Heaven deadly sins: Closer To Heaven
Review by Paul Oswell

I once saw a touring Broadway production of Kinky Boots, a musical set in the factories of a provincial English town. Nothing in the musical references England (geographically or linguistically), though, and so the artistic decision to have the entire cast perform in strikingly bad British accents baffled me. 

Closer To Heaven is set in London, but with its script full of flats and birds and wankers, there’s nowhere to hide, and it would sound much stranger in American accents. Thankfully, this cast of UNO students do a better job than the Kinky Boots professionals, and likely only my fine-tuned British ear picked up on a few minor wobbles. 

With music by pop veterans the Pet Shop Boys and book by collaborator Jonathan Harvey, Closer To Heaven is a disco drama, framed by a London nightclub and populated by a sea of lost souls. Innocent Shell (Adrienne Simmons) arrives in the big city to meet aging raver and club manager Vic (Aaron Brewer), her estranged gay father. Wide-eyed barman Straight Dave (Mason Willis) is trying to make his way as a pop star and club host Billie Trix (Laurel Tannehill) is a chaotic, Teutonic diva dining out on past glories and narcotics. 

The plot strands (Shell and Vic fight, Dave falls in love but is sexually confused, Dave vies with a mercenary pop mogul) take place in variously seedy corners - the club, back offices, bedrooms, saunas. The world building is drug and sex fuelled, though I wish slightly more of it had evolved on the dance floor, as the chorus numbers with their more intricate choreography are where the lights shone most brightly for me. 

Adrienne Simmons and Laurel Tannehill stand out, the former with notably elevated dance moves and a note-perfect accent, the latter with spectacularly dramatic psychedelic breakdowns and rants, peppered with touching moments of maternal clarity. Mason Willis’ driven but naive ingénu is impulsive and charismatic, and there’s good energy between him, Shell, and Jose J Figueroa as Mile End Lee, the cheeky yet tragic neighborhood drug runner. 

I very much enjoyed (perhaps not ‘enjoyed’? You know what I mean) the Weinsteinian creepiness of Bob Saunders (Max Corcoran), an odious music industry boss, wielding predatory power from under a bath towel. Payton Wright as sidekick Flynn is also a treat, with some of the night’s best camp quips and a hilarious ketamine-tinged diatribe. Aaron Brewer handles Vic's redemption arc with graceful aplomb.  

The songs (not Pet Shop Boys singles, sadly, but numbers written for this musical) edge towards balladry rather than bangers, although second-half opener It’s Just My Little Tribute To Caligula, Darling! is a fun, hi-octane romp. The ambience is more atmospheric dinge and low-lit gratification than shiny, glitter-strewn dancefloors.   

Kudos to L Kalo Gow’s direction, and the lighting and set design for believable, near-seamless flits between shady city corners. The world feels aesthetically and emotionally consistent, and the dangers, inspiration, hedonism and tragedies of young love, queerness and urban life are creatively delivered. Shout out to the chorus, who danced and sang with entertaining gusto, and pathos when called for. 

There are some bravely-undertaken explicit scenes, and as they’re played for truth rather than titillation, it’s kind of an unsure, exploratory eroticism. It’s not an easy ask for young actors to perform love scenes in front of a live audience, but there’s an impressive honesty to it - sincere credit to Adrienne Simmons, Mason Willis and Jose J Figueroa for navigating these with artistic integrity. 

It’s a tricky show to pull off, what with the accents and the material and the choreography, but I left uplifted, and there’s a poignant celebration of queer legends as a finale. Come with an open mind, and you’ll surely get the most out of this show’s big heart. 

Closer To Heaven runs at the Robert E. Nims Theatre on UNO’s campus through May 6th. More info and tickets.

Seeing red: Moulin Rouge! The Musical

When a musical’s title contains an exclamation mark, you know it means business. This stage version of Baz ‘The Michael Bay of Jazz Hands’ Luhrmann’s 2001 cinematic jukebox romance comes at you hard from the start. The clicking fingers and filthy bassline of Lady Marmalade thrust you into the glittering, gaudy chaos of Paris’ Moulin Rouge nightclub, where tutu’d twirlers and corseted courtesans promise to fulfil your every desire. 

This becomes a literal plot point as the club is in financial trouble (booo!), although club patron the Duke of Monroth will perhaps invest (hurrah!), but that is dependent on him sleeping with and owning the club’s sultry star, Satine (ewww!) who is incidentally coming down with a fatal case of terminal consumption (awww!). Enter Christian (Conor Ryan), a sappily romantic Ohioan visitor who has fallen in with the charismatic socialist ‘bohemians’ Toulouse-Lautrec (Nick Rashad Burroughs) and Santiago (Gabe Martínez). 

