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NEW FROM NYTE:
PLAYS AND PLAYWRIGHTS 2008: The ninth in NYTE's annual series of anthologies of new plays from the world of indie theater. Featuring the complete texts of: The Telling Trilogy by Crystal Skillman, What Happened When by Daniel Talbott, Antarctica by Carolyn Raship, Cleansed by Thomas Bradshaw, Linnea by John Regis, ...and we all wore leather pants by Robert Attenweiler, Marvelous Shrine by Leslie Bramm, In Our Name by Elena Hartwell, Universal Robots by Mac Rogers, and Fall Forward by Daniel Reitz. With an introduction by Martin Denton and a foreword by Mark Blankenship, plus an appendix of more than 700 new American plays produced in NYC.
JUST REVIEWED:
TWO SISTERS AND A PIANO AND OTHER PLAYS: Nilo Cruz's Two Sisters and a Piano and Other Plays, now published by TCG, offers a glimpse into the world of this poetic and political playwright. The plays are infused with humor and Cruz's specific imagery-filled monologues. Covering well known topics such as love, lost innocence, and his home country of Cuba's political turmoil. Cruz blends styles from the abstract to the naturalistic. I have always been an admirer of Cruz's work, and this collection offers a nice cross-section of his language and ideas.
(Leslie Bramm)
BEST AMERICAN SHORT PLAYS 2001-2002: Best American Short Plays 2001-2002 is a collection of works by some of the best playwrights around today: David Ives, Christopher Durang, Joyce Carol Oates, Beth Henley, and others. This book has something for everyone. There’s everything from the incredibly realist world of Donna de Matteo’s Her Name is Kathy, a high-stakes drama about a teenager's interrogation by the police, to the fantastic world of Arthur Kopit’s Chad Curtiss—Lost Again: Episode 14: “Revelations”, a sci-fi epic about a chosen one deciphering a sacred disk. Of particular note is Beth Henley’s Sisters of the Winter Madrigal, a touching fable about the life and love of two sisters in a mythical faraway land. The book itself is a testament to the possibility present in the form of the short play, and to the unique imaginations of these playwrights. (Daniel Kelley)
XANADU: Devotees of the long-neglected Xanadu who have been waiting for the new Broadway recording can at last savor a bold, nuanced re-interpretation of the ahead-of-its time opus! Where half the songs of the mythic 1980 film expressed the mellow sweetness of Olivia Newton-John, the other half swelled with the polyphonic voluptuousness of Electric Light Orchestra. But here, musical director Eric Stern brings a unified aural style to the entire score. The restoration of lost songs such as "Evil Woman," "Strange Magic," and "Have You Ever Been Mellow?" is a bold choice: bravos to maestros Jim Lynne and John Farrar for expanding the breadth of their work by reclaiming these musical fragments! As for the performances, the ear derives its greatest pleasures from Kerry Butler in the formidable role of Clio/Kira. In tribute to Newton-John, Butler masterfully exploits all vocal possibilities of Australian diphthongs, while mellifluent tenor Cheyenne Jackson sings in top form as the tragic artist, Sonny. Mary Testa and Jackie Hoffman contribute inspired madness and tones of darkness as Clio’s envious sisters! Sadly though, none of vocals evokes the harmonic power of ELO; at some points, the chamber-sized chorus sometimes sounds strained—even a tad screechy. Call me a purist, but this critic wishes Stern had approached his orchestral and choral arrangements with greater appreciation of ELO’s sonic contribution to Xanadu as a whole. That quibble aside, serious music connoisseurs—or at least die-hard fans—will require this landmark recording for their collection. (Jason Jacobs)
JONATHAN SINGS LARSON: Jonathan Sings Larson is a collection of demo recordings the late Jonathan Larson recorded over the years. It includes many never-heard-before songs, as well as songs from tick...tick…BOOM! and Rent. If that weren’t enough for any Larson fan to run to order the recording, there is a booklet, which contains all of the lyrics, explanations of how the songs came to be written, and essays by prominent industry folk and close friends. And if THAT weren’t enough for any Larson devotee to purchase this amazing cd, there’s a bonus DVD with four tracks from a performance of tick..tick…BOOM! from 1991. Larson may not be a singer, but his emotion and energy drive all of his performances, just as it drove all of his writing. It is a great loss to the world that Larson died so young, but it is a great present to the world that this cd captures him at his best. (Seth Bisen-Hersh)
