The expression “history is written by the winners” can be interpreted for theater productions as “works that are affordable are remembered.” Encores got a hold on countless musicals teetering on the brink of obscurity and gave them life, now the Readers’ Ensemble Company does the same for straight comedies and dramas. This new group dedicates itself to finding and presenting, in de-constructed format, works that are either not done or can’t afford to be done anymore. The latter case fits their second entry in a four-play series – The Madwoman of Chaillot. We’ve all heard of this play, we may have seen it in a university setting, but when was the last time you saw a 24-character play performed on, or directly off, Broadway?

Director J. Michaels gave himself every obstacle in this Jean Giraudoux surreal comedy written as a response to World War II. A staged reading is tricky – daunting when done by two-dozen actors. He added performance elements (a dancing deaf mute, masque work – albeit very simple, and touches of modernization like a Spanish-speaking flower seller and a yuppie stock broker). His gamble paid off as the evening yielded a fine show.

The play opens in cartoon fashion with a President, Baron, Broker, and Prospector (Nick Fondulis, M. Alan Haley, John Stillwaggon, and Michaels himself, respectfully) gleefully chatting about their wealth, how to get more, and the middle and lower classes whom they disdain. Fondulis supplies us with an excellent mixture of mustache twirling villainy while keeping things real enough to make us think of every bank president across the country today, he is complimented by Haley’s confused aesthete of a baron, willing to sell his name to make money. The electricity was turned-up tenfold by Stillwaggon’s high-speed banter and game show host smile as the broker. J. Michaels added to the humor as a humorless old hermit prospector, deadpanning around the three corporate stooges.

They are greeted by the titular character, Countess Aurelia, the Madwoman of Chaillot. The casting choice was spot-on with Sheila Mart. Ms. Mart’s majestic presence in a tiny frame epitomized the character. Her staccato delivery fooled the audience by alternating between doddering and ingenuous. This allowed us to follow her down her rabbit hole (literally) to the play’s surreal conclusion.

There are also lovers (of course). The innocent, not-from-these-parts, Irma (played by Brianna Carlson-Goodman) and the repentant juvenile Pierre (Jim deProphetis). Carlson-Goodman and deProphetis played off of each other well, sharing innocence and pain, love and loss. Carlson-Goodman’s Act I monologue was a refreshing moment of clarity, while deProphetis’ scenes with Aurelia were charming and engrossing.

The financial wizards are forced to do battle with a cacophony of tradesmen and vagrants including a sassy waitress (played with great vigor by Sara Minisquero), a Latina flower seller (played in Spanish by Jessica Real-Mohr, whose gestures allowed even the most dense to understand her dialog), a lunatic foot doctor (Tracy Lipson doing her best impression of a 3 a.m. infomercial), two wacky policemen (Josh Silverman, hilarious as a new cop on the beat, and John Payne, truly funny and commanding as an old-fashioned beat cop complete with brogue) all led by an urban Ragpicker, played by Lorenzo Valoy. Valoy’s high energy and inventive delivery as the bearer of bad news in Act I and fire and brimstone channeling of all the evil of the world in Act II were high-points of the evening.

Act II brings a group of new characters. A sewer man (played with surreal joy by Robert Saunders) who thinks he’s a stand-up comic; three other madwomen: Constance (Dana A. Iannuzzi), whose choice of puppet dog over invisible dog – how it is normally played – was inspired; Gabrielle (Carla Kelly), an innocent chanteuse with an overactive libido, whose facial expressions and strange noises were a source of great humor, and the commanding Josephine (queenly played by Theresa Chow). Chow manages to make some of the play’s most absurd dialog sound totally logical.

Wide-eyed, tattered, and diminutive, teenager Adele Wendt – a trained ballerina – danced her lines (another inspired touch) as the deaf mute, adding a new dimension to this reading. Her frenetic “conversations” with Irma were a witty diversion and her Act I “ballet” (choreographed by Joyce A. Adams) became the play’s parable – the smallest flower can have the deepest soul.

Producers Dana A. Iannuzzi and Justin Flagg are to be commended for making possible a series that includes a rare George Bernard Shaw one-act (last week’s Press Cuttings), a Russian work made famous by Lon Chaney (next week’s He Who Gets Slapped) and rising star Lynn Nottage’s African-American drama, Intimate Apparel, which closes the festival. The small, warm theater chosen for the presentations might be an indication of an austere budget – a fitting parable as to why certain plays are allowed to vanish.

