Posted in based on Chekhov, drama, musical theater

Honky Tonk Love

a guest review BY MARI S. GOLD

Have your Chekov with a side of grits and a blast of country-and-western music.

Kacie Sheik, Erin Dilly, Don Guillory, Bob Stillman, Andy Taylor, Kate Baldwin, Eric William Morris, Ephie Aardema, and Drew McVety in SONGBIRD at 59E59 Theaters. Photo by Jenny Anderson Photography
Kacie Sheik, Erin Dilly, Don Guillory, Bob Stillman, Andy Taylor, Kate Baldwin, Eric William Morris, Ephie Aardema, and Drew McVety in SONGBIRD at 59E59 Theaters. Photo by Jenny Anderson Photography

A bar-cum-music venue near Nashville is effectively evoked by Jason Sherwood’s bleached wooden boards with rows of liquor bottles above attesting to the trade of vodka for whiskey… Welcome to Songbird, at 59E59 Theater A through November 29, a play set in Opry land where. former singing great, well- portrayed and sung by Kate Baldwin, returns after a long absence. She’s home to help her son, Dean, (Adam Cochran), launch his own musical career.

Erin Dilly and Kate Baldwin in SONGBIRD at 59E59 Theaters. Photo by Jenny Anderson Photography
Erin Dilly and Kate Baldwin in SONGBIRD at 59E59 Theaters. Photo by Jenny Anderson Photography



We understand that Dean’s life is a wreck because Tammy more or less abandoned him but there’s little depth of feeling–we’re told rather than shown. Tammy comes home with her lover, Beck, a music producer described as a “Hitmaker”; as played by handsome Eric William Morris, he sings well (as do all the players) but he lacks sufficient swagger and authority.

There are a lot of other people milling around including Mia (Ephie Aardema), a young singer

Adam Cochran and Ephie Aardema in SONGBIRD at 59E59 Theaters. Photo by Jenny Anderson Photography
Adam Cochran and Ephie Aardema in SONGBIRD at 59E59 Theaters. Photo by Jenny Anderson Photography

who falls for Beck; Doc (Drew McVety), embroiled in an affair with Pauline, (an excellent Erin Dilly), Soren, Tammy’s alcoholic older brother (Bob Stillman), and Missy, (Kacie Sheik), dressed in black doing her Goth thing but characters are thinly written so it’s sometimes hard to keep them straight. Missy has a drinking problem –the other characters are warming up to one other than Soren who is already there.

The play, by Michael Kimmel, is based on Anton Chekhov’s The Seagull riffing on the original in which an actual bird is a symbol for a young woman’s happiness that   disappears when a man shoots the bird out of boredom and then presents it to her. In Songbird, it’s a bluebird that Dean hits with his truck.  Act I ends with Dean silhouetted in a doorway holding a noose. So much for foretelling.

As in Chekhov, many major incidents take place offstage. Songbird has interesting story developments, like Missy’s marriage to Rip but, like others twists, this is revealed abruptly and vanishes just as fast.

Lauren Pritchard, who wrote the terrific music and lyrics, comes from the small town of Jackson, TN, about 120 miles from Nashville, where Songbird takes place. Her Small Town Heart that opens the show as a prologue, lets us in on Tammy’s need to get away to a bigger place with more opportunities, a popular country-and-western sentiment. Highway Fantasy, well performed by Beck and Missy, is sort of a love song and sort of a regret for a romantic road not taken. There are lots of songs and language about disappointments about love and life in general.

The Seagull has been adapted and revamped by many writers ranging from Tennessee Williams to Emily Mann and staged as a play, a film and a ballet; it’s been set in the contemporary Hamptons and on an Australian beach. My guess is that this retelling, despite the excellent music and fine vocal performances, is probably not going to be the one worth enshrining.

For more information and tickets for Songbird, please visit

Posted in comedy, musical theater, Uncategorized

Ship Ahoy: It’s smooth sailing

Let’s say it’s the height of the depression and you’re looking for a feel-good time, you’d likely head to a movie. It’s easy to believe the opening “credits” conceit that Dames At Sea is a picture show, maybe like something Mickey and Judy would be in.

In Dames At Sea, at the Helen Hayes in an open-run, Hennessey (John Bolton) is staging his come-back show. When their Broadway theater is bulldozed, Hennessey, with the aid of his star, Mona Kent (Lesli Margherita) and her ties to Captain Cutie-pie Courageous (Bolton again) his opening night to a battleship.

Hennessey’s cast includes the trouper Joan (the excellent Mara Davi) and newly-minted chorine, Ruby (Eloise Kropp who is a wower.) Ruby’s boyfriend, Dick (Cary Tedder), a sailor who catches Mona’s eye and ear with his songs, and Joan’s love interest, Lucky (Danny Gardner) are eager to help put on the show.

