Peter & the Starcatcher Still Flies Off Broadway

This spring Peter and the Starcatcher moved from the Brooks Atkinson Theater to the excellent Off Broadway venue, New World Stages. This play has been the subject of a number of blogs in the past, and we’re happy to say it is still the absolute best! Concierge Laura experienced the show for the first time recently, read about her experience below!

Peter and the Starcatcher is a play based on a novel of similar name by Dave Barry and Ridley Pearson, and the play provides a backstory for the character of Peter Pan.

I recently went to see Peter and the Starcatcher, and I must admit, it was surprising! It wasn’t like any other show I had seen before! This show invites you to let your imagination fly far, far away, and you have to have your mind and imagination open so you can fully understand the show.

It also brought me back to my childhood; who hasn’t watched Peter Pan? From the moment when you sit down in your seat at the theater you enjoy every second of it. Also, let’s not forget the marvelous acting that keeps you laughing at all the hilarious moments (many of the characters are sailors, and sailors are funny!), but it also has subtle layers of humor that doesn’t let anyone –anyone who is paying attention- stay indifferent. Captain “Black Stache” (played by Rick Holmes) is one of the highlights of the play; you feel like making fun of him, or even better, you have fun with him: the actor does a magnificent job portraying him, with such passion and emphasis. Another wonderful comic character, Mrs. Bumbrake (Jon Patrick Walker), is portrayed a male actor, and who doesn’t enjoy looking at a man playing the role of a women, not hiding that he is a man and despite his feminine behavior? Every time he would talk he would crack me up.

Children and adults will enjoy this play. For a child, there is the whole new discovering-your-imagination part, (like at the time on the play when they show you a little wooden ship and ask you to believe that they are actually in it). Adults can practice the same exercise, as sometimes we forget to let our imagination go.

The interesting part is: Peter Pan expresses all through the play why he doesn’t want to grow up, and hey, his reasoning is not bad at all, that is a face of Peter Pan that you usually don’t really get to see.

If you like plays, and you are looking into watching a different type of play, Peter and the Starcatcher is the play to see. You will have fun, you will be amazed by the intelligence of the show and you will probably want to see it again, so you can reminisce on the details that you think you might have forgotten the first time, as this exquisite play is full, full of details. You will be surprised of what can come from a play that basically only uses a rope and a ladder for almost two hours and a half. As I advised, just let your imagination go and you will have the best time.

My Corner of the Sky

by Eileen, Travel Consultant

One of the strongest memories I have from my childhood is when my mother would pull out a bright pink vinyl to play on the old record player in our living room.  As the opening chords began, she would pick me up and sing to me, “join us, leave your field to flower”.  We’d dance around as the Lead Player and his troupe sang to us about their  “magic to do, just for you”.

For a three year old who lived in world of imagination and make believe, this was the perfect soundtrack.  This was the opening song of Pippin the Musical, which opened and closed in the early 1970s.  I would open the record booklet and see the pictures of players dressed in odd costumes, looking like they were having fun just being silly.  I begged my parents to take me a performance, but the musical had fallen out of popularity and for years there wasn’t a professional production near us.  When I heard that a revival of Pippin would be making its way to Broadway this year, I knew I had to go.

Pippin is loosely based on Charlemagne’s court in the late 700s.  Charlemagne is historically recognized as the First Emperor of Western Europe since the collapse of the Western Roman Empire in the 400s.  Pippin was Charlemagne’s heir to the throne, and is often portrayed with a hunchback.  After leading an unsuccessful rebellion against his father, Pippin fell out of favor and was exiled for the rest of his life.  Now I’m not going to lie, but even I (a history major) find this story bland.

The musical sets up the story of Pippin using an acting troupe of players.  The musical breaks the fourth wall several times and encourages audience participation.  In the musical theatre version, Pippin is still in favor and is desperately searching for a purpose to his life.  The Leading Player directs the troupe throughout the various scenes of Pippin’s journey to self discovery.  The Leading Player serves as encouragement, foil, and antagonist to Pippin.

