Thursday, April 26, 2018


Our nominations for the 63rd Annual Drama Desk Awards were announced this morning over breakfast at Feinstein's/54 Below by Jane Krakowski (She Loves Me, Nine, "Unbreakable Kimmy Schmidt") and Tituss Burgess (The Little Mermaid, Guys and Dolls, "Unbreakable Kimmy Schmidt").

The Drama Desk nominees will receive their official nomination certificates at the nominees' reception on May 9 at Friedmans (228 W. 47th Street - inside The Hotel Edison).

The 63rd Annual Drama Desk Awards, hosted by Michael Urie, will take place on Sunday, June 3 at 8 p.m. at The Town Hall.

Drama Desk was founded in 1949 to explore key issues in the theater and to bring together critics and writers in an organization to support the ongoing development of theater in New York. The organization began presenting its awards in 1955, and it is the only critics' organization to honor achievement in the theater with competition among Broadway, Off Broadway and Off-Off Broadway productions in the same categories.

2018 Drama Desk Award Nominations

Outstanding Play

Admissions, by Joshua Harmon, Lincoln Center Theater

Mary Jane, by Amy Herzog, New York Theatre Workshop

Miles for Mary, by The Mad Ones, Playwrights Horizons

People, Places & Things, by Duncan Macmillan, National Theatre/St. Ann's Warehouse/Bryan Singer Productions/Headlong

School Girls; Or, The African Mean Girls Play, by Jocelyn Bioh, MCC Theater

Outstanding Musical

Desperate Measures, The York Theatre Company

KPOP, Ars Nova/Ma-Yi Theatre Company/Woodshed Collective

Mean Girls

Old Stock: A Refugee Love Story, 2b Theatre Company/59E59

SpongeBob SquarePants

Outstanding Revival of a Play

Angels in America

Hindle Wakes, Mint Theater Company

In the Blood, Signature Theatre Company

Three Tall Women

Travesties, Menier Chocolate Factory/Roundabout Theatre Company

Outstanding Revival of a Musical

Amerike-The Golden Land, National Yiddish Theatre Folksbiene


My Fair Lady, Lincoln Center Theater

Once on This Island

Pacific Overtures, Classic Stage Company

Outstanding Actor in a Play

Johnny Flynn, Hangmen, Royal Court Theatre/Atlantic Theater Company

Andrew Garfield, Angels in America

Tom Hollander, Travesties, Menier Chocolate Factory/Roundabout Theatre Company

James McArdle, Angels in America

Paul Sparks, At Home at the Zoo, Signature Theatre Company

Outstanding Actress in a Play

Carrie Coon, Mary Jane, New York Theatre Workshop

Denise Gough, People, Places & Things, National Theatre/St. Ann's Warehouse/Bryan Singer Productions/Headlong

Glenda Jackson, Three Tall Women

Laurie Metcalf, Three Tall Women

Billie Piper, Yerma, Young Vic/Park Avenue Armory

Outstanding Actor in a Musical

Jelani Alladin, Frozen

Harry Hadden-Paton, My Fair Lady

Joshua Henry, Carousel

Evan Ruggiero, Bastard Jones, the cell

Ethan Slater, SpongeBob SquarePants

Outstanding Actress in a Musical

Gizel Jiménez, Miss You Like Hell, The Public Theater

LaChanze, Summer

Jessie Mueller, Carousel

Ashley Park, KPOP, Ars Nova/Ma-Yi Theater Company/Woodshed Collective

Daphne Rubin-Vega, Miss You Like Hell, The Public Theater

Outstanding Featured Actor in a Play

Anthony Boyle, Harry Potter and the Cursed Child

Ben Edelman, Admissions, Lincoln Center Theater

Brian Tyree Henry, Lobby Hero, Second Stage

Nathan Lane, Angels in America

David Morse, The Iceman Cometh

Gregg Mozgala, Cost of Living, Manhattan Theatre Club

Outstanding Featured Actress in a Play

Jocelyn Bioh, In the Blood, Signature Theatre

Jamie Brewer, Amy and the Orphans, Roundabout Underground

Barbara Marten, People, Places & Things, National Theatre/St. Ann's Warehouse/Bryan Singer Productions/Headlong

Deirdre O'Connell, Fulfillment Center, Manhattan Theatre Club

Constance Shulman, Bobbie Clearly, Roundabout Underground

Outstanding Featured Actor in a Musical

Damon Daunno, The Lucky Ones, Ars Nova

Alexander Gemignani, Carousel

Grey Henson, Mean Girls

Gavin Lee, SpongeBob SquarePants

Tony Yazbeck, Prince of Broadway, Manhattan Theatre Club

Outstanding Featured Actress in a Musical

Lindsay Mendez, Carousel

Kenita R. Miller, Once on This Island

Ashley Park, Mean Girls

Diana Rigg, My Fair Lady

Kate Rockwell, Mean Girls

Outstanding Director of a Play

Marianne Elliott, Angels in America

Jeremy Herrin, People, Places & Things, National Theatre/St. Ann's Warehouse/Bryan Singer Productions/Headlong

Joe Mantello, Three Tall Women

Lila Neugebauer, Miles for Mary, Playwrights Horizons

Simon Stone, Yerma, Young Vic/Park Avenue Armory

John Tiffany, Harry Potter and the Cursed Child

Outstanding Director of a Musical

Christian Barry, Old Stock: A Refugee Love Story, 2b Theatre Company/59E59

Teddy Bergman, KPOP, Ars Nova/Ma-Yi Theater Company/Woodshed Collective

Jack O'Brien, Carousel

Tina Landau, SpongeBob SquarePants

Bartlett Sher, My Fair Lady

The LaDuca Award for Outstanding Choreography

Camille A. Brown, Once on This Island

Christopher Gattelli, SpongeBob SquarePants

Casey Nicholaw, Mean Girls

Justin Peck, Carousel

Nejla Yatkin, The Boy Who Danced on Air, Abingdon Theatre Company

Outstanding Music

The Bengsons, The Lucky Ones, Ars Nova/Piece by Piece Productions/Z Space

Ben Caplan, Christian Barry, Old Stock: A Refugee Love Story, 2b Theatre Company/59E59

