Revisiting 'Gypsy'

I sank into my seat at the Majestic Theatre, hoping Gypsy would be as grand as I remembered—a tall order for a show I’d never actually seen from the audience. At seventeen, I played Louise in a production alongside Austin Pendleton as Herbie, so while I’ve never watched Gypsy from the other side of the stage, it’s always held a special place in my heart. As soon as the eight-minute overture began—played by a 26-piece orchestra (!)—I knew I was in for a magical, transportive evening.

For a musical I know by heart, this revival—anchored by the inimitable Audra McDonald—made me see Mama Rose in a new light. Audra brings a gentler form of tough love, making the build to the showstopping, standing-ovation number “Rose’s Turn” all the more powerful. She’s magnificent. Even in the scenes where she’s swiping cutlery from restaurants or barking orders at children, Audra’s performance carries a constant, trembling undercurrent of warmth.

As Louise, Joy Woods undergoes a stunning transformation—from an awkward, underperforming tomboy to a magnetic burlesque star commanding the stage. I teared up during her rendition of “Little Lamb,” always my favorite song to perform in the show. And Jordan Tyson shines as June—a role that can easily veer into annoyance. Tyson delivers a captivating, can’t-take-your-eyes-off-her performance as the twirling showbiz star. 

I was lucky to be part of a wonderful production of Gypsy (I mean, Austin Pendleton was in it! We also had an orchestra!) but our high school summer theatre program’s costume budget didn’t come close to matching costume designer Toni-Leslie James’ creations. Woods’ transformation into Gypsy Rose Lee is elevated by her wardrobe: the iconic fur coat, a glittering red ensemble, and a floor-length gold sequin flapper dress.

And as much as I rehearsed, my dancing was no match for Woods, who bursts into the stripper scenes with such poise. Choreographer Camille A. Brown brings life into the musical, from the newsboy numbers to the sultry stripteases.

One of the enduring charms of Gypsy is that it doesn’t require grandeur to shine. Its stripped-down, vaudevillian sets evoke a scrappy show-on-the-road spirit. At the heart of it, it’s a show for theatre lovers, those in front of and behind the footlights. I’ll cherish my summer spent rehearsing Jule Styne and Stephen Sondheim’s soaring score and sharing scenes with Austin Pendleton, an endearing Herbie.

Needless to say, I left the Majestic Theatre thoroughly satisfied—and with some theatre merch: a navy cap embroidered with the show's title, a perfect keepsake for a perfect revival.

'New York, New York' Review: A Love Letter to NYC

My journey to the St. James Theatre to see New York, New York was rife with the annoyances of living in New York City. The L train service was suspended, amok Rangers fans filled the subway station, and the crowded, slick sidewalks were made worse by bungling tourists with poky umbrellas. I made it to the box office with no time to spare.

But New York, New York, a new musical featuring music and lyrics by John Kander and Frank Ebb, delivered a love letter to the city and reminded me why I’m still here after thirteen years of riding packed subway cars and dodging rats.

The new musical, with a book by David Thompson and Sharon Washington, is loosely based on the 1977 Martin Scorsese film of the same name, starring Robert De Niro and Liza Minelli. The tuner has a winning creative team, with director/choreographer Susan Stroman, scenic designer Beowulf Boritt,  and Lin-Manuel Miranda, who provided additional lyrics.

The musical follows a bright-eyed and bushy-tailed group of wannabe artists aiming to make it big in the big city in 1946. “Big dreams, big life—little dreams, little life,” says Jimmy Doyle (played by Colton Ryan), an aspiring jazz pianist. When Francine Evans (played by Anna Uzele) arrives to the Big Apple, Jimmy outlines the trifecta for success: music, money, and love. This “major chord,” as he calls it, is his North Star. 

Francine is a rising star in her own right and quickly lands a gig as a singing waitress. On the other hand, Jimmy struggles with a drinking problem and fails to keep his eye on the prize. Somehow, the two intermingle in a hot and cold relationship that always feels cold from Francine’s side of the bed. She dooms it from the start, stating that an Irishman and a Black woman will never work—but I think their affair suffers from a faulty script. There’s no fire or chemistry to build a performance around. 

