No catchy title and just no other way to say it. Tallulah Bankhead’s reputation precedes her. The world remembers this legend of stage, screen (big & small) and radio as outrageous, outspoken, and uninhibited. Some say her fame was a result of outrageous behavior rather than talent; we beg to differ.
There is much written about Ms. Bankhead (Tallulah, as she preferred to be called) and legend has it that she chain-smoked, drank nonstop and carried a handbag full of everything from cocaine to codeine. She allegedly had affairs with both men and women; it seems as if she lived to shock and outrage.
Playwright Matthew Lombardo really captured Tallulah in this script and notwithstanding the comments of many theatre critics; the play is not only campy but a great way to spend a couple of hours. It is funny, smart and human. Every word matters. Rob Ruggiero’s direction is “on the mark”. If your intention is to see Valerie Harper playing an older and more outrageous Rhoda Morgenstern you will be disappointed. If however; you attend a performance of LOOPED expecting to “meet” Miss Bankhead and fall in love with her, you will be thrilled. Ms. Harper IS Tallulah and she transfixes.
It’s easy for costume, make-up and hair to make Valerie Harper, a star in her own right, look like Tallulah. But it’s more than the look. Valerie clearly studied an enormous amount of footage form Bankhead’s heyday. She exhibits far more talent than we anticipated, becoming Tallulah for the two hours we sat right in front of the stage, hanging on to her every word and action. Given Tallulah’s reputation, this part is an open invitation to overact and kudos to everyone for staying just below that magic line.
Brian Hutchinson is Tallulah’s film editor who winds up having to work with her on this looping session, against his wishes and better judgment. The character is repressed and ultra conservative…and could have easily been overacted in contrast to Bankhead’s high energy. Brian does not disappoint and his chemistry with Valerie is wonderful as his character evolves.
We laughed for most of the evening. We sighed too at the very carefully written and acted poignant and character revealing moments. And we couldn’t get up on our feet fast enough with the rest of the audience to salute Valerie with not just a standing ovation, but one of a magnitude that was obviously unexpected by the cast. LOOPED is one of the few shows this season that is scheduled for a long run, which it richly deserves. Don’t miss this one. Harper has more than earned a Tony nod for her work.
Next up: CIRCUMCISE ME!
Friday, March 26, 2010
Thursday, March 25, 2010
SONDHEIM SOARS
….because A LITTLE NIGHT MUSIC is such a special Sondheim treat. There’s no darkness nor is there a complicated plot or too many characters going in opposite directions. We couldn’t wait for the curtain to go up and we hated to see it fall.
There is nothing as special for theatre devotees as a special Actor’s Fund performance and this one did not disappoint. The audience is always electric and truly “New York” and the talent, who generously donates their time to this worth cause, plays as though this is truly a command performance. This performance was graced by the presence of Actors Fund President Brian Stokes Mitchell who was hobbling on crutches due to an injured Achilles tendon. We wish Brian a speedy recovery although he did tell us that he was fortunately not in any pain.
A very simple set is all that’s needed when two superstars grace the stage. Angela Lansbury is . . . well . . . Angela Lansbury. Surely she’s the current grande dame of Broadway. We loved her in DEUCE, she enchanted us in BLITHE SPIRIT and she’s so obviously perfect as Madame Armfeldt in A LITTLE NIGHT MUSIC. She’s elegant, she’s funny and she’s simultaneously over-the-top and real as can be. And we never forget that it’s just not possible for her to be with us forever so we never miss seeing anything she is doing.
If you consider Catherine Zeta-Jones a movie star, then you better prepare to readjust your thinking. This is her Broadway debut and she it totally captivating. Of course, she’s gorgeous and even every hand movement is perfect. But she really sings. And with phrasing and timing that’s impeccable and a voice much larger than we expected. After the first minute of her taking over the stage, it was impossible not to smile every time she was on it. Will Mrs. Douglas add a Tony to her Oscar this year? We certainly think she deserves it!
Catherine’s chemistry with her leading man . . . who turned out to be played the night we saw it by understudy Bradley Dean . . . was wonderful. This was Jeff’s second time seeing this production and he commented that Dean was every bit as good in the leading male role as Alexander Hanson.
