Blog – Stage Host

The Drifters Girl – London

April 1, 2022

Although there has been a trend in the West End and on Broadway to churn out juke box musicals for years, that isn’t necessarily a problem — as long as the juke box is full of hits, and the hits are well-performed. This show priveds both!

THE DRIFTERS GIRL, currently running at the Garrick Theatre in London is definitely full of hits. Even if you’re too young (or just haven’t been paying attention) to be familiar with the numerous hits made famous by The Drifters over the decades, there is no doubt that you would recognize more than a few of them in this show. For this reason alone, everyone can find something in this production to get excited about.

Beverley Knight’s performance as Faye Treadwell alone is reason enough to get out and see THE DRIFTERS GIRL. From the moment she steps on stage, she not only transports the audience back to the 1950’s era of rhythm and blues, but does it so believable that you will forget she’s Beverley Knight — until she opens her mouth to sing. She is simply amazing.

Along with Beverley Knight, the rest of the cast is well-chosen to recreate the period and performs the familiar hits so successfully, their tow-tapping performances will have you moving and swaying to the music for a full two-and-a-half hours. You’ll forget you’re in a West send theatre in 2022 and leave feeling that you should pop in to the nearest Soho martini bar so as not to let the mood fade.

Although I found the book to be a bit confusing at first – not knowing the full history of the group until the show began – that should not be a reason to avoid this show. Just spend a few minutes learning a bit about The Drifters and their history and you’ll be all set. The stellar performances will carry you through without a hitch.

The production is supported by a simple, yet creative set, and the costume designs from Faye Fullerton completely capture the true essence of the period. If you were born in the 50’s or 60’s you might even see a few that you recognize, and if you’re younger than that, you’ll probably find something you’ll enjoy anyway.

THE DRIFTERS GIRL is currently running at the Garrick Theatre in London.

BAT OUT OF HELL – London

July 6, 2018

Being (what I consider to be) a “non-fan” of rock and roll music, I was actually surprised at how much I enjoyed this show. And, just for the record, I don’t really consider myself a harsh critic of most musicals as long as they show technical and creative strength. That said, BAT OUT OF HELL demonstrates strength some categories, and should be given some consideration when one is considering a West End show.

Jim Steinman’s musical was born from the bestselling Meat Loaf album of 1977, which was also wildly successful in it’s day. New life has been given to the songs created over four decades ago, and this production represents a fresh new entry that has joined the influx of 70’s-80’s rock and roll shows that have swept the West End during the past decade. i.e. WE WILL ROCK YOU, which also ran at the Dominion Theatre for over 12 years.

As for production values, I was drawn in by the set, entertained by the score and choreography, and my attention held (sort of) by the book. Although shallow at times, there was a little substance – enough to keep me interested, but don’t expect there to be a deep emotional attachment here. However, depending on where you’re coming from, you might be moved (a little). Not to be forgotten are the special effects, with some heat-generating pyrotechnics and some good lighting design that completes the spectacle.

There is good energy in this production at the performance level. The strength of the cast is evident from the first note to the last, and the chemistry is intense. In spite of the cheesiness in some of the lines, they are pulled off without a hitch, and in such a way that allows the audience to excuse some of the criticism that may be held against the story. That said, many in the audience may not really have cared about the substance of the plot anyway.

Given the success of this show world-wide, and the enthusiastic reception of London audiences, this is a musical that may be around for a while. In spite of that, you never know what turn a production will take, so if you’re in London now, or planning to visit soon, and would like to see a West End show that may be outside of the mainstream of big musicals, you might try checking out BAT OUT OF HELL. If nothing else, you’ll be entertained, and it will make for a good night out in the West End.

BAT OUT OF HELL is currently running at the Dominion Theatre in London. For information and to purchase tickets, visit the theatre’s website at https://www.nederlander.co.uk/dominion-theatre.

