‘SIX’: (Left to right) Abby Mueller (Jane Seymour), Samantha Pauly (Katherine Howard), Adrianna Hicks (Catherine of Aragon), Andrea Macasaet (Anne Boleyn), Brittney Mack (Anna of Cleves), & Anna Uzele (Catherine Parr). Photo: Joan Marcus.

SIX
Written by Toby Marlowe & Lucy Moss
Directed by Lucy Moss & Jamie Armitage
Choreography by Carrie-Anne Ingrouille
Brooks Atkinson Theatre
(877-250-2929), sixonbroadway.com

By David NouNou

Broadway has reopened with a lot of fanfare and shows announcing at the onset “we’re reopening Broadway.” Most of the reopening shows are musicals that have survived the Broadway closure of 19 months, and new shows that have opened are the proverbial canaries that are sent down the coalmine to see if it’s safe. Ironically, the show that was ready to open the night Broadway totally shut down back in March 2020 was Six. So, the only show that has the right to claim “Broadway has officially reopened” is Six. It has definitely been worth the wait.

Here is an original musical that I had the great pleasure to see in June 2019 in London with my partner. My first thought back then was that it would be a crime if this show didn’t transfer to Broadway, to which my partner replied “would it be as meaningful to American audiences as it is in Britain?” Let me give you a resounding yes. Never has English history been as entertaining as is demonstrated in Six. It does for the history of the House of Tudor and the British throne what Hamilton did for American history—it actually makes history fun. This is no easy task in 2021, a time when some know very little about world history prior to the year 2000, let alone the 1500s. Six entices younger generations, weaned on social media and memes for most of their information, to turn off their smartphones for 90 minutes, experience live theater and learn about the past. It is also pure joy for audiences of all ages—a life-affirming, colorful tonic bringing hope and light to a city and world just now coming back after nearly two years of a bleak, dark pandemic.

Written by Toby Marlowe and Lucy Moss, the premise is which of Henry VIII’s wives had the worst lot in life being married to Henry as illustrated in the brilliant opening number “Divorced, Beheaded, Survived.” This song sets the tone and the mood that is about to unfold. There is Catherine of Aragon (Adrianna Hicks), divorced; Anne Boleyn (Andrea Macasaet), beheaded; Jane Seymour (Abby Mueller),  died of complications from childbirth; Anna of Cleves (Brittney Mack), survived; Katherine Howard (Courtney Mack), beheaded; and finally, Catherine Parr (Anna Uzele); survived.

The score is an absolute delight from The Queens’ opening “Ex-Wives” to their closing number “Six.” The sound and rhythm are both so infectious and reminiscent of the 1990s “girl power” pop group The Spice Girls, but with better voices, singing and dancing. The choreography by Carrie-Anne Ingrouille and direction by Lucy Moss and Jamie Armitage both constantly keep the queens on the move and the action never lags.

Not since Moulin Rouge has there been such exquisite costumes (Gabriella Slade) and brilliant lighting (Tim Deiling) on Broadway. Though not as epic, but still eye-popping and visually appealing. The Ladies in Waiting consists of an all-female band with a sound that makes it hard to sit still in your seat.

The six queens are all brilliant with their own unique individual identity, so it is difficult and unfair to single out one over the other. They all deserve equal kudos and all have rich, vibrant voices and effervescent stage presences. Toward the end of the show, the question is asked what was so great and memorable about Henry VIII? Let me end it with these Six exquisite queens. Long may they reign on Broadway.

Edited by Scott Harrah
Published October 7, 2021
Reviewed at October 6, 2021 press performance.

‘SIX’: Adrianna Hicks (Catherine of Aragon, center) with (left to right) Brittney Mack (Anna of Cleves), Andrea Macasaet (Anne Boleyn), Anna Uzele (Catherine Parr), & Samantha Pauly (Katherine Howard). Photo: Joan Marcus.