A LITTLE NIGHT MUSIC has two show stopping tunes thanks to Sondheim’s genius. The Miller’s Son, sung by the character Petra, showcased Leigh Ann Larkin’s immense talent. She did Sondheim proud and held us entranced. The show’s most famous song, Send in the Clowns, is a totally different kind of song and Catherine Zeta-Jones sang it to perfection. It was languid and electric and humorous in all the right spots and every note - either sung or half sung/spoken was just exactly the right interpretation.
Jeff saw A LITTLE NIGHT MUSIC with his daughter Erica a few weeks before due to a tiny ticket buying snafu and he willingly went again. Cathy adored it as much as Jeff and both will need very, very little encouragement to spend another night at A LITTLE NIGHT MUSIC.
Next up: LOOPED!
There is nothing as special for theatre devotees as a special Actor’s Fund performance and this one did not disappoint. The audience is always electric and truly “New York” and the talent, who generously donates their time to this worth cause, plays as though this is truly a command performance. This performance was graced by the presence of Actors Fund President Brian Stokes Mitchell who was hobbling on crutches due to an injured Achilles tendon. We wish Brian a speedy recovery although he did tell us that he was fortunately not in any pain.
A very simple set is all that’s needed when two superstars grace the stage. Angela Lansbury is . . . well . . . Angela Lansbury. Surely she’s the current grande dame of Broadway. We loved her in DEUCE, she enchanted us in BLITHE SPIRIT and she’s so obviously perfect as Madame Armfeldt in A LITTLE NIGHT MUSIC. She’s elegant, she’s funny and she’s simultaneously over-the-top and real as can be. And we never forget that it’s just not possible for her to be with us forever so we never miss seeing anything she is doing.
If you consider Catherine Zeta-Jones a movie star, then you better prepare to readjust your thinking. This is her Broadway debut and she it totally captivating. Of course, she’s gorgeous and even every hand movement is perfect. But she really sings. And with phrasing and timing that’s impeccable and a voice much larger than we expected. After the first minute of her taking over the stage, it was impossible not to smile every time she was on it. Will Mrs. Douglas add a Tony to her Oscar this year? We certainly think she deserves it!
Catherine’s chemistry with her leading man . . . who turned out to be played the night we saw it by understudy Bradley Dean . . . was wonderful. This was Jeff’s second time seeing this production and he commented that Dean was every bit as good in the leading male role as Alexander Hanson.
A LITTLE NIGHT MUSIC has two show stopping tunes thanks to Sondheim’s genius. The Miller’s Son, sung by the character Petra, showcased Leigh Ann Larkin’s immense talent. She did Sondheim proud and held us entranced. The show’s most famous song, Send in the Clowns, is a totally different kind of song and Catherine Zeta-Jones sang it to perfection. It was languid and electric and humorous in all the right spots and every note - either sung or half sung/spoken was just exactly the right interpretation.
Jeff saw A LITTLE NIGHT MUSIC with his daughter Erica a few weeks before due to a tiny ticket buying snafu and he willingly went again. Cathy adored it as much as Jeff and both will need very, very little encouragement to spend another night at A LITTLE NIGHT MUSIC.
Next up: LOOPED!
Friday, March 19, 2010
COME FLY AWAY SOARS!
It takes real dedication on the part of avid theater goers to buy tickets for any show on St. Patrick’s Day. We are that avid and were uber excited to see COME FLY AWAY but we totally forgot what Times Square and the theatre district would be like post-parade and pre-all night St. Patrick’s Day drinking.
Dinner didn’t go exactly as planned since we were unable to get a table at our theatre district favorite Bond 45. It was nearly impossible to just navigate the sidewalks although watching a street fight break out was pretty cool.
So we’ll not talk about where we did eat and just move on to the Marquis Theater which is always a pleasure since it’s designers took into account that average heights and widths are a bit more ample than they were when some of Broadway’s older theaters were built. It’s really a gorgeous space and the seats are comfortable with almost enough legroom and when you are 3 rows from the edge of the stage, it’s a delight. The very friendly usher was also a pleasant way to start the experience.
We really had no idea what to expect - other than Frank Sinatra’s songs and Twyla Tharp’s choreography. Frank made so many songs famous that we were fascinated by how the ones used were chosen. The order was so right that it built perfectly to a total crescendo of music and dance. When intermission arrived we hated seeing the curtain fall.
When we turned around and spotted Diane Sawyer and hubby Mike Nichols canoodling we behaved ourselves and did not interrupt them. Later when we were behind them leaving the theater (he in very comfy looking sneaks and she in tottering heels) holding hands, we still resisted approaching them to tell them what fans we are of both of their work.
