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: For the second time in its 19-year history, The NOLA Project is weathering Shakespeare’s stormy story.
In 2006, just one year removed from its inaugural production, and Hurricane Katrina, the fledgling company produced its first outdoor theatre with GET THIS LAKE OF MY HOUSE: OUR TEMPEST on the shore of Lake Pontchartrain. Founding ensemble member James Bartelle, who performed in the 2006 adaptation, said his 2024 reimagining will stay truer to the original text, but feature some exciting updates. “SHAKESPEARE’S TEMPEST, REIMAGINED will showcase what audiences love most about The NOLA Project: Classical stories through a fresh new lens; ensemble-driven adventure; innovative staging; and world-class actors,” said Bartelle. “It will be a high-energy, multidisciplinary 90-minute show that is 50% Shakespeare’s words and 50% new. Not to be missed.” “Friends of Lafitte Greenway is delighted to partner with The NOLA Project for another exciting production at the Greenway Station,” said Marceaux. “We are eager to bring more vibrant theatre to the community and continue to activate this space with local talent. This collaboration has already brought immense joy to the community, and we are thrilled to witness its continued growth, just in time for spring!” Marceaux will also be lending her talents to the production composing original music, along with Sweet Crude bandmate Stephen MacDonald. Monica Ordoñez, Founding Artistic Director of Mélange Dance Company, will choreograph the production. SHAKESPEARE’S TEMPEST, REIMAGINED will be presented May 8-25 at 436 N Norman C Francis Parkway. Seating is bring-your-own general admission – tailgate/camping/Mardi Gras chairs are recommended for the outdoor, concrete venue. All performances start at 8pm. For detailed schedule, tickets and more, visit NOLAProject.com. Four Seasons Hotel New Orleans is thrilled to present an authentic celebration of Louisiana culture at Crawfish Fête featuring live music by Grammy-nominated local legends, the Pine Leaf Boys. Crawfish extraordinaire Billy Link of the great culinary Link family will be boiling onsite for a true-to-Louisiana afternoon of hot crawfish, cold beverages, and high-energy Acadian music. Four Seasons welcomes locals and visitors to join in its traditional Crawfish Fête on Saturday, April 20, from 2-5 p.m.
Guests can enjoy fresh-out-the-pot crawfish with all the fixings and regional fare by Four Seasons culinary team. The crawfish, boiled by Billy Link and sourced from his family farm, are grown and cultivated in off-season rice fields and feed off the rice straw to produce a sweet, meaty crawfish tail. “We are passionate about sharing this rich, local culture with our Four Seasons guests and celebrating alongside the community,” said Mali Carow, general manager of Four Seasons Hotel New Orleans. “Crawfish Fête will be an authentic taste of Louisiana. In addition to bringing in some very special crawfish from Link Farms, we cannot wait to dance along to the Pine Leaf Boys for an unforgettable afternoon.” The event will feature long wooden tables set in a layout that encourages communal dining and interaction, encapsulating the spirit of a traditional Louisiana crawfish boil. This is an opportunity not only to savor the exquisite flavors of local cuisine but also to partake in a cultural experience that celebrates the vibrant community spirit of New Orleans. Four Seasons Hotel New Orleans will host Crawfish Fête on Saturday, April 20, from 2-5 p.m. in the Garden. Tickets, which include event admission, valet parking at the Hotel, crawfish, regional fare and beverages, are available for purchase online for $195 per person, plus tax and fees. A limited number of tickets will be sold, so guests are encouraged to purchase early. Ace NOLA is bringing back its eighth annual Six of Saturns festival and has just announced the line-up—a dreamy mix of local artists and visiting talent that span genres from jazz to funk and R&B. The nine-day celebration of music and culture takes place from April 25-May 5 (coinciding with Jazz Fest) at Ace’s on-site music venue, Three Keys.
Additionally, 6OS will continue its beloved tradition of welcoming surprise artists following their performance on the official Jazz Fest stage. RSVPs and ticket sales are open HERE Week One: Wednesday, April 24 - Have a Great Jazz Fest with Joshua Starkman - Alto - 5:00pm Friday, April 26 - Stones Throw Suite with Kiefer - Three Keys - 9:00pm Saturday, April 27 - Performance To Be Announced - Three Keys - Time TBD Sunday, April 28 - Nicholas Payton - Three Keys - 8:00pm Week Two: Wednesday, May 1 - SONO Presents Cleo Reed - Three Keys - 9:00pm Thursday, May 2 - Jon Cleary with Pedro Segundo - Three Keys - 8:00pm Friday, May 3 - Joy Clark with Lilli Luis - Three Keys - 9:00pm Saturday, May 4 - Lady Wray with Jelly Joseph - Three Keys - 8:30pm Sunday, May 5 - Flagboy Giz with Brass-A-Holics - Three Keys - 8:00pm Boulevard American Bistro French Quarter is pleased to announce new menu items. “Local Favorites” are now available on the lunch and dinner menus.
