HuffPo Review: Visit ‘Smokey Joe’s Cafe’ for a Toe-Tapping Good Time


The cast of Theo Ubique’s “Smokey Joe’s Cafe”

As a powerhouse songwriting duo, Jerome “Jerry” Leiber and Mike Stoller cranked out some significant hits in the ’50s and ’60s, including “Hound Dog,” “Jailhouse Rock,” “Stand By Me” and “On Broadway.” When producers Stephen Helper, Jack Viertel and Otis Sallid decided to create a musical revue of their work in 1995, little did they know that they’d have the longest running musical revue in Broadway history.

And there’s a reason for that — Smokey Joe’s Cafe is simply a toe-tapping good time. And Theo Ubique’s rollicking production, which has been extended multiple times, serves up the music with energy, huge vocals and a shimmy or two.

The show’s biggest assets, aside from the material, are its big-voiced cast, starting with Robin Dasilva in a star-making turn. Her take-no-prisoners delivery of “Fools Fall in Love” is worth the price of admission alone. Speaking of prisoners, if there’s any moment that feels a lost opportunity, it’s “Jailhouse Rock” — arguaby one of Leiber and Stoller’s most well-known tunes. Here, it’s treated as a throw-away moment. Read the full review >>

Chicago Theatre Addict’s TOP TEN Tony Awards Performances of All Time*

*Well, mostly since 1995, when I started watching the Tony Awards religiously. Every year. Without fail. In fact, the year I lived in Germany (2001, the season The Producers swept the awards), I even had my sister videotape the broadcast and sent it to me — express. However, I’m peppering in a few performances before this time, thanks to YouTube.

With that out of the way … are you totally pumped for the 2013 Tony Awards, which air tomorrow evening? Of course you are. Even though I’m a lover of Chicago theatre, the Tony Awards, which celebrate the very best of the Broadway season, are my gay Superbowl. I’m rooting for Kinky Boots, Pippin, Patina Miller and Cyndi Lauper.

In prep for the 2013 Tony Awards, may I present Chicago Theatre Addict’s Top Ten Tony Award Performances of All Time:

10: “I’m Way Ahead”/”Seesaw” from Seesaw (1974)

Here we have the megatalented Michelle Lee pouring her heart out in the show’s searing finale number. It’s a pretty bold move to use the final big moments of a musical to market a show, especially from a show like Seesaw that featured some fun, TV-friendly production numbers. Yet there’s no denying that Ms. Lee does just that. It’s a thrilling, and I think vastly underrated, performance of the old-school variety.

9: “Turkey Lurkey Time” from Promises, Promises (1968)

This is all about Donna McKechnie’s head pops and Michael Bennett’s retro-fab choreography. No Tony performance number has come close to touching the energy here:

8: “Anything Goes” from Anything Goes (1988)

Ok. This is the performance that made me fall in love with LuPone. So what if her makeup is ghostly white, her dance break is the tap equivalent of a square step, and her ghastly wig slaps her in the face when she does her final turns? Listen to that voice and the ease in which she owns the stage. She doesn’t need an 8 minute tap routine to make us pay attention — she simply radiates star power.

7: Nathan Lane and Gregory Hines being amazing (1995)

1995 proved a drought of a year for new musicals — Sunset Boulevard and Smokey Joe’s Cafe were the only contenders. So, to fill up air time, the great Nathan Lane and the late, great Gregory Hines gift us a diva medley. It may be a bit under-rehearsed, but this is what showbusiness is all about. Watch these two pros sell it:

6: “My New Philosophy” from You’re a Good Man Charlie Brown (1999)

Say what you want about Kristin Chenoweth, but she’s a huge talent. And watching her, a relative unknown at this time, performing this number and winning the Tony directly after was like seeing a star being born before our very eyes. What I love about this number is you can sense that Cheno *knows* this is her moment, and she better not fuck it up. And, thank goodness for us all, she doesn’t.

5: “Take a Glass Together” from Grand Hotel (1990)

The brilliant Tommy Tune knows how to pace a production number. Watch how the number subtly builds into a frenzy. And can someone please tell me how Michael Jetter does that with his legs? Simply mesmerizing. A talent gone too soon.

4: “Ragtime” from Ragtime (1998)

One of the best, if not the best, opening numbers of a musical, and this performance makes me even more enraged that that African puppet show got the award over this epic masterpiece.

3: Diva medley from 1999 Tony Awards

God love Rosie O’Donnell. She might not have a musical bone in her body, but she’s a fierce advocate for the Broadway community, and I applaud her for that. And this performance, which is essentially a diorama of belting divas, was like a musical theatre queen’s wet dream come to life. Also, I’m in love with how Betty Buckley werqs that feather boa.

2: “Everything’s Coming Up Roses” from Gypsy (2008)

Just shut up and watch this shit. It’s fucking amazing. Even Liza, with her bad knees, gives La LuPone a much-deserved standing O. Fun fact: LuPone had broken her toe a few weeks prior to this performance, which required her to perform in slippers. So, I was expecting her to appear on the Tonys in some sort of flat. But, nope. A trouper, LuPone is back in heels, and when she stands up, you can see her strain a bit. But that doesn’t stop this Mama Rose. Oh, no.