David Friedman, Desperate Measures, The York Theatre Company

Erin McKeown, Miss You Like Hell, The Public Theater

Helen Park, Max Vernon, KPOP, Ars Nova/Ma-Yi Theater Company/Woodshed Collective

Outstanding Lyrics

Nell Benjamin, Mean Girls

Quiara Alegría Hudes/Erin McKeown, Miss You Like Hell, Public Theatre

Peter Kellogg, Desperate Measures, The York Theatre Company

Helen Park, Max Vernon, KPOP, Ars Nova/Ma-Yi Theater Company/Woodshed Collective

Outstanding Book of a Musical

Tina Fey, Mean Girls

Kyle Jarrow, SpongeBob Squarepants

Peter Kellogg, Desperate Measures, York Theatre Company

Hannah Moscovitch, Old Stock: A Refugee Love Story, 2B Theatre/59E59

Outstanding Orchestrations

Tom Kitt, SpongeBob SquarePants

Annmarie Milazzo and Michael Starobin (John Bertles and Bash the Trash, found instrument design) Once on This Island

Charlie Rosen, Erin McKeown, Miss You Like Hell, Public Theater

Jonathan Tunick, Pacific Overtures, Classic Stage Company

Jonathan Tunick, Carousel

Outstanding Music in a Play

Imogen Heap, Harry Potter and the Cursed Child

Justin Hicks, Mlima's Tale, Public Theatre

Amatus Karim-Ali, The Homecoming Queen, Atlantic Theater Company

Justin Levine, A Midsummer Night's Dream, The Public Theater

Adrian Sutton, Angels in America

The Hudson Scenic Studio Award for Outstanding Set Design of a Play

Miriam Buether, Three Tall Women

Bunny Christie, People, Places & Things, St. Ann's Warehouse/National Theatre/Bryan Singer Productions/Headlong

Lizzie Clachan, Yerma, Young Vic/Park Avenue Armory

Maruti Evans, Kill Move Paradise, National Black Theatre

Louisa Thompson, In the Blood, Signature Theatre

Outstanding Set Design for a Musical

Louisa Adamson, Christian Barry, Old Stock: A Refugee Love Story, 2b Theatre Company/59E59

Beowulf Boritt, Prince of Broadway, Manhattan Theatre Club

Dane Laffrey, Once on This Island

Santo Loquasto, Carousel

David Zinn, SpongeBob SquarePants

Outstanding Costume Design for a Play

Dede M. Ayite, School Girls; Or, The African Mean Girls Play, MCC Theater

Jonathan Fensom, Farinelli and the King

Katrina Lindsay, Harry Potter and the Cursed Child

Ann Roth, Three Tall Women

Emilio Sosa, Venus, Signature Theatre

Outstanding Costume Design for a Musical

Gregg Barnes, Mean Girls

Clint Ramos, Once on This Island

David Zinn, SpongeBob SquarePants

Catherine Zuber, My Fair Lady, Lincoln Center Theater

Dede M. Ayite, Bella: An American Tall Tale, Playwrights Horizons

Outstanding Lighting Design for a Play

Neil Austin, Harry Potter and the Cursed Child

Natasha Chivers, 1984

Alan C. Edwards, Kill Move Paradise, National Black Theatre

Paul Gallo, Three Tall Women

Paul Russell, Farinelli and the King

Outstanding Lighting Design for a Musical

Louisa Adamson, Christian Barry, Old Stock: A Refugee Love Story, 2B Theatre Company/59E59

Amith Chandrashaker, The Lucky Ones

Jules Fisher, Peggy Eisenhauer, Once on This Island

Brian MacDevitt, Carousel

Jeanette Oi-Suk Yew, KPOP, Ars Nova, Ma-Yi Theater Company, Woodshed Collective

Outstanding Projection Design

David Bengali, Van Gogh's Ear, Ensemble for the Romantic Century

Andrezj Goulding, People, Places & Things, National Theatre/St. Ann's Warehouse/Bryan Singer Productions/Headlong

Peter Nigrini, SpongeBob SquarePants

Finn Ross and Adam Young, Mean Girls

Finn Ross and Ash J. Woodward, Harry Potter and the Cursed Child

Outstanding Sound Design in a Play

Brendan Aanes, Balls, One Year Lease Theater Company/Stages Repertory Theatre/59E59

Gareth Fry, Harry Potter and the Cursed Child

Tom Gibbons, 1984

Tom Gibbons, People, Places & Things, National Theatre/St. Ann's Warehouse/Bryan Singer Productions/Headlong

Stefan Gregory, Yerma, Young Vic/Park Avenue Armory

Palmer Hefferan, Today is My Birthday, Page 73 Productions

Outstanding Sound Design in a Musical

Kai Harada, The Band's Visit

Scott Lehrer, Carousel

Will Pickens, KPOP, Ars Nova, Ma-Yi Theatre Company, Woodshed Collective

Dan Moses Schreier, Pacific Overtures, Classic Stage Company

Outstanding Wig and Hair

Carole Hancock, Harry Potter and the Cursed Child

Campbell Young Associates, Farinelli and the King

Cookie Jordan, School Girls;, or The African Mean Girls Play, MCC Theater

Charles G. LaPointe, SpongeBob SquarePants

Josh Marquette, Mean Girls

Outstanding Solo Performance

Billy Crudup, Harry Clarke, Vineyard Theatre

David Greenspan, Strange Interlude, Transport Group

Jon Levin, A Hunger Artist, The Tank/Flint & Tinder

Lesli Margherita, Who's Holiday!

Sophie Melville, Iphigenia in Splott, Sherman Theatre, Cardiff/59E59

The Chase Award for Unique Theatrical Experience

Derren Brown: Secret, Atlantic Theater Company

Master, Foundry Theatre

Say Something Bunny!