ALADDIN – London

July 14, 2016

ALADDIN arrives in London’s West End! And so, with the typical Disney fanfare, Aladdin soars. Although, not my favorite of the Dysney Broadway musicals (there will never be another BEAUTY AND THE BEAST or MARY POPPINS), Aladdin has definintely done it’s job – that is brining in an ageless Disney animated feature to life on stage to the delight of young and old.

The great thing about ALADDIN, as is with most Disney stage productions, is the appeal to both children and adults. Enough adult humor is included to keep the parents interested, while there is plenty of Disney’s signature spetical to hold the interest of even the youngest of children. That said, if you are an adult planning to attend the show unaccompanied – by children, that is. Expect to feel as though you are seated in a primary school auditorium. That is just the nautre of the beast. After all, ALADDIN is (at least in the Disney version) a children’s show. And a children’s show it will always be. If you allow yourself to move beyond being surrounded by children under the age of 12, you will find yourself whisked away into a whole new world just as a child.

Wonderful performances were given by Dean John-Wilson and Jade Ewen as Aladdin and his romantic interest, Jasmine. With solid vocals and good chemistry on stage, the two pull off exactly what we go into the show expecting. They bring our two main characters to life.

Aside from the spectacular and magic, my favorite parts of the show were actually the simplest. I love Genie. Played by Trevor Dion Nicholas, who was the standby for Ginie on Broadway, the character is brought to life to the delight of every grown up in the audience. He is definitely the comedian and power-performer of the show. And Aladan’s sidekicks, Babkak, Omar and Kassim also seem to have jumped from the animation onto the stage, giving us the cartoonish quality that we are expecting.

We musn’t forget Jafar and Iago, Aladdin’s villain and his sidekick. Delightfully portrayed by Don Gallagher and Peter Howe, they provide plenty of fodder as well as the opportunity for the kids to give a well-deserved “boo” during the curtain call.

All-in-all, ALADDIN is a very solid production, and pretty much everything that you would expect from Disney – except for a few technicalities that I would have thought might have been a bit more perfected (Genie’s appearance from his lamp). You will definitely be delighted.

Don’t waste your time trying to obtain discounted tickets for this show. There are literally none to be had. Also, stay away from the ticket touts in and around Leister Square, as you will certainly pay at least double the ticket price for what you could obtain at the theatre box office with just a bit of planning.

Aladdin is currently running at the Prince Edward Theater in London’s West End. For information and to purchase tickets, visit the theatre’s website at http://www.princeedwardtheatre.co.uk.

POTTED SHERLOCK – London

December 27, 2014

POTTED SHERLOCK is billed as an “entertainment event” rather than an actual play. This is probably because there is no plot whatsoever. The show, written by Daniel Clarkson and Tom Clarkson, is a farce dealing with the attempt of three actors attempting (key word) to tell all Sherlock Holmes stories in 80 minutes.

I have a few problems with this show. To begin with, the show is extremely erratic. Feeling as if it doesn’t really know wha it is trying to do. There are 60 Sherlock Holmes stories, presumably to be told during the course of the play. Some were told, sort of. And some were merely mentioned, while others were dwelt upon in a painful and grueling manner.

Second, this “event” is billed as “hysterically funny.” I wouldn’t say it was hysterical at all, and funny is a bit of a stretch as well. Maybe it’s just my sense of humor (or lack there of), but I had trouble finding things to laugh about. The material seemed dry, and not in a funny way. It was just flat. The actors were certainly making an attempt; however, it just didn’t happen.

Third, there seems to have been a waste of good talent on this show. The three performers seemed to be competent, even good. I just couldn’t tell. They weren’t really given a chance. They weren’t given material that actually allowed them to perform. Their delivery was fine, but the jokes fell flat.

For these reasons I have trouble recommending this show. If you feel like seeing a show that has relatively dumbed-down, uninteresting content and may possibly provide you with a small chuckle here and there, go ahead. Otherwise, your money would be better spent elsewhere.

POTTED SHERLOCK is currently running thru 11 January at the Vaudeville Theatre in London’s West End. For more iniformation and to purchase tickets, visit www.pottedsherlock.com.