Christian just wants to write and perform his love songs, and in a classic mix-up, he ends up in a dressing room with Satine (Courtney Reed) delivering his best Elton John while she believes him to be the Duke and they fall instantly in love. When the Duke DOES turn up for what he paid for, they convince him to back a new show, and Christian is relegated to sad boi side piece (conflict ensues). The entire enterprise is handled by campy, opportunistic hedonist Zidler (Austin Durant), the club’s manager. 

The pop musical numbers come thick and fast, especially when a lyric can be crowbarred into the conversation, and the playlist has been fully updated from 20 years ago, so expect more Lady Gaga than Nirvana. The plot isn’t the most convoluted, and for me, the show is at its best when exploring the themes of found family within the bohemians or the club employees. Christian and Satine trade ballads (both have impressive pipes), and Toulouse-Lautrec and Santiago both get evocative set pieces. 

The costumes (Catherine Zuber) and scenic design (Derek McLane) do a lot of great work, your ticket money right up there on stage, seamlessly swinging from baroque theater to the grimy Montmartre to the sophistication of Champs-Élysées. There are quite a few huge, exuberant dance numbers that show off Sonya Tayeh’s expert choreography. 

The songs work well for the most part (the musical jump scare of Cee-lo Green very much excepted) and renditions of ‘Firework’ and of course ‘Your Song’ get ecstatic audience reactions. There are a couple of high-octane medleys that pinball you through two decades of pop hits, and the second half opener of Bad Romance builds from a sexy two-hander to a full-out joyous ensemble whirlwind. 

It’s a spectacle. Yes, it’s sentimental in parts, and don’t think about the plot too hard, but if you love pop music and huge neon sets and streamers popping out of canes and saucy innuendo and large-format burlesque, then you’ll have a memorable night out. And at the end of the day, that’s really all that the Moulin Rouge wants for you.

Moulin Rouge! The Musical plays at the Saenger until April 16th. 

Paws for thought
Review by Lefty Lucy
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The heartbreaking thing about live theater is that when it's good, and it ends – that’s it. It’s done.

You can't watch it over, and over, and over again, pausing to take in the all luscious visuals and cleverly placed props. The theater, well, “it flares up, burns hot, and then it’s gone…”. So you try to take in every detail you possibly can – every shovel, every pruning shear, every machete (every rifle – literal and figurative – hanging on the wall), but, inevitably, you get swept up in the story, the characters, the comedy! And you're left only remembering a vibrant shadow of the incredible artistry that delighted, shook, and comforted you for 80 minutes. Or at least, that’s what it’s like for me; Not 10 minutes into the Radical Buffoons production of Exit, Pursued by a Bear, and already I regret that this will be my one and only opportunity to see this outstanding production.

House opens, and our eager audience floods into a transformed black box theater that truly looks like they’ve ripped the wall off of a hunting shed, with our seats set up specifically to allow a peek inside. There’s almost a Pee-Wee’s Playhouse vibe, if the Playhouse was a murder den in the woods. The set is a cornucopia of scenery, complete with deer mount, busted up lawn mower, in-progress window frame leaning against a worktable, a chair connected to a chain, and much, much, much more.

Props to Lindsay Rowinski, Marissa Botelho, & Jean Trachek for their spectacular scenic and prop details - you could have left me with the lights on alone in the space overnight and I still don’t think I would have been able to notice every perfectly-placed piece. Of course, it was impossible to take everything in before the lights dimmed and the show began (but I know because I lingered after and took a billion pictures).

I went into this play completely unfamiliar with it, beyond the title. I wish I could tell you what happens, linearly, from scene to scene, but I’m afraid my memory doesn’t work that way. What I can tell you is this: 

The play opens on Independence day: spotlight on Nan (embodied by the fantastic Natalie Boyd), a modern (and dissatisfied) housewife and animal lover, who has decided she’s leaving her husband…out, for the local bears to eat. 

She’s had enough, and she’s duct taped dear Kyle – that’s the husband (played sincerely by Jon Greene) – to a chair, chained the chair to a rig in the ceiling, covered him (and the driveway) in honey, and has begun thawing the pounds upon pounds of deer carcass that Kyle’s been shooting and freezing (with no end in sight) so that it might tempt some hungry bears, and solve all of Nan’s problems.

We learn through a series of reenactments performed by Nan, her stripper pal Sweetheart (portrayed by a perfectfully deranged Angie Z), and childhood best friend Simon (brought to full technicolor life by the truly transcendent Mint Blair), that Nan’s husband Kyle has become red-flag city, the final straws being endless name calling and physical abuse.

The specific story of abused-wife-has-enough is almost (sadly) cliche at this point – Nan even mentions Thelma and Louise, emphasizing a trope that has been around for well over 30 years by now. But Lauren Gunderson’s masterful use of comedic and theatrical structure, combined with the choices of directors Torey Hayward and Tenaj Jackson supported by their incredible cast (all born to play their parts), takes this topic from ordinary to revolutionary. This quick-witted and deeply personal play takes a microscopic look into the complicated layers of an abusive relationship, and leaves you asking…

Who’s the bear?

