Category / Broadway

by mvfour

‘Real Women Have Curves,’ the Musical, Highlights Body Positivity, Immigration, and Female Empowerment Themes on Broadway with Punchy Songs and Witty Lyrics

Adapted from the 2002 film of the same name, written by Josefina López and George LaVoo, the new play is more resonant than ever in our current political and social climate.

From L to R: Florencia Cuenca (Estela), Tatiana Córdoba (Ana) and Justina Machado (Carmen) in ‘Real Women Have Curves.’ Photo: Julieta Cervantes

Real Women Have Curves follows the García family, living in Boyle Heights, a predominantly Chicano/Mexicano neighborhood in East LA, set in 1987. Ana García (Tatiana Córdoba, making her Broadway debut!), the main protagonist, has been accepted to Columbia University’s journalism program. Cause for celebration, right? Not for everyone. Ana’s parents are unaware, and her sister Estela doesn’t share her enthusiasm for her Ivy League journey.

Ana is the sole U.S. citizen in her family who handles taxes and any other governmental logistics. Her older sister Estela owns a textile shop, barely making ends meet, and Ana’s mother, Carmen, wants Ana to work at the factory. Once Estela accepts an order for 200 dresses with a tight deadline and loses a worker to deportation, Ana steps in to help. She isn’t a seamstress; she has a few mishaps but gets the hang of it while her mother, Carmen, chastises her. Makes derogatory comments about her weight. Reminds her of her unrealistic ambitions, lack of sacrifice, and unwillingness to follow traditional female roles.

Even though the musical touches on universal complex topics of family obligations, guilt, and pursuing dreams, at the core is the love these women have for each other. A true sisterhood. Communicating their joy, frustration, and camaraderie through feet-stomping, electrifying songs like “Make it Work” and “Oye Muchacha,” and the poignant “If I Were a Bird,” sung by Ana and Itzel (Aline Mayagoitia, Broadway debut).

From L to R: Tatiana Córdoba as Ana and Aline Mayagoitia as Itzel in Real Women Have Curves; Photo: Julieta Cervantes.

Tatiana Córdoba is sensational as Ana García, hitting all the right notes and convincingly conveying emotions — from defiance, sadness, to jubilation. Poised for continued success on the Great White Way, the young performer graces the stage like a seasoned pro. Florencia Cuenca (Estela, also making her Broadway debut) is the first Mexican immigrant to star as a co-lead, dominating the role as the goading older sister yet empathetic best friend and champion of Ana’s dreams. Veteran stage and television actress Justina Machado (In the Heights, A Free Man of Color) joins the cast as Carmen, the overbearing mother, a multi-layered character who warrants both compassion and reproach. Machado’s acting is fantastic, making Carmen likable and relatable. Last, but not least, is the patriarch of the family, Raúl (Mauricio Mendoza, Resurrection Blvd, Matlock), a calming force amid a sea of estrogen. Seasoned actor Mauricio Mendoza is up to the task, serving as the voice of reason to his family’s boisterous, resolute women with captivating charm.

Florencia Cuenca (Estela) and ensemble in ‘Real Women Have Curves.’ Photo: Julieta Cervantes.

The set design (Arnulfo Maldonado, Buena Vista Social Club) and costumes are rich in warm, Latin American cultural hues, featuring stunning, vibrant dresses that embody the spirit of Mexican Americans.

Real Women Have Curves, the musical, directed and choreographed by Sergio Trujillo (first-ever Latino to receive the Tony for Best Choreography, Ain’t Too Proud to Beg: The Life and Times of the Temptations), written by Lisa Loomer (The Waiting Room) and Nell Benjamin (Mean Girls) and music and lyrics by Joy Huerta (Broadway debut and first Mexican-American woman to compose a musical), and Benjamin Velez (Broadway debut) is playing at the James Earl Theatre. Don’t miss this spectacular musical. Click here for tickets!