Several of the ambitious New Yorkers, including a budding saxophonist and an aspiring fashion designer, falter from underdeveloped storylines. They fall to the wayside and orbit Francine’s central story. But the lackluster book is buoyed by the frenetic energy of the show. 

Under the direction of Stroman, even the scene transitions are dance breaks. Smartly dressed passersby hurry and scurry in beautiful costumes by Donna Zakowska, the designer behind The Marvelous Mrs. Maisel. And the dedicated dance sequences really shine, like a rousing tap number set atop an iron beam high in the sky and lively salsa dance at an uptown club. Perhaps the strongest scene takes place in the rain with streaming light projections (co-designed by Christopher Ash) and windblown umbrellas that whirl across the stage.

There’s much to look at, and among them are Beowulf Boritt’s awe-inspiring sets. Each scene showcases a colorful component of the concrete jungle with climbing fire escapes and water towers, and scenic backdrops depicting sky-high buildings and New York landmarks. My favorites were the old Penn Station, a canopy of iron and glass, and Grand Central Station, with its cerulean blue ceiling and gold-emblazed constellations. Magic.

The musical’s greatest strength is its ability to capture the city’s resilience. Set after World War II, it shows a city re-building and re-opening and remembering shuttered businesses, much like New York today in the wake of the COVID-19 pandemic. The musical also captures all the bits of magic that outweigh the annoyances of life here. 

Jimmy takes Francine to the Whispering Arch, an archway in Grand Central’s lower concourse where soft murmurs can travel to a faraway corner. I remember visiting the archway for the first time as a college freshman and being gobsmacked by the architectural feature. The characters flock to Bow Bridge in Central Park to relish in the season’s first snowfall, and I thought of traipsing through the park after the historic snowstorm in 2006 while visiting the city with my dad. The musical also highlights Manhattanhenge, a summer phenomenon when the sunset perfectly aligns between the East-West streets on Manhattan’s grid. It brought me back to warm evenings with friends spent waiting for the sun’s show. And the titular song, which closes out the show with a Big Band bang, unlocked a core memory of listening to it while standing in Times Square as a middle schooler, the night I promised myself I’d live here one day.

After the show, I spilled out onto 43rd Street and into the rain. Instead of complaining about the umbrella-filled sidewalk, I noticed how the marquee lights glimmered in the puddles and how the taxi headlights shone in the rain. My husband and I took advantage of the city that never sleeps and ducked into a late-night hamburger joint, where we sat next to some Rangers fans fresh from Madison Square Garden. At a far table, I heard a group of German tourists humming “New York, New York.” 

'Shucked' Review: An Earful of Corny Fun

For the past several months, the New York City subway stations have gleamed yellow with posters of corn ears to tease the arrival of the new musical comedy Shucked. Yes, it’s a musical about corn. The yellow vegetable (fruit? grain?) has been part of the cultural milieu since the Corn Kid, now dubbed the CEO of Corn, shared his unabashed love for the “big lump of knobs” in a viral video last summer. And now corn is finding its light on the Main Stem.

The musical features a book by Tony Award winner Robert Horn and a score by the Grammy Award-winning songwriting duo of Brandy Clark and Shane McAnally, the duo behind hits for Kelly Clarkson, Sheryl Crow, and Luke Bryan. Shucked follows the close-knit Midwestern community of Cobb County, known for its corn as high as an elephant’s eye. 

When a corn crop blight threatens the harvest and forces Cobb County residents Beau (Andrew Durand) and Maizy (Caroline Innerbichler) to postpone their big wedding day, Maizy decides to leave the confines of the cornfields to get help. In spite of Beau’s advice to stay put, Maizy ventures to Tampa, Florida, where she finds Gordy Jackson (John Behlmann), a con man who claims to have the power to restore the crops. With Gordy in tow, Maizy returns to Cobb County, where a love triangle and a conniving scheme unfurl in the corn fields.

