henry and Joy Hermalyn as, respectively, Mr. Bumble and Widow Comey, provide strong support and a fine comedic touch to the production.
“Oom-Pah-Pah” EJ Zimmerman (Nancy) with Megan Loomis, Jamie LaVerdiere, Andrew Mayer and Karen Murphy in Goodspeed Musicals’ Oliver!, now playing at The Goodspeed through September 13.  Photo Credit © Photo By: Diane Sobolewski

Director Rob Ruggiero has a firm hand on the musical whether it’s staging a large-scale, boisterous production number or delivering a lighter touch on the more tender moments.  He effectively starts off the show with a bleaker outlook that parallels the Dicken’s novel before methodically changing course with a more uplifting and enriching ambiance.  Scenes flow smoothly into one another, giving the musical a satisfying pacing.  He also deserves praise for corralling the young performers into a cohesive, workable ensemble.

Oliver!, a golden opportunity to see this rousing, rarely performed classic.  At the Goodspeed Opera House through September 13th.

Friday, July 27, 2018

Review of "Hand of God"


Robert Askins’ outrageous, fiendish, and raunchy play, Hand to God, is receiving a stellar production at Theaterworks in Hartford.  But be prepared!  This highly entertaining comedy-drama, besides being very funny, may make you wince and even squirm in your seat.
 
Nick LaMedica and Tyrone in "Hand to God."
The story centers on Jason, a teenager despondent over his father’s death six months earlier.  He has almost shut down over the anguish he feels.  The world is suffocating him.  He doesn’t communicate well with his mother Margery who, as a way to cope with her grief, has started a puppet workshop at the local church run by Pastor Greg.  Jason and two other adolescents populate the class.  Timothy, a slacker who has more then a puppy love passion for Margery; and Jessica, a reticent, but assured young woman.  Within this stifling tension Jason’s hand puppet, Tyrone, suddenly acquires a mind of its own, a mind both nefarious and depraved, which proves toxic for all involved. 
 
Miles G. Jackson and Lisa Velten Smith in "Hand to God."
Askins has written a truly original work that shrewdly addresses a number of significant themes such as the frailty and unpredictability of family dynamics and the not always successful relationship of the church in people’s lives. At its core, though, the play is an examination of a young man’s descent and, finally ascent, from a personal hell.  Initially, the character of Jason is confused as he silently lashes out at those he loves and respects.  He doesn’t know how to channel his pain and suffering until Tyrone seemingly comes to life and begins to take charge.  The puppet becomes a wildly inflamed conduit for all the pent-up hurt and suffering he is experiencing along with the sexual awakening he is encountering.  While the puppet is devilish, it is not possessed of anything greater then a youth’s demonstrative cries for help. 

Nick LaMedica is superb as Jason.  He expressively conveys the angst and inner turmoil churning inside the teenager.  But his portrayal is only half of his outstanding performance.  During most of the show he is also the life essence of the demonic, foul-mouthed hand puppet Tyrone.  This is no simple sock puppet, but one manipulated with two rods.  LaMedica transforms this inanimate being into a fully fleshed out part of the ensemble.  Many times during the play the two—Jason and Tyrone—are arguing or realistically battling amongst themselves.  It is a truly bravo performance by the actor.
 
Miles G. Jackson and Nick LaMedica in "Hand to God."
Lisa Velten Smith as Margery is impressive as the impulsive, manic and fragile mother, still suffering the devastating loss of her husband, trying to communicate with her angry son, and struggling to seek solace in her faith.  She gives, at times, an over-the-top performance that is both devastatingly funny and heartwrenching.  Peter Benson is admirable in the role of the plain-speaking, vulnerable and lustful Pastor Greg.  He infuses the minister with a humane and caring quality as the commotion on stage becomes more volatile.  Miles G. Jackson is divine as the bored, slightly menacing and childlike libidinous teenager Timothy.  Maggie Carr imbues the character of Jessica with a no-nonsense, unflappable and plucky spirit.

