‘RICHARD II’: (left to right) Emily Swallow, David Mattar Merten, Grantham Coleman, Michael Urie & Lux Pascal. Photo: Carol Rosegg.

RICHARD II
By William Shakespeare
Directed & adapted by Craig Baldwin
Through December 21, 2025
Red Bull Theater
at Astor Place Theatre
434 Lafayette St.
https://www.redbulltheater.com

By Scott Harrah

Shakespeare’s classics are often revived in some newfangled form on the American stage. For instance, from the late Glenda Jackson playing the titular role in a misguided, gender-bending King Lear in 2019 to an equally ill-conceived one-man Macbeth starring Alan Cumming on Broadway in 2013, the Bard’s works are frequently updated to attract new audiences. However, director Craig Baldwin’s Off-Broadway iteration of Richard II introduces two refreshing twists: the setting shifts from the 1300s to 1980s Britain, and King Richard becomes a flamboyant gay man, portrayed by the always-outstanding Michael Urie.

This reviewer is rarely a fan of “modernized” Shakespeare because classics work best when performed as written. Otherwise, the richness of Shakespeare’s language and narrative can get lost amid flashy gimmickry. Even so, two modernized adaptations have succeeded in the past 15 years: the 2010 Broadway revival of The Merchant of Venice, starring Al Pacino as Shylock, and now Mr. Baldwin’s Richard II. While Mr. Pacino brought dignity to Shylock, Mr. Urie brings his trademark comic timing and sharp wit to Shakespeare’s egotistical, self-destructive monarch.

Richard the Rebel

This is a stylish reimagining of Richard II, with an ‘80s-inspired set by Arnulfo Maldonado. Mr. Urie plays the doomed monarch whose inflated ego leads to his downfall. When Richard seizes the inheritance of his cousin, Henry Bolingbroke (Grantham Coleman), he ignites a chain of betrayal and rebellion that forces him to confront his own loss of power and identity.

1980s decadence & excess

Mr. Maldonado’s design reimagines the royal court as a sleek 1980s Manhattan boardroom, complete with sharp suits, minimalist décor, and an interviewer (Sarin Monae West) who channels Grace Jones. Meanwhile, snippets of Eurythmics’ “Sweet Dreams” and other new-wave hits reinforce the era’s excess and vanity. The result is a clever concept that turns Richard’s deposition into a corporate coup rather than a medieval revolt. Admittedly, some choices—like the bathhouse scene or Richard’s affair with Aumerle (David Mattar Merten)—veer toward camp, yet they fit this production’s aesthetic.

Cast standouts

Not everything works here, but there’s plenty of fine acting onstage. Ron Canada, in multiple roles (especially as John of Gaunt), delivers one of the evening’s strongest performances, with precise phrasing and a masterful command of Shakespeare’s dialogue.

Grantham Coleman, as Richard’s rival and cousin Henry Bolingbroke, brings understated determination that contrasts beautifully with Richard’s theatrical volatility.

Michael Urie has a blast portraying Richard as an entertaining narcissist. Yet beneath the humor, he reveals the character’s tragic vulnerability, proving how effortlessly he can balance comedy with gravitas. His performance is campy enough to amuse, but grounded enough to make the downfall sting.

Accessible & entertaining

Purists may not embrace this Richard II, yet Mr. Baldwin has created a visually dynamic, thematically relevant version that speaks to modern politics and power struggles. Ultimately, his production makes Shakespeare’s complex history play accessible, entertaining, and unexpectedly poignant—a triumph of bold direction and fearless performance.

Published November 10, 2025
Reviewed at press performance on November 8, 2025

‘RICHARD II’: (left to right) Ron Canada, Grantham Cole & Michael Urie. Photo: Carol Rosegg.

‘RICHARD II’: (left to right) Kathryn Meisle, Ron Canada, Michael Uriie & Lux Pascal. Photo: Carol Rosegg.

‘RICHARD II’: Sarin Monae West, James Seol & Daniel Stewart Sherman. Photo: Carol Rosegg.

‘RICHARD II’: Sarin Monae West, Lux Pascal, Michael Urie, David Mattar Merten, Ryan Spahn & James Seol. Photo: Carol Rosegg.

‘RICHARD II’: Michael Urie & David Mattar Merten. Photo: Carol Rosegg.

‘RICHARD II’: Michael Urie. Photo: Carol Rosegg.

