Review: Jinkx Moonsoon & Major Scales

Picture a maniac Jinkx Monsoon being psychoanalyzed by her musical counterpart, pianist / composer / raconteur Major Scales. This show features almost entirely original music, all from her album The Ginger Snapped, also the title of the show. This is a return engagement, and the show has definitely grown into something more hilarious and special.

Their first New York cabaret show, The Vaudevillians, was such a runaway success that it’s become a running joke in their shows that “I think the audience was expecting The Vaudevillians. Oops!” While good for a laugh, that self-deprecation isn’t necessary, since this show is equally accomplished – certainly it digs into deeper themes.

Monsoon and Scales are more entertaining and smart than the vast majority of the competition. The material from the album is heavily influenced by New Wave (heck the B-52’s Fred Schneider even guests on one track). They’ve traded the glam medical smocks they wore during the show’s first run (pictured above) for simpler, chicer outfits. Simple yet fabulous.

The Ginger Snapped is light years more thoughtful, tuneful and original than your typical cabaret drag act, while rarely being less than acidly hilarious. Very funny but with genuine rage and love just below the surface. Highly recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Advertisements

Review: Liz Callaway

This award-winning singer / actress set out to do a nondescript cabaret show with what she thought was the rather generic name of “Sets in the City.” But as so often happens when putting a good cabaret act together, a show name or a group of songs reveal more than you intended. Liz Callaway has ended up with a show that deals with some pretty serious themes of nostalgia, New York, and the changing landscape of urbanism – with some grand belting, emoting and storytelling in the process. Not very nondescript, is it?

Callaway has a muscular Broadway soprano, and she can deliver both hair-raising high notes and detailed, fully-acted song interpretation. She opens with Cole Porter’s heartfelt “I Happen to Like New York” – or at least she reveals how truly heartfelt the song is. Then she launches into Ed Kleban’s masterfully written “Better” and Bacharach and David’s “Always Something There to Remind Me” – for no better reason than they’re great songs, she sounds great singing them, and music director Alex Rybeck has devised glittering, inventive arrangements for them.

Touching on the theme of nostalgia, she sings Irving Berlin’s “I Got the Sun in the Morning,” cuz she sang it in a review at Rainbow and Stars. More personally she sings Ahrens and Flaherty’s “Something Beautiful” because she discovered that the song is about a photograph Lynn Ahrens’s father had taken of a tree – a tree that happened to be in Central Park (back, inevitably, to “the city”). There’s more to the song, and the way Liz sings it, but I can’t give everything away.

But the definitive tear-jerker comes – as it often does with Liz – totally from left field. Callaway embraces the lost masterpiece that is Chuck Mangione’s “Land of Make Believe” with an ebullience, joy and hope that cut to the heart of what makes the song great. I can’t convey to you the way this made the hair stand up on the back of my neck and brought a tear to my I eye; I mean “Oh my god you guys Liz Callaway is totally singing ‘Land of Make Believe’!!!” really isn’t saying it right. It might give a clue to this magic, that this song was an anthem at 1970s multicultural queer club The Loft, one of the touchstones of that ineffable, indescribable something that has made this city special from time immemorial. Recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: Mark Nadler

Cabaret star Mark Nadler is one of the greatest showmen of our time, leaping from floor to piano bench, keeping steady eye contact with the audience – all the while playing a complex passage on the piano without even glancing at the keys. In “The Old Razzle Dazzle,” his new show about lies, lying and liars, Nadler plays and sings with his usual virtuosic abandon, in a show constructed with his usual passionate intelligence. And as usual, the show is stunning, perhaps among his best.

Also, a Mark Nadler show is always working on at least 3 or 4 tracks of thought. With the subject being lies, it’s pretty obvious that the current occupant of the White House is the ultimate target. But Nadler takes his time getting there. He starts out with the white lie, enumerated in Dave Frishberg’s “Blizzard of Lies” – which already starts getting political with lines like “I didn’t inhale” and “I am not a crook.”

Then he launches into the lies we say to children with a tellingly long medley – he starts with “Wishing on a Star” and ends with the thought of “if all else fails scare the bejesus out of them” before launching into “Oogie Boogie’s Song” from The Nightmare Before Christmas.

Early in the show, Nadler says “everything in this show is a lie” but it pretty quickly becomes clear that itself is a lie. Oh there are plenty of outrageous lies in the show, but the most important parts are true, and many of the worst lies are delivered with heavy sarcasm. The line, however, does have the positive effect of encouraging a skeptical frame of mind.

I don’t want to give everything away, but I’ll say that some of the most affecting moments deal with romantic self-deception – especially “The Lies of Handsome Men” and the Alan Menken rarity “Lie to Me” – and when Nadler does finally get to the egregious lies of the current administration, he does it with a tap dance. Highly recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: Shuga Cain

Who knew that Drag Race alum Shuga Cain named herself after Shug Avery, the juke joint singer from The Color Purple! Just to make the point crystal clear, in her cabaret act Sweet Dreams Shuga does numbers from not one but two different versions of The Color Purple.