“Our French Quarter location provides us with the unique opportunity to cater to both locals and visitors alike,” said Chef Steven Marsella, Culinary Director. “These new menu items are certainly local favorites, but also something our visitors have been asking for, so we are excited to share them on this menu.” New appetizers include Alligator Tacos with an Abita Beer batter, chipotle slaw, spicy remoulade, and pickled onions; Louisiana Crawfish Bread with artichoke, grana padano, and Monterrey Jack; and Gulf Shrimp & Grits with a peppery butter sauce, and creamy stone ground grits. The new entrees added to the menu are Louisiana Crawfish Etouffee with a rich Cajun gravy and popcorn rice; Creole Jambalaya with roast chicken, andouille sausage, and sauce piquant; and Crab Cake & Shrimp Alfredo. Creamy Stone-Ground Grits are also now available as a side item. In addition to the new menu items, Boulevard hosts Prime Rib Tuesday from open to close and $8 martinis daily. Boulevard French Quarter is located at 534 St. Louis Street and is open Sunday through Thursday from 11 a.m. until 9:30 p.m. and Friday and Saturday from 11 a.m. until 10 p.m.
There are many impressive elements in Dune 2, the second part of Denis Villeneuve’s adaptation of Frank Herbert’s 1965 sci-fi novel.
For starters, there’s the scale of the thing. Villeneuve has vocally expressed his love of visuals over dialogue, and he pours everything into the aesthetics of his world building. Planets, industrial compounds, desert landscapes and imperial palaces are all delivered with a sense of scale and grandeur that’s reminiscent of the epic movies of David Lean. On the big screen especially, these lingering landscapes and interiors are gorgeous and intimidating. Secondly, the sound design. Every vehicle and weather system has a rich, layered acoustic presence, and it really helps with the immersive nature of the movie. The dragonfly-like ‘Ornicopters’ buzz and purr and groan as if they are organic creatures. It’s a huge universe, with lots to cover, and we won’t get into a detailed plot summary as it could take all week. Suffice to say, Paul Atreides (Timothée Chalamet) is a Christ-like figure, prophesied to lead the indigenous people of Arrakis (the Freman) to freedom. A race called The Harkonnens do the violent, oppressive dirty work for the shadowy Emperor (Christopher Walken) as they seek to control the planet’s resource: Spice. There’s also the influence of Paul’s mother Jessica (Rebecca Ferguson), part of the occult Bene Gesserit sisterhood. Dune (2023) set all of this up, and Dune 2 focuses on Paul taking up the mantle of savior. Like any good hero in their monomyth, he has to train himself in new disciplines, wrangle his magical powers and win over his disciples. We get a series of training montages where he learns to ride the huge sandworms and the special way to walk in the sand to avoid these massive predators. All of this time, the enemy plot, and we see the ascendance of the psychopathic Feyd-Rautha, played by Austin Butler. He is the Harkonnen Baron’s nephew, and we meet him at his birthday celebrations, where he slaughters gladiators in a huge arena. This is one of the best scenes, the stadium cast in monochrome thanks to their black sun, the countless hordes cheering from their seats. Suffice to say that there’s a lot of plot to cover - this is even before we get to the love interest of Chani (Zendaya) and the increasing religious fervor of warrior Stilgar (Javier Bardem). At over two and a half hours long, some of the pacing takes a hit, but if you’re happy just to let the visuals flow over you, then it’s not too arduous. You do feel that Villeneuve is fighting against exposition (tricky with just so much of it necessary) so that he can focus on the striking visual flourishes, and maybe slightly more judicious editing could keep things moving. It’s hard to be too bored with such glorious renderings, though, and the fight and action scenes jolt you back into the thick of things with stirring regularity. At this point, if you’re invested, you’re invested. If, like me, you missed the first chapter and streamed it before going to the sequel, you’ll rue not making it to the cinema in the first instance. Films like this are what big screens are for, and not many directors working today understand that as well as Villeneuve. Dune 2 is showing at AMC Theaters and at The Prytania Canal Place More recent Reviews SIGN UP FOR YOUR FREE WEEKLY NEWSLETTER: 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: With springtime and festival season here, here's a round up, from new openings to culinary classes to special dining opportunities:
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