‘BORN TO ENTERTAIN’: (left to right) Peter Land, Tori Murray & Kim Maresca in ‘Ruthless!’ Photo: Carol Rosegg

RUTHLESS! THE MUSICAL
Book and lyrics by Joel Paley
Music by Marvin Laird
Directed by Joel Paley
St. Luke’s Theatre
308 West 46th Street, (212-362-2590)
http://www.ruthlessthemusical.com

By Scott Harrah

Good parodies of show business are rare, but one of the best is Joel Paley and Marvin Laird’s 1992 Off-Broadway cult classic Ruthless! The Musical, now playing in an open run at St. Luke’s after its hit cabaret-style revival at Stage 72/The Triad last year.

The show played in various venues nationwide, but has attracted press attention over the years because of the famous names that performed in the original. Back in 1992, a then unknown Laura Bell Bundy played the lead role of 8-year-old Tina Denmark (with young Britney Spears and Natalie Portman as understudies). Fast forward 23 years later to this current revival, with 10-year-old Tori Murray as Tina.

Ruthless! The Musical makes winking, hysterical nods to every campy movie and musical ever made and more. Loosely based on such films as The Bad Seed and All About Eve, and the musicals Gypsy and Mame, the story centers on Tina Denmark and her perfect, Stepford Wife-like mother Judy (Kim Maresca, wonderfully reprising the role from last year). When Tina yearns to try out for the lead in the upcoming school play Pippi in Tahiti, the conniving talent agent Sylvia St. Croix (the terrific Peter Land) mysteriously arrives, insisting on representing the overzealous kid.

Tina will do anything to play Pippi Longstocking and wear the character’s demented red pigtail wig, but she is devastated when spoiled brat Louise Lerman (Tracy Jai Edwards) is cast instead, and poor Tina must play Pippi’s dog. Sylvia convinces the play’s director, third-grade teacher Miss Thorn (Andrea McCullough), to let Tina be Louise’s understudy. One can imagine what happens next as Tina, modeled after Rhoda Penmark in The Bad Seed, plans to be the one and only star of the show. Yes, the plot is predictable, but that is all part of the fun. There are too many great one-liners to mention (and doing so would be a spoiler anyway).

The brassy Rita McKenzie, as Judy’s mother Lita Encore, a bitchy theater critic, is one of the show’s highlights, particularly when she hams it up in the rousing number “I Hate Musicals,” channeling Ethel Merman.

Book and lyric writer Joel Paley jabs the satirical needle into every show-biz reference imaginable, making Ruthless! The Musical a must-see. (Mr. Paley actually makes a goofy cameo toward the end.)

For those who caught last year’s edition, the latest incarnation of Ruthless! has some fun changes. Peter Land, with his native Brit accent, gives Sylvia the perfect mix of elegance and bitchiness. Mr. Land’s comic timing is flawless. In addition, Tori Murray plays Tina with a winning combination of sweetness and malevolence. Miss Murray is so adorable and innocent-looking that her character’s disturbing arc is all the more shocking.

Kim Maresca is also especially noteworthy as Judy Denmark, Tina’s mom. The show is as much about Judy as it is Tina’s vehicle, and Ms. Maresca has really blossomed as an actress since last year. Ms. Maresca is in fine voice here, and her delivery of the show’s one-liners (particularly in the opening scenes) is impeccable.

Now that Ruthless! has returned to the New York stage, it would be negligent for any critic to not mention that some of the scenes toward the end of this scaled-down 90-minute show (originally performed as two acts in 1992) could probably be cut to make things more streamlined and even funnier. However, despite the show’s minor flaws, the cast is superb, and all are great singers. This self-proclaimed “Stage Mother of All Musicals” is wickedly hysterical, lighthearted summer fare that anyone into camp and parodies of old Hollywood will not want to miss.