See Bradley Cooper in ELEPHANT MAN on Broadway!

November 18, 2014

Two-time Academy Award® nominee Bradley Cooper (American Hustle, Silver Linings Playbook) returns to Broadway in Bernard Pomerance’s Tony Award®-winning classic THE ELEPHANT MAN. Directed by Tony nominee Scott Ellis, THE ELEPHANT MAN is one of the hottest productions to emerge from the prestigious Williamstown Theatre Festival, where it had theatergoers lining up hours ahead of time in the hopes of securing a ticket. This extremely limited engagement also stars Academy Award nominee and Emmy® Award winner Patricia Clarkson (“Six Feet Under”) and Alessandro Nivola (American Hustle).

Based on the real life of Joseph Merrick, THE ELEPHANT MAN tells the story of a 19th-century British man (Cooper) who became a star of the traveling freak show circuit. When the renowned Dr. Treves (Nivola) takes Merrick under his care, he is astonished by the man’s brilliant intelligence, unshakable faith and, most of all, his resounding desire for love and understanding. He introduces Merrick to the beautiful actress Mrs. Kendal (Clarkson), who is deeply touched by this pure and genuine soul. As a complex friendship blossoms among the three, Treves and Kendal struggle to protect Merrick from a world of questionable intentions… and so begins a story of love as unique as “The Elephant Man” himself.

See THE ELEPHANT MAN at The Booth Theatre in New York thru February 22nd only! For more info and to purchase tickets, visit www.elephantmanbroadway.com.

SIDE SHOW – Broadway

November 18, 2014

Considering America’s current fixation on “freaks,” (think “American Horror Story – Freak Show”) the revival of the musical SIDE SHOW on broadway couldn’t arrive at a more opportune time. Whether by design, or just shear coincidence, it’s certainly a lucky break for the show that opened last night at New York’s St. James Theatre. Not that any luck was necessary, as the success of SIDE SHOW was certainly a calculated strategic effort from a very talented creative team.

SIDE SHOW, the revival of the 1998 musical about conjoined twins, Daisy and Violet Hilton, succeeds in giving us far more than just freaks. Originally opening on Broadway in 1998, this new production has been considerably reworked, and updated. In spite of the updates and changes, the story of SIDE SHOW remains relatively the same as its original, with a few twists and surprises that actually help the story along and make it easier to understand and more believable. The show has become darker as well, more akin to the freak show genera of Film and television.

In spite of its grim undertones from the wold of the strange and freaks, SIDE SHOW actually contains some positive messages. Some obvious, and some not as much. Also, quite a few songs were added, while a few of the originals were dropped. These changes help to improve the show overall, and don’t detract at all from the original. In fact, if you are a fan of the original SIDE SHOW, you will leave this production even more excited than you did the first time. This, according to several die-hard SIDE SHOW fans of the 1998 version with whom I consulted. And don’t worry, the big show-stopping numbers haven’t gone anywhere. Impeccably performed by Erin Davie and Emily Padgett as Violet and Daisy, they raise the roof several times, leaving the audience with chills and garnering multiple standing ovations in the process.

Besides Davie and Padgett, the entire cast delivers in this production with performances that bring the freak show from the pages of books and movie screens to the stage. Our two leading men, Terry and Buddy, played by Ryan Silverman and Mathew Hydzik respectively, portray the dashing duo with ease, and have voices to match. As well, they manage to provide some comic relief when necessary.

All in all, SIDE SHOW is not to be missed. Not only will you be astounded by the “freaks,” you just might leave having a change of heart about people in the world who may be different. Just maybe.

SPRING AWAKENING – Los Angeles

November 1, 2014

As I contemplated attending the new Deaf West Theatre production of SPRING AWAKENING, I really had no idea what to expect, and was actually considering passing up the opportunity since it had been relatively recently that I had seen a national tour of the show. Not to mention having seen the same touring production in another city not long before that. It wasn’t that I didn’t think the show was a great work; however, the productions that I had previously seen had fallen a bit flat with me (I’m not referring to the original Broadway production here).