‘RICHARD II’: Grantham Coleman & Michael Urie. Photo: Carol Rosegg.

The post ‘Richard II’: Michael Urie as Bard’s quirky king appeared first on StageZine.

‘ONCE UPON A MATTRESS’: Sutton Foster. Photo: Joan Marcus.

ONCE UPON A MATTRESS
Book by Jay Thompson, Marshall Barer & Dean Fuller
Music by Mary Rodgers
Lyrics by Marshall Barer
Adapted by Amy Sherman-Palladino
Directed by Lear deBessonet
Hudson Theatre
141 W 44th Street
https://onceuponamattressnyc.com/

By Scott Harrah

Once Upon a Mattress recently transferred from a hit City Center Encores! production earlier this year to Broadway. It is the perfect vehicle for two of Broadway’s most delightful musical comedy talents: Michael Urie and Sutton Foster. With a crisp new adaptation by Amy Sherman-Palladino of “Marvelous Mrs. Maisel” fame, this latest revival of the Mary Rodgers/Marshall Barer classic is one of the summer’s hottest shows.

Once Upon a Mattress is the story of a fictional medieval kingdom. The musical focuses on Princess Winnifred the Woebegone (Sutton Foster), an awkward, gawky woman from a mystical swamp kingdom who is chosen to be the bride of Prince Dauntless the Drab (Michael Urie). Queen Aggravain (Ana Gasteyer), Prince Dauntless’ mother, is determined to ensure her son remains unmarried and devises impossible tests for Princess Winnifred to pass. The queen has been sabotaging all potential matches to maintain control of the kingdom. Her husband King Sextimus the Silent (David Patrick Kelly) is powerless because he was made mute by a curse cast by a witch. Princess Winnifred—or “Fred” as she prefers to be called—is not the first princess to be tested to see if she is a worthy bride. Queen Aggravain has already rejected several princesses that her son wanted to marry. She devises what she thinks will be a foolproof test, with the help of the Wizard (Brooks Ashmankas): Winnifred must sleep on a huge stack of mattresses with a tiny pea underneath one and if she is truly “royalty,” she will be hyper-sensitive and not sleep and, thus, pass the test. Otherwise, if she actually sleeps, the “test” will show she’s merely a commoner and, therefore, cannot marry the prince.

The musical is mostly famous for launching the career of comedienne Carol Burnett when she originated the role of Princess Winnifred when Once Upon a Mattress opened on Broadway in 1959. Based on the Hans Christian Andersen fairy tale The Princess and the Pea, the saga is a lighthearted spoof of the storybook genre. It was last revived in 1996 with Sara Jessica Parker in the lead role, and a 2005 TV version starred Tracey Ullman. So, the show has always been a vehicle for its leading lady, and this iteration is perfect for Broadway and TV veteran Sutton Foster. Ms. Foster shows off talents many never knew she had, such as her natural gift for physical comedy. With her many pratfalls and slapstick moves—from eating grapes to lifting weights—she has much more to do onstage than in her role as Marian the Librarian in the 2022 revival of The Music Man, in which she was often overshadowed by mega star Hugh Jackman. When she belts out the show’s signature song “Shy,” one can see why Once Upon a Mattress was such an important career starter for Carol Burnett, but Ms. Foster manages to give her own unique interpretation of Princess Winnifred. The musical is Ms. Foster’s from the moment she arrives, wet and dirty from the moat, jumps into the castle and into the prince’s life.

Michael Urie, as Prince Dauntless, is outstanding as always. Is there chemistry between Mr. Urie and Ms. Foster? Not really, but it doesn’t matter, because this is a goofy musical that never takes itself seriously. In his tights, crown and cape, Mr. Urie is a lovable nerdy prince.

Other standouts include Nikki Renée Daniels as Lady Larken, the girlfriend of Sir Harry (Will Chase). Ms. Daniels has a beautiful coloratura voice and she and Mr. Chase are in rapturous harmony on such duets as “In a Little While” and “Yesterday I Loved You.” “Saturday Night Live” alum Ana Gasteyer plays a caustically mean Queen Aggravain.

Daniel Breaker as the Jester, and Brooks Ashmankas as the Wizard, fare less well in supporting roles in which they ham it up with goofy antics, but Once Upon a Mattress is supposed to be an absurdist musical comedy so there’s nothing wrong with screwball high jinks.