Under the direction of Jack O’Brien, the show is both light as popcorn and toothsome as a buttered cob. In an opening number, aptly titled “Corn,” the ensemble forms of kickline of dancing corn cobs. And there are, of course, corny puns ad nauseam. Some of the best knee-slapping jokes come from feeble-minded Peanut, played with hilarity by Kevin Cahoon. 

The musical’s narrators also find the funny. Storyteller 1 (Ashley D. Kelley) and Storyteller 2 (Grey Henson) set the scenes and lead the story through a corn maze. The pair execute perfectly timed jokes and even get in on the fun by joining scenes as con men and jewelry inspectors and bachelor party attendees, sometimes portraying these characters simultaneously. It’s physical humor at its best.

The strongest performance comes from Alex Newell, who plays the headstrong Lulu, Maizy’s cousin and a whiskey distiller. Newell raises the barn rafters with the show-stopping performance of “Independently Owned,” garnering a well-deserved standing ovation. (The number even convinced me to imbibe a corn liqueur cocktail at intermission.) 

The show balances humor and heart with tender ballads including “Maybe Love,” sung by Maizy.  In his attempt to win back Maizy’s heart, Beau croons a heart-filled song called “Best Man Wins,” a rollicking number that includes rolling whiskey barrels and playful steps from choreographer Sarah O’Gleby. 

Sure, the kernel of Shucked is corn, but beneath its husk, the musical is about love, family, and community. It’s worth popping over to the Nederlander Theatre to join the fun.

'Prima Facie' Review: Jodie Comer Pleases the Court

The Latin phrase “prima facie” is a legal term that translates to “on the face of it.” In the one-woman show Prima Facie, Jodie Comer stars as Tess Ensler, a criminal barrister enlivened by the game of law. Comer—and her character—sure know how to make a striking first impression “on the face of it.” In the first scene, Tess gives the play-by-play of a court case’s closing arguments with the exhilaration of a champion horse race. She volleys back and forth as a race caller, describing the action in the witness box and the gallery. She even takes on the role of the judge with a coiled court wig. 

Suzie Miller’s award-winning Prima Facie, which bowed in London’s West End earlier this year, follows Tess as she topples from the top of her game. When the exacting barrister finds herself in need of legal representation, she discovers jurisprudence is not quite so sacrosanct. She is the victim of a sexual assault—and the blurry lines of justice and morality turn her understanding of the law upside down. 

Comer, famous for her award-winning performance in Killing Eve, is a dynamic tour de force. She seamlessly transitions between tens of characters with slight vocal inflections or by simply sinking into her hip. She’s a vessel for all emotions and deploys them with mastery, going from amusement to fear to helplessness. Under Justin Martin’s swift direction, Comer’s Broadway debut is energetic and thrilling.

Comer might be the only person on stage, but she’s hardly alone. The design helps drive the narrative. A neon tube light (lighting by Natasha Chivers) around the proscenium arch flashes to denote scene changes and flashbacks. Strobes pulsate to transport Tess and her fellow classmates to a club. In a powerful moment of storytelling, case file binders on floor-to-ceiling shelves light up one by one to represent the staggering number of sexual assault cases.

Sound is another driving force that hums and percolates and throbs to mirror Tess’ emotions. The production features original compositions by Rebecca Lucy Taylor and sound design by Ben and Max Ringham. Perhaps the most impressive design element is a downpour of rain that soaks Tess. It’s a beautiful representation of tears and cleansing and emotional overwhelm. (And it is a wonder that the first row doesn’t need ponchos!) 

The design elements lift Comer’s performance—and she lifts them too. Literally. Comer is in constant motion, moving the long barrister desks topped with green banker’s lamps to switch scenes (set design by Miriam Buether). She dances on tabletops and slinks into a Chesterfield chair and holds court in the chambers. Comer’s onstage stamina is downright inspirational. 

