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REVIEW: Doubt - T.Schrieber Studio

Mere mention of the play Doubt will elicit any number of responses. Even my own mother has her thoughts about it: “Oooh, is that the one with the nuns and the priest accused of…you know...that?”

“What?” I asked her.

“You know,” she continued, “doing …you know…that… to that little boy in the school”

Perhaps, in her own way, my mother has hit the nail on the head.

Set in the working class Northeast, Doubt tells the captivating story of a priest accused of scandal. It is less about his actions, however, and more about the lines of human conviction and morality. What he is accused of is never actually stated: no character utters the words pedophile, sex, or even harassment or abuse. It is inferred. It is referred to, it is imagined. Doubt lives in this grey area. And in turn, it forces an audience into the same grey reality. One in which we all live everyday. Though set so clearly on stage with such a superb script and actors, we are transported into this mushy world; trying to decipher what is real and what is right.

It is a play regarded with the highest esteems, both in the inner circles of actors and playwrights, amongst theater enthusiasts and, thanks to the Academy Award winning movie – a vast majority of the general public. Thus, the anticipation surrounding such great work is tangible. People want to see this play. Such was the case at the T.Schrieber Studio’s opening night. The production quality was top-notch. Lighting, sound, set, costumes professional and solid.

The play opens with Father Flynn (Mike Roche) giving a sermon. His opening line: “What do you do when you’re not sure?” indeed brilliantly sets up the entire play. His monologue left me with a few initial thoughts: 1. Whoa, what great writing! and 2. Whoa, accent! Mike Roche plays the working-class Northeastern priest, generally regarded for his human qualities: he is tolerant, he is affable, he tells stories about real life, he smiles a lot, he is approachable, he plays basketball for heavens sake. Above all, he is human. I missed the human quality a bit in Mr. Roche’s performance. The accent and gestures seemed characterizations; at times, he seemed to be playing the character and not the man.

That being said, he had moments of greatness. His sermon on gossip was wonderfully done and, in fact, the accent(s) worked here. His scene with the younger nun, Sister James, finally allowed the audience in. When she tells him she believes him, his relief was beautifully played, and finally, I liked the guy. His quiet moment of uncertainty after the fiery meeting with Sister Aloysius, the principal of the school, was powerful.

Sister Aloysius, the nun accusing Father Flynn, was played with an iron steel and deep-voiced certainty by Alice Barrett Mitchell. In the aforementioned pivotal scene with Father Flynn, she plowed through him. He didn’t stand a chance. Ms. Mitchell’s performance was indeed the strongest in the show. She grew as the play progressed, and after her final declaration, “I have such doubts!” someone in the audience remarked, “Wow, she nailed that.”

Nora Jane Williams played the young nun, Sister James, caught up in the middle of the scandal. Her performance was genuine and engaged, if not a bit sniffly. Her character is torn between doing what is right and what she feels in her heart and is an unenviable position. Her emotions were a bit heightened, however, and she seemed prone to burst into tears at any moment. She also struggled a bit with the accent, although she did very well not to fall into the character traps it presents, and remained steadfast in her convictions.

Brenda Crawley played Mrs. Muller, the young boy’s mother, and she played it wonderfully. She managed to remain likeable and “right” even though what she was saying could easily make her a monster.

By it’s very nature, Doubt forces one to rethink right and wrong, and our own convictions. T.Schrieber studio presented a brilliant work insightfully performed by outstanding actors. The standing ovation spoke for itself. Audience members are provided a rare opportunity to look within ourselves and question our own morality and …you know…that.

Would you major in Music again??

My 10 year college reunion is rapidly approaching. *gasp *sigh *moan. Apart from the obvious fears,( "Do I look old?" "Am I the only one not bringing a husband ...or...KIDS?" "I have no JOB, really, what do I tell people?" "I am a singer...WTF"), I find myself facing another strange question: Was my music degree worth it? Would I do the same thing again, if I knew then what I know now.

I think the most obvious answer is simply: no.

This leaves me a bit, well, baffled, and sad. I went to a liberal arts school in a beautiful, sleepy Southern town. While the culture was null, the education was first-rate. In addition to music, of course I studied religion, sociology, Italian, and African History. However, I studied an enormous amount of music theory, counterpoint, dictation and history. The real question is: Do I use this stuff?

That is very hard to answer, of course, and it varies day by day. When I land a chorus gig with the NY Phil or ASO, yes, I use it. Some of it. Dictation, theory, sight-singing etc...counterpoint? Not so much.