From the movie – which she identifies as the film that most inpired her personally and artistically – she does Shug’s love song to Miss Celie “Sister.” It’s the only song Cain sings live (all the others are lip synchs), and she’s very self-depricating about the quality of her singing. She doesn’t have to be: she’s better than a lot of ladymen from the show, and could definitely do more of it in her act. The other Color Purple song she does is a lip synch of “I’m Here” as sung by Cynthia Erivo in the stage musical. She nails this one to the ceiling, making it a fitting climax to her act.

Her show, called Sweet Dreams, is very much in the autobiographical mode of many solo drag shows. What sets Shuga apart though, is the chatty just-between-us-gurls tone that makes you feel that she’s talking to just you. It’s clear that she primarily considers herself a comedy queen – she attributes her allegedly sub-par singing to “too much tequila and dick” – and she is indeed a laugh and a half. Cain also happily identifies herself as an “80s baby” and does a megamix by divas such as Janet, Whitney, Mariah and the like, which she delivers with high-energy bounce. The whole evening is boisterous fun, and definitely recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: Unitard

Hard-hitting, R-rated, queer as fuck sketch comedy is what this trio does. I mean their new show is called Badassy which kind of tells you what you need to know. They all have other careers, Mike Albo as a writer, Nora Burns and David Ilku as actors, but there’s a special, danagerous alchemy that happens when they come together as Unitard.

The opening salvos in Badassy are a “hanky code” parody whose targets range far and wide, followed by a sketch about a pair of New Yorkers (Burns and Albo) complaining about the Donald’s vile capers, while their waiter (Ilku) is playing a darker game only revealed at the end. Later in the show, all three participate in a “name that school shooting” sketch that breaks down in a very meta way, as the trio speaks in their voices about the limits of comedy.

While group sketches make up most of the show, some of the best moments are solo moments. Burns is hilarious as a particularly preening version of Ann Coulter. When Albo faces some credit card problems, he is subjected to an increasingly embarrasing accounting of his spending (in a voice-over by Ilku) in which the card company rep has insight into his most mortifying motives.

I think my favorite though is when Ilku, as an older but still hopping club kid, let’s you know in ballroom lingo all the things he hates and loves. He hates being co-opted by Pose, for one. But then, in the bit’s climax, he joyously namechecks all the greats of New York drag, performance art and music who are still at it. Highly recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: Chita Rivera

This lady never falters. Her latest act at 54 Below is largely songs and stories from Rivera’s epic Broadway career. She opens with a snippet of “Nowadays” (which she gives a fuller reading later on) before lauching full force into “Kiss of the Spider Woman.” Then it’s dancing Chita – still incredibly limber at 86 – for “A Lot of Living to Do.” The song wasn’t hers in Bye Bye Birdie but boy does she make it her own.

Chita was always at her best playing “existential musical comedy” and thus became the muse for people with that aesthetic, first Bob Fosse, but then, more deeply, Fred Ebb and John Kander. No shock then that the majority of songs in the show come from a collaboration with either Fosse or Kander & Ebb.

Rivera has tons of razzle dazzle that amplifies her already great theatrical presence. She holds nothing back in this act. This diva is cutting loose as only she can. When she sings “Where Am Going” from Sweet Charity, she sheds new light not only on that song, but on all of Sweet Charity. She plays it as a philosophical awakening for an already worldly woman, making the song as profound as the Fellini film that inspired the musical.

She almost launches into “All That Jazz,” the most spectacular of her many signature Kander & Ebb numbers, at the top of the show. When she finally does it as her finale, it’s more than satisfying, it’s positively gratifying. Highly recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: Ink

Playwright James Graham has crafted a Faustian story based solidly on real events. It’s 1969 London, and a devilish thirtysomething Rupert Murdoch (Bertie Carvel) is expanding beyond his Australian newspaper empire by acquiring English daily The Sun. He enlists Larry Lamb (Jonny Lee Miller) – at the time editor for a Manchester paper – to take over the underperforming Sun and turn it around by any means necessary.

Lamb is the biggest, showiest role in Ink and Miller goes for it with gusto. At the performance I attended, a printer’s mallet fell off the stage and without missing a beat Miller lept off the stage to retrieve it. He totally blazes through the role. Murdoch is a smaller but pivotal role, and Carvel gives him a oddly powerful, evil slouch.

But Ink is much more than a two-hander, and director Rupert Goold weaves a dazzlingly theatrical tapestry from Graham’s play. Mod dancing punctuates the scenes, and projections whizz and pulsate. It’s this kind of surreal sizzle that makes Goold one of my favorite directors, and he’s at the top of his game here.

Graham and Goold cool things off in Act II to take time examining two key moments in the Sun‘s history: the kidnapping of Murdoch family friend Muriel McKay, and Lamb convincing Stephanie Rahn (Rana Roy) to “take it all off” for the first installment of the notorious “Page 3” pictures. When we first meet Rahn in Act I, much is made of her changing her name from Kahn to Rahn for her modelling work – maybe this had a foreshadowing effect for British audiences, but it falls flat here. It is one of very few hiccups in this otherwise riveting show. Recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.