David Zinn’s sets are fairly spartan, featuring the orchestra right on stage above the action. Director Lear deBessonet gets consistently good performances from the cast, and one thing is certain: This revival of Once Upon a Mattress features one of Sutton Foster’s best comic performances to date.

Edited by Scott Harrah
Published August 17, 2024
Reviewed at August 15, 2024 press performance

‘ONCE UPON A MATTRESS’: Michael Urie, Sutton Foster & cast. Photo: Joan Marcus.

‘ONCE UPON A MATTRESS’: David Patrick Kelly, Michael Urie & Ana Gasteyer. Photo: Joan Marcus.

‘ONCE UPON A MATTRESS’: The cast. Photo: Joan Marcus.

‘ONCE UPON A MATTRESS’: Daniel Breaker & Brooks Ashmankas. Photo: Joan Marcus.

‘ONCE UPON A MATTRESS’: Sutton Foster, Michael Urie & cast. Photo: Joan Marcus.

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‘CAMELOT’: The cast. Photo: Matthew Murphy & Evan Zimmerman.

MONTY PYTHON’S SPAMALOT
Music by John Du Prez and Eric Idle
Book & lyrics by Eric Idle
Direction & choreography by Josh Rhodes
St. James Theatre
246 West 44th Street
(212-239-6200), SpamalotTheMusical.com/

By David NouNou

You might think that a musical that opened in 2005 and closed in 2009 might be too early to have a revival. In most cases, I would agree with you. However, in the case of Spamalot,  it couldn’t have come fast enough. In these troubled times where laughter comes so sporadically, it is good to be able to laugh out loud and unabashedly.

To most readers, you may have seen the original Spamalot; not to worry as there has been so much schtick and one-liners added in so many scenes, you forget and ask yourself was this in the original version? That is part of the fun of watching Spamalot amidst all the mayhem and wondering, “Was this in or not? I don’t remember it.”

King Arthur (James Monroe Iglehart) is traveling with his steadfast servant Patsy (Christopher Fitzgerald) across the European countries in 923 A.D. to round out knights to form his Round Table in Camelot. Along the way he encounters Sir Robin (Michael Urie); he will be needed for his specialty, singing and dancing. They then encounter the brutish but handsome Sir Lancelot (Taran Killam) for his fighting ability. They are met by Dennis Galahad (Nik Walker) but he is not convinced that Arthur is really a king. So, Arthur summons The Lady of the Lake (Leslie Rodriguez Kritzer) to vouch for his authenticity and with the help of her “Laker Girls” turns Dennis into Sir Galahad, joined later with Sir Bedevere (Jimmy Smagula). These merry band of men have been assigned the task by God himself to find the Holy Grail.

And so, the fun begins. You’ll witness every sort of chicanery and slapstick sight gags that the mind can conceive. In addition, with the exception of King Arthur and The Lady of the Lake, everyone on the St. James Theatre stage plays multiple roles and part of the fun is guessing who is playing whom at any particular moment.

The most hysterical scene and number comes in the second act where in order to move to the next part of the quest for the Holy Grail, Sir Robin has to create a show for Broadway. In order to do that he needs Jews for the show, because every show has to have Jews in them for it to succeed. In the song “You Won’t Succeed on Broadway,” he demonstrates by having a chorus of men doing a takeoff on Fiddler on the Roof by having the chorus do the incredible bottle dance and a huge Star of David descends onto the stage. A showstopper if ever there was one. More craziness ensues but it must be seen to be fully appreciated.

What’s really impressive is the energy the cast imbues into the show. From start to finish, the zaniness never stops. The performances are all first rate: Michael Urie as Sir Robin has never been better; it’s great seeing him stretching his talent to higher standards. Taran Killam in multiple roles is terrific as Sir Lancelot, a taunting Frenchman, a Knight of Ni. Charles Fitzgerald is masterful as always as King Arthur’s Patsy. Ethan Slater is a treasure in no less than nine different roles.

Of course, there is also the sublime Leslie Rodriguez Kritzer as Lady of the Lake. She’s great in the first act and nearly steals the second in “Diva’s Lament” this comes because she has been left out of two thirds of the second act.

The only misfire of the evening is the incomparable James Monroe Iglehart. He seems to be stifled by the entire King Arthur persona and can’t cut loose as when he was the Grand Genie in Aladdin. A minor miscalculation.