Director Tracy Brigden skillfully brings out the disquietude within the production.  She creates a controlled mayhem and methodical rhythm to the play without the performances getting too off-kilter.  Her foremost accomplishment is the work she has done with LaMedica and Tyrone, both separately and as they meld into one.  Even though the focus of the show is on the twosome the director secures passionate and animated performances from the other actors.

Scenic Designer Luke Cantarella has successfully created a number of functional, everyday settings on a revolving stage.  In addition, he pulls out all the stops forging a hellish nightmare of a space for the play’s conclusion.

Hand to God, an audacious, funny, and coarse exaltation, playing through August 26th.

Thursday, July 26, 2018

Review of "Kiss Me, Kate"


The Summer Theatre of New Canaan's production of Kiss Me, Kate is entertaining and contains some of the best songs ever written by composer Cole Porter.  However, the musical lacks, for a better word, zip.  There are some very good performances and the choreography is tip-top, but the sprightliness is sporadic, the pluck and pizazz spotty.

Loosely based on Shakespeare’s Taming of the Shrew, the show is contrived as a musical within a musical.  Here, you have squabbling former spouses Fred Graham and Lilli Vanessi co-starring in a stage musical entitled Kiss Me, Kate!  They feud and argue within that production as well as off-stage.  Adding to the hubbub, more backstage then out front, are the secondary comedic couple of Lois Lane and her wayward boyfriend, Bill Calhoun.  Mix in two gangsters looking to collect a gambling debt and you have the fanciful, yet diverting plot line.

The compositions by Cole Porter form his most cohesive set of songs he wrote for any of his over two dozen stage musicals.  It’s no wonder, then, that Kiss Me, Kate was his most successful show and the only one that ran for over 1,000 performances (Trivia Note – the musical won the very first Tony Award for Best Musical in 1949).  From the rousing opening number, "Another Op'nin', Another Show,” audience members are treated to a multitude of unforgettable classics such as "Why Can't You Behave?," "Wunderbar," “So in Love,” “I Hate Men,” and the comedic gem "Brush Up Your Shakespeare."

The cast is led by David Sattler in the dual role of Fred Graham/Petrucchio.  While the actor has a commanding voice and sizeable persona, he doesn’t always seem comfortable in the role.  Mary McNulty’s Lilli Vanessi is exuberantly exasperated as a sparring ex- and, as Katharine, is the shrewest of shrews. Rachel MacIsaac’s Lois Lane/Bianca is fiery and coquettish.  Tim Falter, playing her love interest Bill Calhoun, has a roguish charm, pleasant singing voice, and is quite a hoofer.  Brett Alters and Brian Silliman form an amusing and droll comedic team as the two lovable gangsters.

Choreographer Doug Shankman has sketched out some of the more lively moments of the show.  The dance numbers are sassy and full of energetic jolts.  Standouts include the Act II opener "Too Darn Hot" and Rachel MacIsaac’s spirited solo in "Always True to You in My Fashion."

While there are enjoyable moments in the production, the musical is not as nimble and invigorating as it could be.  Director Allegra Libonati could have injected a more buoyant ambiance.  Some of the lighting decisions were puzzling, especially a revealing moment when actress Mary McNulty is off-stage reading an important note in shadow.

Kiss Me, Kate, at the Summer Theatre of New Canaan through July 29th

Monday, July 23, 2018

July 22, 2018 Radio Show

I am now linking my weekly Broadway radio show, "On Broadway" via my blog.  There are two ways to listen:
Click & Listen - You can click here to listen to this week's episode.  There are also hundreds of past episodes available on my website.

Podcasting - Each week a new program will be available by podcasting. If you have iTunes you can subscribe to the weekly "On Broadway" podcast or download it.