The gee-whiz factor is a big component in Dames At Sea, the creation of George Haimsohn and Robin Miller (book and lyrics) and Jim Wise (music.) Director and choreographer Randy Skinner, and Musical Director Rob Berman keep up this spirit.

Its corn-fed good humor is delivered with charm by the cast. The four kids– Joan, Lucky, Dick and Ruby– play it straight while Hennessey (and his alter ego the Captain) turn it up a notch. The diva Mona heads right on up to high camp. The energy and enthusiasm on stage had its affect in the auditorium where patrons were heard to cheer on the dancers.

The glory of the production is in the many and splendid tap dance numbers. Kropp as Ruby makes her joyous contribution, especially in the “Echo Waltz” (lyrics by Haimsohn) and “Star Tar” numbers.

The musical Dames At Sea is as amiable as an unruffled ocean voyage.

For more information about Dames At Sea, please visit

Posted in AmericanSongbook, BrooklynCenterForThePerformingArts, concert

Michael Feinstein Celebrates Sinatra’s 100th Birthday in Style


Brooklyn Center for the Performing Arts at Brooklyn College opened its 2015-16 season with a concert by “The Ambassador of the Great American Songbook,” singer/pianist Michael Feinstein celebrating Frank Sinatra’s centenniel. Guest reviewer Mari S. Gold was there and reports:

Backed by a pianist, bass player and percussionist, Michael Feinstein had the audience at his Sinatra Centennial Celebration at the Brooklyn Center for the Performing Arts eating out of his hand long before he finished his first number.

Feinstein, lithe and ageless at 59, played it smart by singing songs popularized by the Chairman of the Board as Feinstein, not as Sinatra sang them. He recounted meeting Sinatra when playing  a party at Chasen’s in Hollywood  hosted by the Sinatras and attended by the likes of Gregory Peck, Elizabeth Taylor and other Hollywood luminaries. In hopes of having Sinatra notice him, Feinstein played obscure Sinatra songs which, it turned out, the Chairman didn’t like. However, he noticed Feinstein, talked with him and invited him for dinner.  When a young, nervous Feinstein arrived at the home of Sammy Davis, Jr. and was asked if he’d like a drink, he blurted, “Do you have any white wine?” Davis, ever on his game, responded “Baby, in this house we got all colors of wine.”

Feinstein swung through How About You and  That’s Why the Lady is a Tramp; gave a soulful, soft rendition of What Kind of Fool Am I and, backed by  screen stills of a mostly young Sinatra, sang a medley including All or Nothing at All; Angel Eyes; I’ve Got the World on a String and other Sinatra-associated numbers.

Mid-performance, Feinstein, a five-time Grammy® nominee,  talked about the Great American Songbook Foundation he founded in 2007 to preserve and perpetuate the music of masters including Jerome Kern, Sammy Kahn, Jule Styne, Richard Rogers, Johnny Mercer, Frank Loesser and others. He introduced the Foundation’s Youth Ambassador, Annie Yokum, a recent graduate of Carnegie Mellon University. Yokum’s rendition of What Did I Have That I Don’t Have Now, with music by Burton Lane and lyrics by Alan Jay Lerner, was knock-out and Feinstein’s prediction of a Broadway future for her seems entirely likely.

Feinstein, who sipped water and what appeared to be tea during the performance, reappeared in a suit resplendent with rhinestone buttons, more Las Vegas than his usual somber, though always elegant, attire to sing Cole Porter’s Just One of Those Things, explaining that Porter was Sinatra’s favorite songwriter.  After plugs for his website, his Facebook page and the Foundation, he gave an “encore” number of New York, New York that sent the crowd out very happy, many singing along.

Accompanying Feinstein was heavy- hitting talent including Ted Firth on piano; Sean Smith on bass and Mark McLean on drums. Firth has been musical director/accompanist for Barbara Cook, Elaine Page, Brian Stokes Mitchell and other well-known singers;  has appeared at Carnegie Hall and performed at the White House. A major force in the international jazz scene for over twenty-five years, Smith has his own group which received the CMA/ASCP Award for Adventurous Performing in 2015; he also composes.  McLean began his career in Toronto as a jazz drummer and has worked with a broad array of artists including Billy Joel, Wynton Marsalis and pop icon George Mitchell.

For more information on the Brooklyn Center for the Performing Arts at Walt Whitman Theatre at Brooklyn College, please visit



Posted in drama, love story, theater

We’re off to a puzzling start…

It’s the beginning of a new Broadway season, and the two major subscription houses have dealt us a pair of headscratchers. Both plays present iterations of love and desire. 6_0246 - Owen, Best, Reilly

While the two sides of the aisle at T and B were not both completely enchanted with the plays, we did agree that the acting in Fool for Love and Old Times was mesmerizing.38573906 3907Your motives for seeing Fool for Love and Old Times may vary. Sam Shepard has been your favorite playwright from way back. You want to see Clive Owen in his Broadway debut. Seeing Sam Rockwell throw a lasso as if he really is a rodeo wrangler like his character Eddie inspires you to go.   You never miss seeing a Harold Pinter play.  Continue reading “We’re off to a puzzling start…”

Posted in based on a true story or event, musical theater, revue

Sex Drugs and Rock ‘n Roll

Skimming the surface for a few historical highlights is what a musical revue should do. Trip of Love runs through the ’60s via pop tunes and popular dances with a side of drugs and nods to the protest movement.