Full Creative and Production Cast

by mvfour

Buena Vista Social Club’ the Musical Provides Cuban Seasoning for the Soul — And a Heartfelt Nostalgia for the Island’s Music of Yesteryear

The new Broadway musical strikes a universal chord of excitement, joy, and love-loss among theater patrons.

Ensemble and band from the Buena Vista Social Club musical; Photo: Matthew Murphy/Polk&Co.

Move over MSG and Radio City Music Hall; this new Broadway musical recently brought the house down to a packed 1,080-seat smaller venue. The clapping, head-bopping, and toe-tapping continued throughout the performance from theatergoers, young and old. It was an electrifying musical shock to the senses, reverberating well after the curtain call and the lights went dark.

The story, inspired by true events, follows producer Juan de Marcos González (Justin Cunningham, King Lear, Succession) attempting to reunite acclaimed Cuban performers from a pre-revolution era of the Buena Vista Social Club from Marianoa, Cuba, where infectious live music filled the hearts and tickled the feet of Black Cubans banned from playing in white clubs on the island for one last record. An album compilation that would win a Latin Grammy and see worldwide success much later. De Marcos is determined to collaborate with Omara Portuondo (Natalie Venetia Belcon, Matilda, Avenue Q), one of the most talented vocalists since the 50s. Omara reproaches De Marcos’ offer. She’s standoffish. Distant. And unwilling to disclose her reluctance to the reunion.

Renesito Avich as Eliades and Natalie Venetia Belcon as Omara in the Buena Vista Social Club musical; Photo: Matthew Murphy/Polk&Co.

Until…

We flashback to her younger self at age 19, when she was part of a singing group with her older sister, Haydee. The duo performs regularly in Cuba’s infamous Tropicana Club and has an opportunity to sign with Capital Records in America. However, young Omara (Isa Antonetti) is conflicted about moving to America, and her desire for singing soars after an encounter with a young Afro-Cuban musician, Ibrahim Ferrer (Wesley Wray), who doubles as a busboy at The Buena Vista Social Club. It’s at this club that Omara awakens the capacity of her vocal instrument and sings from her heart with Ibrahim and other talented musicians like Compay Segundo, played wonderfully by Julio Monge (On Your Feet, Wet Brain), and Eliades (Renesito Avich, Cuban Grammy-nominated singer-songwriter), that breaks out into a jaw-dropping guitar solo that will blow your mind.

It’s a musical tale rife with upended familial bonds and new friendships formed and disintegrated with music at the center. As young Omara, Isa Antonetti makes her Broadway debut with a multi-ranged voice primed for the stage. Belcon, as the older Omara, steps the solemn singer’s role with ease and conviction. Wesley Wray also makes his Broadway debut as young Ibrahim Ferrer, a charmer who masterfully sings through his character’s turmoil. The set and costume design transports viewers into a pre-revolution Cuba with beautiful orange/red sunsets, shimmering outfits, and intoxicating Cuban music that can’t be quelled and activates every cell in your body.

Isa Antonetti as Young Omara in the Buena Vista Social Club musical; Photo: Matthew Murphy/Polk&Co.

The Buena Vista Social Club musical, written by Marco Ramirez (Orange is the New Black, Daredevil), developed and directed by Saheem Ali (Goddess, Fat Ham), choreographed by Patricia Delgado and Justin Peck, and music by Buena Vista Social Club™, is running at the Gerald Schoenfeld Theatre. To learn more about this phenomenal musical and get tickets, click here.

Entire Cast, Production, and Band Credits.

by mvfour

Broadway Review: ‘JOB’ — Intense, Thrilling Reflection of the Perils of Internet Depravity As Seen Through the Eyes of a Therapist and Tech Patient

A hot new play has hit The Great White Way. It features a stellar two-person cast, sharp dialogue, and a captivating theme.

Peter Friedman as Lloyd and Sydney Lemmon as Jane in ‘JOB’; Photo: Emilio Madrid/DKC/O&M.

‘JOB’ begins with a seemingly unhinged 20-something woman pulling a gun on a man in his sixties in his psychiatry office. He has nothing to defend himself with; his phone is in another room, and he uses his decades-long psychiatric training to learn more about the young woman and, most importantly — convince her not to pull the trigger.

