Hermann-Grima + Gallier Historic Houses is to host the upcoming presentation of 'Two Elizas' by Jenny Mercein, running from May 16th through May 19th. Hailed by critics as a "one-woman tour-de-force", this acclaimed solo show delves into the true story of Jenny's ancestor, Eliza Mercein Barry, and her groundbreaking 1847 U.S. Supreme Court case, Barry v. Mercein, which secured a woman's right to retain custody of her child. This 80-minute production, co-directed by Lori Elizabeth Parquet and Ryder Thornton, candidly addresses themes of mental illness and miscarriage, adding depth and emotional resonance to the performance. Click here for more information and tickets
We Didn't Doubt The Fire: Mrs Doubtfire @ The Saenger Theatre
Review by Dorian Hatchett Rob McClure and I were both born in 1982. That leads me to believe with some certainty that I can understand how absolutely enchanting the work of Robin Williams was to him as a child. I still carry a DVD of Dead Poets Society with me when I move (despite not having a DVD player for years) because there is something essential, even formative, about the way his acting style shaped my sense of what makes something funny. This also allows me to understand why Rob and would throw himself into a passion project like Mrs. Doubtfire the Musical, and when its Broadway run was truncated by industry complications brought on by Covid 19, would follow it by joining the North American tour. He plays the titular character, Mrs. Doubtfire, a clever ruse made up by jilted husband and father Daniel Hillard. Joining him on stage for the touring production is his real-life Spouse Maggie Lakis as Miranda Hillard. They have worked together before, having met on set in a production of Grease, and later working as puppeteers in Avenue Q. Their stage chemistry is undeniable, even playing divorced co-parents. Everything about this production is eye candy. It’s sweet and bright and not too complex. Following the story line of the movie pretty much exactly, the musical numbers are easy replacements for cinematography in a feel-good stage production full of easy laughs and physical comedy. McClure is a genius with impressions, and pulls out all the stops for comedic affect. Mixed into the dialogue are a smattering of current pop culture references that did not fail to bring laughter from the audience (there’s a special, delighted sound that rang ‘round the theatre when the caricature of Paula Deen suggests that 8 sticks of butter would be perfect for an easy-peasy recipe). Dance numbers are well choreographed, with the polish and flair befitting a true Broadway-level spectacle. There are laughs designed to register separately with both children and adults in the audience as double entendre, in the way that the best family comedies often do. It’s rare that I see a traveling production with a set design that rivals the shows I’ve seen on Broadway, but I feel a special mention needs to be made of the set design for this show. There are a host of different sets, including two different houses, a restaurant, the streets of San Francisco, a tv sound stage, and a wardrobe department, and each of them is as detailed and seamless as the last. The stage crew was flawless in their execution, and the lighting design kept the audience engaged in a way that was surprising in such a fast-paced show. The Saenger Theatre is a true gem for sound, and this show is no exception. Mrs. Doubtfire runs at the Saenger Theatre through May 19 Bat-tement Tendu: Dracula @ The Orpheum Theatre
Review by Dorian Hatchett Shirtless vampire air guitar is a scene in this New Orleans Ballet Theatre production of Dracula, and it's an entire vibe. I knew I was in for an interesting evening just looking at the audience. The juxtaposition of typical ballet patrons to every high glam goth in New Orleans entertained the wait for curtain. The show - choreographed by Oliver Halkowich - is a masterclass in mashing up classical themes and modern cultural tropes. I have never laughed out loud at the ballet before tonight. The dancers were exemplary story tellers. Aaron Wiggins as Renfield is mania personified. I could write an entire review about his frantic, often heartbreaking, rendition of a servant locked into madness and desperation. Josh Reynolds' Dracula is a cavalier rock star, backed by his casket girl company of writhing succubi. Jonathan Harker (Tristan Hanson) is clearly dealing not only with Mina's attraction to the count, but his own conflicted interests in the villainous Lothario. The set is austere. Costumes and movements were so on the nose that to tell the tale of decadence and oblivion needed no further elaboration. A casket for Mina, a window frame for insight into Johnathon's mind, and backdrops of castle walls were everything we required. The music is chosen for its specificity, not for its time period. (How did I not notice before that Day-O is the quintessential song for supernatural misadventure hangover?) While the majority of scenes are intimate, there are scenes throughout where the principal characters find themselves among the townspeople, and the skill of the choreographer really shines here. The dancers utilize the entire stage, whether there is one focal point or a dozen. Crowd scenes are beautifully proportioned to contain a collection of conversations between characters, without feeling overwhelming. Click here for more information about New Orleans Ballet Theatre The New Orleans Shakespeare Festival at Tulane has announced its highly-anticipated 2024 season, featuring a captivating array of Shakespearean classics and innovative performances.