LAUREN KENNEDY: HERE AND NOW: Lauren Kennedy continues to be one of the clearest, strongest singers embracing upcoming composers today. Her new solo recording is mostly full of songs that haven’t been recorded before. Kennedy possesses a quirky sense of humor and a fierce belt, which in combination make for a unique sound. The highlights of the disc include the upbeat "Spread a Little Joy" by Andrew Lippa, a song from the ill-fated Urban Cowboy, "Mr. Hopalong Heartbreak," by Jason Robert Brown (who penned all the songs on Kennedy’s previous cd), and the hilarious, quite true ballad "Apathetic Man" by Marcy Heisler and Zina Goldrich. (Seth Bisen-Hersh)
JOURNEYS IN THE NIGHT: Another chapter of modern theatre history gets an exhaustive, if somewhat subjective, re-telling in Journeys in the Night, Theodore Mann's highly enjoyable memoir about the creation of the legendary Off-Broadway company, Circle in the Square. It's all here, from their groundbreaking productions of The Iceman Cometh and Long Day's Journey Into Night to their current financial and artistic doldrums. There's also a terrific bonus DVD containing a 1977 television documentary about Circle, which contains archival footage from several of their productions. All in all, Journeys in the Night is a valuable addition to the growing list of titles about the historic off-Broadway theatre movement. (Michael Criscuolo)
THE MEMORY OF ALL THAT: Joan Peyser's painstakingly researched biography of composer George Gershwin draws back the curtain of secrecy that obscures him and his famed family, giving readers an inside look at their furtive inner workings. The author delves deep into the many musical influences of Gershwin's and provides detailed analysis of his work. Peyser also reveals the man behind the music: amateur painter, unrepentant womanizer, and ambitious (but arrogant) genius. This is no-holds-barred stuff that treats readers to a sober, eye-opening, and thoroughly readable survey of one the foremost musical pioneers of the 20th century. (Michael Criscuolo)
VICTORIA CLARK: FIFTEEN SECONDS OF GRACE: Victoria Clark possesses such a graceful voice; her lush soprano tones soothe and shimmer at the same time. From the opening track, the soulful "How Can I Keep from Singing," to the deep, passionate rendition of "I Got Lost in His Arms," Clark fills the songs with deep emotion, which cannot help but move the listener. In addition, Clark infuses her performance with pleasure and joy, which translates and radiates through each track. The other highlights include the sweet, innocent "Thomas" and the longing, loving "Right as the Rain." Thus, Clark’s new recording thankfully creates far more than fifteen seconds of grace. (Seth Bisen-Hersh)
ANDREA BURNS: A DEEPER SHADE OF RED: Andrea Burns explores both Broadway standards and '70s pop songs on her new album, a deeper shade of red. Red is the color of passion, and Burns’s passion permeates the entire cd. Her voice is full and powerful. Some of the highlights include a vivacious rendition of "What More Do I Need?" from Sondheim’s Saturday Night (which Burns starred in off-Broadway, though she didn’t get to sing this song in the show), the medley of Kate Bush’s "Man with the Child in his Eyes" with Rodgers and Hammerstein’s "Something Wonderful," and the sentimental, dreamy rendition of "I Have a Love" (from West Side Story; Burns played Maria on the European tour). (Seth Bisen-Hersh)
NEW & NOTEWORTHY:
IN A DARK DARK HOUSE: Neil LaBute breaks new ground in his drama about two brothers trying to face their tortured shared history. Specifically, he introduces an element largely absent from his previous work: hope. It's a move that spurs his protagonists on to the road towards acceptance, forgiveness, and clarity. In my review of the play's off-Broadway premiere, I wrote that the author's "continuing investigation of the dark heart of masculinity is taking both him and theatergoers on a journey that is thrilling and profound....it's yet another daring move by this fearless writer, one that produces one of his strongest and most rewarding works to date." (Michael Criscuolo)
