As Jacqueline and I approached the great lawn in the center of the island, I was transported to another place, another time – much like Owen Wilson was when he stepped into the car as the leading character in the new Woody Allen film Midnight in Paris.

Before my eyes the roaring 20’s were alive and well, pages come to life from F. Scott Fitzgerald’s book The Great Gatsby.  People were in authentic garb, playing badminton; lounging with friends picnicking; and dancing to the music of the era – JAZZ!

Mike Arenella and his Dreamland Orchestra host an event here each year with enthusiastic turnouts.

The band sat atop a stage constructed at one end of the great lawn, igniting the energy of the day and compelling the dance floor to fill up with couples showing off the hottest steps of the time.

The Dreamland Orchestra is authentic; their instruments, equipment, and attire.  Led by Mike Arenella’s wand and at times his strong baritone, their delivery is accomplished and professional without the music losing the fun and spontaneity of an era gone by.

According to Arenella, he transcribes – by hand – their entire repertoire from period recordings.

I asked a girl (see photo right) in a black dress “What brought you out to a themed event like this?” She didn’t hesitate when she pointed to her friend

(in gray with the fan) and said, “She did!”

“Are you having a good time?  Do you think you might come again“? With a wide grin she responded, “Absolutely, this is great!”

I received similar responses from several people I questioned, including one couple from England.  The outfits varied from half-hearted or hurried to exceptional.

If you like Jazz, and you’re in New York during the summer, check out this event. See more photos HERE.

For more photos of past events, or upcoming events for Mike Arenella and the Dreamland Orchestra, visit their site here: http://dreamlandorchestra.com/

(PUBLISHED in Jazz Review Magazine 2011)

The original show previously spawned three touring productions, a filmed live version and a feature film, begging the question is yet another production viable?

It’s central characters – Roger, Mark, Mimi, Tom Collins, Angel, and Maureen struggle with daily poverty, love and loss, life and death. All-the-while they cling to friendships as they pursue their art and a life to be lived on their own terms.

Director Michael Greif returns to re-tool the production, with Tim Weil [music supervisor] and Angela Wendt [costume designer] also on hand to repeat their original assignments.  The new show is now staged at the 499-seat theater in the sub-basement of New Word Stages.

The set is much grander, with a maze of steel girders, stairs and movable platforms, which are as high as they are wide. This provides Larry Keigwin (choreographer) interesting space to work with, but also inevitably confines certain scenes to given spaces solely because the space is there.  While the new set lends itself for some scenes, it is a bit distracting in others; in some instances blocking a clear view [of things being referenced] from the audience.

The lighting design by Kevin Adams is an improvement over the original, and the set does lend itself — to stunning effect in most instances — to the digital projections designed by Peter Nigrini. It works well for “over the Moon,” and then more specifically during “What You Own” — with projections starting with just a few screens and then expanding to wash over the entire set by the time the song modulates.

Beyond the changes of the new set, lighting and effects, Rent is still Rent, with all the characters, songs and themes that have made it so beloved.

Unlike many new openings, however, the cast had an unusual challenge to overcome:  they had to reinvent memorable characters created by not one previous production, but several; on stage, in film, and a staged live production on film.

This cast rose to the occasion and held their own, and even brought new elements to some of the characters.

For example, Maureen (Analeigh Ashford) is funnier and slightly more unbalanced than the original, while Angel (MJ Rodriguez) was more drag-queen Vogue — as opposed to the innocent-cool [transgender] character portrayed in the feature film –, as he lit up the stage with combustible energy. Mark [Adam Chanler-Berat] is more vibrant than any before him, and though staying true to the original role of Tom Collins — Nocholas Christopher stood out with a smooth elegant voice and a low-keyed performance.

The overall cast size is about the same as previous ones, and the ensemble cast – despite a few spoken lines that weren’t clear –deliver a strong performances.  They received a standing ovation for the effort.