This year's season opens with an uproarious production of The Complete Works of William Shakespeare (abridged) [revised] [again], written by Adam Long, Daniel Singer, and Jess Winfield. Directed by Graham Burk, this comedic whirlwind will take audiences on a roller coaster ride through all of Shakespeare's plays in just 90 minutes. Featuring the dynamic talents of Keith Claverie, Ian Hoch, and Lauren Malara, this fast-paced romp is set to delight both devoted Shakespeare aficionados and newcomers alike. Preview performances begin on June 6, with the official opening night celebration on June 7. Performances are Thursday, Friday, Saturday matinee, Saturday evening, and Sunday matinee from June 7 – June 16. Following this comedic tour de force, the Festival presents Shakespeare's timeless tragedy, Julius Caesar, directed by Salvatore Mannino. From July 12 to July 21, audiences will witness this gripping saga of ambition, honor, and betrayal unfold on stage. Julius Caesar stars Silas Cooper in the title role and New Orleans’ favorites James Bartelle, Wendy Miklovic, and Erin Cessna. Preview performances commence on July 11, with the opening night celebration on July 12. Performances are Thursday, Friday, Saturday matinee, Saturday evening, and Sunday matinee from July 12 – July 21. In addition to the main stage productions, the Festival is proud to present two new lagniappe events that promise to push the boundaries of traditional theater. On June 22, for one night only, audiences will experience (un)prompted Shakespeare. This daring experiment features actors rehearsing and performing Shakespeare's classic tragedy Macbeth in a single day, without the aid of scripts, but with the lines projected as supertitles. Additionally, on July 17, another new show will debut, The Fools Ensemble presents A Very Important Play. In this hilarious fusion of improv and Shakespeare, audiences will witness the birth of a brand-new 'Shakespearean' play, crafted in real- time by the talented improvisers of The Fools Ensemble. After its July premiere, Julius Caesar (directed by Salvatore Mannino) will return in January 2025 for the Performance for the Schools series, where over 5,000 students across the Gulf South will get to experience the brilliance of Shakespeare. Tickets can be purchased at the Box Office, by phone, or online via the website at: www.neworleansshakespeare.org Jefferson Performing Arts Society will present a dance revue featuring Broadway musical dance favorites conceived, directed, and choreographed by Jefferson Ballet co-director Kenneth Beck with Kimberly Matulich-Beck. There are two performances only: Saturday, May 18 at 7:30 p.m. and Sunday, May 19 at 2:00 p.m. at Jefferson Performing Arts Center in Metairie.