The podcast address is:
http://www.broadwayradioprograms.com/podcasts/Broadway.xml

TONIGHT'S THEME - New Music
Below is the playlist from July 22, 2018.  Tonight, selections from recently released cast recordings including "Mean Girls," "Desperate Measures," and "Bat Out of Hell."

Name of Song
Name of Show

Bournemouth Express

The Wrong Box

A Family

What a Mess
The Wrong Box
The Ballad of Johnny Blood

About Last Night

Just For You

It's a Beautiful Day

Some Day They Will Thank Me
Desperate Measures
One More Thing I Can Handle

Melinda

Invisible

Fifty Years Long
Jason Robert Brown
Where Do You Belong?

Stupid With Love

I'd Rather Be Me

Apex Predator

Someone Gets Hurt
Mean Girls
Good Girls Go to Heaven

Two Out of Three Ain't Bad

Bat Out of Hell
Bat Out of Hell

Sunday, July 22, 2018

Review of "A Flea in Her Ear"

   All the ingredients for a classic theatrical farce are contained in the Georges Feydeau play, A Flea in Her Ear, continuing at the Westport Country Playhouse through July 28.  The new version of the production, penned by David Ives, is clever, silly, highly stylized and includes a smattering of physical humor.  While not laugh out loud funny, the show provides audience members with ample amounts of chuckles and broad-grinned smiles.


David Beach, John Resenhouse, and Lee E. Ernst in “A Flea in Her Ear,” a new version of Georges Feydeau’s farce, written by David Ives, directed by Mark Lamos, at Westport Country Playhouse, now playing through July 28.  Photo by Carol Rosegg


The play, written by Feydeau in 1907, is his most popular play.  The piece is divided into three Acts.  The first is the set-up.  Characters are introduced, relationships delineated, and seeds of preposterous intrigue are planted.   Act II adds a few more daffy players, mixes in some precisely executed physical shenanigans, and stirs in the maneuvering and deceptions from the beginning.  The final Act neatly ties up mistaken identities and erroneous presumptions and suppositions into a satisfying conclusion.

It would not be worth the time to attempt to explain the intricacies of the storyline.  And why bother?  The fun of farce is to experience the absurd, improbable situations neatly unfold and build upon the proceeding moment or scene to create a humorous, controlled folly, calamity, and utter mayhem.  Suffice it to say the spark that propels the plot into motion is a wife’s suspicion of a husband’s infidelity.
 
Antoinette Robinson and Elizabeth Heflin in “A Flea in Her Ear,” a new version of Georges Feydeau’s farce, written by David Ives, directed by Mark Lamos, at Westport Country Playhouse, now playing through July 28.   Photo by Carol Rosegg
The large cast, seasoned from a production mounted last spring at the University of Delaware, is comfortable with the material and game for everything the playwright has conjured up.  Three of the performers stand out among the fine ensemble.  Lee E. Ernst is impressive in the dual role of Victor Chanebise, a loving and faithful husband and successful businessman; and Poche, a simple-minded, slightly inebriated hotel bellhop.  The actor skillfully, and hilariously, mixes over-the-top comedy as Poche with the more forthright demeanor of Monsieur Chanebise.  Mic Matarrese is uproarious as Camille Chandebise, a man who cannot pronounce his consonants.  His presence and word usage or, should I say, butchery, consistently has the audience in stitches.  Michael Gotch seems to be having so much fun playing the hot-blooded Spaniard Don Carlos de Histangua.  His exaggerated gesturing, fiery temperament, and vocal pyrotechnics are a joy to behold.
 
Antoinette Robinson and Michael Gotch in “A Flea in Her Ear,” a new version of Georges Feydeau’s farce, written by David Ives, directed by Mark Lamos, at Westport Country Playhouse, playing through July 28.  Photo by Carol Rosegg
Director Mark Lamos has smartly guided the show from its slowly progressing start, to a sustained build-up that develops into a spiraling, almost out-of-control envisagement.  His staging can be likened to an outlandish and comedic ballet that combines slamming doors, quick costume changes and one farcical moment after another.   He also has the cast in perfect sync with one another and Kristen Robinson’s well-attuned sets.

