Review: Ann Hampton Callaway

Ann Hampton Callaway wrote and sang the theme from the TV hit The Nanny, or as she likes to call it “my accountant’s favorite song.” As you might guess from that swinging tune, she definitely thrives on the jazzier end of cabaret, and that inspired her to craft a loving musical history of the hope and joy jazz brings to the movies. To wit, her latest club act “Jazz Goes to the Movies.” (Ann is also an out lesbian, who gave me the honor of being the journalist to do her “coming out interview” – you can read that here).

Ella Fitzgerald greatly influenced Callaway, so it’s completely natural this show should find Ann mixing Ella’s sumptuous syncopation and scat with Fred Astaire’s crooning (more on that in a moment). On songs Ann herself sang for the movies – “Come Rain or Come Shine” from The Good Shepherd and “The Nearness of You” from Last Holiday – the jazz quotient is through the roof.

As to Astaire, Ann remarks that while some people are “Deadheads” she’s a “Fredhead,” and she interprets several songs that Astaire originated in movies. “Let’s Face the Music and Dance” – an Irving Berlin number Fred sang to Ginger Rogers in Follow the Fleet – receives a very emotional reading. She applies the first line of the song to the present day: “There may be trouble ahead.” But in that connection she takes very seriously the remedy offered by the next couple of lines: “But while there’s music and moonlight and love and romance / Let’s face the music and dance.”

Even more emotional is her Pride-themed take on Rodgers and Hart’s “My Funny Valentine.” Callaway relates that when lyricist Lorenz Hart received this gorgeous and melancholy melody from Rodgers, the closeted Hart looked in the mirror and wrote the words he longed to have some man sing to him. The song moved Callaway (and us) so much, that she had to sing The Nanny theme to lift her own spirits.

She even extends her “movie” theme to the recent remake of A Star is Born. No, she doesn’t sing that song, but she does her own take on “La Vie en Rose” (which Gaga sings in a bar in the film), including Callaway’s own intro – a brief love letter to the city of Paris. Callaway, as always, achieves a kind of jazz-pop perfection, shimmery and rich. Highly recommended.

For tickets, click here.

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

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Review: Galas

Diva! Here we have one diva (in the most positive goddess-like sense) playing another diva (in both senses). Well, it’s a little more complicated than that. We have a man with goddess-like acting gifts (Everett Quinton) portraying a fictionalized version of opera diva Maria Callas. Drag doesn’t get much higher than this.

The play is Galas by the late great Charles Ludlam, Everett’s partner in art and life – and the greatest playwright to come out of the Ridiculous Theatre movement. Now Quinton is directing and playing the lead role in Galas in its first New York revival since its original 1983 run.

As director, Everett fills the play with truly “Ridiculous”detail, as well as lots of warmth and romanticism, appropriate to the story of a diva with such great skills at singing Romantic Era opera. As an actor, Galas confirms Quinton as the greatest living actor in the Ridiculous tradition – and among the best in any tradition, as far as I’m concerned.

He attacks the role with great precision, and the almost supernatural conviction that is the hallmark of great Ridiculous acting, expertly playing the deep seriousness of this tragicomedy as well (its actual subtitle is “A Modern Tragedy” but it’s far too funny for that). Everett is the ideal interpreter of Ludlam’s plays, knowing when to be loyal to what Charles had already done, and when to push things even further into preposterousness to keep it fresh.

This is above all a star vehicle for the actor playing Galas, but there is one other fantastic performance in this production, as well as someone who shines in a smaller part. On the fantastic side is Jenne Vath as the diva’s mad maid Bruna. The role is nutty as hell and Vath plays it to the hilt. And, as Galas’s romantic rival Athina, Maude Lardener Burke leads you to believe – in a very few lines – that she is every bit as formidable as the great singer.

The production’s venue is the acoustically unforgiving main hall of St. John’s Lutheran Church, and its biggest flaw is lack of vocal projection equal to the echo-y space. That is for sure, a mere quibble when you are seeing such a great artist as Quinton vigorously at work. Highly recommended.

For tickets, click here.

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

Review: BenDeLaCreme

So I thought a show about matrimony would be less searching than a show about astrophysics or a 14th Century Italian epic poem, BenDeLaCreme’s previous two topics.

I was wrong.

Ready to Be Committed goes right to the tough questions: what is love anyway? Should people even get married, since matrimony’s roots are in a system which treated women as property? The first question is addressed in a rap entitled “Lovesickness” which traces theories about the nature and source of love from the ancients to modern neurochemistry. The second question gets a hard going-over in a parody of “Single Ladies” called “Medieval Ladies.”

This show is lighthearted in the sense that the queen otherwise known as Ben Putnam is back to playing a bit of a ditz this time around. It’s her wedding day, but she forgot to get a groom – so she goes on Grindr to find one. Which leads to all kinds of hilarious misunderstandings. I can give this much away because BenDaLa’s brilliance really shows up in the details.

BenDeLaCreme takes the best of clowning, drag, circus, burlesque and puppetry and whips them into something new, fascinating and intensely intelligent. Not only that, she uses these popular forms to probe the very biggest questions, switching from deep existential angst to spiritual lightness in the space of a minute – in between double entendres about sex and booze.

She is not only all about fantastic and ridiculous artifice, but also ultimately about what that artifice can communicate and express about deeper things, like ethics and how to take care of ourselves and each other. She delivers a show that’s equal parts cheeky fun and insightful art, no small feat. Highly recommended.

For tickets, click here.

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

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.

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: 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: 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.