When I go to countless opera/musical theater auditions, do I use it? I am not sure. Actually, I don't think so. Yes, it all adds inherently to my musicianship. And this is useful, perhaps, to the opera world, but to a Broadway bound singer, not at all. In fact, last week at an audition, a juror actually said to me, "You are such a classical singer...do you have to sing every word and every note?". Ummm... I had no answer for that one.

So, in lieu of 20th Century counterpoint classes and conducting and History of the Baroque (all interesting and valid, yes). I propose...GASP...a dance class. An acting class. A How to Audition Class, a Business of Music class, a How to Not Get Discouraged and find your broke ass a job as a musician class.

After an insanely expensive and lengthy educational experience: 6 years of pure secondary education - add high school, private voice/piano lessons etc, and God knows how much else - I have frequently found myself in some real-life, professional situations wondering, "Why did no one teach me that??", "Why am I just learning this now?".

Do I regret my time spent in the music library? Do I wish I had been an economics major instead? Well, those are questions for another day. But I do wish someone would have told me how to walk out on a stage like a diva; how to rock an audition; how to file tax-deductions for an artist; how to make money as a singer. Maybe all of these points are irrelevant now, and maybe colleges are incorporating these major points in their curriculum now. I hope so.

And next week, when I am faced with that antagonizing question over and over again, "What are you doing now?", I plan on answering, "Living!"

#Furman #Furman University #Music #classical singer #classical music #opera #opera singer #music major #music education

1931 - The ReGroup Theater Company

The Living Theater, on Clinton Street in the Lower East Side is an ideal venue for the ReGroup Theater Company’s revival of 1931-, the gritty tale of one man’s plight during the Great Depression Era. The Regroup Theatre Company was created in 2010 with the mission to produce "great plays" as defined by the Group Theatre as plays which are "propaganda for a better life”. After an 80-year absence from the stage, it is no wonder that this group chose to revive Claire & Paul Sifton’s play, 1931-. Its ties to modern day are striking. Indeed, it is a marvel that the text had not been changed at all, so relevant were the issues at hand; namely the issue of unemployment. It is impossible for one to sit through this play and not be struck by the striking similarities to modern day.

1931- follows the plight of Adam, a factory worker fired from his job. Proud and determined, Adam sets out to find another job, only to discover hundreds of other men in the same situation. Without a paycheck, Adam soon realizes how much he has to lose: health, dignity, hope, and possibly even the young shop girl he loves.

Stephen Dexter plays Adam with an iron steel and determination. His Adam possesses humanity and a universal appeal; containing exactly the playwrights’ intention. Indeed, we do all see a bit of ourselves in Adam’s struggle. Adam is transformed from a hard-working ambitious young man to a homeless, animal-like sub-human. His moments alone on stage are some of the most riveting in the play.

His love interest is played by Kelsey Moore, who certainly looks the part of the 1930’s shop girl. Kelsey's performance was a bit in and out, however, sometimes charming and connected, and other times a bit removed. Her reactions to Adam’s deteriorated condition (the newspaper wrapped around his feet, his bloody knees and torn clothing) were missing and one doubted the relationship. Why would a girl like her find anything appealing in a man reduced to shambles like Adam? What causes her to stay with this man? These questions, though present, were not fully explored.

From early on in the play, the relationship between Adam and his girl was never totally established and thus lacked audience investment. Unfortunately, the initial scene between the two was interrupted by other characters crossing the stage on roller skates and the audience was distracted from the get-go.

This lack of character development was due mainly to the concept of the show in general, and less with the actual actors. The play was staged in epic, cinematic pictures; a scene on a park bench between the couple, followed by a scene of men begging for work. This “in and out” concept; flashing from one scene to the next, is ideal for film, but didn’t quite work in this production, mainly due to the constant shifting and moving of props. While the dragging of crates and trunks did suggest the daily struggle of the men on the streets, the props appeared cumbersome and the scene changes often seemed irrelevant and distracting. A timelier scene transition would have greatly helped the pacing of the show.

That being said, the company did a very impressive job at remembering the scenes: what went where and when, and who was who. This was no easy task, and required a hands-on effort from the entire company. The various characters presented by the company were, for the most part, effective and genuine. Ave M. Lindon did an exceptional job at presenting characters that were dimensional and varied. Still, I wanted more development from the characters. One of the most poignant scenes was between Adam and an old friend, whom Adam asks for money. More of these moments with less on-stage distractions would have served the production well.