A Flea in Her Ear, an admirable production of Georges Feydeau’s chef-d'oeuvre, playing through July 28th.

Thursday, July 19, 2018

July 15, 2018 Radio Show

I am now linking my weekly Broadway radio show, "On Broadway" via my blog.  There are two ways to listen:
Click & Listen - You can click here to listen to this week's episode.  There are also hundreds of past episodes available on my website.

Podcasting - Each week a new program will be available by podcasting. If you have iTunes you can subscribe to the weekly "On Broadway" podcast or download it.

The podcast address is:
http://www.broadwayradioprograms.com/podcasts/Broadway.xml

TONIGHT'S THEME - BASTILLE DAY
Below is the playlist from July 15, 2018.  Tonight, we celebrate Bastille Day and France's victory in the World Cup with selections from musicals that include songs about the City of Lights.

Name of Song
Name of Show

Paris Wakes Up and Smiles
Miss Liberty
Paris, France
Make a Wish
Paris is Paris Again
Gigi
Speaking French
Lucky Stiff
Paris Loves Lovers
Silk Stockings
You Don't Know Paree
Fifty Million Frenchmen
C'est Magnifique
Can-Can
I Love Paris
Can-Can
Ah, Paris!
Follies
In Paris and in Love
The Girl in the Pink Tights
Paris Original
How to Succeed in Business...
Melodie de Paris
Phantom
At the End of the Day
Les Miserables
Sons of France
Irma La Douce
Paris by Night
Victor/Victoria

Monday, July 16, 2018

Review of "Jesus Christ Superstar"


I will state right at onset that the score to Jesus Christ Superstar is my favorite from the composing team of Andrew Lloyd Weber and Tim Rice.  Ever since the 1970 concept album was released I have been a big fan.  [Trivia Note:  the 1972 Original Broadway cast recording was only the second time a cast album was nominated in the Grammy Award’s prestigious album of the year category.]  The good news is that the latest production of the show, playing through July 22nd at the Connecticut Repertory Theatre in Storrs, CT, does an outstanding job bringing the score to life in all its rock opera glory.
 
Alex Prakken (Jesus) and Ryan Vona (Judas) and the apostles in “Jesus Christ Superstar” by Andrew Lloyd Weber, onstage at Connecticut Repertory Theatre through July 22.
The book of the show focuses on the last days of Jesus Christ.  There are scenes with his disciples, the apostles but, more importantly, his relationship with Mary Magdalene and Judas.  The end, after running afoul of such powerful figures as the High Priest, Caiaphas; the Judaic ruler, Pontius Pilate; and King Herod, comes with his crucifixion.

While, overall, the production is well-worth attending, a musical without any spoken dialogue can be problematic since needed exposition is sacrificed.  Here, for example, the role of the ensemble can be vexing since it is not always clear when they are playing Jesus’s followers or his apostles?  Establishing where the action is taking place was also sometimes difficult to pinpoint.
 
Alex Prakken (Jesus) and Sasha Renee Brown (Mary Magdalene) in “Jesus Christ Superstar” by Andrew Lloyd Weber, onstage at Connecticut Repertory Theatre through July 22.
The score, which ushered in the modern day, fully sung through Broadway musical, had my toes tapping non-stop.  There are passionate, heartfelt anthems; beautiful ballads; and anguished, harrowing compositions.  A number of the songs filled Top 40 radio playlists in the early 1970’s (“Superstar” and “I Don’t Know How to Love Him.”) 