Featuring an ensemble of over 40 local dancers and two visiting artists, the show will include a variety of dance styles, including tap, ballet, and jazz from eight Broadway shows spanning from 1936-2000. The two visiting dancers are Chloe Slade and LeAnthony Douglas, featured in Beck’s 2022 presentation of The Nutcracker. Despite its title, not all pieces are traditional ballet dances. “The definition of ‘ballet’ is ‘dance that tells a story’”, explains Beck, who recently directed and choreographed JPAS’s production of Jesus Christ Superstar and annually directs The Nutcracker. “This show is an homage to some of the greatest dance storytelling in the history of Broadway.” Musicals featured include Oklahoma! Damn Yankees, Singin’ in the Rain, Carousel, Billy Elliot, 42nd Street, On Your Toes, and West Side Story. Some of the pieces will include vocal accompaniment, and there will be narration by Beck in between pieces, to explain how the dances represent different eras in Broadway musical dance history. For example, two of the eight dance pieces (Oklahoma’s “Dream Ballet” and Carousel’s June is Busting Out All Over”) were originally choreographed by Agnes De Mille, whose invention of using dance to further the plot and to express the psychology of the characters historically changed the use of dance in musical theater. Other pieces originally choreographed by George Balanchine, Gower Champion, and Bob Fosse, each represent a unique slice of Broadway dance history. Tickets are on sale now at www.jpas.org or by calling 504-885-2000. Celebrate the 460th birthday of William Shakespeare amidst the lush surroundings of Longue Vue Gardens! On Saturday, April 20th from 1 - 4 PM, join for an enchanting day filled with games, bocce, drinks, bubbles, and an art market. There's something for everyone at this fun-filled event honoring the Bard. MORE INFO AND TICKETS
Noises Off at Jefferson Performing Arts Society Review by Todd Perley Michael Frayn’s timeless 1982 “Noises Off” rollicks and bumbles (in a good way) at JPAS through 4/21. This tightly-written comedy follows a traveling theater troupe rehearsing and performing a farce. Each of the eight characters are archetypes of the theater world, complete with various neuroses and shortcomings. Act I is the dress rehearsal…run poorly…and we get to know our cast and crew, as well as see a glimpse of the play they’re putting on. Best to listen to their material as we’re going to visit it again in progressively advanced states of decay (the endless plates of sardines will become the ninth character.) The merry players are supportive of their fellow cast members’ flaws and mistakes. Just a happy family putting on a show, tra-la! In Act II, a month later, we watch behind the scenes at a performance as the relationships amongst the once-chummy cast start to fall apart. “Start to fall apart” is perhaps a bit mild. They engage in fights, sabotage…and there’s an axe. Ahhh, the theater! Act II is a stunningly-choreographed, complex ballet of physical comedy that had us all roaring with laughter and applause. Act III, a month and half after THAT, we find our intrepid thespians at the end of their respective ropes, phoning in their performances and exhausted by the behind-the-scenes bickering, fights, and betrayals. The play they put on then is a farce of their own making, barely recognizable to the original material. What keeps Noises Off together is our affection for each of these fragile villains, whose awful behavior somehow never lessens their likability. The direction of the play (as opposed to the play within the play) is quick and lean and savvy, which is a fascinating complement to the ineptitude of the meta-play within. Every actor holds their own, with Elizabeth McCoy as the ditzy ingenue shining amongst them. Eric Porter’s set design is astounding, and as two-faced as the characters themselves. I won’t tell you what they do to the set for Act II, but it elicited a “Wow!” from most people seated near me. On a personal note, I confess I had a terrible hangover and was dreading leaving my house that night. Turns out Noises Off was the most effective panacea for what ailed me. I tell you this as testament to the miraculous healing power of good writing, acting, directing, and a healthy shot of laughter. Which is better than a shot of whisky. Live n’ learn. Noises Off plays at Jefferson Performing Arts Society through April 21st. Click here for show times and ticketing information. Sign up for the free, weekly Out All Day newsletter, with reviews, news, interviews and more: She Stoops to Conquer, UNO Robert E Nims Theatre Review by Dorian Hatchett Watching a play originally produced in 1770s London, on stage 251 years later, is not an uncommon experience for the modern audience. Shakespeare has been getting the modern adaptation treatment for 200 years longer than that. The success of shows like Bridgerton prove that Americans crave dramas about class struggle in an England still ruled by rigid social castes and obsessive adherence to filial responsibility. Each of these modern adaptations seeks a