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I don't see a lot of movies, but my gang went to this on Christmas. It's a lush, full production. And he gives a strong performance as a totally amoral Ping Pong savant. I think he might win, simply because many think he was robbed last year for his portrayal of Bob Dylan. I recommend the film as an entertainment...a dark comedy. But whereas I'll often watch movies again when I come across them on TV...I never need to see this one again.

I saw it last year in New York and loved it. I may try to get to Philly to see again. He also does a one-performer version of Great Expectations and his Miss Havisham was delicious. I wish someone would mount a full production to do it in full force.

I have been every year since the first year when 8 dancers strutted around the bar and took showers at the famous Splash Bar on 17th Street. It's become one of the slickest, most tightly produced shows in NY, and they raise more than a million dollars every year now. It's on Sunday nights because that's the dark night for most Broadway shows...many of the performers do a matinee on Sunday and then show up for the two show late-night. (They literally start rehearsing in mid-May, and have dress rehearsals on the Sunday morning.) As far as the risque factor for the later show...that's rather a thing of the past. Since folks won't put away their cell phones, the performers are much less eager to have their business shown to the world. But yes...in the old days, many a pastie was not applied for the late show, and there were more "slips" of the thongs. The days of the obvious arousal of some dancers (just showing off, I tell you! LOL) are pretty much gone. Yes, many of the various numbers crop up on youtube. And the BC/EFA team does share some, but I don't think they're left indefinitely. The organization does record them, however, and you used to be able to buy the DVDs at the Broadway Flea Market. It's expensive, and the Hammerstein Ballroom main floor is standign room only, so between lining up on 34th St at 7:30 to get a good spot when they open the doors at 9:00, you end up standing for 3-4 hours. As for the book...when it was published, Jerry Mitchell and about thirty of the regular dancers did a publication party/book signing at the Rizzoli Bookstore on 57th Street. I love my copy...gonna go take a look at it now!

I was very skeptical when I went in...although several friends saw it in Boston and liked it, (and one in London), and there were big discounts for the first couple weeks. Sat down and thought, "okay, whacha got?" Within five minutes, I was totally engaged with these two...the naive Brit coming to meet his Dad...and the jaded New Yorker "something is going on here" whose sister is about to marry the Dad. It's being marketed as a musical RomCom, which I get. It has the general set up and sturm and drang, but there's a little more here. Sam Tutty is truly adorable. His wide-eyes sweetness is believable throughout. He won the Olivier for playing Evan Hanson in the London production. Christiani Pitts, who other than the puppet was the only good thing about King Kong in 2013, unwraps like an onion here, with the layers and pain gradually exposing. The score is better than decent, and actually has melodies that can be hummed. I do recommend, especially since so many ticket offers are available. If they can keep prices down for the younger theater goers to fall for it, the word of mouth might carry this through. One of only two new musicals this Fall, one of which is already closing, and with only two currently scheduled for Spring, it's sure to be nominated for Tonys.

Don't miss this early Stephen Schwartz charmer which is the original home of his very popular song Meadowlark. Classic Stage is an intimate space on 13th Street, and they've basically converted into a French cafe for the telling of this charming story. Cast couldn't be better. Ariana duBose, Scott Bakula, Judy Kuhn, Nathan Lee Graham. It's extended to 12/21 and I already have a second ticket.

I lived in LA from 92-94 and loved Numbers. Met so many interesting folks there...both working men and regulars. I was lamenting with a friend of the days when you could go to a bar, and engage in brief conversation and then make a connection. The current rigmarole of texting and waiting for a reply, which often doesn't come, and then hoping the person doesn't flake! <sigh> In New York now, and wish there still was an Uncle Charlies...(or even Stellas) to go on a Thursday night. LOL

Don't miss this production at Lincoln Center. It's lovely on every level. Casting is great, the orchestra stupendous, and staging clean and powerful. Some stunning stage effects. Was told by Stephen Flaherty after that while it's currently only scheduled through January 4, it will extend if reviews are good and tickets sales are strong. So powerful and pertinent for today. It does run a full 2:50, so if you only go to one-act musicals, brace yourself. (Fun to be sitting right behind Hugh Jackman and Sutton Foster.)

So easy to get there. And they try to be accommodating to train schedules. Penn Station to Millburn is about 45 minutes, and it's an easy 10 minute walk to the theater...Train Fare for seniors 62+ is only $9 round trip. There was a 1:30 matinee, took the 12:12 train and had time to relax before the show. Runs 2 1/2 hours so we missed the 3:50 return, so walked into town, had an ice cream and caught the 4:50 back. Home by 5:45. And my theater ticket was under $100 for a decent center mezz seat.

It was a lovely day to take the 40 minute train ride out to Millburn to see the new musical Bull Durham based on the movie from 1988. Carmen Cusack, from Bright Star and Flying Over Sunset doesn't disappoint. Her voice is perfect for the somewhat Southern flair of the very decent score. I actually could hum two numbers leaving the theater. (Not that this indicates a good score. LOL) And the book is strong, adapted by the original screenwrite Ron Shelton. Nik Walker is terrific as Crash, and Will Savarese is kind of irresistable as Nuke. Production is really strong, with terrific choreography by Joshua Bergasse. There's lots of shirtless baseball players throughout. Got my ticket on TDF, so it was definitely worth the trip! This could be a home run.

I saw Andrew Barth Feldman in MHE this weekend. He's wonderful, sings it beautifully and does great justice to the role of OLIVER, an obsolete robot. He's not as robotic as Darren Criss was, which took me some time to get used to, but my friend had never seen it and she loved him, and the show. Yes, I have tickets to see it again when Darren is back. LOL

Terrific new Hip-Hop musical by two of the most talented folks I've seen in a long time. Telling the story of a young slave in early 1880s following the Underground Railroad SOUTH, across the Rio Grande. Think Hamilton 100 years later, but with only two performers and incredible modern mixing technology. Some Spanish, but like Buena Vista Social Club, you understand what's being conveyed. This could be big, and the two young creators, Brian Quijada and Nygel D. Robinson are folks I will keep my eye on. Not for everyone, but I was riveted, and hope that they can show this to lots of kids...it's the most accessible theater out there for young people, especially of those of color, that I've seen in a long time.

And now Cabaret is closing in two weeks, BIlly Porter out with Sepsis. His understudy will play the part for the last two weeks, they're required to give that notice by the unions. Scandal about the entire investment being lost and a lawsuit by one of the investors who wants to see the books. And I suspect Billy would have recovered enough to go back in, but was not happy about the way things were going. Prices cuts and papering the audience, so he had is agent/manager pull the plug.

I went to what was to have been Darren's last performance. It was lovely. At the curtain call, he announced that he was taking a leave of absence until early November, and was excited to entrust the role of Oliver to Justin Barth Feldman, who he brought to the stage and ceremonially handed him Oliver's "charger". It was charming and a good political move. The audience went wild, and there were probably 300 people crowded around the stage door afterwards. I do have tickets to see JBF do it at the end of the month.

I think Andrew will be terrific, already have tickets to see him. And I love Darrin. Seeing his (originally) final show on Sunday. I do think the producers didn't realize the hubbub that they'd create. But I also think they wanted to show that the roles can be played by any performer. The show is an odd sell. Word of mouth and Best Musical are great. But describe it to a friend and you get a funny look. "Set in Korea in the future, two obsolete robots fall in love." Going to be a tough sell in DesMoines. By showing the roles can be universally played is, in my opinion, necessary. But I also understand the concern from the AAPI community. Truly a rock/hard place. But the backlash against ABF who is just glad to get a job is unfortunate.

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