Our new West Coast correspondent, Heather Cassell, catches the premiere act at the new Feinstein’s at the Nikko.

San Francisco doesn’t know anything about a woman’s desperate need for air conditioning in a sweltering New York summer, but Sutton Foster heats up the room causing a need for a burst of cool air at the new Feinstien’s at the Nikko Hotel in San Francisco.

Foster broke the proverbial bottle of champagne to a sold out crowd opening night on May 8 and you can still catch one final performance through May 12. If you miss her, she’s destined to return to the newly opened cabaret.

Belting out the busty overture to finding a man with an air conditioner to escape the sweltering heat, Foster leaves the room roaring in laughter as many of her songs this evening do. The two-time Tony-award winning Broadway star Foster treats us to beloved show tunes and tongue-in-cheek racy original ballads from her forthcoming album composed with musical collaborator Michael Rafter, who accompanies her on the piano this evening.

It’s an exemplary evening with Foster singing hit Broadway songs from Anything Goes, Little Women, Annie,  The Drowsy Chaperone, and Thoroughly Modern Millie to yesteryears hits, such as John Denver’s “Sunshine on My Shoulders” to name a few out of her 18-song performance. She delights us with her opening with a mash-up of her signature musical theater songs, displaying her impressive soprano voice that swiftly drops into an alto tone. It is clear that she enjoys not only playing with her voice, but also with songs about single women — alternating between broadsy female anthems to soft and tender love songs.

Away from the lights of Broadway and Hollywood, she’s left the humidity of New York after 15 years for the dry desert heat of Los Angeles for her new show, ”Bunheads”, which airs June 11. In a performance was intimate, personal and humble, she gushed that she didn’t miss New York as she feared she would, but instead she loves L.A. At one point during the show she brought the man in her life, her dog Linus, up on to the stage. He sat in her lap as she sang one of her favorite new songs on her forthcoming album a medley of “It Only Takes a Moment” and “Time After Time” they end the performance with a double hi-five.

Dressed in a simple blue dress with beige heals and her wavy brown locks easily tumbling down her back, it is almost as if she returned to being the 17-year-old girl who first performed in the first national tour of  The Will Rogers Follies at the Golden Gate Theater in San Francisco. That was many years ago and many performances later, including a brief cabaret in San Francisco a few years ago, as she’s now clearly an accomplished artist that we will hopefully see more of in the near future.

Foster attracts star power from Broadway and the small screen, my girlfriend and I spotted Florence Henderson, from the 1970’s “Brady Bunch” fame, but who is an accomplished singer in her own right, to many music and theater admirers to the cabaret that once was the home of the now closed Live at the Rrazz Room.

A popular cabaret for the past 14 years in New York, Feinstein’s at Loews Regency, closed at the beginning of this year at the same time as Feinstein’s at the Nikko emerged. Feinstein’s in New York and San Francisco is lead by the venerable Michael Feinstein, a renowned singer, pianist, and bearer of the Great American Songbook.

Foster is the perfect opener to satiate the void left by the closing of the beloved musical outlet, the Rrazz Room. If the forthcoming performers to grace Feinstein’s stage in the coming month – Mitzi Gaynor (May 15 – 18), Spencer Day (May 23 – 25), Ann Hampton Callaway and Liz Callaway (May 29 – June 2), Andrea Marcovicci (June 7 and 8), Clint Holmes (June 12 – 16), Barbara Cook (June 19 – 23) and Steve Tyrell (June 25 – 29) – are any indication of the high quality talent that will come to the Nikko Hotel, we will be mostly satisfied.

The only question is: Will Feinstein’s also showcase Broadway stars along with many of the same LGBT performers that made the Rrazz Room beloved by San Franciscans and unique in the cabaret world? The answer remains to be seen.

Sutton Foster’s final performance is Sunday, May 12, 7 p.m.at Feinstein’s at the Nikko Hotel, 222 Mason St., San Francisco. Tickets $75 – $95.

Can’t catch Foster’s final show tonight? Here’s one of our favorite clips:

Heather Cassell is a freelance journalist and travel writer with more than 20 years experience covering LGBT and women’s issues. When Heather isn’t wandering off learning and writing about women’s and LGBT issues, she covers business, health and other news for a number of publications as well as the syndicated “Out in the World” international LGBT news column.

