‘Unmasked’ The Music of Andrew Lloyd Webber Plays Paper Mill Playhouse

Posted on February 11, 2020 by Karen Nowosad
Unmasked at Paper Mill Playhouse; Alex Finke, Mauricio Martinez, Mamie Parris, Nicholas
Edwards, Amy Justman, and Alyssa Giannetti; photo by Jerry Dalia.

‘Unmasked’ is The Story of the Music of Andrew Lloyd Webber

The Paper Mill Playhouse begins the new decade with the world premier of Unmasked: The Music of Andrew Lloyd Webber. As the name implies, the show is all about the music of composer Andrew Lloyd Webber. His name is synonymous with some of the most successful shows musical theater offers. His Phantom of the Opera continues to be the longest running show on Broadway. The rock opera Jesus Christ Superstar is back out on a new national tour after scoring huge success as a television live musical. These are only a few from the hugely popular portfolio attributed to this man.

So Paper Mill Playhouse takes on quite an enormous task in mounting Unmasked: The Music of Andrew Lloyd Webber. And after seeing the show, there is no doubt that this was the right place to launch this show. The Paper Mill’s commitment to the creative process displays on their magnificent stage and through their excellent sound and video systems.

For those who admire the music of Mr. Webber, this show is a joy to see. For those who are not as familiar, it might be a little more difficult because there isn’t really a story line. However, the superb melodies make it an enjoyable show for anyone to see. This musical is a collection of some of the composer’s most famous songs and a few new ones written for this show, along with stories told by the man himself. Some of it works well, some not as well.

Unmasked: The Music of Andrew Lloyd Webber is co-written and devised by Mr. Webber and Richard Curtis. JoAnn M. Hunter directs and provides choreography. Music supervision is by David Andrew Wilson with music direction by Michael Patrick Walker.

‘Unmasked’ – Concert Format with Film

The show is basically a musical concert of Andrew Lloyd Webber songs. For the most part, they are presented from the show in which they originated. For example, the Evita Medley showcases “Buenos Aires,” “Another Suitcase in Another Hall,” “High Flying Adored,” and finally “Don’t Cry for Me Argentina.” Selections used in the medleys are some of the most popular and famous songs from the shows. Shows that have medleys include Joseph and the Amazing Technicolor Dreamcoat, Cats, Sunset Boulevard and Phantom of the Opera. There is also a medley of Love songs from various productions. Nearly 39 songs are performed by singers, dancers, and the orchestra.

However, a few medleys are broken by other songs such as Jesus Christ Superstar in the first act. After an entertaining song titled “A Cappella Medley” opens the show, the very well known song “Superstar” is presented. But then, the Medley from Joseph and the Amazing Technicolor Dreamcoat comes in followed by Superstar’s “I Don’t Know How to Love Him” and “Everything’s Alright.” The Superstar presentations ends with “Gethsemane” which for some reason is a tough fit in at that point. A similar format but to a lesser degree occurs in the second act with the Phantom of the Opera Medley. There are three songs from that show in the cluster medley. But then, a bit of comedy is introduced with “The Song that Everybody Hates” which is clever and cute. But it breaks the Phantom medley because the next song is the majestic “Music of the Night” which was a show stopper on Opening Night. The mood created by the song is broken when “Stick it to the Man” from School of Rock comes on next.

At various points, a screen drops and film clips of Andrew Lloyd Webber run where he talks about what went into making some of his most famous shows. Mr. Webber is delightful to watch as he interjects his own brand of humor and frankness. The insertion of video into a show is not always easy to do. It works well at the Paper Mill with their impressive equipment. But the switching between the live performances and the film is a little jarring at times.

Cast

The cast features performers who come from Broadway shows, some of whom have been in Andrew Lloyd Webber productions. There are also several who have been in previous Paper Mill Playhouse productions including the recent Cinderella The cast includes Nicholas Edwards, Alex Finke, Alyssa Giannetti ,Jeremy Landon Hays, Kara Haller, Amy Justman, Andrew Kober, Angel Lozada, Mauricio Martinez, Bronson Norris Murphy, Mamie Parris, Dave Schoonover, and Rema Webb.