To say I had high expectations is a severe understatement.  This was the soundtrack of my childhood, and remains my mother’s favorite musical.  The revival takes on a circus element with acrobats and illusions, which could go either way.  The revival also chose to cast a female actor as the Leading Player as opposed the traditional male actor.  Ben Vereen, who originated the role and won a Tony for his performance, was enigmatic and mysterious as the leader of this wandering troupe and left big shoes to fill.

Patina Miller, formerly of Sister Act, embodies the new Leading Player in this revival wholeheartedly and offers a fresh perspective to the role.  She glides with ease through the classic Bob Fosse choreography, takes on the added acrobatics with complete confidence, and entices the audience into this magical world of illusion and self discovery.  At one point she even sings just about an entire song while spinning a hula-hoop off of various body parts!  Opposite her is Matthew James Thomas starring as Pippin.  He was thoroughly convincing of a young man who desperately wants to find something that would give him purpose and fulfill him.  As he sang the musical classic “Corner of the Sky”, you could feel the sincerity radiating from the stage.

The entire production was nonstop action from the opening silhouette of the Leading Player welcoming into this world of illusion to the final act— the troupe promise you’ll never forget.  In a season packed with well done productions, this one stood out the most for me.  I really can’t recommend this production enough and I hope everyone will give in to the magic.

Ready to plan your trip to see Pippin? E-mail info@newyorkguest.com to get started. Better hurry, this is proving to be one hot ticket!

Get ready, ’cause here I come: MOTOWN takes Broadway

by David, Concierge

MOTOWN is the high-octane and thoroughly joyous new Broadway offering chronicling the creation and rise of the famous, hit-making enterprise. Berry Gordy, the legendary producer and founder of the classic record label, adapted his book Be Loved: The Music, The Magic, The Memories of Motown for the stage to tell this remarkable story.

The music is drawn from The (aptly named) Legendary Motown Catalog and features songs like “Ain’t Too Proud to Beg”, “My Guy”, “Tears of a Clown”, “Dancing in the Streets”, and  “Ain’t No Mountain High Enough” among it’s literally dozens of classic rock and roll hits. Most of songs are performed in a medley-style and not in their entirety; this is much in keeping with incredibly fast-paced story-telling which spans a thirty-five year period. In fact, if each song were sung to completion, the show would run hours longer. Not that that would be an entirely bad thing!

Photo Credit: Joan Marcus, Playbill.com

A few original songs written by Berry Gordy and Michael Lovesmith are added to propel certain parts of the story. “Hey, Joe (Black Like Me)” is an account of boxer Joe Lewis’ victory over Germany’s Max Smelling. The event was a defining one for Gordy as well as the African American community and the country as a whole; it also thwarted Nazi claims of Aryan superiority. The ballad “Can I Close the Door” finds our lead character trying to let go as his stars find greener pastures with more lucrative contacts at the giant record labels.

Photo Credit: Joan Marcus, Playbill.com

The music highlights the competitive atmosphere that characterized the Hitsville House studio. Greats like Smokey Robinson, Marvin Gaye, Diana Ross, Mary Wells and the Jackson Five collaborate and vie for fame and hits while defining the distinctive Motown sound: soul music flavored with strong pop influences. The show reminds views of the largely segregated American culture that existed at the time, and celebrates the major influence the music had on bridging that divide.  Songs like “Got a Job”, “War” and “Mercy, Mercy Me (The Ecology)” mirror the concerns and issues that defined a generation.

Photo Credit: Joan Marcus, Playbill.com

Choreographers Patricia Wilcox and Warren Adams make impressive Broadway debuts. They authentically recreate the “microphone-style” choreography of groups like the Miracles, The Temptations and the Spinners to name a few. The cast is to be acclaimed for their high energy and precise execution.

Photo Credit: Joan Marcus, Playbill.com

Leading cast members commendably portray the larger than life performers who were key members of the Motown family. Charl Brown as Smokey Robinson and Bryan Terrell Clark as Marvin Gaye add a depth to their portrayals that is otherwise lacking in the book. A particular standout is the lovely Valisia LeKae who transforms from the young, eager Diane into superstar Diana Ross. Another audience favorite is Jibreel Mawry in a triumvirate of roles; Young Berry Gordy, Stevie Wonder, and an electrifying Michael Jackson.

