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Lorenz Hart

An (almost) ALL MALE Production of The Boys From Syracuse — Rollicking!

02/17/2018

From the moment one enters the intimate Lion Theatre and sees Joshua Warner’s irreverent Set: the giant, clip art, bulb-lit arrow and graphic pointing hand, a broken arc of stage bulbs, black and white cardboard cut-outs signifying Grecian columns and familiar blue and white Greek coffee shop signage, we know this is no traditional production of The Boys From Syracuse.

Director Jonathan Cerullo’s limber imagination shapes the tuneful 1938 show into a vaudeville meets musical romp cast entirely – but for one-of men!  Just as during the Depression, we need what producer Mel Miller calls “a knock-about comedy.” With songs like “Falling In Love With Love,” “This Can’t Be Love,” and “Sing For Your Supper,” to carry one along, the experience is thoroughly enjoyable.

Matt Dengler and Ian Fairlee (Ephesus)

Successfully executing this kind of daft, precision humor in a matter of a mere three weeks is something of a marvel. Ethan Steimel’s scrupulous Lighting Design aides and abets freeze-frames and a waka-waka Harpo horn which punctuates ba-dump-dump moments – not one held too long. The small stage is artfully occupied from the band on a balcony, up and down various ladders, and onto the theater floor by a predominantly talented and entirely game company. Let the shindig begin!

The story, as you may recall, involves two sets of twins separated during a shipwreck seven years ago and mishaps that occur when they all unknowingly find themselves in the city of Ephesus. At the top of the show, the local Duke (Shavey Brown) condemns Aegeon (Jody Cook) to death for being a citizen of Syracuse unable to pay a tithe. Aegeon is father to one set of twins (the other set is their servants). He’s searching for his sons.

Matthew Fairlee and Josh Walden (Syracuse)

Twin Antipholus of Ephesus (Matt Dengler) long ago gave his parents up for dead. He and servant Dromio of Ephesus (Ian Fairlee) live well. The master has a loving wife – Adriana (Jonathan Hoover), and willing mistress, head courtesan of a neighboring brothel (Sam Given). Dromio is married to kitchen maid Luce (Adam B. Shapiro – an inspired piece of physical casting albeit with apparent talent quotient.) Also in their household is Adriana’s sister Luciana (Darrell Marris Jr.).

When Antipholus of Syracuse (Josh Walden) and his servant Dromio-of Syracuse (Matthew Fairlee – yes, the actor servants are real twins) arrive in town, the two are immediately mistaken for their doppelgangers by a tailor, a merchant, the head courtesan (Sam Given), local constabulary, and Antipholus of Ephesus’s household. The hapless Syracusians are even pressed into spending a night with their brothers’ spouses. Realizing it’s unsafe to remain, the visitors plan to return home when Antipholus of Syracuse falls in love with Luciana. Got all that? Believe me, it’s clear as you’re watching.

Matt Dengler, Jose Luaces, Shavey Brown holding Ian Fairlee

Both Antipholuses – Matt Dengler (Ephesus) and Josh Walden (Syracuse) are triple threats. They act, sing, and dance well. Both are adroit with comic timing. Whether planned or not Dengler’s more naturalistic acting beside Walden’s somewhat more broad, music hall delivery works wonderfully further distinguishing the two. (Walden could easily play Jolson.) Thespians worth following.

The Dromios, Ian Fairlee (Ephesus) and his brother Matthew Fairlee (Syracuse) are funny, credibly innocent, and physically adept.

Adam B. Shapiro is marvelous as Luce. The performer stakes claim to the stage without going over a prescribed top (mugging is skilled). A big man, he’s light on his feet, deft with a look, playful; in context – believable. And he sings!

Sam Given

Jonathan Hoover makes the most of Adriana with female bearing, movement, and reactions that serve the production admirably. Darrell Marris Jr.’s Luciana is palpably wide-eyed, soft, and besotted. Sam Given’s sinuous Courtesan is aptly sassy but pushes it to abrasive.

Creative Directorial moments include in part: the tale of the shipwreck told in puppet cut-outs, shadowplay, searching the audience for “an honest man,” an unexpected, hat and cane soft shoe, spoken sound effects, clever acknowledgement of lyrics ahead of their time, tongue-in-cheek, synchronized movement, well engineered fisticuffs… Jonathan Cerullo keeps his cast taut and quick, almost none of them self conscious about farce. Staging is aesthetically appealing and fluid, choreography fun; vivacious high spirits sustained.