Outstanding Fight Choreography

J. David Brimmer, Is God Is, Soho Rep

Steve Rankin, Carousel

Unkle Dave's Fight House, Oedipus El Rey, The Public Theater/The Sol Project

Outstanding Puppet Design

Finn Caldwell, Nick Barnes, Angels in America

Michael Curry, Frozen

Charlie Kanev, Sarah Nolan, and Jonathan Levin, A Hunger Artist, The Tank/Flint & Tinder

Vandy Wood, The Artificial Jungle, Theatre Breaking Through Barriers


To Sean Carvajal and Edi Gathegi of Jesus Hopped the A Train ­­whose last-minute entrances into the Signature production of this powerful play ensured it had a happy real-life ending

Ensemble Award: To Nabiyah Be, MaameYaa Boafo, Paige Gilbert, Zainab Jah, Nike Kadri, Abena Mensah-Bonsu, Mirirai Sithole, and Myra Lucretia Taylor of School Girls; Or, the African Mean Girls Play, whose characters learn the facts of life but whose portrayers taught us all a thing or two about the way things are.

Sam Norkin Award: To Juan Castano, whose varied performances this season in Oedipus El Rey, A Parallelogram, and Transfers not only make a complex statement about American life but also indicate great things to come for this talented performer.


Carousel -- 12

SpongeBob SquarePants -- 11

Mean Girls -- 10

Harry Potter and the Cursed Child -- 8

Angels in America -- 7

KPOP -- 7

Once on This Island -- 7

People, Places & Things -- 7

Three Tall Women -- 7

Old Stock: A Refugee Love Story -- 6

Miss You Like Hell -- 5

My Fair Lady -- 5

Desperate Measures - 4

Yerma -- 4

Farinelli and the King -- 3

In the Blood -- 3

The Lucky Ones - 3

Pacific Overtures -- 3

School Girls; Or, The African Mean Girls Play -- 3

1984 -- 2

Admissions -- 2

Frozen -- 2

A Hunger Artist -- 2

Kill Move Paradise -- 2

Mary Jane -- 2

Miles for Mary - 2

Prince of Broadway -- 2

'Feeding the Dragon' -- a season highlight

    I was transported to a world of childhood innocence and awakening in early 1970s New York in Sharon Washington's funny and moving one-woman autobiographical play, Feeding the Dragon, a Primary Stages production at the Cherry Lane Theatre through tomorrow.

     Actress and writer Washington is a gifted purveyor of the special story she has to share, that a child growing up with her parents, maternal Gramma Ma and dog, Brownie, in a three-bedroom apartment on top of the St. Agnes branch of the New York Public Library on the Upper West Side from 1969 to 1973. “A typical American family.  Living in a not-so-typical place,” as she says. 

     Before furnaces were regulated automatically, a caretaker had to shovel coal into them 24/7 to keep the heat and hot water going.  Washington's father was that man in the library at 444 Amsterdam Avenue.

     "It was like a fairy tale of the little girl who lived in the library," Washington begins.  "Once upon a time . . ."

     For the next 90 minutes I lived that world through the child's eyes as well as through the adult's interpretation.  Under Maria Mileaf’s direction, Washington unfolds her story lovingly, even as she relates the “flip side" of her fairy tale, the discovery that her father is an alcoholic who falls off the wagon one day after becoming weary of the demands of his job.

     Until that day her world has indeed seemed like a fairy tale.  When the library closed for the day, and on Sunday, the three floors below her apartment were hers to explore.  She read voraciously and also launched her acting career with the melodramas she and a friend performed.  Washington had me laughing out loud as she throws herself on the floor for an especially dramatic dying scene. 

     That little girl was creative, and she was also smart.  Sharon received a scholarship to the exclusive Dalton School on the Upper East Side, joining a world of white privilege that was new to her.  This gives Washington a chance to comment on black life in New York at the time, with far more fondness than bitterness, especially when talking about her family's heavy involvement with their church. 

     Faith was a guiding star, and Washington portrays this well in the second of two parallel scenes.  The Dragon of the play's title lives in the basement, which is lit with only a single bulb hanging from the ceiling.  The slanted vents in the giant silver furnace look like eyes to the little girl and its big metal grate “could definitely pass for teeth.”

     “I loved watching my Daddy work.  He was like a knight from my Blue Fairy book — St. George and The Dragon. He stood between the terrible beast and me and I wasn’t afraid.”

     Washington mimes her father's motions of digging into the pile of coal, lifting the heavy shovelful and turning to hurl it into the furnace.  She supplies the “CRUNCH . . . SWOOSH” sounds she remembers so well.  It's a sweet scene of a little girl who loves to be with her father.

     The contrasting scene again finds Sharon in the basement for the feeding of The Dragon, but this time she is with her mother who has awaken her and told her to put on her robe and shoes and come to help.  Her father's alcoholism has incapacitated him and the library is cold and needs to build heat before opening.  Her mother summons all her strength and faith for the task.  

     Washington acts out that memory of her mother looking into the darkness of The Dragon’s belly, pressing imaginary bellows in hopes of stirring a spark and beginning her urgent and intensifying recitation of Psalm 91, "He that dwelleth in the secret place of the Most High shall abide under the shadow of the Almighty.”  

     She continues to press the bellows, interspersed with verses of the Psalm.  Finally a spark becomes a tiny flame.  She drags the tall metal shovel to the coal pile and Sharon grabs the handle to help, adding her voice to her mother’s.  “He shall call upon me, and I will answer him.”

     After much work, her prayer is answered as the coals catch fire.  “With long life will I satisfy him, and shew  him my salvation.”  It's a powerful scene, beautifully and tightly enacted.  No props are needed.  I could see it all in my mind.  

     The sense of The Dragon’s flickering resuscitation is enhanced by Ann G. Wrightson’s lighting as she slowly takes the stage from darkness to light. Her lighting allows Tony Ferrieri’s simple single set to transform easily from its cozy library feeling — three book-lined steps, an old oak table, big paned windows and a shiny wooden floor — to the basement and a few other locations of Sharon’s world.  Small stacks of real books allow Washington to read from the authors who were important to her — among them Langston Hughes, Zora Neale Hurston and the Rev. Dr. Martin Luther King Jr. 

     The world of the little girl who lives in the library is so well created that I wish Washington had limited her tale to just that.  The spell was temporarily broken for me when she recounts Sharon’s time with her aunt and uncle in Queens, with whom she spends three weeks following her father’s setback, and later her road trip with her father to visit her paternal relatives in Charleston, SC.  She portrays all the new characters nicely, just as she has her immediate family and neighbors, but that time weakened the focus of the story.