WRECKS AND OTHER PLAYS: The cornerstone of this intriguing collection of short plays by Neil LaBute is the title work, which is something of a departure for its author. At the center of Wrecks is a protagonist who seems to be a genuinely nice man, and LaBute displays a heartfelt sincerity throughout that fits him quite well. The rest of the plays—all written either for a specific actor or event, as LaBute states in the preface—feature the author's penchant for O. Henry surprise endings and savage humor. Wrecks and Other Plays is a fascinating look at one of America's premier playwrights having what looks to be, at least for him, some fun. (Michael Criscuolo)
LOVE MUSIK (2007 Original Broadway Cast): The cast recording of Love Musik captures the haunting, eerie feel of the recent production. Clear and crisp, Jonathan Tunick's orchestrations shimmer. The leads, Donna Murphy and Michael Cerveris, embody Lotte Lenya and Kurt Weill with aplomb and skill. The booklet provides a hearty synopsis, which will be needed for anyone who missed the show. The highlights are the chilling duet, "I Don't Love You," Murphy's visceral "Surabaya Johnny," and the maudlin "It Never Was You." Weill fans will no doubt want to add Love Musik to their collection. (Seth Bisen-Hersh)
SERIOUS PLAYGROUND: THE SONGS OF LAURA NYRO: Judy Kuhn's new CD is a pleasant, enjoyable listen. Kuhn's voice has such versatility—she can be demure in one track then brassy in the next. Furthermore, since she connects so greatly to the music of Laura Nyro, there is an emotional depth throughout the recording. Nyro's songs range from soulfully driven to sweet ballads to just plain fun, which makes the oxymoronic title apropos. The highlights are the whimsical "Sweet Blindness" and the slow, sullen "To a Child." Anyone who loves Kuhn and/or loves Nyro will not be disappointed by Serious Playground. (Seth Bisen-Hersh)
NOW PLAYING:
CURTAINS (2007 Original Broadway Cast): The original Broadway cast recording of Curtains, a great big new musical comedy , shimmers and delights with old-fashioned charm. The Kander and Ebb score may not rank up there with their prior masterpieces, but it still is filled with gems and highlights including the brassy “It’s a Business,” the rueful “I Miss the Music,” the show-stopping “Show People” and the big dance number “Tough Act to Follow.” The recording of the stellar cast is crisp and clear. David Hyde Pierce is sweetly charismatic; Debra Monk is belty and foul-mouthed; and Karen Ziemba and Jason Danieley possess angelic voices. Any fan of old school musical theatre will enjoy this recording immensely. (Seth Bisen-Hersh)
JERSEY BOYS (2005 Original Broadway Cast): The rousing cast album of Jersey Boys is a treat for both pop music lovers and musical theatre fans alike. The score, by Bob Gaudio and Bob Crewe, serves not only as dynamic musical theatre, but as a mini-history of pop music. With songs like “Sherry,” “Big Girls Don’t Cry,” “Walk Like a Man,” “December 1963 (Oh What a Night),” and “Can’t Take My Eyes Off You,” Jersey Boys also charts the course of cultural history of America from the 1950s to the present (not to mention that it takes at least a dozen songs that have been heard in countless movies and commercials over the years and puts them in a proper perspective). Anchored by the thrillingly accurate performances of John Lloyd Young, Christian Hoff, Daniel Reichard, and J. Robert Spencer, Jersey Boys is a cast recording for all ages, and the ages. (Michael Criscuolo)
LEGALLY BLONDE (2007 Original Broadway Cast): Laurence O’Keefe and Nell Benjamin, composer/lyricists of the Broadway adaptation of Legally Blonde, have performed a synesthetic feat: They’ve written a score that sounds pink. Pink is the signature color of the musical’s heroine, Elle Woods, who conquers snobbery at Harvard Law School by bringing her innate sense of fashion to bear in a murder trial. It’s farfetched, but as written by O’Keefe and Benjamin, it’s also infectious, giddy fun. An upbeat, tuneful delight. (David Hilder)
MARY POPPINS (2005 Original London Cast): I got the goose bumps as soon as the “Chim Chim Cher-Ee” teaser began on this wonderful CD recording of West End’s Mary Poppins. FYI, this musical is not a live carbon copy of the famous 1964 Disney film of the same name starring Julie Andrews, which strayed from the original stories by P.L. Travers. This CD features the collaboration between Disney and Cameron Macintosh, which premiered in London in 2004, and opened on Broadway in 2006. Don’t worry, both the musical and the CD still include the classic songs written by Richard M. and Robert B. Sherman from the original film, including “Supercalifragilisticexpialidocious,” “A Spoonful of Sugar” and “The Perfect Nanny.” Most, however, have been revamped by George Stiles and Anthony Drewe, who have also added a few new songs to the mix. Standouts are “Practically Perfect” and “Temper, Temper” (the latter of which...my favorite...is a wee scary, so tend to the kids). All in all, a great CD...AND, it has an insert with all the words and a lengthy letter from Mr. Macintosh himself. (John Samuel Jordan)
