Woman Around Town’s Editor Charlene Giannetti and writers for the website talk with the women and men making news in New York, Washington, D.C., and other cities around the world. Thanks to Ian Herman for his wonderful piano introduction.

Jerry Bock

Jim Brochu as Zero Mostel in Zero Hour– – Recommended! (Closes July 9)


Zero Hour is a helluva piece of writing. Now tightened from two acts (first premiering in 2006) to intermissionless, time-stopping captivation, Jim Brochu’s one man play offers a no-holds-barred look at the quick, wry, perpetually angry leftist; a boisterous man who, though an actor by profession, longed to just paint. This deeply researched piece, as personal as it is historical, illuminates Samuel Joel (Zero) Mostel. Peppered with anecdotes, jokes, and insults, its serious depiction of reasons for the subject’s dark side, including a pivotal run-in with The House Un-American Activities Committee, provides affecting, whiz-bang dramatization.

Mostel speaks to a New York Times reporter blackmailed into modeling. We don’t hear responses. This cleverly allows Brochu to look directly at his audience while he (actually) sketches. “I don’t want to know your name, this is an interview not a relationship.”

The actor begins with his 1915 birth on “a beautiful little radish farm at the intersection of Eastern Parkway and Pitkin Avenue” and ends about to start rehearsals for a Broadway production of Arnold Wesker’s The Merchant. Mostel died shortly thereafter.

We hear about his passion for art (since childhood), immigrant Jewish parents that declared him dead when Mostel married outside the faith, his second wife Katie “a gawegus (phonetic) Catholic Rockette”, HER MUTHA!, and his inadvertent entrée into show business. Brochu leans over the drawing table to scream the last two words stentorian and bug-eyed, then lightly resuming the tale as if his outburst had never occurred. Sheer Zero.

He answers the annoying phone “Palestinian Anti-Defamation League,” screams, swears, slams the receiver down and cheerily says, “that was my wife.”

The subject went from being an art student, to lecturing on art-adding humor, then doing benefits and finally breaking out as a comedian at Barney Josephson’s Café Society. (We see part of the routine. Both physicality and timing are recognizable.) Watch the bird movement of his large head as it jerks around as if gauging the room’s temperature; his eloquent hands, fingers most often splayed, gesturing close to the body – like a smaller man; and the frozen beat he takes to allow humor to land.

“I was a Marxist….Why? WHY???!!!.(ostensibly the reporter has asked) BECAUSE OF HITLER AND FASCISM!” Next comes the WPA, a Hollywood contract cut short when Mostel blew off a Louis B. Mayer party for a Longshoremen benefit, and the life altering HUAC: Communism equaled liberalism equaled Judaism!  Names are vehemently named. Participants excoriated. Friends mourned. Part of his testimony is shared. As if things weren’t bad enough, the actor was then run over by a bus. (Did you know this, reader?)

Theater includes famous roles in Marjorie Barkentin’s Ulysses in Nightown,  Rhinoceros (Eugène Ionesco), A Funny Thing Happened on the Way to the Forum (Stephen Sondheim/Burt Shevelove/Larry Gilbert)which suffered near fatal growing pains on its way to Broadway and threw in his path one of Hollywood’s major HUAC informers, and the iconic Fiddler on the Roof, (Jerry Bock/Sheldon Harnick/Joseph Stein) during which his past came back to haunt the actor. (The actor initially hated both Forum and Tevye, the first iteration of Fiddler.)

We then neatly circle back with palpable regret to lost peers, lost family, and Mostel again forced to leave his art studio for theater. A last line, which refers to what he considered an outrageous request from Katie, couldn’t be better. It leaves us with a knowing smile.

Jim Brochu is so filled with energy, so present, it’s as if he’s performing early in the run of a new show. The actor has honed his character over the years to a degree that brings a whole human being to life. Though familiar mannerisms and speech patterns (including intermittent volume) are employed, this is less a purposeful imitation than top notch channeling.

Director Piper Laurie has done a wonderful job of utilizing the stage, seamlessly evoking mood change in extremely subtle chapters. Pacing is just right. Use of props is completely natural. One assumes this is predominantly the original direction.

Josh Iacovelli’s Scenic Design is detailed and evocative. His Lighting adroitly defines subtly overlapping vignettes.

There’s no credit, but Sound Design is excellent.

Production Photos by Stan Barough

The Peccadillo Theater Company presents
Jim Brochu as Zero Mostel in Zero Hour
By Jim Brochu
Directed by Piper Laurie
Theatre at St. Clements
423 West 46th Street
Through July 9, 2017

Fiorello! – Sheer Delight!