Whether the one grew up listening to this music or is hearing it for the first time, this show is a treat for audience members of all ages. MOTOWN is the history of not just a quintessential American record label and the stars who comprised it. It is a history of a generation and the cultural touchstones that defined it. It’s also a great theatrical experience.

Looking for a trip to NYC including tickets to see Motown? E-mail us at info@newyorkguest.com to get started!

This is a tragic situation I’ve wandered into…

by Louise, Director of Operations

Most people seem to say two things when you mention the new production of Orphans on Broadway:

1)      Isn’t Alec Baldwin in that?

2)      Isn’t that the show Shia LaBeouf quit/was fired from?

The answer to both these questions is yes, but after you see the show you will realize how inconsequential both these things are. And see the show you should.

I’ll admit, I barely knew what Orphans was about other than a very basic plot synopsis prior to my arrival at the Schoenfeld last night. I’ll even admit that I bought my ticket primarily because of my love for 30 Rock. I almost hesitate to tell you what the show is about, because seeing it without knowing what to expect was such a powerful experience. But I will do my best to give you an overview without spoiling the surprises.

Photo Credit: Joan Marcus, Playbill.com

Treat (Ben Foster) and Phillip (Tom Sturridge) are brothers living in a dilapidated row house in northern Philadelphia. Though they are quite young, it seems they’ve been on their own for a long time – they were abandoned by their father and their mother has been dead since they were children. Treat, the older brother, holds the role of caretaker in a vice grip, picking pockets to put food (mostly Starkist tuna and Hellman’s mayonnaise) on the table. Treat’s volatile temper and need to be in control have relegated Phillip to an eternal childhood – he never even leaves the house.

In an attempt to step up his game from petty crimes to something grander, Treat brings home a drunken older gentleman named Harold (Alec Baldwin) with a plan to hold him for ransom. After he passes out, Treat and Phillip tie Harold to a chair and investigate his briefcase of stocks and bonds, excited for the treasure Treat feels sure is coming their way. However, the power begins to shift the moment Harold regains consciousness. And, as I really want you to go and see this show for yourself – that’s all I’ll say.

Photo Credit: Joan Marcus, Playbill.com

As I’ve already confessed, Alec Baldwin was my impetus to see this show and he did not disappoint me. His command of the stage is as enticing as his command of the screen, and every syllable he speaks is perfectly delivered. While this play has nothing in common with Baldwin’s most well-known project of late, 30 Rock, there are even some moments where his character’s approach to his situation will make Jack Donaghy fans smile. Ben Foster is an admirable Treat and gives real content to the character’s anger issues – even while much of what he says and does seem like senseless violence and aggression, you never doubt that there is much more to it.

But what I really want to talk about is Tom Sturridge. Sturridge’s character, Phillip, a shut-in since childhood with no education or interaction with the outside world, leaps about the set like a wild animal – to get across the room, he climbs on to the back of the couch, bursting through the air, and lands neatly and squarely on the windowsill. When he speaks he flawlessly combines the innocence of a child with the longing of an adult who knows there is more to the world. His performance was devastating and will haunt me for weeks. I hope he gets a Tony nod for it because he absolutely deserves to.

Be forewarned, this play is NOT for children. I would say anyone under 16 would have trouble with much of the content (though, of course, it depends on the child). I am pretty sure everyone in the theater was crying by the end, and the three actors looked absolutely emotionally spent during curtain call. Even though I wasn’t on stage, I felt like I knew how they were feeling. If you want to see a show that is a powerful, emotional journey that will leave an impression on you, Orphans is a fantastic choice.

Have questions or looking to plan a trip to NYC to see Orphans? Feel free to e-mail me at lgeller@newyorkguest.com!