Back to the show. There wasn’t a single word spoken. Vocally that is. There were volumes spoken via the songs, the personalities of the dancers and the costumes that each wore. We knew exactly what was being said. Just watching these dancers was mesmerizing. Their musculature, the way they held themselves - everything said something Every single smile, eye blink and hand motion spoke to us. As a company, they were divine. Karine Plantadit, Keith Roberts and Charlie Neshyba-Hidges were justifiably the standouts.
The finale came in waves. It began with My Way which became New York, New York and then morphed into All the Way. COME FLY AWAY goes all the way. It’s a divine diversion from the plays and comedies we usually see on the Great White Way. It swept us up into the music and dance. How we wish we could sing and dance!
Next Up: A LITTLE NIGHT MUSIC!
Dinner didn’t go exactly as planned since we were unable to get a table at our theatre district favorite Bond 45. It was nearly impossible to just navigate the sidewalks although watching a street fight break out was pretty cool.
So we’ll not talk about where we did eat and just move on to the Marquis Theater which is always a pleasure since it’s designers took into account that average heights and widths are a bit more ample than they were when some of Broadway’s older theaters were built. It’s really a gorgeous space and the seats are comfortable with almost enough legroom and when you are 3 rows from the edge of the stage, it’s a delight. The very friendly usher was also a pleasant way to start the experience.
We really had no idea what to expect - other than Frank Sinatra’s songs and Twyla Tharp’s choreography. Frank made so many songs famous that we were fascinated by how the ones used were chosen. The order was so right that it built perfectly to a total crescendo of music and dance. When intermission arrived we hated seeing the curtain fall.
When we turned around and spotted Diane Sawyer and hubby Mike Nichols canoodling we behaved ourselves and did not interrupt them. Later when we were behind them leaving the theater (he in very comfy looking sneaks and she in tottering heels) holding hands, we still resisted approaching them to tell them what fans we are of both of their work.
Back to the show. There wasn’t a single word spoken. Vocally that is. There were volumes spoken via the songs, the personalities of the dancers and the costumes that each wore. We knew exactly what was being said. Just watching these dancers was mesmerizing. Their musculature, the way they held themselves - everything said something Every single smile, eye blink and hand motion spoke to us. As a company, they were divine. Karine Plantadit, Keith Roberts and Charlie Neshyba-Hidges were justifiably the standouts.
The finale came in waves. It began with My Way which became New York, New York and then morphed into All the Way. COME FLY AWAY goes all the way. It’s a divine diversion from the plays and comedies we usually see on the Great White Way. It swept us up into the music and dance. How we wish we could sing and dance!
Next Up: A LITTLE NIGHT MUSIC!
Sunday, March 14, 2010
TIME STOOD STILL AT TIME STANDS STILL
We had very high expectations for this show. So much so that we actually had 2 sets of tickets. Because of a conflict on the night of our original tickets, we gave them to Jason & Danielle, who really liked the play. After all, who could resist this cast?
The Manhattan Theatre Club’s Samuel J. Friedman Theatre is actually one of the more comfortable Broadway venues; seats roomier than most.
The fabulous cast did not disappoint. Alicia Silverstone (remember her from the 1995 flick CLUELESS?) has really grown up and her acting ability has clearly grown with her. Silverstone was perfectly cast as Mandy Bloom, who learns right after giving birth that the joys of motherhood, at least for her, far outweigh her career as an event planner.
Eric Bogosian, who is one of our favorites on LAW & ORDER, was also amazing in his role as the agent/best friend and love interest, baby daddy & eventually husband of Alicia Silverstone’s character.
We adore Brian D’Arcy James, who was also perfectly cast as Laura Linney’s love interest and then husband and who proves that his talent extends well beyond his outstanding performance as the all green Shrek.
And we are totally crazy for Laura Linney. In anything from Broadway (LOVED her in LES LIASONS DANGEREUSES ) to movies to television. The only negative we can say about Linney’s performance in TIME STANDS STILL was that her wardrobe seemed at most times to not fit her well. The best line of the play, which totally personified her character, was Linney standing with a straight face and saying to Brian D’Arcy James (then her husband), “This is me, happy.”