The opening of The Memory Show begins with a brittle and sharp-tongued Catherine Cox in a doctor’s office, where she and the audience learn that her character, Mother, has Alzheimer’s Disease. It is a crisp and dynamic delivery, both in musical style and performance, but once that curtain pulls back and she returns home under the care of her early-midlife-crisis daughter (played by Leslie Kritzer), this two-character musical sometimes stumbles (and inevitably stutters) but eventually finds its footing.

That’s not to say that Cox and Kritzer aren’t giving it 100 percent. They tossle each other’s emotions, confide in the audience, lay  in one another’s arms, ravage through props and do all of the things actresses are supposed to in dramatic musicals. Director Joe Calarco has given them room to breath and their movement feels organic throughout Brian Prather’s living room set.

What is less clear is their relationship to the audience. It is the same dramatic problem that derailed the miserable Breakfast at Tiffany’s earlier this season. I can see how the dramatic convention is needed to keep Sarah Cooper’s (book and lyrics) and Zach Redler’s (music) piece chugging along — there are only so many meltdowns, crying fits and warm hugs that the two women can possibly fit in the nonstop 80 minutes.

I admit to shedding a few tears, which arose at unexpected places. Who’s not going to cry given the subject matter? But what struck me most about these character studies was not the Alzheimer’s, but the family secrets that rise to the surface because of its inevitable impact. It is in these moments that the musical and its performers soar.

The Memory Show
The Duke on 42nd Street
229 West 42nd Street
Through May 18

What the critics are saying…

“Joe Calarco directs the Transport Group production and guides both actresses’ intense and very fine performances. Brian Prather’s intimate and evocative set is filled with photos and empty picture frames, illuminated at various times. It joins the deservedly acclaimed “Next to Normal,” about bipolar disorder, in pushing the envelope as to what subjects can make a musical. It also reminds us that noble intentions aren’t enough to make a musical sing and be fully satisfying. Easy to admire, “Memory Show” isn’t such a snap to like.” NY Daily News

“The words ‘‘musical’’ and ‘‘Alzheimer’s disease’’ aren’t often used together. Yet Sara Cooper’s new work, ‘‘The Memory Show,’’ turns out to be a poignant, sophisticated and often humorous musical about dealing with Alzheimer’s disease. Cooper has written an emotionally layered story about the frustrating effects of the disease on both patient and caregiver.” Associated Press via Boston.com

Guest contributor Jason Mitchell reviews I’m a Stranger Here Myself. 

When the curtain speech finished with “All Aboard the S.S. Weimar” and the lights rose on an interesting set outlined in art of the era, I was excited to be transported to the Weimar Republic. This is a time period that gifted performer Mark Nadler is clearly passionate about and has chosen to write and perform about his new musical I’m a Stranger Here Myself. Unfortunately we’re never taken very far from our seats at the York Theatre Company, as the format of the show feels much more like a lecture Nadler would give on the subject at a university rather than a theatrical journey to the Weimar and beyond.

The show includes a thought-provoking selection of music, including work by Kurt Weill, Bertolt Brecht, Arthur Schwartz, Howard Dietz, Frederick Hollander, and Arno billing among others. Nadler is at his strongest skillfully playing the piano and singing with gusto, joined by Franca Vercelloni (accordion) and Jessica Tyler Wright (violin), as he evokes artists such as Lotte Lenya, Marlene Dietrich, and Gertrude Lawrence. These musical moments are the highlight of the piece and showcase Nadler’s musical talent, especially his passionate “Bilbao Song,” ”The Lavender Song,” and his endearing “Schickelgruber.” The two musicians are as gifted as Nadler, but at times the way they are incorporated could use a bit more finesse.

Mark Nadler in "I'm a Stranger Here Myself." (photo: Carol Rosegg)

Where the show suffers is in between the music. Nadler is attempting to cover too much ground, from his own family history, story of moving to New York, and cabarets that used to exist here in addition to the background and inspiration of the artists whose work he’s performing, Hitler’s lineage, and the plight of Jews and homosexuals as the Weimar era was destroyed. The weaving of story-telling, history lessons, and musical performance isn’t particulalry seamless, and since it’s told in direct address to the audience and accompanied by a non-stop and at times distracting LCD presentation of images, I couldn’t help but wish this was a professor whose class I’d love to enroll in. And in educational format, Nadler really hits the audience over the head by poitning out recurring themes found in all of this music, rather than giving us a chance to make connections and discoveries of our own.