Although the tent-city swatters of Alphabet city, in real life, have long since been pushed out and replaced by trendy bistros and high-priced apartments, Rent gives us stories, questions and core messages that remain vibrant and touching, hopefully for a whole new generation of followers.

“There’s only us; there’s only this; forget regret, or life is yours to miss.”

So don’t miss RENT!

A Jeffrey Seller, Kevin McCollum and Allan S. Gordon presentation of a musical in two acts with book, music and lyrics by Jonathan Larson.  Direction by Michael Greif; Choreography by Larry Keigwin; Music direction by Will Van Dyke.

Tickets $69.50 – $101.50

Mark Cohen – Adam Chanler-Berat
Roger Davis – Matt Shingledecker
Tom Collins – Nicholas Christopher
Benjamin Coffin III – Ephhraim Sykes
Joanne Jeffereson – Corbin Reid
Angel Dumott Schunard – MJ Rodriguez
Mimi Marquez – Arianda Fernandez
Maureen Johnson – Annaleigh Ashford

For more information and tickets

New World Stages
340 West 50th Street Between 8th and 9th Avenues
New York NY 10019

(646) 871-1730

Buy the soundtrack (download) HERE $16.99
Buy I’ll Cover You, the love duet between Angel and Tom $.99
Buy the Movie on DVD HERE $16.49 (Blu Ray)
Buy the filmed live on Broadway HERE $15.19 (Blu Ray)

Tommy Femia and Rick Skye have been impersonating the two women for decades:  Fabulous! (New York Times), Extraordinary (Theatre Mania), Amazing (Time Out), Astonishing … Masterful … Brilliant (Chicago Sun Times), and Sensational (Times) are but a few of the never ending accolades they receive.

Skye had previously stated that “Judy & Liza’ is really an amalgam of Tommy’s show Judy Garland LIVE! and my showA Slice O’ Minnelli’. “We are doing many of our best bits, and blended them into a show that asks the question, ‘What would a Judy/Liza concert be like if Judy were around to perform with Liza today?’  There are a lot of parody songs, songs they would sing together and the show just builds and builds with one great big hit after another.”

Having reviewed each of their shows individually several years ago, I was almost giddy with anticipation to see them on stage together in Judy and Liza Together Again!

I wasn’t disappointed. The show is highly entertaining with song, humor, parody and bigger-than-life personas. The new show uses the same format that worked so well in the Judy and Barbra show.

Tonight Judy opened the show with Hey Look Me Over and then proceeded to wander about with her patter of comments about nothing in particular. She’d often stop mid-sentence with a giggle, seemingly having forgotten what she was talking about. She tells clever jokes that the audience gets, but she often doesn’t;  playing comedic straight man to herself. It all works because Femmia’s timing, low-key demeanor and facial expressions are so seamless and perfect. He is so deliciously entertaining, that at times you almost forget how good a singer he is.

Judy segues from discussing the news of the day into talking about Liza just before introducing her:  “Happy 4th of July everyone!  Gay marriage is now law, did you know?  But let me tell you,” she says as if letting the audience in on a secret, “just because its legal, doesn’t make gay marriage any easier, and I should know“– a stab at Liza’s string of marriages to gay men.

After being introduced Liza bursts into the room singing as she works her way through — and loving — her audience.  By the time she hits the stage to close out the number she is panting.  She takes a bow, and then attempts to speak but can’t catch her breath. As she saunters to stage right to get a drink, she stretches the gag; trying to talk to the audience, but too winded to do so — in an obvious parody of the real Liza’s overzealous performances. And even in this stab of fun, it is clearly done with love and respect.

It’s easy enough to recreate the Liza “look” – big eyes, black spiked hair, short dresses and/or pantsuits –, but what sets Rick Skye apart is he doesn’t merely impersonate Liza, he becomes her; through his huge voice,  speech pattern, and mannerisms, which is why THE STAGE said “Altogether as loving as it is honest.”

Throughout the show the performers alternate taking center stage while the other does a quick costume change, with several duets and mother-daughter chats along the way.