The festival is at University of the Streets on East 7th Street.

For more details log on to readersensemblecompany.org

The Reader’s Ensemble Company presents four staged readings at
The University of the Streets
130 East 7th Street
New York City
$8 All Seats (check the website for discounts)
www.readersensemblecompany.org for reservation or further information.

Monday, July 20 at 7:00 p.m.:Press Cuttings by George Bernard Shaw, Laura Livingston, dir.
Monday, July 27 at 7:00 p.m.:The Madwoman of Chaillot by Jean Giraudoux, J. Michaels, dir.
Tuesday, August 4 at 7:00 p.m.:He Who Gets Slapped by Leonid Andreyev, Erik Gratton, dir.
Monday, August 10 at 7:00 p.m.:Intimate Apparel by Lynn Notage, Leslie Guyton, dir.

New York – The Readers’ Ensemble Company (Justin Flagg & Dana Iannuzzi, producers) opens its doors in downtown Manhattan with “REC Summer Festival ‘09,” a month-long series of fully staged readings of rarely performed works. Presented at the University of the Streets for its casual and accessible setting, each piece depicts part of the Recession Cycle: Greed, Collapse, Revolution, and Rebirth. The company’s goal is to reintegrate these forgotten masterpieces into the active dialogue on pop-culture and current events. In much the same way Encores! breathes life into forgotten musicals, REC plans to spotlight plays on the edge of obscurity and make them again worthy of production and discussion. A Q & A follows each performance.

The roster for 2009:
Monday, July 20 at 7:00 p.m.:Press Cuttings by George Bernard Shaw, Laura Livingston, dir.
This early 20th Century comedy pits a greedy general and prime minister against women’s rights activists, the fear of foreign invasion, the consequences of universal draft, the arms race, and a population that now takes democracy seriously!

Monday, July 27 at 7:00 p.m.:The Madwoman of Chaillot by Jean Giraudoux, J. Michaels, dir.
Paris, 1945 or New York 2009 – hard to tell – as the city is overrun with bankers and financiers collapsing the economy for their own profit. The only ones left to save the world are the artists, tradesmen, and vagrants – led by an enigmatic “madwoman” whose plot might be crazy enough to work!

Tuesday, August 4 at 7:00 p.m.:He Who Gets Slapped by Leonid Andreyev, Erik Gratton, dir.
Paris, 1920. The lure of fame and the bitter aftertaste of celebrity are seen in this Russian revolutionary drama about a great scientist wronged by a larcenous financier. Eventually the scientist becomes nothing more than a circus attraction in which humiliation is his gimmick.

Monday, August 10 at 7:00 p.m.:Intimate Apparel by Lynn Notage, Leslie Guyton, dir.
NYC, 1905. Esther, a black seamstress, must choose between two suitors: a Caribbean man she knows only through letters and a Hasidic clothing merchant. Esther’s choice and what she does with her life because of it is the basis for this tale of rebirth – her own and that of the entire world.

For as long as there was – well – anything, there was art and artists. Maybe it was a cave painting to document a hunt, maybe it was ornate uniforms to strike awe in the hearts of adversaries, maybe it was fire-and-brimstone preachers of any and all faiths… or maybe it was children dancing to celebrate holiday and harvest. Nonetheless, there was always art and the finest came from real people like you and me.

J’s New Dance Center, the little studio that could – and has – for more than 20 years presented its annual dance recital this past weekend to thunderous – and well-deserved – applause.

The J in J’s belongs to Joyce Beck – a theatre and film dancer with credentials including All That Jazz – runs a thriving studio on Fifth Avenue and 74th Street in Bay Ridge Brooklyn that gives – what looked like – 100 students a chance at self-expression, and that is what theatre truly is intended to do.

The production opens with a sweet-voiced announcement regarding what you would expect – “turn off cellular phones, no flash pictures, etc.,” to the clever – “don’t stand up, your head will ruin our video.”

Then the fun began.

Down the aisle came some of Miss Joyce’s adult students in a rendition of the traveling number from Kiss Me Kate. Nice touch having the dancers in the aisle, also a clever beginning, setting the tone of a vaudeville-like presentation. There is a sense of separation once the performer is bathed in the light of the stage but there, neighbor dancing inches from neighbor, the electricity was more evenly shared. The audience then settled back to nearly 50 different dance pieces – from the cutest baby ballerinas and tapers dancing to melt your heart (one little exuberant girl sang the words to the song to which she was dancing at the top of her lungs) to impressive feats of acrobatics mixed with dance moves, to adults executing intricate classical ballet steps with really amazing precision.