TALENT’S ALL IN THE FAMILY: (left to right) Peter Land, Tori Murray & Kim Maresca. Photo: Carol Rosegg

‘RUTHLESS!’ PEOPLE: (left to right) Kim Maresca, Peter Land & Rita McKenzie in ‘Ruthless!’ Photo: Carol Rosegg

Edited by Scott Harrah
Published July 13, 2015
Reviewed at press preview performance on July 9, 2015

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TALENT’S ALL IN THE FAMILY: Kim Maresca & Sophia Anne Caruso in ‘Ruthless! The Musical.’ Photo: Jessica Fallon Gordon Photography.

RUTHLESS! THE MUSICAL
Book and lyrics by Joel Paley
Music by Marvin Laird
Directed by Joel Paley
Produced by Maxine Paul and Dragotta/Schurr
October 23, 2014 to November 29, 2014
Stage 72/The Triad
158 West 72nd Street, (212-362-2590)

http://ruthlessthemusicalattriad.brownpapertickets.com/

By Scott Harrah

Good parodies of show business are rare, but one cannot find a better one than Joel Paley and Marvin Laird’s 1992 Off Broadway cult classic Ruthless! The Musical, now enjoying a brief cabaret-style revival at Stage 72/The Triad (a benefit for Broadway Cares/Equity Fights AIDS).

The show played in various venues nationwide, but has attracted press attention over the years because of the famous names that performed in the original. Back in 1992, a then unknown Laura Bell Bundy played the lead role of 8-year-old Tina Denmark (with young Britney Spears and Natalie Portman as understudies). Fast forward 22 years later to this current revival, with 12-year-old Sophia Anne Caruso as Tina. Remember the name because Miss Caruso, with her wholesome looks, lush singing voice and over-the-top acting style, may one day be as famous as any of the aforementioned boldface names.

Ruthless! The Musical makes winking, hysterical nods to every campy movie and musical ever made and more. Loosely based on such films as The Bad Seed and All About Eve, and the musicals Gypsy and Mame, the story centers on Tina Denmark and her perfect, Stepford Wife-like mother Judy (Kim Maresca). When Tina yearns to try out for the lead in the upcoming school play Pippi in Tahiti, the conniving talent agent Sylvia St. Croix (the marvelous Marvin Laird, in full Bob Mackie drag, who also doubles as pianist) mysteriously arrives, insisting on representing the overzealous kid.

Tina will do anything to play Pippi Longstocking and wear the character’s demented red pigtail wig, but she is devastated when spoiled brat Louise Lerman (Delaney Arizala) is cast instead, and poor Tina must play Pippi’s dog. Sylvia convinces the play’s director, third-grade teacher Miss Thorn (Katie Sparer), to let Tina be Louise’s understudy. One can imagine what happens next as Tina, modeled after Rhoda Penmark in The Bad Seed, plans to be the one and only star of the show. Yes, the plot is predictable, but that is all part of the fun. There are too many great one-liners to mention (and doing so would be a spoiler anyway).

The brassy Rita McKenzie, as Judy’s mother Lita Encore, a bitchy theater critic, is one of the show’s highlights, particularly when she hams it up in the rousing number “I Hate Musicals,” channeling Ethel Merman. There are also some fine dual performances from Ms. Arizala as Louise Lerman/Eve and Ms. Sparer as Miss Thorn/Emily Block.

Look also for an amusing cameo by Lynn Cohen (Magda on TV’s “Sex and the City”) as a Judge Judy character in a taped segment projected on the stage.

Book and lyric writer Joel Paley jabs the satirical needle into every show-biz reference imaginable, making Ruthless! The Musical a must-see. (Note: Mr. Paley will be playing the role of Tina in upcoming performances.)

The show has announced a new extension, so get your tickets while you still can to this self-proclaimed “Stage Mother of All Musicals.”

Editor’s Note: Ruthless! The Musical returns October 23, 2014 to November 29, 2014. Check website at http://ruthlessthemusicalattriad.brownpapertickets.com/ for tickets and show times.