If only the psychologist could cry for help or get the attention of someone from the outside to get him away from this disturbed woman.

Not so fast. We learn about the patient, who commands enough charisma and engagement to create her one-woman show, played by Sydney Lemmon(The Parisian Woman, Tár ), and is none other than the granddaughter of legendary actor Jack Lemmon. Acting genes run in the Lemmon family. We discover Jane has to attend mandated therapy sessions imposed by her tech employer, User Care, because of a meltdown she suffered at work, where she climbed atop a desk and started screaming uncontrollably. Coworkers filmed it, and the video went viral.

Sydney Lemmon as Jane in ‘JOB’; Photo: Emilio Madrid/DKC/O&M.

Shouldering her unsolicited internet fame and the stressors of her tech job, Jane keeps probing the psychologist to see if he’ll greenlight her return to work. A job that involves content moderating the worst images and videos imaginable — from child abuse to murder, rape, or torture, Jane is the gatekeeper preventing this content from reaching the public. It’s inevitable. This line of work has affected Jane’s psyche.

The doctor (Lloyd), played magnificently empathetic and uncondescendingly in his line of questioning of Jane, is veteran Tony-nominated Broadway star Peter Friedman (Ragtime, The Marvelous Mrs. Maisel). He provides a comforting space for Jane to share her experiences and family life while divulging personal details about him. The dialogue is fast-paced, witty, and timely. The banter between two generations discussing the effects of the internet and its roles in their lives is plausible until a dark secret emerges. It won’t spoil it for you, but it’s scandalously surreal.

Peter Friedman as Lloyd in ‘JOB’; Photo: Emilio Madrid/DKC/O&M.

Friedman and Lemmon’s chemistry is dynamic. They don’t miss a beat, as evidenced by the deafening silence in the theater during this 80-minute run with no intermission. Both actors starred in the hit TV show Succession. Although they’ve never filmed show scenes together, they continue to discuss and explore how the internet shapes and evolves the human experience and whether it’s to the benefit or detriment of people.

See the previously off-Broadway hit turned Broadway production of JOB, written by Max Wolf Friedlich and directed by Michael Herwitz. It is now playing at the Hayes Theater in NYC through September 29th! Click here to get tickets!

by mvfour

Review: Andrew Lloyd Webber’s ‘Bad Cinderella’ Disrupts Fairytale Tropes — With Themes of Inclusivity and Acceptance

Prepare to Alter Your Preconceived Notions of the Classically Dutiful Prince Charming and Cinderella.

A new rendition of the timeless fairytale recently debuted on the Broadway stage. Famed composer Andrew Lloyd brought the musical from London’s West End stateside to delight and enchant new audiences with surprisingly entertaining twists to the story.

And If you follow or even write about Broadway as I do, you may have read that ‘Bad Cinderella’ took a lashing from the press for deviating from the original story. Or that the casting wasn’t traditional. Traditional in the sense that it wasn’t an all-white cast or didn’t follow the boy-meets-girl or boy-saves-girl formula often beaten to a pulp in storytelling. Instead, boy-and- girl save one another.

Andrew Lloyd Webber took a chance on casting the first Latina to play the lead as Cinderella, Linedy Genao (Dear Evan Hansen, In the Heights), and her love interest, Prince Sebastian is African-American, played by Jordan Dobson (Hadestown, A Beautiful Noise). In the musical, Dobson is Prince Charming’s uncharismatic socially-awkward brother, while Prince Charming is revered, perfectly chiseled, and slain at war — or was he?

The story follows Cinderella, a scruffy, leather-wearing outcast who doesn’t adhere to Belleville’s (the fictitious kingdom in the musical) societal rules of beauty and fitting in. She’s a misfit. Constant troublemaker. Someone who talks back to her stepmother and vandalizes Prince Charming’s statute with the words: Beauty Sucks! Though deep down she longs to be accepted and find people who love her as she is, Cinderella finds solace in her friendship with Prince Sebastian since they were kids. But their infatuation for one another is threatened when Prince Sebastian’s mother, the Queen, decides to marry him off to a maiden in Belleville. Cinderella comes to a cross-road. I won’t spoil what happens next.