     But it wasn’t enough to spoil the experience for me.  By the time Washington concluded with the words “I am the story” I was teary.

     I saw the matinee on Sunday and the charm of the performance is still with me.  Feeding the Dragon is Washington’s debut as a playwright.  As an actress for three decades she has established herself across mediums, having appeared on Broadway in The Scottsboro Boys, numerous Off-Broadway and regional productions, as well as film and television.  Seeing her in Dragon has been a highlight of my 2017-2018 season. 

(Photo: James Leynse) 

Saturday, April 21, 2018

Carousel -- Dance: 10, Leading Lady and Man . .

     Carousel already has one guaranteed advantage even before any new production is staged — Rodgers and Hammerstein's gorgeous score.  “If I Loved You” and “You’ll Never Walk Alone” are staples in cabaret acts to this day and always will be because of their emotional impact, and the beauty of “The Carousel Waltz” plays in one’s head long after leaving the theatre.

     The power of the dances, well choreographed, also ensures a great theatrical experience.  What has challenged the total effect of this 1945 musical over time, and now more than ever, is the problematic leading characters, carnival barker Billy Bigelow, a loser who beats his wife, and millhand Julie Jordan, the recipient of that abuse who steadfastly defends him and continues to love him.  It also contains one of the most offensive lines in American musical theatre.

     Acceptance of these two characters has always been hard for me, but in director Jack O’Brien’s current revival at the Imperial Theatre, connecting to these weak creatures was impossible because of the performances of the actors who play them, Joshua Henry and Jessie Mueller.  Not only were they unconvincing as a couple, they were unconvincing individually as the characters. 

     In the case of Henry, his performance appeared all head and no heart.  In the Act One closer, “Soliloquy,” when he was singing about becoming a father, I could almost see his thought-process — raise right arm, step left, face forward.  He was so stiff.  If only he had brought to this role the passion he had in The Scottsboro Boys.  

     And if only Mueller had been able to capture Julie the way she did for her Tony-winning role as Carole King in Beautiful.  Instead, she seemed faded, like a minor character.  Lindsay Mendez as her best friend, Carrie Pipperidge, had much more presence, although she’s too silly and insipid in the first act.  This is the second time I’ve been disappointed in Mueller as a leading lady.  I had a similar reaction to her in Waitress

     But this revival still has much to admire.  Justin Peck’s choreography is stunning.  As the Resident Choreographer for the New York City Ballet, he has created more than 300 new works, and the influence of that world blesses what he has created here, starting with the Prelude’s, “The Carousel Waltz.”  Santo Loquasto’s simple scenic design lowers just a carousel top and the dancers perform a ballet at the bottom, swirling around as the orchestra plays.  Brian MacDevitt’s lighting gives an aura of olden times.  It’s a beautiful start, and that grace carries through all of the dance numbers, right down to “Ballet” with Julie and Billy’s 15-year-old daughter, Louise, danced exquisitely by Brittany Pollack, a soloist with the City Ballet.

    The City Ballet is also well represented by Amar Ramasar, a principal member who plays Jigger Craigin.  He didn’t for a minute convince me that he was a murderous thug who would kill for money, but I didn’t need realism.  Watching him dance “Blow High, Blow Low” was enough.

     As for visitors from another world, opera superstar Renee Fleming makes her Broadway musical debut as Nettie Fowler, Julie’s aunt.  She sounded like a veteran of the form, rather than an opera singer on a different stage as she sang “June Is Bustin’ Out All Over” and her show-stopping “You’ll Never Walk Alone,” and joined the company in “A Real Nice Clambake” and Julie in “What’s the Use of Wond’rin’?”

     Fleming appeared in a nonmusical role on Broadway in the 2015 screwball comedy Living on Love where she proved her comic chops.  

     What is missing in this production — thank you, Jack O’Brien — is the cringe-provoking line when Julie declares that if you love someone it doesn’t hurt when he hits you.  The 1994 Lincoln Center revival kept the line.  If you will remember — I do, quite well — that was the year Nicole Brown Simpson was murdered. Newspapers and TV accounts were filled with photos of her bruised face from beatings she had received over the years from her husband, O.J. Simpson, who stood trial for her murder but was acquitted.  I doubt Nicole, or any other battered woman, would have said it didn’t hurt.  That line was like a punch in the face then.  Now, in the midst of the Me Too Movement, it would be even more unacceptable.  

Tuesday, April 17, 2018

Tina Fey's 'Mean Girls' lights up Broadway

     New musicals drawn from prior sources are a staple of Broadway now.  Two of these are represented this season with contrasting results.  

     The jukebox musical features songs from a popular artist or group and builds a story around them.  One of the all-time worst examples of this is Escape to Margaritaville, which offers a lame plot contrived to present Jimmy Buffett songs.  The other unoriginal form of new shows is the film-to-stage musical.  Luckily a winner in that genre opened at the August Wilson Theatre this month with Mean Girls, a splashy evening of fun based on actor/writer Tina Fey’s screenplay for the 2004 film.

     Director and choreographer Casey Nicholaw helms a colorful production in every aspect, from Finn Ross and Adam Young’s video designs that fill nearly every scene with vivid projections, to Scott Pask’s sets, Gregg Barnes’s costumes and Nickolaw’s own lively choreography.  

     The show’s book, by Fey, follows her screenplay, the story of a formerly home-schooled girl who grew up in Kenya with her scientist parents as she now adjusts to a midwestern high school.  Nell Benjamin’s lyrics contribute to the storytelling and Jeff Richmond’s music is exceedingly upbeat, if a bit repetitive.  The songs aren’t memorable enough that I came out singing them, but they engage while they are being presented.

     What worked best for me and made the show a true delight was the fresh cast, all of whom were new to my awareness except for the always delectable Kerry Butler who brings her wacky comic skills to three roles, including the math teacher, Ms. Norbury, played by Fey in the movie.  In what can only be a homage to Fey, Butler looks just like her with her petite frame, brown pixie wig and black nerd/cool glasses.

     Heading the cast is Erika Henningsen who plays Cady Heron with shiny wholesomeness and sparkle.  She looks as if she is having the time of her life as the new girl navigating the treacherous waters of high school.  Actually all the cast members, from the leads to the energetic ensemble, seem to be having a ball.  That spirit pours out into the audience and is infectious.  