The music was eclectic with Broadway standards following 50s ditties then countering with a modern piece, then Mozart, then children’s favorites (even Paddy Cake).  Dance styles also followed this eclectic scheme: tap, jazz, salsa, ballet, Pointe, acrobatics, barre work, etc. And while some studios might boast such a roster, the unique juxtaposition of music with the dance styles made for a lively and interesting evening. To hear a cutting edge modern tune done with barre work, or see tap-dancing cowboys, or listen to a 50s standard while jazz and acrobatic styles cover the stage was a true step above. Several performers seemed to master many styles including one omnipresent young woman whose stature might lend you to think that she is not a dancer but her amazing physical prowess and fleet-footed ease at every style displayed is a standing tribute to her talent and drive – and to the masterful teachers at J’s Dance Center.

Glimpses of other programs appeared in the production as well. Broadway performers Mary & Jay – whose voice and acting program is rapidly gaining ground in Brooklyn – sang a Broadway ditty as a warm up for the grand finale of Act I and Tara, the belly dance teacher wiggled and floated across the entire stage, she was framed nicely against the company’s Sgt Pepper-like psychedelic background. This was a lively portion in Act II. Tara is a professional belly dancer who tours the tri-state area and beyond and Mary and Jay run Genesis Repertory, a Manhattan-based theatre company now opening an office in Bay Ridge. Miss Mary has a long list of Broadway credentials and one of the most powerful natural voices you’re likely to hear in such a setting. She struck a striking presence in a black retro gown.

Each act also featured an appearance by the arbiters of the weekend-long event. Act I featured a power-packed routine laced with modern dance and sharp jazz styling by the agile Miss Joan and the second act solo by Miss Joyce herself, in which the dance veteran brought down the house with a high-steppin’ routine filled with jazz and tap that could have easily been pulled from a Broadway show. It is easy to see why everyone from babies to baby-boomers were able to make everything look easy.

The funniest performers of the evening were the parents and grandparents. They, too, seemed to learn dance from Miss Joyce and Joan. The sight of their children, nieces & nephews, siblings, and grandchildren dancing in stunning costumes acted as an elixir or powerful sermon to these residents of Bay Ridge and the neighboring provinces. Parents became acrobats and bounded from their seats, tap-dancing down the aisle to get a better shot of their baby ballerina; grandparents performed feats of incredible strength and agility carrying massive bouquets and balloons all the way around to the dressing areas; brothers and sisters – thinking they were unnoticed – would attempt to copy a step or two in the corner of the lobby during intermission; and like any red-carpet event, flash bulbs were popping and video cameras rolling from every conceivable corner … totally ignoring the sweet-voiced request at the opening of the show.

I wonder how many heads made it to the video.

J’s New Dance Center boasts a friendly and accepting atmosphere where all you need is a desire to dance and the willingness to have fun doing it.  Dance brilliance comes later … but it does come.

Summer Program starts July 13th.
Fall registration will be held September 1st.
For information call 718-680-6111

Classes include:
BABY RHYTHM (For kids ages 3 & 4) Learn Tap, Ballet, and Tumbling.
KINDERDANCE (for kindergarten & first graders) A great introduction to the world of dance.
TAP 45 (for graduates of Baby Rhythms and Kinderdance) 45 mins. of tap & 15 mins. of jazz.
ACROBATICS An excellent base for gymnastics, exercise, and the elements of a healthy lifestyle.
JAZZ Ethnic rhythms combined with the popular dance styles of today like hip hop.
TAP  A technique of quick footwork & lively rhythms.
BALLET Ballet is a classical form of dance. It is a MUST for any serious dancer.
POINTE  The ultimate progression of ballet. Dance On Your Toes!
BELLY DANCE An exotic form of Middle-Eastern dance excellent for spine & hip alignment.
SALSA Salsa is an exciting and highly popular style of dance.
ACTING Learn how to Audition and work in the professional theatre!
VOCAL TRAINING Do you want to sing in a musical, a choir, or concert? This class is just for you.
THEATRE COMPANY leading students are invited to join Genesis Repertory an off-B’way theatre

Zandelle features singer/frontman George Tsalikis who is also well known on the local theater community with starring roles in Jekyll & Hyde, Jesus Christ Superstar, and many others.

