‘OUT OF THE MOUTHS OF BABES’: Judith Ivey & Estelle Parsons. Photo: Carol Rosegg

OUT OF THE MOUTHS OF BABES
Written by Israel Horovitz
Directed by Barnet Kellman
Through July 31, 2016
Cherry Lane Theatre
38 Commerce Street
http://www.CherryLaneTheatre.org

By David NouNou

Comedies were once a staple on or off-Broadway at one time. Now they have become scarcer than the proverbial hen’s tooth. Reason being they are very hard to write and to make a funny play plausible and relatable is almost impossible since the advent of “dramadies,” which can be simultaneously serious and funny. The straightforward comedy has become virtually nonexistent.

However, Israel Horovitz has written that rare comedy that is genuinely funny, outlandish in reality but plausible for the theatre. Granted, there are some lines that misfire, but as a whole it is thoroughly emotive, entertaining, and enjoyable.

Making its world premiere, Out of the Mouths of Babes has nothing to do with the Bible’s New Testament, Matthew 21:16, but is the improbable plot of a screwball comedy that has a lot of heart. The premise is that former wives/girlfriend of a Sorbonne professor have come from America to Paris to pay their final respects and bury their former 100-year-old husband/lover.

Eighty-eight-year old Evelyn (Estelle Parsons) is the professor’s second wife and former student and the first to be seen in this Paris loft in which she lived with the Professor. She is confronted by 68-year-old Evvie/Snookie (Judith Ivey) who was the girlfriend and former student that broke up Evelyn’s marriage. Evvie/Snookie had a nine year on and off relationship with the professor but never married him because after all it was the 1960s and who got married back then? While these two are hashing out their differences, 40-something Janice (Angelina Fiordellisi) walks in; she was wife number three also a former student who has suicidal tendencies. By the time these three have traded their secrets and sordid pasts, in walks the lovely and young 20-something Marie-Belle (Francesca Choy-Kee), current wife and former student who has secrets to share and impart with the other three.

I told you it is a screwball comedy that also has its zany moments, with some delightful acting from this all-female ensemble. With the antics of two professionals like the superb Estelle Parsons and Judith Ivey, somehow it all seems very viable and couldn’t be more normal. These two bring the play into focus and grind it into reality. So great to still be able to see these two great ladies take the ordinary and make it extraordinary. The other two, Ms. Fiordellisi and Ms. Choy-Kee, although good, play more farfetched characters and take the plot to other worldliness.

Barnet Kellman, the director, is no stranger to comedy. He directed TV episodes of “Murphy Brown,” “Mad About You” and “Suddenly Susan.” His direction here is compact and fast-paced as he did for those sitcoms. As I mentioned before there are very few comedies written today, especially in these dire times when laughter is needed so badly, so when one does come and is enjoyable to boot, make a point to see it.

Edited by Scott Harrah
Published June 19, 2016
Reviewed at press performance on June 18, 2016

‘OUT OF THE MOUTHS OF BABES’: (left to right) Judith Ivey, Angelina Fiordellisi, Estelle Parsons & Francesca Choy-Kee. Photo: Carol Rosegg

‘OUT OF THE MOUTHS OF BABES’: (left to right) Angelina Fiordellisi, Francesca Choy-Kee, Judith Ivey & Estelle Parsons. Photo: Carol Rosegg

‘OUT OF THE MOUTHS OF BABES’: (left to right) Estelle Parsons, Judith Ivey & Angelina Fiordellisi. Photo: Carol Rosegg

‘OUT OF THE MOUTHS OF BABES’: Estelle Parsons & Judith Ivey. Photo: Carol Rosegg

‘OUT OF THE MOUTHS OF BABES’: (left to right) Judith Ivey, Angelina Fiordellisi & Estelle Parsons. Photo: Carol Rosegg

‘OUT OF THE MOUTHS OF BABES’: Angelina Fiordellisi & Estelle Parsons. Photo: Carol Rosegg

‘OUT OF THE MOUTHS OF BABES’: (left to right) Francesca Choy-Kee & Judith Ivey. Photo: Carol Rosegg

The post ‘Out of the Mouths of Babes’ outlandish fun appeared first on StageZine.

SWEET & CUTE ‘NICE WORK’: (center) Matthew Broderick & Robyn Hurder with the ensemble of ‘Nice Work If You Can Get It.’ Photo: Joan Marcus

By David NouNou

Is sweet and cute enough to ride the Broadway deluge, all of which are opening in late April on Broadway, right now? The competition is stiff out there, and there are some shows that will get lost in the shuffle. Unlike Kathleen Marshall’s 2011 revival of Cole Porter’s Anything Goes, Nice Work lacks the originality and razor-sharp crispness she imbued in that show, especially in the choreography department. This show looks like it has run out of steam from the get-go and is just pieced together with Gershwin songs. It is as if they took random songs and interspersed them throughout the show. The book has some humor injected by Joe DiPietro. However, both the direction and choreography are uninspired.

Set in New York and the Hamptons, and loosely based on the Gershwins’ musical Oh, Kay, the plot centers on handsome, filthy rich, and never-worked-a-day-in-his-life Jimmy Winter (Matthew Broderick) on his last night of bachelorhood, for tomorrow he will be marrying Eileen Evergreen (Jennifer Laura Thompson), daughter of Senator Evergreen (Terry Beaver), and his fourth wife-to-be. However, tonight in his drunken stupor, he will run into Billie Bendix (Kelli O’Hara), a bootlegger with a prison record (after all, this is 1927 in the Prohibition era), outside the saloon, where an instant attraction develops. Oh, how simple and undemanding the plots of 1920s musicals were.

I honestly couldn’t tell if Matthew Broderick was tired at the preview performance I attended. After all, it was Saturday night, the end of the week, or he was just uncomfortable on the stage? I haven’t seen someone so uncomfortable since Harry Connick in last winter’s On A Clear Day You Can See Forever. He is still youthful looking and charming but lacks chemistry with any of his fellow actors, especially the leading lady, Kelli O’Hara. She is a dream as usual, with her lovely voice and acting ability; she has finally developed her persona to command a stage and have her presence felt. Imagine the possibilities had the part of Jimmy been played by Neil Patrick Harris or Matthew Morrison. The chemistry with either one would have erased a lot of the flaws that are obvious in the show now.

The standouts in the supporting cast are Michael McGrath, who always brings humor and versatility to all his roles; Estelle Parsons in too-brief a role; and Judy Kaye, with her imposing presence and booming voice.

Even the visual concepts of the show are unmemorable: Be it the sets by Derek McLane or the costumes by Martin Pakledinaz, they both have a used look to them, as if they have been transported from another show. Even the score by the Gershwins, which should be a standout, just comes across as ho-hum, and nothing is staged vibrantly. Any pleasure that is derived from the show is, in large part, due to the personality and humor of the cast and not necessarily by the creative teams.

Edited by Scott Harrah
Published April 24, 2012
Reviewed at press preview performance on April 21, 2012

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