1: “And I Am Telling You (I’m Not Going)” from Dreamgirls (1982)

Bow down. JoHol is taking, and owning, center stage.

Don’t cry for him: Ben Rimalower is taking his hit one-man show on a rainbow tour

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Writer, director and performer Ben Rimalower knows a thing or two about high belting. No, he’s not a singer per say, but he does appreciate the finer belts in life — including those of Broadway icon Patti LuPone.

As the writer and performer of his acclaimed and award-winning one-man show, Patti Issues, Rimalower has turned his obsession with the high-belting La LuPone into a personal artistic high point.

Patti Issues isn’t just a show about diva obsession — it’s an onstage self discovery about finding your inner LuPone, as it were, to overcome seemingly insurmountable obstacles. In Rimalower’s case, it’s a closeted, self-destructive father who went on a drug-fueled tear that left his family in tatters.

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Rimalower with LuPone following a performance of “Patti Issues”

And the payoff in telling such a deeply personal story has been huge. The Village Voice called his show, “one of the best (and now longest-running) offerings of the year.” And The Advocate called it the “best NYC theater of 2012.” Even LuPone herself caught the show and gave it her enthusiastic thumbs up (you can even watch her commend Rimalower when they both appeared on Bravo’s “Watch What Happens Live“). And following an extended run at The Duplex in Manhattan’s West Village, Rimalower is taking his show on a self-professed “rainbow tour,” with a two night only performance on June 13 and 14 at Mary’s Attic up in Chicago’s Andersonville neighborhood.

Anyone who’s spent five minutes with me knows what a huge LuPone fan I am, so it was only a matter of time that Rimalower and I crossed paths at some point in our early fandom. In fact, back in undergrad, in response to there being no discernible online presence for the diva, I created a now long-defunct “Patti LuPone Shrine” on geocities (remember geocities?) which Rimalower freely admits to frequenting.

To prep for Rimalower’s upcoming Windy City debut, I couldn’t miss this opportunity to grill him on all things LuPone:

What are three words you’d use to describe LuPone?

Fierce, hilarious and thrilling.

Has your affection for (or perception of) LuPone changed now that you’ve gotten to know her at a face-to-face level?

Not at all. Patti is everything I dreamed she’d be.

What LuPone recording do you keep going back to? In other words, this LuPone track on your iPod never fails to get your heart pumping.

Well, I have to say “Far Away Places” is my favorite Patti album—SO FAR! That opening track, “Gypsy In My Soul” is so exciting that I belt along with it to warm up for my show.

What’s your favorite LuPone hairstyle? Please select from the four options below:

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A.

I understand you’ve had many opportunities to observe LuPone in the rehearsal room. What lessons have you learned from this “fly on the wall” perspective about your craft as an actor/director?

Wow, so much. I mean I could write a whole show about Patti in a rehearsal room—two shows, actually: one on the artist and one on the personality. Patti has a deep understanding of her craft as an actor and killer instincts as a performer — and theater is in her blood.

What is the rarest LuPone recording you have in your collection?

The rarest Patti LuPone recording I have is a bootleg I made myself on a crappy tape recorder of her concert with the Baltimore Symphony in either Fall 1998 or Spring 1999. Her arrangement of “Let’s Face The Music and Dance” was so sassy I had my musical director lift it when I was directing Joy. Also, it’s fun to listen to me and my best friend Marissa commenting on everything Patti did. Live-tweeting before there was Twitter.

LuPone: You either love her or hate her. Do you think that you can make a snap judgement about someone’s character based on if they love her or hate her? Has this impacted friendships you’ve had?

Totally. I think that anyone who hates Patti LuPone is either a moron, or hasn’t seen her at her best. Or maybe they have their own issues.

Did you suffer through “Parker” like I did this weekend just to see LuPone’s scenes? (If so, you are a true fan, my friend.)

No, but I would have! I’ve watched many unwatchable things for the love of LuPone! And I will watch Parker. I’m still burning for the 3 hours I sat through “Bonano: A Godfather’s Story” before realizing she’d been cut out!

Now: to your show — what compelled you to write it?

I’ve been a director all my life, but I’d started blogging and wanted to explore writing something more longform. The most natural subject for me to tackle was, of course, Patti. Then, when I started writing, what was coming out was more about me.

Did you ever think your show would become such an underground success? How has this changed your life? Do you have any other one man shows up your sleeve?

I hoped Patti Issues would be the success it has. I’ve been craving this more a long time, longer than I even realized. This has changed my life in many ways—and in many ways, my life is exactly the same. The biggest and most important change is my confidence in myself as a writer. I am working on my next solo show already.

Will I cry watching it?

You may cry. I certainly hope you will laugh!

What was going through your head performing this show in front of your muse, LuPone?

I was praying that she would like it.

“Patti Issues” plays June 13 and 14 at Mary’s Attic. Get tickets here.

HuffPo Review: One Man’s Journey to Self-Discovery in Compelling ‘Seek and Ye Shall Find’

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Actor and playwright Sentell Harper feels trapped. As a gay black man, he’s disinterested in “throwing shade,” lip syncing for your life or being on the DL as a way to survive within this marginalized minority. He’s searching for answers, but coming up with more questions about what it means to just simply be yourself.