The cast is talented and first-rate.  It is led by Alex Prakken as Jesus.  He brings a quiet forcefulness and charisma to the role.  You can feel the beauty and harmony he radiates, along with his intense pain and doubts.  Ryan Vona’s Judas is a tortured soul, thinking he is doing right, then realizing, when it is too late, the folly and deadly ramifications of his actions.  Jonathan Cobrda, in his short time on stage, is a fiery, no-nonsense Pontius Pilate, who sways from lobbying for Jesus’s release to relenting for his ultimate demise.  Sasha Renae Brown’s brings a tenderness and calmness to her role as Mary Magdalene
 
Alex Prakken (Jesus) and Ryan Vona (Judas) in “Jesus Christ Superstar” by Andrew Lloyd Weber, onstage at Connecticut Repertory Theatre through July 22.
Choreographer Christopher d’Amboise provides lively and diverse dance numbers, primarily for the ensemble that, while adding to the theatricality of the musical, sometimes don’t seem to mesh with the thrust of what is appearing on stage.  It’s almost like two separate components vying for attention.

Director Terrence Mann starts and ends the show with actors ambling on and off the performance space in their hippie finest (the original Broadway production did open at the height of the Flower Power generation) which, I suppose, is to inject a time appropriate, Easter pageant feel to the production.  He is at his best when helming the more vivid and dramatic sequences of the show, especially those involving the principle characters.  Working with Lighting Designer Doug Harry he creates a number of striking tableaus that add a powerful luster to the musical.
 
Jonathan Cobrda (Pilate) in “Jesus Christ Superstar” by Andrew Lloyd Weber, onstage at Connecticut Repertory Theatre through July 22.
Musical Director Bryan McAdams leads a skillful pit band and has the actors and actresses singing with power and a strong harmonic fervor.

Jesus Christ Superstar, another winning production from the Connecticut Repertory Theatre.

Sunday, July 8, 2018

July 8, 2018 Radio Show

I am now linking my weekly Broadway radio show, "On Broadway" via my blog.  There are two ways to listen:
Click & Listen - You can click here to listen to this week's episode.  There are also hundreds of past episodes available on my website.

Podcasting - Each week a new program will be available by podcasting. If you have iTunes you can subscribe to the weekly "On Broadway" podcast or download it.

The podcast address is:
http://www.broadwayradioprograms.com/podcasts/Broadway.xml

TONIGHT'S THEME - ALL VINYL
Below is the playlist from July 8, 2018.  Tonight, selections from musicals that will probably never be available on CD so it is an all vinyl program.

Name of Song
Name of Show

Only Right Here in New York City
Tuscaloosa's Calling, But I'm Not Coming
The Maze
Flowers for Algernon
Whatever Time There Is
Flowers for Algernon
I Never Had It So Good
Expresso Bongo
I Could Be The One
The Card
If You've Got It, You've Got It
Cindy
Holmes and Watson
Drat, the Cat!
If I Ever Fall in Love Again
The Crooked Mile
The Most Beautiful Girl in the World
Jumbo
Lambert's Quandry
Ambassador
I Wouldn't Have Had To
Let It Ride
You Can Be a New Yorker Too!
Mayor
Goodbye, Girls
Hot September
That's a Boy
Goodbye Mr. Chips
Doh, Ray, Me
Follow That Girl

Review of "Grease"


Nowadays, every production of Grease feels it must pay homage to the 1978 film version, which happens to be celebrating its 40th anniversary this summer.  Granted, it is one of the most successful movie musicals of all time that also spawned numerous Top Ten hits from its multi-platinum soundtrack.  But the problem with going this route is the show can too easily feel like a parody of the film, full of schtick and two-dimensional characters.  Sadly, this is the direction the Ivoryton Playhouse’s production of Grease has taken.  The result is a leaden, underachieving show that never finds its buoyant, giddy footing.

The plot is a variation of boy meets girl, boys loses girl and, in the end, boy gets girl.   In this scenario, we are presented with two seemingly incongruent lovebirds--high school greaser Danny Zuko (Johnny Newcomb) and dewy-eyed co-ed Sandy Dombrowksi (Kimberly Immanuel).  Along the way, we meet members of his high-spirited gang, the Burger Palace Boys, and their female counterparts, the Pink Ladies.  They rock, they roll, get into assorted mischief and, finally, come together to celebrate their disarming rebelliousness.