You Can Change the World If You Change Your Mind

by Elliot, Concierge

A traditional shoemaker and a vibrant Drag Queen cross paths and form a successful business. Sounds crazy right? Not if you see the amazing Kinky Boots on Broadway. With a team headlined by Cyndi Lauper, Harvey Fierstein, and Jerry Mitchell, this show was bound for brilliance!

Kinky Boots is based on the 2005 British comedy film written by Geoff Deane and Tim Firth about a Northampton shoemaker who turns to producing “fetishism” footwear in order to save the failing family business and the jobs of his workers. The musical focuses on the relationship that forms between Charlie Price, the heir to the shoe business, and Lola, a fabulous Drag Queen, who becomes his inspiration and transforms the lives of the people surrounding the business in a positive and accepting way.

From beginning to end, the show was high energy and truly captivating. Cyndi Lauper’s music is some of the best new Broadway music I have heard in a while. Jerry Mitchell’s choreography is perfection, showcasing both the drag queens and the workers in the shoe shop. The costumes, especially the boots are incredible. The drag queens get to wear some of the best costume work displayed on Broadway!

If for some crazy reason, this doesn’t already appeal to you, two words: Billy Porter. This actor plays the drag queen Lola and from the moment he steps on stage, you are captivated. From his incredible comedic timing to his dramatic core, you can’t take your eyes off of Billy Porter. Watch for him at the Tony Awards – he deserves to win all the top honors!

Kinky Boots is a show for EVERYONE. The underlying theme is acceptance, with lots of glitz and glamour thrown in. Young and old, people can relate to this story, which makes it that much more wonderful. Visit the Al Hirschfeld Theatre and prepare to have an amazing and moving night!

You Mustn’t Let a Little Thing like ‘Little’ Stop You…

by Louise, Director of Operations

In a world where every parent seems to think their perfectly average child is gifted, talented, and above reproach, what happens when an unquestionably brilliant daughter is born to ignorant, dismissive parents who refuse to recognize or appreciate her special abilities? This is just the situation in which the world’s greatest five-year-old protagonist, Matilda, finds herself, and as a result she starts kindergarten not only a highly developed brain but also a highly developed sense of injustice. Unfortunately, once at kindergarten the situation only worsens when Matilda is faced with true evil – a horrible bullying headmistress called The Trunchbull.

Such is the story of one of the great Roald Dahl’s best-loved works and Broadway’s newest sweetheart. Matilda was one of my absolute favorite books as a child and remains a favorite to this day. I thought the 1996 film was a travesty that caught none of the beauty and humor of the original story, so I was apprehensive to see the musical. While I still think the book is the best way to experience the story of Matilda (please read it if you never have), I’m happy to say the show, with a book by Dennis Kelly and music & lyrics by Tim Minchin, is excellent.

First of all, the set is one of the most gorgeous sets I’ve ever seen. The proscenium and backdrop are covered with what look like Scrabble (or for you young folks, “Words with Friends”) tiles of various sizes. Many of the letters are random, but if you take a look you can see some words relevant to the story spelled out, like “child” and “phenomenon.” In the library set, the tiles spell out “quiet,” “shush,” and “silence.” The overall effect is truly stunning. Every set piece that comes out on stage is perfectly in harmony with this background – it’s a bit cartoonish, a touch Tim Burton-ish, with perhaps a dash of theme park.

 The performances are strong all around. Four young actresses split the role of Matilda – at the performance I attended it was 9-year-old Sophia Gennusa and she was nothing short of astonishing. 10 minute monologues, several solo numbers, huge emotional moments, and she nailed it all. Much of the ensemble is also made up of young children and they all deliver fantastic performances. Bertie Carvel as The Trunchbull is hilarious and disturbing and we may well be looking at a Best Actor Tony for a man playing a female role.

There are some terrific musical numbers in the show with gorgeous choreography. Matilda’s first number “Naughty” is a stand out and the perfect introduction to this wonderful character. “School Song,” in which the new kindergarteners are introduced to Crunchem Hall, is visually stunning and totally captivating. “When I Grow Up,” sung by the children of Crunchem Hall and Miss Honey, is a beautiful melodious number that takes place on a swing set, where the kids execute an impressive amount of tricky choreography that made me a tad nervous.