Additional Information about Unmasked: The Music of Andrew Lloyd Webber

Performances: The show runs now through March 1, 2020 eight times a week, Wednesday through Sunday. The schedule is Wednesday at 7:30pm, Thursday at 1:30pm and 7:30pm, Friday at 8:00pm, Saturday at 1:30pm and 8:00pm and Sunday at 1:30pm and 7:00pm.

Tickets: Tickets start at$32. To purchase, call 973.376.4343, at the Paper Mill Playhouse Box Office at 22 Brookside Drive in Millburn, or online at www.PaperMill.org.

Accessibility Performances: Audio-described performances are on on Sunday, February 23, 2020,at 1:30pm and Saturday, February 29, 2020,at 1:30pm. Prior to these performances at noon, the theater will offer free sensory seminars.

There will be a sign-interpreted and open-captioned performance on Sunday, March 1, 2020,at 7:00pm.

Free Audience Enrichment Activities: The Conversation Club meets on Thursday evenings, January 30, February 6, 13, and 20, one hour before curtain for an informal, informative gathering. You’ll learn more about the performance you’re about to see.

Q&A With The Cast: After the matinee on Saturday, February 29, 2020 stick around for a lively Q&A with cast members directly following the performance.

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‘Midwives’ Impressive Staging of the Novel

Posted on January 31, 2020 by Karen Nowosad
Midwives by Chris Bohjalian, directed by David Saint at George Street Playhouse (l to r) Ryan George, Monique Robinson and Ellen McLaughlin. Photo Credit: © T Charles Erickson Photography tcepix@comcast.net

Midwives A Review

Playing at George Street Playhouse through February 16, 2020 is the world premiere of the stage adaptation of the novel Midwives. The book by Chris Bohjalian sold more than 2 million copies since its publication. It was an early selection of Oprah’s Book Club and in 2001 was made into an award-nominated film. Now the book really comes to life as a play also written by Mr. Bohjalian. George Street Playhouse does a remarkable job with this production. The stage set design, the story development, and the acting make this a play well worth going to see.

Stage Design

The newly opened Arthur Laurents Theater provides a large stage where the action unfolds. The set is open with no curtain to displace any views of what takes place. That is important because part of this story involves people looking at what really happened to Charlotte Fugett Bedfort the night she lost her life. Attempts to find the truth involve looking back at an event that had no photos and few eyewitnesses. But some of it lies in papers that midwife Sibyl Danforth keeps on all her deliveries. Finding those journals is another essential element that the staging assists.

Midwives at George Street Playhouse with Lighting Design: David Lander Set Design: Shoko Kambara Costume Design: Lisa Zinni Wig Design: Charles Lapointe Photo Credit: T Charles Erickson © T Charles Erickson Photography tcepix@comcast.net

The set design by Shoko Kambara is versatile in that it shows the room where the mother comes for the birth. But the background made heavily of trees shows how far into the Vermont wilderness the home is which is critical to the distance from needed medical facilities. The lighting by David Lander is somber throughout the play. Even when the set converts to become the courtroom, the lighting comes up but still has a shadow of what has taken place.

The versatility of the set design allows flashback scenes to appear very natural. As the present day presents its memories, there is still enough of the past showing to make it believable and poignant.

Story Development

The story has a well organized format for a play. It is told from the viewpoint of Connie Danforth as an adult looking back. Connie is on her OBGYN rotation in her training to become a doctor as she recalls the event in 1985 that forever changed her family. Her mother, Sibyl Danforth, is a practicing midwife in rural Vermont. She has been successful in a long career. Her husband, Rand, and daughter, Connie, prepare for their own day. A snowstorm is due but not much is said.

Sibyl goes to the Bedford home where Charlotte and Asa live. Charlotte is very vocal about wanting her baby to be born at home. Charlotte’s labor is a very difficult and long one. Eventually, both Sibyl and her assistant Anne, recognize that she needs to be transported to the hospital. But the phone lines are down and no roads are clear due to the ice that comes with the snowstorm.