SPRING AWAKENING (2006 Broadway Cast): I love this CD! Not since Rent has there be such an awesome original cast recording. With lyrics by Steven Sater and music by Duncan Sheik, Spring Awakening features songs with titles like “The Bitch of Living,” “My Junk,” and “The Guilty Ones.” Based on the infamous (read: “controversial” due to its explicit portrayal of teenaged sexual angst) 1891 Frank Wedekind play, these songs are as 21st Century as ipods and could easily find their place (and video) on MTV. Take Sater’s lyrics for “Totally Fucked” that include, “You can kiss your sorry ass good-bye,” and “Blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah.” Pop music lovers who might otherwise turn their noses up at musical theatre will sing a different tune once they hear “I Don’t Do Sadness.” From the first downbeat, this song gets you going with its combination of strings, guitars and percussion. Not to mention John Gallagher Jr.’s vocals. And once he’s joined by the soulful Lauren Pritchard, the song really rocks! Fans of Duncan Sheik’s moody melodic ballads will not be disappointed either. “All That’s Known” sung by Jonathan Groff with backing vocals (by members of the male ensemble, in Latin!) sounds straight off one of Sheik’s Grammy-nominated CDs. And Lea Michele’s “Whispering” could/should easily be a Top 40 hit. (Frank Anthony Polito)
THE COLOR PURPLE (2005 Original Broadway Cast): The cast recording of The Color Purple represents the heart of the brand new musical, through its diverse score. With many gospel and R&B influences, the score has lots of high-energy group numbers, yet also manages to have its share of Broadway-esque power ballads. The recording encapsulates the show very well, and the cast sparkles. The highlights include Felicia P. Fields’s commanding “Hell No!,” the love duet that closes act one, “What About Love?” and La Chanze’s showstopping eleven o’clock number, “I’m Here.” Anyone who enjoys this kind of genre of musical theatre will not be disappointed in this fun, yet emotionally touching score. (Seth Bisen-Hersh)
ALSO FROM NYTE:
UNPREDICTABLE PLAYS: NYTE's new collection of 28 plays by playwright Mario Fratti, author of the musical Nine. Includes the complete scripts of: The Friday Bench, Suicide Club, Alessia, The Piggy Bank, The Fourth One, Dolls No More, Porno, Dina and Alba, The Bridge, Confessions, The Coffin, A.I.D.S., Brothel (The Doorbell), The Letter, Mothers and Daughters, Beata, the Pope's Daughter, The Wish, Erotic Adventures in Venice (Promises), The Academy, Friends, Terrorist, The Return, The Seventy-fifth, Iraq (Blindness), "Che", Anniversary, Missionaries, Sincerity. Edited by nytheatre.com's Martin Denton.
PLAYS AND PLAYWRIGHTS 2007: NYTE's newest anthology of eleven plays from New York's indie theater scene. Includes LENZ by bluemouth, inc., Office Sonata by Andy Chmelko, Kiss and Cry by Tom Rowan, They're Just Like Us by Boo Killebrew, Convergence by Bryn Manion, Red Tide Blooming by Taylor Mac, The Adventures of Nervous-Boy by James Comtois, Another Brief Encounter by Stan Richardson, Corps Values by Brendon Bates, Diving Normal by Ashlin Halfnight, 'nami by Chad Beckim. Foreword by John Clancy, and featuring an annotated Appendix of new American Plays produced in New York City during the 2005-06 season. Edited by nytheatre.com's Martin Denton.
PLAYING WITH CANONS: An anthology of eighteen plays by some of indie theatre's most exciting playwrights, celebrating the enduring power and spirit of classic literature and drama. Includes Want's Unwisht Work by Kirk Wood Bromley, La Tempestad by Larry Loebell, Titus X by Shawn Northrip, Genesis by Matthew Freeman, Eumenides by David Johnston, Principia by Michael Maiello & Andrew Recinos, Uncle Jack by Jeff Cohen, Story of an Unknown Man by Anthony P. Pennino, The Brothers Karamazov, Parts I & II by Alexander Harrington, Bel Canto by Renee Flemings, Salem by Alex Roe, Bartleby the Scrivener by R.L. Lane, Frankenstein by Rob Reese, Northanger Abbey by Lynn Marie Macy, The Man Who Laughs by Kiran Rikhye, Bald Diva! by David Koteles, Fatboy by John Clancy, The Persians by Waterwell. Edited by nytheatre.com's Martin Denton.Learn more about it here!