The drawback of the production comes in both the way the performers interpret their roles, the substitution of numbers from the movie that don’t necessarily fit, and the way songs are presented.  For example, right at the onset, the innocuous “Grease is the Word,” a number one chart-topper from the movie, is used instead of “Alma Mater” and “Alma Mater (Parody)” from the original 1972 version.  The latter songs would have better prepared the audience for what is coming, or should be coming—a raucous, slightly naughty-filled show. “Those Magic Changes,” which should be more of a simple celebration by a young man beginning his mastery of the guitar, has become a goofy, jittery performed Elvis impersonation. 

The young cast, too often, comes across as caricatures overplaying their roles for easy laughs. Johnny Newcomb’s Danny Zuko is more Prom King than rough and tumble gang leader.  Kimberly Immanuel, who was so wonderful in Ivoryton’s production of The Fantasticks, plays it straight—properly so--as the trusting newcomer, Sandy Dombrowski.  While the less is more philosophy could be applied to the other actors, her transformation into a leather-clad swinger at the show’s conclusion could have been more over-the-top.

The score for Grease is still a gem with rollicking upbeat numbers such as “Greased Lightnin’” and “We Go Together,” superb comic numbers like “Mooning” and “Beauty School Dropout,” and plaintive odes to youth such as “Summer Nights” and “It’s Raining on Prom Night.”  And, yes, in addition to the opening number the big songs from the movie—“Hopelessly Devoted,” “Sandy,” and “You’re the One That I Want”—have been blended into the musical.

Director/Choreographer Todd L. Underwood has not been able to generate enough energy and good-natured bounciness that such a playful show requires.  There was too much gesticulating and undisciplined histrionics for the musical’s own good.  The dance numbers, however, were enthusiastic and lively, taking the spiritedness and brio of the performers to heart.  There were some technical issues with errant lighting and a slightly garbled sound mix.  Hopefully, with more performances under its belt these issues can be ironed out.

Grease, playing at the Ivoryton Playhouse through July 29th.

Monday, July 2, 2018

July 1, 2018 Radio Show

Beginning this week, I will be linking to my weekly Broadway radio show, "On Broadway."  There are two ways to listen:
Click & Listen - You can click here to listen to this week's episode.  There are also hundreds of past episodes available on my website.

Podcasting - Each week a new program will be available by podcasting. If you have iTunes you can subscribe to the weekly "On Broadway" podcast or download it.

The podcast address is:
http://www.broadwayradioprograms.com/podcasts/Broadway.xml

TONIGHT'S THEME - ALL REQUEST SHOW (Cast Albums A - L)
Below is the playlist from July 1, 2018.  The first Sunday of the month is an all-request program.  If you have a request for August, would like to suggest a theme for a show, or just contact me you can do so at Broadway99@comcast.net

Name of Song
Name of Show

Heat Wave
As Thousands Cheer
It Shoulda Been You
It Shoulda Been You
Dat's Love
Carment Jones
At the End of the Day
Les Miserables
Belmont Avenue
A Bronx Tale
Merci, Madame
The Baker's Wife
Sonya Alone
Natasha, Pierre and The Great Comet
The Best in the World
A Day in Hollywood/A Night in the Ukraine
What I Was Born to Do
Bring It On - the Musical
Day Two
Groundhog Day
Turn It Off
The Book of Mormon
You'll Be Back
Hamilton
Cabinet Battle #2
Hamilton
Mira
Carnival
Gee, But It's Good to be Here
Happy Hunting
Hang Up
By the Beautiful Sea
Higher Love
Honeymoon in Vegas
If You Love Me Truly
Can-Can
On the Highway of Love
I Love You, You're Perfect, Now Change