In an election year full of worst possible behavior and damaging convictions, it’s uplifting to be reminded of a man of principle. (The bad guys seemed easier to identify then.) That Tony Award and Pulitzer Prize winning Fiorello! is a terrific piece of writing (a master class, really; don’t just watch, listen), with, in this production, adroit direction, artful visuals, droll choreography, and a company of notably young, talented players, is a veritable treat. Getting past their youth takes a minute. After that, it’s clear sailing.

Julius Reese, Michael Brahce, Ben Dallas Redding, Ryan Morsbach

If you’re familiar with Fiorello H. LaGuardia, it’s probably as the progressive, three-term Mayor of New York who helped quash a corrupt Tammany Hall political machine. Few are aware the lawyer was Deputy Attorney General, a decorated Army airman, served in Congress with firebrand commitment sponsoring labor legislation and railing against immigrant quotas, and was one of the first outspoken critics of Hitler.

Fiorello! concentrates on vicissitudes of city politics, LaGuardia’s personal life and character. There are three love stories – two based on fact, one, comic relief, lost as well as won elections, and a look at politics which, though couched in humor, is likely not too far from the truth.


Katie Birenboim and Chelsea Cree Groen

The longshot nominee is chosen at a poker table (“Politics and Poker,” one of musical theater’s cleverest numbers) presided over by party head Ben (Ryan Morsbach who especially shines in “Little Tin Box,” another whiz-bang funny song). Women of The Nifty Shirtwaist Factory, including the sweet, obtuse, Dora go on strike. (Chelsea Cree Groen – endearing comedienne, good singer, lovely dancer.) In retaliation, their leader, Thea (Rebecca Brudner – beautiful voice, lyrical spoken Italian, winning actress), is arrested for solicitation by on-the-take cop Floyd (Dan Cassin, a little too duh.)

Beleaguered employees Neil (Michael Sullivan – fetching tenor), Morris (Matt McClean, who could make more of this), and Marie (a spirited Katie Barenboim) – secretly in love with her uber-ethical, scrappy boss, put up with long hours and erratic behavior because LaGuardia is “On the Side of the Angels.” Dora unwittingly falls for Floyd: “I Love a Cop” which almost has dire consequences.


Austin Scott Lombardi, Rebecca Brudner and The Company

We see “The Little Flower” (a translation of his name, not to mention diminutive height) campaign in Italian and Yiddish: (“The Name’s LaGuardia: L-A-G-U-A-R-D-I-A”), fall in love with what the audience may perceive as the wrong girl, go to war, lose the girl and an election to the flashy, shallow-sound familiar?  “Gentleman Jimmy” (James J. Walker), then win on both those fronts.

As LaGuardia, Austin Scott Lombardi is earnest and attractive, but rather more a leading man than charismatic character type which is a bit disconcerting. Like the company’s youth, one simply has to let this go.

The show is warm, tuneful, charming, wry, and wise. You’ll have a good time.


Matt McLean and The Company

Director Bob Moss stages with great freshness and an eye to visuals. The large cast moves seamlessly from scene to scene as does furniture. Pacing is nimble. Small moments as when each soldier salutes his girl before boarding the ship and Thea singing the beautiful “When Did I Fall in Love,” wrapping herself in LaGuardia’s robe, add intimacy.

Evan Zavada’s Music Direction offers the illusion of an orchestra with only 2 pianos and a violin. Brendan F. Doyle’s Sound Design is utterly crisp. Deft Choreography by Michael Callahan ranges from graceful to rollicking.


The Company

The city is made up of group of miniature (about 5’), two dimensional buildings on which photography of actual structures has been printed. These are supplemented by tall, portable street signs so we know where we are. A montage of newspaper clippings from the period covers the floor. If you’re sitting up high enough, perusal is fun. Incidental furniture is well chosen. Love the switchboard. Carl Sprague’s Scenic Design is original and effective. Matthew E. Adelson’s Lighting is playfully colored or dappled in all the right places.

By the look of it, Costume Designer David Murin had a great time dressing the company, not the least because of variety (chorus girls to cops, immigrants to  servicemen) and multiple changes rarely seen on a production of this scale. The stage looks swell.

IMPORTANT NOTE: It’s freezing in this theater. Bring a jacket or sweater.

Photography by Alexander Hill
Opening: Austin Scott Lombardi

Berkshire Theatre Group presents
Book- Jerome Weidman & George Abbott
Music- Jerry Bock
Lyrics- Sheldon Harnick
Directed by Bob Moss
Choreography- Michael Callahan
Music Direction- Evan Zavada
The East 13th Street Theater
136 East 13th Street
Through October 7, 2016