I’m a Stranger Here Myself is an ambitious piece, and Nadler’s performance is filled with passion and heart. If he had formatted this piece differently, perhaps I would have joined him to “Come A-Wandering With Me” or thought to myself “I May Never Go Home.”

I’m a Stranger Here Myself
Through May 19, 2013
York Theatre Company
619 Lexington Avenue
www.yorktheatre.org 

Jason Mitchell is an event planner, author, and playwright who resides in New York City. 

I’ve had a crush on Michael Feinstein for 25 years. While most guys my age were listening to Sonic Youth and R.E.M. (it was the 80s after all), I was sequestered in my room — obsessing over his rendition of “I Won’t Send Roses/Time Heals Everything.”

Perhaps I was an odd teenager, but since the release of his first album, Live at the Algonquin, Feinstein has been wowing listeners with his tributes to the American songbook. He has breathed new life into the works of George and Ira Gershwin, Burton Lane, Jule Styne, Jerry Herman and countless others. Feinstein has also performed live around the world, including such prestigious venues as Carnegie Hall, Sydney Opera House and the Hollywood Bowl as well as the White House and Buckingham Palace.

On a more intimate scale, Feinstein’s at Loews Regency served as home to some of the world best vocalists for more than 14 years until the property temporarily closed for a major renovation. Fear not, lovers of velvety vocals and cabaret climaxes. Hotel Nikko in San Francisco is opening a new venue called Feinstein’s at the Nikko to continue this great tradition.

“It’s exciting beyond words to be bringing Feinstein’s to the Hotel Nikko in San Francisco,” says Feinstein. “My career as an entertainer began in San Francisco, and it presents special and profound meaning to be a part of such an amazing and special city. I look forward to giving back to the community by presenting world-class entertainment in a glamorous setting. I can’t wait!”

Feinstein’s at the Nikko will present a wide range of local, regional and national entertainers in an intimate 140-seat cabaret setting. Two-time Tony Award winner Sutton Foster (Thoroughly Modern Millie, Anything Goes, The Drowsy Chaperone) will take the stage May 8 – 12, 2013 for the inaugural performances.

Tickets range in price from
$60-100 and are available now by calling
866.663.1063 or visiting www.ticketweb.com

Future performers of note include*:

Spencer Day (photo: Reisig Taylor)

Spencer Day – May 23-25
Day has been a perennial favorite in the San Francisco Bay Area since exploding on to the music scene as a performer at the 2007 San Francisco Jazz Festival. Since then, he has performed at some of the nation’s most prominent venues, including Joe’s Pub and Town Hall in New York City and Yoshi’s and the Great American Musical Hall in the San Francisco Bay Area.

Ann Hampton Callaway and Liz Callaway –May 29 – June 2

Barbara Cook – Wednesday, June 19-23

*Additional performers will be announced at a later date.

The Broadway Blog sent contributor Lindsay B. Davis back in time and it appears she got lost trying to follow along Speakeasy Moderne, a hodgepodge review of Broadway, pop hits and standards from days gone by.

The cast of "Speakeasy Moderne." (photo: Andrew Werner)

When something old is made new again, one can see if the resurrected object withstands the test of time. When something old is made new and given a modern twist, as in the case of Speakeasy Moderne and its homage to NYC’s Prohibition era nightlife and entertainment, I found myself longing to be transported out of my seat at Stage72 and back to the 1920s itself to escape this hodgepodge and misguided show.

The evening of cabaret style entertainment begins promisingly enough – a stage with velvet curtains, moody lighting, and a scantily clad woman standing over a Mac powerbook pumping a remix of “No Diggity” infused with a ragtime beat. This is going to be fun, I thought, but after Official Hank (Hank Stampfl) kicks things off with “Willkommen” from Cabaret (flirty, light and campy but missing the danger) and the dancers (lead by choreographer Kimberly Schafer) deliver Velma and Roxie’s tag-team routine from Chicago, what becomes clear is the display of talent, while energetic and upbeat, is sub par for New York City. It may not be Broadway but still.