But here are some highlights worth mentioning:

Bad Cinderella, written by Academy-Award-winning screenwriter Emerald Fennell (Promising Young Woman, Killing Eve), does take liberties with the dialogue. Phrases such as “Badass” and “You’re giving peasant” are part of the musical’s lexicon. Or the chorus, known as the Hunks, played by shirtless, buff male dancers gloriously basking in objectification. Lastly, when the seemingly ominous fairy godmother, played by Christina Acosta Robinson (Summer: The Donna Summer Musical), states she doesn’t perform plastic surgery. It’s reflective of the modern age we live in. Isn’t it?

Andrew Lloyd Webber’s musical numbers: “Only You, Lonely You” and “Far Too Late,” sung by Dobson and Genao, will trigger your emotions. The wickedly sassy number: “I Know You,” sung by the Stepmother, Carolee Carmello (Lestat, Finding Neverland), and the Queen, Grace McLean (Natasha, Pierre & The Great Comet of 1812), is a scene stealer. McLean and Carmello are intoxicatingly devilish in these roles — and they know it!

The set and costume design (by Gabriela Tylesova) is an extension of each character in this colorful and charming musical — intricately woven props adding drama and tension to each scene.

Bad Cinderella is worth the ride into the world of reenvisioned fairytales. The characters are memorable. Each of their quirky nuances melds into a unique story. Playing at the Imperial Theatre, Bad Cinderella runs for two hours and thirty minutes with one intermission and will be on Broadway through September 2023. Get your tickets now!

Credits:

Music by Andrew Lloyd Webber. Lyrics by David Zippel. Book by Emerald Fennell and Alexis Scheer. Directed by Laurence Connor. Choreography, Joann M. Hunter; sets and costumes, Gabriela Tylesova; lights, Bruno Poet; sound, Gareth Owen; hair and wigs, Luc Verschueren; U.S. music supervision and direction, Kristen Blodgette; production stage manager Bonnie L. Becker.

Cast: Linedy Genao, Jordan Dobson, Carolee Carmello, Grace McLean, Sami Gayle, Morgan Higgins, Cameron Loyal, Christina Acosta Robinson. Savy Jackson, Raymond Baynard, Mike Baerga, Lauren Boyd, Tristen Buettel, Kaleigh Cronin, Josh Drake, Ben Lanham, Ángel Lozada, Cameron Loyal, Mariah Lyttle, Sarah Meahl, Christian Probst, Larkin Reilly, Julio Rey, Lily Rose, J. Savage, Tregony Shepherd, Dave Schoonover, Paige Smallwood, Aléna Watters, Alyssa Carol, Gary Cooper, Robin Masella, Michael Milkanin, Chloé Nadon-Enriquez, Lucas Thompson.

All Photos By Bad Cinderella’s PR Team.

by mvfour

Review: ‘West Side Story’ – A Modern And Riveting Revival

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Cast of West Side Story, Photo by Jan Versweyveld

It’s challenging not succumbing to presumptions, especially before attending a remake of an iconic musical. Recently, this was my dilemma, before the global pandemic crisis we are all currently facing became our new normal. The latest production of West Side Story by Tony Award-winning director Ivo van Hove (A View From the Bridge, The Crucible) exceeded my expectations and my doubts quickly dissolved. The electrifying young and diverse cast (most making their Broadway debut) blew me away. And, I’m certain you will be too when you experience the flurry of captivating choreography, impassioned acting, and vocal intonations that will permeate the theatre and leave you speechless.