Linney, D’Arcy James, Bogosian & Silverstone were absolutely perfectly cast and played their roles flawlessly. Yet we never got engaged and walked out feeling as though something was missing. We can’t even say that the problem was with the way Daniel Sullivan directed this powerhouse of talent. This leaves us with only one person to “blame” – the playwright himself. Donald Marguiles took a really interesting subject and brought it nowhere. We missed David Mamet every minute of the show.
Next up: COME FLY AWAY!
The Manhattan Theatre Club’s Samuel J. Friedman Theatre is actually one of the more comfortable Broadway venues; seats roomier than most.
The fabulous cast did not disappoint. Alicia Silverstone (remember her from the 1995 flick CLUELESS?) has really grown up and her acting ability has clearly grown with her. Silverstone was perfectly cast as Mandy Bloom, who learns right after giving birth that the joys of motherhood, at least for her, far outweigh her career as an event planner.
Eric Bogosian, who is one of our favorites on LAW & ORDER, was also amazing in his role as the agent/best friend and love interest, baby daddy & eventually husband of Alicia Silverstone’s character.
We adore Brian D’Arcy James, who was also perfectly cast as Laura Linney’s love interest and then husband and who proves that his talent extends well beyond his outstanding performance as the all green Shrek.
And we are totally crazy for Laura Linney. In anything from Broadway (LOVED her in LES LIASONS DANGEREUSES ) to movies to television. The only negative we can say about Linney’s performance in TIME STANDS STILL was that her wardrobe seemed at most times to not fit her well. The best line of the play, which totally personified her character, was Linney standing with a straight face and saying to Brian D’Arcy James (then her husband), “This is me, happy.”
Linney, D’Arcy James, Bogosian & Silverstone were absolutely perfectly cast and played their roles flawlessly. Yet we never got engaged and walked out feeling as though something was missing. We can’t even say that the problem was with the way Daniel Sullivan directed this powerhouse of talent. This leaves us with only one person to “blame” – the playwright himself. Donald Marguiles took a really interesting subject and brought it nowhere. We missed David Mamet every minute of the show.
Next up: COME FLY AWAY!
Friday, March 12, 2010
THE MIRACLE WORKER WORKS!!!!
The last time we were in the Circle in the Square Theater was to spend a wonderful Saturday seeing the 3-play cycle of the NORMAN CONQUESTS. When you spend almost 10 hours in one day in a theater you become intimately acquainted with it and it starts to feel like “home”. And that is how we felt when the usher took us to our seats…right in the first row with incredible access to the stage - ready to see the revival of THE MIRACE WORKER.
We were taken with the intricacy of the set’s floor….a wooden floor hand-painted with a beautiful design that just begged one to reach out and touch it. The “stage police” (aka the usher) kept telling every single person she seated that no one was to touch the floor, put their bags on the floor, put their feet on the floor or walk on the floor. Got it?
When the show begins the set comes together from above and below . . . some of the set rises up from that incredible wooden floor and some is lowered from above on special cables. It’s minimalist but quite detailed and the perfect backdrop for this well known story of two of the world’s most iconic women – Helen Keller and Annie Sullivan. We were a little taken aback when a doorframe rose from the floor smack in front us which obstructed our otherwise perfect view. It surprised us but not as much as the cast did!
Matthew Modine was just ideal as the Captain (Helen’s father). We felt his pull between adoration for and frustration with his disabled daughter. Jennifer Morrison was wonderful too in her role as Helen’s mother. They had a special chemistry and it really played well. Amy Breslin is one of the most talented 14-year-olds we’ve seen and her interpretation of Helen was a perfect balance between emotion and physicality.
Alison Pill is clearly the star of the show. She gave a candid, humorous and forceful interpretation of Annie. She captivated us, as did the costumes. Being seated in the first row gave us the opportunity to see every button, dart, etc and the period dresses worn by Helen’s mother and aunt were truly breathtaking.
The only negative for us was the “dream” sequences with Annie’s dead brother Jamie, played by Lance Chantiles-Wertz. He acted the part perfectly and looked like a little boy suffering from consumption but every time he appeared we winced. We felt this was a poor decision by the director and rather than add to the drama it took away. Fortunately these scenes were very minimal.
There was a little lag right before the big breakthrough between Helen and Annie but the triumph we felt when Helen connects the letters being pressed into her hand with the objects she can touch and feel is great. When Helen connects the words “Mother” and “Father” you do feel the emotion. And then there is the final word of the show , “Teacher” and it hits the marks.
MIRACLE WORKER is a story we all know. There are no surprises and the only variable is the director’s creativity in how the story is presented. This version works. It’s a little miracle on 51st Street…go see it.