It is worth noting that the ReGroup Theater Company has taken a remarkable risk with this production and brings many relevant, thought-provoking issues to the forefront. The audience is inclined to struggle and dream with Adam and his soliloquy at the end of the play was deeply personal and touching. Though not without flaw, 1931-‘s historical depiction of the Great Depression and it’s and modern day relevance is captivating. Indeed, 1931- forces us to ask questions about our own human plight and struggles; exactly, I think, what the ReGroup Theater Company strives to achieve.

#The Living Theater #1931 #Regroup Theater Company #Stephen Dexter #Kelsey Moore #Minda Larsen #nyctheater #theater review #theater critic

Should theater critics be performers (or ex-performers) or is coming from a theater background with a focus on writing/journalism enough? Does an ex-performer empathize or judge out of jealousy...hmmm....

Most Happy Fella - DiCapo Opera

The anticipation surrounding DiCapo Opera’s production of Frank Loesser’s “The Most Happy Fella” has been tangible. Friends and colleagues in both the operatic and Broadway worlds alike have been shouting praises for this production since its first opening in March. I found myself caught up in the excitement and jumped at the chance to attend this musical (or is it operatic?) revival.

As the lights dimmed, an elderly gentleman sitting next to me leaned over, “I’m so excited,” he whispered, “I even wore my good shirt!”

Hmmm...DiCapo might be on to something here.

Set in the 1920’s, “Happy Fella” follows the story of the gruff, yet vulnerable and kindly character of Tony, a Napa Valley vineyard owner who falls for a sweet, pretty young waitress he meets in a San Francisco restaurant. They begin a long-distance romance, sending postcards and letters; a sort of 1920’s style Match.com. As is so often the case with these sort of romances, Tony, in a desperate effort to please the young waitress, decides to send his crush, Rosabella, a photograph of his young, handsome employee instead of himself; heeding his sister’s warnings that he is too old and too ugly.

And thus, the story unfolds and we are hooked! Loesser’s soaring, melodic score and achingly human love story is impossible to resist.

The success of “Happy Fella” is dependent almost entirely on its happy fella, and baritone Michael Corvino carries this responsibility nimbly on his apt shoulders. His booming baritone is quite operatic in scope, but maintains honesty and warmth and doesn’t feel put-on or showy. His portrayal of Tony is endearing and simply put, loveable. His Italian accent and mannerisms were natural and never put-on. Kudos to Mr. Corvino for resisting the all too obvious trap this role presents.

His love interest was played by the honey-voiced Molly Mustonen. Her even singing was quite lovely and consistent and her portrayal of Rosabella, vulnerable and charming. Only at the climax of the work, when Rosabella is forced to tell Tony that she is pregnant with another man’s child, did Molly’s performance become a bit flat. I would have liked to see her raise the stakes, take a few more risks, and abandon her pretty singing for a bit more raw emotion.

Lauren Hoffmeier played the feisty Cleo and her depiction of the Texas-born Southern girl was full of gusto and charm. Her open-throated belt is reminiscent of the by-gone days of Broadway (even possessed a bit of 1940’s swagger) and was quite thrilling to hear with no amplification and backed by the superb orchestra. Her love interest, the optimistic, happy-go-lucky Herman, was deftly played by the delightful Brance Cornelius. The two possessed great charisma and excellent comic timing. Both had the uncanny ability to deliver a deadpan one-liner and leave the audience in stitches.

The ensemble consisted of superb singers and Michael Capasso, director, and Francine Harman, choreographer, made wise choices in simple, creative choreography showcasing the singer’s voices. The production was missing a couple slap-down, big Broadway dance numbers, but given the small space and the quality of the production, they weren’t sorely missed.

Another noteworthy performance included Lisa Chavez in the thankless role of Tony’s sister, Marie. Ms. Chavez possesses a lush, fluid mezzo and inhabited the role of Marie, a woman much older than herself, with a steadfast conviction. It was puzzling why Marie was not played with an Italian accent, however, as Tony’s accent was quite thick. Ms. Chavez clearly possesses the acting chops to pull off an accent, and I think it would have bonded the siblings in the context of the story as well.

I would be amiss not to mention that the sound and acoustics of this production were superb. To audiences that have become de-sensitized to the natural quality of the human voice and a live orchestra, it was riveting to hear a naked voice. The excellent orchestra, at the baton of the fabulous Pacien Mazzagetti, is positioned upstage of the singers behind a scrim, allowing the singer’s voices to fully penetrate the house.

