Reviews

As a Broadway enthusiast, I was thrilled to finally catch my first-ever Forbidden Broadway show, and let me tell you, Merrily We Stole a Song did not disappoint! This satirical revue had me digging deep into my old Broadway trivia trove, as it pulled some hilariously dated yet spot-on references that had me in stitches.

From the moment the curtain rose, I was overwhelmed by the sheer talent on stage. The cast of five was nothing short of exceptional, with four of them showcasing an uncanny ability to impersonate multiple Broadway stars. Their transformations into various theater luminaries were truly impressive, capturing the essence of each performer with remarkable accuracy.

The show's ability to stay current was impressive. They managed to parody Cynthia Erivo's Elphaba and Audra McDonald's Gypsy before their official debuts, which was a real treat for us theater nerds. Speaking of which, the Audra McDonald bit was hands-down my favorite part of the evening – it had me in tears!

Gerard Alessandrini's sharp wit was on full display as the revue took aim at recent Broadway hits and misses. From Hell's Kitchen to Stereophonic, The Outsiders to The Great Gatsby, no show was safe from their clever jabs. Even Back to the Future and The Wiz got their fair share of ribbing. The sendups of Broadway darlings like Roger Bart, Daniel Radcliffe, Ariana DeBose, and Jeremy Jordan were spot-on and had the audience in stitches.

One of the highlights was their take on the 2024 Tony Awards®, which perfectly captured the essence of the ceremony while playfully poking fun at its quirks. The inclusion of selections from "Forbidden Sondheim" was a delightful nod to the legendary composer and lyricist.

The pacing of the show was relentless, with pointed parodies flying at a dizzying speed. It's a testament to the cast's talent that they could switch characters and musical styles so seamlessly. Their ability to mimic the mannerisms and vocal quirks of Broadway's biggest stars was truly impressive.

While I thoroughly enjoyed the show, I must admit I was a bit disappointed that there were no playbills available yet, as this was an early preview. As a memorabilia collector, I always look forward to adding a new playbill to my collection, so this was a minor letdown in an otherwise fantastic evening.

Nevertheless, Forbidden Broadway: Merrily We Stole a Song is a must-see for both seasoned theatergoers and Broadway newbies alike. It offers a fresh, hilarious take on the shows and stars we love, leaving you with a newfound appreciation for the Great White Way – and a serious case of the giggles. This Tony Award®-winning revue proves that, even after 40 years, there's still plenty of material to mine from the world of musical theater.

Remember those cartoons you binged after school? They're back, with jazz hands. A Fairly Odd Musical crash-lands at the Jerry Orbach Theater, serving up a heaping helping of early 2000s nostalgia with a side of audience participation.

Picture this: Timmy Turner, complete with pink hat and buck teeth, wishes for a fancy new streaming service. Plot twist – it's packed with reboots so terrible, they'd make your childhood self cry. Cue a wild romp through TV land to save entertainment as we know it. Oh, and there's singing. Lots of singing.

The show's secret weapon? You. That's right, the audience gets to play puppet master, voting on which reboot disasters Timmy visits next. It's like Choose Your Own Adventure, but with more autotune.

Now, let's talk villains. Mr. Crocker from A Fairly Odd Musical and Dr. Doofenshmirtz from "Phineas and Ferb" show up to chew scenery and take names. Their banter's so sharp it could cut glass, whether you know these baddies or not. Props to Clay Webb as Crocker – dude handled a rebellious audience volunteer like a comedy ninja.

Music-wise, it's catchier than it has any right to be. Callahan Gillispie as Timmy's got pipes that could wake the dead (in a good way). The rest of the cast holds their own, belting out tunes that'll stick in your head for days.

But here's the rub – when the show strays from its main plot, things get weird. And not always the good kind of weird. We're talking "Shaggy as a cult leader" levels of bizarre. Some bits land like a perfect high-five, others fall flatter than a pancake in a cartoon anvil factory.

Fair warning: if you're not fluent in 2000s cartoon lore, you might feel like you're watching in a foreign language. The show throws around obscure references like confetti, leaving some of us scratching our heads. (Did you know Mr. Crocker's first name is Denzel? Me neither.)