Being an experienced midwife, Sibyl works hard to control the situation as Anne pumps tension. The action reaches a high pitch as Sibyl takes a knife to do an emergency Caesarean to save the baby after she believes that Charlotte is dead. The sounds of the storm raging outside add to the belief that there was no option in what happened. The baby is successfully delivered but the mother is dead. The first act ends.

Due to information Anne provides, an investigation into Charlotte’s death takes place. The contention is that Charlotte was not dead when Sibyl thought she was and that she killed her by doing the Caesarean. Her trial takes place eventually leading to a not guilty verdict. But later, information comes out that leaves doubts in the minds of the Danforths.

There are several critical moments in this play that leave audiences uncertain as well. The fine direction work of Mr. Saint provides a impressive experience for those who see Midwives.

Powerful Acting

The show features a strong cast who turn in powerful performances. The accomplished Ellen McLaughlin gives a remarkable performance as the midwife, Sibyl Danforth. Molly Carden plays the difficult role of her daughter, Connie Danforth as she watches her mother loose all she loved doing in life. John Bolger plays Rand Danforth, Sibyl’s supportive husband.

Monique Robinson does a superb job playing Charlotte Fugett Bedford. Ryan George plays her loving and concerned husband Asa Bedford. Grace Experience plays the apprentice, Anne Austin, who wants to believe Sibyl but has concerns. Michael Cullen plays Judge Howard Dorset and Dr. Terry Tierney. Armand Schultz plays Bill Tanner and Lee Sellars plays Stephen Hastings.

Additional Information about Midwives

Performances of the George Street Playhouse production of Midwives are at the New Brunswick Performing Arts Center, 9 Livingston Ave., New Brunswick, NJ. The show runs approximately 2 hours with one intermission.

This is an excellent play for those who enjoy a drama. This very fine production is a wonderful way to premiere a new play. I suspect this is one we will hear more about in the future.

For tickets, call 732-246-7717 or visit georgestreetplayhouse.org

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‘Emojiland’ A Fun, Fantasy Musical

Posted on January 22, 2020 by Karen Nowosad
The cast of Emojiland – Photo Credit – Jeremy Daniel

‘Emojiland’ A Review

People love their emojis. What would writing a text be without them? But how about a musical where these emojis actually come to life? Would it be believable or could it be a fantasy or fairy tale? The answer to these questions is found in a new show aptly titled Emojiland. It is here that they actually come to life as the characters of the story. This alone could make it a show worth seeing. But it’s a lot more than that. For one thing, it is very funny, light-hearted, and it solves a big problem with great results. Can’t get more upbeat than that. Add to that an outrageously talented cast to tell the story and superb technology that helps to create a different world. Additionally there is good music and colorful costuming.The result is a brand new show that can please an audience no matter what their favorite emoji is.

Under the direction of Thomas Caruso, Emojiland has a book, music, and lyrics by Keith Harrison and Laura Schein. Choreography is by Kenny Ingram and musical direction is by Lena Gabrielle. Of note is that this show ran in a simpler style at the 2018 New York Musical Festival where it had 12 nominations and 5 wins. Check out my review of that show here.

Technology Creates the Landscapes

The story takes place in a part of an iPhone where the emojis are said to live. The stage comes alive through the use of advanced theatrical technology. It shifts depending upon the scene needed for the action. Watching the features of the technological displays is a show in itself.

One of the sets of Emojiland demonstrating the use of the technology and superb lighting. Note the center piece which represents a cellphone. Photo Credit – Jeremy Daniel

A video screen and projection mapping are used to show original animated content. Advanced laser lighting technology flashes at critical points in the show. Light dances off the ceiling as it dazzles the main stage. It all works well together. Credit for the technology goes to David Goldstein, Lisa Renkel & POSSIBLE, and Jamie Roderick.

The Story – Human Qualities Abound in ‘Emojiland’

As the show begins, Emojiland introduces those characters who have been a part of the population for a long time. Even though they are digital creations, you might get a sense that you already know them. If you have actively used Smiley, The Skull, or even Pile of Poo, you recognize them immediately. Their parts are well written to reflect what they do online.