Scenic and production designer Paul Tate DePOO III has created colorful and whimsical sets. Josh Rhodes’ direction/choreography is not as concise as Mike Nichols’ direction and Christopher Nicholaw’s choreography. Mr. Rhodes has given the cast free rein to ad-lib.

Spamalot comes at a perfect time, just before the holidays. Get tickets soon and make the holidays even more festive and enjoyable. You’ll be beaming for the rest of the night.

Edited by Scott Harrah
Published November 22, 2023
Reviewed at November 21, 2023 press performance.

‘SPAMALOT’: The cast. Photo: Matthew Murphy & Evan Zimmerman.

‘SPAMALOT’: Nik Walker & Leslie Rodriguez Kritzer. Photo: Matthew Murphy & Evan Zimmerman.

‘SPAMALOT’ (Left to right): Michael Urie, Nik Walker, James Monroe Iglehart, Christopher Fitzgerald, Jimmy Smagula & Taran Killam. Photo: Matthew Murphy & Evan Zimmerman.

‘SPAMALOT’: The cast. Photo: Matthew Murphy & Evan Zimmerman.

‘SPAMALOT’: Leslie Rodriguez Kritzer. Photo: Matthew Murphy & Evan Zimmerman.

Christopher Fitzgerald & James Monroe Iglehart. Photo: Matthew Murphy & Evan Zimmerman.

‘SPAMALOT’: (Left to right) Michael Fatica, Taran Killam, Drew Reddington & Ethan Slater. Photo: Matthew Murphy & Evan Zimmerman.

The post ‘Spamalot’ revival a tonic for troubled times appeared first on StageZine.

‘CHICKEN & BISCUITS’: (left to right) Ebony Marshall Oliver, Michael Urie, Devere Rogers & Cleo King. Photo: Emilio Madrid.

CHICKEN & BISCUITS
Written by Douglas Lyons
Directed by Zhailon Levingston
Through November 28, 2021
Circle in the Square
235 West 50th Street
212-239-6202, https://chickenandbiscuitsbway.com/

By David NouNou

Since the inception of dramedies and a barrage of mediocre sitcoms on TV, comedies have gotten scarcer and scarcer on Broadway. Once a staple for entertainment (Neil Simon’s annual outings), they are now almost non-existent. However, one has managed to squeeze in this season. At times it borders on the absurd and broad farce, but we’ll take our laughs any way we can when comedies are so desperately needed in these times.

The story centers on the death of a Southern Baptist minister, whose family has come together for his funeral. What we get is a few more members that the family didn’t expect. The two sisters mourning their father are Baneatta Mabry (Cleo King), the older and more sensible one, and the self-proclaimed beauty and flashier younger sister, Beverly Jenkins (Ebony Marshall-Oliver). Beverly believes that displaying her bosom at her father’s funeral is more important to attract a man who has come to pay his respects than to be appropriately dressed.

Baneatta is married to Reginald Mabry (Norm Lewis).  He has taken over the ministry and is supposed to deliver the eulogy. They have a daughter, Simone (Alana Raquel Bowers) who has been dumped by her boyfriend—a man she was expecting to marry— for a white woman. They also have a son, Kenny (Devere Rogers) who is gay and the only person who accepted him was his deceased grandfather. Kenny has brought his white, flamboyant, sweet Jewish boyfriend, Logan (Michael Urie), and he has a tough time being accepted at a Baptist funeral. Also, there is La’Trice Franklin (Aigner Mizzelle), Beverly’s  high-strung, eccentric 15-year-old daughter whose father left her when she was young.  There is a last-minute secret character, Brianna Jenkins (Natasha Yvette Williams), whose identity I will keep a secret. Needless to say, they all have issues.

The premise is grand and really fun; there are even some very touching scenes between the characters voicing their feelings, but the playwright, Douglas Lyons and the proceedings are greatly misled by a young, inexperienced 27-year-old director, Zhailon Levingston, making his Broadway debut. The director has totally failed the show and the cast in giving them any nuanced direction. There is very little cohesion to the scenes other than what Mr. Lyons has given us. The cast are left to their own devices at times, mugging and ranting relentlessly. Their deliveries are not modulated and everything seems to run helter skelter.