PLAYS AND PLAYWRIGHTS 2006: An anthology a dozen plays from the indie theatre scene. Includes The Top Ten People of the Millenium Sing Their Favorite Schubert Lieder by Alec Duffy, Burning the Old Man by Kelly McAllister, Self at Hand by Jack Hanley, The Expense of Spirit by Josh Fox, Paradise by Glyn O'Malley, Yit, Ngay (One, Two) by Michael Lew,Pulling the Lever by Rising Circle Theater Collective, The Position by Kevin Doyle, The Dirty Talk by Michael Puzzo, The First Time Out of Bounds by P. Seth Bauer, Aurolac Blues by Saviana Stanescu, The Whore of Sheridan Square by Michael Baron. Foreword by Trav S.D., and featuring an appendix which serves as a directory of the new American plays produced in New York City in the 2004-05 season. Edited by nytheatre.com's Martin Denton.
PLAYS AND PLAYWRIGHTS 2005: A collection of twelve new plays by emerging writers. Includes Vampire Cowboy Trilogy by Qui Nguyen & Robert Ross Parker, second. by Neal Utterback, Bull Spears by Josh Chambers, Animal by Kevin Augustine, Odysseus Died from AIDS by Stephen Svoboda, Maggie May by Tom O'Brien, Elephant by Margie Stokley, Walking to America by Alberto Bonilla, The 29 Questions Project by Katie Bull & Hillary Rollins, Honor by TheDrillingCompaNY, Kalighat by Paul Knox, and Platonov! Platonov! Platonov! or the Case of a Very Angry Duck by Eric Michael Kochmer. Foreword by Steven Drukman. Edited by nytheatre.com's Martin Denton.
PLAYS AND PLAYWRIGHTS 2004: An anthology of plays from off-off-Broadway. Includes Sugarbaby by Frank Cwiklik, WTC View by Brian Sloan, United States: Work & Progress by Christy Meyer, Jon Schumacher & Ellen Shanman, The Shady Maids of Haiti by John Jahnke, Cats Can See The Devil by Tom X. Chao, Survivor: Vietnam! by Rob Reese, Feed the Hole by Michael Stock, Auntie Mayhem by David Pumo, The Monster Tales by Mary Jett Parsley, Sun, Stand Thou Still by Steven Gridley. Foreword by Kirk Wood Bromley. Edited by nytheatre.com's Martin Denton.
PLAYS AND PLAYWRIGHTS 2003: An anthology of plays from off-off-Broadway. Includes A Queer Carol by Joe Godfrey, Pumpkins for Smallpox by Catherine Gillet, Looking for the Pony by Andrea Lepcio, Black Thang by Ato Essandoh, The Ninth Circle by Edward Musto, The Doctor of Rome by Nat Colley, Galaxy Video by Marc Morales, The Last Carburetor by Leon Chase, Out to Lunch by Joseph Langham, Ascending Bodily by Maggie Cino, Last Call by Kelly McAllister. Foreword by Mario Fratti. Edited by nytheatre.com's Martin Denton.
PLAYS AND PLAYWRIGHTS 2002:An anthology of plays from off-off-Broadway. Includes The Death of King Arthur by Matt Freeman, Match by Marc Chun, Woman Killer by Chiori Miyagawa, The Wild Ass's Skin by J. Scott Reynolds, Shyness Is Nice by Marc Spitz, Halo by Ken Urban, Reality by Curtiss I'Cook, The Resurrectionist by Kate Chell, Bunny's Last Night in Limbo by Peter S. Petralia, Summerland by Brian Thorstensen. Foreword by Bill C. Davis. Edited by nytheatre.com's Martin Denton.
PLAYS AND PLAYWRIGHTS 2001: An anthology of plays from off-off-Broadway. Includes Washington Square Dreams by Gorilla Repertory Theatre, Fate by Elizabeth Horsburgh, Velvet Ropes by Joshua Scher, The Language of Kisses by Edmund DeSantis, Word To Your Mama by Julia Lee Barclay, Cuban Operator Please... by Adrian Rodriguez, The Elephant Man—The Musical by Jeff Hylton & Tim Werenko, House of Trash by Trav S.D., Straight-Jacket by Richard Day. Edited by nytheatre.com's Martin Denton.