‘SIX’: (Left to right) Samantha Pauly (Katherine Howard), Abby Mueller (Jane Seymour), Anna Uzele (Catherine Parr), Brittney Mack (Anna of Cleves), Andrea Macasaet (Anne Boleyn), & Adrianna Hicks (Catherine of Aragon). Photo: Joan Marcus.

‘SIX’: Abby Mueller (Jane Seymour). Photo: Joan Marcus.

‘SIX’: Brittney Mack (Anna of Cleves, center) with (left to right) Anna Uzele (Catherine Parr), Abby Mueller (Jane Seymour), Andrea Macasaet (Anne Boleyn), & Adrianna Hicks (Catherine of Aragon). Photo: Joan Marcus.

‘SIX’: Samantha Pauly (Katherine Howard, center) with (left to right) Adrianna Hicks (Catherine of Aragon), Andrea Macasaet (Anne Boleyn), Brittney Mack (Anna of Cleves), & Anna Uzele (Catherine Parr). Photo: Joan Marcus.

‘SIX’: Anna Uzele (Catherine Parr, center) with (left to right) Adrianna Hicks (Catherine of Aragon), Andrea Macasaet (Anne Boleyn), Abby Mueller (Jane Seymour), Brittney Mack (Anna of Cleves) & Samantha Pauly (Katherine Howard). Photo: Joan Marcus.

The post Long live the ‘Six’ queens appeared first on StageZine.

‘HARRY POTTER AND THE CURSED CHILD’: Poppy Miller & Jamie Parker. Photo: Manuel Harlan

HARRY POTTER AND THE CURSED CHILD
A new play by Jack Thorne
Based on an original story by J.K. Rowling, Jack Thorne & John Tiffany
Directed by John Tiffany
Lyric Theatre
214 West 43rd Street
877-250-2929, https://www.harrypottertheplay.com/

Editor’s Note: The following review is of the original two-part show.  The show was condensed into one show in fall 2021.

By Scott Harrah

Harry Potter and the Cursed Child: Parts One and Two is a Broadway blockbuster of a different type. It is groundbreaking like Hamilton and Book of Mormon, but as a play, not a musical, and an epic two-part show like Angels in America. It will always be known as the theatrical masterpiece that redefined how high-tech special effects should be done for the stage, but it is not merely a tour de force because of a bag of Broadway magic tricks. This is a classic saga of parents and children and the things in life threatening to tear them apart.

The show’s total price tag is a reported $68 million, and one knows no expense was spared from the moment upon arriving at the Lyric Theatre, which has been totally renovated to evoke the Harry Potter experience along with the grandeur of venerable British theaters in London.

Playwright Jack Thorne, director John Tiffany and creative genius J.K. Rowling have beautifully pulled off what might seem like an impossible task. They have taken beloved characters from Ms. Rowling’s popular franchise of books and films and created a stage book that is accessible to everyone, including “Muggles” (like this reviewer) who have never read the books or seen the Hollywood movie adaptations.

One doesn’t need to know anything about Ms. Rowling’s world of wizards and magic to appreciate, savor and enjoy nearly six hours of superlative acting, innovative special effects that never fail to amaze while propelling the story forward, and this touching tale of Harry Potter (Jamie Parker) as a 37-year-old father to Albus (Sam Clemmett). The saga is less about Harry Potter and more about the expectations and problems his son encounters as well as their complicated relationship.

Harry Potter, now nearing middle age, is married to wife Ginny (Poppy Miller) and working for the Ministry of Magic with old friend Hermione Granger (Noma Dumezweni). The story opens in London’s Kings Cross Station as parents bid farewell to their children about to depart on a train to Hogwarts. Also on the train platform is Harry’s old nemesis Draco Malfoy (Alex Price) and his blond-haired lookalike son Scorpius (Anthony Boyle).

As Albus enters his first year at Hogwarts, he’s anxious having to follow in his famous father’s footsteps. The crux of the story is the growing friendship between Harry’s son Albus and Draco’s son Scorpius; particularly tricky and troublesome since their fathers were once archenemies.