Even seasoned performers like Norm Lewis and Michael Urie—both of whom have had many Broadway ventures and have always been interesting to watch—seem to be trying too hard. Cleo King does her best in being the matriarch of the family, but the most natural and enjoyable performance is delivered by Natasha Yvette Williams who comes near the end of the play and allows her natural sweetness to envelop the theatre.

You won’t get many surprises in Chicken & Biscuits, but you will get an enjoyable evening full of laughs.

Edited by Scott Harrah
Published October 10, 2021
Reviewed at October 9, 2021 press preview performance.

‘CHICKEN & BISCUITS’: Norm Lewis & Cleo King. Photo: Emilio Madrid.

‘CHICKEN & BISCUITS’: Aigner Mizelle, Ebony Marshall-Oliver & Alana Raquel Bowers. Photo: Emilio Madrid.

‘CHICKEN & BISCUITS’: Alana Raquel Bowers & Devere Rogers. Photo: Emilio Madrid.

‘CHICKEN & BISCUITS’: Ebony Marshall-Oliver, Michael Urie & Devere Rogers. Photo: Emilio Madrid.

‘CHICKEN & BISCUITS’: The cast. Photo: Emilio Madrid.

‘CHICKEN & BISCUITS’: The cast. Photo: Emilio Madrid.

‘CHICKEN & BISCUITS’: Michael Urie & Aigner Mizzelle. Photo: Emilio Madrid.

‘CHICKEN & BISCUITS’: Cleo King, Ebony Marshall-Oliver & Natasha Yvette Williams. Photo: Emilio Madrid.

‘CHICKEN & BISCUITS’: Cleo King & cast. Photo: Emilio Madrid.

‘CHICKEN & BISCUITS’: Norm Lewis & cast. Photo: Emilio Madrid.

The post ‘Chicken & Biscuits’ a yummy but flawed dish appeared first on StageZine.

‘GRAND HORIZONS’: James Cromwell & Jane Alexander. Photo: Joan Marcus

GRAND HORIZONS
Written by Bess Wohl
Directed by Leigh Silverman
Through March 1, 2020
The Helen Hayes Theater
240 West 44th Street
(212-541-4516), www 2ST.com

By David NouNou

Sustaining a marriage for 50 years is difficult. However, writing a good, sustainable comedy that doesn’t sound or read like a script from a TV sitcom these days is even harder. Playwright Bess Wohl has achieved this feat with Grand Horizons. Watching Nancy (Jane Alexander) and Bill (James Cromwell) for a few minutes setting up their dinner table and sitting down to eat, and Nancy nonchalantly uttering “I want a divorce,” is a wonderful starter.

Nothing is extraordinary about this situation and this doesn’t mean the play doesn’t have its shortcomings and filler, but what is extraordinary is the genuine laughter that playwright Ms. Wohl achieves. Grand Horizons is the name of the retirement home that Bill and Nancy live in. The remarkable cast elevates the material to hysterical heights.

The divorce isn’t so much about Nancy and Bill but how it affects their two sons: the older Ben (Ben McKenzie), his wife Jess (Ashley Park), and their younger son Brian (Michael Urie), a high-school drama teacher. The three are there to form an intervention against this divorce. In the process they discover their own shortcomings, the disillusionment of unhappy parents as they were growing up and their parents’ own secrets. The divorce stems from Nancy discovering Bill has been “sexting” Carla (Priscilla Lopez).

The setups aren’t new but there is a freshness to the tone. There is crispness to the dialogue, but the humor also comes with fillers. One such scene is Brian bringing a one-nighter (Maulik Pancholy) to his parents’ home. The scene is to establish Brian’s feelings about his parent’s divorce but the one-nighter is horny and isn’t interested in anything but sex. The scene has genuine truths in it, but is highly implausible.

What keeps the material afloat is the wonderful acting by an all-star cast, and I must admit I am a sucker for an all-star cast. Starting with Jane Alexander, long absent from the New York stage, making a regal comeback. Having first seen her in The Great White Hope, though the material here isn’t as compelling, she hasn’t lost her touch or command of the stage. She, like fine wine, has matured with age but is still lilting and grand.

Having seen James Cromwell in countless movies and TV shows, it’s great to finally see him on the New York stage. He is crotchety, compelling and ideal in trying to sort his life out.

Michael Urie plays another gay character here, but is absolutely beguiling as the lost son trying to make sense of it all. He touches the nerve of why he has never been able to connect with another person and wrenches the heart with his sincerity.