     The most dangerous predator in Cady’s new jungle is Regina George, a deliciously vane Queen Bee played by Taylor Louderman who struts her sexy body and glittery clothes through the halls of North Shore High School, her loyal sycophants Gretchen Wieners (Ashley Park) and Karen Smith (Kate Rockwell) trailing behind.  They are known as The Plastics, and they revel in their superficiality.  

     On her first day, Cady is befriended by Janis Sarkisian (Barrett Wilbert Weed) and Damian Hubbard (Grey Henson) who introduce her to the different animals in this kingdom in “Where Do You Belong?  They point out the Geeks the Freaks, math lovers who are to be avoided at all costs, even though Cady is a math genius, the Jocks, the Rich Stoners, the Strivers and Survivors, and on through the chain of high school types up to the pinnacle: 

     “We call them The Plastics/ They’re shiny, fake and hard./They play their little mind games/ all around the school yard.”

     This number, set in the cafeteria, has the ensemble dancing up a storm and beating out rhythms with their bright red lunch trays.  In only the third number, Mean Girls establishes itself as a musical about high schoolers that even adults can enjoy.

     Underneath the happy surface, though, lies the hurt that can result in such clannishness.  Park gives a great comic turn portraying Gretchen’s extreme need to be accepted by Regina, but when she allows her mask to slip, she reveals her insecurity and pain in ”What’s Wrong with Me?”  

     “What’s wrong with me?/ What can I do?/ What’s wrong with me?/ Could it be you?/ It’s prob’ly me/ See that?  You see?/ What’s wrong with me?/ Hmmm.”

     The lure of that hierarchal world also sucks in Cady when she is befriended by The Plastics.  Encouraged by Janis and Damian, she agrees to join their circle as a spy to learn the secrets of the inner ring, but as her popularity rises, with the help of a makeover by Regina, she turns into a mean girl herself.  Then claws come out when Cady falls for Regina’s old boyfriend, Aaron Samuels (Kyle Selig).

     Since it doesn’t take long in a show like this to establish characters and plot, the first act began to drag for me.  It features 11 songs and I started looking forward to intermission. 

     But I was quite willing to return for the second act, which offers no surprises but it doesn’t need to.  You always know where this kind of show is going to end.  The pleasure is in getting there.

Monday, April 9, 2018

Mastering Ministry

    Michael W. DeLashmutt remembers the first time he was to lead evensong as the new vice president and dean of academic affairs at General Seminary.  Anxiety was getting the best of him until one of his colleagues told him not to worry.  If he dropped the liturgical ball, one of them would pick it up for him.

     “That’s what liturgy does for us,” he said. “It catches us when we stumble.”

     That story illustrates two key elements in DeLashmutt’s life, a respect for the tradition of a common liturgy and the power of community to sustain us on the Christian journey.  They are the strength of the Episcopal tradition for him and the foundation of the seminary’s education. To that core he has added what he saw as a missing ingredient in ministerial preparation — practical leadership training.  With that in mind, he create a new Master of Arts in Ministry degree for people interested in being leaders in the church but who don’t necessarily feel called to ordination.  It is the first new degree program in 20 years at the nearly 200-year-old seminary and it welcomed four students to its inaugural semester in September.

     “It responds to a real deficit in Christian education across the mainline churches,” DeLashmutt said. “It reflects a truer vision of what seminary education should be, to prepare people — all God’s people — for service.”

   DeLashmutt discussed this new master’s degree in the seminary’s dining hall where students and faculty share a daily meal. He had just finished teaching the last class for the semester of his Introduction to Christian Theology course during which students gave presentations on topics ranging from a feminist analysis of the doctrine of original sin to the study of the theology of trauma. For DeLashmutt, class and lunch go hand-in-hand.

     “We’re engaged in reconciling relationships,” he said.  “We’re reflecting the eucharistic table.  You can't talk about theology without engaging in practices of reconciliation.  That’s what this is.”

   So Christian education happens in the classroom and it continues over a meal of turkey and gravy, roasted potatoes, root vegetable and cream of broccoli soup.  What General has added to the mix with the new degree program is leadership training to take spiritual values into the workplace.

     “Spiritual habits transfer to people wherever they’re headed,” DeLashmutt says. “At an NGO or in nonprofit leadership, all of these for a Christian would require a different context. Your leadership would be different if you believe the gospel is true.  In youth work, it would be with an eye toward the spiritual formation of the individual.”

     With the seminary’s educational history as its base, the Master of Ministry program includes a Harvard Business School-type component to create a degree that offers the same quality of education as that of the training for the priesthood.

    “There’s wisdom out there to be evaluated in light of the gospel,” DeLashmutt says. “Augustine gave us permission to look at these and evaluate where truth might be useful.”

     DeLashmutt, who is a lay person with a Ph.D. in theology from the University of Glasgow, says the church is changing significantly and that fewer full-time positions are available for clergy in the Episcopal tradition, making it important to prepare lay people for ministry “in a structured, thought-out way.”

     The seminary has long been open to anyone seeking religious education, but the focus was on ordination. The Master of Ministry is the second “professional MA,” with the first being the Master of Arts in Spiritual Direction.

    "To respond to the church of the future, there will be  increasing and often parallel opportunities for lay people to do ministry alongside the ordained,” says the Very Rev. Kurt H. Dunkle, 13th dean and president. “Education and formation are essential whether one is ordained or not. For those who feel so called to lead the church without the anticipation of being ordained, it seems like the church should work to equally prepare these folks.
The MA in Ministry directly and practically affirms our commitment of educating and forming both lay leaders and ordained leaders for the church in a changing world."

   The seminary’s core remains the same.

    “We are profoundly Episcopal,” DeLashmutt said.  “We’re not changing that, but we feel we have something to share.  We’re a residential seminary in an urban context.  We want to make that available to as many people as possible.”

     While lay people have been studying theology together for decades in Education for Ministry (EFM), a four-year distant learning certificate program, General’s program is an accredited master’s degree.

     “Walking away with graduate credits is always a good thing,” DeLashmutt says.  “EFM can be theologically rich but it’s not engineered specifically for vocational training.”