Harper’s Seek and Ye Shall Find, presented by Mortar Theatre Company, works so well because of two key things: 1) an engaging and naturally entertaining actor who’s 2) telling an honest, revealing and necessary story. We encounter a whole host of characters, all played with ease and finesse by Harper, who encompass what it means to be gay, black and male in America. Using the clever device of a gay parallel universe, Harper is given permission to jump through time, place and character to tell his self discovery story. Through Harper we meet a sassy barista who will put you in your place with a finger snap and a head roll, a pop artist who uses song to charm his way out of a tight situation, and an elderly father figure who challenges Harper (here, called “Gussy”) to overcome his emotional barriers — among many others. Read the full review here >

Strong Performances Elevate Pegasus’s ‘If You Split a Second’

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Have you ever been so enraged that you’ve almost lost it? I’m talking the kind of red-hot rage that creeps behind the eyes, makes you tense and sweaty, brings you right up to the boiling point.

You’re at the knife’s edge. If you act on this anger, there will be consequences. Life, as you know it, will change drastically. Or, you could simply passively sit back without intervention.

In Dana Lynn Formby’s thought-provoking new play, If You Split a Second, the hot-headed but good-hearted Mick (Dylan McGorty) doesn’t bite his tongue. It’s not of his nature. He acts out, and the cost is prison time. While behind bars, his wife and daughter (both played by the standout Stephanie Chavara) continue on, with varying degrees of success. To rub salt into the wound, Mick’s wife goes on to marry his high-strung lawyer bother Patrick (also played by McGorty).

Formby asks some smart questions about the choices one makes and how those choices impact those you love. With a flair for natural, character building dialogue, Formby is a master at creating real, and really flawed characters. Luckily, her work is buoyed by excellent performances from this two-person cast under Ilesa Duncan’s unfettered direction. The scenes between the incarcerated Mick and his emotionally distant daughter are particularly compelling.

If there’s anything I missed in Pegasus’s production, it’s the unsettling sense of “what if?” Yes, our actions have consequences – as they should have. However, in Second, we already see where the play is going well before it gets there, which muddles the otherwise powerful final moments. I get the sense Formby and company want us to feel that life is driven by our of-the-moment choices. However, I walked away feeling life offers a predetermined ending point – which doesn’t always make for compelling drama.

“If You Split a Second” plays through June 2 at Leo Lerner Theater, 4520 N. Beacon Street. More info here >

HuffPo Review: Rachel York leads a deliciously zany ‘Anything Goes’

Rachel York Anything Goes

Anything Goes is one of those shows that never takes itself too seriously. It isn’t afraid to get a little bawdy and bend the rules — but it always comes out on top, full of class, champagne bubbles and loads of style.

In describing the show, I’m also describing the show’s star. Rachel York is an actress whom I’ve admired for years. I bet dollars to donuts if she were working during the golden age of Broadway, she’d be a household name in the likes of Greta Garbo, Barbara Stanwyck and Rosalind Russell. A winning smile, comedic chops, a voice as comfortable belting out a Cole Porter showstopper as it is crooning a Sondheim ballad and legs for days, York is a star in every sense of the word. And as the evangelist-turned-nightclub-singer Reno Sweeney, York has landed a role that fits as snug as her gorgeous Martin Pakledina-designed gowns.

I was lucky enough to catch the 2011 Broadway revival, on which this national tour is based, starring the wholesome and eager-to-please Sutton Foster. While I enjoyed Foster (who’s a better hoofer than York, but York fakes it damn well), she seemed to be working hard playing against type. York already has the glamour part down, and she plays with it by making her Reno a bawdy, wise-cracking affair.

In most cases when a star this bright leaves the stage, the show sags. Not here. In this first-rate national tour, the colorful supporting cast keeps all the balls in the air,which is essential when dealing with a musical comedy as madcap as this one. Read the full review on The Huffington Post >

HuffPo Review: Porchlight’s Seductively Charming ‘Pal Joey’

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Susie McMonagle in Porchlight Music Theatre’s “Pal Joey”

“They just don’t write ‘em like that anymore!”

That classic turn of phrase kept running through my head watching Porchlight Music Theatre’s seductively charming production of Pal Joey — a classic yet rarely produced 1940 musical comedy. Set in late 1930s Chicago, the musical, written by John O’Hara with music and lyrics by Richard Rodgers and Lorenz Hart, presents the life of Joey Evans, a charismatic, second-rate nightclub performer who uses his manipulative charms to win over the wealthy and married Vera Simpson (or, it could be argued, Vera sees through Joey’s tricks and traps him as her toy).

Either way, Joey and Vera get what they need from each other — she some good sex and a few laughs, he a chance at a flashy nightclub career. Both learn that engaging in such dangerous risk taking is bound to result in hard knocks. But as someone who’s dusted himself off and started from scratch dozens of times before, Joey’s game for anything. And Vera? Well, she knows how to play the game. Read the full review on The Huffington Post >

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