Priscilla Lopez as Carla, the other woman, just dazzles in her too-brief scene with Jane Alexander as they are discussing what to do with Bill, and starting to talk intimately is civility done to perfection.

Ben McKenzie, Ashley Park, and Maulik Pancholy add to the comic hysteria at various stages in bringing in their own perspective to this scenario.

Comedy is such a rare commodity these days and we are in such desperate need to laugh during these hard times. Grand Horizons hits the funny bone and is a welcome start to the New Year.

Edited by Scott Harrah
Published January 29, 2020
Reviewed at January 28, 2020 press performance.

‘GRAND HORIZONS’: Ben McKenzie & James Cromwell. Photo: Joan Marcus

‘GRAND HORIZONS’: Priscilla Lopez & Jane Alexander. Photo: Joan Marcus

‘GRAND HORIZONS’: Ashley Park & Ben McKenzie. Photo:Joan Marcus

‘GRAND HORIZONS’: Michael Urie. Photo: Joan Marcus.

“GRAND HORIZONS’: James Cromwell. Photo: Joan Marcus

‘GRAND HORIZONS’: Jane Alexander. Photo: Joan Marcus

‘GRAND HORIZONS’: Michael Urie & Maulik Pancholy. Photo: Joan Marcus.

The post ‘Grand Horizons’ a rare comic gem appeared first on StageZine.

‘TORCH SONG’: Ward Horton & Michael Urie. Photo: Matthew Murphy

TORCH SONG
Written by Harvey Fierstein
Directed by Moises Kaufman
Through February 24, 2019
The Helen Hayes Theater
240 West 44th Street
(212-239-6200),www.torchsongbroadway.com

By David NouNou

The original gay fantasia—set in the early 1970s and 1980s and every gay Jewish boy’s dream of being able to have the gorgeous hunk WASP lover and living happily ever after—is back. But as we all well know, that fantasy is not always the case even if we attain the unattainable. Originally known as Torch Song Trilogy, Harvey Fierstein wrote a play with a tailor-made role for himself. It was first produced Off-Off-Broadway, then moved to Off-Broadway at the Actors’ Playhouse, and finally came to Broadway in 1982 at the Little Theater, now the Helen Hayes, where it has landed in a most triumphant revival. Torch Song has come back home to its original theater with a shorter title and all the humor and pathos that made it a groundbreaking gay classic.

Upon second viewing what stands out the most is how pertinent and relevant the subject matter is now, even more so than it was in 1982. Back then, it had a certain voyeurism to gay culture and was titillating to see gay life explored so openly.

Act I entitled “International Stud” is set in a real backroom bar that existed in the ‘70s and ‘80s. We meet Arnold Beckoff or Virginia Hamm (Michael Urie), that being his drag name and a torch singer living in New York City. He encounters Ed (Ward Horton), the unattainable bisexual stud at the bar. He leaves with Ed and his real problems begin.

Act II, entitled “Fugue in a Nursery,” takes place three years later, 1974. Ed is with Laurel (Roxanna Hope Radja) and Arnold is invited by Laurel for a weekend in the country. Arnold is now with a former hustler, now model Alan (Michael Hsu Rosen). Needless to say, all that ensues is a kind of mixed doubles.

Act III “Widows and Children First” is the money-shot act and the most solid of all. It is now 1980 and we get to meet Mrs. Beckoff (Mercedes Ruehl), the role that was originated by Estelle Getty. It is here that we discover how the proverbial apple does not fall far from the tree. We learn about Arnold adopting an orphan, David (Jack DiFalco), and we find out that Ed has left his wife and is staying with Arnold. Most important is the battle royal that ensues between mother and son. Both have lost loved ones and both deal with their losses in different ways. Both demand love and respect on their own terms.

The third act shows how ahead of its time Torch Song really was. What we take for reasonable expectations now of having unattainable relationships and marriage, a family, and respect from loved ones was really once a fantasy. Although we have come a long way, certain dogmas remain constant.