After a few opening songs, the emojis share their excitement because they are eagerly awaiting version 5.0 update. Update days are exciting because it brings new emojis to the land. A countdown runs and with a reset, the new version is installed. New characters like Nerd Face and the Prince emerge. They both face challenges trying to fit in with the established crowd. But the Prince especially is a threat to the over the top Princess. Sensing a power struggle, they unite to make sure they are not usurped in the next upgrade by a king. They agree to build a firewall to keep out any new upgrades. There are conflicts with the emojis about building this wall but finally it does go up. But not before the Skull approaches Nerd Face with his plea to help him with his despair. His desire to be deleted leads to a series of incidents that threaten the very existence of the land’s inhabitants and slowly they get deleted.

There is a very satisfying solution, one that allows everyone to come back and start over. And as for the wall, well you can interpret it in many ways. It does allow this show to have some good social statements with a little bit of a lesson learned along with a load of fun.

Musical numbers are crucial to the story and there is a good range of songs. A few examples include “It’s Just So Great to Be Alive,” the opening number, which sets the tone immediately. “The Progress Bar” is sung by the cast as the upgrade is being installed and a countdown goes on behind them. “Pile of Poo” is sung by the character of the same name and it is a hilarious moment in the show. The ballad “A Thousand More Words” is about the sadness of losing someone. And “Start Again” allows hope back into the land.

A Strong Cast Totally Rocks It

The cast does a superb job of making their emojis come to life with human characteristics and fabulous performances. These characters struggle with their lives, enjoy love and friendships, despair, disappointment, and loss.

Laura Schein, one of the main creatives of the show, plays Smiley Face (Smize) and does a wonderful job showing the conflict the character goes through in trying to smile while she hurts inside.

Heather Makalani plays Kissy Face and few other roles too. But her Kissy Face is absolutely adorable even though she betrays her friend Smize.

Dwelvan David plays the Guardsman and few other roles. His Guardsman is fervent in his duties which at times is funny to watch in action.

Jacob Dickey is the Smiling Face with Sunglasses, Sunny, who is the town hottie and flirt who just can’t quite make up his mind about who he really prefers to be his girlfriend.

Natalie Weiss plays Construction Worker who has a personal relationship with Police Officer played by Felicia Boswell. They sing well together and separately too especially Ms. Boswell who sings the sad “A Thousand More Words.”

Max Crumm plays Man in Business Suit Levitating. He moves easily onstage powered by a hoverboard and keeps a very serious look on his face the entire time.

Lesli Margherita is a stand out as the Princess. She originated the role in the NYMF run of the show and she continues to enhance it with her humorous take on this character. Her sliding down the pole is just one example of how she makes the stage come alive.

Leslie Margherita slides in as Princess in Emojiland. Photo Credit – Jeremy Daniel

Josh Lamon plays the Prince. Because he keeps such tight control over the character it becomes hilarious to watch. But his subtle little remarks and attempts to control Princess are equally as funny.

George Abud as Nerd Face and Lucas Steele as Skull play two of the most pivotal roles of the show. Mr. Abud is exciting to watch as he solves the dilemma of saving the emojis. Mr. Steele’s singing voice brings the tone of despair to an intense level. He is amazing in this part.

Ann Harada turns in one of the funniest musical performances as Pile of Poo.

Jordan Fife Hunt and Tanisha Moore play Man and Woman Dancing and other roles. Their dancing is a nice enhancement to this show.

Who Will this Show Appeal To?

Emojiland is appropriate for theater goers of all ages. Younger people will enjoy seeing their emojis come to life. There are a few off color inferences but none that appear to be that serious a concern. If you have a theater goer who likes technology, then this is definitely the show for them. And there is something for audiences who want to sink their teeth into political/social overtones too.

Overall, anyone who enjoys going to a lighthearted show filled with good music, singing, and dancing will enjoy Emojiland.

Additional Information

Emojiland runs at the Duke Theater through March 8, 2020. Tickets are available online at Dukeon42.org; by phone at 646-223-3010; or in person at The Duke on 42nd Street at 229 West 42nd Street. Shows run Tuesdays-Fridays 4-7 and Saturdays 12-6.

The show runs approximately 2 hours and has an intermission.

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