Zandelle has also released their first ever music video which can be seen on either of their two official websites:  www.zandelle.net www.myspace.com/zandelle

Zandelle, in association with Brooklyn Association of the Performing Arts will be celebrating the release of their new album on Friday June 26, 8PM at Christ Church Auditorium at 7301 Ridge Blvd in Bay Ridge Brooklyn, NY.  This all-age event will feature a 90 minute performance from the band as well as raffles, giveaways and a cash bar (for those 21 and over).

$10 Advanced tickets for this event are available through Brooklyn Association of the Performing Arts.
$15 at the door, the night of the event.

For tickets, email ZandelleTickets@gmail.com or call the B.A.P.A. hotline at 347-370-8973 ]]> http://outerstage.com/2009/06/rockin-bay-ridge-with-zandelle/feed/ 0 http://outerstage.com/2009/06/any-dream-will-do-at-christ%e2%80%99s-church-bay-ridge/ http://outerstage.com/2009/06/any-dream-will-do-at-christ%e2%80%99s-church-bay-ridge/#comments Wed, 24 Jun 2009 13:57:22 +0000 Jay http://outerstage.com/?p=25 I want to first state that seeing ambitious and expansive productions of music in my own neighborhood is a wonderful thing. Being able to stroll to the theater on a nice summer evening to find myself in an old and well-kept church with a great amount of history, buzzing with energy was very nice.

The program only lists an executive producer, Mr. Rocco LoFaro Buonpane. I am guessing that the church itself produced this show along with Mr. Buonpane.

The orchestra led by Jake Lloyd was superb; very small but very talented. I especially was impressed with Daisuke Suzuki the Violinist. He offered me many opportunities to see a fine musician enjoy playing music, added great dimension to Mr. Lloyd’s orchestration and was a delight to watch. The orchestra was situated on the floor center stage. This caused me to watch them (no problem for me) at times much more than the performers on stage. Perhaps next time they ought to be on the side more. Jake Lloyd’s orchestrations were beautiful as well. He also handled the vocal arrangements wonderfully. Congratulations to him. A fine job.

There was A LOT of music. All of it disjointed with no through line. No explanation of the thought behind what songs were chosen for this review, no narrator to help me understand. That all said, in general the show aimed at a high standard. The choreography by Dustin Cross was also top-notch. Fun, fast and exciting. It helped the show come alive!

There were some performances that were standouts. Rocco Buonpane had a great stage presence and wonderful voice. Dustin Cross a triple threat (actor, singer, and dancer), and gorgeous to look at, was a delight to watch in each number. Erica Vasaturo sang gorgeously. William Doyle was funny, with excellent stage presence. Dancer Elizabeth Brocsious was terrific. There was some competent singing by Jessica Unice and Carly Howard’s acting ability brought the music to life.

Understandably when doing local talent-based productions there are some people that are cast that require further training. However, what some lacked in talent and training they seemed to make up for in energy.

Problems arose from technical elements. Lighting was dark and unfocused, sound came in and out, the set…wasn’t — people got trapped in it, on it, and behind it. It made a small stage even more cluttered. The choice of color….melon … unappealing … what did that set have to do with the music? Not sure. Choices of clothing and costume changes were confusing to me. I was not sure what I was looking at. It might have been better to have just concert clothing for the singers and dancewear for the dancers. There were many shiny faces, sweaty and pale… leading me to believe that there was no makeup on many faces…a no-no when there are such strong lights and a warm theater. In addition, if you have tattoos cover them on stage.

Overall, it was a pleasant night filled with energy, good music and an energetic cast. The producers should be proud of brining culture to Bay Ridge in an easy to understand form.

As an aside, the room was very warm. This was a problem for the audience on and off during this show. The show started late, which caused the children in the audience to become agitated and noisy. In addition, when first entering the theater I noticed some of the singers milling around in shorts in the house when I arrived well after the half hour. Some of them were already in their “costumes” as well. This also happened at the end of the show. Most actors and singers know to at least change before greeting their audience. There should be no performers in the house after the half hour. It breaks the illusion.

Just a suggestion for next time.

The world is starting to see the light – through the grit – but still seeing it. In fits and starts as well as planned change we are now looking to heel our bodies.