As I was waiting for the show to begin and discussing with a friend why I might actually prefer this production over my previous experiences with the show, I decided to neutralize my thinking and give SPRING AWAKENING – the “new” SPRING AWAKENING – a chance. I’m glad I did.

Based on the 1891 play depicting fractured youth attempting to come into their own amidst the backdrop of culturally repressive Germany, SPRING AWAKENING combines a brilliant score from Duncan Sheik and book and lyrics by Steven Sater to give us the Tony-winning Broadway production that we are generally familiar with.

Deaf West, however, breathes new life into this show, to the point that even if you were one of the few who was less than excited about one of the earlier iterations of SPRING AWAKENING, this time, you will definitely be awakened. The sheer beauty of Spencer Liff’s choreography and the incorporation of American Sign Language (ASL) bring an energy and connection that is truly unmatched.

The real hook is the use of spoken dialog in concert with the ASL. All performers in the show sign, and those who speak for the deaf actors also interact with them. Almost at times as if they were a magical extension of thinking or conscience, creating an even stronger and more interesting dynamic.

As for the performance itself, the casting is spot on, and the actors embrace their characters fully. The creative lighting design from Travis Hagenbuch augments the depth of the performances on stage, and Christopher Murillo’s minimalist scenic design gives us the ability to see into the characters’ lives with an occasional touch of symbolism that adds to perspective of what this story is about.

Director Michael Arden gives us a SPRING AWAKENING in which he brings together many amazing pieces of art and weaves them into one giant, incredibly colorful tapestry. Don’t miss this incredible experience.

SPRING AWAKENING is at the Rosenthal Theater, Inner-City Arts, 720 Kohler St., Los Angeles, and runs thru November 9. For more information, visit www.deafwest.org.

YOUNG FRANENSTEIN – Palm Springs, CA

October 25, 2014

Mel Brooks’ YOUNG FRANKENSTEIN is one of those musicals that one might describe as “typical.” It gives us songs, dancing, humor (of the Mel Brooks style) and an abundance of shtick. And, of course there’s a big green monster that terrorizes a Transylvanian village all while singing and dancing himself. Remember “Puttin’ on the Ritz”?

Most everyone knows the story from the movie of the same name. (Young) Dr. Frankenstein, an American university professor, travels to Transylvania upon hearing of the death of his grandfather, the infamous mad scientist. As you can imagine, the antics begin there.

As for this production specifically, it was solid for the most part with a few opening night glitches. Ben Reece plays Dr. Frederick (Young) Frankenstein, and does so very well. Aside from some sound issues that at times made it seem as though his mic was stuck under his collar, he was perfectly cast and has a strong enough voice for the role.

Tom Warrick kept us laughing throughout the entire show as Igor and brought the shtick that could please even Mr. Brooks.

And what can I say about Bobbie Eakes (All My Children, The Bold and the Beautiful) as Frau Blucher? Seeing her play this role was worth way more than the price of admission! She was truly better than Broadway. She brought the character’s signature number, “He Vas My Boyfriend” to life, and her timing throughout her scenes was spot on.

Also a standout in this cast was Katie Pavao as Inga. She was an absolute charmer and stopped the show more than once with her strong chops, ancillary wit and her natural innocence and charm. And she was downright funny.

Don’t forget the monster. J. Stegar Thompson played him perfectly. And, he could sing! So well, in fact, that I caught myself wishing I could hear more from him after his reprise of the infamous “Deep Love” at the end of Act II.

One of the best character performances was from Denise Carey as Elizabeth, the Dr.’s love interest. She seems to be a great actress. Unfortunately, her vocal performances were somewhat disappointing. Particularly at our first exposure to her during the number “Please Don’t Touch Me.” Some of the problems could have been (again) related to her mic; however, there were notes that were just off. A song that should have had the audience howling with laughter… just left us.

Overall, this is a good production. The strength comes from the majority of the leads, and to see this cast work together is certainly worth your time.