To give too much of the plot away would be criminal because the true thrill of both shows is experiencing the myriad surprises, both from the play itself and the mind-blowing special effects. Suffice it to say, movement director Steven Hoggett, set designer Christine Jones, lighting designer Neil Austin, sound designer Gareth Fry, Illusions & Magic designer Jamie Harrison and countless other technical “wizards” transport us through J.K. Rowling’s vivid, imaginative world with characters and creatures that soar through the air with not a wire in sight—and so much more.

Ultimately, however, it’s not the technical spectacle of Harry Potter and the Cursed Child that moves audiences (though it’s all magical and a gorgeous visual feast yet is unobtrusive enough to never overshadow the material). Despite all the blazing fires and wild sets, what is truly timeless here and profoundly touching is the ongoing theme. The saga is about the consequences for children when parents are physically and emotionally absent.

Director John Tiffany (best known on Broadway for the ingenious reimagining of Tennessee Williams’ The Glass Menagerie in 2013 and his Tony Award-winning direction of Once in 2012) extracts exceptional performances from the entire cast. The standouts: Jamie Parker is consistently engaging as Harry, a father who is distraught about everything his son is experiencing. Noma Dumezweni, as Hermione Granger, is sheer perfection, from her imposing presence to her rapid-fire delivery of dialogue. Eclipsing everyone, however, are the two young actors portraying the prodigal sons. Sam Clemmett as Albus Potter never fails to pack an emotional wallop. Anthony Boyle gives the most richly textured and deeply nuanced performance, and he’s a show-stealer every moment he’s on the stage.

Even without all the visual technical filigree, Harry Potter and the Cursed Child is worth the expensive (and hard to get) ticket price alone for the elegant dialogue, the seamless scene set-ups and the consummate performances that drive the action to the finish line with a glorious message about good triumphing over evil and the power of love between parents and their children.

Edited by Scott Harrah
Published April 30, 2018
Reviewed at April 28, 2018 press performance.

‘HARRY POTTER AND THE CURSED CHILD’: Brian Abraham & company. Photo: Matthew Murphy

‘HARRY POTTER AND THE CURSED CHILD’: Brian Abraham. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: The company. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: The cast. Photo: Matthew Murphy

‘HARRY POTTER AND THE CURSED CHILD’: Jamie Parker. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: Sam Clemmett, Brian Abraham & Anthony Boyle. Photo: Matthew Murphy

‘HARRY POTTER AND THE CURSED CHILD’: Jamie Parker & Alex Price. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: Jamie Parker & Sam Clemmett. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: Edward James Hyland, Sam Clemmett & Anthony Boyle. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: Jamie Parker. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: The cast. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: The company. Photo: Manuel Harlan

‘HARRY POTTER AND THE CURSED CHILD’: Noma Dumezweni & David St. Louis. Photo: Manuel Harlan

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‘TRAVESTIES’: Tom Hollander. Photo: Joan Marcus

TRAVESTIES
Written by Tom Stoppard
Directed by Patrick Marber
Through June 17, 2018
American Airlines Theatre
227 West 42nd Street
(212-719-1300), www.RoundaboutTheatre.org

By Scott Harrah

Tom Stoppard’s highbrow plays are often an acquired taste, and that’s certainly the case with this well-done revival of Travesties, his 1974 comedy about an eccentric British consulate official living in Zurich, Switzerland in 1917 during World War I and how he socializes with Irish writer James Joyce, Dada poet Tristan Tzara and Communist revolutionary Lenin.

This tale of spies, revolutionaries, artists, refugees and intellectuals is not an easy show to sit through, which is why the Playbill contains a two-page guide to 1917 Zurich with bullet points about Lenin, the poet Tzara, Joyce and Englishman Henry Carr. If you go, definitely peruse the guide before the show starts to comprehend the background of 1917 Zurich, an oasis of neutrality and peace surrounded by Europe at war.

If one can get past the convoluted and confusing narrative, Travesties has a lot going for it, including exquisite performances from a gifted ensemble, clever sets and costumes by Tim Hatley and Mr. Stoppard’s witty, crisp, erudite dialogue.