A disclaimer – I am more sensitive than most to the preservation of form, particularly if that form is Top 40 pop music, musical theater or jazz. If you’re going to sing the late, legendary Whitney Houston’s “I Wanna Dance With Somebody”, I question anyone’s ability to touch the greatness of the original — ditto Rihanna’s “Where Have You Been”, Adele’s “Rumor Has It” and perhaps the most offensive, “Falling Softly” from the brilliant musical Once, all reinterpreted and done to deleterious effect — slowing it down to a blues-infested, jazzy version that sounds like it could have been sung by a drugged up Whitney hours before her death is not going to win my favor.

“Titanium,” another catchy pop tune in the Speakeasy Moderne collection (original by DJ/producer Dave Guetta and Aussie singer/songwriter Sia) was butchered by its slow pacing and two dancers who performed a lyrical routine while wrapping guest performer, vocalist Dina Fanai, in a piece of red silk. I heard chuckles in the crowd from audience members, perhaps unsure how to handle the melodramatic lyric delivery of “I’m bulletproof, nothing to lose, fire away, fire away… ” that escalated with every spin of the satin.

Women who are sexy trying to be sexy is simply not sexy and the dancers fall into the trap of trying too hard. Schafer’s choreography is energetic and ambitious, tackling a variety of styles and influences – musical theater, vaudeville hoofer, roaring 20s flapper girl, and burlesque – but is overdone and heavy-handed. The constant movement overcrowds the small stage and in some cases distracts from the vocal performances. The exception is dancer Monica Poulos, who shines and almost steals the show. Her silhouetted performance to a live rendition of “Golden Eye” behind a sheet is devilishly captivating and deliciously hot. A tango infused rendition of The Police’s “Roxanne” is a sultry, memorable and successful reworking of the original.

Songs that stayed true to their original intent and styling were well done, including Duke Ellington’s “It Don’t Mean a Thing” and a cover of the Andrews Sisters’ “Rum and Coca Cola”, both performed in 3-part harmony by a refreshing trio women, including Ashley Alana Kenney, Lynsey Buckelew and the naturally charming, sassy and vocally deft Julia Burroughs. Kenney’s “Mein Herr” and Buckelew’s “Single Ladies” both work well and were audience favorites.

The evening is emcee’d by Official Hank (Hank Stampfl), the show’s attractive, fearless leader (and Speakeasy Moderne’s creator/producer) who, while charming and clearly enjoying himself, lacks the humor and vocal heft to sufficiently carry the evening. Stampfl isn’t helped by the lack of cohesive connection between numbers, a structural problem that was illuminated by the occasional dead time on stage between songs and dance routines, nor does he seem at ease with the choreography. Through twirls and the occasional wink/nod to the audience, his efforts are commendable and at many points he wins over the crowd, which is perhaps the thing to note – despite it all the audience (encouraged to dress in their favorite period garb from the 1920s onward) seemed to be enjoying itself immensely and having a grand ole’ time. They sang along and when the show was over, the space quickly transformed into a dance party for all. I may have felt uneasy but the majority seemed to delight in Speakeasy Moderne.

Speakeasy Moderne
Stage 72
The last Thursday of every month.
158 West 72nd Street
www.speakeasymoderne.com 

Lindsay B. Davis is an arts/culture journalist, actress, playwright and director. She resides in New York City.

Guest blogger Scott Redman gets an earful about the ups and down about life as an escort. Did he get bang for his buck or choose theatrical celibacy instead? 

The highs and lows of working as a rent boy are currently on display at the Richmond Shepard Theatre on East 26thStreet. Rent Boy, the Musical is a humorous jaunt into the world of male escorts and their clients. The show is framed as an awards show, appropriately named the Hookies with awards given out to male escorts for accomplishments in the “field.” The snappy show consists of multiple vignettes and songs featuring a talented ensemble of performers. The song list itself is enough to make you chuckle with titles including, “Pete’s Tool Rental”, “Tops and Bottoms” and “Who Invented the Jockstrap?”