‘RUTHLESS RIVALS’: Delaney Arizala & Sophia Anne Caruso. Photo: Jessica Fallon Gordon Photography

SYLVIA ST. CROIX: Marvin Laird in ‘Ruthless! The Musical.’ Photo: Jessica Fallon Gordon Photography

‘RUTHLESS!’ PEOPLE: Cast with Sophia Anne Caruso (center) & (left) book & lyric writer Joel Paley. Photo: Jessica Fallon Gordon Photography

Edited by Scott Harrah
Published September 10, 2014
Reviewed at press performance September 8, 2014

The post ‘Ruthless! The Musical’ is hilarious spoof appeared first on StageZine.

PAGEANT: THE MUSICAL
Book & lyrics by Billy Russell & Frank Kelly
Music by Albert Evans
Original concept by Robert Longbottom
Directed by Matt Lenz
Davenport Theater
354 West 45th Street
212-239-6200, www.PageantMusical.com

If you are old enough (or were fortunate enough) to have watched the Miss America Pageants of the 1960s or 1970s, in the days when the shows and the girls weren’t as high-tech and polished as today’s pageants, when their smiles were pasted on, their talents reeked in the cheese factor, and the contestants took themselves too seriously and believed in world peace, you’ll howl in recognition at this satire that is spot on in every aspect.Whether you watch Miss America, Miss USA or Miss Universe, today’s pageants are so slick and the women are so overtrained that the only joy comes in the final round when the five finalists have to answer a final question, and we watch in sadistic glee to see which girl answers her question miserably and become a sensation over the Internet or the punch line of every late-night  TV talk-show host.

Believe it or not, there were gentler times, when the girls were wide-eyed and naïve enough to believe that the next girl crowned would bring about world peace.I must admit that, even at a young age, I had a penchant for all three pageants and still do. In the 60s and 70s, my least favorite of the three was Miss America because of the talent portion. They used to seem interminable and dreary. It wasn’t till the 90s, when a friend gave me some vintage Miss America tapes starting in 1958, with the crowning of Mary Ann Mobley until 1970, with the crowning of Phyllis George, did I realize what a treasure trove of pure crap was captured, preserved and passed off as talent. The talent didn’t just consist of singing and some form of dance as is the fashion today, but the girls were actually inventive and imaginative in their creativity. Talent ranged from archery to sewing and ventriloquism and everything in between; and if a girl lacked talent, there was always the old standby, the monologues. They were priceless, if for no other reason than the conviction of the delivery, and if that didn’t work, there was another standby, “interpretive dance,” in some absurd costume.

Well, fret no more because Bill Russell and Frank Kelly have captured every one of those dreadful, tacky presentations and more in this revival. They have distilled it to 90 minutes of rapturous joy. Starting with the wonderful emcee, John Bolton, giving a performance that is making Bert Parks (who was the host of Miss America for 25 years) beam in his grave. Mr. Bolton gives the embodiment of every self-satisfied host who thinks he’s presiding over NATO peace talks. The six contestants competing for Miss Glamouress are absolutely sublime. In no particular order, I’ll just give their region and talent, for the rest you’ll just have to go see the show and savor every moment: Nick Cearley (Miss Great Plains), a serious Native American monologue/dance in full regalia, an absolute howl; Nic Corey (Miss Industrial Northeast) playing the accordion, a stereotypical Latina Princess replete with accent; Alex Ringler (Miss Texas), you guessed it, singer, rodeo dancer, and skips rope; Marty Thomas (Miss Deep South), a ventriloquist with multiple puppets and voices, so spot on I was left breathless with laughter,  Seth Tucker (Miss West Coast), embodiment of every awful interpretive dance performance; and finally, Curtis Wiley (Miss Bible Belt; the title says it all with a show-stopping number.) Pity there was no baton twirler that always brought the house down. Every performance is different because audiences members selected as “guest judges” get to choose the winner.

There are two more things Pageant: The Musical possesses: great costumes by Stephen Yearick that captures every aspect and section of the competition; and Matt Lenz, who brought the whole show together in a tight, effective and enjoyable evening. You don’t have to be an expert in beauty pageants to enjoy this show. All you need is a sense of humor and the ability to appreciate wonderful satire.

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