We were taken with the intricacy of the set’s floor….a wooden floor hand-painted with a beautiful design that just begged one to reach out and touch it. The “stage police” (aka the usher) kept telling every single person she seated that no one was to touch the floor, put their bags on the floor, put their feet on the floor or walk on the floor. Got it?
When the show begins the set comes together from above and below . . . some of the set rises up from that incredible wooden floor and some is lowered from above on special cables. It’s minimalist but quite detailed and the perfect backdrop for this well known story of two of the world’s most iconic women – Helen Keller and Annie Sullivan. We were a little taken aback when a doorframe rose from the floor smack in front us which obstructed our otherwise perfect view. It surprised us but not as much as the cast did!
Matthew Modine was just ideal as the Captain (Helen’s father). We felt his pull between adoration for and frustration with his disabled daughter. Jennifer Morrison was wonderful too in her role as Helen’s mother. They had a special chemistry and it really played well. Amy Breslin is one of the most talented 14-year-olds we’ve seen and her interpretation of Helen was a perfect balance between emotion and physicality.
Alison Pill is clearly the star of the show. She gave a candid, humorous and forceful interpretation of Annie. She captivated us, as did the costumes. Being seated in the first row gave us the opportunity to see every button, dart, etc and the period dresses worn by Helen’s mother and aunt were truly breathtaking.
The only negative for us was the “dream” sequences with Annie’s dead brother Jamie, played by Lance Chantiles-Wertz. He acted the part perfectly and looked like a little boy suffering from consumption but every time he appeared we winced. We felt this was a poor decision by the director and rather than add to the drama it took away. Fortunately these scenes were very minimal.
There was a little lag right before the big breakthrough between Helen and Annie but the triumph we felt when Helen connects the letters being pressed into her hand with the objects she can touch and feel is great. When Helen connects the words “Mother” and “Father” you do feel the emotion. And then there is the final word of the show , “Teacher” and it hits the marks.
MIRACLE WORKER is a story we all know. There are no surprises and the only variable is the director’s creativity in how the story is presented. This version works. It’s a little miracle on 51st Street…go see it.
Monday, March 8, 2010
RECIPE FOR LIFE
We were disappointed last Sunday night when we walked into the Acorn Theatre on W 42nd Street and learned that Marian Seldes had suffered an accident and was recuperating but would not be in RECIPE FOR LIFE. She was the motivator for us to see the show!
As we entered the theatre, we ran into Nancy Ploeger & Nancy Ryan, who we now really think are stalking us since this is the third time we’ve run into them at a show in the past couple of months. Seriously, it is always a pleasure to see them; we know they enjoy theatre as much as we do. We also ran into Lisa Linden and Lloyd Kaplan, who we haven’t bumped into since WAITING FOR GODOT. New York theatre really is a small universe. Maybe this is why almost everything now is staged as a “limited run”!
Jeffrey was quite surprised when we were seated, opened the Playbill and saw “In Memory of Tina Brozman” on the inside cover. Tina Brozman, who succumbed to ovarian cancer in 2007 was formerly the Chief Judge of the US Bankruptcy Court for the Southern District of New York and presided over the Barricade Books/Lyle Stuart cases that consumed many years of Jeffrey’s life. This case led to a long term friendship with Lyle, who died in 2006 and Carole, who continues to run Barricade Books. Judge Brozman’s husband Andrew, who did a Q&A at the end of RECIPE FOR LIFE, founded Tina’s Wish, a foundation whose mission is to fund research for the early detection of ovarian cancer, a terrible killer because it is typically detected too late to effectively treat. RECIPE FOR LIFE was presented by Cause Célèbre and Tina’s Wish and was a beautiful tribute to a wonderful woman.
The first RECIPE FOR LIFE skit (“The Love Course” by A.R. Gurney) was performed by Maria Tucci, Harris Yulin, Miriam Silverman and Jake Robards (son of legendary actor Jason) about the last class of two college professors who are about to each go their own way after teaching a class on Love. The cast is delightful and the simple set is enhanced by the chemistry of the cast. The one act was simply delightful - enjoyable and entertaining.
“The Love Course” was followed by “Tallulah Finds Her Kitchen,” a reading by the incomparable Frances Sternhagen, written by Joseph Stein (of “Fiddler on the Roof” fame and who was in the audience at this performance) together with Danny and Neil Simon. Ms. Sternhagen brought to life the wonderful words written by Messrs. Stein and Simon; the audience never took their eyes off her for a moment and every word was delicious.