Tom Hollander portrays Henry Carr, a wacky British fop who narrates the show. At times, Mr. Hollander’s flamboyant stage presence may remind one of Bravo’s Andy Cohen or Leslie Jordan (Beverly Leslie on “Will and Grace”). Henry goes back and forth in the show from an old man to his younger self, discussing his experiences with James Joyce (Peter McDonald), poet Tristan Tzara (Seth Numrich) and Lenin (Dan Butler) . The young version of Henry squabbles with James Joyce (Peter McDonald) over money for clothes for a production of Oscar Wilde’s The Importance of Being Earnest.

The story centers on Henry’s insights about Joyce and two other major intellectuals in Zurich circa 1917: Lenin in the days before the Russian revolution and Tristan Tzara, the Romanian radical poet who helped found the “anti-art” movement Dada in Zurich’s Cabaret Voltaire club. Tzara says he is “the natural enemy of bourgeois art and the natural ally of the political left.”

Other figures include Bennett (Patrick Kerr) as Henry’s loyal servant, a man happy to deliver highlights of the daily news with a definite opinion about current events, from turmoil in Russia to insights about the art world. Gwendolen (Scarlett Strallen) is Henry’s beautiful blonde sister who is helping Joyce research and transcribe his magnum opus Ulysses. She falls in love with Tzara because she feels she’s destined to be with a poet. Cecily (Sara Topham), a Zurich librarian, likes to study poets and writers based on alphabetical order and works with Lenin on a book about imperialism, but later has romantic designs on Henry. Nadya (Opal Alladin) is Lenin’s dour wife, and grows increasingly frustrated as revolution breaks out back in Russia.

Making sense of everything, from the dialogue to the rambling narrative, can be a chore, and Act II does not flow as easily as Act I. Fortunately Patrick Marber directs the cast with breezy precision and gets entertaining, jaunty performances from the actors. Standouts include the sprightly Seth Numrich as Tristan Tzara (he has come a long way as an actor since he was in War Horse at Lincoln Center). Mr. Numrich exudes endless charm and plays the Dada poet with farcical zeal. Two women in particular, Ms. Topham and Ms. Strallen, hold their own brilliantly against the male characters. Mr. McDonald as Joyce, Dan Butler as Lenin and Patrick Kerr as Bennett are all superb.

Travesties is not for everyone, but Stoppard fans and anyone intrigued by European history and intellectuals and political theories of the early 20th century will find plenty of cerebral fodder to savor.

Edited by Scott Harrah
Published April 27, 2018
Reviewed at April 26, 2018 press performance.

‘TRAVESTIES’: (left to right) Patrick Kerr, Scarlett Strallen, Dan Butler, Seth Numrich, Opal Alladin, Peter McDonald, Sara Topham & Tom Hollander. Photo: Joan Marcus

‘TRAVESTIES’: (left to right) Seth Numrich & Sara Topham. Photo: Joan Marcus

‘TRAVESTIES’: Peter McDonald, Tom Hollander, Scarlett Strallen & Sara Topham. Photo: Joan Marcus

‘TRAVESTIES’: (left to right) Dan Butler, Opal Alladin & Tom Hollander. Photo: Joan Marcus

‘TRAVESTIES’: Sara Topham & Tom Hollander. Photo: Joan Marcus

‘TRAVESTIES’: Tom Hollander. Photo: Joan Marcus

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JERRY SPRINGER—THE OPERA
Music & lyrics by Richard Thomas
Book & additional lyrics by Stewart Lee & Richard Thomas
Choreography by Chris Bailey
Directed by John Rando
The New Group at the Pershing Square Signature Center
The Romulus Linney Courtyard Theatre
480 West 42nd Street, (212) 279-4200
www.thenewgroup.org

By Scott Harrah

Jerry Springer—The Opera was originally produced in Britain back in 2003 and received an Olivier for Best Musical. Other than a two-day concert staging at Carnegie Hall a decade ago, this profane, sung-through parody of the infamous tabloid TV talk has been absent from the New York stage until now. It’s certainly been worth the wait because this off-Broadway production is original and marvelously entertaining.