“Happy Fella” blends the lines of opera and musical theater and the performers handled this combination terrifically. The “stand and sing” numbers were few and far between and even these power numbers were performed with a speech-like quality and with integrity to the lyric. My hat’s off to Mr. Capasso for allowing the human quality and truth of this production to shine, despite its soaring musical score.

It is no wonder that audiences are flocking to this performance. Perhaps, DiCapo Opera is onto something here... could this stem a revival of classical American musical theater? A revival of good, unamplified, natural singing? A softening of the often harsh lines between opera and theater? Let’s hope so. When and if DiCapo Opera decides to revive another American classic, I will be first in line. I think I’ll even wear my good shirt.

Indie Opera?!

So...I have a LOT of friends who sing a LOT of opera. And as we are all living in NYC, that is New York, New York USofA, and not Germany, it's super hard to get steady work as an opera/classical singer.

I am very interesed in what everyone has to say about all the smaller companies popping up all over Manhattan/Brooklyn/Bronx.

There seem to be small opera companies everywhere! Without researching, here are some that come to mind without researching:

Opera Moderne

Amore Opera

Light Opera of New York

Utopia Unlimited

Village Light Opera

Bronx Opera (not so small)

Opera on Tap

Gotham Chamber Opera (bigger)

Regina Opera

Vertical Player Repetory

Opera Company of Brooklyn

American Opera Projects

Amato Opera

DiCapo Opera

Um...this is a lot! An artist could seemingly have an indie career just singing with these groups...yes? or no? I am going to investigate and get back to you!

Voices of Women "All Girl Band" - M.O.M

When four classically trained opera singers unite on stage, it isn’t unusual for the performance to turn into a sort of “diva fest” or operatic sing-off. The stakes are even higher when said singers are transferred out of an opera house to an intimate, cabaret style venue. Fortunately, this was not at all the case with the Voices of Women in their cabaret style performance: All Girl Band: Songs of Camaraderie and Companionship. The performance was intelligent, gushing with genuine charm and anything but a stagnant classical recital.

The Voices of Women consists of four classically, trained opera singers: Elizabeth Eiel (Soprano), Melissa Gerstein (Mezzo-Soprano), Christina Rosas (Mezzo-Soprano) and Courtenay Schowalter (Soprano). The performance took place on May 18 to a mostly full house and was cabaret-style, with a varied selection of songs ranging from the world of Broadway and Operetta.

The performance was held in a venue I’d never visited, nor in fact, heard of: The Museum of Motherhood, or M.O.M. Within seconds of stepping into the welcoming lobby, adorned with pictures of mother and child, pregnant women and inspirational poetry, I was glad I’d made the trip. It turned out to be the perfect venue for ladies to share their stories and celebrations of all things women.

The program list was truly enticing. One glance at the set list, and I was pumped: Back to Before...yes! Ladies Who Lunch...Sondheim at his best!! For Good...my all time favorite female duet!! It was not this attractive song selection, nor the singers’ outstanding voices that set this performance apart, however. It was chemistry shared between the women that made this performance exceptional. As earlier stated, it is not out of the norm for these sorts of performances to turn into a sort of “highest and loudest” singing competition, especially amongst such highly trained opera singers. In this case, however, one genuinely feels that these women are, in fact, friends, and supportive friends at that. The camaraderie between the women, obvious in the storytelling, giggling, and secrets shared on the stage left the audience feeling a bit warm and gooey, exactly, I think, what they were the Voices of Women were shooting for.

The performance opened on a high note, literally, with a stellar performance of “Girl in 14G” performed by Courtenay Schowalter. While this song is often over-performed, Courtenay maintained the right mix of naivety and finesse. Her voice was versatile, with a seamless range.

Melissa Gerstein shined in her stand-out performance of “Ladies Who Lunch”. She sang with a wisdom and irony well beyond her years, and the lovely grit in her lower register was perfect for the song.

“Back to Before” from Ragtime is a given scene-stealer in any show and Christina Rosas’ performance was no exception. She didn’t fall into the trap this song often presents and withheld from being too emotional and too showy. Instead she was quietly powerful and strong. Ms. Rosas has an innate quality to draw in an audience, and this performance exemplified her strong storytelling abilities.

