Review: The Height of the Storm

In Florian Zeller’s delicately surreal new play The Height of the Storm, Zeller investigates grief for the passing of a beloved spouse, as well as the difficulty of dealing with dementia in a spouse or parent. In the last few years, there have been a spate of excellent plays on Broadway dealing with many varieties of dementia – among them Zeller’s own The Father. While there are echoes of that play here, The Height of the Storm emphasizes the complete loss of your life partner, not you memories.

The play bounces back and forth between different narratives. In one, famous writer André (Jonathan Pryce) is grieving for his wife Madeleine (Eileen Atkins). In another, Madeleine is grieving for André. In yet another both are still alive, but André is slipping into dementia – actually this is happening in all of the narratives.

The play is complex enough that one can interpret it several ways. One person I spoke with perceived that this was all in André’s confused mind, as happened in The Father. I prefer to think that we are seeing several different realities play out, perhaps even more than the ones I described above. In one, André had an affair, in another it was a student of his that had the affair, etc., etc. Certainly Zeller keeps us on our toes with his imaginative and precise writing.

I have never seen Jonathan Pryce better. He moved me with his performance, which he has never done before. Eileen Atkins is also exceptional, and the supporting cast uniformly excellent. Director Jonathan Kent and lighting designer Hugh Vanstone help us track the shifting reality with intricately calibrated lighting changes working hand in hand with thoughtful, rigorous staging. Recommended.

For tickets, click here.

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

Review: Raja

This queen repeats herself sometimes. You know what, though, Raja looked into the cause of this issue, and found the theme of her new show “Lush Life,” which is all about the weed and wine she cheerfully admits to consuming before during and after the show. She explains that lush means luscious, extra and (in her words) a “moderate alcoholic” – all qualities she proudly owns, and uses to entertain her adoring audience.

It doesn’t hurt that with a little wine in her, Raja instinctively swirls, twirls and dips with aplomb whenever there’s music. That makes me wish the ratio of talk to music favored music more, even though her monologues are spiritually and politically deft and intelligent.

She’s one of the most effortlessly stylish queens ever to appear on Drag Race, and she features a little bit of everything in this show: some singing, some monologuing about contemporary issues, and a whole lot of fashion fierceness (three fabulous glimmering monochrome outfits). As a matter of fact, she opens the show singing – not lipsynching – Madonna’s “Vogue,” giving you fantastic body and face. There’s your admission fee covered right there. Raja has a warm charismatic presence, which makes you think she’d be able to put over just about anything she wanted. Recommended.

For tickets, click here.

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

Review: The Simsinz

This is absolutely insane! And I definitely mean that as a complement! This unauthorized drag parody lipsynch tribute to The Simpsons comes from the inventive mind of up and coming drag star Cissy Walken. In The Simsinz, Marge huffs ammonia and has hallucinations, while the rest of the family turns queer. A large portion of the lipsynch material comes from episodes that deal with gay themes. Even more, however, comes from pop songs and showtunes, and even some original material in which Walken sings in a perfect Marge Simpson voice (Walken has a reputation as a talented mimic, particularly for her Amy Winehouse).

In The Simsinz, drag culture collides head-on with The Simpsons – even the male characters have exaggerated eyelashes and high heels. It’s shocking at first, but it is impossible to resist the charm of this loving tribute, especially from such a skilled company of lipsynchers. To say nothing of its sheer giddy comic loopiness – I mean the 11 O’Clock number goes to Ralph Wiggums for goodness sake!

In addition to Walken, Coco Taylor (host of Members Only Boylesque), Aria Derci, Pussy Willow and Andy Starling play a bevy of characters. I really couldn’t tell you who played what because the costume changes are truly dizzying, and the staging sophisticated and energetic. While the sound editing is impressive on a Lypsinka level, there are still kinks to be worked out – Maggie’s pacifier was truly deafening. Even with such hiccups, though, this joyous romp left me with a lasting grin on my face. Highly recommended.

For tickets, click here.

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

Review: Latrice Royale

Large-and-in-charge Latrice Royale has crafted her latest cabaret show – entitled “Here’s to Life 2019” – solidly in the mold of traditional autobiographical cabarets. Her first cabaret show, called simply “Here’s to Life” was powerful and entertaining, telling as did her story from growing up gay in Compton, to finding her drag vision in Miami, and ultimately to the trail of tribulations that led up to the “unfortunate incarceration” she sometimes referred to when she was on Season 4 of Drag Race. She followed that up with shows that detailed her life since Drag Race. Those, while still entertaining, felt a bit thin by comparison, because they covered a shorter, less drama-packed time span. Now, she’s giving us the best of both worlds, keeping the strongest bits of her original show while keeping us updated on her life – in this case her marriage to her music director Christopher Hamblin.

It’s more talk than song, and Latrice’s story-telling is well served by her warm authenticity and infectious positivity. I would definitely like to hear her sing more, though, because she’s actually pretty damn good at it! There’s no attempt at giving you “girl singer” – “Barry White in drag” is how she describes her basso stylings – but she clearly models her approach to song interpretation on the likes of Aretha Franklin. She may not have Aretha’s pristine vocal instrument but she certainly understands her lessons in musicality and expression. And her take on cabaret standard “Here’s to Life” marks the first time I’ve heard it as a determined look at the future rather than a wistful look back.

Latrice is backed by a very able jazz trio led by her hubby on the piano. This feels more polished than the cabaret acts I’ve seen from other Drag Race alumni, while still running a bit on the long side (don’t repeat your thematic points, girl, we got you the first time). Latrice is the real thing, and I want to hear much more from her as a singer. Highly recommended.

For tickets, click here.

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

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.

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.