Miller’s play and Comer’s performance are a winning combination. It’s hardly a light night at the theatre, but this limited run is not to be missed.

Our Catskills Wedding Weekend

I think back on our wedding weekend with overwhelming joy and gratitude. We planned the whirlwind wedding in just 90 days—a real feat with the vendor and supply challenges of the pandemic! After our original wedding plans were postponed and canceled, we replanned our 2020 California nuptials for 2021 in upstate New York. Crosby found the venue on TikTok, and we snagged an open fall weekend. It was a wild planning process, especially since two vendors needed to be replaced just weeks before the wedding! One of my favorite projects in the lead-up to the wedding was putting together a zine with designer Melissa Gutierrez for our guests with wedding details and an illustrated map of the hamlet of Callicoon. I was thrilled to go to Manhattan’s flower market to hand-pick selections with the florist days before the wedding—I especially loved the dinner plate dahlias and fluffy stems of pampas grass.

Bridal Celebration

The day before the wedding, I had the greatest bridal celebration at Buck Brook Alpacas, an alpaca farm I have visited a few times over the years. My aunts, in-laws, cousins, and friends walked alpacas through the farm, finding hidden gifts along the route. Valentina, my feisty alpaca, led the herd. We enjoyed wine and charcuterie and alpaca-shaped cookies and the fall foliage. Later that afternoon, guests toured the Seminary Hill orchard and cidery, the world's first passive house certified cidery.

Rehearsal Dinner & Welcome Party

The rehearsal dinner took place in the back field at the mountain house where my family stayed, overlooking the Delaware River. My two favorite cooks, my dad and Crosby, prepared a feast of salad, standing rib roast, and sweet potatoes, and we enjoyed a croquembouche from Newburgh Flour Shop as the sun set. Afterward, guests met in town at Catskill Provisions Distillery, where we tasted whiskey and gin with the head distiller and nibbled on local cheeses.

The Big Day

Saturday was a balmy, sunny day. There was just a whisper of fall—the trees were beginning to turn shades of red and yellow, but the temperature was in the low 70s. We got ready at the Boarding House at Seminary Hill, a quaint lodging with apartments beautifully appointed with a Shaker-style design. The morning went by in a flash!

Our ceremony took place in Seminary Hill’s orchard overlooking the Delaware River, with views of the rolling Catskill Mountains. Crosby’s father delivered a beautiful program filled with marriage and life advice—and a few jokes, of course! As our first challenge to overcome as a married couple, Crosby and I used a two-handed saw to cut through a log as guests cheered us on. Instead of tying the knot, we cut the log. My father got the saw from a junkyard when he was 8 years old, and he and his father built the wooden handles. A quartet of dear high school friends sang “The Irish Blessing” before the marriage proclamation. Our guests tossed cones of dried lavender buds sent from Crosby’s elementary teacher’s lavender farm in Maine, and a harpist played “Married Life” as the recessional.

The Festivities

The star of cocktail hour was a long charcuterie board with figs and Harbison cheese! Our dear friend Adam, the matchmaker, owns Bread Service PA and provided bread for the escort table. Each guest received a tasty baguette featuring a tag with their name calligraphed by Crosby’s talented mom! The baguette tags corresponded with the round boules on the tables, with numbers marked in flour. (Adam also made batches of “Wedding Granola” à la Eleven Madison Park for day-after favors.)

Dinner was Spanish paella, prepared in a four-foot-wide pan and filled with lobster and mussels and saffron rice! It was a hit. Crosby’s brother, Graham, learned to play “The Stars and the Moon” on the piano, a favorite song of my dad’s that I promised to one day sing at my wedding. When the sun fell, s’mores were enjoyed outdoors ‘round a bonfire and guests played corn hole. A hot jazz band brought everyone to the dance floor, then my high school pal Gia, a DJ in Berlin, brought the house down on the one and twos.