Despite its quirks, A Fairly Odd Musical mostly sticks the landing. It's a bit like a sugar rush – fun while it lasts, but you might crash halfway through Act Two. With some trimming, this could be a lean, mean, nostalgia machine.

Bottom line: If you can quote Fairly OddParents in your sleep, you'll be grinning like the Cheshire Cat. For the rest of us, it's a wacky window into Gen Z's cartoon obsessions. Just don't blame me if you leave humming about fairy godparents.

This afternoon I saw the riveting and somewhat mysterious play Tight Five, about a struggling stand-up comedian who receives a terminal diagnosis giving her weeks to live, just as a stranger comes into her life, promising her the world, and to make the most of her life, or at least what’s left of it. Works about death intrigue me, so I jumped at the chance to see it, and squeeze it into my busy schedule.

All of the performers in the production were truly exceptional, but the standout star undoubtedly was Jennifer Downes, who managed to captivate my attention right from the very first scene. Her portrayal was not just convincing but absorbing throughout the entire performance. Despite a slightly hurried conclusion, I found her character’s decisions to be profoundly authentic. More than once her emotional struggles on-stage echoed my own internal dialogue and had my eyes moist.

Downes, who also happens to be one of the co-writers, skillfully conveys the essence of the main character, Syd Meyers, as she grapples with a daunting diagnosis and the presence of the mysterious interloper in her life, whose intentions are not fully known.

Speaking of the enigmatic interloper, Priyanka Krishnan’s portrayal was nothing short of incredible, guiding the main character through a series of increasingly bizarre and perplexing circumstances in the wake of her diagnosis. Completing the ensemble cast are Starr Kirkland and Chase Naylor, both of whom delivered outstanding performances as integral figures within Meyer’s small circle of friends and acquaintances.

Co-authored by Ms. Downes and the director, John Peña Griswold, the production’s conclusion, while it may have felt a tad rushed, ultimately made sense. Surprisingly, I didn’t foresee the resolution until just a few minutes before it unfolded, leaving a delightful element of surprise that lingered.

In summation, Tight Five is undeniably an entertaining and thought-provoking show, boasting a talented cast that entertains throughout, despite the rushed ending.

Tight Five is presented by the New Ambassadors Theatre Company and is playing at Hudson Guild Community Works.

I am a fan of improv, and I am a fan of horror and creepy things. The latest show to be presented in Playhouse 46’s unique theater-in-the-round is The Creeps, created by and starring Catherine Waller, combines the two in unexpected and entertaining ways. It has garnered a number of awards, including Best Female Performer in the 2014 & 2016 Hollywood Fringe Festival, as well as Best Interactive Show & Best Physical Theatre at the 2016 & 2018 United Solo Off-Broadway Festival (the world’s largest solo theatre festival), and finally The Best of the Fringe at the Amsterdam Fringe Festival in 2016.

Part improv, through copious amounts of audience interaction, and part scripted, The Creeps delves into the strange world of… something. The basement of a night club? A hospital? A testing lab? Something combining all three? It is in that place we meet a handful of characters who interact with the audience in different ways as they tell their tales, reflect on their past, or plan their escape.

It’s not a show for everybody. Some of the subject matter is mature, even sadistic in nature. Ms. Waller’s ability to quickly move from character to character is impressive, as is each of their quirks and mannerisms. Who can be believed? Who is the victim? Are we all doomed?

In the end, I was very much entertained, and enjoyed it for the most part. I really wanted more backstory, more explanation of what was going on, instead of just little teases here and there. But then again, like the unseen monster in the best horror movies, maybe our own minds are able to create worse monsters than could ever be scripted in the first place. Even though I wanted to know more, I left with the sinking feeling that maybe I didn’t really want to, especially if the perpetrator was as evil as my mind made him out to be.

I’ll reiterate, it’s not a show for everyone, and for me, still has a very “Fringe”-y feel to it.

The Creeps has a runtime of approximately one hour with no intermission.