 For me, the most special moments in the show were when I could see real nods to the book. The costume for Mr. Wormwood (Matilda’s father) is almost an exact replica of Quentin Blake’s original illustration. There are snatches of dialogue here and there that I recognized as being directly from the book. And there is a moment where Matilda uses an umbrella to get her dad’s hat off a hat rack that is a perfect tribute to one of the book’s illustrations. If you’re as much of a Roald Dahl fan as I am, these little touches will make your heart soar.

Finally, I just can’t resist saying that there are two very youthful heroines on Broadway right now and you may not be sure which one you want setting an example for your kids when you come to NYC this spring. Both are faced with injustices they must overcome. While Matilda makes some mischief in her methods, she does take it upon herself to improve her situation. No billionaire comes to rescue her and she relies on her own wits to improve her circumstance. There is nothing wrong with unwaivering optimism, I suppose, but I prefer Matilda’s attitude in her opening song, when she says:

“Just because you find that life’s not fair, it
Doesn’t mean that you just have to grin and bear it.
If you always take it on the chin and wear it,
You might as well be saying you think that it’s OK.
And that’s not right.
And if it’s not right, you have to put it right.
But nobody else is gonna put it right for me.
Nobody but me is gonna change my story.
Sometimes you have to be a little bit naughty.”

Now there’s a life lesson you can take to the bank!

E-mail me at lgeller@newyorkguest.com for travel packages including tickets to Matilda this spring!

Sibling Rivalry at its Finest – Vanya and Sonia and Masha and Spike

Every now and then our staff is so jazzed about a show that we just have to share two different perspectives with you! Check out Brandon and Tara’s recaps of our newest obsession!

By Brandon, Concierge

As if Chekhov had devised it himself, Vanya and Sonia and Masha and Spike is a ridiculously funny and brilliantly witty modern play by comedic genius, Christopher Durang, with punches from left field sure to leave you laughing out loud from curtain up until the curtain call. In VANYA AND SONIA AND MASHA AND SPIKE, Durang borrows the names of three characters from Checkhov’s UNCLE VANYA and THREE SISTERS, and unites them as middle-aged siblings in their family’s beautiful Bucks County, Pennsylvania estate home. Vanya (David Hyde Pierce) and his stepsister Sonia (Kristine Nielsen) have lived in the home for their entire lives, remaining there during adulthood to care for their ailing and elderly parents, while Masha (Sigourney Weaver) has been travelling the world, living a luxurious life as a world-wide actress and movie star. Feeling as though they’ve let life pass them by, unemployed Vanya and Sonia spend their mornings on the porch near the pond reminiscing about their parents and childhood, wondering if they could have done anything differently. Their cleaning lady, Cassandra (Shalita Grant), born with the same Apollo’s curse as her Greek mythological counterpart, warns our siblings with foreboding prophecy of the near future, but just like the Greek Cassandra, no one believes her. That is, until their sister Masha and her eager, twenty-something boy-toy, Spike (Billy Magnussen), make a surprise visit from New York City.

This show was a delightful treat, and I expect it to do very well at the Tony Awards this year. Shalita Grant provided expert comedy acting throughout the show as Cassandra, always entering at just the right moment with the best expressions. Kristine Nielsen and David Hyde Pierce were a terrific acting team, with sparkling chemistry that lit the stage. Billy Magnussen gave a terrifically ballsy interpretation of Spike’s character, and was not at all shy about taking his clothes off – another ridiculously funny aspect of this show. With a wonderfully vibrant cast, a gorgeous set, clever jokes, a soothsayer, a young hottie, and a brilliant trio of sibblings, Vanya and Sonia and Masha and Spike is a must see on Broadway this season!