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(L) Isaac Powell as Tony, (R) Shereen Pimentel as Maria, Photo: Jan Versweyveld

The cast, led by Isaac Powell (Once on This Island) as Tony and Shereen Pimentel, (The Lion King) as Maria have undeniable chemistry. Powell and Pimentel play off each other’s acting abilities and are superb as the infamous angst-filled couple. The timeless story of two lovers coming together in the midst of racial conflict between their families couldn’t be timelier. More than 60 years after the critically acclaimed musical, written by Arthur Laurents, composed by Leonard Bernstein with lyrics by Stephen Sondheim, and choreographed by Jerome Robbins made its debut on Broadway and changed American theater forever. Now, it is back to remind us that there is no place for hate and intolerance as these detrimental emotions destroy everything in their path, including love. Originally based on Shakespeare’s Romeo and Juliet, with a storyline focusing on the mistreatment of Puerto Ricans in New York City, the musical’s themes strike a nerve with the rising problem of xenophobia in this country.

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Amar Ramasar, Yesenia Ayala (Center), and West Side Story Cast, Photo: Jan Versweyveld

The phenomenal dancing in this classic Broadway favorite lets audiences follow the otherwise inevitable doomed classic love story. The tantalizing new choreography, by Anne Teresa De Keersmaeker is magnificent. All of the performers glide with fluidity and grace and you can’t keep your eyes off them, especially Amar Ramasar (Bernardo), the classically trained New York City Ballet dancer. Adding to the visual stimulation: the LED screens capturing the dreary backdrops of New York City and handheld cameras projecting each actor’s facial expression up close driving the narrative. After all, this is a modern interpretation of a beloved classic, and new audiences, young and old, will definitely appreciate these additions.

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Dharon E. Jones, Amar Ramasar, and West Side Story Cast, Photo: Jan Versweyveld

West Side Story runs an hour and 45 minutes, sans intermission, and will return on April 12th to the Broadway Theatre in New York City. Yes, a bit of a wait as Broadway actors and staff can’t work from home. If you’d like to donate, please go to Broadwaycares.org. When the lights do come back on, don’t miss Ivo van Hove’s Broadway musical debut with the revival of this widely revered classic and the ageless songs: “America,” “Maria,” and “Tonight,” to sing along. To learn more about the show and get tickets, click here.

Credits: Music: Leonard Bernstein; Lyrics: Stephen Sondheim; Book: Arthur Laurents; Director: Ivo van Hove; Choreography: Anne Teresa De Keermaeker; Set and Lighting: Jan Versweyveld; Costume Designer: An D’Huys; Sound Designer: Tom Gibbons; Video Designer: Luke Halls: Orchestrations: Jonathan Tunick; Music Director and Supervisor: Alexander Gemignani.
Cast: Isaac Powell, Shereen Pimentel, Dharon E. Jones, Yesenia Ayala, Amar Ramasar, Ahmad Simmons, Elijah A. Carter, Danny Wolohan, Jacob Guzman, Kevin Csolak, Matthew Johnson, Zuri Noelle Ford, Daniel Oreskes, Pippa Pearthree, Thomas Jay Ryan.
by mvfour

Broadway Review: ‘Tina’ – Riveting, Heartfelt, and A Testament To Tina Turner’s Indelible Star Power

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Photo: Manuel Harlan

Upon hearing that the Tina Tuner musical was coming to town, I had trepidation and a bit of skepticism. As a theatre and musical lover, I had no choice but to succumb to a new rendition of one of my childhood idol’s life portrayed on the Broadway stage. Would the actress playing Tina measure up? Would she be able to convey this powerhouse of a woman justly? Would the music move me? The answer to all my resounding questions: Absolutely! Tony-nominated actress, Adrienne Warren (Shuffle Along, Bring It On: The Musical) reprises her role of rock legend, Tina Turner; Warren had performed ‘Tina’ in London’s West End this past spring with rave reviews. And, now she’s traveled to New York to shatter all expectations of fans and critics alike. Warren’s portrayal of Tina Turner is sensational. The octaves in her similarly raspy voice to Turner’s are spectacular. Warren interprets Tina’s signature moves with grace, sans mimicry.

