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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.

Leon Rothenberg

Kurt Vonnegut’s God Bless You, Mr. Rosewater

07/30/2016

Before Howard Ashman and Alan Menken hit pay dirt with Little Shop of Horrors, long before they became synonymous with reinvigorating Disney animated movies, 1979’s God Bless You Mr. Rosewater, based on the Kurt Vonnegut book, appeared briefly Off Broadway. Vonnegut’s sharp irreverence, couched first in science fiction, then as fantasy and finally as wry, humanist observation, was almost a rite of passage for a generation of smart young people enmeshed in alternative culture.

The author was older than many admirers, often referring to traumatic World War II experience beyond their ken, but shared with them a social conscience that emerged like a pendulum swinging between cynicism and idealism. This volume in particular might have been written by Bernie Sanders supporters.

Santino Fontana (Eliot)and the office staff

In the first minutes of the production, Eliot Rosewater (Santino Fontana) enters with a pratfall and haplessly donates $50,000 of his family’s foundation to a poet seeking immeasurably less.“Go and tell the truth,” he instructs the nonplussed writer. He’s devoted and he’s loaded/So we haven’t a complaint…sings his staff.

The Rosewater Foundation, created by Eliot’s U.S. Senator father (Clark Johnson) to help descendants avoid paying taxes on the estate, is based in New York City, not Rosewater, Indiana where the family manse stands empty. Though it’s “handled” by a large legal firm, Eliot has inherited control. He wears the crown uncomfortably and is often drunk. Obsessions include Volunteer Fire Departments (we learn why later) and a science fiction novelist named Kilgore Trout who is quoted and later appears as the voice of “real” sanity. (James Earl Jones). A psychiatrist deems Eliot incurable for reasons of not gratefully toeing the gilded line.

Despite, or perhaps because of, advantages, the young man couldn’t be more of the people. As written and expertly acted, Eliot seems like sweet, slightly obtuse Charlie Brown with an adult conscience. Equally uneasy in the upper echelon lifestyle curetted by loving wife Sylvia (Brynn O’Malley), frustration builds until our hero decides he must go in search of his destiny and disappears. Letters arrive from Hamlet to Ophelia, the escapee’s perception of himself and Sylvia. The other is Volunteer Fire Departments. We learn about this fixation later.

Encores! Off-Center Kurt Vonnegut’s God Bless You, Mr. Rosewater

Skylar Astin (Norman Mushari)

Meanwhile, Norman Mushari (Skylar Astin), a young lawyer at the firm, learns of a codicil in the Rosewater Foundation set-up that states Eliot can be replaced by another family member if he’s proved mentally unstable. The ambitious associate recalls what his professors told him about getting ahead in law. “… just as a good airplane pilot should always be looking for places to land, so should a lawyer be looking for situations where large amounts of money were about to change hands.” One practically sees Eureka! flash over his head.

Leap-frogging Volunteer Fire Departments across the country (including a delightfully staged musical number), Eliot also has a eureka moment and returns to his depressed hometown. He opens the house, sets up an office, and becomes Rosewater’s defacto therapist and philanthropist (black telephone), as well as a member of the Volunteer Fire Department (red telephone.)

Encores! Off-Center Kurt Vonnegut’s God Bless You, Mr. Rosewater

Brynn O’Malley (Sylvia) and the townspeople

We meet and compassionately hear from raggle-taggle citizens who grow to think of him as a Saint. Aspiring to be supportive, Sylvia arrives, and tries, how she tries to fit in! Eventually, however, his patrician spouse has a meltdown at a meticulously planned soiree when her guests prefer Cheese Nips to pate and coke to champagne. Brynn O’Malley’s deadpan apoplexy is as convincing as her love for and incomprehension of Eliot.

Encores! Off-Center Kurt Vonnegut’s God Bless You, Mr. Rosewater

Kate Wetherhead (Caroline Rosewater), Kevin Del Aguila (Fred Rosewater)

While Eliot is altruistically fulfilling himself, Norman has found Fred (Kevin Del Aguila) and Caroline (Kate Wetherhead) Rosewater, in, wait for it, Pisquontuit, Rhode Island. The couple are bickering malcontents not adverse to swindling rich relatives. Both actors are marvelous in the deftly staged “Rhode Island Tango” and apple-pie-corny “Plain Clean Average Americans.” It appears to be a slam dunk, but of course, is not.

Narrative displays several signature Vonnegut themes, the familiar device of God-like narration (James Earl Jones), and characters found in other books by the author. Lack of this awareness in no way impedes enjoyment. There’s also a brief scene from one of Kilgore Trout’s space adventures – a disconnect, but very funny.  Howard Ashman’s book and lyrics are literate, specific, and filled with heart. Alan Menken’s music is, well, fine. This was their first collaboration.

Encores! Off-Center Kurt Vonnegut’s God Bless You, Mr. Rosewater

Santino Fontana, James Earl Jones (Kilgore Trout) and company members

Santino Fontana’s embodiment of Eliot is consistently engaging and sympathetic. Really, one wants to take him home to mom. The actor is completely natural and has an appealing voice.

Skylar Ashton (Norman Mushari), who looks too much like Fontana, is a solid player but could have more fun with numbers like “Mushari’s Waltz” in which his ballet seems restrained.

James Earl Jones literally lends resonance to the piece. His Kilgore Trout is a credible curmudgeon.

Of the townsfolk, Rebecca Naomi Jones (Mary Moody), Liz McCartney  (Diana Moon Glampers), and Kevin Ligon (Selbert Peach) shine.

Director Michael Mayer uses Donayle Werle’s simply structured Set with skill and aesthetic variety. A fire pole and hose are used to great effect. Small stage business adds immeasurably. Heart and humor go hand in hand.