     The seminary’s Master’s can “respond to trends in a very short time,” DeLashmutt says, adding that if several students wanted to pursue careers in youth ministry, “in six months we could spin up a curriculum.  We have the resources.  We have thousands of dollars worth of books and the faculty is up for it.”

     Similarly, if students are interested in Christian education, prison ministry or social work, “we could quickly develop a curriculum to meet the changing needs of the student.”

     In the case of David Gungor, who is a professional musician, this approach was applied to his summative project.  Rather than writing a paper for his final project, he composed and recorded several songs that responded to themes in Pannenberg systematic theology. In addition to the music, he wrote a small paper that described his process and spelled out the academic dimension of the creative work.

     “We are teaching with a ministry horizon in mind, so that the future vocational goals of our students inform everything that we do,” DeLashmutt says.   “As a small school, this allows us to work closely with students, to design everything from whole courses to individual assignments that help integrate theological studies and ministry development.”

     The Rev. Canon C.K. Robertson, canon to the Presiding Bishop for Ministry Beyond the Episcopal Church, said we are at a time when it is important for seminaries to “think outside the box” and that General’s new master’s, the only one of its kind in the Episcopal tradition, is a good example.

     “There’s a great need in the church to be more serious about leadership,” he said, citing St. Paul as someone whose ministry was successful because he combined the theological with the practical.  “We’re at a time when we need to remember or imagine what ministry was like in the past.”

     Robertson teaches a course each semester at General in the Master of Divinity program, alternating between traditional subjects such as the New Testament and courses in congregational development and conflict resolution.

     “Always the goal is how to join the theological with the practical,” he said.  “That’s crucial.”      

     Accreditation for the new master’s was completed in April, leaving the school little time to advertise before fall admissions needed to be decided.  DeLashmutt says this is good because with only four students the seminary can readily meet their vocational needs as it builds the new program.  Two students heard of it through word of mouth and two were already students who transferred into the new master’s.

    Gungor is one of the word-of-mouth newbies. An assistant pastor at Trinity Grace, a nondenominational church in lower Manhattan, he is also a songwriter, singer and musician and has found what he’s learned in just one semester to be of great benefit to his work.

     “I’m an artist and I work at a church that’s not Episcopal,” he said.  “It’s a beautiful stepping stone to a more sacramental view of artistry.  It’s good for my church and it’s good for my art.  It’s practical to what I do.”

     Gungor, 31, spoke from the living room of the apartment he shares with his wife, Kate, a student in the Master of Spiritual Direction program, and their four children.  Windows look onto the lawn of the Close and the surrounding 19th century buildings. It is into that picturesque world that he allows his children out to play, knowing they will be safe, with the kind of freedom he enjoyed growing up in the mid-west.

     “We fell in love with the campus,” he said.  “It’s such a family-friendly place. We feel like we have our own lawn.”

  The son of an evangelical pastor, Gungor is not an Episcopalian.  The new Master’s is open to all Christians.

     “The Episcopal Church really is a beautiful expression of faith for where I am,” he said, adding that the Master’s could be a track to see if he wants to be ordained. “The program seemed welcoming to me as an outsider. The Episcopal Church is welcoming to diverse thought.  It’s not afraid to question and to wrangle.  I feel like I’m able to learn from and contribute ideas that are different in class.”

     This is exactly what the program’s creator had in mind.  DeLashmutt says models of traditional seminary education were inherited from the Berlin school, with students being trained to be “the intellectual leaders of the community.” It was highly philosophical and “practical ministry education of any sort was marginalized.” 

     That DeLashmutt has found a home in the Episcopal church is a reflection of the same welcoming nature that Gungor found.  His background is eclectic — Methodist then Baptist then Pentecostal, until an incident when he was 19 turned him off from that tradition and he more or less abandoned going to church.  He did, though, continue to respond to a call he first felt at 16, a desire for a career in some kind of ministry.  Wanting a theological education led him to Fuller Theological Seminary Northwest and to what turned out to be a life-changing experience when a friend invited him to a Presbyterian service in Seattle. For the first time he experienced clergy wearing vestments and an order of service that began with a deacon offering a confession and absolution.

     “I just felt something in me break.  I had a profound sense of gratitude and acceptance.”

     That was the beginning of his transition to mainline churches.  He found his way to the Anglican communion while living in the United Kingdom and was confirmed at Easter Vigil in 2011.

     “Liturgy is that thing that carries you,” he says.  “It’s almost like a net of grace that holds you when you can’t stand on your own.  The prayers are from scripture, to pray back to God.  God gives us the words when we don’t have the words. Liturgical spirit, to me, is one way of providing deep meaning in the midst of life.”

     DeLashmutt sees the seminary’s education as providing that net of grace. He thinks of the disorientation he felt before his first evensong at General because it helps him relate to how new students can feel.  

     “We set a culture of forgiveness,” he says.  “Students can feel free to make mistakes because they have a structure in place.”

Monday, April 2, 2018

Patrice Djerejian’s latest album, You Are My Song

Patrice Djerejian has released her latest CD, You Are My Song, available on iTunes, Amazon and CD Baby.  Broadway Blessing attendees may remember the year she sang “I Sing for You” as Project Dance performed.  Her gorgeous voice filled the great space at the Cathedral Church of St. John the Divine with its power and spiritual presence. 

An internationally renowned recording artist, performer, songwriter, and philanthropist, Djerejian wrote all the words and lyrics to the songs on You Are My Song, combining the sounds of Big Band, jazz, pop (retro) and pop (Disney).  

The uplifting lyrics are full of joy and hope, empowering the listener to “transform their thoughts to happy!”. Her hit single, “Magic Butterflies,” showcases her eclectic talents in multiple languages and various music styles. With bright, rich vocals backed by a colorful big band, this collection’s positive message is up-lifting. 

You Are My Song was recorded in Nashville with Grammy-nominated producer Tom Gauger.  Djerejian has performed at Carnegie Hall, with London’s English Chamber Orchestra and with the esteemed American Composer’s Orchestra. 

Friday, March 30, 2018

The Stone Witch

     When we left The Stone Witch at the Westside Theatre my friend Dina and I felt we had attended a workshop rather than an Off-Broadway production.  Nothing about it had come together to make a compelling play.