Bodies, here, can be euphemistic many times over.

We have polluted the main body – the earth; we have polluted our government with a war and crippling inflation; we have polluted out minds with Internet imagery; and there is no doubt we have polluted our own bodies. Whether it is through the inertia of slothful inactivity or ingesting harmful chemicals or tortured animals (I’ll have my antibiotic-filled hamburgers super-sized, please), we are hurting ourselves and want to stop.

Enter The Magic Apothecary. Creating a line of hand made products that – through herbal properties and aromatherapy – will help you heel.

Heel can be euphemistic many times over.

The Magic Apothecary is a line of soaps, bath products, oils, incense, candles, and meditations designed to empower you to better living. Named after ancient deities long associated with various strengths and powers, these simple handcrafted items, mixed with your own desire for better health and happiness, assist in your body’s natural desires for everything from courage to calm.

Each bar of soap, each candle, each bag of incense is handmade with real ingredients. Real herbs from bay leaves to chickweed and genuine essential oils including the likes of Rose of Damascus (a rare and expensive item in and of itself) are found in each. Each shower or bath opens your senses to the properties in these herbs; each mediation over a candle or incense fills your soul with the temperament of that particular god or goddess.

Make no mistake, The Apothecary’s weight-loss soap bar or her scented love candle will not magically make you thin and popular; the money soap and High-John the Conqueror candle will not get you the job at HBO, but the herbs in them will help strengthen your natural resolve to pull the god or goddess out of you. Sometimes all we need is that special aroma or texture to make us say, “I deserve it.”

Skeptics abound, even within the very community that supports such ideologies, so I asked a few of her clients (without telling them why). I got these comments:
Bob of Brooklyn said he’d been alone for far-too long. He bought a love kit and now he and his girlfriend are very happy (she just met mother); Mitch from The Bronx remarked on how he was living from paycheck to paycheck. He showered with the money soap until he could see the penny in the center of the bar. A loan came through enabling him to move to a better apartment; and even deeper, is Pat from PA – recently diagnosed with cancer and undergoing chemotherapy – was allergic to most lotions and perfumes, so the burn of her treatment seemed unstoppable. She was able to sooth her chemo-seared skin with The Magic Apothecary’s Moon bar … safely, naturally.

The Magic Apothecary does not have a product that washes away skepticism but at costs below similar chemically made, factory-produced, store-bought items… what’s the harm? And she even supplies certificates of authenticity with her merchandise.

Reprinted by permission of site and author. Originally published July, 2008,

Case in point: The Magic Flute.

The Magic Flute

Friday Cast

By Erica Vasaturo and Fran Bacine

The well-remembered comment made by the Emperor in Amadeus is that Mozart’s work has “too many notes.” If so then it takes masters to make each of these abundant notes flow seamlessly into the other. Such masters can be found at The Bronx Opera, at 41 years and counting – the oldest opera company of its kind in New York. The Mozart in question is one of his most familiar – The Magic Flute.

The plot weaves around Prince Tamino who, through a series of trials, must win the hand of Pamina, the daughter of the Queen of the Night, from Sarastro and the Temple Elders. He is given mystical weaponry including a magic flute bestowed upon him by three of the Queen’s mystical minions. He is also given a comedic sidekick – of course – the bird catcher, Papageno, who joins the adventure in the hopes of getting more food and drink but gets much more than he bargained for … good and bad. The Quixotic pair, both stricken with silence at points, both battle darkness and supernatural forces at other points.

Ben Spierman directed this English language production with a subtle hand. He imbued last years’ Pagliacci & Impresario with a stark “ripped from the headlines” flavor but this production received subtle shades of then and now. His wink-and-nod form of updating with one hand and maintaining tradition with another is done here beautifully. Starting with Tamino, dressed like a 1930s movie serial adventurer in the scope of Indiana Jones or Flash Gordon, somehow lands in this secluded mountain range filled with dragons, mysterious robed worshippers, and a sorceress. Not to mention. Lions and tigers and bears… literally. By keeping all but Tamino in traditional garb, the sense of transporting him to a mystical realm was emphasized. His bits of shtick entwined with traditional staging were also refreshing. Musically, Michael Spierman was the true sorcerer, commanding a huge cast and orchestra (literally spilling out over the sides of the orchestra pit) through a sea of stunning orchestral accompaniment.