By Tara

My first attraction to the show Vanya and Sonia and Masha and Spike was not only the star power (Sigourney Weaver for my boyfriend and David Hyde Pierce for me) but also its popularity, as this show has been off Broadway for quite some time and due to its extensions and popularity had landed on Broadway. I had read a brief description of the show, that a brother and sister share a home owned by their other sister, who is a famous Hollywood actress. One day the sister comes by to visit with her much younger boyfriend, they all attend a costume party and hilarity ensues.

The thing that surprised me most was just how much hilarity. With the exception of a few emotional moments throughout the show, the audience and I spent most of the time laughing. Even within the first few minutes come snarky conversation, broken coffee cups, a grave premonition, and a nod to northeast convenience store chain Wawa… and it’s all wonderfully funny. This all comes before the arrival of Masha, the movie star, played very well by Sigourney Weaver, and I’m sure was a little tongue in cheek. Her boyfriend Spike, played by Billy Magnussen, was a lot of fun to watch on stage (and not just because he was in his underwear!) He plays the perfect impetuous twenty something pretty boy, and delivers a terrific monologue from his Entourage 2 audition.

What surprised me most about the show was the talent of the cast as a whole. With two big names heading the show, one would think that other roles would be more or less supplemental, but the other actors brought just as much as Sigourney Weaver and David Hyde Pierce. The actress that plays Sonia, Kristine Nielsen, is a delightful comedic actress and truly holds her own during the show (she also does a dead- on celebrity impression that will leave you stunned!) The housekeeper Cassandra, played by Shalita Grant, brought a different humor to the stage, interacted well with the other characters, and at the performance I went to, received the most laughs.

My favorite part of the show was getting to see David Hyde Pierce, a veteran of stage and screen. I have loved him since his work on Frasier, and he was wonderful in this show as the only male (mature male) in a sea of emotional women and sibling rivalry. The only crack in his calm demeanor comes in the second act with a monologue, or rant might be a better word, that was so wonderful it has to be seen to be believed!

I was fortunate enough to get to meet him and the other actors at the stage door. (This theatre also shares a stage door entrance to the Majestic Theatre so it was a double bonus to see the Phantom of the Opera actors coming out as well!) Everyone was very friendly, and they all, with the exception of the two stars, seemed pleasantly surprised to be asked to sign playbills and take pictures.) David Hyde Pierce was especially nice, staying around long enough to sign autographs, take pictures, and talk to the fans!

Though this show is only officially in previews, I feel as if they don’t have to change much. What they were doing off Broadway was enough to get them onto Broadway and hopefully if they continue, they will be there for a nice long while. Coming from someone who is typically a fan of musicals, Go See This Show!!

E-mail info@newyorkguest.com to plan your trip to NYC including tickets to see Vanya and Sonia and Masha and Spike!

Truman Capote’s Breakfast at Tiffany’s – on Broadway at last!

By Alexandra, Concierge

Breakfast at Tiffany’s is a novella by author Truman Capote, one of the most iconic and successful writers of the 20th century. The story was made iconic by the 1961 movie adaptation of the same name that starred Audrey Hepburn and George Peppard.  The tale has now been adapted for the stage by Richard Greenberg, and the show opens on Broadway this month.

The story begins in Autumn 1943, as recollected by an unnamed narrator.  This handsome young man has just moved to New York City to pursue a career as an author. When he meets the sensational tenant who lives below his tiny studio apartment one evening – a young lady named Holiday Golightly, or ‘Holly’ – his life is forever changed.  When Holly meets the narrator she happily exclaims that he looks just like her brother Fred, who is overseas fighting in World War II, and she proceeds to call him by the same name for the remainder of their year-long friendship.

Credit: Jason Bell

Holly Golightly is a country girl turned New York City socialite. While she has no official job, she makes her living by socializing with wealthy men who take her out on the town, give her money freely, and present her with expensive gifts. Fred is fascinated by her vivacious personality, stunning beauty and extravagant lifestyle.  Though the nature of Fred’s sexuality is brought into question throughout the play, he quickly falls head over heels in love with Holly. Meanwhile, Holly continues her affairs with wealthy men, intent on marrying one of them and being set for life. However, this does not stop her from confiding in Fred her deepest secrets, and they become very close friends.  Still, Holly keeps Fred at bay – even admitting that she never knows what is really hers until after she has thrown it away.