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Photo: Manuel Harlan, Steven Booth as Phil Spector, Adrienne Warren as Tina

The musical begins with Warren seated on the stage floor wearing Turner’s iconic red leather dress reciting a Buddhist chant. Turner, a Buddhist since 1973, credits the religion for helping her endure life’s hardships. Then the audience is introduced to a young Tina (given name: Anna-Mae Bullock) played by Skye Dakota Turner masterfully, belting out church songs with fervor in her hometown of Nutbush, Tennessee, where her mother, Zelma, played by the talented Dawnn Lewis (A Different World, This Is Us) isn’t too pleased and constantly scolds her for being to loud and boisterous. At the behest of her grandmother, played by Myra Lucretia Taylor (Macbeth, A Streetcar Named Desire), she pursues her talents as a singer, and moves to St. Louis to be with her mother and sister.

The pacing of the musical is perfection. There are no lulls. We transition through the different phases of Tina’s life with Tina’s hit songs and sets so visually stimulating the rest of your senses have to play catch up! The scenes between Tina and Ike are electrifying. Their chronicled relationship is replete with success and abuse at the hands of Ike Turner played by Daniel J. Watts (Hamilton, The Color Purple). Ike Turner is undoubtedly the villain from what is known about his persona and documented past relationship with Turner. Watts does an excellent job of balancing the complexities of Ike, as the abusive husband, yet talented musician that discovered Anna-Mae Bullock’s talents at 17 years-old, Watts is able to convey this atrocious man, with comedic flair at times, while showcasing his singing and dancing abilities. After all, this is a musical and the tone shouldn’t be too gloomy.

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Photo: Manuel Harlan, Adrienne Warren as Tina, Daniel J. Watts as Ike Turner

Executive produced by Tina Turner, directed by Phyllida Lloyd (Mamma Mia, The Taming of the Shrew), and choreographed by Anthony Van Laast (Mamma Mia!, Sister Act) ‘Tina’ is a true gem for biopic and musical aficionados. Run! Don’t walk to see this fantastic production of the Queen of Rock n’ Roll. Tina, The Tina Turner Musical will be on Broadway at the Lunt-Fontanne Theatre through September 2020, for upcoming performances, click here.

 

PRODUCTION: A presentation by Stage Entertainment, James L. Nederlander, Tali Pelman, Feste Investments B.V., David Mirvish, Nattering Way, Teg Dainty, Katori Hall, Mark Rubinstein Ltd., Warner Chappell, Peter May, Eva Price, No Guarantees, Caiola Productions, Jamie DeRoy, Wendy Federman, Roy Furman, Independent Presenters Network, John Gore Organization, Marc Levine, Carl Moellenberg, Al Nocciolino, Catherine Adler, Tom Perakos, Daryl Roth, Iris Smith, Candy Spelling, and Anita Waxman, in association with Tina Turner, of a musical in two acts, with book by Katori Hall (with Frank Ketelaar and Kees Prins), originally produced at the Aldwych Theater in London, by Stage Entertainment, Joop van den Ende and Tali Pelman.
CREATIVE: Directed by Phyllida Lloyd. Choreography, Anthony Van Laast. Sets & costumes, Mark Thompson; lighting, Bruno Poet; sound, Nevin Steinberg; projections, Jeff Sugg; hair & wigs, Campbell Young Associates; orchestrations, Ethan Popp; musical supervision, arrangements, additional music & conductor, Nicholas Skilbeck; production stage manager, Kristen Harris.
CAST: Adrienne Warren, Dawnn Lewis, Nkeki Obi-Melekwe, Myra Lucretia Taylor, Daniel J. Watts, Steven Booth, Nick Rashad Burroughs, Gerald Caesar, Holli’ Conway, Kayla Davion, Charlie Franklin, Judith Franklin, Matthew Griffin, David Jennings, Ross Lekites, Robert Lenzi, Gloria Manning, Jhardon Dishon Milton, Destinée Rea, Mars Rucker, Jessica Rush, Carla Stewart, Jayden Theophile, Skye Dakota Turner, Antonio J. Watson, Katie Webber.