OUTSIDE MULLINGAR – Broadway

  • January 8, 2014

OUTSIDE MULLINGAROUTSIDE MULLINGAR is a new American play by John Patrick Shanley (Doubt, Moonstruck) about a cattle farmer, Anthony (Brian F. O’Byrne) in rural Ireland and his neighbor, Rosemary (Debra Messing).

The story revolves around the two lead characters, their desire for love, and struggles of family and fortune. As conflicts brew between the two families, the two fight to rise above and succeed, each in their own way, and attempt to find some common ground on which to move forward. Rosemary is convinced she is in love with Anthony. The only problem is, she must get him to love her. You get the idea.

The first act began somewhat slowly; however, it picked up some steam as it progressed.  The second act pulls the audience in and builds on the desire to know how this thing will work out.

Debra Messing is aggressively charming in her role, and pulls off Rosemary’s Irish accent with very few glitches (as far as I could tell).  You might feel differently if Ireland is your homestead, but that shouldn’t keep you from enjoying her performance.

OUTSIDE MULLINGAR opened on January 23rd at the Samuel J. Friedman Theatre. Grab tickets now as the show will have a limited run. It is scheduled to close on March 16th. It was wonderful to see Ms. Messing on stage, and I for one hope to see her on Broadway again in the very near future.

CANDIDE – London

  • January 2, 2014

There have been numerous iterations of Leonard Bernstein’s CANDIDE over the decades. Some with raves, others, well, without. But whatever you feel about previous interpretations of the work, you will not want to miss Menier Chocolate Factory’s current production of Candide.

An in-the-round production at a small venue will test any production, and will give testimony to the true quality of direction and performance. The Chocolate Factory’s production did just that. This production boasts strong performances all around. Not a small feat for such a vocally intensive score.

Bernstein’s orchestrations don’t come easily either. If you’re familiar with Menier Chocolate Factory, you know that space is at a premium, leaving no room to house a full orchestra to fulfill Bernstein’s requirements. In spite of this, the creative team pulled together a nice ensemble, and after several bars of the overture, I was able to get past the synthesized strings and small brass section. The vocals made up for any logistical instrumental lapses.

The perfectly-cast show draws the audience into the classic tale of Candide and his cohorts. You will not be disappointed as this production brings to life the comic, yet sordid tale of Candide. The production has been extended to run through March 1st.  Click here to get tickets.

As an aside, you might also book a reservation at the Menier Chocolate Factory’s restaurant before the show. The service was a bit hum-drum, but the food was excellent, and the convenience of enjoying a meal before or after the performance at the venue made the entire experience more enjoyable.

A GENTLEMAN’S GUIDE TO LOVE AND MURDER – Broadway

  • December 16, 2013

A_Gentlemans_GuideA GENTLEMAN’S GUIDE TO LOVE AND MURDER, Broadway’s big surprise this season, has helped to warm the hearts of many a wintertime-depressed New Yorker and tourist during one of the coldest seasons on record. The show is a whimsical, fun, and sometimes downright hilarious new musical that will leave you humming a tune, smiling and feeling good all the way home.

With song titles like “Poison in My Pocket,” “Why are all the D’Ysquith’s Dying?,” and “Looking Down the Barrel of a Gun” you would expect a dramatic tragedy along the lines of Sweeney Todd rather than a fun, comedic experience reminiscent of Spamalot or The Drowsy Chaperone. Comedy, however, is what you get. And it comes in large doses.

In A GENTLEMAN’S GUIDE TO LOVE AND MURDER, our bad-guy hero of sorts, played brilliantly and cunningly by Bryce Pinkham (Ghost, Bloody Bloody Andrew Jackson), takes us on a raucous journey into the mind of lover and murderer, Monty Navaro, who has discovered he has been disinherited by the pretentious D’Ysquith family. That is, if you actually accept that his murders are truly murder. At least they don’t seem to begin as such, and to Pinkham’s credit, we don’t really care. He creates a character you can’t help but love.

As for the D’Ysquith family, Jefferson Mays (I Am My Own Wife, Gore Vidal’s The Best Man, Pygmalion, Journey’s End, Of Thee I Sing) brilliantly brings them all to life (yes, all eight of them) so convincingly that you won’t even realize one man is portraying all characters until after the murders of at least three!

A GENTLEMAN’S GUIDE TO LOVE AND MURDER arrived on Broadway bringing with a breath of fresh air. Robert Friedman gives us a book and lyrics (along with Steven Lutvak) filled hilarious characters, witty lines and a plot that is full of wonder and farcical suspense right through the final number. At which time we still don’t know for certain how the story ends – but we know enough.

Steven Lutvak’s lively score ties the show together, complimenting the slapstick nature of the action and leaves you singing a happy tune. At the same time, scenic designs from Alexander Dodge and fabulous period costumes by Linda Cho (making her Broadway debut) put a nice big whimsical bow on the entire package.

To sum it up, A GENTLEMAN’S GUIDE TO LOVE AND MURDER is laugh-out-lond, roll-in-the-aisle funny, and will keep you smiling for days. You will no doubt want to come back again and again… just for fun!

A GENTLEMAN’S GUIDE TO LOVE AND MURDER is currently running at the Walter Kerr Theatre. For more information and to purchase tickets, visit www.agentlemansguidebroadway.com. Don’t miss it!