     The plot is familiar.  A young aspirant, in this case a children’s book writer but it could also be a singer, actress — fill in the blank — goes to work for aging idol and the two develop a relationship that is either cutthroat or nurturing.

     The familiarity of the storyline isn’t the problem.  It’s that the two men, Dan Lauria as the elderly children’s book author and illustrator Simon Grindberg and Rupak Ginn as Peter Chandler, a young man with a manuscript of his own he’d like to get published, have no chemistry together, either positive or negative. It’s as if they are two actors just getting together to work on a show, rather than having been through rehearsals and previews.  Whether this is the fault of their acting, Steve Zuckerman’s directing or Shem Bitterman’s play is hard to pinpoint.  Maybe a combination of all three.

     The two characters are brought together by Clair Forlorni (Carolyn McCormick), Simon’s literary agent whom he describes as “a barracuda in Armani.”  Peter had hoped she would publish his children’s book, The Stone Witch, but when he arrives at her office he discovers she is interested in him for another reason.  She wants to hire him to help Simon finish his long overdue — by 12 years — next manuscript.  Peter will receive $10,000 but remain uncredited in the finished work.  Simon had been beloved worldwide for his books, but in his old age has become reclusive and blocked.  He’s also shifts into demented states, leaving him unable to carry on a sensible conversation much less finish a book.

     Peter journeys out to Simon’s cabin in the woods, manuscript in hand, to find the person whose work he so admires is a difficult old man.  This is a problem for Peter at first and was a problem for me throughout.  I didn’t like Simon, even when it is revealed that his writer’s block stems from his lack of hope. He seems human briefly, but then returns to being a bore. Actually I didn’t care much for the other two characters either because they also came off as one-dimensional.  

     The two elements of the production that are fully developed, and quite nicely so, are Yael Pardess’s scenic and projection art designs and Betsy Adams’s lighting.  Simon’s cabin has the standard cozy look, with the addition of large Maurice Sendak-like cartoon animals lining the upper walls.  Through the windows we see a dense forest, giving the feeling of remoteness.  The cabin is transformed into Clair’s office and a bar with little noticeable effort, thanks to the cleverness of the set design and lights.  It’s delightful to watch the woods darken and what seems like skywriting — or children’s book illustrating — drawing a Manhattan skyline in lights out the window of what becomes Clair’s office. 

     If only that transformative magic could be found in the rest of the show, which was produced in 2016 by the Berkshire Theatre Croup starring Judd Hirsch. 

Tuesday, March 20, 2018

Jessica Hecht stars in 'Admissions'

     Assumptions about race are challenged, often loudly, in Admissions, Joshua Harmon’s thought-provoking play at the Mitzi E. Newhouse Theater.  Unfortunately, the impact is weakened by Daniel Aukin’s strange direction.

     First up, the good thing about this production, the really good thing, is that it stars Jessica Hecht, one of New York’s strongest, most versatile actors.  She is always a standout, even when she’s in a small television role as she was several years ago playing the divorcing wife of a sleazy state’s attorney for one episode of “The Good Wife.”

     Now she is holding stage as Sherri Rosen-Mason, the admissions director of an elite New England prep school.  Her drive to diversify the nearly all-white institution is an obsession.  In her 15 years on the job she has increased minority enrollment to 18 percent from six percent.  

     “If no one fixates on it nothing would change,” she says to Roberta (Ann McDonough), an administrator in the development office who has accused her of seeing race rather than students.

    But her liberal world of white privilege is shaken when her 17-year-old son, Charlie (Ben Edelman), her only child, is the one excluded, having been put on the deferred list for Yale while his best friend, Perry, who is biracial, is accepted.  Charlie’s situation pits her maternal drive against her ideals as she has to face the truth that she has turned away plenty of Charlies for Perrys, and question what matters most, racial balance or individuals.  

     The questions raised are good ones, but I was hindered from fully entering their world by the casting — and overacting — of Edelman.  I never for one moment felt I was looking at a high school senior.  A college senior would have been a stretch.  He looked like a 25-year-old man, which I found out later when I Googled him is more or less the case.  His bio says he graduated from Carnegie Mellon in 2015.

     With all the talented teenagers in New York, why did Aukin cast such an age-inappropriate actor?  And then allow him to nearly foam at the mouth with racist anger in the pivotal scene when he learns his fate?  All I saw was an obnoxious, overbearing young man rather than a hurt and angry high school student.

     Andrew Garman plays Bill Mason, the husband and father in the equation.  At first he’s disgusted by Charlie’s “racist, sexist screed.”  

     “It looks like we successfully raised a Republican,” he says. But his views change too after Charlie makes an abrupt, extremely liberal decision about his future.

     While the questions raised are heavy, Harmon lightens them with lots of humor.  My favorite scenes were those between Sherri and Roberta as they prepared the new school catalogue.  Sherri chastises Roberta for choosing photos featuring only white students, which she feels will hinder her quest to admit even more minorities.

     “If they don’t see anyone who looks like them they won’t apply,” she says.

     Roberta tries again, this time including a photo of Perry, but Sherri doesn’t think he looks black enough.  Roberta then pours through the course lists and finds an English class with two black girls in it.  She arranges for the photographer and tells the teacher to expect him, only to arrive in the classroom and find that one of the girls is out sick.  She has to make an excuse of why the photo can’t be taken that day.  Sherri finally tells her to stage the photos. Hecht and McDonough play against each other well, with poor Roberta becoming ever more frustrated by her unrelenting boss. 

     Sally Murphy completes the cast as Ginnie, Perry’s mother and Sherri’s longtime friend who has her own experiences of both sides of the racial question in being married to a black man who is only a teacher at the school while Sherri’s husband, with lesser credentials, is the headmaster. 

Monday, March 19, 2018

Open House


     Long before Manhattan began moving uptown, the theatre district made its home on 14th Street, where performance halls provided magnificent shows, just as they do today in Times Square. A little part of those glory days will be returning now to 14th Street as the beautiful art-deco Centennial Memorial Temple (CMT) opens its doors for rentals.