Some of the subject matter—from tap-dancing Ku Klux Klansmen to strippers, a transgender tramp and a man with a diaper fetish—was probably shocking 15 years ago, but not in modern-day America, with the wackiness of Washington and our reality TV star president giving us a daily dose of surrealistic news that is more bizarre than anything on Jerry Springer’s show.

Theater veterans Terrence Mann as Jerry Springer, and Will Swenson as his Warm-Up Man, play the leads with comic precision. Act I is basically a musical version of over-the-top staples from Springer’s show: a man, Dwight (Luke Grooms) cheating on his fiancé, Peaches (Florrie Bagel) with her best friend, Zandra (Beth Kirkpatrick) and a midriff-bearing transsexual, Tremont (Sean Patrick Doyle). There’s also a redneck, Chucky (Nathaniel Hackmann) and his wife Shawntel (Tiffany Mann), a woman with dreams of becoming a pole dancer. Plus, a man in a diaper and his girlfriend, a character called Baby Jane (Jill Paice), and more.

F-bombs abound in the numerous hilarious songs written and composed by Richard Thomas, from “Talk to the Hand” and “Mama Gimme Smack” to “Put Your F***in’ Clothes On.” Act I breezes by with scatological glory, but just like watching an episode of Springer’s show, the shock value eventually wears thin by Acts II and III. These later acts of the musical are set in Purgatory and Hell, with Mr. Swenson doubling as Satan himself. Of course, there are characters poking fun at Jesus and the Virgin Mary with blasphemous zeal. After the seamless first act, the show unravels a bit and makes little sense, but it’s all so much fun that one doesn’t mind. Just enjoy the insane ride.

Why did it take so long for Jerry Springer—The Opera to arrive on this side of the Atlantic? Who knows. The British invented the tabloid press and nurtured the concept of reality TV long before us, so perhaps one could say the U.K. has a bigger appetite and appreciation for “schlock” than America.

Theater purists and the easily offended may argue that Richard Thomas and Stewart Lee’s creation simply wasn’t good enough for a mainstream U.S. production, but it must be noted they wrote this foul-mouthed “opera” eight years before the derisive, impudent Book of Mormon became a phenomenon. For this fact alone, the show was ahead of its proverbial time.

There are numerous standouts, especially Terrence Mann as Jerry Springer and Will Swenson as Warm-Up Man/Satan. The cast is uniformly superb, with strong and melodic voices. In particular, Tiffany Mann as Shawntel is in especially fine voice doing her show-stopper “I Just Wanna Dance.” Tony winner John Rando directs all the insanity with amazing precision, and that’s no easy task in a small venue with a 17-member cast in a production as ambitious as this, with performances that are consistently and beautifully outrageous in all the right places.

Edited by Scott Harrah
Published February 25, 2018
Reviewed at February 24, 2018 performance.

‘JERRY SPRINGER: THE OPERA’: Will Swenson & Terrence Mann. Photo: Monique Carboni

‘JERRY SPRINGER: THE OPERA’: Tiffany Mann. Photo: Monique Carboni

‘JERRY SPRINGER-THE OPERA’: (left to right) Terrence Mann & Jill Paice & cast. Photo: Monique Carboni

‘JERRY SPRINGER-THE MUSICAL’: Terrence Mann (far left) & cast. Photo: Monique Carboni

‘JERRY SPRINGER-THE OPERA’: Nathaniel Hackmann, Tiffany Mann & (top right) Billy Hepfinger. Photo: Monique Carboni

‘JERRY SPRINGER-THE OPERA’: (left to right) Florrie Bagel, Luke Grooms & Terrence Mann. Photo: Monique Carboni

“JERRY SPRINGER-THE OPERA’: Jill Paice (center) & cast. Photo: Monique Carboni

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