Breakfast at Tiffany’s is a visually decadent and delicious experience. Brilliant costume designer Colleen Atwood (who has won Academy awards for her work on Chicago, Memoirs of a Geisha and Tim Burton’s Alice in Wonderland) truly captured the elegance of the era and the personality of the characters with her costume design.  Expect glamorous silk gowns, playful matching skirt suits, tailored trench coats and lots of fedoras and fascinators.  Meanwhile, the rotating stage features the New York skyline, beautiful interiors, neon lights and a full bar – all setting the mood perfectly.

Credit: Zena Barakat

Highlights of the show include when Holly, played by Emilia Clarke, plays guitar and beautifully sings “I Am a Traveling Creature” on a fire escape, and the few scenes throughout the show with Holly’s cat, played by a live orange tabby.  Fun fact: the cat in the show wasn’t cast until four days before the opening performance, but makes a fantastic (and very cute!) addition to the play.  Just as an aside to anyone considering taking children to the show – there is brief full nudity by both lead actors.

Stars in the show include Broadway newcomer Emilia Clarke (famous for her lead role as Daenerys Targaryen in the HBO hit show Game of Thrones) and George Wendt (most famous for playing Norm Peterson on the long-running TV sitcom Cheers, among other notable roles). Actor Cory Michael Smith makes his Broadway debut as narrator ‘Fred’.

While the iconic film Breakfast at Tiffany’s was a romantic comedy with a happy ending, the new Broadway production follows Capote’s original novella more closely than the film script. Those familiar with the film adaptation will find the Broadway show portrays a darker tale, wrought with tragedy and heartbreak.  The characters, while beautiful and vivacious, have heavy hearts and many flaws.  (For example much criticism has been noted of Holly’s exploits, but Capote insisted that she is not a prostitute but an “American geisha.”) Fans of the film will likely enjoy the show – but shouldn’t expect the same script and lightheartedness.  Also, the famous song “Moon River” which Hepburn performed in the film is replaced with the traditional folk song “I Am a Traveling Creature” on stage.

Making a trip to NYC this spring? Contact info@newyorkguest.com for exclusive package deals including tickets to Breakfast at Tiffany’s!

Take a sneak peek at the show:

It’s a Human Drama Kind of Thing…

by David, Concierge

Ten people on a hot auto dealership lot in east Texas enter into competition to win a new truck and the opportunity and prestige that comes with it. In the new musical HANDS ON A HARDBODY, contestants must stand and keep one hand on the body of a truck, and whoever who can do so the longest drives home in the prize. The annual competition is held by a local Nissan dealership hoping the boost sagging sales in a tough economy and offers hard-luck residents  hope for a piece of the American dream lying just out of reach.

Based on true events and a documentary of the same name, the characters are actual “Hands on a Hardbody” contestants. The show’s creators hired a private detective to locate them for the purpose of interviewing all ten about the experience and their lives afterward. Some are young and seeking the opportunities the truck promises: a waitress with only her bike for transportation, the unemployed young man driving his mother’s Volkswagen Bug, the Texas born son of immigrants working two jobs with plans of becoming a veterinarian, a devout Christian enlisting the support of several prayer chains to win, a recently returned war veteran and a young woman who has a “good job” but yearns to travel. Some constants are older and are struggling through the setbacks and celebrating the gifts life has delivered.

HARDBODY features a book by Doug Wright (Pulitzer Prize winner, I Am My Own Wife), lyrics by Amanda Green (Bring it On: The Musical) and music by Trey Anastasio (Phish) and Amanda Green. The music is not “typical” musical theatre. It is a high-energy mix of country, southern rock and gospel that is  very authentic to the show’s location. Fans of Anastasio’s work as guitarist and lead vocalist of the rock band Phish will probably not be surprised by his command of these musical styles here.