Michael Urie has made the role of Arnold Beckoff his own. He has placed his own stamp and his own original contemporary take on Arnold. Mercedes Ruehl as his mother is electrifying. Their blow-up with each other is theater magic. Moises Kaufman’s direction gives the proceedings a feel of the present, although they are set in the not-so-distant past. The one flaw in this otherwise flawless revival is the casting of Jack DiFalco as the son David (who is supposed to be a 16-year-old teenager). This is the role that introduced the public to a young Matthew Broderick and later to Fisher Stevens; they were teenagers, Mr. DiFalco now is David. He is not a teen and does not even look like one. The head-scratcher here is didn’t anyone in casting or the production team see this as an obstacle? Regardless, Torch Song still holds up more than 36 years later as an epic of LGBTQ life that has a lot to say about sexuality, family, gender roles, love and acceptance to a new generation.

Edited by Scott Harrah
Published November 5, 2018
Reviewed at November 4, 2018 press performance.

‘TORCH SONG’: Mercedes Ruehl & Michael Urie. Photo: Matthew Murphy

‘TORCH SONG’: (left to right) Roxanna Hope Radja, Ward Horton, Michael Urie & Michael Hsu Rosen. Photo: Matthew Murphy

‘TORCH SONG’: Jack DiFalco & Michael Urie. Photo: Matthew Murphy

‘TORCH SONG’: Michael Urie. Photo: Matthew Murphy

‘TORCH SONG’: Michael Urie & Jack DiFalco. Photo: Matthew Murphy

‘TORCH SONG’: Mercedes Ruehl. Photo: Matthew Murphy

‘TORCH SONG’: Michael Urie. Photo: Matthew Murphy

The post ‘Torch Song’: Superb revival of LGBTQ classic appeared first on StageZine.

The newest flagship comedy web series, “What’s Your Emergency” will be premiering on January 27, directed by Michael Urie (“Ugly Betty,” Buyer & Cellar, “Partners”).  Created by and starring Ryan Spahn (Grantham & Rose and He’s Way More Famous Than You),) and Halley Feiffer (I’m Gonna Pray For You So Hard at Atlantic Theater Company, He’s Way More Famous Than You), “What’s Your Emergency” features a cast of beloved Broadway veterans including Sierra Boggess (It Shoulda Been You, The Little Mermaid, The Phantom of the Opera), Debra Monk (Curtains, Cat on a Hot Tin Roof, “Mozart in the Jungle”), and Reed Birney (I’m Gonna Pray For You So Hard, “House of Cards,” Casa Valentina) in a six-episode arc. Taking place in Hell, Michigan, the show chronicles the misadventures of the inept rescue workers of the town’s 911 call center. The show will also feature a slew of guest stars including Urie’s “Ugly Betty” costar America Ferrera, Alan Cumming, Lynn Cohen, Richard Kind, David Krumholtz, and Mike Sorrentino.

“Stage17 epitomizes the kind of creativity I want to be a part of: quick delightful escapes from the everyday, material that caters to an audience with a theatrical sensibility, and a platform that reaches everyone, anywhere,” said Michael Urie, director of ‘What’ s Your Emergency.’  “In working on ‘What’s Your Emergency,’ I found in Stage17 leadership, artistic support, and as an added bonus we had a lot of fun.  I’m excited to take this journey with Stage17 as they become a major player in the future of web based entertainment.”

Working with Broadway’s best and brightest, Stage17 produces scripted and unscripted programming that lives exclusively on the site and aggregates great content from around the web with a theatrical bent.  Stage17 also captures and licenses live theatrical performances including Broadway and Off-Broadway productions, concerts, and cabaret which will be available on-demand in 2015.

  “Stage17 is thrilled to bring a unique viewing experience of digital content to Broadway fans, whether it be captures of live stage performances or web series born from the minds of theatrical artists,” said Ondine Landa Abramson, President and Executive Producer of Stage17.  “By bringing unique entertainment sourced from the theatrical community, the diversity of content that we are able to provide viewers, all over the globe, is fresh and engaging.”

 Additional popular web series are returning with new episodes in 2015 include “Middle (St)age,” “Fan Fare,” and “Dress Up! with George B. Style.” Additional details can be found below on these specific programs and the full list of shows can be found at http://stage17.tv/collections.

Middle (St)age introduces us to the quirky and upbeat Marina, a 40-something Broadway veteran who uses her fictional vlog to chronicle the trials and tribulations of an aging ingénue… as soon as she can figure out where the “Record” button is.

 Fan Fare, hosted by SiriusXM Radio personality Julie James, reunites the cast and creatives behind beloved Broadway productions at the legendary Sardi’s Restaurant. Relive the magic of your favorite shows with the people who made them possible!