Over the past decade, Crosby and I have celebrated many birthdays, anniversaries, and special occasions with dessert made by my cousin Sean, an executive pastry chef. For the wedding, Sean made the most delicious cake that featured almond dacquoise, praline cream, concord grape gelée, vanilla cream, a layer of feuilletine yuzu crunch, all covered with a thin layer of buttercream. It was perhaps the greatest wedding cake in all of time. 

We moved the late-night festivities up the hill to the mountain house. We had tomato pies from Bread Service PA and Gerry’s Pizza around a fire pit, then we danced in a field under the stars to ABBA ‘til the wee hours of the morning. The fog rolling in on the Delaware River made us feel like we were in outer space. We said our goodbyes the next morning over bagels, feeling grateful and full of love and exhausted in the best way.

Venue: Seminary Hill Orchard & Cidery
Photographer: Brandon Muñoz
Florals and rentals: Jessi Owens, FlowerSchool New York
Catering: Neversink General Store
Band: The Sweet Tooth Jazz Band
Wedding cake: Sean Considine
Bread: Bread Service PA

An Ode to Opera

I saw my first opera in the Czech Republic when I was seventeen years old. My high school madrigal choir was traveling to compete in an international competition, and our tour took us to the Czech Republic, Hungary, Slovakia, and Austria. (We took home the top prize!) After a long day of rehearsals in the city of Olomouc, we slunk into the red velvet seats of the 1830 Moravské divadlo Olomouc opera house to see Giuseppe Verdi’s Nabucco. The surtitles were in Czech. I didn’t quite follow the plot, but I marveled at the elaborate set pieces and the heavy, ornamented costumes. I watched in amazement as the tiers of Solomon’s temple flew above the stage, and as fire ignited along the footlights to illuminate a battle scene. It was all so grandiose—the opera house, the music, the drama. Much to my surprise, the audience burst into song in the Third Act. The crowd of well-dressed patrons joined in on the famous chorus “Va, Pensiero," and it was kind of magical.

I didn’t return to the opera for seven years, and now I’m on a roll seeing contemporary operas. Many luminaries in the theatre world develop and direct operas, and in my recent trips to the opera I have found that the form mirrors contemporary musicals in surprising ways. Arias in operas are much like the "I Want" songs in musicals—characters step aside to reveal their innermost feelings. The songs can be indulgent, emotional, and don't have to drive the plot. This emotional storytelling can also teach the audience how to listen to subsequent recitative songs. 

In December, I went to the Metropolitan Opera for the premiere of Kaija Saariaho’s L'Amour de loin. It was opening night, and women ascended the stairs of the Met with their gowns trailing behind. Men were dressed to the nines in tuxedos. And there was such excitement bubbling about the premiere—it was the first staging of an opera by a female composer at the Met since 1903. (Which was staggering to me and didn't seem like cause for celebration, but I happily attended the celebratory post-show soirée anyway.) Surtitles for the French-language libretto by Amin Maalouf were neatly displayed on the seat in front of me, but my eyes were transfixed on director Robert Lepage’s staging. The sea separating the opera’s long distance lovers—the Prince of Blaye and the Countess of Tripoli—was brought to life with rows of twinkling, tubular LED lights. They seemed to stretch upstage forever, rising and falling with the billow of the baritone’s voice. It was mesmerizing, and so beautiful.

In September I saw the world premiere of the “hiphopera” We Shall Not Be Moved, by Daniel Bernard Roumain and Marc Bamuthi Joseph, at the Wilma Theater in Philadelphia as part of the Opera Philadelphia’s O Festival. The performers soared through spoken word, hip hop, and opera singing—all directed and choreographed by Bill T. Jones. The opera follows a group of displaced North Philly teenagers who find refuge in the exact location of the MOVE organization, the black liberation group that was bombed by the Philadelphia police in 1985. It was a dark slice of history, folded into the harrowing present, and told through beautiful projections and words. 

