Review: Ethan Slater

In a really good way, Ethan Slater’s Feinstein’s/54 Below debut is about as far from his star-making role in Broadway’s SpongeBob SquarePants as possible. Here he emerges as a smart, earnest singer songwriter with impressive multi-instrumental skills. His songs have a quirky edge that reminds me of the solo work of Steven Page of Barenaked Ladies: like Page, Slater deals with themes of love, loss and healing, with rich veins of humor, ruefulness and wonder.

Slater is writing a handful of musicals, both on his own and with Nick Blaemire. One is intended as a film titled Write Me In, about two brothers, both writers. Another is a stage musical called Edge of the World, about a single father who relocates himself and his young son to Alaska – songs from this one are the majority of the evening’s repertoire. Thank goodness, too, that they are sturdy enough to sustain our interest, which bodes well for the musical itself.

There are a handful of songs not by Slater that help to anchor the evening. Folk music is an important background for Ethan, and he does one song apiece by Paul Simon and Dave Van Ronk early in the show. Tony Nominee that he is, he also does a smattering of musical theatre, including a very affecting rendition of “Happiness Is…” from You’re a Good Man, Charlie Brown, and his big number from SpongeBob, “(Just a) Simple Sponge.” To top it all off, Slater is blessed with a golden voice, and tons of affable charisma. Recommended.

For tickets, click here.

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

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Review: Lillias White

The title of Lillias White’s latest cabaret act is “Make Someone Happy.” It’s predicated on the thought that “the whole world, not just the United States” is a shit-show, and, given the circumstances, it’s better to craft a show that makes the audience feel better when they leave, than when they came in. That’s why she belts numbers like the title song, “Ac-Cent-Tchu-Ate the Positive,” and Nat “King” Cole’s “That’s All,” bringing them to fiery life.

The show, the advance press says, “features standards for the world of Broadway, film, and jazz.” It might well have also mentioned blues; plus, White addresses it all with that particular sort of expressiveness and virtuosity that is native to soul and jazz. White has one of those thunderclap voices, like Darlene Love or Martha Wash, that electrifies and illuminates everything it touches. The Brooklyn native made her Broadway debut in Barnum in 1981. She played Effie in the 1987 revival of Dreamgirls – really a Broadway return of the original production’s tour – a show she describes as life-changing, and she does a towering rendition of that show’s “I Am Changing.”

For her role as Sonja in Cy Coleman’s The Life, she won the Tony, Drama Desk, and Outer Critics Circle Awards, and she gives that show’s “(Getting Too Old for) The Oldest Profession” a riotous go. She excuses the number’s raunchiness by warning that “I take no responsibility for what Sonja says to you while I’m out!” Always a great artist, always a warm presence. Highly recommended.

For tickets, click here.

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

Review: Leslie Jordan

This stand-up show at The Green Room 42 is a laugh-so-hard-you-cry look at the world through ultra-queer eyes. He outlandishly recalls “how I got that role,” namely Beverly Leslie in Will & Grace. He describes his Emmy win for that role in great and hilariously self-deprecating detail. There’s plenty of dish about Hollywood: No outing – he describes John Ritter as “a great friend to the queers but a reeeaal pussyhound” – but we definitely get the lowdown on who has a legendary dick that Leslie repeatedly begs to see…and who is nothing but mean and nasty.

Leslie, who describes himself as “the gayest man I know,” also claims that he was put on this Earth to be a comic scene-stealer (who met his only match playing opposite Megan Mullally on Will & Grace). This innate gift gives the fey, diminutive Jordan more than enough power to thoroughly command a stage all by himself.

This show is also an often moving look at the very best and worst of what queer culture has to offer. Jordan looks at the profound self-doubt that comes with growing up queer and hyper-effeminate in Chattanooga, Tennessee. Most moving of all, he describes how he threw all of his emotion about both his father and the lives lost in the Pulse nightclub massacre into throwing the first pitch at a baseball game. He threw with such passion that one of the pros said he could have had a career as a pitcher.

I can’t think of another autobiographical show that is more pure, unadulterated fun than Exposed! — it makes a convincing case for Jordan being one of the very greatest queer comic talents of our time.

For tickets, click here.

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

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: 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.