Elizabeth Eiel’s performance of “Christmas Lullaby” from Songs for a New World was truly a musical journey. This song was unfamiliar to me, but I was instantly drawn in. Ms. Eiel is at once vulnerable and courageous, a quality difficult to pull off on stage, and her concluding passage: “And I'll suffer any pains/For the future of the world/ Inside of me...” brought tears to my eyes, and was especially relevant in this museum.

The stand out of the night, however, was quartet’s rendition of “Hear My Song”from Jason Robert Brown’s Songs from a New World. The song highlighted the women as individual artists, but also as a coherent group and the performance was strikingly powerful. As previously mentioned, the ladies’ coherence and bond is what separates this group from others. They are an intelligent and vivacious group of women, but they are also clearly, very good friends. I was very pleased to see the more upbeat, fun-loving side to the group in this program and to hear the versatility in their voices, and they have traditionally programmed more classical, “operatic” performances.

As I exited the performance, I heard a young female audience member remark to her friend, “That was awesome, I just might become a groupie!” I agree with her, I might just become a VOW groupie myself!

For more information visit: vowsingers.com

#Elizabeth Eiel #Courtenay Schowalter #Christina Rosas #Melissa Gerstein #Voices of Women #Museum of Motherhood #M.O.M #cabaret reviews #theater reviews #opera reviews #minda larsen #vow

The City Club - Minetta Lane Theater

The American premiere of the highly-anticipated new musical, The City Club opens April 23, 2012 at the Minetta Lane Theater and is in previews now. I have seen advertisements for this opening everywhere; glossy photos of gorgeous, sultry women poring over a microphone. The headline oozes: “The City Club is a twisting noir morality tale of intrigue, murder, corruption and sex supported by one of the most seductive blues and jazz scores written for the stage in decades”. Indeed, I was intrigued.... Film Noir, jazz, blues, sex, murder, drugs... who wouldn’t be?

The musical opens with Parker, played by the fabulous Benny Brawner, at the piano; surrounded by a smoke-like blue mist and a single spot. He sings “Dark Streets” in his raspy, sultry baritone and I am hooked! Enter the lovely ladies of The City Club: Crystal, Rose, Lily, and Candy (played by Kristen Martin, Autumn Guzzardi, Kaitlin Mesh and Emily Tyra respectively), donned in short, sexy, sequin numbers. They launch into a full-on song and dance production number “Hot, Sweet and Blonde” and the audience leans forward in their seats, “Hey, this is good.”

Right off the bat, the music grabs you; what with the gorgeous, glittering costumes, fabulous set, sultry lighting, and knockout orchestra... I am thoroughly seduced. The music (James Compton, Tony De Meur and Tim Brown) is reminiscent of the bygone era; drawing influence from jazz, boogie woogie, torch songs, and the blues. It’s catchy, it’s cool. The band and the arrangements are spot on; ranging from a subtle and sexy nightclub trio to a swingin’ big band.

The cast is oozing in talent. Kristen Martin (Crystal LaBelle) possesses an undeniable vulnerable, ingénue-like strength, more obvious in the second act. Combined with knock-out looks and a silky voice, Kristen carries the burdens of her character brilliantly. Her solo, “It Ain’t Right”, illustrated by Lorin Latarro’s vivid choreography and executed gorgeously by Kaitlin Mesh (Lily) and Patrick O’Neill (Doc) was a stand-out moment. Another stand-out performance was that of Autumn Guzzardi (Rose). Her two featured scenes: “Can’t Get Off This Train” and “Lollipop Man” are some of the most memorable in the entire show, displaying her superstar talents with a refreshingly genuine and likeable charm. Ana Hoffman (Maddy) plays the young songstress/seductress with the right combination of susceptibility and grit. Her timing was a bit quirky in some scenes, but her voice more than makes up for it. Indeed, the stunning “The Game of Life” at the finale of the show contained some of her strongest moments.

The men offered equally strong performances. Broadway veteran Peter Bradbury as the two-faced, revenge seeking Lieutenant served the strongest performance, ranging from dark and twisted to barbaric and violent. The young Andrew Pandeleon (Chaz) surprised the audience with his emotional “It Don’t Make No Never Mind” displaying his range, vocally and dramatically.

With the red-hot choreography, knock-out performers, catchy tunes and dazzling set, what’s not to love? Although it came together better in Act two, I did find myself a bit puzzled in the first act. The characters and their relationships were slightly under-developed and I felt myself wanting to get to know them better. Some of the intense moments were underwhelming simply because I wasn’t invested enough in the character’s struggles. A sucker for a good story, I wanted a little more.