An excellent principle cast was led by Neal Harrelson as Prince Tamino. His sweet sound, towering presence, and mane of blonde hair made him the ideal adventurer – and of perfect contract to Jason Plourde’s channeling of the late Dom Deluise with a litany of facial expressions, double takes, and food sight gags as the lonely yet luxuriate bird catcher, Papageno. His own terrific tones made for a great pairing.

He was not the only humor injected into the opera. Helen Lyons, Leslie Swanson and Shirin Eskandani play the Queen’s mysterious envoys in perfect harmony and as three lusty maidens wanting Prince Tamino for their own. Noteworthy also is Laura Shofner as Papagena, the comic relief’s comic lover.

Ushering back to the Hollywood “witch” of the 1930s was Astrid Marshall as the Queen of the Night. Draped in black with towering headgear, Ms. Marshall was Agnes Moorehead with dashes of Margaret Hamilton. Her famed aria of the second act was well worth the wait. And to counter this dark force is her daughter, Princess Pamina, angelically sung by Alfonsina Molinari.

Two standouts within the production came from the supporting cast: Jorge Ocasio as Sarastro, High Priest of the Temple has easily one of the most powerful presences on that stage and his deep rich bass-baritone voice only secured that image. The Temple Priests had a very difficult job – here is where too many notes come in. There are long orchestral sections upon their entrances and filling the stage was the first order. Ocasio was able to do this with ease. Each stride or turn was energizing. The second is Leslie Tay as the manic Monostatos. Filled with nervous energy, Tay brought a sense of urgency to his role making him that much more captivating. Even standing behind the action looking on, he was a story unto himself.

Maintaining a classical venire is a double-edged sword. While the declamatory style one might expect to see in classical staging allows the artists to sing above the orchestra and project better into the house (purists that they are, The Bronx Opera does not employ microphones) not to mention creating some absolutely stunning stage pictures, it also drains some of the urgency from this mature fairy tale plot. The exuberant audience certainly didn’t seem to mind though.

The lighting by Jim Elliot was lovely. Subtle changes in color and area created a panoramic sense with an oil painting finish. Meganne George’s set design – simplistic use of moving fabrics and window panels depicting everything from the mountains to the dungeons – was well used in conjunction with Mr. Elliot’s lights. While Meg Zeder is to be commended for inspired color schemes and establishing a sense of time period, each temple elder seemed to be in a different pair of shoes and stockings. Sadly, the maidens’ chorus suffered from the same footwear issue but their costumes seemed to cover it better. The men’s chorus again suffered the double edge sword of performing in period. While they look compelling in the flowing robes, a certain posture must be displayed or the costume wears the actor.

The Spierman family and The Bronx Opera fight the good fight. Like Prince Tamino they must battle dragons and darkness with nothing more than beautiful music. The Bronx Opera’s dragons are a wretched economy and its darkness is the stereotype for which the Bronx has weathered for far too long. Yet through it all, they present top-notch work at magically low prices.

Here’s hoping nothing silences their voice.

The Magic Flute

Saturday Cast

By Robert Greene

At first glance, this opera seems very much the fairy tale. Dragons, bird-catchers, and secret societies battling sorceresses… but looking deeper you have an ancient tale harkening from ancient societal rituals. One might look upon this as an Iron John-style manhood trial amid pagan practices and beliefs.

We begin with Prince Tamino (Eapen Leubner), trapped in a mysterious mountain range occupied by ancients of all kinds – a Queen of the Night (Heather Hill) battling a secret fraternal order (and by now we all know which one Mozart was alluding to). The dashing Lindbergh lookalike, Tamino, is joined by a towering troubadour named Papageno (Jeremy Moore) whose love of wine, women, and song places him at Tamino’s side and in the face of danger. Needless to say, there is a damsel in distress (Katherine Wessinger), a great wizard-like leader of the fraternal order (Michael O’Hearn), three supernatural handmaids (Elizabeth Perryman, Paula Jean Rocheleau, Paula Roediger) the lusty henchman (Kennan Vasudevan) and a gaggle of spirits (The Bronx Highbridge Voices chorus).