     With a dozen subway stops and the PATH train all within a two-block walk, the 1,347-seat CMT is easily accessed from the Upper East and Upper West Sides, downtown, the outer boroughs and northern New Jersey.

      Come see this landmark theatre, at 120 W. 14th St. between Sixth and Seventh avenues, at an April 10 Open House from 10 a.m. to noon. The space is perfect for film shoots, concerts, corporate meetings, movie screenings, fundraisers, graduations and town hall meetings.

           CMT’s technical staff members bring to every event a wealth of experience from their work in all facets of the media and entertainment industries. They have won Grammy Awards, worked on the Oscars, served on crews for top recording artists, like Sting and the Foo Fighters, toured with Broadway shows and staffed production crews at major TV studios. They know how to make your event an unforgettable experience and will handle the details and the pressure so that you can have peace of mind.

     Need a more intimate space for fewer people? Railton Hall, located under the auditorium, can host up to 100 guests for any kind of event and Mumford Hall, right below Railton, is the perfect place to host groups of up to 220 for an intimate luncheon, corporate meeting or staff training.

     If you are unable to attend the Open House, we would be happy to arrange a private tour for you. CMT is owned by The Salvation Army and was built in 1929 to honor the 100th anniversary of its founder, William Booth. This state-of-the-art performance hall was designated a New York City landmark in 2017.

     To join us for the Open House, arrange a tour or find out how CMT and our other spaces can create a landmark event for your organization, please call (212) 337-7339 or visit our website at

      All proceeds from the rental of our spaces are used to support The Salvation Army’s more than 100 programs and services in the Greater New York area, which serve more than a million at-risk adults, children, and families each year.   

Thursday, March 15, 2018

Later Life

       Will love finally bloom for a middle-aged woman and man who met and flirted briefly three decades earlier and now find themselves together again at a party on a terrace overlooking Boston harbor? That is the question that drives A.R. Gurney’s Later Life in the Keen Company’s 25th anniversary production, which opened last night at The Clurman Theatre under the direction of Jonathan Silverstein.

     Ruth (Barbara Garrick) has harbored memories all these years of her evening with Austin (Laurence Lau), a service man on leave in Capri where she was vacationing. They had enjoyed each other’s company, but when she invited him to her room for the night he declined. When they meet again on the terrace, he doesn’t remember her.

          What follows in this wistful little play is moderately involving. Ruth is the more interesting of the two because she is more of a free spirit, or at least as free spirited as a character gets in a Gurney play. Austin is more representative of a Gurney character, a New England WASP, banker, graduate of prestigious private schools who married the boss’s daughter and is now divorced with two grown children.

     All his life, Austin has been convinced that something terrible is going to happen to him. Gurney wrote in an Author’s Note to Later Life that he was inspired by the man in Henry James’ “The Beast in the Jungle” who has a similar fear and so lives his life in such a sheltered way that he finally discovers he hasn’t lived at all, thus fulfilling his prophecy. Austin is not that extreme, but he has lived in a buttoned-down, controlled way.

     Jodie Markell and Liam Craig play a variety of party guests, which Gurney wrote is a way of conveying that we can all take on a variety of roles, even in middle age. I hadn’t picked up on that. I saw it as a casting cost-saving measure, with the characters’ main function seeming to be to interrupt the getting reacquainted process of Ruth and Austin. They come and go on the terrace, which has been romantically designed by Steven Kemp featuring the lights of Boston in the background and a star-filled sky. I gasped in delight when I first saw that set. 

     Austin seems ready for some romance this time around, even though he has gotten used to living alone, which, among the advantages he lists, allows him to fart when he wants. As for whether the two finally become one, you will need to head to Theatre Row before the show’s April 14 closing to find out.

Monday, February 19, 2018

Harriet's Return: Based on the Legendary Life of Harriet Tubman

     Harriet Tubman was a busy woman.  The 4’10” illiterate former slave made 19 trips back to the South to bring 300 other slaves to freedom in the North and Canada, led troops and missions during the Civil War, fought for women’s rights, was an herbalist, a nurse and founder of a boarding house for the poor, to name some of her accomplishments.

     Karen Jones Meadows is also a busy woman.  The considerably taller actress is portraying Tubman in a one-woman play she wrote called Harriet’s Return: Based on the Legendary Life of Harriet Tubman, at the Castillo Theatre through March 4.  Unfortunately, Meadows’s play is crammed with so many details of Tubman’s life that it is hard to follow at times.  The script needs editing to eliminate some scenes and enhance and clarify others, and to provide transition.  

     She also needs to slow down.  Under Clinton Turner Davis’s direction, she is in nearly constant motion.  She tells Tubman’s story while circling the entire stage repeatedly, even while walking behind the bare trees that represent the forest through which Tubman escaped.  I had the feeling I should be running behind her to catch up.  This distanced me from the character.  

     Harriet’s Return is the result of a commission Meadows received in 1983 by Charlotte's Afro-American Cultural Center to craft a series of one-woman performances entitled "A Living Portrait of Black History." It became fully scripted in 1992, when a youth version was commissioned for Ron Milner's Paul Robeson Theater in Detroit.  An adult version debuted in 1995 at Crossroads Theatre in New Brunswick, NJ. Both of these scripts were created for other actresses, but Meadows ultimately stepped back into the role and has toured with it widely. 

     I wish Meadows and Davis could have seen the late Sarah Melici’s Fool for Christ about the life of Dorothy Day, a founder of the Catholic Worker Movement.  Melici wrote the script with Donald Yonker and performed Day simply and directly.  Without much moving around the set, she portrayed Day and the characters in her world through her expressive voice and gestures and a minimum of props and staging.  She addressed the audience directly and I always came away feeling I had spent an hour in conversation with Day and that I knew her well.

     I felt the same way each time I saw the late Linn Maxwell’s Hildegard of Bingen and the Living Light and when I see Casey Groves’s Damien.  

     The most moving scene for me was when Tubman returns for her beloved husband, John, only to find he has another wife.  He closes the door on Harriet and her shock and pain are nicely realized.   For the most part, though, Meadow’s performance seemed more head than heart.  I did not feel I had spent time with Tubman.  Meadows is working hard to get out the information, but she doesn’t capture Tubman’s soul.

Photo by Gerry Goodstein.