That said, most of my fleeting questions were answered in the second act; it did come together, albeit abruptly and the final twist was truly surprising. It isn’t a surprise, then, that the show was a hit at the Edinburgh Fringe Festival. All the elements are there. It’s a sexy beast of a show. As I exited the Minetta Lane Theater, I overheard audience members: “...such fabulous dancing” said one, “good pick for tonight” a woman told her husband, “wow, that voice!” said another. I would agree with my fellow audience. The City Club offers something not readily found on the New York stages. The talent was truly stellar and I guarantee those sexy tunes aren’t going anywhere anytime soon.

A Raisin in the Sun - Gallery Players

Just off the F train, on a street corner in Park Slope, Brooklyn, the Gallery Players resurrects the powerful American classic, A Raisin in the Sun. Lorraine Hansberry's groundbreaking play premiered on Broadway in 1959 and depicts a few weeks in the life of the Younger family, a poor, African American family living in Chicago's South Side in the 1950's. The play opens as the family eagerly awaits a $10,000 insurance check upon the death of Mr. Younger. We follow the varied and conflicting dreams of the Younger family as they await the money: Mama Leena dreams of moving to a better neighborhood for her family. Her son, Walter Lee, dreams of owning a liquor store and becoming a business executive. Beneatha, Walter's sister, dreams of education and social status as a doctor.

As the play progresses, the Youngers’ competing ideas begin to clash. The matriarch of the family, Leena, struggles to keep her family in tact. Walter Lee declares, “I got to change my life because I'm choking to death...” as Beneatha, to her mother’s horror, rejects God, saying “I just get so tired of Him getting the credit...for things the human race achieves through its own effort.” Ruth, Walter Lee’s wife, finds herself pregnant and contemplating whether to keep the baby, worried about the current financial stress her family faces.

In an effort to restore hope to her family, Leena buys her family a new home in Clybourne Park, a white neighborhood in Chicago. She gives the remaining money to her son, who ultimately loses it, in an attempt to open a liquor store. Not only does he lose the money for his sister’s education but the money that fueled his family's dreams. Finally, The Youngers, led by Walter Lee, as the emerging "head of the family" decide to move into their new house, despite adversity from the white community. The future is seemingly dangerous and unclear, but the Younger Family surfaces optimistic and determined to build a better life.

The Younger Family unit, essential to the success of this play, is intensely alive; the relationships are delivered by a superb group of actors. Indeed, the Gallery Players production is strikingly successful and leaves audience members vibrating in its truthful depiction of human strife.

Walter Lee Younger's plight as the “head of the family” is vividly portrayed by Kwaku Driskell. Walter Lee’s dejected chauffeur monologue, “[...all I see] is a big, looming blank space of nothing” is staggeringly human and heart-wrenching. Driskell embraces Walter’s masculine egoism and worldly ignorance with impenitent resolve, his performance, in turn, heroic.

#Gallery Players #A Raisin in the Sun #Hope Harley #Brittany Bellizeare #Casha Jacot-Guillarmod #Sameerah Luqmann-Harris #Reginald L. Douglas #Ross Johnson #Arthur James Solomon #Kwaku Driskell #review #Raisin in the sun review

Want to have your cabaret reviewed?? I did...but couldn't get a single reviewer there.

Wilkommen, Bienvenue, Welcome!

Fremde, etranger, stranger. Gluklich zu sehen, je suis enchante, happy to see you...

Welcome to Great Spectations - my new blog dedicated to reviewing live theater in New York City. I first had the idea for this blog when I wrote my own Off-Broadway Show "How to Find True Love on a Cruise Ship!". While I loved having all my friends & family there to root me on, more than anything, I wanted to get my show SEEN and REVIEWED. The problem was - nobody knew me! I couldn't get any reviewers at my show, despite constant bookings and sold-out performances.

Bring me your tired, your poor, your solo-shows, cabarets, penny operas, & church recitals yearning to be free...er.. SEEN!

Here's how it works: let me know about your show/performance/concert with ample time to get it in my black book. Send me two free tickets (and please NO drink minimums too) and I (or one of my esteemed colleagues) will review your show and have it posted online within 24 hours. As I am a performer myself, I try not to criticize and try to keep it positive!

Please email me at [email protected] - with review request as the subject. Looking forward to seeing your performance!

#theater #new york city #cabaret #opera #review #critic #performance #theater review #reviewer

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