Eapen Leubner and Katherine Wessinger as the Tamino and Princess Pamina were simply lovely together and powerful individually, displaying great stage presence and vocal strength; Heather Hill made the Queen of the Night a formidable figure with a genuine sense of realism within her otherworldly role. Adeptly avoiding stereotype or overdoing it as the role can suggest, she brought urgency and reality to her delivery. Progressive thinking in opera for sure. Michael O’Hearn was truly magnificent as Sarastro, leader of the order. His expansive frame was only dwarfed by a presence worthy of grand venues. And his deep basso tones were perfectly placed. But the real fun was Jeremy Moore as Papageno. Combining leading man looks with genuine comic timing and a superior voice made him worth the ride alone. His early exchanges with his lady love, Papagena (played with flair by Andrea Leyton-Mange) were like old English musical hall humor. And for the cuteness factor, the gifted children of Highbridge Voices appearing as sprites along with a herd of dancing animals did not disappoint.

It is the wise company that knows when simplicity and implication are the ways of design and The Bronx Opera is a wise company. Meganne George series of drapes and stained glass panels allowed us to believe we were on mountains or in temples or beneath castles. There was just enough to hold the hand of our imagination. Gentle hues amid romantic shadows, gothic midnight, lighting flashes, and even mystical auras were all brought to us by Jim Elliot. Meg Zeder’s beautiful color scheme and use of ancient versus present made for opulent costumes. This long piece moved briskly thanks to director Benjamin Spierman and assistant Nicole Lee Aiossa. Michael Spierman, the company’s founder and guiding force conducted the production including a larger than expected orchestra and full chorus to great success.

Many remain unaware of the great work of The Bronx Opera due to its off-the-path location(s). I was dragged to my first production last year by their ardent press rep. Now I am a fan. Not just because of what I see as consistency of professional standard but to revel in seeing promising young artists take an ancient form of art and carry it into this new century.

Today, we laud the large ensembles when they update and translate.

Well, uptown, The Bronx Opera’s been doing it for 40 years.

Narrows Community Theatre
Bay Ridge’s oldest theatre company
inaugurates
Voicing Your Talents: A series of audition workshops and vocal classes.

HOW TO AUDITION FOR THE MUSICAL THEATRE
Workshops conducted by J. Michaels
Thursday, July 10 & Thursday, August 7, both from 8 to 10pm.

SINGING FOR THE ACTOR
Course conducted by Mary Elizabeth MiCari
Saturdays, July 12 through September 13, 2 to 4pm

Bay Ridge, Brooklyn – The venerable Narrows Community Theatre, bringing quality entertainment to the Bay Ridge area for more than 37 years, is opening a full arts education program starting this summer. On July 10 at 8:00 p.m. and then a month later on August 7 at 8:00 p.m., Narrows will sponsor “How To Audition for The Professional Theatre.” A pair of workshops designed to expand on the art of auditioning. Theatrical director and producer, J. Michaels brings this wildly popular series back to Narrows for a third year. He will guide the participants on a journey that will start with song choice and confidence building and continue through the intricate road of networking – before, during and after the audition. Mr. Michaels has Broadway credentials that include Guys & Dolls, Damn Yankees, Cats, and Big as well as numerous off- & off-off Broadway credentials including three years with the NY International Fringe Festival. He is a professor of speech, theatre, and marketing and has lectured or served as a guest artist at Kingsborough College, Fordham University, Yeshiva University, Lehman College, and NYU.  Lectures are $5 each for non-members and free to members of NCT. All ages welcome

Starting Saturday, July 12 and continuing until September 13 will be a course for the actor yearning to break into musicals: Singing for the Actor. Every Saturday from 2:00 – 4:00 p.m. Acclaimed musical theatre and operatic singer, Mary Elizabeth MiCari will train her students in the art of singing for the stage musical. Starting with the lyrics and working your way up to public performance, this course is designed to arm artists with the tools needed to be part of the musical theatre scene. Posture and breath support; voice and character type; interpretation; and finally … performance! Ms. MiCari is a celebrated opera and musical theatre performer as well as a recognized arts instructor. She worked on the original Broadway productions of Light In The Piazza, Little Women, and Wonderful Town; operatic credentials include concerts at Lincoln Center. She and
J. Michaels are the producers of Genesis Repertory, an off-Broadway arts & education company. She is also founder of None of the Above Theatre and The Chelsea Opera. The course is for ages 15 and up. Ten weeks cost a meager $180 with discounts abounding.

Michaels and MiCari recently moved to the Bay Ridge area and are thrilled to make Narrows their new theatrical home.

Call 646-226-0370 or email at narrowsarts@gmail.com for further information.

Good.

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