Now, I could talk to you about how Nan likes to quote Jimmy Carter, a lot, and somehow it’s hilarious. Or how impressed I was by the choice and execution of Kyle’s first monologue – enunciated, somehow, completely clearly despite having a red ball gag tied firmly in his mouth. Or, I could gush about how the sound, lighting, and costume design (provided by Amara Skinner, Stephen Thurber, and Aya Designs) are so spot-on and mingled so seamlessly, I barely have any distinct notes or memory – though I did occasionally wonder if some of the sounds were curated design, or simply NOLA noises, wisely folded in by Amara Skinner.

All of the design elements work together to allow the audience to get lost in this world that walks the line between realism and fantasy (my notes at one point read simply, “that is some fine looking meat!”). Theater! 

I could also tell you how, after I googled it, I learned that this show is an homage of sorts to Shakespeare’s play the Winter’s Tale, which includes the stage direction, “Exit, pursued by a bear.” But honestly? All I know about that play is that it goes completely off the rails, in part because there’s a bear in it. This play shares a bear, but here she only goes off the rails on her way to greener pastures… or woods…or a city. I’m no Shakespeare, but you get the metaphor.

So, whether you are a theater nerd or just enjoy good storytelling, there are even more depths for you to mine in this fantastic production. Don’t miss your chance to see this comedic and Radical show.

Exit, Persued By A Bear runs on 4/6 , 4/7  @ 8pm (doors at 730…ish) at the Fortress of Lushington
See where Lefty Lucy is performing next!

FIRST NIGHT REVIEW
​Sects and Violins
Fiddler on the Roof @ The Saenger Theater

The themes of tradition being challenged by new ideas is one that looms large in many ways over this beloved 60-year old musical. The staging itself creates these very tensions, and in this touring ‘Broadway in New Orleans’ production, a couple of small modern touches are introduced to emphasize the ongoing relevance of the story. The story is book-ended by the lead in a modern, bright orange parka, driving home that the themes ring true for the people of Syria, or even more topically, Ukranians (to whom the show is dedicated). 

Tevye (Jonathan Hashmoney) is an impoverished milkman in a Jewish village in Tsarist Russia in 1905, who nevertheless delights in the rules that bind society and will help him marry off his five daughters. If there’s a stronger, more emphatic opening number than ‘Tradition’ then I’ve yet to see it, the central tensions of the show set up with incredible gusto from the off. “People ask me where these traditions come from,” Tevye confides to the audience, “And I’ll tell you…I don’t know.”

Tevye lives happily with his wife, Golde (Maite Uzal), a hard-working pragmatist with a no-nonsense outlook. His three eldest daughters are approaching marrying age, and although the meddling matchmaker Yente (Gabriella Green) fusses around them, they each have their own ideas, which slowly but surely come to the fore.

Tevye speculates on how life could be, and while being grateful for his faith and culture, wishes for just a little more in life. Hashmoney brings a fresh charisma to the number ‘If I Were a Rich Man’, ramping up the laughs as his imagined life of wealth gets ever more decadent. 

At first, life is comically exasperating for Tevye, as his eldest Tzeitel (Randa Meierhenry) ducks away from an arranged marriage to bluff elder butcher Lazar Wolf (Andrew Hendrick). She has eyes for the local tailor Motel (Daniel Kushner) and Tevye goes against his better judgment and relents. 

In these early scenes, fast-paced humor dominates, and the lines come thick and fast. Lazar Wolf offers Tevye a drink - “I won’t insult you by saying no!” comes the reply. Perchik (Austin J Gresham), a young student, tells Tevye that money is the world’s curse - “Then let God smite me with it!” yells the dairyman. There’s also a telling part where Perchik interprets a bible story as saying that “all employers are evil” and let me tell you, only the back half of the theater laughed. 

Tzeitel and Motel’s wedding comes as a first act climax, with joyous scenes of incredibly gymnastic and inspirationally-arranged dance numbers. People usually think of West Side Story, but Fiddler on the Roof is low-key one of the greatest musicals for dance numbers. Back flips, feats of agility, and of course the famous bottle dance, explode on the crowded stage. All credit to the truly outstanding work by choreographer Hofesh Shechter. 

Already, though, the cracks in age-old practices are starting to appear. Perchik dances with unmarried Hodel (Graceann Kontak) to initial outrage, and the wedding is broken up by Tsarist militia men, in a stark warning of the violence to come. 

Tevye’s world begins to crumble as we start the second act. Hodel and Perchik declare their love, Tevye’s permission overstepped. He very sheepishly gives his blessing, with a lament: “Love! It’s the new way!” His limits are severely tested, though, as Chava (Yarden Barr), falls for a visitor, Fyedka (Carson Robinette), who isn’t Jewish. He questions his own relationship with Golde, as they duet on the gorgeous second half highlight, ‘Do You Love Me?’.