The show was chock full of great songs, including: Hey, Look me over!, The Trolley Song, Home Sweet Heaven, Wilkommen/Old Friend, Don’t Tell Mama, Mein Chair, Ring them Single Ladies, Hello, Mama, Hello Liza, Hooray for Love Medley, Fifty Percent, Rockabye your baby with a dixie melody, Maybe this time, New York, New York, Over the Rainbow -Get Happy-Happy Days Medley.

If you like great singing, smart comedy, fabulous dresses, wonderful songs — all delivered with the highest professionalism, this is a must-see show.

After the show I had the opportunity to talk with Tommy and Rick for a few moments.

BRIE:  How did the show come about? 

Rick: I was flying to Florida to do a show and met Tommy on the plane and we got to talking.  As it turned out we were surprised to learn that we were both booked at the same club.  When we arrived we were informed that they expected us to perform together.  So we quickly threw an act together, and had such a good time doing it, that we talked about building a real show, and we did. We presented it last year and it was extended.  And we had so much fun with it and get along so well together that we decided to revive it this year.

BRIE:  Tommy, with Judy gone so many years, how to keep her fresh and new?

Tommy:  Certainly the times change, so I can always update the patter dialogue, which was so signature for her, and also by singing songs that she never got to sing, but those that I believe she would have if given the chance.  This is why I added Fifty Percent to the show.

BRIE:  How much research was involved in putting your respective roles together?

Tommy and Rick intertwined:  (Laughs) None.  I worshipped her growing up. By the time I started performing as her I knew everything there was to know about  her music, her life, her likes and dislikes, mannerisms, everything.

BRIE:  Thanks for the time, and best of luck on your extended run.  I loved the show, and know others will continue to enjoy it as well.  Hopefully more people will get the opportunity to see you.  Keep me informed of your shows as you tour so I can have it posted for our readers.

Tommy/ Rick:  We’ll keep you updated for sure; thank so much for the support.

BRIE: My absolute pleasure.

MORE INFORMATION ABOUT THE PERFORMERS:

Tommy Femia: has won the Manhattan Association of Cabarets & Clubs (MAC) Award 7 times, and also received a Back Stage Bistro Award and is considered by many the best Judy Garland impersonator working today.

Rick Skye: is a multi-award winning performer who has enjoyed success both on Broadway and the West End. Training with the Joffrey Ballet and the famed Stella Adler, Rick toured the US with Ann Reinking and Sandy Duncan in “The American Dance Machine Show” and in the Kennedy Center Production of “Miss Liberty”. He acted with Dorothy Louden in a role written especially for him by Paul Zindel in “Danny and Della”. He danced in “Merlin” (with Nathan Lane and Chita Rivera) and again with Chita in “Bring Back Birdie”. He did a stint on “All My Children” and appeared in the film “The Cater Waiter” starring as David Drake. His friendship with Neil Sedaka led to his writing and starring in “The Flip Side of Neil Sedaka” (the tribute with a twist), which got him nominated as ‘Best Newcomer’ by The Manhattan Association of Cabarets.

(PUBLISHED TG Reporter Magazine 2011)

Why would he (Terry) incite anger from the entire Muslim world [for the actions of a few] with his mock trial?   What was the point?

To show the Muslims how backward Islam is?  This coming from the Christians — who preach about love, kindness, Godliness, understanding, blah blah –  who’ve slaughtered millions over the centuries in the name their God.

Religious structures it seems are more and more equally misguided; morally confused and pompous in their belief that they alone have the keys to heaven.

Faith isn’t a bad thing; in fact faith can be a great thing.  The problem is that most of the faithful simply don’t know what to do with it, or how to channel it constructively.   Christians, Muslims, Orthodox Jews, they’ve all gone off the reservation.

Religious leaders should be helping their communities; empowering people to be self-confident, self-reliant, productive, and caring citizens. Instead we watch them perpetuate this childish MINE against YOURS mentality.    Grow up!

Lao Tzu said it best when he suggested that one live their faith, rather than trying to get others to follow or convince others that their right.