A scene where courtesans show their “wares” seems less well thought out and the third reprise of a wonderful, harmonized rendition of “Sing For Your Supper” might ditch its blazers and fedoras.

Adam B. Shapiro, Darrell Marris Jr., Jonathan Hoover

Hope Salvan’s Costumes intentionally have that rummaged from trunks in an attic aspect. Antipholuses and Dromios look swell. Luce resembles a splendid, lavender-wigged Raggedy Anne. I can’t say I understand sporting jeans underneath dresses and courtesan drapery. Use footless leggings if you need cover. Being tentative with sexual designation works against the preposterous credence of the production.

Also featuring: Joseph Scott Holt, Jose Luaces, Elliott Mattox.
The production’s token and completely extraneous female, actress Madeline Hamlet, wears a “The Future Is Female” t-shirt and mostly speaks in irritating squeaks. I would encourage the role dropped in any revivals.

The Band: Cupid & The Arrows– Evan Rees—Conductor/keyboard, Michael Bagby-second keyboard, Matt Watson-drums/percussion, Joseph Scott Holt- cello/violin/percussion

This is Musicals Tonight’s 98th revival of an American musical. It deserves our support.

Photos by Milliron Studios Photography
Opening: The Company

Musicals Tonight! presents
An (almost) ALL MALE production of
The Boys From Syracuse
Adapted from Shakespeare’s The Comedy of Errors
Libretto- George Abbot
Music- Richard Rodgers; Lyrics- Lorenz Hart
Directed by Jonathan Cerullo
Music Director/Conductor- Evan Rees
The Lion Theatre
410 West 42nd Street
Through February 26, 2018
NEXT: Anything Goes- February 27-March 11, 2018

Listen to Alix Cohen talk about reviewing theater on WAT-CAST.

I Have Confidence: Rodgers After Hammerstein – Eloquent and Entertaining

05/24/2016

92Y’s estimable Lyrics & Lyricists series ended its current season with a bang as the excellent Ted Chapin, President & Chief Creative Officer of Rodgers & Hammerstein, presented an evening illuminating Richard Rodgers and his work after the death of iconic collaborator Oscar Hammerstein II.

Not just a celebration, the show gave us a glimpse into the artist’s behavior, philosophy and process. This was imaginatively accomplished with a combination of excerpts from filmed interviews with the composer, his family, and associates, narrative by our knowledgeable host, and actor Larry Pine playing the honoree, utilizing Rodger’s own words. Chapin’s light touch and selectivity are always a pleasure. Pine is terrific, not just reading, but embodying the celebrant. Pleasing arrangements by Joseph Thalken, Charming Stage Direction/Choreography by Lorin Latarro, and evocative Projections by Matthew Haber, create a well crafted show.

Jeremy Clayton, woodwinds Cenovia Cummins, violin Kevin Kuhn, guitar Pete Donovan, bass Warren Odze, drums

Larry Pine as Richard Rodgers

“There is no valid reason for hiding honest emotion.” Richard Rodgers

Chapin divides Richard Rodgers life into three chapters: collaboration with Lorenz Hart in the 1920s and 1930s, collaboration with Oscar Hammerstein II through World War II, and a robust afterward reflected in tonight’s show. “If I am successful,” Pine declares as Rodgers, “I know full well it’s because some of the talents of Oscar and Larry (Hart) have rubbed off on me.”

Rodgers lyric writing began with the updated 1962 remake of the film State Fair starring Ann Margaret, Pat Boone and Bobby Darren- not exactly performers to whom one might turn for a Rodgers and Hammerstein interpretation, and continued in tandem with composing through his last musical, 1979’s I Remember Mama.

We hear songs from and stories about No Strings, the film of The Sound of Music ,  Do I Hear a Waltz? (lyrics-Stephen Sondheim), Androcles and the Lion, Two by Two (lyrics Martin Charnin),  Rex (lyrics Sheldon Harnick) and I Remember Mama (lyrics Martin Charnin) as performed by four talented vocalists, each of whom had best moments.