The family unit is strained, as is the community as they are violently evicted from their village by the Tsarist forces. New ways and ideas come in many guises, from cheeky loopholes that allow teenagers to dance together to the extermination of a people and their culture. It’s a pretty bleak ending but the power of hope is never extinguished. 

Breathing new life into a 60-year old musical can’t be easy, but Michael Yeargan’s sets and Catherine Zuber’s costumes do fabulous work in updating the aesthetics without losing the ambience of an early 20th-century East European village. Tevye’s incredible dream sequence wouldn’t look out of place in a Tim Burton movie, and classic set pieces such as the expertly-rendered bottle dance are utterly compelling, visually reinforcing the subtle, growing tensions.

I’d only ever seen half of the epic film, and so to experience the full range of emotion, from belly laughs to near-unbearable poignancy, was unexpected but very welcome. This production of Fiddler is as fresh, challenging and relevant as it must have been in the 1960s. We can pay respect to theatrical traditions while accepting new ideas, and when a huge ensemble uses both to create something this powerful and entertaining, that’s surely the real sweet spot. (PO)

Fiddler on the Roof plays at the Saenger Theater through Sunday March 5th. Click here for more information and tickets.

TINA: THE TINA TURNER MUSICAL
First Night Review
at The Saenger Theater

Broadway loves a comeback, stars and subjects alike. Recently, there’s been a renaissance of women who turn their real life lemons into showtime lemonade. There’s Pamela Anderson, hot off her documentary and literary forays into memoir, who poured her exploitation and heartbreak into her performance in the Broadway revival of Chicago as Roxie Hart. But the award for crisis management and reinvention has to go to Tina Turner - both the real superstar, and the star of Tina: The Tina Turner Musical, now touring its Broadway show at the Saenger Theater. With an emphasis on energy, heart, and soul, this musical is a true testament to the resilience and strength of one of the greatest musical icons of our time.

The production opens with a young Anna-Mae Bullock, discovering her gifts and witnessing the breakdown of her turbulent family. From there, the audience is taken on a journey through the ups and downs of Tina's life, including her rise to fame, her tumultuous relationship with her former husband Ike Turner, and her eventual triumph as a solo artist. Throughout the show, Tina's music serves as the backbone, providing a pulse-pounding soundtrack that keeps the audience bouncing in their seats.

The lead actress, Naomi Rodgers, is phenomenal as Tina Turner. She channels spirit and stage presence, delivering powerful vocals and electrifying performances of hits such as 'River Deep, Mountain High', 'What's Love Got to Do with It', and 'Private Dancer'. The supporting cast is equally impressive. The runaway fan favorite was Ayvah Johnson (a Slidell native!) as Young Anna-Mae, who immediately sells Tina’s prodigious nature by virtue of being a singing and acting prodigy herself. Garrett Turner as Ike—no relation, I expect—is pitch-perfect in his mercurial performance, swinging from smooth charm to rage to sniveling as quickly as the tempo changes. The choreography is also a highlight, with faithful reproductions of the high-energy routines that vaulted Tina and the Ikettes to stardom.

In addition to the music, Tina - The Tina Turner Musical provides a glimpse into the personal struggles and triumphs of Tina's life. The show chronicles her journey from a battered young artist to a confident and empowered woman, exploring themes of abuse, resilience, and self-discovery. The show even touches on some of the tools she uses along the way: the reciprocal abuse learned from her parents’ relationship; the support from her bandmates and tour manager, also victims of Ike’s temper; and the Buddhist meditation practices that finally give her the strength to leave. It's a moving tribute to the fortitude of the human spirit and the power of perseverance.

The production design is also noteworthy, with stunning lighting and outstanding costume design that all come together to create a truly immersive experience. If you missed the iconic performances of the Ike and Tina Revue or Tina Turner when she was playing live, you’ll feel transported into some of the most memorable shows of the last 50 years. The use of projections, sound design, and special effects are especially effective during scene transitions, which seem to happen almost instantly thanks to the actors doubling as stage crew. This makes what could be a long show move at a clip, allowing the audience to remain immersed in the story being told on stage.

Overall, it's a dynamic and entertaining celebration of one of the most beloved musical legends of all time. The show is a must-see for fans of Tina and anyone looking for a toe-tapping night. New Orleans showed up in its best sequined and fringed getups for the affair, so your 80s wig won’t be out of place. Plus, there’s just something special about dancing and singing to 'Proud Mary' mere blocks away from the bank of the river herself, and it's an experience that will leave you feeling empowered and inspired. (Eileen Daley)

Tina: The Tina Turner Musical plays at The Saenger through February 12th. More information and tickets here.