In the musical numbers, Neil Pepe’s direction and Sergio Trujillo’s musical staging allow the characters to move beyond the contest rules that force them to stand or walk along side of the vehicle. By no means is this a “dance show.” However, the creative team finds imaginative ways to bring movement to the piece, forward the story and highlight the emotional dynamics playing out in the contest; whether they be combative, cooperative, joyous or heart-breaking. The actors move the truck around the stage and turn it in circles in a cinematic manner. At times, it serves as a platform, a dance partner of sorts, a communal drum session and at one moment symbolizes the emotional tug-of-war in which the characters are engaged.

Anastasio says of Green “her work can make you laugh one minute and break your heart the next,” and she delivers on that promise here. Together with Wright’s book the show is joyous, cut-throat, devastating, hopeful and ultimately life-affirming.

Experienced audiences will truly enjoy this new and original production. People who don’t think they like Broadway musicals would do well to treat themselves to this show. The music and story are easily accessible for sophisticated theatre-goers and the theatrically uninitiated alike.

Looking to visit NYC and see Hands on a Hardbody? E-mail info@newyorkguest.com to start planning your trip!

Holland Taylor becomes “Ann”

by David, Concierge

“ANN”, written and performed by Holland Taylor, is a deeply researched and entertaining look at the life of the political firebrand and Texas governor Ann Richards. Beginning in an imagined college auditorium, continuing into the Texas Governor’s office and into a sort of dream world, much the play details Richards’ life from her birth in a small town in west Texas through her political career and beyond using the subject’s inimitable style, words and humor. Fans of Ms. Taylor’s work in films like Legally Blonde or television shows like “Two and a Half Men” might be hard pressed to recognize the actress in this role. Her movement, accent and cadence so closely resemble those of Richards and are unlike her own.

Photo Credit: Photo by Ave Bonar, Playbill.com

The play begins with Ann Richards stepping up to a podium of a Texas college auditorium to address students, faculty and administration. Starting as a typical commencement address, She begins talking about her own life, beginning with her birth in Lakeview Texas, the only child of her doting father and reserved mother. The monologue highlights significant moments in her life such as the time her mother drove her to southern California to join her father who had been drafted into service. It was the first time either of them left their segregated Texas home and proved to be a mind-expanding experience in cultural diversity. She goes on to describe her marriage to David Richards, the children they raised, the parties they threw and the political activism the shared. Richards describes that as a woman, campaign work was limited to stuffing envelopes. She proved to be an accomplished political worker, having worked to elect liberal to the Texas Legislature. Although accustomed to supporting the campaigns of others, she ran successful campaigns for Commissioner and State Treasurer. During the latter term, she describes the intervention and treatment that led to her recovery from alcoholism. The strain of her role in government on her marriage proved too great and resulted in her divorce.

Her life took a significant turn when asked to speak at the Democratic Convention in 1988. The barn-burner of a speech thrust her into the national limelight and set the tone for her political future. It opened the opportunity to being the second woman to be elected Governor of Texas. At this point the play takes the audience inside the office of governor’s mansion and focuses on one particularly hectic day on the job and some of the more pressing issued she faced. Taylor is “joined” by the off-stage voice of her secretary, Nancy Kohler, by played the wonderfully dead panned Julie White. Act two resumes in the Governor’s office, transitioning to an office in Manhattan as we follow Richards from political office and into life as senior political adviser and consultant.

Photo Credit: Photo by Ave Bonar, Playbill.com

Taylor’s admiration of the former Governor is clear, and the resulting piece of theatre is a sort of Valentine. Although a little slow on occasion, Taylor holds the stage and audience for the full two acts. Through both monologue and an imagined day in office, the playwright brings biographical detail to life, some fact, some imagined, with warmth and humor. Taylor avoids making a “political play.” There are some moments when political positions are addressed, most notably issues of women’s health and equality. They function more as an underscoring of Richards’ passions and motivations, not a diatribe. The result is a thoroughly enjoyable theatrical experience.

This show is great for fans of Ann Richards, Holland Taylor or politically minded audience members. It is a good offering for people who prefer plays to musicals, new works to revivals, and sophisticated viewers more into ideas than crashing chandeliers.

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