YOUNG FRANKENSTEIN runs through November 2nd at Palm Canyon Theatre in Palm Springs, CA. For more information and to purchase tickets visit www.PalmCanyonTheatre.org.

BEDBUGS!!! – Off Broadway

October 18, 2014

OK. I know what you’re thinking. Bedbugs??? A musical??? Yep. That’s what I thought at first also. To begin with, it gave me the creeps, to be honest. I’ve seen bedbugs. They’re usually almost microscopic, and they still creep me out. How would I respond to one that was large enough to actually eat me? There was just one way to find out — go see the show BEDBUGS!!! Seriously, how bad could it be? A singing, dancing bedbug? Can’t be too creepy, right? Well, partly right.

Creepy factor aside, I have to say I really enjoyed this musical. What’s not to love? Given the premiss of the show – a geeky, scientist-lady who is determined to create a solution to rid New York City of its bedbug infestation and inadvertently causes them to mutate into monsters that destroy the city, and then goes and falls in love with their grotesque leader – I was a tad bit skeptical.

The show, however, never failed to surprise. From it’s 1980’s rock-and-roll score by Paul Lessen and its book and lyrics penned by Fred Sauter, to its disgustingly creative costumes designed by Philip Heckman, BEDBUGS!!! brings us one fun twist after another. The story, farfetched as it is, never fails to keep us interested. How could you not want to know what will happen next?

This production is so well-staged and tight-fitting. It gives us performances that are strong and endearing (yes, it’s possible to fall in love with a bedbug – you’ll see), and sets and special effects that are worthy of any stage in NYC. In fact, it would be nice to see BEDBUGS!!! live on in a larger space. Scenic designer, Adam Demerath, does a fine job with the space and resources that he has; however, with a bit more space (and more dollars from larger audience capacity), the potential is practically unlimited.

Don’t run away, but run TO the ArcLight Theatre, 152 West 71st Street in New York to see BEDBUGS!!! before it closes on October 26th. Don’t worry, you don’t need to take any bug spray. They’ll provide that for you! And instead of running away when it’s over, you’ll probably leave humming a tune, or maybe even doing a little head-banging dance.

For more information and to purchase tickets, visit www.bedbugsmusical.com.

CAN-CAN – Paper Mill Playhouse

October 14, 2014

With its Broadway-bound revival of Cole Porter’s musical, CAN-CAN, the folks at Paper Mill Playhouse have done it again! The company has put together a revival of a Broadway classic to rival the best. Not that this should be a surprise. The New Jersey company has a long-standing tradition of developing productions that are more than worthy of a place on the Great White Way, regardless of whether the original intent was to take them there.

The classic musical takes us to 19th-century France where we meet Pistache (Kate Baldwin), a lovely Parisian dance hall owner who decides to feature the scandalous CAN-CAN – a dance that could be a bit too revealing for its day – and risks losing her business and her true love in the process. Baldwin’s portrayal of Pistache is effortless, and she creates a rapport with the audience almost akin to Miss Mona of The Best Little Whorehouse in Texas. Jason Danieley plays Pistache’s love interest, Aristide, who finds himself caught between a rock and a hard place as he fights his emotions to save his career.

CAN-CAN is a true song and dance spectacle, featuring showstopping choreography by Patti Colombo (Peter Pan, On the Town, Seven Brides for Seven Brothers) and solid direction from David Lee (Frasier, Cheers) that will propel the show to its new Broadway home. Fabulous costume design from Ann Hould-Ward ties the show to 1893 Paris, and her extensive research is evident in her creations. This production simply works. With the complexities of Cole Porter’s score combined with the compulsory jaw-dropping choreography, the execution has to be spot on — and it is.

CAN-CAN is a thoroughly modern musical with a truly old-fashioned vibe that will warm your heart and put a skip in your step. C’est magnificque! See it now at Paper Mill Playhouse in Millburn, NJ through October 26, 2014. For more information and to purchase tickets, visit www.papermill.org.