The evening’s escapades are led by Awards Host & Master of Ceremonies, David Leddick, who not only stars in the production but also has written the book and lyrics. He brings to the stage a wisdom that is intriguing and experienced. He is brassy and takes the stage, fully loaded with one-liners and zingers throughout his performance. Leddick has a quiet moment in the act two song, “Waiting for the Dark Man” where he almost brings himself to tears while reflecting on his dreams of finding the perfect man.

The show isn’t nearly as trashy as it sounds. The tone is light and full of bawdy humor but aligns itself closer to a vaudeville revue more than Naked Boys Singing! This twist on the oldest profession is entertaining and creatively staged by David Kringery. The songs are very catchy and I caught my theater date humming one of the tunes as we left the black box theatre. This isn’t a show I would take my grandmother to but Rent Boy delivers the goods as a well produced evening of romp.

Rent Boy, the Musical
Richmond Shepard Theatre
309 East 26th Street
Through March 31

The cast of "Rentboy, the Musical" (photo courtesy of www.rentboythemusical.com)

For those of us growing up in the Rust Belt, dinner theater was the ultimate all-in-one entertainment option. I would purchase my Prime Rib-Pygmalion combo ticket months in advance, waiting for the dusty costumes and faded sets to ship in from some bygone regional theater production. The performance would usually star a long-retired soap opera star and the meal wasn’t much fresher.

Christine Sherrill in "Sunset Boulevard" (photo: Drury Lane Theatre)

Well, times have changed. For decades, Chicago’s suburbs have been home to dinner theater venues like Marriott Theatre in Lincolnshire and Drury Lane Theatre in Oakbrook. They are the filet mignon of dinner theater, regularly snagging Jeff Awards (Chicago’s equivalent to the Tony Awards) and Broadway-caliber talent. This season is proving to be another grand slam for the theaters, which are producing timeless classics along with new works. Currently, Andrew Lloyd Webber seems to be the flavor of the month.

Sunset Boulevard, directed by Drury Lane Theatre’s Artistic Director William Osetek, plays through March 24. It is the final show in a season committed to works inspired by movies. Sunset Boulevard’s original Broadway production won seven Tony awards including Best Musical.

This production stars Christine Sherrill as Norma Desmond, a role originated in London by Patti LuPone and on Broadway by Glenn Close. Chicago Theatre Review said, “Miss Sherrill is luminous in the role made famous on film by Gloria Swanson. Christine deliciously dominates the stage in every scene, whether playing Norma as the spoiled, self-deluded diva, the coquettish aging sex kitten or the desperate, wounded martyr.”

Head north of Chicago to Marriott Theatre in Lincolnshire, where the best of Chicago’s musical theater performers have staked their claim for more than 30 years. Currently under the watchful eyes of Executive Producer Terry James and Artistic Directors Andy Hite and Aaron Thielen, the venue sells more than 400,000 tickets per year.

Stephanie Binetti and dancers. (photo: Marriott Theatre)

Currently playing is Now and Forever: The Music of Andrew Lloyd Webber. This compilation of some of the composer’s most notable works also features two of Chicago’s leading ladies: Linda Balgord and Susan Moniz.

Balgord is no stranger to Webber’s work. She appeared as the final Grizabella in Cats on Broadway and played Norma Desmond in the First National Tour of Sunset Boulevard. Moniz delivered a legendary performance as Eva Peron at Drury Lane in the 90s and has been belting her way throughout Chicagoland ever since. Now and Forever runs through March 24.

What’s up next?
Oliver! at Drury Lane Theatre, opening April 4.
South Pacific at Marriott Theatre, opening April 3.

I headed to the Windy City last week for Passport Magazine. Stay tuned for a “creative getaway” feature article that will appear in our print publication this fall. What exactly does that mean? Without giving too much away, I’ll say that it involved three days of improvisational belly laughs with (among others) a cigar salesman, a venture capitalist and a guy living in his mother’s basement who could crank out a spot-on Beyoncé imitation.

While chewing my way through non-existent scenery by day, I caught up on Chicago’s theater scene and what to keep your eyes out for this spring season. One of the most exciting projects happening as of late is the Garage Rep at Steppenwolf Theatre Company. This curated collection gives opportunity to storefront theaters to perform their works in repertory under the guidance of this well-established ensemble company.