Choreography by Lorin Latarro is beguiling. Leon Rothenberg’s Sound Design couldn’t be crisper or better balanced.

Another terrific production by Encores.

Photos by Joan Marcus
Opening: The Company

New York City Center Encores! Off-Center presents
Kurt Vonnegut’s God Bless You, Mr. Rosewater
Book & Lyrics-Howard Ashman
Additional Lyrics Dennis Green
Music-Alan Menken
Directed by Michael Mayer
City Center
131 West 55th Street

Runaways – Vibrant !

07/11/2016

Just ran away. I had to run away./My parents can hear, but I can’t,/and they blame me for that…(signed by a deaf actor )

Author Elizabeth Swados was in her mid twenties when, following on the heels of Hair and A Chorus Line, Runaways moved from The Public Theater to Broadway. Hair is affectionately (?) ridiculed in the piece as symptomatic of self indulgent baby boomers. Like A Chorus Line, Runaways was midwifed out of extensive confessional interviews – in this case, with homeless kids. It was an era of wildly innovative, experimental theater.               Kylie McNeill Runaways Encores! New York City Center Cast & Credits Book, Lyrics, and Music by Elizabeth Swados Choreography by Ani Taj Music Director Chris Fenwick Directed by Sam Pinkleton Starring Frenie Acoba, Sumaya Bouhbal, Kenneth Cabral, Maxwell Cabral, Taylor Caldwell, Sophia Anne Caruso, Xavier Casimir, Joshua DeJesus, Adleesa Edwards, Aidan Gemme, Reyna Guerra, Matthew Gumley, Christina Jimenez, Kylie McNeill, Cele Pahucki, Sam Poon, Siena Rafter, Claudia Ramirez, Ren, MJ Rodriguez, Deandre Sevon, Jeremy Shinder, Ripley Sobo, Chris Sumpter, and Maxwell Vice

Kylie McNeill

Eeny Meeny Gipsaleeny/Ooh Aah Combaleeny/Ooh, Mamacha cucaracha/COD… From up aisles and out of the wings, 25 young actors between the ages of 12 and 19 commandeer the stage as if they were squatters gathering, not unsuspiciously, for group warmth. Some performers carry books, those who do remain fluent. Most, wisely, look their ages. All but two sing up a storm and everyone moves well. Choreography by Ani Taj is vigorous and cool.

This is very serious/It looks like this child has been severely beaten/We’ll have to perform an appendectomy…is sung to a troll doll with neon pink hair. We meet abused children, junkies, prostitutes, and grifters. Everyone has a personal story, yet characters are unidentified and without through line. Nor is there resolution or a happy ending. Instead of distancing the audience, this rivets us to collective emotion.

Runaways Encores! New York City Center

Cele Pahucki

Salsa, reggae, pop-rock tunes, chanting, and accompanied monologues fill the theater without hurting one’s ears. This is some of the best Sound Design ever – resonant, yet pristine and beautifully balanced (Leon Rothenberg). Chris Fenwick’s Music Direction is top notch. Arrangements are multi-layered and appealing. There is, however, and this is my single objection – untranslated Spanish.

I am the undiscovered son of Judy Garland/And I can dance and sing and wear fancy clothes./And whereas my sister Liza has to really work for applause/All you  have to do is look at me/And you weep with standing ovations… comes from a powerful number about search for identity. No one treats me like Mico do./He buys me halter tops and Corkies/And he got me a water bed up on our flat/On Avenue C between Fifth and Sixth… is the song of a 13 year-old streetwalker.

Runaways Encores! New York City Center

Kenneth Cabral

There are unheard messages for parents and authorities, tips on scoring necessities …enterprise, you got to enterprise…warnings, dreams, prayers, and descriptions of enraged violence. The limbo of adolescence is difficult enough without what these kids face at home and now must cope with on the street, yet, this is not a depressing show and I’m damned if I know why. The kids are fierce even when pleading to be allowed to experience childhood. Are we under the illusion they’ll get through?

Donayale Werle’s terrific Set is raw stage filled with theatrical equipment, the excellent band, a bunch of worse-for-wear couches, and an upturned mattress. It shouts irreverence. Microphones are on stands and handheld as if we were watching the show in 1978. Mark Barton’s fine Lighting Design emerges crisply up front and variegated shadow in the back. Costumes (Clint Ramos) are a riot of color (as is hair) mixing then and now with aesthetic appeal and mash-up sensibility.

Runaways Encores! New York City Center

The Company

Elizabeth Swados, who died this year, pushed envelopes of all kinds. Her body of work is as impressive as it is illuminating. In an effort to be as specific as possible, she reached the universal. Next to nothing about this piece feels dated.

Director Sam Pinkleton manages a stage swarming with actors who sit, stand, lie, dance, sing, fight and sign in small groups well as company numbers without, miraculously, ever getting messy. Relationships are pointedly fleeting. Use of street garbage=cardboard, as a graffiti wall and projection screen is organic and imaginative. Aisles and balconies are effectively employed. The wonderful cast is almost all without stage-kid consciousness. Dramatization is dynamic and credible. We’ll undoubtedly see many of these young people again and again in years to come.

Every now and then a choice gets made,/And some debt in your heart won’t be paid./Who gets left behind no one knows./Don’t always condemn/ The one who goes…

Photos by Joan Marcus
Opening: The Company

New York City Center Encores! Off-Center presents
Runaways
Book, Lyrics,  and Music by Elizabeth Swados
Directed by Sam Pinkelton
City Center
131 West 55th Street

Coming Up:
Off-Centers Jamboree with Sutton Foster and Jonathan Groff  – July 16, 2016
Kurt Vonnegut’s Gods Bless You, Mr. Rosewater July 27-30, 2016