new way to connect with the audiences of now, though (I’m lookin' at you, John Leguizamo as Tybalt, or the pop music played on celestina in Bridgerton’s ballrooms). Director Madison Smith sought to capture her American audience by setting this Georgian Era story in the 1865 Gold Rush. While waiting for the play to begin, members of the chorus (who play background and small parts throughout the show as bar patrons and servants) interact with the audience. It might have been awkward, but it set the stage well for the production; we were to remember that this was a comedy of errors of social machination, and not to be taken too seriously. The chorus of musicians plays through the interludes and transitions, and the original music composed for the play was cohesive and fun. I found myself wishing that the singers had microphones, as some of the lyrics were lost in the small auditorium. Overall, though, the vibe landed and the music was a notable and positive addition to the show. The Gold Rush-era setting was never made explicitly clear (I learned it from reading the program) but it didn’t really matter to the value of the play. The dialog of the show was left as originally written, so at times was hard to decipher to the modern vernacular ear, but the actors' physical comedy more than made up for any meaning lost to verbiage. Notable among the cast were Laszlo Fulop as Mr. Hardcastle, with a spirited intonation as the patriarch who was charmingly off-kilter but clearly adored by his family. Violetta Valverde had a dramatic physical response to every emotional trigger, endearing her to the audience despite her being the antagonist of the show. The rest of the cast all had stand-out moments: Caylee Sanders was so believable as clever, lovestruck Kate, and Morgan Hall as Sir Charles Marlowe had few lines but was by far the best vocal actor of the entire cast. The leads, however, carried the show as the adults in a room of slightly confused children, reminding the audience and supporting cast alike that to laugh at oneself is the height of wisdom. Like many plays of the era, the scope of the production was centered on emotional interchange, and this was no different. I can lovingly describe Austen as books about the horror of being perceived at the homes of other people, and She Stoops to Conquer (originally produced just two years before the birth of Jane Austen) is a clear predecessor to the tone of the soap opera-like literary devices of the time. The actors in this production are obviously comfortable with each other and the subject matter, even if they occasionally trip over the more deprecated language. The set is simple (but incredibly efficient) and it didn't overcomplicate the visual storytelling with unnecessary details. The focus was entirely on the emotions and words (and the wardrobe, which the play references often) and that was very well done on the part of the company. Confusion about the setting aside, the show was bright, well-rehearsed, and the whole experience was a delight. She Stoops to Conquer runs at UNO Robert E Nims Theatre through April 20th. Click here for show times and ticketing information. Sign up for the free Out All Day weekly newsletter, with news, reviews, interviews and more: New York Lonely Girls: Annie @ The Saenger Theater review by Eileen Daley There’s an unwritten rule in show business to never work with children, animals, or starring roles for women over 40. Part of the eternal appeal of 'Annie', which played this weekend at the Saenger Theater, is that it bucks all of these conventions. The success of each production hinges on a large cast of child actors, an intelligent yet appropriately scruffy mutt, and the ratio of relatability to delicious cruelty in the portrayal of a certain harried orphanage matron. I was delighted to watch Friday night’s performance of the classic 1977 musical walk this tightrope with grace and pluck. Annie’s popularity was evident with the theatergoing crowd, which skewed younger than most at the Saenger – it was a sea of mothers and daughters (or very lucky orphans), some in red curly wigs and matching fire-engine dresses. It made me reflect on why Annie is one of those child actor roles that really sticks with people. It’s a very popular school production, and has spawned no less than three feature film adaptions in the last five decades. Almost every theater kid knows an Annie, played an Annie, or was rejected as an Annie. It’s a role that’s never in danger of being aged up, as anyone who’s tried to sing “Maybe” after their voice dropped can tell you. Paradoxically, though, the stars shouldn’t be more polished than they are charming – it’s harder to buy the woes of an orphan that are sung through perfectly golden pipes. So, it’s an achievable goal for young wannabe actors who dream of the hard knock life. The musical zips along at a quick pace that keeps kids and adults alike entertained. Since it’s based on a comic book, the scenes play out almost like episodic vignettes, bookended by a catchy tune near the top and its matching reprise to tie things up. The wonderful