Next up was “Menu by Jessie,” a reading by Tandy Cronyn about life with her parents, Jessica Tandy & Hume Cronyn. Having lived through much of what she read about her parents, Ms. Cronyn, an accomplished actress in her own right, gave wonderful insight into what her parents were really like and although it was refreshing to find the child of an acting family describe her parents and family life as normal, her turning of the pages throughout her reading was terribly distracting. This would have been much better with a teleprompter or even memorization.
The final skit was “The Hairdresser,” with Maria Tucci (who we thought was better in “The Love Course”) and Kathleen Chalfant. This one was about an actress having her hair done as she prepares to go to the Tony Awards as a nominee. In the end she can’t get her hair done because her hair is not real, she is undergoing chemotherapy. The drama of this sketch was a perfect lead-in for Andy Brozman to talk about his wife Tina, Tina’s Wish and Cause Célèbre. The Q&A was a bittersweet surprise but the idea of tying in a cause with an evening seeing great theater is a win-win and we look forward to seeing more of this.
Next up: THE MIRACLE WORKER!
As we entered the theatre, we ran into Nancy Ploeger & Nancy Ryan, who we now really think are stalking us since this is the third time we’ve run into them at a show in the past couple of months. Seriously, it is always a pleasure to see them; we know they enjoy theatre as much as we do. We also ran into Lisa Linden and Lloyd Kaplan, who we haven’t bumped into since WAITING FOR GODOT. New York theatre really is a small universe. Maybe this is why almost everything now is staged as a “limited run”!
Jeffrey was quite surprised when we were seated, opened the Playbill and saw “In Memory of Tina Brozman” on the inside cover. Tina Brozman, who succumbed to ovarian cancer in 2007 was formerly the Chief Judge of the US Bankruptcy Court for the Southern District of New York and presided over the Barricade Books/Lyle Stuart cases that consumed many years of Jeffrey’s life. This case led to a long term friendship with Lyle, who died in 2006 and Carole, who continues to run Barricade Books. Judge Brozman’s husband Andrew, who did a Q&A at the end of RECIPE FOR LIFE, founded Tina’s Wish, a foundation whose mission is to fund research for the early detection of ovarian cancer, a terrible killer because it is typically detected too late to effectively treat. RECIPE FOR LIFE was presented by Cause Célèbre and Tina’s Wish and was a beautiful tribute to a wonderful woman.
The first RECIPE FOR LIFE skit (“The Love Course” by A.R. Gurney) was performed by Maria Tucci, Harris Yulin, Miriam Silverman and Jake Robards (son of legendary actor Jason) about the last class of two college professors who are about to each go their own way after teaching a class on Love. The cast is delightful and the simple set is enhanced by the chemistry of the cast. The one act was simply delightful - enjoyable and entertaining.
“The Love Course” was followed by “Tallulah Finds Her Kitchen,” a reading by the incomparable Frances Sternhagen, written by Joseph Stein (of “Fiddler on the Roof” fame and who was in the audience at this performance) together with Danny and Neil Simon. Ms. Sternhagen brought to life the wonderful words written by Messrs. Stein and Simon; the audience never took their eyes off her for a moment and every word was delicious.
Next up was “Menu by Jessie,” a reading by Tandy Cronyn about life with her parents, Jessica Tandy & Hume Cronyn. Having lived through much of what she read about her parents, Ms. Cronyn, an accomplished actress in her own right, gave wonderful insight into what her parents were really like and although it was refreshing to find the child of an acting family describe her parents and family life as normal, her turning of the pages throughout her reading was terribly distracting. This would have been much better with a teleprompter or even memorization.
The final skit was “The Hairdresser,” with Maria Tucci (who we thought was better in “The Love Course”) and Kathleen Chalfant. This one was about an actress having her hair done as she prepares to go to the Tony Awards as a nominee. In the end she can’t get her hair done because her hair is not real, she is undergoing chemotherapy. The drama of this sketch was a perfect lead-in for Andy Brozman to talk about his wife Tina, Tina’s Wish and Cause Célèbre. The Q&A was a bittersweet surprise but the idea of tying in a cause with an evening seeing great theater is a win-win and we look forward to seeing more of this.
Next up: THE MIRACLE WORKER!
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