Associate Producer Jacob Padrón says, “I like to think that great work comes out of company — a collective of artists with shared history, shared values and a real sense of ownership around the work they invest in making together.”

Don’t be confused, though. These are not Steppenworlf productions and they’re damn proud of it. No ensemble members are involved in any aspect. What the company does do is foster an environment for dialogue. Steppenwolf itself began in a church basement in Highland Park and feels a responsibility to these companies which typically rely on whatever venue or rehearsal space that they can afford.

Take the jump for this year’s line-up and an inside look at the shows in rehearsal…
Read more…

Contributor Scott Redman heads to Queens for a technology-driven theater experience. Was it worth the subway ride or should he have live-streamed the performance instead?

David Williams in "Die: Roll to Proceed" (photo: Frank Sun)

The WiredArts Fest currently running through March 2 is billed as the first live-streamed performing arts festival. The event is promoting a 21st century approach to watching, enjoying and interacting with live performances. This includes smartphone apps in lieu of printed programs and encouraging texting and social media postings during the performance. So no Patti LuPone outbursts are expected. Included in the lineup is an encore performance of Die: Roll to Proceed, which enjoyed an earlier run at LaMama that was greeted with enthusiastic response.

Imagine a life where every decision you needed to make was already outlined by six unassuming sides of a die. What to wear? What to eat? Who to date?

Die: Roll to Proceed boasts itself as an existential comedy framed by two 30-somethings, George and Rob, lying around in their underwear unable to navigate life’s constant grind. Most of their dilemmas revolve around a girl or overdue rent.

The young men resort to a simple device of rolling a six-sided die when they reach a crossroads. The plot twists and turns depending on the number. To add an extra layer of mayhem, an audience member is chosen throughout the adventure to roll the die. A Master of Ceremonies guides the romp and scene transitions with oddball humor by inserting scrotum jokes.

The loose madcap-style comedy seems light at first glance but contains an edge beneath the surface. The play, written by Joe Kurtz and directed by Christian De Gré, poses relevant questions behind decision making in the ever-changing technology world, though the script frequently turns to “poop humor” for laughs and becomes less absurd after the fourth reference. A special kudos must be given to the cast who has memorized more than 240 different scenarios.

If you’re willing to trek out to Queens, the roll of the dice is worth the trip — or watch the show streamed live from the comfort of your couch. Day passes are available for $2.50, which provide streaming access to all performances within a 24-hour period.

For more information, visit www.virtualasrts.tv/wiredartsfest and www.dierolltoproceed.com.

Heather Headley in "The Bodyguard". Photo by Paul Coltas.

Regal. That’s the word most people associate with Tony and Grammy winner Heather Headley. And who can blame them when you consider her graceful beauty and her commanding voice, not to mention her star-making Broadway roles as a Nala in The Lion King, and the titular royal in exile of Aida.

But to those who know her, and I consider myself lucky enough to have spent some personal time with her as a fellow alumni of Northwestern University, she is also a wickedly funny friend, a loving wife to her college sweetheart (former New York Jet Brian Musso) and a devoted mom.

After too long an absence from the theatrical stage, she is making her long-awaited return in the West End adaptation of The Bodyguard. The musical features a hit parade of songs made famous by the original film’s star, Whitney Houston — including “Queen of the Night.” Taking a few moments from her busy schedule, we exchanged emails (emoticons and all!) to talk about making the role her own (The Telegraph called it “a thrilling star performance,”) her toughest times and her dreams of coming back to the New York stage.

Many of us hoped we’d see you in a musical on stage again. What about The Bodyguard made it the right property for your “return”?

The story. The music. The girl. For the past few years we (my husband and I, and my agent) have been looking for the “right” role. Aida was very good to me; I had such an amazing time playing her, and being a member of that cast. So, I really was on the lookout for a role that would at least come close.  I read through the script of The Bodyguard, and loved the story and the characters. Rachel is a lot like Aida: flawed, obstinate, needs and longs to be loved, and when she finally finds love, loses quite a bit and has an amazing change in her life.  Who doesn’t want to play that girl?! Read more…