Earlier this month, I ventured to BAM’s Howard Gilman Opera House in Brooklyn for the first time to see Crossing as part of the Next Wave Festival. The opera was composed, written, and conducted by 27-year-old Matthew Aucoin, and directed by Diane Paulus. The English libretto was inspired by excerpts from a diary that Walt Whitman kept while volunteering as a Civil War nurse. It explores the line “What is it, then, between us?” in Whitman’s poem “Crossing Brooklyn Ferry,” taking it so far as to imagine a relationship between the author and a patient at a Washington, D.C.-based Union hospital. The set was a one-room ward filled with varying shades of Prussian blue, the color of the Union Army uniforms. Projections of the outside world fluttered across the shiplap walls, and soldiers moved about the space dancing as waves and shifting as wind, all while the lines between good and evil, and life and death, criss-crossed and blurred. It brought forth a divisive period of U.S. history, all while shedding light on the discordance in our country today.

I’m struck by how the images from the operas I have seen—a towering wall, strings of lights, fires blazing—have cemented in my brain. Opera is as much a visual form as an aural experience. It offers the perfect mold for over-the-top, operatic spirited characters, and gives virtuosic artists freedom to explore. I'm excited to see hip-hop dance moves and diverse casts and current events finding a place in opera houses.

While at the Philly Fringe, I happened upon an outdoor screening of Mozart's The Marriage of Figaro and was unable to find a seat on the three-block long Independence Mall. Hundreds of people of all ages watched and sang along. It was another magical moment. I'll happily add more trips to the opera to my calendar of regular theatre outings.

Prepping for the Eugene O'Neill Theater Center

I never went to sleepaway camp. It is funny because I grew up in rural Pennsylvania, which is chock-full of camps in forests with lots of trees and bodies of water for kayaking and paddle-boarding. 

Maybe I never went because my older brothers were banned from Camp Orchard Hill in my hometown after they demolished two of the organization’s brand-new go-karts. (Which was actually really funny and not as terrifying as it sounds.) Perhaps my perspective of sleepaway camp was tainted after I dropped my brothers off at Camp Woodward in Lancaster and visited the bunk rooms of the bikers and roller bladers, which reeked of sweat. Or maybe it is because my brother shattered his tooth on his bicycle handle one summer there, and I didn’t want to have my own catastrophic trip to the dentist while being away from home.

I did have my fair share of summer day camps, though, learning about constellations in science camp, mixing potions in wizardry camp, and even smashing geodes in rock camp.

The closest thing to a sleepaway summer camp that I ever experienced was an acting bootcamp for kids. I traded the great outdoors and star-gazing for the twinkly lights of Times Square, and stayed in a hotel with my gracious mother for a whole week when I was 12 years old. Instead of playing capture the flag, activities included memorizing commercial copy and mastering the art of audition tapes. (And making some pretty great memories with my mama.)

In high school I witnessed the true merit of sleepaway summer camp when one of my best friends demonstrated her ability to change her bra and underwear all without taking off her clothes while we prepped backstage for the annual dance recital at school. She also can french braid her own hair and tie a cherry stem with her tongue, all skills perfected by many summers spent at Camp Kresge in the Pocono Mountains.

This weekend, I feel like I’m finally getting a real camp experience. I’ll be venturing to Waterford, Connecticut for the National Critics Institute at the Eugene O’Neill Theater Center. I’ve packed plenty of bug spray, a pair of boat shoes, and saved my dentist's number in my phone. I might be sharing a room with a stranger and there will be a communal bathroom. And while I don’t think there will be s’mores or Kumbaya around a fire, there might be titillating games like “Name That Theatre Critic,” or we might win prizes for filing reviews in a timely manner. And I’m excited. 

Whatever these two weeks have in store, I’m trying to not worry about my non-critical nature or think about all the things in the theatre field that I don’t know yet. And I’m trying to get over my bad case of imposter syndrome. I plan to go into this experience knowing that I have a lot to learn—and institutes are for learning, right?

Who knows, in addition to coming back more opinionated I might even learn how to tie a cherry stem on my tongue.