Dress Up! with George B. Style invites you to join some of Broadway’s most radiant stars as they prepare for glamorous galas and ritzy red carpets, under the guidance of celebrity stylist George Brescia (author of Change Your Clothes, Change Your Life published by Simon and Schuster) with expert fashion advice that is heartfelt, entertaining, and always en vogue.

What’s Your Emergency, produced by Stage17 in association with urmee entertainment and Soffer/Namoff Entertainment, chronicles the misadventures of the inept rescue workers of Hell, Michigan (yes, this is a real place) as they attempt to run the town’s 911 Call Center, and fail at every turn. The show is directed by Michael Urie.  “What’s Your Emergency” is executive produced by Ondine Landa Abramson, and produced by Geoff Soffer and Diana Basmajian (VP of Programming, Stage17.)

The complete cast includes: Ryan Spahn, Halley Feiffer, Reed Birney, Sierra Boggess, Debra Monk, Kevin Covert, Daoud Heidami, René Houtrides, Sekou Laidlow, Erin McCarson, and Mckean Rand.

ABOUT STAGE17

STAGE17.tv is a digital platform that bridges the gap between traditional theatre and new media. We collaborate with the best of Broadway to present new stories in new ways by curating and creating scripted and unscripted, fiction and nonfiction content. Stage17 also produces and distributes digital captures of live theatrical performances to bring Broadway and Off-Broadway to theatre fans everywhere. Stage17 was founded by Chairman David Stoller (Executive Chairman of Reach4Entertainment) and President and Executive Producer Ondine Landa Abramson.

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BUYER & CELLAR
Performed by Michael Urie
Written by Jonathan Tolins
Directed by Stephen Brackett
Barrow Street Theatre
27 Barrow Street
(212-868-4444), www.buyerandcellar.com

By Scott Harrah

As I was pondering the show and the various characters portrayed and mentioned in Jonathan Tolins’ Buyer & Cellar, what I found most remarkable about this solo work is Michael Urie (of “Ugly Betty” fame). Not only does he portray the struggling L.A. actor Alex More, but also his famous employer, Barbra Streisand.

Ms. Streisand has been mined for laughs before, but no one has ever satirized and simultaneously celebrated “Babs” quite like playwright Jonathan Tolins and Mr. Urie in Buyer & Cellar, which just re-opened in a new space, Barrow Street Theatre, after winning raves and a Drama Desk award at Rattlestick Theatre.

Renowned for her gorgeous voice and legendary Broadway and Hollywood roles, La Streisand wrote and took photos for a self-indulgent coffee-table book in 2010, My Passion for Design, chronicling how she had an underground shopping mall built beneath her Malibu estate, complete with stores for antiques, dolls, costumes, frozen yogurt and tchotchkes galore. The only customer at the mall is Babs herself, and this unbelievable real-life fact forms the basis for this hysterical show.

Mr. Urie’s Alex More has just been let go from a job at Disneyland and lands a gig working in Barbra’s basement mall.  Of course, the story is complete fiction, and mostly an excuse for the engaging actor to keep us entertained for 95 minutes with laugh-out-loud jokes about everything from the megastar’s perfectly manicured fingernails to her coming to terms with her feelings about growing up as an “ugly duckling” in Brooklyn.

The first half of the show is spot-on, particularly a scene in which Ms. Streisand haggles with her employee over an item she already owns.  One doesn’t even need to be a Babs fan to find Mr. Urie’s descriptions of plot details of the star’s less-than-stellar films (like The Mirror Has Two Faces) amusing.

However, as expected, the humor (a barrage of Barbra tales and gay and Jewish witticisms) wears thin towards the end of the show, and a subplot about Alex’s boyfriend often seems like filler.

Buyer & Cellar is, first and foremost, an excuse to marvel at the effervescent stage presence and theatrical gifts of Michael Urie.  Stephen Brackett’s direction is mostly focused and well-paced, even when Mr. Tolins’ script seems to wander.  Mr. Urie is so riveting as a performer that one easily overlooks the small holes in the story.

TOUR DE FARCE: Michael Urie is brilliant portraying a struggling actor, a megastar & more in ‘Buyer & Cellar.’ Photo: © Sandra Couder

Edited by Scott Harrah
Published June 24, 2013
Reviewed at press preview on June 23, 2013

The post Solo take on Streisand tale is spot-on appeared first on StageZine.