Jeremy Clayton, woodwinds Cenovia Cummins, violin Kevin Kuhn, guitar Pete Donovan, bass Warren Odze, drums

Karen Ziemba

Karen Ziemba, too long away from the Broadway stage, captivated with a rendition of “Loads of Love” (No Strings) which offered characterization, grace and infectious brightness. Every major theater turned the show down because it crossed a color line with its interracial relationship. It landed on 54th Street.

“I know I give the appearance of not being sentimental, but this isn’t true. I believe people have an emotional need for melody just as they need food.” Richard Rodgers

Subdued until her performance of “Someone Woke Up,” Leona’s joyful discovery of Venice from Do I Hear a Waltz?, Betsy Wolfe irresistibly tries to take in everything at once. A perfect ingenue, she moves with ease and innocence. Contralto is confident and appealing, soaring without stress. Rodgers felt that trying to emulate the sound of a place or culture was a mistake and stuck to his own musical ideas wherever and whenever a musical was located.

duo

Betsy Wolfe; Ben Crawford

A buoyant “What Do We Do? We Fly!” from the same show is performed by the company. Ostensibly crammed into tiered airline seats, they gesture and complain with graphic frustration.

Ben Crawford’s vocals, though technically lovely, seem self conscious until he inhabits Noah in “Ninety Again” from Two by Two. Singing to and flirting with his astonished wife, Esther, cavorting all over the stage like a gleeful 17 year-old, ending with a buck-and-wing and push-ups, Crawford’s throat opens to reveal resonance and sincerity. The Broadway show’s esteemed star, Danny Kaye, tore a ligament, returned in a wheelchair, and became ungovernable, ad-libbing and pinching the ladies.

The song is followed by “An Old Man” performed by Ziemba as Esther. The hug that he gives you is hardly a hug…Accompanied only by piano, the actress brims with weathered affection. It’s truly touching.

ted

Ted Chapin

Chapin tells us a sweet story shared by lyricist Sheldon Harnick who was nervous working with the forbidding Rodgers at a time in his life when the composer needed lyric structure on which to build. Harnick was fearful of being graded and found wanting, yet Rodgers appeared visibly relieved when his new collaborator expressed enthusiasm at the setting of an early tune.

Crawford and Wolfe offer “Away From You” (Rex), a song played for Andrew Lloyd Weber by his father who considered it one of the best melodies of the 20th century. (Rodgers was Lloyd Weber’s idol.) Both performers are engaging, strings add winning texture.

Jeremy Clayton, woodwinds Cenovia Cummins, violin Kevin Kuhn, guitar Pete Donovan, bass Warren Odze, drums

T.Oliver Reid

“Strangers” (Androcles and the Lion) is begun by T. Oliver Reid whose gentle, cottony delivery floats the lyrics. He and Betsy Wolfe, who joins the expressive duet, aptly end up back to back on a stool. Reid’s vibrato-filled “I Do Not Know a Day I Didn’t Love You” (Two by Two) sounds like operetta. His precise tenor seems swept away by emotion.

We close with the company’s “Sing Me a Song” (Rex), a waltz by an artist one can arguably call America’s waltz king. It’s an oom-pah-pah arrangement, at one point even vocally simulating a calliope. Everyone’s smiling.

Richard Rodgers was by all reports an outwardly  gruff man- something writer Sherman Yellen recognized as symptomatic of his generation, and an alcoholic, yet wrote some of the most timeless, romantic melodies in the annals of American music (not to mention unexpected lyrics.) His work is immortal. Ted Chapin has more than done Rodgers justice with this eloquent evening.

paris

Joseph Thalken (piano), Karen Ziemba, T.Oliver Reid, Ben Crawford, Betsy Wolfe

Theater novices are often teased by veterans into looking for the key to the curtain. “I’ve been in the theater more than half a century…all my life I’ve been looking for that key and I’m still looking.” Richard Rodgers

Photos by Richard Termine
Opening: Joseph Thalken (piano), Ben Crawford, Betsy Wolfe, T.Oliver Reid, Karen Ziemba

92Y Lyrics & Lyricists presents
I Have Confidence: Rodgers After Hammerstein
Ted Chapin-Artistic Director/Writer/Host
Joseph Thalken-Music Director/Arrangements/ Orchestrations
Based on a concept by Bill Rudman of “On the Aisle”
92Y at Lexington Avenue and 92nd Street
Next Season’s Lyrics & Lyricists begins with Get Happy: Harold Arlen’s Early Years
January 2017