Trip of Love should have stayed with the surface, since any attempts to go deeper really back-fired. The low point was a recreation of the pain of sending young men to war. The high point was that “beautiful balloon”– when an actual hot air balloon lit off into the rafters.

Lavishly staged with mostly true-to-period (if a little dramatized) costumes, designed by Gregg Barnes, and very elaborate sets, co-designed by director/creator/choreographer James Walski and Robin Wagner, Trip of Love is a bit psychedelic and a little soft-core.

Billed as “Time: Now, Place: Here,” Trip of Love aims to be hip and happenin’ baby.

Austin Miller in <b>Trip Of Love</b>, Photo by Matthew Murphy
Austin Miller in Trip Of Love, Photo by Matthew Murphy
David Elder, Dionne Figgins, and the cast of <b>Trip Of Love</b>, Photo by Matthew Murphy
David Elder, Dionne Figgins, and the cast of Trip Of Love, Photo by Matthew Murphy
Dionne Figgins and the cast of <b>Trip Of Love</b> Photo by Matthew Murphy
Dionne Figgins and the cast of Trip Of Love Photo by Matthew Murphy
Joey Calveri, Tara Palsha, and the cast of <b>Trip Of Love</b>, Photo by Matthew Murphy
Joey Calveri, Tara Palsha, and the cast of Trip Of Love, Photo by Matthew Murphy
Tara Palsha, Kelly Felthous, Dionne Figgins and the cast of <b>Trip Of Love</b>, Photo by Matthew Murphy
Tara Palsha, Kelly Felthous, Dionne Figgins and the cast of Trip Of Love, Photo by Matthew Murphy
Laurie Wells in <b>Trip Of Love</b>, Photo by Matthew Murphy
Laurie Wells in Trip Of Love, Photo by Matthew Murphy

Trip of Love stars Joey Calveri and  David Elder, both of whom are very engaging,  Kelly Felthous, Dionne Figgins, Austin Miller. Tara Palsha, who is very agile, and Laurie Wells  with a large back-up crew.

Trip of Love comes to us from its 2008 world premiere in Osaka, with the backing of groups of Japanese producers. It is scheduled for an open run at Stage 42.

For more information and tickets, please go to

Posted in circus

Under the little tent

It’s not all fun and games. The circus is a frenetic entertainment. In the 3-ring variety, it can be overwhelming and overstimulating.

It goes without saying that a one-ringer would be more manageable and more sensible.*

Today, the Big Apple Circus raises its tent at Damrosch Park in anticipation of the October 21st opening.

© maike schulz/Big Apple Circus
© maike schulz/Big Apple Circus

(Big Apple Circus, a one-ring spectacle, returns to Lincoln Center with a premiere set in the 1920s, from October 21st to January 10th.For the October 28th and 29th at 11am, there are specially adapted performances for those with vision or hearing impairments to enjoy The Grand Tour at Lincoln Center: Big Apple Circus presents Circus of the Senses: *On November 17th at 11am, Big Apple Circus invites families with members who are in the autism spectrum to a special performance. )

HalloweenBigAppleCircusOn October 31st at 4:30pm, children are invited to don their costumes and join guest ringmaster, R.L. Stine for a special Halloween performance.

Posted in based on a true story or event, comedy, drama, musical theater, theater

Getting on… and going back

Mortality is an universally human concern. Aging is something that becomes more pressing as time passes. The theater often boldly addresses these issues head-on.

Production Art, Robin Phillips, artist, The Hummingbird's Tour
Production Art, Robin Phillips, artist, The Hummingbird’s Tour

If seniors are a demographic not prized by network TV, at least they can look to the stage to find an examination of their interests.

For instance, at MTC this season, Holland Taylor and Marylouise Burke fight over prime real estate in their assisted living arrangements in David Lindsay-Abaire’s Ripcord.

The Hummingbird’s Tour at the Theatre at St. Clement’s is subtitled “An End of Life Comedy.”
Margaret Dulaney’s play previews beginning October 18th and runs through November 22nd.

Nostalgia often comes with the territory as we get older. Trip of Love (in an open run) at the newly re-named Stage 42 (formerly The Little Shubert) is also a trip down memory lane. Music from the 1960s is the accompaniment for this sentimental journey.


Playwright Justin Rivers’ The Eternal Space is about another kind of nostalgia— we often miss the iconic buildings of our memories, and Penn Station, demolished just 50 years ago, was a gorgeous feature of our cityscape. The old beaux arts Penn Station was a mere 53 years old when the dismantling of the structure began.