ensemble cast really shines in the large performances such as “We’d Like to Thank You, Herbert Hoover” and “You’re Never Fully Dressed Without a Smile,” two of my favorites, and they even manage to make the pat love letter to metropolis “N.Y.C.” go down a little smoother. Though Annie’s dog Sandy is offstage more than I’d like, the under-dog/study Kevin puts in a perfect effort (the program helpfully provided pictures of both dog actors, so we could identify him by the distinctive ears). As for the main cast, they were dazzling and heartbreakingly vulnerable in turns. The namesake lead Rainey Treviño belts with the best of them and makes Annie easy to root for. Her orphan companions, especially Molly (Jade Smith), are fiendishly adorable. Both Daddy Warbucks (Christopher Swan) and Rooster (Jeffrey T. Kelly) also give standout performances and showcase impressive vocals, but the most entertaining of them all is the delightfully dour Miss Hannigan (Stefanie Londino). She lends such world-weary pathos to the portrayal of the miserly old maid that by the end of her solo, “Little Girls”, the whole theater audience of moms was ready to ride into battle for her. It’s so much more fun to watch a villain that could be yourself on a bad day than it is to watch a caricature, and it was easy to see that she has fun playing it, too – underneath all the misery on the surface. Watching Annie as an adult is a more darkly humorous experience than you might expect. The title character’s bright optimism seems hopelessly naïve, and President FDR features much more prominently than I’d remembered. Most of all, the conceit of the main plot – Warbucks’ staff bring him an orphan to mentor for two weeks before Christmas – seems more like a cruel Youtuber stunt than the setup for a heartwarming family tale. But, just like a Depression-era radio soap opera, the melodramatics coalesce into a rewarding message about perseverance and found family. It’s enough to keep you humming about “Tomorrow” for weeks. The Saenger Theater's Broadway in New Orleans season continues in May with Mrs Doubtfire SIGN UP FOR YOUR FREE WEEKLY NEWSLETTER: Manifesting witch face review by Eileen Daley Origin stories are ten a penny these days, with everyone from the Joker to Cruella de Vil enjoying a deep dive into their beginnings. Wicked is perhaps the origin of origin stories if you will, and is celebrating 20 years on the stage. If you’re not familiar, Wicked is an expansion of the Wizard of Oz theatrical universe, telling the story of how the good and bad witches came to be. It’s based on the novel Wicked: The Life and Times of the Wicked Witch of the West and it’s a thoughtful adaptation that foreshadows the themes more organically than you might think. Wicked is a true Broadway sensation, now in its third decade, and it continues to captivate audiences thanks to its inventive story, dazzling production, and powerhouse performances. From the moment Glinda the Good Witch (played with effervescent charm by Celia Hottenstein) descends in her glittering bubble, to the gravity-defying entrance of Elphaba (portrayed with vulnerability and strength by Olivia Valli), the audience was spellbound. The shifting chemistry between the leads is engaging to watch, the musical bringing a dynamic energy to a complex relationship. Eugene Lee's set design seamlessly blends grandeur and intimacy, transporting the audience from the towering spires of the Emerald City to the learned halls of Shiz University. The lighting design (by Kenneth Posner) creates a kaleidoscope of colors that maintain the sense of wonder. A giant dragon frames the stage, which is a neat device, reminding us that we’re watching a kind of traveling marionette version of a story. Wicked's huge success hinges on its iconic music, though, and this production did not disappoint. Tunes like ‘Defying Gravity’, ‘Popular’ and ‘For Good’ were met with panoramic excitement, fans remembering a thousand Tumblr memes and many likely seeing this show live for the latest in, well, any number of times. The ensemble cast deliver notable performances, bringing the citizens of Oz to life with infectious energy. Big ensemble numbers, such as ‘One Short Day’ and ‘Dancing Through Life’, enjoyed daring choreography that added an extra layer of drama. Wicked's timeless themes of friendship, identity, and the consequences of prejudice resonate strongly, and they kind of turn the musical romance trope on its head. The narrative's depth and emotional resonance are brought to the forefront by the cast's powerful performances, backed by a solid musical soundtrack (delivered by a lush-sounding live orchestra). Wicked is a triumphant continuation of a Broadway phenomenon. With its striking visuals and a narrative that remains as relevant as ever, it continues to pull in loving crowds. It’s fun to reevaluate the movie through a different lens, and it’s clear that, even after all these years, there's no place like Oz. Wicked plays at The Saenger Theatre through Dec 17th. More info and tickets here. |
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